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MUSICAL THEORY.
3s. Bd.
The main divisions of the work are five
the Common Scale
and Timethe Minor Mode and TransitionMusical FormExpression Harmony.
:
of Teaching in general,
and
4s.
especially as applied to
Music.
HOW
TO OBSERVE HARMONY.
The whole
series of chords
employed
in
2s.
Modern Music
is
U.
Method.
HOW
TO READ MUSIC.
Is.
THE
STANDARD COURSE
Of LESSONS AND EXERCISES
ADDITIONAL EXERCISES.
JOIN CUKWEN.
ELEVENTH EDITION.
J.
CUEWEN &
SONS,
&
'WARWICK LANE,
The
1895.
E.C.
1835).
NOTICE.
Several friends have said to me " why do you not
It would be so
arrange your book in lessons ?
convenient for us, every time we go to our class,
to know exactly how much and how little we have
to teach." I would gladly have done this but
the different capacities, tastes, and circumstances
School lesson
of our pupils make it impossible.
and a lesson to an Evening class, a Reformatory
lesson and a College lesson, differ exceedingly
both in the manner of teaching and in the number
;
by the examination
step.
method."*
is
JOHN CURWEN.
Price
INDEX OF TOPICS,
TUNE.
3,
28, 29,
Key
5,29
Octaves
99
3,5,77
Pattern
Solfaa-ingandlaa-hig
Modulator
...v, 3, 8, 11,
Manual signs
exercises
scale
23
28
3, 5
4, 15,
,8,37,77
12, 24, 37, 42,
61, 77
iv, 51
12, 24, 42, 77
28,48
49, 50
Perception of Transition
Distinguishing tones of 1st remove 50
50, 51
117, .118
52
52
53
53
50, 77
Passing transition
Extended transition
Memorizing adjacent keys
The modes
The modern minor
The Grave ray
Modulation and transitional
The third remove
84,85,86
86, 87
46
88
ditto..
123
88
Accidentals
TIME.
Accent, pulse, measure 6, 7, 18, 63, 64, 65
7, 24, 65, 66
Beating time
Tune names and'Taatai-ing ... v, 6, 7,
8, 10
7
Continued tones and half pulses ...
Silent pulse. Pulse-and-a-half tones
18, 19
Quarter-pulse tones
Three-quarter
Silent half-pulse.
and
pulse tone. Two quarters
spirit of the
Cadence,
103
PRONUNCIATION.
Effect of vowels on Quality of tone 1, 14
15, 16
Collective reading
Recitation on a monotone 35, 36, 47,
59, 82
The Consonants oi articulations 60,61,
62
Importance of the' GUde, in singing
61
consonants
Order of accents in speech and song 63
Preparing recitations 35, 59, 63, 93, 94
The "Vowels, their mechanism, and
136 to 142
dialectic varieties
144
142 to
The Dipththongs
pulse
exercises
HO
33, 34,
it
16
30, 98
30,94
99
106
67
109
149
Choral contrivances
:","*
Resonances
Vocal ornaments, portamento jshake
swell, appogiatura, turn 150. 151, 155,
156
150, 151
.....
...
32,68,110
107
Boys' voices
Voices and parts..;... 29, 30, 81, 108, 109
Flattening..
p. 30, Ex. 97
105
Blending of Registers
Optional tones
67
Thick Register
Small Register
Training in class
vi
20, 27
21, 36
of
36, 69
Chord 4S and doh against ray ... 21, 27
Chord 7S, fak against soh, and the
partial dissonance
36, 46
and S,
Relationship of F with
ambiguity
45, 46
Chords major, minor, or diminished 46
46
Chord
and grave ray
Chords T, L, M, and 7R
46, 47
47
Mental effects of Chords
Cadences
48, 52, 69
69
Apologies for dissonance
Chromatic chords and their resolu83
tion
Chord relation in the Minor mode 87
RAH
MUSICAL FORM.
General principles and divisions of
melody
The Parsing
of
69
70
melody
tations
16
'.
35, 63, 64
Chorus
tata
32,66,107
33, 67
Voice Modulator
Examination of voices
EXPRESSION.
Breathing for the sense,
The normal force of a piece
24
remembering
...
of voices together
66
D&S
Chants
156
2
1, 2, 3, 14, 26,
45,81,95
Control of breath
Breathing Places
Compass
The Registers
Thin Register
Time ear
chord
Relation of chords
Rounds
VOICE TRAINING.
Its importance
Position of Singer
Good klang and quality
Tuning
Distinguishing
tones
64
of
151, 153
HARMONY.
chords
26, 27, 48
Dissonances and their resolution 21,
103
styles
34
&c
102
104
Dissonances
Expression of words. Effect of
130 to 136
speed and force
Phrasing9, 16, 30, 69, 70,98,135, 149,150
pulse
Sixths, Eighths, Ninths,
101, 102
tune
Rapid passages
Effect of the Explosive and Pressure
tones and the Legato & Staccato
Unison,
and downward
extension
100
paniment
101
Imitative sounds
Tones congenial to the sentiment or
Silent quarter-pulse.
Agility, strength,
100
trance
...iv,
Mental effects
Speed of movement and ditto
Names and signs
Ear
The
59
relationship
NOTATION.
5, 29
Of tune and octaves
6, 7, 18
Of accent and measure
Of vocal parts and musical sections 8
16
Of repetition.,
.Of sounding and silent pulses and
their parts. .
6, 7, 18, 34,
Of the hold
Of chords
Of rate of movement
Ot chanting
Of transition
Of registers
Of the minor mode
Of expression.
Of consonantal sounds
Of vowel sounds
Writing exercises
64
28
87
33
36, 36
51,63
86,
68
87
30, 96, 97
*
61
136
12, 24, 77
viii
The
These diagrams show the hand as seen by pupils sitting on the left-hand side of the teacher.
makes his signs in front of his ribs, chest, face, and head, rising a little as the tones go up, and fatting
as they go down.
Note.
teacher
The Grand
or bright tone,
TH1ED STEP.
SECOND STEP.
FIRST STEP.
the
Major
TE.
The Piercing or sensitive tone,
the Major Leading Tone, making
with Raysn&Fah the weak Chord T.
LAH.
The Sad
the
or weeping tone,
Major Submediant,
ME.
The Steady
or
calm
tone,
the
RAY.
The Rousing
DOH.
The Strong or firm tone,
the Major Tonic, making with
Me and Soh the Tonic Chord,
ihe Chord D.
or hopeful tone,
A TT
asl.
the Major Supertonio, making with Fah and Lah the Chord
The Desolate or awe-inspiring
the Major Subdominant,
R, in which case it is naturally tone,
sung a comma flatter, and may making with Lah and Doh, the Subdominant Chord, the Chord F.
be distinguished as Rah.
For fe let the teacher point his first finger horizontally to the left. For ta ditto to the right.
seen by the class, these positions will be reversed, and will correspond with the Modulator. For
se let the teacher point his forefinger straight towards the class.
When
Note.
tung slowly
descriptions
the
is filled
the key,
of mental
and when
effect
harmony.
THIED STEP.
FIRST STEP.
The
Grand
bright
the Domin-
ant
or
Chord
the Chord
tone
the Major
S,
and with
Fah
Dominant,
making with
Te and Ray
also the
Chord
S.
LAH.
TE.
ME.
rarely used
RAY.
The Housing
it is
sung a
komma
FAH.
or hopeful tone
flatter,
be distinguished as
may
The Desolate
DOH.
The Strong
or firm tone
the
or
awe-in-
Major
Note. These diagrams show the hand as seen by the pupil, standing in front of the teacher.
The proximate verbal description of mental effect are only true of the tones of the scale when
sung slowly when the ear is filled with the key, and when the effect is not modified by harmony.
By JOHN CTJRWEN.
t
{Copyright.)
Wholes. Halves
Quarters.
:1
.1
,1
Thirds.
,1
tafatefe
.1
taataitee
,1
:1 ,1 .1
tafaTAI
.1
,1
aatai
:1 ,1 .1
:1
,1
Ninths.
ta
se
soh
:1
,1
taasaitee
fall
Sixths.
3 accents.
:1 1,1 1,1.1
t.
me
ba
-I
g
2
2 accents.
:1 1 1
.ill
taralaterele
taralatereletirfli
rah.
common
ray
de
Si
--
doh
t,
f,
ta.
The
flats of
law, &c.
ree,
St. Co.
the scale,
ta, la,
&c.
pronounced
Ba
fe
tafatefetifl
Sixths.
is
dee,
lay
lah
:1I1,1I1,111
le
<
tanafanatenefene
3
At
:1
,1
TAAsee
te
S m
:1
TAASfe
<1
saitaitee
tafates
TAASAI
Eighths.
.1
safatefe
SAATAI
doh
,1
taatai-ee
.1
:1
TAAfe
TAATAI
del
TAAtee
TAAtefe
SAA
:1
ma,
ra, are
pronounced taw,
pronounced
minor scale) is
se,
bay.
r,
S.
Db
Ab
EC
BP
2>
^4
.e
ba
fc*
^_
t
s
d'
Pi
Dl
se
*r
DOH
ba
J
U
j?
B
b
ba
ba
t,
PI
Cl
PI
*.
PI
LAH
S,
FAH
ba,
t,
ME
1,
se,
S,
1,
s.
s6h
1.
ba fe
a*
ba
ba
t,
PI
ba
t,
PI
t,
PI
1.
se,
1,
S
,
ba,
S,
f,
ba.
t,
"<
t,
ma
KAY
'
f,
se,
f.
la
re
t,
*e
r'
86,
1,
Ffl
ftAr
r'
se
se.
1.
at
se
PI
t,
se
B
r
at
ta
r'
le
66
dhWlftAr-
se
r>
PI
86
ba
jah
se,
ra
de
se,
1,
f,
f
S
ba,
t,
n
i
1,
ba,
t,
DOH
B,
t,
B,
se,
ba,
se,
1,
s
5'
ba,
f,
,
FIRST STEP.
To produce a good tone. To train the muscles which rule the lungs. Given a hey tone,
To recognize and produce its upper octave and the lower octave of
and third.
and produce the simplest divisions of time.
its fifth
glottis
of
1st,
2nd, the throwing, forward of the voice ; and 3rd,
the control of the breath. Purity of tone depends
on the first and third of these, quality on the second
and third. The lump in our throat called the
larynx or " Adam's apple," is the instrument of
voice.
The glottis is the slit between those lips of
the larynx (or vocal cords), which form its lower
opening. When Garcia und other voice-trainers
speak of the " shock of the glottis ;" and when Dr.
Rush, Mr. Melville Bell, and other elocutionists
speak of the clear "explosion" of vowel sounds,
tney refer to the firm closing, followed by the
The
distinct opening of these lips of the larynx.
action of the lips of tue mouth, in pronouncing
strongly the letter p, in papa, will illustrate this
and the "shock of the glottis" may be felt in a
St.
Co.
(New.)
and produce
To recognize
Voice Training
to recognize
its fifth.
g, as
in game; or
It,
as in keep.
This "shock"
many
;;
FIKST STEP.
We
St. Oo.
(New.)
';
2IEST STEP.
an oval shape, like those of fishes, produce tones of
a sorrowful and grumbling character; those of
which the lips project, in the form of a funnel, give
a hard harking voice; very wide mouths, which
exhibit the teeth too much, render the tone rough
tho -e which have the teeth too close, form shrivelled
These points must be attended to at the
tones."
commencement and in the course of every early
There is no other way in which the pupil
lesson.
can be saved from slovenly habits and coarse flat
singing.
hands,
'
'
at first,
lungs.
St.
Co.
(New.)
By means
We
key-tone,
measure their
FIRST STEP.
The
of the scale.
The
Tonic Solfa name for this sound is Me, and the sign
the open hand with the palm downwards,
Ex. 6 . The Teacher, by the above named manual
causes the pupils to sing (while he watches
and the opening of their mouths,)
to the open sound aa such phrases as the following,
Soh, Soh, Me, Soh, Doh. Boh, Me, Soh. Soh, Me,
Boh, Me, &c, &c. The Teacher changes his key
tone with nearly every new Exercise, lest the pupils
should be tempted to try and sing by absolute pitch,
is
signs,
their position
Ex. 7.
SOH
keys
D & F.
Ex. 8.
KEYS
D & T.
Ex. 9.
D & F.
KEYS
Ex. 10.
SOH
KEYS
D&F.
Ex. 11.
keys
D & F.
/
d
(New.)
D & F.
ME
St. Co.
keys
Ex. 12.
DOH
FIRST STEP
Ex. 15.
KEY C.
Ex. 16.
d'-d'
d'
KEY C.
Ex. 17.
d'
key
Gr.
ME
s,
Co.
(New).
As there is no indication of
may be made as long or as short
s.
mental modulator
fails
them.
STEP.
key
Ex. 1C.
pi
PI
pi
pi
s,
The
commonly
Sometimes it means
-word time is
is
sung, as
KEY G.
lid
j
:,d
aw
-ful
Id
I
:d
II
dawn-^||
PI
weak
accent.
:d
a
Id :d Id
II
wake, a- rise.||
leads his pupils to distinguish the difference between a weak and a strong accent both in words
and music. The Teacher will be careful not to let
h:s pupils exaggerate the strong accent, so as 'to
make a jerked tone instead of simply an accented
tone. Accent is produced by the combined use of
distinctness (or abruptness) and/om
in their various degrees, and it differs in quality as one or the
PI
key A.
pi
pi
Ex. 23.
KEY C.
Ex. 22.
KEY A.
Ex. 20.
KEY C.
Ex. 19.
1824.
fix.
Ex. 21.
Gr.
pi
KEY C.
d'
These
PI
we
pi
The Teacher
call Pulses.
measure.
j j
:
j
the
weak
accent.
Co.
(New.)
FIRST STEP.
swing" of the rhythm (taa, taa, taa, taa, &c),
beginning of each
||
||
commences it.
Ex, 29. The teacher
taa, taa
Ex. 30.
Sing exercises 20 and 22 in the primary three-pulse measure, making two measures,
and the
(New).
Later on
(p. 18)
7
giving their full length to prolonged tones.
to
d ,m
time.
Speaking in Time The value of the Timenames depends on their being habitually used in
time each syllable having its true proportion.
mnemonic
St. Co.
fail in
little
At
HKST
8
perfect.
STEP.
and keep his attention fixed on an otherwise uninteresting but most important subject.
difficulty,
Ex.
First slowly
repeated so at
I
|
:1
quickly.
:-
Slowly
II
:1
TAA
:1
TAA
-AA
TAA
TAA
:1
TAA
|1
TAA
-AA
:1
TAA
-AA
TAA
-AA
TAA
Slowly and
II
Ex. 35.
11
TAA
|1
Hi
Ex. 34.
quickly.
Slowl%
:1
TAA
learner
:1
TAA
1
TAA
work of the
TAA
TAA
and quickly.
:1
TAA
:1
TAA
:1
TAA
TAA
:1
TAA
II
TAA
I
:1
TAA
TAA
Time Laa-ing.
:1
TAA
:1
TAA
to nothing else.
Ex. 37.
iaaExs. 32
Tune Laa-ing.
As
to 36,
Tote.
other.
St. Co.
(New.)
TAA
diflicult for
:1
TAA
1
TAA
the above
exercises have been properly learnt, with time names,
will cause them to be sung again in the same way,
but to the open syllable Laa. The time syllables
are, like the Solfa syllables, valuable as mnemonics,
and must be much used, especially in the early
steps.
But they must not be too exclusively used,
lest our pupils should be able to sing correct time
all
may be sung
together.
Double Bars
FIKST STEP.
taking the lower, and those who have sung the
lower taking the higher. It is obvious that these
voices.
Ex. 38.
d
Ex. 39.
:-
Ex. 40.
KEY
n
:d
X>.
key D.
n
n
Ex. 41.
SOH
t n
KEY D. t
n
,d'
in
Mi
Ex. 44.
:-
St.
Co.
KEY B.
d
Id
(New.)
Id
DOH
ME
key F.
n
S
in
d'
Mi
pii
:-
pii
key D.
Ex. 43.
-t
- Id
:d
Ex. 42.
d'
KEY F.
:-
:d
phrases.
si
Si
si
Qtiic,
:
pi
:-
si
JO
FIRST STEP.
Ex. 45.
Slowly,
TAA
Id
Ex. 46.
1
II
n.s
Slowly,
|d
|n
II
|s.n:d
|d.n:s
:d
d'.s
|n
s.n
d.n
St.
Co.
(New.)
II
.1
TAATAI
S|.d
TAA
.d
.d
-AA
.d
|d
||
II
TAA
s.n| s.n
s.n d.n
I
si.si|d
.1
S|.n|d.d
|d'
Id
.1
:1
TAATAI
TAATAI
:s
|n.s:d'
:si
|d.n:d
S|.n|d
:d'
:
II
I
.1
:1
TAATAI
d'.s: n.s
TAA
n.s :d
II
||
may invent.
and
j|
KEY G.
:1
:d
||
.1
TAATAI
:d
TAATAI
||
:1
.1
1
I
KEY G.
and quickly.
TAA
:n
.1
TAATA1
s.n|d
|d.s
:1
TAA
:1
TAA
s.n|s.n
:s.n|d
II
TAATAI
KEY C.
: n.s Id
keyC.
Id
and quickly.
.1
:1
1
II
:d
FIRST STEP
key D.
Ex. 49.
:
:d
:d'
Gt.
Slowly,
:
:s,
11
and slowly.
pi
key
Ex. 50.
Quickly,
d'
:d
SOH
ME
:'
:d
s,
PI
pi
DOH
:
!5
Ex. 51.
key G.
pi
:d
Ex. 52.
Ex.53,
Si
Slowly,
s
:n
t d
rii .ri| :
key D.
pi
:d
.pi
Si
S|
.pi
s .d
S|
t
d'
:d
and
.pi
pi
rNewi
d'.s: d'.s
pi
.n
pi .pi
pi
t
:
pi
:d
si.d
r,
pii.s.
d.d:d
Si
ni
Si
pi
quickly.
:
t n .s
pi
PI
pi
pi
.s
t d
pi
PI
.s
Co.
d'
pi
Modxjlatoe. Voluntaries.
At every lesson, the pupils will be exercised in
following the Teacher's pointing on the modulator,
without a pattern. The difficulty of this is, that the
pointer cannot shew accent, but, in eases of difficulty, by means of the time names the teacher can
explain any rhythm he wants. The pupils will learn
to follow promptly, and to form the habit of holding
the tones as long as the pointer stays on a note.
St.
t
s
Slowly,
t s
S|
cmd quickly.
ri|
pi
pi
t:d
s,
iti .rii
d.d:n.sn
n .d
d .n
key G.
:
difficulties
12
FIRST STEP.
Ear
Exercises.
The Teacher will now give his pupils short musical phrases, sung to figures, and ask them to tell
him to which figure or figures d fell ? to which
?
to which s ? to which d ? to which s, ?
will also give them a key tone and chord,
He
"taa
in Ex. 53
The Tonic
Co.
(New.)
Supplementary Exercises.
13
FIRST STEP.
2 What two
purity of tone ?
habits
improve the
What two
habits
improve the
quality of tone
We
a tune
24
it ?
How
33
peat the
first
40
beat
time ?
How
41
is it that the Sol-fa syllables
come to be mnemonics (or memoryhelps) of tune, and the time syllables
mnemonics of time ?
42
43
44
What is the
use of Laa-ing 2
Whatisthemeaningof abracket?
What is the meaning of a double
bar?
45 What are the best breathings
places when music only is considered ?
46 What is the sign for a pulse
equally divided into two-parts ? What
is its
47
48
time
name ?
tune?
49
practice of taatai-
rhythm?
50 In the practice of modulator voluntaries, what two habits must the
pupil form ?
51 What difficulties must not be in'
cluded in voluntaries ?
52 Describe the two forms in which
ear exercises can be presented ?
53 Why should musical memory be
cultivated 1
54 What is the best way of teaching
notation ?
55 What advantage does the singer
get from the practice of writing music ?
56 How would you dictate the air of
the first four measures of Ex. 53 1
PRACTICE.
57 Hold a steady tone, without taking
breath, for five seconds.
58 Sing any two of the exercises 38 to
and 48 to 53, chosen by the teacher,
to the open syllable Laa, correctly and
without breathiness of tone.
59 Sing to the open syllable Laa, the
Soh to any Doh the teacher gives you.
60 Sing in the same manner the lower
44,
Soh
.
{
St
Co.
(New).
69
70
71
72
Ditto Soh.
Ditto Doh.
Ditto Doh .
Ditto Soh .
1
14
Ex.
545
SECOND STEP.
To train the
and good
accord.
To distinguish the mental effects of d, m, s, t and r.
To produce them.
To distinguish and produce the medium, accent and the four-pulse and six-pulse measures,
also the whole-pulse silence, the half-pulse sounds in three pulse measure, and the fourths of a pulse in their
simplest form.
To observe the reasons for breathing vlaces. To commence the study of chords, intervals, discords,
and passing
tones.
Voice Training.
The
St. Co.
fNew.)
'
SECOND STEP.
Ex. 56.
F and G.
keys
2nd
'
3rd.'
^Mental
pi
:d
Tune.
self!
those below,
(a) The teacher first sings the exercise to consecutive figures, telling his pupils that
is about to introduce a new tone (that is, one
or s) and asking them to tell him on which
it falls.
(6) When they have distinguished
the new tone, he sings the exercise again laa-ing
it
and asks them to tell him how that tone " makes
not d
figure
feel."
Those who can descrite the feeling
hold up their hands, and the teacher asks one for the
them
key BP.
Ex. 57.
Id
s,
|d
|d
|r
pi
|n
|r
II'
s.
Id
low in
Id
||
pitch.
:
||
|r
|n
||
time) will
St.
Co.
nrew.J
d
who
others,
s,
Ex. 61.
Id
:pi
Id
:pi
Ex. 63.
Id
:s
:s,
|d
key D.
|s
:t
key D.
|s
:t
key F.
|n
Ex. 64.
Ditto.
:d
Collective Beading.
:-
But
can
Ex. 62.
Effect of Say,
:d
key D.
|d
Ditto.
key F.
:pi
Ex. 60.
Id
:-
|r
key B>.
:
Ex. 59.
:si
:d
In
:s,
Ex. 58.
description.
different tones,
he
15
1st.
:t,
key F.
:n
Is
It
Id
:s
id
:-
||
||
Ditto.
It
Effect of Te,
|t,
low in
pitch.
:-
id
:-
|f
|t,
:-
|d
II
Ditto.
:
it.
Both require definite
and movements of the lip and tongue.
Many
"
SECOND STEP.
16
subject.
In every exercise of this step there
should be with the collective reading a discussion on
the correctness or doubtfulness of the breathing
places here marked, but the teacher will decide
for the whole class, so that the breathing may be with
one consent.
delightful effect of unity and clear expression is produced by this unanimity of breathing.
Bounds. Ex. 65, is a Eound for four "parts."
The first " part " commences the Round alone, and
goes on steadily repeating it until stopped. When
the first "part" is going to strike the note under
the asterisk (*) the second " part " strikes the first
note of the Round, and so on. The third " part
follows the second, as the second imitated the first.
clap or some other signal of the teacher's hand tells
you when to stop a Round. It should first be learnt
from the modulator by the whole class as one part,
and should not be sung as a " round " till the third
step, unless the class has been very well practised
in maintaining the rate of movement. When the
whole class can sol-fa it " by heart," watching the
teacher's beat and keeping most exact time with
the stroke of his hand, let the class be divided
into four parts, and each part tested in the power to
sing separately. Even when this is fairly done,
theparts will still find it difficult to " hold
their own," as soon as the other parts enter.
The difficulty of maintaining the rate of
movement is very much increased when the
Round is in three-pulse measure or contains
divided pulses. It is this difficulty which
d'
makes the Round so valuable an exercise in
time keeping.
is
step.
Ex. 65.
key
G-.
:d
burn
Is,
- ing,l
ti Fire!
r
1
out,
t
1
Fire!
Fire!
Look
:r
t,
id
Pour on
wa
- ter,
|
out,
ti
:r
wa
pour on
:r
Sing
it
St. Co.
CNew.J
with
s
your
s
I
might,
Id'.d
I,
d
-
ter.
||
t.
D.C.
D.O.
key D.
Ex. 66.
Is
Fire!
:d
Id
s,
Scot-land's'
ii:
.tld'.s :n.d|s
Wever leave
it,
Neverleaveitl
till
:s
'tis
Id
I
right.
;
;
17
SECOND 8TEV.
key
Ex. 67.
id
is
Morn-ing
C.
round
D.C.
bells
love
to
:t
d'.d'j t
II
in
I
n .n r
id
of
*
Is
song,
In
plea
sant
key
Gr.
Now
Sow
ll.
good f the
:d
Thou
SONG."
:
say
let us'
a .a
Once more to
:a
Hi
t,
dale,t
ni
Si
terf
and
an
gel
reap
Ex. 70.
ni
si
Hi
a,
bright-er
:d
ers
s,
ture
shall
a
self f
n.
n,
to
s
all,
s.
t,
the
de -
grain,
scend,
For
And
S|
thy
nor
hand
n,
Si
way
d,
be
fall
r,
fis
:t.
dawn
a
-ing
:
si
Godf
r
r
'ry
Stand
Co.
(New.)
still
may
0'er(
sty-
home."
. P.
cheer
s,
The
t.
Si
ShaUl
where.
t,
s,
be open'd f to-morrow.
:-
f a broad path f
0.
S,
land.
-
the
:
drear
Si
S,
come,
is
n,
fto
:
To
there
the
gar - nersf in
heav'n cry f " Har-vest
row
:t.
A. L.
t|
of
si
:t,
mor
t,
:n.
r,
thy
tho'
night!
:d
s.
a,
good! night.
SEED."
r
II
o'er
heed, Broad -cast
it t
found Go
forth,then,f ev -
:d
:t,
s.
good
all,
si
thy.
:d
s
to
Ex:
The day
plots, 'tis
n.
ma
-
Cold, heat,f
thou no
hy
KEY B.
not
Fret
feart give
and
fos -
At
ground,
n,
S,
it,
vain
toilf in
the glo - rious end,
when
doubt and
hill
Si
In
clear.
"Words by
seed,
fruit -ful
:a
canst not
\4. Thence,
morn f thy
the
in
The
52.
D.C.
id
id
and
loud
j.
:a
:t
merri-ly,
four parts.
:-
im'.dhd
:r'
King-ing
HOUR OF
IS THE
Bound for
GONE
key E.
Ex. 68.
thee.
:
A
:
t,
18
SECOND STEP.
Time.
Note.When the
it will
be
accent.
Let the pupils try Ex. 65 and 69, singing
them quickly and lightly. They will soon perceive
the natural necessity for a medium accent. The
teacher, however, must not expect too great a nicety
of distinction at first.
The finer points, both of
time and tune, require much practice.
Four-pulse Measure. When the accents of a
tune are arranged in the order strong, weak,
medium, weak (as in the words " momeniM-y"
" planeTAf^"), and so on, it is said to be in the fourpulse measure.
The pupils will taatai on one tone,
as below, while the teacher beats, first slowly, then
quickly.
pupil has learnt to hoia his tones to their full length, and where nearly
a pulse taa, omitting the At.
UTAA
:1
TAA
HiTAA
:1
TAA
II
II
TAA
1
I' Tj
TAA
(
TAA
TAA
:1
TAA
:1
TAA
|1
TAA
TAA
II
|
TAA
:1
TAA
:1
TAA
:1
TAA
|1
TAA
:1
TAA
:1
TAA
St.
name
Co.
(New.)
TAA
:1
TAA
TAA
:1
TAA
|1
TAA
:1
TAA
TAA
:1
TAA
Another form.
separate
|1
Another form.
:1
TAA
A secondary form.
1:1
:1
TAA
"ixa.mutasa.ity "), and so on, it is said to be in sixpulse measure. The pupils will taatai on one tone,
as below, while the teacher beats slowly.
UTAA
:1
TAA
Another form.
:1
TAA
Another form.
:1
TAA
A secondary form.
:1
TAA
(II
all
sufficient to call
|1
:1
:1
TAA
:1
TAA
:1
TAA
SECOND STEP.
"
tone.
Therefore the " four quarters
They are thus
are introduced in this early step.
named, tafatefe [tz is the short vowel for a a, and e is the
short vowel for '.] Thus the vowels still divide the
If the time-names are to become
pulse as before.
aids to the memory, we must again repeatthat even
in speaking both teachers and pupils should form
the careful habit of uttering them in their proper
time. Thus, taa should be as long as taatai, and
" tafatefe " should occupy no more time than either
and a quarter
19
Ex. 71.
1
II
KEY F.
KEY A.
SAA
TAA
KEY G.
SAA
TAA
KEY F.
Si
KEY F.
Id
:d.r|n
Is
Is
:n.rld
Ir
In
:ti.r|d
.1
TAATAI
KEY A.
TAA
:d
Id
TAA
TAA
S|
It,
Id
:s,.t,|d
:r
In
Ir
:t .d|r
||
Is
||
PI
:r
.t,|
Ex. 72.
1
1
1
key G.
key P.
I
key G.
.1
TAA
TAA
-A
key B. |d
:ti
:r .d
key P.
:r
:d.n|s
:-.t||r,d:d
:d
:s.n|n
:-.r|n.s
TAATAI
:si
:d.r
p)
:d
:s
:r
-.d|t,.d:r
|n
11.1
-AATAI
.dls
ji|r.d:t,
||
.t||S|
-.t,|d.r:n
keyF.
1
TAA
TAATAI
s,
:-.di n.r
Ex. 73.
1
.1
.1
.r
.1
SAA
|d
KEY
.r
s,
Id
n ,s
t,.r
t|.r
s,
|n
v,
A
Co.
.s
1
TAA
TAA
ndlBi.tt: r
|s,.t,:r
t,
KEY A.
:
KEY
|n :-.r :d.tilr.d:d
St.
KEY A.
I
KEY F.
-
1 .1
TAATAI
TAA
KEY G.
Id :-.t,:d.r|n.r :d
(New.)
.d
Si
.d
t|.d
|n.r
:n
|d.t,:d
:si
In.a
in
Cr.
-.t,: r
.t,|
d.n
|i
SECOND STBt.
20
Ex. 74.
1
II
1.1
.1
TAATAI
1,1.1,1
.1
1,1.1,1
KEY
TAA
TAATAI
.1
1.1
taatai
TAATAI
tafatefe
II
11.1
1 .1
TAATAI
TAATAI
11,1.1,1
.1
TAA
<J.
.n
Si
HSi^i.S!
ti ,t,.ti ,ti
,S,
t|
.d
Ir
:d
.n
si
.r
,d .d ,d
.si
,n
,n
.ti
Si
KEY G.
s ,s ,s ,s
.n
.n
,m .n ,n
.n
,r
.r ,r
.n
.ti
Is
,n
.n
II
Ex. 75.
:
ir
:
ii
1 .1
TAATAI
1.1
TAATAI
U.1,1
.1
1,1.1,1
tafatefe
1
.1
TAATAI
1,1.1,1
tafatefe
1
TAA
.1
tafatefe
KEY G.
Id
|r.t,:r.t,|r
s,
|d
:m,r.d,r
:t,.r|d
in
,r:d m
|d
:td.r,t,|d
m ,d
r,d.td :r,d.td
,m:
td.r,t,!d1r.m
m ,d
.t,
s,
d r
.8
II
KEY E.
|d
1,
Tune.
The Two Principal Chords.
s,
so
dn,
St. Co.
(New.)
II
SECOND STEP.
Ex. 76.
m
m
21
and so smoothly "resolved" by going down stepwise to t and there satisfying the ear with another
sweet consonance, that it cannot be called unpleasant.
It is only unpleasant when singers are afraid of it,
Hence the
and so put themselves out of tune.
advantage of knowing what you sing. Find a
note
similar discord at the close of Exercise 78.
undergoes preparation when it is heard in a previous
resolution
when
consonance;
it
undergoes
chord as a
(being a discord) it moves down one step.
As we
Fifths
two
fifths
there
is
St.
Co.
(New.)
Passing Tones.
SECOND STEP.
22
:-.d|n
Si
When
s.
:d
:-
and
mon-ey
s,
He
And
ris
In
win
d
S|
he
-
.n
la
.d
St.
Then
n
In,
Co.
d,
d.
Ear
Far
Far
si
si
S|
|s,
s,
si
.t
(New).
la,
t,
s,
.PI
learn
ing
,n
t.
s,
si
St
|si
- .r
tmost ex
is
.s.
:d
|n,
si
|r
d.
:d
.d
|t,
la,
:
:d
la
.n,
lent.
la
:
r.
t,
S|
iy-
|d,
Id
la
free;
lay.
la,
la,
.n,
0.
he;
day,
s,
.d
la,
si
ti
lent.
Id
-
A. Z.
s,
Hi
Id
-
s.
eel
lent,
I
else
|d
:t|
t|
Si
Id
si
eel
Si
fmost ex
r
ecl -
JOHN.
s.
s,
s,
Tralala
is
When little
PI
tmost ex
:
Is,
ing
|r
learn
si ,S(.s, ,s,
,n
ingis
-.dlt,
la,
It,
Si
.r
la
si
|r
la,
:t.
:d|
|n,
r d.
t|
mer John, A
hap - py
man is
mer John, He
la
tours ev - 'ry
gay, and
mer John,Light heart - ed,
lark t at
morn,And
t with the
ploughs, for sows the seed, He
sum - mer bright,He
f or
la,
Si
fis
too, fis
soul fis
t,
ter cold,
,S,.S|,8|.
la
FARMER
72.
d|
man
In,
si
es,
as
Tralala la
d,
t,
Then
M.
In,
si
S| ,S|. S| ,S|! si
spent,
key B|?*
S|
.n |n
s(
GONE.
m,
S,
Ex. 78.
Ir
e y's
gone
lands are
n. A
hale
old
J2.Hard work - er,
tent - ed
[3. Con
S|
mon
:-.r|r
t,
When
:-.ri|!Si
lands
n,
S|
keys d
key A.
Ex. 77.
la.
I
d|
.s,
Tra
.S|
;;;
23
SECOND STEP.
THE DAISY.
key E.
Ex. 79.
.s
Little flow'r
Basking in
n
3.
i.
,pi
.S
Or with
n
.n
may
Close
.r
sor
,r
sweeping rain,
rows
hem
r
it
.d
t,
d .r
:d
.d
Hidden from
d
d ,d
ti
S|
in
love
Chill'd
by snow
Conscious that
Si
S|
.r
to
see thee
li - ly's bell,
.ti
or
scorch'd
its
head
t,
by
breast.
simple mien,
tempest's shock,
- est
.d
thy
snug
re-treat
Dreads no an
guish,
fears
no harm
.d
.r
.r
Thou
flame,
for ev-er
same,
art the
rise,
:t,
Blights thee in
lie,
may
stream,
t,
way.
.t.
the
calm,
is
.s
How I
n
rock,
summer's heat,
nor
with
of the
.Si
.r
t,
couch of green,
.t|
Si
a-
thy
Winter's cold,
sure
t|
murmuring
round,
mountain lair
through despair,
Or mid
ly
gling
&
.d
,r
bed of snow
Peeping from
fis
storms
Greet the water's sil- ver
ty,
.t,
.d
Winter gone
ray,
nest,
from thy
ing
:
slee
Virtue strug
fair,
ly
Nor the
emblem
n
light
Gently bow
thy
some
d
d .d :d
Prom thy love
:d
.d
Slumb'ring in
gladsome beam
d .t
t,
starry brow,
the
a. l.
"Words by Fletcher.
76.
-with
1.
2.
M.
skies.
KEY D. M.
Ex. 80.
Come,
Come,
Come,
1.
2.
3.
d
d
:-
May,
May,
May,
n
:
In
60, twice.
:
gen
tie
flow'
ry
ly
love
Id
fi Co. (New.)
A. l.
1-
May,
Mav,
May,
d
n
In
:- :
Come,
Come,
Come,
:t,
:t
|d
:-
ling
ver
wav
n
It
:r'
gen
ry
pi
Is
:t,
er'd long
dant fields,
ing bough,
:d
it,
iy
love
:-
a
t
tie
flow'
:-
; ;
'
SECOND STEP.
24
t
:-
|d'
Now
thy balm
breez
let
yt
bright
Deek'd with thy flow'rs
tso
the haw
thorn' sf whit
Bring us
r
In
n
r
n
r
:
:-
|s
'rest
:d
Come,
Come,
Come,
thou?
It,
sweet song
enoe yields;
birds'
pres
ling
:-
in
Beau-ti
ful
t,
play
Pill
It,
yr
gen
tie
flow'
Ear Exercises,
Exercises," and if
Longing
St. Go.
en'd spray
es
and gay,
lov
Id'
:t,
':
all
t.
May-time,fwhy
: n
n
|d
'
May.
May.
May.
n :
Dictation.
Notation, and with it, clear percepwill be cultivated by Dictation Exercises.
The second part of Ex. 77,second score (or line), fifth
measure (always counting the first part of a measure as one) would be dictated thus:
"taa lower
tion,
r" "taa
-aa-tai
score,
"tafatefe
lower
lower
t,
Pointing
Memory
first
'
s,
Certificate.
Pupils now begin to
their list of six tunes for the Elementary
See Preface.
Elementary
make up
Certificate.
Supplementary Exercises
found in Wall Sheets
may be
SECOND STEP.
25
Tel
10 How do you distinguish vowels
and consonants ?
11 What kind of persons are commonly lazy in their use of lip and
tongue, and consequently indefinite in
their vowels and consonants ?
12 Why is the clear and marked delivery of
ing a Round ?
18 Describe
a tenth.
28 How are sixths related to thirds ?
How are tenths related to thirds 1
29 What is the quality in these intervals which makes them so much used in
Harmony,
30 What is the difference between a
common unison and an identical uni-
son?
31
the
Four-pulse
Mea-
sure.
first
Where
are octaves
and
identical
tion to harmony ?
39 Name or write four different sorts
of Concords.
40 Name or write several Discords.
41 Describe how the Discords youhave
heard are prepared and resolved.
Describe the passing tones you
42
have noticed on the weak part of a
pulse.
PRACTICE.
43 Hold a steady tone without taking
breath for ten seconds.
44 Sing Doh, Me, Soh, Doh Doh\ Soh,
Me, Doh, in Keys D or C, to the " forward" Italian Laa, as softly and as
1
you please
Te.
St.
Co.
(New.)
time.
55 Write, from memory, any other of
these exercises chosen by the examiner.
56 From any phrase (belonging to
this stage) sung to figures, tell your ex-
movement by
taatai-ing
two plain
>
59
Ex. 81 - 3
26
THIRD STEP.
To execute more difficult Chest, Klang and Tuning Exercises. To recognize the a and b positions, and the
and the dissonance d against x in
the resolution of the " Major Dominant,"
various constitutions of Chords,
To recognize and produce the fourth and Sixth of the Scale. To observe the relation of speed of movement
S.
To recognize the different sorts of voices. To recognize and produce one tone in absolute pitch
to mental effect.
and one rate of movement. To pitch tunes. To select breathing places. To gain first ideas of Expression. To become conscious of the great break from the thick or first to the thin or second register. To strengthen in men the
To recognize and produce half-pulse silences, various divisions of sound produced by
thin or second register.
To study the elements of Chanting. To recognize the partial
combinations of quarter-pulse and syncopations.
To recognize the relative motion of two parts.
dissonance t f, and the unprepared dissonance f against a.
Ex. 81.
The same
Chest Exercise.
as Ex.
may
now be expected
54, except that 15 seconds
If the teacher is not quite
all instead of ten.
from
key C,
:n
||d
Ex. 83.
60,
he will use at
:n
jd
To be
Tuning Exercise.
s
|
used with
key D.
m
::-
d'
Tuning Exercise
for three
"equal"
Is
:d'
Is
in
:d
:- |-
:-
therefore sure singing. Only the more intelligent classes, or the more intelligent members of
classes will be expected to pursue this study.
When the tones of a chord stand one above the
other as closely as possible (as
when it stands in
the order d, m, s counting upwards, or S when it
stands in the order s, t, r) they are said to be in
their normal position, the lowest tone being called
the Moot, the middle tone its Third, and the highest
In Ex. 56, measures 3 and 8
its Fifth.
is in its
" normal " position. In Ex. 83, measure 3, pulses
1 and 2 S is in its normal position.
Let the pupils
listen to them afresh, and feel their strength. In Ex.
and
Co.
{New.)
:r'
Is
:t
Id
r'
voices.
r'
It
St.
and D.
:s
M.
:
s,
83,
:
measure
|
I
Is
ft
Is
:r
|ti
: |
3,
si
pulse
4,
S has
its
When
Let the
1, and Sb in Ex. 83, measure 3, pulse 3.
pupils listen to them afresh and mark their comparative weakness.
When the fifth is in the lowest
part, the chord is in its e position.
This will be
The a position is best
illustrated at the next step.
and mo-st used. The b position is much used to
make the melody of the lowest part smoother or
more pleasant. The c position is only used in special
cases, to be afterwards noted, but chiefly in the
close of a section, as in Ex. 85.
key
Tuning
C.
d':d' t
s
d':d' d':t
S,: Si
blessings
of
God-this
the light
(New.)
KEY
;
Exercise, as above,
r
t,
that
.
at Ex. 110.
may -my
sleep- mine
thee
at Ex. 110.
'E ternal are-thy mer cies Lord
'E ter nal truth at tends thy word
'Thy praise-shall sound 'from shore to shore
'Till suns-shall, rise and set no more
to
ill
s,: si
'be neath-
'the
Tuning
G.
r
t,
We
Ex. 86.
Co.
Words to Ex. 86 to
night 'for all-the
Words to Ex. 85
'From all-that dwell-be low the skies
Let the-Cre a tor's praise a rise
Let the-Re deem er's name be sung
Through every land by ev' ry tongue
thee-my
Exercise, as above.
Glory-to
27
THIKB STEP.
Ex. 846.
Ex. 85.
make
'to
THIRD STEP.
28
The Hold
may he
pleases.
key A.
Ex. 87.
Id
:d
.ti
.r
key A.
Ex. 88.
I
It,
Id
:d
.t,
.r
t,.d
Ex. 91.
I
d.r
|d
Ex. 93.
:d
:s
||
|i
||
|l
s,
t,
|d
t,
:1
:-
|1
Effect of
|1,
If
II
Id
II
||
:f
in
||
:s
|d
II
sung slowly.
St. Co.
(New.)
will
dn
The Scale. "We have now studied a keytone with its six related tones. Seven tones
thus related to each other are called a scale.
The successive tones of the scale ascending
in pitch are,
descending,
dl t 1 if mrd,
The pupil must now practise himself in repeating the names of the
notes, in their successive order bothin ascending and descending, d
and s are readily
classified as the bold and strong tones of the
scale, and t r f 1 as the leaning tones.
Of
these last t and f have the strongest leaning
or leading tendency, t leading upward to dl,
and f downward to m.
Of the intervals of
d'
t
drmfsltd'
m
this scale
and
its
we have
They
Ditto.
:1
characteristic.
serious emotion.
X,
Ditto.
:d
key D.
|n
It
key A.
:s
:-
key D.
In
low Fah.
:
|d
:d
|s
key D.
s,
Ex. 96.
Id
:n
low Fah.
key E.
Ex. 95.
Id
1,
Effect of
:d
key Q.
In
Ex. 94.
|d
n.r
n.til r
Ex. 92.
:s,
Effect of
In
key A.
Ex. 90.
||
key A.
Ex. 89.
:-
|f
:d
In
Ex. 8796.
29
THIRD STEP.
stretched string giving 23 6 complete vibrations in
is fixed upon as the standard, and its
This is given
scale is called the " standard scale."
The octave of this tone O (512
at the side.
vibrations) is usually given in tuning-forks
~
for vocal purposes.
Pitching Tunes. The pupil strikes the
tuning-fork, and runs down to the
That tone he swells out,
tone he wants.
and then repeats it to the syllable doh. At
"
first it will help the pupil's memory to
"
notice that he has to spell the words " bag
a second,
"
in running
down
this
- It
Is
BAG
:
f In
FED
r Id
St.
Co.
(New.)
F'
traltos easily
||
scale,
thus:
Id'
Voice
.
to F, and the other from C to
trainers commonly give the name Mezzopronounced Metso) Soprano to voices
which seem to be between Contralto and
Soprano, and Baritone to voices which
are neither Bass nor Tenor. But the
most scientific of them have reached the
conclusion that true medium voices are
comparatively rare, and that those
which seem so are commonly only uncultivated Tenors or Contraltos, the
high part of a man's voice and the low
part of a woman's being the most liable
The diagram, at the side,
to neglect.
shows the common easy compass of
voices as given above. The difference
of the type in the letters and the double
is explained under
printing of F, B,
the heading " Registers," p. 32.
1
G
F
]p
EE
D
C
A,
|
IG,
I
E,
Oi
"
THIRD STEP,
30
to
one-F."
Naming
of Parts
In the titles of tunes the
initial-letters are used to name the parts, thus :
S for Soprano, C for Contralto, T for Tenor, and B
for Bass.
SUN OF
:s
il.Sun of
J2.When the
:n
3.A
bide
Co.
|d'
MY
soul, t
soft
dewstof
:n
|d
with
(New).
thou
:r
met from
bless
SOUL.
Maimer.
:t
my
key C.
Ex. 97.
us
:1
Sa
viour
kind -ly
:f
morn till
when we
|i
:1
dear, It
sleep
In
My
:d
For
wake, Ere
eve,
:s
|n
:d'
:1
Is
not
wear-ied
nightfif
eye - lidsf
thou be
gen - tly
near
|d
It,
is
:t,
with -out
thro' the
:n
theet I
worldfour
can
:d
-
not
way we
steep,
live
take:
THIKD STEf.
s
Oh
may f no
earth - born
:f
f
-
Till
:s
|n
rest
In
me f when
nigh,
Iff
THE
love
key G.
|s
No
de
Let
re
For
"We
with - out
LOSE OUR
:r
two
for
":n
Id'
d'
thy
my
:f
|n
-.f in
not
thee 1 1
dare
SELTESfUf
HE Av' If A-BOVE.
die.
sure
:d
Ir
Lei
ing!
parts.
Com - radesf of
pin
n'.r
For
n
ehil - dren,
.nlr
ns
the
must t by
II,
si
ta
f was good
er yet
No
if
ry
:-.f
us sing
Nev
mer
spond-ing,f
:-.s|f
Bound
*
s
hour's strongfand
Id
LABOUR'S STRONG
Ex. 98.
La
with
:t
To
rise,
bide
night is
thy
CEANf op
31
:s
Is
cloud a
sweet to
f
1
:1
toil
sun,
boug
:-
ti
ing
be
D.C.
done,
thought.
toil f is
hand t and
:r
d
II
All
d'
:1
II All
KEr F. Round
If
:f
spring-ing
'
flow
stars
parts.
|n
-
:-
Is
the
two
for
|n
the
:f
in
erB,
In
Are
bove,
All
II
I
tell -
:1
Is
the
fruit - ful
|s
God
ing
:-
It
show
t,
is
ti
Jd'
era,
D.C.
Id
love.
LULLABY.
Ex. 100.
key D.
|d.r:n.f|s
I
lul
:f
Sweet
St.
Co.
ly
(New.)
two
for
:d'
lul" -
parts.
:-
|t
la
by,
n
with
r
I
lul
In
r
la
|S
1
la
:-
Id
:-
t
if
by,
:f
In
-ly
lul
la
lul
lul
!f
la
f
II
Round
:r
|,r
(
Lulla-lul-la, -by,
Is
la
sleep
n
with
ith
:-
by.
D.O.
I
THIRD STEP.
32
Ex. 101.
Round
f
Doh,
Eay,
:s
|1
:f
key
102.
Bound
El?-.
:f
|s
sol - faa
in
WHO
Ex.
:n
In
ing,
'
If
pen
your
well
'
Who
:r
|r
comes laugh
in
laa
ing.
COMES LAUGHING- ?
:n
In
ing,
D.O.
:
mouth in
:d
id
I
:s
Pah,
Me,
:f
|f
Is
laugh-ing,
laugh-ing,
'
Who
1
|
:n
|r
comes laugh-ing
:d.rlm
u .r m
here
main?
:n
We
come
|s.s:s.s|s.f:m,r|d
:f
laugh-ing
Ha,ha,ha,ha,ha,ha,ha,ha,l "We
'
Is,
come laugh-ing
here
:si|d
a
D.C.
s.s:s.s|s.f:n.r|d.d:d.d|r.r:r.r|n.n:n.n|s.s:s.s|s.f:m.r|d
II Ha, ha, ha, ha, ha, ha, ha, ha, Ha, ha, ha, ha, ha, ha,
I
ha, ha,\
main,
ha.,
Ex. 103.
r
key A.
Glad
hearts
t,
and
Round
Id
*
In
Come
ijree,
f
sing
:r
with
me.
D.O.
s
:f.n
r ,d
Si
la,
we
:.8|
La,
la,
'
La,
la, la,
la,
(New.)
GHEE.
THIRD STEP,
Ex. 104.
ifiid.
(
dmid
33
Ex. 104. To strengthen the Lower Thin RegisTo he sung in the highest part of men's voices,
and the lower part of women's voices.
keys B, Cft C, ,D.
ter.
:s|m:f |r:n|d:r
1|
Id
II
St.
Co.
(Sew.)
Time.
The Metronome (pronounced metronoam) is an instrument for regulating the rate of movement in a
piece of music. It is a pendulum which can be
made to swing at various rates per minute. M. 60
placed at the beginning of a tune in the Tonic
Sol-fa notation means " Let the pulses of this tune
move at the rate of 60 in a minute." The stroke
of the metronome is the moment when it passes
the lowest point of its arc. In the case of very
quick six-pulse measure, the metronome rate is
made to correspond not with pulses but with half
measures " beating twice in the measure."
Sustaining the rate of Movement.
When a
tune, as in psalmody, is intended to he sung to
several verses, the singers may vary the rate of
movement according to the sense of the words, and
in simple songs this rate of movement may be
occasionally accelerated or retarded to suit the
sentiment.
But even this power of varying the
rate of movement with any good effect depends upon
a previously gained power of sustaining the rate of
movement uniformly.
84
THIRD STEP.
tion and testing of this power are frequently introduced. The teacher causes his pupils to taatai
on one tone a simple measure, thus, traa taa
tlaa taa, repeating it steadily, say six times
with the metronome, so as to get into the swing. He
then stops the metronome and they continue holding
the rhythm steadily for another six measures.
Just at the stroke of the first pulse in the next
measure he lets his metronome go, and then the
class immediately see whether they have sustained
the rate. Accomplished musicians say that this
power of sustaining a uniform speed is one of the first
and most important musical elements. The irregular
and ever-varying speed of movement, without any
apology, on the ground of Expression, which many
organists and precentors indulge in, is very painful
to practised ears.
Remembering M. 60. It is quite common among
Tonic Sol-faists to be able by habit to form a conception in their own minds of the rate of movement given
in the title of a tune, without referring to a metronome. This power is gained by first fixing in the
mind the rate of M. 60 as a standard of comparison.
Then, twice that speed, M. 120, or a speed half as
fast again, M. 90, are easily conceived.
Even some
intermediate rates are recollected with considerable
precision.
To fix M. 60 in the mind, the teacher
frequently asks his pupils to begin taatai-ing at what
they conceive to be that rate, and then tests them
well with his metronome. The recollection of rate
of movement is, like the recollection of pitch, affected by temperament of body and mood of mind.
But these difficulties can be conquered, so that depression of either kind shall not make us sing too
slowly.
The silent half-pulse is indicated by the absence
of any note between the dot which divides the
pulse in two and the accent mark. It is named
SAA on the accented and SAI on the unaccented part
of the pulse. See Exs. 105, 106, 107.
The three-quarter-pulse tone is indicated by a
comma placed close after a dot, leaving a quarter
to fill up the pulse. It is named as below, TAAfe.
105
.1
Ex.
1
Slowly,
.1
II
sung rapidly.
j
pulse.
8,
1.1:1.
SAA
TAATAI
1KKSA1
.1
TAATAI
TAASAI
key y.
:
d.
d.
s.i*;
.1
s.n
|s.f:r
|f.n:d
KEY F.
G-.
til
St. Go.
lightly.
.1
KEY
and
1
and quickly.
TAATAI
TAATAI
SAAI&l
KEY F.
.d|r.d:
n.r
|n.r
s .f
n
si.d
d.n
(New).
f ,r
s ,n
n.
If.l
|f.r;f. |n.d:n.
7,
THIRD STEP.
Ex. 1061
II
.1 ,1
TAAtefe
KEY
I
Slowly,
1
.1
TAATAI
KEY
f .n|r.
:d
:n
|n,r.d
t,.d
n.
:r
s .l,t: d'.s
.,111,1.1,1:1
TAAfe
TAAfe
|8
.,f:m
.,r|s
|d
.,m:r
.,f
TAA
11
TAA
:1
TAA
.f
:ra
.r
|m ,s :f .1
II
|8 .f,m:r
||
|s
1-AA
:-
:s
|l,t.d':
.,111
TAAfe
.,d|td.r,n:f
The chant
,,d|s,f .n,r;m
:1
TAA
11
TAA
:1
TAA
:1
11
1-AA
:-
1|.
t.s |f
:d
:n
||
:1
.1
TAATAI
.1
TAATAI
|I
,,f:s
.,m| 1
.f :s ,m
||
|r
.,f:m
.,d|f
.1
||
:- .1
l-.l
-AA
:s
UTAA
:1
TAA
11
:1
,n
and quickly.
II
|
TAA
:1
TAA
II .1 :1 .1 II .1
|
TAATAA TAATAI
is
applied
.1
TAA
n.d
Slowly
:1
TAA
hymns
St.
|n,s.f
key F.
.,t|d',I.s,m:r
:r
KEY F.
,,m|r,m.f,s:l
Ex. 109.
TAA
TAA&1Z
.f
.,1:1
TAA
tafatefe
D.,
II
11
and quickly.
key D.
1
1
.1
TAATAI
(d,r.n
.1,1:1
|m .f,s:
tafaTAI
.l,:ti
Slowly
TAAtefe
|d .r,m:f
1,1.1
TAA
8AJ.TA1
'
KEY Gt.
|n.s,f:n.d|
.f
Ex. 107.
|
.1:1
KEY C.
KEY F.
|s.f,n:r.n|
85
quickly.
Gt.
d.iyi: d.8,1
(II
and
(New.)
TAATAI
-AATAll -AATAI
:1
.1 II
TAA
TAATAI
:1
TAA
:.
mark
We
the
Ex. 110
TH.IBD STEP.
36
'
first
New
Consonances.
Hitherto
fifths
AND
d n s
t
Now, there are added
di
d'
s
1
is
sung.
We
We
St.
Co.
mew.)
pi'
discords.
Ex. 110.
Why
thirds
Very
6, 7, and Ex. 97, beginning of line 2.
of the relative motion of parts cannot be
described by these simple terms. The ear could
much
not be
'
THIRD STEP.
melody
37
fa
of the Sol-
'
is
The
It
makes
all
work.
selected from popular songs, and published separately, will now make good home practice and
prepare for the elementary certificate.
,
KEY A.
Ex. 111.
lid
(1
Oh
in
d. dir
God
give |thankstothel
id
t,
of
hea
*
in
s,
ven,
:f
For
is
his
:n.,n f
:d
:r.,r n
er.
D.C.
Si
II
S|
si
'
Hal
le
lu
jah,
Hal-le
1
\
lu
jah.
KEY El?.
Round
in
f
:
Peace,
love
.r
-
ly
:-
peace
*
in
,r
t
.n
gain re
:f
.f
news
her
youth,
.s
HurD.C.
.,d'
II rah,
St.
hur- rah
Co.
(New.)
.,r'
for
Id
I
.s
-oeace
and
.f
lib
er
Ity
and
id
I
truth.
THIRD STEP.
38
Si
|d
.s,
.'-
.Si
f with cheer
i- .S, d
|P1|
.Pl|
the Lord
Praise
Pll
A. L.
KEY A.
Ex. 113.
Id
ful
s.
,s
s,f ,n
t Be-
joice,
voice,
irii
|n
f,n.r
C.
.s
t re
|d
.t,
Ee-joice,
:f,n.r
s,f.n
|d
t,
re
in
1,8 .f
voice,
joice,
ll
.d
.rii
Now
Now
.Si
.n
-S
:r
.d
of
|
r ,d
tern
|f
.Pi,
f|
ti
.d
pie
tjoy
r, .n,
ty
acts
Hi
our
Lord,
Trum
ture
join,
Bring
.f
|n .r
his
pow'r
|d .t.
.r
Sound
his
the
Swell
s.f.n
n .f
f,n.r
|n ,f
r,d.ti
|d
St.
Co.
(New.)
If
ll,
-
di
.Si
.rii
Id
.S|
.S,
Id
-
and
Id
fry
blest
.r
n,r.d
joice,
irii
.f,
is
|n,
r,d.t, |d
.r
- .d
t,
f with cheer
:
,n.
S|
t
Id
s,
Ee-joice,
bring,
song,
long,
.1
Hi
ing
high,
s.
the Lord
:-
'ry liv
string,
ful
:-
"I
the great
t the
in.
Sing
t Be-
ty.
I
God
.f,
Bv
t and psal
est, t no
pet, harp,
:d
|S
.f
our
ma- ment f on
your sweet
jes
IPli
:-
S|
t,,d .r
joice.
- joice.
n
To
ful
:
Id
-
f,
re
fir
|n,
joice,
.r
f,
cord,
vine,
the
Praise
.r
joice,
raise
S|
joice,
n,r.d
t with tune
rust loud
chor
.si
re-
f re
fand ma
d .1
praise
.m
s.
Whil )
r,
t crea
Sing
ful
:
f of
PI
f,
S|
|ti
.t.
Lord,
t the name
praise,
,IT|
re-
f ,n.r
|1i
the
:f
cheer
lt,.d
,s.
re
his migh
to praise
song
f|
his
3.
2.
In
r,
f with
joice,
.S
.t|
Praise
t,
ti,d .r
.n
lli
the Lord
li.ti.d
S|
re-
- joice,
lid
1.
.f
Praise
joiee,
:-
|n
Id
ful
voice.
fi
n,
.s
re-
.n
THIRD STEP.
39
AMEN.
Maimer.
KEY 0.
Ex. 114.
:t
:d>
:f
:r'
:f
pi
:d'
:t
:-.
men,
-*
"
:
men,
:t
:d'
:1
- .d
- .t
- ,n
r ,s
.t
.1
.r
.s
- .f
men.
"
:-
.pi
.t,
pi
men.
THE SKYLARK.
Ex.115,
:
1.
Bird
key Ef.
of
the
wil
of
hap
- .f
:-.f
:pi
pi
der-ness,
pi -ness,
PI
A. L.
Em- blem
rep.
2.
.1
gloam
- .r
-
ing comes,
--
.f
:-.s: f
cum
f
Low
the
hea
D.C.
2nd
r
in
1st time.
ma
- .f
pi
wel
- .r
.t,d': s
.pi
La
la
:
pp
1
.d
t,d': s
La
la
.f
St.
t.
Go.
la
pi
.pi
la
n .d
bed
d
of
la
pi
f .f
pi
pi
ber-less,
dwell- ing-place
.pi
la
la
.d
.pi
la
la
:n
.d
de
.pi
Oh!
d
.thy
to
:
C.
pi
Sweet be
t,
s
la,
pi
s
la,
pi
time.
de
tny
\
\
:d
pi
with
i,s
thee!
:-
ti
:-
with
ti
sert
.n,f
thee!
.8 ,l:s
.l,t:d'
)
:t,
.r,pi:
,s,l: s
:r
l,t
:pi
:pi
la
la
la
.
la
la
la
la
.
La
d
.r,pi:
La
d
pi
- sert
t|
be;
love
:pi
lea!
.t,d': s
la
f .f
pi
and
.t,d': s
la,
la,
:
(New.)
pi
moor-land
come and
f .f
pi
tin o'er
in the
bide
s-
Emblem, &o.
rep.
.f
PI
la,
J
.f
40
THIRD STEP.
IN SWEET MUSIC.
Ex. 116
KEY
C.
Gebhar&i.
3
In
|f
.11
mu
sweet
r
Kill
>
:d'
sic
is
m ,r |n
PI
Id
ing
and grief
n .f IS
hear
art,
.r |d
*'
is
1 .s
le
- .s
|r'
grief
If
fall
id.ll
sleep
is
Fall
f
a
|n
s ,f
sleep
r
of
heart,
in
Poll
PI
sleep
or
A
u
Id
f ,n
a
,
.
grief
Id
s
01
If
._
care,
in
die.
Hal-
r'
ing
die,
It,
KEY D.
d
and
II
ing
such
heart
ing
- .t
:s.f|n
1
is
HALLELUJAH.
Ex. 117.
...
heart
of
:
|r
:-
It
hear
PI
It
care,
Fall
:d'
heart,
art,
kill -
sleep, or
s .f
.pi
n'
.lis
care,
li
kill
such
and grief of
sic,
ing
mu
sweet
,t|d'
In
- .1
>
lu- jah,
- .n
.pi
r .1
Hal-
le
> -
s ,f
lu-
jah,
t,
.d
1 ,s
.pi
Mainzer.
:
men.
f .r :s .f
men,Hallelu -jah,Hallelu
n
-jah.
HALLELUJAH, AMEN.
Ex. 118.
d.s:-.f
Halle
t,
Hal
St.
le
Co.
lu-
KEY A.
- .pi - .r r
:
jah,
li
-
lu
(New.)
Maimer.
.d
A- men,
s,.S\
1.
jah,A- men,
n
f
d
r
n
A- men, Hal- le - lu - jah,
S,.fi pii.Si d .t. - ,s,: - .t - .d
-t,
men,Hallelu
jah, Hal-
le
A
:
- .r
-
lu-
men,
d.
-.d:-.t d.
-
jah,
men.
A- men.
THIRD STEP.
ART THOU
KEY A.
- .r |pi
Ex. 119.
/
.t,
F. L.
,,f
:-
t,
.,d
n,
.f
n,
:n
.,f
|d ,l
,t,
- ,d
Si
.,r
.,r
ti
num
n,.si
'id
bers,
.t,
If
bers
gold
en
t,
1,
Si
.,f
.1 ,t
Tell
me
.r
t,
n,
1"
.r
.f
.r
dwell?
.f
r^d'.t
dwell, f
:
con
tent!
Ir^r'.d
t
:
s.n
fair-ies
;s.f
Id
dwell
In
s,f
.pi
ell
.,f
s .s
:f
f .f
In some cav
r ,r
r .r
- ,f
n .d t
1
.tin
Oh no!
:
.r
Go.
(New.)
cell?
en
r
||
A. L. G.
:t .d'
.pi
fair-ies
pi
r .f
.pi
.1
r .d
me
Oh
and deep?
r'.r':r'
|-.d':t.l
.s
In the depths
of shady woods? Oh(
f .f :f .f f ,pi:r .f n
:
r,
:f
-
t|
twhere
f ,n
Tell
.d
St.
gold
.,1
me
Tell me
no
ish
FAIRIES DWELL?
:
Tell me,
iiV.ri
where
.t,
:f,
Is,
Tell me,
If
To add to
sweet
r,
.r
ed
In
Oh
bers,
vex
Si
r,
JR.
:1,
jjun
key 0.
1
WHERE DO THE
Ex. 120.
s
s .,d
.,r
num
;
Oh
li
In
.r
-It,
1,
tent!
Id
con
S'
Id
d ,,n|r
.,t,: 1, .,d
s,
|n
id
Si
.1,
:d.t
ment!
Si
t,.,d
:d
41
POOR.
dy woods ?
42
THIRD STEP.
jr'
Not
.S
.s
tell
Sjf_.pi
tell
.f
.f
:s
.f
.f,s:r
|n
d'
dwell
:f
|n
.f_s_:r
.f
.r
id
|1
.n^r'id
hell,
In the
pi
.rn'.r':
d'
La la la la
m .s,f:pi
.t
t.
.d
dwell.
pi
.t
mong the(
n ,s
- ly's
.n'.r'id
.r\\r'
All a .s,f
d'
where
|r
me,
.Sjl_:s
.n,f
pi
|f
where,
pi
.t
:r<
where,
f.n.r
tell
:n
rl
me,
me,
fra-grant flow'rs,
If
.t4':s
|1
jr'4':p'
.S
ImVr'.d
there,
In
.t,d': s
.t
la
|1
.s
r'
II
.t
|f
.s
,t,d': s
La
la la la,
.f
.t4':s
pur-ple vio-let's
,s,f:n
la
If
pi
.dVt: n
.r'
Id
.s
Ded, 'Tie'
,f
:pi
,n
.s,l
:s
,f
la la la
,Pl,f
PI
la
.
(
|
la
Id
La
la la la.
.d
:t.
pi
la la
.s,f
la
:
pi
la
.
la
|f
la la
.f
St. Co.
(New.)
la
pi
,f
dwell.
fair-ies
:s
.f
pi
con-
tinued.
and
24.
'
THIRD STEP.
43
chord J
4 What are the root the third and
fifth of a chord 1
5 What is the difference between
the a position and the normal position
of a chord ?
6 What is the b position of a chord 2
the c position ?
7 Which of these positions is the
most acceptable to the ear ? and how
are the other positions used ?
8 What does the name " Constitution" of chords refer to ?
chord
you.
20
scale,
Which have
tendency ?
the
strongest leaning
Where
is it
in women's voices?
St. Co.
woman's 2
30 The octave marks of a tune being
taken from doh, how do we know which
doh is to be without an octave mark ?
In key
below the
key-tone corresponding with the pitch
E be marked ? In key C how would
the me above the key-tone corresponding with the pitch E be marked ?
(New),
lah
ber.
Expression "
capitals
this
24 What
variable
circumstances
affect our power of recollecting a tone
in absolute pitch ?
25 What pitch tone stands at about
the middle range of female and children's voices ? of male voices ?
26 How do we judge whether an
uncultivated voice belongs to the contralto or bass class of voices, or to the
soprano or tenor ?
27 What is the easy compass of the
soprano voice ? of the contralto ?
28 What is the easy compass of the
tenor voice ? of the bass ?
29 Among
uncultivated
voices,
which part of a man's voice is most
commonly found to be neglected ? of a
found
43
Where
peculiar to
women's
voices,
commence ?
What
44
used
movement ?
53 Describe the exercises for attaining this power.
54 Why should the rate indicated by
M. 60 be fixed in the mind ?
55 Describe the exercise for teaching
this.
44
THIRD STEP.
and
72
What
AT
73
is
its effect
the partial-dissonance,
What new
have we in
What
76
is
considered
77
melodic preparation
What
meant by imitations of
is
melodic figure ?
dissonance
is
prepared dissonance
this step
What
78
What
sequence.-
meant by imitation
is
rhythmic form
of
is
meant by harmonic
PRACTICE.
79 Hold a steady tone with one
breath for a quarter of a minute.
80 Sing, softly and pleasantly, to
the Italian Laa, Ex. 82 in keys B and
D.
Name, pulse by
81
and
98,
of high fah t
116.
lah.
112, 119,
page
D,-G, A, F.
memory the pitch
C unmarked
88
above
(for
men)
What is the
89
voice
90
three"
*'
Co.
(New.)
pitch.
f-6
25,
99
100
rate of M. 90.
106 Taatai with accent eight fourpulse measures, sustaining the rate of
M. 60, the rate of M. 90.
120.
exercises
and downward.
85 Strike, by the help of a tuningfork, the pitch tone C (for women's
voices C, for men's voices unmarked
C,) and run down the standard scale of
87
and
115.
86.
82
you
and
122 Taatai any rhythm of two fourpulse measures belonging to this step,
which the examiner shall laa to you,
see page 25, question 58.
123 Taatai-in-tune any rhythm of
two four-pulse measures belonging to
which the examiner sol-faas
this step,
Ex.
1212
40
FOUETH
STEP.
To perform Exercises for Strengthening the Chest, securing Purity of Tone, and perfect Mending of
To know by ear the Chords of the Subdominant, Dominant-Seventh, Supertonic, Leading-tone,
To observe Cadences. To remember the structure of the Scale
Submediant, and Mediant in the Major Mode.
To perceive Transition to the Mrst Sharp and the First Flat Keys, its mechanism
in its conjunct intervals.
and its mental effect. To perceive Chromatic Resolution. To distinguish Cadence, Passing, and Extended Transition.
