use

(Shaped Not* Edition)

il

l5l5l h

iI

IdI

EDUCATIONAL VOCAL STUDIES

A

Method of Elementary

Sight-SingingGraded Exercises,
Songs, Rudiments,

etc.

BY

JOHN

D.

BRUNK

Musical Editor "Church and Sunday-School Hymnal."

Professor of Music, Goshen College.

PRICE:
Single Copy, prepaid

Per Dozen, not prepaid

.35

3.00

20.00

Per Hundred, not prepaid

Published by

MENNONITE PUBLISHING HOUSE

SCOTTDALE,
[Bill

T lfDllDllI

PA.

COPYRIGHT.

1912,

MENNONITE PUBLISHING HOUSE,

SCOTTDALE, PA.

(if)

PREFACE.
This volume

is

an

student of vocal music to

effort to help the

a correct understanding of the principles of Music from the very

It attempts to impart to him an adequate method of
beginning.
Tone-thinking from which he may become a proficient reader.

Thoroughness

is its

The

aim.

large group of exercises

numerous

repetitions.

To

habits that are worth while

is

indica-

not formed except by

supply sufficient materials for fixing

tive of the author's conviction that a habit

is

is

the purpose of Part One,

Only such songs as will make a real contribution to the student have been included; 'no effort having been made to find the
new song but the helpful one.

The

author wishes to gratefully acknowledge credit to the

The Publishing Committee of the Mennonite Publishing House for encouraging the preparation of this work and for
many helpful suggestions; Oliver Ditson Company, Boston, for
the use of the Dictionary; Ginn and Company, Boston, for songs
used from "New Educational Music Course"; Silver, Burdett and
Company, Boston, for songs used from "Modern Music Course".
Gratitude is also hereby expressed to personal friends who as
individuals have allowed the use of their songs and to all those
who have promoted the work by encouraging words, helpful
efforts, or sympathetic support.
following:

It is

with a sincere desire that this

little

able assistance to every earnest student,

author sends

it

book may be

who pursues

it,

of valu-

that the

forth.

JOHN
Goshen, Indiana.
April, 19 1 2.

(iii)

D.

BRUNK.

Digitized by the Internet Archive

in

2012 with funding from

University of North Carolina at Chapel

Hil

http://www.archive.org/details/educationalvocalOObrun

INTRODUCTION.
Good

of the attainments of earth perpetuated

not be an allowable incentive toward the
accomplishment of singing well the 'songs of Zion" here for the
prospect it gives of singing perfectly the 'song of Moses and the
in

heaven.

singing

is

May

it

one

'

'

Lamb" yonder?
In this age when light, sensational, spectacular, demoralizing,
not sacrilegious music is the practice, expectation, the "satisfying portion" (?) of so many, it is especially needful that more than
ordinary attention be given to the study, practice and cultivation
of one of the richest of the divine endowments of man the gift of
song.
Moreover, there is a special demand for the promulgation
of good vocal music, seeing that musical instruments are not only
supplementing it, but virtually threatening to supplant the Creator's
The only way
highest mechanism of music the human voice.
to maintain the true charm of the human voice, attuned to melody
and expression, in our homes, in social life, in our educational
institutions, and in our churches and missions, is to wisely encourage, carefully guard, intelligently foster and heartily support
every rightful move made in the direction of the advancement of
if

good

singing.

The Mennonite

people are distinguished as a singing people.

The love of song and the practice of congregational singing in
their religious service as well as the use of this unifying agency in
their social and family circles is a bright thread interwoven in the
fabric of their history from the time of their early life in the mountains and valleys of Switzerland and other European countries
(v)

'

down

to the present day,

and there

is

and a lingering

a fond hope

desire in the hearts of the present generation that this heritage

may

be continued; but it is apparent that more than ordinary

effort will be required to maintain and perpetuate this admirable
characteristic.

There

is

demand

for a

music book that

is

in its

character

educational, practical, comprehensive, clean, consistent, that will

inspire beautiful devotional singing, and that will also serve as a
text-book for the pupil in the study of vocal music and the development of his musical talents. In preparing this work the
author aimed to place into the hands of the pupil such material as
will help him to secure true tone-perception, to gain correct toneproduction, to cultivate an appreciation of proper tone-relationship
and to lead him to recognize the highest ideals in vocal music and

him

in attaining to such a standard of efficiency in the use

musical powers as to make his life of the best service
possible in the field of sacred song.

assist
of

his

EDUCATIONAL VOCAL STUDIES

especially arranged for the fundamental

has been written and

work

of good, clean, de-

and general singing, and it bears the distinction of being

the first work of its kind published by the sanction of the Publishing Committee of the Church.
It is intended to be used as a textbook and music reader in our educational institutions, church
singings, and in general singing-classes.
votional,

My

this little volume is that it may prove

good singing, enlarge the capacity for

wish and prayer for

to be a real help to inspire

service in song

and

to lead

"sweet singer of Israel"

mouth."

said,

men

to

glorify

"His praise

Him

of

whom

shall

be continually

D. H.

BENDER.

my

Hesston, Kansas.

January

13th,

191

2.

(vi)

the
in

CONTENTS.
Page

Part One

167

Consists of Exercises in three grades, from the

very simplest for the beginner to advanced ones.
Each grade is prefaced by a table of contents
See Index.
giving the order of the materials.

Part

Two

68113

Songs, usually in four parts, graded from very

easy to difficult. Songs are classified according
to key.

114 137

Part Three
explanation of the Rudiments of Music.
A
This part is in twelve Sections, each section
treating one subject, part of a subject, or a
group of small subjects. The Contents page at
the beginning of this part will come well.
See
Index.
full

Part Four
138
This Voice Culture Department has two kinds of
instruction.
One is an explanation of the use of
the voice,

and the other

which

be useful

will

in

consists

of

142

exercises

gaining control of the

voice.

Part Five

143

152

dictionary of the musical terms which occur

more frequently in vocal music.

Index

153

(vii)

Contents of Grade

Simple one-part exercises without skips,

Rhythmical exercises

in

I.

a to 3 c.

double measure after

2 d.

Exercises with easy skips, 3 d to 12 d.

Rhythmical exercises
Exercises in

Key

of

in triple

Clef begin, 9

introduced, 10

measure

after 5 d.

a.

a.

Rhythmical exercises with

rests after 11

Exercises with wide skips,

11, 13, 15,

Key

of

introduced, 14

a.

(viii)

f.

and

16,

PART ONE
GRADED

STUDIES.

Grade
References are

made

to

I.

Rudimentary Statements by Section.

Note. These exercises are for the study of tone-production and tone-relationship.
them carefully with Iyoo, or IyO, or Lah to each tone. Change the vowel fre-

Practice
quently.

Others

may be used

occasionally.

Do

not over use or abuse the syllable names.

Exercises under the same numeral are alike in subject matter.

{Sec. Seven.)

1 a.

3r^l LJ
J

~
*

^^^J-^^-LJ-^bPU

J.

1c.

1 b.

J-*3

2 b.

a,

I
l

J
*

_i

*J

--

(Sec.

-A

-t

2d.

"

PP^

4 *

12

Three.)

c.

^m
2
4

J-

0.0

2
4 *

4:

I
I

(1)

*J

'

EDUCATIONAL VOCAL STUDIES.

3 b.

3 a.

-jh%

-&4

L_ -\

si

'

-*

U=y

y=J

3s:

-s>

^ ^

*-

1233

34321

r^>-+
x

3 ^

-J

1* L

'

-3

S^

b.

V -

'

la.

ME

*"

L-W

sr

Se.

zk

sr

\=a

1
[

3d.

1T

c.

h L|

*-)

3
-0

-S>

T
i_|

Sb

Sb)

4(1.

jj

4e.

I
-*

4z

*-

-* Sr

5 a.

12

*-

1).

!* tZt*ZZ

4z

TTL *

5C.

1&=*

i ^r

-4--*

5d.

4z

8
4

tqt

Three.)

(S>r.

3
I

^p

^T

ill

\a

ill
4 \4

I'll
4

8
,4*
I

II

3
4

rJ

00000000
I

|ll
\4

4 \e>

\aJ
I

<

GRADE

I.
,

a.

r\

-tH*
-An*

1
j

J-

-i- -4-

*
-

b.

AV

'"i
r

i
1

im
\-\) 4-1

'J

-a-

6
n

yi

f?T\

>

"j

c.

J
^

a
9

A
4-

cs

J
T

J
H

-^

-A-

A
^

^j.

j
1

^J.

A.

J
^

r^

J
^

X'\)

J
^

J
*

J
^

-4

"*

-&.'

6d.

1
V '?

jfL

U
-J
u:3

&

*
3

L J.!

_S4 -J
44^

-0

J
&

-J

-<

El

Vlozart.

1
|

f?H
1MJ

J d

6e.
\J

L-e^
1

^u

LJ

"4

1
4-

^..

_i_

ta

"*

/.

rt>
Vy

|
1

"i

/5

-m

0 --^
-5

-l

-1

^~- _u_;

i
(L

-e
&
l

-^

;
1

i
1

L^i

oi

l^

1-

7 a.
r\

/$s

v-

I'd
i

o
^

ri

1
i

*>

|
4-

VJ

^J.

^
1

"

J
^

o
5

V
J5

rh
vm;
j

|i

J
a

m
r
l-

~~V

17

-J
....

i)

-jSsH

EDUCATIONAL VOCAL STUDIES.

7 b.

JJ2

I
,

h^=M

'd

7 c.

^y=iii^s

T^^j^
J

4
4:

z>

1a^

4:

^S
J

|H

=b=5t

JL

.J

.J

^^U4-|U44

c*-

8 a.

4z

&

fil

4
4

ff

4
4

j J

Three.)

(S)?c.

=J=t

A"

-ei

#l

-W

th

^
T&-

GRADE

I.

8 b.

rD~A
A "+
\<x\
xAJ

1
1
i

'*

A
*

-A

1~~

J
^

wj

-J-

a
*

-J-

^T
3

8c.

+^-^
9

(5i?. 5"?.*"

a.
1

1*"

-^4

r
9

r'^-

LJ

=f=
F7

r~f~"F

r~r

p-

zi

<>

b.

fe^

=
1

=p:

^=ps:

~p

i*

'

i
1

'

9c.

3i#
^t

iii
w

1
d
*

-p

sa= H
m
C\
*)
-^

-r:

r^-^-i

a</ Seven.)

^^

^~^-

fc

gl

ir

'"^
1

^=^

-jt-

EDUCATIONAL VOCAL STUDIES.

9(1.

^m

tL.

7t

9e.

-^^-9
-^

j_

-Ctf

-1

fc
j

1
A

1_J

(2

Ea
i

Ti

Climbed up

10

a.

iw

(Sec.

4-

10

0-

0-

-w

w
tf-

down When storm and wind swept out

town,

the

*-

gain in wreaths of white

To homes

in cloud-land blue

and bright.

Nine.)

23

4567

5432

76

Z-l

-al
_2:

*
I

h-

10

=*:

b.

P
|

3:

k
"I

L_J

Raindrops.

M-

-*

di

Ex.)

Rain-drops small that pat-tered

J- f1_|

The

zJ

0-

{See pronunciation under Voice

-*

-1

LJ

c.
-I

^tz^:

h-

4=^

::

Al

8 ^

GRADE
10

fti
V.U

I.

d.

I*
IS
r~

rrl
J\ b
1

;
i

*9

'

nA

-i

^*-

p
v

>

11a.

Sl*

3t=L5

lib.

O
z pA

t""\*

1.,

&

-^ b1/4.

PH

-*^Vj

lie.

Rbi

1-

-*V

Pb

-r

&J

^ f rw-

-RfB

r7

"I

a_

_JB

A *

r~i

^- -p
J

'

* m

--i
A

1
1

.0

lid.

* ).,

h
A
L'4-

P\
-^)'lb

A
,

\
|

~I

&

J
8

L_|

'

&

cJ

1
i

EDUCATIONAL VOCAL STUDIES.

lie.

-J?-K2

ffl

*^

1
1

1,

f^-A

{Sec.

One.)

i
5

U
00

s.

s.

a.

v.

' *

r~^

&

JJ

iii&
00
\

f^
p

&*
I

--

^-J
!

-2

N.

4 \4

LX

b.

1^

^4-4-1

j
4

4 \4

J-d

In.
$

-Jh

h
1

*^

J J
1

&

e
I

12

n
tJ

aJ

III

'v.'
!

'

&

00-

b
gr4J

12

)*

Jp

ill

3.1

f^
p

=-i

'

ill

"

1*

f *-^J
1

(-

^1
JJ&

f-

i-t^.-.

Jd

<

f.

M^
K^^

J
*

J
1

'

L^J

-j

k-,-^

gr

J
V

-gjrSJ

M M
<

^_^J

'

J-

*_ 4

* a -4-^

N*

GRADE
12

c.

pg^^
-^

-A_kl

12

I.

^^
t

-*~^~f
*_}_

J
i*

A-

-W

"r

f~r~- 4
_|

'

i*

rP^

j
|

"i

" t-^g j- t

p
f

r-P

d.

-p
hot?
f
f
KSr^f

S
13

If

e_.

i=u
B

n*

-i

*- s

,_j

(Divide class into two sections.)

a.

Section

Section

I.

=3*

II.

II.

I.

JL3U

id=FJ

f*-

ii.

ii.

L&iixin
13

(Section

b.

I.

i^
13

rar 4

Eft
=F

-j-

II.

fefe^==

Li

F^E

II.

-p

=b=H

^^
r=J=4=

sings others.)

351

fep*=s

c.

&

sings notes with stems up, Section

<>

fa=F =P

I.

h^H

A-

S
*

nl- =J==i

Fine.

>. C.

EDUCATIONAL VOCAL STUDIES.

10

/2

13

d.

If 4J /
i3

f
h~

?;

h
P

*~
[-li

'

il

-f-M

1-f

H
~^~
H

jh^
1

r_

i-

[-

g^
13e.

St
mS^

i*

i*~

<^

^=~

i=

r
Newton

Ferns.
Samuel Smith.

Richard Mant.

h4
V
'l

uv\
VvJ

4-

w'

IIP

'

i
1

1
i

'

God, tny King, Thy might con-fess -ing, Ev - er will

I praise Thy name;
All Thy works, O Lord, shall bless Thee; Thee shall all Thy saints a - dore;

1.
2.

"

Day by day Thy throne ad-dress-ing, Still will I Thy praise pro-claim.
King su-preme shall they con - fess Thee, And pro-claim Thy sov'reign pow'r.
14

^+t4
1

a.

4- "

-xS)
V/

=t

-4Mf
fe
l_S^

-g-

\-

~i

1
1

4->

*!

^_^

J-

*
1

-
1

=st= -d

*-

p-

h*

^
=

&~

J
4 9=

h_^

44-4 --^

Oh

^
w
H--r4^=4^=4=

jT

b.

n ^
<L*

z=

14

h-

-*-J- -J^_.

Vffo
^) |i

-J
~

>_
4-=t=

-I

ill
*!=-*-

l_|

0^

It

-P
II-f-

^_
i

#-r &
^

+
i

i-

ri

GRADE
14

c.

3E

"J41UJJ

1
'

14

11

I.

1.1

' 4-

.ihhh-t

'

V
l.

^S

*-

'

d.

tt

at=3t

15a.

-^ttir

p:|

"

#^

N*b^

(
i

15

b.

-9*1

^^
r

mp

*h"rtr

4-^

15

ggf^

c.

^^

1-

-U

4-f

^r^

If

-1

'

^
^^

-j*

1-

EDUCATIONAL VOCAL STUDIES.

12

15d.

Franc (1543).

Choral.

HZ

agg

P* -^P- E
1

-A-

nite
PIE^
16

=:

3=3-

ts>

F-

a.

P-

=?

5=c

jpft

2
r
-

uU

^A-

16

fcl
^^

h^^

3h

Choral.

Franc.

e.

u
r

P^=P

1*

-:

b.

m\fc=zzrFF=
a |

-z?-

A
r

tt

ft

VJJ

16
n

rffh

ft

c.

-#ft-a^^
-/k V F
1

hfi
-*-

tI

r
J*

r-

r if
r
,U_Ll^l_J
i

li

r
1

r
!

r 1.

-f

Mr
j-4,

&-*

J
*

^
i

GRADE

13

I.

Thanksgiving Song.
Mary Vaughan.

Mrs. H. H. A. Beach.

Moderate.

,
i

=t
The

ap - pies have been gath

Thanks-giv - ing day is
com

1.

2.

r_jLj

rud - dy heaps,
ered and piled in
ing, the glad Thanks-giv-ing day!

And

We

S S

F#t
a - mong the
count the nights and

down

J
r

brought the gloss

sing

mer

ry

grass

morn

es

the

ings that

pur
slow

pie

as

ly

pass

ter

sleeps.

We've

way.

We'll

p^^Frr^^rr^ri
chest

roun-del

nuts from
-

ay when

hill-sides
it

at

far

and

near,

And

last

is

here,

When

53?
soon
will
be
it
har - vests all are

com

ing,

the

glad

gath

ered,

and

win

day
-

ter

the

year!

days are

near.

of

Contents of Grade

Two-part singing, 17 a

to

II.

8 c.

Intermediate tones introduced, 19 a and 26

a.

Rhythmical exercises introducing the divided beat, 20

Key

of

BP

Key

of

Key

of

D
E

The

triplet introduced, 27 a.

The

quarter-beat introduced, 29 a.

introduced, 22

introduced, 23
p.

a.

a.

a.

introduced, 25

a.

Exercises in the minor mode, 31a.

Key

of c introduced,

Key

of b introduced, 31 e.

Chord

spelling for voice blending, 32 a.

Three- part singing,

Exercises in

Key

of

31a.

Difficult

32at033d.

clef begin, 33 a.

introduced, 34

a.

rhythmical exercise in two parts introduced, 36

Staccato introduced, 37

a.

Compound double measure

introduced, 38

Difficult intervals, 41 a to 41 b.

(14)

a.

a.

Grade
References are

17

K^
.4:

made

j^

^)*

Rudimentary Statements by Section.

to

^^m
P

A
l

i*

II.

a.

334^
F

V-

&

F-

H=
A

1*

i*

i*i
l

"t
-4-

r*

"

"H^

r~t
U
-1

f
p

17 b.

K-

f=F

<

^Ed

Pi
17

u
I

_l

=f

rf-H-^

c.

*^

gtj j

~F

_A1_

f=f=

^rr=

fe^
J
g

(15)

EDUCATIONAL VOCAL STUDIES

16

17 d.
n

Vi i'

/"L

ftn

'4-

V-l*

-1

o>

%J

'

q
r\*
),

A
"4-

J
#

ri

J
*

'

'

I*

1^^

s
4^F-

-A

9yr^r

J
^-^
H<^
g^
V

-I

""~

^:
=^4L

-f

i->

J
*

1
1

i
1

zk

^ =

d
*

'

'

*
P

1*

l"
f-

17e.

t)A
n^
V tf-4

^K=*

>
1

11

R:iU
r
4
d:

-j

*"~

-*

f
p

'

f-

f
p

'

>

'
1

f f

f1

#
l_l

f-

'

J
1

^1

=j=~f
L_|
.

r
1

ntt
#5

(fo

'

C|^
II

>* #

LJ

A
1

A
[

+^
1

A
.

*
h

m
f"
U

J
[

1
1

'

'

GRADE
1

17

II.

7 f

-3=
d

f#FJa-

^Vf

r~

d=4-

a.

&E*

t*

4-

^=R

=1=

-+-

18

A #

'^

iJ=t

>

4=

-J

^E^

33-

&

=i=3t

h^
rr m=F

'

18

rJ

sK
b-

?*F

J-^

e*

hf

i
l

f f

18

"

r~*

f
r

-I

9_

K-

r f

'

'~F|

r-j

f
'

'

J*

nf^~f~T

9y=

c.

FW^
.

-i^h^^F ^ F#~n
rr

J
'

nr

/I

f9
M-4

fri

b.

-^

'

F
r f

-F

1*

"J

r-**

r~n

rrT
1

'

EDUCATIONAL VOCAL STUDIES.

18

19

a.

(J 4)

=^
j

19

b.

^^

{Sec. Eight.)

*=

1*

s
-^4^-^

PL

-J

19c

it=*

\V^AK

\ls1X

-1

"

IF

zzst

($4, #2)

^=

ft

i[H

'

*J

'

^s

#
19

(#4)

-*\5-

1 1

-*-

(#4,jj2,#lj5)

d.

Andante.

S g ^ SP 7II
2

Pfflt

19

HE

ii

'

e.

f
1

TO3! rr as
P

5*-

i5>-

.h.

itf

(#4, #2, #1)

-

gjy

rfr

u=f

>

*-

ftj

-e

*-

>

*-


GRADE
19

f.

19

II.

(#4,tf2,jtl,#5)
-fl*-

^
ag-

^zznp

19

im
V
1

g-

(j(6)

f*

*T

-4-

'

"A

Tkl

l5

1
I

1
1

3ZZa

i3;

z^
Emerson

frg-_

The

S
-^

45:

J
&-

by

are

two days

^^
20

will at-tend

my

prop

J.

row

my

>

fr

books

Nature shall mind her own af-

J>J>|J

fairs;

-=*

2ft
a-=-

In

cares,

er

JJ

II

j>j>|j

or

rain,

sun,

or frost.

b.

JU

J>J>|J

J>J>|J

||

d.

J>J>[J

J>J>|J

f.
i

miji

J> J> J> J>-

j>j>i-j

a-

&

20

{7">j>j j>>u
20

b
put

c.

fj

4i

lost:

a.

U
20

Shall sor

J>j>|j
20

ggd

way? There

^i

-P-

St

J-

4r=r^=%

=i-

has spoiled the farmer's day!

rain

^ *

||

'j>j>jj>jj>u

'

EDUCATIONAL VOCAL STUDIES.

20

21a.

^^

U-J-^gz^3^

^^#^feUJ
-1

r#L
/h

i
r

LM
icTi

h-f* ^
*

p*

L_ -4
i

-]

-i

i
i

<y

r^-ri

-*

21b.
-V

A
irlr
>^
k

">-A

~^2l1
^^
i

iV

-F-

=tt=p:

-f
J

n-h- -f
^_rl

U-fcn

-&-

1-1*

P-

ip

I*

gy

fst;

r>

^&-t\_

--J>
^~^

1=3=

fee

J
A

.
'
y

m
p

rrv\

iLii.

^t
^=^
^

I
1

*-LJ

Li

iO

^)=p=^

'1

*V
y_

r^i
^^

yihh
RH?vh

-*- -p

>b

4l

W-

~m

1-

-i-

=t n-

-A- -v-

==

-*-

ftl/

T=
H

^m

irf

$=?

u
- -v- -aU

J? J?

B~l

*-

^^4^^fal

^^^-^4^^^>
a.

<*!

feRFfPR

-*-s-d

22

p r

r-jk

N
y
a F
b

i
i

fcii-

f"-

21c.

6
^J
^K i

1=?=

#3
b

f-k
b^i- H

-1

i-

-^1 -

-i

-1

r^ - -*"P
-sV

1=

-j --4-aJ-

\~

-*-

--

1-

^^

\ ~~*

"

>-*.

n-- =i

GRADE
22
,

21

II.

b.
i

(u)

f
!

~P~tt/\

-.

111

-P

-P

-P

/L b

-P-#AP- --

*~#J
tr

^WPrf=
v H-

^~~

-jfij

i-

-r

J4-

tip

ffffl *H
i

i_
I

1*

ftP-

*-

rA

'J

II

ii

i*L

-f d-r-j

pj

l-

"

-p
3=tF=p= 1

ilr

23

T^
4

A-

l>

-ft

-*

ft

-A

-2=P=t==P

F**

S=^=ft=
^=P=

=i=1=t=h=^=^*

=^
i

b.

^g
^^

-1*

jh

1-

^
-?.

-P

#-

>

H-d-j

a.

9a

23

c.

'

^A

$$

h-

-4-0

*.

11

'(

>

<5>

M*- -J--

'1

22

-.

-.

'1

JM-fzr

T~

v h-

^V"
b4H?HlR
^,^4

P A

|P*

EDUCATIONAL VOCAL STUDIES.

22

23

c.

Sffi
i^3

is

24

P^F

^?

"

';>^j

zg

r-

^^ f

fig==

=pE

f-

zest

' d

351

241).

i-

a.

p-r
IE*

*-

-^

@s

-1

24

[S

g\

c.

:feh-

*3

^
5ft

-*

^E

T^Jr

^=^

BEE

p-

I*

&

=$=

45=3:

&
D

$=*
"

A
'

l>

*F
GRADE
24

Andante.

d.

23

{Sec. Three.)

fc-id*
=N=S^

'

^L

jfc-P-

9=
-9

-fc,
K-

-fe-E-b-iS

r
words

l>

the

a.

in\
vJJ

ibfat
p

-1

25

^- -*-

d
'"^j

1-

1
1

\-

-*-

^ -4

-4
1

F-

ll

4-

F-^-i^

L -f-f-f-

!
1

'

11

-H- -1

u-^j

c.

p^^

==

-+-

b -J*

fruits.

i *L-J

-4

1
=t
-W--A- -d- -ft- -or ft^ -3- -ftL-1

l>

Kind

roots,

P
the

are

-ftr-

=^==^A_~P

#^-

N-ir
P

p
the

are

deeds

A_

-p

1_|

b.

P
den, Kind tho'ts

^=fc 4

fr-fr

J r
-j

4^i

-^

PL

soms, Kind

25

bios

nh^
>l w
b "

IE

ll M

-ft- -fv- -frL

p
are

-ihjkb 2
(qr 4^j
^.

gar

h"

-h

ill

Kind hearts are the

25

-rr

==
-t-^-

=15=

>^

II.

Sfr SlsSEiS*=^te==grig==fr
%&=$&=$
-fr=sV
4^ *

l7

^*V-

4-r-r-i

J
'

FP

=^==^
j

*'

~t

j
*

F-

J-^

A
'

EDUCATIONAL VOCAL STUDIES.

24

25
C\'
*
).,

d.

Q
>

K
P

1*

b
" h/1
P4-

/\

/\

-.

^t

e.

o
z

\i

'1
b
k
1/
P4-

mp

J
1

'

-I*

A-

-(=?

/T\

C\'

).,

i
'

^*

giife^
25

L|

'

/rs

!*

I
1

/TS

f\*
*

l-i

)*|

b
u K
(7

25

^~

-J

^^o;
r

^-

-B-

-J

-B-

l_ A
r

1
l

\ J

g&
*

26

a.

k.
e

_=

^**.5

4=i

26

1
i

&-

:=

*
]

#~ _j

Ai

1 1

UJ
y

-w

a=^^

1
1

!
1

c.
I

=t
_po
d #i

H
j

(*-

(*-r*

r-flrfr

26

/x

^^_

*_J

L--J-

Lentp.

/(

26

=E

-A-4
I ttzzl

b.

r#r^-T
A. b k^
fT\ y P

-1

=j*=j

P?

-P-

f.

/ L 17

/T\
1*

=K

d.

4
r

'F *

'i

r^F

GRADE

25

II.

Good- Morning, Merry Sunshine.

Anonymous.

Margaret Ruthven Lang.

Allegro.

^==3

p
mer

Good-morn-ing,
nev - er
I

2.

ry

sun

to

sleep,

go

How

shine,

dear,

:Til2:

S
soon?

.._.

You've scared the

.A

see-.

"My

lit

lit

tie

ehil

tie

so
to

^i

-a

stars

dren

you wake
go round

did
just

the

of

way

And

East,

Who

-B*

way_ the
and watch for

shined ~ja
rise

_-_

Be

night

And

bees

fore

-a

back

my
my

ceased

on

you
ken

go

to

sleep

last

all

the

birds

and

see

to

play,

How

did

you

way,

And

now

come

it

]=i:
gh

tm

ver

there,

And

pray,

where

did

the

child

Who

stayed

out

late

you

stay?

to

play,

(Three notes in the time of two of same kind form a Triplet

a.

r>t>M

r>

o r>i
& &

&

l>.

III

27

c.

j i

mm\
sal

J5.J) J)

WiJ Q
*
i:j

wa

ers

'way

get

27

saw

flow

:'ii:

me.

gg^i^gi

S^:

27

moom

\?n.

\4$-Pi--4

j
i

jwj^i
:<

j
i

u.

wmi
a

EDUCATIONAL VOCAL STUDIES.

26

28

a.

Sfei
EfcJEJ

-^

*
f\*

1*

J't
-^
b L
1/
[J

3^3

A-

:p=p:

fck

L)

tr

"*"

~^

{3
1*

^=P=

k.

