Presented to the of Music Library by VX^TT TC T/^ 0f MUML, UNIVERSITY OF TORONTO - LA tl)t same g MUSICAL THEORY. 3. 6rf. The main divisions of the work are five ; the Common Scale and Time, the Minor Mode and Transition, Musical Form, Expression, and Harmony. TIIE TEACHER'S MANUAL. 5*. The Art of Teaching in general, and especially as applied to Music. , HOW TO OBSERVE HARMONY. 2*. The whole series of chords employed in Modern Musin is described in progressive order, and by the use of biiigle chants car 1 1 in shown in its common connection. THE STAFF NOTATION. 6c/. A Practical Introduction, on the principles of the Tonic Sol-fa Method. HOW TO READ MUSIC. 1. Teaches Sight-singing by the Tonic Sol-fa system, then applies the knowledge gained to the Staff Notation, and teaches that thorough!/. THE STANDARD COURSE OF LESSONS AND EXERCISES 8J0rrijc (FOUNDED ON Miss GLOVER'S "SCHEME FOR RENDERING PSALMODY CONGREGATIONAL," 1835)). WITH ADDITIONAL EXEECISES. BY JOHN CUEWEN. TENTH EDITION. Uontton : J. CUEWEN & SONS, 8 & 9 WARWICK LANE, E.G. PRICE THREE SHILLINGS AND SIXPENCE. Entered at Stationers' Hall. The right of translation reserved. 1892. NOTICE Several friends have said to me " why do you not arrange your book in lessons ? It would be so convenient for us, every time we go to our class, to know exactly how much and how little we have to teach." I would gladly have done this ; but the different capacities, tastes, and circumstances of our pupils make it impossible. A School lesson and a lesson to an Evening class, a Reformatory lesson and a College lesson, differ exceedingly both in the manner of teaching and in the number of things which can be taught. I can only pro- vide a general method, some points of which are essential and some non-essential, leaving the teacher to adapt this method to the particular class he has to deal with. Such topics as Harmony, Pronuncia- tion, Musical Form, Voice Training, and the difficult parts of Time, Tune, and Expression may, however important, be reckoned as non-essentials, and will have to be omitted in many classes. Although I could not fix the exact amount of instruction and exercise which every class can receive lesson by lesson, I have divided the method into Steps. By a step I mean a certain stage of the pupil's progress at which he is expected to stop and examine himself, and bring the different divi- sions of his labours (tune, time and expression) abreast of one another. This is what is called, in the counting house, "taking stock," in the House of Commons, " Reporting progress." It is ascer- tained that ordinary students do learn a certain proportion of each branch of the subject con currently, and this proportion is given as nearly as possible in each step. One-sidcdness of study is most danger- ous and miserable to the student. A clever reader of tune who cannot keep time is constantly finding himself wrong, and annoying his neighbours, and a good timeist who is often singing out of tune feels himself to be unsatisfactory, and often stops the class to get his errors corrected. The steps, with their amplitude of questions at the end, enable all the members of a class to march together, to keep step. But the Lesson is a different thing from the Step. - A very dull class may require three or four lessons before they finish the first stage of progress and bring themselves up to the mark distinctly drawn by the examination at the close of the first step. Rarely have we found classes so quick and ready that they can accomplish the first step at a single lesson. The teacher studies the kind of class he is about to teach, and draws out the plan of his lessons accordingly. Until he knows his class more per- fectly he will seldom be able to do in a lesson exactly what he had planned to do, but be always goes to his class with a plan, having chosen the exercises to be done, and having anticipated in his own mind and pictured to his imagination, the blunders he will be required to correct, and the brief verbal explanations he will be expected to make. When a new topic is introduced, it occupies a larger portion of time than the other topics, and may at first do this even to the exclusion of others. But directly a subject has reached the "wearying point " in a class it must stop, even if it has occu- pied only a short time. At first the chief care will be given to the subject of tune, and not until the attention of the class gets near the wearying point, does the teacher introduce the first elements of time, as a variety. When the association of syllable and interval in d m s is fully established, and not till then, will much attention be given to the earlier time names. It is not wise to introduce a great number of neiv topics in one lesson. The Voice exercises should occupy a brief portion of each lesson at its opening. On all teachers, taking up our Method, I urge faithful attention from the begin- ning to three things the Pattern the Mental Effects, and the preparation for Certificates. The experienced teacher knows how to arrange the topics of his class, how to pass promptly from one to the other, how to keep up the interest, and how to secure an even progress in all the branches of study. For the inexperienced teacher, I have gathered together all the helps I could think of, in the " Teacher's Manual of the Tonic Sol-fa method."* Plaistow, 2nd July, 1872. * Price Five Shillings. JOHN CURWEN. a 2 TUNE. Absolute pitch and pitching tiuies^ 3, Key relationship ^ Octaves .; .' go Mental effects -;;:}' 4 ' 15> 2 Speed of movement and ditto > Names and signs - R 3 ' 7 Pattern - ; . Solfaa-ingand l**-*8 " ' Modulator ...v, 8, 8, 11, 12, 24, Manual signs Ear exercises The scale ^ ] v - ^ *^' ^. "' . ~ Perception of Transition ......... 49, &o Distinguishing tones of 1st remove . INDEX OF TOPICS, Repeated and prolonged tones 99 Melodic imitations and marked en- trance luo Subordination of parts and accom- paniment Imitative sounds Tones congenial to the sentiment or spirit of the tune 1, iv* Rapid passages - Effect of theExplosive and Pressure tones and the Legato & Staccato styles Unison, "Cadence, Distinguishing tones J" Dissonances ^-^""M of words. Effect of Mental effect of transition ..^'Jl The second remove "' " Chromatic effects Cadence transition Agility, strength, and downward extension 151, 1W HARMONY. A chord Relation of chords D & 8 20, 27 The common intervals 21,36 Positions and Constitutions of chords 2 ?-' 27 '* 8 Dissonances and their resolution 21, 36,69 Chord 4S and doh against ray ... 21,27 Chord "S, fah against soh, and the partial dissonance 36,46 Relationship of F with D and 8, ambiguity ;" 4 , 5 ' *j Chords major, minor, or diminished Chord RAH and grave ray Chords T, L, M, and 7R 46, 47 Mental effect* of Chords 47 Cadences 48 ' 62> Apologies for dissonance . PRONUNCIATION. plying transition S I Collective reading Q l 5 'l ti I Sbffomatfc chords and their resolu- Extended transition Recitation on a monotone 35, 36, 4., tifm ....-.- "i" 5 Memorizing adjacent keys ...... 60,T7 59,82 Themodes ' <' ? The Consonants or articulation* ,, The modern minor ' 5 The Grave ray .-v:::"" ! Importance of the Glide, in singing Modulation and transitional ditto.. 88 C {, ngonant 8 The third remove ** Order of accents in speech and --*- -i- I Preparing recitations 35, 59, 63, Jd, The Vowels, their mechanism, aad dialectic varieties 136 to 1 The Dipththongs 1*2 to TIME. Accent, pulse, measure 6, 7, 18, Chord relation in the Minor mode MUSICAL FORM. General principles and divisions of melody The Parsing of melody 70 Relative motion of parts and imi- 86 LM Continued tones and half pulses ... Silent pulse. Pulse-and-a-haif tones Quarter-pulse tones 'pulse tone P Two quarters and a half. Half and two quarters. Good klang and quality Svnconation ^i"."i i" Silent quarter-pulse. Thirds of a Sixths? Eighthsi "ktatihi"*,'of pulse : Time ear exercises .-... Rate of movement, sustaining and remembering it 83, 34, HO 11" EXPRESSION Breathing for the sense The normal force of a piece.. Type marks for expression of General principles ....... ^"IvJ!? Tees of Force, with their binatiou and modes of de- .. 16 80,98 VOICE TRAINING. 156 2 "{, 2, 3, 14, 26, 46, 81, 95 Control of breath... 2, 3, 14, 26, 45, 81 Breathing Places ' Tuning of voices together 1 . ^ ^ /, 29. 106, 109 Compass tflft 107 The Registers 32,6b 1 iw Thin Register Thick Register Small Register lu Voice Modulator..... Examination of voices ... 81, Blending of Registers .- Optional tones &> }J Boys' voices o an 81 108 109 Flattening \\ Choral contrivances * tations Parsmg fugal passages Hounds -" Chants 35, W, s* The Response, Chant, Hymn Tune 144,146 , 1 ^ 6to 148 ,,rioandCan- Uta .................................... 148 ' 148 Chorus The Canon and Fugue ..._... Recitative, Opera, Oratorio i NOTAT ION . Of tune and octaves .............. 5, 29 Of accent and measure ........... i Of vocal parts and musical sections Of repetition ...... ........ .. ..... ......... I Of sounding and silent pulses and theirparte ............... 6,7,18,34,64 as The swell, appogiatura, turn 160. 161, ^ Training in class 160,151 Of rate of movement Of chanting Of transition Of registers ~ Of the minor mode > ' Of expression ", 96, < Of consonantal sound* Ji Of vowel sounds Writing exercises " ""i FINQER-SIG-NS FOE TIME, AS SEEN FROM THE PUPIL'S (NOT THE TEACHEB'S) POINT OF VIEW. 8AA. SAATAL Tiii MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY. NOTE. These diagrams show the hand as seen by pupils sitting on the left-hand side of the teacher. Ihe teacher makes his signs in front of his ribs, chest, face, and head, rising a little as the tones go tip, and falling at they go down. FIRST STEP. SECOND STEP. THIRD STEP. The GRAND or bright tone, the Major DOMINANT, making with Te and Kay the Dominant Chord, the Chord S, and with Fah also the Chord 7 S. TE. The PIERCING or sensitive tone, the Major LEADING TONE, making with Baya.nd.Fa h the weak Chord T. LAH. The SAD or weeping tone, the Major SUBMEDIANT, making with Doh and Me the Chord L. ME. The STEADY or calm tone, the Major MEDIANT, making with Soh and Te the rarely used Chord M. DOH. The STRONG or firm tone, the Major TONIC, making with Me and Soh the Tonic Chord, Jhe Chord D. RAY. The HOUSING or hopeful tone, v A TJ the Major SUPERTONIO, mak- rAH. ing with Fah and Lah the Chord The DESOLATE or awe-inspiring R, in which case it is naturally tone, the Major S UBDOJIINANT, eung a comma flatter, and may making with Lah and Doh, the Sub- be distinguished as Rah. dominant Chord, the Chord F. ,% For fe let the teacher point his first finger horizontally to the left. For ta ditto to the right. "When seen by the class these positions will be reversed, and will correspond with the Modulator. For e let the teacher point his forefinger straight towards the class. NOTE. These proximate verbal descriptions of mental effect are only true of the tones of the scale when tung slowly when the ear it filled with the key, and when the effect is not modified by harmony. MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY. SECOND STEP. FIRST STEP. THIRD STEP. TE. The PIERCING or sensitive tone the Major LEADING TONE, making with Ray and Fah, the weak Chord T. RAY. The ROUSING or hopeful tone the Major SUPEETONIC, mak- ing with Fahand Lahihe Chord R in which case it is naturally sung a komma flatter, and may be distinguished as Rah. The GRAND or bright tone the Major DOMINANT, making with Te and Ray the Domin- ant Chord the Chord S, and with Fah also the Chord S. ME. The STEADY or calm tone the Major MEDIANT, making with Soh and Te the rarely used Chord M. DOH. The STRONG or firm tone the Major TONIC, making with Me and Soh, the Tonic Chord, the Chord D. LAH. The SAD or weeping tone the Major SUBMEDIANT, making with Doh and Me, the Chord L. FAH. The DESOLATE or awe-in- spiring tone the Major SUB- DOMINANT, making with Lah and Doh, the Subdominant Chord the Chord F. TA. SE. ' FE. NOTE. These diagrams show the hand as seen ly the pupil, standing in front of the teacher. The proximate verbal description of mental effect are only true of the tones of the scale when sung slowly ivhcn the ear is filled with the key, and when the effect is not modified ly harmony. TONIC SOL-FA TIME CHART. d 1 T f BY JOHN CTTEWEN. : : (Copyright.) t . m l 1 Wholes. Halves. Quarters. Thirds. :1 :1 ,1 .1 ,1 :1 (1 ,1 rei 'TAA tafatefe- taataitee I r \ 1 : :1 .1 ,1 . 1 ( (1 86 de' -AA TAAtefe TAAtee g S doh 1 SAA TAAfe taatai-ee 7*1 te | i :1 .1 :1 ,1 .1 : (1 (1 f E le TAATAI taftiTAi saitaitee PH O :- .1 : ,1 -1 ,1 * <~ < 8- m lah lay * -AATAI aafatefe it^see od se : .1 :1 ,1-1 , :1 , H r - soh, J. SAATAl tafateae tiuisai-ee < :1 :1 . ,1 :1 .I H ba fc TAAS4/ TAA.rfe taasditee Q d fah Eighths. -11111111 Sixths. -11 11 t 1 .11,11.11,11 3 accents. 1 1 <1 1 <1 1 2 *, i me tanafanatenefene tafatefetifi ^ re Ninths, .ifl ifl ]\] Sixths. 1 1 1 1 f 1 .lll ( lll ( lli. 2accents. ** .111 taralatereletirili ' taralaterele W as * ; : 1 r rahfay - NOTB. " Ai" i? pronounced as in maid, fail, &c. "Aa" H se, ** de is pronounced as in father, "a" as in mod, " e " as in ld, and "i" as in lid. These time-names are copied from s, . doh 11. Paris' s " Langue des durees." The minute divisions : : are seldom used except in instrumental music. In the ba, , - Tonic Sol-fa notation we often write two measures in the place of one in the common notation, thus expressing the *| ta, accent more truly. The flats of the scale, ta, la, ma, ra, are pronounced taw, m. ^1 $ law, &c. ; and the sharps, de, re, fe, le, are pronounced dee, ree, &c. Ba (the sharp sixth of the minor scale) is pronounced bay. se. St. Co. r \ S | v ; DOH=Gb Dl> At> THE EXTENDED MODULATOR. EP BP F C GDA TT pi)v r ~lTh Tiii^~ :: ~ :+- :L-E__ t-j__ *^ 1 ^E- ^ ~[ f- 8^ - ^-fJy ( g tf f gaipjjf g=pg*y ygq Lah = Ev Bb F O Q D A E B .FJ CJ !' the tnrs, as well as their purity and quality. Insufficient breath causes flatness of pitch, at the same time with thin and poor quality. The slightest unnecessary force of breath makes itself heard along with the vocal klanir, and causes mixture and impurity of tone. "Every tone," says Madame Seller, "requires, for its greatest possible perfection, only a certain qii..ntitv of breath, which cannot be diminished or iner, i-' <1 without injury." AN the liiva:h In-; to ! received into the lunirs l>y tin- HUM ch.mu.-l through which it leaves them, it is obvious that the regular action of breathing must be interrupted when we speak or sing. Hence the necessity of care and management. Elocutionists as well as voice-trainers recommend that the lungs should be kept fairly full. Mrs. Elaine Hunt says : "Accustom yourself to take breath wherever you can, although you may not feel the necessity for it at the time. This is important to beginners, as it teaches them soon to take it without exertion, and less perceptibly to the hearer." Of course the sensible singer can- not take breath in any place in which his doing so would spoil the sense and continuity of the words, or of the musical phrases. There is no need of noisy effort to draw in the breath ; the nose and mouth being open, it is only necessary to expand tlii- rili- and the lungs are filled. In the beginning of his studies the singer should take breath at the end. and at some convenient place in the middle of each line of poetry. Gradually the muscles which hold the ribs distended sideways, as well as those underneath the lungs, by which alone the breath should be expelled, or rather expended, will gain strength. A long sustained tone should not be expected at first ; and the swell upon such tones, properly delivered, is, as Garcia, Rossini, and others shew, among the last attainments of vocal St. Co. (New.) power. Exercise steadily pursued, and nothing else can give to the muscles the requisite power of control. Voice, exercises should, for a long time, bo_sung, as the old Italian masters required, only effort to sing softly (or piano], with a full but not overcrowded chest, compels attention to the control of the muscles ; it also the better enables the pupil to perceive for ////*,//" what is meant hy purity and beautiful quality of tone. Until this perception is formed nothing is done. The pupil in a popular evening class, must, in this matter, rely chiefly on himself and his daily practice. It is but little study of individual voices which a class-teacher can give. Much, however, is done in classes by imitation and sympathy. Wo \\n\e, noticed thai every teacher who hi ins. 11 understand.-* what " a good tone" is, will have it in his class ; and when once the right habit is established there, new comers naturally and easily fall into it. Position. The singer should (a) stand with heels together or in the soldiers posture of " stand at ease.;" (b) with h ad erect, but not thrown hade ; (c) with shoulders held back, but not up; (rf) with lungs kept naturally filled not with raised chest, except on extraordinary occasions but with the ribs, never allowed to collapse, pressing against the clothes at each side, and the lower muscles of the abdomen drawn in ; (e j with the mouth freely open, but not in the fish-mouth shape 0, the lips being pressed upon the teeth, and drawn somewhat away from the opening, so as not to deaden the sound, the lower jaw falling, the palate so raised as to catch on its front-part the stream of air from the lungs. and the tongue flat, its tip just touching the lower teeth. These rules have to be carefully studied by the singer, and, at first, they will make him stiff and self- conscious ; but soon, and with care, the proper position will grow into a habit. Everything will be most easy, and the motto of the old masters will be realized " Pleasant face makes pleasant tone." The teacher " calls his pupils into position " by giving out as words of command "a," " 4," " c," "d," " e." At each order, the pupils take the position indicated by those letters as above, and the teacher watches to make sure that they do so properly. He makes a sign a motion with the fingers of his left hand to those who do not open the mouth sideways as much as he wishes, and another sign to those who do not keep their teeth about two finger-breadths apart. He shakes his head at those who do not make a "pleasant face," and so on. Garcia says : " Open mouths of ^'IEOT STEP. an oval shape, like those of fishes, produce tones of a sorrowful and grumbling character ; those of which the lips project, in the form of a funnel, give a hard harking voice; very wide mouths, which exhibit the teeth too much, render the tone rough ; those which have the teeth too close, form shrivelled tones." These points must be attended to at the commencement and in the course of every early lesson. There is no other way in which the pupil can be saved from slovenly habits and coarse fiat singing. Ex. 1. To train the muscles at the sides of the 'lungs and under them. To be repeated at the open- ing of each lesson of the first step. The pupils standing, if possible, in single file, round the room (so that the teacher may approach each one and quietly signify any defect of position while the exercise is going on), the teacher raises his hand while the pupils take in breath slowly, and without noise. The pupils hold*their breath while the hand remains high, and let out the breath again through the mouth, and gradually as the teacher lowers his hand. The teacher counts " one," "two," "three," &c (at the rate of M. 60, or as slowly as a common eight-day clock ticks) , while he lowers his hand. The pupils say, by holding up hands, who held out as far as "three," "four," " six,' ' &c. The teacher is well satisfied with " four ' ' at first, and does not require even that from weak lungs. Ex. 2. To train the larynx for the production of pure vocal klang. To be repeated at the opening of each lesson in the first step. The teacher sings on the syllable ai (as in gain, pail, &c.) a middle tone of the voice, say G- or A. The pupils imitate that tone, commencing immedi- ately the teacher opens his hand, and cutting it off 1 sharply the instant the teacher closes his hand. This done, he gives the vowel ai again, but immedi- ately changes it into the more open and pleasant aa ; changing, however, as little as possible the ai position of the tongue, so as to secure the " for- ward " Italian aa. The pupils imitate, attention being given exclusively to the position and to purity of the voice. This is done with various tones say with D, with F, and with A. FIRST EXERCISES IN TUNE. Pitch. By " pitch," we mean the highness or lowness of sounds ; the difference between the sounds produced towards the right hand on the St. Co. (New ) By means of the ribs, not the throat. piano and those towards the left, or between a squeak and a growl. We are not anxious, at present, to teach the absolute pitch of sounds. Our first and chief work is