To Pitch Tunes. To learn correct Recitation, with special regard to the consonants. To learn the art
To learn
of Chanting. To become familiar with the silent quarter-pulse and the sounding thirds of a pulse.
To strengthen the Thin Register in Men. To recognise and strengthen the Thick
the art of Beating Time.
To Mend the Registers. To understand Part-pulse Dissonances. To observe various
Register in Women.
mints of Musical Form.
staccato " koo," at M. 50.
Fourth time, the same
in key DS. Fifth time, in key D, the upper voices
laa-ing as above, at M. 50.
Laa-ing is used here
as a rest before the last effort.
Sixth time, in key
E, the upper voices sol-faaing-, at M. 70. Sol-faaing
is used here to make sure of correctness of tune
in the highest tones.
The teacher will be careful
not to carry the voices any higher than is here
indicated, for, especially in an exercise with increasing force,hemay cause thefirst orthick register
of men to be strained, and unfit them for changing the register on the optional tones.
It is
remarkable that the woman's voice changes into
the small register just where, an octave lower, the
man's voice changes into the thin register. But
women do not commonly use optional tones below
the &'. Their voices, however, require equal care
to avoid straining.
Basses may use this thin
register for d' in keys DJf, D, and E.
tf
d .m:s .m
|d
:s ,n
.11
1-
:'-
M.
70, 60,
and 50.*
fm
"
.1 :d'.l
'1-
s .t :r'.t |s .t :r'.t
:d'.l
if .1
Skaa
:-
d'
laa.
:-'
'
d'
d'
di
.
si
Co.
(New).
If
Is,
Id
m
id
fifth below
46
FOTTBTH STEP.
The
is called Seven-Soh, and written 7 S.
figure 7 is used because the f commonly occurs at the
but it may occur
interval of a seventh above the s
There
at the interval of a second beneath the s.
is often an additional octave (making a fourteenth
modified
or a ninth) between the dissonance f and its resisting tone s. When this is the case the dissonant
The dissonant f follows, both
effect is very slight.
in its preparation and resolution, the rales named
in the paragraph " f against s," page 36. Let the
pupils softly laa again Ex. 123, lingering and
St. Co.
(New.)
||
FOURTH
1236
Ex.
For
fuller explanations of
t,
1|
1,
si
fi
fi
si
f Is
ti
1| Is,
est in
Ho
pi
is
d :f
d :f|
d :-
||
ni
'For
ty
ti
d :d
d :fi
S|
'to
Zion
d :-
s,
dwell
brethren-to
||
||
Ev
en
||
St. Co.
Be
(New.)
'com manded
ev er more
|
for
life
with
*
give
|
Exercise, as above.
.pi.r pi
d :-
t,
:d
t.
d :-
Si
si
r, :d.
eat
||
||
Yea
come
||
light
it self
|j
fatness
in
||
Call
||
'In cline-your
Hear
key A.
PI
pi
s.
Tuning Exercise,
- If
PI
<d
d :t,
tl
f.
1,
||
jj
as before.
d :-
sr
.
Now unto him-that is able
do-exceeding-A bundant ly 'a bove all-that
ask or think
||
'to
we
,
-1
it
the
up -his
||
Thkouoh
out all ages
Je
sus
men
out end
men
all
For dogmatic summary of the subject see " Mus. Theory," Book V.
Lord
you
grace-of-our
"The
Christ
Lord
there -the
counte nance
thee peace up
-1
tains
1|
For
Ex. 126.
And-as-the
moun
money
without
and-with out
price
spend
money 'for
Wherefore
do-ye
and-your
that-which
bread
is
not
labour for that which satis fieth not
Hearken diligently unto me 'and eat-ye
that-which is good
'and let-your soul
gether in
d :-
s.
how pleasant
dew of Hermon
As the
dew-that-de scended-up on 'the
of
S|
good-and
hold-how
Exercise, as above.
Seek-ye-the
s
ti
Tuning
'de
/7\
pi
'Be
Tuning
key G.
si
li
and
||
key A.
Ex. 123.
Lord-lift
thee
Ex. 125.
li
PI
its root.
1.
fi
'The
on
||
pi.
as above.
And
'The Lord
thee
keep
thee
'The Lord make-bis face
shine up
.
And be gra cious un to thee
on-thee
pi
Tuning Exercise,
key A.
Ex. 124.
47
STEP.
||
world -with
FOURTH
48
Ex 127.
their positions
STEP.
Ex. 127
The c position of chords is in its own nature unsonorous and partially dissonant, the ear is not satisfied
that any other chords should use it except those on
the Tonic, Dominant, and Sub-dominant, It commonly has some apology in the melodic motion of
the bass. It is either " passing," or "continuing,"
or " accented and moving stepwise."
Constitution of 7 S and Minor Chords. (Compare
Differing from consonant major chords, 7 S
allows its third to be omitted, because by the help
of its seventh, there still remains a third in the
chord. Minor chords also differ from major chords
in allowing their third to be doubled in the b position, because as the minor chords are in themselves
somewhat harsh and unsonorous, additional sweetness improves them.
p. 27.)
We
1,
and that
and s 1.
FOURTH
From
it.
up
to t
we have
STEP.
become the most marked charactertones of the scale. From their mental effects
t may he called the sharp tone of the scale, and f
the flat tone of the scale. "We shall presently see
how the whole aspect of the scale changes whenever
It may be worth
t is substituted for a f, or f for at.
notice that the interval from t, to f is slightly greater than the true Tritone from f to t. Both contain
a major third, but one has,in addition, to a major third
two little steps, and the other one greater step,
and two little steps are larger than one greater step.
Transition is the
Perception of Transition.
"passing over" of the music from one key into
another. Sometimes, in the course of a tune, the
music seems to have elected a new governing or keytone; and the tones gather, for a time, around this
new key-tone in the same relationship and order as
around the first. For this purpose one or more new
tones are commonly required, and the tones, which
do not change their absolute pitch, change, nevertheless, their " mental effect" with the change of
key-relationship. To those who have studied the
mental effect of each tone, the study of "transition"
At the call of some
becomes very interesting.
single new tone characteristically heard as it enters
the music, the other sounds are seen to acknowledge
new
their
offices
him.
49
called a tritone.
Thus t and f
istic
:t
id'
1.
2.
3.
4.
Is
fe
16.
5.
8.
7.
'
Thus:
:t
|d'
|:
:s
|1
|s
|s
j
"
Did the
lator.
new key."
'
key A.
d If n
d if
'
HEY F.
s
Is
1.
2.
|n
:r
5.
4.
3.
Id
'
:1
6.
|s
7.
8.
1.
:f
'
2.
3.
r Id
4.
5.
1|
1)
6.
7.
taj:
1,
6.
7.
s.
8.
If,
I
9.
,i
||
i
:
r Id
s,
f|
)
1
effect of s
tell
"
by your
'
was
s.
What
is
Which
the mental
" Can you
between
and d P
Co.
{New).
1.
2.
3.
4.
5.
8.
9.
II
FOURTH
50
We
as this
KEY D.
: n.f
It.l
It.l
II
:-
|1
:-
:-
If
interval as
the other.
5
Id
key D.
n
|s
Id
|f.s
If
If.B
It
11
If
:-
is
STEP.
Sorrowful
Grand
Desolate
Rousing
Strong
Calm
Bousing r
Strong
d
becomes
St.
Co.
(New.)
r.
d.
t.
Sorrowful
1.
Grand
s.
Desolate
f.
SI
Ton
to m.
ear naturally interprets the constantly repeated
d r m, and desires to make the last three
f m.
tones
Indeed it may be noticed that the
" tritone," as a melodic progression (with its three
long steps) is not loved by the ear, and that the
lower part of the scale is much preferred to the
upper.
Adjacent keys in transition. Such transitions
as have just been studied are called transitions of
one remove, because only one change is made in
the pitch tones used.
When s becomes d the
music is said to go into the first sharp hey. When
f becomes d we say that a transition is made into
the first flat key.
Eighty per cent, of all the
transitions of music are to one or the other of these
two keys, and of them the first sharp key is the
one chiefly used in "principal transition," or transition from the principal key of the music.
The
relation of these two adjacent keys should be very
clearly understood by the pupil, and he should be
led to notice how the pitch tones change their
mental effect. This may be proximately described
by the table below.
Piercing t
m.
becomes
Calm
The
"What
FOURTH
there between s and f ? "
* " Then f is not
near enough to the new d to form a proper leaning
tone.'
"We therefore banish f from the new key,
and use fe instead. This is the principal change
is
'
How
will you
of mental effect which occurs.
describe it ?" Again the teacher may say "Let us
suppose that f has become a new d. I will write
d on the left hand of f. What shall I write on the
? r f d f s
What becomes
left hand of
1 ?
oft?" * " Yes, the new flat tone is put in its
stead." t
Beturning Transition. As a rule all tunes go
back again to their principal key, but the returning
transition is not always taken in so marked a
manner as the principal transition, because the
principal key has already a hold on the mind, and
the ear easily accepts the slightest hint of a return
Commonly also it is in the principal transito it.
tion that the composer wishes to produce his effect,
and in which he therefore makes his chords
decisive, and his distinguishing tones emphatic.
It is not always so, however, and in hymn-tunes
the returning transition is often as beautiful and
effective as the principal transition.
Let it be
carefully noticed that the return to the original
key is the same thing in its nature as going to
the first flat key, so that a study of the mutual
relation of these two keys is the groundwork
of all studies of transition. For convenience
of memory it is well for the student, to draw
a diagram of a principal key with its first
d'
t
f- ~ta
mt;
d
-t,
\ n
1,
1,
s
i
notes
mental
should
effects
We
St. Go.
{New.)
";
STEP.
51
We
Id
|s
|s
and |d
|s
d's
|s
or
or
i
1
|
1
|
d'
gd
t|
fe
ta
making the pupils sol-faa in both ways. Occasionally the transition is taken as in Ex. 129 and 123
on a bridge-tone which is not common to the
two keys. In these cases we write the " better
notation of transition thus
fet, |d
or
taf
f
|t
n
:
new key
+ See other " presentations ot Transition" in " Teacher's Manual'," pp. 130 to 183.
52
FOURTH
STEP.
Ex.
<:d
127
key E.
:d
:d
t,
key
If
If
new
t.
B.
t.
:d
ti
E.
In
In
|f
t.
t.
rs
|n
.-|.
:ri
d'
1'
sd
Effect of fe chromatic.
17.
:d
:s
In
Ex.129,
s
Effect of the
:t|
key A.
Ex. 128.
<:d
Is
let
:fejs
|f
di
fe :f
|n
j
I
II
key
Ex. ISO.
Effect of the
Bt>.
new
S|
Ef
key F.
Ex. 132.
key B.
:di
Bt>.
f.
It
Id'
h
*|
1|
Ex. 131.
n
h r
f.
f.
1
fd
|,
If
/i
Effect of ta chromatic.
tai
Id
Si
1|
t&i
1|
r\
see
Ex. 141.
'Imperfect"
We
S|
d,
manner that
is,
with
fe or ta.
gives
Bass.d :r |s,
|dofthe
|r :r \s sounds like |f :s |d or |s
first sharp key, and suggests transition to the
:
fe.
KEY A.
while
for
all
ti
(2.
our
shores
0
St. Co.
guard
(New.)
Dr. Croft.
Firmly.
Lord,
n
.
man
kind
pray,
f,
from
ev
*
Or the third
foe,
In
ev
t,
With peace
last accent.
fe
clime
and
eoast,
d .t
1,
S|
ders
bless;!
ior
FOURTH
1
BEAR
With
pros
FOB
d
US
:t,
-
p'rous times
STEP.
68
:t|
OTJK
Ml
LAND,
The
li.tcd
t|
our
oit
crown,
TIVB
land
we
lore
rii
s,
f,
Our
FIELDS WITH
:
i
r
tne
most.
s^f,
PLEN-TEOUS- NESS.
Be thou her
Her
everlasting friend
PRAISE TO GOD.
Ex. 134.
n
1.
d
2.
Of
ni
t|
God!
German
Joyfully.
:f
let
'
:d
him who
1,
Praise to
key A.
d
Praise to
t|.S|
made
us
raise,
l|.t[
the
light,
li
t|.r
who
form' d the
3 Praise
him
for
.1,
t|
ear
n
Will
makes a passing
We
manner.
(New J.
:fe.
f.
ti
song
s,
who gave
him
he
not
praise
fe.
s,
t,
ings
si
:-.f,
chil
his
s,
of
us
:f,
Chorale.
li
dren
:-
spring.
Hi
hear
Passing Transition.
hearts a
let
fi
:f
s
n
r
d
Whence our lives and hless -
smg,
us
good- ness
s.
him
:t|
Prom our
Praise to
ti
that
Praise to
li
rejoice.
The
r8 d,
FOURTH
54
STEP.
Ex 135.
n
0
:d
B.
|d
t,
PI
be-
Shep-herd, go
:f
In
Id
And
s idi
let
no
ta
:di
With pas
harm
|1|
be -
MS,
tide
:s.
f.
Id
In,
vide
Wherf
ev
From ma
:M
Lo my
1.
t.
2.
When I
f.
r.
ipi
:d
with
faint
:f
In
a
*d :d
To
pas
r
sum
r
tare
fair
t,
streams that
the
1,
:-
ti
ing
flock
of
lice
|f,
pi
large,
S|
the
foe.
s.
d
rook.
0.
Dan
gers do
:-.fihi
s(
- .a
t|.d
:-.l||si
St
my guide,
God,
t|
not
:r.
Co.
(Sew).
r ,n
I'll
nev
df
:r
PI
lead
shall
r'
pii
er
more be
my
wea
PI
He
shall
feed
his
hap
PI
fl
S|
"
slow,
mea
M.
r'
Stone.
:-
mine
PI
ry
feet
tl
"fl
PI,
:-
charge.
:
dows flow.
Though
By
Music by A. L.
112.
It,
n,
|s,
If
|r
s,
fi
Ter
me,
bear
ifi.pi. ri
its
A.
t
shall
dare
di
end
t.
Want
COURAGE
Ex. 137. key Bi7. Boldly.
:-.S||s,
l|.t| d
:- I-
ml
si
:- |:- |-
He
and
and
still
go;
d
mer's heat,
pi
t.
vine
:- I-
may
PI
MY SHEPHERD'S HAND.
Shep-herd's hand di
pi
faint
pi
:d
LO
pi
t,
And
us,
KEY F.
:r
thy
lead
pi
we
|d
E.
i,n
Ex. 136.
f
er
pi
And
us,
side
f.
:
us,
side
60.
t.
s
be -
viour, go
(2.
Sa
)1.
j
M.
Gently.
:-
li-ti
's :-
:d.r
rors do
fllf,
E. t.
fet :- .t|t
Man
me
s,l
pi
d,
:d
It,
:-
Id
Id
for
ev
pi
0.
me,
scare
Pii.r,
|r
not
ful-ly
|
:-
er.
:-
FOURTH
f.BU.
*d :-.t,|r
Trou
ilPll
.S.| f|
.r
To
d
:-
tj
:-
pi
ft
key C.
M.
be
G.
80.
:n"
11
n'll
"t
|1
s,
never
S|
. ri| :
:-*
|s
It,
pi
.r |n
men,
":-
0.
f.
:n
t.
d'f
It
mi
n.d:-
{A
A
d
never,
er
:-
until each
:- 1-
d>
:-
|f .f
Id
cow
S,
this
f,
S,.S|
Let
t||l|
Never,
:-.t,|d
:1,
m
2 Up, my heart, and brace thee,
While the perils face thee,
Ex. 138.
t,.t.
II
pow
55
:n
not make me
r |f
Shall
PI|
STEP.
J.. .'
hour,
ble's dark-est
:d
d'
:- I-
men.
is
:- |-
I-
Ex. 139.
:
PI
1.0
2.0
lit
Thou
whom
near,
sleeps
:-
ti
then,
cend,
St. Co.
child,
:d
lit
3.0
Then with
i.
tie
tie
lit
:d
Softly.
pi
:t,
child,
pi
tie
child,
thy
an
pi
:-
lie
still
:fe
NOT
:
:-
PEAK
keeps,
t,
:-
say
To
meet
thy
men!
Friend,
A. L.
of Love.'
and
and
sleep
rest,
:t,
t|
:(s)
And
:(n)
To
No
one
f
God's
Je - sus
He
d
is
sweet
- ly
:d
:d
Fear no
need
:
di
thing]
as
:-
:pi
morn
PI
com- mand,
the
lit
whom
fear
the
C.
sns
Shalt thou
in
PI
a
Je
must die,
quick grown,
sus
But
(Sew).
when thou
gel
wings
need'st
Je
still
lie
Lamp
"
ing
d
and
-
tie
FOURTH
66
pi
God
doth keep,
wake,
d
:
:t.
qui
child
di
ti
lie
will
own
PI
in
slum
but
d
down
By
day
or
His
CHILD
TO
:d
fore
- :
- -
:-
come
the
throne,
Se
first
:d
2.
be
Sweet hope,
meet
f
:-
thou
hour
to
part
pi
art
rich
s,
fd
And
with
i,n.
S|
no
more,
t.
ly
crown' d,
s,
On
an
S|
ti
All
that
rise,
new
pleasures
ni
:-
im
:d
fi
Now)
les
dead
PI,
:-
shore.
:fi
d
re
t.
n
tial
:t,
tal
:-
t.
Shallf
li
lost
was
t|Pi
was
mor
r s
pi
D.
:
ce
All that
:f
Dublin.'
vain,
in
G.
found.
is
New prospects
not
f.
:-
meet,
:fi
And
The
Tune
d
shall
:-
f,
1,
LAND."
DIED
HE
friends
ish'd,
gain;
vives
1,
cher
come
S|
ti
wel
:d
when
si
deep
:di
the
:1|
ti
thee.
BRIGHT
heaven's
Be- CAUSE
shalt'
d
light,
lov'd
t,
To
fill
HALLELUJAH.
Ex. 141.
d
Hal
d
St. Co.
key 0.
|m
:-
|d
fNewJ.
M.
:-
Natorp.
72.
s
lu
le
pi
di
|
jah
pi
:-
Hal
d
:r
]ta
:-
In
ta
lu
le
:-
shall
KEY G.
pi
he
Till
!:
1. Blest
thee
'ry
ing
t,
And thou
Then lay
Love ev
n
m
hand
morn
Till
best
t,
side
pi
:-
night.
BE,
kind
deep
him
:t.
his
her
love
be-
t,
his
Safe, at
say,
live
In
et
one,
pi
:-
blest,
so
8TE)e.
pi
;'
jah!
:f
;:
FOURTH
:t
di
irHal
|fe
pi
:-
fi
Hal
s\
|d"
: Pl|
|t.
Through the
ni
ri|
tai
Je
and
Us
when
And,
Ex. 143.
pi
:d.t,|d
r
love
earth,
has
:
watoh-es
f
: si
serve
1|
now
our
guar
f|
r,
life's
short day
KEY E.
:
2. Great is
Lord
PI
the
mer
pi,
|t,
dian he,
f e, |s,
.,r
pi
no
ni .,fi: 8|
child
pi
t|
PI
1,
.I1|
He
word,
St.
food;
Co.
{NewJ.
f,
|t|.l|I S|
Sweet
it
is
PI,
f,
Is,
I!
with
Rest
:-
:d
his
d
-
mo
fe.
f
to
trust
ll
S|
thee
of
might
S|
the
Lord
:-
pose,
:-
Id
in
:
lest:
Is,
re -
:-
:-
Is,
thee.
:-
Id
S,
heav'n at
in
peace
s,
foes;
last.
Handel.
:
pi
li
ti
r,
pi,
t .1
s .f
De- mand
:d.
fi
He
gives
our
his
t.
s .f
Let
:pi.
rest
Is,
:1,
may we
Is,
li
to
fe.
1,
our
|n
down
s,
midst of
t,
foe
s,d
t.
thine arms
t|Pi
mo
:
no
d
.,r
his
And, ev
makes
In
li
us
the
in
Their har
nite
songs:
t|
lay
|r .d
of
di
ers,
li
cy
ren
Iti.l,: 8|
pi
works
his
:*it|
S\
|r .d
:- n r
f
B!7.
blest
Let
us,
E.
d
pi
111
Dwell-ing
past,
is
f.
the
guard
|
Now we
d
from dang
:d
pi
ni
Strang ers,
:d.t,|d
1|
spar'd us,
|n,
s,
and
pre-
lent
on
jah!
If
Ie
It
jah!
ours
1. Great is
"
58.
1|
|1|
sus,
di
M.
s.
si
thy
S|
grims here
:d
s\
Hal
S
keyBI?.
d
1|
2.Pil -
|ff
:-
le
Ex. 14B.
87
:-
jah!
|n'
:-
l.
lu
le
8TEF.
as
er
Pi
S|
ny
1,
pro
:d
,r
t,
:d
sem
d
hied saints
mind
ful
:-
of
tongues.
s.
mise
good.
ri
of
pi
.r
his
FOURTH
88
pi
l.O' er
key
t|
the
dark
wave
pi.
fl
bird
f|
re,
his
shel
ri
wea
72.
Words by
1|
ry
a.
2.The
li
M.
B!7.
:-
li
of
Gal
n,
fi
hath
left
t.
:d
S|
:1|
:-
A. L.
si
si
The
Mfi
PI,
pi,
air,
And sunk
f,
And on
in
:d
pi
0.
tai
gloom of
the
lee
:-
fast,
:t.
i
ti
thers
light
twi
fi
GALILEE."
Russell.
si
STEP.
DARK "WAVE OF
"O'ER THE
Ex.144,
;;
S|
the
ri
The
wand -'ring
ters
:-
f.
:pi.
di
Pl|
,
to
:t.
li
drear
iy
i -
:-
f.
:si.f|
sought
pi,
his
nest
ter'd
De
fi
And
lair,
:f
pi
scends the
PI,
ni
di
Flows the
|1
What is
M.
:-
mean
d
m
n |f :2.Whatis the mean
1.
Thou
:^f
There
d'
::
is
And when
St. Co.
{New).
pi
Beau
pi
in
:d
:-
such plea
the ear
rest.
- :
human
the
race
A. L.
:
That rings
n pi
r
the song
r
d : -
maid
We
sing
:-
a-
mid
si
pi
d'
pi
|s
d'
so
thy thought,
ty's feet
gale
|t,
full
d,
come
he freely chose,
lot
bless, to save,
A rich,
ing of
at
night
pi
ing of
py words
:t
:r.
88, twice.
PI
hap
3.0
the
'ning blast.
wel
LOVE MY LOVE.
key C.
Ex. 145.
:-
:t.
n,
to
To
4
er
ful
:f,
chill
fit
r.
him down
laid
hathi
pi
en
1
|
pi
|d
sure in
iy
sum
:d
|t,
:n'
:- :d
pi'
thine eyes,
-
mers
pass,
Such
mu
And
care
PI
and young
our prime
fair
fl
pi'
ft
:-
:-
and loud,
-
them ere
-
di
clear
r'
on
comes on
sic
bove
pi
FOURTH
STEP.
59
G.t
dif
PI
What
cloud P
ml,
t
-Mil*
There
Time,
in
Still
thy
saya
tongue;
pi
such glo
be
it
ours,
si
ni
Up
ia
:
the
wal
fi
What can
:-
di
:-
:-
:f,
-
:-
My
:f
:-
a*
PI
I
:
:-
des
:-
:f
:(s)
UOllj
ri|
:(n
face
To
- pite,
11
my
love
:-
:-
love
If
^ :-
My
love
s
may
pitched by falling on 1, thus, C'd' 1 - l i.
be pitched thus C'd r - 'd'. The key may be
pitched a little higher (sharper) or a little lower
(flatter) than any tone of the " standard scale of
The tones thus required are named
pitch," p. 29.
" E sharp," " E flat," &c, and the sign P is used
sharp bears no
for "flat," and J for "sharp."
relation to the tone below it and after which, for
convenience, it is named, but its relation is to the
tone above it. To that tone it is an under-littlethe
f,
in transition,
like
It
is
t,
to
d.
as
step,
changed into fe. In order to strike it correctly we
sing the tone above and then smoothly descend a
A flat bears no relation to the
little step to it.
be
1-
:- 1-
pi
PI
- :-
me,
:-
|s
pi
loves
know
a.n| s
:-
|ri
love
PI
till.
Tiny
:i|Pi
ri
on
care's
"i
1-
tli-L
t
in
As
:-
Id
rag be?
:ai It
P)|
:t.
rus free
know
:
s.
nut tree?
oho
d.n| s
be- cause
love
mean
:d> It
cause
pi
the
the
in
join
t|
S|
n,
0.
f.
ni
thou
song,
is
a'
|r'
:-
:- :-
If
tone above
:- :it
:-
:pi
my
love
me."
loves
and
pi
after
which
it is
named.
It is an
we
For
For
FOURTH STEP.
60
than to singing.
The
An
joint implies in
Articulation is a joint.
both a separation and a connexion of
spoken sounds. The lips may come into contact with
one another, or the lip touch the upper teeth, or the
tongue touch teeth or palate. There may be thus
an absolute or nearly absolute stopping of the
vowel sounds. And these points of separation are
They are joints or
also made points of junction.
this case
quality.
shee-p,
WH
teeth
St.
Co.
fmw).
WH they give
and that
in
way through
We
WH, W,
and
DH
articulations.
Qualities of articulation.
If the student produces
strongly P and B, without any distinct vowel
following them, as in la-p, tu-b, he will soon notice
that P has a hard quality and gives nothing but
breath ; that B has a softer quality and something
of voice in it. In fact the larynx takes part in the
act of articulation. The same differences may be
easily noticed between the Tip-tongue articulations
as in mai-d, and between the
Tasini).?-*, and
Back-tongue articulations
as in seek, and
as in
plag(ue)
These we propose to call the two qualities
of articulation, the Breath quality, and the Voice
.
producing
ZH
mm
and J are double articulations, or consonantal diphthongs, and might be spelt TSH and
DZH. Hence they are not included in the table.
The Aspirate H is simply the sound of breath
driven sharply through the open larynx. Its impulse comes from the muscular floor on which the
lungs
rest.
See
p. 96.
.FOURTH STEP.
Ex. 146.
81
LIPS.
SMUT.
BACKTONGUE.
Mid-tongue.
Palate.
Teeth.
Lips.
Breath.
less
pea
tee
D
CENTRAL.
Breath.
WH
wheel feel
gait
TH
SH
thin
seal
rush
YH
hew
(yheu)
Voice.
DH
weal
veal
then
zeal
ZH
rouge
you
Breath.
L
lay
TMJLLED.
Voice.
B'.
ray
NASAL.
Voice.
How
NG
A
any
sing a consonant
to
NG
The
lips-pro
The Hps-pro
|
.The
lips-pro
duce-with
duce-with
shut
passage
central
pa
baa
passage |wii(M
maa
waa
(roozh)
SIDE.
Voice.
Q.
doe
bee
number
ee,
au, oa, oo
i%
wnaa waa
:
;vm|I:
aab
|
fNewJ
p. 198.
+ Don't open
&c.
mv*| Srf
"
St. Go.
for each
glide.
vowel
will
new
introduce a
lips,
ap
iiav
t Note, p. 62.
paa
vaa
62
Ex. 147152.
FOTTBTH STEP.
Enunciation Exercises on the Tip-tongue articulations.
Ex. 147.
.
The
aat
Tip
taa
tongue-pro
aad
duces
with
shut
passage
taa
iaa
naa
aat
aai
aan
aadh
aaa
j
The
The
Tip
Tip
oath.
The
The
The
tongue-pro
thaa
duces
duces
aaitl dhaa
central
passage
with
j
saa
thaa
zaa
dhaa
saa
iaa
&c. *
|
oath
aa*
&c.
Ex. 148.
tongue-pro
Mid tongue-pro
:
Back
Tip
tongue
tongue-pro
|
duces
duces
trilled
with
pro
central
with
duces
shut
:
with
passage
passage
|
sha
zhaa
aosh
azh
|
ka gaa
central
passage
ngaa
Taa
raa
aak aag
aavaa
aang
aavaa
|
Ex. 149. Pronunciation of the Lip articulations. Recite on one tone (G) paying exact attention to
Where the pronunciation varies
the thick letters. This will require close attention to a careful pattern.
from the spelling, the proper phonetic letters are introduced. The ending articulations and the double
They must he delivered very distinctly hut very quickly.
articulations are very difficult in singing.
Cay, cab, pull, bull, cup, cub, pet, bet, mop, mob, babe, babbfc, bump, peep, stopcock, upmost,
member, film, minimum, mumble, triumph.
leapt,
map,
'When, wen, where, ware, while, wile, whither, wither, whim, whip, wharf, wheim, whimper, wbi^fe, whif.
'Sain, vain, fault, vault, tear, veer, foist, voiced, Hie, five, serf, serve, safe, save, muff,
Ex. 150.
puS, move,
love.
.Bet, bed, tire, Hire, neat, need, troll, droll, colt, cola, batch, baAge, writer, rider, tight, teed, titilate, tetragon, fo'ttletattle, tantalize, avidity, oddity, meditate, paint, pained, painless, nap, map, son, some, mwttn,
s.iddn.
Moss, moth, face, faith, seal, zeal, ice, eyes, base, baize, sport, store, skope, sere, smile, swear, sue, suit,
jezuit, spuzms, feasts, fifths, desks, zest, assassin, sasAes.
Death, deaf, loth, loaf, thew, few, thrill, /rill, ^ath, pa&hs, oath, oadhz, mouth, mowdhz, lath, ladhs, elodhz,
close, ladhe, le, owez, loathsome, loadheth, fair, fair'er, near, near'er, err, err'ing, fir, mirr'or, br'ide,
thr'ee, vex' Ay, r'evelr'v, pr'wder'y, litter' ally, liter' ar'y, Aolily, worldlily, listlessly, ,/ollily, blidhely, boldly,
falsely, foully, eel-like, ill-look, play, flame, glass, slave, saddle, kettle.
Ex. 151.
Pronunciation of the
articulations.
Kape, gape, klass, glass, barter, garter, krate, grate, back, bag, duck, dug, peek, peg, pick, pig, frock, frog
packt, akt, sekt, strikt, picknick, quikset, klik-klak, kricket, clang, elan, thing, thin, dinging, dinning,
singing, sinning, angktious, compungktion, congkord, ungktuous, fungktion, longest, long-gest, rung, run.
Ashes, asses, shine, sign, Gfreeshian, adhezhion, shaises, incizhion, speshial, seizhure, Sushian, treazhure.
shrewed, vizhion, suspishious, intruzhion, hatch, baj, bats, etch, lej, frets, leech, lie), heats.
Ear, year,
Ex. 153.
"Foller," follow, window, sorrow, pillow, shallow. "Eunnin," running, writing, speaking, walking,
singing.
"Laud," lord, storm, worm, far, first, smart, worst. "Grwaeious," gracious, great, green, rich,
" 'appy," happy, heaven, hymn, hail, when, why, which, while. " Hone," own, and,
rest, rough, right.
air,
ill,
eye.
St. Co.
(New.)
dh run
FOURTH
STEP.
KEY F.
Id
Spare
Two-pulse Measure.
Two-pulse Measure.
sudden
was
1.1:1.1
And
Three-pulse Measure.
:1
an
.1
gel
ly-there
'
.1
with-the)
Three-pulse Measure.
1
.1
multi
tude
1 .1
of -the!
Go.
(New.)
Id
Lord.
t.
good
Id
:1,
us
good
key A.
(|d.d:d
(
Lord.
:.d|l|.l|!t|
Id
to|hearusgood Lord.
Id
Webeseech| thee
key A.
:d.d|d
"We
:d.d
:t
hear
Id
good Lord.
us
KEY G.
:d.d|d
|d
Andblessthinein- her
:d
recite these
:
'
us
Id
1
I
key F.
we
:-
recitation.
If
63
key
:d
-.1,11,
-
tance.
i -
Gr.
:d
|d
And
thine
ti
in-
|li.l,:l,
her-i
tance.
FOURTH
64
end of sentences,
is
STEP.
when
KEY
preachers closing their discourses among the mountains of "Wales or of Scotland, or even ministers of
the Society of Friends speaking or praying under
strong emotion. The reciting tone may be as long
or as short as the words require. It is indicated by
a Hold /rs placed over the note. This elasticity of
the reciting tone should always be kept in mind by
the accompanist as well as the singer. The music
of a chant should always be learnt familiarly and
by rote, before it is sung to words. Then the words
should be taken line by line, and taataid by pattern,
clearly recited by pattern, and sung to the music.
At the present step the pupil must obey exactly the
marking of the recitations. Afterwards he may
learn to make " markings " of his own. The
present labour will be repaid not only by the great
enjoyment there is in a freely delivered chant, but
also by marked and valuable improvement in
Rhythmical Perception. The teacher can beat
time in pulses, or better still, use a metronome. If
he uses a baton let it move simply from left to
right and back again he will then have his accent
sometimes on one side and sometimes on the other.
Ex. 153. Learn as above the rhythms of Ex.
123.
Notice cases of three-pulse measures in the
recitations next before the first cadence of the first
verse, the second cadence of the second verse, the
first cadence of the third, and the first cadence of
the last verse. Two-pulse measures are much more
common in this position.
Ex. 154. Learn as above the rhythms of Ex.
Time.
,f
.it]
,r
.d
.f
.d
,t
,d ,r
.m
,r
,f
.s
,1
.3 ,f
,d
KEY D.
1
Ex. 158.
1,1
.1,1
.1
111
1 .1
TAATAI
tafatefe
.8
|s
,f
.n
.d
|f
,f
.m
.3
,r ,d ,t.
tafates
tai atese
KEY F.
d ,r ,m ,f
KEY F.
,r
,d
,m
,ro
,f
.3
KEY D.
s ,m .d ,m
KEY D.
m
,s
.m ,d
If
,r
t,,
s ,m .d
|j.
Ex. 159.
:1
SI
(
TAA
.1
.1
,1
TAA&d/
TAAfe
taataitee
II
KEY F.
Id
<f
|m
,,s
KEY F.
In
:f
.,d
id
II
II
KEY A.
Is
KEY A.
|m
id
,1,
:d
.,a
II
Ex. 160.
m
t
.i
TAATAI
4
TAAfe
,1
,1
.1
TAATAI
tataitee
II
KEY F.
TAA
Gr.
.8
KEY D.
divisions.
It is named sa on the accented and se
on the unaccented part of the pulse. The time
Ex. 157.
:1
til
KEY
124.
Ex. 153160.
Gr.
.r
,f
|m
,r
,d
,r
In
<s
.n
-r
|d
,t,
,d
.r
,1
IS
,f
,H1
.d
,d
KEY F.
in
.r
II
KEY A.
|d
.1
TAA-TAI
,1
.1,1:1
5fatefe
.1
TAA-TAI
I,
Ij
.8,
KEY A.
|m
,d
St. Co.
(New).
FOURTH
Ex. 161.
cjl
,1
,1
,1
11,1.1,1 :1
.1
taatai
tafatefe
taa-aitee
taataitee
II
II
KEY F.
d
(TO
KEY
s
,r
.m ,f
.8
<s
|s
,f
.n >r
:d
.d
id
|r
,d
.r ,m
:d
.s,
i"!
s ,1
.8 ,f
,d
ra
,d
]?.
,m
,d
KEY A.
d
,t,
,d
KEY A.
What
a pulse?
directed p. 24,
:,.s|s
:-,-,s| Sr.sin'.-.r
:-,-.s|s
:-,-
j|d>
,|1
,-,t:d'
-,l|s
d>
St.
Co.
{New.)
mean
:
65
STEP.
'
FOURTH
66
He
60.
by
wrist (the
more
STEP.
given signal to drop the hand, and pause for one,
two, three, or more measures (as the teacher may
have fixed beforehand), and to hegin beating again at
In this exercise you will soon
the right moment.
notice how fast time goes with the ardent temperaments, how slow with the heavy-minded, and how
diflicult it is for any one to attain an exact sense of
time. The same series of exercises will be pursued
in three-pulse measure, in two-pulse measure, and
in six-pulse measure. A metronome may be introduced as a test, instead of the teacher's own judgment. There are various ways of beating time.
recommend the following as the most appropriate and the most clearly visible. The direction
of the motion is from the thinner to the thicker
end of each dash. The thick end of each dash
shows the " point of rest " for eacb pulse.
We
Six-pulsb Meabure.
Two-pulse Measure.
up:
JJP5
-5
discipline this
St.
Co.
can be done.
CNewJ
"?I5
v*--*,
*
iiB
human
FOURTH
Ex. 1626.
by means
exercises
which follow.
*Ex. 163.
(IrV.d
fu
iffCl
\T :T
fTs
\t>
67
STEP.
made
d|
koo,
In,
?
koo,
Ex. 165.
I
C?t
h,l
s^s
?f Is
Id'
&c.
ening
fi
ni
Is,
s,
&c.
keys A, B, At, 0.
Ex. 163.
:
keys A, B, A#.
Ex. 164.
koo,. &c.
|
territory of the
Be
IdTiV rjii
|
|iw Kh
Is?
koo, &c.
tEx. 166.
(:d,
koo,
:s?
\%
|r7?,r!
f7?,f
|T"
S|
&c.
Blending of Eegisters.
good singer should be
able to pass from one register to another without
allowing the difference to be noticed. With this
view the voice trainer strengthens on the " optional
tones" (p. 32) the weaker of the two registers (in
men the Thin in women the Thick) till it equals,
in volume, in quality, and in ease of production,
the stronger one. He then tests the power of the
singer in producing one or the other register at
will, as in the following exercises imitated from
Garcia. The notes in common type are to be sung
in the Thick, and those in italics in the Thin
registers.
The effort will be to make the two tones
as similar as possible. Let the pupil take no breath
in passing from one register to the other, and let
him sing each exercise quicker and quicker. Male
voices will sing these exercises in the higher part of
their range, and female voices in the lower part of
their range. Men and women will sing identical
tones. None of the keys must be omitted, because
we have to give exercise to all the small Laryngeal
muscles, through the whole range of the optional
tones. This is a case in which class teaching is
insufficient.
It can only set the pupil in the right
way. He must judge his own progress. The effort
to do so will make him eager to enjoy the advantage of individual teaching.
This Exercise can be used for the " Upper Thick," in key C, and for the "Upper Thin" in keys CI, D', E', &c.
may be adapted for the " Small" in keys B', C% &c.
+ Be careful not to cany the "Lower Thick " above B (or A, for men), but to change into the " Upper Thick."
St. Co.
(New.)
It
Ex. 167.
keys C, B,
:H
keys C, D, Of,
|d'
koo, &o.
Ex. 169.
E, F.
Ud
f
id'
Btt,
D, E.
:d<
|d'
Id
II
T>S,
D, E, D, F,
:<*'
|d'
:-
II
II
is
Co.
||
||
||
id'
Tenor singers
St.
||
they wave
following
d t d
s .1
s
in the
upward or downward, or when, like f and
following
d
they hang upward
g ,f r ,m
or downward from the proper tone of the chord, or
when, like t and 1 in the following
.t,
d .1, t,
they guide, generally by an upward
All these melodic
step, to the tone which follows.
relations are accepted as an occasional apology for
dissonances.
In addition to these dissonances
on the weak part of a pulse, dissonances are also
allowed, though less frequently, on the first or
strong part of a pulse.
These are all called Forestrokes.
They nearly all " resolve " (see p. 21) by
going a step downwards. The smoothest " preparation" for these discords is when, like r in the
: r
following
r ,d
the dissonance has just
been heard as a consonance in the previous chord.
This will be called a Horizontal forestroke. The
preparation which stands next in acceptance with
the ear is when, as s in the following
: 1
s f
the dissonance comes down from the tone above,
like a passing tone, but on the strong part of a
:
|d'
koo, &o.
feels as
by the
:-
keys C, D, Of,
Ex. 1679.
STEP*
also accepted
he
weak part of a
:'
koo, &o.
Ex. 168.
(Id
(
OJf, Djf.
Id'
|
FOUR
6b
(New.)
||
||
||
||
||
I. 3, m. 3, p. 1, 2, 3;
and I. 4, m. I, p. 1, 2, 3. See
Horizontal Forestrokes in Ex. 172, I. 2, m. 1, p. 2
and 3 ; and I. 2, m. 3, p. 3 and m. 4, p. 1 and 2
;
"
FOURTH
Ex. 174,
Ex. 170,
p.
1.
5,
I.
1,
and m.
m.
m.
5,
1,
1,
nature of a
full
different.
For the singer is an Artist. The sculpand the painter can present their own works to
the public view. But the musical composer is deartist
the singer or the player
tor
I
(New.)
The
Co.
St.
69
nance
STEP.
chord T>c;
m.
New
pendent on another
FOURTH STEP.
70
to
The
What
1st.
is
Dance, March,
as
Form
the
Psalm-tune, Song,
etc.
What
does
is
What
What
p. 36).
7th.
that
is,
8th.
What is the Emotional Development and
That is, describe how, in the successive
Sections, the " feeling " of the tune rises and falls
Point?
and say which in your opinion is the most remarkable and effective point (whether of elevation or
depression) in all the tune.
A Psalm-tune.
is
(That
it
into three ?
what
5th.
j
4th.
Ia a Quadrain, Ib a Triain, lengthened by
the "hold" to a Quadrain; IIa a Quadrain, IIb
Triain, sung as a Quadrain.
5th.
6th.
(Pds. ) IIa contrasts with Ia by setting of
f against pi: otherwise it imitates it. IIb contrasts
the r S against the g r of Ib, and has contrary
(Har.) contrary
motion in its second phrase.
motion of parts at the end of Ib, and similar
motion at the beginning of IIa.
4th.
What is the Structural Plan? That is,
describe or mark the place where the Periods and
Sections (p. 6.9) of the Tune begin, using the
Roman figures, I, II, etc., to indicate Periods, and
the small capitals, a, b, etc. to indicate Sections.
Thus Ia means First Section of First Period.
.St
Co.
{New.)
7th.
None.
'
Ex. 1701.
FOURTH
Exercise 137 is
1st.
song for S and C.
2nd. In key B|?, in four-pulse measure, in a
bold style, at M. 112.
3rd. Is Two-fold, and oi the first cadence
Ia, a Duain, Ib, Duain, Ic, Duain, Id,
4th.
STEP.
71
Duain.
First sharp extended in Id.
(Pds.) IIa b has contrasted motion to Ia b.
is a rising imitation of Ia, and Id simiIIb imitates IIa a third
larly rises out of ic.
higher, lie again returns strongly to the rising
motion which sets off the wide intervals and the
elegant rhythm of IId. Rhythmical unity in the
5th.
6th
Ib
(Sec.)
last
till
more
the last
effective.
HOSANNA.
KEY C.
:l.t|di
Ex. 170.
s
Ho
san
Optional Tones,
Ho-san
|-.r:n.fe
Ho-san
.s
f .n
:-
Hallelu- jah
jah!
:-
r'
Hallelu- jah
-.n':r'.d'|
na,
- .n
f .s
Hallelu-
Hallelu- jah
:-
.d': r'.pi'jf
na,
Ho
|-.f:n.r
.r": d'.t
na,
Mainzer.
dt.r'|n<
Ho-san
Hallelu- jah!
- .f: n'.r'ln
r m' f *
d'
- .t
Ho-san - na,
,d:r.n
:-
.l:t.di|r'
na,
:s.f
san
na.
- .f
n .r
Hallelu- jah!
HALLELUJAH.
KEY C.
Ex. 171.
s
:l.t|d'
Hal
n
- ,s
.iV|_r^._di
i^n r
lu
jah!
:t .1
Hal
s .f
le
t%.
(New.)
-lu-jah!
jah!
- .t
1 .t
A
it
:-
men,
d'.r'ln'.s': f'.n
d'
n.r n
lu
men,
l-. r':d'.t
- le
s ,fe s
-
A
:
r'
Hal
-lu -jah
:-
.d'| r'
men,
dUJKjK
le
men,
Hal
- le
-~
men,
n
jah!
Hal
:-
ri'
Optional Tones, d
:-
le- lu-jah
n .r
s .1
-
Maimer.
|-. f':n'.r' N
men,
1
r'.d'lt .1
men,
Hal
- le
lu-
d'
: |
men.
n
: |
men.
s .f
register,
;;
!!
FOURTH
72
,d
:f
,n
STEP.
AMEN.
key G.
Ex. 172.
.s,f
pi
.d
.di
.t
m PTi
r
.d
.n
:f
.s,f
af si
Optional Tones,
d' .s,f
men,A
!!
.d
pi
.n
.t|
Albrechtsberger.
pi
.s,f :
.1
f .s,f)
.d
f .r
pi
.ti
|
A
D.
.d7
pi
.t
.s
men, .A.
d .n
nij'.d'it .d
.t,l: t .d',r
Pn A
t|Pt
.f
:f
.1
- .d
pi
m on
IXiXJlXy
.pi
- .r
'
.t|,l|: t| .d,rj
:r
.t
:f
.s,f
d .8
men,
men,A
G.
:t| .d
.d
tyi
J_Lltjl,XX
:d~
men,
f.
pi
Ir'.d
men,A
- .1
men,
t.
.pi
f .s,f pi,s.l,t: d
ti
"d
men,A
sr
.pi
pi
men,A
.t
men,A
.S|
men,
:-
:-
men.
,n.r,d: r
men,
men.
THE CUCKOO.
key
Ex. 173.
s
I!
s s
Hark!
'tis
pi
the euo
H.
C.
Sound
112.
koo's' voice,
Is
to the
List
a'.,d'|
mel
:di
-
low
it
I
Cue
pi., pi
|s
Hark! 'tistheeue
St
Co.
fNew.)
d'
koo's
It
I
voice,
s_.f
n .r
dear
sha
der
dy
'
is
.1
ly
koo
koo
0.
ds
love.
pii
Cue
"*
,Pi
From| yon
f
der
pi
sha
Id
dy
grove
|d'
pi'
Cue
0.
grove
f.
t.
*'s
A. I.
nt
In
pi
Cue
ijPi
di
:n'
The! song
notes,
Froml yon
SI
Is
G.
Id'.
Optional Tones, d r
koo
di
kpo
FOURTH
G.
In
I
.,n
pi
tothemel
List
Hark!
'tis
the cue
Is
- koo'sl
.,d
mel
to the
Is
low
To he sung hy
Coda.
all
Cu
der
ly
sha
dy
love.
'
id
it,
It,
s,
dear
si
ds
ly
D.C.
C.
f.
grove
love.
|d'
pi
Cue
koo
PP
P1
id
m
d'
pi
dear
Ids
d_._t
t.
sd
together.
f=
:
The' song
notes,
73
Ipktj
:d
id
Froml yon
G.
List
C.
f.
The! song
voice,
STEP.
.f
:d
t.
tn
notes,
- low-
,,d
Id
:n>
Cue
koo
|d'
Pii
Cue
koo
koo
THE MAYTIME.
d
S|
Words by
key G.
Ex. 174.
May
In May
Id
l.The
3.
.8,
PI,
time,
time,
In,
s.
pi
May
May
.8,
S|
Stallybrass.
J. S.
in
the
Id
A. L.
time,
time,
Ipii
S|
S|
.f
how
love
oh,
waste
,t|
and
ly
.si
si
oh,
Oh, waste
.,f
love
and
ly
|d
.r
pi
What
fair,
waste
S
.S|
PI
,,f
fair,
how love
hours,
oh,
PI
night
far
&'.
.d
in
|r
,d
gale sing
on the mea
Co.
(New.)
Go
pas twine
.r
.,1
.fe
lark
it
deep
in
up - spring
the sha -
Sud.ti:
1,,
,1,
eth,
dows,
La
La
la
la
.d
PI
la
la
.f
|s
.,f
tuPi,r
'
.t|
ly and
]
not the/
- ,fe
The
t,
.r
And
d
t|
pi
ly and fair,
not the hours,
waste
.f
.:
howi
.f
How love
pi
0.
fair,
pi
eth,
dows,
:d,
la
la
la
la,
la
la
la
la,
pleasure
r,d
,r
La
La
la
Pi
la
la
la
la
la
la
la
la
The
Oh!/
s,
la
La
La
.S|
.PI
la
t,
,r
la"
,d
|t,
are there
of
flowers
garlands
r
la
la
la
la
.
la.
la,
PI
la
la
FOURTH STEP.
74
1
la
la
la
la
|f
,s ,f
la
la
,n
la
la
la
n.f :-.n|r
la,
- -r
life
.d
ti
hill
of
O'er
field
fulness
d .r
!-
1-
1-
f.
.,r
.1
r>.
t|
s,
Id
|m
the
time,
May
time,
t.
=
time.
.f
pris
t|
time. 2
:s.f n
:t,.l,hl
.d
,f
The
.,t
pi
.f
.f
.t.
As
1-
pi
.r
up
-
so
.S|
As
last,
n.f:-
.f
:- -
.r
|n
|d
and ro
li - lies,
:ti
fast,
|PI,
and ro
li - lies,
d .r
Let out
'ners at last,
last,
t,
ti
.r |d
up so
The/
d
Let
fast,
G.
"1
1-
si
|P1|
the
Id
May
iy
of
:t,
love
:May
iy
:t
S|
love
May
.d
time,
Fine.
tl
pi
the
Id
The May
.pi
time,
.pi
.:
0 - ver j
And theref
PI
In
The May
dale.
dale,
joy.
.s
,S|
and
and
an- noy.
r .d|- .d :t,.S| d
ti
and
Is
:- 1-
and
reacheth ns no
.r
,1a,
- .f
yer field
la
la
and hill
field
There is fulness
,n ,r
la
d .r
.r
la,
la,
n ,f
La
La
:n
.,r
-
their
pris
.pi
ses,
PI
.s
And vi-o
'ners at|
:-
at
|s
.1
lets for
.PI
|d
'ners
And vi-o
:d .d
pris
:d
-
'.fe.,fe\
|n
S|
ses,
t.
.,d:r
Let
,f
.f
:n
.r
po - sies,Andthe/
d
In ,,r
.
lets for
po
sies,
D.O.
d .r
- .r |n
.f
hlue
PI
Co.
(New.)
|s
bells,
::-.r d
:s.f n.f :-.n |r
red pirn - per- nels.
And the little
|n
bells,
.r
r ,d
The little
- .d
t,.S|
redpimper-
d
nels.
:-
|-
76
FOtlKTH STEP.
THE SEA
:
EOK, ME.
KEY D.
Ex. 175.
Sopkauo.
xne
S6S
:-
:-
:-
:s
ior
A.L.C.
::-
me,
Chouus.
:n
:-
:n
in
.u
la
A
Id
:-
1-
:s
:-
La
la
To
the
|t|
1
:-
:-
:n
:n
in
:d
:d
Id
ra
blue sea
deep
:n
Si
:n
:f
S,
:n
:-
|-
:w'
:'
:-
ing
r
-
:r
in
:r
:d
:-
:1|
:t.
Id
:t.
:1|
t,
:-
:-
\d<
:-
ll
:-
:f
:-
;-
:-
ri
:-
:t.
:r
:r
:ti
:r
:t,
:-
si
Id>
:s
:n
s,
:t|
:r
cfl
:-
:-
:d'
the
:-
:n
SI
:-
1-
:n
:r
:-
S|
:ti
:r
:r
:ti
S;
:ti
:r
:r
:ti
:-
:t
to
:-
=-
ll
:-
:-
PI
Ife :-
1-
:-
:-
1-
/
:
for
:r
:-
less
:-
Or
might,
:n
:s
Id'
:m
:s
:s
i-
her
fe
Ife
|r
me,
:s
d'
slum
:s
lor
sai
sea
:-
The
|r
:-
:*
:r
Si
:Z
f
m<\
free;
:n
sist
1-
Rush
r
-
;_
:*'
:s
ma
ti - ful,
f
and
OUS
If
with re
long
:n
1-
:n
S|
:s
ing
:-
in
t
-
it
Beau
:n
ores
me
:f
:n
Idi
lull
:d
S|
icP
glo
:n
|d
t.
do.
._
tic,
ID
i'
for
cen
:-
jes
"
:-
Urn
:n
:d
:s
the
<*'
:-
:-
.-
light.
:ti
s,
:-
:-
:-
:d>
for
sea
Iti
:-
ti
:d
:r
|P1
:r
:d
It!
:f
:s
:s
:f
1-
:-
si
:li
:ti
Id
:t,
:li
t,
|S|
:r
:n
:n
:r
St. Co.
(Sew.)
FOURTH
76
:-
1-
me,
:-
in
:-
Id
:-
'.
the
deep
Fine.
1-
:-
Id'
:s
:n
:-
:-
ft
:n
l~
S|
me
for
:s
:s
|si
:f
:f
:-
:n
:s
dolee.
t.
Our
in
se
Id
A.
r
:n
:n
:n
:-
:-
STEP.
blue
:n
:-
1-
d :d
:-
''
1-
:-
s,di :d|
1-
:*
:l
:-
:-
:d
:d.
Id,
'.-
on
ship
:-
:t.
t,
s,
;_
,_
:ti
Iti
1
bo
its
:si
:si
:-
:r
:ti
ll
f|
Si
sor
smooth
iy
Light
gKdes,
\n
:/
iy
the
o'er
:d
:d
Id
:n
:n
:r
:-
f.
:fi
:f.
l*i
:d
:d
d.
d,
:-
:r
:d
:-
:-
8|
ISl
:si
S|
n,
:ni
:*i
lows she
li
:-
ri
:-
:-
Ifei :-
1-
:-
|r,
:-
:-
\r
:-
:-
Then
rides;
gai
t,
'.-
:si
si
:-
1-
:-
:-
:d
:r
our grate
in
ll
:li
fl
:fi
:si
|si
ful
:-
id
us
As
song,
Hi
ti
:t,
:t|
1^
:d
:d
Id
|fi
si
:si
:si
is,
d,
:di
:d,
Id,
join
:-
bil
1-
._
n.
:-
on
:-
:r
ward]
:s,
^
:f
:-
:-
Id
:-
Id,
St.
:/
:-
:-
\l
:-
our home
to
Co.
:r
:-
ir
d,
:-
l*i
(Sew.)
:/
:-
:-
1-
:-
:r
we're borne
:-
It,
si
:-
|si
:-
d,
f.
D.S.
J>.
s
:-
|-
:-
:ti:ti
it,
:-
|-
:-
:-
long.
d' :-
:-
FOTJKTH STEP.
Modulator Voluntaries now include transition of
These should not be made too difficult
by wide and unexpected leaps on to the distinguishing tone nor too easy by always approaching the
may be
solfaad,
make him
will
feel the
Ear Exercises, as
mind the mental
the
as at p. 24, should
continued with the new difficulties of time.
Sight-laa-ing.
The laa-voluntaries are really
sight-singing exercises, if the teacher does not get
into self-repeating habits of pointing.
See p. 42.
But, at their best, they give no practice in reading
time at sight.
Therefore the absolute necessity of
sight-laa-ing from new music (as the monthly
Reporter) or the black-board.
still
on
be
taataitee
taataitee
taataitee f
taasaitee
TA.A.SAZ
t"" taatai
"
lator.
Memory
77
one remove.
St.
Co.
(New.)
Pointing
memory,
from
memory
and
Writing from
The second
first.
78
FOURTH STEP.
QUESTIONS
'OS
WRITTEN OS ORAL
TION.
S.
DOCTRINE.
1
of the
chord of F.
effect
one key
4
What is a major
chord
A minor
chord ?
a diminished chord 1
and
which of these are in themselves the
to the ear ?
5 "What is the difference between
the tones ray and rah 1 Which tones
of the scale require rah to tune with
most acceptable
What
BAH
How
effect
What
is
it
10
What dissonance
is
there in the
menwhat
best
developed
12 What is a cadence ? Name the
a tonic
cadence. Of a dominant cadence. Of
aplagal cadence. Of a surprise cadence.
last three or four chords of
13
What
St
Co.
(New.)
its
mental
effect
What
does
is
it
below
it
Why
?And why ?
is the
other of the two to be first studied 1
32 Name and illustrate, by example,
all the five lip articulations.
33 Name and illustrate the two articulations of lip and teeth.
34 Name and illustrate the two articulations of Tip-tongue and teeth.
35 Name and illustrate the five articulations of Tip-tongue and palate.
36 Name and illustrate the two articulations of the Mid-tongue with the
Palate, in which the Tip-tongue takes
a very decided part, the two in which it
takes a less decided part, and the two
in which it takes no part.
37 Name and illustrate the three
important
Back-tongue articulations.
38 Name the six articulations with
shut passage, placing the two qualities
(breath and voice) together in couples.
39 Name, as above, the eight articulations with central passage.
40 Name, as above, the five articulations with side passages.
41 Name the three articulations with
nasal passage.
42 Describe the aspirate H. In the
articulations what organs of speech
come in contact and separate %
43 Which are the consonants least
capable of being sung ? Which are the
six Hisses ? Which are the six Buzzes ?
How far are the Hisses and Buzzes
capable of being sung t Which are the
three smothered consonants I Which
are the five which can be murmured or
hummed. What is a Glide ? What ia
the difference between the Glide joining
b and oo and that joining b and eel If
two sounds are kept distinct, but pronounced rapidly one after the other,
what more do they want to make them
into a syllable ? As scarcely any of the
consonants are pleasant when sounded
alone, what part of a consonantal effect
FOURTH
that can be really sounded ? And
what habit in the management of the
organs of voice is it therefore important
for the singer to form?
44 Describe in writing ten common
errors in the use of consonants.
45 What is the difference between
the recurrence of accent among the
pulses of music and among the pulses
of public speech 1 Give illustrations of
the " mixed measures " of speech.
46 "What is the purpose of a chant,
is it
What
divided ?
principal parts is it
governs the length of
within the accented half ?When within the unaccented half ?How is it indicated in the notation ?
48 By what vowel is the first third
of a pulse indicated ?the second ?the
last ? How are thirds of a pulse written
in the notation ?
49 What different sorts of accent
are there in a musical passage, and
how do you define a pulse 1 What
must the Tonic Sol-fa translator do
when he wishes to linow whether
crotchet, quaver, or minim, are treated
as the pulse in a common notation
tune ? How should quickly moving
six-pulse measure be taa-taid 1
is the pupil not taught to
50
beat time in the early steps ?
51 Describe the kind of exercises by
which the teacher endeavours to infuse
into his pupils a sense of time.
52 Describe the most clearly visible
ways of beating two-pulse measure
three-pulsefour-pulse six-pulse
53 The beat to the right being associated in four-pulse measure with a
Why
STEP.
79
to their attention ?
62 Among full-pulse
key C ? G ? Bb fF ?A ?D
If
freely
dissonances,
memory
singing.
73
Why
memory
|
tinued
should
pointing
from
PRACTICE.
74 Hold a steady tone with one
breath for twenty seconds.
75 Sing with a beautiful forward
quality of voice each part of Ex. 121 in
key E, M. 70.
76 Name pulse by pulse the chords
in the first and third measures of Ex.
122, p. 45.
Co.
(New.)
chord, Ex. 122, omitting the second measure, let the pupils say to which figures
the chord Da was sung ; the same with
Exs.l23tol26. Even elementary pupils
should know by ear the mental effects
of the principal chords in their a position, pp. 45 to 47.
79 la the same manner let the pupil
distinguish the chord of S in Exs. 122
to 126.
80 In the same manner let the pupil
distinguish Fa in Exs. 122, 123, and 124.
81 In the same manner let the pupil
distinguish ?Sa i Exs. 122 & 123.
name F&in Exs. 124, 125, and 126, carefully distinguishing it from La.
FOURTH
80
87
let
the pupil
name Ta
89
sure,
115
teacher chooses.
119 Sing to koo Exs. 168, and 169,
whichever the teacher chooses, making
the registers of the same loudness and
123.
143, 144,
and
quality.
120 Mark, for the Tenor singer, in
Ex. 133 first, the optional tones, and
next the places at which it is most advisable to change register, as is done in
Exs. 170 to 173, and as suggested, p. 68
and question 58 above.
121 The same, with Exs. 135, 136,
145.
100
145.
as a step.
and
ment,
wrong so much
The
'
60, pause for two measures, and continue the beating at the right moment f or
two measures more. A silent metroseen by the pupil is the best
Common
134, 136,
select.
126
127
and
140,
145.
119,
125.
being named.
112 Taatai the upper part of any
one of the Exs. 170 to 174.
nome not
keys B,
STEP.
words.
fah me "
" taatai
ray doli"
"taa
81
Ex. 176.
FIFTH STEP.
To
To read chords disguised by notation.
To practise more advanced Chest Klang and tuning exercises.
To perceive the power of cadence and emphasis in developing the mental effect of a
recognise chromatic chords.
lone.
To distinguish the various Modes of the Common Scale. To recognise and produce the characteristic
mdenees, and distinguishing tones of the Modern Minor. To recognise and produce Modulation and Transitional
various
modes
Perception
the
To arrange words for Chanting.
Modulation.
To recite correctly.
of
of
delivering tones,
attach and release.
To practise the degrees of Musical Force and Speed. To apply them to the
The small Segister.
various requirements of Melodic and Harmonic Expression. Parsing Musical Passages.
The lesser Breaks. Perception of Registers. Scales of Registers. Classification of voices. Management of
Mare divisions of Time.
Sixths, Eighths, and Ninths of a pulse.
optional tones. Agility of voice.
:d,n
,s
Skaa
,s ,m
,s ,n
:d ,n
,s
t
:d,f
.1
d'
,l,f :d,f
,1
d',1 ,f
si
la,
:d
:f
Skaa
D.c.
:d,f.l
d> ,1 f
:d
,f
:dsi,t|,r
Examination of Voices.
classification of voices,
,r ,ti:si,t|,r
Since
the proximate
(New.)
Seep.
108,
f ,r ,ti:si,t|,r
la.
id
,ti: s u t ur
:d S|
many
St.
f ,r
Skaa
la,
and the" V
lice
Report Book,"
Is.
METH
82
Ex. 177.
key G.
8.S.O.O., or T.T.B.B.
/7\
fe
:s
:fe
:r
:ti
li
:d
ti
fi
di
:si
T\
:n
S|
:n
:r
:t.
U|
.pi
:d
ti
B|
S|
:si
S|
:s,
di
ri
pi.
fi
ni
t.
:d.
B|
:s.
quainted
jeoted
.
>
z^ ?*
in i qui ties
his
own
his
us
.
mouth
fore-her
griefs
||
are healed
we-like sheep 'have
way
And-th'e
|]
key G.
D.
:f
S|
:ti
pii
S|
:si
S|
ta
:si
d,
di
S|
.t
:d'
,r
Sid
in
ned
And-as-a
op'
||
:t
[|
j|
our
with
one
iqui
ty
not his
sheep-he
:-
:n
:r
d
d
.f
S|
:s.
:n
:r
:ri|
.fi
:s
:ta
:n
t|
:d
:ti
fd
fi
fl
:si
S|
:si
mi
Pii
:di
fi
fi
ri
:d,
:s.
d.
St.
And
every
The
he
And-I
||
turned
||
Yet
||
ac
i"ti
him
on
t.
f
s ,d
G.
di
'
sor rows
ted
hruised for
our
we-have
||
ted
flic
and
from-him
flic
He-was
was-up on him
laid
"|
af
d.
||
gone a stray
Lord hath
Ex. 178.
Hi
ces
car ried
and af
||
God
And
||
||
d
.f.
sorrows
fa
we
f.
man-of
'A
all
our
Hd-as-it
him not
teemed
es
stripes
All
to
of
home
And-we
did-es
he-hath
men
of
||
Surely
Yet-we
STEP.
di
Co.
(New.)
S|
he
his
||
'Be
people
hold-the
||
Taherna
And
cle-of
God-him
Ex. 179180.
'And
FIFTH STEP,
wipe-a
death
shall-there be
God-shall
no-more
there-shall-be
way-all
tears
nei titer sorrow
82
from
nor
their
eyes
cry ing
'Ani
II
Neither
any more pain
For-the
things
passed a way
What-are these-which are-ar rayed
white
robes
And
whence
they
These-are they-which came out-of
great trihu lation
And-have washed-their
white in-the blood of-the Lamb
robes 'and made-them
They-shall hunger-no more
neither
thirst
any more
Neither-shall-the
nor
sun light-on them
an y heat
For-the
Lamb-whioh is-in-the midst-of-the throne 'shall
feed
them
And-shall lead-them unto
liv ing
fountains of waters
'And God 'shall
wipe a way
All
tears
from their
.
are
came
.
||
In Ex.
177
show
7
thus:
Sc D.)
Chromatic Resolution. The same chord at the
12th pulse of Ex. 179 is not a disguised transition
chord, because it is resolved chromatically. (See
p. 52). Instead of moving to S, which would make
Bx. 179.
mer
:n
:s .S
:d>
d'
:d'.d' |r'
Lord, have
:d
Id
Ex. 180.
:di
mer - cy up -on
m
:n .n |f
Name
all
ri
us,
|S
Co.
gives
it
,s |S
:t
.t |d'
And incline
:s
.8 id
(New.)
emnhasis.
And incline
:s
us,
:n
:r' .r'ln
St.
of Accent, Cadence, and the Overfifth in developing the mental effect of tones.
It
is easy to understand how the placing of any
particular tone under the
strong accent of a
tune, will necessarily bring its proper mental effect
It is also easy to understand how
into notice.
those resting points in a tune, called Cadences,
p. 48, must give emphasis and importance to the
tone on which they close.
close implies a
pause to follow, and even in Elocution, a pause
word
#
:d'
cy up- on
179.
Effect
after a
II
W. G. M'N.
*
:ta.ta|t
Lord, have
Id
KEY C.
di
:s
is
||
7fe Re,
||
In these Bhythmic
in'
our
hearts to
:s
:1
IS
:di
d'
:d'
Id
our
:di
hearts to
:fe
:r'
kee p this
:t
:s.
:-
law.
kee p this
IS
d'
di
:
:-
law.
:-
WITH
84
Fifth
under- fourth
|n
:1
By
|d
:t
precisely the
next
its
line,
\\
is
:d'.,ri
ri
:r'
d'
is
made
||
to pre-
|r'
:d'
|t
:1
s
:f
n ||
But in the last line, by the influence of its
over-fifth, by accent and by cadence, 1 again
:n'
predominates
|1
:n'
:r'
Id
:t
||
Another
|f
:r
:r
|1
by
|n
:f
its
:r
|1
||
:1
|d'
In the third
:1
And
|d'
|t
:1
line
by
:s
its
1
:r'
|1
cadence
:f
:-
|-
||
:r
||
fifth of r,
falling
:d'
from
|t
its over-fifth
:s
|t
:1
|r
:-
||
Co.
In each mode
some one tone.
my
:l.,t
same means, in
made predominant
id
STEP.
(Sew.)
:r
Gaslic flourishes,
|r:n |f
:n |r.:r |d ||f
:f II :s 'f :n
|r:r |d
||f
|l:s |f :n |f
|n:r |r :d |r
||
FIFTH STEP.
This melody could have been written so as to
begin on 1 instead of r, without altering the intervals.
Melody alone would not decide which mode
it is in.
When harmony began to meddle with it,
a " leading tone " to the r was wanted, and the
;hree d's were changed in some printed copies into
de which is a little step beneath r. In this form
the tune appears in Este's " Whole Book of
Psalms," A.D. 1592.
But, so strong was the
resistance of the popular ear to such an alteration
of the melody that, forty years later the tune
appears in John Knox's Psalter with the first and
second d's unaltered, and only the last made into
de. Later still, harmonists found the Ray mode, for
thus
1
t |d':t
.d'ln'.-r'ld'.-t
|I:1
sell d'
11:1 |se||d'|t:l
||
se| 1
||
But the
85
:1
:di
|1
[1
In
:s
In
:1
||d'
Is
:1
|m'
||d'
:1
|pi
|r'.d':t
||
:s
|d'
:r'
|1
[|
:r
li
Id
:-
|r
:li
|d
:-
:-
|r
The next
|n
:f
:-
(New.)
Id
|1
of
St. Co.
:s
|d>
:r'
:s
Id'
:d
:f
:pi
:|
:d
|r
:-.r:d.t
|pi
r :- :r
:-
:d
:- :n
pi
|r
:-
||
:1
:1
If
:n
|r
:d'
:1
.t
|1
|ri
:s
id'.tll
II
FIFTH STBP.
as
:1
:1
:f
|r'
:d'
:1
.s
If
Ir
:d'.t
:m
Bay.