28

^H
-*

aj

A,

-4

>-

A_^

p=pq

__!

M^

PL_^

Jl

g P

j'

J'

Jij-^H
-3^
"

Aj

'

.''r^
3-7

*
H

|)

m
9

m
9

9_

Jt-frf>

I,

B
g

^r^tM^r-H?
=^ u
y V

Aj

-w

$=P=

f:

3=

-N

-h-fr-

fr-fr-t

e.

2i^2rV^771
L=d

IEEE

F
P

d.

Eg^g

28

-A

28

T^ A
3L_ij

S
iyp

28

3^

'

b.

fc3

is

!'

rt>

1
I

JMZ
JiL/

\>-

*
i

3=Jqc

j^p^u ^

m:

fcE

\-A

k=A

Fi

rP

^^:

GRADE
28

27

II.

f.

P|

^^-7

ISfefesI
=ft^

TTT-*

-*--

fc~

W k

!k

fc

^t^*

Eri
ne.
Kathryn Yoder.

Phoebe Cary.

CZ^fc

*==

ft#^===^
bk
One

ft

sweet

b
W

near

er

emn

my

Near-er

me

to

day Than I've

ev

5=

and

been

be

I'm

o'er;

man

the

fore.

Near-

^~

y man-sions

H=T=3

Near-er

throne,

V=

-i

the great white

it
*-

Where

er

-fr-

-*

Fath-er's house,

o'er

=
home to

Comes

tho't

-m

g:

er

ft

ly sol

qggj

-f>

&E

p
D

the crys

be;

tal

sea.

Used by permission.

29

4
4

29

4
4

a.

nj

0*0&

J"^ J
0'00

Hi
0'0

nni

&

0'00'0

0-00

ni

0'0

n n n

0'O 0'0 0'0

j
0>0&

c.

9 e

4.

29

b.

29

J
*

nil

e> @

nil

0>

nil
\

ni

0>0

d.

0-

000'

r~

rn

11
\

&

EDUCATIONAL VOCAL STUDIES.

28

29

e.

J^IJ

j2 j4i j

30

-r

J>J)U

j>

ji

-t>-

~^=^

4=

-1

-A

b.

4 iTT v

lr

1
:

J*

j jf

*-i
-V- =2=

=#

MfrrrFrfr

^63 s

ULir
r~^

f-4szz-*^n-F^--

2=2:

^^

i*-^*-

p=*
r

-w

$=3fc

d.

^?.R'-

(~~|
.

ffiBB
^^-J^PP=^^Sgii
P^pg^-^H
9

=6
30

-A

-^ 4

t=tt
* *

m
L

c.

gafeg

Q ;i

r-]

-A

M=
f=^[^j^^
ir
=t= T-

^^n=pV

9*%

p.n\j

j.

=firt

f^ 4,

JV3

i=*z

-A

A-;

30

J* J41 J.

a.

r*

iM-J30

ji

j>

K=^^=^
|B=Er?

J>/3JJ

JlJ*hJ.

, t-p-h

ha

H^
CT=
1

FP^p
^tf^%p

s ^p^E
^F-rr

ft-^i

GRADE
Kate Brown.

29

II.

(Words.)

Andante,

|PSE|EE|

the heart

In

Bur

seed

of

^S

dim.

lit

tie

plant

to

Nine and

This

is

an

a-sleep.

fast

"Wake!"

-P

sun-shine,

Of

said the voice

the rain-drop

bright.

Ten.)

MAJOR SCALE.

1234
re

mi

fa

so

6717654321
la

ti

do

ti

la

so

fa

mi

re

do

MINOR SCALE, HARMONIC FORM.

-b^i

12345
la

ti

do

re

mi

<

&

"

71

fa

si

la

gEfe

7654321
si

fa

mi

re

do

ti

la

MINOR SCALE, MELODIC FORM.

Notice that the ascending and the descending

differ.

^=fc

123456717654321
la

ti

do

re

mi

fi

si

la

"And

&=

illustration, not a singing exercise.

do

3=

"Wake' "said the

^=

the light'"

(6"^.

deep,

so

5^

f
Lay

^=Pcreep

^P=^E

deep,

ied

he

Allegro.

^ =5
^

dear

-k

so

fa

me

re

do

ti

la

11

EDUCATIONAL VOCAL STUDIES.

30

31a.

rf-u>~n
>5- h h
f

irh

4r

^-J

ffi

^P^j

j-J

~$i -'

11

31

-4J

'

do

ti

*L- '^

12
la

l-fl-H?

-J ^
,

'

-1

t^^

'

b.

^-iJ

Jl-J

i^^FR^

Qm-

-*

e-

31c.

^s
f

(y^^
31

-jt*- -

-U0-

.Hi
J^^U-U-^
)

L-

i,J

-P#-

--

d.

gg'

a-

g=l=

as

31

e.
,
l

t^""

*T

J*ftU-'
ft -+

CV~

1
I

;#

>cp

aI

r^

!
I

'

*
i

if

*>-

!
i

*fl

-J

r-

u.

"1
1

GRADE
31

f.

-4

,,!

^=^

-4

31

II.

ftJ =-

-^

"I I =x

f-

j
TH

On A Snowy

Day.

Translated from the German.

Old German.

Moderate,

6*
Fall - ing,
Squir-rels

1.
2.

fall

4
~

33

-h

r>

Fast the snow-flakes

irtg,

From the hol-low

peep-ing

On

fall

trees,

h-

the house-tops, on the seas,

Sa- ble

coat-ed, safe

from harm,

Fire-light play-ing Thro' the co zy room, Makes our books and toys and things
Tho'ts of wand'ring Thro' the wind and snows, Makes our bed so nice and warm,

3.

4.

is

r> h t-ftis

fa

On

the ponds and all the trees, Whirl-ing, whirl-ing Round the steeple tall.
Feel the snug-ger for the storm Sweep-ing, sweep-ing
O - ver lonesome leas.
Dearer when the cold wind sings, Stray-ing, stray-ing Out there in the gloom.
When the chill-y sad-voiced storm, Moaning, moan-ing Past the chimney goes.

From "Modern Music

32

a.

Series."

Silver, Burdett

&

Co.

Spell and pronounce the following chords.

used by Dr. H. R. Palmer.)

(Divide singers into three groups.

This plan of voice blending was

first

Very slow.

>

III

ZZt

32

1).

V ^
o

JL

ItTt
\.\)

4-

a
%

s.

tk

I."

1
1

1
<a

^^

<9

-A-

i
1

i^\'
* 1.

O
z
1

<+

|
<

v
X.

1
|

1
|
|

ffn
v.;
vy

A
r

<s
1

'J

h.

T&-

-A-

]*"

~^r

-A-

c\'
)

'

i*

>>

1
I

.:


32

c.

itA-

*-

*#- 3

-HJ

ll

X>\1

rn

-Ah

rt

j4 :i-

I*

-A

tf

1.

<*

-A-

-A-

-j

-P

<B

*
H
p

^N

-- J -W *

-1
1
1

L_ f
1

M=
is

equal to Do.

a.

^ H
11

f)

J^4

33

J- -- -4a

Do

A
1

J
-i

J
<

a
s

AA

"

(5i?f. 5for.)

83

J J- J

-M
-Ik
rl

4~\-j-jf^-h^14

-i

-Ai-

0~y d0

fi-

,H-*

s^*1

f(A\

EDUCATIONAL VOCAL STUDIES.

32

rir
Ji.

-3

-*^B^-

b.

^=*
1 :2z

zzst

=5

-<5*-

"F^
I

;&

7*"

\--&

T7-

-gr^r

^=F

^
-

^T
.

c.

I4

=M=^
3

:^~: n

38

--j

7~

at

c>
r

>

sz

_^I

---

9
A
1

GRADE
33

if 4

.5=1 rtr a-

33

II.

,
i

'

*-

LJ-J
M*"+

J" fl-f

1*

^-1
J--*h
v
a

-.1

-4-

L-

~i

J*

1 4

'

9 " 4- *

J 4

"

d.

CtiUrf
n

*-=

5!

(^

'

'

frt

I u^

s
r.^

ff

-r
W
a m A*

I*

dti

-P

-A

&-

W1

"^-T*

j^

a.

HM

W-

4:

ntitt
u ik/tr
1

3=
34

A. "
S'

L^_

]a

I*

i*-

4*

'

'

tt
:4:

b.

tt
*

^-"ai

S
^

A
i

|
i

34

P-

L_ 11U_ il

fen

=t
i

25t

1
:

'

.3- ^

Al

EDUCATIONAL VOCAL STUDIES.

34

34

c.

r-^Li

mH
JtJt

Sa*t_

kr

2SE

34(1.

4J
gffg^

tt

1^-

i=rf
g g

sfc

BE

F*35

K *-

>

S i,^2

* i i

-^2.

:3^ffi2^:

ddfc
t

J+

3E

5
<*r-^

a.

9*iHHr*
-

> p-

IS
:

mA- -&

*P-

Hr-W

35

!!

W^^W

-b B h b h-b
-j
^ V

P-

I 9

b.
"

is*

i 7

35

|
|

c.

Fc*^t
fi ,14-

F4-

^=^=3

pk-

=: J

35

(1.

^S

(All voices in perfect unison.)

li

it
fet TJjtf

a
3

"Z
ff

o
z
o

<>
!

^>
1

r*

:.

i*

|
|
1

,<S

za

ai

is:

"2
T*

zj:

GRADE

35

II.

The Wind's Song.

M. A.

Lento.

a.

,
;

Frederick Kiicken.

L. Lane.

=t
Soft blows the
Strong blows the

1.

2.

r-t^f
*

Hark

west

ern wind,

to

the

song

east

ern wind, Strange are

the

tales

he sings,
he brings,

1
1

fn\
vjj

Tell

He

frj
-

fV

13

!1

ing

of

sings

of

things

er

p- -y

'

won-drous things
oth

-A

Far,

far

Far,

far

way,

way,

T7tt

Wide

fields

Ships

pass

Sun - shine on
hill
and plain,
Great white-winged birds that go

rip-'ning grain,

of
-

ing

and

to

fro,

:fcfe

m^
I

=:

Parched lands that

O'er
seas which
Both parts

36

may

3E

thirst

for

rain,

Far,

far

ebb

and

flow,

Far,

far

way.
way.

use the same pitch, or any two that sound well together.

a.

36
2

b.

jJ

00

J>

J>J

i
i

*
1

J
i

pip
36

PI

pr

'

c.

000
000
I

j j j
r

rrr

JiJ>j
r

"w

rr

EDUCATIONAL VOCAL STUDIES.

36

36

d.

j>r
H -

j".

&

I-

36

a e

000

c m

e.

''if
s

*.*. j-Lf- -?

r- .* .-

0-.

J2J}.

36

.w

''5

515.

E'5

f.

0000
0000

0.000

me e

iii

9000

iii

000

r\

r-

999 ^

000

-^

|I

900
09111111"
09000
i

mmm
R

UU
3
i

a.

-p-tr

1'

u^^
m

#H FL P-F3-Fh
I

^s-

:Bf^s
i

9000000000r
>. _
3
3

00 g

ag-g-

000 0000000900

fTtT
1

^
999 >

37

900
0000

F-P-

GRADE
87

37

II.

(Staccato See Dictionary.)

b.

-#-* 4o-^-rJ

ifi

Tf

37

j^^i

az*
g
*=P*

'

I?

e^-4-

3IJ

c.

EB=i
^E

'

tLA
JUW-4

J'

f"

37(1.

ri
A

-#

-*Bh

-P-'-S-

-A-

B-S-

^^

l*~

s*

---a h-r*-

^^==^

p-g#p-

=.'

"W

37

e.

#-

*t -4-

-^-4

-'

fil

_4J

-f

l^_

*-

tj

p^
r

^f

......

'
*

U-

IL

*-

-^=F

-U^-

4
A-

-A

tt

?
1

-*

-J

*-

*-

J
S

a!

38
J.

p*^

38

i
I

p*^

99

n^
liil
i

is

(This exercise

b.
i

99

38

ii.

7ft&)

(S<?r.

a.

111

n~i
9e

"3

11 pp

11

i"'

'

000990
3
3
~

'

pp

n^

\0
I

00000
3
3

\0

like 38 a in effect.)

p*^

liil
i

rr ii
Jill
1

ii
I

h""

,pp r
j j Jjj

r^~i
I

c.

i.|j.

j73ij/j^ij.

j.

ijej.ju jL^imi33Jj.

EDUCATIONAL VOCAL STUDIES.

38

39

a.

t#
ias*

_H

SS_

Iy^_-j.

-*

#^"rr^f
rfc

i
W

<E5

fi

41-

>-

pI

b.

a ->-

>

*=E

?*Eb=
9 r^

39

0,b r
>
q
o

c.

>

~z-

^bn J
n

V
/L

#v

N
V

^.

k.

=:_

"I-

Z~Z

\
i

!
1

r^

Hi-

rf=^
H

-p^

-1

'

a
H

^
a
|

P
'11
a"

"I

a
1/

-9-

9i* 2=r=-y

1*)

tH

ii

# *

'

-fi-h- ? -ri-

*-

S3

ri
p ji
r
pi

p
i

r-

/L h

RttHt-t

A_

-A

Lento.

rS
V

39

^
_J-L
i

1
1

-f^"Hi-

GRADE
39

d.

39

e.

Q, o

/L\i
v

'i

f/V\
V-1J

-4-

A*

O
^

39

bj*

H
i

J
*

B
[

fli

fr

"X

h
21

h
2

L^

1
i

r>

Up then with speed, and work and work,

and work,
Up then with speed,

=^

3=^=*
This

Pg

is

V-f-

ST

%fr

aI

ife3
8

*
j

'

II.

-^)*lbj.

-o

e
w

*>

"1
1

r^-j

Fling ease and

->

self

way:

3^3*
no

for thee to sleep, Up, watch and work, work and pray.
time
This is no time for thee to sleep,

J"

PL

EDUCATIONAL VOCAL STUDIES.

40

40

a.

ura^

iJi

i i i

pjjjjjEE

-*

*-

-*

-*

rzY.

-&

-*

9 4
40

-JP-B

P
-#-

--

1 j

^L-tL_^|_l

L_|

^i
&

zr
-a
+--?

F
F

- 1*

old

-~^

>

'

-i

-.

-= L*

-1

[m
^-^

^J
t J

-E
H

*S>

S>

'

TTO

r
f^-hf-^-fr

=^^

-^-

-d
ts-

gg

g
O

-^-

"^t^r
-^

-nd-

-jzSst-

2 3^

3
d 5ee1

"g

-zsl-

5i

c.

s*

__

-a*-

fl#

i*-m

T7-

LJ

g_JL K _pi_ E
cvol
"7 V f
-^M
1

*ad
F

40

b.

fe^zi^-^-T^-T-d

4C
J

zst

GRADE
40

^:fi

H=

'

41

II.

d.

-ah

r^^

-F-fi-

3E

gtfi:

ft

J+-

*=

40
-Srr+f-

-cd

-f-8f-

f^^^

e.

553
v ^'

j*

-g

P-t*

I.

2
i

&

p-trMr

*p*

ft

=S

40

i*

tt

^=T=p^

4 fr^^
Q *
p=
fl

=*

=sm

f.

L#

at^F
^g
FF
L

-*-

F-

d-

^tffgff 4'
8 4 Q

it

s=T=LMtriF

-=t-p-

3zfe

r
fa*
n ^

4^?jp

iH

-*

h
1

^
^ +
i

si

J
9

-^
1

^
c

i^ *
1

al

'
'

H=
^r
U

c^iL
11

]ir

ft

ft

\r

ftq*
1

F
F

a
F

V*y_l

n
L

F.
1
1

'

1
1

b
=1

"

'

EDUCATIONAL VOCAL STUDIES.

42

40

g.

g
ISt

-g#-

n
"

to n

-a

41

Zct/o.

a.

-,

-*

*e

41

b*

r-v.

*
*

X.

r-d-

i-x-

jN

3^^:

[LA

'

"

WJ ^F*

i
!

>k

* HP

r*

<!*

'

1*

!
i

tfe.

^
i

aJ
-

LS

'

hA

Leo.
V
/L

>

/,

"

"v- '1

111
V
V
>

\
l

-4-

lie*

3^

Trem

.|

Fierce

^T&rR-i
s "5

|S

M-

/i

i
F

fr

urn

"

S)

ht

(Test.)
1*"

fI

rr^

'

b.

-^

=^=F*

i f"
f)

rv

'

J-

i
* 1.

'iJ

J
^

A
H

b^fe

^=fci^
- a^

rs ^y
A
g I ; g
-*
B ; ^

j-fe-

m~i

g
"

=*=*

?5=*

(Test.

il
rh
jy2

1^

r7
/L

5fe-

was

the

wild

bil

bled

the

mar

^*

~9

'-

-+1

low,

Dark

ners,

Per

was

the

night;

il

was

nigh:

a
j

<3

GRADE
Vott
tt^
5

JL

Im
v.;

ff

tt

43

II.

U-

3*
Ttl

1
1

bored heav

Oars

la

Then

said

the

(B

p^
R%
^ 5
p^-a

God

of

Foam

God,

'Peace!

pPP

H_.

~i

iy,

TT

,
i

glim-niered
It

white;

I."

is

&0
^F

*~

Morning Hymn.
Philip Doddridge.

mf

Con

Hiindel.

spirito.

^^

ffli
1.

2.

'Tis

"^

A
wake,
God's

my
all

soul, stretch ev
-

an

mat

ft4
iS

^t

l]

nerve
ing voice

And

press with

That

calls

'ry

vig

or

on

thee from

-^

=3F

g|

EE

t=S=2:
A

on;

high;

'Tis

heav'n
His

ly

race

own hand

de
pre

i
,

mands

thy

zeal,

sents

the

prize

To

1^3:

g^EE
T5^

Ia

i
an

im

mor

thine

as

pir

EE
*l

d.4^

tal

ing

crown,
eye,

A ^

And

an

im

To

thine

as

q^2
J
^

mor
pir

tal

crown.

ing

eye.

A-

XT'

Contents of Grade

Four-part singing, 42 a to 42

Key

of

III.

d.

introduced, 42 b.

Drills in j:empo, 43 a to 43 c.

Rhythmical exercises

Key
Key

of

of

DV

j?

in the

introduced, 45

compound measures, 44

a.

introduced, 46 b.

Exercises with change of measure, 47 a to 48

Key

of

F$

introduced, 48

Double sharp used, 48 d

Double

flat

a.

f.

c.

to 48

used, 49 a.

Exercises with change of key, 51 a to 52

c.

Exercises with change of tempo and expression, 52 b to 52

c.

rhythmical exercises in three-parts introduced, 53

a.

Difficult

Special exercise in dynamics, 54, 58,

and

Exercise in rapid passages, 55 a to 55

Key
Key

of

of

GV

introduced, 55

a.

introduced, 56 b.

(44)

c,

59.
57, 58,

and

59.

Grade
References are

42

made

III.

Rudimentary Statements by Section.

to

a.

^EF^

2:
4_

T~\

Jill
itefeEs
S^
-J-4
!-

-A

-A

A-

B-

-*

A-

^
F=t
g

*1
A-

ri

dr

-*>

-A

3t

'

^^J

I
I

*=E

-gr

A-

42

^m
rr

b.

y.1-2:
^t-A

>

iii

ii'

R rf

'SnftJi

>r*?

EE
r-

HI

A-

-^

=E

Ar
(45)

T7 f^

3t

EDUCATIONAL VOCAL STUDIES.

46

42

c.

.,

J
*

ibi}*

(3)

1
*

jL,

F~~

-#

h-<^<

"

-0

J
i

0 J

tt*-t>

^!
|

k.

"I

k.

!
'
1

-AH

-At-

'

^ 4T

A
1

'

\
1

^-

~a\

-I

f
*
1

'

-&->

R:
S

-A--A-

-sr.

-f-f-f-=r
i

J-1

i J1

42

J- J J-

i ^

-*

r-^'-^M

tt

m-

-0-

-0-

J "J

I-

-0-

*-

&
^

*
*

-*

w'

^~

*-

Sfcfc

**
"

!
'

lcT>
J

+00

g~r~f~i

'

43

-
|

d.

->

Vn^ ^
o
/5
4

'1

l+*

-?

^Xi

'

-1

'

h-

J^ [Il
LA 1J nh

J
-*

-AH -AH

-AJ-

fS2-s

f- H

-i

"s

-A--AH-A-

-AH -A- -AH

[-

ill
w
III
p

cB
>
c
H* r

/K

AAA
'I

-4

1-

-AH -AH -AH

J 000

-AH ^A- -AH

11

IN'

J
-AH

>

A_

<0^f-

^ ndante.

a.

i
1

x
*

i>

j
w

>

^T^

GRADE
Moderate

b.

C\'^ O

oil

=9 1

s
r

bj

-1

J
b

J
a

44
*

44
e
g

44

9i0.

AAA

|i

hNii
mihj 00
>0<
000

m mi
hm
0000000000

b|

mi
000000

hi

b'i
b>
00
00

rn-

44
J

0000m

Uf

hi

mj

0000*

bmij

01 mil 0000
000000

<$?

000000000|0*0*0<

d.
-

19
g

m0* it
0000

mi
(

0*0* 0*

_y

'

11'1

ij

44
,

0*

-J

hirn
000>

0>

ttr

a.

b.

r--

Allegro.

c.

Lff

-d

l
i

<+

-fec-

Q
f >

-k-

^f--"f-^

"*

f>

r\"#

* i.jf

43

47

ill.

%w-rNr-
43

-^

rpi

M ~H
0000

kj

000000000

00 00

TV

bL|
fTI,.|
00 0.000^ 000^
I

b|

0.0.0.

e.

p-T-n

P"Fn!1

p=^=i

im

i-l

mil

h
h
h
00000 00 000000000 00000 00
00 00
I

hi

'

'

44

rr,
h
0000
00000
i

mi

0*

hi

0.

j)ii
00.

,
^'

0*

0*1
i"'

rru

*-

||

12

0*

f.

0*

0*

rn j
0*0000

x
*

i>>

EDUCATIONAL VOCAL STUDIES.

Sleep, Baby, Sleep.

D. B.

J.

Soi,o.

m ga

s
1.

2r
ba

Sleep,

^3

by,

Thy

sleep!

fath

watch - es

er

his

Chords.

-*-

M
i

%fis
Sfi
-$%
A.
rh
V^17

ff

=r
P
1

P
P
Thy moth-er

n^

/I

fl
tt

|*

l?

.*!

is

shak-ing the dream

land

And

tree,

>
1

r-

-1

r
j
w

ttJJ-

ft

sheep;

rh
V.M;

7
1*

'

j.-

tn
1

^,
tN

r\'^
J'rW
"ft

L^

mm
down drops

lit

tie

1PJ-

ir-

J-

dream

on

3
^

thee.

Sleep,

ba

-Z5>-5-

r:

'

r.

by,

sleep.

aI

SB

<g

1*-s-

2 Sleep, baby, sleep! The large stars are the sheep!

The little stars are the lambs, I guess,
And the gentle moon is the shepherdess.
Sleep, baby, sleep!

Our Saviour loves His sheep;

3 Sleep, baby, sleep!

He

is

Who

the

Lamb

of

for our sakes

God on High,
came down

Sleep, baby, sleep!

to die.

by John D. Brunk.

GRADE
45
b

{Sec. Three.

a.

=3=1
J

-*>
"".fed

b
-*-

^-i

45

A-s

-*-i

-i-

0-1

N--*

IM^^
r

te

i=rJ^=^T"~77

4>

*-r

-A"i

aee

*i-

is
fc&
s;

49

III.

iTlLj LLTf

'

-A

33

b.

rrrm

Pf*_ JL

dl

*t-s-

>

V JT^
^=M=r-^

i
y

5: J-

S^E^

95

#?^-1 -F?T^
dp
-m

*-^

oL

*-*

-#-

^^=

Al

Jj

-g-

-H

=f^n

J.

'

^>

F~i

J.
1

J.

J.
=1

J.

=^^

J.

J.

-0

iu

EDUCATIONAL VOCAL STUDIES.

50

At Sunset
John G. Watts.

Frederic Field Bullard.

gmJ^
Adagio.

ra

1.

Soft

2.

Flow 'rs

eve-ning breeze, Thro' the leaf- y

sighs the

ly

that

-P^

-T

when the sun

Ope'd

rose

to

life,

te

=n

Lit

tie

46

birds from rock-ing spray,

lit

tie

bird

at

rest,

soft- ly

close;

3t3=

-^
As

chest-nut trees;

now

Sing their hymns to part - ing day.

Ba - by sleeps on moth-er's breast.

a.

ms^

Sta=e:

fee

T2-

4sL-

Ek

fe

251-

^L

46

te

Eg

P^?

b.

sA
i

I,-^S

F -^-r

is=

-ifctr

a
;

a
i

A
i

aarrfr

f r

7s

A "A

:ssz

GRADE
46

51

III.

c.
I

"boZ
38 r J
^bl

^b*

'

'

%*>

i
'

,
|

h.

r^ 9

r b^-

'
!

be

V U

irr

^>
"-

tv

'

W h

V..F

j]

h*
r>*

^#

46(1.

g * <

pgj

wl-^-u

g=E
<jF-#-s

*
L3Z
~^

3~g

te

TTg: -^
-A-iA-iA-r

The

Swing.
M. White.

Robert Louis Stevenson.

i te^

Allegro.

1.

How

2.

Till

do

you

like

to

go

up

look

down

on

the

gar

S^

Up in
Down on
1

Q,bU

V-'7

the
the

air

so

blue?

roof

so

brown

swing,

so

green,

Up

in

r*

in

den

Oh!

^-V-V
r^

r
h
^

/. ''
b W
(*\
v

5^

do think
the

fly

ant

thing,

est

ing

gain,

Ev
Up

er

in

the

it

the

go

'

'

11

pleas

air

child

can

do.

air

and

down

Refrain.

te

I 55

V-

3=

Up

in

the

and

air

Bfr

ver

the wall,

Till

can

see

it
Riv

wide,

ers

and

E=S

5te
O

ver the

coun-try

and

trees

cat

tie

and

all,

*=ft 2=
side

From "New Educational Music Course." Ginn &

Co.

ver the coun

1
-

try

side.

EDUCATIONAL VOCAL STUDIES.

52

47
3
4

a.

I
I

s e e

47

b.

a \&

47

c.

\ j.

'

\e

II

4.

\a

114

.a

c o

J J J 13 J

.11

J J j

I j.

II
<s>

ill

2
I

47

d.

|! J

114
000l0000
I

48

I
|

||2
I

4.

MG

a.

w^m

K L^

>

r-r

4h

h+
1

J.

wff-^-t

-M-

A-

5^fc
4^-

n5M-

\-0

-N =

-Ah

V-'

-*

g
I

f?

^:
-F L^

-J-

y~i ?

J
p

4T

48

b.

==

^^

=F

^=

# ^E

E4

^=F^==F8=^

-#-

P3

A-

j=ri

^*

-Al-

1=^

^ 3i

GRADE
48

c.

y.ffi

-^4$M
-eh * t
48

IS

{Sec.

d.

?
tim
P

&

^#-

jfeS

j^

(-

r
i

J
*

^^
-1

j
*

Eight.)

-U.

:S=P=

f-

-I

53

III.

-*

A-

it
^~

==p?pEE^

-A-

mm
=tt

48

-4*

*-

-A

_,.

^ttSt 4

r rn~^=g-[^fi^i

at

-i*

e.

Pife
StTT
48

PC

A r-*-n* :xp:

A-

f.

ii4=f:

-#

*k

B5
Si

rcv^

gigfe

=i

^
Al

-^-

83
ism
ff=^4=

v
^x#:

-^
-

^
-(*

*.

=^

EDUCATIONAL VOCAL STUDIES.

54

Love

Summer-Time.

the Cheerful

Allegro moderate

g^=E
m3^
1.

love the cheer-ful

2.

love

3.

4-

MS
^
is
T^
-TTV\j
-.'

sum-mer-time With

love

z
r

lawn be - neath my feet, The

gen - tie murm'ring stream, I
the pearl -y drops of dew That

i**i

^d

re- fresh-ing show'rs.

eve-ning breeze,

my

r
j
v j
^

'

'

*"

P
r^

jE

J ^

a.

^-^

:2e

MU

gpiih

SE

3
^

.tt

^E^^Et^^=fe
49

feet.

81

<f.

o '

spark-le 'neath

r
!

cool,

love the

rn

49

*
i

tr

y
the

\
>i"li

*>

hvr-

grass

h h
*

The

flow'rs,

to

jN

love

and

birds

its

hear the
lit - tie birds That
sing a-mongthe trees,
love the bright and glo-rious sun That gives us light and heat,

fm y

all

*=-

fF

Lento.

b.