to teach the relation of sounds in a tune to what is called the key-sound of that tune. Key Tone. Everything in a tune depends on a certain "given" sound called its governing, or key -tone, from which all the other tones measure their places. At present the teacher will pitch the key-tone for the pupil. The modulator represents this key- tone with its six related tones, in the way in which they are commonly used. The pupil will learn to sing .them by first learning to perceive their effects on the mind, and not by noticing their relative distances from each other. . Pattern. The teacher never sings with his pupils, but sings them a brief and soft " pattern." The first art of the pupil is to listen well to the pattern, and then to imitate it exactly. He that listens best, sings best. "When it is the pupil's turn to sing let him strike the tones firmly, and hold them as long as the teacher pleases. As soon as the modulator is used, the teacher points on it while he sets the pattern, and also while the pupil imitates. Ex. 3. The Teacher asks his pupils for a rather low sound of their voice. He gets them to sing it clearly, and well drawn out, to the open syllable aa. He takes it for the key tone of a tune. He sings it, and immediately adds to it what is known as the fifth above. The pupils try to imitate the " pattern," singing (still to aa) the key tone and its nearest related tone. When, by patient pattern. and imitation, this is done, Ex. 4. The Teacher gives a different low sound of the voice for the key tone, and asks the pupils to give him that other related tone again. This he does several times, always changing the key tone. Names and Signs. Immediately that a thing is understood it is important to have a name for it, and sometimes a sign also. Any name or sign which is agreed upon between Teacher and pupil, will answer the purpose. But it is convenient to use the same names which others use. On our modulator and in our notation we call the key tone just given Doh, and the other nearly related sound Soh. For voice Exercises, in which the Teacher has to look at pupils while he gives them signals to guide their singing, it will be useful to employ the closed hand as a sign for Doh, and the open hand, pointing outwards, with the thumb upwards, for Sok. FIRST STEP. Ex. 5. The Teacher gives Doh and Soh (to the open aa") and, immediately after, another sound, different from Soh, which he knows as the third of the scale. The pupils imitate his pattern. The Tonic Solfa name for this sound is Me, and the sign is the open hand with the palm downwards, Ex. 6 . TheTeacher, by the above named manual signs, causes the pupils to sing (while he watches their position and the opening of their mouths,) to the open sound aa such phrases as the following, Doh, Soh, Me, Soh, Doh. Doh, Me, Soh. Soh, Me, Doh, Me, &c., &c. The Teacher changes his key tone with nearly every new Exercise, lest the pupils should be tempted to try and sing by absolute pitch, instead of directing their attention to the relation of sounds. Mental Effect. The effect felt by the mind as it listens to these three tones, arises first from their difference in pitch, one being higher or lower than the other, and secondly and chiefly from their agreeing well with each other, so that it is pleasant to hear them one immediately after the other, and pleasant to hear them sounded together. The science of sound shows how closely and beautifully these three tones are related to each other, in the number of their vibrations. Their agreement may be shewn by sounding together 1st Doh and Soh, 2nd Doh and Me, 3rd Me and Soh, and 4th Doh Me Soh. When three tones are thus related, and sounded together, they are called a Chord. The pupils will be led to notice the different effect on their minds of the three tones of this Chord. As they form the Chord of the key tone, they are the bold, strong, pillar tones of the scale, on which the others lean, but they differ in the manner of their boldness, one being brighter, another stronger and more restful, another more peaceful, &c. The Teacher, having brought his pupils to a clear con- ception of these tones, apart from syllabic asso- ciation, now attaches to each of them its singing syllable, teaching by pattern, and pointing on the modulator the six following exercises. For the sake of solitary students, who cannot be thus taught, these exercises are printed, in the form of diagrams, with skeleton modulators at the side. The first letters of the syllables on the modulator are used to indicate the notes, and so point to the modulator in the mind's eye. A narrower type and somewhat altered form is given to the letter m (n), for convenience in printing. Ex. 7. KEYS D & F. Ex. 8. KEYS D & F. Ex. 9. KEYS D & F. SOH HE DOH d 88 Ex. 10. KEYS D & F. Ex. 11. KEYS D & F. s s DOH St. Co. (New.) Ex. 12. KEYS D & F. S 8 n n n v \ FIRST STEP Octaves or Replicates. It is in the nature of music, that tones, which vibrate twice as fast or twice as slow as some other tone, should sound so like that other tone, and blend so perfectly with it, that they are treated as the same tone and receive the same name. They are the same in Relative position and mental effect, the difference of pitch being the only difference between them. Thus every sound has its " replicate " or repetition above and below. The two sounds are called octaves one to another, because if you count the tones of a scale from any sound to its replicate (including the tones at both ends) you count eight or an octave of sounds. "We put a figure one upward thus ('), as a mark for the upper octave, and downward thus (|), as a mark for the lower octave. If vre wish to indicate higher or lower octaves still, we use the figure ( 2 ). The sign for a higher octave would be given by raising the hand which gives the sign, and for a lower octave by lowering it. Ex. 13. The Teacher gives a low sound of the voice for Doh, and patterns to the open syllable aa, d, n, S, d 1 . The pupils imitate. Again, by manual signs, the Teacher requires the pupils to sing which ever of these notes he pleases, while he watches the position and the opening of the mouth, in each exercise varying the key. Ex. 14. The Teacher gives a middle sound of the voice for Doh, and then patterns to the open aa, d, PI, S, Si, d. The pupils imitate. Again, watch- ing his pupils, he requires them, by manual signs, to make any of these tones he pleases, in each exer- cise varying the key. The Teacher sets for each of the following Exer- cises a Solfa pattern on the modulator. d' SOU ME DOH Ex. 15. KEY C. d'-d 1 s s \ n / Ex. 16. KEY C. d 1 d' d' Ex. 17. KEY G. FiHsf EXERCISES IN NOTATION. In the following Exercises, "Key G," " Key C," " Key A," tell the Teacher where to pitch his Doh. The letters point on the modulator in the mind's eye. The Teacher pitches the key tone. The pupils " sound the chord," singing (when they have a middle soxmd of the voice for Doh,) Doh, Soh ( , Me, Doh, and when they have a low sound, Doh, Me, St. Co. (New). Boh. As there is no indication of time, the tones may be made as long or as short as the Teacher likes. A gentle tap on the desk will tell the pupils when to begin each tone. During this Exercise it may be well to let the large modulator hang before the pupils, that they may glance at it when their mental modulator fails them. Ex. 1C. KEY G. s f d PI s Ex. 19. KEY C. s s m s n PIEST STEP. Ex. 21. KEY C. nsmd s m s d d Ex. 22. KEY A. S Ex. 1824. Ex. 20. KEY A. S n s d d FIRST EXERCISES IN TIME. Time and Rhythm. The word time is commonly sed in three different senses. Sometimes it means the deyree of speed at which the music is sung, as when we speak of quick time, slow time, etc. This we call " The Rate of Movement." Sometimes it means the arrangement of accents in a tune, as when we say " common time," " triple time," etc. This we call " The Measure." Sometimes it means the varied lengths of a set of notes standing to- gether, as when we speak of " keeping the time " in a certain phrase. These time -arrangements of brief musical phrases we call " Rhythms." The word Rhythm is also used in a general sense to ex- press the larger relations of time and accent, such as the number and kind of measures in a tune, and the proportion which is given to each " section " of the tune. Accent or Stress. The Teacher, by singing on one tone such an exercise as the following, KEY G. d :d wake, H- tld :d d :d : 1 1 aw - ful dawn- 1 : /\\ leads his pupils to distinguish the difference be- tween a weak and a strong accent both in words and music. The Teacher will be careful not to let his pupils exaggerate the strong accent, so as to make a jerked tone instead of simply an accented tone. Accent is produced by the combined use of distinct ness (or abruptness) and/orre in their vari- ous degrees, and it differs in quality as one or the other element predominates. An upright bur ( | ) _>h \s> ill il tin' nut.' whii-h 1'iill.jws it is to ] Mini,' wit, she stronger accent. Two 'lots, thus, ;:)shew that the note which follows them is to be sung with t.hr wrak accent. Pulsea. It will be noticed that in music the voice is naturally delivered in successive beats or impulses, some having the strong and some the St. Co. fNew.i n s n d n Ex. 23. KEY C. s m m s weak accent. These we call Pulses. The Teacher illustrates this. The pulses move faster in some cases and slower in others, but the pulses of the same tune are equal in length one to the other. The Teacher illustrates this. The beginning of a pulse of time is indicated by an accent mark as above, and its end is shown by the next accent mark. In Tonic Solfa printing we place the accent marks in each line of the music, at equal distances, so as to measure time pictorially. Measure. In music the accents recur in regu- lar order, that is, if they begin thus, STRONG. weak, they go on in the same way, if they begin STRONG, weak, weak, they continue to recur in that order and so on. The Teacher illustrates this by singing tunes to his pupils, and requiring them to tell him which order of accents he uses. The time which extends from one strong accent to the next is called a measure. It is the primary form of a measure. If the tune begins on a weak accent the measure is reckoned from that, and extends till the same accent recurs again, This is the secondary form of a measure. Two-pulse measure. When the accents of a tune recur in the following regular order, STRONG, weak, STRONG, weak, and so on, or weak, STRONG, weak, STRONG, and so on, that tune is said to be in two pulse measure. The primary form of two pulse measure would be represented thus j I ' I and the secondary form thus | : ( Time Names. We call a single pulse (whatever be the rate of movement) TAA. Ex. 24. The Teacher causes his pupils to sing a number of primary two-pulse measures on one tone to the time-names, while he beats the time steadily. He does this till all have "got into the FIKST STEP. swing" of the rhythm (TAA, TAA, TAA, TAA, &c.) so that all the voices strike the beginning of each pulse perfectly together. Alternate measures are thejDLBungJby teacher and pupils, maintaining the same rate. They do this again with an entirely difie.rent rate of movement, only taking eare to keep up the rate of movement when once begun. In this exercise let the pupils be careful to sing each pulse fully to the end. The second vowel AI is often added to make him do so.* Ex. 25. The teacher in the same manner makes his pupils practise secondary two-pulse measures TAA, TAA, TAA, TAA, &0. Ex. 26. Sing Exs. 20, 22, and 23, beginning with the strong accent, and again beginning with the weak. Ex. 27. Sing Exs. 18, 19. and 21, beginning with the weak accent, and again beginning with the strong. Three-pulse Measure. When the accents of a tune recur at regular intervals thus, STRONG, weak, weak, STRONG, weak, weak, and so on (that is" like the accents in the words "heavewfy," "hapjoz- ness" and so on) or weak, STRONG, weak, weak, STRING, weak, and so on, (that is like the accents in the words " avaxing" " aTavndcDit," and so on) the tune is said to be in three pulse measure. The primary form of three pulse measure is this | : : || and the secondary this : | : || In the three pulse measure, when sung slowly, the second accent is not weak, but often nearly as strong as the first. For convenience, however, we always write this measure as above. Ex. 28. The Teacher will make his pupils sing TAA, TAA, TAA (primary three-pulse measure) on a single tone, while he beats time, first at one rate of movement and then at another rate, always sustaining, in each exercise, the rate at which he commences it. Ex. 29. The'teacher will do the same with TAA, TAA, TAA (secondary three-pulse measure). Ex. 30. Sing exercises 20 and 22 in the pir- mary three-pulse measure, making two measures, and the first pulse of the next, to each exercise. Ex. 31. Sing exercises 18 and 19 in secondary three-pulse measure, making for .each exercise, two measures and two pulses of a third measure. Continued Tones. When a tone is continued from one pulse into the next, we mark the continu- ation by a horizontal line, thus ( ) . The time-name for continuations is always obtained by dropping the consonant, thus, TAA, -AA, Sec. Pupils are apt to St. Co. (New). fail in giving their full length to prolonged tones. Half-pulses. When a pulse (TAA) is equally divided into two parts, we give it the name TAATAI. The sign for an equally divided pulse is a dot in the middle, thus ( [ , ; ), and thus (\ d .m : ) Beating Time. Pupils should never be allowed to "beat" time till they have gained a sense of time. Speaking in Time. The value of the Time- names depends on their being habitually used in time each syllable having its true proportion. Taatai-ing. "Wepropose to use this as a shortword for the phrase "singing on one tone to the time names, " just as we use " Solfaa-ing " to save the circumlo- cution " singing with the use of the Solfa syllables." In the early steps of any art it is better to learn each element separately. As the pupil has first learnt tune separately from time on the Modulator, so now, with the help of the Time Chart, he studies (True separately from tune. The rule of good teaeh- ing that, at the first' introduction of any distinct topic, that topic should occupy much more than its ordinary proportion of each lesson, will strongly apply in this case; for we have to establish in the memory an association of syllable and rhythm, just as, in teaching tune, we have already begun to establish a mnemonic "association of syllable and interval through mental effect. 1st. The teacher patterns and points on the Time Chart (just as he patterns and points on the Modulator) and the pupils imitate (taatai-ing on one tone) the first half of one of the time exercises. The Teacher's pointer will sufficiently well beat time as it strikes on the Chart. 2nd. Teacher and pupils Taatai the time-phrase alternately, the teacher singing softly, with clear accent and very exact and well filled time, but only pointing or tapping on the Time Chart when the pupils take their turn. This is done till the pupils " get into theswing," striking the accent well together and giving each tone its full length. 3rd. The second half of the exercise is taught in the same way by patternand alternating repetition. 4th. The two parts are put together and patterned and alternated as above, but at a quicker rate, with- out pointing, the teacher beating time only when it is the pupils turn to sing. 5th. The pupils Taa- tai from the book as directed in Ex. 32. The other processes of Time-laaing, of Tuning the time- forms and of Taatai-ing in tune, are introduced a little later, when the time-names are familiar. Each process is only continued till the exercise is * Latpr on (p. 18) the AI may be omitted. WEST STEP. perfect. These many processes, each increasing in difficulty, give variety to the work of the learner and keep his attention fixed on an otherwise unin- teresting hut most important suhject. Ex. 32. First aftwZy repeated so at least three times and then quickly, and repeated so six times. il ( J TAA TAA I TAA Ex. 33. Slowly and quickly. 1 :1 II TAA TAA | TAA Ex. 34. Slowly and quickly. 1 : TAA -AA Ex. 35. Slowly and quickly. 1 :1 :1 -AA 1 : TAA TAA TAA TAA Ex. 36. Slowly and quickly. 1 :1 TAA TAA TAA TAA i TAA 1 TAA Time Laa-ing. The Teacher when 'all the above exercises have been properly learnt, with time names, will cause them to be sung again in the same way, but to the open syllable Laa. The time syllables are, like the Solfa syllables, valuable as mnemonics, and must be much used, especially in the early steps. But they must not be too exclusively used, lest our pupils should be able to sing correct time to nothing else. Ex. 37. Laa Exs. 32 to 36. TUXE. Tune Laa-ing. As soon as the memory-helping Solfa syllables have been rendered familiar, every tune should be Laad from the book. Some teachers mako a habit of Laa-ing from the modulator, directly after the Solfa pattern has been learnt. One study should be always before the teacher's mind while his pupils are Laa-ing, that of the blending and tuning of the voices. As all arc using the same syllable Laa (not law or loa} it is more easy to notice whether in unison (that is when all sing the same tones) the tones blend as into one voice, and whether, in harmony (that is when several melodies are sung together) the tones tune well with each other. Two-part Singing. It is at first very difficult for St. Co. (New.) TAA TAA 1 TAA TAA TAA 1 :1 TAA TAA :- II TAA 1 TAA =1 TAA pupils to sing independently one of another. The simplest form of two-part singing is that in which one set of voices repeatedly strikes the same tono i^" tolls the bell"), while the other set sings the tune, as In exercises 38 to 41. These exercises should first be taught by pattern from the modulator, and then sung from the books, the Teacher beating the pulses by gentle taps on the desk. If the long tones are not held the proper length, they must bo sung to the time names. ( Brackets are used both at the beginning and ( ending of lines to shew what parts of the music may be sung together. Double Bars (||) are used to shew the end of a tune, or the end of what is called a musical " section," g< 'ii< Tally corresponding to a lino of poetry. Where the double bar occurs, the regular accent mark, whether strong or weak, is omitted. But it must nevertheless be understood and observed. Exchanging Parts. The exercises of this and the second step do not go too high for low voices, or too low for high voices. All kinds of voices can sing both the upper and the lower parts. At these two steps, therefore, as soon as an exercise is sun 3-. Slowly, s, t:d and quickly. f PI : d s : PI t d : Si.d n :d s S| d || i ' S| pii ; ri|.n i pii .HI i Pii s, : d s, : s. HI : pi|.S| d .d :d PII S| PI, II Ex.63. KEY : d .PI : n d .PI D. Slowly, and qu : PI t s : s ickly. PI : t n .s : s PI .s : s t d i . s d 1 :- d :d d : d |d .PI : PI d : n : PI PI ; PI n .s : s n : MODULATOR VOLUNTARIES. A.t every lesson, the pupils will be exercised in following the Teacher's pointing on the modulator, without a pattern. The difficulty of this is, that the pointer cannot shew accent, but, in cases of diffi- culty, by means of the time names the teacher can explain any rhythm he wants. The pupils will learn to follow promptly, and to form the habit of holding the tones as long as the pointer stays on a note. St. Co. fNew) The movements of the pointer are most visible when it passes from note to note with a curve side- ways The Teacher can invent his voluntaries or take them from other Courses. But they should never include greater difficulties than belong to the step which the class has reached. See the " Hints for Voluntaries." These Exercises will prepare for the next. FIRST STEP. EAR EXERCISES. The Teacher will now give his pupils short musi- cal phrases, sung to figures, and ask them to tell him to which figure or figures d fell ? to which m ? to which s ? to which d ? to which s, ? He will also give them a key tone and chord, singing immediately to the sharply opening syllable skaa, either d, m, s, d 1 , or s ( , and requiring the pupils to tell him what tone he has sung. The answers to these exercises should not come from a few only of the class, but the Teacher will contrive (by subdividing the class or otherwise), that all shall feel the responsibility of thinking and preparing an answer, and all will be interested. See " Hints for Ear Exercises," It is a great advantage when the answers to these ear exercises can be written fty the pupil, and afterwards examined and regis- tered by the teacher or his assistants. POINTING FROM MEMORY. At the close of each lesson the pupils should take a pride in shewing their teacher how many of the previous exercises they can point and