The use of
r
1
curiosity, or
se
of history, for by far the largest part of the population of the world, at the present moment, makes
use of these various modes in singing. Missionabove all others, should study this subject
(s)
It is related to se as
(ba)
for
melody.
Two
SE.
In
the
the Lah mode, L the Tonic,
Dominant, and R, the Sub-dominant are
minor.
The first harmonists sharpened the third of the Tonic X, making
the chord 1 de m, and this is still done
sometimes in slow music, but the most
satisfactory artificial arrangement is that
which sharpens the third of the Domiall
se
()
f
stepwise passages.
as t is to d .
1
Se
is
a
t
se
Co.
(New).
These
is
from
arise
f-
lator
m>
follows
it
d*
by
d'
\ dl
and immediately
||
so
After
||.
The
difficulty,
1
ba
fn
feeling also
(especially
makes it
by leap)
diagram at the
difficult to strike f,
seen by the
as is
side,
and
felt
by
all
singers.
Id
St.
is
s.
is
principles.
mony
t.
built
related to
is
sounds
well.
aries,
:rf
Ir
:t
Id
||
:d'
|t
:se |1
:-
||
Ex. 183.
D.G.
Id
:se|ba:se|l
:t
|1
:t
Id!
:-
:d>
Is
:1
|t
:d'||d< :1
||
:-
||
D.c.
1
In
|n'
:d'
|t
:1
|s
:1
it
:s
In
:ba|se:l
|n
D.C.
(Se :ba In :-
:- ||d' :1
Id
||n
:ba |se :n
Id
:-
|1
:ba|se :1
pi
d :f
:f
ti
:r
1,
:r
d :-
sei
li
:li
se
li
li
:ri
li
ni
li
:r.
rii
Ex. 184.
||
||
Modern
will know the difficulty and master it.
composers for the voice ought to know the difficulty and, except when it adds beauty to the music,
avoid it.
The Exercises. As the modern minor is so much
the creature of harmony, it should be first studied
They are
in such exercises as the following six.
simply previous Tuning Exercises changed into the
modern minor
key E. L
Ex. 181.
Compare Ex.
is Cjf.
85.
:1
se:-
se
:1
:se
1 :-
n :d
n :-
:d
:t.
d :-
li
:-
:li
iti
:p)|
1,
:1,
key Bfr. L
Ex. 182.
is (?.
Compare Ex.
:86.
d :-
:ti
:-
t,
1|
li
:sei
1,
:-
li
sei:l|
1,
:se.
1,:-
li
1,
:n.
li:-
li
pi,
:d|
rii
:pi|
fit.
Co.
(New).
:1,
t, :ti
Compare Ex.
A.
124.
r :t
se:-
:ri
di :t
:-
f :f
pi
:-
pi
:1
:se
:-
r :r
pi
:-
:f
pi
:n
Ex. 185.
dl
dl :r'
:1
:f
Ex. 186.
is
:-
lc-
||
key C. L
dl
They
this.
pi
123.
||
:-
:se |1
In
:-
Compare Ex.
is <?.
:t
key B7. E
||
D.O.
|n
87
FIFTH STEP.
1816.
Ex.
key 0. L
ni
:-
se::-
pi
is
pi'
1.
key 0. L
d :1
is
r'
A.
r
Compare Ex.
:dU
d' :t
se:l
:se
ti :1,
pi
:n
A.
ri
t :t
:126.
Pi'
:r'
:t
:-
se :1
:s
:n
f :-
pi
:1
:pi
:-
Compare Ex.
:di
:125.
passages.
88
FIFTH STEP.
but
Ex.187.
181 to 186.
major.
(See Exs. 189, 5th Meas., 190 11th
Meas., 191, 5th Meas., 192, 4th Meas., 193, 10th
Meas). Ajnd even in 188 and 194 there are short
phrases of major, with f and s to distinguish it.
Modulation. When
changes both its key and
Transitional
music
mode, at
the
its
r
se-de
1
p.
-ba
88,
2nd
Ex.188,
and
p.
60,
1st score.
The
call re.
is
rarely used,
Accidentals. Properly
speaking, nothing h
accidental in music, but this word is frequently
used to indicate any tones which are out of the common scale. It will be the student's business to
judge whether these tones indicate transition from
the key, or lead to a chromatic effect in the key,
or are merely brief ornamental passing or waving
tones.
In the Tonic Sol-fa notation we indicate a
sharpenednote by alteringits vowel into ee, thus d, dee,
(written to save space de) and a flattened note by
altering its vowel into au as in caught, thus m mau,
f
1,
lau, s, sau,
ma,
written
and
r,
To
rau.
ll
well
di
well
St.
score,
we
The
%. (New.)
.1,
ItMl Il^ti
my own
.li
to
sei.l |
all
dear
:t[
my
.sei
.r
na
1,
kin
|d
tive land,
.t,
|1,
dred dear,
:n
Dear
:d
My
:- ,d
h
child
:-
,1|
t|
.d
long
friends
sei.lj
,t
fare
it,
.sei(
hood's home,fare
89
FIFTH STEP.
a
1-
Each
well,
:-
feils.
fi
With
and
ing heart
lov
:-
.t,
:-
kind
:t.
:d
|1,
hand,
ly
li
and
hing heart
thxob
:r
|t,
se,
I
:m,
ing tear,
fall
Chokus.
Hi
you now
t.
bid
:-
ri
sei
fare
fare
well.
you all
bid
Sing
key C. X
is
:n
:-
Our
d
:-
death
1
ev
:t
:ri
:ni
We
gin.
:1
:-
:n'
:-
f
-
:r'
be
:-
1
all
:-
2.
Sum
Sum
key Bt?. X
Hi
mer
mer
is
is
is
mo
The
mo
be
gin
to
IS
We
is
:t.
And
And
be
di
all
- ,,l:se
:se
begin
to
begin
to
die.
1
die.
GONE.
|T
1,
sad here
:d
ti
sighs the
sad - ly
my
foe.'
:- 1- :-
breeze,
sigh,
S.S.C. or T.T.B.
:::-
1,
li
1,
|11-
Hm,
St.
:-.t, d
:-.t. d
:-.t, d
:::
1
1
1-
:t,
li
:sei
Hm,
Co.
(New.)
111
se,
:li
:li
ri,
:
:
:1
lives
1-
gone,
gone,
be
We
all
:-.t :d'.r
lives
:t
our
Slow.
:-
:t
death
t ,,t:t
:d'
die,
:n
And
our
ment when
:d'
die,
i-.d'.T'.n
:r'
d'
And
ment when
:d'
ri.d':r'
:n
:-
d'
gin
to
f .1 :t.l :se.ba se
G.
|d,
well.
wing,
:r'
wing,
The
:r'
the
IT
the
:1
:-.t, d
ye
:f
on
er
:fi
SUMMER
Ex. 190.
1:
1.
well.
:ivri
fare
mi
:ri
:f
nigh;
er
all
well,
|L
ye
fare
less
on
nigh;
d'.n'if'.n'iri.d
We
:se
er
ev
er,
er
di
r,
EVER.
ev
:ri
ev
ev
is
gin.
se
:sei
Oraun.
:t
is
d'
is
IS
t|
66.
life
:t
life
M.
A.
1
Our
im
Fare
well.
it firmly,
Ex. 189.
:-
:-
well,
f,
OUR LIFE
Note.
Id
Fare
d,
.r, I":
:-
1,
1|
|
|
:
:
MFTH
gg
Hi
ll
Moan
AH,
ll
ll
it
all
ll
t,
ing
1-
IT!
lone,
.t|
-t|
-.t,
STEP.
1,
:ti
leaf
ti
li
se,
ni
ti
trees
friend
d
less
|r
:-
nigh;
is
:
:
1
1
1
li
sei
li
Hm,
Hm,
n
in
- .n
:n
If
'
Sweet
Sigh
winds
ye
|r
t,
:1|
It,
ll
S6|
t,
sei
are dead,
flow'rs
on,
pi)
come,
ti
S|
d,
|t
d,
si
1
1
ll,
:sei
:-
1 .
flown,
ir
Hm,
Hm,
r
is
Sigh
Those
-,f
ti
S|
:r .d
winds,
dear friends,
on,
dear,
sum
me
sei
1
1
d
1,
t,
For
To
li
mer
can
li
are
re
li
gone,
-
turn.
1
1
1
I".
Pl|
r,
days
not
:d,
ri
di
1.
::-
Hm,
Hm,
Ex. 101.
:1
me
^l.Let
r.We
key
1 ,d':t .1
go,
the
have spent a
L is
C.
A.
se
day
M.
:se
is
night of
D.O.
50.
:1 .sej 1
se.t
break-ing,
wak
ing,
Dear com
In
the
Id
:d
d.m:r.d|t|
:ti
ti .r
Id'
:di
d'.H'rr'.d'it
:t
t .r'rd'.t |1
Up
ward now I
n .s :f
:m
St.
Co.
(New).
bend
,n |r
my
:r
way.
:d
;ti
:1
|d
Part
r .f :n .r |d
1 .d':t .1
in
pan
let
wil
ions,
:d
der - ness
.n :r .d |d
:1
,d':t .1
we
:d
here at
|n'
:se
be
low.
:ti
:t
go;
-
:se
break of
.n :r .d |d
me
::
day.
:-
;;
FIFTH STEP.
2 Let
key G. L
Ex. 192.
:-
li
:-
:n
:-
:n.
chant
:-
:n
:-
:rii
sei
And
gone,
Myron.
Ex. 19$
:1.
ll
For the
An
horts
with
:d
breath'din
St. Co.
sei
,bai
sei
mer
and be
sing
:r
were
then-
id
for
the
(Now).
:se
glean L
face
ing
ners
:t.
of
like
est
:a
Death
se
ban
:li .,ti
down
came
the
:ti
t,
:n
sum
1,
:ba
in
at
the
:n
pur
sun
se
t
foe
:ba
:d
:-
III
That
se
and
were
gold;
seen
ll
ti
as
he
pass'd
,t.
And
blast,
sei
,r
And his
fold
green,
is
:ti
set
pie
row be-
Music by
A. L. O.
the
PI
-.ti:l.
-
:-
the
mer
:li
spread his
:li
in our
\
:r
on
wolf
1| ..se.
-.r:a
:-.l,:t.
iy.
:a
when
ly
ry.
:li
li
ri -
:-
:1,
mer
and be
sing
your sad
:t.
t;
all
us all
of
:ba
co host
ish
Mer
:-.a :r
|r
:- .sedi
Xis-.
:d
.,ti
11.
f
\3.
Ban
:d
us be
li
Words by
:- .f
:-.d:l|
let
song,
long
us
let
ti
our
:- .m :d
And
lay,
Let
:-
sei
three.'
.t,
li
way,
:li
gay
|si
and
loud
it
|ti
li
and
:-.Bi: fe,
" We be soldiers
Air.
:-
Iti
t,
:-.t,:
li
join
blithe
py,
ti
:-
come,
hap
|se,
care
sei
2.Come,
It,
:-
dull
:-
li
is
t,
1. Drive
91
3
;
:1
:-
:d
.,t\
And thel
Iiike the)
And the/
FIFTH STEP.
92
di
:t
sheen
of
of
lottvoc
n
eyes
spears
for -
their
the
:f
:s
:f
:1
of
the
:n
:r
si
:n
like
stars
est
when
Au
:r
eep
waxed
blue
host
"C-b-
A
u
night
the
mor
:ti
QA
War
:-
li
M
t.
'I'll
And their
chill,
:-
cap
.n
.ni
:n
:se,
lee.
and
sei
strown.
:sei
1|
grew
er
still;
joy!
(new).
A. L.
tives
:- -
in
:d
It,
1,
-
the
:r
us
way from
in
scoff,
sei
lem
:r
thee,
how
1,
:-
can
.n
It,
wef
sit
wil
lows;
|l,.t,:d.l,
be
songs
:d
It,
hea
ask
for
:1,
]
chief
:-
sei
we
:d.d)
|l,.t|
If
sing.
:
.r,
from/
:-
soul.
on
1
sei
on's
li
our
:-
sei
lence
.m r
My
- guish of
Zi
songs of
:t,
wav - ing
And
And
tears,
:li
si
bai
ShaU Zi
an
Id
bai
On
:n.
string ?
:-
|M|
far
In
string
sa
:t
roll,
:t|.l| sei
ter
tors
press the
Md
tune
:r
wa - ters
|1|
Far,
fronJ
fromV
far
far
li
G.
Id
:-
Ion's
:n,
bit
Ex
And
mirth,
Co.
for ev
li
-
li
Far,
Far,
:- .r |d
Je -ru
sighs,
er'd
:-
li
While cap
sung
Ga
-
S6|
.sei
ni
And
down,
hang,
:n
:pi
deep
witn
Slow.
:r.
Can
se,
from home,
:f
home,
:-
>r
And
ed,
.r
"Where Bahy
Our harps
home,
home,
S<.
far
se,
.,r
That
>
Sd
and
from home,
from home,
|se,
3.Far,
ti
Mown
|m
far
far
:-
on
lay
:li
heav
key A. L
li
:d
ly
row
1,
once
l.Far,
li
:d
rolls
hut
heart
wave
on
:d
d,
sea,
hath
ly
:d
When the
the
turon
:li
*i
dead
:f
on
dim.
fit.
:d
ers
:s
was
sing?
est
Ex, 1956.
FIFTH STEP.
93
IY
D.
G.
Fttehs.
t.
.
For
:-
a
For
:s'
.f
en
t|"
:-
:d'
my,
d
:t, .1,
:t
-
:s
give
thine
:m
For
:A
give
thine
4's.f
:r .f
en
,t|
.t
For
e
.r
thine
:t
my,
en-e
.S
give
my,
.pi
Ex. 196.
Arranging Recitations.
177178, having
Co.
(New).
t.
.pi
my,
:s
._
:1
.t
-
thine ene
my,
- .P :d
.pi
thine ene
:n
thine
.a
e
For
myv
.f
-
.r'
:pi'
1,
e- my,
en-e
en
thine
thine,
thine en
Chanting. The pupil will now learn the recitations of Bxs. 177 and 178, paying special attention
to the Consonants as taught at the last Step.
first
.1
thine
:1
.1|
PI
en
:t.
my,
thine en
:s
thine
:fi
give
:se
.r,d ti
my,
:1
:-
:1| .pi
en
e
:pi
my,
:t
en
:1
.PI
thine en
en-e
-.6}
thine en - e - my,
my, thine
my,
1|
-
.r
thine
:1
my
For
:n .r
:a
my.
thine
en
e
:pi
my,
d .r
:pi
my,
my,
en
se
.1
en
thine
,n
my,
:t
:-
jhdne
.s
en
thine
;hine
en
:n
:t
en
f
thine
.S
A'
.t
thine
.S
:d
give
,r
Forgive thine en
.t
:1
my,
my,
my,
.a
:a>
For
pi
li
:f
- .f
.ri
en
.r
:pi'
thine
:-
en
:s
give
df
:t.
li
thine
give
my,
is.
ti
ti.si :d
-
my, thine en
:-
:ti
my.
a
my.
en
.it
passage of Scripture ; to be fully marked for Chanting, with Cadence bars, Pulse divisions, Accent
marks, and Type-expression. (See pp. 35, 36, 59).
The comparison of these various plans, before the
class at its next meeting, will prove both a fine
exercise of taste, and an interesting study of the
sense and meaning of the words. Besides, the
Tonic Sol-faist should give himself the trouble of
mastering all these principles of recitation praoti-
FIFTH
94
||
jj
praise, &c.
As every
martyrs :
with a soft pulse the mind naturally
expects the strong pulse to follow, and if the words
will not bear this, you must give a pause to let the
:
army of
idenee
St.
closes
Co.
(New).
STB1-.
The
accent pass by. Thus " Thee :
" or
throughout
all
:
holy
:
Church
holy
.
The
:
Church."
better thus " :
Another hint is this. It is important that the
student should use a metronome for his recitation,
else he will find himself continually varying his
rate of movement, and that cannot be done by a
great congregation. It is very unnatural to hurry
the pulses of the reciting tone and slacken those of
the cadence. They should all move at the same
rapid rate. If you chant slowly it is impossible to
make the pauses indicated by the dots.
In further studying the reciting tone, the careful
marker will observe that the two-pulse rhythm is
the most common and easy, but the best speech
contains a well-arranged variety. As a general
rule, the rhythms in which a passage is best said
are those in which, for chanting, it should be sung.
Chanting, however, is not private talk ; it is public
speaking. Public speaking differs from private
talking in this that the pulses in public speaking
are necessarily more regular, in order that the
voice may carry further. The student, moreover,
must not despair if he finds it, in some cases, extremely difficult to reconcile sense and rhythm.
Prose is often written more for the reader than the
speaker. The prose style of a Bolingbroke, a
Brougham, a Gladstone, or a Bright, is quite
different from that of a student or a learned translator, who seldom speaks further than across a
It
table, and it is altogether more rhythmical.
was not all the translators of the Bible who studied
the rhythmical structure of their sentences. While
the student is thus recommended to exercise his
judgment and taste in deciding which plan best
expresses the sentiments of the words and best
draws out the voice of the whole people, he should
be always ready to unite cheerfully in the " use"
|
||
at tbe
game rate.
FIFTH STEP.
impulse.
'
St. Co.
(New).
95
FIFTH STEP.
96
used.
mm
Again.
&c."
" Sing the same sound louder."
For the
loud sound we use the word forte (for-tai) or the
will write / to the right of m, on the
" Now sing as I point."
black board.
(m.
f. f. m. &c.)
" Sing the same sound softly. For the soft sound
we use the Italian word piano (pyaa-noa), and the
letter p.
will write p, to the left of the m,
thus
.
the aspirate
for the singer that is
without
" breathiness." But, care must be taken not to
allow a puff of wind to escape before the vocal
membranes are brought close enough together to
make the clear attack. In the " slurred " attack
(that is the attack on the second vowel, or the continued vowel in a slur) there is a simple relaxation
in the emission of breath between the two vowel
impulses. So that no very sensible sound is heard
between the two vowels, and no " clear " attack is
We
P.
f.
'
When
by a clear action of
the glottis, leaving no ragged ends to the sound,
should be very carefully practised. It produces as
beautiful an effect as the clear attack itself. The
teacher will make his pupils try all the various
modes of attack, but practise only the clear attack.
The power of recognizing bad execution helps the
pupil to understand and enjoy that which is good,.
Let the
teacher
show, by example,
that
will
now have
the following
mp.
pp.
m.
mf.
f.
ff.
The teacher
Ex. 197.
ll
:1
|1
:1
.1
:1
|1
ll
:1
ll
:1
/
:1
ll
p
:1
Ex. 198.
\P
'l
:1
St.
Co.
:1
(New)
ll
11
:1
:1
:1
:1
* The inverted full point marks an accent on the
\f
is
1/
it
command
We
Degrees of Force.
letter /.
\p
:1
:1
syllable.
97
FIFTH STEP.
Ex. 199203.
Ex. 199.
I
PP
ll
:1
|1
:-
pp
\mf
ff
:1
ll
j/
pp
II
mf
\ff
I-
mf
mp
pp
pp
PP
mp
pp
The diminuendo
:1
PP
mf
I-
I-
The
pp
I-
Ex. 201.
pp
Ex. 200.
mp
pp
p
II
|#
thus,
others
See
key D.
Ex. 202.
<|d
:r
|n
:f
|s
:1
|t
:d'
Id
:t
If
:s
Ex. 203.
:s
Is
:f
key F.
in
:r
Id
:1
s N
"
WFJH
98
STEP.
We
musical
Ex. 204.
Mark
the phrases
and breathing
is
&c.
Melodic Phrasing
laxity,
(New).
imitations of
9 and 14,
pp.
p. 32,
My
St, Co.
29 and
again at the change of measure, p. 31, &c.
Forte Passages should be sung with a very clear
vocal klang, and should be perfectly free from
the sound of breath. Such a forte is very heartstirring.
But the rude, coarse forte produced by
strong lungs and harsh voice is only deafening.
Illustrations of this may be shown in the manner of
singing " God Speed the Eight," p. 1. " The
Waits," p. 8, when sung the third time. The
close of " Hear
close of " Freedom's Sons," p. 13
Me," p. 19, and several closing parts of " Swiftly,"
may be found
effect,
Illustrations of piano
Ex. 204
& 261
Ex. 205210.
FI1TH STEP.
Mark
Ex. 205.
in a similar
p. 2.
Ex. S06.
Mark
in the
Mark
in the
Mark
Ex. 208.
Mark
Ex. 210.
Thou
shalt
in the
show me,"
same way
all
the parts
p. 7.
We
32, should
Descending
Passages
should
commonly
be
(New).
99
p. 64,
Ex. 207.
Sons," p. 13.
p.
p. 8.
of "
1st score.
"How
new
illustrations.
FIFTH STEP.
100
forts
imitation
fNew).
p.
Time," pp. 5 to
7.
Ex.
211 281.
FUTH
Imitative Sounds. "When it is desired to imitate the rippling of water, the sighing of wind,
or the sound of the drum or horn, the syllables
commonly written under the notes, cannot he a
sufficient guide to the singer ; he must try to
imitate the sounds intended, without caring to
pronounce the exact syllables which dimly intimate
them. The effect of nearness or distance is conveyed by loudness or softness of sound. Thus when
the Christmas waits (p. 8) are supposed to be at
a distance they sing softly ; as they approach their
singing sounds louder, and as they retire again
The same
their music dies away in the distance.
remark applies to the sound of the drum, or any
imitated.
See "Come, let us all," pp. 24, 25.
In imitating laughter we must remember that it
has two characters it is either light and trifling,
or heavy and bold. Such a passage as " Fortune
Hunter," p. 5, first score, may be treated in
either way according to the spirit of the verses
if in the latter way it will contradict, but worthily,
the natural diminuendo of a descending passage.
;
STEP.
101
We
Ex. 219.
the music in
p. 61
What
scores, 3
and 4
Ex. 211.
What
"May
p. 5, to first line p. 6 P
p.
45?
St. Co.
(New).
Book IV,
p. 259.
FIFTH STEP.
102
Ex.
beginning of the
St. Co.
(Newj.
ft.
The
Ex. 223.
Describe
" The
Waits,"
p.
8,
as
above.
Ex. 224.
Ex. 225.
222
Rapid Passages.
The
found in
"Thou
shalt
show
;;;
FIFTH STEP.
'
word
(p. 7) on the first syllable of the
" presence."
An exact delivery of the TAA-efe,
with una nimity of attack, will make this little run
bright and beautiful. In ""We fly by night"
require careful
(p. 20) there are runs which will
forethought for the management of the breath.
In " Hallelujah " (p. 27), unanimous and perfect
delivery of TAA-efe, TAA-tefe, tafa-TAi will be reIn "Swiftly" (p. 32) we very seldom
required.
hear " universal song sung with pearl-like clearness it is more like a skuttering upstairs of many
irregular feet. Handel's runs should be cultivated
with great care as exercises in flexibility. See also
rapid passages in Standard Course Bxs. 102, 120,
me
and
174,
247.
12,
When a composer alters the accent by syncopation for a moment, he wishes the syncopation
The singer must,
to be noticed by the hearer.
Syncopation
therefore, give it the explosive tone.
fenerally expresses restless force or impatient
esire. See p. 87, 4th score. See also " Ye spotted,"
p. 81, a case of piano-explosive tones, in tenor s,
end of 1st score contralto d, with soprano r, at
beginning of 2nd score. See also Standard Course
Ex. 114.
The pressure tone naturally suggests deepening emotion. In any touching three-pulse measure
to deliver the second pulse with this tone, at least
occasionally, produces a beautiful effect.
See
" Jackson's," p. 3
notice also " The "Woods,"
See also Standard Course Ex.
p. 72, second score.
;
139,
and Ex.
140.
and
Course Ex.
score,
p.
193.
1st
and 2nd
scores.
(New.)
p.
and
78, first
last
scores.
The
St. Co.
108
FIFTH STEP.
104
marked.
?t.
Co.
(New.)
Ex.
226 S32.
Why
105
FIFTH STEP.
with anotherthus, in Ex. 234, before the first
section is complete the second voice commences a
section of its own, and it is so very frequently
throughout this and other pieces. We are therefore
the
St. Co.
(New).
See further
over.*
alone.
or
Beethoven
their solo singers to go much higher.
such things must
in Engedi requires two-D (D 2 )
be done by voices professionally trained. In psalm
tunes written for trained choirs one-G (G>) may be
but, psalm tunes
used even on holding tones
;
p. 105.
106
Eft
oh
pi
o-
c
d
pi
a'
PI
d
t
pi
2)1
Oi
d
t
f
n
f
n
f
I
el
PI
pi
F
E
PI
3,
pi
A,
a
o
G,
f
X
j
u
PI
A
u
(5
l
L
a
s
<s
8 s
PI
PI
an
<S
f
1
f
pi
f
pi
pi
t
1
PI
f
I
PI
P3
Thm
Note The thick horizontal line shews the " great break" between the Thick and
"
between the Thm and Small
below Gt. The thin line, an octave above, shews the small break"
place that is sate.
The dotted lines shew the average place of break, the other lines the highest
St
Go.
(New.)
A
u
A.
PI
n
r
pi
pi
pi
A
&
M
o
FIFTH STEP.
The small register, like the other registers, can
overlap downwards hut it does not so frequently
do so as the thin register in men's voices. It may
often he of advantage and a relief, especially to a
second soprano, to take one-F (F) habitually in
the small register.
The Lesser Breaks of the voice divide hoth the
thick and the thin registers into upper and lower
The hreak hetween the upper and lower
parts.
thin register, is quite manifest in ordinary soprano
The
voices hetween one-C (G ) and one-D (Dl).
upper thin may overlap downward, but does not
commonly do so. The break between the upper
and lower thick registers is easily noticed in male
;
The
voices between A-one (A|) and B-one (B,).
upper thick register may overlap downwards, hut
seldom does so in male voices. Madame Seiler says
that in women's voices this hreak occurs one-third
but we have noticed
higher, between C and D
that many women habitually make the upper thick
register overlap downwards, so that they change
into the lower thick, just where the men do, on
;
A-one-(A|).
Women
mm
We
Si.
Co.
/-New.)
107
FIFTH STEP.
108
this it will
voice and
|
|
|
X.
St. Co.
{New.}
Contralto voice
is
full tones in the distinguishing region of the conthe upper and lower thick registers.
tralto " part "
The
teacher
to
Book -"
>
A first
Tenor
(as it is
now
called in
Germany
is
This first
htight, yet soft and flute-tike tones.
tenor, counter tenor, or tenor alto was used in
England for the highest parts in men's voice musio
it
FIFTH STEP.
This unfortunate discovery led to the neglect of
the softer and brighter counter-tenor, and all the
contralto music through Handel's period was
written for the hard-toned bass-alto, and the same
voice is still used instead of the richer female
contralte, in cathedrals and choral societies, in
which eighteenth-century traditions are preserved.
It has been observed above (See " Small Register ")
that contralto, as well as bass singers, possess the
power through their larger larynx and stronger
chest of forcing the highest register of their voices.
Like them the bass-altos are weak and breathy in
the next register below, so that there is no continuity and equality of voice across the break at
G, and the change of register is marked and
unpleasant. This peculiar, unsympathetic voice, is
often uncertain and out of tune, and its cultivation
is very undesirable.
The Tyrolese basses use this
thin voice in their Jodl songs but do not attempt
to employ the region of voice lying between. The
true counter-tenor or tenor-alto is no more wanted
to take the place occupied in modern times by the
But, for men's
contralto than is the bass-alto.
voice music, and for solo singing, it is very valuable.
The teacher will notice that many tenors
have of late been misled by the false talk of a chest
Or or a chest A, so as to force their thick voice
upwards, leaving the beautiful tones of their thin
;
(NewJ
109
common compass
of parts rises
and
falls
by
thirds.
FIFTH STEP.
110
ing.
thirds
D
E
73.
very
St. Co.
may
be
halves
(New).
tafatefetifl,
first
into
:1 1 1 .1 1 1
thus taataitee,
halves
into
:1 1 ,1 1 ,1
1
it
thirds
'taataitee,
thus
When
this stage,
No.
'
.sltd'rWI
.n'r'd'tlsfmr
II
We
FIFTH STEP.
Ill
key Eb.
:-
:-
|1
un
Give
M.
96.
.t
Gebhardi.
:-
:t
Bb.
li
:t,
|f
:ti
.1.
S|
f.Eb.
:s
of
|se
sao
me
ri
:se
:d
:d'
:n
.t.
ri
.1
live,
And in
id
the light
in
d'
:d'
IS
bonds
man
Thy
St. Co.
:d
of
(New
truth,
It
:1
is
let
t
truth,
pi
,r
ri
Thy
me,
bonds
d'
:f
flee
:t.
made
:f
free
dom
,t,
|1
And
the light
:r'
In
:d
man
truth
:d
It
:1
light
:-
man
:d .r
:- .t
|1
the Ught
:-
:s
And
:n
And
in
de
in
of
If
And
:n'
of
:r'
truth,
Thy
:s
me
let
:-
:- .f
in
of
the
:f
bonds
|
self
:n
Uve,
Uve,
:-
Is
of
flee,
:n'
.t
The
I-
:-
Thy
light,
is
:-
me
to
:d'
:-
:- .f |n
in
:s
:-
:1
rit
of
:
me
bonds-man
:n
dence
:t
g .f
sao
wise,
the Ught,
the
:-
let
:n
.r'
:t
In
:- .r |d
:-
And
floe;
|d'
self -
ly
:n
|d
light
.f
11
ll
truth,
PI
floe,
t .1
spi
the
|s
self
in
:s
let
|n .r
|d'
And
give,
<*s
.t|
1|
The
wise,
ri
con
.d
|r
t,
in
The
.d
low
Hi
un
Give
:-
r .d
self
:-
if,
.d
:d
of
rit
spi
:t
low
t.
ff
It
Id'
made
to
:1
the
Uve
|1
Ught
:n
of
:de
the
FIFTH STEP.
112
f
Thy
truth,
It
:-
:-
In
man
me
let
:-
t.
in
:-
Id
Of
me,
let
:-
|s
:-
bonds
me
let
bonds
Thy
truth,
me,
let
Thy
live,
:t.
truth,
of
light
IS
bonds-man
:r
|r
:s
live.
It,
let
live.
Ex. 234.
s
:s .s
:d'
is
Praise to our
God
M. 96.
d
Minek.
and
glo
:t
-
.1
:1
glo
:1
:s ,s
lu
and
:t
our
:s .s
It
,
:- "
Halle-lu
:n .n
:ri
God
God and
:d .d
.d
.d
glo
.fe
|1
jah,
1
1 .s
:r'
God
r .n
and
1-
:t
-
:1 .1
r'.d":t .1
:f .n
:t .t
:s ,s
(s
jah,
Halle-
:r ,r |s .f :n .r
jah
.f
and
Halle- lu
:r .r
:s
.1
ry,
Halle-lu
|d>
jah!
Halle- lu
|
ry,
:d .d |d
.1
glo
jah,
:f
glo
Praise to our
Halle-lu
:1
d'.r' in
and
n'.r'id'.t
Halle- lu
jah,
:1 .t
is
:n
|r
HaUe- lu
f :n ,r d
:s .s
.n
jah,
:- -
and
,r
Halle- lu
|-
ry,
ry,
:r
glo
:d .d |f .1 :s .f
jah,
:--
:n
glo
:f
f .r :n .f |S
:n .n
ry,
glo
:d'
God
:-
and
and
Praise to
|s
.r :d
glo
:s
God
r .n
Praise to our
.de
ry,
God
our
Praise to
f .s
|1
Praise to our
:r .r |r
Praise to our
ry,
,f :n ,r in
jah,
key Bb-
is,
Love
M.
d
l,.t|
thy
J.
96.
:ti
neighbour
Id
as
:r
thy
Id
:di
Love
St. Co.
(New).
Maimer.
:-
self,
I-
f,
thy
:n,
neighbour
|f,
as
thy-
113
flFTH STEP.
.a
is,
Love
:se
:se
ba.se
our
thy
Love
Love thy
:se
thy
as
bour
.a':t .1
tjm
thy
Hi
:1,
:fi
-
:r
:t|
1st
:r
:ti
Pl|
:t
ll
:s
Love thy
:r .d
:l,.t.
fi
:n,
thy
:r,
Ifi
thy
ti.d :r .n
:s.
is
:r .r
!S|.S|
:r .r
:r
:ti
:r
:si
:r
|n .s
:t|
:f .n
n .r :a
,r
Love thy
neigh-bour
as
|d .n :r .d
si.f,:ri|.f|
s\
:r
thy
:f.
:si
|s,
:n
:r.,r
neigh-bour,
:s .f |n
:d
.n
If
neigh-bour,
St. Co.
(New.)
:r
:f|
n,
:1
neigh
1-
:t
Id
:d
:ti
|d
:r
st
:s,
n,
f:ri
f .n
bour
thy
neigh-bour
s,
thy
as
|L
neigh-bour
:f
thy -
r .n :f .r
thy
r
as
|t|_._d_
:r
thy
It,
:-
:bi
1-
:fi
n,
thy
l|.t, i
in
:l|.t, id
Love
:-
thy
neigh-bour, Love
thy-
as
l|.t| id
:r
:li-ti
:ti
as
Love
bourl
neigh-bour
thy
1
bour/
Love,
neigh-bour,
Love,
1
Love
self,
mi
:t .d'\
neigh-bour.f
Love
neigh-bour,
|se.l
thy
neigh
1
self,
.d':t .1
thy
Love
:ri.m
thy
neigh-bour, Love
Love
thy"
|r
Love,
self,
thy - self,
se.l :t.se 1
:d|
as
Love
in
1-
self,
Love
self,
i,n
as
self,
se
:t
Love
self,
thy
Love thy
self,
a|
:si
C.
:ba.se\
bour
a
Belf,
thy
as
in
:-
Iti
as
ai
t -d :r'.t
neig
Love
sa
Id
self,
:t
in
:r
neigh
:se
thy
:
thy
li-ti
thy
:t
bour
:n
self,
dl
|1
neigh
a.r n
bour
thy
Love
:-
li
L is
Eb.
f.
t-
:f
thy
:r
thy
self.
FIFTH STEr.
114
is
its
2.
How
is
key !
How do
...
St. Co.
fNtv
which arise to the singer from the introduction of se and bah in the minor
mode. p. 86.
11. Using the words Tonic, Domi-
kMI
BAB and
of
Ffot minor St
chord names
How do we
distinguish the
of the major from those of the minor,
mode in writing, and how do we distinguish them in speech ?
12.
What is meant by the word
Modulation ? What are the commonest
modulations from major to m n or, and
from minor to major Jp. 88.
What is meant by Transitional
13.
Modulation ? What is the commonest
change of this kind, and what new distmguishing tone does it introduce ?
What other change of this kind is
i
it
14.
distinguishing tone
introduce
What
the
is
meaning of the
acci-
accompany
the mouth.
and a
private talk
is
learning
of music without really
anything?
32. What points in a tune have to
be considered with the view of deciding
whether it should be sung loudly or
of
degree
moderate
softly, or with a
sung
is
What
25.
force
What
importance
18.
glide
lease of the
p. 95.
?p.
98.
How
33.
should a
true piano be
34.
be sung
What is "
Show its
phrasing
importance. Mention three or four
ways in which musical phrases can be
marked off, and distinguished by the
35.
What
is
why ?
38.
How
delivered,
and why ?
melody?p.
100.
"
'
FIFTH STEP.
41.
How
How
should accompaniment be
delivered 1
44.
Describe the three ways of pro-
deliver it
47.
How should rapid passages and
runs be sung, and when such pieces are
sung in chorus, what point is it important to notice ? In the management of
the breath for arun, what point has the
singer to notice at the beginning, and
what at the end ?
48. What kind of feeling is naturally
expressed by the explosive tone, and
what by the pressure tone % Which of
these forms of tones is the exaggeration
of the legato style, and into which of
them does the staccato naturally break
out ?p. 103.
49. In what manner should unison
passages be sung, and what should each
singer strive to do 1
60. In what style should cadences be
sung, and why 1
51.
How should distmguishing tones
be sung, and why ?
52. In cases of dissonances, what
should every singer know in reference
to his own part ? How should the
resisting tone be sung, and how the
phrase which contains the dissonating
tone ?p. 104.
53. Why is it difficult to parse the
rhythm of pieces in which there are
fugal imitations
j
What
is
115
the
name
60.
What is the mechanism and sensation of the Upper Thick register ?
What is the mechanism and sen61
sation of the Lower Thin ?
62. What is the mechanism and sensation of the Tipper Thin ?
63. What is the mechanism and sensation of the Small ?
What points are noticeable in
64.
boys' voices when compared with voices
of women ? What course should be
taken at the " change of voice ?
65.
Name the four ' principal parts '
into which voices are most eomm&nly
What other "parts" are
classified.
sometimes required 1 p. 108.
Describe the manner in which
66.
voices are examined and recorded.
67. What are the characteristics of
a first Soprano I What of a second
.
'
Soprano
first
69.
first
:t,l ,-,sfl
:r
,mf
|j
:d,-r.m
j|
:-
.fmril
PRACTICE.
77. Hold a steady tone with one
breath for twenty-four seconds.
Sing with a beautiful forward
78.
quality of tone, to the Italian lah.
Ex.
176.
79. Analyse the
S.
Co.
harmony
(New.)
of one of
179whichever the
Dundee
tfle
or
Windsor. p. 84.
82. Draw from memory the diagram
whieh shows the difference between the
mode
p. 86.the
Ex.
Tone,Sub-mediant,
require.
86. Point out examples, without
having to look for them, of modulation
Psalm
20,
8,
1,
seleet.
Select
95.
84,
93,
98,
149.
Isaiah. 12.
91. Deliver the vowels aa, ai, and ee,
as forward in the mouth as possible,
and with the best quality of voice you
can produce. p. 95.
Deliver the vowel a, with clear
92.
attack, with breathy or gradual attack,
with the check,with the jerk,with
the slurred attack.
it
select.
ment of breath.
Select and sing a good example
113.
of the Explosive tone, of the Pressure
tone.
unanimity of attack.
Select
115.
proper manner.
which he may
236 243.
sage,
Name
Leading
Dominant, Super-tonic,
Mediant.
93.
FIFTH STEP.
116
Lah mode and the Ray mode. Write
and sing the tune Nowell in the Eay
mode and also in the Lah mode.
Laa from the teacher's pointing
83.
84.
select.
103.
Select and sing an ascending
passage in the proper manner.p,
104.
Select and sing a desrpassage with proper expression.
Select and sing with proper ex105.
pression a good example of repeated
chooses.
119. If your voice is soprano sing
tones, at least, in the Small
Register.
120.
Show, by singing, the place of
the lesser break or breaks in your own
voice, and what part or parts of the
music you can sing best.
121. If you are a tenor or contralto
singer mark, in presence of the examiner, the optional tones and the best
places of change in any one of the Exs.
two
tones.
106. Select and sing a good example
of the prolonged single tone.
Select and sing a good example
107.
of imitations in melody.
108.
Select and sing a good example
in which the marked entrance of a
" part" is required.
109. Select illustrations of subordination of parts, humming accompaniment, and imitative sounds.
110. Perform in the presence of the
the Sol-fa
in
key
A.
C,
DICTATION iSXEKCISES.
Note, that taa standing alone may be used to indicate a whole pulse, and that after the
Observe also octave marks, p. 29.
the accents are not necessarily marked by b and l.
f, staaSAI I SAAtai s taatai
correct time TAAtefe d, r,
Ex. 236.
taatai f m,
m
m
"Write in
tafaTAi
taa
r,
d, r,
r, m, f,
taa d,
TAAfe m, r,
Ex. 237- TAAfe s, f,
TAAfe 1-one, r TAAtefe d, t-one, d
taa t-one
TAA r TAA d.
Ex. 238. tafatefe d, r, m, ftaatai s,
taatai 1, s- taa one-d tafatefe one-d, t, 1, s
tafatefe f, m, r, d taatai s, s-one taa d.
taatai
Ex. 239. taatai d, r taaSAI
(New.)
taa
safatefe
1,
first
s,
stafaTAi
measure
s,
taa
d.
tafatefe
m
m, r, d; and taatai d,
taatai m, d saataitee s, f
taataitee m, r, d taatai r, d.
tafaTAi m, f, s
SAAtai s
Ex. 241.
SAAtai s
one-d
t,
s
tafaTAi
SAAtai
1,
TAAfe r, d TAA d.
TAATAI f,
f,
s,
f,
taataitee r,
m,
St. Co.
Ex. 240.
Ex.
242.
taa-aitee
TAA -AA
d,
8.
SAAtai
t-one
taataitee
taa-aitee m, r
1-one, t-one, d
117
SIXTH STEP.
Continuation of Chest, Klang, and Tuning Exercises.
To perceive the Physical Facts and Mental "Effects of
in Transition, and to sing such a Transition.
To perceive the Physical Facts and Mental Effects
Two
Removes
of Three Removes and
and Speed are applied
Chest, Klang, and Tuning Exercises. Exercises for strengthening the chest, for the cultivation of a pure and beautiful Hang and for the
exact tuning of the voices one "with the other,
should still he pursued, at the opening of every
The various voice exercises in the beginlesson.
ning of the last step and the minor mode chants in
three parts 'will answer the purpose well. The
teacher will choose the kind of exercise which he
" Wall Sheets " will enable
finds his class requires.
the teacher to use more complex voice exercises,
while leaving him at liberty to walk among the
ranks of his class and superintend the posture and
See Nos. 21, 22, 23.
vocal delivery of each pupil.
Pi
Two Removes.
r>
(p.
r s
Transitions to the
sharp key or to the first flat key
50) are transitions of one remove.
first
r s d'/
d f
t n
Bind
r3/
St.
Co.
(New.)
tive
'
SIXTH STEP.
118
first, and then the second part strikes the first ana
more important distinguishing tone. When the
second distinguishing tone is heard first the transiIt is something like taking
is easier to sing.
one remove at a time. But the second case, that of
a subordinate and " oscillating two remo ves,at measure 9, is more difficult to sing because there is not the
same help fromimitationandsecond because the first
distinguishing tone is first introduced.
The next
transition has a perfect imitation note for note in
its second part, and in its first part there is an exact
imitation of the melodial waving of the previous
phrase one step lower. This last phrase would be
r f
r (two more flat removes) if it were not harmonised chromatically, and so retained in the original key.
tion
'
'
Ex. 243.
pp.
:n .f
:d~~
t,.r :d
:d.l.
:s
:r
l,.d:-
,t|
t,
|n
11
:t
Id
Id
:f
Is
Id
f .n :r
f|.l|!g
:n.
|s,
Gr. t.
m.
:n
:d
|n .r :d
f.
Id
id
:t.
Id
S|
0.
:r
In
:r
in
fd
:ti
Id
mx
:t.
Id
as
If
ti
:si
Id
det.
is.
Id
!|n.r
If
rll
:t
d'
taf
:f
taf
:r
:n
Id
Ex.
in
Id
s,
244. key F.
f.
;_
:-
M.
:r
:t,
:s.
St.
Go,
11
:n
.t
:d'
.r
:s
.n
:n
.d
:d
:d
Si
in
:r
:d
Id
:t.
:d
is.
:si
pii
Id
Id
t.
Id
W.
70.
|n
:s
Id
:d
t.
Id
:n.
{New.)
F.
P
d
72 for
KEY P.
&
68
s
.
tai
1|
if
M'N.
G.
:f
is
:1|
:
"
119
SIXTH STEP.
ores.
G-. t.
L[
Id
Si
Id
in
M
S|
If
:pi
:ti
|r
:d
:S|
l*i
:li
rd
rd
<1.
c.
f.
ml
IS'
a s
Id
:t
lr
1
f.
In
1"
.f
:s
|i
rip
rl
Si
Id
Si
m.
fe n
'
Irl
f.
:r
If
:t.
|r
:s.
:n
:d
di r
:f
In
:r
:r
"
Id
1
:ti
'i
:si
|S|
:si
1,
TS. t.
df
:1a
Is
:s
If
:r
li
:t,
Id
i,r
:f
in
.1
:de
It
:li
fl
:s.
|n,
:t,
Id
i,
:n.
If,
:f,
ti
:si
Id,
THE BOY
OH, I'M
M.
Ex. 245.
/:s,
1.
:d
si
is,
:d
Si
2. When
\3.But
:n
Shep
der
when
some day
:f
me
low
n :-
:s.
:-
:s.
blue hall
lands sing,
:-
long
:-
:r
my own
:d'
:n
:d
the sun
|s
the
he
:-
|d
:-
I'm
:-
I'm
more
St.
:d'
|s
:m
|s
o'
:n
Oh,
:-
the boy
the boy
Co.
I'm
No
more
(New.)
o'
o'
the
the
:-
|dl
:f
|n
:n.
moun
moun
:-
tain,
-
tain,
boy
o'
:m
s,
the
the
maids
iy
rays,
t,
:-
me
call:
my
bride,
:1
:n
a
in
:-
:n
:-
:d
With me
the)
:f
"Oh
my
spare
And
me
sit
boy
boy
:n
Si
the
the
:r
|d
:f,
in,
moun
the
:d,
o'
o'
:-
\
'
:-
;det
:-
Oh,
tain,
moun
moun
:-
Oh,
tain,
tain,
Sol
P.
:f'd'
tain,
:d
Is,
the
:-
Oh,
:r'
moun
s
stands
:t,
for
:d
I'm
:ds,.f. n,
n :the
:d
me
lage
:-
be-,
:-
If
:f
vil
|r
0.
:s
tow'rs
bout
:f
-
ear
:r
:-
|1
ty
C. t.m.
:"ti
fire-side.
:d'
the boy
:-
t,
est
i.
d :-
1,
Bb.
stays.
Id
tage wall
:1,
they hear
tru
lof
And
his
them well,
take
1,
Your
:f
:r
:1,
crawl,
:m
know
:t.
-
ther's cot
fa
I'll
:r
while
d :-
est
:-
:f
bells ring,
f.
me
church
:n
:d
si
::-
|t,
:t,
low
:n
:d
Si
I,
A. L.
Stallybrass.)
J. S.
:-
|r
am
:-
t,
bethe
Here shoots
lie;
:r
bright
gar
|n
:d
clouds
:-
:f
herd boy,
:n
|s
thun
:-
id
:n
|s
tain
THE MOUNTAIN.
'O
80, twice.
:n
The Moun
:1,
Aim.
Bb-
d :1
am
:in n :I am
No more
:n
|s
:r
the boy
:d
|t,
o'
:t.
the boyo'
the boy o'
:f
the
:1,
the
the
:-
Id
f.
in,
moun
s;
:-
moun
moun
tain.
:
tain,
tain.
120
SIXTH STEP.
KEY C.
Telemann (1760)
:n
Ho
:1
:f
ho
Ho
ho
ly,
.d
:r>
:f
Lord
:n'
:s
God
God
Iff
:-
:d
ba
ti
Sa
of
:r'
ba
:fe
ba
.s
- .t,l:g
:d'
.t,l
,f
.n,f
Ho
of thy glo
:-
:s
full,
ar<
Gt.
.pi
are
.d ,r':n
l
Ho
Pi'
thy
full
:pi'
thy
thy glo
na:
.t
L is
,S|
:<ts
,f
.Pl'.f
g] 0
Ho
ry,
,s,s
.s,l:t
full,
D.
.n,n
san
,l,t
full
:f
full
:d'
ba .n,ba:se.ba,se)
earth are
full of thyf
:r
0.
ds
.n
- ry,
:d'
,n,r:n
Ho
ry-
- ry,
!n
Heaven and
:in
of thy glo
.d',r'
,f'.r ,n
.l|,t|
of
.t
ry
mew.)
.s
Hea
san
.l,t: d'
:dif
glo
.f
of
Sjjl :t|
full
:-
St, On,
f.
:f
.r',pi':f
na!
.1
.l.tid
.s,l:t
ry,
t.m.
san
full of
full
;1|S|.S|,S|
na
full,
:is
glo - ry,
in
,s
Heaven and)
t.
f. I".
sr'.n'.d'.r'-
.,r:"t
,r
Lord
oth,
oth!
C.
f.
.f
of thy glo
full
oth!
:<Uf.s,s 1
.l,t|d'
Ho
id
:s
oth,
.d
iy,
G.
ba
:n
,r
ho
:d'
Sa
:f'
Lord
:n
iy.
Sa
f
Sa
of
:n
.pi
pi
of
:d'
iy,
ho
of
:f
:d'
God
id
d'
:1
ho
ly,
God
.pi
ta
iy.
.t
,d' :r'
Ho
,11'
.r'.n
Ban
...
.s ,1
:t
thy
,s
:d'
.f
of
d'
na!
1
na!
full
:-
.f,s
glo
.1 ,t
Ho
:d',r' .d',r'
-
san
:-
.1
Ho-
:!
;!
SIXTH STEP.
t
.s
na
:d<
.t ,1
:t
.t
:-
.r
r
na
Ban
:s
est.
d
high
the
in
high
the
in
121
:s
eat.
GOOD NIGHT.
Words
Id
|pi|
Good
n,
Gopd
4. Good
:-
.f
ly
dai
splen
ti
knows
,de |r
To
Faith
ful
watch
and
For
the
new
day's
:-
:-
wakeB
.fe,|si
all
night,
thy might
with
Co.
(Sew.)
that,
are giv
the mor
for
ward
work
Good
Good
be
|se,
an eye
Heav'n
ly
while
thou
and
:1,
that
Pa
:-
.r
:-
.se,|l|
rest
sick
then,
:si
en;
row,
keep
'tis
.1,
ther,
|d
fromhea
with sor
:n.
ing!
fore
us,
Noi
art sleep
re - store
us,
:-
.fe |s
sy day
ry splen
.re |n
:-
:n
-
ly
Pa
that
ther
PP
|d
.re,|ni
night!
night!
1|
:-
good
good
night!
night!
:
f|
good
good
.si
|s.
night!
night!
fn,
night!
night
has
dour
:d
an eye
There's
HeaVn
row
ing,
dim.
Star
yen
:rii
.se,|l|
S6|
n,
0.
:d
pi
There's
sei
jMdT"
toil
Good
Good
:
and
of man,
and streng
flight
and hright
soft
St.
:li
.re |n
en
tak
:re
.le,|t,
:re
the eye
May
mind
of
.re
"We
"
.de |r
t,
.le,|t|
Child
t,
night!
night!
Bless
ie - ward
our
ing watch -eth
Weep
S|
|s,
t|.
m.
A. I.
Sxallybrass.
night!
night!
n,
Peace
Cheer
fight;
Id
no night
thy might
with
|n
in
dour hright
J. S.
:&
good
good
night!
night!
ti
by
illustrate chromatics.]
sj
good
good
night!
night!
1. G-ood
2.
3.
translated
[To
key A.
Ex. 247.
si
SIXTH STEP.
122
NIGHT SONG.
B b.
key
Ex. 248.
A.L.C.
p
:
Deep re
:n ,r
1 2.
:t,
|n
-
:r
pi
|d
deep re
poae,
:pi
t,
|d
:t,
An
land
Not
pose,
an
lm
:fi
si
sing,
gels
gels
|n
one
pain
No
:-
Hi
In the heav'nly
:f
:d
Not
sing,
No
.ti
one
pain
|n
breath
or
stirs
eare
Can
.sei
breath
stirs
or
care
F. t.
fe |ti d
The
blows,
ring.
d,
1,
On
:d
the
n,
.Ml
:-
:n
s |d
end
soon
.t,l
Tn
'
end
soon
.r,d
:-
|pf*
-
|n
.pi
,f,n
:pi
.r,d
while,
se
ere
while,
St.
Co.
fNewJ
:-
ti
1The]
song,
song,
song,
song,
ti
t|
ed then- song,
fl
|r
:- ,d
,r
It,
:-
Wait
,d'
a-
:-
,d
,pi
a/
Is
4t|
t.i
:-
,n ,d'
Wait
long,
long,
:-
Wait
:-
E b.
1-
ere
|pi
phyr
mf
F.
is
ces
:ri
ze
voi
ed then- song,
end our song,
On earth wesoonendour
:d'
phyr
ze
voi
|P1,
d.f.
.,r
.di
Id
But sweet
.tad'idi
.t|
:fi
And no
there,
blows,
sei : 1|
But sweet
|n,
firs,
ter
And no
firs,
there,
.fi
ring.
.1
the
ter
boi
A- mong
Can en -
:-
li
.ti
mong,
en -
|se,
,1|
Wait
a
:- ,d
IS
-
n
a
while,
IP!
while,
SIXTH STEP.
P
I
i.
:
Si
Thine
long,
ere
A J
:ta,f,
:-
S|
:-
:ti
111
shall gent
eye
in,
Thou'lt with
ere
123
B b.
rl.
iy
|fe.
Si
:f,
an
the
gels
d
close,
Hi
sing,
rail.
1Thine
eye
Thou'lt
with
1-
shall gent
:-
pi
&>f
used.
1
t n
1
se
s d f
hat n
<
Pi
ra
The
to the ear.
Changes, therefore,
d i
t n
-l
d f
ha
t|
1|
Physical
made
in
pi
is
d f
df
hat n
remove
se
r s
flat
r s
d/
t n
The third
kind of excitement.
Co.
(New.)
iy
close.
:fi
the an
:si
.feuSilli
I-
PI,
sing.
gels
more
SIXTH STEP.
124
W. 0. M'N.
KEY Bb-
Ex. 249.
|1
:t
d'.t
:- .1
d .n :- .n
|n
:f
|d
:r
li.ti
:d
:li
:se
:n
:t.
.r
ise
I
11
:1
Id
pi
:f
is
:n
:se
:d
:-
.f
|n
:n
:n
If
In
:d
:d
If
pi
.t|
.n
:t
d .t
:f
.r
:t
:f
:r
1,
.t
:r'
:si
i-
i
i-
f.
|se
ms
:n
.f
In
ms
:d
,r
In
rt
li
:t.
.d
|r
:*1
:f,
.li
Ise,
di
:r.
.n.
If,
:f|d.t.
:t,
li
:sei
rn.
n.
:n,
key
Ex. 250.
:t
.i
|t
:se
:f
.i
|se
:n
:r
.f
|n
-n.
i|Pi
Hi
:se.
:n.
:n
Ifi
n .n |f
:n
d.d
:d
t.
.sir
.dT' s
.n )f
:n
d.d
KEY C.
.s
:-
St. Go.
slam
|f
(New.)
li
0.
.sell
b'ring
:n.l
se
:li
:t
t.
m.
1.
|<*s
|"s
:f
I"|S|
THE LULLABY.
:-
:s
in
:si
t.
:d'
:-.f n
Andante.
|1
ful
-n
is 0.
9
Peaee
In
:d
|f
Ex. 251.
Eb-
|!
If
.r
.r.
1
11-
W. 6. M'N.
C.
s. d. f.
S ,S
1.
Bb-
ai r
f.Eb.
n.
m.
t.
.1
:r
Id
:t,
li
11
d.
:s
C.
:d
:
1
:d .r
P
n
:n
Id
the o
on
.ri
:-
.f
in
A. l.
cean,
:r
.r
Id
.t
men fear
,f
|n
:d'
a.
.1
no danger \
.r :n .fe)
SIXTH STEP.
!-
|-
Winds
.f :n .r
n
The winds and' waves
nigh,
.s
125
and waves
in
If
:-
:-
.r
:-
.f
gen
;s
|1
gen
in
;d'
mo
tie
tion,
:n
IS,
mo
tie
tion.
rit.
.n
Soothe
s.d.f.
.1
|1
|f
:f
.pi
lul -la,
|r
.s
lul -la.
:r
.d
.t,
:-
E
-^.pi
pi
When
1.
:s
.fe
pi
|f
.d
tem
hea
.r
pi
C. t.m.l.
.8
high,
They
n
.r
:-
They
pi
Hear
|1
:s
.1
.r
Rolls
pi
.r
|d
Trust
ing One a
.r
pi
.f
ger
:d'
ing,
ling,
:pi
dan
tem
.r
hove the/
ger
pi
.r
:d
.t,
:d
.t,
|d
ing,
ling,
PP
rit.
.n
PI
dan
tem
of
rid
of
rid
ing,
:s
|1
If
E'en then no
:t,
-
no fear
in hor
Still
:pi
ing,
|d
and scowl
black
.f
:se
|1
uousblow
:d
ir
2, 'Neath
,t
:pi
the wind
mad
.fe
If
:f
.pi
lul -la-
lul -la,
|r
.s
.d
:r
.t,
lul -la-
lul -la,
by-
PI,
.Pl|
:d
path
.1,
-f,
tri -
us
:P1|
If,
bu - la
our
.P1|
:si
|1,
light
.&
PI
:-
.r
:-
-fi
|fi
so
-la
to
life
Si
written con
star
way to
1)
earth's
:S|
|P1|
yon
2.See
Words
are giv'n
l.Stars
em;
:n,
tion;
:n
PI
They
S|
HI
can
:S|
grim,
by
|r
in
d :f
.,P1|
keep
.t,
:1,
And
our
n,
tion;
.n
:fi
" Here
is
:d
:1|
.S,
your
A. L.
Stailybrass.
en,
:ni
sweet
|S|
J- S.
:d
bright
fe,
pour
:fe.
-
age
seill.
dim
If,
past
It,
rod,
IS,
high,
0.
'-h..:.h
}
earthly/
.f.
:fi
all
:-
.(s,h
Theyf
;!
SIXTH STEP.
126
C.
s.d.f.
:s
t|
:ti
.t
words
n'
that
:1
They
ing,
.1
:se .se
se
if'.n'lr'
No
thing on earth
:l.s|f
bi
:f.n
:- .1 |se
;r'.d'
:re
|n
derii
|s
Souls
that
'
t,
Or
|t,
are
|d
.:
|n,
pure
&
:t|
der'd a
:f
s,
-
that
|f
.f
|f
iy
:n
go
ing;
:n
ing:
:.-
pure,
are
:n,
|si
der'd a
right,
jr
If,
aye
:f.
by
.f
:d
|s,
Or
:r
shall for
right
the ho
emn
:f
|f
t.m.1.
Souls
s-
:se
il
be'
:f
and the a
id :-
deth sure
:f
.,n
to
ly shall soon
:se .se
the worlds
to
A.
f
earth
is
.1
se
.,t
Hark
sky."
:1
:d'
See
"aid.,!
|P)|
the
"All
ing:
.,re :n
ring
(}l
God.
:fi
ma
Id
ther,
S|
.,re!:n'
|n
dies
.fi
glow
there
:f
.f
mel-o
.r
:d'
:pii
:r
Fa
her
to
Id
.ti
.r
:d
soul
thro' the
If
|n
up the
raise
.f
en
|-
dure."
:-
n,
nal
ter
:-
love.
Ex. 253.
:- .n :s
l.Sound
theloud
"Words by Mooke.
0.
tim
:n'
:r'
brel
:t
d'
o'er
ror,
praise to
:1
gypt's dark
a. l.
s
:s
-
Con
que
the
Lord,
ho
His
vahhath
:- .d :n
:s
the
2.Praise to
' :d'
:- .n
s'
Je
sea!
word
was our
G.t.
s.
tri
:di
:d'
-
ty
row,
his
peo
:d
umph'd
:n
ar
:- .t td
-
pie are
:- .s :d'
his
breath
rant
:t,
is
bro
St.
:1,
gypt
Co.
the
(New.)
li"
:r's
His
ken,
:s,
sto - ry
Sing
free
-was our
*si
cha
S,
Of
those
Who
sword
:- .fe:s
-
riots
and
:- .rein
she sent
:d
horse-men
:d
forth in
:m
,8i
of
:n
shall re-
in
all
:d
the
the
:r
tell
:f
splen-did
:1,
hour of
:f
and
:t,
her
SIXTH STEP.
127
C.
f.
:n
:fd>
How
brave,
:-
s.d.f.
E b.
spo
And
kei
:*l|.ti
:t,
And
ry
glo
their
:f
:r'
n>
was
vain
As .s
pride ?
boast
looked
The
n
ing!--
:f
hath
:pi
from
out
:di
:t
d'
Lord hath
n
:r
his
Pil
but
:d
lar
of
ritard.
:1
:t
cha
and
riots
:t|
horse
sej
:li
her
all
:d
pi
men
III
sands
.ti
;n
:pi
sunk
are
:sei
thou
brave
.r
the
:n
in
:n
dashed in
are
the
#0. t.m.l.
"s
ware.
1,
:-
.PI
Sound
den
:-
,d
:s
PI
the loud
tim
S
:pi
:r'
:pi'
brel
o'er
:a
dark
gypt's
;r
:f
:t
d>
tide.
:s
:s
s>
:- .n :d'
1
P)
vah hath
ho
Je
sea;
:di
:d>
his
umph'd
tri -
:- .d :m
d>
:-
peo
pie are
:- .f :r
:d
:n
.r' :t
free.
TRUE LOVE.
Ex. 254.
si
can
:s.
|P1,
2.True
A. L.
Ot.
":pi
love
n,
KEY
]d
l.True
love
can
>.r :
Id
ri
never
si.fi:
mi
never
love,
:-
f,
If,
True
die,
:-
.s
,r.r :nev-er
:-
li
:-
May
:-
St.
:d
Soon
way,
Co.
(Sew.)
true
:-
though
H,
fly
like child
.1,
its
If,
sum
.f
j
canf
If,
I,
can'
love
:t,
hood's
:f.
mer
d
dream,
pi,
day,
.d
|d
PI,
:r
first
its
:-
pi,
|1,
:t,
may pass
Life's spring
t,
fade
Mi
Al
0.
love
PI,
U.
B bd
:ia,f,
die,
gleam
rii
never,
pi
d
die,
-fl
true
love,
s.d.f.
si .n,
True
die,
E.
t.
rjJF
Yet
fe ,t,
But
SIXTH STEP.
128
ores.
:r
n
bums
,d
:t,
.t|
|1|
'mid win
bright
I-
G. t.m. ares.
fen
:r .pi
rd
:ti
IS
.d
Hi
:i
*n
:t|
.a
ex
-t,
-
gloom,
try
.d
life it - self
Till
cret fire,
se
its
:t.
.n
|s
.pi
er
ores.
Ev
:-
:pi
glow
er
.,re
pi
:r
is.
:f,
we
Till
:-
f,
AND
COME, PATS
:s
Come,
PI
.,fe
Hi
is
111
rug,
:t.
we
die.
Mi
if.
1-
1-
FAIRIES.
A. L.
.,re
:n
grow
n
D.
Ex. 255.
Till
.,1
Time de- fy
S|
die
PI,
er
ing,
f
.1
Pf>
Ev
ing,
Id
pi
Stillun-
bloom,
in
.,fe
:s
pire:
ies,
Come a
.,d
d
Come,
d .
fays
s
way,
Come,
fair
ies,
Come a - way,
d
.,d
d
pi
:s,fe . s,l
:r
.f
shin
.pi
:pi,re . Pi,f
pi
.r
:t|
pi
:d
:s,
.s
Come,
St. Co.
is
come,
(New.)
ing
come,
bright,
come,
Now
:n'
-
.,r'
way ye
PI
.PI
:s
:d
.,f
:U.d'
.t
.r
:f
.pi
:d
Yes,
:t.
Come,
Come,a
Yes,
:f
.,n
pi
.d
andJ
.,f e
8
:s
rii
0.
.,re'^
Come,
PI
.d
for
.pi
Come,
:n'
-
:d
:l,t.d'
come,
come,
.r
:r',d'.t ,d'.
.,
.,
Bake
:s
come,
come,
.t
come,
:d
come,
r'
Come,
:s
come,
SIXTH STEP.
d
.s
:s
.1
sil -
.r
:s
cornea
.t,
.,f
:d
Come,
way,yes,
:s
129
rU.d
.t
fays and
way, ye
fair -ies,
:f
:d
come,
:s,fe s ,1
Come,
come,
shin-ing hright,
.r
pi
:T~.
come,
:ti
:s,
come,
come,
Pine.
s
for
:s
:d
,f
:i
.t
pi
.r
:f
,t
:d
.t
dance in her
.f
:f
t|
:t.
Come,
id'.r'.ri
ri
merri-ly
it
ho,
ho,
ri
:s
.t
to the
list
ho,
,s
:s
ri
.d> ,d>
:d ,d.d
t,
,r
:s
r'
.d',di:t
trip
it
Come,
merri-ly
ho,
:t
:d'
light.
.f
:pi
S|
-S|
:d
way.
ly
ly
:pi
sweet sound, J
hell's
.1
-
,f
.1
totheli
list
ho,
ho,
.1
li
:n ,f .s
<ir
ver
come a
come,
.d',d' :t
PI
.r
sil
,f
P
.d
Come. trip
,niaf
.1 ,t
:s
Come and
dows,
.PI
come,
come,
come,
.d'
-
C.
m
.
the
sake
,n
Come,
d.f.
.,r'
.d'
Now
pi
.f
:pi
:pi
hell's
sweet sound,/
P
di
.d
id'.r'.Pi
Come,
trip
.f
PI
.PI
:pi
.r
.d
:d ,d.d
Come,
trip
A.
:f
t,
.r
:s
t,
:t.
S|
ing
:1,
:fi
S|
Pll
(Sew.)
.r
Trip
ho,
n
S|
:d'
pi
it
.f
.f
t,
:n
:d
t,
it
:s,
:n
pi,
S|
n,
S,
la
di
:d,
:- ,t|,d
:si
:ni
.,
d,
se,
n,
ti
d
ll
I|
S|
:s
ing,
la,
:t,
la,
:d,
la,
.
.f
sleep
.'
:sei.
:n,
:- -
are
la
.r
la,
la,
,re <n
:s.
la,
are keep
la,
tala
:s
watch
.
la,
n
now
:pi
-
la,
the
la,
S,
la,
:d
stars
La,
Co.
Ml
r.ti d
Sil -ver
.
la,
la,
:n,
.li
St.
ho,
Wea-ry mor
La
la,
trip
.f
.1
:s
Mr
:s,
depli.
.t
:s
t.m.l.
S|.
d,
lightly
.S
PP
ho,
ho,
merri-ly,
it
ho,
ho,
,f .S
:s
.t
r'
merri-ly,
it
:s,
fe s
Fays and
:n
la,
,,re
fair
PI
Come, come
d
:d
.
130
,,re
Fays anc
ies,
pi
fair
d
fei
!S|
come,
Pays and
.d,r:n
come,
:d,
:d,
:n
'
:t,
Come,
S,
ti
come,
:s,
.,re
:d
Come,
come,
in,
.t|,d :r
:d
come,
:di
ti
come,
Come,
S|
ti
:s,
.,fe.
come,
:S|
come,
S|
that
we
are expressing.
We
may
and
come,
:s,
Come
d,
come,
the
rill,
:d
come,
:d,
D.
D.S.
yes.
ta,f
yes.
"it.
come,
ies,
sung
:t)
S|
ds
.d,r:n
Come from
ti
Fays and
come,
fouii -tain,
:t.
:d"
d
ies.
PI
Come,
come,
:s,
Fays anc
ies,
come,
di
:t,
come.
Si
:n
PI
fair
.,re
t,
come,
ies,
Fa ysand
.
come
come,
fe
:s
,t|4:r
PI|
fair
Come,
come,
Si
ies,
":d
Come,
SIXTH STEP.
:n
PI
di
Go.
(New.)
'
'
'
I sing
SIXTH STEP.
below, should be brought before the class, and submitted to the judgment of the pupils.
They
should then be requested to find other oases illustrative of the same principles, or cases developing
any new principle. Let the pupil remember that
this exercise of independent thought and feeling is
the only exercise, in connexion with this subject, of
any real value to him. The mere learning of rules
for expression, without apprehending and testing
their meaning, and withoilt trying to apply them
for yourself, or to invent others if need be, would
be just the putting on of so many weights and
shackles to hinder all free movement.*
away,"
St. Co. Ex. 174, at the opening and at the close before " Pine."
The
stanza," he says:
Sinners rejoice, and saints be glad,
Hosanna, let his name be blest
A thousand blessings on his head
"With peace, and joy, and glory rest
" is evidently throughout & jubilant one; and the
individual word peace does not change its character.
I once heard a leader, with a powerful voice,
singing this hymn. Catching at such words as
* rejoice]
'be glad] &c, he bounded on exultingly.
But suddenly his eye fell upon the word 'peace.'
This ' gave him pause.
He was startled. But, with
ready presence of mind, he checked his musical
career, and sinking his voice to a whispering
pianissimo, faintly articulated the word peace.