JJ ipb 9
/^\ n b U "T
'*+
V >

l?o

(5

<?

|C>

<>

l*

1*

W-*

&)

k* !
UH3

e>
o

1*

9*u^
^ H%4fr

-A-

p
1

1
i

11

f^t=]
Ph-2^

Hi

-7"

-M
i

-| -1

-^

-F

-^>-

1
|

^ tad

B-fc

"5

j^s

-1
I

i__

'
i

-1

-i
i

1
I

-1-

GRADE
49

d-

--

id

f
.

S-JT

0-T1

i i
i

^
sS

y-

b.

-*

zj

'

S=

P w m p

-^hr
is:

-rs^

P W P P p p
f_L~j

+^1

*-

^ * ^

<*~

hj?

*W

IA7

^P
v

Eb

a.

3-

5gi=3t

Ue g d

55

III.

JSt

F^T
Al

Mzi

50

Lento.

c.

EE

50

P P
i

'

'

'

'T P

00

P P

EDUCATIONAL VOCAL STUDIES.

56

50

c.

A* &=P=t

4=

*-

3i

kr

fc

Izfc

-afcr-f

f=^=

f-T

gifet^
39E

EE P5

^a*

*^r

-*-+

~^-

H=g

F M

=
(Words.)

Fielding

^4

&

==^

-=,-

jg

a turn

is

coat, a

fel=^
4

ft

t?

;\
-

a friend,

first

coat,

-9-

and

turn

coat;

First

a friend,

then,

-0-M

^
3=

Al

3=

it

PI

aI

PIP

p
p
and then,
and then,
and then,
and then,
and then,

JLAP
-P"i

=p=

t>

-A

=h

turn

f)

rt

Wine

^p-*

an

GRADE
V

h
*

>
i

/Lr>

i
^

((Vi^

v
*

pe

first

N
^P

J
*

V.M*

en

57

III

N
P
J
+ W

|
1

At

ni)-,

riend and

an

then

en

m\

II
11
II
II

-d-

11

r^

J'i

ff

l.

*>

51

PI

a.

4 ^_- Ld

^
*-

*-

ttZ^
6

I*
1

tt4

"

"

12 17

w"

"d-

51b.

A
m

4r-

Ej

P*

-d

# ^t

t?7

iz^iz

51c.

:b:fa=j=e=^

--:>

3 4

V
-zst-

51

3^

A
1

17

(I.

"
I

-#

|-

FL

e
4

-*

K-

-P-

r
*^

EDUCATIONAL VOCAL STUDIES.

58

51

e.

sS
=4=^

^
2

51

i^^i

fezfa

25t

T*

nfc

fefc

a^f
52

f.

.*

5E

S?

a.

Sie

:fc

!,

|~

'

^t=5t 3tZ

52

3t3C

Allegro.

b.

^HgiLzg

r<

S-,

rf

pr

r*

'

-^

"

'

<qr

r
i

k
^-

ft

-*-i

*"

f^^-ft

=g
n
^
-j

-^

>^-*

v $

t=fe

t^
~

Fine.

>,

^J
0

ITT

-&-&-

-;

S&

Andante
,

"^

-#

^4

^-i

^=b=
1

>

f)

-#-^

M^

(Sec. Five.)
P.

2=^=

s:

+W-

^*

1=^

v*

m v
v ?
1

*
A

z<
1

"

D.

+=f
*

rfn
J"

C.

GRADE
52

J^A

'-vi-H*
P-

'

-A

ir

^=

\>

jHl

9^

_^_

gsjti

'

^=*^a__*

5-P-

nt^fi
ii

#4f-#- -^1 P
P

9^

-F

-J r*

it-

p*J

IS

-?

I^
iX

=t

n
U

-k_fc

aC-^I
-

fetg

i-ii ii'i

A-

A-i

JLA

A_A

3=

2=3=

4J-

=^

"-^

-p

55
B

59

III.

c.

m*
i1 4 gg

j:

JL_1
p

p"

A-s-

-V

^ * a -

H :*=

>

-*~Vk

h
u

^t

--4

*i

j
-=i

^v/

3C3t

*-~

a_

^&

&.

SS

-*

b-

7"

^=^

EDUCATIONAL VOCAL STUDIES.

60

52
ff-2-

Choral.

d.

dz=4: ^
g=ta=g

7>Z

-^

z^:

iS-2

^a.

9*

-^:

B ^

53

a.

(do)

r r

i
."3

:^

2:

n
000

PJ

* * *

LJ

'J'\

b.

Aso) J

gTj

8<(mi)f

r_

V(do)

/(so,

f*-

"P

Iff

53

52:

53

Sing either in chord or same pitch.

(so)

2 /(mi)f

3=

aHfS^

"

& op:

-P-

<ZH

fe

_
"Z>

fe

ifc

^7

-(2.

r
r

lt

0000

j.

Lf

c.

0^

j
<5>

j j

tf
j

iff
j

r r

r lj

j
/5

rr
r

r.

r
p

r
p

r
r

GRADE
53

d.

-4-I

(mi)JJjj
|

<j<

s )

e)

P P P f

p p p p

'(so)

(mio

0'

rj

MM

P P P P

P P P P

Mil

9 0'

00

PI

PI

LJ

"pf

PI

0'
I

(5>

0>
I

PI

# J

J.

0'

0-0

J.

0'

I)

"

5f

f.
i

r.

09400 99

LJ

00000000

(do)

00000000
LLLf
53
(so)J>.

g.

(Test.)

A"3

J
#

4 7(mi>
4

rn 0-b
r

;>j

i.

(do)

4 4

M
00*0

r
53

4 4 4 4

p p p p

(do)

P
i

4 4 4 4

e.

fij

3 /(mi)f
4

P P P P

(SO)

4 4

II

f f f f

53

61

III.

lt

r_r

0
j=?

bi

*>

gr

V
v
S

9J

5-g

rrp

r r r r

1
!

00

LJ

y^

AJ

JS

5'

'

EDUCATIONAL VOCAL STUDIES.

62

Moderate,

54.

(5"^. Eleven.)

J.

D. B.

4>-

fc*

ffi=
For

Stac

te

ca

>*

For

to

Le-

te

-S

H-

/?

A*

% 3=^

=fc
2
-^

=f^

=*

3
ga

and

to

then For

--i
A-;

^tr=t
35$ t=T=

s^

Pi

=P=^

=*=

PP

-23-

-zsr

zan

do.

ffF=I
Pi

an

is

si

-mo,

*=t ^=^J
3=
A

n=

Pi

=
r

an

is

si -

mo,

v=^

=f
P

b=^=t
r3n*-:
P=b
l
*r
^tt$:
Pi

0-i

an

is

is

is

si

cres.

r
mo,

9-

-;

Hs-

3*

^:

^r

fcfec

zo

and For

PTqlg

Copyright. 1912. by John D. Brunk.

iS
stac

S^s M^

^-i

ca

to,
'l

"

-p

Sem-i

te,

=3=

Pi

9.

^ite

-P

ppp

Mez

For-

do.

^=K=
-P t^

fc^

zan

-#-s

A-

f*

tr

T to^=5=p!
b d' I

For
I

-H

te,

For

-t

tis

#-;

*-

si-mo,

P=0

GRADE

-&&

Sfc*=3:

fit*
T\

jl
*

<

ga

i#

Hf

Cres

-*

.&:

do.

For

tis

:&:

si

mo.

U^^S

^^

L-*

* "
i i

-f=^

#.

J*_

J*.

*j

^r

J*.

3=J

A
1

m
_

-m-

..

A-

-w-

r
A

r-f-

'

^ *H*# 4-

+HW

cen

/T\

Andante.

b.

4+

v=

.AAA

_^=^

:-:

to,

55

~-

SF\

a.

A A A

gjtj

j
*-

0-

^=*=*F=
Kg

i
Le

63

III.

cres.

ff

mmammi

f===3^
A9

ol
\

Y
1

EzEj

gg
1

J-

TT~g

0000

A^

^mimL

* *

EDUCATIONAL VOCAL STUDIES.

64

55

Mozart.

C.

s5^

>

l^glsaJ

3=*

TT

56

b.

B
4-

5^

^^fF

I*Z*

Sa
r r

Andante

A - -L

a
c=3

rr

r r

r? ^

at-**-

7F.

religioso.

tet

-^

zSd

=L

^L

3S

^4=

A
IS?-;-

^F^

if?

r~f^r

$m

I
I

a.

l_j

* "

~S

-*-K

56

>.

k~

^S=i

*-

^*^'=5J~^=^

ie

-zsl-

-*

p-

f ir

at
-LjSj-S-


GRADE
Spring

57.

Wm.

Come.

Is

Allingham.

feE
m&^

ft

Ye coax

'

-f*-r

2.

the tim

^-p-v

ver-dure
The gav, trans-lu-cent morn-ing

1.

M. McLaughlin.

J.

Leggiero.

P
zrfe

65

III.

id

long the

Lies glitt'ring on

Blue

spring,

hills of

the

sea,

The

S4=*
4
1.

2.

Is

s^

3
Ye coax the ver
The gay, gay morn

~-

skies

noon

-H

dure
-

sa

ing

long the

soft

=FT

wan

the

dai

^^

And

A-thwart the dai

B=
sing;

he;

m
Ivoud larks in

In

va

por

eth

er pulse, a

wid

ling hours are cool

day Give joy

and dim, As
ver
er

to
-

ev

*l

*-^Wi=^:

From "New Educational Music Course." Ginn &

Co.

'ry

nal night should

fit.

d2

&

he;

-.-

The

ther sing;

hid

fit

A-*-

fresh

sied lea;

-p-

The birds on bud - ding spray,

The round sun's scar -let rim

dark

sied lea;

^=

fr-b-3-

ms

The
The

der-ing!

soft clouds wan-der-ing!

on bud -ding spray, L/Oud larks in e- ther

In
round sun's sinking scar - let rim
va - por hid - eth

^^-

of birds

choir

-wH^ 3

sprinkles shadows

mm n

clouds

A-thwart

Blue skies and gen-tle breezes,

the sea,

u
And

BE3=fe53E33
P

on

^_

and gen-tle breez-es,

day sprinkles shadows

The noon-day

hills of spring,

Ivies glitt'ring

thing,
be.

EDUCATIONAL VOCAL STUDIES.

66

58 *
M.

L.

Music Everywhere.
Baum.

M. White.

Con moto di

~==Z

mp

^4e*
1.

2.

schottisch.

* #

&

There
There

mu

sic

the

breeze,

It

sing

ing

the

sea,

In

=fe=fc

SSP^
sing

run- ning

Do
On

free,

^-.

*-*

*P

the

"F

SE

*=fc

ing thro' the trees,

brook-let

-cr

r-

ST

you

hear

ly

lis

Do
On

it?
-

ten!

50U
ly

**-

Do you
On - ly

hear
lis

it?
-

ten!

mP
:d2:

-p-r

-*-s-

{t=feL

hear
lis

it?

hark!

ten!

The

birds'

it

hap

mP
-

-p-m-

Do you
On - ly

hear
lis

it?
-

ten!

* -.-

E^g^P

hear

The song

it

of

is sound -ing ev - 'rypy sing - ing, too, we

sound -ing ev - 'ry-where,

hap - py birds we hear,

=5=^==fr

3=3$=X
where,
hear,

tee
lim ^^

hear!

it

The

song

of

fr

sound-ing ev
song of hap

'ry-where,

py

birds,

hear

it

song

of

From "New Educational Music Course." Ginn &

Co,

fill

^=
The

is

fill -

ing

all

the rain-drops call

ing

the

all

rain-drops call

air,

ing clear,

the
ing

GRADE

67

III.

=r m f

and

air.

clear;

l^r^
fill

ing

rain

call

the

air.

ing

clear;

Sing

ing

Night,

sil

rings,

it

night

with.

and

ring

ver

night,

ing,

with

pin forte.

A-iU

&
swings,

It

brings

ev

light

Oft

plays

on

'ry

one

her harp

word

of

of

for

est

piii forte.
\

-fr-

sing,

Bear

gers, fin -gers light

Plays

hear
fin

hear

it,

it

ing

us

harp

of

mp
&

Jjr

=fc

fc

Then
Then

joy-

leaves.

hear

3tn

the win-ning word

learn

to

sing with ev

mP
mes

sage

of

harp

of leaves.

leaves,

Hear

the

word

L,earn

to

sing,

joy.

it

'ry-

that

it

learn to

dim

.=51

->

=f*-

+2=^=^2:
And
And

brings,

thing,

an
light

swer,

en

and

ev

'ry

ev

'ry heart that grieves.

girl

boy.

din

>

*i

frJE)

fa

-^-v-

An

brings,
sing,

Iyight

swer, ev

en

~~ev

'ry

'ry

k
*-*girl

-53)-!-

and

heart that

boy.
grieves.

Two.

Analytic Index to Part

Not all the songs of Part
subject have been chosen.

Two

Only a few examples

are listed in this index.

Choral

85, 101,

Compound Measure.
D. C

of each

113

112'-^,

7 2 (.t), I022 (.8.)> IIO ()

106

Dotted-eighth and Sixteenth

04 2

83, 84,

Dotted-quajter.

79, 82,

Double Measure

96

108

70, 76, 78, 85

D. S..

71

Double Sharp

98
72 s

Expression, Stud}- of
Half-beat

Independence

of

Voices

2
86, 90, 112

74, 78, 82, 86,

Intermediate Tones

Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key

74, 78, 82, 89, 99, 101

of A,

72, 87 s

Major.

97

Minor
Av, Major
b, Minor
B t>, Major
C, Major
D, Major
d, Minor
DP Major
E, Major
E Major
F, Major
G, Major
g, Minor
G Major

of a,
of
of
of
of
of
of

of
of
of
of

of
of

of

13

102

1 1

105
113

87, 88

69 76

8992
1

12

106108
100, 101

94 96
7682
8386
112'2

t>,

-.

. .

109

Men's Voices.
Quadruple Measure

80

88
72, 74, 79, 100, 102

Onarter-beat

76, 96^, 105

Repeat

78, 105

Rests

in

78, 79, 87,

Songs with Minor Phrases

Study of Tone-color
Syncopation
Triple Measure.

92, 101, 106

86, 87 2

105, 109,

no, 112 2
86, 104
69, 71

90 2 92

Triplets

(68)

99

110,

\>,

Ladies' Voices.

101, 109, 113

PART TWO
GRADED SONGS.
Speak Gently.
S.

J.

V
JL

Wilcoxsin

'7

'

im 4vjj

Speak gen
vSpeak gen
Speak gen

3.

r\*
)'

'1

"'

4
4"

tly

to

him who

tly

to

oth

tly;

his

moth

-A-

-A-

-A-

-A-

-A-

er

and

do

er

is

ror

vou

not

for

striv -ing

get

You know
Thy broth

win,

His

see,
-

to

A.

fa

not
er

how
may

ther

is

f>

Til

|/A

^3

-A-

in

ers

-1

t^

"fl

4J-

2.

Hall.

a
J

H.

J.

-y-

eti

1
!

JL

a
5

-Ah

great the

temp

turn from
try

ta

his

sin

ing

to

lead

-A-

-A-

V^

-1

-A

tion

mav

be;

ness

yet;

Al

him from

sin;

Re

ful

^S

not

the

J
-Ah

-Ah

fort,

how

-Ah

You know

though he

mem
-A

^A-

$
p

6"V

-fi-

irn

\>.)

ef

has

ber \our
-A-

-A-

stum-bled

and

self

and

how

-A-

-*-

fJ

1
1

/T
/rW
V4>
*-

'

-?~

ear
fall

sin

V
i

_y

a!
w

J
%

m
^

and well, Till yield - ing to weak-ness he

en from grace Have pa-tience and help him to
ful you
be,
And deal with the er - ring as

nest

XI

"*

-~

-A-

CV
*")

fi
|a

-A-

-A-

-A-

-A-

-A-

-A-

stum bled and

the
win in

God
-A-

n
c
fell.

race.

^
1

i
1

L^

i
i

Used by permission

of author.

(69)

II
II

deals with thee.

4
A

1
1

70

Cheerful Faces.
Hildebrand

E. T.
|

/V

fm
XA)
%f

o
^

<

5
*

aI

'

Come,

When

come with cheer- ful

gaze on cheer- ful

1
Z

*
A

K
r

w
m
\~
y

'

ere

Al 1

the

-A-

-A-

A
1

glee;
sad,

"u"
1*

K=>

3_

h
3

L4

-4
i
z

4,

a-tion's

charms or gra

sight of

grief

ras

* L,A
I

ces,

es,

-A-

m
A
f__

L-

'

-A-

None
And

P-

iis

full

of

-A1

n.

joy
oft
-A-

*
-1_
J
-f-

Q>

half

so

fair

to

me.

to

see

them

glad.

-A-

t
P

f
*

P
-4

I
-1

~&~

-|a

'

J -^B
3

3 -i
r.

<sJ

-A-

-A-

-A-

kJ

-A-

1^

*k.

5$

3=*

A]

and sor row, Yet while sor- row's form we see,

de- ceiv -ing, I will own some such, may be

smile

fc

-^

-35

J^ ^
3-

tho' smiles are

'

^r--| H

a|

are

-i

-A-

1"

F- p

0,

-A-

What

ry

be

A-

Ivife

9
P

W:

ces,

_-/

to
F>

3eam-ing nirth and mer

Tho' my spir - it may

ces,

fa

rv
)

v
A.

-A-

I
'

T
4-

fa

-A-

yk

A
L
P

'

1
^

-A-

2.

-^

L
P

1.

f"\
*
1.

Joy from some the heart may bor - row,

There are man - y worth be - liev - ing,

O,

smil

O,

smil

ing
ing

face for
face for

me.
me.

^=pt

9=

*
Used by permission.

71

Beautiful Flowers.
Fred A. Fillmore.

Arr. by F. E. R.
1

V q
A. <>

-a!-

Beau^-

ti

ful

fiow'rs,

Beau
Beau
Beau

ti

ful

fiow'rs,

ti

ful

fiow'rs,

ti

ful

fiow'rs,

beau
beau
beau
beau

of

ful

low'rs,

ti

ful

low'rs, Breath -ing

ti

ful

low'rs,

ti

ful

(low'rs,

'

1d tJ

sun - shine and

heav - en when
our
to bright - en
mis - sion from
a

the

ti

4
I

Born

J
^

'

F
1

of

Bloom ing
Yours is

f3

1*

-*-

<>

o'

-il-

2.

C\'
)
-^

1.

3.

/\)

Al

4.

a|
i

fn\
VJJ 4-

'

fP
|a

1
i
1

9
1

N:

d
gen

tie

lone

heav

we

lie;

ly

hours;

en

bove;

'

ti

ful

fiow'rs,

ti

ful

fiow'rs,

ti

ful

fiow'rs,

ti

ful

fiow'rs,

beau
beau
beau
beau

ful flow'rs,

beau

spring show'rs; Beau

faint -ing

sad,

:^r

'

Beau
Beau
Beau

Beau

It

ti

ful

fiow'rs,

ti

ful

fiow'rs,

ti

ful

fiow'rs,

ti

ful

fiow'rs,

$C

D. S.

ti

ful fiow'rs,

Refrain.

Fine.
1

'

|
|

1
|

zJ

j/

Al

mj
if

*\

g
^

-9

--

d
a

t.

ing your fra-grance

ing our hearts to
Teach-ing us faith when
Teach us to trust in

Giy

thro' long

Lift

Giv - er
on high.
the dark storm-cloud low'rs.

ex*-).

XL

sum-mer hours.

r
B right

iu

j*

*
F

r
r

Teach

us

to

our

trust

Fa-ther's great love.

II

in

h-

f^
j

fiow'rs,

the

our

k^

k
i

1
'

I Jeau-ti

ful, 1 >eau-ti

s
9

S
*

'

ful,

t
*

'

Fa-ther" s great love!

1

D.

S.

-*&

o
1

beau
beau

&

ti

ful

fiow'rs,

ti

ful

fiow'rs,

Sent
Yours

JO-

Copyright, 1899, by Fillmore Bros.

is

J=

from
heav
mes-sage from heav

>

I*

en
en

bove.

bove.

X:

Upward Look.

72

B. C. Unseld.

ILa_J
1.

Is

2.

Is

the way he

your spir

J =3

fore

wear

it

I
,

^S=l-d-

you Fraught with doubts and fears ? Do you grope

Long-ing, ev Of the earth-ly strife,
y

in
er

JjJ

W=^

tt-f:4

3=*
dark
long

ness, Blind

For

ing

rw?iWa
zr^
^-

\7\

ff

P-

h
1

ed

by

peace

r
P

hH
1

rr

F-fiJ
it
^=3-ig

-j

Shin -ing from a

Beam-ing from a

1
1

bove,

All

bove,

All

^^

-*-&
t
9* p-fVi

J5

p
K
p

L
fH

p=
^

P-=fg

s
p

a
p

<

r~

'-f

^m
^p^^^-g-H^^^^i

'

who
who

ii
L p

-=hj
i-

look! there's brightness

look! there's glad-ness

ttV=p

-tN-

Up - ward
Up - ward

life?

ful

'

^i

k=

-P

your tears?
-

s-

^4:

-<s<

*_j=i^=-,
F

rss-i

P^rr*i
^

-fl

-^- s

will
will

*^

may
may

share

it;

share

it;

E^3

'

2|

2|

Ope your heart

Ope your heart

to love.
to love.

*r

Used by permission of author.

Sweet and Low.

Barnby.

Tennyson.

VP

Larshetio.

Sweet
Sleep

tot

and low, sweet

and rest, sleep
ir-J=P=^

-*^p-

^-s-

inK*

>-^-

and low, Wind of

and rest, Fa - ther

the
will

west

come

*
ern

to thee

=>=^i^

TPH^
sea,

soon;

73

JL

Im
v. ;

JP

Low,

on moth

rest,

fl
TT*

breathe and

low,

Rest,

h
p

S
*

i
J
V

Wind

blow,

Fa

er's breast,

P
Jd.

the

west

ther will

come

of

t)

4
J

K
P
J

k.

'_P
a-

ilI

jJN

iri

ern

to

thee

i~

-*-

^^

J
^*

sea;

soon;

c\.
=^-

a.5
r-

ttt'

*r
1

i/
n

S
J5-

P
#5
-^-

^P
|4

the

ver

roll

Fa- ther

Fa
*

9
^

will

come

to

ther

-*-

*>

-f-^-ft-

L^
^

K)

-*

wa
wa

~~

~P

-D

*"=

"fc>

ters

go,

ters

go,

P
J
*

J
r

of

Come from
Come

dy - ing
from the

the

babe in

the nest,

Sil

ver

sails

all

his babe,

Sil

ver

sails

all

+ J"
h

to

-A-

-A-

-A

*^.

^ O
*

J>

'

p
J

0
P

from

the

moon

|)

si

come

out

Come

"j
i

his

UL

i&=?-

PP !*''~~

IL

'

-P^f

'

will

IJ

rt

->-

|
|

l>

ing
the

i~

" h
A

ver

-^-

-^*

\s/

P
iT

'

A
-A
k

K"

* tP

I
I

p
V

*
^Z
__A

*.

and

blow,

Blow

the

west,

Un

him
-

der

the

*-^>
9*

nz//.

/'

mm

While
vSleep,

my
my

<?

dim.

3^

pp

b^-

lit -

tie

one, while

lit -

tie

one, sleep

my
my

>

pret

ty

one

sleeps.

pret

ty

one,

sleep.

_kL
*
hi
5=
y
-I

k
p

lab:

-*--

74

Evening

Soft the

/V A^i
n
+

Beethoven.

'

1
1

of

twi

.i

Soft the eve-ning

F\

aird

Jill
0-

tr-^*

a
5i+
p 1

-a

eve-ning

Soft the

The

falls,

V A
/L ^
$>-4

light

-t^i

*
U-J-

-1

Our

calls

'

The

falls,

bird of

LI
i

(Canon.)

Falls.

1*

VMJ

twi

'

light

lli"
*

4_

-.

Soft the eve

--.

Ri-4

m
#
(%
/V

V|J

home

No

J
H

Our

calls

ning

>

step s

'

m.

m
h-

foot

-_

Ion

ger

'

>

1
!

foot-steps

For

oam,

r tome.

J
1

soft the

ave-ning

roam,

For

*.
.

No

Ion -ger

'
1

"^

The

falls,

VI

C\'
)

'
i

bird

of

twi

light

*
r
!

Our

calls

Al

i
i

home.

'

_J

foot-steps

1
I

the eve-ning

vSoft

V
A_

"

VT\'
v-

The

falls,

twi- light

Our

calls

'

j
m

j
*

of

i>ird

cd
v-

The

falls,

7T

-M
y-

d
d

g)

soft the

I*
f

bird

h
'

eve-ning

of

twi

light

^~

-1

^r

falls,

The
:

iC>

Our

calls

bird of

twi

m- (*
\ -\

foot-steps

light

home.

^-1

Our

calls

.^

...

No

Ion

ger

For

roam,

s~

r
1

h-

&

foot-steps

home.

-H

j-

=
No

Ion -ger

the eve

soft

>

M
roam,

ning

-fcr-F-

1=1
1

The

falls,

~T
'

For

soft

^
J

?
1
j

the eve - ning

f$\

"

lc n-ger

_J

ri

For

roam,

cd

No

_^s

the eve-ning

soft

The

falls,

--

v
JL

rn
1

75

1 p-

5^2.

V-

'

home.

foot-steps

St:
StI43J

No

~i

lon-ger
m

5*

t~\*
*

^S

twi-light

of

Our

-J

The

falls,

A.

rh

~\
*

twi

bird of

nJ

J
-

\-\)

No

Ion

<*

Our

ger

1
1

home.

foot-steps

BE

~i
J

-i

1*

calls

H~
*

EJ- U

home.

light

v^

eve-ning

oot-steps

'
1

soft the

-f*
-i

calls

For

bird

J
M

roam,
*-

J
^

v_

bird of

A
1

Our

calls

No

home.

oot-steps

Ion

ger

r"^

rh
V-

twi-light

The

falls,

3
p

J
*

bird

of

twi-light
A

i
1

For

foot-steps

home.

the eve-ning

soft

Our

calls

roam,

J
^

J
^

'

The

falls,

bird

of

twi-light

~^

r\)#
**

i*

1
i

1
j

No

at
A

'

V
rh

Ion

For

roam,

eer

=~*

*"

v>

soft

the eve-ning

The

falls,

->

For

roam,

the

soft

eve

ning

falls,

A.

rh
MJl

'

N3

Ion

J
M

~}

No

roam,

ger
1

No

Ion

ger

roam.

Ion

II

ger

roam.

ill

rj

ITS
19

v^

Our

calls

r\*

r9

U
i

iii
i

bird

of

twi

light

foot

calls,

steps

home.
m

No

UM
No

Ion

ger
P

"
i

Ion

ger

"

II
II
II

roam.

||
||
II
II


Lovely May.

76
A.

B. C. Unseld.

Kieffer.

S.

1.

Love

2.

Hap

3.

Balm

py
y

&

mer -ry, mer -ry May!

mer-ry, mer -ry May!
mer -ry, mer - ry May!

May,
May,
May,

ly

tfwm

Bird

now

are

sing

With

our songs

we

greet

How

we

thy

glad

lets

love

mgi

thee;

ness;

S=#
3BE
V
A.
n

a
T
m
9

XX)

-b

r-b

T
m

fe

1*

!>

"4

Zj

Ev
On

'ry

the

Buds and

^
s

by

hill,

the shin

P
V

ji
'

Refrain.

fe=fc

sun

flow'rs, thro' the

balm

thro' the

where,

Songs

y
ing

ny hours, Ope their scent

air,

Now we

rill,

4-

JJ

i>

H
p

ring!

come

thee,

ed

leaves.

m
p

r^

'

Mer -

mer-rv Mav, mer

rv,

6 '
6
%

fr-h-ft3t=at

- rj-,

mer-ry May;

F
^*EB

-h

=fc

iv

r~r

->-

Mer

Wel-come, wel-come, love-lv Mav,

fcizfc

>

gi

fc

~
'

mer - ry, mer - ry, mer - ry May,

ry,

^
P

ure

"A"

:&=Sp=fcfc

fat

p~

-P

wel

m
p

"I

Wel-come, wel -come, love-ly May,

pleas

of

_*

te

tLjL

Pr

Used by permission of author.

Gentle Saviour.
Arthur

T. R. Birks.

XV

o
^

h
f/K^r,

IvjJ

-d.

23

J
a

A'

"

1
J

l
|

1.

2.

O
Go

3.

-9-

^ -P
Ln
J Z

i*rl. p

i7

Sullivan.

,
1

Sav

gen
where

we

go,

lead

us

dai

tie

#!

->9-

iour,

from

Thv throne
where we

bide

ly

with Thine

-&-

-P-

-0-

eye
-f-

"
i

1
I

--

w
e

-i&-

on

high,

bide;

of

love.

h
IB

~
*

77

^=^

^
Ivook

down

love,

and

hear

life,

death,

our

com

In

And

bring

safe

ly

to ,

our

hum

ble

cry.

fort,

strength

and

guide.

our

home

bove.

m ^

Song

National
Palmer Harlsough

of Praise.
J.