Sol-fa from memory. These Exorcises should be registered in favour of each pupil. Musical memory should be cultivated from the first, because it will greatly facilitate the progress of the pupil in future steps, and will be of constant service to him in after life. WRITING EXERCISES. Notation is best taught by writing, and the thing noted is more quickly and easily practised when the notation is clear and familiar to the mind. Hence the value of writing exercises. For the first step the teacher should bid his pupils draw on slate or paper four (or eight or sixteen) two pulse measures, in the primary (or secondary) form. The teacher may do the same on a black board to shew his pupils what is meant. When the measures are properly drawn out, the teacher will dictate the notes to be written in each pulse, or ho will write them on the blackboard for bos pupils to copy. These notes he may invent for himself, or copy from other courses, but they must always belong to the same "step." DICTATION. Dictation has always been difficult as soon as the time became at all complicated, but the time St. Co. (New.) names give us a means cf dictating, by very brief orders, one pulse at a time, " Rhythm," " Accent," and " Tune," at once. Thus, if we were dictating Ex. 52, we should first say to our pupils "secondary two-pulse measure." "Prepare for 8 measures." "TAA lower ,," "TAA d," " TAATAI m d," &c., or in Ex. 53 " TAATAI d m," "TAA m," &c. The Tonic Sol-fa music paper will be found very useful for dictation. By this means a whole class may be permanently supplied with copies of a tune, while in the process of writing they make ;i thorough acquaintance with the tune, and are thus prepared to sing it. The Sol-fa music paper is so ruled that the copyist can keep his pulses of equal lengths throughout the tune. He can allow one compartment to a pulse, or two. In either case he will not find it necessary to mark with the pen or pencil more than the strong accents. WRITING FROM MEMORY. Pupils should also be well practised in writing tunes from memory. Even where it is difficult for a whole class to point on their modulators from memory at the same moment, so as to be seen by the teacher, it is not difficult to engage a whole class at the same moment, in writing with closed books from memory, the tunes they have learnt. If every pupil has his number, and writes that number on the right hand upper corner of the exercise, in- stead of his name, assistants can be employed to correct the exercises, and to register a mark for every pulse properly written. SUPPLEMENTARY EXERCISES. The Teacher naturally desires to see that all the members of his class (except the careless and inat- tentive who have no claim upon him) have mastered the topics of each step before that stop is left. Some classes require longer practice on one topic, and some on others. For this purpose as well as with the view of gathering all eyes to one point in his elementary explanations, he is recommended to make good use of the black board, andthe "Standard Charts," pp. 1 to 5 (Tonic Sol-fa Agency). The "Wall Sheets," No. 1 (for time exercises), and Nos. 7 and 8 (for tune) may also be used as supple- mentary to the exercises of this step. FIRST STEP. 13 QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 1 To what three practices must the pupil give daily attention in order to produce a pure and pleasant tone .' 2 What two habits improve the purity of tone 1 3 What two habits improve the quality of tone? 4 Which are the forward vowels in the English language ? 5 What three things are promoted by a proper management of the breath ? 6 What mismanagement of the breathing causes flatness of pitch ? 7 What effect on a tone arises from the use of too much breath 1 8 Where should a beginner regularly take breath ? 9 Where should we not take breath 1 10 By the action of which set of muscles should the breath be expended ? 1 1 What are the two reasons for sing- ing the early voice exercises softly ? 12 Describe the best position for the body in singing for the head for the shoulders for the chest for the mouth the lips the lower jaw the palate the tongue. 13 Describe the bad effects of any wrong positions of mouth or body. 14 What do we mean by the " pitch " of sounds 1 15 What is your idea of a key tone ? 16 Why is it important to listen well to the pattern ? 17 What is the name for the key tone of a tune, and what is its manual sign 1 18 What are the names and signs (1) for the tone which is commonly known as the fifth above the key tone, and (2) for that which is known as the third above it 1 19 From what two causes arise the different effects of the related tones Doh, Me, and SoU on the mind I 57 Hold a steady tone, without taking breath, for five seconds. 58 Sing any two of the exercises 38 to 44, and 48 to 53, chosen by the teacher, to the open syllable Laa, correctly and rvithout oreathiness of tone. 59 Sing to the open syllable Laa, the Soh to any Doh the teacher gives you. 60 Sing in the same manner the lower Soh,. 61 Sing in the same manner the upper Do ft'. 62 Singin the same manner the J/e. 63 Sing in the same manner the lower St. Co. (New). DOCTEINE. 20 What is the name given to a set i of three tones thus related ? 21 What is an octave or replicate, and its sign ? 22 We can tell pupils what tones of the scale to sing, either by pointing on the modulator, or by giving them manual signs. What other way have we of doing so ? 23 What do "Key G," "Key C," "Key A" mean at the beginning of a tune? 24 What are the three common uses of the word "Time," and what distinct name do we give to each of the three things ? 25 How is "Accent" produced? 26 What is the sign for a strong ac- cent, and what for a weak ? 27 What is the name we give to the time which extends between one accent (of either sort) and the next ? 28 What is the time name for a one- pulse tone ? 29 In what cases may pulses be dif- ferent in length one from the other ? 30 In what circumstances are pulses the same in length one with the other ? 31 What is the order of accents in the primary form of two-pulse mea- sure ? What in its secondary form ! 32 What is the order of accents in the primary form of three-pulse mea- sure ? What in its secondary form .' 33 Give the time names which re- present a primary two-pulse measure, and a secondary three-pulse measure ? 34 How do you mark a two-pulse tone, and how do you name it ? 35 How do you mark and name a three-pulse tone ? 36 Why is it important, in elemen- tary teaching, to use distinct names for continuations ? PEACTICE. 64 Taatai the upper "part" in one of the Exs. 51, 52, or 53, chosen by the teacher. 65 Taatai in tune one of the Exs. 51, 52, or 53, but not the same as in the last requirement, chosen by the teacher. 66 Point on the modulator from memory any one of the Exs. 46 to 51, chosen by the teacher. 67 Write down from memory an- other of these exercises. 68 From any phrase (belonging to this stage) sung to figures, tell your teacher, or write down, which figure was sung to Me. 37 What educational principle dis- tinguishes the early steps of any art ? 33 How long should the pupils re- peat the first time exercises ( 39 What is the difficult thing which the teacher has to maintain in the time exercises .' 40 Why are the pupils at first not to beat time ? 41 How is it that the Sol-fa syllables come to be mnemonics (or memory- helps) of tune, and the time syllables mnemonics of time 2 42 What is the use of Laa-ing ? 43 What is the meaning of a bracket ? 44 What is the meaning of a double bar? 45 What are the best breathing- places when music only is considered ? 46 What is the sign for a pulse equally divided into two-parts ? What is its time name ? 47 What do you mean by taatai-ing ? 43 What is meant by taatai-ing in tune? 49 How does the practice of taatai- ing help the mind to individualize to form a distinct conception of a rhythm ? 50 In the practice of modulator vol- untaries, what two habits must the pupil form ? 51 What difficulties must not be in- cluded in voluntaries ? 52 Describe the two forms in which ear exercises can be presented ? 53 Why should musical memory be cultivated ? 54 What is the best way of teaching notation ? 55 What advantage does the singer get from the practice of writing music ? 56 How would you dictate the air of the first four measures of Ex. 53 ? 69 Ditto Soh. 70 Ditto Doh. 71 Ditto Doh 1 . 72 Ditto Soh t . 73 Having heard the chord, tell, or write down which tone of the scale wa& sung to Skaa. Do this with two dif- ferent tones belonging to this step. 74 follow to the teacher's pointing on the modulator in a new voluntary, containing Doh, Me, Soh, Doh 1 , and Soh,. TAA, TAA-AA, and TAATAI. 75 Write from dictation, and after- wards sing a similar exercise. 14 Ex. 545. SECOND STEP. To train the voice in purity, beauty, and good accord. To distinguish the mental effects of d, m, s, t and r. To produce them. To distinguish and produce the medium accent and the four-pulse and six-put .< mi'timires, also the whole-pntse silence, the half-pulse sounds in three pulse measure, and the fourths of a pulse in their simplest form. To observe the reasons for breathing vlaces. To commence the study of chords, intervals, dis- cords, and passing tones. VOICE TRAINING. The teacher calls his pupils into position just as he did at the beginning of every lesson in the first step. Every lesson of the present step should open Nvlth the following three exercises. It is exceed- ingly important that the pupils should cultivate Jor themselves a good position in singing. It will then become an easy habit. Ex. 54. CHEST EXERCISE, to strengthen the muscles under the lungs and on its sides, and give them control over the slow emission of breath. The same as Ex. 1, except that the breath should be breathed out more slowly, and that a sound may accompany it. Some will now be able to continue the tone while the teacher slowly counts ten, say for ton seconds. The weak -chested must not be discouraged. This exercise daily practised will be life and health to them. Ex. 55. VOCAL KLANG EXERCISE. The same as Ex. 2, except that instead of using only one tone the pupils will sing the Tonic chord. They will sing, in obedience to the teacher's manual signs d m s d 1 d s m d. The manual signs enable the teacher to watch the posture of his pupils, and the pupils to watch the commands and intimations of the teacher. This exercise will be sung slowly (say at M. 60) and also softly, for the sake of studying beauty in the quality of tone. When in any exer- cise, the teacher feels that he has secured that good quality, he occasionally ventures on a middle force of voice, but always strives to maintain the same good quality. In mixed classes of men and women this exercise will, of course, be sung in octaves, as the voices of men and women are naturally an octave apart. The importance of this simple exer- cise, and the difficulty of obtaining a perfect and pure unison of voices in it are strongly i-nforced by Fetis (see " Choir and Chorus Singing," page 9). The exercise is 1st, Bol-faad once, 2nd, sung once to the forward syllable lai. 3rd, sung three times to the forward and pleasant Italian syllable laa, and 4th, sung once to the best English syllable for the sharp accented delivery of tones koo, striking four sharp koos to each tone. The first step of this pro- cess puts the ear in tune : the second places the St. Co. (New.) tongue properly, and so prepares the mouth for the real Italian aa : the third gives the best form of mouth for the production of a beautiful sound : and the fourth strengthens the voice by vigorous (not forced) action, and favours that downward motion of the larynx on the delivery of short and accented (though not loud) tones which has to be formed into a habit for after use. The exercise, having been thus six times sung in Key C, the same pro- cess will bo repeated in Key D. Tuning Exercises can now be added for the pur- pose of teaching voices singing different parts to study one another, and to chord well together. To some extent this is done in every exercise, but it requires also separate study. The teacher divides his women's and children's voices into three "parts," (1st, 2nd, and 3rd) and causes them first to sol-faa and then to lai and laa, the following exercise. When this is done to the teacher's satisfaction he utters the word " change " and those who have sung the first part take the second, the second the third, and the third thefirst. At the word"change" againthesameprocessisrepeated. Tho teacherthen divides his men's voices in a similar manner and carries them through the same six-fold exercise. The teacher, in this exercise, watches his pupils .first, to ensure the holding of their books easily, not cramping the chest, as high as possible (so as just to see their conductor over the top) and with- out bending the head, second, to secure a uniformly clear, soft tone, making a signal to anyone whose voice is so prominent as to stan i out from the rest, and third, to maintain the perfect tuning into each other of all the parts of the chord. The distinct entry of each " part " is meant to assist the percep- tion of "just" or exactly true intonation. See Fetis, page 9. It is not every class that has the thoughtfulness and courage to take this exercise at the beginning of the second step, but it should be attempted. The division of voices is a severe test of independence, and therefore useful. Some sing- ers will never be independent till you compel them to try. For some time the accord of tho voices will be very rough and imperfect, but soft singing and listening will amend the fault. SECOND STEI'. 15 Ex. 56. KEYS F and Gf. 1st. / 2nd j 3rd. I n : x s - -. [Silent pulse, t n :- ee S P ris.] n : n d : ; d :d d ; : : s n : d : s, TUNE. Mental Effects. It is of small importance what names the pupil gives to the mental effect of the different tones, but it is all-important that he him- self (not his teacher, nor his class-mates) should give those names, or if he cannot find a name, that he should at least form for himself a distinct idea of each mental effect. Let him listen carefully, therefore, while his teacher sings to the class such " exercises for ascertaining the mental effect" as those below. () The teacher first sings the exer- cise to consecutive figures, telling his pupils that he is about to introduce a new tone (that is, one not d m or s) and asking them to tell him on which figure it falls, (b) When they have distinguished the new tone, he sings the exercise again laa-ing it and asks them to tell him how that tone " makes them feel." Those who can describe the feeling hold up their hands, and the teacher asks one for the Ex.57. KEY B?. Effect of .R0y, high in pitch. |d :s, |n :d |r : |d : II Ex. 58. KEY B!?. Ditto. : s, |d : : n I r : : s, |d : || Ex. 59. KEY F. Effect of Ray, low in pitch. : si |d :n :d |r : : n |d || Ex. 60. KEY D. Ditto. |d :s |n :d |r : in : || Collective Beading. The following exercises 65 to 70 (including leaps of r and t without any nevr difficulties of time) will now be taught, in the same manner and with the same processes as Ex, 48 to 53- with this addition, that after the tune has been Load correctly and easily, the words will be studied. Ttie Teacher reads the portion of words from one breathing place to another, giving clear vowels and sharp consonants, the pupils imitate collectively. Vowels are ways of emitting the breath ; conso- St. Co. '^wj description. But others, who are not satisfied with words, may also perceive and feel. The teacher can tell by their eyes whether they have done so. He nurttiplies examples (like those in "Studies," &c., which he may point on the modulator) until all the class have their attention fully awakened to the effect of the new tone, (c) This done he tells his pupils the Sol-fa name and the manual sign for the new tone, and guides them by the signs to Sol-fa the exercise, and themselves produce the proper effect. The signs are better, in this case, than the modulator or the notation, because with them the teacher can best command the attention of every eye, and ear, and voice, and at the first introduction of a tone, attention should be acute. The manual sign for ray is the upturned hand, open, and shewing the palm ; that for te is the upturned hand, pointing with the forefinger. Ex. 61. KEY D. Effect of Te, high in pitch. Id :n |s :t It i Id 1 :- || Ex. 62. KEY D. Ditto. |d :n |s :t |t :s Id 1 :- || Ex. 63. KEY F. Effect of Te, low in pitch, |d :s |n :t, 1 1, :- Id :- |j Ex. 64. KEY F. Ditto. :s, |d :n |s : |t, : Id || nants ways of interrupting it. Both require definite positions and movements of the lip and tongue. Many uneducated persons are lazy in their use of both organs. The object of the teacher will be to shew by pattern that marked and clear utterance which is the beauty of speech. Musical tones can- not be prolonged on consonants ; the vowels are therefore the more important to the singer. The elocutionary studies of " accent," and " inflection," need not occupy the time of the class, because there 16 SECOND STE?. iu no inflection in a musical tone, and the music necessarily decides the accent. A simple monoton- ous delivery of vowels and consonants will therefore be sufficient for the teacher's present purpose. The pupils will enjoy this exercise in proportion as their teacher criticises their pronunciation with care. A closer study of the subject will follow in the fourth step. Breathing Places have, thus far been chosen to suit the natural division of a line of music into " phrases." But the sense of the words i* more important than the marked distinction of phrases. It therefore over-rules all. Let the pupil notice that in Ex. 65, we take breath before each cry of " fire." This is a case of " breathing for emphasis," and illustrates an important rule for taking breath. In Ex. 67 let him notice that the musical phrasing would place the breathing place between " I " and "love," but the poetic phrasing does not allow us to disconnect any parts of a word or any two closely related words. ' ' Morning bells I ' ' would not sound well, there fore the division "Morning bells" t " I love to hear." This is a case of " breathing for sense." In Ex. 69, the musical phrases of the first line nat'irally divide bet ween m and r, each being two measures in length. This breathing place is quite suitable for the first and third verses, but it would cut a word in two if it were used for the second or the fourth. In the third line the musical division suits the first and second verses, but if adopted for the third and fourth verses would make the nonsense "Shall foster and" t "mature the grain," and "The angel reap-" f "era shall descend." The practice of dividing the " announcements " for Collective Reading at the breathing places, is of great use in calling attention to this important Ex. 65. KEY O. A round for four parts, t t subject. In every exercise of this step there should be with the collective reading a discussion on the correctness or doubtfulness of the breathing places here marked, but the teacher will di-ciilc for the whole class, so thatthe breathing may be with one consent. A delightful effect of unity and clear ex- pression is produced by this unanimity of breathing. Bounds. Ex. 65, is a Round for four "parts." The first "part" commences the Round alone, and goes on steadily repeating it until stopped. When thojirst "part" is going to strike the note under the asterisk (*) the second " part " strikes the first note of the Round, and so on. The third " part " follows the second, as the second imitated the first. A clap or some other signal of the teacher's hand tells you when to stop a Round. It should first be learnt from the modulator by the whole class as one part, and should not be sung as a "round" till the third step, unless the class has been very well practised in maintaining the rate of movement. When the whole class can sol-fa it " by heart," watching the teacher's beat and keeping most exact time with the stroke of his hand, let the class be divided into four parts, and each part tested in the power to sing separately. Even when this is fairly done, the parts will still find it difficult to " hold their own," as soon as the other parts enter. The difficulty of maintaining the rate of movement is very much increased when the Round is in three-pulse measure or contains divided pulses. It is this difficulty which makes the Round so valuable an exercise in time keeping. Da Capo pronounced Daa Caapoa [oa as in coal] and abbreviated D.C. means " return to the beginning." (is, : s. d :d s, : s, d :d r : n : r : rt : 1 1 Seot-land'e burn - ing Scot-land's burn - ing, Look out, Look out, t t t t t D.C. ^^ Us :- s : .