This
accomplished, however, he rallied manfully for
the remainder of the line, to depict the ' joy and
' glory ' of it."
The following stanza
'
'
131
by
noise
in
"How
"God
words
Ex. 256.
What musical
expression
is
suitable
?"
goes?"to "Home,"
and
"The
mind in the attitude of Meditation, Description, or Bepose, should be sung more softly and
place the
often
Ex. 256259
8IXTH STEP.
132
St. Co.
(New.)
passages.
There are
v. 3.
See also
St. Co.
Ex. 135,
v. 1.
Sadness.
See illustrations in " Shepherds
lament," p. 89, score 4, where the closed door, produces a sadness, which sobs in the words " and all,
all," and deepens into utter desolation, delaying
the utterance of the words " me, a dream to me,"
and in St. Co. Ex. 188, v. 2, second and third scores,
Ex.
190, v. 2, last
Subdued Emotion.
two
lines.
p. 2, v. 2, first
" Quail call," p. 14, " Ah ! but " to " defend," also
the same, " cold " to " cries," and the subdued
feeling of the listener, v. 1 and 4 of the same,
"
Come freedom's,"
" Fortune
p. 13, v. 2, lines 1, 2,
hunter," v. 5, last two lines, " Hope will," p. 12, v.
See also St. Co. Ex. 139,
1, line 1, and v. 2, line 1.
v. 3, first line.
See examples
Meditation, Description, or Itepose.
in " If I had," p. 45, last score " But thoughts " to
" here,"
"How lovely," p. 58, duet, "Swiftly," p.
lady," p. 21, where soft
31, "sweet," Sea.,
respectful " description " mingles with " excited
emotion," which, see above, requires a different
treatment, " Spring life," p. 3, "Hear me," p. 18,
" I will," where the singer anticipates the sense of
repose. See also St. Co. Ex. 119,"oh, sweet content"
" oh, punishment," Ex. 193, where, the whole is
descriptive and subdued but where, in the second
and third verses, the second half is made softer and
slower still by the "subdued emotion."
"My
Dramatic Efect.
See illustrations in " Night
around," p. 22. The accompaniment imitates the
"The woods," p. 73, last
effect of a night breeze,
score "and vanish," &c, when the diminuendo,
pianissimo pictures the passing away of a dream,
"Ye spotted," p. 83, fourth score, "Beetles black,"
where the low voiced horror of the fairies, when
thinking of the "beetles," is contrasted with their
loud defiance of the spiders.
Ex.
2601
which
follows.
verse
loud to
139, v. 3,
Soft.
and quiet
lie
"Going home,"
p. 2, v. 2, last line,
"Morning
St. Co.
133
SIXTH STEP.
(New.)
p. 39.
2, last line, " Father," p. 34, v. 1, where a pressure tone on each syllable of " From human agony,"
would well express the deepening emotion, " Hear
me," p. 17, score 2, " O," ditto p. 18, second score,
;;
!!
,;
!; ;;
:
Ex. 262271
Ditto, ditto.
! there's not a sweeter pleasure
Than to know a faithful heart.
Ye that own so rich a treasure
Never, never with it part
Blest are we, in joy and woe,
but one true heart we know.
Oh
from Gersbach's
by Mr. James
Ou
wings
airy
He flings abroad,
And fills the wide blue sky.
O songster rare,
You swing up thereCreation's
morning
bell!
Them up
Ex. 264.
Ex. 268.
bis greeting
Ex. 270.
And
Ex. 265.
Ditto, ditto.
Is all cold
Till
Oh
To
you mark
St.
Co.
it ?
fJSTew.)
pain
hummeth
and white,
B. R.
W.
Oh never fear
Old "Winter's cheer,
His coat is rough
His voice is gruff,
Ditto, ditto.
starless night
to heaven as well.
to freedom clinging
still
And swinging
And winging
263.
Ex. 266.
-would
SIXTH STEP.
134
"
Ex.
dies in a
dream
Ex. 271.
of rain.
And 'tis oh
in
SIXTH STEP.
Will you take the
remark
first line
of the
Co.
(New.)
our
all
"With all
I'll
praise
praise.
word
after the
and after
'
'
'
'
'
established."
KEY A.
Ir
It
lis
:-.t,|d
not that
meads
:-.d|r
not that
'lis
its]
:- .rin
:-.d>
are green,
It 5
:-.r|n
If
:-.n|f
j:s,
its
hills
:fjn
are
|r
fair.
II
II
In a chorus
it is
ing" unanimous.
Ex. 272.
manner
Ex. 273.
in the
ently arranged.
them has
ways.
Ex.
SIXTH STKP.
136
therefore necessary.
"With
"Come
freedom's," p. 13,
"Father
all," &c.
my spirit,"
of "
Hope will," p.
"Lord in this," p.
12,
33,
p. 34.
Co.
(New.)
new
2723
of sustaining
So
art.
difficult
to be learnt as a
by its strings.
By their
varieties.
is
and
so on.
SIXTH STEP.
EE,
GENERALLY SHORT.
137
with rounded
lip.
inbet.
First Group
I,
AI, in
in bit.
aa
"bait.
.8*
A A.
E, in
bet.
A, in bat.
U, in
AA,
in baa, bazaar.
AU,
in Pm1.
bwt.
0
OA,
as o in pole.
00,
in pool.
in pol.
TTO, as in pwll.
In speaking- of the vowels it will be most convenient not to call them by their sounds, but by the
usual alphabetic or spelling names of the letters
composing their glossic form ee will be " double:
e," i will
The
be "eye,"
ai will
without
first
pronouncing
it.
this vowel
Proceeding upwards from aa the middle
is raised for each higher vowel.
The
open throughout this series. Below aa the
are gradually more and more rounded, being
scale.
of the tongue
lips are
lips
St.
Co.
(New.)
'For
As this Italian aa has been so much used in previous exercises, it is not necessary to give new
exercises upon it here, but if from not perceiving
the importance of pure vowels the pupils have been
allowed to change aa into au, ah, oa, or a, they must
now go through the klang and tuning exercises of
this step over again with exclusive attention to the
vowel aa. If there remains any difficulty in producing the Italian aa, let the plan recommended
by Fredrick Wiek, of Dresden, and Madame Seiler
be adopted, of beginning with oo, and then changing the vowel into aa, thus oo-aa. The oo puts the
mouth in a forward position and so prepares it for
the best quality of tone that can be got on aa. Of
course the teacher will be careful not to stop at oa
or au on the road.
:
As aa
marked
pitch.
is
we do
Manual, p.198.
138
i-IXTH STEP.
soprano.
au
as
'
.',
Co.
(New.)
Ex.
3746
oa.
as in load, shoal, coat, blow, hoe, globe,
grove, most, folk, though.
The tongue lies flat
and free in the lower jaw, in the same position as
for aa.
The lips are much more rounded than for
au, a considerable portion about the corners being
quite closed.
But the teeth inside the lips should
be kept well apart, and the lips should not be pursed
or outwardly rounded into the shape of an 0, as
either error much impairs the quality of the tone.
In the South of England there is a tendency to
finish the vowel by closing the hps still more and
raising the back of the tongue, producing a final
oo
this should be avoided in singing.
In many
places the larynx is too much depressed, producing
the broader sound ao, which too closely resembles
au: this is particularly unpleasant to a Southerner.
Care must also be taken not to commence the vowel
with a sound resembling and then finish with oa ;
this arises from not rounding the lips at the moment
of striking the vowel ; it is very common and should
be carefully avoided. The Cockney fault of almost
;
We
Add. Exs. p.
17, sc. 3,
13S
SIXTH STEP.
Ex. 277280.
Grote, abroad
French eu
CNewJ
is
The
ai,
wise
of the speaker,
the
lair,
ee.
'
more convenient.
Ex. 280. Practise this vowel in Key B and in
the manner described above. Men should guard
Fit.
short,
flat,
still)
blood, rough,
almost
(as in
I.
140
SIXTH STEP.
loose
in the Provinces.
As a short vowel it is the commonest of conversational sounds and all our unaccented vowels
have a tendency to fall into it.. But notwithstanding this, many writers on elocution condemn it as
slovenly and obscure. In the South of England
this vowel is long before E in accented syllables,
the B being generally omitted, as in mirth, earth.
In none of these should e long (the modified ai of
air) be tolerated.
Other examples are in nurse,
purse, murmur, word, world. In these a deeper
sound, made by lowering the back of the tongue
and much heard in the West, should be avoided.
No approach to aa should be allowed. In both
these sets of words tho singer must learn to insert
the r as a very slight rapid trill following the
vowel. In Scotland these sets of words are pronounced with different short vowels before a trilled
r'.
Ex. 281.
the manner
Practise
and in
In order
Ex. 282.
Comparison exercise as
above.
Ton
soap, sun
sewn, rut rote, rum roam, stirring starring, bird
bard, occurred card, deterring tarring, serve salve,
tone,
Ex. 281284.
Ex.
Ex. 133.
p. 21, sc. 3,
m.
3,
" glass."
The unaccented
in idea, China, against, passable, is generally pronounced w and may be so sung, but the effect of a'
(see aa,) or aa, is much finer in singing and is always
admissible.
See Add. Ex. p. 47, sc. 1, " alone,"
and
p. 34, sc. 4.
m.
4,
" around."
Any
final trilled
final,
Singers
should never sing/,K, without any vowel when there
the least excuse for their inserting one, as the
quality of their tones is so bad.
Ex. 284. Practise this vowel in the Key
and
in the manner described above, Ex. 274.
is
SIXTH STEP.
Ex. 285289.
-Comparison
Ex. 285.
exercises as above
pat
pad
e. short,
pate pat, bet bate bat, tell tale tallow, dell dale
dally, kennel cane can, get gate gat, fell fail fallow, sell sale Sail, shell shale shall, let late lattice,
met mate mat, neck snake knack.
i.
as in hip,
lynx.
The
Such words
seat, greet, bead, heed, seek, scene."
as " happy, vanity, unity," have constantly a
long tone to their last syllables, which must never
be called ee. See prolonged i in St. Co. Ex. 116,
St.
Co.
(New.)
41
3,
"
fill,"
'
baby
be,
a palfry
free,
Key E
in the
exercises as above
let
with ugly
make worthy
thy enemy me, a flashy she, best
the glassy sea,
city tea,
they
fit
asin
full,
is
bulwark, bullion,
Pulham,pulpit,pullet,butcher,cushion,cushat,sugar,
cuckoo, huzzar, huzzay hurrah! push, bush, to put.
!
of put has .
The word fulsome is
pronounced hoth ways. All other words with u
short have w not uo. In blood flood, oo is sounded
w in soot hoth u and uo are heard.
Ex. 290. Comparison exercises, as above pool
;
puss.
o.
The
as in nod, pond, stock, odd and dog.
tongue, teeth and. lips are precisely in the same poHence
sition as for au, but the larynx is lower.
sound has often been thought to be the same as
au short, and most elocutionists put it down as such
But if any singer inadvertently prolonged the name
of God into gaud, he would feel ashamed of the irThe following exercise will shew how
reverence.
the sense may be utterly destroyed by not attending to this distinction. The difference between au
and o t is of precisely the same nature as that between ee and i, ai and e, oo and uo. Let the student
prolong odd, he will find it distinct from awed.
Next let him shorten awed as much as possible,
and he will not get odd. Foreigners usually say ao
short in place of o, which is a peculiarly English
vowel. The accented syllable or when no vowel
follows is nearly always aur' the au is long and
the r' should be slightly trilled for distinctness, though
The words
it is frequently altogether omitted.
" soft, often, office, broth, groat, gone, cross," and
sometimes " dog, long," especially in America, are
pronounced with au, but either o long, or ao long
this
St.
Ex. 2902,
SIXTH STEP.
142
The game
Co.
(New.)
Diphthongs. There are four principal diphthongs in the English language ei as in height, oi
It will
as in foil, ou as in foul, and eu as in feud.
be convenient to treat along with the Diphthongs
the vowel ao, as in pore, because although it is not
a diphthong it is used in English only as the first
merely
two
element of one. A diphthong is not
vowels put close together. The word " cawing"
might be repeated ever so quickly without its two
vowels producing the sound of oi as in "coin."
The two vowels must be cemented and bound together by the Glide already explained, p. 61.
Thus in the phrase " papa is a Tonic Sol-foist,"
we have two cases of vowels put close together.
The second vowel in each case has a clear separate
"attack." If we allowed the voice to continue
while the organs are passing from one vowel position to another, we should make these double
vowels into diphthongs, thus, " papeiz a Tonic SolLet it be noticed that the common letters i
feist."
and u, as usually pronounced, are really diphthongs
though single letters, and that the sounds au, ee, etc.
are simple vowels although they have two letters, and
One
are hence properly distinguished as Digraphs.
;
Ex. 2936.
SIXTH STEP.
143
widest opening.
This diphthong
ei.
as in I, eye, isle, buy, tie.
very variously pronounced in speaking. The
second element is always the same, i, not the foreign
sounding ee. The first element, although it has
the principal stress, is extremely short and dimcult to catch, hut is generally u, a' (not a) or aa.
The stress suggests to the singer that the first vowel should he dwelt upon, hut its indefiniteness, as
spoken, leaves him to chose his own vowel, and he
The Glide between act and
salectsthe beautiful aa.
"When ei has to be susi should he very marked.
tained, in'singing, prolong the pure aa sound, and
finish rapidly, clearly and distinctly with the glide
and i. See St. Co. Ex. 65, sc. 2, Ex 116, last word.
Ex. 293. Sing the following pairs of words on
any tone, being careful not to raise the pitch on the
Sing the first word of each pair as
final sounds.
Pie pipe,
short, and the second as long as possible.
i3
buy
sigh
fife,
thy scythe,
joy.
nounce
and the diphthong eu quite pure in singing, whatever may be your practice in speaking.
Ex. 296. Sing as above: lieu, lute, iUumine,
new, news, nuisance, newt sue, consume, resume,
Ex. 294.
Anoint, ointment,
oil, boil,
Co.
(New.)
as
alternately,
of the effeot
SIXTH STEP.
144
Ex.
297
"Amen"
common
The Chant.
key of
Tunes.
There were metrical hymns, as
distinguished from prose chants, in the earliest ages
of the christian church, and although " time " and
"measure" were not then written in music the
tunes for these hymns were necessarily sung with
the accents and measure of the hymns. At the
time of the Reformation many of the old Latin
hymn-tunes were revived, and others made. The
attempt to sing them with large masses of voices,
in simple people's harmony, encouraged musicians
to study the progression of plain sustained chords,
and so helped to form modern harmony. It is still
this march of plain chords which is the glory of
the hymn-tune. The introduction of chromatic
resolution of unprepared discords other than those
which (like 7 S, 7 T, ' se Jf, and 7 S) are familiar to
the common ear of difficult transitions and moduof the sharp
lations like those in the Tonic-minor,
sixth of the minor bah, except when moving from
and to the seventh se, of extreme compass for the
" parts," and of difficulties in time is ruinous to
the congregational character of a psalm or hymntune. Let not the precentor be misled by the great
names of composer, or harmonist attached to such
tunes. Very few great composers ever taught a
psalmody class or took the trouble to make themselves acquainted with the capacities and incapacities of the common people's voice.
have
many hymn-tunes for the Organ and many for the
Choir, but only a few for the People.
England custom
of ending ai
with
Forms
of vocal
(New).
Hymn
known,
The South
Ambrose.
syllable.
Ex. 297.
or E.
We
m.
.,
more
fully.
8IXTH STEP.
The speed
its
145
class.
To the third class of hymns, tunes must be
adapted which give no special effectiveness in their
melody either to the strong or to the leaning tones of
the scale. These non-emotional tunes have generally
a step- wise' melody, and they cannot he much altered in mental effect by speed of movement.
Different speeds are used for the same tune in
different place's, but the natural force of habit prevents any great change of speed in the same tune
at the same place.
To some extent however change
of sentiment from verse to verse may be indicated
by change of speed. If the congregation are accustomed to the ways of their precentor, a bold
tone or two from his voice will rouse them into
Anthems differ from hymn tunes in giving musical expression to particular words rather than to
the general sentiment of a hymn of many verses.
See "Hear me when I call" p. 17, and " 0 Saviour"
The anthem i3 free to introduce repetitions
of music and words, the silencing of parts, and f ugal imitati jns, which are inadmissible in a hymn of
many verses. Although these contrivances are esp. 85.
weak
Co.
(New.)
SIXTH
46
My
anthem, into several distinct movements, one relievvariety of style, the general effect of the
See "Swiftly " p. 29, " Come let us all"
" p. 50, "Awake" p. 62, "The
p. 24, "The Spring
"
Stout limb'd oak " p. 77, and " Ye spotted snakes
glees will bear a number of voices on
These
81.
p.
each part, though great care should be taken to
ing,
by
its
others.
secure unity and delicacy. But many^ glees contain too minute divisions of time for this. Instrumental accompaniment was never intended for such
glees and would defeat their object in displaying the
But accompanied glees have been written
voices.
by Sir Henry Bishop and others, in which the instruments play special parts and produce special
effects.
St.
Co.
fNew.)
man
England,
com-
and
Henry Smart (pp. 45 and 88). The Harmonized
Air is practically a part song, but from the nature
of its origin a greater comparative interest attache?
"How
" of it.
Round is a
called a "fugal imitation
canon with one subject, and in one " part " which
is taken up successively by the different voices.
SIXTH STEP
Fugue does not require its subjects to be imitated exactly as in a Canon, or through their whole
length. But it is a more lengthened piece and is
more varied in the treatment of its subjects. It
allows the parts which are not engaged upon the
subject to sing beautiful phrases, as Accompaniments, which should be delivered in a subdued
manner. It also permits short interludes or distinct Episodes, and various kinds of Closes, in
which the Subject does not necessarily play any
part.
arein
"Bon Accord"
p. 11,
p. 19.
by the
Co
(New.j
147
SIXTH STEP.
148
No
the middle part gives only the first and last portions.
With a very close Stretto (after only one measure)
the Tenor again introduces the Subject in the same
way as the Soprano. At the bottom of p. 59, is a
brief interlude.
On p. 60 a new Subject is introduced in the Soprano with a Counter-subject in the
Tenor to which there is immediately a response
in the Contralto with the same Counter-subject in
the Bass. Then follows an Episode of fourteen
measures containing phrases imitating those of the
previous Episode. Once more softly and alone p.
61, sc. 2, about three quarters of the original Subject is delivered by the Contralto, but before it is
finished the Soprano takes up its closing phrases,
and the Tenor re-echoes them. A short cadence
concludes the piece. In singing music of this kind
it would be well for the Singer to mark in his own
part, all those passages or phrases which contain the
Subject, the Besponse, or the Counter-subject, and
to sing them with clearness and vigour singing
everything else except the Episodes in a very soft
;
In " How lovely " p. 58, a Subject of eight measures commences in the Contralto, and after a full
measure' s interval the Bass takesup the Besponse an
octave below. After a measure of interlude there
enters p. 58, last score, an Episode of ten measures
containing imitative passages, and passing into the
Then p. 59, end of sc. 2, the Subfirst sharp key.
ject re-appears in the Tenor, but only the first half
Before this is concluded the Soprano takes
of it.
CNewJ.
* See other
An Opera is a play in which the actors sing instead of speaking their parts, and which is accompanied throughout by a band. While developing
some exciting story, it gives opportunity for the
introduction of a great variety of musical forms.
It might be supposed that this union of four arts,
poetry, music, painting, and acting, to excite lively
SIXTH STEP.
Ex. 299.
theirs should
Choral Contrivances. As we have often had occasion to notice that some even of the great composers are quite cruel in their demands on the vocal
compass,
itisequallyfairforaChorus-leadertobor-
St.
Co.
fNew.)
149
interest
|f :r
r :f
Id :s
n :d ||
It is important to cultivate the medium resonance
as a habit, from which to vary as the sentiment
requires.
Some persons always use the sombre
|
SIXTH STEP.
160
Farinelli,
collapse."
Co.
(New.)
* "
to
we make
Is.
in C|
304 to 307),
Keys from F 2
Keys from C|
Tenors.
B|
D m and
f.
in
Keys from E|
to
InCd, fanddl;
D.
A m and 1
Keys from B| to
in Bb r and s.
BJj.
In
G f and t
Exercises with
worked thus
be
Basses.
to
Ah
down
Ex. 300.
,m ,f
keys Bb, up to F.
:m
,f
M.
St.
Ca.
A ml
in
fj.
60 to 132.
l
|f ,s,l :s ( l ,t
l,t,d':t a ,r |d
|r
laa.
t,
in
No break.
to Db|.
t.
Sopranos.
in
to
s.
Contraltos.
in
In D, s in E|
In A| d and 1
to E|.
Bs
f ; in
1.
dl,
Tenors.
1
in
Eb
151
to
In C|
SIXTH STEP
Ex. 300.
dl
:d
(New.)
:s
|d
,1
:l,s ,f s ,f ,m :f ,m ,r jd
Skaa
d
laa.
t
:1
:f
:t.
id
SIXTH STEV-
152
Ex. 301.
/res
keys
cm
60 to 132.
do.
1 ,8,1 :t,l ,t |d'
Skaa
:d
laa.
:d
t,
:m
|r
B up to
keys
Ex. 302.
.n :r .d
n.s:f
|t,
:-
|t .r
|s
Ex. 303.
|r
:-
up to E.
keys
:d .n r .f :m .s |f .1 :s .t
Is .t
:1 .8
|n
M. 60
|d>
laa.
:d
ti
Ex. 304.
|r
keys
id.ti :d
:n
B up to E.
:s
M.
|m
3
,1 ,s
:f,s ,f
m,f ,m:r,m,r |d
:r
laa.
:f
:t,
s .t :1 .s
|1 .d
|f
:t .1
t .r'rd'.t Id
laa.
|d
u
en
do.
i .1 :s .f |n .s :f .n i .f :n .r |d
laa.
t,
:dM
|t .s
:1 .f
s .n :f ,r |d
:1
|s
:f
|d
:-
Id
|d
n'.d' r'.t
Skaa
laa.
:r
80 to 160.
n,r ,de:r
f ,Pi,re:n
s,f
,n
Skaa
r
>
1 ,s ,fe:s
,1
,se:l
d'.t.lejt
la,
>
d
r'.d'.t
:d'
d'.tjeit
f ,n,re:n
n,r,de:r
,1
,se:l
Skaa
1
s,f,n :f
laa.
d
Si.
Co.
(New.)
|d
to 160.
1 .d':t .r
Skaa
min
1 .d':t .1
do.
>
t 4',t :1 ,t,l
Skaa
do.
.n |f .1 :s .f
rd'.t
d',r',d'
to 160.
(sen
:n .r
di
d'.n'.-r'.d
;s
|r .f
|d
M. 60
E.
ores
Skaa
:d
urn
M.
up to E.
1 ,s ,f e
|d
SIXTH STEP.
it
:i
.t
concludes.
remark on p. 33 that strength is obtained by somewhat forceful exercise, and by the careful use of the
crescendo passage .and the explosive tone, but
:n
153
The Teacher
always be
It
it
.1
remembered, with
as little breath as
:s,f.n,r
Id
laa.
:d
3>
t
>
.1
[r
:s,f.n,r|d
>
:n
|f
ti
:d"
If
.s
:i
,t
laa.
Ex. 306.
keys
Bb up
to
M.
A.
40.
:-
|S
:f,n,r |d
II
:- U
:-
|n
:d,ti,li
1-
s,
:-
Si
:-
:-
|-
S|
Skaa
laa.
|x
d>?
:-
:-
:-
f
Skaa
f
laa.
:--
|-
:-
si
pi
|r
:t,.l,|s,d
laa.
St.
Co.
(New.)
SIXTH STEP.
54
key Bb
Ex. 307.
Id
:1
to
A.
:
|s
M.
72, 60
&
50.
:r
|d
: ,
Id
:-
Id
|d'
id
Id
P
:t
:-
Skaa
f
/
I-
LAA,
Skaa
/
n
Skaa
r
LAA,
t|
/
I-
LAA,
Skaa
t|
LAA.
/
m
Skaa
LAA,
I"
LAA,
:
/
f
LAA,
Skaa
. Co.
flfntj
LAA,
LAA,
Skaa
Skaa
:f
Skaa
I-
t|
:s
{
LAA,
P
Skaa
r
|f
:n
.-
Skaa
:r
LAA,
lac
Skaa
laa,
Skaa
Id
{
LAA.
SIXTH STEP.
Ex. 308.
These exercises have added to them, here, an accompanying upper part to he sung piano.
een
ores
:-
165
:s
If
:t,
A P.
dim.
do.
'
:r
:r
in
Skaa
Iaa.
.1
:t
d'
.r
:n
.f
|s
:-
Ex. 310.
Ex. 309.
d
d
|t
:t .1
is .f
d
:m .r
:-
The Shake or Trill is an ornament much cultivated by the solo singer. When performed with
great evenness and accuracy it produces a very
delightful effect upon the hearer.
It consists in
rapidly alternating the principal tone with the tone
When a shake is introduced
above it in the scale.
in a close, it is usual to commence it by accenting
the principal tone. Thus if the cadence is r. r d
r
r
the singer would strike r
&c, accenting
r de r.
When a Shake
the r, and ending thus
is introduced in the course of a song, for mere ornament, it is usual to commence it by accenting the
r
r
r &c, accenting the
higher tone thus
r de
r.
Mdme. Seiler
and closing thus
says that the most beautiful trill is formed by
r
r, accenting
practising triplets, thus
r
She refirst the higher and next the lower tone.
commends that the trill should be practised at first
always piano, to the syllable hoo on each tone, and
afterwards with other syllables slurred.
The
mouth, she says, must continue immovably open
and the tongue must lie perfectly still. The
afterwards
trill must be sung very slowly at first
quicker and quicker. But it is no trill directly the
two tones lose their distinctness.
|
m m m
m m m
m
m
m m m
:
St.
Co.
.t,
(New).
:n
:f
id
:s
::
|d_
im
and
Thus Haydn
writes,
||
SIXTH STEP.
156
The Turn.
mon,
consists of
which
triplet of notes
:sfm.f |m
thus,
f
As the writing
||.
of this Turn would spread out the music too much
better to employ the sign of the common notathus ~. The inverted Turn consists of a
triplet of notes beginning below the principal note.
Thus d d with an inverted Turn of the second
|
it is
tion,
note would be |d
:t|dr.d
The sign
[|.
When either the first or last note of
for this is
the triplet has to be sharpened, this will be expressed
by writing, in small size, the altered note under or
fe
over the
~. Thus
re
would be sung
femre.m
||.
Both these Turns when used in a cadence may sometimes be allowed to delay the time, but not when
they occur in the course of a piece. They should
be delivered with subdued voice, but with great
clearness.
The direct turn gives spirit to the expression, the inverted turn gives tenderness.
High
from nature,
tones, wrested
THE CEETIFICATES.
The Tonic
Sol-fa
distinguished from
other efforts to
promote music among the people byits
System of Certificates for practice and
theory. These certificates have grown
into common use and general acceptance, partly through the good will of
teachers and pupils towards the method
and their desire to testify a grateful
love a proud fealty to it, but chiefly
because of their proved advantages.
For the true pupil they find out (what
he wants to know) his weak places,
all
merely
certificates, by
class, lesson by
SIXTH STEP
i6*
DOCTRINE.
1.
What
meant by transition
is
of
employed ?
more
difficult
memory.
vowels.
18.
11.
What is the mental effect of asudden change from loud to soft on
?
Give illustrations.
12. What kind of passages should
be sung with a gradual change from
?
Give illustrations.
What
13.
change from
tone ?
How
single tones
soft to loud
common
St.
Co.
(New.)
in your neighbourhood
What
diflicuities
vowel?
What wrong
p. 138.
What are
with?
21.
occurs,
voice
ency to change
How
is
this
vowel
commonly mispronounced ?
23. Mention three words in which
the sound ee occurs, though not so spelt.
the tongue and
teeth in producing eel In which voice
and at what part of its pitch is this
What
is
is this
SIXTH STEP.
158
in
pitches ? What aef ects do you notice
the pronunciation of this vowel ?
Mention three words in which
27.
them at
the 'sound i occurs, in one of
What
of this vowel?
28.
nunciation of o?
30.
How is
the
pronounced before a
my pronounced ?
How
an Anglican Chant
the sound
spelt.
What
spelt.
what
is
St. Co.
(New.)
does
of didactic
58.
emotional
differ
and in
them
63.
65.
Pa
Glee
146.
What
Choruses
53.
is
are
is
flexibility
voice
of
is
How
secured
p. 146.
is a
What
contrivances
How
Song??.
choral
should
English
is
66.
In what respect does a wide musical pipe differ in its effect from a narrow
What
What
When
difficulties
do Anthems essentially
Hymn
its
HowdoesaRecitativedifferfrom
the good recitation of a Chant ? How
should Recitative be sung and what is
from
and what is
an Organ-point, and
61.
is
is its effect
Counter-
distinct
Stretto,
effect ?
What
60.
what
one
of
What is
59.
the place
subject ?
and varied
.
occurs,
Fugue
hymns
various exposi-
its
is a Response in Fugue ?
it commence the first time
and what are some of the
various ways in which it is treated ?
What
45.
meant by
67.
Where
it
How
best suits
character
is
tions?
How
the diphthong
what
slowly?
p. 147.
How
Canon ?
ward voice
cultivation exercises
SIXTH STEP.
74. In what does the Shake or Trill
consist 1 In what case does the singer
usually accent the principal tone, and
how does he close 1 in what ease the
upper tone, and how does he then close?
76.
giatura,
Sol-fa notation
77.
is
it
Appoggiatura,
expressed in the Sol-fa
is it
recommend
Seller
159
and how
notation?
it
p. 155.
written?
What
irregularities
are
com-
PEAOTICE.
Sing your part in Exs. 243 to 248,
80.
whichever the Examiner chooses.
81. Ditto Exs. 249 to 255.
82. Work Exs- 256 to 259, whichever
the Examiner selects.
83. Work Exs. 260, 261, whichever
the Examiner selects.
84. Work Exs. 262 to 271, whichever
the Examiner selects.
85. Work Exs. 272, 273, whichever
the Examiner selects.
86.
Sing any one of the Exs. 274 to
280 which the Examiner may select.
87.
Sing any of the Exs. 281 to 291,
which the Examiner may select.
Sing Ex. 292.
88.
89.
Sing any of the Exs. 293 to 298
which the Examiner may select.
90.
Sing (if your voice is bass) to the
correct vowel " passing by " Add. Ex. p.
79, sc. 3, m. 4, second bass,
"go" Add.
Ex. p. 33, sc. 2, last note, bass,
" amain," Add. Ex. p. 64, sc. 1, "be"
Add. Ex. p. 71, lstpulse,"love" Add.
Ex. p. 61, sc. 3, m. 3.
91. Sing (if your voice is soprano)
to the correct vowel, " la " Add. Ex. p. 8,
sc. 5, m. 3, 1st note,
" storm " Add.
Ex. p. 95, sc. 2, m. 3," roar " Add.
Ex. p. 64, sc. 4, m. 1, 2, 3, and 4,
" troops " Add. Ex. p. 20, m. 4,
"shadows" Add. Ex. p. 43, sc. 3, m. 6,
the last syllable St. Co..
Ex. 172.
92. Sing (whatever your voice) to the
"Amen"
St. Co.
4, "along"
93.
Sing,
St.
Co. ,
Ex.
m.
62, sc. 4,
Ex. 175.
using the vowel aa
St. Co.,
first
instead of a.
which
Of
i is
6.
100.
which u
of e.
101. Find a word in Add. Ex. p. 77
in which e is sometimes sounded instead
of u.
102. Find words in Add. Ex. p. 3 in
which ee-aa is sometimes sounded before
r instead of
ee
u.
103. Find cases in St. Co. Ex. 144
the " before a conand 145 in which
sonant is sometimes sounded thee instead
"
of thu.
104. Find cases in St. Co. Ex. 144
and 145 in which " the " before a vowel
is
thee.
of the fugal
imitiations in " Hallelujah Amen,"
Add. Ex. p. 26.
111. Write a fugal analysis of the
movement in " Theme sublime,"
first
160
APPENDIX.
0HEOMAIIC TONES.
:n
Jf
|n :re :n |r :de :r |d
:f
:- :-
||
Sharps,
Scale.
also be
ta
ie
la
se
s
fe
de
re
la
fe
fe
se
na
le
ra
ta
There
The
pi
na
re
r
de
d
The commonest and easiest use of Chromatic
notes is as waving tones coming from and returning
to the note a little step above or below.
Example of First Presentation: Sharps. Teacher
sings to laa, and points on modulator d t, d several
times.
He then does the same with s fe s. Withre
out pointing be then sings, also to laa,
several times, questioning the class, varying it with
r m, and making them feel the resemblance to
r m.
d t, d and s fe s, and the contrast with
He elicits the fact gradually that the new note is
higher than r then names it, and gets the class to
sing it.
He then explains the names for all the
sharps of the scale, de re fe se le, and gives
copious exercises on them, always waving from and
to the tone next above.
Flats.
These must be taught by comparison with
f m. Unlike the sharps they are most easily
approached from the tone below. Thus
ta
they
ra
na
Sharps.
n r de r
d r
re n d re n
n re
pi
f re m
se
se
fe
fe
le
le
le
d'
le
le
le
f r de r
de r
ren
re f
d t ta
d>
ta
la
la
na r
d'
PI
de
Flats.
d r na r d na r
ra d
t|
d ra d
t.
la
la
f n na r
ta
ta
pi
d'
la
d'
la
d r na r d na r
d'
ta
d'
ta
la
s
d
ra
d
Exercise on Waving Chromatics.
j|d':t :d' It :le :t II :se:l Is :fe:s
r ra d n ra d
St.
Co.
(New).
la
la
APPENDIX.
OHEOMAIIC TONES.
principle,
Transitional Models.
It
be noticed that
will
in the
tor
Se.
Minor
Augmented Fourth,
If
se:
If
:n
se:l
:1
'
Diminished Fifth, or
Imperfect
Augmented Fifth
Major Sixth
Minor Sixth
Augmented Sixth
Major Seventh
|f
I-
I?
se
If
:1
:1
se
se
t
T
Minor Seventh
se
m
d
re
s,
t,
10
11
10
9
12
d'
as 1, d or as d ma.
The teacher may, therefore,
point Voluntaries which exhaust any one interval,
presenting it in all its forms in the scale, both ascending and descending.
For example, a succession
of
se
:1
If
Diminished Seventh
Octave
1
m
re
i'
dl
d
f
1
J
t.
re
4
2
Perfect Fifth
se
or 1
Pluperfect
Diminished Fourth
pi
2
3
Diminished Third
Perfect Fourth
Example.
Semi-tones.
1
Minor Second
Major Second
Augmented Second
Minor Third
Major Third
key in
This
161
Intervals.
The Chromatic tones may also be
studied from the point of view of intervals.
"Without going into the subject of Intervals generally, we
may explain that for the purposes of Intervals the
scale is divided into twelve little steps, each of
which, roughly speaking, is of the distance between
d tj .
The following table shows the number of
semi-tones which each interval contains :
Fah,
by
Minor Seconds
t, r de m re f n s fe 1 se t le d' t d'
In reverse order
d le t se 1 fe s n f re n de r t| d
These two exercises, it will be observed, also comprise Minor and
Diminished Thirds.
Another
exercise on Minor Thirds would be
DoK Se
II
:-
Id'
Id'
:1
:-
:d'
II
:se II
:d'
se
:-
Id
se
II
Co.
{New).
li
t|
t|
ma
nnsfflasstal
Which
li d
r d na r f n
la
ta
This process can be continued with the easier inhut with the wider and more difficult ones
would involve melodies which would be practi-
tervals,
it
C.
se
ma
are much more common than flats, and flats (because they are less often encountered) are more
The best way is for the teacher
difficult to singers.
to point both by turns, and when he wishes his
voluntary to be specially searching and difficult, to
prefer flats.
Gt>.
dr
be wished
The
pitch, if any, can then be ascertained.
following will serve as a specimen of a somewhat
advanced voluntary on the Extended Modulator
of
Go. (New).
dl
r'
d n
1|
Eb.
i't 1
d'
Dfc).
id'
*1
d'
Ah.
n f
i,si
1,
t,
li
Ab.
si
i,s
1,
1(
t|
1|
d'
is'
n r
t,
1|
ti
d'
c.
f
In
this
0.
s
d'
n'
d'
t|
ir
d r
Bb.
d f n
r
The
these
1.
Ab-
t|
d 'n
d r
!,n se t 1 d'
f r
t,
1,
s,
nls-df n0.
Eb.
r l,
r'
F.
Eb-
d
- t
1
ael
n r
1
ri'
principles
Extended
It is to
that the Extended Modulator, which gives the complete range of keys, may become more common, and
supersede, for advanced pupils, the small sectional
It affords far better practice to the
modulators.
pupils, and gives much greater scope to a teacher
whose fancy for the invention of melody is active.
In using the Extended Modulator the teacher should
Each column reabsolute pitch.
observe
always
presents a key, and in the proper key the teacher
should start. As a rule it is best to begin in C and
return to it at the close of the voluntary. The loss
St.
Eh.
l n d
tlifnsfnrftid t|drn
C.
Intervals. Notice
that intervals
formed by two adjoining notes are seconds, however
either of the two may he inflected
those formed by
Thus
three adjoining notes, thirds, and so on.
d ra, d r, and d re are all seconds (Minor, Major,
and Augmented), as also are f fe, f s, and f se. On
the pianoforte d re is the same as d ma, and f se
But in the language of intervals
the same as f la.
they are different. Thus d re is a second (augmented) because the sounds from which it is derived
is a third
(d r) are two adjoining notes, and d
minor) because the interval from which it is derived
d and m) is formed by three adjoining notes.
ma
n d n s d
G.
Naming
CHEOMAIIC TONES.
APPENDIX.
162
Take a phrase of
and having
3.
Bo
i.
new
new
key.
tones
A
is
All good
Alexander J. Elms, who has kindly added the pronunciations to the following words,
states that they are mere English imitations of Italian, but that a very near approach to the true Italian
pronunciations will he made, if in those given ai is never allowed to vanish into ee, or oa into oo if act be
used always for a, and ee for i the broad ae (St. Co., p. 140) for e, and the broad ao (St. Co., p. 143) for
o
if also the consonants which are here doubled, be really doubled in speech, as in " book-keeping,"
"boot-tree," "mis-sent," "un-noticed "; and r' be always very strongly trilled.
Italians do not generally
pronounce their vowels so short as English short vowels, or so long as English long vowels. The full stop
turned upwards ( ) in the middle of a word, throws the accent on what precedes. If there are two such
in one word, the first one has less weight than the second.
Note.
'
Allegro
con Spirito
"With
quick.
koan
(alleg-r'oa
spee-r'itoa)
spirit.
Allegro di Molto
moal-toa), exceed-
(alleg-r'oa dee
ingly quick.
Allegro veloce
lute rapidity.
giatura.
Ad
Affettuoso
pathos.
manner
ex-
and
agility.
Allegro (alleg-r'oa), quick, lively. Sometimes modified by the addition of other words, as follows
Allegro Assai (alleg-r'oa assaa-i),veiy quick.
Allegro con moto (alleg-r'oa koan mo-toa), with a
quick lively movement.
(alleg-r'oa veevaa-ehai),
with vivacity.
Andante Cantabile
and
in a singing style.
mo-toa), slow
and
with emotion.
pressive of grief.
Agilita, con (koan ajee-litaa-), with lightness
Allegro vivace
Andantino
Andante,
{an-dantee-noa),
little
slower than
moving gently.
with animation.
Anima con (koan an-imaa), with soul, with fervour.
A plomb (aa ploan'), French, ' indicating French
nasality,in a decisive, firm, steady manner.
Appassionato (appas-sioanaa-toa), with fervid, im-
Animato
(an-imaa-toa),
passioned emotion.
AgfOggia.tax&(appod-jiaatoo-r'aa), a forestroke.
MUSICAL TEBMS.
164
Ardito (aar'dee-toa), with ardour.
A tempo
A.
change in speed, to
return to the original rate of movement.
tempo giusto (aa tem-poa j'oos-toa), in strict and
\aa tem-poa), after a
equal time.
A tempo
better
(oudaa-ehai),
fearless,
(aaoo-daa'c/tai),
bold,
impudent.
Ai
(al,
all, al-laa,
al-lai,
Bene Placito
(bees),
(bis)
in.
passage in-
twice.
by
degrees.
(kan-tiH),
in a
smooth, melodious,
pi.
cantioi
Devotional song.
Canto (kawtoa), the highest part in a piece of vocal
music.
Italian.
Italian.
with the.
(deekai-nei), Latin.
Some-
the beginning.
Decrescendo
(dai-kr' aishen-doa),
gradually decreas-
(dailee-ber' aa-toa)
Demi
(dem-i), English,
cantore
Diluendo
(dee-loo-en- doa),
(kantoa-r'ai)
term used in
"anzonet
A half.
force, until
A singer.
tsoanait-toa), Italian.
deliberatamente
solving.
Latin,
adj.,
English, cantioo,
Cantor (kan-taur'),
(ko-r'oa),
singers,
staccato.
(leantab-ilai),
Canticle
Latin, coro
koal-loa),
(bravoo-r'aa),
Cantabile
(kaor-r'us),
A band or company of
spirit.
a clear, distinct,
as Latin; twice.
by a stroke to be performed
dicated
Bravura
or
character,
Chorus
Audace
short song.
Diminuendo
(deemee-noo-en-doa),
diminishing
the
force.
Di Molto
(dee moal-toa),
much
or very.
MTTSIOa-L
Dnett(deu-et-), English, Duetto (doo-aiftoa), Italian.
(ai,
English.
(ek-oa,
Italian,
echo
(ek-oa,
Espressivo
(gaa-yaamain-tai),
Italian,
Gaiement
with
gaity.
Giusto
(gran-dai), great.
Grave
ment.
Grazia,
oo-oa-sitaa-),
ek-lcod)
Gajamenta
con
165
II, (eel),
Impeto
aid), and.
Eco, Ecco,
Grande
TERMS.
(koan gr'aa-tsiaa),
graziosamente,
impetuosamente (impet-oo-oa-samain-tai),
with impetuosity.
Imponente (im-ponen-tai), with haughtiness
Impromptu
(impr'om-teu),
Latin,
an
adv.,
extempo-
raneous production.
Improvvisamente
(im-pr'ovvee-samain-tai),
extempo-
raneously.
La
Lagrimoso
(lag-r'imoa-soa), in a
mournful dolorous
style.
Ma
(mad) but
maa non
as
allegro
tr'op-pod), quick,
ma
Maesta, con, (koan maa-aistaa-), maestoso (maattistoa-soa), with majesty and grandeur.
'
Meno
Mesto
sadly, pathetically.
166
MTJ8I0AI,
Mezzo
(med-dzoa
observe not
Moderato
(mod-air' aa-toa),
met-tsoa),
half,
moderatamente
adj.,
mod-air' aa-tsioo-nai),
as
(koan
quickness.
extremely
as motto allegro,
very quick.
Molta voce, con (koan moal-taa voa-chai) with full
(mor'en-doa), gradually subsiding, dying
away.
Moto, or con moto (mo-toa, koan mo-toa, almost
mau-tod), with agitation.
Nobile (nol-ilai), nobilmente (nob-ilmain-tai), with
nobleness, grandeur.
Non (non) an adverb of negation, generally associated with troppo as,
Non
much
as non
(al pyaaeAai-r'ai),
at pleasure in regard to
meaning
piuttosto allegro
rather
alleg-r'oa),
(al'legr' ait-toa
quickly,
or
o pyeuttos-toa
in
preference,
quickly.
Poco
Poco
Poco
Poco
meno
little.
somewhat
(po-hoa mai-noa),
less.
pau-koa)
by
degrees, gradually.
too
much
as allegro
Obbligato
Obbligati
(ob-blig aa-tee), pi., two or more indispensby different instruments in conjunction with the principal part.
Oppure (oppoo-r'ai), or else.
(or'dinaa-r'ioa), usual
Poi
(po-ee
Ordinario
slower.
time."
sively.
quick.
molto allegro, not very quick.
Hon tanto
rather
voice.
Morendo
Hon molto
Pa.ssiona,ta,mente(pas-sioanaa-tamain-tai), passionate
Piacere al
rate time.
Molto
TERMS.
as a tempo ordi-
pr'echee-pitaa-tsioa-nai),
precipitoso
(pr'eehee--
Prestissimo
(pr'estees-simoa),
exceedingly quick,
Primo
(pr'ee-moa) , first
voice,
like
an
allegretto.
MUSICAL TERMS.
form
(ket-od), with,
more
(r'apee-dnmain'taf),
1
(Jcoim r'apee-ditm ),
rapido
con
rapidita
(r'myidoa), rapidly
with rapidity.
Battenendo (r'atfenen-dod), restraining or holding
back the time.
Eavvivando (r'wvivmvdoa), reviving,
re-animating, accelerating, as ravvivando
animating or quickening the time.
(r'eeh-itan'doa),
il
tempo,
of recitation.
Becitativo
a species of musical
recitation.
Beligiosamente
(r'ailee'Jioa'samain-tai),
tional tone
religioso
in a solemn style.
(r' ailee-jioa'sod).
(r'in'fortsan'doa),
for'tsaa-tod)
rinforzo
rinforzato
(r'infoS-tsoa),
(r'in'-
with addi-
and emphasis.
Bisolutameate (r'ee'soaloo-tamam-im),ri80lvLto
ehitaa-),
Sempre
(r'ee--
Senza
(sain'tsad),
and serious
style.
without.
daa'tod),
(r'ee-tenen-doa),
slackening.
(r' ee'tenen-tai),
holding
ritenuto
back in the
{r'ee-tenoo-toa),
(sfor'tsm-doa),
sforzato
is
(sfor'tsm-toa),
to be
performed
Smorzando
'
resolution.
Bitenente
saimplee'-
Siciliaua
time,
Jtoan
tached.
Serioso (ser'-ioa-soa), in a grave
Sminuendo
Eitenendo
saimplee'chaimain'tai,
(sem-pr'ai),
(senrpr'ai stakkaa'toa),
Bitardando
Sicily.
(r'eeh'itatee'vod),
Binforzando
il
slowly
Bapidamente
As segue
or as follows.
Eecitando
167
now follows
coro (seg-wai eel ko-roa),
the sound.
(smor'tsan-doa),
Soavemente
(soa-aa'vaimain-tai),
ness.
two
or
more
different
i.e.,
one
Sonorammente
Segno
(sai-nyoa), a sign
the sign.
and
sonor'-itaa'),
(sonor'-amain'tai), sonorita
con (koan
sonorously; with a full vibrating
kind of tone.
from
SoatBnuto(soas-tenoo-toa),soatenen&o(soas-tenen-doti),
full length.
MUSICAL TEEMS.
168
(soat-toa),
Sotto
vo-ehai),
Spirito
Tenuto
Timoroso
tone.
(koan
con
spee-r' itoa),
spiritoso
spiritosamente
(spee-r' itoa- soa),
short
rests.
Strepito con,
itoasaa), in
difficulty or distress,
an impetuous boisterous
manner.
suavemente,
Suave,
suavity
style
con
noisy
(soo-aa-vai,
form
expression.
Subitamente, subito
(soobee-tamain-tai,
soo-Utoa),
movement.
Tempo a
(tem-poa
piacere
(tee-moar'oa-soa),
with tran-
quillity.
Tremando (tr'eman-doa),tvem.ol&ia&o(tr'em-oalan-doa),
tremolato (tr'em-oalaa-toa), tremolo (tr'em-oaloa),
a tremolous effect produced by rapid reiteration
of a sound.
Troppo (tr'op-poa), too much; generally preceded
by the negative non; as, adagio non troppo
non
(adaa-jioa
tr'op-poa),
gradually
TJn pocoritenuto (oon po-koa ree-tenoo-toa),
slower.
Va
(vaa),
goes on;
as,
va crescendo (vaa
kr'ai--
time at pleasure.
Tempo Commodo
Tempo
(tem-poa
or' -dinaa-r'ioa),
at
an
(tem-poa
per'doo-toa),
a gradual
original time.
Vivacissimo
Voce
and
lively.
vivacitS.
(vee-vaachees-simoa),
(voa-ehai),
Volti subito
decrease of time.
Tempo primo
(-
vivacity.
Tempo perduto
Vivamente,
veevaa-chitaa-)
time.
Tempo ordinario
vigorosamente
Vivace,
main-tai), quick
ated time.
Tempo guisto
(vee-goar'oa-soa),
Vigoroso
to
the
Volante
the voice.
(vol-tee
(volan-tai), in
1.
jd
:d
|d
:d
jd
:d.d
jd
:-
|d
: 1-
:d
:- |-
:d
jd
:-
|d
:d
:-
:-.d jd
I-
|d
:d
id
:d
jd
2.
:d
:d
jd
:a
jd .d :d
jd
la
id
jd
3.
:d
Jd
Id
:d
:d .d |d
Jd
Jd
|d.d:d
jd
:d ,d |d
:d
jd
|d
id
:d
jd
:-
Id
:-
Id
:-.d|d
:d
:d
.d
id
Jd
Jd
:- |-
5.
:d
:d
:-
jd
:d
:d
.d
jd
id
r
:d
id
id
:d
.d
jd
Jd
Jd
6.
jd
id
id
|d
:- .d |d
:- .d jd
id
id .d |d
jd
id .d |d
id
jd
i- .d jd
id
Jd
id
jd .d id
|d
Jd
St.
Co. (Nets).
169
170
7
'
j:d
:-
jd
|d
|d
:d.djd
:-
jd
:d
:d .d jd
:-
:d
(:d
:-
Id
:d
Id
:-
:d
Id
:d .d Id
Id
Id
8
|d
::
Id
:-
'
:d
y.d
:d
.d
:d
|ri
Id
:d
:d
:d
Id
:d
.d
.d
Id
:-
Id
:d
:d
:d
Id
.d
:-
Id
9
d
'
ld,d.d,d:d
:d
:d
.d
.d
Id ,d .d ,d :d
|d
:d
Id
:d
Id ,d .d ,d :d
Id
.d
10
d
'
:d,d.d,d|d
:-
:d
:d
.d
Id
:d,d.d,d5d
.d
:d
.a
:d
Id
:-
|d
:d
:d |d
:-
:-
|d
:-
:-
jd
:-
|jd :- :d
|d
:-
id jd
:-
:d
|d
:-
:-
jd
:d
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key
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72, twice.
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98) twice.
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key
No. 4.
js
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No.
:s,
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key A.
5.
:-
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Js,
St. Co.
B. M.
|n
(Sew).
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60, twice.
jl
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174
sis:
:d'
:-
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M.
key I.
No. 6.
:s
|m
:f
:s
II
:-
:-
j-
[1
:1
jr
:n
if
Is
:-
I-
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M.
112.
key
No. 7.
72, twice.
fx.
:d
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jd :-
:-
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Is
:- .f \n
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In
:s
,s
If
jn
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jti
:r
Id
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js
in
:d
M.
key E(j-
No. 8.
j:n.r|d.:d.,d|d
,d|f
:-.n
No. 9.
key C.
|r
|n
:-
:s
80.
:n
js
:d
|t,
.d
.s
.s
.s
jfe
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[r
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jjd
^jd
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No. 10.
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:1,
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:-
SI"
St.
M.
72.
s|n
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:-
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key Ai>.
M.
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In
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II,
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80.
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AiA'-h -r
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If
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key P.
:d
M.
Id
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175
72.
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jn
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KEYEb-
No. 12.
|n
M.
84.
:-.fjs .,s:s.s|n
:-.d|l
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key .
No. 13.
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M.
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88.
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|
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No. 14.
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M.
key A.
n
:
,
66.
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Jd
No. 15.
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key }&
\).
M.
72.
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jd
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:pi|
jl
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M li'li>li
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j
:
n,
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|
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r :d
:t,
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No. 16.
key C.
M.
96.
j:d.,r|n
:d
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:- .n jl.d'-sd ..r'ld
|:d.,r|n.
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js
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l,d'.-sd' r'|d'
j
St.
Co. (New).
js
170
No. 17.
key'
E.
M.
(snf|s
:n
id
|:d
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:-.d|t,
js
:d'.t :1 .s |a
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104.
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jd
:-
fjn
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M.
key F.
.d
88.
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jf
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fe 4 s|l
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:s
:d 4 t ud|r
|:s
No. 19.
:s,fn|l
key I>.
j:n - 4 r|d
y.
M.
4
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:d t- ,t
l
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1 s
measure]
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<
djf - ,n:n
:- ( r
KEYEb- M. 108.
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:n
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:n
,sjl 4- ( s:s
No. 20.
80.
m:s - f
.,n|d
js
js
:f
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f:f
:- 4- 4
:- 4 - 4 r jd
n :n
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:-
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No. 21.
Mi
J|d
:1
1
St.
keyG. M.
pi
:d
:r .d Id
|t,
Id
96.
Is
ls.d:-.n[f
Co. (New).
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:f.n|r
:- ,r In .n :- .n If .f :- .n |r
:n.fe|s
:f
:t.
.,f
in
|r .r :- .r
Id .s,:- ,s,
II,
Id
:
:
ADVANCED RHYTHMS,
preparing for the Matriculation and Advanced Certificates.
3?or pupils
For the Time Exercise of the Matriculation Certificate (requirement 2) Ifos. 1 to 17 should be
The
practised to laa on one tone, also in correct time and tune. They must be sung at the rate marked.
key may be changed when necessary. The test used in the examination is sent from the College and not
it contains no greater difficulties than these.
For the Time Exercise of the Advanced Certificate (requirement 1) any one of Nos. 18 to 42 is
chosen by lot in the examination, and sung on one tone at the rate marked. The candidate also sings to laa
a test sent by the College to the examiner, and also writes from ear two or three measures of " Elementary
Khythms" sung to him.
seen before, but
KEY A.
1.
:
n,
88.
ft'!.
:-
.,f||Si
.,d
.,t||t|,d.-
:d
.,r
:-
In
:f
.n
.,r
j
Na
tivel land,
Mti
I'll
.,dir
:ti
s,
:-
thy
^d :d
-
tan
J.
beauties
:d
.si
l|,d-
nia! native
Curwen &
.,t,
Part
ness,
:-
id
I
:t|,n.-
.li
scan
t|
.,t,
si
Sons, 8
.t
:n
eyes
il
Ill
jM^f.r
re
'land,
t|
ni
isj
.si
:s,
:_ti
na-
.,fi
a-
.,d
no
.,f|iS|
tive| land,
:-
.f,
shall
s,
.,rir,d.-
,d
I'll
t|
may be had
.,r
j
they)
.1,
melt in
:d
more.
177
li
As
ness,
gain
id
I
:n
:d
:-
In,
'
t|
.A
turn
Elementary Ehythms
d_ m ipmuSi :
Hop'd tol
Ne'er
o'er,
- ing' to
|S|
.n
:-
ir
.,rir,d.-
Now thesel
II gain!
II aad
strain,
wel-come)
the
mel raise
Let
>
d
j
Bri-J
n
II
178
key D. M.
S.
.n,-fls
,,n:f
SAAte-ene.
80.
.,r
pi
.d,-r|n
TAAsefe.
.d
:1
clasp'dbyi waves
(Is
:-
.d'
flo-
so
:-
.s
- ,f|d
pear] -like
,s,-sj_s
.rv
and
key G.
3.
M.
.d
na
60.
:-
.l_
tive' isle
ta-ana-te-ene.
:n
.,n
.,n
n,-r n,-f
.
and
my
.,f
In
.f
a
:r
:1
.di
.,s
Iplaintbringsfroma-J
,,d
Id
gui
'-tar.
er's
.1
forthfrom)
that Ipeers
lov
In
,r
mur-murs
ini
f in
taralaterele.
,,n|s .f
oft
Rossini.
tafaterele.
iin
eraldl zone,
Thel breeze
\t
Bishop.
In
.f
In
.s
fair.
ri
far,
.1
cean
tis
em
in anl
sf nf n
.
,s,f In
.r
we
Here
meet,
too
soon to
part,
'
Here to
3
n
II
we
Here
|n,-r.n,-f
meet,
too
'
soon
part,
to
.,n
n,-r n,-f
.d'
raise
sf .nf n
,s,f
leave will
nf n .rnr
raise
'
smart.
3
:
Here to
leave will
smart.
.dns f sf nf n
.
In ,d.-
.,s
II
Here
press
I'll
4. key D.
,s ,-t Ir
Thy
:n
n
heart, Where'
TAAte-ene.
:t
thy
fate,
.d
dear
none has
youth to
.n,-f
n,-f
a-'bovethee.
place
Bishop.
ta-anatefe.
.1,-s :s
Is
t|
:t|
Id
d
.r
my
72.
.,d'
love,
,f
.f
thee' to
M.
.,se
I
1
:s
.s
se
.d
:t
.1
Must' nev
share,
r' ,d'.t
|r',d'.t
.1
nev
er,
,1
:1
er
my
II
.t
hap -py
:d'
me
ii;
5.
,d'
s,
:d
ti
:-
M.
get
:n'
.r
me
not,
.f'.r'l
For
:-
|1|
,d:r,d.ti
.d ,t
hum-ble
ct-d'.n'.r Id
1
me
get
,t|.
'
not.
afatefe.
96.
:n
.r
But
lot.
ri
1
for-l
not,
key A.
'
s.t.l
:s,l.f
:n,f.r
jd
:-
dj
:-
:-,t.l,s
|d'
.n,r:n,r.d
ii
f.s .n
:f,l.s
:l,d'.t
|
ti
[Advanced Rhythms.]
179
<$.
I'
by F.
M.
From
58.
;d
In
:-,f.n,f|s
n,f.n,d:
M'S-nld
KtT J.
7.
.b
d'
.r
M.
.ta,l:
.,dr:
f ,s,n|
:n
Is
:r
.n
|f .n
:r
:r
- ,f .n,f
.,lt|d'
:r
-,d,t|: d,r,n
f,s,l:f
:-
:r .n |f
.f,mlf
:n
.f
If
-,d'.t,1|
:-,s.f,r)
From
TAA-efene.
:- .s,f:s
If .n
.n
:r
.,ri :
.,8
,f ,s
.,d
,d ,t|
:-
d' ,r' ,t
,t
,s
Id
.,d
Prom SandeVs
:t
li
.,t
-.d'.t.l j
|d
.,d
:-.s,l:t
.n
ta.l.sll
key D. M. 84.
:n .,r:n,r,d|l
8.
s
If
.f
66.
:-
l,t,s
|n
In
.f
.t,l: s
Id'
,,t
,r
.r
n,d.r :n,f
-n
r .d
l.t.d'j
,n ,r
,r ,n
|
,f ,n
,n ,f
:1
9. key F.
.d :d .d
M.
:- .t,l|s
10.
,s
key F.
|s
88.
|f
M.
.f
jn .n
:n
:-
.l,s
If .n
:f
.n
r ,n,f
It
.s
jd
.n
.s
p. 65.
f,s
|n
88.
.l,t:d' .d
:s
.s
|d'
.r
.d
|t
,t
.t
.s
.t,d':
r
^
.l,t.:d'
:t
.1,8
.s
|fe
[AdYanced Rhythms.]
:s
I-
fe
|s
180
Mr
11.
.s
M.
F.
:f .n
TAlAA.
96,
r .djt|.fe: - .s :- .njsi.n
-.f
-.r |si.r
From Handel's
-.n : -.d|s
"Jephtha,"
p. 1.
.d:t|.l|jsi
jj
|j
key
12.
'
M.
C.
-- g fe
From
104.
:--f
.
j
s:-.f
|n
'
.s
||
[
:-.f
in
M.
key B?.
13.
j^r
From
72.
- ,n
f^:
.r
key D.
:1 :1
M.
|jn'
From
116.
l.t
d'.t
-.t:d'.t;l
-.t
d'.t
:-.f|m
:r.n|f
14.
- .d i^li: - .t,jd
Jr^ti:
|f<
:t
:t
t.l
Irl
:t
:-
t.d
r'.d
9.
U-.d':r
.d
:t
|-.d': r>.d': t
|r'
:n'
:'
|n'
:n
|r
:r'.d':
:-
]1
:s
i
:-
:s.f :n.f|r
:s
j
f.g
:-
:-
||
jj
M.
key A.
15.
.si
j:
1|
60.
:-
.li
:-
-t|
.8|,l t |ti
.l|,t,
-d
key G. M. 126.
:f
.sjs
:J\n|s
From
16.
.n| 1 .1,1:1 .1
1 .s
:-
:-
.d'j- .t
.1
"Te Denm,"
Gratm's
- .s :-
p. 9.
:f
.1
j:
|n
jj
17.
key D.
M.
80.
|-
:r'
|jn'
.de
rl
.n
jf'.n'.r'
:-
.d
|-
.t
.ri
n'.r'.d
- .t
p. 21.
II
||
18.
key E.
M.
From
60.
l
:-,r'.r',d':r',d ,d ,t|di
||pi'
j- .de': -
-rl
n'
Grcmn's
.f
"Te Deum."
.t
p. 21.
|j
10.
j:
j|m
.n
.s,l
key A.
M.
Jn.de:i:
From
80.
|-
,f
.t|
:d.n
:-.n,r|n
jf
.f,s
I- .r
.s,l|s
E. t.
:"l.t
.l,t:d'.f
[Advanced Khythms.]
Grant's " Te
jd'.s,l:s
jn
Deum,"
|-.f
p. 29.
:-.n,rj
|r
181
key G.
20.
M.
:-
.,tjd'
.,r'
.f
- .r
M.
Is
:- .n.fln.s
key E.
:1
21.
n,f .s
.,r
r .8
From
80.
,,t
- .d
:- ,r,n|r
.s
- .r
:-
From
66.
|t
l-.d'.t
.,r':r'
,1
.f
.n,f|n
:d
.r
Handel's "Messiah," p.
|n,r .d
: d'
3.
Bt.
f,n.r
|s,f.n
d'
-,n.r
-A'i
|n
.f
key G.
22.
.n:f
:
j
M.
.r
- .n
84.
:t.l|s
:d'
,,dr
From
|f.,f:n
72.
In .f
key D.
23.
M.
1 .s
- .d
s.fe: fe
|-.,f
A.
Ur
n.,r :n,r.d
,,t|d
|r,f,l:d
From
t.
2.
t,
: :
d.r.n
,t| ;t|.,l| t,
r.n.d
t|,d,l, | si
>
key G.
24.
M.
-
:-
|s .1
i_-
il_
|_-
"Te Deum,"
Graun's
|n.,fs:f.n
|s,f.-,n:f
.s
In .r
p. 35.
120.
From
Fae.
80.
|-.d':t.l
key F.
d
25.
:
M.
|_f
12.
,t
|
- .d
.d
26.
:-
:-
:1
.t
n ,r
l
key G.
.s
|f
:d ,t.l,s|f
l
M.
,n,-f:fe.s
r,n.d,r| t|
.l,s
f,n.r,d jt|
te-ene.
50.
.l,t
J
-,s.n,f
:-,l .f,rj
[Advanced Rhythms.]
.r,n
s,f .n,r|
.r,n
From
d ,n
.s
Mass in G,"
!d
:n
f,s.f,s |f
Weber's "
.d,-n: s
:-
p.
.t
>
182
key
27.
M.
Bi7.
|d
.si
.,r
60.
ta-ene.
:
.s,l
.r,d js
,1
f ,-n.f ,-s
,s
.f ,s
.d
,r
p. 37.
.f
Ipi.r.S*
:-
28.
key B^.
:n
Is.f.n
.1
M.
|l|,t|.d
.si
80.
.,r:n
From
-aataitee.
|-,d,r
n.d.r
|-,f
If
.s
,d
r .n.d
,n,r
d|d
.,
- t t|,d
,ti,d
F.
-n.ti: d,r,ti:df
t.
|-.t
:-.r':-.f |n,f,s:s
taralaterele.
key A.
29.
M.
:-
key
30.
G-.
M.
.r
From
:-
tana-a.
80.
.If,-: siv.fr,- d
1
:r
.,irf|n
:-
s,f ,n
f ,n,r Id
:-
.t.lr.s,*
|d
.d
tene-e-
.If,-
|-
|t|
-n,f
a-ana-terele.
ene-fe.
I-
:-,-r.dt|l||sil|t|.drn:f
In
60.
|d_
:r
sn,-.fr,- Id
p. 35.
|d
Tanaf*a-AI.
key A.
31.
M.
Prom
72.
s,r.- :n,d.-
s,r.- :rt,d.-
ti
|1
:d
:d
|d
|d
rir,d, -
:nr,d-
tlf
.t
:f_j^
rd,t|,-
:d
.f
j
[Advanced Rhythms.]
:r
.,d
Id
j'
183
TAAtefene.
key
32.
.1
In
.d,-t,:d
.,1s
Is
key G.
:s
In
.fs,lt:d'
33.
.r,d|
.f,-njn
.,s
:- .f,njr
l^s.f^n! r
M.
TAAte-ene.
SAAte-ene.
From Handel's "Samson,"
30.
:-
In
.si
M.
Ei7.
,,ti
1|
|d
.n
.r
From
80.
|s
.1,-ta: 1
Ife
,s
.sl.td
|r
.f
.f,-n|n
p. 42.
Id
Graun's "
.s
:d
.t|
.r,nf|r
Te Deum,"
|-,d' .t,l
p. 35.
s,f .n,r
SAAtene-fe.
key D.
34.
id
M.
From
66.
:-
f.
.t,-l|l
:
\
G.
:
"r
,,d
If
.nf,s: f
jr
,n
Safatefe.
35.
Is
key E. M.
|s
:s
W:
s,f.n,f|n
From
100.
.s
- ,n If
:,
|n
.d
:n
s.f,s: l,s.f,s|f
.1
.s
.n.jyi: f,n.r,n|
,ri
d^
d'
TAI-AAte -ene.
36.
key D.
M.
80.
:-
j-
.d',-r':d'
.n'
|-
.t,-d':t
.r'
|-
.d',-r'; d'
p. 35.
.n'
j
.t,-d':t
.ri
|d'
.,rW:
r'
jj
TAAtene-e.
From
SAAte-ene.
37.
key G.
,sr-
:-
M.
80.
ts>- .r't,-
I1
.d',-r':di
.,tl
.t
1 ,-t
[Advanced Khythms.]
Graun's "
.s
Te Deum,"
.f,-s:f
p. 36.
.pi
184
key D.
88.
1
f]r\-
M.
80.
nW,-
rjt,-
d>
'
.t
n'f'| n'
p. SS.
key D.
89.
|:s
84.
SI
f .,nf|s
.,nf :
|-
.f,n :f
:-
.ll.tilli
:-
:n
.8
.r
:d
|n
|-
.,fs: s
ss
.f
.,fs|l
.,d
.1
:-
jt,
se
M.
1,
.d
.n
:d
.n
.s,
:-
1|
.d
.ri
S|
- .r
.d|
p. 16.
f
.tl.
.f.
r,
.li
t,
- .d
.s
.t.
:li
Hi
se
11
.r
Handel's "Dettingen
s.
:n
:-
-fi
"1
:-
.t.
Te Deum,"
: h
p. 28.
:
:f
.n
n .d
[Advanced Rhythms.]
.t|
- ,n
Id
I- .n
:f
tai
.r
t.
df .r
p. 17.
Id
parts, as above.
1,
.r
:t|
:
F.
s, .ni
ti
From
:
To Deum,"
.l,t In
.d,t|
120.
ll
,d
:-
se
In two
key B^.
42.
,x
parts, as ahove.
From
.r ,d
|.t,l
|.li,s |d
|d
t,
.se,l
:-
p. 97.
.t||d
fe
ti
120.
.fe,s
:r
.n
.n,r
.t,,d
In two
M.
key G.
: -
41.
AA-efene.
.,rn|f
To be sung in two parts, the Examiner or some other person taking one part.
From Handel's "Dettingen Te Deum,"
key Cr. M. 120.
40.
M.
n rn:n
r .d
ti
:t.
- ,n
These Exercises are intended for students or classes preparing for the Intermediate
Requirement 4.
.Certificate.