H. Fillmore.

'1
i

JL h

fv\
v.;

'

o
a

4-

oJ

O
O

Na
Na
Na

a!
I

Give
Give
Give

1.
2.

3.

f-

!
b
[74.

WA

x
tl

^1

1
1

tion great,

tion

fair,

Prais

es

for

tion free,

^rais

es

for

Sr

&P

P
i

H
"\

^j

aI

rais

es

to thee,
His gifts
His guid - ing hand,
His truth and light,

for

"

^
/-

1
3

'

H-

He

hath planned thy blest es tate,

His
un - ceas - ing care,
Thy sup -port His Word shall be,
-

Child of
-fS>-

i-

rv
Vl'i

-p-

-p-

-p-

<*
|

He
Prais

J
*

<>

aJ

yo

Thy

es

|e

give,

*i

r-

YJ

free,

tive L,and;

1*

'

f
I

,-J

x!

,'

r-\

*\

i-J

1*

L^

p
Al

le>

-&-*

?
21

Na

-A
-J-

de - fense the strength of right;

#- ^.
~
m

(^

'^

-&-

hath placed thy bounds so

-

I*.

'

\JT

-^ b

W^

n
V
i b

,v

J
f

f-

rfi
>L b

rn
V/

I
|

God,
to God,
to God,
to

->9-

r-v.
/)*i

1
|

<v
H
'a

He
He

hath built the rock - y steep,

hath led thro' whelming flood,
Sing to Him with thank-ful voice,

rv-

Pa

kI

1*>-

-P-

k7

|^

lS>-

k?

He

hath sown the ver dant plain,

Guid ed He thro' fi - ery flame,
Fol - low Him
in coun sels pure,
-

f"

p
1

jj

B3

B
1

n
p

1
1

-^

He
He

hath formed the roll ing deep,

hath fixed thy bor - ders good,
Thus,
L/and be-loved, re-joice
->5>-

-9-

-&Til

-0-

-<5>-

T5l-

A
o

-H

He
He

do -main,
hath spread thy fair
hath blest thy hon - ored name,
While the
a - ges shall en - dure.
-F-

iO-

jfc

Copyright, 1899, by Fillmore Bros.

>g
Si:

78

Spring

Here.

is

H. Fillmore.

J.

$=

--

Balm y south-em breez

Ten - der rays of sun
-

1.

2.

b,a

ft

t)

2.

Balm
Ten

der

IT

f)

sun-shine,

Gen

sweet and

grant,

tie

^=PP

fl

9!

Chase

snow

Bring:

ing

clouds to

ev

1)

er

:
-V-

len

snow clouds To

^2

L.

jfc

lands

way;

chang-ing

hours;

the

north

v-

ern lands

way:

Thro' the woods and val

Blos-soms in the or

Flow -ing deep and

clear,

Birds and bees

pear-

leys,

chard

fe=CT *=*

F
Thro'
Bios

-k-

f)

ft

v:
-

g=P

sul

gay,

pril show'rs,

snow clouds To the north - ern lands a - way;

light and dark With ev - er chang-ing hours;

IV

Chase the

=?

Chase the
sul - len
Bring -ing shades of

pril show'rs,

*^
Fra

ern breez-es,
of

tie

=&

rays

^?

V^Z.

t)

south

5I=S
-k-4=

Gen

shine,

6=6=

la
1.

Fra-grant, sweet and gay,

es,

the
-

soms

=
Used by permission.

woods and
in

l>

the

ts:

val

r>

Flow

leys,

=ft

or-chard

t)

ap

Birds
I

i>

and
^

i>

* iS

deep and
bees ap

ing

ll>

l>

clear,

pear,

^U^*^
t
h.
v

A.
f\
vj;

Mur
Na
1^.

y)

vy

*
k.

U
k

iy

re

all

N
P
J

k.

soft

us

bids

m'ring stream-lets
ture

fs

*
~

T
h

u
*

fn

79

^n
'

<s

sing- - That spring

is

here,

joice- -

is

here.

That spring

1
1

n
a

~H
!'
A

II

A.

tu

1
1

1
|

trv

^6

..

1
1

That spring
That spring

a?

'

!/

Crown Him Lord

*44

here.

#
*

Edward

here,

is

^P

is

of All.
J.

All

hail the povv'r of

l^et

ev

3.

Oh, that with j-on-der sa-cred throng

kin

'rv

Je-sus'

dred, ev

-*=*:

'rv tribe,

On

We

this

ter

at

His

fall;

res- trial ball,

feet

D. Brunk.

name! Let an -gels prostrate

1.

2.

1
1
1
1

Small notes second time.

Perronet.

may

fall!

Bring

To
We'll

9M=
^4:

Refrain.

fe *

2*

3C

:^i
I

roy

maj
ev

di

al

es

ty

a-dem,

as-eribe,

er -last-ing song,
-#-

'--

-#-

-0-

And crow n Him Lord of all.

And crow n Him Lord of all.
And crow n Him Lord of all.

Crown Him, crown Him,

iS
V

Crown Him Lord

22:

3t

:2i

Hail

of all;

Him!

Hail Him!

All hail the pow'r of Jesus'

r
rf^
^
'..

:'

.t-

--

^
3

*^->
v:

r
And crown Him Lord

name,

^-

of all.

^
Good-Night.
D.

(LADIES' VOICES.)

Suter.

I.

J.

D. Brunk.

Gently,

41

^f4^=^\^=f=\d=^
P~

Ho

ly,

heav'n

ly

thoughts at

tend

To

you

your homes

fc

iB=

^r

^Jee^eSe

^=^=

s=

-at h~at

P
they

Sweet

night;

com

est

may

forts

you, Fare

lend

ri

=r ^c
3r-*l=3i*

to-

thee

j i-^
'

i
well,

to

Fare

night,

-^r--

thee

well,

to

night.

|~^4

4"j.

/>/ DIOSSO.

rail.

=^Mtrc
:.

I*

Peace

slum

ful

Peace

Peace

bers,

^
Peace
tempo.

im

-4

ful

slum

bers,

bers.

ful

4-

Peace -ful slum -bers, care will

*-

*v
ful

-W-.

slum
+>-

3j

ban-

ish

Till

morn-ing

the

light.

F^=
7

J:
Used by permission of author

ji^^^T? :

=1:

81
dolce.

**-

*f

-m-r-

Dream

Dream sweet dreams,

=^

dreams,

sweet

-^

i*.

^=i=
L,et

"*-

Dream sweet dreams,

dim.
n

jj

k
p
i
aI

^^
,

\A)

i
m
bur

\~~

T
I

dens

van

ish

Fare thee well,

night.

~~i

=1

h~

\di>- ~~i
pE

~d
v

4
1

K4~

\~i

5c5

Fare thee well,

-A-^

f:
good

I &=*

night,

good

v:
Fare thee

night,

v
good

well,

night,

P=

-*=-V-1-

f^

5^
good

night,

good

night,

Fare

thee

well,

good

night,

^T

-^
-a-'

Fare

thee

good

well.

~bp-r

night.
srood

1
y~i"^4

A4 44

>*
\

*1

to

J
p
if B

row sentunento
N*

N
P
a
s

~"""^

^r
J*-

night.

SS-

32

Divine.
Arranged from Mendelssohn
by Theo. F. Seward.

Andante.

^-p^

X-^A
3

i
O Love

di

vine,

mM
m
m

Love

:&r

that stooped

share Our sharp

to

our

pang,

est

-*

P^

fe

F!

r^

1 1

bit

t'rest tear,

^
-#

-5-

On Thee
we
On Thee

za:

*=2

V-L
cast

each earth

We

born care,

9*

rgggp

while

pain

smile
at
smile

3=

Thou

near, Tho'

art

^^

N=r"
long-

We

wear

the

Tho' long the

ii
.]=-,

^?

i
way

we

tread,

And

IT
sor

41

-i

No

(*

3F^

*tMj
^

*=^

path
we
path

lin

g ring

jtj?j

shun, no

year;

Sp.

dark-ness dread,

Love

Di

O Love

each

sor-row

No

^T=

"~^n/*

^=^

crown

row

And

PL

vine,

while

!_t

'

83

-v-x-

Thou

while

art

While Thou

$ p

r#.

Thou art

near, while

^v>

a3c

Thou

2t
near.

art

art near,

J?

^=P

EE

*! *-

"Almost."
W.

J.

Geo.

Wayland.

Holsingcr.

Persuasively.

ii

ft

it.

-^

iftl
VU
Cr

-i
4-

1.

"Al

'

'Al

3.

"Al

.)
1.3 z
-^

2.

u
C^k'*

R """J
^
t
*

J
H

most per
most per
most per

n
P

why de

'

lay?

'Al

it

be!

ter

cry!

"Al
"Al

can

Ah!

'

*-

bit

-tc-

J
I
*

suad
suad
suad

__

-*-

-V-9-

J
1
x
*

?l

most per
most per
most per

l
E

|a

L
1

-&-

_fi_

J'
w
9

suad -ed,'
suad ed,'
suad ed,'

A
A

~
P

^*
A

r
A

N
1

ed,"

ed,

ed,"

M-

'

mf
-0

i
Come,
But
But

day!

Hear

not

free!

to

die!

O
O

friend, to
still

doomed

now

#-

F
cr< 'S.

X.

it
it

ffh
V- L

h
^

a.

i.+r

-^

f!

choice;

How

will

band,

Lead

you

T1
k
r
P

'

'ry

"De-lay!" Christ
-*-

*-

k
r

n
P

to

in

calls,

-w
A

your heart re

rr

Copyright, 1906, by Geo. B. Holsinger.

to

"0 come
jl
A

joice

that land
to

: k*:
A .
A
iU

loose
ly

--+-i-

_p

"1

ev

now your
says

c\'^

h
R

your hand, He
will
a - way! Death on

tJt=F=3

*-

m-

make Him

Saviour's voice,

friend, turn not

the

friend, give Christ

day,
-p-

A
i

Used by permission.

In

Je

end Of
Come, come

^-

-kr-

1
1

\
I

sus'

love!

day!

less

Me!"

to
-*-

<*>

t
1

-R

b-

84

Twilight
A.

Stealing.
B. C. Unseld.

S. Kieffer.

s
4-

1.

Twi-

light

Voi

ces

3.

Come

is

steal-ing

in the twidight,

"V*

ver the sea, Shad-ows are

S-

_a_.

_C-

-a-

fe2=S

Borne on the night-winds, Voi - ces of yore,

Lone - ly I wan - der, Sad - ly I roam,
Cheer-ing my path -way, While here I roam,
_*_.

_e_

REFRAI5T.

$m

fc-JU>

way be-yond the

1

4t

star-lit skies,

1
P

jc

J^-8

"1

' ~

*S=t

21

*-.

Gleam - eth

9*

man

off

*
;

never, nev-er dies,

M M>

sion filled with de- light, Sweet,

happy home

P-

-*L

v=#
n

shore.

home.
home.

gr-

i)'

=^
t=4^*

ri

off
off

! L_fl
;
;

t-

^^

Where the love-light

> _

^=

the far
ing that far
ing that far

_(S2_

^Zffc

Come from
Seek
Seek

jC

_*-

2=

3=T

J?

Used by permission of author.

e
so

bright.

-t-

^~

last;

sea,

4=:

=&:

g^

lea;

me, While life shall

_fi_.

5-

:p=

i5=^

-ing Dark on the

_^2_

Far

fall

Come, come to me! Bringing some message, O-ver the

P=#

fe=s
=2^

fe=fc

of loved ones, Songs of the past! Still linger 'round

f=S MV=^

4:

fcfc"

te

5P=

a-1

2.

PS

is

-K^

i>TT

We

Anew

Lift

Our

85

Song.
Ringhardt.

m
it

/
I5t

t^

2r-+*r

1.

2.

For Right and

new

we

lift

our

song,

In

Light

we

sing,

And

stir

&-

ring strains

Peace and

/T\

ing,

cher-

__L

^==
ish:

well-

we

-*-_>.

jj,

'tis

Love

-*s-

:p=d=

From
ev May Truth

'ry

f^

_=3

lip

and

lone

be

tongue, Of

May

-fe-

*S=

~r~

high

King!

lies

er

du

and

dark

ties

-C2-

:_:

=P=^

1P=^
tell

ing.

per

ish!

J
9

It

ris

M^^^t

^
to

the skies

it

to

the skies

In
In

ifiS!

ev

er

swell -ing

ev

er

swell

ing
i

1"

zd:

=4

Z^-

at

-iHf

es

Pro claim

ness

^:

szcs:

I
i

might, Till
might, Till

s#

&

all

the

all

the

world re
world re
-#.

JO.

sounds The praise

sounds The praise

of
of

Right and Light!

Right and Light!

^_
-n

:fc

13

86

How

Lo,

Rose E'er Blooming.

M.

From

P Dolce

PP

tranquillo.

ten

hath sprung!

"

sss

3Z

1.

Lo,

2.

how
-

sa

Rose

e'er

bloom

ing,

iah 'twas fore -told

From

ten

The

it,

der stem hath sprung!

have in

ten

pp

Of

Jes-se's

lin

With

Ma-

we

JZ.

-M-

ry

3|:

eage com
be - hold

ing,

tJ

men

As

h
of

have

old

sung.

?7l_/"

'

a!
:

fl
i

It

came,

To

shew God's
-k-

c^
5>^- -x

\-

flow

'ret

love

..,

bright,

She

right

==
9
F

ji
1

When
P

mid

the

bore

to

=^=
the

half- spent
rit. e

'
i

c^

P
men

Ti
>>

kind.

r-

As

n#

old have sung,

of

gin Moth-er

Vir

have sung.

dim.

-.

sprung!

-y -

The

it,

hath
old

of
e

rit.

t=P

der stem

men

As

pp

PP

dim.

*
A
1

night.
s'

St

I
9^

mind;

z
From

9ifc

Rose

^^>

SS

Jr

dim.

rit.

1609.

Practorius.

stem

der

r r
cold

of

win

ter,

men

Sal-

iour,

f-

When
When

half

spent

half

spent

was
was

the

night.

the

night.

^S~-

C
.

When

half -spent

was

the

night.


Let

87

Pass.

It

Arranged.

dz 4

n
^=^=5

1.

Be

2.

Ech

3.

Grace will conquer ev

not swift to take of-fense, Let

o not an an -gry word, Let

'ry

Let

foe,

E=

=r

it

pass,

it

pass,

it

pass,

Let
Let
Let

Let

m^ti
J
-

ger

is

I.

to sense, Let

foe

pass;

pass;

it

pass;

Let

pass,

pass,

it

pass,

it

pass,

9a

TrTlT

Let
Let
Let
it

^*+*

c^
fades the twi

Night her

sol

3.

Peace
Sav -

on

aK

ly

is

iour,

tly

Sym

bol
in

as

tie

of

o>-

Of

it

pass.

*-*?

=EI

{]

Days

ting sun,

calm re

pose

the

ho

ly

earth

as

Sab- bath day,

day- light fades;

of

ho - ly peace of
peace and joy in

-w-

^v

When -the
At

M. Goltschalk.

-F

spreads O'er the

broad; 'Tis the

life's set

tell

Christian's course

the ho

ly

is

God
Thee,

run.

Sab-bath's close,

of
the peace with - in,
When the spir - it rests from sin.
heav'n our souls re - pose, Where the Sab - bath ne'er shall close.

rA

light ray

the world a our Sab-baths be

things

emu man

may

All

r-

Let

I.

2.

J-

pass.

Softly Fades the Twilight Ray.

Soft

Till

pass.

it

F. Smilh.

1.

k~
ttsz

pass.

it

of author.

mS

Gen

it

pass,

P==

Used by permission

-A-5-

Let

Samuel

pass;

it

tr^r

it

Think how oft-en you have erred, Let

Do the right and on-ward go, Let

it
it

#=&

4.

it

-^

A_

-k

An

H. Hall.

J.

Dream

Eventide.

at

(MEN'S VOICES.)
T. C. H. and

T. C. Harper.

1.

lone

at

ven-tide

And dream

hap- py days, come back to me With

Gone are the days of youth and love, The

g=^^^^F=s

gold

=*

iu

en hours of youth un-tried, And loved ones gone be

love from o'er the sea
To cheer my heart to
the home of
bliss
a -bove We'll meet a- gain, I

in

^=r-r-[ee ~
U
L \
rfi-

1 =

^L

*.

i\

s
!

*
1?

j'

1ee$1

then

cy

now

las!

my

iT\*
*1

^r iU
"

i-

see

they're gone for

wear

hi
me

watch

h'

m
n

aye,

=fc

-*-j-

ti

i.

r-

lj

L
1

r
L

old

en

shall they

re

ven

tide

lone,

While

:*=*=

feel her hand

of one
I
loved in vain, And
si - lence and
and dream the hours a - way In
mem-'ry thro' my soul doth sweep With tho'ts of days

The

time,
turn;

..

5
i

K-

m
mine

face

in

lone,

gone.

Used by permission.

h
b
^

sit

feEEE
pr-

k.

_.

Till

the

in

J
*

K
~,

As

A-

know:

Mj"""1

In

fore.

night.

'

No more

keep At

I'll

gain,

S
3^
H

P
P
l

n
P
1

las!

*
IT

fan

my

back

Bring
But

EJiEEEEE

^=t

tit

Of

of days
of
yore,
thy joy
and light;
friends of long a - go,
all

fc

frs=

Long.

3.

sit

Owen

*=t

*=fc

r=P=
2.

J.

There
T.

W.

My

Music In

is

William

Williams.

k-4
M
TfTBa
I
was once
Give
me

1.

2.

preme;
own;
Thine;

crave

is

j^j

^=
-

sus' blood,

sus' blood,

heart that's washed in Je

Thy rich - est mel - o - dy

im

part,

My

soul's

M1

tuned to that theme,

pur - est tone.
- ny
di - vine.

A heart of
And har-mo

rHH^
-F=

Refrain.

is

mu

M=P

^&e

*=*

:l

333
A-

sic

in

my

-A-

Jk.

_A-

t
soul,

Sweet

-A-

my heart

^ft
b

a
mu

t
%=t*

sic

3
-

right;

in

my

.A-

-A-

-p

P-

Controlled by D. E. Dortch.

fc

soul,

>-

in

my

_A_

-A-

-A-

For

soul,
-A-

-A-

p-

There

is

fr

tr

For Christ has tuned

-A-

^=-45:

rr-rr

3BE
mu

=*=*=

sic

in

my

-A.

_A_

_A_

=S=b=g

:to-

>-

sic

-A-

l)

l)

tr

**
Christ has tuned

mu
_A_

-A-

fc=fe=+5=45==^

4+

g^

But now I'm saved thro' Je

*"

There

9^

heart that's tuned by

H
*=*

-25t-

from God, \nd

dis - cord reigned suGod, A
heart that's like
His
that my heart May beat
time with
in
far

=p^p:

:>>

and

sin

in

now

All

3.

Russell.

fct

>

Mm

89

Soul.

-A-

-A-

-A-

soul,

Sweet
-A-

_A-

D-

H:

a
my

heart

\)

*-

'=t

right.

90

Purer Yet and Purer.

Met.

J- 69.

5 *

1.

Pur

2.

Calm

Rankin Hollingsworlh.

P.

cres.

dint.

3*

er

yet

er

yet

and
and

pur
calm

would be

er,

er,

Tri

bear

al

in

mind,

and

pain,

t%tlt
4
1

(5>-f-

g>

s-i-

s
Dear
Sur

er

jet

er

yet

and
and

PP

dint.

=*-

dear

sur

er,

Bv

er,

Peace

'ry

du

ty

find,

at

last

to

gain.

r=p=

Songs of Joy and Gladness.

A.

J.

S.

s^=
1.

Songs

2.

L,earn

3.

When

of
-

i
joy

ing more
the Mas

S33Ef

and

glad

of

Je

ter

calls

ness,

beau

sus,

read

us

home

ful

songs

ing

His

ho

to

those

man

ti

A,

we

sing,

ly

Word,

sions

fair,

Showalter.

J.

A S

-A-

'

4Prais
Tell

*=3=

ing

our

ing

un

Trust -ing

_J J

Re
-

still

deem

er,

oth

ers

crown
news

in

Je

sus

safe

ing

our

Sav

of

our

bless

ly

to

guide

-m-

is:

-r

to

gt

iour

King;

ed
us

Iyord;

^
-A-

1
D
P

Copyright, 1905, by A.

P
J.

Showalter.

Used by permission.

there,

i)

p
P

91
3

ott

v
/L

s>

ftU
ff
TT

fpW
v!J

Sun

Fin
Gla d
:1

<

shine

all

ing

in

His

serv

ly

we

will

fol

_A -

r\'i^

rV

While we trust in
While we sing His
Praise His name for

y
ev

'ry

ness

ev

'ry

hap

pi

low,

gath
A-

er

A-

h
K

n
K

|*

^=P=

on

ice

^
-

sus,

fol

prais

es,

jour

low
ney

Je

sus

ev

wm

Refrain.

Trust

--*=*-

ing

Je

"

ju

bi-lant mel

2ift

t&

tt

dy;

-A-

A-

-A-

-A

-4

bSsr

4
P

~P

P-

in

p.

ing

i>

i.

I*
com-mand.

His
on

ing
ing
will

the

way.

claim His

own.

s:

deed are

Sing

we,

ing

-A-.

ing songs of

Him who
^-

k
P

fr
-P

Prais

*=r^

ten

der

-A-

-a.

P
-

>
P

*
r

P-

ly loves us

>.

^_

>.

all,

.a.

v=^

^
Guid

9lg

py

-&r

-A-

-A-

ihi

_/\_

hap

m
iS^^

day,

throne;

=U=2=

sus,

hand,

:|i"

A-

mnnm;-

round His
A^
fu
n
n

Je

1*

ings

bless

i*

us,

-A|

m
P

round

s
^^

t f f
P-\>-

)+L|.
T!
TI

'J19

h
\>
*
*

*=t
still

our

foot

steps,

lead

ing

us

lest

we

fall.

F
92

Thanksgiving Carol.
Psalm

John D. Brunk.

^=fc

fl:
fcr-^

e ?
Make

joy

ful noise,

f>
#fU*-=

J>

&

~1

un

noise

Frt
1

r>

to

Je

ho

-&

-s-

Serve

vah.

Je
A

Know

joy

ful

"JPJ

-M

ho

J>

fr-

^
fc

vah

^3

Come be

is:

rt
-

ence

^=^

r-~-D

J
s=*

fore His pres

-;

^=

with

with

mg.

sinj

-^

P
.o

J>

trT

tr

ness:

Make

j>.
aJ
F*^

lands,

=p=

*-*

ye

JLA

-*-

U-

glad

lands,

ye

all

m-

\^S

"P"

^
I

ye

that Je
-

-<*-

SI

ho

vah,

He

God:

is

And

^S"5>

-k

pc

we

are

His;

r^kK*^jMl
^

93

T
I

It

is

He

that

made

'

And

us,

we

We

His;

are

T~~TT

the

are

^^
d
sheep

of

His

pas

g%

||

rr
h

And

to

A.

p
in

^U

P'

His gates with thanks

to

^u!

*i

jt

S=r]

P
His

h
^L

L-J

nth

courts
I

Give

praise:

J.

- iUL

v
Es=

aP

7~T

Him,
-^-

*~y~

thanks, give thanks un-to

aI

-i

P^

I
ter

ing,

En

tures.

&

And
-*-

S^

bless

His

name,

men.

zj

94

Jewels.
W.

O. Cushing.

Geo. F. Root.

3
i=^
P

=?=

'

2.

When He com-eth, when He com-eth To make up

He will gath-er, He will gath-er The gems for

3.

Iyit

1.

^#

h=fi

Who

tie chil-dren, lit -tie chil-dren,

n-

I
=p:

JE

His jew - els, All His jew - els,

His king-dom; All the pure ones,
love their Redeemer, Are the jew -els,

Refrain.

3 B

WF=fr

3=1

fl

A)

L-Al

a!

1
1

pre-cious jew-els, His loved and His own;

all

the bright ones, His loved and His own;

Lake the

stars of the

morn-ing, His

pre-cious jew-els, His loved and His own;

9^

^^

v=&

:rfc

'I

J.

=f

-a

Al-

bright crown a-dorn-ing,They shall shine in their beauty, Bright

%t=e
^frV-V-K

rJ

Take
to

His crown.

*=
brother, H'm.

With You.

the Saviour

my

for

=?i-t

v:

Dedicated

gems

H. Hohinger, Shelly town. Pa.

A. Vancma.

Geo. B. Holsinger.
cres.

*:

3t=Si
1
2.
3.
4.

h*

".

*-r

^A

-A

* &=*

-2

==

Take the Sav - iour with you when you leave your home, His corn-pan - ionFar
a - way from friends and loved ones, all a - lone, Mus - ing on
life's
Bent on rec - re - a - tion, or
in quest of
heath, Min-gling with the
Tho' the world be wide, the Lord is
ev - 'ry - where, Round the cir - cling

^tHr-Arb
fr4-p

P
g

E
i)

E
j;

E
g

Copyright, 1906, by Geo. B. Holsinger, Bridgewater. Va.

Used by permission,

i=t

fr-^r-6

95

mf

5:

&==*

'.

~"

fefe
^-
*

In the moun-tains wide or on

the
sweet wher-e'er you roam,
joys, re - call - ing pleas-ures flown, Like the skies His love o'er-reach-es
surg-ing throng in - tent on wealth, Seek the Lord's ap- prov - al, keep your
Ev-'ry sky re - fleets His beau-teous
globe you'll find His shel-t'ring care,
ship

is

mS

-A-

-A-

-Jk-*

t=
-
P
r~p

-A-

-A-

p.

-&:
1

=p

-p-

*=t

Si

ii=P"roll

all

ing
your

An
An
An
An

sea,

way,

con-science

true,

prom - ise

bow,

y- where with Je
y - where with Je
y - thing for Je
3' -where with Je

J)
b

Jl

iSs

J>

An

P
-

y - where,

An

to

be.

safe

to

stay.

sus

it

safe

to

do.

sus

it

safe

to

go.

fe
^T

Take the Sav-iour with you

-

'ry-where,

=p=b

iP2-

ev-'ry-where you go,

Take
ev-' ry-where, yes, ev'rvwhereyougo,

g~tj =

Him with you thro'

e_!

ff

."|~

ii

-l -

vou

roam.

An
h

P'

fc

life's

-A-.

-A-

"

-t

l~

t)

journey wherso

*-s

ti.

*-s

*T

^S

p:

v-where with Je
h
fc"
1

-A:r"

p ^fcp H>

dim.
-ft-s-

-b"SI

-!

-L-.

*_!_

Sk-_

f//;

==

\)

k^

g=g=

tf-5

*=

k
_kj

fl_!

k,

cres.

e er

:/

(/K. k

gd z_p

P=

P
Ev-'ry -where,
y-where,
Ev

Vn>>

safe

it

'

95felE

it

sus

q?

EeI

sus

r f f

\>

Refrain.

fefi:

if

^m^

sus

m-

it

..

is

"Home, sweet home."

J

96

Little Eyes.
Rev. B. R. Hanby,

*
VT\^
\s\)

h
V

b
g

D
J
J

tie

eyes,

lit

tie

eyes,

Lit

tie

heart,

lit

tie

heart,

Full

3.

Lit

tie

hands,

lit

tie

hands,

Bus

4.

Lit

tie

feet,

lit

tie

feet,

a
A

m
A

a
A

a
A

V r"
(fob b

r
^

ward

look,

3
W

\\

P
J

e
[a

of
-

laugh - ter,
with the

57

ter,

5
f

I
A

morn -ing

light;

full

of

glee,

kite

or

doll,

light your load,

|a

a
A

a
V

N
J
3
^
v

M
a
S

P
J
3

P
J

morn

is

al

h
J
3
^
j

pen with the

y
Soft your pat

f)

D-W-

j'

v>K

v.-

a
k

D
i

Lit

'

J|

1.

)
Z
hi
P4

<

2.

a
m

C~\
*
l.|

P
J
*

'

4-

H. Fillmore.

J.

o
/Vif
h uZ

i --Vy-

r\

"

3
f
1

Up

up- ward

look,

with love,

Beat with love,

Learn ye may,

work

or

play,

Do

keep the

way,

not

stray,

beat

Heav

-en's

ways

Lord who bless - es thee,

to
do
good to
all.
Walk the straight and nar row road.
For
Dai

the

ly

J'i "

Copyright, 1911, by

The

bright,

Fillmore Bros. Co.

Softly Sighs the Voice.

Arr. from

pP.

PI
1.