--- s : : ti : r d : d ti : r d :d M Fire! Fire ! Fire ! Fire! Pour on wa - ter, pour on wa - ter. Ex. 66. KEY D. A round for four parts. t * t t D.C. hd :r n : d n : s > ~ d'.d'rt.t d'.s : n.d s : a d :- \ 1 1 Sing it o - vcr with your might, Never leave it, Never leave it U 'tis right. St. Co. (New.) SECOND STEP. Ex. 67. KEY C. A round for four parts. 17 d :s ]\Iorn-in: t s : s bells I n : s love to d> : hear, d' :r' Ring -ing n'.d':d' merri-ly, Ex. 68. KEY E. "GONE IS THE HOUR OF SONG." Round for four parts. d 1 :d'.d Gone is the hour of S : s .s Now let us s : s say to s : t loud and all, good B.C. d 1 :- clear. J. C. n : night. : n .n r : r Sweet sleep & plea - sant dreams, Good night, : n : d .d s, : s. Once more to all, good night ! B.C. d :- - :- Ex. 69. KEY G. SOW IN THE MORN THY SEED." A. L. C. Words by James Montgomery. : s, To O'er : si Shall The :d n : n n : r d : - :t, r : n r :d ti :- 1. Sow 2. The :d in the good f the d :d morn f thy fruit - f ul s, : s, seed, ground, m, : At Ex- : s, eve fhold pect not f t, :d not thy here nor si :n. hand ; there ; s, : 3. Thou 4. Thence, canst not when the toil f in glo - rious vain : end, Cold, The heat,f and day of moist and God f is dry, come, d :d t, :d m : n r : s s : n r : r d : doubt and hill and HI : n. fearf give dale,t by s, :n. thou no plots, 'tis Si : d heed, Broad found Go t : S ( cast it f forth, then, f n : d o'er the ev - 'ry - d : t. land, where. d : fos - terf an - gel and ma - reap - ers f ture the shall de - grain, For scend, And gar - ners -\ heav'n cry 1 in the " Har-vest sky. home.' Ex. 70. KEY B. " FRET NOT THYSELF." i s, : R| : si d :t, :d n :r :d d :- :- t, : I Fret not ( PI, :d, thy. : HI selff HI tho' thy : r, : n, way be fall d, : r, : n, drear s, : : - y s, : C" : d : n r :t. : r d : n : r r : : - d \ bright-er ( d :d to - :d mor t, - row fis : t : t, dawn -ing fto d : Si : Si cheer s, : : - thee. d R.P. : r A St. Co. (Xcw.J Cease thy complaining f thy thoughtless t repining, Tho clouds may be black, f but the sun is still t shining. Though thou art hemm'd in f by mountains f of sorrow, Stand still f a broad path f may be open'd f to-morrow. 18 SEC01TD STEP. TIME. The Medium Accent. Pupils will easily be brought by examples and illustrations to notice that in addition to the strong and weak accent, there is also a medium accent to many tunes. The intro- duction of the medium accent makes two two-pulse measures into a four-pulse measure, and two three- pulse measures into a six-pulse measure. This mark | is used for the medium accent. It will be noticed that several of the exercises already sung, require (when not sung slowly) this medium accent, in place of every alternate strong accent. Let the pupils try Ex. 66 and 69, singing them quickly and lightly. They will soon perceive the natural necessity for a medium accent. The teacher, however, must not expect too great a nicety of distinction at first. The finer points, both of time and tune, require much practice. Four-pulse Measure. When the accents of a tune are arranged in the order strong, weak, MEDIUM, weak (as in the words "mMUWTAry," " plan^TAry "), and so on. it is said to be in the four- pulse measure. The pupils will taatai on one tone, as below, while the teacher beats, first slowly, then quickly. NOTB. When the pupil has learnt to hold his tones to their full length, and where nearly all the pulses are undivided, it will be sufficient* to call a pulse TAA, omitting the AI. II A primary four-pulse measure. TAA TAA TAA TAA A secondary form. :1 II TAA TAA U Six-pulse Measure. When the accents of a tune are arranged in the order strong, weak, weak, MEDIUM, weak, weak (as in the words ' ' spi ri tu AL i ty," H A primary six-pulse measure. A secondary form. H Silent Pulse. It is more difficult for pupils to appreciate time in silences than in sounds. There- fore the silent pulse was not introduced in the first step. The name for a silent pulse is SAA. In taatai-ing, after the first time of gtAng through an exercise, or as soon as the rhythm is perti-ctly learnt, the silence-syllables should be less and loss heard. M. Paris uses only the one word " Hush " for all the silences. In dictation, as well as for the purpose of first marking and measuring them dis- tinctly to the mind, we find the advantage of a .-oparate name for each silence corresponding with St. Co. (New.} Another form. U Another form. U :1 TAA TAA :1 1 TAA "immutability "), and so on, it is said to be in six- pulse measure. The pupils will taatai on one tone, as below, while the teacher beats slowly. Another form. Another form. 1 TAA the names we use for sound. Silences are denoted in the Tonic Sol-fa notation, by the simple absence of any name for sound. Even if an accent mark is placed at the end of a line, a silent pulse is sup- posed to follow it. Pulse and a half Tones are very common and easily learnt. They are named and written as be- low. Quarter Pulse Tones are more easily learnt when the pulse is divided into four distinct quarters than when it is divided into a half and two quarters two quarters and a half or a three-quarter tone SECOND STEP. 19 and a quarter tone. Therefore the " four quarters ' ' are introduced in this early step. They are thus named, tafatefe [a is the short vowel for aa, and e is the short vowel for aij] Thus the vowels still divide the pulse as hefore. If the time-names are to become aids to the memory, we must again repeat that even in speaking hoth teachers and pupils should form the careful habit of uttering them in their proper time. Thus, TAA should be as long as TAATAI, and " tafatefe " should occupy no more time than either ; neither TAA nor TAI should have longer utterance one than the other ; and tafatefe should form foui exactly equal lengths. In the Tonic Sol-fa nota- tion a comma divides a half pulse into quarters. Let the Exercises 7 1 to 75 be (a) taught by pattern and repeated, see page 7. The exercise may be divided into two patterns if necessary. It should be sung at at least two distinct rates, (b) Alter- nated, see p. 7. (c) Laad, see p. 8. (d) Taataid in tune, see p. 10. Ex. 71. II 1 -. : 8AA KEY G. | d : Id KEY F. | s : U KEY A. | d : Ir Ex. 72. Si 1 : 1 C 1 TAA TAA TAA SAA |d :d.r|n :d is :n.r Id : n In :ti.r Id : s. SAA 1 : 1 .1 1 : 1 TAA TAATAI TAA TAA KEY A. Is, : It, : Id :s|.t(|d : r KEY F. Is : |n : Ir :t,.d|r : n KEY F. In : |s : In :r.tdr :d : 1 . 1 1 : - . 1 1.1:1 KEY G. |d :si | :d.r|n :-.d|t ( .d:r II KEY F. |n :d | :r.dls :-.n|r.d:t, || KEYG. |r :s I :r.t||S| :-.ti|d.r:n || Ex. 73. 1 : - .1 : 1 .1 1 .1 : 1 TAA -AATAI TAATAI TAATAI TAA KEY G. I d : - ,t ( : d ,r | n ,r : d : | n .r -. d : s ( KEY F. Id :-.r :n.s|t,.r:d : |t,.r:d : s, KEY A. In :-.r :d.t,|r.d:d : |r.d:v, :d | St. Co. (New.) TAATAI TAA KEYB. |d :ti | :r.d!s ( :-.dm.r:d I, KEY F. | n :r | :d.nis :-.t||r.d:d || KEYF. |n :d | :s.nin :-.rjn.s:s I 8AA 1.1:1 : 1 || TAATAI TAA TAA KEY A. Id : -.s :n.d|s,,t,:r : |s,.ti:r : t ( if KEY A. In :-.d: t,.d|n.r:n : |d.t,:d : s, || KEY G. j s. : -.t,: r.t.l d.n : n : |n.s:s :n II 20 SECOND STEP. Ex. 74. 1 : 1 1 .1 : 1 1 .1 : 1 .1 1 . 1 : 1 TAA TAA TAATAI TAA TAATAI TAATAI TAATAI TAA 11,1.1,1 : 1 tafatefe 1 .1 TAATAI 1,1.1,1 : 1 .1 1,1.1,1 : 1 .1 tafatefe TAATAI tafatefe TAATAI 1 .1 : TAATAI 1 TAA KEY G. I 5 ' ! si 81 .n : d S| .n : d .s ( 8, 1 .n : d s,,si.si,s, : Si .t i t ,t ( .t| ,t| : ti .r d ,d .d ,d : d .n r .t, : S| KEY G. |. : s s .n : d s .n : d .n s .n : d 1 s ,s . s ,s : s .n n ,n .n ,n : n .d r,r.r,r:r .t, Id .n : s Ex. 75. 1 TAA 1 .1 TAATAI 1 : 1 1 .1 : 1 .1 TAA TAA TAATAI TAATAI 1 t TAA 1 TAA 11 : 1 TAA 1,1.1,1 tafatefe 1.1 : 1 1,1.1,1 : 1,1.1,1 TAATAI TAA tafatofo tafatefe 1 .1 : TAATAI 1 TAA KEY G. 1 J f J 1 :d | r .t,: r .t, | r : s, |d :n,r.d,r | m .d : d |r,d.t,,d :r,d.t,,d r .t, : KEY E. d :t..r|d :m |t,.r:d m|r :s |d :t,,d.r,t,|d .m: n |t,,d.r,t, :d,r.ni,d | r .s : TUNE. The Two Principal Chords. As the tones d m and s, sung together form a chord, so do the tones 8 1 and r I . Tile first we call the chord of Do h, the second the chord of Soh. We always write chord-names in capital letters, D, S. These two chords considered separately and in themselves, are exactly alike. Their tones are precisely at the same distances of pitch one from the other, and if the chord S, or the successive tones t r' were heard without the sound of any previous chord of D, or succession of d m 8, they would produce precisely the same effect npon the mind. But as soon as we place two such chords at a certain interval one from the other wo establish a new set of relations, and so enrich the mental effect. It is no longer one chord and its St. Co. (New.) u interval relations which the ear perceives, but two chords and their relations to each other, so strong and rapid is the power of mental association. That chord, in a tune, which is the first to occupy the ear, rules the chords which follow. Thus in Exercises 57 to 64 we were careful to " establish the key " by making d m s heard before we could make the mental effects of t and r felt. This relation between D and S, that is between any chord and that other which starts from its own highest tone, is a peculiar and very important one. It is called the relation between Tonic (D) and Dominant (S). It is the chief element in key-relationship. These two chords alone are sufficient to make music. Many a single page of brilliant classic music con- sists of the chords D and S. Ex. 76. SECOND STEP. 21 Thirds, Sixths, and Tenths. Most classes and all self-teaching pupils will be glad to study the harmony (or the sounding together of tones) as they sing, and they will sing the better for doing so. Intervals or distances between tones, are generally counted step -wise on the scale always including the two extremes. Thus the distances between d and r or m and f are called a second, those between d and m or r and f are called a third, and so on. By counting, in this way, on the modulator, it will be seen that from d to the m next above is a third, from d to the m next below (ffij) is an inverted third, or a sixth, and from d to the higher octave of it am above (ml) is a tenth. So also from 1 ( to d is a third (a minor or lesser third) from 1 to d is a sixth, and from lj to d' is a tenth. What are the intervals between m and s ? m and S| ? m and si ? These intervals (which are the third in various positions) form the sweetness of all harmony, and are therefore, abundantly used. In Exercise 69 find twelve thirds and six sixths. In Exercise 80 find a sixth followed by a tenth. Octaves and Unisons. Exercise 69 has its first tone and its last, in both parts, the same, that is in identical unison. At the beginning of the last line of words it has an octave between the parts. These unisons and octaves do not give the true feeling of harmony, that is, separateness with agreement, and they sire seldom used on a strong pulse where they would be much noticed, but they are useful x a the flow of the harmony allowing the parts to pass through them to something sweeter or stronger, or bringing them to a close on the key tone. Two such inter- vals, one following the other, would make the harmony disappear. Therefore, such a succession is, as the pupil will notice, carefully avoided. In speaking of unison above, we have referred to absolute unison, but the word unison is also commonly used to indicate the singing of the same tones, by male and female voices, an octave apart, as in our " Vocal Klang Exercises." Eifths and Fourths. In Exercise 69 there are two fifths (s, to r in both cases) and in Exercise 70 there is a fourth s, to d. The two tones of a fifth agree with one another more perfectly than those of any other interval except the octave, but they have not the sweetness of the thirds. Their agreement is somewhat hard and cold, though strong and sure. They are, therefore, not very much used in two- 8t. Co. (New.) part harmony, and two of them in succession are the dread of all composers. Fourths are the inver- sions of fifths (as sixths are of thirds) but are very much less acceptable to the ear. They have neither the perfect agreement of the fifths, nor the sweet agreement of the thirds, and are much avoided in two-part harmony ; even bald unisons and octaves being prefered to them. Where used they are found on a weak (and therefore, less observed) pulse or on a strong pulse in places where they suggest to the mind certain familiar habits of chords to be hereafter explained. Discords. Octaves, fifths, fourths, and thirds are concords. Seconds, as f against 8, or d against r, whether close together or separated by octaves (that is, whether seconds, or sevenths, or ninths) are discords. They sound harshly together. But a Discord may be so sweetly introduced, and so pleasantly brought to a close, and the "part" which contains it may move so smoothly that it is made agreeable. This is because the ear naturally notices the motion of the two melodies as well as the actual consonance or dissonance of the moment. Thus, in Exercise 69, we have, on the fifth pulse counting from the last, or the fifth-last pulse, d dissonating against r, but it is so "prepared" by its own previous "sweet" consonance witti m, and so smoothly " resolved" by going down stop- wise to t,, and there satisfying the ear with another sweet consonance, that it cannot be called unpleasant. It is only unpleasant when singers are afraid of it, and so put themselves out of tune. Hence the advantage of knowing what you sing. Find a similar discord at the close of Exercise 78. A note undergoes preparation when it is heard in a previous chord as a consonance ; it undergoes resolution when (being a discord) it moves down one step. Passing Tones. As we have observed that the weak pulse is less noticed by the ear than the strong pulse, so is the second or weak part of a pulse less noticed than the first part. Therefore, things may bo allowed there which the ear objects to else- where. Thus in Exercise 79, second score, third measure, second pulse, we find an apology for the dissonant r, because it is on the weak part of a pulse, and because it moves smoothly step-wise from one tone of the scale to the next. Find other ex- amples of the same " part-pulse passing tone " in the same Exercise 79 Ex. 76. Name, pulse by pulse, the harmonic uJlervals of Exercises 69, 70, 77, 78, 79, and 80. 22 SECOND STEP. Let the Exercises which follow, be taught with the same process of Pattern from the Modulator, first one part and then the other taatai-ing in tune every difficult rhythm Sol-faa-ing from the book laa-ing from the book collective reading of words study of breathing places and singing to worda, as before. Before each exercise, when the key -tone is pitched, let the pupils sol-faa by the manual signs the ttco chords, thus d m a, a t r> d 1 , or in middle keys d S| m, i t t, r d. Ex. 77. KEY A. WHEN LANDS ABE : s When : s. :d When d : - .d|n : r lands are gone f and HI i - .HI! S| : S| and ii ;-.i lands are r gone : d |r : r mon - ey's spent, Then d :d : - .n | n 2 In youth t the time we thus employ, Is counted as t the richest joy. t, mon-eys spent, Then Then GONE. n : - .n Is learn - ing is d : - .d 1 1, s :d r loam - ing is t, : d Is, learn - ing is 3 When little else t old age can cheer, These harvests are t most rich and rare. 2. P. : r n : r ' d ) tmost ex d - ccl : si - lent. I |pli : - .r n : r Id tmost : - .s, ex 8, - eel - lent. Id tmost ex - eel - lent. Ex. 78. KBY B). M. 72. FARMER JOHN. ' s. d : S| | n, : d| s, : s, |s, : s t| :t| |d :d t ( (2'. Hard 3. Con - ^ s, hale old man t is work - er, too, t is tent - ed soul \'\& d : s i | r.i : d, Far - mer John, A hap - py man is he; Far - mer John, He la - hours ev - 'ry day, Far - mer John, Light- heart - ed, gay, and free ; si : s, |si : s, s, : s, |n, : d, si : s. d : s, |n, : d. s, : s, |s, : s. n : n |r : r d : He And In : s, ris - es, t with the as he ploughs, tor win - ter cold, t or d : s, |n, :d. lark t at morn.And sows the seed, He sum - mer bright,He sings right mer - ri - ly. sings his cheer-ful lay. whis- ties mer - ri - ly. d, : d |t, : s, d : | Tralala la la, la, la, [181,81.81,81! S| 18, | t. : s, ,S|.S| ,S| : s, .d | n Tralala la, la, la, la, , in .n : r .r |n ,n n /i : r .r d .d :d .t, |d II Mia la la la, t Tralala la la, Tra la 'Id, .d : t, .t, |d ,d .d ,d : t, .&< n, la la la la. .HI : TI ,T\ |d| St. Co. (New). A. L.C. s, Tra .s, SKCOND STEP. Ex. 79. KEY F. M. ( s .s : s : n 76. Words by Fletcher. n .r : r : d .d : d : PI A. L. G. r .r : r : 1. Little flow'r with 2. Basking in the n .n : n : d starry brow, gladsome beam ; d .t : t, : Slumb'ring in thy Or, be- side some d .d :d :d bed of snow ; murmuring stream, Si .s, : t, : 3. Thee no wind nor 4. Type of truth, and s .s : s : n Or with light - ly Gently bow - ing n .n : n : d Nor the slee - ty, Close may sor - rows storm can tear, emblem fair, n .r : r : tinged ray, from thy nest, d .t, : ti : sweeping rain, hem it round, From thy love - ly Virtue strug - gling d .d : d .r : n .r mountain lair ; through despair, d : : way. breast. d : : plain, ground ; Winter gone & storms a- Greet the water's sil- ver d .d : d .d : d .t. Root thee from thy native Troubles bend it to the r .r : r : n r .d : t, : d .r : n : s n .d : r ; ' Peeping from thy Or mid fis - sure t| .ti : t[ : d couch of green, of the rock, s, .s^ : s, : With thy mod - est Hidden from the d .d : d : m simple mien, tempest's shock, d .d :t, Winter's cold, nor Yet the soul with - summer's heat, in is calm, Blights thee in thy Dreads no an - guish, snug re-treat ; fears no harm ; s .s : s : n n .r : r : d .d :d .r : n .r d :- : How I love to Vie with snow - y n .n : n : d see thee lie, li - ly's bell, d .t, : t, : In thy low se - re -ni- Queen and fai- ry of the d .d : d .d :d .t, ty. dell. d :- : Chill'd by snow or Conscious that its scorch' d by flame, head may rise, Thou for ev-er art the Planted 'neath congenial same, skies. Ex. 80. KEY D. M. 60, twice. n : : I n : r : n COME, GENTLE MAY. S t "~* """" ^~* ~~ May, May, May, n : : | : : n : s : s |n : s : s Win-ter, cold win - ter f has Chil-dren are long - ing f for Deck with thy beau - ty t each d : t, : t. d : n : n d 1 : A. L. C. : It :r' :t 1. Come, gen . 2. Come, flow' 3. Come, love d : : |d :t - tie r y iy , :d Come, gen - tie Come, flow' - ry Come, love - ly n : : r : ti : r d- :- :- |- :- May, May, May, n : : | : - d 1 : ling ver wav n : : n is : : \ er'd long dant fields, ing bough, - : d it, : : St. Co. St. Co. (New.) SECOND STEP. t :t :t Id 1 :- :s Now let thy balm - yt Deck'd with thy flow'rs t so Bring us the haw - thorn' sf r : r : r I n : : n s breez - bright whit n : : n I r : : es play ; and gay, cn'd spray ; :d It, :- d 1 :- : n Is : - birds' sweet song : res ng ence yields ; 'rest thou? n : :d |t, :- ) ling - I" ^ Come, Come, Come, d :- Beating twice to the measure. Let Ex. 80 be patiently taataid, while the teacher beats every pulse, never pausing and never hurrying. Only thus can the exact lengths of sound and silence be appreciated. But when six-pulse measure moves more quickly than this should do, each pulse is regarded by the ear as a third of a pulse, and t whole measure as a two-pulse measure with ample use of " thirds." In this case the conductor beats only twice in a measure. Modulator Voluntaries are used at every lesson. Ear Exercises, like those in "Hints for Ear Exercises," and if possible, ear exercises in which the pupil writes the answer, will also bo as con- stant as the lesson hour. If tho teacher finds that the pupils do not discover which is r easily, he docs not either tell them or let them guess, but he reminds them again of the mental effect ot r, and illustrates over again the high rousing r and the low prayerful r, and then again tests them. After the Sol-fa prelude, the pupils must bo very careful to note to which tone figure one f They do not possess a sufficient clue unless they catch the first note. The teacher should be very careful to make his own pattern clear. One way in which a teacher keeps all his class at work is to cause all that can answer to hold up their hands, and then to select those whose answers he wishes. Another way is to give the proper answer and ask all who wore right to hold up hands. In time ear exercises the teacher 1st taataii with accent two plain measures, then continuously loan a rhythm of two measures on one tone, which he requires his pupils to write or taatai. 