1,
|f
:r
|r
:s
|f
:s
In
:f
|r
ir
:f
in
:s
|:s
:n
Is
:fe
|s
:s
:r
In
:fe
|s
:n
:s
|f
:r
In
:r
|d
:s
II
:fe
|s
:r
:s
|n
:d
jr
:t|
|d
:1
|s
:n
:1
is
:d
In
:r
:s
:r
in
:d
|d
:t,
id
3,
I-
fe
|d
:d
jti
:s,
|d
:s
jfe
:r
|s
:s
jl
:f
|s
:n
jr
:r
|d
If
:n
|r
:d
Ir
:fe
|s
:r
[n
:f
|s
:n
If
:r
id
If
:s
jl
:n
If
:fe
|s
:s
Ir
:n
|f
:r
Id
:t,
|d
Id
:f
|n
:1
Id
:fe
|s
:s
In
:1
Is
:d
In
:r
|d
:s
|d'
:1
It
:fe
|s
:n
Is
:1
|f
:r
In
:t.
Id
:t
|d
:r'
|d>
6.
s
:s
8.
I'
9.
In
10.
jn
dl
j,d.
:r
:t
,
|n
Id
:d
jn
:f
:s
In
:1
is
is
Id'
:ta
ll
jl
:ta
|1
:s
:t
Id
jd'
:
|J
Price
One Haihthnnt.
London
J.
Cubwen &
185
Sons, 8
&
9,
186
12.
1
:m
if
:1
js
:#
It
:r
if
:n
jr
:fe
|s
:t
|1
:s
jf
:n
|r
:-
:f
js
:ta
|s
:fe
|f
;f
in
:1
js
:t
|d'
|1
:s
jf
:r
|d
:f
|n
:r
jn
:r
)d
jd'
:t
|d'
:ta
|1
:f
|ta
jn
:ta
|1
:t
|d>
jd'
:ta
Js
13.
|jn
Js
|
14.
d'
|
[With
15.
j:d
16.
In
[Oscillation.]
|n
:f
imitation.]
:f
|r
:1
|s
|1
:r'
:-
|
|j
key D.
17.
jjd
in
A.t.
t.
:d
jn
:f
is
sd
|d
:n
|s
IS
:d
t,
jt,
j
:r
f.D.*
|ds
l^s
:
||
At.
18.
jjs
:f
|n
:1
js
:di
:f
|s
-n
'd'
:1
It
:-
|s
j^'f
j*'f
f.D.
:r
\n
in
:d
jd
:ti
|<*s
|<*S
:n
|f
If
:n .r jd
rPKrjd
:t,
f.D.
|d a
|ds
:d
If
:r
:ti
|d
:d
in
ii .d
ti
:r
f.D.
|dS
:r
|4s
:t,
f.D.
|d s
At.
19.
|jn
lr
j
At.
20.
In
:s
|f
:r
In
tn
:1
f.D.
Id
j
1
21.
At.
jrs,
22.
At.
f.D.
Id
23.
:n
At.
|fet, :s.
Hi
without pause.
[Elementary Transitions.]
187
First Sharp Transitions, shewing Cadential forms of Bass.
KEY E. S.B.
n
:s
.1
s
:fe
Id
:f
n
:d
r
Is
:n
24
t
:f
In
:d
:r
Is,
:t,
:1.
It,
:r
I"
:n
:fe
Is
:n
:s
11
:d
:r
Id
f.
:si
Id
:r
|d
25
\:
:r
In
:d
li
:r
!si
:d
1,
:s
:f
In
:s
:fe
Is
:n
:1
li
If
S|
:si
Id
:n
:r
Id
26
t:m
t:d
ti
:si
Id
:ti
:1.
[Si
:d
j:n
:rt
Ir
:n.fe s
:fe
Is
:f
l:&
ti
:d
Ir
:d
:li
Is,
:s.
li
Is
:f
In
:d
:s
Id
:d'
It
:1 .s
:f
In
:fe.
la,
ti
:si
Id
27.
t,
|n
:fe
Is
:r
Id
:1,
Is,
di
:ta
|1
:1
:d
if
:f
:d
|n
,:s
fe
:
:-
I
|-
:d'
It
:r
|s
n
li
and
Oscillation,
:n
If
:s
|1
:t
d'
:d
:s
|f
:r
:s
:n
In
:r
:n
:d
Is
:s.
29.
:d
:d
C.t.
:s
Id
:r
:|
In
:r
:
:-
I
I-
30.
:'d'
:n'
|n>
:r'
:t,n
:d
Is
:s.
f.F.
dig
s,
:_ |
:- |-
f.F.
C.t.
1
:n
:r
In
:d
t,
:d
|r
;t,n
:d'
In
:r'
4's
:d
:r
Id
:n
:d
|ti
:s,d
.d
Is
:si
ds,
:- I:- |-
31.
C.t.
:n
:f
In
:r
:d
t,
:si
Hi
:t,
:-
||-
32.
-M
:d'
Id'
:t
:df
:1
Is
:s
:d
It:
:d
;f
|n
:n
Ir
:d
ti
:si
|d
:,n
da,
;_ |_
. |-
f.F.
C.t.
f.F.
dlg
:r'
Id'
:t
di s
:r
11
-.8
ds,
[Elementary Transitions.]
|_
:- |-
188
S3.
:f
Is
:n
:s
II
:r
:d
ll
:si
Ifi
34.
is'
f.r.
C.t.
12
:t
'
s id
ti
.rt
It'
:d
If
C.t.
:r
Id
:n
:f
In
;rs
:r
In
:d
tl
:si
Id
35.
in
|Ll :d:
Id
If
Ir
:n
:t
:s
:t
f.F.
dig
:f
In
:d
:r
Id
:r'
Id
:r
Id
:n
:s,
II,
:r
In .f :s
86.
:t
Si
f.F.
s,
c.t.
:d
(Id'
:t
si
fe in Bass.
A.t.
II
:r
In
:d
dif
If
:t,
Id
:m
in
:r
Iti
:r
:f
In
:r
Is,
:f.
:si
Id
:f
In
:r
:1
Is
:fe
f.D.
(I'd
iMin
:s
In
:ta
:s
If
:r
:n
Id
:n
:n
If
:s
:r
Id
Id
D.
A.t.
f.D.
:d'
It
:ta
:d>
|s
:*d
In
:d
Ir
:m
:f
|s
:*n
Is,
- .r d$
:-
.si
*s
Chromatic fe and ta (in Air), and Cadence Transition to First Flat Key in
Better Method.
38.
key D.
:fe
|f
:r
A.t.
:n
:1
Is
|ft,
:d
|r
:f
In
:r
:li
:f.
Is,
Irs,
:n,
|f,
:r.
Is,
:si
|d,
:ta
|t
:d>
In
:r
|d
:n
|r
:d
Is
:s,
fd
f.O.
f.D.
tjl,n
:f
|s
;in
:s
?|f,d
:r
In
:*d
1,
:t,
Id
D.t.
|n
Id
:
:-
[Elementary Transitions.]
From
ntermeiiflfe tfniMifittM
Classirs.
These selections are intended to give exercise to classes which are preparing for the study of difficult
music, and especially to aid pupils in obtaining the Matriculation or the Advanced Certificates. The keys
may be changed to suit the voice.
J. C.
Two Removes.
B?.
key Ai?.
1.
:r
is
:f
name
His
key
2.
.n
is
ex
.d
\V
5.
to
t|| 1|
C.
:r' .t
their
6.
KEY D.
:r'
Kules
:r>
andl King,
mon's God
.s
Id
1
:n'
the
:d'
is:
it, .s,
fierce
id
j
bute,
:t
.d>
our
-loch,l shall
jr'
.a
:1
:r' .t
And
:d' .1
.t
loch,! shall
"Jephtha,"
.s
their
.pi'
tri
r' .d'
jt
Id'
cym
id' .t
1
p. 4, 5.
In
"Jephtha,"
:d'
Price
the
world,
One Penny.
the
rules
London
J.
world
Cukwen &
189
in
Sons, 8
&
9,
'
p. 92.
bute.
:-
:-
rules
bals' ring.
world
It
4.
f in
t.m.
ide't
:d'
.t
tri
95.
shall!
t.m.
Mo
lent.
" Jephtha," p.
Mo
n' |n'r':
D.
:
fierce
andl King,
KEY
And
gods
dol
E.
:
Am
i -
eel
"Samson," p.
s .r |n
.r
G\ t.m.
:
No more
:t|.r|f
Their
'
key D.
- d' 1
4.
r'
to
ex
'
B?.
1*8,
known;
:r
:f
is
name
His
I
1
lent,
3. key F.
|s : - : f in
No more
d.f.
.n
:s
eel
t.m.
ps
:d.t|id
.r
C.
in
|n
state.
190
KEY G.
t.
S.
|d r
d.f.
j|n .n
.n id
.d
.r it, .t,
|t,.d:r.dllf
r .n
|
.f|f.f:f.mid
fend
me
to see
.d |n
.nil
Ex-pect
of
key Et>.
8.
f.
:-.r|n
Mur
Brethren,fare-| well
m'ring
BP.
|d
you'll nothing
:-
m'ring
:f
|n
.r
tie
ni
And
.in
1
:-.n
|n
-
love.
:
:-
|t|
|ti
|d
Id
hands
his
is
the
ed
key P.
:n .r :n
II
,d
:-
he
,t|
the
d
hail,
:n
.f
For
hath fash
:n
:n
,r
ran a-
Id
I
long
t.
pre
ion'd
|d
His
taf
is
ran a-
.d
up
t,
if .n
:r
.d
-
>
it.
t, .1| |S|
up
long
t|
the
on
thel
>
ground,
m.
:*d .d
the hail,
.r
ran a-
the hail,
i- .r
mingled with
:f
f
:
and
si
land.
G.
(
AP.
fs
ed
"Israel," p.
i- .r
Mingled with
,i
tie.
l,
1,
form
'
|s
dry
if
and
II sea,
10.
f El?
B|7. t.m.
par
d.f.
ill
|1|
::cii
*l
gen
his
:s .n |d
gen
his
still
key BO.
9.
|n.r:s.n
:f
"Come
(|
.r
of-I
hearim- pure.
:-.r|m
f .n .d
it
A!?.
3 r
tie love,
G. t.m.
|f .f
me
Lest
bear,
t.m.
Mur
gen
his
IT
love*
|n.r:s.n|d
:f
still
,d
long
|t|
.t|
.s
up
on the ground.
'
[Intermediate Transitions.]
f,
on
.d
ir
thel ground,
rn
.
t
mingled with
>
'
191
key E.
:f
i |n
11.
||s
Take the
'
I
"Jephtha,"
:s
id
:-
:-
key
His
won
.d
Ho
:1
:d
-
an
id
-
'
com -
f.
|n
id
r'
<*r.
raiso,
1 .t
|f
,t
ed,
.t
r .d
|1|
is
.1
end
|1,
ex
p. 10, 11.
rious
if
p. 31
pi,
in
less
praise.
||
: | : j : |fr:d
Lord,
'
,t,
|
1
|
thy
in
name.
is
.d
:-
:-
fierce
Whose! glo
bless
.d
.r
Lr|_: t
it,
tals
.,n
flntermediate Transitions.]
ed
A.
1
Is
ly
:d
me
ing
our
:s
:d
bless
|r
r,
Afr.
serves
Thel glow
.t,
.s
eth,
:-.d|r
it,
I
:s
Is
youl fond-ly
:1 2
troll'd,
to
:di
lodged in
A?.
f.
in,
.d
t|
:s
0.
.t
.n
I
de
that
|r
key
:
.1,
Three Removes.
TJn-will-ing-ly
<
d.
r
ss
can
frame
is
15.
1.
He
.pi
an
lone
"s
E|?.
:s
rs.sls
He is' bless -ed
E).tm.
.d
li
ig
key
drous
name
14.
II
,t|
;_
it,
id,
ing
Id
heart
d.
E7.t.
,,df
|
n.r
:-
|n
Take the
key B>.
13.
|t.
when burst
woe!
:-
:f
fs
D.
f.
Bt>.
:d|
In,
;-
12.
But
:-
|-
mine ;
s.f
gave
ly
d.
:-
:r
II
you' fond
heart
p. 15.
1
i
t.
f s
that
com
m.1.
id
thisj rest;
eth.
"Samson,"
|
.d
||
p. 1,
.r
To breathe heav'n' si
102
key D.
16.
c:a
In
:mal
:H
:-
:-
:-
the
:-
in
|d
in
"Song
BP.
,
t.
r'f
1.
8'
1
Sfacfarren's
chant
: |
:d.T]n
ous,
joy
|d'
Qua
:d.rjn.n:
Id
ill.
E.
m.l.
d.r.n
Andinyour| songs
brow,
20.
t.
.i|d:
.t,: t|.d
m. 1.
.n|s.s
:d
|s
:n
throng now comes a
.f
made a
:s
.r
bloody
|n
.n
p. 30.31.
A. t.m.l.
|
A
Is
1
-
long.
To weave
al
chaplet
t.
for
.t|r'.t:l.sid"
everbecon-l fess'd The valour thatprel-serv'd.
:
s .1 It
KEY r.
if
r
sin
ground ;
difficult
slaughter,
,t\,t
\n
.r
andpur'-suedthe
:n
fly -
"Jephtha,"
m.
rhythms.
G.
:f
He
"May-day,"
ir:
d ,r in
G.
ed
KEY B^
19.
The toe
II
id
up
; |
ia
and
volt
Sport
D?.
."t
rmade,
KEY C.
Ir
ro
18.
in
m.
:
to
and
joy
for
*n
:f
it,
t,
signed
A?.
f.
De
d.
nacel blue.
fur
the
mal' danee
dis
A ?.
KEY
17.
:-
|n
round
p. 4.
:-.di;r'
Iri
round
s.
In
blue,
if
F.
:r |f
|r>
dance
f.
:-
tin"
i
"J aphtha,"
d.f.C.
dis
.t|
vug
[Intermediate Transitions.]
|d
foe
t.
.T
till
It,
.t,
p. 40.
1,
.s,
Inightbadesheathethej
193
Id
:n .d |f
And taste the j 078
.d
i
J
sword,
of
.,f
.n
-to-ry
'vie
|d
and peace.
key
21.
If
,d
Jephtlia," p. 33.
d.
:s
.s
:s
.s
In vain they
.,1
,,f
:n
il
,s
foam
roll their|
ing
t-
,,fln
II'-
tide,
,,s
f n
:n
.n
in
.n
their foam-ing
<
f r
.,1
,,f
|n
.n
it|
|r
.t|
f.
G.
rn
|l
'I
"Jephtha,"
.d
tide.
key E>.
22.
:r
.r
,d
.1,
p. 61.
Be
F.
It
.S|
Fly
be
.d
,S|
,t .t
in
-|
:n
|d
for his
Is
24.
key
Is
of
rael fought,
hast
un
done thyl fa
ther.
:r'
.,t
.1
,n
:n' .d
.d'
And this
,n,n
[s
.s
'
1,1.1
I'
m.
."rV
C.
t.
It
.d'.t.d'is
il
that
|d'
-rea-dy
tam'dthee.
.d
|1|
and Gideon."
1
.d
wild des-pair.
to the! rack of
|d
.n
:r
.r
xr
.s,s It
,n
C.
D.
1
.r
" God
Thou
And leave ma
gone,
|s
:r" .t
Ha!
|f
.s,
The sword
II Saying,
ir
child
key B?.
23.
my
gone,
t.m.
t.
.,d'
sin
gle
d'
mef
:s,s.s,lit
,s
.1
.,1
|s
.t
,s
:s,f.s,ri
.1
:s
m.
.s
an
ass's)
:l,l.t,d'is
25.
s
.s
key
:s
D.
0.
.s
|d'
.d'
.d
Id
wentl in
<r'
t.
m.
l^r'.r
"Israel," p. 133.
1
.r'.d'.r'it
[Intermediate Transitions.]
hisl
.t
.d'.r'l s
194
26.
.t|
key
Gt>.
:n
.t|
|d
Be - hold thy
,t|
Id
.t.
:n
,t|
.t
Thy! servant in
servant,
"Samson,"
Rhythms.
difficult
:-
|r
:-
|i
,r
dis-tress,
God
p. 44, 45.
|r
.r
be
hold,
EE>. t.m.l.
.den:r
To
.d
dust his
.,m
27.
.t|,l| ir
.r,d
him
,d,ti:n
r,d
glo
Id
t|
1|
mongst
.m:
dust his
the
'
.f^nlr
If
|1| ,1|
I
.t,
1,
,l,s
:-
And(
dead.
"Samson,"
.PI,
the proof:
lies
KEY B?.
:d .d |1,
Here
j :
in
berl
id
.l^s
1|
glo -ry
|d
:d
.d
.r
|t,
p. 74.
,t,
-
>
tion
j
1|
.d
eate
f.
>.
.rllf .f
.s
|d
.s,
|d
.n
.d
C.t. m. 1.
.r |n
"s: s
.1
j
I
in - vo
Ms aid,
|t
.t
It
His' glo-ry
.t
spells
id
|
con-cern'd.
is
Id'
whose God
Then know
strength,
key BU.
28.
|r .n
f .n
Id
last a
'larm!
.d
:f. ,s|d
.n
is
God.
"Jephtha,"
G. t.m.L
m s .,r r .n |f .f
d .r
p. 31.
Sound
then the
And to
the
ye sons of
field
Is-rael!
D.t.
if .f
I
\n
within- trepid
29.
in
.!>!
r .df |t
Del-pendent on
hearts;
.,t
t .di
key E.
|n
.,r
ir
Taught by great! Al
s.
If
,,r
the
thrust
t|
|s .n
fred,
d.
f.
No
poor.
-.f
r .d if
will
- .n
tale
re
lent
more!
fitt -
.d
:-
.1|
ty
less
" Samson,"
Hi
His migh
.1,
you
KEY B?.
30.
G.
:*r\
is
.r,
|f,
f,: t|
.,f |i ni
Transitions. 1
."i
p. 43.
H| .Hi
His mighty)
19a
d.
s.
id
:l|.t,
.li
His mightyl
E7.
m.
r .n
t.
.is
|d
Pi
griefs re-dress,
m.
t.
.is
Id
.pi
mighty
His|
griefs,
F.
|f .f
Dfc.
f.
- .dl it .r
r .n
if .f
f .n
|de
told,
31.
A.
r ,n,f n
,r ,d
,d ,t
"Jephtha,"
r ,d ,t,
t.m.
r.n.f
r,pi,f
Pi.r ,d
p. 102.
:
I'm
Still
key
32.
of
thee
pos
Such
;s'd
kind
is
heav'ns de
G-.
fei,S
Blood
,t
1|
Dan
of
ish
A
KEY
S-
fl
Pl|
war
riors
Sim
.fi
mid
:d
.r
Sax
|d
.t|
,t|
,d
t. m. 1.
ia n : r
|d
t|
.t|
Thy
.t|
.ti
ser-vant in
the)
ons.
" Samson,"
Be-hold,be-holdThy| ser-vant,
on
id
.,1,
conqu'ring
the
up
red
Is
:-
Gt>.
.t|
.,d
ill
.li
snow,
33.
,d
j
if,
I
p. 26.
Bt>.
s.d.f.
l
cree.
p. 42, 43.
ir
dis-l tress,
Ej?.
-
Be
ir
.JUs
be
hosts!
34.
in,
I
Bless
.r
Thy
be -| hold
ser
vantl in
.1|
id
id
iy
him
,t|!
=r
.n^r
f
turn,
\n__
.f
Re
Si
.f
,n
f ,1-1
God
of
,d|d
distress.
breath
heav'n
,1
.f,nipi
.pi
&od!
Bt7.
:1|
And
hold,
turn,
|r,d.t|
.d
|t|l|,S|.
turn, re
pi
who
hears
Lifts
:d
King
ill
1,
rows,
who
:
- ,f
.r
up
S|
reigna
ipi
the|
poor
in
:d,l .-
1,
:d
Gr. t.m.l.
:ra,S|.,f
f
id
man's
cry.'
"The)
high,
[Intermediate Transitions.]
PI
on
:
196
zu
key B.
35.
My
.,ti
|r
.d
t|
have been
tears
my
se, .1
|ti
the Hart," p.
r :d
.t|,n,j
While they
meat
As
"
Minor Mode.
<?.
|n
,ti
I!
dai
8.
.ti.tij
say unto'
ly
C. t.m.
i|d
'
it
me,
key F. L
36.
1
s.d.f.
dl,
.1,1
:-.,l,|se,
mer
cy free
:-
s,
be
set
:-
1,
with sa
:d
ble
:f
g
-
it,
ing,
: | :
:-
It,
man
out
in
:-
|r
soft
dread,
B7.
il
ly
id
I
:-
watch
:d
-
ing
|1
o
Id
I
:-
ed
n,
'
Song of the
:s
It
the burgh
E?.
dn f
|
er
the pea
sleeps
:1
ver
Is
'
|d|_jj
I
de
:d'
:n
o'er
[Intermediate Transitions.]
his
s
lone
peace
in
santl peace
re
the law,
by
Bell," p. 27.
Id
I
tie,
sleeps
ly
:t.
ful
t.
Guard
:r
|t,
stow
r. s. d. f.
WiLh
.,se|t
comesl on
Soft
flow
id
n,
of love
streams
G. t. m. 1.
|"s
..d
: | :
id
ly
:-.,l,|se,
il,
less
KEY B?.
-
|li
37.
in'
Night
se
il,
Ai>.
ly
D.
of
End
[s,
is
|li
'
il
jlFo
Fount
dai
G. t. m.
s
:
and! care
if
:r
-
ly
Id
I
ful,
1.
bed.
key E.
:s
.s
Of
:1
id
.t
flight, of
swift-er
-AW
,d
swift-er
'
C.
r.s.d.f.
.s
.r
.t
:d'
and sub
flight
d'
frame,
'
tier
d.f.Bb.
d 'r
,11 1
swift
er
.r
-n
--.
.s
:d'
Id
.di
,s
.t,d':r'
I-
.,d
Id
:d'
C. t.m.l.r.s.
deir :
In
men,
the Lord
:-
It
Id
.t
of'
:d
glo
:-
|r>
1
.
|
p. 9.
:f
fJ
marr'd and'
age
men.
'
:t,.
hisl vis
Id
"Stahat Mater,"
.,d|d
All
.d
if
|de'
.de'
age marr'd
His' vis
all
r>',
:-
:m'd'
:-
ry,
:-.t, |1
:fe.s II
I- .s
the
:s
And
:n
the
in
his
:se
|s .f :n .r
eyes
:-
.re
re'v
in 2')
Fa
ther's
with bright
'
|n
If
ness
'
rod.
The
shines
soul,
Ab-
pse :
'
[1
Smart
id
_j;
key G.
l.r.s.d.f.
Ire
.r'
audi go
t.m.l.r.
from
41.
A
1
men,
,f|f
-,f:f
Him,
Ab.
1
j<
1
Eb-
pi"
23.
:r't
men,
'
Rossini's
:ti
saw
fl
go
Mass in 0," p.
s.d.f. Eb.
Id'
:d'
key Ab.
When she!
r.s.d.f.
men,
Id
40.
:d
:it
men,
.r Id
Beethoven's "
d.f.Db.
lid!
:r
flight
KEY C.
39.
i
:r
Of
and
breath
Price
O.n-e
Penny.
: |
il
|
im
J.
age
Cams
:f_-rjd
&
'
197
:d
his
of
Sons, 8
|r
&
9,
Id
'
God.
Warwick Lane,
E.C.
198
KEY D.
:f
42.
|s_
The
'good
:f
|s
.n
ly
fel
,1.1
.pi
lowship
In
f.n
|1
If praise Thee,
.s
in
: |
Is
:f.n|r
Like! me,
G.
dr
the
wears
f.
lova
Melt
mur
de
:n
wid
:t
fl
ing
:-
in
She
|n
:r
:d
:t
mur
night.
t,.r
last
mur
:d'
grove.
murs,
pi
:d>
|d<
ing
mnrsl
it
the
fill
:1
se
I!
|
last
[Advanced Transitions.]
ing
'
p. 15.
:
t,.l|
i-l|
murs,
She
|d
ow'd
.1
:r
:-
Id
wid
:f
ed.
p. 49.
- light,
L is A-
:-
:n
-
Melt
p. 100, 101.
|se
1 .1
were congeal
ow'd night,
jr
diousl
C. t. m.
jdet
,1,
fi
ing
" Israel,"
:r.d|t|
I-
te
Melt
Thee.
>
each
:t
:- |-
se
>n
in
to
diousl
:r
I-
se
,f,f |f
were con-geal -
verse
key Bb.
^d
p. 9.
"Samson,"
te
the
45.
key A.
44.
Thee, praise
praise
.1
The depths
d.
:t,l ,S,f |n
praise Thee,
:f
if .f
key G.
43.
:d
.dU-.t :-
m.
t.
:l|. n
|*'l
Thee,
G.
I\
s. d. f.
:f,n.f
s
SI
jl
1 .1
of
love.
ing
>
199
KEY F.
46.
|n
n .n
ir
I
.r
ver-si
47.
:r
-
key
: n
C.
A.
se .1
is
,ba
se
i"r
friends
" Samson,"
.t,
swarm
.l|lt,.t,
ti
D.
n
pur
.d
ir'
pass
:r<
.|t|.d -.rjn
people pass
II
|r
.d
t|
till
rd^t,
.n
d .r
The
en-e
.i
pass
.r,
:-.ni|l
|m
-t
:di
.ri
:-
|t
ver,
:n
Lord.
they
shall
f.
C.
dr .n
.r
or-er
in
lay
i;
said,
-I
spi
:d<
.t
jd
.r'
n"
this sin
:r
-
pur
will
Transitional Modulation.
- .n |n
:r.l| iti
:
not
|n
my
still, till
is
rit!
E.
.r
sue,
:di .t
'03.
|di
s d.f. Ct>.
Lord
L is A&.
.41:1.1 |l.t
d'.d'
Paul," p. 2 l.
to theiri charge.
t .1
Je
se
fell
sus
:1
re
.1
il
-I
sleep.
Thy'
take,
PP
.f
is A.
ba.se
"Israel,"
:f
Gr.
|fise,:sei.l|
Lord.
:n'
my
key Ai>.
50.
f.
si
be
I-
ver,
U/
li
chas-l ed,
:n<
-
will
Lord
which Thouhastpur
|f
d.
id'
|s
:r
il|
pie
If
"Israel," p. 128.129.
peo
.1
Thou hast)
which
m.
t.
ed,
KEY D.
49.
of ad-
:t
.d"
ver,
Thy
d.
<
t,.d
"Israel," p. 152.
:
|1,8, .1|
chasl
.-j^d
ti
p. 14.
:
id
.n
In
KEY
.bai
till
48.
.r
ty,
II
n .n
L is S.
m.
Gr. t.
.1
200
key
61.
Z is
Bi?.
:t|
all
C.
<?.
id
.t,
ti
But
II
,t|
work
thel
f.
'.
11 be
:n
is
But
" Creation,"
A.
Id
.t
the'
all
want
pi
id
ed
p. 40, 41.
.t
work
.se
wasnotcom-)
.d
t,
.1,
that wondrous
yet
1.
II
That grate
key A!?. Z
52.
i|d
ing,
Z is
m.
t.
&n
D.
is
There
m.
t.
.se,| 1|
E. Z
in
D.
n
II plete,
was notcom'-plete,
ful
:f
should
'
It
id'
ad -
God's' pow'r
mire.
F.
p. 4.
F.t.m.1.
(:n
mt
id
se
II
The works
'
1|
r
II
Is
thy
thou
key E.
53.
id
:t,
Be
of
'
Id
t|
from
face
in
I
not
:d
re
joioe,
|r
-
:r
|r
in
the
in
ioice
fet
s.
him
d.
.ma'd
|t.t:t.tid'
fy
f.
Efr
good
all
ye seed of la
1
:-.d'|di
-
|t
|1
ness
:r
|s
:1
:s
|s
which thou
hast
: i
:1,
|f
II lend,
t,
:n
and mag
d'.d', t
If
laid
up
: i
sor
to
E.
:
|d'
d'
face.
p. 40, 41.
- .n |n
Lord
|r'
Lord,
:-.reire
|re
them
for
that] fear
ni
r'
thy
is
:f
it -
If
'
self
mt_
t.
:s,
row
:n
thee.
'
voice
Its
ra-el,
is C.
key Eb.
54.
I
id
thy
not
"Massin C,"
C.t.
thou
Beethoven's
Hide
'
id'
|*f
hands.
Hide
us,
|t|
own
thine'
in
it
: I
:r
|r_:d
shall
'
m.
rd
not
Id
'
feel -
ing
[Advanced Transitions. J
|f
joy
:-|I
ti
or
|n
pain,
.r
>
And)
;!
20
Ur
I
.&
t,.l
with
va
ita
;!d
:d
|n
:re[.re,f
ry-ingl notes
:1,
|t,
isei
at
.n
On
tend,
rij
II
se.n
life's
eUent
-which
II tones;
r.t,|r .d
so
first
II
KEY
More
Transitional Modulation.
55.
.s
the ear
difficult
Rhythms.
|-
:d'
No
:t
.r'
show'rs
to
se
.1
so
toil
to
eas
as
>
its
d.f.
.f
:r
Not sunshine to
.r's|l
|n
.s
\n_J
As
fa
f .f
loa
-r
:t
.n'
Not
sleep
Id'
:s
|r
.1
Ab. HaF.
.,d:sl
the 'bee,
ma.
:f
:n
"Israel," p. 16.
:1 .t
.s |1
They
'
d.
f.
'
drink
|-
.d',t:d'
ti
,t|
Z is
.ta
i-
the
.se
in
ter
key B>.
:
of
ri
ver :
E>.Zis<?.
:4'r"
.s
57.
r
.pi
t.
.tn'lf
ing,
.s
pleasing,
sol
KEY F.
56.
s
,d'
,,sei 1
..tld
larks
EE>.
,t
El?.
BlM.
.t
:_ l_
'
JLlLI
de -I cay.
clear,
.n
,d| s
1.
And
ry-ingl scene
- ,n| s .f
>
- fol,
D. t. m.
hsi
1|
Mood.
to
G.
sei
.se.l sei.sei: 1|
deed
.ti
|f|.f|
.1|
.ni,ri|
p. 9.
sei.sei: se,.l|
"Wretch-ed
in
C.
|ri|
I
t.
m.
L is
!|S
it .t
.1
Id'
and
tactful' doubt
Their' ru-in
A.
s ,s
Dis
brace.
Ju - dah's race
desper-| a
It
tion
.f
.s
|n
the cho-sen na
.n
-
tion,
ii Hosts l
"who
in .n
Chosen by
n .ba se
.ba| se
the same,
.n
the Great
.in
still
|1
We trust,
[Advanced Transitions.]
.1
II
I
AM!
Id' .1
.r'
111
t.
m.
be
The Lord
:1
:f
-
L is S.
.Is |t
.n |f
come
202
key
58.
E;?.
d
II
Hal
Hal
le
1|
,,r
lu
jah.
A>. ZiaF.
f.
:d
ta ,f|
fi
n, ..se,
men,
p. 59, 60.
t,
men,
B>.t. m. ZisA.
/.n f
le
In
|1
- vah's
| Singing great Jeho
f.
D.
ji n.se: 1 .t
.s
f .n
The' ho
praise,
E.
t
men.
" Jephtha,"
1,
1|
em
choir
lv
t|
se
.1,
ploy,
t, .1,
p. 49.
:
n'.r'ld'.t
:1
d'.r'ln'
The
ho
|t
:f
:-
|n
is.,f:n.,r|d
Suchasonourso-lemndays,
.d
'
A,
|t|
wa
The
del
em
:-
ploy.
:t|
.s
ters
D. L is B.
|*se.ba
.,d:d
Id
were
er
gath.
'
ta |1
-.
key a.
'
Use)
choir
ly
t,
'
m.
t.
||
60.
.,se t
|Pi|
i
men,
r .d
|is.,l:t.,d'|r'
t .d'jr'.t
s ifi
B.
is
jah.
:m
f |s
X is -Fj.
key A.
69.
|se< .,ti:n
li
.n
wa
the
ed,
|j
were
ters
f.
.,d:d
/id
j
gath
61
,
er
key
.s
No
|1
-id
1
eas
se
.n
ters
II
were
.,1
gath
er
.d
ed
:r
.f
t.
ing As these
to
|t|
-
.t,
II
geth-er.
In
.s
B>.t.
d
.r,d:
show'rstolarksso'pleasing,Notsnn
.t t ,l,:"l
-
wa
the
Et>.
E?.
1
.n
ed,
X is
I-
d.
|-
.r
t|
shine to
.,d
the
0.
.t
:se
.,1
II
II
II
[Advanced Transitions.]
Id
I
bee,
f.
p. 42.
A?.
.in If
Not
.r
t,
.<n
j
sleep to toil so
203
key
62.
:-
iis B9.
|d'
:1
se.,1: t . |
Lord, art
God a-lone,
Dl?.
Thou,
se
al
migh-tyande
d'
Ver
IKA
Lord
for
Thou
thy
in
G.
ir
:n
.r
.f
:p.
I
|n
men.)
praise ye the)
d .r
n .fe
.de
.t|
:d
s.d.f.
|t|
.r
peo
sei .t|
d .dl
men.
:f
.n
mer
thy~~
-1,
men,
1.
m.
t.
"r .d
forth
.r
If
:-
.f ,n|
ver.
key P. L is D.
d .t|
:d,t|.l,
63.
m.
0
In
t.
"'s
men,
:d .tfjt
li -t,
fl
last - ing.
Bt?.
in
21, 22.
-ti
Si
B?.-Eis<?.
:-
,ta,S,j
pie,
ill
sei
deem
km
ll
ed.
Transitional Modulation.
"As
key At*
84.
f.
:d
From
henee
:f
|s
and
forth
D>.
pt
:fl
:r'
|n'
ev
for
Al?. t.zis-F.
:-
|d'
|-
:-
:t
C.
t.
m.
1. r.
:r'
Ilfi
er
KEY
65.
:
:s
It
id
.s
for
If
and
toil
re
pay.
.fe:f
ieh,
:-
11
:-
in'
er
At?.
|dn,
Z is
se,
m.
t, .se,* 1|
more.
F.
|n,.l|
- .f
in
:-
.r
|d
while joy
perl-haps,
At?.
:*t|.t|
In
and
.1,
Or the "gush"
too)
1.
Ah
s.d.f.
If
ev
hs
l\s\
strong.
II"
it
:d>
more.
r.s.d.f.
:
F.
II oher
se
.-
C.
Id
-
|1|
wish
:-
[Advanced Transitions.!
.d
es
d
per
s,
iah.
r .n
204
KEY
66.
:-
a'
3D.
.d'
18
S.
d':d' .d'
id'
.,t:l
Id'
Id' .1
.t
.so
Tqi-ipl
"
191
t>
P
>
|A11
th'inhab-i
d' .1
.se|l
melt
naan
.r
way,
Ca
tantsofl
.de'
shall melt a
melt
shall!
:-.d'it
r'
way,
- .1
melt
shall!
way,
shall'
|1
>
way;
i-Gr.
:
jl
I
.,t
key
d
the
C.
|1
f in
His
-t::d'
.,f
::
own
His
B.
I. r.
- .r
r'
'|
1.
:-.f|n
.,d:l.
peo
sin
pie's
.,r
!1
:-
n re: n
pre
jfn
eious
,f
f.
\n
:d
.,r
-
suf
fer'd,
Dt>.
,,f:s
.,1
::
He
life
He"
d.
:d
.,r
of
Come,
:d
:d
Id
Mer-li
at
- .d
In
bah they
in
us sing," p. 23.
G?. Z
JE7.
is
pse :-.l:se.li
Mas - sa in the
:n
land
did,
fer'd.
let
r. s. d. f.
(id
>|As
Thy arm.
of
key B?.
68.
m.
t.
f'f
Thy arm,
of
1. r. s.
|1
m.
t.
jfe r
ness
A.
is
:1
.,t
For
great
D.
Bt>,
f.
:s
by
67.
d.
s.
d 's
at
At>.
||t
des
(id
<
:-
:r
ert,
m.
lr
:n
Af
:n
-
ter
de
|lbel,
'for
:f
,n
ty
:d
t|
:-.fif
:f
years
1,
'Tisalpeo
for
'
:s
.8
1.
:
m.
s
grief
:d
in
ty
:f
and that of
'
8a
.n
f.
:-.fif
:f
years
grief
at
this
my
'
P e
sta
this
diso-bedient'
.t|:
E>.
- ,d
de.r |dse
dis-obedient
1,
re-bol,
L is
0.
:n
race,
i
'
Bb.t. m. Zisff.
:f
If
lr
that do err,
pie
at
:n.t|:d.r)
:t,.fin
G.
is
At>. Xis F.
-^.n
said:
is
f.
j,l
If
:d.t in
'said:
BbII
race,
/.
Af-ter
:1
t.
:<K>t,
.r
jde
that dot
pie
:r
tutes
:f
:n
:-
are
I-
and
err,
in
I
:-
still
[Advanced Transitions. J
.1|
un l-mind
.f
:n
in their hearts re -
'
If
n
-
ful.
.
j-
NEW
EDITION.
For the 5th requirement of the Intermediate Certificate, any one of Nos. 11 to 22, taken by lot must
be Sol-faad in correct tune and time. Two attempts allowed. The key may be changed when necessary.
No.
key Q. L
1.
is
In
ili
!
xey Bb.
:ni.,niili
No. 3.
:n,
|ti
way
lent
Hb0.
:n,
:t
cau
tan
tious
trav'l-lers
From
:1,
We
take.
:l,.,d|n
|d
:r
a Part-Song.
|n
:f
|f
At
'
:m
But
Christmas
li
sure
No. 4.
,
'
11
:1
The
soon
ly,
key C.
:n
:f
birds are
as
is
:f
pril
L is A.
|n
in
:r
ti Id
Sweet' Spring a
|n
i
when' froBt
time,
re
sing
ing
:r
,d
|
-
:r
from each
London:
spray,
J.
'Tis I
bloom a
li
gain.
bo
som
'
lone
&
9,
am
of Day.'
|se
glad,
id'.t :I.se.l
:1
Sons, 8
II
:1
It
'ry
old,
:se,
|t,
wake and
|1
Curwen &
205
rt^L
Id
:-.d|l
|t|
grow-ing
is
A,b.
:t
It
year
ing, Makes^ ev
turn
-n
ir
conies, 'Twilll
Welsh
.d
:d'
gain
The
out,
it
From
Ir
:d
to sleep."
brake,
l|.,t, |d
tho'
:r
|d
:-
II,
gled
Boyd.
.ti |d
:n
ir
On the' board as
W.
ll
:n,
|t,
:ri|.,riij
clown,
key A. L is Ft.
:1,
many
ili
The
|ti
churl-ish
'
'
Mendelssohn.
It,
:n,
:n .rid
si
ll.lrd
stray, Thro'
:d
H. Bishop.
:n
|t,
we
1|
In
So. S.
:f
Ion
as un-daunt-ed
Sm
E.
:r
:l|.t, id
jli
illStill
: |
sad.
206
est A. .Lis?
No. 5.
|:m.r|d
In.fw.f
In
:li
No. 6.
:l.t id
in
:li.t||d.ti:l|.ti
:n
Welsh
lse.1 :t.se|l
:t .1
|Promhisl cave
:1,
In
d_JL| : r^^ti
the'
pro
lli
id
:n
min
phet
:n
the sea."
fish in
1,
:se,
Prom " Of
1, .ti|
Hath
in
:r .d lt
Aib,
:
Snow-don's' moun-tains,
in
Thomas,
J.
|t|.l, :t,.d| 1,
:d
strel
:1,
spo
ken
f
X
j '1
It
d'.n':r'.q'
No. 7.
:n
key C.
il
We
:n
no
No. 8.
The
O'er
'
kby A. L
The
No.
spi
:1
11
.l.sell
:l.se|l
Or.
|n,
dy
ti
ing,
se.
Where warlike
Wb,
:se.
111
1
Ju
the
'
:-
sweet
:-
ken.
Part-
part,
:l.se|l
earn
eat
heart.
'
Prom
In
:n,
rit
'
som
bios
|r
:d
-
|d
once bloom
:1,
her
lays
key Bb.
d.r in
!L
the
his
Allen.
:ri|
to
:d
|r
birds
:d
|r
a Part-Song.
:-
It,
|-
have flown,
It,
fair
|r
must take
0.
'
:<
'ry
frost
Eaoh' one
It,
:1,
.tid
:1
lot,
thing
:1,
|1
sure
1 .sel l
our
Ft.
iti
ev
is
:se
.r [n
quest the
From a
tn.rll
|f
:n
1
is
leaves are
.r
:d'.t
|t|
Of] con
war,
in
H. Lahee.
n
it
sad
in
:t,
:-.n,f ,n:f
.d':t .1 |se
cess
Z is A.
Id'
!]
j:n,
*
id
:n,
.r': d'.t
|f
in'.r'id'
(There'sl
must work,
all
cold
In,
'
ing
:se,
11,
gers
fin
and
to
:d.ti Id
das
fMinor
hiB
Mode
night.
Prom "Judas."
r.d
:r.n|f
wields
11,
-
Handel.
:t,.d|r
bright,
Phrases,}
right
|t,
:1,
eous
In
I
: I
sword.
207
key F. Z is D.
No. 10.
:nnid
jl
:m
:m.,ri|t|
From "The
Thomas.
|1|
gloomy
*Mournl not
\''
J. K.
:d
..tijd^
plight;
The owl
.,r
:n
|li
'
:n.n|r
:s.s |f
:d
:-.n|l
|f
No.
i
'
Veil' d'
key
11.
Ise
On
key
cid
I
:n
|ba
-
:1
.d
:n
.t
:se
id'
the!
is
.ba,se
:n
:t
id
I
id
ter's
:1
.t
:-
in
moor'd,
id'
.f
:n'
-
fMinor
peaoe
:n
|1
ven
way.
:t
|1
-
fn
asm
blood
of the Lea."
,d
.1,
wav
in
.,1
|Sail
Phrases.^
:d
ing in
d'
.t
mong
||
II
ful-l ly.
streamers!
Ham
Mode
:t
:-
:-.d|d
|r
Sleep-ing
The
con
1,
:d
Id
:se
Leveridoe.
:se .1
un -le
one
:t,
daugh
'
|ti
" Hereford."
Tune
the
:t
life's
In
'done.
ty
|1
:t
id
she,
side.
From "Jephtha."
|d>
fleet was!
.n
:1|
du
in
Henry Smart.
B.
.1
:se
-I
|r
From
ba
:r
in
grave lies
downs the
While' held
sky
In
11
the
key D. L
No. 15.
All in
in
:n
stay,
]1
key D. LiaS.
:n
:n
day's high
La Tuobb.
in
rits
'
ill
Handel.
Ere
Cold with
and
:f
No. 14.
:re
spi
:se
|ba
lie,
'
:-
our
Thy
:n
Id
:ti
gold,
r |n
Smart.
|ti
P.
In
:n
lone
:1,
crim-son
key D. ZiaS.
il
I
II,
'
A.
|se
No. 13.
Or
C. Lis
:1
'thee
i:n
Hbnky
0.
:sei
thy cloak of
by
No. 12.
i:l
L is
B|?,
:-.niibai
Hi
:f
Has' rent
:
:- rln
t, d |1,
Id
:n.,n|l
n
:n.,n|n
:t|
m
:t|.,d|li
a pride,
Nor lone-ly the bird, norhisl ghast-ly mate, They're' each un-to each
t:se
'good;
Owl.'
:1
.,r
in
the!
wind,
.sel 1
your
'erewf
208
|n
:se
in
:l.se|l
:se
:m
:s6t
't
:n
|d'
:t<
Id
|t
key 0. L
No. 18.
is
|n,
bat
:se
:se
1,
From "Achieved
Haydn.
^.
jba
:n
|ba
:n
:se,
|1
3s
hera."
: |
From
No. 17.
pi
|se.ba:se.l|t
:t
Henri Smakt.
key C. Lis A.
No. 16.
jtLgell
the same.
|-
:-
is
:s
jf
|n
:1
in
in
:t
:d'
Id'
|se
:t
|1
jse
:se
|1
||
,:n
'
ev
:t|
||n
:sei
:ba
:se
ed,
For
|bai
:se,
|1,
:1 (
!d
:t,
|t (
C.
key Eb. is
:n
iba
|d
:r
:e
It
:1
:d'
It
:f
|n
:-
|d>
er
:d'
bless
Frost."
|ti
:sei
jli
:ti
ise)
Hi
:d
Iti
:sei
Hi
in
:d<
|r'
:t
Fishers."
:- i :
II
Handel.
il
Haiton.
Q. A. Maceakben.
ise
ev
From "Jack
jn
ed,
:se
It
ise
:1
P.
:se
bless
:t (
It
ZiaA.
:ba jse :1
|1
er
J. L.
:n,
key
:se
ev
|se,
|n
No. 22.
(
'
iba
:n
Ise
No. 21.
j|n
bless
er
No. 20.
|jd
II
:n
Ise
For
From "Esther."
Handel.
key C. Zis^.
No. 19.
II
:se
ba
:se
|1
|:se
:d'.l |se
|1 .t
i:s8
II
:n
:d'
jl
:se
se
:ba
|n
:ba
Jse
:1
(Minor
Mode
Phrases.)
|n
|d'
jba
-ba
:1
Ise
ise
-o-
FIKST STEP.
EX.
KEY D.
1.
(Id
'
I"
Jd
|r>
PI
:d
:s
:pi
(:d
:d
:n
:d
:d
KEY C.
Ex. 3.
:n
t
:n
:n
:s.
KEY
Ex. 5.
:f
:-
Ex. 6.
KEY E.
d .S|:d
:s
:-
:n
:d
S|
:
:
:s
:ti
s,
:d
:d
S|
:d
:si
:d
:n
d
s
:s
n
:si
Gr.
:d
di
:s
t
d
n
:n
t
d
KEY F.
t
:d
n
Ex. 4.
|:s
'
1
KEY Eb.
Ex. 2.
:s
S|
n .d :n
:n
d Si:d
:d
:n
s .n :s
n .d :n
n .d :n
:s
:
:-
d
d
:n
SECOND STEP.
Ex. 7.
S|
KEY
Gr.
:s.
l.Swell
the
song
Prais
Si
:d
t,
PI
:pi
:n
PI
sings
Prais
:s.
PI
2.Hark!
:n
the
:d
d
London:
(New).
A.L.C.
:d
the
raise
:s.
S|
St. Co.
:d
an
voice
J.
pi
them, t
of
na
:d
Cukwen &
Sons, 8
ture
:d
&
9,
S|
Wauwick Lane,
d
E.C. Piuce Id.
:pi
-
es
:d
:s
es
:d
;;
FIRST EXERCISES.
210
r
:d
God
our
to
:d
t.
:s.
S|
long;
be
and
Saints
.d
an
gels
8|
:S|
S|
:rii
S|
S|
:si
Sl
:s.
:pi
.a
t|
PI
:pi
:pi
Let
d
King
the
to
Kings
of
4-
S|
Si
:d
pi
:s
us
join
the
iQ
:n
:r
heav'n -ly
King.
:d
t|
t.
:t.
:d
:t.
:pi
:r
:s
:s
pi
join
chor
:d
68
And
song,
al
Prais
sing
to
S|
the
"f"
the
grate
notes f pro
ful
:s.
S|
:d
long.
:s.
S|
di
SWEET SUMMER-TIME.
KBY C.
Ex. 8.
.rt
pi
Summer-time,
.d
P!
Summer-time,
Summer-time,
.S
.s
.PI
sing a
.d
.d
.r
Glances
.s
.t
Warble
s
.s
:pi'
.s
'Tis sweet
'Tis sweet
.d
d
:t
o'er
:s
.s
the
:r'
.t
crys-tal
.s
.t
:s
stream,
.s
.pi
'ry -
.d
mel- o
PI
.d
.S
,d
.ri
Sv
time.
Now
S
:pi
time,
:d
where,
Summer-
d ,s :s
Summer -time,
d .d :d
time,
:s
.s
Summer- time,
:n
.n
Summers
.d
time,
:d>
Summer-
.d
tLne,
:d
:s
pi
.n
:pi'
'Tis sweet
.s
.d
.r
.s
Summer
:d'
.d'
ev
.t
'ry
.d
PI
Summer
:s
'Tis sweet
the
d'
,s
air,
t
tree,
-time.
n
-time.
d'
.n
.s
di
'Tis
:s
gay beam
.S
is
.t
:r>
.PI
sun's
S
gain,
d'
the
the birds on
.s
.d
,s
tly scent-ed
.t
time.
gain,
.s
Sing a
.s
now
:s
,d
pi
d1
:t
Brightly
S
PI
sing,
.Sing a
:d'
Summer- time
d .d
:d
time.
:t
:s
.PI
Gai-ly
Summer- time
W*.T
mer-ry
PI
Summerpi
.S
.r
:n'
,s
mer-ry
t
.r
Summer- time
'd'
Summer-
:s
di
.t
d'
.s
Summer-
:d'
.s
their sweet
:s
.n
.pi
.d'
.rl
ri
mer-ry
.PI
Mer-ry,
Summer-
:s
gain,
d'
.pi
Mer-ry,
time,
gain,
1
sing a
time,
:d'
'Tis sweet
PI
.d
Mer-ry,
:d
.d
pi
smg,
gai- ly
.d'
Summer-
time,
Summers
.d
PI
:n
.PI
PI
2.
3.
A.L.C.
d
s
Summer1
s
1.
* In marking the Tenor Registers (as p. 68), study the optional tones (pp. 32, 110), the phrasing
98 )> anl tne nee d f r piano or forte in each case.
(PP 69 '
St. Co. (New).
-
,;
211
FIRST EXERCISES.
Ex. 9.
Mu-
by
Mu
Mu
F
Dis
Mu
Mu
ir
:s
cord
Mu
:n
Id
:n
sio
sio
sic
sio
:d
SweU
d,
the
:d.
St.
vex:si.
:pii
and
IS,
:si
Ma
pii
the
:s
is
:si
:d
:ti
in
810
the
the
in
It,
Co.
on
the
:d
Id
our
in
:s
in
hap
py
It,
:-
isi
d,
Id
:-
ti
:-
s.
school
s
moun
d
sor
n
cho
Mu
Mu
Id
:-
S|
in
:-
s,
:-
t.
Mu
tain,
Mu
row,
Id
:d
Id
:-
S|
Id
:r
id
:-
t,
the
in
:s.
our
in
Id
glo
In,
(NewJ
:ti
-
rious
:s.
true
s.
heart,
is,
glad
ness,
|n
an
:-
hall,
:d
-
Mu
1*1
:-
Mu
IS,
:t.
IS,
:s.
It,
ev
sic's
:si
ev
sio
:d
S|
here
ter
:si
d,
:-
:ti
air,
s,
care,
'ry.
:r
where.
n,
'ry
:-
si
'ry-
fair,
:s.
:si
t,
ture
:t,
ev
1
all;
:.s.
|T
sio
:n.
IS,
:r
d
'rill;
us
:r
our
in
na
:-
s,
the
It,
:-
dear
:s.
:s.
IS,
sio
:d
in
sic
all
s.
en
:s.
:r
the
for
sio
:s.
-
:t.
|S|
:d
|r
in
sio
:m
-
;si
S,
the
:t.
In,
hill,
:s.
in
Id
:4
s.
Mu
:-
them,
Id
the
IS,
sia
:d
Of
rus
Id
IS,
:n.
-
( 1
on
Ne'er shall
tion,
is,
Id
|u
sic
room,
\n
n.
Mu
land,
is,
Mu
d
ces,
wood
d
:&
d
ley,
side,
voi
:r
sic
|s,
:-
fire
:s
Join
ful
si
:d
:d
val
Id
:s
Si
:r
A. L. C.
:d
:t.
t,
the
:si
Is,
sic
:n
3.
J*
the
in
sic
:s.
si
2.
Id
:si
Mu-
1.
where.
:-
where.
d,
:-
212
FIRST EXERCISES.
WE
high
:n
On
:s
Id
fire
:- .n |r
Hap
side
:d
:r
'
|S!
Minds are
ce
:-.t
com
d
les -
0,
si
they
:d
it,
:s.
s,
:d
d'
:s
in
:d
:-
wan
who con
Make we then
l.He
2.
3. For
the
:s
:s
-
joys
in
1
der
quers,
a
of
:d
:-
Ce.
(NewJ.
heav'n,
:s
the
Id'
:d'
make we
the
try's
sto
:s
wea
est
:n
:- .d'|d'
:t
in'
:r'
who
con - quers, he
heav'n of
then a
joys
of
life
from
.t |t
:-
earth.
Id'
:t
d'
'Si
home.
:d
from
1-
falls.
in
life
from homo,
d'
of
:- ,s Is
:s
heav'n
of earth,
:- .s is
Is
who falls.
:- .r |r
life
:r
quers, he
'
heav'n
thejoys of
:n
.d |d
:s
:s
ther
d'
:d'
:n
we then fa
:s
:n
:d
ry
:r
in
:t
-
heau-ty
true
||-
who
falls.
of
earth.
home.
ther,
:s
:n
who conquers,f he
:- .d |n
For
roam
wild
:- ,n |s
:d'
:s
ge
ty;
s
-
lenco
:-.d|d
Make
|ti
coun
|n
-
|d'
He
for
life,
di
:s
In
birth,
|
eel
du
of
:n
ry,
:s
|s
our
:d
-
who
he
St.
widefwho
sit,
|r
tial
Ex
d'
fare calls,
|d
:d
:n
In
forts
:s,
Id
:-.n|s
t,
-
pi-ness,
|d
:-.d|d
:- .s In
hap
wel
:t.
of
:s
thro' time,
live
py,fwhen her
:d
t,
Id
glo
of
:n
|n
:t
d'
:d'
mount
:d
knit
|d
:-.r'|d'
:s
IS
:d
we press
us
:s,
true
is
Where our
:n
|n
tue
:d'
:d'
names tmay
That our
n
:n
Vir
let
|s
the
:-.t|d'
d'
:d
:n
Up
,s |n
wardf may
:s
clos - er,
|d
:d
is
we climb
Is
:d'
i-.r'icf
will
er f
ward, on
'n
3.Clos-er,
A.UC.
id
|d'
l.Higher,
CLEKE.
key D.
Ex. 10.
s
2.
,'
;;
;: ;
FIRST EXERCISES.
HEAVEN
Ex
Si
:ti
l,I'm
but
S|
Si
2.
a
:s,
What though
the
:r
my
Thero
d
3.
:s,
4. There-fore
t,
.il
my
be
shall
.A
:a
What
:si
:d
Dan
:si
And
m
and
:s.
:n
are
:d
And
,1
:-
.s,
,l\
.-
,S|
:s.
grimage,
.u
ri - fied,
:-
ly
.d
,Q|
lot,
:r
row stand
sor
Si
sert drear,
S|
the
:d
shall
earth
t.
:d,
mur not,
glo
Ml
:n
.s,
pil
:d
iour's side,
mur
win
r
wild
time's
There
:d
ger
s,
my
e'er
Sav
Si
;r
.t,
Hi
de
:si
rage?
tempests
ft
:n
ger here,
.S|
Si
is
.r
stran
:s.
:n
A
a
is
Short
A.L.C.
:s.
Earth
n,
2.13
IS MIT
key Ap.
1.
.it,
:si
try blast
:-
.d
:t.
and blest,
good
:
sure
.S|
ly
:s.
stand
Heaven
my
is
in.
s,
Heaven
s
:m
is
:n
Heaven
is
:n.
s,
Heaven
Heaven
S
Heaven
:r
Round me
will
Those
loved
I
:s
Si
There
at
:n
:d
Heaven is
d
:d
:d
my
shaU
:n
:s
And
d
there
:d
Heaven
reach
I,
:d
is
St. Co.
(New.)
my
:-
.n
:-
.d
Fa
t.
at
:-
.d
:-
.s,
Fa
:si
last,
:t t
shall rest,
too,
S|
:r
ther-land,
home
:si
ther-land,
:n
Heaven
Heaven
is
:d
Heaven
is
:S|
n,
is
:si
Heaven
be
:s
:s
on
:t,
:t.
Soon
ft
my
is
:r
t,
Si
is
:ri|
home
d,
my
is
Heaven
my
:d
!P1
S|
t|
my
is
:n
home
rl
ill
Heaven
Si
my
my
is
is
home
:s.
my
>
:r
my
home;
fit
home,
Si
Si
home
S|
home;
:-
.r
:-
.t,
ev
'ry
:-
.r
:-
,S|
Lord's
:t,
my
:s.
:-
home.
my
:-
home.
d,
home.
:d
:d
right
home.
hand
:d
and best
most
:pi
ver- past
:s.
my
home
:-
hand
214
;;
;
FIRST EXERCISES.
SWEETEST, FAIREST.
Ex. 12.
KEY S\
S
1.
Sweet-
:- .r
est
est, fair -
|d
:S|
pla
of
fbest
.r
ones
the dear
fwait
to
mi
liar fa - c
'l
:- .r
Oth
er
:-
S|
S|
:d
|r
Friend
:d
ship's handfl
:-
Si
Si
- In
S|
:-
:- .d
|3,
Si
:-
,r
:-
|-
home,
:
d
Id
:t.
|s
:-
:r
- .d |d
:r
:- ,s
|s
- .d |d
t,
:-
home,
Co.
:d
home,
:d
:n
rest
tAt
h'ome,
S|
:d
:r
:t.
home.
d
(Hew).
in
Id
is
sweet
IS,
:-.d
:-
|d
|n
:s
sweet
Id
:
|s
::--
sweet
:
|d
:-
::
1
1-
:-
:n
home.
my breast,
fill
:s.
tAs
sweet
::
Home,
:d
:
St.
n
Home,
home,
s
,S|
py thoughtsfof
:-
-S|
me
|t.
S,
Hap
.t,
see,
.s
|d
|n
:-
.d
to
:-
:-
:- ,r
fair
|d
landsfas
:-.d
to
i-
|S
gain
:t.
.8
er
|-
|S|
t a
is,
::-
home
sweet
- .n in
-
home
sweet
Oth
long
S|
|-
:d
Yet
:
:-
home;
:r
|P1
to
:n
.d
dear
t,
|n
t so
Id
None
d
can be
press' d,
|s,
:m
it,
have
:-
s,
|d'
.I'll
oft
IS,
may he,
clear
:s.
.t,|ti
t,
:- .d |r
t,
skies tas
|S|
SWeefc
At home,
:d
to greet me,
is
home
:-
-.ti Id
Tried
:-r-
;s
sweet
Id
|n
There
are dear fla,
:- .r |n
:r
d
A.UC.
:d .d
|r
n
2.There
home,
ces, Is
;;
215
FIBST EXERCISES.
MAY
d
:d
:d
Coming
1.
:-
|r
:d
:d
|t,
:n
:n
|s
Coming
:d
:-
A.L.C.
thro' clouds
2.
COMING.
IS
KEY G.
13.
fix.
and
:d
is,
of
:-
::-
s,
:s,
:s,
|si
:-
is
:-
:n
:n
Ir
:-
:d
:d
:d
:-
s,
:t.
:-
is,
:n
:-
:r
month
ful
of
:d
:-
flow
:d
Is,
:-
|r
j-
:-
s,
:s.
:si
s,
:-
:d
:-
:-
It,
t,
:-
1-
:-
8,
:t,
:r
:s
:-
:-
is
s,
:-
:d
1-
:-
in
:-
:d
Hastening to
:d
:d
Id
:-
Is
:-
us
:m
:m
:d
:d
:-
t,
:-
is,
:-
:s.
:-
1-
:-
s,
:s.
:s.
s,
:-
:-
|s
:-
:-
:r
:r
|r
:-
:-
t.
:-
:-
:n
pests
:-
west
:-
:-
:n
|n
est
less
ray
Beauti
:-
It,
:d
:d
:.-
:n
:n
er,
Blesse 1
St.
Co.
fNew).
'-
IS,
dark
the
est
:
'
:-
:-
:d
:d
:d
:-
er,
try
:d
:s
:s
Coming,ttho'
:n
:n
|
:-
ir
:d
:s
:s
|
low
d :-
low
:s
Si
:d
:d
|t,
day
:t.
:-
pests
:r
:-
tem d :-
:t,
'
:-
:t,
Star of
:-
:-
tern
:d
gain
:-
:-
s,
of
:s.
mise
pro
di
1-
hour,
is
t.
ed
hour
s,
:r
en
gold
its
and
n,
ers,
:-
Faith sees
:d
day
s,
rest,
:-
|t,
thro' sleet
Com-ing f a
Beau-ti
rain,
|f
It,
Com-ing
:
glo
is.
:-
dark
:t,
morn
fa
:-
:r
:-
:d
:-
:r
:-
:-
month
of
t|
May.
d :-
:-
:-
:-
nal
Slay.
ter
is.
:-
:s,
d,
:-
:-
Coming,ttho'
d :d :d i
FIRST EXERCISES.
21G
THIRD STEP. *
Ex. 14.
KEY F.
Bkailsford.
r :r
Ex. 15.
n :f
f :n
d :d
t.
ti
:d
:t.
S|
:s
fi :si
li:f,
:d
f :s
:1,
S|
r :d
Ex. 16.
ti
n :r
:f
li
f, :1,
S|
:fi
d :d
:t.
B|
Hi
fi :r,
S| :s.
8|
:f
KEY G.
Ex. 17.
Gregorian.
KEY G.
Nares.
key A.
f :r
d
d,
J.S.S.
n :r
:f
:r
f :n
n :r
:t.
:t.
1|
ti
d :d
:ti
r :d
1.
s, :f.
:fi
pi.
S|
:f
:1
:f
:s
d :r
d,
t,
:d
fi
fi
si :si
S| :s.
:s.
S|
li
:f.
:si
si
FOURTH
Ex. 18.
:t.
STEP.f
E. J. Hopkins.
KEY F.
/7\
:1
:-
:n
:d
:d
:-
ti
:d
li
:si
8|
:f
:-
:s
:m
:-
S|
li
:n.
fi
:d
li
:t,
:r
:fi
Ex. 19.
:ti
:r
:1
:-
:n
r :r
ti
:d
t,
:-
li
:d
:ti
:fe
:-
:s
:s.f
li
:r.
si
:-
rii
li
:si
f, :si
:t.
:-
:s
f :r
is.
si
:-
f(d
:n
:t.
:r
:-
dS
:n
:s.f
f |d
t,
:d
f, :s.
f.Eb.
Bb.t.
1
:s
:-
sd
li
:fi
S|
:r
:n
:-
r S|
:n
:-
r S|
ti
:d
Ex. 20.
*A
li
d
G.O.
key Eb-
7\
f.
:-
:si
s,
:-
Si
:t.
:-
ti
Dk.
KEY F.
:si
S,f|
n.
Ex. 31.
Chii'p.
d,
KEY G.
G.O.
d :-
n :r
d :-
r :r
:-
r :r
8|
:t
li:-
d :d
:t.
d :-
ti :t.
:-
d :d
:t.
:f
n :-
ta:l
:f
:-
s :-
d :d
f :r
.S|
1.:-
f.
n, :fi
Si :s.
d :-
Si :fi
li :ni
fi :s.
:r
:f
Co.
(New.)
To
1 of
:s
n,
:-
ta
"Additional Exercises."
:s
!!!
!!!!
!
I.
Note. In
teaching to sing, these exercises should he preceded by at least a selection from the
Exercises of the 1st, 2nd, and 3rd steps in " Standard Course," or by the " First Exercises for Mixed
Voices." And' before the Ex. on p. 12 is commenced, either the St. Co. Ex. of the Fourth Step, or those
on the last page of " First Exercises," &c., should be introduced. For style of singing see " Hints on
the Tunes."
'
"Words by
GOB
W. E. Hickson. By permission.
key X). M. 66.
- .s pi
|d'
n
s
s
1.
Now
Be
Id
that
|d'
- tient, firm,
Pa
4. Still
In
|d'
s
their on
Ev
S
'ry
Like
the
:di
di
Pains, nor
at
f
good
:s
:
nor
toils
:-
God
God
n
God
-.r
ni
the
'sW - .t
the
'sW
- ,r
1
.S
right
ingi
God
ing,
'
fear
du
r
sto
J.
ing,
God
PI
ing,
God
PI
ing,
God
pi
With
d
ry
ti
If
they
S
in
lay
it,
ed,
And
8,
5L
There 8 no
|r
.S|
Si
.Si
right!
:
right!
s
right!
the right
pi
earth
fail
with glo
own
:s
time
sue
S|
earth
,s
God
the right
:-
the right'!
.s
the
.S
God
Warwick Lane,
E.C.
:
right
:
d
the riffht
In three parts, 4d. each.
ti
ry,
:
ceed
stay
God
s
PI
they
powr on
God
r
ward-ed,
on
:t,
heav'n's
|
pi
fail,
s
9,
the right
cess
&
Sons, 8
'^peed
.S
the right
t|
sue
the right!
ing
- .r
the
- 'U -.t.
the
speed
- .s
the
- 'sW -
'fpeed
God
PI
ed,
- .r n
Ir
speed
the right
-.t. d
God
pi
heed
the right!
PI
PI
cord
right
God
s
feat
d"
als
de
e'er
the right
speed
God
s
tri
tend
f
n
great in
:d!
|d'
heav'n re
n
and
God
pi
pi
length sub
in
:d
d
:d
|d
Truth thy cause, what
d'
su
con
n
though de
- .S pi
n
nor dan - ger
- .S n
n
PI
ing,
ed,
ver
ble cause
foe
|1
their zeal
Be
pi
peat
:t
d>
se
cend
ing,
vent
- .S
d>
Ne'er th'e
- .S
pair
n
ward course pur
no
Ne'er des
pi
and per
- .s n
d'
.S
pray'
:s
s
3.
our pray'rsas
- .S pi
n
re
a- gain
heav';
to
:s
s
2.
S
ing,
it,
PAET
ADDITIONAL EXERCISES.
218
I.
GOING HOME.
M.
KEY F.
Gersi*4h.
38.
s.
i.rie
ft
harm
t|
ing
s
A
a
time
,t
.s
^Vere
Klllj
:f
.s
pi
l.Fa
d
2.This
s
4.Whilst
s
song
si
verse
spi
heart
St. Co.
tice
pi
pi
si
d'
rits
si
fill
be
(New.)
plague,
and
ten
S
-
Si
+
.1
and
:
ther
- ,S
sions
pi
- .r
:
I
child.
t,
ven
1|
s,
don.
Sa
the
De
fl
s,
dews are
dhs
:pi
:
till -
ing,
thy
d
En
t.
pride,
d'
d'
s"
Be
:
With
our
f
thine
shield
PI
own
W. Jackson.
;
May
:
K
1
From
li
tl
Ho
:
pi
and
pan
se
ren
ti
vil
thoughts,
the
might
iy
Ghost,
f
0
tv;
ply;
d
-
ty;
pi
si
:-
free.
eve
:t,
:
our
d
and
large
and van
:
mer
,
vil.
s,
viour
Of
dwell-ing,
1,
Is,
PI
Home.
ing
last
par
t
si
.pi
man
.f
fa
I
in
vide
our
:
there.
- .f
viour,
ing,
are
bruise,
ling
Is
ments of
d
fl
vil,
It,
0
:
A\
id'
der
us
ful
s,
I
t|
pro
high hea
tell- ing
ha -
And when
.ti
Is
S|
.s
|r
with
night
faith
tide,
n
a
:d
the
s.
t,
ri|
When winds
,s
in
ti
be
:d'
1
-
sore
- .a
be
be
:
storms,
:fi
|r .d
.d
72.
en
try
PI
dar
ill,
s,
How many
an
t.
Is
us
tie
er
ev
|t-.l
not
day's sins,
S.From
1|
t|
:r
:
PI
Might
.Pi
Is
whate'er
guide,
1|
Id
ther,
:
lit
M.
KEY El?.
\jrOa
- .d
win
For
Id
An
,f
PI
Si
|f ,n
.n
warms His
:- ,d
s
wide,
wild,
Is
come,
shall
ti
as
- .d
How many
.d
in
snare
us,
t.
pang,
|r
ful
rav
.,f
a
r
%
our
Id
:n
r
God
3.Be
:
^
bears
In
,f
many
l.How
PI
nmg
d
per -[
S
of
PI
each
;;
PART
ADDITIONAL BXBKOISBS.
p
-
Through
the
day
u
From
s
T of
:
world,
tny
powi^
CI
peace
us
ev
d'
di
:-
re
a
u
flesh,
d'
eyes
ri
CI
ti
us,
And
Ev
A
u
A|
Lamb
an
cf'
s,
Save
er,
cha
ri
u
Ual
ic
com
r.
si
ed
Trin
day
rr
s.
on
ri
and
.J
heav'n
now,
us
PI
est
gel
bless
vv line
01
:
the
rc
And
'
fl
er
Through
vin
thou
:d
us,
'.
ing,
PI
-
di
clos
Uu
PI
With
liv
219
I.
pi
fl
de
'
X*
de
pi
er
hath fed
the
pos
:d'
tend
at
:m
soul
love
u
1
thy
us,
pi
iiie
hath led
:d'
this
:
IT
save
s.