Soft

ly sighs the voice

2.

eve

of

Thro' the dark blue vault of

4:

* ^_j_#

Von Weber.

ning, Steal -ing thro'

ther,

Si

yon wil-low grove;

lence reigns with soothing pow'r;

^n

w A-

watch, their nightly watch a-bove.

dark-ly brooding, seems to lower

m *
-4

fr

While the
But

si

7X
^=a=SeP*

stars, like

-*-*

=^-g^

guar-dian spir-its, Set their watch,

- der mouu-tain Dark - lv seems,

a storm o'er von

ti *TT
=r-

their
it

&

watch a - bove.
seems to lower.

God

My

is

97

Song.
Arr. from Beethoven.

C. F. Geliert.

*/

'-W=W
-2-zst
1.

God

my

is

d
He

song!

is

God

of

25t

_-

2^:

2.

He

my

sees

3.

And

need,

each

hears

near?

so

my

He

Is

Say

are His

&-.

His name

deeds,

noth

a might-}

ing more

worlds

u=T

-&

love

-I*

to

Him

be

PH

=:-

e:
-

tow

of earth or

&

oto

in

it

self

long,

And

er,

the

all

And

ing,

hastes

with

;-;

Nor

Heav-en,

ven

//
,^

j*

And

+^=
fcsr-j

the worlds

all

1*

E7-

to

Him

<&

ter

will

25t

be

ter

long.

-2

cede,

And

hastes with love

f^P
hell

veil?

=p

fS7

4J-

fc

/
fe

iour

do, each fre-quent fail

*
fc*:

He knows what good

ask

ing!

t
W=^

Then

wail

Energico.

mf

Great

ter

bit

Pffe
4Ut /
r r

er;

3t

God

Is

u^^g
2

ifi

pow

fear,

to

2-5

^_

hell

it

in

cede.

I
Nor

ven

self

will

fear.

.
.

98

Haste to the Rescue.

sM

DeArmond.

Lizzie

They are
They are
the
To

1.
2.
3.

ft

Uft

fc

way Where the

way, Send

drift

drift

ing
ing

res

cue, nor wait,

break
cheer

sink

They are

tl

*-'

roar,

shout O'er
fast, Pass

&=3

|
I

=^

m=*i

-*r

out

o'er

the

sea;

foam-tossed waves roll -ing

slow - ly down with the

high;

line

w
sr^r

They are call - ing to you, O

Lend a glad, lov - ing hand To
Ere the day - light is done, O

tide;

PS

iit

swift

one,

ft.i

do,

Tho'

friend

or

foe

it

man;

will

help

you

through

if

just

one,

God
From

the

sea

of

sin

deep

t=

*->-*

EE

3(:

may

to
er

save

fc=

&.

broth

be
your

-r^r

P
istt

the
the
ing

"

^
4

Throw

ers

ing
ing

ffil

life

Beazley.

j^^JU

W.

Samuel

be.

you try.
and wide.

*-

E
^sz

v-

Refrain.
irit

="

I
To

the

VJ.

^P
=
A

^ T

P5Eg
jt

res
res

ftnt

-*-?

cue,

Ere

my com

cue,

-^-

3|:

-^.

.a-

A-;

^A

cue some need

3?g^ +

hu
-

P
A-^
W.

man

-b
lives

to

day;

They are

drift

ing

=*==*

Copyright, 1912, by Samuel

at=a

cue

waj',

31

?
--r-l*

Res
Res

fc^=i=fc

drift

rade,

p=g

*"i-

they

P
P AU

a!

-r~p
Eeazley.

A.

AJ

PJLj
t-lt

aU

&

=A-

99

Al_

EE
far

Save

goal,

?=F

pre

cious soul, save

soul.

..?=

D. B.

J.

fej
*^-

Pret

ty

lit

tie

Pret

ty

lit

tie

snow-flake, Whirl -ing, twirl

snow-flake, Hiss - ing now

3.

Pret

ty

lit

tie

snow

flake,

When

the

rose

m^
s

ing,
in

all

to

the

main,

leaves has

shed,

its

D. Brunk.

ft

J)
J)
31=1

1.

#
*=* 1

jt

J>

2.

glee;

==

-frfr

-f)

3=^
Pret

^:

Snowflake.

Little
I.

=
4

4^

from the heav'n-ly

r>
^

-ri-i-

Heart

Gloss

ty

lit

tie

y
v

lit

tie

lit

tie

snow
snow
snow

flake,

flake,

Cheer
Mite

flake,

In

ful

ly

to

mite

the

ball

rr

we
wel - come thee.
has stopped the train.
and
the sled.
out

;vi-

fct=

p
p

ii
m

Refrain.

7>

ny

t=#

t
Ti

P"

lit

snow

tie

We

flake.

P
are

v:

chil

dren,

too;

*c

-P"

4J-

Shin

93*

ing

I
lit

-A
I

snow

tie

il=
1

See

flake,

fc

=fr

what
1

we

may

do.

=fr=fa=

S
V

zSs-

Onward, Christian

100

m^m
2.

3.

4.

Soldiers.

Gould.

S. B.

1.

On

A.

?=f

Marching as to
war, With the cross of
ar my Moves the Church of God; Broth-ers, we are
.Like
a might - y
Crowns and thrones may perish, Kingdoms rise and wane, But the Church of
On - ward, then, ye peo - pie! Join our hap - py throng, Blend with ours your
'-*
1~
tL
t~
f*~
-

ward, Christian

sol

diers!

fcr^hr
==P

K K

y =E
3=24.
= s

Je
voi

Go ing on be
Where the saints have

sus

ing

sus

Con

ces

In

JTV

'

We

trod;

stant will re- main;

the

tri-umph-song;

h-

roy

Christ, the

fore;

are not

er

Glo

ry,

laud and

hon

or

9 J J

ii

~9~

diers!

sol

j
I!

in char

'

and an

gels sing.

r^
*

<^*

Iarch-ing

]
as

A.

T
to

war,
I"
*l

...

ty.
fail.

*
L

that can- not

c\'~ i *
}""])- lA
'jf -

His ban - ners go!

^3:

Refrain

zz.

3==$:
=
4

"-*

fa

On-ward, Chris-tiau

ed,

nev

i"?

p^^

ter,

can

Leads against the foe; For-ward in to bat - tie, See,

All
one bod - y
we, One in hope and doc - trine, One
'Gainst that Church prevail; We have Christ's own promise, And
Un - to Christ, the King; This thro' countless a - ges Men

Mas
vid

hell

2^

-o-

of

ywt^
A-^-*H

sa
al

di

Gates

e.

=*=3:

*=t

Je
tread

ff

S. Sullivan.

-J

''-

'
1

&

12^
With
:

plfe

3=?+
the

cross

1=

of

*-

Go

Je

==

mg

on

be

fore.

-Jk-5?-

My

Acknowledge Me,

'H
*fc:
(

fe

'

-P

my

fount of

est

Thine,

mine.

of

*^-

d-#-

g*-

deep

blessings,

own me
want

Shep-herd,

er,

er

My

Shep-herd,

Than deep -

own me Thine,

want

est

mine.

of

,*

/T\

*..

ttU-Tl*;
tt

My

Thau deep -

*-

Keep

9%-fTfa
4

(m *

knowl-edge me,

Thou

If

er

F m

Ijjili

er,

-*

u.

^=

ifc

(1685-1750.)

Bach.

0-

Ac - knowl-edge me, my Keep

Thou fount of bless-ings, deep

Ac

S.

J.

J- 66.

fcft

101

Keeper.

(CHORAL.)

Met.

P
Li

/^\

i
1

Thy mouth

hath

full oft

me With

fed

*
r

'

Qa

J
^

milk and an

1
1

"^

gel

Thy

food,

f7\

r^
^

J J
*
i

EV

full oft

i
F

1
i

hath

me With

fed

F-W

s
i

-J

'

milk and an

A
i

kr1

+>

j.

^^r
]

Thy mouth
-^

-J

r a
L^J

JrLLf
r

J
^

fc,

*v +*

^TTi^T

"!

gel

food

-E-.

rrtr
|

it.

E-

k*

UL-

o
Spir

^5H

1^

still

- it

hath

me The

led

way

of

heav'n-ly

good.

,&Ji

Spir

94

- it

1=1=

BL

C-ikj

-*

still

hath

*E

led

^=

S3-

me The
-A-i-

way

of

heav'n-ly

Thy

good.

^
102

Evening

m3=*
A.

Bells.

S. Keiffcr.

B. C. Unseld.

1.

Peal

2.

Here

ing
a

izs:

-&-

slow,

soft

and

lone,

here

Eve - ning

low,
-

lone,

-z$

Once
a - gain
your
Dream-ing dreams, pen

m&
m

^t

re
-

Wak

frain

sive dreams,

3*

Of

and

to

fro;

your tone,

lis-t'ning to

3EE

-1,

^C

swing

bells

sit

*E

ic

fr-4-r

-Jr

*E

^^

+-J:

ens dreams of long

a - go.
the days whose lights have flown.

*=
l^:

f=

Refrain.

J:

fc

B *
Eve

3i
-

ning

bells,

eve

ning

bells,

J=S^|
What

7?

mu

your

tale

sic

tells,

3
m

3t
As

chime, keep

ye

SSfe

ing

time

To

the

mu

sic

of

life's

rhyme.

^m

Used by permission of author.

Sweetest Hosannas.
''Sing forth the honor of His name; tnake His praise glorious."

Ps. 66:

G. P. Hott.

lit

;==-

jyf^p^
from the

high

1.

In

2.

Go where

the

man

3.

Bright-er

and

bet

A-

^to3

Used by permission.

way,
-

y
ter,

in

tr

r>-

from the

D. Brunk.

s
J.

Lively,

to
&
i

2.

by

way, Gath

r=r

the

er

Lov - ing
wan - der from
Je - sus,
gems of the king - dom, Hap - py

ly

the

103

s1*

fe

dren
whis - per
chil - dren
chil

se

cure

ly

"Come

ing

from

sin;

Je

sus has blest them, sweet-ly

/
?*
IvOv

ing

ly

bid

den

us

dren,

Ev

er

the

dom

of

as

the

king
Sav

round them, Just

=T=^

-^-i-

-d-i-

win

to

fl

Li
*
b

A. b
VT\ V v

^K

*=da

17

of

els

them

in.

shall

be.

of

old.

them, help

a-5-

us

gath

to

er,

&

Help

us

the

r=?

j56-Jl

bring;

to

Je

Ah

A
P

^^
m
w
,

k.

-
-

h;
^

A
-V-

|i

4
a

dre n;" Sweet-est

A -i

H
b*

ho

san

A.

*
1

/]

<+.
t

nas

A
A
1

to

At--

ft

P
J

-ftp

sus

K
P

/i

j
-

the

*=*c

Je

r-fr-i

bid- den, "Suf-fer

sus has

it

EfefeffiNi

heav-en

^WH
^

wel-come
heav - en

-P

A-;

-A^-

chil
,

P
jew-

-A-i-

^S

p"

piW
us

Af-;

P=^

Refrain.

Help

^^^
-^^

once blest them

iour

-a-j-

a*
EE

find
1

ressed them,
chil

ca-

them, for like the

them, put your arms

call

At

t5=fc

SSi

re

V-ir^r

v-

itet

r>

Ivov-ing-ly

fold;

^1

Me;" Sweet-ly

un-to

p_

r>

seek-ing the

in

if^fe

they

si

ng-

A
* ^
^
#

II
ii
ii

n
H
ii

Thou Hast Never

104

Forgotten.

Mrs. Frank A. Breck.

^^ *& ^

15=6

m>
*#
w^*
1.

God

2.

Safe

hast thou bro't us

of

~d

f>

h
m

-m

it=Ht
-(54-

be,
tears;

si

r>

*l

er

r>

for -got -ten

er

us

nev

JE^E
sor

> feE
P
P

met;

Not

one

Thy

of

-6

h-

ffi
got

ten

And

"^

Copyright, 1912, by Samuel

Fa-

ther,
"I-

=
W.

Beazley.

-<&
Thee,

or

years.

What

-|~

ev

er

* y

jc

r>

chil

dren was

ev

,9
p

of

er

for-

p-

$^

*
Thou

3=*:

-T

=s=*

i)

the storm-y

v=^

g-as

^2-

row we

p-

m&
BE

er, (nev-er,)

J?

r>

SipE^ES
P=p:

all

hast nev

*=

ges yet to
al, pain and

may we hon

So
Thro'

stays,

f^

d^

shall last,

-*-i

Refrain.
p>

a
tri

tet

r>

ATS
5 =sjr+-^

^
w^-fr-fr
Thou

^r

&

"p17

Long as Thy love and truth

Thy lov-ing-kind-ness ev -

9^=^1-

|=B

Beazley.

a - ges that have passed, Of

on our va-ried ways, Thro'

SMr===3!E3
F*F
S*

the

all

W.

Samuel

"Z^

wilt

nev

for

get!

T0-.

=P=p:

**:

The Merry

105

Spring.
I.

Not

too fast.

%m

%
?=*

good

1.

O,

2.

And

as pure

3.

L,et

4.

them

is

S=fr
=r=i

to drink

,4

v=
P

fa^UUM^--^

===^
fefe

l>

grow;

There

new;

'Tis

dis

sway;

For
For

it

spring;

is
-

mu - sic be - side, In
drops from on high In

health

in

the tide, and there's

tilled

in

the sky,

mur-murs

and

it

in

the

me,

to

the bright drops that shine

weak, but its strength I'll seek, And re-joice while I own its
from the foaming brink Of the bub-bling, the cool-ing

sa)- 'tis

3E M
P

Hall.

the cool-ing spring, By the rocks where the moss doth

the wa - ter giv'n, And its stream is for -ev - er

is

as heav'n

love

ly thing

^=#

H.

b-

_/

Refrain,

of

glee,

fastet

Mer-ry, mer-ry

p Rip - pie,

==

i^

^P

brooklet's bound-ing flow,

show'rs and gen-tle dew.

it bounds a - way.

the

And laughs
ing than wine, And its
o

n b^

z^z3=

as

re-fresh

=^c

-fc-

more

ech

the

rip -pie,

lit -

sil

V"

tie spring,

Sparkle on,

-v'ry brook, Rip-pie on,

praise, its praise we'll sing.

gz^rk

k
p

->
p

\k

aI

:=

:p=p=

repeat p.

* i

spar-kle

on;

Mer

-ry,

pie

on;

Rip

-pie, rip

rip

y*
t>

pie,

=j=&=j=

^~

mer-ry

The Ruebush-Kieffer

Co.,

owners of copyright.

spring, Spar-kle on

for

-v'ry brook, Rip- pie on

for

lit - tie

sil

^=^4

P=tt

^ime.
me.

Happy Time

106
M. B.
Spirited.

J.

Come,

oh,

2.

Come

to

3.

Oh,

hap - py days

" b
>T 9
b w\
v b
fvs
v
1MJ

to

fly!

What

ows

fair,

ger

stay,

ly

fly!

Where
To
What

they swift-ly

sweet
the
will the

On

oh,

come,

"

mead

here no Ion
how they swift

youth,

of

i
the

to

-$=p
is

_
^

R
_n
^

h
J

r'
*f

go,

vest

be,

com

Birds

r-

|S

h
K

ing by

*
i

mer

are

the

way; Hearts bright and feet

and by ?
Sow - ing their seed

us haste

let

A'
b
K

|
1

e>

bloom, bathed in fra-grance rare;

we

sweet
the

ri

so

ly

light,

by chance,

A
2

ies

bio om

so

we

hat te

har

vest

bj ?

and

<

*
1

rar e;

Bir ds

are

I
sing

wa r>

Fe et
So w

so

light,

trip

ing

seed,

<$

A
-

bj

fields

K
)'\ * b

come

ies

lil

C\'

oh,

h\
n
J

fields

k.

N
p

har

v=&
Where

=^

IEEE
3^
'^S

lil

how

of youth,

Come,
Come,
Days

V\\

P$=

come a - way
to the meadows fair,
the mer-ry meads, here no lon-ger stay,

4:

i^ 4

\>

V=^ =

1.

vL>

M. Bowman.

J,

Clear timbre.

-fiH
A b uV
fr\v

of Youth.

i*

ing

b kl
^fi-b-k

FJH

Fine.

^UJi^-^

."

$=r

sing -ing in the trees, Sweet their notes

'Hr-J*

now wafted on

the breeze,
ping ev-'ry-where, Shouts of glad-ness ring out on the air.
thus a crop 't will yield, Reap-ing what has grown in time's great field.
trip

jgg

ZJ

ev

'ry

Sweet
where, Shouts

crop

to

yield,

the

trees,

Reap

as
%
Copyright, 1897, by

their

notes

up

of

glad

ness

ine

thus

in

i
on
on

the breeze,
the

time's great

air.

field.

e
The A.

S.

Showalter Co.

x-

107

Somber

Slower.

v=9=W

timbre.

=*

-P-

-?-

now and ban

Come

- ish care,
sor - row leave be-hind,
days of grief may come, sun-shine may de -part,
Soon
Time's fleet-ing scythe will soon reap the fields of grain,

r=*
and

sor

row

Grief

may

come,

sun

Time's

fleet

scvthe

will

Love

and

Bright

rays

of

e'er

the

What

its

-^

St

leave

be

hind.

Love

shall

shine

de

part,

may

reap

the

grain,

Hope
What

Care

P=tr-

the

1-

"

aa

'

f*

ii

tj

\>

hope may

sor

fade,

may

liar-vest be,

*=P

lose

it

or

gain;

not

Let

Dark
Soon

4>

no heart shall find;

row rend some heart;

grief

joy shall reign,

sor-row's

waves

of troub

will the

wing
-

le

ged form

&F
*&

jSL

reign,
fade,

none

shall

find;

Let

-row rend

some

heart;

or

gain;

Dark
Soon

grief

sor

har

loss

vest,

_A-

5^

Sfe

no
waves

o'er

ged

the

/?.

rfz';//.

= ^^=

tF^T

ow

roll

-P

r#. ^

shad

^fifti

tt

shadow bright young hearts, Tear-drops will dim the cheek, as the smile
roll o'er life's bright sea,

cease this earth to roam,

sW

barque
Soon will the gold -en sheaves

Toss

ing the

lit

tie

$=FZ

as
all

it

de-parts,

nears the lea.

be gath-ered home.

r
blight

j'oung

hearts, Tear

life's

bright

sea,

cease

to

i%

roam, Gold

Toss

drops come
the
barque
en
sheaves

rz

as
as

the smile

de

nears

the

lea.

gath

ered

home.

J=L

A-

it

are

m
-r

parts,

My

108
H.

E. T.

Far- Away

Home.

(Effective as a Solo or Duet.)

E. T. Hildebrand.

With feeling.

*JU^k
m
M *?=*

:^

am
am
am

1.
2.

3.

think -ing to
think -ing to
think -ing to

night
night

of

that heav

night

of

those

*=*

^<K-

of

far

en

a^H-^-r
fcfc

gffff
hap

gels are

those

view that great

cit

long

And

L,ord

may

we

at

length,

Oh,

bove;

-O-i

Are

sus the

o-

Which

Son,

Pass

S^glTT

is

in

to

S
S|

- ti -

ful

home, land

JL

H4

-A-.

g-

g^
m

who seek

rest.

ven

love.

of

-^-

-A-

rl

r^

Whose glo-ries

^.

-A-

ri

t^ i
for

ev

er

are

rP~

It

soul goes

up

4H^

-*'<-

/Ts

Used by permission.

f=
1

rz'/

Pi

to the great white throne,

=A-

-A-

-A-

--A-

i1

bright;

4-

v=

-A-

of the blest,

bs

s^^^
iSESEEBg
My

-o-*-

14

ha

-fr-fr

v
-A..

all

-2ST-

gel throng,

-*

Refrain.

Beau

to

that

**=*

m
:

T^T

bright an

the

t^

by
prom-ised

re-

through

44

trod

ward

who

the

=fc

hold,

which

of

-f-

be

the streets of pure gold,

>^=
-^-

to

*s=*

'Tis the host

IE

ceived the re
-

song,

in

>

32$

Je

py

-*

$^m

=6:

=&=
fe3=

who are crowned with the blest;

9S^
^

=p^=

an

And
To

band,

ly

who have gone

-o-

nsfcr#

ill

way home, Where the

-tr

Where Je-sus

'

-A-

is

ev

'-4-

4-

4-

er
er

the light.

^SS3
^FPP

-A>

_ft

'

"


Olden Memories.

Aldine

109
A.

S. Kieffer.

=fc

3=

=*=

-j-

;*-.

S. Kieffer.

^T~J"

-^*-*-

sit and watch the gold - en stars Be - gem the az - tire

hear the song you used to sing In
sum-mer twi -light
and
hear a - gain the whispered vows Of con-stan-cy
more! no more on Time's wild shore Shall we to - geth - er

And

blue,

hours, When
love,

That

stray,

Thro'

->-*-

T~S

=a=

=
b

\>

wm

6=

-W-

*.

-w-

But
dream of love, Of heav'n, and home, and you;
hap - py per - fumed bow' rs; It
Ivove's sweet chain first bound our hearts In
us from
a - bove.
then were breathed while gold-en stars Beamed on
But
sum-mer bow'rs in twi-light hours, When day has passed a - way. 'Twas
watch-ing, dream a

m
b

l>

s=s=r

|||fc^
"9^

^r-^dark

er

comes
dens -

to

but

grows the

sil

vi

lone

'ry calls

v'ry ca

sions of
-

^j

tfT

a-round, While plain-tive zeph-yrs

night

sigh,

And

borne o'er the sea Of moan - ing, surf - beat years;

er grows the night a-round, More sad the night-wind sighs,
a dream, 'tis
still
a dream, I
gaze on heav'n's deep blue:

J=d3=

-1

me

^^
mem

-A-

1}'

wan

SSI
m*
*#
Used by permission.

up
dence
once
-d'rer

^^I

#=

hap
far

hap

py days

gone

by.

mine eyes

with

tears,

py days Fade

out
be - fore mine
way From home, and heav'n, and

eyes,

you.

heart,

And

4
S

P}-

fills

my

As

F^

h:

van-ished scenes Of
thrills

Its

A-

110

There!
James Whitcomb

Don't Cry!

Little Girl;

Riley.

J.

D. B.

Andante amabile.
n

V (\
/v " J

im "
k

\y

f)
ii

C\
B

'

k.

--

There!

lit

tie

girl;

don't

cry!

2.

There!
There'

lit - tie

girl;

don't

cry!

tie

girl;

don't

cry!

lit

fc

frf f
^'
_-/
-ft-

#-r

p~

b
.

*
*

k.

b
blue,

wild ways

things of

the

things of

the

long
long
long

soon
soon

which

pass

by,

come

by,

you

-V
fc

i^
play

Are
days
Are
dreams Are

house, too,

Of your school

girl

ful

-j-

*
P
But
But
But

go
go

go

&
^child

\>-^v

P
-

ish troub

and

life

heav'n holds

There!
There!
There!

J?

Copyright. 1912. by John D.

Bmnk.

for

-J-

-J-

Xr

tie

girl;

don't

cry!

lit

tie

girl;

don't

cry!

lit

tie

girl;

don't

cry!

Jl

-J-

^E=fc

lit

^M

P
will
will

all

'^f

k)

fc!

les

love

fefe

sigh.

ft=fc

-&-,

-7-

*-i-

s>

-h

k.

?=
=?

'

*
p

-J

\>

heart,
1

""

h
P

I
'

slate,

K
R

P
the

h
k

bow gleams Of vour youth

^E?=#^
P

doll,

r>

And your

=W

things of

set

glad,

l>
P
ken your
ken your
ken vour

P
tea

f>

ri-

5:

K
R

-*.

1L J

-NH

And your
And the
And the

^-*-

L-

9= ^^

fc
tr~t

know;
know;
know;

They have bro

They have bro
They have bro

1^ ^

1.

pt

N
A

h
A

3.

(S
B

E
But
But
But

Ill

Id:

-4

*
p
child

Hi^
*
E
P

PM>

pip

Tf*
ft

love

will

all

for

heav n holds
1

which you

-^

I*- 1 -

K-

lit

tie girl;

don't cry!

lit

tie girl;

don't cry!

There!

lit

tie girl;

don't cry!

sigh.

a
^

Kj

There!
There!

by.

soon come by.

*=#
H

-P

ish troub-les will soon pass

and

life

*
P

~K
P

JUL iij i jr

J>

-D^ tr

*=^=

p-T^r

tr

Ingratitude.
Shakespeare.

J.

-^

4:

blow,

Freeze,

freeze,

thou win
thou bit

wind,

ter

sky,

-*=#

ter

rr

W
P

p
P

Thou
Thou

art

not

so

dost

not

bite

P
Blow,

tr

kind
nigh

Jl

Ft

-*

As man's
As ben -

un-

so

JUL

Jl

s
tf=

D. B.

^=fc

J J
a
r-r

in

grat

fits

Thy

tude;

for

tooth

is

.&"

so keen

not

Tho' thou the wa

got;

1I J

IP 3

8
ters

warp,

Be-

Thy

'

h
J

V
A.

im
V. J

p
i

to
ri

g^-P

IS

'

tt*

TT*

P
not

seen,

Al

sting

is

not

so

sharp

As

n
v
f

f^h
^

art

J>

J.

^
F
p

\
n

is

i
!

,i

4*

I
I

1
1

thou

*.
R^

Al

ft

Eg

cause

Cy
J*

J>.

la

though

thy breath

friend

re

i
,

mem

be
bered

hi

..

-=|

'
1

"5

M
^

rude,
not.

b
=|

'

?
112

Slumber Song.
H.

J.

Hall.

4:
n

1.
2.

Slum-ber
Slum-ber

IT

ii

soft,

lit

tie

one,

soft,

lit

tie

one,

h"\

i/

While the qui - et shad-ows creep;

While the stars are peep - ing out;

-p-

-fv-

-p-

a----*:-

Si*

%*f

->S

-'

&

^S
tf
Slum-ber,

rr

=2=*

:-:

rr

do

not
fear;
Heav'n's bright gleams cheer thy dreams;
dear,

&s>-

watch -ing o'er thy sleep.

gels guard thee round a - bout.

Iyove

An

is

-#
9'

3s:

Used by permission of author.

When

Pain and Sorrow Moan.

in

Melody by

B. Waldis. (1550.)
Praetorius.
(1571 -162 1.)

Harm by

mf

Andante.

2-=
When

ffg

f-f

fS2-

pain and sor -row moan,

in

^Lg

P-

I
|

aI

5
r

And

(g

,i-

'Tis then I

^^

Lgl -"-

lift

my

A
-to-

T1

and

A^A:ArAA

^m

=
P a

-^.-^ni ^

<>

for-sak-en

feel

fe

lone,

A 3

d:

-"-

^A

J r^
g

ZC

^2

eyes on

'

'

i
.

high

fhtr

To God,

for

help on

Him

J J

Td-

re

- ly;


113

/l

And

J
^

-I
"g*

'

'

m=^

r=r=^

g
Un

pa-tient prayer be-low,

wait in

aI-a^

-^

His gra-cious love

- til

He

aI

-H

<5>

\irL

-N-o-

Now May

J.

M=fi4^E^
-4^
A

Now may
His

help

God

of

be done! His

ev-'ry one,

near to

nn

Ki

L,et

all

nd

not

1
4M

w-

our need, Our Friend indeed,

-I

* m

!-!l

rr

-;

al

ter;

fal

ter.

last,

chid

Who

still

eth!

^%

JU3JT1

r Ja

in

a Mi

-f^Pf^
To
J

-^r

-#-#

^5
he builds to

A A

How ten-der-ly He

f
jpa

rr
fast:

-^

xa

hold

Bach.

S.

m^ftrr^
Him

H-^-

I would not
our cour-age

will

LJ
In

<W-J

#--

"Hrf-

^=*

27

H B

tf

si

&

-J
-i

-ith

=*E

the will
is

npl

God Be Done!

the Will of

I:

show.

^M*
God

con

,j3l

fid

eth!

Contents of Rudimentary Statements.

SECTION ONE.
Length

of

Notes and Rests.

SECTION TWO.
Time.

The

Beat.

SECTION THREE.
Measure, Simple and Compound.
Measures, Table

of.

Odd

Measure-signatures.

measures.

SECTION FOUR.
Tempo marks and names.

Tempo, explanation.

Accelerando.

SECTION FIVE.
Syncopation.

SECTION

Hold and Pause.

Bars.

Slur and Tie.

SIX.

Pitch.

Staff.

Letter-names.

SECTION SEVEN.
The

Scale.

Major and minor seconds.

Syllable names.

SECTION EIGHT.
The Sharp. The Flat. The Double-sharp.
The Cancel. Accidentals.

Intermediate-tones.

The

Double-flat.

SECTION NINE.
Major keys and

scales.