2nd, he sol- fau a short rhythm, and requires his pupils to taatai it fw tune. Many of the old exercises and some of the "Hints for Ear Exercises will give him ready materials. St. Co. (XcwJ n : r : n tie - ry gen flow' lov d : t, : d n : s : s In : s : s Fill all the woodsf with the Longing for plea-sure f thy Beau-ti - ful May-time,twhy d : t, : t, Id :n :n s : : 1 s s May. May. May. in : Dictation. Notation, and with it, clear percep- tion, will be cultivated by Dictation Exercises. The second part of Ex. 77, second score (or line), fifth measure (always counting the first part of a mea- sure as one) would be dictated thus: "TAA lower t," "-AA-TAir" "TAAr" SAA " "SAA" &c. >.x. 78, third score, first measure, would be dictated thus: "tafatefe lower s, s, s, s," "TAATAI lower s, lower t," "TAA -AA r." Pointing from Memory and Writing from Memory will still be practised diligently, as rccom- mcndedatpage 12. The teacher who can appoint half an hour before or after the regular class meeting for memory pointing, memory writing, and dictation exercises finds the interest of his class and the accuracy of its knowledge ten folded. At the close of every- lesson, one or two of the exercises should bo chosen for the memory exercises bf tho next meeting. Tho pupil should copy that exercise six or ten times from tho book, until he finds by testing himself that he can write it from memory. In tho presence of the teacher, even at first, ten minutes is sufficient for writing from memory on clear paper without book. Meantime the teacher may walk about his class to give advice or information In less than five minutes the quickest have their exer- cisesready. The teacher glances over them andmarki them as suggested at page 12,andthe secretary credits the marks in favour of each pupil, in tho class book. The teacher can make remarks on the common errors, or shew them on the black board. Elementary Certificate. Pupils now begin to make up their list of six tunes for the Elementary Certificate. See Preface. SUPPLEMENTARY EXERCISES for this step may be found in Wall Sheets SECOND STEP. 25 QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 1 Is the watchfulness of a Class- teacher sufficient to form in his pupils habits of position, &c. 1 Who must form 'ihern ? 2 What is the object of the " Chest Exercises?" 3 In the "Vocal Klang Exercises" what are the chief points of the pupil's study 1 4 Describe the four steps of this ex- ercise and the reasons for each ? 5 What is the special purpose of the "Tuning Exercises," and what are the three points to which the teacher will give attention during these exercises 1 6 When the tonic chord is established in the ear, what do you yourself feel to be the mental effect of a high May when sung somewhat slowly ? Describe the effect in your own words, as nearly as you can describe it, but be careful to-- describe only your own perceptions not those of others. 7 In the same way, describe the effect of a low Ray. 8 What mental impression do you receive from a high Te 'I 9 What feeling is produced by a low Tel 10 How do you distinguish vowels and consonants ? 11 What kind of persons are com- monly lazy in their use of lip and tongue, and consequently indefinite in their vowels and consonants ? 12 Why is the clear and marked de- livery of vowels so important to the singer ? DOCTRINE. 13 In choosing breathing-places, what consideration is more important than that of the natural division of the mu- sical line or section into phrases 1 14 Give an example (different from those referred to above) in which " breathing for sense" would contradict the "breathing for phrase." 15 Give an illustration of " breathing for emphasis." 16 Describe the "musical form" called a Round. 17 What is the chief difficulty in sing- ing a Round ? 18 Describe the Four-pulse Mea- sure. 19 Describe the Six-pulse Measure. 20 What sign is used for the medium accent? 21 What is the time name for a silent pulse ? 22 What is the name for a tone a pulse-and-a-half long ? 23 How do we name that quarter of a pulse which occurs at the end of the first half! that, at the end of the second half ? that, at the beginning of the first half ? that, at the beginning of the second half ? 24 How would you dictate the last three measures of Ex. 79. 25 When tones related to one another as Doh, Me, and Soft are, or as Soh,, Te t , and Bay are, are sung together or in succession, what is such a combination called ? 26 When one such chord has been first heard and has pre-occupied the ear, if another such chord starts from the highest tone of the first what can you say of the relationship between them .' 27 Name or write a third, a sixth, a tenth. 28 How are sixths related to thirds ? How are tenths related to thirds ? 29 What is the quality in these inter- vals which makes them so much used in Harmony. 30 What is the difference between a common unison and an identical r.ni- son? 31 Where are octaves and identical unisons useful in two-part harmony ? 32 What effect on the harmony would consecutive octaves and unisons produce ? 33 Name or write two fifths, and two fourths. 34 How are fourths related to fifths ? 35 Of fifths, fourth, and thirds, which contain the nearest or most perfect agreement of vibrations? Which the sweetest ? 36 In what case are fifths avoided by composers ? 37 Why are they not very much used in two-part harmony ? 38 How are fourths regarded in rela- tion to harmony ? 39 Name or write four different sorts of Concords. 40 Name or write several Discords. 41 Describe how the Discords you have heard are prepared and resolved. 42 Describe the passing tones you i have noticed on the weak part of a ! pulse. 43 Hold a steady tone without taking breath for ten seconds. 44 Sing Doh, Me, Soh, DoW, Doh\ Soh, 3Ie, Doh, in Keys D or C, to the " for- ward" Italian Laa, as softly and as pleasantly as you can. 45 Sol-fa any example you please shewing the Mental Effect of high Bay 1 , of low Bay, of high Te, of low Te. 46 Sing to words the upper part of any one of the Exs. 65 to 70, chosen by the examiner. Sing correctly as to Time Tune and Pronunciation, without breathiness of tone and with proper breathing places. Marks should be giver, for each of these four points. 47 Ditto with Ex. 77 to 80. 48 Sing to Laa the Kay and the Te, to any Doh the teacher gives. 49 Sing to Laa the Hay' and the Te to St. Co. fNew.J PRACTICE. any Doh the teacher gives you. 50 Taatai from memory any one of the Exs. 71 to 75, chosen by the ex- aminer. .'51 Taatai the upper part of one of the Exs. 77 or 78, chosen by the teacher. 52 Taatai-in-tune the upper part of one of the Exs. 79 or 80, chosen by the examiner. 53 Point on the modulator from mem- ory (sol-faaing) any one of the follow- ing lour Exs. 65, 66, 67, 69, chosen by the examiner. 54 Follow the examiner's pointing in a new " voluntary," containing Doh, Me, Soh, Te and Kay, but no difficulties of time. 55 Write, from memory, any other of these exercises chosen by the examiner. 56 From any phrase (belonging to this stage) sung to figures, tell your ex- aminer (or write down) which figure was sung to Rny, to Bay 1 , to Te,, to Te. 57 Having heard the tonic chord, tell your examiner (or write down) which tone of the scale (Doh, Me, Soh, Te or Bay] was immediately sung to skaa. Do this with two different tones. 58 Taatai any Rhythm of at least two measures belonging to this step which the examiner shall laa to you. He will first give you the measure and the rate of movement by taatai-ing two plain measures and marking the accents without beating time, but the two measures you have to copy he will aim- ply laa on one tone. 59 Taatai-in-tune any Rhythm of at least two measm-es, belonging to this step, which, after giving the measure and rate as above, the examiner may sol-faa to you. 26 Ex. 813. THIRD STEP. To execute more difficult Chest, Klang and Tuning Exercises. To recognize the a and b positions, and the various constitutions of Chords, the resolution of the " Major Dominant," and the dissonance d m- plc-to. Completoieas we mark (when we wish to mark constitutions) by a figure 1, thus Dal. See Sal in Ex. S3, measure 3, pulses 1, 2, and 4. The root (the most important tone of the chord) is often and freely doubled. The trebling of the root (not uncommon in four-part harmony) i&^narked Tiy > 2. In Ex. 56 measure 7, pulse 2, the root is trebled, indeed, the chord has to be supposed. If, however, a third or fifth were added to this trebled root we should call it the chord S2. The third, the source of sweetness, is rarely omitted. Its omission would be indicated by 3. The third is doubled frequently in D, DC, Fn, and F< ; but in Db and Fb, where the third is already made prominent by being in the lowest part, its doubling (too much sweetness) is avoided (See Minor Chords, page 46) except for the sake of better melody in the parts ; and in S the third cannot be doubled, because its t always goes to d 1 of the next chord, and we should then have the bald effect of two t's going to two d''s consecutive octaves. See page 21. The doubled third is marked by 4. It is quite common to omit the fifth. Being so like the root, its presence or absence is less noticed than that of the third. Its omission is marked 5, its doubling 6. See Da5 in Ex. 56, measures 4 and 7, and Ex. 83, measures 1 and 4.' See S5 in Ex. 83, measure 2, and S5 in Ex. /T\ d 1 85. KE d':d' Y C. ' t :- ?unin, /> . t * Exerc d':d' ise, as a d':t bove. d':- n s : n s : - S s : n n : r n :- d rv : d s : - S n : d s,: si d:- measure 3. Omitted roots omitted foundations are marked om, but we only interpret a chord as having its root omitted when the habits of the ear make it absolutely necessary tor us to think of the absent root in such a place. See Ex. 83, measure 1. Progression of 8. Notice that S seldom moires to any other chord than D, its t going to d', its/ r to m or d, and its s to d or s or more rarely to m. See the close of Ex. 83, and Exs. 85 and 86. Thus these two chords, which are in their own internal structure the same, acknowledge a relationship to one another. S proves itself the clinging depen- dent on D. But, like other dependents, it is said to dominate that is to rule the key,-^and is called the Dominant. In fact, its clear declaration of allegiance to D decides the key. Wherever, in the region of pitch, two such chords thus cling together there is a key. Let the pupils listen afresh to the softly load close of Ex. 83. The Chord Four Soh. Notice, at the close of Ex. 86, the dissonance d against r occurring in the chord of S, the third of the chord being omitted to make room for it. It would be counted as a fourth in this chord. We call the chord " Four Soh," and write it thus 4 S. In this case the posi- tion is a and the constitution 3. Ex. 84. Name, pulse by pulse, the chords, with their positions and constitutions, of Ex. 85 and 86. Thus Dad, Sal, &c. Ex. n 86. KI n : r Y G. n : - Tunin /r\ n g Exerc r :d ise, as a r : r bove. n :- d d :t, d :- d ti : d d: t. d:- d d : si d :- d si :PI, s,: si d:- L/ froms to AX. i 'From ail-that dwell -be | low the skies Let the- Ore | a tor's praise a rise Words to Er. 85 to be taught at Ex. 110. 'E ternal are-thy | mer cies Lord 'E ter nal | truth at tends thy word Let the-Re deem er's | name be sung Through every | land by ev' ry tongue Words to Ex. 86 to be taught at Ex. 110. 'Thy praise-shall sound 'from | shore to shore Till suns-shall I rise and set no more Glory-to thee-my God-this night 'for all-the blessings | of the light Keep-me-O keep-me King-of Kings 'be neath- thine | own Al might y wings For give-me Lord-for thy-dear Son 'the ill-that I-this. | day have done That with-the world-my self-and thee . I ere-I | sleep at peace may bo St. Co. (New.) Teach-me-to live-that I-may dread 'the grave-as little | as my bed Teach-me-to die-that so-I may . rise glorious | at the judg ment day '0 may-my soul-on thee-re pose 'and with. sweet sleep- mine | eye lids close Sleep-that -may me-more vigorous make 'to serve-my | God when I a wake ' / - 28 THIRD STEP. Ex. 8796. The Hold (/r\) signifies that the note below it may be held as long as the conductor or singer pleases. Mental Effects of Fah and Lah. The mental effects of these tones are developed with the same process which was used for t and r, page 15. The manual sign for fah is the hand firmly pointing downwards. The manual sign lor lah is the hand hanging down from the wrist. Ex. 87. KEY A. Effect of high Fah. Id .t, :d .r |n :d |f :- || Ex. 88. KEY A. Effect of high Fah. |d :n |t, :s, |f :f In : - || Ex. 89. KEY A. Effect of low Fah. Id .t, :d .r |n :d | f, :- li Ex. 90. KEY A. Effect of low Fah. Id :t,.d|n.r:d | f , : f , | s, : - || Ex. 91. KEY G. Effect of low Lah. |d.r:n.t,!r : 1, |d : t, | 1, : - || Ex. 92. KEY F. Effect of low Lah. :s, |d :n :d |1, :- : t, Id :- || Ex. 93. KEY D. Effect of high Lah. :d In :s It :1 |1 :- Id 1 || Ex. 94. KEY D. Ditto. Id :n Is :n |1 :- |s : - || Ex. 95. KEY A. Effect of Fah and Lah. Id :B, In :d 1 1, :f |n :- II Ex. 96. KEY D. Ditto. Id :s |n :1 |f :s id : || Speed of movement and mental effect. Hitherto we have studied the mental effect of tones when sung slowly. Let the pupils sing any exercise containing lah and fah very slowly indeed, and notice how their mental effects are brought out. Then let them sol-faa the same piece as quickly as they can, keeping tho time and observing the change. Lah and fah are now gay and abandoned St. Co. (New.) instead of weeping and desolate in their effect, and the other tones undergo a similar modification. Let the pupils try in the same way any other tunes which are deemed most characteristic. They will thus discover for themselves that great speed of movement makes the bold tones (d m s) sharper in their effect, though still firm ; and makes the emo- tional tones (r f 1 1) more bright and lively, but leaves them still the emotional tones of the scale. Handel in his songs calls " to arms " chiefly by the use of d m s, but he also employs d m s with great rapidity of movement to express the abandonment of jolly laughter. Emotional laughter, however, he expresses by the rapid use of t r f 1. It is also well known how effectively his songs employ these emotional tones in their slow and more serious moods. Ex. 113 includes good illustrations of f and 1 in both aspects. In measure 3, pulse 2, and measure 4. pulse 2 wo have the quick fah in its lively, abandoned spirit. In measure 5, pulses 1 and 2 we have the slower fah in its more solemn effect. In measure 7, pulse 1 we have the quick lah in its brilliant emotion. In the second-last measure we have the slower lah in its loving, earnest, serious emotion. The Scale. We have now studied a key- tone with its six related tones. Seven tones thus related to each other are called a scale. The successive tones of the scale ascending in pitch are, drmfsltd descending, d'tlsfmrd. The pupil must now prac- tise himself in repeating the names of the notes, in their successive order both in ascend- ing and descending, d m and s are readily classified as the bold and strong tones of the scale, and t r f 1 as the leaning tones. Of these last t and f have the strongest leaning or leading tendency, t leading upward to d', and f downward to m. Of the intervals of this scale and its harmonic structure, more at the next step. The Standard Scale of Pitch. Hitherto the teacher has fixed the pitch of the key-tone. Tho pupils themselves should now learn to do it in turn. Any conceivable sound can be taken as a key-tone, and the relationships of chord and scale, which we have already studied, will spring out of it. But, it is found convenient to have one standard scale of pitch tones by which others may be gauged. For this purpose a certain tone called tenor or middle C, which stands high in a man's voice low in a woman's, and is producible by a cl' t I THIKD STEP. 29 stretched string giving 256 complete vibrations in a second, is fixed upon as the standard, and its scale is called the " standard scale." This is given at the side. The octave of this tone C 1 (512 vibrations) is usually given in tuning-forks , for vocal purposes. Pitching Tunes. The pupil strikes the " C 1 tuning-fork, and runs down to the tone he wants. That tone he swells out, * and then repeats it to the ayllable-doh. At first it will help the pupil's memory to notice that he has to spell the words " bag " and " fed " in running down this scale, thus : i Id 1 :- It :1 Is :f In :r |d :- || D C' SAG fUDC Eemembering C 1 . It is much more easy ~ to fix on the memory one tone in absolute pitch than is commonly thought, and it is a great advantage to be able to do so. Frequently the teacher asks his pupils to sound C ; (which in a man's voice is really C) and then tests them with the tuning-fork. In this way the power of recol- lection is soon developed. In estimating the chances of certainty, however, we should always bear in mind that any bodily or mental depression has a tendency to flatten even our recollections. Classification of Voices. In the following ex- ercises the parts are not kept within so close a range as before. It will not now be possible to " exchange parts." It is therefore necessary that the teacher should (either himself or by his assistants) examine every voice in his class and divide them into higher and lower voices. The female and children's voices are naturally pitched about an octave higher than the men's. The pitch tone G- stands at about the middle of the range of female and children's voices. In examining these voices, the teacher pitches this tone as a key tone and requires the pupil to sol-faa, first upward and then downward from it. If the fuller more beautiful and more easily produced tones of the voice lie above G it may be classed as a high voice. If the best tones of the voice lie below G, it may be called a low voice. Cultivation may afterwards make a dif- ference, but this simple mode of classification answers our present purpose. The high voices of women and children are called Soprano (pro- nounced Sopraano) ; the low voices, Contralto. The G, an octave lower than the last, serves to divide the men's voices in the same way. It is the quality of the tones above and below G St. Co. (New.) or G,, not the present reach of the voice, which decides the question. The high voices of men are called Tenor ; the low voices, Bass. The Compass of Voices upward and a downward varies greatly, and is not , a sufficient test of their fitness for the high or low "part" in the music, but it is useful to bear in memory that the easy compass of most voices is about an octave and a half. Basses and Con- traltos easily compass one from G 3 to C, the other from G, to C'. Tenors and Sopranos easily compass one from C, to F, and the other from C to F'. Voice trainers commonly give the name Mezzo- pronounced Metso) Soprano to voices which seem to be between Contralto and Soprano, and Baritone to voices which j are neither Bass nor Tenor. But the & most scientific of them have reached the | conclusion that true medium voices are j comparatively rare, and that those |' UVUl^JGUroUVOAjr ICUCy CU1U LIUIU MUHJBQ which seem so are commonly only un- ! cultivated Tenors or Contraltos, the high part of a man's voice and the low part of a woman's being the most liable to neglect. The diagram, at the side, shows the common easy compass of voices as given above. The difference of the type in the letters and the double printing of F, E, D is explained under the heading " Registers," p. 32. D< G E E D D C I; D, C, B 2 A 2 Octave Marks. The pitch of doh is always taken from the unmarked octave of the Standard Scale, and this d with the scale above it are without octave marks. But, to save the unnecessary multiplicity of octave marks both in writing and printing, the Tenor and Bass part are always written an octave higher than they really are. In quot- ing octave marks, as in dictation, it may be useful to distinguish the higher octave marks by naming them before the note, and the lower by naming them after, thus D 3 "two-D" D 3 " D-two " G 3 " three G" C| " C-one," &c. It will help the memory to notice that the higher comes first. Thus, we sav that the easy Bass compass is, as above, " from G- two to unmarked C," that of the Contralto "from G-one to one~C," that of the Tenor "from C-one to 30 THIRD STEP. unmarked F," that of the Soprano "from unmarked C to one-F." Men's and Women's Voices. Ask a man to sound the same note as a woman, girl, or boy, or ask them to sing together the air of a tune, and they will sing an octave apart. If you doubt this, get the woman, girl, or boy, after sounding what is commonly called the same note, to sing down the scale an octave ; the man then resounds the note he first struck. The ear will then feel that these two sounds last struck are really in unison, and that what commonly goes by the name of unison is really octaves. Naming of Parts In the titles of tunes the initial-letters are used to name the parts, thus : S for Soprano, C for Contralto, 1 for Tenor, and B for Bats. Breathing Places. After Ex. 113, the breathing places are no longer marked, but if the markings already given have been carefully studied, the pupils will be able to mark breathing places for themselves. Before the words are read collectively the class should do this under the guidance of the teacher, who will often remind them of the prin- ciples laid down, page 16. In addition, it may be noticed that if