Will
care
the
ioOIL
thee
V
-
ri
va
ny.
S|
-
ry
pa
tne
ty.
ty-
SPRING LIFE.
(Words
M. 144
KEY B.
l.Hur
d>
Hur
-rah!
|2.
1
Hur
rah!
rah!
Hur
s
-rah!
Hur
Hur
rah!
\4.Hur -rah!
f .s
-
ti
f .n
ny
.s
Flow
d ,n
f .1
ret
fair,
r.f n
Brook -let
r -d|t|
hilT
and
J. S. Stalia'brass.)
f .1
r.f |n
clear,
|1
:n
|f
Slant- tag
thy
forth all
:s
^down
thro'
Bird
:-.t|t
Clam
s
ber up
r
- .r
ding
y,
Man,
Heart of
dear,
ie
Bid
dale,
1
n ,s
rah!
leaves,
r .n
M. Arndt, by
Gersbaeh.
'
13.
I
Hur-
rah!
translated from B.
:-
all
t .d
t.l|s
my
cot
t|
r .m
my
loved ones
tage eaves,
r -d
1,
:-
:-
d'
my
ber up
- ,m|
Bid
hail,
1
:-.d'|ri
Clam
PI
ding
my
all
days
are
long,
Flow'rsare hod
hind,
When all
ding
to
thy
are
glad
of
song,
^
lag
St.
be
Co.
(New.)
Flow'rsare nod
s
ding
s
else
mind ?
When all
else
are
PART
ADDITIONAL EXERCISES.
220
t .1
cot
s .f
n .r Id
tage
r .f
eaves.
loved ones
Hur- rah!
S
d
hail.
thy
to
s
Is
glad
Flow
n
|--
rt
ret,
Hur- rah!
s
d
"
Si
,s
,S|
way
s
way
som
d
and pray!
mer
s
ble!
my
part,
way!
n
a-
Praise
I
a-
war
ster,
"
1
.f
Chant
I
a-
'
Slant
1
Take
ti
let,
Song
bios
:-
mur
"
1
- .r
Grow
1
I.
way!
f
:-
Brook
way
PI
mind.
of
Hur- rah!
Hur- rah!
song.
Hur- rah!
s
n
Hur- rah!
! !
heart
KEY
8|
M.
S.
d .d
ten
been told
That luck
was a
S|
1|
t|
.1,: S,
clat
ter
and
d.djti
Whole na
1|
t,
n .n
.s
up,
me
With
SI
I'll
S|
.
spied
hour
n.n r
|
But no Luck
s.s s
caught
:
cot
wrought,
St. Co.
.r
In the for
By
ti.t.
If
:d
s,.S|
ble ?
:d
dy.
tance.
To
build
My
house I
la,
:
:d>
:-
:d
La,
la,
l.f n
la,
:-
la,
la,
la,
la,
d.n r
la,
la,
m.s
:-
me
dy,
when
:d
|d
s,
tence,
:dU
men and
Id
:d
:-
make
and per
La,
Id
ble;
est so
La,
- er.
11
Men, wo
s
liSti
:d
Id
bub
thought I'd
:d
ter this
skill
:d
|n
ver
todis -cov
:
Sunning af
d .d s,
green spot
and thought,
Her haunts
:d.d|t, :-
:-
thought,
boys,
s
noise,
d
-
bold
la
>
:-
t|
1|
By
Oerabaeh.
.d:r
tl
of
I'd
Staixybkass.)
J. S.
60, twice,
1,
have/
-.s: f
la, la,
:-
:t.
la,
la,
la,
la,
:
s
la,
si
La,
la,
la,
la,
la,
la,
La,
la,
la,
la,
la,
la,
ADDITIONAL EXERCISES.
221
Fine.
pi
id
la,
la,
la,
if
la,
11
:-
:o
:d
la,
la,
l.S
la,
la,
la,
la,
f.n[r
la,
It,
PI
la,
la,
.1
la,
la,
la,
la,
la,
la!
t,
d
la!
m
la!
s.
d
la!
la,
own
1,
Is,
o.At one
Is,
those
1,
t|
ask'd of
S|
t|
my
loft
s.
la!
1|
|s,
S,
la,
|s-
S,
4.1
:
la,
la,
2.1
:
la,
la,
la,
Is,
la,
la,
|f
la,
la,
la,
la,
1 ,f
la,
la,
d'.t
la,
:-
la,
la,
t.
place I
:
1,
6.Atagreat
ci
:t|
ty's
lO.Here, Luck,
is
my
D.S.
ga.te
way,
:d
|r
:-.t,:d
:r
And wander' d a
|t,
:-.s,: s
1|
t,
|s
|d
S|
-t,,
r
road,
:-
:-.s
that
d
to
.f
They said
:
broad,
s,
s,
:-.r
year,
:-
THE MAY-TIME.
Words
M.
key G.
s
German by
|n
The May
n
n
The May
d
PI.
:-
f.lls
:-
and
s,
What
:
:--
:d.pi:r.f|n
pa 5
|d
The night
f n
.
in-gale sing
-.r: d
ti
t|
eth,
s,
|-
(New.)
f.nt
t|.r|d
Over J
:
there
:
pa 3
St. Co.
s,
What pleasure
:
What
there
What pleasure
:-
time,
:-
si
fair,
:d
time,
The May
ti
Stallyhuass.
Gersbaoh.
J. S.
66, twice.
and fair,
The May-time, the May-time, how love iy
:n :d
d
d. n: r.f n
- Id
d
The
lark
;-.f:n
it
:
up
-.r: d
|r
-
t|
springeth,
It,
s,
ADDITIONAL EXERCISES.
222
|n
and
dale,
S|.S||d
Over
and
dale,
S .S
and
field
hill
hill
I.
n.f
Over
field
:
and dale,
d
d
Over hill
d.d d
dale,
The
gates of
d.r n
Over field
.r
and/'
S .1
and]
Over
pi
.f
and
hill
n.s
fj.|s
the
earth, that
look'd
up
cLn
so
ri |n
ly
loek'd fast,
The earth
n
n
dale
In
May
time,
late
and hill
d ,d d
Over hill
|
dale.
PART
PI
Let
fast,
Let/
r_i n
out
.n
s,
si
|d
out
t|.r
.n
at
last,
t,
at
last,
S
at
at
last,
s,.s,
And
po
lets for
TIO
-.r:d
|t,
|n
red
.d
pim
lit- tie
:bi
Id
And pim
n
red
St.
.n
Co.
:d
and
bunch
,n
es
,d
es
of
blue
of
blue
And
blue
Si
per-
nels.
t|
lies
and ro
:-.r:d
|t,
:t.
:
ses,
s.
.!
And\
.n
f
per-
nels.
B|
per-
nels.
Idi
|n
:-
bells,
:n.f\
And the
bells
And the!
bells.
In
May-
In
May
In
d
Id
d.r
per- nels.
(New).
tl
sies,
pim
li
the pinks,
And pim
lit- tie
As
'
d
,f
last,
Bunch
-
d'
time, oh,
time, in
I-
time, oh,
|
May
S
s
time,
:
Id
;;
ADDITIONAL EXERCISES.
fU|s
Go
the
waste not
d
d.n
hour8
r.f |n
PART
r.f |n
d.n
sweet gar
:
Go
s
far
-.f n
r
on the mea
.r
d
It,
:
r
n
sweet gar
twine you
t|.r
lands of
dows,
s,
There
:-
:-
Id'
:-
1-
:-
1-
dee
.f
And
And there
joy.
In
ness of
in
j
:
.r
Ir
the sha
d
It,
roaeh-eth
,r
And there
joy.
PI
reach -eth
,f
s .s
is
And no
an-
noy.
t,
an-
noy.
an-
noy.
s,
an-
noy.
M.
96.
Thou'
shalt
S. Webbe.
|d'
me
show
Thou
1
Id
:n
me
If
the
:-
in
life
|t
d',t
Thy
d'-.r'ld
(New).
is
path
of
life;
in
|s
Id'
1"
Thy
s
|d'
shalt show
1
d'
of
ness
ful
S .f
of
show
Thou
St. Co.
|f
sence
pre
I-
shalt
path
the
Id
:
:d.d/
no
us
n
ana
d
and
There
1-
:-
no
us
:-
is life
dows
s
!' J
And
no
joy,
s
.r
:t,
life
:s,.si|d
.f
1-
.d:d
ful
is
There
1
flow'rs;
s,.s.
flow'rs
1-
Oh!i
lands of
:-
flow'rs
sweet gar
:-
ti
lands of
:
flow'rs
:d
lands of
223
I.
:f^
twine you
PART
ADDrilONAL EXERCISES.
224
8
:d'
|d'
r'
And
joy.
|n
Thy
right
at
:::-
Id'
the
Id
:r'.r
sure
11.
Thy
in
I-
:t
|f
:-
path
of
sence
pre
I.
sence,
pre
|f
At
for
i
ev
f
is
ful
Iff
if
life;
'
1
)
er
:s
ness
of
[
It
r
^Thy
s .f
|
Thou
d'
s
Id
shalt shew
is
Thou
more.
me
shew
shalt
:t
|d'
me
the
Id
joy.
d'.,t
d'.,r'|
sence
pre
ful
is
Id
d'
of
ness
joy,
|n
f
pre
Thy
life;
|d'
|n
d'
Id'
|t
:-
If
me
r
ev
1
:d'
for
:1
Hi
path
sure
plea
sence
pre
the
Id
n'
d'.,t
:s.f
Thy
in
life;
:-
|-
d'
i-
|f
shalt shew'
:
|f
fl
Thy
at
right
more.
d
joy.
:r'.r'
hand there is
r
in
Thy
D.S.
:d'
Id
In
ness
ful
is
er
...
of
_
:-
sence
of
pa
life;
:r"
Is
ness
ful
is
:d'
and
d'.,r'|d
pre
of
of
sence,
Fine.
:-
::-
Thou
path
the
Thou
of
Thy
in
|s
:d'
:^
Id'
shew
shalt
:
I
THE WAITS.
KEY C.
d'.r'
r>'
Fa la
la
:n.f
:
M.
|r'
Fa
:-
It
:-
d'
:-
Is
Fa
la,
Is
Id'
Id
(New.)
.dun
la
la
:
;ri
Fa
la,
|s
la
.
si
la
:d'
Fa
la
In
:f
II
la
- ,f
- .t
.P1
.s
la
- .n
s'.f'ln'
la la
la
t .t
la
Fa
la,
II
n ,r
la
Savitte, 1667.
r'.n'
Fa
la
Fa
:
la,
n'.f
Fa
:
Id'
la,
I
la
la,
.d'|t
la
;
Fa
la,
St. Co.
Jeremiah
d'
Is
la la
d'.d'
:-
la,
d'.d' d'
In
1st time
72, twice.
.r
la
|
la,
t .t |d'
la la
.n
la
1
la,
:
!!
ADDITIONAL EXERCISES.
f
Fa
mil
la la
la
:-.d|t,
:-.l|t
:s
Fa
Fa
la
:-.r|s
:d'.t
la;
la la
la
:
225
I.
B.C.
a
n'
la
:
:d'
la
f .n
Fa
la
:ri
la
Fa
n
la
-.t
d'
la
|d'
la la.
-.r |n
:d'
-,s
la,
Fa
:d
la
la,
:
la
la,
|ri
la
la
r'
Fa la
PART
|s
la
la
:
la
s
la.
:-.s,|d
si
THE CUCKOO
KEY F.
M.
Chou
:
Soli.
96.
J. Oersbach.
'.
|
Cuc- koo
d
:m
us.
:d.d|n
s.
Who
sings
-.f|l
howo
-.d|d
-.l|f
hark
.pi
how e
f
cho
an
di
cho
fl
-.filfi
fl
an
d
f .n
hark
|f
|d'
|r .n
Cue
swers clear,
|d
:
Si
cho
r ,d
t,
:ti
heard, when e
scarce-ly
si
|s,
s,
quick -ly
|t|.d:r
|
cho
Si
si
'ihT two
d .t, d
\n
koo
The
d
two
d
- .s |n
In
quick ly
|s,
si
- .s
|d
Is
|d
Co.
(New.)
tell
s,
d .d
d .d
si
Cue - koo!
n
\d
koo
Cue
name.
Cue.
koo!
are
are
:
Cuc:
&
Cue
m
short notes
:
mocks
the bird,
d
:-.d|d
short notes
:
mocks
the bird, Cuc- koo
d
:-.n|d
n
d
koo!
St.
d
and
d
n .r n
heard, when e
scarce-ly
and
d
Cue- koo
n
d
\n
Cue - koo
\d
m
koo!
PART
ADDITIONAL EXERCISES*
226
.f |f
.1,1 1|
- .f
- .r
Is
- ,r
the tone,
eatch
of beau -ty,
Bird
II,
bird
of
n .f
and
d .r
t|
sing
|
s .f
s
it,
sing
,r
Cue
n
\d
.r
.til
We
hear
,t|
koo!
S|
PP
,
|n
Cue
.f
me
tell
:
name,
(I
.r
me now
tell
.d
tell
d ,d| r
me now the
n ,n
m .n
S .3
d'
If
the
song
d
song
d
the
f .1
:- |t, :ster's
:- |- :f
the
song
f
the
ster's
ster's
:
Is,
ster s
t,
tell
pi .pi
me now
d,d:d.d|d
St.
Co.
di
In
koo!
Cue
n
Id
(Sew.)
d'
Cue-
koo
:a
sit 1
|n
:r
0
:
pp
d'
Cue- koo
1-
ti
songster
Cue - koo
|d
n
In
koo!
Id
1-
me
|1
Cuo- koo!
name.
d
name.
'
n .n
tell
me now the
s
In
name. Cue - koo!
d
n
Id
name.
koo
me
Si .S,: Si
f,
dim
-
|d
'
Cue
n
tell
k
song
tell
songster's name,
name,
-
Ifa
Cue
n
Cuc-
songster's name,
me now the
:
n .f
pi
|d
me
:
tell
tell
me now
:-
tell
koo
Id
tell
s ,s
eres.
:
"n
:s
:d.r|
:'
pi
Cuc- koo!
d
-,d|d
our own.
it as
- ,n
d .r n
fame,
Id
Then turn
.t.
!!
I.
Cuc- koo
1
s,
ADDITIONAL EXERCISES.
PAKT
227
X.
BOOT ACCORD.
key
s
Lord,
M.
Gr.
U
our
fel
si
s,
our
fel
'
Lord,
80.
bless
Is,
pi
bless
tl
:d
Id
r
'.
si
is
s
lo ,vship
!
this
:d
-.S||S,
,
:
Oh,
:
s
i
grant
:
us,
Oh,
a
r
d
round Thy
throne to
t.
1[.S|: f| ,S|
,,
r
,
here,
sav
'
S|
power, Oh!
-Pi
all
ing
r
d
n
make Thy face
d
li
t,
t|
1|
S,
make Thy
:
face
Id
ti
s,
Ir
ti
- .d
by
Is,
Thy
sav
8|
s,
power,A
by
It,
round
PI
- .r
-
Thy
throne
good
t,
ness
more
si
hearts can
cheer,
si
- d r
as-sem
-.l,|t,
- .r
s.
Id,
soul
Thy
soul
s,
t,
cheer,
t,
Than
SI. Co.
rich
(New.)
our
d
hearts
est
food
s,
Than
est food,
- .r
rich
-.s,|si
pi
bled
:d
:
bled
:
1
rich
si
as-sem
'ry
d
|r
good ness more our
d
li
It,
d
our
:<3
Thy
- .d r
n
t,
r
can cheer,Than rich
hearts
s,
t,
-.s,|si
si
PI
to meet,
Si
fi
Than
"1
-1,1 ti
t,
s,
ing power, A
s,
Thy throne, a-
ev
|d
.3,1 si
sav
Oh,
:
si
Thy good
f
In
is
n
ingpower,A
Thy
'ry
1
|d,
round
r
%
*
n
eat
shine,
to
:
we
Thy good
s
: s
here, Oh,
eat
Id
shine,
to
:
the
f
food
|d
we
:
f,
On
__
.
|
PI,
po\ver,A
li
grant us
:
r
food
S|
Hi
ing
the
S|
On
.
t|
meet.
d,
S|
sav
Oh,
t|
Thy
1|
fi
J
cl
L t,l
V
d
14
Thy sav
bless
grant us
Si
meet.
1|
t,
And
hour,
li
by
n
Id
ing
by
grant us,
S|
Thy
by
S)
Oh,
'
grant us,
:d
Than
Si
rich
est
d
est
n
est
1/
est
Id
food
1
li
s,
food
s,
ness
more
ti
or
wine.
i\
n,
wine.
s,
d,
or
wine.
or
wine.
:
1,
|s,
ness
more our
In
s
hearts can
or
food
Ifi
food
Ir
Thy
:n
cheer,
li.tild
our
hearts can
PART
ADDITIONAL EXERCISES.
228
t.
KEY P.
s
-,n
-.d
2.When
pi
S.Faith
l.s s
,,f
l.Once
72.
d.d r
.,r
ri
: r
ti.r
Tears & sighs pre
fe
sadder
still,
O'ertheo
s .s : s
God is ev
S|
.,d
.,1
f f
KEY
tag,
s
est,
t,
- .n
r ,d
'Tis
:
-.d:t,.l,
But
ne'erthinkof
t|
S|
- .d
Then,
f ,n
my
.pi
f .s
1 .t
r'.d': t .1
t .1
:-
.,pi
S
.,8 :s
'Tis thus in life,
f
f:f
,n
shine brighter glows,
,S
.d
.,s
:s
:n
a - round it sheds its beams,
f
,pi
:s
,,s
,,d :d
sparkling o'er the wintry snows,
:d'
When
..d d
:s .d :d'
twilight sorrow's vale en- shrouds,
,s
:d'
.PI
- .d
s,
S|
.pi
row.
:
Pi
row.
si
f .8
me to thy
row.
:
German Air.
..r'la ,t
:1
.r
glorious summer's golden prime,
1
n
.
.s
:s ,fe r
.,s :s
dear-er seems to heart & eye,
1
f .r
pi
In
t.
all
.ri :pi' .r
.,t :d'
:? a
But make the pleasures sweeter
.|t|!t|
When
- ,n
f ,n
r .d
at once the
s
t|
:1
SUNSHINE.
.f
P
On
t|
.,s
.,s
.,n f
.,d:d .d :pi
(New.) *In teaching, introduce here
.r
r s .,f :ii .r :d .r
ear - ly morn to ev - en
From
t
still,
Hope
PI
time
rl
Or
:f
:d
mf
:f
St. Co.
.r
.,r :pi
A.t.
And
d :d
.,ri
row," Hope
s,
.pi
Clasp
t|
.S
:pi
the sun
.8
the parting
-
Check
cres.
..rL'r
is
the sun - shine gleams
oft
Make
f
:f.
- .s
80.
s' ..d'ld
beau ti - ful
pi
But
St. Co.
.PI
row," Hope
will banish sor
d
d
:-.d:ti.t| ti
row," Hope will banish sor
- .s r ,s f
s .f
:
n
-~_
.d
r d
chill,
me with fear,
-.l,:t,.d
.,r
s, ,,1|; t,
r .n
farewell
"
.S
ti
in the heart,
-s
s .,f
rooted
-d: d.d
l.s
if
He
est.
pi
d
You
How
3.
near
r.sitli.ti
-n
Love
mf
2.
er
er
sail -
:s
we'llmeetto -mor
: - .d : d .d
d
S|
Sing " we'llmeetto -mor
:-.?: s .s f .8
d
er;
Say
heartonce more,
1.
.pi
cean
Swabian
s ,f
ff
ris-ing tear,
cres.
.,pi
A*
ing,
dear
safe
vail
:r'.d': t .1
Bearme
r
-
sev
.pi
Timenortide can
si.si
-,s
J.t
S
,s
:s .s
shinesmorebrighton sun-Mss'd hill;
f et, .,sj
d
,S| :si ,S|
.,r :pi
;;
;
;
ADDITIONAL EXERCISES.
D.
mf
And
we
yet
.,n
pi
When
light
mt
The
- .s
..d'idi
,r
>
ores.
ds
- .d
.pi
more
and shade
,,s
.,d':d'
- .d
summer's sped,
ere
tire
:-
f:"f
- .d
d .,d:d
.,1
.,d':
229
I.
.ni
.1
.,s
cloud will
r'
.,rn':
,s
.f
,,s
d'
.,t
And
:-
fled.
.,f
:-
f:f
The
.7
qual seen,
gold-en threads
PART
warp of shade.
its
.s
,,S|
2.
M.
KEY Bt>.
d
PIl
In
rain
.S|
3.
d
dom's
sons,
n.
pii
and
storm
''\
Then
S|
and
join
Hi
pii
our
sky
S|
si
in
:
d,
d,
d,
ring- ing
cho
f|
ri
.in
en
oft -
is
:d
.d
ring- ing
.d
:d,
.di
.d
:rt|
,S|
li
.pi,
.pi,
come join in
sons,
:d,
Si
S|
dom
free
free
S|
Sehultz.
72.
S|
1. Come.
ing,
Si
s,
cho
.ni
frown
And
.s,
In
rus,
:d,
t.
.d,
In
rus,
:
d.
D.C.
s
.ri
,n
mu -
sio
praise
S|
Si
S|
ra
PI
seas
.d
t,
mu di
sic
,d
.d
:t,
Si
,r
pi
.d
heauty
S|
S|
our
dai- ly
is
1,
.r
d,
.n
,r,
:n
pi
.r
o'er us,
S|
S|
ri
ll
Come, praise
earth
shin-ing
s,
fe .fe, S|
rough and sear;
d .d
ti
:
in
.Si
Si
land
:1,
vour'd spot of
1|
our
.PI
praise
,t,
t,
this fa
gmg
S|
fl
But
health
,s
And
loudly
.s.
S,
.pi
the
Come, praise
.d
sing to
t,
.1|
si
the
fl
t,
and
.d
earth
S|
r.
.d
si
PI,
peace
.t.
S|
skies
d,
.S|
,pi
heauty
.d
S|
,s,
.S|
gave
us
fl
1|
d
birth
Hi
spi
rit's
here
f
gave
ua
birth
S!
d,
fl
St.
Co.
(New).
.S|
ll
fl
But health
d
.d
And
:t.
the
:fi
and
:
Come, praise
.Pl|
si
.f,
:n,
.1,
I
Come, praise
,S,
.S|
S|
sing to
loudly
s,
.si
the
r
(
Si
.S|
si
.ti
:d
.r
pi
.d
.S|
:-
.t,
in
our
peace
in
skies
di
PI
,r
!
.PI
1
praise the land that
S|
skies
PI,
Si
cheerful ?
the
to
>
tl
S|
hours crowning,
: r
.d
d .ti
shin-ing o'er us,
.s,
:t. .d
S,
la-
.s.
.S,
ly
dai
.pi
.d
.s,
si
la
boursf
:r
.d
shin-ing
beauty
.pi
shin-ing
beauty
S|
.1|
t,
.d
230
.r
o'er us,
it
S|
S|
And
:
.S|
S|
,S|
S|
.f,
s,
spi
:
gave
:
s,
,s
.1|
here, the
t.
birth, the
.Pl
S|
d,
1|
rits
us
.1,
ii
f,
.1,
birth, the
PI)
rits
here, the
.f|
'
.pi
.8)
,ri
land that
.1,
1,
cheerful
.d
.d
:>d
us
si
d,
birth.
.d
:1,
.1,
Pl|
rits
here.
us
birth.
s.
d.
U3
i
si
gave
f.
t.
spi
.p)
,1|
spi
us
:1,
.li
:d
r
gave
cheerful
:
li
.t|
si
.d
:d .d
birth, the laud that
S|
.1,
cheerful
.r
n
.pi
praise the land that
sing to
.si
:P1|
the
!! !
1.
r
gavs
li
:
S|
,d
praise the land that
pi
S|
f,
t(
loud-ly
S|
r
us
gave
,d
sing to
And
:
f
1,
,S|
S|
o'er us,
S|
St
crowning
a
t|
,
f
.pi
loud-ly
.8
; !
(Words
M.
key 0.
-
l.Hark
d
s
3.
Now
-,s
let
us
-,r
Id
-.s
yet
pi
less
Is
Pa
It
green,
I
Is
But
flies,
St. Co.
'New.)
and
s.,s
a-
Come
long
:
a-long
s.,s
done,
cries
'
:
I
of
s
:
s
tient-ly
by
s
not
:r'
the
: f
a
d'
hun
pi
s
-.s
to the
:
I'll
s
1
steal- ing
:
at her,
-.t
s
till
t
ter
glean-ing
fe
-.s
-d
r
nev
ti
of
har
ther
-j
s
t
s
she
er
-,t,
-.1
-
eth her
-.1
fe
flits
-.fe: fe
and she
:d> :d'
Sing-ing the
fled,
r
be
di
t|
vest she
mak
|1
the
|d'
s
s
1
thi
-.f':f
and
t
ther and
be-gone
t
|d': - r d \
through yonder green
1
shall
Hi
the
:di
waits
f
har
r
: pi
sweets that the
|t
di
Kuns
:-
ground
-.s
s
s
ter comes on."
Look
corn."
S
er
r'
the
in
Tell ing
-
bed,
:-
Gersbach,
:
"Come
lies
I
-.s : s
'ring she
ov
t
-f: n
win
the
t
:
field,
the
in
safe
lie
is
:-.r':d'
hide
d'.r'lm
I
-
|d|
and shiv
:d'
r>
morn,
d'
here
|n
at
Stailybrass.)
J. S.
-.s
pipes
therthe dew
s.s
:
s
flutt'-ring
ruth
how she
:-.d:d
onthehea
|
pi
Quail
d.d d
pi
-,n
come
pi
l.Hark,
d>
to the
2.Gool
German by
66, twice.
pi. pi
seen
:
spies,
Wist-ful - ly
|n' :r' :d'
Ah, but the
r
pi
|d
the
Tho' in
:
!!
ADDITIONAL EXERCISES.
:-.t
|r"
:cf
watch - es the
- ,r'; d
r
:
vale
,s
:-.n:n
slum - berhe
:-.d':d'
God
.s
er
,s
:f
so
bare
s ,,s
thaiik'd
1
::~3M' d
Who'll ba- friend? Who'll defend
-
Look she
stay,
Uod be thank d
:d'.,d' d
1-
pro-
vides."
mine
gave to
d
1
crea - ture
:
goes,
ri .,pi
Look she
"
goes,
do.
|s
|t
for his
ov
hum-hie
for the
di
.1
me
cen
,s
who
pi
her
of
eves
God be
De thank' d
:-
:d>.,d'|di
brOCt
:-
skies
231
glides,
d>
en -ing
PART
:-
n'
r'
ful-ly
reap
:
:-.l:t
bright
- .d
:.
1-
1-
:-
1-
:-
eyes.
r'
will
care.
the moun-tains a
:-
way.
Words by
J. S. Stallybrass.
/key
n
the win
:-.d|d
:-.s,|si
s,
the leaf
2. In
- .n n
|
the
3. Let
way,
- ,d |d
S|
ter's
past
s.
-y
r
:ti
.si
.pi
sun
d
be high,
- .d |d
month
pi
la,
d,d:d.d|d
t,
S|.s,: S|.s,j
S|
d.d:d.d|d
Fa la
la la la
la
la,
d|.d,: d|.d||d|
SI
d.
s,
Fa
si
1|
Un
d
|n
Or
ll
Fa
la
la
la
Id,
Fa
(New.)
.f
la
Gastoldi.
fe
li.rill.
winter fogs
:l,.t||d
:
|r
la la,
Fa
pi
la la
.f |s
-.si|si
cloud
out
si
la
la.
pi
la
la
la
la.
t|
Fa la
la
1
f
la
less
::
moon.
-,S||S|
d .r
- .r
the sky,
d.d|d
:
|ti
la.
s,
la
S|
Is,
s
ray,
si
la
la
-.t
la
:l.
s
ar
In
la
ti
blot
green
:li
d ,d
ll
la
la
Fa la
Si
la,
r
'
PI
Fa
pi
Pll.fl
Fa
St. Co.
of June,
la
PI
la la la
tit
Pa la
|d
.pi
n .n n
144.
:
sum - mer
:-.d|d
(" Soldiers,
M.
S.S.O.T.B
Bt>.
- ,n n
l.When
.t,:
la.
la la
la la
?'
n
la.
*
- .n
Then
d
of
- .d |d
Oil o|
the
E'er
- .n
.pi
pi .pi
Fa la
SM
Fa
la la
si
S|
Fa
still
t|
-,d|d
pi
pi
Fa
la
la la
.
S|
la,
t|
la
la
la
S|
s.
la la la
d,.d,: d|.d,|d
:
(
la,
la,
Fa
Si
d|
n
la
Id,
Fa
la
la
rise,
d .d d
la
la
.i
l|.r,|l,
li
can
1
f
A
ii.t||a
1|
|r
la
la,
Fa la
li
la la la
la
n,.f, Si
.f
la
I
la
r,
la
d.d|d
Fa
la la,
cl
i
A
.a
li
la la
1,
la
la
Is,
la
|r
-.t,|t|
o|
S|
eve
:
la.
la
la.
S|
si
la
la.
t,
.tj:
la
la.
tain
lies,
-.S||S,
d .r
pi
la la la.
la
d,
la
ning blows,
- .r r
-
S|
la
?'
the Spring,
their foun
la
:
.
j
eves.
:t|.l,|t|
s,
:si.ni|si
ti
t,
the
tale
|r
pi
they tell?
r
It,
S|
S|
Si
night-in
songs re
si
r .d
tl.ll
t,
more near
d
It,
Sing
loud
and
gale,
Near and
s .n S
f>\*
Hark! do you hear,
!
S,
:S|.1,|S|
:- |-
d.
S|
si
Is,
t,
Si
r .d r
|
:- I-
t|
8|
with a sun
ti.dlt,
si.n,|si
:t|.l||S|
Whore joy
round f
St. Co.
(New.)
ti
Si
si
His
thrill
The
whole
d
II
n
clear,
1
e.
|
S>.1|
Si
til
PI
-.f|f
ny
sky
S|
-.d|d
S|
fi
-.filfi
tale?
:- 1-
and
clear,
I
loud
tid
t|
S|
fe
ings
-|li
:-
ing
11
year
1
1
ff
Now
1-
:- |-
sound, Still
the
:
/
:
swell
ti
si
si
t I'll
Fa la
fe
la la la la
d .d
Fa
o|
- .n|n
a
the rose,
shut
I,
n .r n
pi
la la la
d.d:d.d|d
hath
r
.did
P
n
to sing,
spire
0|
dew
- .n|n
Songs
of joy
:-.d|d
d
PART
ADDITIONAL EXEROISES.
descend-eth
S|.l||t|
1|
frm
-Ill li
f.n|f
is
:r
the time
pi
pi,
f,.S||l|
.pi
for
:
:si
is
d,
r,.di|f|
bove,
-.f.lfi
Now
bove,
dy grove
sha
f|
:si
::
ADDITIONAL EXERCISES.
:-
- .did
- .m n
IaT7P
TlH iU
V Cj
joy
tX
d-LiU.
PI
Si
a
.Si! Si
.pi
Fa la
S|
joy
:-
:-.d|d
joy
and love,
:-.d|ld,
ltt
pi
Si
la
la
t|
d'
S|
si
la
la,
ltl
Sll Si
la la
la
pi
:-
di
.n
d.d|d
Si
Fa la
lore,
pi
la
d .d
and
d .d:
d.d|d
Fa la
la
la la
PAST
-
la,
PI
Fa
ores.
:
s ,s
Fa
la,
Si
s ,s
ri
la la,
ri
S,
Fa la
la,
d ,d|d
.pi
pi
Fa
d
la
la,
s ,s
Fa la
la,
n .n
la la la
:-
Fa la
la
KEY E.
pi
r,
:f
pp
1
when
In,
Fa la
Si
la
t|
Id
Is
pi
call,
f,
s,
,n
.
la
la
|
ri
Si
Sil Si
la
la
la
la,
d.d: d
.pi
Fa la
PI|.P1,| S|
d.d
:-
la
.d
la
la la
pi
la
pi
Fa la
la.
la.
:
|d
'ff
:d,.d,
di
la.
CALL.
:
of
It,
Is
A
-
Macfarren.
.n|n
pi
my
right
:-.d|d
:-.s|s
my
right
Is,
f,
If
pi
of
ll
la la.
:s,.S||si
Ir
Lord
In,
Fa
la la,
Fa la
PI
:d.d d
la la,
la,
Lord
d
la
si
.
i
t.
eousness
eousness
:-.d|d
:f
Is
Hear me
d
d
:
.pi
Fa la
pi
la
la
ff
Is
call,
P
pi
la
G
.
when I
d
Id
Id
Hear me
d
:1,
HEAR ME WHEN
Is
Hear me
d
:d
Fa la
pi
.
ff
la,
d .d|d
Fa
Fa
:d.d d
d.d:
:- |-
Fa
ores.
n
la,
:- |:
["li.Ptil
F_a la la,
:d\d|d
Fa la
:
la la,
Pt|.PI,|s,
233
X.
|-
/
d
:f
Hear me
d
:1
(
St. Co.
when I
Id
Id'
t(
when I
|PI|
(New.)
fi
Is~~
0
call,
Id
1:f|
In,
Lord
d
pi
f|.S,
li
call,
S|
my
of
Ui.ti: d
If
Lord
my
right
M|.f|
s,
of
:
Ir,
right
t,
- .d |d
eousness
:-.d|d
:
-.d|d
pi
pi
eousness
pi
Have
:d
;
Have
:d
;
ADDITIONAL EXERCISES.
234
eres.
f.B?.
Id
8|
li
Is
cy
Id
up
mer
mer
n
up
In
on
tl
It,
ii
"
heark
1
ll
Htn,
If
Ir"
It
:d'
df
If
tin
?r
Lord,
1
fi
lift
si :Lord,
|d>
liff
iin
Ir
en
un
thou
f
up
n
thou
r
UP
11-
Lord,
Ir"
:d
11
the
:
d'
up
me,
B|
ii
ii
Is
cy
Id
up
t|
Ir
:f.n
Id"
ir'.d'
di
If
:r.l
d'
11
:f
thoa up
s
If
:d
di
the
Id'
me.
pray
ti
Id
Is
my
pray
S|
on
f
me,
f
d'
1 .1
up
|-.f:n.r
t
It
nance up
I
1-
1-
f .f
1-
r'.r
er.
er.
Id
11
If
Id'
r .r r
|r
te
nance
If
me.
d
Ught
will
|n
lay
down in
peace
\pia ;fd
and
d
and take
(New.)
d'
dolce.
Id's
Co.
'
nance up n .f
s
d'
Si,
j
1
of thy coun
r
the
F.
light
,f
thou up
tl
light
1
- .8
fi
the
In
my
te- nance
:
1
Is
te
thou
1,
1,
It,
Is
"ill
me,
on
light of thy
J.
:
And)
on
to
lift
|f
f.
on
cy
Id
to
t ,di
r'
Lord,
the
lift
\f
t.l
In
un
en
lift
F.t.
An
s
Have mer
li
S|
ff
:-
Lord,
's
and heark
sd
ii
Have mer
d
en
*7
C.t.
me,
and heark
:d
:di,
d
me,
on
and
I
S*A
r
ta'i
ADDITIONAL EXERCISES.
s.f
Ir
my
take
my
rest,
Is
r
d
and take
f
m
my
rest;
me
down
in
jc
or
ti
is
thou,
si
mak
mak
that
fd
that
lv
est
S|
est
-".d.
d,
est
me
t.
mak
est
s,d
s.
me
-.s,| S,
"
::-
*,f,
men,
:s
d
and take
r
f,
A
1
:-
I,
safe
1
For
-
thou
it
t,
thou
is
on
r,
si
s,
on
Ijorct,
ci
;
1
ty;
that
_
in
safe
Is,
s.
ii
iy
Thou on
:-
If
S|
f,
s.
Hi
that
":t,
lv
ty
in
safe
in
safe
in
safe
n.
fi
.
:
d>
ti
:
1
s.
i
:
11-
f,
ii
It
men,
t,.l,
s
-
men,
A\
w
1-
A
Is
:f
Is
:-
Is,
:-\
men,
s,
A
:
ty.
s
ty.
'
:
ty.
men,
s,
t|
1-
It
safe
men,
:-
is
S|
pp
it
in
8
1
on
r
thou,
r.d|t,
:r.d|t,
d'
S|
s"
Is
For
d
Lord
my
my
a.
,
"1
Lord,
dwell
:-
11.
(New.)
dwell
- -
men,
d
St. Co.
:d
thou,
dwell
me
f
:
I-
dwell
dwell
df
me
1.
f,
dwell
me,
est
-.t,|t,
:li
:d
ml
Is,
mak
a
f
is
Ir
and take
peace,
me
|d
-.r
mak
it
est
mak
that
|s
me
est
-.njpii
Hi
:-
pia.
S|
that
rl
Id
Is
B?.
u
ly
235
I.
rest,
PI
1|
t,
lay
PART
rest;
in
n
For
1"
i
1
rest
f
will
t,
1f
s,
rest,
it,
':
men,
d ).
d,
11-
1-
WE FLY BY
M.
KEY F.
di
Wo
auu
fly
by
fly
r'.d'l t
If
1
|
"1
by night,
we
fly
Is
s d'
by
1 .1 |s
d'
tn
'.
Locke.
1
of spirits,
.8
8 .s
of spirits,
troops
r'.f: n'.r'lpi'.d
by night mong
fly
:~f'
night,
s .f
fly
we
Is"
by night,
f all
m r
X
r'.d'l t
we
:-.n|r
fly
Matthew
t.
4'f
by night
fly
f ,s
We
we
:d.d
We
I
night,
I.
NIGHT.
C.
108.
Id
f.
PART
ADDITIONAL EXERCISES.
236
d'.d':
of
spirits,
d .d
p.
1
d's
We
r
We
ra't
r.d|
t,
|d's
We fly by
we
|n .f
.f
we
r
fly
fly
S .8
.r
Id
we
.r
.t.
fly
fly
1.
by
1 .1
f .n
f.n|r
.r
r ,r
fly
r .n
by
night,
l.f|s
r .d|t .d
(
t,."l
we
r .n
we
night,
If
by night,
,d
f .8
1 .s
fly,
:d.d|d
we
night,
:d'.t|l.t
we
d
by night
.f
.n
If ,s
.f
If
:"f
.f
fly
|n
We
S .f
s .f
fly by night
:d.t,|d
night,
by
t.l|
fly
|d'
,t
:d
We
by night,
Id
Si
'
|d
.r
we
.t.
li
.t,
fly
.d
It,
by
:n
.n
:d
.t|,l |si
ti
we
by night,
night,
s
.s
fly,
si
we
fly
.r
3)
fly
d'
Id'
|r .n
:f
.a
by
.t
.r
D.O.
.1
ta
:-
|d
.d
.n
n .f
we
night,
.s
.n
.t
fly
|d'
f .s
d'
:d'
by
night
r
by
(New).
'mong
night
|d'
mong
d'
.d'
troops
of
spi- rits.
troops
of
.n
spi- rits.
i
.1
.f
:d
by
St. Co.
night
'mong
|s,
troops
,s
S|
.d
of
spi- rits.
;;
ADDITIONAL EXEEOISES
MY LADY
M.
KEY
:
pi
My
la
Mj
S|
s.
My
dy
- .d(d
d,
the
t|.d
as
fine,
fiAl
r,
is
fair
di
diant
r
ra
g|.I,
- .r
d .n r
n .d
stars
shine,
out
:di
out
stars
s,r,
,d
:t
di
en
- ,r
|*d':?
b .f
en
shine,
:
s id
-.|f
ing all
-.S||l|
:t.
Light
|r
Light - ing
n,
.f
n .r
Her
In
near:
Is
near
Id,
si
pp
d
- .r |n
Fair
as
:
PJl
Fair
di
|d
Cyn
as
:
Oyn
-.fils,
-.d,|d,
.8)
not
so
f,
n.
si
fickle
|r, .r,
I
- thia,
:
Id.t,:-
I,.tl
thia,
S,
n.
not
I
s,
as glass, tho'
li
r .n
r ,d
ball
of
S|
fickle
r.
Smooth
:-.l||si
:n,
:d
|d ,r
.f
t,
so
r,
- . f .n
not
so
brittle.
|d|.d|!
I
|d|.d,:
PI
r ,d
r s
melt
ing
S|
t|PI
S d>
>,d
F.
d .r
My
heart
S|
heart
a.
di
.pi |pi
"
.S|| S|
-.d|d
-.d,|d.
is
:d
Id
:f|
f.
.n
,d
like
ores.
like
My
is
of
di
d.n r
ri
|s,
t|
:7.f n
snow, Fast
melt
s,
d.
PI
B>.
t,.d r l|.t,:
snow, Fast
si
ball
d.
ti
-Pl|
s.
brittle,
s,
p
rii.fi
|d.d:
not
r,
:d
t.
at
ing
d,
- .s|f
:-
Id
and
S|
li
Her
hair
and
things far
all
-.mlfi
things far
hair
|d
:s,
f,
Pl|
si
|s,
shine,
di
:d*
|d'
t,n
|
:s
d.
out
r s
si .1,1 1,
the
si
t.
fine,
,S|
eyes
t,
F.
:?.f n
'With milk
:
B?.
237
I.
si
as
y lj.ti
diant
Is,
[er
stars
ta,f,
t|.d
.d
si
d.
t|.l|
dy
ra
|
41
r .d
the
5
fair
S|
f.
r .n
eyes
1|
:d
ores.
pi
d
d
is
:-.s,|s,
la
:di
>n
-PART
AS FAIR AS FINE.
IS
90.
at
her
her
1"!
r
]
\nS
n.r
s,
Id
by
Go.
(New).
1 .1
j
by
lips
S|
Isi
lips
Her
Si.
lips
ti.d
like
,
s,.l|
nightworms glow,
ta if
Mil r,
i
sr
,r
like
:.
like
s,.l||t|
:-.r d
nightworms glow,
ir,
:d,
|si
Spark
S|
nightworms glow,
.s,| 1,
:d
t,
PI,
1
1
PART
ADDITIONAL EXERCISES.
238
PP
A
m
n
_ r
>
light
ni
:-.fi|si
:d
|d
Neat she
light
|di
(J
no
fea
si
f,
no
fea
pi.
is,
:-.d,|d.
d|
d
Bright she
ther lighter;
ni
r,.r,
"s
li
|S|.s,:
d,
Bright she
no
is,
-1,1 s.
.n
ther lighter;
I.
|d.t,:-
li.t,:d
,S;
Id
Is
fi.s,: lj.til
.r
is,
whiter.
sy
f|
:r'i
n.f
s"
no
dai
|d|.d,:-
.f
Air by Weingand.
S|
Em
Hm,
si
Si
:-
1-
:-
1-
=-
si
to
Si
rest
the tim
t|
fi
li
Ir
ti
:-
si
:d
-
"
1-
1.
Night
2.
Tho'
*-
:-
awe
Id
1-
Si
1-
1-
:-
Id
1-
t|
the earth
rits
breast,
Id
t,
:/
All
Spi
1-
laid,
\m
Hi
:-
id
iy
:-
ing,
si
is
1-
creep
1-
night
:-
fe :
!-
ly
:-
ters
|d
:
I
If
(New.)
:-
soft
these clois
1-
St. Co.
\d
is
:
j
If
:-
round
round
si
&o.
d :Hm, &o.
s,
72, thrice.
S|
.n
|d,.d,:-
si
sy whiter.
:d.
NIGHT AROUND.
M.
key F.
|d.d:-
:t,
dai
It,
:
t
ti
S|
:- |-
:d
t,\d
:fe\
lies calm - ly
where sulnib'ring/
t|
si
fe: -
r
J
ADDITIONAL EXERCISES.
C.
it
Bleep
light
I-
|t,n
S|
est
thou
da
lies
PI
s
I
id
be lov ed maid
in heav'n -iy rest.
t,m
sd'
:-
239
I.
/'
d'|t
-
r
1
t|
1/
<*'
da
hear
ful
ze
taf
my
-
nt|! -
Sr
Sj
|/
song
Is,
t.
:-
VI
lute's
soft
num
phyrs gent- ly
steal
d Is,
n If
t,
1-
PI
air,
Yet,
my
to
thee,
May
its
:t|
:d'\s
fe
-
- ing on
ward waft
rit.
Up
if
tones
my love
:-
:-
1-
:-
1-
- 1-
- I-
n ll
li
S|
pi
\l
d>
?'i
slum
bers,
veal
ing,
Ell
s,
t,
:- |d
:-
:- |r
:-
"---:-!-
:- |d
:-
:- 1-
:-
:- 1-
:-
:- |d
:-
St. Co.
(New.)
:-
fe
11.
:-
t,
|/
my la
n_
ll
d :- :-
dy
fair,
d |r
:'d
t|
i :- :-
S|
|
:- :- |-
:n |f :- :- :- |- :r
di
re
fe
|-
thy dreams
t,\d
lute
S|
t.
dim.
:
d'
Float
bers,
ing,
Poeo
1,
I-
Id
- 11-
in
my
the balm
f.F.
- |d
Play
dolee.
t,
PART
cres.
t.
d'
Sleep
- |d
|<Z'
ing,
iy
1-
n :- :- |d :- :- |-
ADDITIONAL EXER0ISE3.
240
COME, LET
Arranged
E ?.
key
M.
Vivace.
s .s
I.
GO.
AtUrhmy,
L.
132.
9
s
PART
ALL A MAYING
ITS
for
;;
\A_
.s
ing
f_A\s^:
r ,n
f .n
Come,
let
n .n|r
d'.d'lt
:d'
let us all
a .a |s,
I
1
!
Come,
us all
go,
And
.n
:d
."s
f .1
May
fi
:s,
ing
a>
light
And
go,
|d
.d
ly
trip
1 .f |d'
ly
and
to
it
|d
fro
:n
Mir ,d|t|
:d>
r'.d
light
:-.f|n.s:d'
trip
to
it
Let us>
r ,r
t ,d' a
|
and
fro
fB'?.
:
.d
t.
go,
us
let
i"l|.l|
f.
a idi.pi|
Come,
let
S|
S|
:l|.l,|r
:-.
cen
us
,S|
do.
- .r
.d |r
8|
May
ing
S|
li
:a
May
ing
li
all
|
.s,
go,
let
I
:-.
P
:
|t,
us go.
let
:4,.s.
.r
:f|.l,|si
Let us go,
t.
ores
:f
1|
fi
- .r
Come, let us
:d .a
us go.
.fi|s,
n .n
all
|t.
.t|
Let us go,
I'f
- .f
And
go,
f
light
r
-
S|
Itl
n .d
ly
trip
t,
ia.a
f .r
it
n.
d .t||d
.r
and
to
si .n,
S,
trip
|r
- .r
And
:-.d
t,
go,
|r
:-
/ia
di: S|.ni
trip
s
-
ly
(hi
ti
light -ly
light -ly,
fro,
[\ B,.n,: n .d|
trip it,trip it,
(
St
s,
Co.
t.
(New.)
s .f
n .r n
trip
it
to
f,
S|
and fro,
-s,|d
-.sild
light -iy,
fro,
il n,
light
Si
|n .a
light
f .r
n .r
ly
trip
|d.d:
trip
a
to
f.Et>.D.C.
is
and
light
jdj.d
g .f
PI
.r
a,
|nt
and
ly,
trip it to
f,
s,.s,: S|.S[| d, 3|
.t
Si
toand
fro,
S|.S|'
to
and
2nd time.
fro.
s,
1st time.
.t||
and!
to and_fjo,
trip it
S|.S|! S|.s,|
:1
it
ri[.d|| 1,
|f .r
it,
Is
it
,t|i t|.
trip it to
fro,
S,
S|
fro,
,s,
The
fro.
S|
.S|
d .n
Cue
.a
The
r .d
1|
1(
d
bells
g|,f
shall
a:
fro.
bells
a,.
koo,
\T
shall
PART
ADDITIONAL EXERCISES.
241
I.
Et>.
f.
pii.n
ri|
.PI
Cue-
1*1
IV r.
d,
koo
sing,
:d.d ^
u
,S|
ring,
:
t .1|
t .1 Is'.f
ring,
sing,
d'.n': r'.d'lt .1
s .t
s .t
d'
koo
n .r
koo
sing,
The
koo.
|d
shall
bells
HI ml- r>
fill
g ,t
bells
A
U
A S
a
u
The
Cue
koo
ring,
The
I
id
:-
:,ti
sing,
>
koo,
koo
Cue
:
1
Cuc-
Cue -koo,
sing,
koo,
*s
.
.
koo,
d'.ni: r'.d'lt .1
Cuo-
.f
ring,
d .d
ti.li |S|.f,
Cue
koO}
ring,
S,
koo
r .d|t,.l|
ring,
A\
U'
shall
>
+b
lieS
1
f
.
bells
.r
shall/
;d'.d'\
koo,
- - -
:d'
drum
The
sing,
:
|s
shall
beat,
1
ff
:di
It
,s
The
drums
r
.n
|r
:di
.d'
It
The
:d
drums
:
play,
shall
fife
|r
>
S|
:-
di
so
ll
Is
we'll
so
s
r
we'll
:t.
St. Co.
(New.)
f .n
OUT
pass
In
:d
Id'
:T
pass
Id
,s
our
time
Si
a
:
s.
.di
and the
s
.s
n .n
1
:d'
ri
:n"
.d
|s,
B7.
D.S.
t.
:
way.
.t,
fl
I
fi
2xu Time.
r
s
time
.d
S.
a
:
si
.ti
way.
Id
Is
way
Id
.S
.r'
And
play,
time
S|
The
|ri
.t
And
:
di
play,
Is
shall
The
:
way.
I*fi
S|
It
shall
fife
time
f,
shall beat,
1st Time.
di
shall beat,
Si
242
ADDITIONAL EXEKCISES.
PAKX
1.
HALLELUJAH, AMEN.
key D.
M.
Allegro.
(From
88.
Handel,
/
:
.r
Hal-le
:
/A
u
- .r
Hal
le
,f ,s
lu
.s
A-men,
jah,
/
:
.pi
men, Halle
A.
:sd
.m
|r .n
men, Halle
.n"
.d
r'
1
1
.d
pi
la- jah,
.r
|-
men,
d
A
-
jah,
Hal
ll
,s,r
|s
le
le-
.si
jah,
,r.pi
|s
.n
.d
.s
.d
.s
.pi
.r
.t|
lu
le
Hal
s
le
.f
.r
Hal
d
Hal
St. Co.
le
le
- .d
[cV
-
d,r.Pi
lu
:d
lu
lu
(New.)
lu
:-
|-
.n
.s
men, Halle
jah,
le
le
lu
:
lu- jah,
A-men,
,4
.pi
men, Halle
.pi
lu- jah,
s.
Hal
:ni.r"
Hal
d'
|d' .s
-
jah,
|d'
.t
jah,
t.
:
Id ,r.n
.r
Hal-le
lu
jah,
.ri
A-men,
men.
4f|
-
le-
lu-
jah,
.r
,t|
-
li
Hal
:
- .S
jah,
lu
sd
.s
lu- jah,
lu
d'f
|f
f ,n.r
A
:
lu
-
:-
lu
di
.s
.r,
Hal
Hal-le
.4
1| .d
le
.pi
lu- jah,
|s, ,d
men, Halle
le
:t
,s
:r
lu -jah,
:fi
Hal
le
.n
,s
jah,
.ii
Hal
:n
jah,
|m,f.s
-
,n
jah, A.-men,
Is
-
Hal-
jah,
S
-
:T
.1
.s
di
Hal
Hal-le
Hal
1
.S
A.
1
ri
d'
lu- jah
d s
A-men,
:
jah,
.s
men.
lu -jah, A-mer.,
jah,
jah, Hal-lo-
men,
:
lu
jah,
d',r'.n'
jah,
.s
lu
A
n
- ,sr' d
.S|,lii x,
lu
Hal
jah,
le
men,
.tjjlii s,
lu
rit
lu
Halle
D.
f.
lu- jah,
lu
itn.r
ln,f.s
Halle
:
.pi
|d
.t|
Halle
:r's ,f
di
r'
men,
lu
d' .t
.s
t.
Halle
.s
A
f
n,f
men.
.r
le
Pi,f.s
lu
:I
jah,
,s
A-men,
PART
ADDITIONAL EXERCISES.
VD
243
I.
.3
men, Halle
.s
lu- jab..
PI
|ri
Ju
is
.S
|f .n
.PI
men, Halle
lu- jah.
in
fd
pi
.d'
.s
.n'
.,n':f'
|r'
.n',r'
0~
Re-joioe,
|f
.d'
.pi'
se
s
ra
.r'
se
ra
.n
- .t
- .f
phim harmo
.8
d1
.l.t
.s
,s
dah,
.pi'
Ju
d'
.d
.s
If
.t
,s
pi'
.d'
|r' .d
.s
d'
.r
A.
t
r'
Co.
- .s
d .d
di.r'
di-
.s
n .n
1
n' .n
|d .r
:pi
,f
,f.s
lu
(Nevi.j
mo
.s
A-men,
:
d ,r.n
Halle - lu
sd
|d
jah,
s,
jah,
:
.s
1,
join.
.pi
.n
-
le
.s
men, Halle
:
.n
|d
Hal
:
Ju
,s
t
se
.t
ra
.8
r'
se
S
.r'
-
ra
.1
men,
d
.1
.1
.1
|f
,s
,t
:t
:
r
nious
join,
Id
.t
phim harmo
.s
.r
phim harmo
.s
1*8
|">t
|d'
f.
D.
in'
jah,
men,
d
.f
.s
.n
vine,
s
-
:t,
lu - jah,
lu-jah,
:d
nious
A-men,
men, Halle
f,
|f .f
.1,'t
nious join,
.pi'.f
vine,
d
1
.s
.r ,d':t
vine,
Pi
.s
mo
tn ,r
Har
St.
r 8|
Har
join.
d'
di-
pi'ir
d'
t.
sd .r
Halle
- .f
songs
|d' .d
- .t
re
|d>
.n',r\
:s
If
.t
n':f
11
joioe,
songs
|f
-joioe,
|r'
.d'
.r'
songs
in
|f
in
.n
dah,
|1
in
.8
join.
Id
nious join,
phim harmo
Ju
.r',d':t
|d'
Ju
Ju" dah,
.n'.f n'
.,n':r'
Ke-joice,
d"
.d
pi',r
Re-joice,
joioe,
:s
|1
:r'
joice,
.f
Ir'
men.
|r'
joioe,
:f
Ju
.d'
If
0
1
.r
r'
and
and
in
:
and
|d s
in
:
t
in
ADDITIONAL EXERCISES.
244
r
songs
f
If
AX
Ul
1"?
songs
1
vine
songs
di
vine
1
vine
di
It
PART
:
I.
har
mo
I-
:l^s
I-
har :f'.m'
I-
har
:d'
d'
nious
.8
.8
If
.pi
mo
|r' .d
mo
d
f
nious
.n
:r'
nious
1-
:d'.t
Halle
join.
.f
Halle
join.
di
m' .r
Halle
join.
lu
jah,
d'.s
.s
f .n
l.t.di
W.t
d'
.8
l.t.d'
-
.s
.n
lu
lu
|d'
-
lu
:f
jah,
.s
jah,
.s
.8
.8
.t
iMjf
jah,
|d'
-
jah,
s ,f .n
lu
d'.r'.n
lu
jah,
.m
men,
men,
S
r'
men,
Adagio
t
:
1
- .t
le
le
St.
:-
lu-jah,
-.r|d
Co.
(New.)
men,
n
:-
:
1
:
1
men.
:
|
A
ri
A
s
:"f
men.
:--
fs
men.
:
:- 1-
men,
n
men,
d'
-
:d'
Hal
:
:
1
:d'
men,
1
Hal
A
i
men,
d
:-
lu-jah,
-.r'ln'
lu-jah,
-.fls
le
men,
r'
A
:
1
i
1
A
:
r'
Hal
n
PART
ADDITIONAL EXERCISES.
245
I.
Words by
Musio by
Cunningham.
km
E>.
M.
Allegretto.
iy.
swift
Swift
Samuel Webbe.
.t|,d
.a
.1
.t
.s ,s
.f
pi
.d
.r
shadows
r ,t| : t
S|
Swift
pi
dim.
night
re
night
tire,
8|
.d
.r',d": t
:r
Si
re
,f
.f
t|
fi.ii
Voke.
t
re
d'
-
PI
re
:
si
St. Co.
tire,
d
(Sew.)
pi
M. 80,
n f
|
And the
tire.
:di
re
d>
-
tire.
swift
swift
d'
iy
pi
-iy
.d
&>
nurs'd by
night
di
t
re
tire
ti .8i,l|i t|,r.d,pi
ll
si
shadows
r ,t|,d r
r
re
tire,
s.
.pi
night
f,
.PI,
S|
.p.,f
PI
nurs'd,
twice.
:
peep
r : :
ing sun
f : pi
.s
|s
:- :-
beams
:
dT:- :- 1- :-
- In
:- :-
now,
d
- I-
:- :-
?i
:- |- ::pi
And
If :-
the peep
d |r
,P1|
by
tire,
S|
s
ly,
.si
PI
Shadows nurs'd by
:
shadows nurs'd
Swift
.pi
:f,.li
di
shadows
.d
pi
.8|
PI
.f
Shadows,
.s
t|
Shadows nurs'd,
shadows
.s ,s
tire,
re
.pi
nurs'd by \
.pi
r .n
.f
tire,
re
fl
.d
swiftly
iy.
Shadows
f
.di
nurs'd by
t|
shadows
Shadows,
.pi
ly,
.r ,a
iy
Swift
80
a'
246
PART
ADDITIONAL EXERCISES.
BP.
s
sd
Now
t|
Is
:1|
si
now
:-
with gold,
paint
I.
t.
:- In
now
paint
:-
Is,
now!
beams
sun
f
now
paint
:-
In
ir
with
:-
gold,
:-
I,
si
paint
Si
now/
with
:
s,
s.
:-
Id
|n
|-
s,
:-
1-
:-
:-
|r
:-
|7 :now
:-
:-
t,
:-
|n
s.
Id,
s.
si
1-
:d.
Si
And the
:- In
:fi
the\
f.
In,
the/
peep
:d |r
:-
:-
:-
:d |d
mg
sun
lage
Is,
ing sun
the peep
BP.
1-
|-
|:
And
d
beams,
(New.)
now
now.
Co.
1.
thef
St.
with gold
And
beams,
In
:d
the]
paint
:f|
:- |d
gold
with
:
with gold
r
paint
paint
:-
gold
with
|s,
lage
vil
:
Id
s,
:-
It,
-
now
vil
paint
with gold,
:-
:-
:-
now
:-
s,
:-
now
gold,
:-
paint
s,
t,
with
with gold,
paint
Is,
gold,
:-
Is,
n
the
:d
:-
peep
|r
:
:-
ing sun
:-
|-
:-
:-
|s
:-
beams
:-
In
:f n
now paint
r
d ::
'
sd
paint
*>1,
lr
with
|df,
with
PART
ADDITIONAL EXERCISES.
-
t,
si
now
Is,
|n
\n :with
si
:-
S|
s,
s.
s,
now
gold,
s,
:- :now
|7 :- :now
:- |n
s.
Si
:-
:-
|d
:-
:d
pamt
:-
s,
s,
:-
1-
=-"
:-
|n
:-
:-
:d,
s,
n,
.11
ifl
If
.s.f
,t|
oh sweet
the
|r
oh
Sweet,
:-
Is,
|s
.d'
|n
war
the
:-
d iS,
throng,
bling
throng,
|d
Sweet,
.t|
:-
war
r
d'
.ti
|d
.l,s
.f ,n
oh
d
sweet
r
:-
:
.f |n
bling throng,
.r
:-
On
throng,
n
s
.s
.d
oh
Sweet,
St, Co.
.d
|1
sweet
(New.)
|f
.ti
.t||d
.fin
the
:
war
r
.r
::
bling throng,
|d
1-
:-
1-
:-
.s
oh sweet
:-
:-
1-
bling
.d
1-
spire.
Sweet,
1-
spire.
spire.
d s
lage
war
d .,t,d: f .f
sweet
lage
lage
-
s,
.,rn:
spire.
":-
:-'|r
the vil
8
Sweet,
the vil
with gold
paint
lage
m it,: n
gold
with
ill
the
with gold
|n
E?.
is:-
the vil
gold
I*..:-
Id,
:-
ti
with
paint
with gold,
paint
f.
/Id
paint
t,
with
247
I.
with gold,
|d.:-
paint
gold,
now pamt
:now
In
gold,
si
paint
now,
gold,
Is
gold,
If
d':di
the war
- .f
|f
,,t>
bling
.,r|
.r : r .f \n
t
the white emblossom'd spray.
.n
the)
.d
thel
.d
On
PART
ADDITIONAL EXERCISES.
248
r
.f
f .r
If
d .n
On
r .f
ta.ta
.1
:d.f
n .n
If
l,t.di
|d'
white emblossom'dspray,
the
pi
f .8
the
On
I.
ta.s
Na
f
.8
.n
r .d
ture's
In
on the
P
Na
ture's
r,nf,8i 1
.r,d
ni
.f,n
u-
ni
,n
f .f>
r ,n,f
.di
ver-sal
song
n .n
,s
ver-sal song,
.dU: d .d
Nature's u-ni
song,
ver-sal
d .s
1
echoes,
song
s
d .r
1
1
:
echoes, echoes
echoes,
.8
Echoes J
:r .ti
to the
|
n .d
.d
ti
r .n
the ria
to
rl.t
\s
Echoes
ed ioes
In .d
.8
d'
ris
ing
ris
ing
r
si
.n
.t.
1|
.t
ris
|n
day,
Id
.Si
day,
Na
d
day,
Na
,s ,f
,n >r
:d
|1
echoes,
,n
|f
ture's
Id
d .djf|
echoes,
d ,n
id
d .n
Id .r
day,
Id'
.r
f .8
the
to
.ta,
.8
ture's
ni
.d,ta,
ti
.1
.r
.r'4
ver
.r,d
ni-
.1
echoes
to the
If .r :n .f
.l.s
u
1|
.n
.f
.d',r'
sal
,d
.8
n,f
ver
sal
S|
1) S.
1
"d
fid
song,
In
Is
|di
.s
,n,r :d
Ech
song,
Id
d
St. Co.
(New.)
.s
echoes
.t.
Ech
<
Echoes,
|d
oes
f
-
ris
.f
the
dl
ing
n^
ing
day.
to
the
ris
ing
day.
S|
to
1
oes
:
.n r
to the
ris
.
Id
Note. The
g-lican
F.
t,
(111
[
is
1,
se,
'-By
thy
night
/3.By
thy
tears
1,
n,
M,
ill
U.Grant
ir
aye
Id'
'neath
WAY,
d
ti
i-
thy
l.IilSE
I.Nev
S
4.-32b
wmgs
Join
:
Shall
t
All
S
Life
St.
Co.
n,
f,
wil
r
not
Id,
f.
r,
r,
shall
he
MY
SOUL,
DORE
t,
t.
1,
me
from
n
cast
S|
ty,
Ao
wast
night
:
si
r
ho
PI
THY
MA
s
-
ru
sa
si
f
for
:d
P
:f,
this
se,
1,
and
pray.
In,
Hi
to
nt
die.
't,
:t,
|n,
hold
lore
go.
n,
1,
FACE.
Till'
An
Till
ml
GELS
f
PRAISE
r
my
soul
With me
df
ni
0/
er
se.
tor:
n.
G. E.
t.
ml
!
senee
:
hj
Book. D.
t.
KER
-
tec
f|
stay
all
good,
G.
d'
lays ;
"With THEM
rl,
d
he
full
the
day,
and
food,
BE
Ey
taf
thy
hies
f|
'-
my
er
Beisn A
dok'd
8
&
TAK
t,
sed
es
Di
d
-
r
-
PAR,
Of
rll
sd
J.
t,
Je
thy love
pre
THY
LONDON
ling
sei
1|
Pro
:
Hymn
thy
:
sup
SOUL,
:
f,
pass
thy
U,
thy
t,
For
Hi
"WO
li
%
|n
1,
knees
grace,
U,
Lest
t,
us
By
not
Orutjer
J".
Id
Ere
place,
d
OUR
MY
(New.)
woe
la
f.
ter
Id
Let
d.
Is,
3.Thou the
d
:1,
day,
S6|
m
-
'I
On
RISE
:
t,
ci/s
l'i
gon
hit
I
Hymn. Book.
low,
KEY a.
n
If
of
cry,
-
day
be
Is,
Hi
of
:d,
us
lem
mer
ill
tiny
ca
'?
n
thy
this
I. Lord,
is
LORD, IN THIS
A?. L
ItEY
2.
it
reot
pi.
si
FOR
EV
WARWICK LANE,
Eli.
:
or.
:
d,
er!
E.O.
Price FouRrENCE.
key
0 mourn,"
"
.r
- .1 in
3.1n
deep
:1i
1,
aid
1,
:- |-
:- 1-
Thy
right
On
hu
reed,
sion,
:
:- 1-
tie
submis
-.1,11,
owns
rit
SPIRIT OWNS.
in Anglican Hymn Book, by per.
j,
pi
the brit
las!
myspi
-.dfli.ti; d
PI
is G.
.fi
ther,
2.A
L
-
(?.
pi
'.
l.Fa-
II.
MY
FATHER,
PART
ADDITIONAL EXERCISES.
250
G. A. Macfarren.
r .n
'
.1
brok
- .r
f .s
to
lean!
ken heart to
|
pi
Yet
par
80
<
:
'
\:
Nor,
when
li
i,
se
de
shall
fill
t'
hu
|
:- |-
se,
|df,
It
the
It
need
:1.
se,
1,
:t,
deT
light,
t|
less
void,
.1
se
li
gone
r
mur
-'.1,1 1,
.1
go
or
as
seen
t.
re
ply;
If.
Id
hath
seen
ta.
ta.
the
soul
'mid hopes de
- .r
f
In
ports
for
ti
good
1|
sei
deep
|n
Great grace
I
J-
blight.
to
11,
Then who)
- d S
-.i,pi
1,
pi.
1,
:-
stroyed
est
woe.
It,
1,
:-
d
1
.Near
11.
2.Though
n
If
s,
3.
When,
:-
the
Co.
God,
great bat
Id
:-
rage
|s
t,
tie
:
ished,
r,
s,
thou,
Lord,
s
thee,
to
:
course fin
If,
(New.)
my
:1
my
when
4.And
St.
:f
-.f,ln,
once more,
Hear
Hot
Breathe
:-
1,
Glo
:-
Henry Smart.
per.
|r
thou
Id
iy
my
prayer
t,
:- |- :-
round,
:- |- :-
my
last
breath,
f,
S|
rious
shalt
11
eye's)
-m it,|r
|r
mur
The
ny;
r,
soon
as
:
EI>.
-.i,n|f
sei
a
I
r.
:1
Or stay
:
stow,
se.
'Tis
To
|1,
man
la
n .r d
1,
deed,
d,
be
:
I-
made,
is
:m
cheer
the
:d'
grea -est
:t,
In
Prom hu
n,
pi,
soul's
:d
ti
man
stroke
1,
se,
l,r,
the
for
f.
frail in
sire,
hi,
don
d
lace
lie,
Bt>.t.
me
:r
man life
The
mine and
to
ri
.1.
-.r|l,
come,
'
PART
ADDITIONAL EXERCISES.
Li. t.
ml
E'en
af
:
Still
:
sd'
d>
where
ska
:s.f n
|r
for
cap
the
'ring
Oh!
my
:r!
|r'
Ent
df :-
d'
hea
though a
If
all
Still
If
Through
toils
ven
|r
:t.
TO
r
Id
shall
strife
to
there
shall
s
-
h
Near
M.
Solo
Eight measures
S. or
live
so
2.
Come
to
our
er
Is,
Go.