Key-tone.

Key-signatures.

SECTION TEN.
Minor keys and

scales

Harmonic,

Table, keys and signatures.

SECTION ELEVEN.
Power.

Memory

Melodic, Relative.

Table, scales.

aid.

SECTION TWELVE.
Quality.

(114)

PART THREE
RUDIMENTARY STATEMENTS.
INTRODUCTION.
Length, Pitch, Power and

Musical sounds or Tones have four properties

The

The elementary
study of tones and their relations naturally divides itself into three departments Rhythmics, Melodies, and Dynamics, The study of rhythmics will
Quality.

representation of these to the eye

is

Notation.

embrace the length of tones and rests, time, measure, tempo, etc. The pitch
elements, such as scales and melodies, staff and clefs, keys and modes, are
comprehended in the term melodies. Power and quality are the -means of
expression in the tonal art and therefore bring force and character to the
music,

hence

the term dynamics

is

generally used to denote this department

of study.

RHYTHMICS.

I.

Section One.
LENGTH.

The

subject of length ir music has to do with length of tones and length

of silence.

on the

Notes by their form represent tone length, and by their position

point out the pitch to be given the tone. Rests indicate the

staff

duration of silence.

TABLE OP NOTES AND RESTS WITH THEIR NAMES.

Name
Whole-note
Half-note

Quarter-note

Name

Character

a
1

Whole-rest
Half-rest

Quarter-rest

Character

-w-

Eighth-note

J>

Eighth-rest

Sixteenth-note

fi

Sixteenth-rest

=i

Thirty-second-note

Thirty-second-rest

Sixty-fourth-note

3
Sixty-fourth-rest

1
(115)

EDUCATIONAL VOCAL STUDIES.

116

The following notes

are also used in music, but less frequently than those

Double-whole-note, thus \&\ or \\a>\\ or even Jzq
Also

in the preceding table:

very short ones; One-hundred-twenty-eighth-note

/
With only

much rhythmic

the above notes not

variety could be obtained.

dot to the right of a note adds half the note's value, therefore dotted notes
are very practical.

TABLE OF DOTTED NOTES AND THEIR VALUES.

d' -

Dotted- Whole-note

'

Dotted-Half-note

__

"i"

-1-

J.=

Dotted-Eighth-note

A=

J>4

sufficient

is

three

to

notes

of

J>=

to

'

J>

J>

J>

^= /J^
ju / .s R

t)

formula that a Dotted note

establish the

the next

tfj

t)

The above

a _
I

Dotted-Quarter-note

Dotted-Sixteenth-not

equal

Any

lower denomination.

note dotted

is
is

Extremely short notes are not practically dotted.

Notes may have a second dot placed for finer distinctions of lengths, thus:

affected as above.

Double Dotted-Whole-note

Double Dotted-Quarter-note

= &\ o
J
'

J.

This table should be written out in

J> 4

.,

full

j.

J
4

j* =

J J 4
J J J J 4
J

(])
KiJ

AW^AW*

(i 6 )

by the pupil and the formula

derived.

Even

may

dot

a third

be added in like manner.

half the value of the dot just before

it,

Each added dot adds

thus:

Triple Dotted-Half-note

ei

The pupil should

Note. A rest
and may have two

The

n
n n
d 4 4 4 4

I
'

fill

VVn #V

^ib;

out this table and state formula.

is affected by the dot to its right just the

or three dots if necessary.

same

as the notes are,

have names. The main body of the note is

extending from the head is a Stem. The little
dash floating to the right of the stem is a Flag or Hook. The head of a note
may be open or closed. An eighth-note ( \)\ has a closed head, a stem and
different parts of notes

called the

Head.

The

line

A half -note \& ) has an open head and a stem. The stem of a
extend either up or down. When it is up it must be on the right,
*
and when down, on the left, thus:
Notice the hook is to the
e ^c.
fe j

one hook.
note

may

right in each case.


RUDIMENTARY STATEMENTS.
Sometimes two or more stems
p

CJ

are connected

by a Beam, thus:

^v

JR J? -

The beam acts as a hook and at the same time as a

Section

117

slur.

Two.

TIME.

Time in music should be considered as relating to the length of tones.

To sing "in time" then, would mean that we are singing each tone exactly
long enough; that a quarter-note will be twice as long as an eighth-note, or
eighth-rest, and only half as long as a half-note or half-rest, etc.
Just as the
yard is a unit at the dry-goods counter, and the pound in the meat-market, so
the Beat is a small division of time taken as the unit in the rhythmic element
of

music.

Notes are said to represent tones so many beats long, or a certain

The beats may flow slowly or rapidly, yet the above

part of a beat long.

and statements are

under measure and tempo.
definition

correct.

This subject will be further explained

Section Three.
MEASURE.

Some

beats

(or

pulses as

they are frequently

called)

are accented

and

some are unaccented. When accented beats occur at regular intervals of time,
Measure is produced. A concise definition is: "Measure is the grouping of
accented and unaccented beats." By grouping beats a larger unit is produced.
These measure units
in

"threes".

three

or

four

differ

because beats easily group themselves in "twos" or

In the different varieties of measure

of

these

simple

groups

of

will

be found one,

"twos" or "threes."

When

two,

the

measure consists of one group of "twos" that is, one strong beat and one
weak beat Double Measure is produced. Lines are drawn vertically between
the last note of one measure and the first one of the next to show where the
accents should be placed.
These lines are called Bars. They are placed just
before the strongest beat of the measure.
The spaces between the bars
represent measure, but the real thing we can only hear or feel in the mind.
When a single group of "threes" is taken as a measure unit we have Triple
Measure. When two groups of "twos" are combined in one measure we
obtain Quadruple Measure.
The first beat has a primary accent and the third
beat a secondary accent.

formed when a group of "threes" is placed to each

Compound Double Measure has two groups of "threes",
the measure, with a secondary accent upon the fourth beat.

Compotind Measure
beat of simple measure.

making

six beats in

is

EDUCATIONAL VOCAL STUDIES.

118

Compound Triple Measure has three groups of "threes", making nine beats,
with accents upon the first, fourth, and seventh beats.
The groups become
weaker as we advance until the bar is reached. Compound Qziadruple Measure
is the result of bringing into one large group four "threes", producing twelvebeats in the measure. These small groups stand in the same relation to each
other as do the beats in the simple quadruple measure.
Accents occur upou
the first, fourth, seventh, and tenth beats.
For the convenience

of the singer,

and that the composer

may

be definitely

understood, figures are placed at the beginning of a composition to state which

is meant.
The upper figure tells how many beats there are
Double measure will have the figure 2 written on the fourth
line of the staff; triple measure the figure 3, and quadruple the figure 4.
The compound measures have for their signatures, respectively 6, 9, and 12.
It has been the practice of composers to write sometimes a half-note to each
beat and sometimes a quarter-note, and frequently other notes.
It is helpful
to have a figure to tell which is intended.
We use the lower figure of the
Measure Signature for that purpose. When the lower figure is 4, that means
that each quarter-note in that song is one beat long, and all other notes in the
same proportion. The lower figure being 2, means that each half -note has one
beat, etc.
The lower figure being 8, an eighth-note is the "beat-note."

variety of measure
in each measure.

The following
and the location

table will condense the above facts,

showing the signatures

of the accents*

Double

Simple

(2)

-(Triple

(3)

Quadruple

(4)

Compound Double

(6)

Measure

Compound ^Compound

Triple

(9)

Compound Quadruple (12)

Note.

The

Choral would belong in the above group of measures,

~ or Then there are the 4

are equal in stress.

and the |

or

All tones

of the hand used to assist in keeping the measure, time and

For Double down and up; for Triple down, right, and up; for
Quadruple down, left, right, and up. This procedure is called marking time.
Compound measures usually the same.

The motions

tempo,

are:

RUDIMENTARY STATEMENTS.

119

Section Four.
TEMPO.
to

Tempo is the
mean the rate

tempo

word

Italian
of

Time.

for

In connection with music

speed at which the beats flow.

More

we use

it

clearly stated, the

is determined by how rapidly accents follow

they follow in close succession the tempo is rapid or quick,

of a musical composition

each other.

When

and when they are

far

apart the tempo

is

slow.

The tempo

placing terms or Metronome marks at the beginning of the

is

indicated

by

The

first score.

This is the name of an instrument

pendulum which can be altered to different lengths,
and can therefore be set to run at any rate from very slow to very fast.
M. M. J - 1 20 would then mean that the Metronome shall tick 120 times each
minute, and that a J should receive one beat or half a second of time. The
above is a very definite marking and is growing into much favor at this time.
Then there are certain Italian words which suggest tempo by their meaning.
The following tempos form a safe scale from which to work: Adagio very
slow, Andante slow, Moderate) medium tempo, Allegro fast, Presto very
fast.
Beside the five named above the following terms are common tempo
marks: (See Dictionary back of this book for the definitions)
Grave, Largo,
Andantino, Allegretto, Maestoso, Vivace, Spiritoso, Con Spirito, Con brio,
sign M. M. stands for Maelzel Metronome.

made with an

inverted

Prestissimo.

The word Ritardando, abbreviated

rit.,

beats to flow gradually slower and slower.

gradually

made

means that we should have the

That means that the tempo is

slower, but does ?wt have the idea of diminuendo in

it.

Accelerando means to gradually quicken the tempo, to sing faster and

but ?iot louder and louder. Stringendo has the same meaning as accel-

faster

erando.

Section Five,
There are several signs which do not so distinctly belong under any of
the three general heads of the rudiments of music but we shall include them
in this section under Rhythmics.

SYNCOPATION.
In our modern music there
this is particularly

true in

is

much

desire for contrast

regard to the rhythmical

effects.

and variety, and

Syncopation is

one of the striking means by which we produce such variations. The effect
itself is that of hearing a tone begun upon an unaccented beat or part of a
beat and continued into the accent. The following are a few simple examples
of the notation of syncopation.

Syncopated notes are marked

ateJaJteB^

-r

EDUCATIONAL VOCAL STUDIES.

120

BARS.

In section three the regular measure bar

was mentioned.

There

also

is

Broad Bar

a heavy bar called the

The

ways.

These two kinds are used in various

(I).

Two

light bars represent the measures.

bar show the divisions in musical compositions.

exercise

bar

repeated:
;

II.

or

I*

or

I J

. I|

or

II] or

by a

Close of a

light bar

The following bar and dots mark the beginning

III.

by a double broad bar

indicated

is

light bars or one broad

The

"When

\\.

The close
6

of a

there

under the bracket.

Bis

is

of a passage to be

passage to be repeated

is

marked

;l

or

;|

! .

this bar :|j: or \\\ is

Then

be repeated.

song or

and one heavy

found between two passages both are to

a sign like this

means "twice".

Bis

Two

meaning

to repeat the part

other forms of abbreviating are

D. C. stand for Da Capo, which means return to the beginning

"Fine."
D. S. stands for Dal Segno, meaning to return to the
(sometimes ) and end at "Fine".

very common.

and end
sign

:S:

at

THE HOLD AND THE PAUSE.

The meaning of this character n\ is best expressed by the word "prolong"
we call it hold or pause according to its use. When it occurs over a note
is a Hold and means to prolong the tone to a greater length than the note

but
it

When

represents.
it

is

it

is

over a

rest,

or a bar, or the space between two notes,

Placed over a double bar

a Pause.

THE SLUR AND THE

it

denotes a

full close.

TIE.

The curved line plays a convenient part in musical notation. It is a Slur

when it connects two or more notes which represent different pitches. It is a
Tie

when

connects two notes which represent the same pitch.

it

Slur.

Tie.

Slur.
-fiT

Tie.

->.

Ties.

-=*-

men.

In

vocal music the slur shows how many notes are to be sung to one
word or syllable of a word. In instrumental music it is a phrase mark. In the use
of a tie we sing only the first note, giving it the time value of all the notes connected.

Note.

II.

MELODICS.

Section Six.
PITCH.

by the rate of the vibrations producing

slow the tones have depth or gravity in a
term we say they are "low." When the vibrations are rapid the

The Pitch
it

When

common

the

of a tone is determined

vibrations

are

RUDIMENTARY STATEMENTS.
common term

121

There are very

we use comThose we use are named by the
paratively few of them in the musical scale.
Since there
first seven letters of the English Alphabet
a b c d e f g.
are many more than seven in use, these letters are repeated in groups higher
and lower as the case may require. Pitches are represented to the eye by
means of the staff and clefs. The Staff consists of five lines and six spaces,
making eleven degrees.
These lines and spaces together with clefs, added
tones are acute or shrill, the

many

pitches that

may

being "high".

human

be appreciated by the

ear but

space above.

5^
space below.
lines,

sharps and

flats,

and a few other signs represent

the pitches used in

all

music.

The

The

following- Clefs are in

G-Clef on the

staff

common

use:

and the names

of the pitches represented.

&
The

The F-Clef on the

names

C-Clef on the staff and the

of the pitches represented.

Added
of

and the names

staff

of the pitches represented.

lines are short lines

these lines

may

below or above the

be used on one side of the

Not more than five

Below are the names of

staff.

staff.

the added lines and spaces which are most commonly used:
-1>-

-C

-ii.

C~

Im

~
:

II

S(-if- =
e :*)i
-

*>

==
*+=
*-

-a*-

-d- -rr

Section Seven
THE SCALE.
It is probably fair to state that the major scale is the basis for our entire
musical system. The word scale means a ladder or a series of steps. We
should keep the "series" idea in the term. We think of a series of tones
progressing upward or downward step by step. On the staff then the scale

would employ the degrees

(lines

and spaces)

in

succession

either ascending or descending from a given starting-point.

as

The

they appear
steps

of the


EDUCATIONAL VOCAL STUDIES.

122

Two are smaller than the others. The larger.ones are

sometimes called "steps" and the smaller ones "half-steps". We shall call
the longer ones Major Seconds and the smaller ones Minor Seconds. The
names of the tones of the scale are: i, 2, 3, 4, 5, 6, 7, and 1. Minor seconds
occur between 3 and 4 and between 7 and 1, while all the others are Major
seconds.
Let -f mean major second and minor second, then the formula
+ +

upon which the major scale is built would appear thus:

scale are not all alike.

++

On

the staff with the G-Clef this scale

is

-!-

as follows:

major scale.

123456717654321

It

*?

e?

then be seen that the degrees of the

will

staff

and

_^_

f,

and b and c

represent minor seconds, or half-steps, while the others represent major seconds
or steps.
Syllable

5 is

So

Names

They

to sing.

(soh),

are:

6 is

are usually
1

La

is

Do

(lah),

applied to the tones of the scale in learning

(doh),
7

is

Ti

is
(te),

Re

(ra}'),

and

is

3 is

Do

Mi

(me), 4 is

Fa

(fah),

(doh).

Note. Care should be taken that these syllables are well pronounced and not
used too much, as poor vocal habits ofttimes result. For cultivating beautiful tone
production it is better to call all the tones by the same name. Loo is fine, Lo is
safe,

La

is all

right.

Section Eight.
INTERMEDIATE OR CHROMATIC TONES.
There are tones lying between the regular tones of the scale as represented
above which are called hitermediate or Chromatic tones.
NOTE. Long ago these intermediate tones were represented by printing certain
hence from the term "chromo" came the word Chromatic.

letters in colors,

our tonal system for giving color and variety.

Major second is used as such a tone. The
following characters, which are used in connection with the staff, assist in the
representation of the intermediate tones.
The Sharp (j) is a character used to
make that degree of the staff upon which it is placed represent a tone an
The}'

are very

Only the tone

useful

augmented prime

(half-step) higher.

NOTE. This kind

distinguish
of the step

in

in the middle of the

of a half-step should be called "chromatic half-step'' to

from the regular half-step. In fact such half-steps show the weakness,
and half-step system of naming intervals.

it

RUDIMENTARY STATEMENTS.
Take

and

of the

major scale

for

example.

The

123

interval between

them

Let us imagine

a major second.

is

to

it

seem quite large

Now to name

Li-

the intermediate tone in this major second and represent

sharp one or di (do sharp)

it

tyi-\

It

it

sounds in relation to

by a sharp, we
2 as 7

call

does to

1.

I_l_l

In like manner

we can

within each major second of the tonal

to and including the next 1 above) are

find a tone

Those in one octave (from

system.

as follows:

MAJOR SCALE

INTERMEDIATE

TONES.

Vf
fn\
VJJ

J
/v

v\\
\

S^Tf

r
Li'

El

#2

di

_,_

fe^

U-'

Note To represent an
intermediate tone by a sharp,
set the sharp before the lower
note of the two forming the
major second within which it
is to sound.

ri

si

fi

li

(i?) is
a character used to make that degree of the staff upon
placed represent a tone an augmented prime (half-step) lower.
All
that was said of the sharp applies to the flat, only it acts in the opposite

The Flat

w hich
r

it

directon

is

therefore

p2-\

LiJ

MAJOR SCALE INTERMEDIATE TONES.

=~
A.

LJ
x;

_AL
TT

k
\)^

77

t>6

l(x\
x^y

b^-

b^

ft

>3

b^

Note. To represent an
intermediate tone by a flat,
set the flat before the upper
note of the two forming the
major second within which it
is to sound.

>2

le
It is

by

then certainly clear that

either sharping the lower

all

intermediate tones are practically formed

note or flatting the upper one.

Sometimes we

need to present an intermediate tone that lies between two tones, one or both
The above rule still holds
of which have already been sharped or flatted.
good sharp the lower one or flat the upper one. Suppose we need to sharp
a degree that has a sharp upon it? Just sharp it again. Then we have a
Double Sharp or we have doubly sharped that degree. To do that, use two
The old way was, and the common practice now is, however,
sharps, thus M.


EDUCATIONAL VOCAL STUDIES.

124

a special character called Double Sharp and

to use

made

various ways,
thus frb. There
is only this one sign for the Double Flat.
This with other important facts
leads the author to conclude that the double sharp should be used like the
double flat.
x or x or %

thus:

more

To

flat

question

degree use two

flatted

How

in

flats,

we sharp

a flatted degree or flat

then the whole matter will
be easy. If a sharp sharps a degree, then removing the sharp will flat that
sharped degree. That is true. Then it must also hold that to remove a flat
from a degree will sharp that flatted degree. We have a character thus fa which
difficult

a sharped one?

has

shall

is clear

names Natural, Cancel both are significant. What difference

be among theorists as to the name, they all agree in their use of
used to cancel the effect of any sharp or flat which appeared in the

several

may

there
it.

is;

If the following statement

It is

signature earlier in that same score on that particular staff and degree.

sharp a flatted degree use a cancel, and

a sharped degree also

to fiat

?tse

To
a

cancel.

:b:

EE

54345

#4

so

fa

mi

so

fa

m
I

*-H>

543
so

fi

mi

fa

3=:E
5

so

do

J?7

te

la

It has been the custom to use the cancel to erase the effect of a double
sharp or a double flat, in which cases it becomes necessary to follow the cancel
with a sharp or a flat as the case would require. For example, suppose we
wish to write c x and c tt in the same measure for the same voice. The present

practice

would make

Note.

make

it

We

read

cjj

it

thus:

p^jy

would much prefer

thus:

to write the single

In

all

sharp without the cancel to

practice

we think

this

would be

rr

cittt

cit

must never be understood that placing

a sharp upon a sharped

is not cfj,
degree makes a double sharp.
therefore
any
degree
with
a
sharp
but only c,
on it may be
read only as singly sharped, and hence we claim that a single
after
double
sharp
is
sufficient
to
represent
the correct
sharp
a
i
pitch.
To erase a double flat we would like to place a single
c5
ctf
flat, however usage is still against that.
entirely clear.

It

The second note

The

cancel works with the double

double sharp.
hV?
in subsequent sections.

bV

flat

We

just

m ~p~

as explained

above for the

shall see the use of sharps

and

flats

RUDIMENTARY STATEMENTS.

125

ACCIDENTALS.
All sharps,

flats,

and double

cancels, double sharps

flats

occurring within

a composition or exercise, not in the key-signature, are called accidentals. A

sharp or a flat in the key-signature affects all the letters of the same name,
in the octaves above or below, represented by the staff upon which it occurs.

An

accidental affects only the degree

upon which

is

it

located.

It

continues

throughout the measure in which it occurs unless canceled by another

accidental.
If the composer wishes it continued into the next measure he
shall have to write it again after the bar.
in force

ACCIDENTALS ILLUSTRATED.

67

7^7

6j?6

j?6

3 Jf5
or

#5

According to the above rules there are many useless accidentals in

musical compositions. Composers and editors have learned the wisdom of
using an accidental to make any questionable place understood. The musical
mind hears all the parts of a song. Now suppose the altos sing it 4 (fi) and
the composer in the next measure wants 4 (fa) in the soprano. The singers
will be feeling the #4 (fi) which the altos have just sung, therefore he places
a cancel (fa) before the 4 (fa) to make it certain that 4 (fa) is meant.
Cases
of greater extreme frequently occur but are based upon this same principle.
(

Section Nine.
MAJOR KEYS AND SCALES.

When

one

first

begins the study of tones and their relations he is much

community. After a while he discovers that people

like a stranger in a large

are grouped into families

in

seeing

proper

their

conditions and

and kinships.

He

relations.

no longer a stranger.

Characteristics

adjusts

and

and names aid him

adapts

some such way

himself

to

the

us think of all
the tones which we may be able to comprehend.
Just now it may be you
are in a strange tonal community.
You are not acquainted with the tones.
There are certain ones which relate themselves to one another very closely.

They bear

is

In

a certain fixed relationship to each other which

as the tones in the scale bear to each other.

as a series but

The

in

this

let

same
must progress
they may occur in any
do the members -of a
is

exactly the

In the scale they

family of tones called a A'ey

about one central tone as

family about the head of authority the father. That tone is the Keytone the
scale.
1 of the
To avoid monotony and to make it possible to use a great
variety of melodies in the range of the voice and the beautiful tones we use
order.

tones

cluster

EDUCATIONAL VOCAL STUDIES.

126

Tones are then used which

different pitches as the keytone.

selves to the

new keytone the same

will relate

as those in the old key.

If

them-

the keytone

or i is on C, then it is said to be the key of C.

When the keytone or i is
changed to G the key would then be G, but the minor seconds must occur
between 3 and 4, and 7 and 1, and the other seconds will be major. The
following will then define a key.
key is a family of tones bearing a certain
fixed relations/iip to each other. The key and the scale are always named
from the letter upon which the keytone is formed. There may therefore be
as many keys as there are pitches in our tone system.
We must not for a
moment think that all the tones may belong directly to any one key. Each
key will have certain tones which enter to constitute it. (There are also tones
which lie in close relationship but do not help constitute the key.) Since the
relation between the tones of a key is the same as that between the tones of

the scale,

it

will be sufficient

if

we

find the tones of all the scales.

It will be apparent that manj tones will belong to more than one key.
It
must again be true that the tones of one key cannot be exactly those of
another. They must differ b} at least one, or the key will remain the same.
The minor seconds must remain between 3 and 4, and 7
7and 1. There is only one position (C as keytone) on the
staff where that will be true without the use of sharps or
flats.
Let us reason our way through one key which begins
T

at another point than C.

We
4

-3

will call

1.

We

major second higher for

f-

2.

It will

as a keytone.

in the ladder a

be the letter A.

It

must

be a major second from 2 to 3 and we find that B lies

that distance above A, therefore B is the proper pitch to
use for 3. Now 4 lies only a minor second above 3, and

e-

from B to C is a minor second. We may take C as 4. It

is again a major second from 4 to 5 and D is seen to be
the proper pitch. A major second above D will give us E
for our 6.
From 6 to 7 must be a major second, but E and
F are onl}* a minor second apart. It is now clear that F
cannot belong to this key because it is too low. G is too
high.
The tone between them must be found. It must be
Fa and not Gi> because Fiji will make a major second while
Gv will not produce a second at all but a third. Ftt becomes 7 of the key of G. Our 1 now lies a minor second
above 7, and as G would produce that interval it becomes
the upper 1 just as it was the 1 upon which we began.

-7-

-6

-4
-3

We now

two keys.
tones

of

key of G are the tones of

excepting one. That one distinguishes these
All the sharps or flats required to represent the

see all the tones in the

the key of

proper

Let us take the

must put a round

the key desired

are placed

at

the beginning of the

staff.

RUDIMENTARY STATEMENTS.

127

These are then called the Key Signature. They hold their effect across the page
(a score) unless that effect is erased by a cancel used as an accidental, or by
a change in the key signature.
The letters naming the pitches which constitute the key of C are simply the names of the tones in the scale of C,
which are: c d e f g a b. The names of the tones in the key of G are:
This scale on the staff with G-Clef and signature
would appear thus:

gabcdefit.

SCALE OF
-

G.

===

===

gabcdefjgfie
1234567176
do

The Key
key

of

sharps

of

-p

_|_

re

signature.

so

fa

C has no

be taken as

one

mi

-p

_j-

la

do

ti

la

ti

sharps but the key of

the key will be

SO

fa

mi

re

do

_j_

has one.

and the signature

becomes 1, one sharp

If

the 5 of the

have two
is added to the
Each time 5
This may be carried on up to a signature of seven sharps. The
following table shows the names of the pitches forming the
1,

more than G.

will

keys with sharps as their signatures:

Key

f-

1-

-3

e-

-e

7-

A a
E e
B

fit

Signature
one sharp

f#g

cjj

two sharps

D-d
-4

Names

Pitch

b c$ d
f

-<l

three

b cijd^
J g# a

c| d

Fjt-f#g#ajb

44
444

C#-cifd|e#f|g}jaifb}f

By taking any
-7

b-

-6

a-

result will be

f-

e-

<1-

-f

all

five

six

F
Fti Cti

sharps F| Cj
sharps

Fit

G+f
GJj Djf

sharps F^ Q| Gj( Dj AJf

Fj Cj G^ d| a|

sharps

seven sharps FJf C^ Gjj Df

other tone as

E|(

A J Ej Bit

or the keytone a different

Let us again take the scale of C

as our 1 or keytone.
Let us remind

obtained.

the other seconds are major.

Remember

also

and 1 must form minor seconds. F is

What will be 2? That pitch which is a major second
1.
higher than F. Then it is G. Another major second will
bring us to A which becomes 3. Now we shall have to
A is 3, and from A to B is a major second,
reason carefully.
and from 3 to 4 must be only a minor second. Evidently
B is too high. Ait will not do because it is only a prime
above A and not a second at all. B i? is 4. It is not t>4,
that 3 and

1-

four

and start from 4 (f)

ourselves that e and f, and b and c are minor seconds apart,
and that

4,

and

EDUCATIONAL VOCAL STUDIES.

128

It requires a flat to make 4 sound right.

From Bi? to C is farther than
from B to C, therefore it is a major second from Bt? to C, making the required
major second from 4 to 5. C being 5, D, E and F will be 6, 7, and 1.

just 4.

The above shows that taking the 4 of a scale as 1 of a new one will
give a key or a scale with one more flat in the signature. Another cycle of
keys is therefore possible as follows:
Key

Pitch

bt>

Bt?

bt?

El?-

et?

At>-

at?

bt c

Dt>-

dt? ei?

Gt?

gt? at?

Ct?

ct?

Some
1.

Names

el?

at?

bt? c

two flats

Bt? El?

three flats Bt? El? At?

dt?

et?

four flats Bt? El? At? Dt?

gt?

at?

bt?

five

bt>

ct> dt?

et?

dt? el?

fifteen

Bt?

ft?

mow

flats

six flats

gt? at? bt?

interesting facts are

That

Signature
one flat

Bt? El? At? Dt? Gt?

Bt? El? At? Di? Gt? Ct?

seven flats Bt>

El? Al? Dt? Gt? Ct? Ft?

appare?it.

major keys are possible by name, and twelve really

different

ones.
2.

That the
be

3.

4.

flatted,

and the

be

sharped in writing signatures is the last one to

one flatted is the last one to be sharped.

first

first

That all the keys might be represented by either sharps or

using both.

That each
only that

5.

letter to

is

above cycles of keys brings us back to the starting

sharped or flatted.

to take 4 of a key with sharps in the signature as

nature with one less sharp, and to take 5 of a key with

instead of

of the
it

That

ture as

flats

brings a signature with one less

the signature will be one more

the signature will have one more

flat.

Or

will get

flats in

letter,

a sig-

the signa-

to repeat, to take 4 as

or one less sharp, and to take 5 as

sharp or one less flat.

flat

Section Ten.
MINOR KEYS AND SCALES.
In olden times a great number of modes or ways of arranging the intervals
were in use. At the present time with the different nations there
are still various wa}'S, but we recognize two in particular and use them almost
exclusively.
They are the Major Mode, treated in section nine, and the Minor
Mode, the subject of this section. The minor mode is not, however, cultivated
among the masses to any marked degree. We can easily learn to love the
minor music, and that with considerable profit. In fact this mode expresses
of the scale

sympathy and tenderness unspeakable, and yet

it

may

thunder forth majesty

RUDIMENTARY STATEMENTS.
do pi

C -c

-7

b- -b

ti

la

1
7-

la

and power that will move us to a feeling of awe.