one wishes to take breath before a strong pulse, the time of the breath must be taken from the end of the previous weak pulse ; but that if one wishes to take breath before a weak pulse, the time of it may be taken away from the beginning of the same pulse ; that it is not only convenient but necessary to take a good breath before all long sustained tones or long connected passages. In sol-faaing or laaing breath should still betaken "for phrasing." This will lead to a study of the musical phrases. The importance of taking breath for clear soft "emphasis" will appear in such Exercises as 97, where the purity of the tone on the first dl will be wonderfully improved by requiring a breath to be taken before it. Expression is such a use of loudwss and softnes* in singing as tends to make the music more expres- sive. Even in the earliest steps, pupils enjoy thus embellishing their music. In the fifth step the subject is more fully treated. Here it is enough to draw attention occasionally to what is indeed the chief part of expression that which is suggested by the words. In our Tonic Sol-fa books we early adopted the plan of using type-marks for this kind of expression. First, there must be fixed the medium or normal degree of force proper to the general sentiment of the piece to be sung ; then whatever words are printed in the common type are to be sung with that appropriate medium force, whatever words are printed in small CAPITALS are to be sung louder, and whatever words are printed in italic* are to be sung more softly. In writing, a single line is drawn under the words for italics, and a double line for small capitals. These marks of the pen can be easily added by the student to his printed copy. In Ex. 97, the general sentiment of the words is subdued and prayerful ; therefore the common type indicates soft singing, but in the last two lines the spirit of earnestness rises to a climax, and demands greater force of voice. The general spirit of Ex. 100 is soft and gentle, but it should begin very softly increasing in force as the phrase ascends. Ex. 101 and 102 also open with ascending phrases to be treated in a similar way. Continuous or repeated tones, as in the second line of Ex. 103 and in Ex. 65, suggest the same treatment. Notice that any tun$s like Ex. 102 and 103 which require a light and tripping style, require also a soft voice Observe, in all these cases, how useful this distinction of loud and soft is in marking out the musical phrases or in " phrasing." Ex. 97 to 103 should now be taught in the same manner as before, except that previous to each exer- cise, the teacher will put the voices in tune by causing his pupils to sing, after his manual signs, for a low key-tone, d m s f 1 dl s t r 1 d' and for a middle key-tone d 8 ( m d ti 1 ( d s, t, r d. SUN OF MY SOUL. Ex. 97. KEY C. Mainzer. l.Sun IWhen :n 3.A - 4. Come s :s |d' :t of my soul.t thou the soft dewst of n :n |d :r bide with met from neart and bless us Sa - viour dear, It kind -ly sleep My f :f |n :d morn till eve, For when we wake, Ere f is |n :d' is not nightf if wear-ied eye - lidst r :t| |d :n with -out theet I thro' the worldfour t :1 Is ' thod be near : gen - tly steep, r :d jti can - not live : way we take : St. Co. (New). : s Oh Be : S A - TILL s : s Id 1 : t may f no earth - born my last thought, t How r, : s bide with me t when IN THE O - CEANf THIKD STEP. 31 1 :1 Is : s 1 :t Id' :n'.r' di :t id 1 cloud a sweet to 1 :f . rise, To rest For |n : n hide thee f from thy ev - er f on my f :r |n :f ser - vant's eyes. Sav-iour's breast! s : -.f in night is OP THY nigh, For LOVE WE with - out thee f I LOSE OUR - SELVESflK dare not die. HEAV'N A-BOVE. Ex. 98. KEY G. d : n Is : s La - hour's strongfand No de - spond - ing,f LABOUR'S STRONG AND MERRY CHILDREN. 1 :s No Round for two parts. mer - ry chil - dren, re - pin - ing! : n !r : d Com - radesfof the Lei - sure must t by t, :d |r : ris - ing sun, toil be bought ; s :-.s|f :-.f Let us sing f a Nev - er yet t was : - .PI I r : r song to-ge - ther, good ac-com-plished, d : s, | 1 ( : t. Now our toil f is With-out hand f and done, thought. D.C. il d All ALL THE SPRINGING FLOWERS. Ex. 99. KB? F. Eound for two parts. :r |n :f the spring-ini d 1 : 1 Is : f All the stars a - f : How - - n ers, bove, Are n :f All the 1 :f s : fruit - f ul : t, tell - ing God is t : show - ers, ) D.C. -Id : love. Ex. 100. KEY D. d .r : n .f | s : Lulla-lul-\a. -by, LULLABY. Round for two parts. d' :d' |t : lul - la - by, is :- lul - la - by, f :f Sweet-ty In sleep :n * with ) r M : r la f lul f la n :- lul - la - f : f In : n Sweet - ly sleep with St. Co. (New.) r M r it Id by. D.O. THIRD ST1CP. Ex. 101. KEY G. Round for four parts. DOH, BAY, ME. (Id :- I- :- ' 1 Loh, Ray, Me, f :- |- FAH, . 1 Us : s |1 :s ' I HOLD YOUR HEAD UP f :f |s :f in sol - faa - ing, n : n | f : n O - pen well your t r : r |n mouth in laa B.C. : r ing. WHO COMES LAUGHING? Ex. 102. KEY E>. Hd : d |r : r Who comes laugh - ing, Round for three parts, t n : n |f : f laugh-ing, laugh-ing, s : d 1 |s : n Who comes laugh-ing i- r : d .r! n here a - main P * t Hn :n |f : f We come laugh - ing s .s : s .s | s .f : n .r Ha,ha,ha,ha,ha,ha,ha,ha, d : s |n : d We come laugh - ing s, : s, |d hero a - main t t ( 1 s .s : s .s| s .f : n .r f 1 Ha, ha, ha, ha, ha, ha, ha, ha, d .d : d .d|r .r : r .r //a, ha, ha, ha, ha, ha, ha, ha, t n .n : n .n| s .s : s .s lla, ha, ha, ha, ha, ha, ha, ha, s .f : n .r |d Ha, ha, ha, ha, ha. B.C. GLAD HEARTS AND FREE. Ex. 103. KEY A. I nd : r : ti f | Glad hearts and mind for four parts, d : : free, * n : f : r Come sing u'ith n : : me. MS : s : s < 1 J ..-I, la, LA, s : f .n : r .d LA, la, la, la, la, si : Si : Si Well wo A - d :- : GREE. D.C. Registers. In the highest part of the compass of men's voices, and in the lowest part of the com- pass of women's voices, may be noticed a remark- able change in the quality of the tones. The place where this change occurs is called "the great break." It is in all voices between F and G. The break arises from the different way in which the tones are produced in the larynx. Below the break the tones are produced by what we may call the first or thick register of the voice, above the break by the second or thin register. In women's voices there is a yet higher register, beginning with g', which we may call the third or small register. These registers of the voice are indicated on page 29, the "thick" register being shown by large capital letters, the " thin " by ordinary small St. Co. (New.) capitals, and the ' small " by common letters.* Optional Tones. Although the lower registers cannot be forced upward, beyond the limits men- tioned, without injury to the voice, the higher registers can in all cases be used some way below their proper limit. So much is this the case with the thin register, that the three tones F, E, and D are called optional tones, and the pupil is advised to exercise his voice in order to equalise tin; quality and power of these three tones, and to use either M-^-i.stcr interchangeably. In women's voices it is this thick register at the bottom which is commonly found to be uncultivated, and in men's voices it is the thin register at the top which is commonly left untrained. Italic capitals shew the Upper thick and thin registers. Ex. 104. THIRD STEP, 33 Recognition of the Lower Thin Register. It will bo seen from the scale, p. 29, that women naturally use this register in the middle of their voices and have no difficulty in recognising it, that, among men, Basses have little need for it except for solo singing and for any part-music which demands an uncommon compass of voice, hut that Tenors require a careful cultivation of this register and of the " optional tones." It may also be noticed that Contraltos require a special culti- vation of the first or thick register, but that is deferred till the next step. In order to enable men to discover and recognise the thin register, the teacher causes them to take a loud tone for doh (say D) , which is decidedly within the thick register, and then guiacs them by his manual signs to sing the chord slowly, thus, d m s. If he allows them to sing the soh softly, they will instinctively produce it in the thin register. Having once found that register, it will not be difficult for them to continue the same quality of tone in a downward phrase like the following, s f m r d. Having got back to the doh in the thin register they may then take breath and sing it again in the thick. Of course the pupils can take A| or G| for their key-tone. They will then have to follow the manual signs thus, d m s d 1 ; d' will be delivered softly in the thin register, and the descending passage in the same register would be d 1 t 1 s f m r d. It is better that all the men's voices should go through this experiment. Strengthening of the Lower Thin Register. Ex- ercise regular exercise strengthens the tones of this register so as to make them blend easily into the tones of the stronger register. Like all other exer- cises intended to strengthen th e muscles . it must have something of force and violence in it, a marked shock of the glottis (see p. 1) , but must not be over-strained. For strengthening the legs a run is better than a walk, but ot-er-exertion does more harm than good. Therefore the necessity in the following exercise of using well the forceful staccato syllable koo. It will be remembered that a new combination of the delicate muscles of the larynx is required for every conceivable sound which it produces and that all these muscles and combinations of muscles have to be exercised. Hence, the necessity of using this exercise in various keys, so as to bring intervening tones into play. Ex. 104 should be first sol-faad with the manual signs ; second, sung to koo five or more times, much more quickly and force- fully ; third, sol-faad again. On sol-faaing the second time the quality of the tone will be found St. Co. (New.} to be very much improved. But care must be taken not to fatigue the voices. At first five koo- ings will do this, and there must be a rest before the exercise is used in another key. The first and second keys will bo quite fatiguing enough at first. The keys are so arranged that without the use of the tuning-fork the teacher can pass from one to another. For example, after exercising in key B, he strikes ray, calls it doh, strikes the chord and proceeds with the exercise again. After thus using what is called the key of C sharp, he strikes te,, calls it doh, strikes the chord and proceeds with the exercise in key C. In the same way the ray of key C will give him key D. This exercise should be used for a very short time, at every future lesson of this step. If the class is a mixed one, women should join in this exercise, which lies in the lower compass of their voices, and is easy to them. They will encourage the men's voices, and prepare them- selves for a blending of the thick and thin registers at the next step. Ex. 104. To strengthen the Lower Thin Regis- ter. To be sung in the highest part of men's voices, and the lower part of women's voices. KEYS B, CJ, C, D. S n n TIME. ti :- The Metronome (pronounced mctronoani) is an in- strument for regulating the rate of movement in a piece of music. It is a pendulum which can be made to swing at various rates per minute. M. 60 placed at the beginning of a tune in the Tonic Sol-fa notation means " Let the pulses of this tune move at the rate of 60 in a minute." The stroke of the metronome is the moment when it passes the lowest point of its arc. In the case of very quick six-pulse measure, the metronome rate is made to correspond not with pulses but with half measures " beating twice in the measure." Sustaining the rate of Movement. When a tune, as in psalmody, is intended to be sung to several verses, the singers may vary the rate of movement according to the sense of the words, and in simple songs this rate of movement may be occasionally accelerated or retarded to suit the sentiment. But even this power of varying the rate of movement with any good effect depends upon a previously gained power of sustaining the rate of movement uniformly. Exercises for the cultiva- 34 THIRD STEP. tioa and testing of this power are frequently in- troduced. The teacher causes his pupils to taatai on one tone a simple measure, thus, TRAA TAA TLAA TAA, repeating it steadily, say six times with the metronome, so as to get into the swing. He then stops the metronome and they continue holding the rhythm steadily for another six measures. Just at the stroke of the first pulse in the next measure he lets his metronome go, and then the class immediately see whether they have sustained the rate. Accomplished musicians say that this power of sustaining a uniform speed is one of the first and most important musical elements. The irregular and ever-varying speed of movement, without any apology, on the ground of Expression, which many organists and precentors indulge m, is very painful to practised ears. Remembering M. 60. It is quite common among Tonic Sol-faists to be able by habit to form a concep- tion in their own minds of the rate of movement given in the title of a tune, without referring to a metro- nome. This power is gained by first fixing in the mind the rate of M. 60 as a standard of comparison. Then, twice that speed, M. 120, or a speed half as fast again, M. 90, are easily conceived. Even some intermediate rates are recollected with considerable precision. To fix M. 60 in the mind, the teacher frequently asks his pupils to begin taatai-wg at what they conceive to be that rate, and then tests them well with his metronome. The recollection of rate of movement is, like the recollection of pitch, af- fected by temperament of body and mood of mind. But these difficulties can be conquered, so that de- pression of either kind shall not make us sing too The silent half-pulse is indicated by the absence of any note between the dot which divides the pulse in two and the accent mark. It is named SAA on the accented and SAI on the unaccented part of the pulse. See Exa. 105, 106, 107. The three-quarter-pulse tone is indicated by a comma placed close after a dot, leaving a quarter to fill up the pulse. It is named as below, TAAfe. Ex. 105. Slowly, and quickly. With lighter accent and quicker speed TAAfe is the same thing as TAA-AA-TAI. And this is the same thing in small as TAA-AA-AA TAA. The teacher causes such an exercise as 71 to be sung quit kly and lightly. Two quarters and a half are indicated by the use of the comma and dot, as below, Ex. 106. Thin pulse-form is called tafaiAi. It is the sum. in its nature with the larger and more strongly accented time-forms TAATAI TAA and TAA TAA TAA -AA. The teacher causes such exercises as 72 to l>u sung rapidly. A half and two quarters are indicated as below, Ex. 107, and are called TAAtefe. This pulse-form is the same in its nature as TAA TAATAI and TAA-AA TAA TAA. Sec Ex. 76 Syncopation is the anticipation of accent. requires an accent to be struck before its regularly recurring time changing a weak pulse or weak part of pulse into a strong one and the immediately following strong pulse or part of a pulse into a weak one Its effect in time is like that of a discord in tune It is a contradiction of the usual and ex- pected. Both the discord and the syncopation should be boldly attacked and firmly held by the voice, just as one grasps a stinging nettle to master it. Insufficient definitions of syncopation have led many singers to strike the new accent, indeed, but also to retain the original strong accent on the immediately folio wing pulse. This common misunderstanding entirely destroys the intended effect. In Ex. 108 the first line shews how synco- pations are commonly written, and the second line shews the real alteration of accent which they create and the manner in which they should be sung. Note that it is difficult to "beat the measure" in the ordinary way (see preface) during syncopations, because they seem to contradict the beating. It is easier to beat simply pulse by pulse. Exs. 105 to 109 should be taught as above, pp. 7, 8, and 19, especially with " time-laa-ing," p 8. 1 .1 .1 1 .1 : TAATAI SAA-TAl TAATAI SA KBY F. n.r : .d Ir.d: Is . f : n . | n .r : d . KHY Q. s : . : t ,d.n: if .r:t,. |B.n:d. St. Co. (New). TAATAI KBY F. | s.r, : .lls.n: TJLA.SAI TAATAI TAA5J7 Is.f :r I f .n : d . || KEY n.s: f.l: f.r.f. |n.d:n. THIRD STKP. 85 Ex. 10& Slowly, and quickly. ul .1,1 : 1 .1 | .1:1 \ I TAAtefe TAATAI SAA1A.I 1,1.1 : 1 .1 |1 tafaTAI TAATAI I TAA&4/ KEY Q. d.r.n: d.S|| .l ( : : f .n|r. :d KEY F. |s.f,n:r.n| .f :n |n,r,d : t,.d | n. :r KEY G. n.s,f: n.d | .f : r |n,s.f : n.d 1 1|. :d KEY C. s.l,t:d'.s| .1 :s ': t.s |f . :n Ex. 107. Slowly and quickly. 1 .1,1:1 .,111,1.1,1:1 TAAtefe TAAfe I tafatefe TAA 1 .,1:1 .,111 .1 :1 .1 TAAfe TAAfe KEY F. |s .f,nr.r .,d|t,,d.r,m:f KEY D. |d .r,m:f .,m|r,m.f,s:l |s ,,f:m .,r|s .f :n .r KEY D. |m .f,s:l .,t|d',l.s,m:r |d .,m:r .,f IPI .s :f .1 Ex. 108. Slowly and quickly. ) TAA TAA TAA TAA -AA TAA TAA TAA .f :s .m fl |s .m,d:s .,d|s,f .pi,r:m |r .,f:m .,d|f .1 :s ,m -AA TAA TAA Ex. 109. Skwly and quickly. I :1 1 .1 , , .1 11.1 :-.! l-.l :1 .1 II TAATAA TAATAI TAATAI -AATAI -AATAI TAATAI TAA Chanting is the recitation of words on a single 1 tone with, a musical close or cadence at the end. The chant of English origin, called the Anglican Chant, has either two reciting tones with cadences, in which case it is called a " single chant," or four recitations with cadences and is called a " double chant." The most important rule in reference to chanting is that the music should be well learnt 'by heart" before any attempt to apply words to it. The chant is commonly and properly applied to prose words (see next step), but the chanting of hymns is not out of place when the hymns are very long. It also forms a good exercise preparatory to the art of prose-recitation. The rhythms are so St. Co. (New.