(New).
er
1-
1-
:-
1-
thee.
to
thee.
to
thee.
my
:
s.
my
1-
thee.
to
GIPSY'S TENT.
Bireh.
(By permission.)
mer
.r
s,
hap
wood home and
ry,
so
py
pi
and
free,
blithe-some be,
:d
La,
St.
.n
er,
s,
s.
In
my
er,
:-
my
:t,
,
We
Symphony.
If
If.
to
er
re
1.
s.
:-
Near
:t.
er,
er y
T.
Id
Near
Allegro Vivace,
mf
li
:-
n,
TY
home
Near
be
Near
i,
bright
F.
fd
Id
Near
death
in
|dl
of
Near
fd
er
fi
120.
Is,
ll
THEE,
f.
be
Near
se,
be,
Id
THEE,
thy
|n
.f
se
In
Id'
SI
THE
KEY A.
|n,
ley
In
prayer
THEE,
TO
Val
r
'
r.
my
It,
TO
God,
found
and
THEE,
TO
ll
ri
me
Let
In
God,
r
God,
i .t |d'
bear,
fights
dow
251
II.
|d'
Faint
cross,
|n
f
tain
TER
:f
God,
r'
Through
f
vy
place.
:d'
-t
II
In
dwell -ing
If
la.
:
s,
d.
d,
La.
la.
O.N. edition
W.
H. Birch, London
Street, Reading.
si
ll
:1.
:f
ADBITIONAX EXERCISES.
252
If
and
:r
f,
Danc-ing
In
wild
the
sing
"woods
:r
I.
neath the
to
roam
light
1,
1,
:f
ly
t|
S|
We
live
S|
Hi
:s,
d
Come
:t.
f|
mor
S|
so
hap
and
n,
n,
ry,
Si
- .f
green
.t|
Ciroii
free.
.S,
d,
py
d
Withe
some
d,
sing
fl
'i
fl
fi
ll
oak
neath the
:
In
the
fl
fl
f,
f|
:fi
a>
to
ly
and
free.
ri
S|
Si: 1,
.n
roam
wild
woods
to
f,
f,
f,:f,
~.t:t
cP
our
your
:s,d
Ill
inghe
for
for
and
py
en
quite
tree.
light
S|
S[
tl
hright.
true
li
t.
r,
be,
Come
:t,
so
cmg and
We'll tell
1,
Dan
r s
^,
d,
free,
E.
1,
treo.
S|
- .r
J!.
oak
and
ri
PART
d
s
ing'
- .r
List
to
And
pro
:d
d
light.
you.
:d
s,
Sd
:
id,
Gome
to
d'
our
for
your for
We'll tell
d
d
d
St. Cu. (Sew.)
- .t
e:
est
home. hap
- .
ti
tunes younj
S
maid
:f
py
'
s.
and
bright,
List
our)
to
ti
- ,d/
And
pro
en
ti
quite true,
:
s.
,1
mise
PART
ADDITIONAL EXEKCISBS.
r
d'
your
d
i.i
fond
so
f,
fl
:fi
s,
hap
py
(J
ij
hap
py
XlUctl
.
IjH
,1
a
tlgU.li.
- .r d
-.f m
-
S|
-S|
and
free,
f|
1.
A
and
free,
Dan
f|
fi
Solo
pi\
or
C J.
tree.
:
d,
t\
And
like
they
war
t|
:t,
f|
-.t,
:h
in
1,
n.
Co.
(New.)
fi
l,
a
&i
ing be
1,
f|
- .n
sing
fl
-f, :fi
.Si
mer
so
:
oak
fi
oak
neath the
ri
fi
it
r
-
neath the
1|
li
.S|
ing be
ry, so
d
\
n.
- .t,: d
:t.
live
and
:fi
sy
/'i
ri
whole -some
lin
net
d
and
S|
holds sway,
1,
ti
"1
ni
n.
fi
:fi
li
ble
their
well
tun
i\
a
ed
ri
"k
With
rieh
foam - ing
lay,
Oh
come
with
:t,
1,
sei
n.
n.
t\
1.
n,
"I
1.
our
feast,
t|
t,
fi
:f,
r
ri
'.
Pit
:li
We'll toast
We'll sing,
ti
ri
ii
./
horn,
gay,
L
&i
t,
t,
gain.
ii
come
and
li
pray
t\
plain,
It
ful
fare,
thrush and
A
then
pers of
-
sing
Ml
li
li
and
We
1,
n.
- .S
- ,r
it
ll
St.
t|
bum
-.<,
Gip
song
f|
large
t\
ni
r
ri
Ki
fl
n.
- .f,:
f ,d,
fi
ale
light
1,
you
- ,r
where.
1,
r
if
Come
ri
S|
eing
1,
U
pti
s.
Dan
our
Taste of
Come, where the
ry, so
i,n,
',
S|
fd
eing
d
li
We
for you.
ers
II.
S|
:d,
di
lov
S|
:n.
PI,
HI elk G
- .t
songs they'l
:li
sweet
i,
al
li
brown beau
and dance
f,
fl
r
r,
ti
1,
1,
ri|
rtj
~
-
,pt
'.
ties till
till
t,
t,
li
the
:r
fi
:ti
:f
PART
ADDITIONAL EXERCISES.
254
PI
dawn sthe
/,
o
II.
9<
o
7,
bright
the day.
close
ff
a
t|
S|
1|
li
sei
PI
1|
n
d
ir
:-
S|
'
T
free,
fi
ii
free,
fl
Gai
i,
f|
hap
li
:d
cing
fl
iy,
1,
hap
"i
mer
d
li
li
and
sing
:fi
fl
jol
py>
ing be
"fl :f,
1
-
iy
free,
and free,
n .r d
py
S|
hap
d,
t,
oak
tree.
I|
py
.
tree.
ri
s.
No
life
No
life
tai
1,
S|
Qui
tree.
01(1
and
t,
I|
r,
s .f
iy
neath the
t.
tl
S|
.s,:
neath the
- .s.
hap
rv SO
-
S|
-ti- "I
-,t,: d
ing be
si
J< to
so
- .n
py>
Si
jol
S|
'neath the
sing
mer
S|
fl
:d.r n
ours
so
>?
and
:Ii
:
n.
- .s
S|
fl
fi
Dan
cing
fl
Gai
Dan
- .r
live
di
1,
live
We
1
rii
We
H|
hap
iy.
'
li.l,
t.
1,
:n.f
tree.
Gai
oak
ours
s,
I'll
Si
li
s.
d
hap
iy,
f,
fi
py
S|
d
-
py
S|
rail.
and
iy
d'
s.f
f
free,
tl
t.
:t.
and
free,
S|
iy
:f
St. Co.
n.r d
(New.j
No
life
No
life
tai
1,
:si
quals ours
:f,
n,
.r
quals ours
:
H|.f|
d.d d
oak
- :Ui
li
:f|
tree.
n,
t,
oak
tree,
ill
d.
11
ADDITIONAL EXERCISES.
PAST
255
11.
"HARVEST HOME."
M.
key D.
80, twice.
A. Macfarren.
G.
/
:
Har
vest
n
d
vest
home,
har
vest
har
vest
|d'
d'
is
Har
vest
Har
n
if
home
Id
Har
vest
home,
|d
I-
home,
|n
1 .f
is
we
PI
come,
we
come, And we
It,
S .8
Si.S,
vest
home.
d>
come,
har
vest
home
|d'
har
home,
vest
d'.l|s
1 .f
last
load
of our gol
s ,n
den
f ,r
|s.
home
gram
r
of our gol
den
gram.
|n
m .d
S|
- .r|t,
- .n |d
loud
the
last
come.
load
brin;
We
cres.
t.
sd
d |1
Loud
ly shout.
-.1,
Loud
Loud
if
Har
d
1,
ly shout.
|d!f
|df,
.f
ly shout,
f,
- .r
gain
ly shout.
loud
- U
t,
It,
shout,
loud
shout.
f,
a- gain,
.til
Har
- ,d
n.
Co.
(New).
a-
- .d
a-
a- gain,
a-
gain.
ff
d
gain,
Har
f
gain.
-.Hi
-.1.
1,
|n
- ,r
vest home.
vest home.
loud
!
Har
- .d
- .1
har
Id
vest home,
a- gain,
- .n
vest home.
I-
home.
St.
har
if
home.
Is
lt
home,
|1
A.
|r'
\Z>
vest
|d
har
d
vest
har
f
home.
har
f
home.
|d'
har
Is,
-.1
vest home,
-.f
n,
ADDITIONAL EXEKOISES.-
250
|d
Loud
- .r
-
Id
|n
:- I-
>
r
har
ly shout,
-.d d
:- !-
t|
- .f
:- |-
shout,
Loud
11.
-.1,
s,
har
ly shout,
:- 1-
I- :-.d
s,
vest home,
:~ I-
:-.d d
:-.n n
I-
vest home.
I- :-.d
t.
D.
The
,S,
dolce.
m
The
The
M
1
|I
fields
t,
S|
t,
boun
S,
teous been,
cheer,
lish
|d
s,
:s
|f
hon
r
:s
wa
them the
hon - our
t,
s,
St. Co.
of
|
ti
(New.)
Hi
mg
seen,
year,
|f
vy
the
wa
our
s,
wealth was
fall - ing
S,
vy
of
:
s,
si
d'.r'
d s,
Hi
But
now
Which
thus
:t,
ti
now
seen, But
year, Which thus
|dg,
i-|
sei
The
The
;s
wa
brave
vy
|r
the
:
s.
:f
It,
|n
robb'd
of
rich'd
ui
'
their
j
en
:r
:-
11,
|d
its
gold
li
they've lost
their
shed
has
are
f'.Pi'lr'.d': t
the
they
has
It,
If
them the wa
hon - our of
:
seen,
year,
fall -
s.
them the
:
wealth was
ing
the
|r
'ring
more have
groan -with]
|n
n
in
G.
f.
|r
wealth
the
|s
will
Hon
O'er
O'er them
fields
clin
s.
id
once
:
|1 .t
d'.r
hoard
fields
In
teous been,
lish
cheer,
Eng
r
|1 .t
am
with)
:
en
store,,
has
j
n,
se,
:ni
Ui
:n,
'
PART
ADDITIONAL EXERCISES.
am
gold
\{
pie
store,
en
f
pie
store,
- .d
257
II
In
:
*
shout
on
store.
1
pi
-,d
In
lost
their
am
shed
its
gold
en
store.
S|
ti
S|
t|
D.
lr
t.
more
ir
sd
loud
.s
Loud
rit.
more,
shout
more,
shout
once
r'
d'
har
r'
1-
pi
-S|
a tempo.
s
d^
more,
Har
vest
home,
m
'.
pi
Har
vest
home,
PI
home,
Har
a'
d'
pi
di
Cl
vest
home,
vest
d'
.S
ft
.PI
pi
vest home.
I-"
-.d d
- -
har
PI
vest home.
:
har
f
Har
vl
r
(New).
more,
'
-"l
t
j
once
S
Co.
once
'
ff
har
St.
r'
har
r
piu en S.
ly shout,
?/
vest
d'
har
loud
'
vest
once
s
iy shout,
H,r
poeo
ly shout
-.a
In
har
1
har
f
it
home,
vest
If
d'
1
1
r>
d
u
In
vest
1
se
home,
vest
home,
vest
;;
ADDITIONAL EXERCISES.
258
Words
AWAY
work by
for this
PART
II.
TO THE FOREST.
Music by
George Bennett.
key C. Alia Mareia.
/
.n
1.A- way
.s
.d
fe
,s
d'
lov
van de -
lig its
r .fe
fe.r
ri .n'
:d.l.
And
down,
We'll
share
ties shall
d'.d'
rag our
.r'
tyand
n .n
moss
:d' .d
d<
d'.n
pi
d'
-
and beau
.f
pi
dain
on
:
syl
fra - grance
n
1
:d'.l
it
the for
.f
:d'
sit
.d
di
3. We'll
to
s
1
Franz Ait.
- .s
- .r
Our
- .S
-tet,
a tempo.
glad
S
d'
.s
,ta
.r
ten from
:f
.f
.1
cares
:d
ly we'll has
d'
ci
.,r'
ONE
r .r
and town,
n
ty
bles for
:
,s
.f
di .t
get,
.s
- .n
And
glad
.d
.m
- .d
day for
Our
.,s
-de': r
.,P1
.f
.ta
,rV
.t
ci
ty
la
.d,n
Trala
.r
r
day for
r
.8,
r
ONE
r
.d,n
.
.s
And
la!
Our
la!
glad
n
cares
s
St.
Co.
(New.)
.fe,l
la
la
la
.fe,l
la la
.fe,l
la
:
.d'
dl
.di
S
la!
.S
la
,fe,i
la
la
s
la
.d'
.s
Trala
.d,n
ie,l
we'll has
ci
ty
.S
:f
.f
.d
d'
:d'
.r'
di
.r
and
.f
town.
m
s
ONE
s
day
:
la
.fe,l
la la
bles for
.d
la
s
la
ly
ten from
la
.d,n
:d'
,r'
Trala
.d'
:f
.de
.n
la
,a,n
s
la
d'
la!
r'
la
.1
for ,S|
get.
bles for
la!
la
a tempo.
di
.S
S'
Trala
get.
/
r
.d,n
.n
rit.
.n'
and town.
m
.f
tit.
ten from J
cares
.t
ly we'll has
.,n
la
PART
ADDITIONAL EXERCISES.
.m'
.(1.1
|.d'
.f
d'
d'
.d
[4.A- way
.f
Pi
d' .d
est,
.,t
259
II.
Its
glad ?s
~~
,
and shout,
.f
- ,n
and its
s .f
.t
dl
d'
d'.d'
- .d
and a
.S
'.
ter
way
.S
.1*1
the for
to
.d
n
1
r'
laugh
est with
We'll hie
1 2.
way,
d
.d'
Our hoi
d
d'.n
clois
ters we'll ]
n .m
d'.d'
i-day bright
n .f
ens a
d.i,
P
fe
wan
.r
.,s
dera
d .d
" red
.,n
let-ter
day
fe.r
..f
.s
bout;
r .fe
.s
!"
:
r .m
t|
.s
This
life
has not
.8
s,
t,
.d
de.r
.s
.,d
We'll)
glint
n .f
.S
.S
.s
.r
man
Withl
a tempo.
n .n
1
n'
FT
t .ta
1
-
she
.s
d .d
de
.,t
lin
f .f
:f
,s
r': di .t
souls
.r
dows of
.1
- ,n
- .d
- .n
With
- .d
We'll
dl
.1
d .de'
1
..n
.,s
f .f
.s
s
s
,,n
f ,r
fi
lin
1
r
hearts
di
:r'
:
.s.
.d,n
.r
that are
la
la
.d,n
s
la
,fe,l
la la
.fe,l
Trala
true.
.fe,l
Trala
.d,n
la
la
.dl
.d,n
la!
s'
la la
,d,n
Trala
.fe,l
la la
,d,n
.fe,l
la!
la
.s
.fe,l
Trala
a tempo,
f
r
.s
:d'
We'll roam
la!
.s
s'
,s
With
la!
S
St.
>d
Co.
(New.)
.s
;d'
.d'
souls
.d
di
dows of
:f
that are
grate
.n
:f
.f
:d'
.r
ful
:
lin
m
1
.t
den and
f
.f
d'
larch
d'
and hearts
,r
la
.d'
and
.n
.n
la!
la
larch.
.f
.de'jj
ful,
PP
r
.n'
rtt.
/=T
dl
:1 .t
den and
n .s
rit.
>f
that are
true.
.S|
.1
.n'
souls
r' .n'
dows of
.ta
.d
la
la
s
la
.di
.8
la
PART
ADDITIONAL EXERCISES.
260
II.
time.
Henry Lahet.
(Copyright.)
mf
.S|
1.1
.PI,
2.1
.d
3.1
F.
d
left
s,
,S|
,r,d|d
love in
.n<
my
left
my
.f,
s,
love in
:d
.d
.t,
sought my love in
Pll
.d,
.s,f
Hi
Eng
d
.S,
1,
.s
.s,
S,
>
f
.1
hung hoa- vy
in
my
S|
:f
.f
.n,r
.ta,
To
sea,
.s
.f
ni
,ri
,n
.r
.jr\d_: t|
li
sf
d,
.r,
n,
.f.
di
.ti
.si
s ,d
Bf.
.d
.1
ram.
I
2.1
.f
d'
t.
.f,rt
ty
.f|
n,
,f,
f.
.U:s
.d
pov-er
.t|,l|: S,
Eng
S|
s,
land, In
En;
S| .S,
.1|
li
half of
&
strove from
my
.,n
bread by dai- ly
An
hon-est
.d
toil,
man and
her
wrought
farm
- .t|
freeJl
(My
d
hap - py
r
,d
man,a
hap-py
t,
.si
1|
.t|
s,
.si
1,
.1,
1,
.t|
.r
pi
To
wife,
.H|
.1
bless
:s
.f
my home and
f,
.r,
s,
.s
"t,
me.
d
:fe,
gave
earn
.t,,d\
I,
gave her
wrought
Si
Mv
and
is
d .d
farm is
:d
:d
.d
large,myl
.S|
S|
ores
.t,
all
my
lit
half
strove
of
.ti,l|
t|
.s
bid
ing sigh,
tie
d|
(my
had,
night,
are
small,
.fe
And
:-
.S,
.f
And
part
.l|,t,
.r,rc:f
kept
do,
my
.s,
made the
f,
.f
.r,n
:s
cour-age high.
:
1,
lit
:f
.la,
-
tie
.n
S|
more.
r
i-i
St. Co.
the
.Se|
S|
ev
1|
.H|
(New.)
.,f
"0!
fare-
S|
.,8,
Oh!
:
t|
Oh!
'
S,
at
.,t|
n,f
r ,m
well," I
si
.t,
.r
.t,
.t,
neath
be
sit
li
d
d
.f
.s,
t,,d .I|,ti: si
.r,n\
come, I
sea
S|
.f 6|
.fe,
.r
field
It,
.Mi
me
my own
.se.
.l|,t)
wealth,Andj
tai
oak
1,
.S,
S|
,S|
.d
S|
.S|
.f,
f,
li
S|
tree, With
:
.n,
:f,-s.n,-f-
said, "if
(he children
,,S|
.d
days to
gave
ry
/>
een
fi
.r^d
of
till
care) de-
.n
for, thinking
store
d,
all
from morn
my wants
large,
:s,
lows/
.S,
t|
.r
.n
:r
,d
broad in
:t|
.d
PART
ADDITIONAL EXERCISES.
,n
n,f .r,n
.r
rain,
Si
rain
S|
td
.r
.fe.
S|
PI
If
you
I'd
t|
ti
-t|
.8,
IF I
.r.
1,
,r
:
(
,f|
si
r,d
"back a
:d
gain.
.t,
fol-lowed rain.
has
.d,
PI,
gain."
S|
Pll
went back a
.d
S|
s,
me
see
.s.
S|
,S,
di
"WINGS.
Music by
Henry Smart.
(Copyright.)
.s
|n
d>
had but
.n d
two
n
,s
had but
-
.d
my
fly.
If
I'd
261
II.
f ,n
you
7~ TT~:-.s
f ei
Coleridge.
If
S|
The
.t|
Words by
S|
1|
l,,t,
s.
The
And
:d
vain
,s
:-.n
:
ti
-,n|n
-.d|d
;wo
lit
1,
dear,
tie
:
si
And were
\t
you,
|n
.t
to
- .r
dear,
1
n
n
se
To
you
I'd
lit
1,
tie
feath
si
fe,
-fe| fe
Ife
:-.fe fe
my
dear.
,r
-.1|1
To
'ry bird,
-.d|d
dear.
:-.d
|r
feath
|r
fly,
tie
my
fly,
-x
pi
-.1
It
I'd
.
1,11,
In
1,
you
d
lit
.1
To
-dlli
:1
|d
-.1,11,
.n
PI
-111
tie ivings,
lit
my
fly,
d
1
To
'ry bird,
:
Is
It,
Is
p
Is,
S|
But
:r
t,
Co.
|f
(New.)
:n
:-.d'|d'
'But
:f
i-.d'ld
But
f
i
:-.n|n
-
:s
:s
:-.d'
Id
are
:-.s
are
die things,
|n
:d'
n
like
d
these
n
are
-.1|1
:s
die things,and
-.d|d
:d
-.f|f
:s
die things.and
-.f|f
:n
dlethings,and
PART
ADDITIONAL EXERCISES.
262
II.
poeo riiard.
s
I
r
I
1
If
stay
|r
It
stay
stay
stay
|d
and
here,
S
se
here,
and
I,
!
and
and
1-
here,
|d
r
stay
stay
Pit
here,
and
d'
li
f.
stay
to
you
pi
- .d| d
- .1
to
you
I'd fly;
I,
111
.pi
my sleep
in
.s
my sleep
-.d|d
in
r~n
"world is
V2
tl
If
world is
f
r
It,
PI
S|
S|
And
here,
pi
d*':
aT
n
d
I'm
i
1|
ft
s.
stay
- .t
-.n|d
But
:
here,
- .r r
:d
my sleep The
-.d|d
:d
-.111
al
-,d|l,
- .1 In
al
: -
i
I
tne world
world.
|n
n
I'm
d
1
S,
own THg
- .n r
s
.PI
I'd fly;
one's
all
.s
one's
all
t,
But
n
here,
n
d
cres.
here,
stay
h.ere,
|t|
Is,
in
It
- .r
se
The
n
li
ll
-.1
-.d
d'
|fe
-.fe fe
world
is
all
|r
-ielfe
:fe
".
Is
It,
Is
one's own.
:
.r
own,
|r
my sleep! The
in
lei
one's
all
is
-Is,
S|
But
then
r
one
St. Co.
then
t,
But
|f
,
But
then
wakes and
(New.J
cres.
>,
1
-.d'|d'
- ,S
where
-,d'|d'
am IP
then
one wakes.but
- .n n
|
then
one
S
s
one
One
In'
-.d
t*
-.111
ami?
-.f|f
-.d'|d'
Id'
- .d d
1
ami ?
-.f|f
ami?
And where
Id
wakes,
All,
:
All,
All
ADDITIONAL EXERCISES.
pom
dim.
I'
lone,
all
|r
It
All,
lone,
d
se
lone,
Is,
lone,
all
|1
ri|
all
lone,
t.
"1,
:- |-
"id,
ml,
I-
Sleep|
lone.
n
d
all,
B?.
Sleep
lone.
:-
all
all,
all
all,
263
II.
all
PART
ritard.
lone.
cres.
IT
r,
:n,
t,
though a
s,
:-.s,
not
ri|
- .d
.si
though a
- .ri|
pi|
not
stays
though my sleep he
t|
d
:-.s,|d
:
-.tilt,
mon
:
s,
mon
r,
arch bids
fi
:fi.f, n,
-.s,|si
arch bids
- .n
si
my sleep be
though
-
.s,| s,
si
l,.t|
:r,.ri d,
1-
:t|
n,
though
1,
In,
For
while
d'
while
1
while
St.
n
'tis
t
'tis
s
'tis
Co.
Ir
while
de
dark one
li
dark
If
shuts
- .r
shuts
one
dark one
(New.)
'tis
- .d
lids,
yet while
one's lids,
it,
while
1,
S|
one
shuts,
.t,
|r
t,
'tis
f
'tis
be
:f|
|si
l,.t
dark
Hi
dark
Ir'
dark
If
one
s,
be
sleep
Td
be
r
be
sleep
my
'tis
-l|r
d
e'er
sleep
~:r,
dark.
one's lids,
shuts one's
f,
sleep
my
though
.f |f
yet
se,
:n.
If.
my
my
e'er
:
wake
|d
my
:fi
i,
r,|n,
:1,
li
For
though
gone, For
1,
to
:
though my
r
|n
wake
to
,t||
se.
gone,
:t,
.fill,
So I love
-.rilr,
r |d
So I love
-.filfi
For
s
:l|.s. n
one
shuts
si
one
shuts
ri
one
shuts
f
shuts
one's lids,
- ,n
one's UdB,
And
one's lids,
- .n
And
d
And
one's lids,
-.d'ld'
-.1\
And'
PART
ADDITIONAL EXERCISES.
264
II.
poco ritard.
dim.
~~
if
still
r
still
dreams
on,
dreams
still
se
and
:f,
still
still
dreams on.
:d
It,
dreams
dreams
still
Hi
still
s,
and
dreams on,
I-
I-
on.
S|
si
dreams
still
ANGEL OF HOPE.
ATords by
Music by
Geo. Bennett.
key D.
Solo
and
and
still,
I
Pl|
on,
:r
Id
and
on,
:-
In
And
on,
dreams
still
PI
:-
|r
~~~~
dreams
(?.
Reichardt.
Contralto.
1
.*i
1
2.
Id
si
wea
As sweet to
Blestangel,
dark
.d \d
ry hearts
were life
.r
.
slum
as
with-
r .r
And brooding
To prince &
ber,
thee,
out
9
n
Hm,
&o.
d
s
Hm,
&c.
gent
pea
ores.
Hm,
S
St.
ly
as
the
dove,
sant
thou
art
dear,
f
t,
I'
ing
can
"When earth'slow-
vi
cares
en
ev
er
:-|-:-
r .d
cum
d
her,
douht thee,
11
&c.
:
i-
Co.
(New.;
fe
:-
I-
265
ADDITIONAL EXERCISES.rfi
ence
eres.
:-
t,
Hm,
Where sorrow
:-.r\s
glo
r'
den
-|1
:-
::-
jde>
|1
:-./ n
there glad
so fair
wept,
Shut in those
tals
::-
|1
It,
brightens,
whonE
::-
|d
por
must
all
fe
.8
I
"Where gloom'd the cloud,
&c.
:-
.1
sion'd froin
S|
S'
t
.r
ness smiles ;
and bright,
.r d
|
,vi
the
spi
lace
fal
si
s ,ta\
rit
len
:-!-:f
Hm,
_|_ _
r
PI
I"
&o.
:- | :-
ta.l
.1:1 J
And aimless
,d
si
pi
tals,
re
|f
:-
1.
-It,
Hm,
Sec.
:-
:-
|1
f Quicker
.s
fe
se
s .s
While trusting
I
.n
.d'id'.d
S.Still
.r
doubt no
more
be- guiles
Andha-lo earth with heav'n'sde- light,
light- ens,
mor
d'.s
pi
.n
.se|
se
the spi
faith
PI
- .p)
rl
-.r'|r'
deign'd to
.sej
XI
rit|
:-.r'
len
lace fal
;-.t
.d'id'.d
ten.
t .1
light
pi
:d'
mor
St.
,1
.d
tals,
1
Co.
.d':t.l
ens,
pi
s .f
pi
d>.d' d'
.s
no more
- .f
pi
:-.r
:-.d'|t
:-.t
light,
.f:f.f
se
(Sew.)
- .s
- .s
be- guiles,
:-.n|r
.rt
pi .pi
:iu
.1:1.1
And ha-lo
.1:1.1
di
s .f
:~d'|t
:-.ti
no more
be: - .rl
r
f .n
:-.f|s
own]
:-.sj
PART
ADDITIONAL EXERCISES.
266
II.
molto espress.
:
An
An
gel
A
An
s
gel
|n
n
of
s
of
Ci
_|_:_
Hope
I-
:t_J_
ger,
re
:- |- ::- |- :-
di
Tie
m
n
lin
nar(
near/
ger
|d
r'TT
pp
ger
Id
u
ger,
m
still
:- |-
ger,
|f
:~
- :-
|f
:-
If
:-
|n
lin
rl
lin
n"'
n
lin
Hope,
of
Hope
t|
.r
stm
tt
gel
:- |- :-
.A
\t\
n
d>
ger,
:- |:- |:- |-
near
If
lin
ger
d
II
11
key G.
M.
88.
n
1.
The
.(,)
.(d)
Spring,
:-
Id
us.
::-
d
s
us.
:-
.f
the
S|
near
ger
lin
pi
near
Id
-S|
,r
plea
|S|
|n
blown,
sant
Spring
s.
1,
:li
Is,
In
n
thy
sweet
is
2.
Gome
St. Co.
-with all
d
(to*.)
.d
|d
est
:d
::
si
:f
:-
.d
us
With
smiles,
Id
S|
Let
[ .(d)
B. Spofforth.
.n
thy
r .n
PART
ADDITIONAL EXERCISES.
267
II.
D.
.r
t,
smo
the
leave
si
r
gra
f
:f,n-
s,f-
.d
ky
.S,
S|
,n
:d
.n
t,
town,
|S|
.PI
From
A
U
Is
:-
Is
|S|
s,
.d
Come
wiles,
.d
.d"
and
mall
,d
.n
rs
.s
we
and
t.
rs
the
S|
Id
thy
d
with
ces,
[PI
will
:
.-
.,r
,r .-
ken
d
.,t.
.-
t,n
.n
eres.
.d
from
Ml
U
.t
the
ring,
|s
Is
mer
r
tL
.r
Pl'.f
:7
|n
.r
.f
Id
.-
Ev'
be,
.n
:n
,r
Who
shall
d.t,.-
:i_.-
/
n
Ev'
wing,
we,
"Who
..r'ld'
pi
.,r
n',f'.-
.-
.1
d'.r .-
.f
ken
ta
|r
d>
If
:-
PI
It
:-
ken
ta
West
as
Is
Co
don,
:de
Ir
11
ni
>y
:
li
:-
don,
!r
1-
we?
.d
.d|d
:-
All
.1
Is
.f
|n
|r .r
:-
dig .s
11
.1
.fi
t,
|d
- .s
Is
are
gone;
Id
and
all
."I
ri
Strephon,
If
and all
- .d
d
-r
- -d
Strephon,
are fled
:-
so
:
slower.
are fled
All
Id
has
:d<
Hi
a's
"ti.ti
Clo-e,
1-
we,
Clo-e,
1-
s.
is
1
Id*
Much
G. ff
r.r
wing
If
-
Co
-.
S
.-
as
blest
*,
t.r
as
wing,
s
1
blest
S
.i
so
pi
dTr
.f
.r
shall he
.d'
In
.f
so
s,f
has ta
-
be
has
:
who
shall be,
.,r
ry one
,f
:d'
,t
1
ev'
ry one,
.,r
:d
Id
.,f
-
.1
one
ry
r
are
Si
:-
In
gone;
::-
Original time.
f,n.-
:f,s.-
|1
- .f
:d
|d
not worth
- .d
d
What
d
j
What
|t.
come
come,
1|
.d
way,
a-
li
-li
It,
.r
come
Si
a-
cres,
A
Q
CL
1.
l|
lm
:
.s
come
way,
:
t,
.t,
.de
:-
.1,
1|
'
.pi
,de
.S|
,ri|
Au -re
a-
S|
Au-
Come,
:
.a
.s
Come
a
f -
nr ~
.
your
.
f
t(
worth
f
stay,
|P1
.f
.r
pi
1|
,f
t|
.t,
d ,r
.r
PI
eomo a way,
d
.t.
come a wav,
ri
come
Come,
L
U
t|
.r
.s
way,
a-
.pi
come,
s,
1,
In,
,s
ta.
I.S.-
What
i|
'
:f
If,
.r
What
.n
:f
come, Au-re
Come,
r
,f
.d
pi
Come,
lia
come,
|d
come, Au-re
r .t| |d
come
:-
,s
:-
.f
not
left's
is
:fi
S|
.r
.f
,r
It,
.t,
way,
d
.s
lia,
Come,
come
n .f
S|
a-
a S|
way,
d .r
.pi
come a - way,
f,
t.
u
s
;~
)
;_
.s
come a - way,
come,
lia
.1
cres.
lia,
notl
left's
is
.si
d,"
.r.
:fi.-
CI
way,
a-
r,
:d
.r
come, Au-re
:
lia,
:t,
Id
-fi
come
f,
lia,
(i
Come,
rl
come, Au-re
Come,
A
u
come,
Cl
stay,
1
your
f
lia,
ri
.tail I,
{.1
re
|1
Au-re
:
worth
way,
Id
come a way,
way,
a-
.fej
.r
lia,
come
come,
T|
.f
come a - way,
r
Au -re
Come,
stay,
VI|
:-
Come,
~
.
II.
stay,
li
your
S|
:r
your
:
.pi
:n,f.-
not worth
left's
is
n,r.-
CI
PART
ADDITIONAL EXERCISES.
268
s,
.s.
1,
.1
:_
.f
:d .d d
Come a- way,
.f
:n".f
d .r
come
:
.r
.....
:d
a-
.s
.t,
/
>
I
; 1
PART
ADDITIONAL EXERCISES
269
II.
Pf r
cres.
f
n
f
.1
c
S
way,
come a - way,
"
:s .f Is
f
i
1
|
c
S
in
e
s
i
1
Come,
A
v
u .r
come
A
u
a-
.S|
S|
Au- re
a,ti.-
si
come
Ua,
ll
f>
|r-
.s
.t|
a"
|n
come
d
:n
.r
|n .r
."f
- .n
|s
way,
:n
.s
si
Au- re
Come,
it
.r;
Au-
Come,
.,s
.,s
.t
,,n
.,s
n .r
,f
1
f .f
.s
first
:f
r .r
.r
ti
d .t
- ,r
.f
r .r
sd
peb
,d
t,
.r
its
,s,
S|
.si
S|
.d
.t<
d|
in
ble
.ni
its
r, .f
.,n
way
S|
d,
way
n,
- .s
Seems
e-
s.
Seems
n
e
Seems
RILL.
Musio by
A. Macfim-en.
G.
nough
r .r
.f
.s
Then each]
si
t, .t.
.f
its
.,r
n .r
course to
1|
t,
dim.
r
-
on
S|
1|
:d,
.,a,
|-
way.
on
pris
ores.
way.
S,
:
pris
t.
:
s.
lia,
:-
n ,n
tbemountainrill is weak,
r
.,d : d .d : d .d
.1
weak,
is
first
,d
(T. S. Copyright.)
At
At
n,r .-
Ifl
Andante.
tjHi.n,
Worda by
r S|.si
:-
f,
re
lia,
John Oxenford.
key D.
I-
Id
li
come
|n
come
way,
d
A.
1,
Ha,
Au-
Come,
s,
1
1
way,
.,r,: r,
t|
d
n
stay,
t,
to
stay.
d,
:d
to
stay.
.,d
d .d
Spi eading as
it
II.
mf
D.
f.
PART
ADDITIONAL EXERCISES.
270
s r i.,d': t
.1
.f
pi
nt
.f
n .r
'
.,iy
.d
Soon it
long,
.,1
.,d:
is
.1
t .1
torrent
8
s
d .t
1 .s
Spreading as it glides a- long,
glides
,,s
fe
.s
.,r
.r
.pi
ta
,,s
.1
ml
.,fl; 1
f .f
-,1
path
.r
As
,s
fe .s
.n
.,r
,r
.s
And
its
tai
path
strong
is
,s
s'.f
L .1
And its
r'
d .r
n> .r
.,pi
free,
is
.t
.f
At
n .r
at
first,
.,d
first
,r
.,s
the mountain
to
.f
.d
in
:
.PI
.d
bounds,
to
:-
as
.t
in
glides a-long,
.,s
ri
spread
ti
.,ti:
.r
glides a-long,
St.
Go.
.d
t .1
ing as it
{New.)
as
.f
it
s
glides,
.,n
glides,
d .t
torrent)
1
a
:
the sea.
.d
.,s
f
is
.n
torrent'
the sea.
,d'
fT
.1
to
vf\^\
.n
it
.1
.r
~^===-
:t
the sea.
.r
Soon it
is
:
rent strong,
bounds
t
r'
.r
in
the sea.
.,1
.d
t .1
\
.t|
rill is
But spreading as
weak,
.,f
.t
d>
the
first
.d
1|
weak,
the
<r?r
.f
.s
.s
,n
..I!
-n'
ri
.d
,t
d'
A
:
,s
.s
.n
But\
r .d
weak,
r .,r
rill is
,,r
.r
r' ,t
d'
.r'
its
path
.S|
path
is
f .n
broad and
is
f ,f
torrent strong,
A torrent strong.its
1|
.ti
free,
r .d
broad,
is
:
it
f .f
f .n
rill is
:
cres.
.,d':
it
,,s
-
.s
rill is
n .n
pi
mf
1
.,fi;
tor
bounds
bounds
n
it
At
:
r .r
it
s
to
ores.
1
As
mountain
s
.f
.8
,s
.1
.,r
path
in
in
bounds,
As
at first the
first,
:
free,
bounds
s
As it
:f .f
free,
At
.t,
se .1
broad and
de.de r
s
.1
.f
it
is
f .f
it
.s
bounds
n
r'
f dim.
1
it
As
free,
it
.1
free,
is
.s
As
r
1
And its
strong;
s
de.de
Soon
free,
:
Soon
long,
strong
f dim.
in' ,r'
ores.
ds
.f
mf
broad and
free,
As
.,f
bounds,
it
pi
.,f
ta
.,1
As
it
de
.,r
As
it
r
bounds,
f
bounds,
it/
ADDITIONAL EXERCISES.
P
t
:n'
.,1
as
.,r'
as
.,f
.,d'
it
bounds
As
:r
bounds
n .d
it
di
bounds,
it
.1
.1
.PI
.f
pi
.d
Thus
n
.,s
d d
.,s
r .r
:
r s,.S|
n .d
t|
.r
,PI
sd
:-
can
:f
.d
d|
.t.
r .r
.pi,
ri .f|
PI,
But
.
.t|
r .r
Si
t,
.f
.,1
.f
s
is
.f
pi
its
,,r
'twill
(r,:
pow'r
.s
Scarcely]
pi
t|
,r
:pi
:d
t,
soon re
r,
'twill
soon re
pi
veal;
:d ,,d
And so
dj
s.
.,pi':
.d
t .1
veal;
is
f
.t
s
force,
fe
r
.s
.r
:-
.rv
de.de
:1. .1
pi'
.,f':l
r
1
.,1
its
Love thro'
:f .f
.1
Co.
(Sew).
:-
s
force,
.a
No
all
s
all.
.1
.f
.s
:
1 .t
will find a
pi
s'
,,s
its
'
course
.f
will find a
all
PI
dim.
.,f': nil .r
d .t
Nothing can restrain its
.S
:n'.r
,,s
is
its
.r
And so mighty
St.
force,
ipi'.,r':d'
ta
:_n
'twillsoonre -veal;
.,l,r 1,
mf
S|
mf
D.
sr'-.d ; t .1
And so mighty
.f
dim.
pow'r
its
sea.
sea.
s .s
inwhieh'tis nurs'd
pow'r
r,
sea.
tl
pi
its
But
r .r
d'
the
:d,
d,: n,
s.
PI
.t
to
1|
the
its
the
- .s
.?
.f
- .f
:d
s,
ri
:d
presence feel
its
t n,.pi|
r
1_
.1
271
- .r
.f
f
pi
That e'en the heart
- .r
r ,r S|
But
"t
ores.
t.
f.
to
first,
PI
.t
weak at first,
d
r
love is oft so
d .d
.f
to
.8
:_f
.r'
pi
.s
in
.,s
weak at
n .pi
s .f
.,pi :
A.
d .t
love is oft so
pi
Thus
d
':
.d
II.
in
P
:
PAET
d'
in
.,s
As
r
.n'
s>
.,n'
bounds
bounds,
it
,f
,r
way;
d
d'
way;
1
s f .pi
r .d
Nothing can re-strain its/
:
f
.,s
T~.n'
fe .s
Nothing can re
r .,r r .r
:
PART
ADDITIONAL EXERCISES.
272
'
.s
dim.
1
.f
se .1
de.de r
s .s
|_r"
:f
.f
.1
Love thro'
: r
,r
.d
.n
.d
t .d
way.
will find a
.n
:-
.d
Love
all,
II.
eves.
ri .r
.1
.r'
:t
.,1
will find
all
.1
will find
all
>
thro'
1
s
1
way.
cres.
.r
.s
.f
,1
.d>
r'
:t
But soon it
weak at first
n
n .n
so
oft
.,f
.s
.1
willits
\
f .f
P
d
.,s
.t
Thus love
way.
.f
n .r
.t.
is
.d
ll
weak at
so
first,
.s
.,s
,,s
ri
.d
soon
t|
.,d
.1
g .f
d'
.t
.s
.,d'
.1
pow'r re-veal,
its
.,n
.hi
r .t
.f
.r
1
.r'
Nothing can re
s
.si
f .n
1|
t,
ta
strain,
.,1
all,
:
Love thro'
all,
/
t
.,1
:n'
love thro*
all,
.,f
r'
.,ri:f
.,f
St.
Co.
r
(New.)
:ri
..n'js
.ri
:d'
.,s
,,s
:n' .r'
will find
.f
:n' .d'
.d'
.s
:f
.f
will find
1
:ri
,t
s,
S|
will find
.1
all
.n
.1
thro'
love
s
But\
r .d ,1
willits/
Love thro'
n .,f:f
.,f
i^d
f .f
.s
so mighty,
pow'r,
re
.r
.,t|! t|
:n.d'
-n'
so mighty,Nothing can re
:
cres.
..d'jf
.,1/
weak at first,
:f .m r .,r f .n
weak at first, But soon it
mf
1
pow'r reveal,
way.
n
way.
d
1
way.
d
'
PAUT
ADDITIONAL- EXERCISES.
mf
':d.r n ,S|
1. 0 the joy of
:
d .d
.S|
pi
s .pi
:f
r
sing,
f .f
dil,
s .s
si
,n
d ,d
t,
f .n
:d
:d
.d
:d'
:t
.1
And all
rs.d
Now in
trill
dy,
.s
la la
la,
:f
.d>
.s
la la
La
la,
d'.l
la la
.,s
.,pi
la
ev-'ry
d .ta
1
St.
(Sea)
.se
La
la,
PI
la
.PI
La la
:d .d
la,
.8
.,f
.pi
.8
in mu-sie
.,r
.d
:d
gay,
PI
dy,
s
shrill,
r
la
.1
.1
:f
Birds in
la
pi
la
la,
t,
la
la
la
na
Singing wel
t
:d' .d
1
la
.f
la
la
rit.
fi
S,
F.
;d's .se
La la
:1 pi. pi
La
la
if'd'.d
La la
:f d.d
la
Birds in
la,
r .8
la
s,
Si
.,s
Now
:d
.t.
-
,,t
S|: S,
.,t
-
.f
ful wel-kin
-
S|. S|
d .d
1
la,
.se
turekeepsa hol-i
f
.,f
.,f
t, .i,
Now in
m .r
While the
n .pi
e
:
.,s
-
la
fi
.s
/
f .r
la
:t,
.,S|I S, ,S|
.f
la
And all
t| ,t|
la
la
.,d
.,f
la
S|
,s
fill.
.r
While the
d .t.
dim.
:s
.,1
la
.--
:t
,s
is
day.
s
La la
:d .d
la,
.s
the earth
i-
.,s
la
re
.,t
-
.,d:
fe
And
Now
trill;
Co.
.,1
Make a mel-o
tree,
softest
f .f
:t
melto.
:f
lambkins plaj-,
f .d
: d
.d
rit.
rTs
.pi
la
,d
la
la
la
:fi .fi
shrill,
la
la
.f
La
la,
f .f
d'
r s ,s
music
La la
:d .d
pi
>
.f
f .f
r .f
:r'.di
n""
melo
f.
earth is gay,
s ,d.n
.d
Make
softest
t,pi.s
.d
And the
:
tree
ev-'ry
/
:r
lambkins play,
.
s .1
t. eres.
s .r
.1
0.
:d.d Id.d :d
.1|
:t,.d
hn.f
r .d
273
yrim Air.
C.
S.
J.
II.
O
Words by
key F.
,S|
day.
Si
May
PI
fill.
.d
ii
PART
ADDITIONAL EXERCISES.
274
II.
MESSENGERS.
key Gk
P
:
s\
Howl
M.
132.
love
si
|r
of
peace
ti
s,
si
s,
>
mes
:r
It,
the
are
ly
sen-gers
|d
:t,
s,
the|
love
tl
:li
li
are
|li
How'
Mendelssohn.
Alto.
ly
:si
peace
:d
mes
'
s,
|r
sen
The gos
Is,
that'
i,
of
pel
gers
:Bass.:
si
How/
s,
gos
pel
s,
:-
are
ly
love
mes
|t|
si
sen
Si
the
mes
:-
1,
S|
To
:t.
ly
love
s.
To
all
s/
d,
of
peace
are
1|
tl
pel
of
gos
peace
Co.
1-
:--
s.
Id
:-
To
^all
of
St.
d
the
all
/
:
:-
preach
t|
/
:d
To
(New).
us
that preach us
all
:-
are
|d
t,
the
mes
s,
:d
:-
:d
si
pel
gos
the
f
the
s,
of
:-
:-
|d
tn
na
the
na
:-
|r
:-
:-
It,
na
:-
tions
:
:-
|s
:-
If
na
d
the
:-
tions
:-
tions
:-
tions
gers
the
:-
s,
:-
f
that/
gos
1|
pel
:-
I-
words
:d
:r
t,
is
s,
is
I,
t.
sound of
It,
:d
their\
:r
is
is
:
preach us
that
the
the
|r
sen
they
:d
the
|r.
:-
Id
ti
iy
that
How love
Si
:d
:
preach us
:d
:'-
gers
peace
of
:-
How
gers
|r
sen
=-
li
the
peace;
:-
sound of
It,
:1,
sound of
theirl
:..
their/
PART
ADDITIONAL EXERCISES.
275
I.
D.
pi
words,
to
:-
to
i*i
:-
I-
:d
d
the na
pi
d
all
Pi
is
t,
1,
forth,
id': r
iy
11
are
s
f :
the mes
r'
gers
the
mes
mes
sen
mes
:d'
=-
11
If
sen
:-
gers
they
rc
:r
gos
s
-pel
of
peace,
|
Co.
(New).
pel
se that preach
1
pi
pi
of
peace,
|s
s,
Id
up
il
us
f
ly
How
:
pi
are
:d
sen-'
Is
peace,
s
pi'
f
r
|f
pi
|r'
d'
:-
:-
pel
gos- pel,
|-
si
gos
pi
pel
:-
Is,
pel
peace.
ds,
of
peace.
pit,
S|
peace.
d si
of
:-
G.
dsi
of
pel
;-
d
of
pel
:-
f
s
:
the gos
that'
f.
pi
peace,
the
us,
t
ly
n
mes
love
f
ly
s
of
pel
are
:-
d'
the gos
,'.
pi
r
:
the gos
us,
1-
of
gos -pel
If
Is
:.
us,
that preach
r
s
that preach
d'
sound.
|r'
PI
In
us
:
words,
s
that preach
ta
s
:f
pi
f
preach us the gos
St.
that preach
peace,
pi
:-
:f
dim.
their
love
that preach
:r'
sen - gers
s
:d'
t : d : r
that preach us the gos
gers
:11
gers
:-
PI
the
mes
the
sen
|r'
:,n>
:-
the
:-
gone,
:-
How love
sen
r
is
words,
the
gone,
of
:-
pi'
:-
:-
:-
fi
n'
PI
11
is
tions
In,
:t :di
r', : n> : f
gone forth the sound of their
- |f:- : -
1
3
How
r s
the sound
1-
are
f
: s
1
gone forth the
tions
words.
-
se
the na
is
:-
tilt
tions
:-
is
:-
In
:1
t.
is
:- :-
n
to
gone
is
:f
love
:-
1!-
s
:
:d' : r
It
sound of their words,
f
:
f :-
d'
|t
the na
all
:-
pi
words,
the sound
wordB,
all
pi
words,
peace.
276
ADDITIONAL EXEKC1SES.
C.
f.
_f_
To
is
se
To
1.
dif
is
the na
all
n'
G.
PATtT
II.
A.
se
se
tions
d'
r'
is
:-
:-
in':-
:-
the
all
words.
It,
sei
li
the
all
1|
t|
tions
:-
|r
tions,
ei-cs.
all,
/f.C.
n
all
the na
d>
As
To
:d
Jt,
:-
g'
:s
pii
|r'
:-
tions
di
s'
:-
s
is
It
:-
Is
:-
To
:-
|n
G.
n'
na
the
1
|
|4'f
si
:d'
n :f
:f
:f
i-
1-
To
:f
1-
:s,
all
:n
To
:r
|f
:s
|1
(New).
:-
the na
all
1-
1-
:-
S,
to
Id
all
|r
:-
:d
:-
:-
It,
:-
:-
|s
:-
n
the
na
:d
is
:d
:
If
tions
t,
:i
is
tions
:
d'
tions
the na
1-
:-
:r
|d
t,
1,
s
is
tions
tions
t.
d 'f
na
Hi
the
all
:r
|r
:n
:f>
s,
:n
is
is
1|
:r
:
ti
|r
:d
:t[\
PART
ADDITIONAL EXERCISES.
f
:d :d
throughout
- : ta.
words,
I
tai
the
:-
|r
:-
:-
:-
In :-
:-
It,:-
:-
:-
I"
\|-
n,
1-
1-
:-
How
love
li
si
:-
s,
go. -pel
s,
of
peace
1,
|r
Is,
::
":
- Id
us
1,
If
1-
us
- 1-
:-
|d
'
glad tid
their
:-
Si
:-
are
:-
si
the
mes
|r
sen
:- :d
gers
si
:li
:f
:
peace,
s,
8,
that
love
f,
d
s,
:-
It,
f,
s,
the gos
If,
'
s,
ly
Is,
n,
If,
:-
that\
they
|r
1-
f,
1,
pel
:-
:d
:-
peace.
s,
d,
of
peace.
t,
of
n,
11,:-
that
peace,
:-
if,
us
n,
the
:d|
gos -pel
|f,
Four measures
1
:ti
that
peace,
joeace.
of
f|
:-
pel of
n,
ly
:-"
:n,
I-"
:d
pel
:-
t,
the mes
:-
1-
:-
pel
are
:-
of
:-
Id
ly
love
pel
t.
:-
:-
If
:-
ly
love
:d,
f,
:-
How
:-
of
lore
1,
the gos
:
e. (NeivJ.
t.
pel
the gos
:-
peace,
St.
s, : :fi
that preach
- in
preach
n,
pi
that preach,
":-
preach
sei:
t,
gers
they
glad tid
:-
How
thev
Is
s.
::-
they
How
n
glad tid
'
their
11,
Id
sen
ly
preach us the
How
tj
-Idu
dings.
":-
their
S|
dings.
1- ':-
|n
lands
:- :-
277
II.
lands
dings.
Iti
lands
d
the
IX.
:d
:d
the
\~
4~Yt
Ulli.
win
nn L all
Li\J
U o'Ti
words,
:
1,
out all
:d
:d
|S
all
through
-
"AWAKE
key D.
M.
Largo
50.
eres.
3
I
-.sld
wake,
f
:
wake,
A
:
>
I-
:-
|d'
In
lyre,
lian
lyre,
s,
Id
Quicker.
:ni
d>
wake,
|r'
wake,
If
:d'
It
.1-
lian
lyre,
r>
d'
lian
&
a
i-
1-
:r
1-
:s
:d
.1
:t.dMri
;d'
-
.d
t .d'
t .d
1
1
- .s
If
to
r .n
rap
.n |r
S .8
all
n .d
s,.d
s ,s
si.d
-d
- .d
Hel-i
con's
:s
;
harmo
|d'-.,d':
From
har mo
)|t
f .n
n .r
nious springs,
-.d Id^t,
springs,
St.
.t
A
d.t, :t,.d |d.t.
har -mo
.s
Co.
(New).
d .r
nious springs
:
-mo
:d
'd'
nious
f. f
.PI
Helicon'shar-
49
.t,
f .n
nious
.r
di
thou
n
n
-
Id
sand
S
rills
|
springs,
I
.r
nious springs,
:r.d|s.
,r
nious
sJ
har -mo
springs,
Ir
ture,
d'.ta 1
Hel-ieon's har
I
nious springs,
8 .f
.d
From
s .f
.,s
si
.11
PI
ture
ture,
mf
dim.
.,f: f'.n
Helicon's har mo
.s,: li.tild ,r
From
rap
/
:
all
From
:
give
'|f
n.f
to
ture
f
give
mf
100.
and
:- |-
s,
:- |-
wake,
M.
wake,
^ /
wake,
r
:s
:- 1-
t
-
:n
lyre,
s.
I:- 1-
lian
:
Is
wake,
a-
>
:-.n
a- wake,
.d' n'
wake,
s.
II.
-ZEOLIAN LYRE."
e sostenuto.
'
PART
ADDITIONAL EXERCISES.
278
springs,
.8
thou
sand
rills
|d
- .8
their\
-.d
ADDITIONAL EXERCISES.
I .n
d'.s
mazy
s
n d
d'.n:f
.s
'
pi
.1
d'
thou
progress take, a
f .d|f
A
U
mazy pro
|m
s .f
sand
r .n
their
rills
|
gress take,
laugh
r .d
t .d
|s
Si
'
.d
t.l
.r'| d'
and fragrance
life
The
take,
dim
Drink
- .r
:d.f
.f
mf
d ,n
279
II.
d'.l|s
their
rills
1
PART
.f: n'.r'ldi
progress take,
mazy
f ,d
thou - sand
a
I ,n
rail.
se
as
they
flow,
i
|f
:
1
di .1
se
Drink
Largo
- .s
Now
the rich
Id
stream
d
r
In
Deep,
|-
:- 1-
long;
s,
Deep,
si
Spin toso.
- .n
-.d
1-
11-
1-
M.
:
Is
Mu
1
:- 1St.
Co.
dolce.
Id
In
fe
:r
In
fe
:r'
di
:t
11
- .1
(Sine).
a-
winds
sic
1-
1-
It
|r
smooth
r
Is
d'
ma
Si
jes
tic,
jes
fe
smooth
r
:
tic,
dant
- .f |n
K
and
11-
1-
fe
r'
dolce.
and
Is,
152.
- .lis
a-
Id'
winds
ma
:-.d'
Is,
:t
:t,
Thro' ver
strong.
s,
It
they flow.
as
:n'
:-. f'|
And Ce
:- |:- I-
- -m
strong.
sic
:
Mu
of
:- |-
:r'
long
s
In
:- |-
and fragrance
life
of
:-.d|d
Is
stream
the rich
.
:f
i-.n'ln
60.
Now
n
-.t|l
e sostenuto.
f M.
s
fiow'rs that
laugh-ing
l|s
1
vales,
:
n>
res'
gold -en
:
280
PART
ADDITIONAL EXERCISES.
II.
ores.
Now,
d
reign,
d'
:d'.d'| d'.t
l.s
Now
d'.t
pour,
|n
Id'
:-
see
-.s ":f
1 .d
:t.l
:f
-.n
- .n
.n |f
r'.d'
long impet
|
head
f .r [n
noua
PI
s.sld'
long impet
n .n
see
pour,
it
:d.d'
:-
|d
.pi
r .r n
see
pour,
it
\_
t.t|d>
uous
#-
head
|r
lolling
:
:-
Is
s
it
see
d>
now
:-
It
d'
d>
:r
.til
see it
;
pour,
it
n.d
d'.d
see it
;
n .d
ores.
.S
The
-.8
roots
.r
.t
|1
ta.s
1-
P)
d'
|-
pour,
It
The
pour,
-.d
rocks
.S|
|d'
and nod
-.ta,|l|
roar,
:-
rr
.t|
ta
:ri
ding
groves
bel
s,
fi
8|
Id'
|d'
|n"
d.r jn.r
n.f
b .1
s .f
|n.f :n
d.t,
n.f s .1
s .f
|n.f :n
In'
low
bel
groves
Id
:f
|n
low
s,
to
|
,t.
the
:
r
r
the
s.
re
:- I:- |-
.r |n .r
n.f
d ,r n .r
n.f
.r
pi
.r
.ti
is
:rre
roar,
to
:r
D.S.
:d'
d'
bel
S
bel
Pi'
bel
St. Co.
low
11
low
d'
:-
It
the
to
:- 1-
n'
low
If
(NewJ.
to
s
d ,t
1
roar,
to
PI
d'
the roar,
.,f
.,t
d'
to the roar.
,,f
.,r'
the
to
|f
:-
n'
|t'
to
roar,
^the
pi
.,r'|n'
d'
to the roar.
the roar,
,,S
.,s
Words by
J.
CURWEN &
OP CHILDHOOD
(Copyright.)
George Bennett.
key G. Moderato.
LONDON
SONS, 8
&
WAEWICK LANE,
E.C.
Price Fourpence.
3.
282
?AR!
ADDITIONAL EXERCISES.
pi
All
touch'd with
A
U
clutch.
:
"We
grasp
fe
The
:d
gage,
'.
'.
,t|
- .f
and
true
Si
PI
PI
-Si
He,
ing
the last
si
ries
ft
the bub
S|
'.
the glo
at
:
III.
pit lento.
fl
:
crim
r
it
bursts at
pi
Our
:d
si
pi,
Theme sub
t|
PI
son
:t.
s,
the
f
clutch.
pi
gage.
s,
PRAISE.
Handel.
t,
Theme sub
:
gold.
S|
60.
si
di
Of
key BP.
and
S|
.1,
lime
of
.r
lime
of
1| .S|
end
S(
-f
r .d
end
Pl[
praise,
less
.t,
less
praise,
r.
di -r,
end
of
8,
Theme
d,
S|
Theme
sub
PI,
Mi
r,
less
praise,
t,
sub
.1,
lime
of
,r
lime
li
of
.s,
end
r ,d
end
S|.f|
pi,
less
praise,
it.
less
:
S,
of
E.t.
Theme
PI
sub
.1
lime
of
s,
praise,
p.
of
end
d
:t.
1,
end
less
S .f
.8
end
less
.r
t|
Theme sub
d
.8
1,
PI
t,
end
d
less
praise,
of
end
lime
of
of
praise,
r .d
.r'
St.
r'
.d
s .f
end
n
less
praise,
of
.8
Co.
less,
.d
less
praise,
less,
end
of
(New).
pi
end d .t.
end
f
sub
d'.t
less,
.8
of
.8
end
f
less
of
:
d
sub
.8
end
t|
less
praise,
s .f
less
,r
of
less
praise,
Theme
sub
s,
t.
less
praise,
.t
di
.s
of
,t|
less
:
PI,
lime
'
praise,
:
pi
sub-
praise,
r .d
di
Theme sub
df
pi
end
praise,
*s
lime
r
.PI
end
.1
lime
1 .t
less
t|Pi .r
Theme
Theme
1,
praise,
8,
end
end
.PI
S|
Theme
lime
.f
.t.
lime
of
.f
end
1,
- .d
-.fl
.r
less
praise,
1
.PI
of
.1
end
fl
less
pi
ti
praise.
- .f
pi
loss praise.
:-
S|
,S|
f.
less
end
of
.d
SI
end
of
.f
less praise.
.d
S|
:n
praise,
- .r
end
of
praise,
m.
PAST
ADDITIONAL EXERCISES.
M.
Bl?.
288
69.
.S,
-d,
ri
.di
:f|
.fl
Just
:d
l|.si
Mi
.d
.S|
thy
righteous are
.n.
Just
.d
in,
.r,
n,
.riji
are
thy
ways,
fl
right
:-
.d
:f|
thy
are
S|
ways;
ways,
.1
:li
.Sf|
and
Just
S|
S,
ways;
Just and
.S|
1,
:.li
righteous are
thy
Just
_li .n^f
.d
pi,
Pl|
.P1|
.S|
.S|
si
thyl
are
-di
are
t.
thy/
.f
.Si
1,
thy
ways;
thy ways
d
thy ways,
are
s
1|
.d,
andf
i
f|_fiij "i
eous
Just
.si
.tai
:-
eous
d
-
Si
.d,r:d
right
.Pll.f,
tl
righteous
ti
ways,
ways;
thy
.t|,d
li
P1|
thy ways;
.S|
Just
1|
and!
Just
{d,
.s
eous are
right
.PI
d
ways;
F.t.
>s .l,t
di
.d
.d
right
l ,n
.n
.pi
d'
wa^
:
1,
.1
s,
right
.Sf,
S|
thy
.l,.t|
.1
eous
.f
thy
are
:d
:t.
ways,
are
t.
thy
f .S,f
ways
Just
St.
Co.
:f
.d
and
righteous are
(NmJ.
.d
.f
thy
pi
ways,
are
.r
thy
.d
and
Just
:
.r ,d
d
s,d
i,d
ways,
d
ways
;;
;
:
ADDITIONAL EXERCISES.
284
PART
III.
BP.
f.
:l,.r
.d
ti
- .d
:f
,d
rli.
.f
in
d
n
eous'
n .r,d(
r,d
thy ways
righteous are
s,
Just
Just &^
.d,
and
fd
.d
S|
."I
i-l. s
t|
and
,4s :s .d
Just
t, .1,
-f.
.l,n
pii
thy
n .4
- .n
- .d
:t,
n,
.se.
li
:-.l
:-.f
.r
-t,
:-.d
right
right
- .f
pi
li
f.
en
dure,
nil
1
cies
cies
se
dure,
ten
r'd
dure,
And
fe n
(New).
thy
St. Co.
And thy
rd
d
mer
d'
mer
d
cies
t
still
r
en
:1,
:
en
1,
se,
t!
still
en
se.
ll
dure,
dure,
P),
rl
-.1
se
thy mer
pi
dure,
t,
se
n.
:-
PI
d'
'
se
And
se
mer
d>
cies
cies
PI
pi
en
thy
en
still
:d'
:
still
en
still'
cies
:
And
dure,
Pi
1,
:d'
1
cies
mer
n
And
pi
en
- .n
f ,d
still
PI
PI
still
t,
S". t. in.
/
ll
dure,
n,
cies
,.f
ways
Et>.
still
rl
d'
And thy
PI
pi
en
still
thy mer
And
thy ways,
- .r d
thy mer
And
thy ways,
eous are
:-.f
eous are
Just &i
:f
.r
are thy
thy ways
righteous are
..tl.
- .t
ways
ways
thy
.d
t|
thy
are
r .,r \
ways; Just &]
"'1
d'
Just
f|
B?.t.
Ef.
f.
dure,
se
thy
mer
PART
ADDITIONAL EXERCISES.
en
still
-.t
thy mer
- .r d
And
dure,
n
se
en
still
se
S|
faith
dure,
se.l
en - dure
- .n m
- .t
dure
en - .n
t .1
cies
still
id
Ev
d
:-,t
And
285
III.
f.Bt>.
1
thy mer
fi
i"ii,ri.ri|,f|:
ev
,t 3
s,
:f
ful,
r'.d
d,
er
.d,,r
sure,
cies
still
ll
Ev
F.
dig
Ev
jn,
.d.
,s .n ,f
.d"
faith
er
:
.d
s,
ev
er,
t|
,s .f ,s
.d
ev
er
if.
:f
ev
sure,
1,
.r
-
:d
d'
S,
faith
ev
ful,
ev
ful,
ev
ful,
.S|,l,:t,
n.r.n.f
:f
-
ev
,n
f"
er
sure
.1 ,t
,t|,d:r ,t|.d ,r
1 ,t:d',s .1 ,s
Ev
li
:s
-
:n
:s
er
sure
ev
:d
s.
ev
sure
er
.t|
er
.<
.d
Ev
.r
er
.n
er
ji
/
f
er
Ev
sure,
.1
Ev
:t,
Ev
sure,
(Sew).
sure,
sure,
faith
t|,l|
,d,r:n,f.s,n l,s
sure,
s,r.
Co.
"t,
St.
s,fe.s,l:t,s
er
er
faith
d's .f ,n :r,d
S|
ev
1 ,s .f ,m
Ev
er
d,t|.d ,r: n
er
ev - er
f ,S .1 ,t
sure,
er
t|
Bl7.
er
.fl
.r
Ev
:
er
Ev
.fe
ev
:
sure,
ev
.t,
ev- er,
er,
faithful,
m ili
.W, d
t,
n,r .n,f: s
ful,
,S|
faithful,
er
t.
Af
ev
er,
S|
faith
t.
er
faith
.Mi
er
.tl,:sf
.n,,r, Hi,r|.m,f|:si,l|,t| j S|
er
.1|
:d,
si,f|.sl,:t|,r
.si
ev
ful,
,n .f ,S
.f,
-
er
1 ,S .f ,S
)
faith
ful,
faith
fl
ni,r,.pi|,f|:S|
,t s
d,
ful,
ev
er
sure,
Ev
er/
ADDITIONAL EXERCISES.
286
S
faith
n,r .n,f
ev
ful,
ev
sure,
er
n,f.s,n:l*
.s
d,r.m,d:r
.t.
ev
ev
sure, ev
ll
ev
faith
'.
er
sure,
.s
ev
d
ev
ev
ful,
sure,
S|
S|
er
er
And
:d
And
n,
thy
sure,
sure,
s
mer
Ev
ev
n
er
faith
s.
t|
thy
thy
mer
-
:d
faith
ti
r
S|
cies
en
:fi
s,
er,
ev
f|
N|
ful,
ev
:d.
er
er
ev
dure,
er
t,
:-
er
sure,
si
s,
en
still
dure,
.r
ev
sure,
er
pi
ev
sure,
s,
ti
:-
:d
er
er
sure,
sure,
t|
:d
Ev
sure,
Ev
1.
ev
(Sew).
St. Co.
still
:d
ev
S,
:d
or
cies
:d
ful,
tl
ev
ev
S|
faith
dure,
ful,
si
S|
mer
en
er
'd,
And
cies still
er
rii
- ,d
Ev
sure,
:f
sure,
Ev
li
er
Ev
sure,
d
d
sure,
er
.t|
er
.r
fi,H|.f|,s,: 1|
.d|
sure,
,n
-
l,,S|.l|,t|:d
er
er
:n
sure,
in.
1 ,s .f ,m
.S|
ev
,S|
-
:S|
sure,
er
er
er
1
.n
d,t|.d,r:m
er,
ev
sure,
ev
i|
PART
.d,r:n,f.s,n
.t|
-
ful,
.r
i|
:1|
-
si
er
:d
er
:f|
er
faith
faith
d
sure,
f|
ni,ri.Pi|,f|: si
1|
ful,
:
ev
ful,
.S|
,t|
d,t,.d,r
ev
W
er
S|
er
ADDITIONAL EXERCISES.
B>.
.lt
pii,f| .Si.ni
ls, .f|,n,
d ,r .n,d
f s
:f,d,r.n,f
"
t,
And
S|
S|
t.
:d
er
sure,
And
ev
d
S|
S|
tl
:d
:d
di
t,
dure,
S|
si
t,
f,
pi.
er
dure,
ev
r
-
en
:
n
thy
d
sure,
s,
.t,
.f.
>A
faith
er
li
er
d,r .n,r
ful,
:d
en
S|
faith
ful,
still
er
ev
d
d,
sure,
,t.
still
,g|
r'.d 1 .t.r"
ful,
n,
ev
t|,d
er
:
er
:*1
Ev
faith
'
.S|,l|
ev
.t.d
cies
mer
thy
:
:d
mer
:-
S|
si
s.
n
ciea
- .f
Ev
er
- .d
S|
- .d
er
1.
.1,
faith
Ev
.si
sure,
Adagio,
t.
mil
ful,
s
er,
t,l
faith
er
sure, ev
1|
287
III
Ev
-d ,r
d,
PART
E>.
f.
er
:t|
ful,
ev
ev
tl
:d
:
faith
n
ful,
,n
er
sure.
sure.
:-
d.
S|
THE WOODS.
key A.
,s,
M.
,d
tl
1,
,n
s, ,-
,si
,- ,n
:_f ,-,f
St. Go.
(New).
.li
- ,-
,d
lf
,r
ti
-,-,r
lir
:f
.li
,- ,f
S|
,- ,d
r.f r,- ,f
The heav'ns a
,1
,n
<- <d
d -
,d
gain
,n
t,
f -
r are
ver-dure drest,
:
:f
Theheav'nsa gain
,- ,t|
t|,- ,t| d
ver-dure drest,
:
in
:
Mendelssohn.
80.
in
fir
si
,d
.l!
are
:
s.
s,
,s
E.
t.
:1
d
bright
1,-
Re
d-,Si: s ((
,8
r <n
bright
D. X
:df-,f f
,-.d
_j_fe
,rJ
,f
- ,se
,-
,t
breast,
,- ,d
(S
,-
n :n,-
:ri
d'
,r'
:,d
,- ,t|
de
r
se
the
,n
the
-spires
de
light,
s,
si
de
light,
calm
s upi .d
,n
Su~
m -
,- ,n
:f,-
E.
li
s-
,Si
1 ,- ,s
s |d,-,d
d|
,s (
li
,r
:f -
:d,-
n,-,n
I,-,
d-,d:d ,-A
St. Co.