Following is the order of seconds for the basic minor
scale:
From i to 2 a major second, from 2 to 3 a
minor second, from 3 to 4 a major second, from 4 to
5 a major second, from 5 to 6 a minor second, from
6 to 7 an augmented second (a second that is larger
than a major second), and from 7 to 1 a minor second.
Let us compare the minor scale with our major scale.

-6aab 6-

fa -4
mi -3

e-

re

-2

<l-

do

fa

4-

f- -f

*? 3-

Starting with

as

1,

will be 2 in each scale.

right for 3 in the major, but in the minor we

shall have to use Et>.
are in common as 4
F and

2-

-d

129

is all

c -c
minor, while A

both as

Note.

and

and

la

in both scales.

correct for 6 in the

is

major

At? is required

B and C

for

are again

6 in the

common

in

1.

From

augmented (enlarged) second.

V to B, 6 to 7 in the minor, is the

minor scale is the major scale with its 3 and 6 flatted.

This form is known as the Harmonic Minor Scale since in Harmony we
extract our chords mainly from this form.
The augmented second between 6
and 7 is an unmusical interval and difficult to sing. For the above reasons
we use a different form of the scale when we wish to pass from 6 to 7 or from
That is called the Melodic Minor Scale, or form, because it simplifies
7 to 6.
and beautifies. It does away with the augmented second. Following are both
forms of the minor scale.
Briefly stated the

MINOR SCALE, HARMONIC FORM.

dm

-g-fr

=fc

12
+ -

la

do

ti

-'

mi

re

si

la

si

fa

mi

re

do

ti

la

re

do

ti

la

-t

fa

MINOR SCALE, MELODIC FORM.

-<&

<y

12

J_

la

do

re

5
L

J_

_|_

ti

gg

\>

t*s

mi

_i_

fi

fa

mi

_l_

si

la

major scales, but C

major, and c minor do not use the same signature.
The minor keytone will
be found two seconds below the major keytone, or on 6.
La is taken as the
keytone instead of Do. The major and minor keys which have the .same
signature are said to be Relative Major and Minor.
Count down from C a
minor second and a major second and you find a.
This then is the minor
key relative to C major, e minor is relative to G, etc.

The minor

scales

use the same signatures as

the

EDUCATIONAL VOCAL STUDIES.

130

TABLE OF KEYS.
The following is a condensed form from which to memorize the names
and signatures of all the major and minor keys. There are of course fifteen
minor keys by name and twelve really different ones, making all together
Or in still a better sense only fifteen. The
thirty keys, major and minor.
f

following taken from the table below,

3^'s

Eb

says

this:

"Three

Eb major and c minor." The capital

major keys and the small ones for minor keys.

the sign for the * keys of

for

KEY TABLE.

Et?

3i?'s

iM ac S

{fjf

stand

letters

b's{

t>'s

{gi

are

TO BE MEMORIZED.

*' S

3?

flats

4 P's

ff

7^*1

5>'s{

oi?
ai

Nojhn re

J f

and
it>

ob

No

Di7

i-

fr's.j

-<

bt?

TABLE OF SCALES.
The following

is

a complete

list

of

all

the major and minor scales as

lepresented in regular musical notation:

MAJOR SCALES.

1.

c.

-#-

<$>

^ &

<j>

--

-&

<^

& ^

C7

9 T~

tSt-

ts-

C\'

1^

*?

<>

G.

H*fi

i*
VT\

XA)

"3

&

A.

<&

&

^]

%J

c\.

l.Jt
Tl
&

'

r^

/\

tn

'

*"

C7

/v

RUDIMENTARY STATEMENTS.

131

D.

A.

1st

:^z

Ptf

7?

-=

f*

B.

/V
J

?T.tf"it

frn
v.;

"5 fJ
tt

if
TT

-a-

4^'** Sn

)"&"

-^
1

'

5 >

^4^
JJ.

-^-

,-,

m
n

c^

r~<

"Z?

fc
^-#-

grants:

3W

"

^,

t^

,V

Q,

C7
'

.a

"7ST

^'

ES

3-

"^

Z?

'

EDUCATIONAL VOCAL STUDIES.

132

F.

/V
rn
V-U

17

-n

<s

Rl

=3

a-

2^

&

a.

&

s^

"

^i

e:

/\

B>.

-T7

a-

-o

ife

-^-

-zr

i-^

F>
/

rv
* I.,

C^

|j

h
P

-^ b h
^ P

^j

X3

S2.

-^-

ts-

JQ_

-B-

"

iV
<S>

A>.

-g

a^

/
faE

s:

o-

dK
V
/t

ith
\j)

P b

b h
*

b
u

<5

-??t~"\*
*
1.1

A.

'x

1-1

p k
b hi

^~

-<?-

o
c^

A.

V7

^2-b

GK
" b h
b hi "
"

"*3

i^s

C7

<S"

<

p"

^~ "O

^3

^^

RUDIMENTARY STATEMENTS.

133

Ci7.

W-

-O

SttSP^s
n
II.
a,

~g-

-Es

*-

MINOR SCALES.
Harmonic Form.

4
m

^
^n

3
IK
IT'

-B-

tfcr?

ff

r\*

yi

.^

t ".
i-

B^

S^

r-

tt

it

_,

^>

cr-

A
_"--

<?

'a

11

m
e,

Harmonic Form.

pa

-??

b,

A.

%*-

=B=$^

%*-

Harmonic Form.

9*
f

fe

J,

^-

g
-ff

a a
r

flg

Harmonic Form.

'
1k-s g=*

ft!

'

Pjl
B:
ctt,

Harmonic Form.

ft
p*fe

-^r-^g-

-^

a-

-^

s:

fc

^a
-#=-

B*

<

'

EDUCATIONAL VOCAL STUDIES

134

gQ, Harmonic Form.

C7

r~i

^7

^>

cd

fc

Harmonic Form.

dtt,

S5

~yg>

X-^-

-C3-

-=a

yz?
-

x<s>-

i^gf
an,

Harmonic Form.
I3E:

g^

Ma
p#
d,
1/

<-~

J/

).,
-^ b

3E

^ x^

Harmonic Form.

/5 b
irh "
Vll

-V.

Xg

X<2-

T-;

ifat
ias

/\

-i

n =>
<

,5>
ff

Tf

/\

EJ

^
,s

rs.

^-

JZL

--

$9-

r^

-,
-

g,

Harmonic Form.

D iU
In

[)

<m>
VM

Rf^>
I^fT _

,_,

[1

c,

v7

e>

JJ.^
*

>

^* gg>
ff

rn

J+^,
TT

-^^S^
ff

vj
r

Z7

mfc

-G2
-

C7

;-

Harmonic Form.

g^R>-c

<3

RUDIMENTARY STATEMENTS.
Harmonic Form.

f,

hi
v
b

AH- n
i

~3

\j)

r\*

135

~
b
s b^h
n_^

7s

1=1

U'53

i-

J"i

lii,

~-,

U<^

b^

X|

"S>

en

A V

b |?, Harmonic Form.

n

A
V

b
b p
hi
i

b
^

Ifh/

-^ "

_,

F hi
Pb

Li

fi^
1

-^ -

z^

9^
_B.*^
~

kj,

5-

R^H
S b

rj>

o-

*F

"EX

^T

r"

Harmonic Form.

ej?,

Se

j?"

Ija.

^: ^:

t|c

sa
fife
ab,

Harmonic Form.
jfr

-S-

-glj?

Sfe
l

fc>

iH|
minor scales

III.
a,

- HK-fr

^-

9t
c,

/.

ffW

^K
J

"">

<^-

<?-

Melodic Form.

b h
P

h
l-i P
-/ k L
^ 17

- * ^

is

h
17

r>

-^

(only a few in this form),

Melodic Form.

-^

g pg=frg

kJ

W
H

h^

\)

<^^
___

V><v

-B-

-e-

A
i_j

EDUCATIONAL VOCAL STUDIES.

136

rfz
/L b
f(\S

%J

-v
~

C\'
')-,
-^ b

r-

TriFif

>L S
tf

n
a

ftli-

fh
YsL>

J
tT

^
o

"

i-i

ill

Z
TT

^IT

eK

<J>

^tt^^

gy

-O-

#*"

cK

J=L

^.

IX

*\

a
fl^
TT

o
v

t>
S^

tr

->

"\l

&

vj

^7

C7
<C

Melodic Form.

y LKbh2

ffaW
V
Vv^

k^i- -S
-^
v--ot)^
1

\)

L,

"
-

riir

ft

I.,

"
1

/>,

+ LJ.TT+'

--V.

h^-,

]ir

S"\"T
* 1..

Melodic Form.

gft,

=~

\])

Melodic Form.

d,

P U L

<j>

Zi.

~c

/\

* :

_Ssr

fi>

e c

4^-

Zi
(1

2_Hlb

form sharp

NOTE. Use same

and

plan to form all other minor scales in melodic

ascending, and leave them as signature makes them descending.

DYNAMICS.

EI.

Section Eleven.
POWER.

When

tone

is

degree of power; and

loud

when

much

we say

it

has

a tone

is

soft that

it

force,
is of

The musician's term for loud is Forte which is an

The Italian word Piano means soft. There are

or that

it

is of

a high

a low degree of power.

Italian

word meaning loud.

may be
taken as a scale in judging the degrees of power. Between loud and soft is
Tones may be very loud or very soft. The
a medium force called Mezzo.
Italian language (from which come nearly all musical terms) adds "issimo" to
A word to mean very loud
a word to make it express the superlative degree.
five

terms which

forte.
In adding this suffix the final
Fortissimo, meaning very
usually dropped, therefore fort(e)issimo
In like manner we derive Pianissimo, from Piano, meaning very soft.

could therefore easily be derived from

vowel
loud.

is

MEMORY
English
Italian

Very

soft.

Pianissimo

Abbreviations- -PP

AID.

Soft

Medium Power

Loud

Piano

Mezzo

Forte

Fortissimo

ff

Very loud


RUDIMENTARY STATEMENTS.
There
is

is

a power between

137

medium and soft which, is frequently used. It

The Mezzo Forte represents a force between

Mezzo Piano, abbreviated mp.

medium and loud, abbreviated

not mean between loud and

Occasionally fp will be found but

mf.

it

can-

would mean medium. It

means that the note over, or under, which the sign may be found shall be
loud and the next one soft. Forzando, abbreviated fz, will be found sometimes,
and means to attack a tone solidly with pronounced accent, then quickly
diminish the tone and sustain it softly.
because then

soft

it

when we pass gradually from

force gradually we make a
crescendo, abbreviated cres., or represented by =
We make a diminuendo
z.
when we pass gradually from any power to a lesser one. The abbreviation is
Very beautiful

one force to

are produced

artistic effects

When we

another.

increase

the

is z_
These effects are often mistaken, as beginners seem
think that to diminish they must begin forte or fortissimo, and to increase
the power they must begin piano at least.
The terms simply mean to pass into a
greater or a lesser degree of force.
One may begin at forte and increase to
fortissimo, or at piano and diminish to pianissimo, or begin at any degree and
dim, and the sign

to

The

increase or decrease.

ishing

it

again

maj- consume

is

effect

obtained by increasing any tone and dimin-

The sign is -^r: ==-. The cres. or dim.

By these various means of expression a
can be made.
In fact music depends largely upon the

called a Swell.

much

or

great variety of effects

little

time.

contrast of the force and accent of the tones for its Expression.

Section Twelve.
OUAIJTY.

Not much needs to be said here about tone quality. The study of tone
production more properly belongs to advanced singing. There are not many
marks and signs in regard to quality, that being left most largely to the

judgment

of each individual.
It practically needs no notation as it belongs
wholly to the expressional side of music. The words or the music or both
must create some sentiment for the singer, which feeling or thought expresses
itself through clear or somber tone-quality and the manner in which the tones

are

accented.

Laughing and crying

are physically very

much

alike,

but the

we express gladness or sorrow. There are two

general qualities of tone Clear, and Somber. They may be so intermingled as
to make very many effects.
The words Grave, Pastoral, Jubiloso and the like
are used as names of tempo but they more particularly suggest style and
quality of tone decides whether

quality.

(See Dictionary.)

PART FOUR

VOICE CULTURE.
When

one thinks of the possibilities

of

improvement

production the subject becomes very interesting.

little

is

known by
Very

the voice.

The breath

much

Among

is

breath

the folk of the rural districts and

who do not know of

be acquired for the comfort of themselves and
benefit of others.
Singers and speakers alike are craving

knowledge along these

gain

suprising to note how-

are not surprised that there are those

the valuable habits which

the pleasure and

along- the line of voice

common use as
voice teaching has been done in this country, and that

period of time.

we

smaller towns

is

people in general about a thing in such

little

for only a short

It

the

may

lines.

dynamo

for the voice.

we have

It

is

not so essential that

over what we

we

do
however true that a very large percent of us are far below
normal in our breath capacity. That fact is alarming not only from the vocal
standpoint but also because a scanty breath supply means a weakened body.
Tests made by the author show that more than fifty percent of the subjects
he has recorded are able to exhale less than half the air that scientists claim
Allowing for a wide margin of individuals we should have a
to be normal.
capacity of from 225 to 400 cubic inches of air.
About seventy-five percent of
the women make their first test read below 100 inches.
Men usually exhale,
on first test, from 100 to 200 inches. We believe the statement a fair one
possess.

It

when we say

as

it

is

that

perfect

control

is

that nearly

all

vocal defects

may

be traced directly or indirectly

to either a small breath capacity or to a poor breath control, usually the latter.

There are of course those strong men and women among us who break the
above records. They stand as examples and verify our conviction that large
breath capacity and good breath-habits bring vigor and vitality to our physical
powers.
(138)

VOICE CULTURE.
Another accomplishment in tone production

139
is

the correct placing of the

voice or the proper resonance or reinforcement of the tone.

properly directed,

the resonating factors will respond

to

The breath being

each tone sung or

These are the mouth, nasal cavity, and other cavities of forehead,
nose and face, together with tissues and bones of the upper part of the body,
and to a greater or lesser degree the entire body. The timbre of the tone
depends upon which cavity or part of cavity is responding best for the
reinforcement of the vibrations. If the resonance of the back mouth is
dominating the tone it will be of a sad, somber quality. If the front mouth
and the nasal cavity are the most active agents the tone will be sparkling and
clear.
The carrying properties of the voice depend much upon the placing.
Every tone or word should sound as though it were reflected from the hard
palate into the ear of the auditor.
Tones from the hard palate alone, however,
sound cold and hard unmusical.
spoken.

There are three sets of muscles acting at the same time in singing and
speaking and because of this, conditions arise which cause many blemishes in
words and tones.
The breathing muscles, the pitch-making muscles, and the
vowel-forming muscles: these and each set consisting of numerous muscles
should work independently. The tendency is for each to be influenced by
the other two. In singing, the linguistic elements usually suffer most, and
therefore singers should put forth special effort to secure a pure, clear pronunciation while singing. Even to speak so that one is clearly understood is

a worthy attainment.
There is one other point we wish to raise in this connection. It is a
matter of expression rather than one of technic; but all technic is but a means
of expression, not an end in itself.
We refer to the Sostenuto or Legato style
of singing.
That manner of using the voice and saying the words which
beautifully connects the tones and words instead of breaking them apart as
though the} were quite brittle. Inexperienced singers seem to think a detached
style necessary to clear diction, but that is a most erroneous notion
the very
opposite is true.
Connect the words, sustain the tones, and make the enunciation exact and you will be understood and your message appreciated.
7

We

wish

to insist that the

most important thing by

far is

that a singer

or speaker must have a message which is vital and which he must tell. That
will then bring spirit into the singing or speaking one must have message

and

technic.

The writer believes that some simple exercises will be appreciated. We

give only a few and are aware that not the doing of many exercises will suffice,
but that the perfect understanding and doing of comparatively few will fully
develop the voice.
Yet the limited space here allowed and the scope of this
volume do not admit

all

that should be practiced.

EDUCATIONAL VOCAL STUDIES.

140

Exercises,
I.

BREATHING.

is

nature's way).

No.

Secure Diaphragmatic breathing (make this type a life-habit

i.

it

No. 2. Practice the deep breath, the high breath, the front breath, the
back breath, and the lateral breath.
No. 3. (Deep, front, and back breath combined.)
a.
Inhale slowly and exhale slowly.
b.

Inhale slowly, hold, exhale slowly.

c.

Inhale slowly, hold, exhale quickly.

d.

Inhale quickly, hold, exhale slowly.

e.

Inhale quickly, hold, hiss (very small opening).

f.

No.

4.

at the lips,

No.

5.

Inhale quickly, hold, sing a or 6 or loo.

Breathe slowly and blow vigorously through a very small opening
being sure that the throat is loose and well open.
a.
Take a medium breath, exhale one second and hold the breath

the next second, and so on until the breath

is all

exhaled.

b.

Lengthen the

c.

Shorten the exhalations and lengthen the holds.

interval.

TONE PRODUCTION.

II.

Place the tones well in front and

up

in the

mouth.

Sing three long tones on same pitch with your best vowel;
breath, but use it all).
Repeat many times, changing to
pitches higher and lower.
b.
Sing five tones as above with following vowel groups, changing
pitches frequently and repeating many times, aiming to keep the same tonequality with the different vowels within a group:
No.

5,

a,

a.

1.

or a

(one

a o,
-o-a-a-o, a-o-a-a-a,
-o, o-a-o-a-o,
a-o-oo-o-a, a-o-e-o-a, a-a-e-oo-o, o-a-i-e-o, a-e-1-00-0.
Many other groups are possible and would be profitable. If you understand the principle, form those which your individual voice may require.
-

SINGING.

III.

No.

1.

&m

s^
la
la
15
15

la
la

la.

la

la

la

la

la,

lo

lo

15

15

15

15

lii

la

la

la

la

la

itefe
la
la
lo
15
la
la

la etc.
lo .etc.

la etc.

VOICE CULTURE.
No.

Transpose higher and lower.

2.

$&E3m &-^r-F^

la

lii

lii

lii

141

lii

lii

lii lii

'

il

lii

lii lii

lii lii

la

o
a,

^3=&

k.

^ ^

J j

"

^--gj

Eji^^^^=rnmTO^
No.

3.

cfci

&*

ft
lii

lii

po

tu

ah-o

ah-o

No.

.4:

ah-o

ni

po

tu

ah-o

ah-o

ali-o

ah-o

<d

yah yah yah yah yah

}'ah

yah yah

n m

la la la la la la la la la la la la la la la la la

5.

la

ma

dii

ah-o

lii

Andante moderate.

&43^
4

lii

lii

Transpose.

4.

No.

lii

lii

Iilii-Ii

gfeafe^g^g
ba
ah-o

lah

lii

lii

;-r

:ri:

la

la

la

la

la

-Ah

la

la

tz5:
P

JM
w

.p.

-3:

ii

o
a
e

azgtf^^Bg^g^^TTTtto
-A-

Jj'
_H

*__

r
1

JS
I

-*-s*

fe^
?3^

* *

EDUCATIONAL VOCAL STUDIES.

142

No.

6.

A ndante Modem toA llegro.

p" r 4

fed

la

la

la
la

^j.

ba da

>

*4 -u

la

la

la

me

ni

po tu

i- P
1

"

'

"^

p"*"

"T

i""-i

.
B

kJ

'

la

la

o
a

m ^^

*=i=l

^^J:

-<>-*

^s^
(2nd) tu la

No.

fcgEgj ^v*=
ha
ho
ha
he

ha
ho
ha
he

ha
ho
ha
he

hi

hi

hi

fc=fe

g j)vj^ir[^i-^M-j^^^^^s

#=fcvs-

'

'

v>

AaAa

fc

^nn
3

l>

1 ? i_5
P

fcrJ.
g-g-g

1-

v.

h
[),
* 1

Eg

^j^^^

Jji^zjj^j^
8.

r>

r>

~~
b_-a_j
L>

No.

ba

7.

S-fe

Transpose.

Adagio.

i 4*
zb

d
g
bo
b

J
b
d

g
do
d

-^

=*-

o
o
o

d
g

o
o
o

go
g

bo
b

do
d

go
g

-J

4-

3=^5

-zst-

PART FIVE
DICTIONARY OF MUSICAL TERMS.
Note.

The

following words are taken with their pronunciation and definition

ELSON'S MUSIC DICTIONARY by arrangement with the publishers, OLIVER

DITSON CO., Boston, Mass. This book should be in the hands of every one who
from

studies

music

seriously.

VOWEL SOUNDS AS USED

in tone;

IN PRONUNCIATION.

a as in hate; a as in at; e as in tree; e as in eh; I as in pine;

6 as in dove; 6 as in not; u as in up; u the French sound of u.

a as

in ah;

as in pin; 6 as

In the Air. A short song, melody, or tune, with

cappella (It.) (a kap-/>e/-lii.)
or without words.
The upper voice in a
church or chapel style, that is, vocal music,
harmonized composition. (See Aria.)
unaccompanied.
So-called because the
music of the Sistine chapel at Rome was
Almost all of the old Al fine (It.) (al fee-ne.) To the end.
purely vocal.
Masses, motetts, and madrigals were "a
Allegretto (It.) (ol-le-gret-to.)
Rather
cappella."
light and cheerful but not as quick as

Accelerando

(It.)

(at-tshel-er-rarc-do.)

Allegro.

Accelerating the time; gradually increasAllegro

ing the velocity of the movement.

(Fr. and It.) (al-My-gro.)

Quick,
a rapid, vivacious movement, the
opposite to the pathetic, but it is frequently
modified by the addition of other words
lively;

Accidentals.

Occasional sharps, flats, or

naturals placed before notes in the course
that change its expression.
of a piece.
The composer may place an
accidental before any note whose meaning Alto (It.) (/(/-to.) High.
In vocal music
may be considered doubtful. See Chro- the highest male voice, sometimes called
the counter tenor. In mixed chorus it is
matic Signs.
the part next below the soprano sung by
Adagio (It.) (ah-dah-jio.) Slow. This low female voices. * *
term indicates a movement quicker than
Andante (It.) (an-Jrtw-te.) A movement
largo and slower than andante.
in moderate time but flowing easily, grace-

Ad

libitum

At will;
(Lat.) (ad-/i&-i-tum.)
changing the time of a particular passage at the discretion of the performer; also a part that may be omitted if

at pleasure;

desired.

Agitato

(It.) (aj-i-#i-to.)

Agitated, hurried,

restless.

(143)

fully.

Andante

literally

means "going."

In the 18th century it was often used as

meaning "steadih," "distinctly."
At
present it often indicates a degree of
expression and tenderness as well as a
moderately slow tempo. This term is
often modified both as to time and style
by the addition of other words.

EDUCATIONAL VOCAL STUDIES.

144

Andantino

(It.)

(an-dan-ftjg-no.)

little

slower than Andante is the literal meaning

of Andantino, but it has become a doubtful
term, and is generally used as meaning
(It.)
(cm-e-ma.)
animated, lively.

Soul,

feeling,

vocal composition, the words

of which are usually selected from the

Bible, used in church either with or with-

out organ accompaniment.

Barrett.

dividing
bringing

it

it

close in melody or harmony,

into numbers or periods, or
to a final termination.

Calando

quicker than Andante.

Anima

Anthem.

Cadence.

See Stainer

&

Antiphony. The response of one choir to

another when an anthem or psalm is sung
by two choirs; alternate singing or chanting.

(It.) (ka-/aw-do.)
Gradually diminishing the tone and retarding the time;
becoming softer and slower by degrees.

The strictest form of contrapuntal

composition, in which each voice imitates
exactly the melody sung or played by the
first voice.
The word is derived from
"Canone," a rule or law. Canon was the
earliest form of skilful composition.
The
oldest existing contrapuntal work of merit
is a canon entitled "Sumer is icumen in,"
which is for four voices, and is supposed
to have been composed about A. D. 1200.

Canon.

Apollo.

In ancient mythology, the god of

music, and said to be the inventor of the Cantabile (It.) (kan-Zct-bi-le.) That can be
sung; in a melodious, singing, and gracelyre.
ful style, full of expression.
Aria (It.) (a-re-a.) An air; a song; a tune;
sung by a single voice either with or with- Cantata (It.) (kan-^ci-ta.) \
_
^
/ A poem set to
* *
out an accompaniment.
Cantate (Fr.) (k&nh-tat.) > music; a vocal
Assai (It.) (as-sa-e.) Very, extremely; in Cantate (Ger.) (kan-/a-te.) ) composition of
a high degree, as Allegro Assai, very
several movements, comprising airs and
quick.
recitatives; a short oratorio or operetta
action.
A cantata consisted origiA tempo (It.) (atem-p5.) In time; a term without
nally of a mixture of recitative and melody,
used to denote that after some deviation
and was given to a single voice, but the
or relaxation of the time, the performers
introduction of choruses altered the first
must return to the original movement.
character of the cantata, and gave rise to
Attacea (It.) (at-/-ka.) Go on. Begin
some confusion in the manner of describing
the next.
it.
Therefore it has been variously defined.
A cantata is now generally understood to
Bar. Lines drawn perpendicularly across
be a short work somewhat like the oratorio,
the staff to divide it into measures; the
but without characters.
term is also applied to each of these measures by European usage, but strictly the
Carol. 1. A song. 2. A song of joy and
bar is the line itself, not the measure it
Old
exultation; a song of devotion.
3.
defines.
The bar came into use in music
,

ballads sung at Christmas and Easter.

after 1600.

Bariton

(Fr.) (ba-ri-#m/z.)
_

'.

Bantono

(It.)

(bar-re-fo-no.)

^
/

A male
.

voice

intermediate

Baritone.
) in respect to
.pitch between the bass and tenor, the
compass usually extending from first line,
F Clef, to F above the staff.

The lowest or deepest male voice;

the lowest part in a musical composition.

Bass.

Baton

(Fr.)

(Bahtong.)

conductor's

stick.

Brace.

..

character curved or straight used

to connect together the different staves;

the leather slide which tightens or loosens
the cords of a drum.

Chant. 1. A simple melody, generally

harmonized in four parts, to which lyrical
portions of the Scriptures are set, part of
the words being recited ad libitum, and
part sung in strict time. A Gregorian
chant consists of five parts: the intonation;
the first reciting note or dominant; the
mediation; the second reciting note of
dominant; the cadence. The Gregorian
chant is the one chiefly used in the Catholic

and Anglican
"Plain Song."

See

service.
2.

To

Helmore's

recite musically;

to sing.

Choral

(Ger.)

(ko-r/.)

Psalm

tune; choral song or tune.

or

hymn

DICTIONARY OF MUSICAL TERMS.

1.
A company of singers; a composition intended to be sung by a number
Among the ancient Greeks
2.
of voices.
the chorus was a band of singers and
dancers who assisted at the performance
3.
A refrain.
of their dramas.

Chorus.

145

higher or lower,

if written on the same

There are many redundant and unnecessary chromatic signs employed in
music, for this rule is followed by almost
every composer If a note can for any reason
be considered doubtful, make its meaning
sure by using an accidental!

staff.

Chromatic. Proceeding by semitones. Any

music or chord containing notes not be- Con fudco (It.) (kon-foo-o-ko.)
and passion.
longing to the diatonic scale.

With

fire

rndto (It.) (kdn-wo-to.) With motion;

A scale which divides Con
scale.
not dragging.
every whole tone of the diatone scale, and
consists of twelve semitones or half-steps Conservatory.
A school or academy of
in an octave.
music, in which every branch of musical
art is taught.
Accidentals; sharps,
Chromatic Signs.
The chromatic signs Con spirito (It.) (kon spi-re-to.) With
flats, and naturals.
used in modern music are the sharp (Jf),
spirit, life, energy.
the flat (|?), the natural (J}), the double
sharp x ), and the double flat (|?|?). The Counterpoint.
Point against point.
The
natural, or cancel, can annul the effect of a
art of adding one or more parts to a given
double sharp or a double flat, but if we
theme or subject. Before the invention of
desire a note to be flatted, after using a
notes, the various sounds were expressed
double flat, we must write (fetO, and if
by points. Counterpoint is the support of
sharped after a double sharp (S%). The
melody by melody instead of by chords
chromatics are also called "accidentals."
(harmony.)
Hauptmann expressed the
The flat was the first of these signs in
difference between counterpoint and harmusic, and was used to indicate the posimony by calling the latter "vertical," and
B which was sometion of a single note
the former "horizontal music."
times sounded as B, and often "softened"
This was about A. D. 1000, Crescendo (It.) (kre-shen-do.)
into B flat.
cres.
A
when the letter notation was in use, and
word denoting an increasing power of tone;
ran (for the scale of C) as follows: c, d, e,
it is often indicated by the sign -==r.