} simple and admit of so little variation that attention can be almost exclusively given to distinct and sharp utterance. The division of words for Chanting is commonly made simply by placing a single bar where the cadence begins and a double bar where the cadence ends. In addition to this there have been many contrivances for guiding the manner of the recita- tion so as to secure appropriate breathing places and to prevent confusion. Our Tonic Sol-fa teach- ings naturally suggest the division of the whole into pulses. Our simple rules are that the syllables which ktmid together whether joined by hyphens or otherwise are to be sung in one pulse, that 36 TlilKD STEP. Ex. 110 this mark ' before a syllable denotes a silence on the first half of a pulse and a convenient breathing place, that this mark . denotes a silent pulse, and this the continuation of a sound. In Ex. 8-5 notice the rhythms to the short recitations TAA TAATAI twice, SAATA.I TAA TAA once, and SAATAI TAATAI once, and the rhythms to the longer recitations S^TAI TAATAI TAATAI twice, TAA tAATAI TAA TAA OnC6, and SAATAl TAATAI TAA SAATA.I once. Verify each of these rhythms and study the reasons for their differences of rhythmic form. Why will not one form do for all the short recita- tions, and another for all the long ones ? It is important to notice that the pulses of the cadence and of the recitation move at the same rate although it is customary and also natural to put more syllables into each pulse of the recitation than into those of the cadence. In teaching Chanting the teacher causes his pupils (a) to taatai a line by pattern, (b) to recite it by pattern, clearly and distinctly, and (c) to sing it to the chant already learnt by heart. Ex. 110. Chant the words to Exs. 8-3 and 86. New Consonances. Hitherto we have had for thirds and sixths and fifths and fourths (See p. 21) : n s t r 1 s r 1 AND d n s t II Now, there are added 1 d' f d 1 1 n' AXD fir f n 1 The harmony student will find and mark cases of each new consonance, and listen to them while the music is sung. The Partial Dissonance. The very peculiar interval of the scale f to t with its inversion f to t, is not a discord according to the description at p. 21. But its effect on the ear forbids it to bo called a concord. The ear requires rest and sweetness after it, and therefore expects f to go to m and t, to d. We call it the partial dissonance. See and hear Ex. 116, M, m \,p 4. NOTE. / stands for lint or score, m for measure, and p for pulse, Ex. 119, I 1, m 4, p 4. But the effect of the partial dissonance is specially illustrated in the cadences of Ex. 99. New dissonances. We have hitherto studied (see p. 21) one dissonance, d against r. It is the model of those dissonances which occur on the strong pulse and St. Co. are regularly "prepared" and "resolved." We now have other dissonances of the same kind. In Ex. 114, in addition to d against r in m 3 and 6, we have 8 against 1 in m 4, and f against s in m 2. In Ex. 116, in addition to the ordinary d against r, I o,m 1, we have the same dissonance with delayed resolution / 4, m 1, and m against f with the less common interrupted resolution, the consonance 1 "interrupting" the resolution of m' upon r', and f against s in II, m 2. f against s. Although this dissonance is used on the strong pulse, and with tho same kind of preparation as above, it is far more commonly used on the weak pulse and often without any sort of preparation. Its favourite form of melodic pre- paration, however, is when the f comes down step- wise from s and goes on as it always must to m. See and listen to Ex. 97, I 2, m 2, p \, 2, Ex. Ill, m 7, p i where f is unprepared and has an inter- rupted resolution, and Ex. 118, m 5, p 2. This dissonance f against s is tho model of unprepared discords. Belative Motion of Farts. Two parts may follow each other upward or downward at the same time. This is called similar motion, and is generally sweet and pleasant, as in Ex. 97, m 5, and in Ex. 99, when the first two measures are sung with the second two. Two parts n?ay move upward anddownward in opposite directions. This is called contrary motion, and is exceedingly gratifying to the ear. See and listen to Ex. 97, pulses 3 to 6 and 9 to 12, and Ex. 99, when the third and fourth measures are sung with the fifth and sixth. In the last case, indeed, the parts cross one another. The crossing of parts is common in Rounds, but not in other composi- tions. Anything which tends to confuse ono part with another is objected to in modern music. Oblique motion is that in which one part "stands" that is, continues the same sound, while the other part moves downwards or upwards. See Ex. 117, m 6, 7, und Ex. 97, beginning of line 2. Very much of the relative motion of parts cannot be described by these simple terms. The ear could not be satisfied with one sort of relative motion only. It requires variety ; but that which satisfies longest is the similar motion. Imitation. The music-student cannot fail to notice that every kind of imitation is agreeable to the ear. It is a great help to the singer to notice such cases. Imitations in the waving of the THIRD STEP. 37 melody or melodic figure such as that simple one in Ex. 70, I 2, where the air of the second measure imitates, in figure, that of the first, or that in Ex. 98, between the two parts at the opening of line 2, or those in Ex. 101, I 2, are easily per- ceived. The imitations in Ex. 116 are interesting. In the opening, the second part is imitated by the first, for a measure and a half, starting a fifth above. In the second line the music of " grief of heart " is replied to, a fifth above, by that of " killing care ; " then, the second part repeats "grief of heart" a small step higher and is again replied to by the air a fifth higher. Let the student carefully verify observations like these ; it will teach him to see more in a piece of music than most others see. When the imitation is in two or more parts simul- taneously, as in Ex. 97, pulses 9, 10, with 11, 12, it is called a harmonic sequence. The study of rhythmic imitation is very interesting. See in Ex. 113, I 2, tafaTAi tafaTAi TAA quickly replied to by the same rhythm with contrary motion. See TAA TAATAI TAA in Ex. 116. Find other examples. 41 Elementary Rhythms," containing passages selected from popular songs, and published separ- ately, will now make good home practice and prepare for the elementary certificate. Ex. 111. II d Oh! r give OH ! GIVE KEY A. Hound for four parts. t n : d ,,d thanks to the Laa Voluntaries. When once the use of the Sol- fa syllables is fixed in the ear and has obtained mnemonic power, it becomes very important to prevent that otherwise useful power satisfying the pupil. The practice of laa-iny every tune which has already been sol-faad is a step towards liberty, but laa-ing the Modulator voluntaries is a step further still towards that ready perception of the mental effects of the tones, apart from associated syllables, which is desired. This practice, there- fore, of laa-ing at first sight from the teacher's pointing should be constantly used. The Pupil's Pointing on the Modulator while lie sol-faas must still be encouraged. Where it is possible for the pupils to point in class each using a mounted " Home Modulator," and holding it up, while the teacher passes along the rows behind or stands on a chair or table so as to overlook all that is the best plan. It makes all work. The " Standard Additional Exercises" appended to this book, introduce four-part pieces at this step. The " Standard Mixed- Voice Exercises " and the " Standard Men's Voice Exercises " introduce four- part music in the course of this step. THANKS. * t r : ti d : s, n : f s : n .,n f :r.,r n :d God of hea - ven, For his mer- cy en- dur- eth for cv - er. B.C. Si : S| S| :d : : S : s S : n Hai- le- lu - jah, Hal -le - lu - jah. PEACE, LOVELY PEACE. Ex. 112. KEY El?. Round for four parts. t d : r .r n : - .r n .n :f .f S Peace, love - ly peace a - gain re - news her youth, t t S A\ . f r l i,U . I .,! d 1 .s :s .f n : r d rah, hur- rah for Dcace and lib - er - ty and truth. St. Co. (New.) Hur- D.C. 38 THIRD STEP. PRAISE YE THE LORD. Ex. 113. KEY A. s, : - .s, |d : - .81 Praise the Lord f with PI, :- .n, |n :- .s s.f.n :f,n.r |n : n : r |d : .s cheer - ful voice, f Ke- d : Si | HI : f :- . in Praise the Lord .81 li,t,.d :ti,d.r |d A. L. C. s,f .n : f,n.r |n : .s joice, f re- : .t,|d : Ee-joice, : - .n r : f f with cheer - ful ; .S| li,ti .d i ti,d .r joice, : .t, Id : re - joice, in : .s 1,8. f :n re- joice, .8 |f,n.r : d .n r re- joice, :- .r |d : re - joice. :- -f, in, : re - joice. n :- .f |s :d To our God. f the s, :- .f, |n, : n, Sing the great - ness Ev - 'ry liv - ing n : r |d : ment f on high, d :s, |n, : psal - fry bring, t no - blest song, t n,r.d : r,d.t, |d .r : n .s voic, re- joice, - - - d : 1, .t ; : d .s, 1, ,t, :d .s, f, Praise t, :- .d |r .d : t, .d the Lord, re- joice, r :n |f ; t joy - ful raise fi : a, 1 1, : acts f ro - cord, name di - vine, s, : - .81 id : - .s, While the fir - ma- rii : - .n, in, : - . s, Trum - pet, harp, t and Bring your sweet - est, n r id : .r ma - jes ty. t Re- Si : f i mi : tune - ful string, loud and long, 1 :- .1 is :- .d Praise the Lord f with f :- .f, in, :- ,n, 1. In his tern - pie r, : - .HI |f .n, : r, .HI 2. Now his migh - ty 3. Now to praise t the r .n : r .d |ti : song of praise, f, .8, :f, .PI, ir, : t of our Lord, t crea - ture join, 8 : - .f |n .r :n .f Sing his pow'r fond. n : - .r |d .ti : d .1, joice, f re- : .8, |d : - .n Re-joice, t, :r id : cheer - ful voice. si : - .f, |n, : Sound his praise f with Swell the chor - rusf / s,f.n : f,n.r |n .f : s ] joice, ( n,r.d : r,d.t, |d .r : n St. Co. (New.) EX. 114. KEY C. S A~ :f THIRD STEP. AMEN. "" """ V 1 :r r : s :f . - 39 Mainzer. - :d' - :t d 1 :-. men, d :-. i men, n : 1 r : s - - S ! d 1 f :t PI :1 A .n :- .1 - .r : - .s - .d :"- .f A . . r : s - .t :1 .t d 1 men. PI men. - .ti : - .n r .s : f . . THE SKYLARK. Ex.115. KEY E|?. Words by Ho/jg. M. 96. A. L. C. s : - .1 : s S : - . f : PI n -.f :s 1 :-.s:f n : r : n 1. Bird of the rep. Em- blem of PJ : - .f : n wil - der-ness, hap - pi -ness, PI : - ,r : d Blithe - Blest d :- some and is thy - .r : n cum - ber-less, dwell- ing-place f : - .n : r Sweet be *hy Oh! to a - d : t, :d I 2. Then, when the rep. Emblem, &c. s : - .f : PI glo< im - ing comes, Low in the hea ' ther blooms, Sweet will thy 1st time. r : n : f n : D.O. 2nd time. r : n : r d :- : ma - tin o'er bide in the PI : - .r : d moor-land and t, : d : r lea! d : de - sert with t, : t, ': t. thee! d :- : wel - come and bed of love be; de - sert with thee! P 1 .t,d': s .n : s 1 ,t,d': s .n : s la, : PI d .r,m: r .n,f : PI .f,s f .s,l: s ,l,t:d' \ La la la la, f .f : n .d : n la la la f .f :n .d La la la la la la, t d . : t ( . : d . r : n .f : n 1 .t,d': s .n : s 1 .t,d': s .n : s la, : PI d .r,n: f ,s,l: s .l,t d 1 : : La la la la, f .f : n .d : n la la la f .f :PI .d La la la la a . : r . : n .f n St. Co. (New.) TIIIKD STEP. Ex. 116. KEY C. ; i : d : r .n I f :f In sweet mu - sic, IN SWEET MUSIC. s :l.t|d' :d' In sweet mu - sic f : PI .r |n : d r : |r :f n : 1 : Kill - ing care, t, :- It, : r d : .n|n : d S and grief of heart Id 1 :1 kill - ing I : heart, : d 1 |t : t and grief of r ;n.f |g :f sleep, or hear - ing r : |r : hear - ing d : |t, :- n 1 :-| care, : |s d 1 : heart, PI : die, d :- die. d : 1 .s Gebhardi. d 1 :t.l is : 1 :s.f|n : \ is such art, is such art, f 1 :s.f in : f :n.r|d : k ; It : s r 1 : | :- \ kill - ing care, s : 1 - :s |f :r heart, and grief of - : 1 and grief :s id 1 : of heart, / f x ~~ sleep, If :s.f fall a - PI : |PI : f .n( sleep, fall a - t 1 : is :f n : |n : Fall a sleep or f :- |n : r d : |d : Ex. 117. KEY D. HALLELUJAH. > Hal- -.t:T t :-.! lo lu- -..:? S : f .n r.l :s.f n .d': : t d' : men. n : -jah. jah, Hal- - .n : r le - lu - jah, A - d .n : 1 .s mcn,Hallelu f .r:s.f -jah,Hallelu A - - - Ex. 118. d.s:-.f KEY A. - .n : - .r H/ r .d: - .t. iLLELUJAH, AME d . : n r : f N. PI : S f :r Mainzer. d. : Halle - lu d :t, - jah, A- 1. :s,.s men, A- men, Hal- n ; .sr. d .t le - lu - jah, A - men, A - men. d. : Hal - le - lu - jah.A- men, A - mcn,Hallelu - jah, Hal- - le - lu- - jah, A- men. St. Co. (Xeic.J THIRD STEP. 41 Ex. 119. KEY A. : d .t, Art thou ^ : n,.f, : - .r |n .,f : s .,d poor, yet hast thou golden n, : - .t, |d .,li: t ( .,d ART THOU POOH. t, :~ id :- slum bers, : |d : : n .,f Art thou : d .,r r rich ti : - .d I ti .,r : d yet is thy mind per :-.lils, r :- -plex'd, s, : ment ! s, : 'n : r num - bers Id :t, :d.t, Dost thou :n d : - .r In .,f : s .,d laugh to see how fools are 1, : -.t ( |d .,r : n .,d :d gold - en num - bers, 1, :s, |f, :n, r Oh r, r : I n : f F. L. R. n : O sweet con - d : |d :t ( tent! d : 1 : d :- t, :1, 1 : Oh 1, :- pun ish - r, : r, t ( : d - .r : n .,f s :f vex - ed Si : d To add to - .t, : d .,1, gold - en t, :r n : r d : | : sweet con tent! S; : f | n, :- I- : WHERE DO THE FAIRIES DWELL? Ex. 120. KEY C. A. L. C. s .1 ,t : d 1 .r 1 |n' .r 1 : d 1 r',c I'.t : In'.r'.d 1 : .d 1 :t .d 1 Tell roe where the fair-ies dwell, t Te] n .r :n .f |s .f :n L me, t Tell me t : s,f .n 1 : f ,n .r r where fair-ies i : r .n Tell me, Tell ma; r 1 : .r 1 :n'.r> Id 1 :- f .f \t \- .n :r .f 1 : .1 dwell ? f : s,f .n Tellu where fair-ies dwell ? f : s .f |n : - ic In some cay - ern dark an r .r : r .r |r .d : t ( .r d deep ? Oh ( f ^ \ d deep? In some cavern dark an r 1 : s .s:s |-.f:n.d't : .t n 1 : r'.r':r |-.d: t .1 s : .s no! I : r I n some qui - et mossy cell ? .n : n .n|n .r : d .n s Oh no! In the depths of shady woods? Oh : f .f :f.f if .n:r.f n : n some quiet mos - sy cell ? In the depths of sha - dy woods? , St. Co. (New.) D 42 THIRD STEP. Id' no! Not .3 r' there, t .s In 1 j'.d'rr' .t not there do the fair-ies .8 | s .f ,n : f .r d' dwell n '" J Thenl r^d'.t tell me > : s,f jn tell me, tell me, : t :r' |f : f ,n .r where, S where, :f where ? Ir tell me, s .n',r' : d 1 .t ) All a - mongthe' n .s,f : n .s ( fra- grant flow'rs, f .f :n f .8,1 : s .f |n .f,s : r 'Neuth the drooping li - ly's bell, r .n,f : n .r id .d : t. s jn',r': d 1 .t I .t ,d': s .s In tho pur-pie vio-let's Ded,'Tis n .s ,f : n .s I f ,f : n .n r 1 .U:n' .r there the lair- irs dwell. f .f :s .f In s .n'.r'rd' .t |1 .t,d': s La la la la la k la la la, n .8 ,f : n . ! f .f : n f .s,l:s .f La la la la la r .n,f : n . Iln .f,s : r la la la la. Id .d :t, s .n'.r'td 1 .t !1 .t,d': s .s La la la la la la la la la "i'is n .s,f : n . |f .f : n .n Modulator Voluntaries have now increased in rapidity and difficulty, though they are still confined to one scale. To make sure of avoiding mannerisms and to secure variety, the best teachers find it necessary to study and prepare their voluntaries when they come to this step. The " Hints for Voluntaries " are only intended to suggest such as are suitable for each step. The teacher who wishes his pupils to follow his pointing rapidly can teach them to do so, by never letting his pointer wait for them. Ear Exercises. A tew two-part Ear Exercises, as in the " Hints," can now be wisely introduced, but only to quick and observant classes. To others each " part " of the exercise will serve as a separate exercise. When the great majority of the class do not follow the ear exercises with pleasure, the teacher goes back to earlier steps, continually re- minding his pupils, not by words, but by examples and illustrations, of the mental effects of particular tones, and continually urging them to notice the first tone of the exercise after the " prelude." The St. Co. (NewJ r 1 .d^tin 1 .r 1 Id 1 there the fair-ies dwell. f .f : .f In necessity of written answers to the ear exercises increases with the length of the exercises. Time Ear Exercises as at page 24, are still con- tinued. Dictation. See pp. 12, 24, but name the octim * as at p. 29. Thus, the beginning of the last line above "TAAtefe m f s" "TAA r" "TAAtefe s, one-m, one-r." Pointing from memory, writing from memory as at pp. 12 and 24. Elementary Certificate Slips being given to the pupils, they are now, that is six weeks before the close of the class, constantly coming up for indi- vidual examination in one requirement or the other, first passing the examination of the assistants, and then that of the teacher himself. The examination is conducted sometimes before the whole class, some- times privately, according to the convenience of teacher and pupils. All the requirements must be done within six weeks, else the examination begins again. THIRD STEP. QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 43 I What is a " hold "What does it signify .' 2 What is the advantage of a know- ledge of chords to the singer ! 3 Describe the normal position of a chord .' 4 What are the root the third and fifth of a chord .' 5 What is the difference between the a position and the normal position of a chord ? 6 What is the b position of a chord ? the c position ? 7 Which of these positions is the most acceptable to the ear .' and how are the other positions used .' 8 What does the name " Constitu- tion" of chords refer to .' 9 How do we figure the omission of the third ? of the fifth '! of the root ? 10 How do we figure the doubling of the third ! and fifth .' and trebling of the root .' II Which of the three tones of a chord is most easily oni'tted without notice ? 12 What quality of a chord is lost by omitting the third .'the root .' 13 Which tone of a chord can be easily doubled because it is the least noticed .' and which because it is the most characteristic and important ? 14 In the resolution of S into D where does te go ? sohl ray ? 15 Why is S called the Dominant ? 16 Describe the chord *8 17 What do you yourselves feel to be the mental effect of low lah .' of high lah 1 18 What is the effect of high fan 1 of low/a/U 19 How does greater speed of move- ment modify the mental effect of doh, me, and soft I of ray, fah, lah, te > Mention any examples that occur to you. 20 Which are the strong tones of the scale, and which the leaning tones >. Which have the strongest leaning tendency '.' 21 What are the successive tones of the scale descending in pitch 1 What are they ascending ; 22 How many vibrations in a second give the standard pitch tone, middle 3 ? In what part of men's voices is this C ? Where is it in women's voices ? 23 Describe the manner in which tunes are pitched from the standard scale. St. Co. (New). DOCTRINE. 24 What variable circumstances affect our power of recollecting a tone in absolute pitch ? 25 What pitch tone stands at about the middle range of female and chil- dren's voices ? of male voices .' 26 How do we judge whether an uncultivated voice belongs to the con- tralto or bass class of voices, or to the soprano or tenor ? 27 What is the easy compass of the soprano voice ? of the contralto ? 28 WTiat is the easy compass of the tenor voice ? of the bass ? 29 Among uncultivated voices, which part of a man's voice is most commonly found to be neglected ? of a woman's ? 30 The octave marks of a tune being taken from doh, how do we know which doh is to be without an octave mark ? In key G how would the lah below the key-tone corresponding with the pitch E be marked ? In key C how would the me above the key-tone correspond- ing with the pitch E be marked ? 31 With what octave marks are the bass and tenor parts written 1 32 In speaking of octave marks for the purposes of dictation, how do you distinguish the lower doh from the higher doh ? the lower C 2 from the higher C-. 33 If we want fresh breath on a strong pulse, where do we take away the time of the breathing ? And if on a weak pulse .' 34 Write down all the rules for breathing places which you can remem- ber. 35 What is meant by "Expression" in music ? and what are the elements of tone chiefly employed in it 1 36 In using the type-marks for expression of words what has to be first settled in the mind before those marks obtain their true meaning ? 37 What, then, is the meaning of common type 1 Italic type ? SMALL CAPITALS ? 38 What is the writing mark for Italics ? for small capitals ? 39 How are ascending passages and continuous or repeated tones naturally treated for expression ? 40 What other means are there, besides taking breath, of separating and distinguishing musical phrases one from the other while one sings ? 41 What is the " great break of register " in the voice ? 42 Where does it occur in men's voices ? in women's .' Between what tones in absolute pitch is it always found 1 43 Where does the " small register," peculiar to women's voices, commence ? 44 What are the three commonly used "optional tones" between the thick and thin registers ? 45 Describe or write the exercise by by means of which men come to per- ceive their thin register. 46 Why is forceful action of the larynx necessary to the strengthening of the thin register? What syllable puts the organs of voice into the best position for this kind of vigorous effort ? 47 Why is it necessary to employ the strengthening exercise in various keys? 48 Describe the process of using the strengthening exercise, Ex. 104. 49 What is a metronome ? 50 What is the meaning of M. 80. placed in the title of a tune ? 51 How is the rate of very quick six- pulse measure marked ? 52 Why is it necessary to have exer- cises for sustaining a uniform rate of movement 1 53 Describe the exercises for attain- ing this power. 54 Why should the rate indicated by M. 60 be fixed in the mind ? 55 Describe the exercise for teaching this. 56 What is the name for a silence on the first half of a pulse 1 for thf second half? 57 How is a three-quarter-pulse tone indicated in the Sol-fa notation .' 58 How is the pulse divided int three-quarters-and-a-quarter indicated in the time-names ? What are its two larger relatives ? 59 How is the pulse divided into tw quarters-and-a-half indicated in the Tonic Sol-fa notation and in the time- names ; What are its larger relatives ? 60 How is the pulse divided into a half-and-two-quarters indicated in the Tonic Sol-fa notation and the time names ? What are its larger relatives^ 61 What is syncopation ? How does it affect the next following strong pulse? 62 What is there in tune like synco- pation in Tune ? In what style should syncopation be sung ? 63 What is chanting 1 64 Describe an Anglican single chant a double chant. 44 THIRD STEP. 05 What is the most important rule in chanting ? 66 Why should a student of chant- ing begin by chanting hymns t 67 By what marks are the words divided for chanting, so as to separate the words of the reciting-tone from those of the cadence ? How is TAA or iwy division of TAA indicated in the printing of the words I How is SA A indicated T SAATAI ? 68 What relation is there between the rate at which the pulses of the cadence move and those of the recita- tion? 69 "What is the process of teaching 1 chanting recitations '. 70 What are the new Consonances introduced at this step, distinguishing the thirds from the fifths ? 71 What is the partial-dissonance, and its effect upon the mind ? 72 What new prepared dissonance have we in this step .' 73 What dissonance is considered the model of unprepared discords ? On what kind of pulse does it most com- monly occur, and what is its favourite melodic preparation ? 74 Describe what is meant by the similar motion of two parts in relation to each other, by contrary motion, by oblique motion. 75 Which kind of relative motion is the least wearying to the ear J Which is the most exciting .' 76 What is meant by imitations of melodic figure ? 77 What is meant by imitation of rhythmic form ? 78 What is meant by harmonic sequence. TO Hold a steady tone with one brcnth for a quarter of a minute. 80 Sing, softly and pleasantly, to the Italian Laa, Ex. 82 in keys 15 and D. 81 Name, pulse by pulse, the chords with positions and constitutions in Exs. s itnd 86. 