(New).
f.
.f
wood
f
,n
,di
,1,
,f
,d
,s
,d.
,-
,r
:-
r
land
land
:f
,t|
,-
,- ,t|
,1
t|,- iXi
,- ,d
d
ligtt.
- -
si
,f
n
Thou child of toil
4 d - ,d d
:
r -
,n
and
<s
.-.
,s
and
cres.
f,-,n:f -,f :l
t
r ,f\
,- ,d
,s
:s,-
,s
,- ( s
,n
toil
de -
-,-,f :r,-
s j- ,d
,t.
- -
m
,d'
di
Thou child of
-,-.r :f,-
S|
,-
de- light,
ti
n,
,- ,n
d|
fi
de- light,
haunts of men,
,li
1|
t,
light,
care,
si
,S|
t.
i*l
.t
- ,se
haunts of men,
li.f
y
:"fu-
,- id f
,li
light,
Si
,n
li
Sj
,d
S|
de
tl
fit
light,
calm
tn
.si
t,
spires
de.
,r
calm
,d
(S
ilr.f
f.-.f
f <-,n
Re
d ,-
,- ,n
": t
,- ,f
rs,
n- ,n
the
:
t.
sd
d -
eres.
:
d'j~ (S
dr
breast,
breast
the
,d
dim.
breast
it
III.
is J3.
dr
A.
d-.d:d
n ( -*n
,s
(d
S| :S|d (
(
f.
PART
ADDITIONAL EXERCISES.
283
,- ,n
,- ,n
wood
r
land
:f
land
r
PART
ADDITIONAL EXERCISES.
d. f
D. L
is
:fe-
fs
,r'
C~
It
,se
And
glen,
dr
A.
dim.
1
<ti
i~~
,f
,r'
balm
r S[
tn
ri
d -
balm
r s,
.Si
,S|
/i
,d
Wi
,d
u-.li
1|
:f -,f :f<-
.r
s id
l|
1-
,s
,r
,- ,ti
:-.-
,- ,r
,s
,s
:-r ,d
s
s ,- ,d
:f
:
,-
s *
,1
t|,-
,t|
d -
- -
:t.
:f,-
si
d -
,d
s ,- ,s
way,
dr
,n
s ,- ,s
ri
,- ,n
,-
It
,t
And van
~
,f
,-
,se
And van
way,
dr
St. Co.
:\
,f
r S\
a
:
f
a
dim.
fe
.s
S|
D. Lis B.
fs
,- ,n
d'r
,pi :
en
,- ,s
f,-,n:f
With
,- ,d
,s
cres.
,n
en
,d
:f
air.
D|
,d
gold
,t|
,f :r,- ,f
n
On morning's gold
play,
,d
,n
air.
,r
,s
:-
,-
n -
Un morning's
:
,f
,-
~~
di
play,
si
1|
and zephyrs
r ,d
-
.ti
t.
r ,d
,t
~~
,t,
air.
t,
and zephyrs
d,-|Si: S|,-.si
t,
,S|
li,f
E.
:1
P
beam
,S|
:f,-jn
f (-
air,
li
S|
,d,
float,
'
air,
,- ,n
air,
ti
,- <n
,S|
air,
s.
se
y
:
S,
air,
si
d'
y
r
.ti
s.
y
:f
Hereo-dours
S|
.r
:d
,r
,-
balm
'
t.
sd
,t
glen,
dr
289
III.
B.
,t|
(New).
,-
,r'
:r'
,t
.r
,-
,se
,-
,s
And van
dream,
:- -
se
:-
dream,
1,
ish like
.r
d<
ish like
.f
And van
:
.-
,ti
,-
ish J
,n
,d'
ish|
,d
290
ADDITIONAL EXERCISES.
A.
t.
1|
.j
s
n -
like
r S|
dream,
s.
Si
like
tn
like
r S|
,r
d -
in.
t|
And van
<s,
1, ,-
,si
Si
HOME, O
-PART
,- ,d,
d,
WHERE
,di
IS
d,
.S|
a
|N
fi
dream.
r
,r
-
ish like
dream,
dream.
:-
di
Arranged
Words by
M.
n,
George Bennett.
key C.
.ti
64.
Tenor
for
Solo.
:
I
:-
re
re
.,m
Hm.
:
I-
:n
I-
:1
i-
:d
:-
|d
II,
I-
if
t .1
It,
:-
|1
:se
In
:-
Hm
:
:-.t\d>
Home,
:r<
0 where is
Co.
(New.)
./'|
thy
May
St.
n\r
dKt
:- Jld'J'-.rKy
Sever'd
nowfromall I
ADDITIONAL EXERCISES.
PART
,r>\
Far
All
in.
291
,1.-1 r
r'.r: m'.r
awayltoilwith
spi
rit
PP
t
Is
In
Hm.
If
Id'
\d<
en.
crav
:-
Hm.
s
mf
Id'
|n
1-
Id
.r'lri.d': d'.t
:- |:- |:- |-
:-.l|t.,d'-
:s
f
d"
to
reign lands I
ffl.t
am a
stran
ger,
No
:n
pp
|- ::- |- ::1
:d>
m'
.r'lr'.rf
:d'
.d'| r'.,d'
1 .<?':
r'.A
n
d'
3
greet
*'
Words
.'|
of
!./': m'.r
se
Hm.
n
d'
|1-
:n
:d'
I-
:d
re
1
Hm.
d
St. Co.
(New.)
:-
ADDITIONAL EXERCISES.
292
re
se
|-
se
Hm.
III.
ger
Shall
ran
PART
pi
se
t|
:n'
|-
se
:n
|-
.,pi
.,t|
1|
se
1 ,,se|
,,pt
f n
pi
er
se
pi
pi
:d
|r
|
I ev
:d
1
Hm.
n
ra
./'|
have
rLr^
to cheer
dU
me,
:-
:n
m'
tell,
di
se
se
I-
Hm.
I-
: ri
PI
pi
PI
:r
: pi
Hm.
:n
se
ra'
.r'
ti
:-
se
pi
Hm.
d
Hm
d
St.
Id'
:d'
I-
se
:-
:-
di
:-
(New.)
-|r'
|n
Co.
|n
:t
If
|r'
:-
d'
|r
:-
se
:p|i
It
1-
:-
|r
|t
r'
1
i
r'
If
|p'
me.
se
::-
mf
Mi
pi
:d
Id
pp'p
pp
:
rh,r': sK,f\
If
near
1-
.k'|
IB
:
dim.
1-
In
her
:
"pTT^-rTdU
se
1-
r'
L
Hm
r
PP
Hm.
n'
|-
|n
Id
1.
:-- |-
:-
1,
ADDITIONAL EXERCISES.
The
:
Is
Stout
PART
limb'd oak
ai
la
l.s
d'.t
has
l.S
.n
r'.d
-.a|r.a:
|d
-.f n.n
t)
borne
If
-.s
Til'
S|
Lift
|d'.U_:t
.s
-,S||
a.d
r .r
1
|r'
lift
ing
wind's
head
with
- .d
P)
scorn,
The
m
mul
tu
mul
tuous
mul
tuous
- .r
|1,
tu
"wind's
d
-
If
|r
t|.t|
S_.f
mul
fd
Lift
:d'.di
tuous
tuous
rage
.a
The wind's
.r
ing
Id'.^rt
.s
The wind's
- .d [r
scorn,
- .n
|f
ing
- ,f
- ,r
tu
in'
The
:d
head
its
with
n
-
mul
.-tr.lt: t,
,S|
wind's
|f
daunt
- .ri
:t
.r'
.t
its
s.s
tu
tu
:
.f
-
- .r
mul
d
s,f.s,l: s,f.n,r
its
s,f.s,l: s,f.n,r\
n .n
|n,r.n,f
n.r.d.t,/
|s,
rage
tuous
:-
.s,
de
-\
|r
- .r
de-
:d
mul
rage
r
t|
scorn,
wind's
Hi
less
:-
ing
tn
:r
The
|d
|1
tuous
fies,
d ,d
:\
If
Lift
t
I
t.
r'8
-
.f
.t
A.
de
tu
fies,
Lift
:-
Lift
det| .S,
fies,
:rrl
rage
|f
.ti.
"t
do
scorn,
|f
D.
de-
rage
tr
d>
- ,r
s.s
m
si
|d
rage
s
s
skies,
!.
scorn,
less
.n,f
de
tuous
|d
The wind's
fiei
f.
trj skies,
fe
t.
mul
tu
daunt
'
s .s
tpi
|f
d'
its
.1"
II
The
It'
s.s
A.
:d'.d'
-.r
ai
s .s
Banhy.
/.
borne
f .m r
.s
that long
|n
1
The
293
III.
KEY D.
tuous
:d
1-
:t,
|s
- .s
de-
rage
|S|
.si
PART
ADDITIONAL EXERCISES.
294
2nd
D.C.
1st time.
*>t
">t
nt
:- I-
sri
n'.r': d'.t
time.
fies.
fies.
ds
course
se
fies.
ds
should
it
|f
:-.f
|f
:~.f
pi
fall,
and
1.
S|
And
If
,t|
|1
should
it
d'.t
se.m
,f
pi
If .se
.r
its
buoyant, buoyant
|se.l :t .1
:-
I-
fall,
the roll
:-.d'|t .d':r'.d'
fall,
:-.f,
If,
1- .d>,t:d'.r'
.r',d': r'
pi'
se
and
fall,
should it
n .r
d .n
n'.r
:-.f
d'.t
n'.r': d'.t
And should it
ari
Id' .t
its
:
III.
tr
.r
,d'
the
in
|1 .n
:-
.n
its
.d
r'.rt
d'.t
.s
f .s
l .s |f
.pi
f .n
ing
-waves,
r.d
1L
d
r'.d'l t-.l
,g
d>
It,
.r
pi
.f
s .f
d.r
.t,
:d'
pi
In .r
:f
d'|d'
though
.r
ing tern
|t
roar
.d'
.s
t|
waves,
Id'
:f
The
force
:f
Id
pi
i|s
:t
d'
Is
:f
.,f|pi
r'
d'
pest
still
._U
it
:r
The
braves,
fe
qual
d. f.
'
.d'
|S
In
ing tern
roar
d,t,.d.r:n, r.n,fe| s
St
Co.
(Nm).
pest
still
it
The
braves,
S>
P.
:f
l. s
roar
.n
ing
:fjn
d'hs
d'Ls
.r'
The
force
|f,nr,d:r,d.t|,l|
tempest still it
|f^.r d;r
;
:-
d>
ing
:ft
:f
the roll
:d'
qual
r .d
.pi
:-.f.|f,
f .n
1 .s
fi
.s,
:-.lU
li
ing
(
ing
d.ti
d'.t
d|n
s.
|r'
:d
jn<
pi
with
assail'd
1 .t
the roll
.n f . s
.s
:
1
.1,
ing waves,
|1,
And
waves,
s .f
the roll
And
- .n
the roll
waves
n
ing
t.d':
roll
long
r'.d': t .1
f'.pi'l
the roll
1 ,t
.f
roar
s
d.t|
1 lii
ing
f .pi
tempest
still it
|f,n.r,d:r,d.tli
;;
PART
ADDITIONAL EXERCISES.
D.
t.
m.
1.
:
:-
t,r
||-
roar
ing
d'
d'
si
The
:-
pest
tern
Id'
ri
I-
ing
roar
tern
In
d'
braves,
it
still
n'
n'
pest
It
d'
pi
:t
braves,
"is,
The
braves,
se^,
295
III.
D.S.
:-
"s
still
braves.
I-
si
MORNING PRAYER.
Words by
Music by
J. S. Stallybruss.
69.
n'
sol
:d
pp
/
.
.n'|
emn
.s
calm, a
:-.n'|t
emn
:-.d'|s
:1
d'
si
:1
,f '1 n'
lence ho
- .d'|d'
lence ho
.r
ly,
Now
iy.
Now
:-.l|s
:d'
si
calm, a
sol
:d
d'
1 .,f
on
lies
1 .,f
and
:
t<
nigh
n
-n
The
nigh
r_4
:t.,l|se
lies
|n
,and
things far
all
1 ,,f |
-.r
-.sel
-n
The
dim.
woods a
:
1 .t
d'.rHdi
woods a
1,
.f
I,
- .t
- .n
,s|fe
1 .S
:fe.l
:r'
ing
low
f e.n
T^d'ld
To greet
n
To
r'.,d'l
greet
d'
greet their
t
their
:
St. Co.
.,1
,,r
(New).
-.s
Ma
Ma
s'
ker pass
- ,f
ta
ker,
:f'.,n'|fJ
-
ti
their
Ma
,t,|d
ker
pass
na
d'
d'
ker
(fe
pas s
S|
p
- .s
t.,1
their
Ma
their
Ma
their
Ma
fe
1
.
ker pass
- .n|f
ker pass
:-.d'|d'
.
"
ker pass
(s
"fS||S|
ing
f
ing
by.
di
ing
:s
j
|n
|d'
ing
ing by,
- .n'|
To\
by.
ife,
ing by,
In
.
na
greet
j_r.,d|f
ie
Ma -
their
ly.To greet
:r ,d
.t |s
.1
ly.To greet
d'.n'll
bend
low
ing
1
:t
|d'
d'
-
1 .t
are
lone
bend
- .r d ,n
are
lone
.r
se
|1
-
;:,!"
|-
- .d'l
/
s
by.
:- I-
:- |-
d'
:- I-
by.
PAKT
ADDITIONAL EXERCISES.
296
III.
P
- .n'|r'
n'
my be
ing
new
-.s|f
-.n'|t
feel
my be
feel
.d'|
:r'
.f 'fiV
cre-a
:-.l|s
1
ing
new
se
d-
-.d'ld
cre-a
- ,r
PP
ted,
Where is
Where is
s
that
n .f n
late - ly
:
1 .t
d'.r'ld
that
fears
1,
late
In
li
d .n
- ,t
1 .t
iy
- .n
|d'
ver
- .r
hi
ie
we ighted,Ee
f e.n
.1
.d
Ee-tire
n.,r
- ,S
_r>,d'| t
n'
tire
a-
bash'd
be
.f
ta
bash'd, re
s'
f '..n'l f
bash'd
:d'
'
the Dawn.a
d>
.,1
- .ml r
d>
:-.d1f'
d'
|n
|d'
Dawn, Ee-
the
fore
Dawn,
the
-.d
Ull*
.n
Dawn.
n
the
:f
be-fore
1 ,f
the
Hi
d'.,s
The
n
Dawn.
d
the
bo-fore
Dawn
The
:f
- .s
/
s
all
its
f.,r|r
-.se
:g-
world, with
fore
d
-
-.n
(sis
its
na
7s,|s,
"
:t.,l|se
tor
:-.d'|d'
bash'd
:1
bash'd be
be-fore
na
a
:-.t,|d
bash'd
tire
|n
a -bash'd be
t|
'
tor
8|
/
f If
.s
-tire
Ee-tire
:-.t|s
weighted,Ee -tire
:fe.l S
fe
d'.n't 1
ver
dim.
fears
1 .,f
pi
1 .,f
ted,
cres.
d.r
:d
n
That J
:1
de
-,de(
|1
:f|.0,|li
"M
That]
-.s /
'
cres.
ores.
|1
I,
de.r
T~
I,
,:
St.
se
cheer ful
- .r
F^l
- .t
cheer
.f
n.r |n
Co.
(New)
In
me
P il
d .n
ful pil
- .n
1 .s
d'.n'l 1
grim, bor
fe.n| r
.d
.r'
-.r'|n'
- .t |d>
me to
:r'.t|s'
my home
to
- .s
row, To bear
rl
and
- S
.
God.
|
t_|| d'
my
home and
To)
God.
|n
.d
;;
ADDITIONAL EXERCISES.
.d
To
.f |f
To
bear
.,d'l
,,r
.s'
.,1
ta
me
..tn'l
my home
'
III.
- .S
297
my home
to
and
God.
na
my
:
di
home,
my home and
- .d'Idi
d
t
fe
|f
.ri
God.
d'
my
and God,
.,d
.,1
"bear
home,
PART
4.
my
to
-;f
me
me to
bear
'
my home
home,
_(s|s
and
:
(S||s,
God.
sl
r-
:
l
YE SPOTTED SNAKES.
KEY A.
M.
Andante.
96.
R.
J. S. Stevens.
mf
Id
Ye
li.tiid
:t,.d
:s,.si
f,
In
:r.d
:d
|d,
:n.f f
|s,
Ye
(r.
s,
|1,
|d
:t.
fi
In
n.
:n
tai
and
:r
|f
r
near
near
;
Co.
,S|
:fi
n
d
S|
l,.8||s,
not
:fe,
our
fai
ry
d
Si
(NewJ.
:-.d
hedge-hogs be
seen
.d
-p
:s
|-
and
:d
t,
|r
i,r
n 1
;i,r
queen,
It
Come
:
t,
|rl
:<
s,
li.
no
wrong
n
r
If
Id'
If
:d'
blind worms do
queen,
fai
ny hedge-hogs he
s,
li
In,
|f
s.
.d
ta,
.til ti
E. t
:df
1,
-.11
Come
.r
not]
d/
It,
St.
our
;d
ta,
Newts
Kewts
.r
Id
|s,
Thor-ny
:-
d,
- ,n
Id
tongue,
s.
Thor
tongue,
:r
s.
:ri.n.
:n
Ir
Is
wrong
s
Come
not)
:
-.f /
Is
not
r
our
r
fai
ry
|d .r,n: r
Come
It,
no
:d'
.fe
near
.s
not near
:-
.t,
our
:t,
11
fai
11,
:1
-
ry
-:r
ADDITIONAL EXERCISES.
298
queen,
PART
III.
Con tspres.p
t|
Phi
lo-
Mi
mel
with mel
|r
n.f
f_
lo -
dy,
Id.JtiidJ
P
|
Sing
n .r
n ,d
Sing in
queen,
your
in
I-
:fe
sweet
P
:d
:t|
II,
Sing
your
P
:
|f .n
:d
|-
Sing
t,
f .r
in
t,
lul -
la
fe
lar
by,
sing,
sing
in
dM
in
your
swe et
sweet
your
.f e
by,
|f
.pi
sing
n.d|l,
f .r
n ,f
in
S
d'
s .1
pi
r
la
:t|
your,
ores.
s .f
lul
la
:-
by,
sing,
|d'.t:
sing
lul
.f
pk1_| s
lul
la,
la-
ores.
:- 1-
s,
d
lul -
sweet
r .r
s,.S||
ti.t,
P:s.s
.r
pp
:
pi
t|.t.
by.
.n
f ,f
PP:
Nev
pi
charm,
d
:
:-
charm,
:-
li
St.
Co.
|s
- .s
f .n
Oome our
Id
|n
.s
r .n
(New,.
d
-
F.T
Come our
In
love
r .d
harm, nor
f
by.
Is.l:
Nev -
er
In
r .d
cres.
|s
f .n
nigh
S|.l|
So
|d
good night,
d
d
-.fe
|n
So
|n
good night,
r ,d f
ly la
love
- .n|r .d
.d
dy nigh
t,.li
Si
si
la
.s
t_J_| s
::
n.f
nor
:t,
:
nor
spell,
:f
dy
lul
|d
harm, nor
.pi
spell,
:d
1
t,.d
t_| r
.PI
er
ly la
.f
r ,n
r .r n
un poeo
f
pi
mf
Is
Id
s,.b,
your sweet
S,.S| S|
d .r
in
id
d .d|r
by,
s .s
by,
d
s
lulla-
by,
lul-la, lul-la,lul-la:
sing
by,
|r
S|
PP
n .n f .f
by,
|1|
la
P
d
'
:t,
dim.
|r
Is
t.
good
so
Is
good
so
Id
!!
;;
PART
ADDITIONAL EXERCISES.
night,
Id'.
Id.
:d?
f .r
.pi.
night
:-
Is.
.t|
- .d d ,r
with
299
III.
is
13
f
- .s
lul
1
.f
PI
hv
pi-.r
dim.
f .f
.PI
r .r
S|
la
d .d| r .r :t,.t,\
h-o-
'
pi
8|.8.
dim.
s .s
PP
y>
pi
,n|f
r ,r
,f
night,
good
so
:-
li
In.
with
night
lulla, lulla-
-,d|f
with
8 ir,
t|
t.
s,
Si
Si
Dy-
lul
:s
-
la
by.
lulla-
d
-
ri
ni.fi
Si
pi.
s if
If,
:r
Weav-ing
d .r
cl
Weav-ing
:-.f,
rii.ri:pi|.d||ri
spi
spi
-.d|d
:t.
come not
ders
come not
ders
:
Si
Si
s.
pi,
s .f
We3.v~
mg
"it,
,r
pi
d s
- .f
PI
.f
pi
.PI
r ,d
ders
r
r .s
.Pi
co:ue
.d
t,
T
li|.I
11
here,
Weav- ing
here,
spi
l'r
come not
dera
ff
-.t|l
d'
Hence,
f
-.n |d
ri
d'
-.s|l
Hence,
hence
here,
y.
f
]
|
mf
/
f
s .s
by-
:s
ye long-legg'd spin
:d
d
hence
'
Is
ners,
.d
In
ners
ners
hence,
here,^
d
d.
hence
d
pi
i .
C.
in
tad
:d'
ye long-legg'd spin
- ^.|f
PI
ye
:pi
se
pi
|d'
-
|n'
:ri
proach not
ml
Worm
near
1
se
t
Id'.
long- le fTg' a spin
Is
S|
cres.
: t
t
black ap
Bee-ties
mJ..
:
:d'
'1
do
and
snail
PI
PI
If
|t
snail
do
|s
d'
It
ri
hence
no
pi
:-
d'
no
1
St. Co.
pi
proach not
f
|1
se
black ap
Bee-ties
si
"Worm and
near
pi
pi
:l.t
pi
ri
d'.t
t,
cres.
of
d'
(New).
fence,
pi
of
fence,
:"l
PI
d'
worm and
|m
In
se
se
snail
pi
PI
s .f
worm and
P)
snail
li
do
no
PI
do
no
PI
of
1:
I
se
of
1-
ADDITIONAL EXERCISES.
300
A.fem.l.,
Con
:- P\
id
Mi
mel
with mel
.S|"
Phi
fence.
de n
PART
lo
n.f
|r
dy,
d.I
Sing
id
P\ n .r
Sing
fe
id,
P
:
Sing
n.fe: s
:'t,
your
sweet
S .f
pi
la
lul
by,
n,
.ritl
f .f
i
S|.s,
t|.t|
lul-la, lul-la,lul-la-
by,
by,
pi,
ni.nf|f|.f,: s,.s,
r .r d
:s|.s.
f .r
your
sweet lul
.d
Hi
your
.pi
- .s
1 .s
r .d|d
8|
in
lul
lul
pi
.pi|
la -.
fl/
la,
la->
sweet lul
la
:f,
d
Is,
your sweet lul
ill
la
by,
la:
your sweet
d
1,
in
lul
Id
by-
Nev
harm, nor
li
pi,
r .r
d.
-,f
Is
nor
spell,
It,
li
Si.s, a.
:r ,d
In
lulla- by-
lulla- by,
:
in
t|
pp
by,
sweet
sing
by,
s,.s,|
sing
your
Sj
ti
la
lul
ti
Sing
t(
sing
sing,
sweet
|f .n: f ,r
by,
by,
la
n,
la
In
sweet
fe
f .r
fe
your
mf
eves.
f .n
in
.d
in
lul
III.
espressione,
8,
Nev
er
Id
harm, nor
spell, nor
d
d
S|
It,
:
dim.
:n
Is,
:1,
In
:-
.n
love- ly
f
la
pi
love- ly
la
d.pi:r.d|t|
pi
nigh;
dy
d
t,
Id
Is
nigh;
dy
d
So
In
:t|.d|r
s,
Come our
:d
Id
charm,
li
Come our
:d
Id
charm,
s,
Is
So
.pi
:-
|r
good night,
so
:-|,
d
d
f
:-
good night,
|s
:t,
pi
good night,
good night,
so
r.d f
:-|t.
Sr
D.S.
Is.
so
- .n |f .r
good
s
night,
-8.1k
-.dld.f :n.r
Id.
Is.
:f
with
St.
good night,
n
f
:
Co.
(NewJ.
.t.
lulla, lulla-
lul
so
In.
d
by,
:i
la -
with lulla,
- d, Si.
lulla-
a.
n,.n,|f,.f,: si.s.
by,
d
by.
by,
pi,
t,.t
1
lul-la, lul-la, lul-laSi.s,
d
bypii
dim.
r .r d
lulla-
n,.pi,|f|.f,: si.s,
pp
by,
pi
by,
s,.s. d,
:r.r d
lulla-
:si.s.
PART
ADDITIONAL EXERCISES.
KEY
M.
Anda/ntino.
Sa
1
I
I
P
S|
si
Sa
!d,
S|
Who
world,
:- |-
deem
:-
deem
s,
r,
r,
*/
m
:-
li.t.
t,
d
us,
r.
n,
.a
sei
.a
:-
.se
Id
.ri|
|
rc
n .n
se,
cious
ed
|s.
:-
1,
the
viour of
Ir
Blood
hast
li
re
se.
ll
Hi
ll
If
cious
n,
Blood
hast
f|
|n
:-
re
:f.
'fl
us,
rli.li
us,
d,
oa
1
j
the
/
n
:d
viour of
1,
Hi
'1
11,
|r
If,
.t.
U
1
and pre
:
Sa
:
r\
Id
.d
1
l
world,
and pre
.ri|
the
by thy Cross
ed
pi
viour of
1,-1.
11,
S|
M|
:d
Id
the
hy thy Cross
.
s,
s,
s.
d .a
Who
world,
Ifi
r,
Id
t.
s,
:f,
:
- 1^
world,
0
- Id
du
d
|t,
viour of
U
*
:d
fi
si
John Goss
(COPYBIGHT.)
60.
in
301
III.
U,
:l|.li se.
cres.
|n
help
us,
11,
ores.
:l,.li d
.s,
(New).
Sa
1-
|d
fl
|L
|ta,
us,
Is
ta.
ll
|r
s,
If,
the
:
PI,
:- if
t,
world,
r,
It,
if
0
us,
us.
:d
viour of
help
Sa
s,
us,
,:
|n
r
the
Viour of
:- 1-
ADDITIONAL EXEBCISKS.
302
d.
s.
BIT.
df
Sa
"ill
li
df :s
:r
If,
Sa
t.
world,
1|
s,
the
world,
|f
of
Ef.
mf
:-
t,
the
li
world,
i,r
:d
|r
viour of
fi
:-
se
0
l
pi
s,
- .s
|fr
:-
11
viour,
viour,
:d
1 .1
-.111
:1
Who by thy
Hi
:li
Cross
and pre
:l|.l. d
:
"111 1,
:
,n
Who by thy
|d
:d.d
In
-.f |f
and pre
Cross
- .r r
cious
li
f
cious
1.
:-
It
hast
re
d na:
|na
fel
It
:d'
Blood
refe
hast
na
re
Save
r
and
help
Id
-.t|t
se
11
- .r
.n
bly be
n
seech
:d
.d
|t,
t|
.s
|f
f .f
help
Id
we
d
Ir
us,
we
us,
f,
|r
and
us
:fi
Ifl
At>.
:
S|
:n
hum
we
Lord,
,d
us
Save
us,
t
"is.
us,
ed
r .d
thee,
ed
deem
:fe
Ife
deem
f.
hum
viour
m.
Blood
Sa
Sa
dim.
id
III.
cres.
r t,
PART
ZiaJEp.
Gl7.
f.
t.
Ifl
.d
|t,
bly be
"l|
:d
S|
seech
|s,
.1,
1,
.si
thee,
:
fe,.s.
we
hum
bly be
S|
.s,
s,
seech
|s,
thee,
:
"t|
S|
Lord,
III
we
hum
s, .s,
d.
hum
we
si
Lord,
t,
:-
s,
St.
Co.
|s,
Lord,
In
Is,
s,
Lord,
(Sew).
:-
Sa
"1
.n
bly be
:-
:-
f,
Sa
r,
viour of
d,
the
t.
world,
Id,
:-
seech
n,
|t,
r.
p\f
^0
ri
sav e
.t|
thee,
:n
.r.
thee,
:li
viour of
:
:d
-
:-
:d
Thee, be-seech
;d, ,d, |r.
It.
S, .S,
S|
the
:
t.
PART
ADDITIONAL EXERCISES.
world,
s-
d|
pi
Sa
t,
cious
i.
rl
and pre
Cross
I|
Save
:-
:-
ta.f
and
:f|
:n
Sa
viour
:-
fi
d
the
|n
Sa
d
rue
world
1,
n-
d'
It,
1,
re
Id
:d.d[
Whobythyl
Hi
viour,
It
se
n'
us,
ba
se
pml
hi,
Save
t.
,
p)'
ed
deem
.PI,
Who by thy
:l,.l,j
i,
-
cenPI
Hi
QcL
viour,
:
li
PI
"
sei
cres
S|.S||t,
ed
US,
l|.s.
Si
we
hum-bly beseech
fi
f..f,|fi
:f,.f,
t,
ti.tilti
thee,
:
1
'
.
|
'
is
Lord,
|n,
us,
Ir
us,
Is,
la,
we
hum-bly beseech
s,
ti
:-
save
1,
deem
n
Ifl
save
us,
:
re
h.;t,st
help
of
PP
'f
viour of
:
if
help
s,
11
7-
and
us
si
hast
help
S|
1,
and
:f
Sa
0
U,
Ab.
1
Blood
fi
us
rl
rl
US,
li
303
III.
PI
Dt>.
us
Save
world,
r,
pi.
1-
Blood
cious
Id I|
the
:
ti
11
*d':-
:d
help
and pre
rl
If,
ft
ai'
- .ill
f f
S|
world,
:-
and
|r
fi
do.
.
Cross
li
the
l>li
viour of
1,
Id
Sa
s.
us
f
I
O
1
viour of
pi,
cres.
S|.s,|s,
thee,
:
t,.t,
Lord,
S|,s, di
la,. la.
la.
I
1
ta-i
Mather slower.
I
'
s.
Si1
world,
Save
fl
la.
us t
r
la,
us t
Save
S|
la,
and help
us,
:
la,
lai
la,. lai
lai
us,
:
|
and help
la,. la.
la,
we
us,
lai
s.
s,
s,
s,
we
us,
s,
:s,
j
cres.
:r.r|f
hum-bly beseech
:t,.t, d
thee,
f.
:f,.f,|fi
:f
ti
:t,.t||t.
.f|
Lord,
11,
A
hum-bly beseech
5/
St
8| .S|l S|
Co
(New).
r ,r
thee,
:
If
Lord,
S|.s, d,
:-
1-
1-
g(
men,
dim.
Id
If,
Hi
If,
men.
m
s,
men.
d,
,;
;
304
III.
Andante
p
n
On
the
.,d
,,s
On
d
.,n
lento.
Senry Smart.
63.
:r
.1
.s
.r
yon- der
:f
.f
of
-t,
.1
:t,
.r
.t
of
.1
And
my crook
re-
de.de
.1
my
.r
,t| ,d
flocks
as
.r
The
d'
thou
pos
r
ing,
1,
.ta
crook rer .r
:
pos
r
f,
ing,
.t.
__d'
A
n
.1
sand times I
.pi
.n
1
sand times I
ll
d .n
,,s
-ll
.f
Gaze
down
si
8|
on the ver-dant
s, ,,d
d .d
Gaze
down
:
n,
:fi
.,n
.f
on the ver-dant
.,ri|
1,
1|
t.
sd
The
.s
.r
on
r
pi
tain
B?.
pi
:t
.d'
thou
moun
tain
.r
.t
ores.
.s
.f
And on
.f
moun
yon- der
brow
d
the brow
.,d
.f
M.
.,r
they graze 1
,g| ,S,: S[
.re.ri
fol
.,S|
S|
.,f
.ti
My
low,
flocks
ti
ll
sei-sei
li
.r
My
:t,
,d
,r
he guardeth them
do;
low,
- ,d
dog
.ll
:se u l|
,t||
- .n :n ,n ,ni
he guardeth theml
- .nj
rt
.*iiV n u n u n
n, .pi| :n, ,pi| ,n,
The flocks as they graze, My dog he guardeth them/
t
f d s >
r
From the moun
i|H
f
f.Eb
well
1(
n
well
.,n
:>n.,t
From
the
^..n
From
well
the
moun
S,
moun
t .t :d'
tain have I
.1
de-
:f
scend
.n
.f
:pi
r
.r : s
tain have I
1
S|
.S|
s,
tain have I
.di
n
Yet
.
ed,
scend
I"
dl
.d
ed,
Yet how,
de-
Vet
'
ed,
pi
ta<.
yet
.Si
-
r .
how,
:d
.d
can soarcel:s,
'
S"
how,
yet
ritard.
fe
how
na
yet
how
la,
s,
tell,
1,
how,
St. Co.
yet
how,
(New).
d'
.t
A
i
fe.s
:f
-ly
tell.
:t.
scarcely, scarce
-ly
f
pi
S) .S|
:|
scarcely, scarce
:d
d .d
:d
pi
re.n
I
:
si
Si
'si
tell.
:-
fl
The
d
s
The
d
;
;
PART
ADDITIONAL EXERCISES.
n
.,s
ell'd
PI
,,s
s ,s ,t
:s
,r ,1
d'
flow
pi
d s
flow
d',' .1
ers so lovely
in
With
305
III.
:-ri.d':
With
1
.,n
-,se.l
'
.f
.r
.1
and gay,
,n ,n
n',r' ( d'
pi
:f
.(
ell'd
pi
ers so lovely
,,d
.s
and gay,
pi
way.
d
:t.
I
.r
f
f
ga
-,pi ,f:l
jn
,s
therthembutwithout know
-,de,r: de.de.de
li
S|
s.
s ,f ,d
To
ing
Li
d ,n
:t.
:li
S|
.d
,d ,d
.s
.r
In
|
,1
,l:n ,n
,s
Bi?.
t.
ga
:r
.d
,d
rain, in storm,
rain,in
r S|
.S,
.pi
pi!
,t,
and in
Si
:f
pi|
.pi
.n,
t|
tern
:lai,la:,lai
si
Si
To
:f,
.,t|
u l h l|
se,
.,so
ll
.,r
In
Si
li
there he
Pi,
1, ,t,
stand
.t
way.
li
pest,
pi.f.f
.,1|
,d ,t|
t|
neath the
sei
.,sei
,,pi
j
tpi
,f
in storm,
,f
and in
tern
;
In
p
:
:n.
1,
:d
PI
li
f.
-li
But yon
tree
i,n
.,r : r
door re-mains
t,
d s .,f f
door re-mains
:d
But
tree
yon
d |8|.,S,: S|
: d,
.d.
But yon door re-mains
pi|
rain, in
:d
.1
clos'd a-
iPi|
,pi|
& in
storm,
gainst
f
me,
t.
:d
.d
t|
.pi
r
gainst
clos'd a:
Si
.S,
tree;
.ni
,n
,r
there be
.baj.sei
,d
>
neath the\
,n
,r
Ef.
n it|.,ti:
PI,
pi,
stand
pest,
.t,PIi
oloa'd a-
PI
And
:d .
all,
And
ll.
S|
:d
.d
me,
And aU
:d
is
.d
.,d
dream
to\
ta(.
S|
se.
gamst
me,
And
And
all,'
ritard.
aU,
fe
and
d .d
all
all,
is
na.na
me,
is
1,-
lai.lai
dream,
PI
.r
.pi
dream
to
:-
me,
.d
.8
(New).
dream,
.f
.pi
a dream to me.
t.
dream
a
:
dream,
s,
t
is
dream
r
s.
t|
to
me,
to
me,
s.
<.s.
is
all
St. &>.
.1
.g|
.pi
a
a
:
.a
1.
-ll
dream
f
f,
tof
.f
dream
to\
.f.
::
306
ap -pear-eth a
there
'Tis
e.
31
.,n
pi
III.
G. t.m.l.r.
n d ,d ,r
eras.
.,d
ttSi.d ,ti
t a
ri|
And!
bow,
rain
.d
ffl6.
PI
se
t,
r. s.d.f.
pi
,r
yon cottage
ver
,n
E7. Zia
there ap -pear-eth a
se ini,ri| ri
:
1,
.,li
PP
,d
t| ,t|
,t.
dn
.t.
.,s
,f
"se
.se
ver
yon cottage it
.,d
d ,d ,d
stands
dn
,,t|
But
far -
ther,
far
far
dis
tant
lands,
dis
ed
shep
far
jd'.n'ir'.d'
sad,
:d
The
.n
:d
herd,
pi
sad
is
herd,
Co.
herd,
he,
(New)
the
shep
tv
ii
sad,
:f
-
.f
herd,0
shep
r
ria
sad
fe .fe
sad
:
.1
is
.1,
herd,
:
sad
:-
land,
t,
.r
and
ye sheep, pass
: 1.1,
.f
ye sheep, pass
:-.r
:f,.f,
se se
sad
is
.t
he,
is
he,
is
he,
is-
he,
:r>
The
.t,
.8
.r
pi
.s
some
de
.t
far land,
.d
,,s
.r
- r
he,
t,
some
s
:s
.s
To
Pass on,
.r
r
is
se
- .f
las!
.n
to
But
r
t|
some
d
it,
Pass on,
f f
.1
far
:f|.
St.
E'en
shep
tant
part
,se
To
;
dl
far
d'.s
herd,
ed
S|
:-.di:t.l
se
r .r
part
E'en
f,
de
she,
ed,
:d
shop
part
ther,
pp
:d
And
S|
,
:
,s
n
bow,
rain
dr
0.
stands
it
true
'Tia
me.
_1
sh ep
.f
herd,
:fi
'
o
0
PAKT
ADDITIONAL EXERCISES.
307
III.
"
:
.r
gad,
.d
:f
.n
.s
:d'
.d
Bad,
sac
PI
:r
{.n
.8
(.S|
S|
S|
S|
sad
:
t,
.t.
lai.lai
S|
.s
he,
sad
sad
.f
pp
he,
is
.t.
0
:-
.r
.s
he,
is
S|
.si
is
.f
s,
.8,
"Words by
SAVIOUR, BREATHE.
Edmeaton.
"Ave Vekum."
s
Two Measures
1
l
d
u
PI
breathe
2.Though
:d
Id
the
night
d
r
Ere
re
ti
Dark
ness
S|
can
d
an
|r
fi
.fi
d,
is
eve
r
II
t,
"by
hide
ning
n
and
dark
be
Id
spi
not
It,
our
pose
t|
s,
Mozart.
viour
he.
is
.d
Music
f6
l.Sa
.f
rits,
spi
Id
from
d
rits
:
from, hide
:t,
It,
A. t
rs,
and
Sin
r s,
tpi
:d
Id
:d
Id
In
:h
Ill
wea
sei
St.
"7.
Co.
(New).
Is,
If
he
d
who,
Ir
f
2.
t,
art
1.
fess
we
&<
pi
sd
want
s.
Thou
cres.
~TtT TtTT-
:-
Thou
Watch
r,
r,
where
n,
11,
when
and
f
:-
thou
peo
s,
t|
1|
canst
pie
:
thou
:
thy
f
t,
ti
and
where thy
est
:t,
con-
S|
ne
:-
canst save,
It,
come
:-
the music
is
canst)
;
peo
s,
si
unaccompanied.
r
s.
'
:- 1-
t9
Si
'
d,
n
bo.
walk
ti
night
s,
Is
1-
|n
1-
se
f,
come
guards
d
t|
li
si
.t,
.se,:
Id
Id
:f
ti
111
re.
"l-
m.
n se
t,r
n
d
dn
ls
us
In
(Keu )
the
ba
:-
:- |1-
Clad
ti
se
this
lr
In
t|
se
rows
couch
ti
An
d
t|
se
be
_sei_
1-
111'
n
gel
d
1
May
the
|
<
from
r
the
morn
in
:f
:
safe
in
bright
:-
safe
are
round
r
jP
1
\
ti
*l
For
n
us
All
us i
wake
X
thee
sur
heaven
lr
- ,n
if
thou
d
Itl
- .t
and
d
if
thou
fe
in
and
bright
* See note on previous page.
sur
our
are
:
P
:
guardB
m
f
:ba
And
:di
tion
1
ar
:li
We
:-
1.
'
D.
death
:-
tomb,
m |S|
:-
it,
swift
gel
1-
us,
Co.
strue
Si
Though
ores.
heaven
"
thee
:
in
1-
t.
t,r
fly.
se it,
us,
|n.
round
St.
In
1,
i-
:fe
clad
wake
us
our
us,
In
D.
Id
we
take
:s.
May
:r
round
An
from
:
morn
1
:t|
o'er
past
L is
in :f
d
de
Should
Interlude.*
PP
2.
:- |-
Though
Three Measures
S|
III.
r. s. d. f. I".
heal.
PAKT
ADDITIONAL EXERCISES.
08
ar
death
S
death
le
.
art
:
|S|
less
PART
ADDITIONAL EXERCISES.
f.
:-
nigh,
G.
:-
|fd
1.
For
2.
AU
ores.
clad
nigh,
na
clad
All
sr
D. t.f
ir'
nl
:d>
It
we
l.For
taf
2.
:-
se
:-
309
III.
d'
we
bloom,
f
li
If
defe:
It
bloom,
1 .S
Id
are
in
are
s
:f
if
thou
death
bright and
il
safe
'A
a
A
d
&
safe
bright and
In
'.
thou
if
:f
Is
in
death
:1,
S,
ti-
ll
- .r
1-
Three Measures
art nigh,
less bloom.
A
f
.li
art nigh.
If
-.f n
i-
S|
less
bloom,
d
:
1-
1-
Symphony.
32?.
L is
Kreulzer.
cres.
ft
pi
- .n
pi
:i.ifl
,?i
rr.i
d'
Loud the storm wind doth howl,& the waves threaten death
:d.d d
:d.d|d
:-.d|d
d .d d
d
:n.pi
:-.pi|pi
pi
pi
pi .pi
pi
pi .pi
pi
/
- It
Loud the storm wind doth howl, & the waves threaten death
:-.li|l,
1,
rli.lill,
li
li
|r
P!
In
se
se.se
Loud
.pi
Loud
r .r
|n
.pi
tl
|t|
t| ,t.
their fu
It,
.t
It
.t
Co.
(Sew).
t,
:f
ry
se!
PI
.PI
PI
pi
.Pi
PI
in
::-
sej.sei sei
:/
their fu
in
in
:-
se
era.
.se
Music by
/. S. C.
Allegro molto.
C.
|d
|n
Hi
n
their
in
:-
their
:
t;
'
10
ADDITIONAL EXERCISES.
L is
:d
fa
fu
'|
.r
se
"t,
se.se
|r
I-
:n
Loud
1,
III.
:1
.t|
1,
r .r
,r
ti
.t.
li
.n
.r
,n
|n
in their fu
se,.se,| se,
sei.se.
howl,
:
|-
Howl,
r
:1
.1
|1
:1
.1
|1
P C.
deipv
t.
:
But
n s
id
But
,d
St.
m.
Co.
fet
pi
df
nl
l,r
|t
.t
fe
.fe |fe
.1
re
t .t
cres.
:t
.f
|f
:-
.1
|1
.r
.t
:f
,f
.1
|r
:1.1
r ,r
And the]
:
.i
:-
d>
se
ba
:1
It
se
::
s .S
:t
di
d"
r*
.t
tem- pe st
d*
is past,
.1
re. re
'
.i
.f
And the
:
in their
.t
:fe.fef
ri
:s
:f
1,
:r>
|-
is C.
- .t |t
:fe.fe fp
11
|-
(New).
.n
And the\
||-
the
Loud
ry;
1,
1.
the
t.
Loud
in their
i
:n
pi
li
ff
threaten death
Loud
re'.re
de'.de!|r'
Loud
cres.
1
waves
PI
ry;
1,
ll
/?
threaten death
in tHeir fu
|t
waves
sei
.t
threaten death
.pi
t, .t.
PPEfr.
t
the
the
d .d
Ijoud
waves
r
And
d
pi
.1
\
in
ry;
.se
Loud
ry;
PART
F.
n'
But
But
d
:
:- I:- |-
d"
the
tem
the
tem
pi
|n
ry,
|in
|n
ry,
|n,
r'.t |d
pest
S .S
is past.
|
:t.s|s
:
pest is paiit.
f .r |n
C
*
]
i
!!
PART
ADDITIONAL EXEKCISES.
Soli,
dtilce.
Soft
1/'
If
sun
comes the
Soft
rfi
Soft
ra
- w
comes the
- 1/
=
d>
ra
sun
r
|*'
I*
/'
'
comes the
U
- w
ful
peace
shine,
1*1
d>
ful
<
storm.
:fli
howl,
f>
n"
se
.d
.n
.n
se
.n
fu
se
t
.r;
|d>
:d' .d
- .n
.1
.d
in
se
.1
In
se
|n
pp
n
se.se
r'
re
n'
in
r'l
re'.re'l
re
:1
is
.1
pi
|t
.pi'
.t
r .r
1
1
.d
.M
re'.i
se
PI
ry>
;
pi
fe .fe
|1
:1
.1
in
threaten death
se
t
:- |:
:- 1|
.Pi
their 1
se
.t
in
:-
.sef
It
their
|n
.n
1-
:t
the
tem- pest
But
n
1-
it
se
:se.n In
:-
f>
:
But
:- 1-
threaten death
PI
.r'
in
D.
But
rl,
PI
their fu
Hi
f'd'
(NewJ.
their fu
II
d'
.n'
St. Co.
the
1*1
PI
fu
ing
pi.F.Z
r
1-
|1
still
I-
.t
the
In
.1
the
:
d<
the storm
d'
Loud
.n
iag
ing
\t
Loud
d<
Loud
ores.
Loud
n
se
l-
rV
stm
li
iy
still
I*
Ghosus.
/.
1
howl,
n'
:-
m<
:-
y =-
1/
storm.
311
III.
|*'
shine,
peace
'
sun
shine,
:t.se|l
the
tem- pest
:r
past
is
.n
is
,t,
the
But
past
|d
I,
se
the
:- 1-
:r
!
!
po.
tem- pest is past
:m .n |n
:se.n
Soft
tem- pest
:r.t,|d
r'
storm.
s(
r s
in
Soft
V
\t
*i
But
t
still
|H
shine,
:-
sun
1/
still
'
1
ing
the
1*
\t
ing
l*i
the
:
fpCaoB-va.
s
fe'
But
1-
I-
:f
the
I-
1
;
the
la
'
i|
pest is past
s .s
n<
pest
:
pas
is
:d' .d
11
1
is
.r
Id
pas
|r
doke.
s>
|s'
'
Soft
id'
d<
eomes the
sun
ra
Soft
.1
d'
tem
pest
d'
:-
fe'.fe |fe'
na
:r i, ? r
tem
the
t .t
tem
But
pest is past!
fe
:'.f'|fi
tem
:d>
But
S
the
i
Soli.
fp
[>
shine,
rf
S|
*'
sun
comes the
'
:/'
III.
doles.
1
comes the
storm.
s
past
is
- U
n
1
Soli,
t.
4|/i
:t .sell
PART
ADDITIONAL EXERCISES.
312
comes the
\d
:d
ri
\n>
\d>
shine,
d*
\d*
:-
\d
c?'
sun
shine,
:Chorus.
Still
ing
the
1-
t
still
sun
S|
ft.
1-
1-
:i
S|
!-
shine
t
S,
storm,
s,
L>
|<Z
d>
:-
is
here,
d>
Soft
Si
ra
Soft
here,
.
|
is
(NewJ.
shine
Co.
storm,
fi.ri
the
ing
:s'
sun
s
:f^_
1*
|n<
sun
S
:t
|-
:di
:ri
|-
f'.r'
shine
is
shine
s,
'
p.
:
sun
shine,
The sun
n .d S|
comes the
\d
The
d'
comes the
sun
\d>
The
:
:di
The
:d
shine,
here.
:r'.f
is
here.
:- |- :-
;;
ADDITIONAL EXERCISES.
WITH REFERENCES TO INSTRUCTIONS IN
Harmony," page
63.
itation,
develope
and
page
S.
99.
In scores 2 and 3
and C, running
in thirds
sixths.
their tertiary
measure
dissonance
in
score
1,
score 4,
also have to strike a primary dissonance against the C, and secondary as
against the B. This double dissonance
should be carefully done. There is a
"
serve Harmony," page 63. The changing expression suitable to every verse
In
should be carefully attended to.
the last line deliver the word **not"
staccato, and maite a slight pause after
Carefully attend to variations of
it.
both time and tune in verses 2, 4, 5, 6.
The May-time, page 5. Firm entry
of parts, page 100 ; Ascending and descending phrases, Ex. 211. Should not
exceed the rate of time marked. Clearness must not be sacrificed to rapidity.
Sweet concord in the two-part passages
is the essential feature.
Thou shalt show me, page 7.
This should frequently be used as a
test of steadiness in time and for the
practice of syncopation and marked entry of parts. Let S., T., and B., hold
firmly d against r in score 3, measure 4.
The Waits, page 8. Example of
soft singing, page 98 ; Increasing force
in rising phrases, page 8 ; Representation of distance, page 101 ; The prominent and the subdued tones of a melody,
Ex. 223. The highest part will prove
very fatiguing if not sung in the upper
None
thin register without straining.
"but
undoubted
first
sopranos should
pranos.
blending in
and 4
Unity and good
and C, page 10, scores
;
S.
Entry of
Bon accord, page 11.
page 100. This piece should be
sung firmly, at a brisk rate and with
It is one of the pieces
fine round tone.
which should be simg from memory in
parts,
Hope
wax
12.
STANDARD COURSE.
12.
See analysis of sectional relation
in "
to Observe Harmony," page
63 Study the rhythm, which is varied
and somewhat intricate ; Three related
phrases in scores 2 and 3, require increasing force ; Transition analysis,
score 1, measure 4, "
to Observe
How
How
p. 13.
Loud
14.
Normal
2,
page
15,
and score
2,
page
16.
The
second S. must not cover up and obscure the first S. in those places where
the second is the higher of the two, for
even there the notes in the top line
form the principal melody.
Hear me when I call, page 17.
Subdued and prayerful effect, page 98
Exultation, page 131
Vowel sounds,
page 138; Melodic and harmonic imi;
"How
and
"How
gaiety,
silences are
p.
ate parts, p 101. Study of unison, uniform and equal emphasis, prolonged
Vamping," Ex. 213, and p.
and
2,
force,
m.
2,
p. 35.
p.
in the
Appro-
133.
The
103.
last tones.
Away
to the forest,
Stacp. 42.
cato passages, p. 103
The lively,,
dancing effect of the rhythm, with alterations of sforzando and staccato, requires much practice. The piece is full
of expression. Notice the echo effect
in sc. 4, " Tra la," first / and then pp.
Tenors must use thin register on s
at the close of the " Tra la."
Sunshine after rain, p. 44. Musi-
Study
Verbal
sc. 2,
Character-
tones, "
34.
39.
77.
p.
is imperative here.
to keep the chorus
sc. 3.
Harvest Home,
F, p. 38,
Form,
cal
p.
146.
Emotion quickly
changing-, p. 132.
Vowel ai, p. 139.
Sc. 4, 5 contain some difficult rhythm.
Develope tenor and bass, moving in
thirds, sc. 3, 4.
In these two parts the
octavea, sc. 4, m. 1, should be clear.The S, in its turn, must be developed,
m.
3, p. 3,
torn.
duce
4.
pro-
100.
of flattening, get
voices to listen to the
the accompanying
soloist.
The long sustained chords are.
of themselves, difficult to hold in good
tune without this kind of sympathy
with the leading voice. Tenors should
The
146.
p.
subdued,
se
after
is
difficult.
Other high
m.
and
corres-
ponding parts of v. 2.
O the joy of Spring, p. 57. Development of a principal melody, p.
100.
Gay and tripping style, p. 133.
Musical Form, p. 146. Pressure tones,
Subordination of parts should
p. 103.
be attended to, see p. 100. Notice the
chromatic part-pulse dissonances, fe
and re, p. 57, sc. 4, m. 2. See " How
than
Vowel
p. 58. Musical Form, p. 146
u, p. 140.
Appropriate speed and force,
Bold and striking change of
p. 132.
sentiment, Ex. 258. Fu^al passages, p.
148. The proper rendering of " parts"
in contrary motion, p. 99. Triumphant
joy requiring the sinsrer to dwell on the
notes, p. 132. Changing emotion-triumph to repose Ex. 219. Let each
part study (in keys suited for each
voice) the melody which opens this
piece, and which becomes the subject.
first
part,
Form,
p. 146.
p.
62. Mu-
Smooth
legato, p.
p. 63, sc. 2.
oso should
movement
last
spirit-
'
C and D,
sc. 3, 4.
and emphasis
"subject" and
its
variations, see p.
148.
Delivery of cadences, p. 103. A
very useful and invigorating practice
which ought to be often used.
Study in " How to Observe," p. 103. the
discord 7 L. Tenors mark their books
for thin register in the following pas-
piece,
sages:
First
movement, m.
13-18.
S.
HOW
315
5,
p. 71,
The Woods,
p. 71.
2, 3,
Diverging senti-
resume the
98.
Home, O where
is
74. The study of vocal accompaniment, p. 100, and Ex. 218. Passionate
utterance, explosive tone, p. 134, and
p.
Ex. 257.
Where the
soloist is silent,
parts," p. 100. Study in "How to Observe," 4R, p. 104, 41, p. 95, 3R, p. 106.
4F, p. 104, 9D, p. 96, ?R (ornamentab)
Tenor's to use thin
p. 109, *L, p. 95.
register on m', p. 75, sc. 2, m. 2.
p.
77.Musi-
by
5,
m.
2.
Ye spotted
snakes,
p. 81.
Musical
two transitions, p.
and
its
83, sc. 2,
need care-
ful practice,
tratisitional
and
316
HINTS ON
(Picardy Third.)
See
"How
to
Ob-
114,
p.
is
as it
leap of an
difficult,
upward
commences with an
in S, and of a
octave
seventh in B., In the chromatic unison,
p 87, sc. 4, nothing can help the singers
but a strong sense of the note s, on
which the repeated la resolves. Study
in " How to Observe," n 7 F, p. 106, 7 *k\
Tenors should use
p. 78, 9 *S, p. 103
thin register on the word " O," p. 85,
<
sc. 5,
and
p. 87. sc. 1.
p.
88.
THE TUNES.
culty.
Watch all the distinguishing
tones as they appear.
Look to the
"How
Form
of repeated tones.
Ex
214.
See
p,
sc. 3, 4.
95, sc.
p.
Melody transferred
to different parts,
Expression of a sense of safety
p. 100.
in God's care, Ex. 257.
Study the
normal force of this piece. The time
must be
<
Loud the storm wind, p. 93. Subdued description changing to the excitement of terror, p 133. The representation of calm after storm, Ex. 260.
94,
sc.
4.
>
INDEX.
For Index
Accent, cadence, and the over-fifth.
Effect of
Chord,
'.
Medium
to
Music
...
or stress
and pulses in speeeh
Accidentals
see
PAGE
...
exercises
relation
...
...
...
...
...
?S
...
...
fiats
Accompaniment, Humming
Adjacent keys in transition
Advanced rhythms
transitions
Agility of voice
Analysis, Parsing- or, of musical
-
160
100
50
145
68
155
60
62
62
60
60
...
...
...
60
Double
Lip
60
60
Table of English
Tip-tongue
Ascending' passages
Aspirate H, The
61
60
99
60
95
Beating time
...
Boys' voices
Brackets
Break, Sol-faing the
The
109
65
24
67
107
8
110
107
7,
...
...
lesser
Breathing places
Bridge-tones
9, 16, 30,
95
149
51
Ambiguity
of accent
Cadence transition
S3
52
Cadential movement of the bass, The 52
146
Canon, The
149
Cantata, The
144
Chant, The
Chanting
27, 35, 47, 63, 83, 93
, Division of words for
35
Teaching
36
Chest, klang, tuning... 14, 26, 45, 81, 117
149
Choral contrivances
,
Si. Co.
removes
130
60, 103
Double articulatious
Double-bars
Doubling and omission of
third, and fifth
Doric or ray mode, The
27
85
69
12, 24, 42
Time
exercises,
42
HO
1
42
169
185
transitions
Enunciation exercises
Equal voices, Music for
Error exercises
Explosive tones, Pressure and
Expression
Dramatic
effect
...
Gaiety
Gladness
Grand ideas
131
132, 134
133
131
132
131
Joyful praise
,
,
...
149
62
97
SO, 94
131, 132, 133
exercises
61
Excited emotion
131
132
96
Meditation, description, or
repose
132
133>
, Playful cunning
Sadness
132
, Soft and quick
133
Soft and slow
132
, Soft to loud
133
, Subdued emotion
132
,
Contralto
C position of chords
C, Remembering
Crescendo
Worship
Degrees of force
Descending passages
exercises
root,
Eighths of a pulse
Elementary certificate
graded time exercises
44
26
20
83
52
effects
160
tones
160
, stepwise motion
160
161
transitional models.
161
, Intervals..
resolutions
83, 104
...
29
Classification of voices
...
Collective reading
15, 63
Compass of voices ... ...
29, 109
... 101
Congenial tones
84
...
Consecutive fifths
...
36
Consonances
61
...
Consonant, How to sing a
27
...
Constitution of chords
7
...
Continued tones
.
20
60
8
Duain
Mental
Diminuendo
Diphthongs
68
68
Distiint
Distinguishing tones
Dominant, Tonic and
of
Constitution of
Disguised and chromatic ...
Major, minor, & diminished
effects of
Positions of
The two principal
Chromatic chords, Disguised and...
,
PAUK
Dissonances, Part-pulse
Passing tones
Ear exercises
Dictation
Cadences
Cadence and the
27
45
46
46
46
M"
70
,.
Anticipation tones
Articulation, An
error exercises
exercises
, Modes of
, Organs of
Qualities of an
,
...
form
Anthems
Appoggiatura
...
177
197
151
4
5
87
20
20, 27
46, 48
S...
Unnatural straining
132:
after... 131
fifth step
xi
162
53
transition...
...
142,
Discords
Disguised and chromatic chords
Dissonance of r against d
of / against s
Dissonances
, Anticipation tones
, Forestrokes
, Full-pulse
, Guiding tones
, Hanging tones
effects of
...
and doubling
and fourths
Fifth, Omission
step
68,
104
...
28
45
27
21
81
Yii
1
160'
109
97
96>
318
INDEX.
TAGE
Oblique
Waving
Unprepared
Forte passages
Four-pulse measure
Fourth step
Fourths, Fifths and .,
Fugal passages, Parsing
Fugue
,
,
,
,
Counter-subject
...
The
Full-pulse dissonances
Glee, The
Glide, The vowel
Glottis, Shock of the
Good tone
H, The aspirate
36
101
52
2
189
161
Key-tone
3
117
Klang
,
,
effect of
...
Lip articulations
Lower
M.
How
Voice
Anthem
Canon
Cantata
8
37
28
46
3
97
Glee
Hymn tunes
107
60
131
132
33
,
,
,
Chant
Fugue
Madrigal
Opera
Operatic chorus
Oratorio
Oratorio chorus
Parsing or analysis of
Part-song
Recitative
Response
Music for equal voices
33
Names and
60,
remembering
Madrigal. The
Major, minor,
chords
St. Ca
34, 66
146
and
46
signs
Normal
diminished
106
36
parts, Relative
Laaing
Laa voluntaries
Lah and Fan, Mental
The chord of
the
Motion of
21
exercises
of
Modulators
feeling
107
Mechanism of the vowels
136
Medium accent
18
Melodic imitations
100
phrasing
9S
Melodic tendency to transition
...
50
Memorising the three keys
77
Memory patterns
77
, Pointing from
77
singing
77
, Writingfrom
77
Mental effect
viii, 4, 15
effect and speed of movement 28
effects of transition
51
effect of tones changed by
transition
50
Me, The chord of
46
Metronome, The
33
Minor mode phrases
205
chordsand T S, Constitution of 48
Minor mode. Difficult intervals in 161
exercises
87
, The modern
86
Missed Transition
53
Modes of articulation
60
, The
84
Modulation
88
,Transitional
88
Modulator
x, 9, 117, 123
, Extended
xi
teaching, Importance of, in
transition
53
voluntaries
11, 42, 77
100
144
tunes
and
registers
61
Humming accompaniment
Imitation
...
Imitative sounds
Mechanism
60
34
7
34
68
2S
68
Hanging tones
Hold, The
Horizontal forestrokes
How to sing a consonant
viii
100
Measure
146
61
1
1
46
68
Hymn
PAGE
Manual signs
Marked entrance
130
8
68
68
68
98
18
45
21
104
147
147
147
147
147
147
69
force
Notation of transition
...
...
145
146
149
144
147
146
144
146
148
146
149
146
70
146
148
144
149
3
156
110
98
51
PAGE
Oblique forestrokes
Octave marks
Octaves and unisons
...
or replicates
68
29
21
5
and
27
fifth
Opera, An
148
Operatic choruses
146
Optional tones
32
Recognition and man,
agement of
The
68
149
146
97
Oratorio,
choruses
Organ tone
Organs of articulation
60
Oscillating transition
117
Over-fifth. Effect of accent, cadence,
and the
83
Parsing, Examples of
70
fugal passages
104
or analysis of musical form
70
Partial dissonance, The ..
36
Part-pulse dissonances
68
Parts, Exchanging
5
Naming of
30
Suboidination of
100
" Parts," "Voices and
108
Part-song, The
146
Passing tones
21, 68
transition
53
Pattern
3, 19
Perfect method, The
51
Periods, phrases, sections
69
Phrases, sections, periods
69
Phrasing of words
135
Piano passages
98
Pitch
3
Pitching tunes
29, 59
Plagal cadence
48
Pointing from memory ...
12, 24, 77
on the modulator
37
Portamento
150
Position in singing
2
of chords
26
Precentor, Hints to the
94
Pressure and explosive tones
...
97
Principal chords, The two
20
Prolonged single tones
99
Pronunciation exercises
62
Public speaking, Pulses and accents
in
63
Pulse-and-a-half tones
18
Pulses
6
and accents in speech
63
, What is a
64
,
'
Quadrain
Qualities of an articulation
Quarter-pulse,
The
silent
tones...
69
60
64
18
13
25
43
78
114
157
319
INDEX.
PAGE
R',
The
PAGE
Sol-faing the break
Soprano, First
trilled
Rapid passages
Rare accidentals
102
88
divisions of time ...
110
Rate of movement, Sustaining the 33
85
Ray mode, The dorio or ...
15
Ray, Te, Mental effects of
46
, The chord of
46
, The grave
59
Recitation
93
, Arranging
148
Recitative
Registers
31, 66
Blending of
Recognition of the
first
67
67
The small
Speaking
Remembering C
Syncopation
67
105
107
67
36
TAAfe
95
29,59
Saa and
Te and
Second step
Sections
Seven-ray, The chord of
Seven-soh, The chord of
Sforzando
Shake or
trill,
The
Mental
61
64
28
effects of...
46
108
of
Tenor, First
Tenths, Thirds, Sixths and
21
...
register, The
...
64
137
26
Three-pulse measure
Three-quarter-pulse tone, The
34
123
Three removes
28
48
14
48, 69
47
46
97
155
160
Timbre
Time
6, 18,
33, 64
and rhythm
chart
laaing
names
Rare divisions
6
of...
110
77
51
and
3
18
64
103
Single tones, Form of
117
Sixth step
Thirds
21
Sixths and tenths.
Sixths,cighths,andninths of apulse 110
133
Soft and quick
Soft to loud
133
67
67
27
64
21
26
Strengthening the
Third, Omission and doubling
Thirds of a pulse
Thirds, sixths, and tenths
Third step
quarter-pulse
St. Co.
34
7
7
10
34
64
34
Thick
27
16
34
,The
The steps of the
ray,
The chord
sai
Safatefe
Scale of English vowels
of pitch, The standard
,
,
69
48
Tafatesa
Resonances, The
Response, The
...
48
97, 155
34, 103
Taatai
Taata-ing
in tune
Taatai taa
Taataitee
Taatefe
Table of English articulations
Replicates, Octaves or
Resolution, Chromatic
Rounds
AdjacenUkeys
aj. 4 *
20
3
88
*#*... 50*
..
49
50
..
51
..
Missed
..
53
Modulators to illustrate 50, 51
Notation of
61
of one remove, Exercises in 52
Passing
53
Perception of
49
Returning
51
51
123, 124
117, 118
Signature of
Three removes
Two removes
Triain
Trill,
69
The shake or
The
Trilled Ri,
Tritone
...
Time
Repeated tones
Returning transition
Rhythm... ...
Root, Omission and doubling
97
28
100
The
Swell,
107
153
or
thick
PAGE
Transition, Introductory lesson
, Melodic tendency to
...
, Mental effects of
28
effect
Mechanism and
the
:
110
108
105
155
60
48
20
8
29, 69
Tuning exercises
Turn, The
Two
...
3, 8, 15,
Tune-laaing
Tunes, Pitching
part singing
pulse measure
quarters and a half
removes
117
166
8
34
117
14
108
151
107
Classification
29
of
29
Delivery of the
95
Downward cultivation of ... 155
Examination of
81, 108
'
,
,
,
,
,
Compass
modulator
... 106
Quality of
1
training ...
1, 2, 14, 45, 81, 150
training exercises
151, 153
Strength of
153
Voluntaries, Laa
37
, Modulator
42
Vowels
136
Exercises
137, 142
Fitth group, UO, O
141
First group.
137
Fourth group, U, A, E, I ... 139
Mechanism of the
136
Scale of English
136
Second group, AU, OA, OO 138
Third group, AI, EE
139
,
AA
,0istailfi-en*veiS
,
Extended
r-s-, .Importance,
."..*
'130
53
o anodulator*
jtoac^g^qj;..;....:,,.
sss
Waving
forestrokes
135
12
12, 24, 77
320
PAGB.
KO.
22
78
hale old man
31
99 All the springing flowers
172 Amen. A Wreck tsberger ......... 72
39
114 Amen. Maimer
82
178 And I heard
NO.
247 Goodnight
143 Great is the
41
91
The
47
39
56
The
The
79 Daisy, The
137 Dangers do not dare me
193 Destruction of Sennacherib.The
101
Doh, ray,
me
121
57
173 Cuckoo,
PAGE.
Lord
away
90
128
23
54
72
58
40
The
92
23
54
91
32
91
71
40
56
40
72
82
47
120
71
31
)0
.
23
54
47
S3
52
112
31
124
88
92
22
93
17
125
122
Ill
32
17
73
17
NO.
126
PAGE
able
47
65
175
66
115
253
69
252
190
97
Scotland
's
124
37
53
112
38
burning
16
75
16
39
126
sea for me
Sing it over
Skylark. The
Sound the loud timbrel
Sow in the mora thy seed
Stars are given us
The
Summer
Sun
is
17
125
gone
89
30
my soul
of
Whatisthemeaningof theSong? 58
When
Where do the
Fairies dwell
...
22
41
32
of
At first
Hope
the mountain
Away to
Bon
264
rill
2(59
278
257
the forest
If I
Chants
Chants
__
216
216
Jackson's Evening Hymn
209
229
Lo*d,uttiii ^hasThymerey's
240; "JiOid tets^iin>itid *
261
Spring,
218
Spring life
Stout-limb'd oak, The
Sunshine after rain
249
309
250
220
25*1*
217
218
Going home
May is coming
May-time, The
Mpfnija^Erayfe*
Amen
Harvest home
~
Q 15
221
'..'.y..,\
_* .295
SilX
!...'
M"usiintneTialleyi.i.
Mfr
Nearer,
wings
my
God, to Thee
*
242* Nigh* around
255
233 tO flniSuot tue.wcMd;
215
O the joy of spring
3?
250
ttW
301
273
Call,
PAGE
230
The
Rise,
225.
my spirit owns
Hallelujah,
little
Quail
212
290
228
228
518
227
accord
Father,
Saviour, breathe
Shepherd's lament, The
249
307
304
266
219
293
260
214
210
209
245
Theme sublime
Thou shalt show me
Time for joy, The
282
223
231
Waits, The
We fly by night
Where the gay dreams
224
236
The
Sweetest, fairest
Sweet summer-time
281
Woods, The
287
Te
297
spotted snakes
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