Chromatic

f,

g,

a, b,

rotundum, was

c.

The round

b-flat,

b, called b

the square

b(h), Da capo

quadratum, was b-natural.

In
Germany, the note b-flat is still called B,
and as the square b ( h ) was mistaken for
called

an h (of the German print),

it

was called

(It.) da &a-po.
D. C. From the
beginning; an expression -placed at the end
of a movement to indicate that the performer must return to the first strain. In
such a case the repeats indicated by dots
are generally not made after D. C.
)

"H" and is called so to-day,

a clerical error
that has been perpetuated nearly a thousand years. After some time the two b's

Dal seg-no

(It.)

the sign :S:.

A
from the sign.

(dal san-yo.) D. S.
From
mark directing a repetition

were used as chromatic signs. The sharp

came in later and was originally a St.
Andrew's cross (JJ). Double sharps and Decrescendo (It. ) (de-kre-shen-do.) Gradually diminishing in power of tone r=-.
double flats only came into free use in
music after Bach, with his "Well-tempered
Diatonic (Ger.) (de-i-#m-ik.)
Naturally;
Clavichord" (Part I, 1722; Part II, 1742),
proceeding in the order of the degrees of
had brought in the use of all the keys in
the natural scale, including tones and
modulation and composition
In the music
.

of the seventeenth century, the effect of a

semi -tones.

was generally annulled, not by a natu- Diatonic scale. The different gradations
ral," or cancel, but by a sharp, and each
of tone of the scale or gamut arranged in
accidental was written as it occurred. Toproper order in conformity to some parday the effect of the accidental extends
ticular key.
through the measure, on all subsequent
notes of the same pitch, but it is often Diminuendo (It.) Dim. Gradually decrease
allowed to apply to the same note an octave
the power of the tone ==-.
flat

EDUCATIONAL VOCAL STUDIES.

146

A musical composition, either vocal

or instrumental, designed to be performed
funeral,
or in commemoration of the
at a

Dirge.

castrati.
A false or artificial voice;
that part of a person's voice that lies above
its natural compass.

with

dead.

Fine
-Dolce

(It.)

(dol-tshe.)

Sweetly,

softly,

The

(feen-ay.)

(It.)

nation

end; the termi-

delicately.

Doloroso

(It.)

(do-lo-ro-zo.

sorrowfully, sadly,

Dolorously,

r.

The name applied by

Dominant.

theorists

to the fifth note of the scale.

Flat

Be; Fr. Bemol; It., Bemolle.)

sign y, which lowers the pitch of the
note following it by a semi-tone. It came
originally from the letter b, as its shape
and its foreign names indicate.
See
(Ger.,

The

Chromatic Signs.

flat.
A character (v?) which, placed
before a note, signifies that it is lowered Forte
two semi-tones.

Double

A character
placed before a note, raises that note two
semi-tones.
It is usually written as follows: x or x.

Double sharp.

A composition
instruments.

Duet.

(for-te.)

(It.)

Forzando
which, when

for

two voices or

Loud, strong.

Forced; laying a stress upon one note or chord; sometimes marked a >.
(It.)

(for-tsan-do.)

A term derived from the

(fug.)
Latin word fuga, a flight. It is a composition in the strict style, in which a subject

Fugue

is proposed by one' part and answered by

other parts, according to certain rules.
This term in music has refer(See Elson's Dictionary.)
ence to expression and the different deFurious, vegrees of power to be applied to notes.
Furidso (It.) (foo-re-o-zo.)
hement, mad.

Dynamics.

Elegy.

mournful or plaintive poem, or a

Gamut.

funeral song.

The

any key; the

Energico

(It.) (en-dr-je-ko.)
vigorous, forcible.

Energetic,

scale of notes belonging to

lines and spaces on which

the notes are placed.

A term signifying
(It.) (joos-tb.)
that the movement indicated is to be performed in an equal, stead} and exact time.
Giusto is sometimes used to indicate moderation, as Allegro Guisto, a moderate
allegro.

Giusto

Enharmonic

(Ger.) (en-har-racm-ik.)
One
of the ancient scales or modes, proceeding
by quarter-tones. On the pianoforte these

cannot be expressed; but on the violin,

cello, etc. they may be described as something like the difference between Gand Glee. A vocal composition in three or four
A f or between D % and 13 )?, etc. In parts, generally consisting of more than
modern music it also means such a change
one movement, the subject of which may
in the nature of an interval or chord, as
be grave, tender, or gay, and bacchanalian.
can be effected by merely altering the
The glee was less intricate than the madnotation of one or more notes.
rigal, and was frequently accompanied,
while the madrigal was sung a cappella. It
Together;
Ensemble (Fr.) (auh-scm/z-bl.)
is a composition peculiar to England.
the whole; applied to concerted music when
Grand,
the whole is given with perfect smoothness Grandidso (It.) (gran-de-6-zo.)
,

It means precision of attack;

of style.
unity of shading. A morceau d'ettsemble is
a composition for two or more parts, more
especially quintets, sextets, septets, etc.,
in an opera, oratorio, or similar work.

Espressidne

(It.)

pression, feeling.

(es-pres-se-o-ne.)

noble.

Grave (It. {grii-ve.) A slow and solemn

movement; also a deep low pitch in the
The slowest tempo in
scale of sounds.
)

music.

Ex- Grazidso

(It.)

(gra-tse-o-zo.)

In a graceful

style.

Ealsetto. The male head-voice as distin- Gregorian chant. A style of choral music,
according to the eight celebrated church
guished from the chest-voice. A singer
who sings soprano or alto parts with such modes introduced by Pope Gregory in the
sixth century.
a voice. Falsetti must not be confounded

DICTIONARY OF MUSICAL TERMS.

A

Hold.

character

(st\)

time of a note or rest

Hymn. A

is

indicating that the

to be prolonged.

song of praise or adoration to the

Deity; a short,

religious lyric

poem

in-

tended to be sung in church. Anciently,

a song in honor of the gods or heroes.

Interval

(L,at., intervattum; Ger., Intervall;

Fr., intervalle; It., intervallo.) The difference in pitch between two tones. The
interval is counted from the lowest note to

the highest.

147

moving

in that conversational manner peculiar to the music of the sixteenth and

seventeenth centuries. The madrigal is
generally sung in chorus. The origin of

the word is doubtful. The form probably

had its beginning in the Netherlands. It
was the earliest form of skilful secular
composition, spite of one or two canons
which bear earlier date. One characteristic of the madrigal was that the melody
never appeared entire in any one voice. It
was generally unaccompanied.

Maestoso

Plain-song.

Jubildso

Measure.
Jubilant,

yoo-be-/o-zo.)

(It.)

exulting.

The lever by which the sounds of a

pianoforte, organ, or harmonium, are pro-

Key.

certain holes are opened and closed in

flutes, oboes, and other wind-instruments.
A key also means, a scale, or series of
notes progressing diatonically, in a certain
order of tones and semi-tones, the first
note of the scale being called the Key-note.

Langsam

(Ger.)
(lang-sa,m
equivalent to Largo.
(It.)

(lar-go.)

Slowly;

s^ow and solemn

degree of movement.

Larynx.

The upper

composed

part of the trachea.

It

annular cartilages,
placed above one another and united by
elastic ligaments, by which it is so dilated
and contracted as to be capable of varying
the tones of the voice.
is

of

five

The major seventh of any

the semi-tone below the keynote;
the major third of the dominant.

Leading-note.
scale;

That division of time by which

the air and movement of music are regulated; the space between two bar lines on
the staff. The measure is often miscalled
a bar, but the terms should not be confused.

That department of vocal elementary instruction which relates to the

pitch of tones.

Meno

(ma-no.)

(It.)

slur

<

Lento
Lied

(It.)

Less.

(met-ro-nom.)
A
(mff-ro-o-me.) machine
invented by John Maelzel (in 1815), for
measuring the time or duration of notes
by means of a graduated scale and pendulum, which may be shortened or lengthened at pleasure.

Metronom (Ger.)
Metronome (Gr.)

Mezzo

(It

Mezzo

forte

(met-tso.)
(It.)

Medium,

(met-tso

half.

ftjr-te.)

Mod-

erately loud.

Mezzo piano
Rather

(It.)

(met-tso

pe-a-no.)

soft.

Mezzo soprano
A female voice

(met-tso so-prd-no.)
of lower pitch than the

(It.)

soprano, or treble, but higher than the

contralto.
In a close, smooth,
graceful manner; the opposite to staccato. Minor.
Less;
It is often indicated by a sign called a
intervals, etc.

Legato

respects to intervals,

Also an arrangement by which Melodies.

duced.

Largo

Majestic,

(tna-es-ft>-zo.)

(It.)

A word referring to the proper stately, dignified.

emission of the voice so as to produce any
required note in exact tune; the act of Major.
Greater, in
modulating the voice. The chanting of
scales, etc.

Intonation.

(le-gri-to.)

smaller;

in

speaking

of

^.

(It.)

(Ger.) (leed.)

Madrigal.

Modulation. A
from one key

Slow.

An

song; a ballad; a lay.

elaborate vocal composition,

in three, four, five, or six parts, without
accompaniment, in the strict or ancient
style, with imitation; the parts or melodies

transition of key; going

to another, by a certain
succession of chords, either in a natural
and flowing manner, or sometimes in a
sudden and unexpected manner. As applied to the voice, modulation means to
accommodate the tone to a certain degree
of intensity, or light and shade.

EDUCATIONAL VOCAL STUDIES.

148

Mdlto

(It.)

Much; very much; Part-songs. Songs for voices in parts, an

unaccompanied choral composition for at
least three parts; a melody harmonized by
other parts more or less freely, but from
Moved, movement,
(mos-so.)
which counterpoint is for the most part
Meno Mosso, less movement,
excluded. The part-song owes its origin
Piu Mosso, more movement;
to the habit prevalent among the Germans
(mol-to.)

extremely; a great deal.

Mdsso

(It.)

motion.
slower.
quicker.

of adding simple harmonies to their folksongs. The part-song is always simpler in

Motet. ) a sacred composition of the anconstruction than the glee, and is intended
Motett. ) them style, for several voices.
for chorus.
The words are taken from the Scriptures.
The motet is generally contrapuntal, and
Passion,
Passidne (It.) (pas-se-o-ne.)
it is possible that the word is derived from
feeling.
moto (motion), because of the constant
motion of all the parts.
Passion music. Music picturing the sufferings of the Saviour, and his death. AlMotive. The characteristic and predomithough originally used in the Catholic
nant passage of an air; the theme or subChurch, the subject became a favorite one
ject of a composition; a figure.

Non

(It.)

(nun.)

Not, no.

Non

troppo (It.) (ndn trop-po.)

much; moderately.

Not too

with the Protestant German composers.

Bach set the subject several times, and his
'Passion Music, according to St. Matthew,"
is one of the great master-pieces of music.

Pastoral. A musical drama, the personages

and scenery of which are chiefly rural. A
pastoral is also any lyrical production, the
subject of which is taken from rural life;
and the Italians give the same name to an
IndispensaObbligato (It.) (ob-ble-.g'a-to.)
instrumental composition written in the
ble, necessary; & part, or parts which cannot
pastoral style.
be omitted, being indispensably necessary
to a proper performance; a temporary solo
Pentatonic scale. A scale of five notes>
in a concerted work, often misspelled
sometimes called the Scotch scale, and sim"
Obligate.
ilar to the modern diatonic major scales,
with the fourth and seventh degrees omitAn interval of eight diatonic ted. The Chinese also use this scale.
Octave.
sounds, or degrees; also the name of an

The art of representing tones

Notation.
by written or printed characters.

organ-stop.

Opus
Opus

(Lat.) (o-pus.)

Phrase. A short musical sentence; a musical thought or idea.

)

Work, composition;

(Ger.) (o-poos.) ) as, Op. 1, the first Piano (It.) (pee-a-no. ) Soft.
work, or publication of a composer. The
The acuteness or gravity of any
numeration of musical works by opus num- Pitch.
particular sound, or of the tuning of any
bers began in the last part of the eighteenth
instrument. Pitch can most scientifically
century. Mozart was the first great combe defined as the rate of vibration. Rapid
poser whose works have an occasional opus
vibrations mean a high tone, slow vibranumber, but Beethoven was the first to use
tions a deep one.
Propthis mode of numeration regularly.
erlj% the number of an opus refers to the
order of publication, not of composition. Pdco (It.) {po-ko.) Little.
An opus may include several numbers or Presto (It.) (pres-to.) Quickly, rapidly.
may consist of a single piece.

Psalm. A sacred song or hymn.

Oratorio.
A
Fourfold.
species of musical drama consisting of airs, Quadruple.
recitatives, trios, choruses, etc.
It is
Quartet
(qu&r-tet.)
(Eng.)
a composition
founded upon some Scriptural narrative,
and performed without the aid of scenery Quartett (Ger.) (qnav-tett.) f f or four voices
or instruments.
and action.

Oratorio

(It.)

(6r-a-o-ri-o.)

DICTIONARY OF MUSICAL TERMS.

Quasi

In the manner

(qud-zi.)

(It.)

the style

of, or

of, in

somewhat.

A composition for five voices or

instruments.

Quintet.

Rallentando
Rallentato

(It.)

(It.)

(ral-len-tfiw-do.)

(ral-len-/d-to.)

The
time

Rubato

(voo-bah-to.)

Robbed,

stolen;

taking a portion of the duration from one

note and giving it to another.

Scale

(Ivat.,

Scala;

Ger.,

Tonleiter;

Fr.,

The successson of
tones upon which any music is built. The
Echelle;

scales

graduall} slower.

(It.)

149

It.,

of

Scala).

different

differ quite as

much

and nations
as their languages.

epochs

A species of It is impossible to demonstrate scientifiRecitative, (re-sl-tsb-teev.)

musical declamation in which the percally (by any laws yet discovered) the
former rejects the rigorous rules of time
reason of the subdivisions made in some
and endeavors to imitate the inflections,
scales.
The scale seems to have been, like
accent, and emphasis of natural speech.
the art of music itself, an invention of
There are two chief kinds of recitative,
man, which did not always seek a foundathe free (secco) and the measured {misurato
tion in scientific laws.
We cannot prove
The free is without tempo
or stromentato).
that the scales which we employ are better
mark and with only a few chords for acthan those used by other races or at other
companiment to sustain the intonation.
epochs.
The modulations are always very bold and
free.
Even in orchestral works the free Scherzando (It.) (sker-tsdn-do.)
Playful,
recitative is often accompanied merely
lively, sportive, merry.
by piano. The measured recitative has
tempo, and full accompaniment, and is Septet (Eng.) se^-tSt. ) A composition for
seven voices, or instruments.
like a fragment of a song.
The burden

Refrain.

of a song; a ritornel;

a repeat.

Rhythm

(Eng.) (rithm.) The division of

musical ideas or sentences into regular
metrical portions; musical accent and cadence as applied to melody.
Rhythm
represents the regular pulsation of music.
The word time is constantly applied where

rhythm

is

meant.

Thus we have common

Sforzando

Forced; one
(It.) (sior-tsan-do
particular chord, or note, is to be played
with force and emphasis.
)

Sharp (Ger., Kreuz; Fr., Diese; It., Diesis.)

The sign jt, which occurring either before a
note or in the signature, raises the pitch
of a tone one chromatic semi-tone.
The
sign had its origin in a St. Andrew's cross
X which was used in the notation of the
middle ages. See Accidentals and Chro-

two-quarter time, etc.

which have
nothing to do with the tempo of the music.
matic signs.
In this book we have most frequently
replaced the misuse of the word time by
Slur (Ger., Legatobogen; Fr., liaison; It.,
the more correct name rhythm.
It is
A curve drawn over or under
legatura.)
possible that the word measure might also
two or more notes, signifying that they
replace the more faulty expression. ThreeThe slur over
are to be executed legato.
quarter measure would express much more
two notes is called the short slur. The
than three-quarter time. While we deem it
slur first appeared in notation in connecimpossible to change every misnomer in
tion with violin-music, and was used to
music, we believe that a beneficial change
show how many notes were to be executed
is possible in this instance.
See Time.
Soon
with a single stroke of the bow.
after this it was also admitted into vocal
Ritardando (It.) (ri-tar-daw-do.) Retardnotation to indicate the number of notes
ing; delaying the time gradually.
It is almost
to be sung in a single breath.
impossible to give absolute rules for the
Round. A species of canon in the unison,
execution of the slur, there are so many
or octave; also a vocal composition in
exceptions. Yet the following rules may
three or more parts, all written in the
same clef, the perfomers singing each part
apply in general cases: 1. When two
in succession.
notes of small denomination (quarter-notes
They are called rounds
because the performers follow one another
or less) are connected by a slur, the first
in a circulatory motion, and as they gennote is generally accented, the second
erally have no cadence they move around
played lightly; the tone of the first is to
without cessation, like an infinite canon.
overlap into that of the second note; and
time,

EDUCATIONAL VOCAL STUDIES.

150

the second note

is

frequently shortened.

This example,

would often be played thus:

counterpoint.
But this was not always
the case. In the early days of counterpoint it gave support to the melody, which
always lay in the tenor. See Tenor. It
was then called "Discantus," which indicated that it was "against the melody,"
and not the melody itself.

Spirito (It.)
energy.

(spi-re-to.)

Spirit,

life,

Staccato (It.) (stiik-M-to.) Detached; disthe slurred notes are of a longer

tinct; separated from each other.
denomination, the second is not generally
shortened.
3. When the second note is
Staccato marks.
Small dots or dashes
longer than the first, the effect of the slur
placed over or under the notes, thus:
is often nothing more than a legato mark.
4. In vocal music, both long and short
slurs are often used merely to show how
many notes are to be sung to a single
The long slur (over more than
syllable.
two notes) is frequently a very indefinite
The wedge-shaped marks are shorter than
sign.
It is one of the most vague signs in
the dots, but are little used by modern
piano-music, often merely indicating a
composers.
legato execution, and not the phrasing.
In vocal-music it is used properly as a
The five horizontal and parallel
Staff.
phrasing and breathing-mark, but it is
lines on and between which the notes are
impossible to formulate any rules that will
written.
cover the contradictory uses of the long
slur in piano-music.
The thin stroke which is drawn
Stem.
from the head of a note.
Solo (It.) (so-lo.)
A composition for a
2.

When

PN^

Solo (Fr.) (so-lo.)

Solo (Ger.) (so-lo.)

single

voice,

or in-

strument.

Stringendo

(It.) (stren-gew-do.)
accelerating the time:

Pressing,

(Ger., Gesang; Fr.

chant; It., Syncopation (Eng.) An unequal division
Vocal musical expression or utterof the time, or notes; irregular accent,
2. (Ger., Lied; Fr., chanson; It.,
binding the last note of one bar to the
ance.
A lyrical poem set to music.
canzone.)
first note of the next;
accented notes
The song deals with emotions; the ballad
occurring on the unaccented part of a bar.
Song
is
Syncopation
an artificial accent, an
tells a story.
form is a musical form
interruption of the natural pulsation of
originally derived from vocal music.
(See
Folk-song
is a simple song (frethe music. It can be produced by giving
Form.)
quently a ballad) which is popular with
an accent where none is expected, by
taking away the accent from a point where
the common people. Songs are. chiefly
of two styles of composition.
1st. The
it is expected, or by both methods comstrophe form in which the music is set to
bined. The natural rhythm must be rethe first stanza and then repeated to each
stored after the syncopation has been used
succeeding stanza. 2d. The art-song (or
for a short time, otherwise the ear will
Durch
through- composed
componiert style)
accept the artificial accent as a natural
which
each
stanza
receives
separate
in
one and the effect of syncopation be lost.
musical treatment according to its conSyncopations in accompaniments must be
tents.
strong to be effective.

Song-.

1.

canto.)

The treble; the

(It.) {so-pra-no.)
highest kind of female voice; a treble, or
soprano singer. The soprano is the highest part in concerted vocal music, and
carries the air, or melody, in any modern
composition that presents harmony, or

Soprano

Tempo

(It.)

(tem-po.)

Tempo

The

Italian

word

rather loosely defined

as the speed of the music, but it ought
rather to be regarded as the speed of the
rhythm, the rapidity with which the natural accents follow each other.
for time.

is

DICTIONARY OF MUSICAL TERMS.

151

Tenor. That species of male voice next Treble. The upper part; the highest voice;
the soprano; that which generally contains
above the baritone, and extending from
the melody.
the C upon the second space in bass, to G
on the second line in the treble. Socalled from teneo (I hold), since it held the Triad.
The common chord, consisting of a
melody in old times. See Soprano.
note sounded together with its third and

Tetrachord

(Gr.) (#tf-ra-kord.)

fourth;

fifth.

system of four sounds among the

A piece for three
ancients, the extremes of which were Trio (It.) (tree-o.)
instruments, or voices. The word trio is
fixed, but the middle sounds were varied
also applied to a contrasted song-form in
according to the mode.
the minuet form of composition.
Time. The measure of sounds in regard
to their continuance, or duration.
The Triplet. A group of three notes, played
speed of the rhythm. The rapidity with
in the usual time of two similar ones.
which the natural accents follow each
other.
This is the correct meaning of
Tutti (It.) (too-te.) All, the entire band,
also, a

time.

Tonic

A method

Sol-fa.

of

teaching

or chorus; in a solo, or concerto, it means

that the full orchestra is to come in.

vocal music, invented by Miss Sarah Ann

Glover, of Norwich, England, about 1812 TJnison.
An accordance or coincidence of
(called by her the tetrachordal system),
sounds proceeding from an equality in the
and afterwards perfected by the Rev. John
number of vibrations made in a given
Cur wen, who became acquainted with the
time by a sonorous body; a tone that has
method in 1841. Its formal basis is the
the same pitch with another.
movable-do system; the seven usual solmization syllables are employed, as follows;
Name of the last evening service
doh, ray, me, fah, soh, lah, te.
The reason Vespers.
in the Roman Catholic Church, consisting
for this departure from the ordinary spellchiefly of singing.
ing is, that the above is considered easier
for English people to pronounce.
In
printing music, the initial letter of the Vivace (It.) (ve-#a-tshe.) Lively, briskly,
quickly.
syllable indicates the scale note.
Si and
soh having the same initial, the former is
altered to te.
Higher or lower octaves are Vivo (It) (we-vo. )
Animated, lively,
shown by figures placed by the side of the
brisk.

s
notes, d
d'
and s x
2
particular pitch of the key-sound
l

d2
is

The
shown Vocalize.

by the statement at the beginning of the

piece, key G, key E P, key A, etc.
The minor mode is regarded as derived from the
relative major, its tonic

To

practice vocal exercises us-

ing the vowels and the letter A, sounded

in the Italian manner, for the purpose of
developing the voice, and of acquiring

being called lah.

skill and flexibility.
Transition (Eng.) Passing suddenly out
of one key into another, also a passage Vocalizes.
Solfeggios;
leading from one theme to another.
voice, also Vocalises.

exercises

for the

152

'

EDUCATIONAL VOCAL STUDIES.

Abbreviations and Signs.

NOTE. See Dictionary

accel.

M.

Long Metre.

brace.

L.

M. D.

Long Metre Double.

cancel (natural.)

cal.

calando.

C
M.

Common

Metre.

C.

M. D.

Common

Metre Double

M. M.

Maelzel's

>

marcato

mf

mezzo

mp

mezzo piano.

MS.

manuscript.

Op.

opus (work).

Metronome

(accent).

forte.

clef.

C.

cres.

for definitions.

L.

breath marks.

book

accelerando.

', v

in this

crescendo.

P.

M.

Particular Metre.

piano.

PP

pianissimo.

PPP

pianississimo.

double sharp.

Rail.

rallentando.

D. S.

dal segno.

Recit.

Recitative.

t>b

double

D. C.

dim.

tttt.

de capo.
}

*>

diminuendo.
x

flat.

Rit.

flat.

forte.

ff

fortissimo.

fff

fortississimo.

fp

forte piano.

M.

Short Metre.

S.

M. D.

Short Metre Double.

ft

sharp.

:S:

sign.

stacc
sfz,

\)

slur or tie.

forzando.
sforzando.

ritenuto.

S.

sf,

Rritardando.

clef.

t>

fz,

staccato.

staff.
clef.

-==r

z=-

H. M.

Hallelujah Metre.

/T\

hold or pause.

ten. or

L.

left.

tr.

or

tr~^

swell.

tenuto (sustained).
trillo.

GENERAL INDEX.
Titles in

Romans,

First I,ines in Italics.

Songs marked

Abbreviations and signs

ACKNOWLEDGE
A dream

ME,

152

MY KEEPER.

eventide

at

name

All hail the power of Jesus'

Almost
Almost persuaded
Analytic index, Part

Two

Titles

and

First Lines are alike, Capitals.

One among the graded

Give

to

God,

studies.

nations great

77

101

MY SONG

88

GOD

79
83

*GOOD-MORNING,
SHINE

83

Good-night

IS

97

MERRY

SUN25

80

Grade One studies

85 Grade Two studies
50 Grade Three studies

68

ANEW WE LIFT OUR SONG

*At sunset
* Awake, my

When

* are in Part

soul, stretch every

nerve

15

45

43
78

Happy time of youth

Haste to the rescue

71

Holy, heavenly thoughts attend you

80

87

*How

51

Blow, blow, thou winter wind.

111

Balmy southern

breezes

BEAUTIFUL FLOWERS
Be not

swift to take offense

/
70

Cheerful faces
*Choral (52 d.)

Come away
Come,

am

*I

60

meadows fair.

to the

O come with cheerful faces.

Contents, Grade

One

Contents, Grade

Two

Contents, Grade Three

Contents, General
Contents, Part Three

Crown Him Lord

of all

Dream

at eventide, a
Dictionary of musical terms

106
70
viii

do you

like to

106

98

go up in a swing .....

thinking tonight

108

LOVE THE CHEERFUL SUMMER-TIME

Ingratitude
In from the highway
*In the heart of a seed
Is the way before you fraught

14 / sit alone at eventide

44 / sit and watch the golden stars
vii

was once

in sin

and far from God

Evening

79 Jewels

72
88
109
89

88

*Kind

94
hearts are the garden

23

143
27

bells

29

114

*Leo
*Erie

54
Ill
102

102

Let

42
pass

87

LITTLE EYES

96

it

Little snowflake

HOW A ROSE

* Fierce was the wild billow

42

LO,

*Forte staccato.

62

LOVELY MAY

(153)

99

E'ER BLOOMING

86
76

EDUCATIONAL VOCAL STUDIES.

154

General Index.
Make a joyful
Merry

noise

92

spring, the

105

*Moderato (54.)
*Morning hymn
*Music everywhere

My

far-away

62

43

66

home

108

National song of praise

77

*Newton

10

ferns

NOW MAY THE WILL OF GOD

DONE

0,

is

the cooling spring

Olden memories

O LOVE DIVINE
*One

*Spring is come
Spring is here

65

snowy day

sweetly solemn thought

102
51

*The
*The
82 *The
31 *The

raindrops

109

ram has

27

swing

35

THERE! LITTLE GIRL; DON'T CRY

There is music in my soul

Scales,

Major and Minor

*SLEEP, BABY, SLEEP

Slumber

soft, little

one

114

48

39
72

Voice culture
Voice exercises

138

140

When He cometh to make up His jewels.

I IN PAIN AND SORROW
.

94

WHEN

MOAN

112
35

*Wine

56

50

111.

and work

Upward look

74

*Softly sighs the evening breeze

- -

84

*Wind's song, the

87

Chicago,

98
104

35

SOFT THE EVENING FALLS

SOFT FADES THE TWILIGHT RAY.

Typography by
Anderson Bros.,

66

130

112

wind

89

115

112

Slumber song
*Soft blows the western

110

90

* Up then with speed

*Raindrops, the
Rudimentary statements begin
Rudimentary statements, contents

19
51

wind's song

Pealing slow, soft and low

snowflake

13

105
6

*There is music in the breeze

They are drifting away
102
Thou hast never forgotten
99
TWILIGHT IS STEALING

PURER YET AND PURER

13

spoiled the farmers' day. ...

100

little

94
92

Thanksgiving carol
*Thanksgiving song
105 *The apples have been gathered.
76 The merry spring

ONWARD, CHRISTIAN SOLDIERS..

Pretty

72

Sweetest hosannas
*Swing, the

104

90
69
78

SWEET AND LOW

TAKE THE SAVIOUR WITH YOU.

BE

O GENTLE SAVIOUR
O God of all the ages

96

113

a goodly thing

*On

SOFTLY SIGHS THE VOICE

SONGS OF JOY AND GLADNESS ....
SPEAK GENTLY

is

a turn-coat

* Ye coax the timid verdure

65