8'2 Sol-faafrommemoryanyexample, yon please, shewing the mental effect of high fah, low fah, low lah, high M. W Give from memory an example of the manner in which speed of move- ment modifies mental effect. 84 Repeat the names of the scale tones upward, downward, repeat the strong tones upward and down- ward, repeat the leaning tones upward and downward. 85 Strike, by the help of a tuning- fork, the pitch tone C (for womerfs voices C', for men's voices unmarked < . and run down the standard scale of pitch. f-f. Pitch the key D, O, A, F. 87 Strike from memory the pitch note C' (for women) and C unmarked (for men). 88 Are the best tones of your voice ai'm-f G (for women and children) or G, (for men) or are they below that tone ? xfl What is the easy compass of your Toice ? 00 For which of the four common parts in music is your voice best fitted t !'l Write the Soprano of a tune in key C with the proper octave marks. Do the same in key B. !_' Write down " three G " " G three" "two ray" "ray two" *' unmarked G." 93 Write the letters by which you would indicate in the title of a tune that it is to be sung by two Sopranos St. Co. fXew.J PKACTICE. and a Contralto, by Soprano, Tenor, and Bass, by Soprano, Contralto, and Tenor. 94 Mark breathing places, consider- ing the phrasing only, to Exs. 11 0, 101, 98, and 115. ii.'i Mark breathing places for em- phasis in Exs. 115 and 120. 96 Mark breathing places to corres- pond with the sense of the words in Ex. 116. 97 Mark with your pen underneath the words the style f " expression " you think it best to give to them in Exs. 112. 119, and 120. !'S Sing to words any one of the exercises from 97 to 103 as required, pag; 25, question 46. 99 Ditto with exercises 110 to 120. 100 Sing to laa the lah and the ln/i, to any doh the teacher gives you. 101 Sing to laa the /(i A and the fah, to any doh the teacher gives. 102 Sing A in the thin register of your voice, in the thick register. 103 In the key of C what are the Sol-fa names of your three principal optional tones ? in the key of G ! in the key of D ! in the key of A ? 104 Sing to koo Ex. 104 with your thin register in key D. 105 Taatai with accent a four-pulse measure, at the rate of M. 60 from memory, at the rate of M. 120, at the rate of M. 90. 106 Taatai with accent eight four- pulse measures, sustaining the rate of M. 60, the rate of M. 90. 107 Taatai from memory any one of the Exs. 105 to 107 chosen by the ex- aminer, the 1st measure being named. 108 Taatai the upper part of any one of the Exs. 118, 116, or 120 chosen by the examiner. 109 Taatai in tune the upper part of any one of the Exs. Ill, 112, 114, 116, 117, us, or 119 chosen by the examiner. 110 Recite in correct time any two of the recitations in the words to Ex. 86 chosen by the examiner. 111 Show examples of the new con- sonances introduced at this step. 1 1 2 Ditto of the semi-dissonance. 113 Ditto of the new prepared dis- sonances. 114 Ditto of fa h against soh unpre- pared. 115 Shew an example of similar motion between parts, of contrary motion, of oblique motion. 116 Shew an example of rhythmic imitation, of melodic imitation, of harmonic sequence. 1 17 Follow the examiner's pointing in a new voluntary containing all the tones of the common scale but no diffi- culties of time greater than those of the second step. 118 Point and sol-faa on the modu- lator from memory any one of the following seven exercises, 97, 98, 99, 100, 103, 111, 112, chosen by the ex- aminer. 119 Write from memory any other of these seven exercises chosen by the examiner. 120 Tell which is lah, which is fah, as directed, page 25, question ;"><;. 121 Tell what tone of all the scale is sJcaa, as at page 25, question 57. 122 Taatai any rhythm of two four- pulse measures belonging to this step, which the examiner shall laa to you, see page 25, question 58. 123 Taatai-in-tune any rhythm of two four-pulse measures belonging to this step, which the examiner sol-faun to you, Bee page 25, question 59. Ex. 1212. FOURTH STE*. To perform Exercises for Strengthening the Chest, securing Purity of Tone, and perfect Blending if " Piirts." To know by ear the Chords of the Subdominant, Dominant-Seventh, Supertonic, Leading-toil^, Submediant, and Mediant in the Major Mode. To observe Cadences. To remember the structure of the Seal* in its conjunct intervals. To perceive Transition to the Fir.it Sharp and the First Flat Keys, its mechanism and its mental effect. To perceive Chromatic Resolution. To distinguish Cadence, Passing, and Extended Tran- sition. To Pitch Tunes. To learn correct Recitation, with special regard to the consonants. To learn the art of Chanting. To become familiar with the silent quarter-pulse and the sounding thirds of a pulse. To learn the art of Beating Time. To strengthen the Thin Register in Men. To recognise and strengthen the Thick Register in Women. To Blend the Registers. To understand Part-pulse Dissonances. To observe variant ooints of Musical Form. Ex. 121. CHEST AND KLANG. These exercises are now united. The lower part is to be sung as a chest exercise, always to the word " skaa-laa," and on one breath. When taken at the rate of M. 50 the pupil will have to economise his breath lor 20 seconds. Those who sing the upper part may take breath at the places marked. They must deliver the first measure very softly fppj, the second measure softly (p), the third measure with a medium force of voice (m), and the fourth measure with full force of voice (f). As soon as the exercise is thus sung, the singers must change parts for the sake of rest and variety, and this is reckoned one performance of the exercise. Let the exercise be performed thus : first time in key C, the upper voices "slurring" each measure to the forward Italian " laa," at the rate of M. Second time, the same in key D. The teacher will pass from key to key as directed, p. 33. Third time, in key G9, the upper voices singing to the staccato " koo," at M. 50. Fourth time, the same in key DJ. Fifth time, in key D, the upper voices laa-ing as above, at M. 50. Laa-ing is used here as a rest before the last effort. Sixth time, in key E, the upper voices sol-faaing-, at SI. 70. Sol-faaing is used here to make sure of correctness of tune in the highest tones. The teacher will be careful not to carry the voices any higher than is here indicated, for, especially in an exercise with in- creasing force, he may cause the first or thick register of men to be strained, and unfit them for chang- ing the register on the optional tonea. It ""is remarkable that the woman's voice changes into the small register just where, an octave lower, the man's voice changes into the thin register. But women do not commonly use optional tones below the G'. _ Their voices, however, require equal care to avoid straining. Basses may use this thin register for d ( in keys D #, D, and E. XBYS C, D, CjJ, D, D, E. Chest and Klang Exercise. M. 70, GO, and oO PP tjO . t / d .n:s .n Skaa |d .PI : s .ri f .] L:d'.l If. s .t :r'.t |S . t :r'.t d 1 d : 1- : f : i s : 1 : d' Ex. 122. TUNING EXERCISE. To be used with | the parts cannot be changed. Exs. 123 to 126 arc the same processes as descri KEY E. Tuning Exer d 1 :t Id' :- bed at p. 14, except that cise for three equal voices : 1 : to be employed in the sa d 1 :- |t :- me way, d 1 :- LA. X^lU tU l&U ' without words. PI : r In : : 11 :- : If : n : - i 1 : d : S| Id : fi . . f, : III : d :- 1- : The Chord Fah. The tones f, 1, and d sung together form the chord of Fah. This chord considered separately and in itself is exactly the same as the chords D and S. But when placed in relation with those chords, that is, when starting from the fifth below the first or leading chord D, just as the chord S starts from the fifth above, it obtains a distinct mental effect. See p. 20. In Ex. 123 there St. Co. (New). 'As to style of rendering 1 , see page 81, close of first paragraph. 46 FOURTH STEP. are two cases of F in its a position. Lot the exercise be softly laad, F being dwelt upon longer than its proper time, and let the pupils decide its mental effect. If D is called the Resting chord and S the Moving chord, F may perhaps be called the Serious chord. When D is called the Tonic and S the Dominant, F is called the Subdominant. It is much used before these chords in the Tonic close or cadence. See Ex. 123. It is also much used in its b position. See Exs. 124, 125, and 126. The Chord Seven-Sob. When f intrudes as a dissonance into the chord of Soh, the chord thus modified is called Seven-Soh, and written 7 S. The figure 7 is used because the f commonly oc3urs at the interval of a seventh above the s ; but it may occur at the interval of a second beneath the s. There is often an additional octave (making a fourteenth or a ninth) between the dissonance f and its resist- ing tone a. When this is the case the dissonant effect is very slight. The dissonant f follows, both in its preparation and resolution, the rules named in the paragraph " f against i," pa^re 36. Let the pupils softly laa again Ex. 123, lingering and listening on 7 S and its resolution. Ambiguity of Chords. Observe that there is nothing in the structure and intervals of the first phrase of Ex. 123 to prevent the ear interpreting the chords as : S | S : D | S. But according to the principle named at page 20, the ear naturally prefers to regard the first chord which roles it as a principal chord, and has, therefore, no difficulty in interpreting the first phrase as : D | D : F | D. Except for this pro-occupation of the ear by the first chord which is emphatically struck, D, S, and F are ambiguous. But there is no ambiguity in T S. It cannot be mistaken for any other chord. It decides the key with an absolute certainty which S does not possess. Major, Minor, and Diminished Chords. The chords hitherto described have a major or larger third at the bottom. Chords of this kind are by far the most acceptable to the ear. Their tones have a perfect agreement in every respect a full sonorousness. But for contrast and for variety of mental effect, chords which have a lesser or minor third at the bottom are necessary. The minor chords of the scale are 11, L, and M. Let the pupil point them out upon the modulator. They are glad of doubled thirds, even in the b position, p. 27. Far less sonorous than even the minor chords is the chord Te, for it has an imperfect or diminished fifth. St. Co. (New.) The Grave Ray. Wnen the tone r is required t^ tune with f (as m tunes with s, and 1 with d 1 ), and when it is required to tune with 1 (as d tunes with s, and f with d'), the ear of singers, and of quartet players on stringed instruments, naturally seeks to produce the r a little lower than when it is required to tune with s and t. When we wish to distinguish this lower or "grave " form of r from its commoner form we call it Rah, to make it cor- respond, in its vowel sound, with Fah and Lah. The interval between rah and ray is called a komma. General Thompson, who first drew attention to this point in his " Just Intonation," saya that in the chord 7 S the acute form of ray is used because it is more important that it should agree with the root and third of a chord than with the dissonant seventh. His "Enharmonic Organ" proves this. The Chord Eay, r, f, 1, (more properly called Rah) is the most used of the minor chords. It fre- quently occurs in its a position when the bass moves thus | r : s, | d || But it is most commonly found in its b position. See Ex. 124. Let the pupils laa this exercise, dwelling on Ri, and listening to it. When F is called the " Serious " chord, R, from its similarity of effect, especially in its b position, is called the semi-serious chord. The Chord Te, t,, r, f. The root and fifth of this chord form the "Partial-dissonance" described at page 36, and follow the rule of "Resolution" there described. This chord is much used as a " Substitu- tional Chord " for 7 S. In many places in which there is not room for T S, or where 7 S does not allow so pleasant a melodic flow in the parts, this much weaker chord is substituted. It is chiefly used in its i position, which is less harsh than the a position. Listen well to T* in Ex. 125. See Ta in Ex. 126. T, in its relation to S and 7 S, is called the weak moving chord. The Chord Lah, 1,, d, m, has its chief use in the minor mode, which will be described in the next step. Apart from this, it is used almost exclusively in its a position, U being seldom seen, and Lc never. La is used, interchangeably with F6, when the tone 1 is wanted in the bass, and when a minor chord is required to set off the clearer sonorousness of the major. Let Ex. 126 be laad and the L dwelt upon. Notice that S can resolve into L, as can also 7 S and T, for special effect. L, from its proper mental effect, is called the sorrowful chord. The Chord M, m, s, t, though in itself as good as any other minor chord, for some reason not yet suf- ficiently explained is rarely used in Modern Music. Ex. 1236 FOURTH STEP. 47 Perh-ips the mental effect of its fifth contradicts too strongly the mental effects of its root and third. The tone f in T S also contradicts the mental effect of the rest of the chord, but it is a decided disson- ance, and is easily resolved downwards. M is called the umntOMHff chord. The Chord 7 R has, in it, the dissonance d against r with which we are already familiar in the less-used chord 4 S. See pp. 21, 27. The dissonating d is prepared and resolved in the same way, in this chord also. 7 R4 is much used in closes, as a " sub- stitutional chord " for F. Listen to it in Ex. 126. For fuller explanations of the habits of these chords, reference should be made to " The Common- places of Music " and " How to observe Harmony." We can only attempt here to awaken such an inter- est in the subject, as will lead the singer to further study- A thorough knowledge of the nature and meaning of the music he sings, both heightens the pleasure of the singer, and gives him confidence in striking his tones. This intelligent singing is what we are most anxious to promote.* The Mental Effects of Chords are much governed by the natural effect of that tone which is heard in the bass, especially if it is doubled. But the chief source of mental effect in a chord is its root. It follows therefore that the clearest mental effect of a chord is that which it gives in its a position. It then best developes the proper mental effect of its root. This should be shown by experiment. Ex. 123. KEY O. Tuning Exercise, as above. Ex. 124. KBY A. Tuning Exercise, as above. . 'For there -the Lord 'com | manded the blessing || Ev en | life for ev er more . 'The grace-of-our Lord | Je sus Christ U Be | with you all A men St. Co. (New.) * For dogmatic summary of f :r si : - :f n : r d :t| si : s, d :- d :- d :- 'The Lord | bless thee || And | keep thee . "The Lord make-his face . | shine up on-thee || And be | gra cious un to thee . 'The Lord-lift up-his counte nance- up | on thee || and | give thee peace Ex. 125. KEY A. Tuning Exercise, as above. n n :f d :d d :1, f .n.r t,:d n : r d : t, s, : si d :- d :- d :- /TN S n : 1 s : - rz\ s n : 1 r :f n : - -II c n d :f m : - ti d :d t :r d :- Ex. /T\ d d : f | d :- Si d :f. s, : s. d :- (1" \ I , 'Be hold-how good-and HOW | PLEASANT IT 1 is || 'For brethren -to dwell 'to | gether in (Id u ni ty XTr\ As the | dew of Hermon || And-as-the .Nov dO-6XC dew-that-de scendod-up on 'the | moun tains ask c of Zion Ho every one-that thirs'teth 'come | ye to-the waters 1| . And he-that hath-no money . | come ye buy and eat || . Yea come buy | wine and milk || without; | money and- with out price . . Whereforo do-ye spend money 'for that- which | is not bread -- || . and -your labour for | that which satis fieth not || . . Hearken diligently unto me 'and eat -ye | that- which is good || 'and lel-your soul 'de | light it self in fatness . 'In cline-your ear 'and | come unto me || Hear . | and your soul shall live jj Seek-ye-the Lord . while- He | may be found || Call ye-up|on Him while He-is near Ex. 126. KEY A. Tuning Exercise, as before. s :f n : r d : s. n : - d :- f :n r :d ti : d r : r d : t, f, : si d :- d :- d : - Now unto | him-that is able || . 'to do-exceeding-A BUNDANT LY 'a bove | ail-that we or think 'Ac cording to-the power 'that | worketh in us || . 'unto him-be glory-in-the church . | by Christ Je sus THROUGH | OUT ALL AGES || world-with out | end A men the subject see "Mus. Theory," Book V. 48 FOURTH STEP. Ex. 127 Ex 127. Name, pulse by pulse, the chords with their positions and constitutions, of Exs 122 to 126. Cadences. It has already been noticed (p. 9) that music naturally divides itself into short portions or phrases. No one can sing over a tune without also observing that several such phrases together naturally form a larger divison of the melody, and that these larger divisions close in such a manner as conveys to the mind with more or less complete- ness, a feeling of rest. These resting-points in a tune are called cadences. The teacher can sol-faa several melodies, and ask his pupils to hold up their hands, or make some other signal, when he comes to the natural points of rest. These cadences cut the tune into larger portions which we call Sections. These Sections correspond with lines in poetry. When harmony is added to melody, the cadences become more marked and decisive, and the chords move towards these points of rest in a very clear and marked manner. Properly speaking a cadence in harmony consists of the two last chords, but other chords approaching such a cadence are very care- fully marshalled. The principal cadence is that of the Tonic. Listen to it in its various approaches in both cadences of Ex. 86, and 123, and in the se- cond cadence of Exs. 85, 124, 125, and 126. Notice that the chords F, S, D, contain all the tones of the scale, so that when these three chords proceed to a cadence it is as though the whole scale were sum- moned to do homage to its Tonic. Among these Tonic cadences however is one in which the Dom- inant (S) is omitted, and there is nothing but the progression of the Sub-dominant (F) to the Tonic. This is called a plagal cadence. It produces a very solemn effect when the key is well established in tht; ear. See Ex. 123. The cadence next in importance to the Tonic is that on the Dominant. Listen to it with its various approaches in Exs. 85, 124, and 125. This cadence is felt to be one of expectancy as well as of rest. The only other cadence to be here noticed is that on L, just where from the common habits of cadences D would be expected. This we call the Surprise cadence. Listen to it in Ex. 126. C Positions. The c position (p. 26) of chords is chiefly used in DC, as the third-last chord of a cadence. See Exs. 85, and 124. There is this great peculiarity about the third position of D, that it asserts the key very strongly, for while the chord itself is the Tonic, the Dominant of the key is allowed the emphasis and importance which belongs to the bass tone of a chord. When the cadence St. Co. (Xew.J * Sec fuller unalj-sis of Seal moves thus, F, DC, S, D, it is as though the music in coming to a close swung like a pendulum from Sub-dominant to Dominant, passing through the point of rest; the Tonic to which it finally returns. The c position of chords is in its own nature unson- orous and partially dissonant, the ear is not satisfied that any other chords should use it except those on the Tonic, Dominant, and Sub-dominant, It com- monly has some apology in the melodic motion of the bass. It is either " passing," or "continuing," or " accented and moving stepwise." Constitution of 7 S and Minor Chords. (Compare p. 27.) Differing from consonant major chords, 7 S allows its third to be omitted, because by the help of its seventh, there still remains a third in the chord. Minor chords also differ from major chords in allowing their third to be doubled in the b posi- tion, because as the minor chords are in themselves somewhat harsh and unsonorous, additional sweet- ness improves them. The Steps of the Scale. We have now learnt the complete common scale of music, and have seen that these seven peculiarly related tones produce certain effects on the mind by virtue of that relationship. We have seen also that these mental effects repeat themselves in " Replicates " or Octaves.* The pupils should now be led to observe the Steps, from one tone to the next, of this scale. The teacher may laa the scale and ask his pupils to tell by ear where the tones lie closest to each other. They will quickly see that the two Little Steps, are between m f and t, d. They will not be able to perceive by ear but they may be told, as a mathe- matical and musical truth, that there is a difference among the other steps of the scale, that the three Greater Steps are between d r, f 8 and 1 1, and that the two Smaller Steps are between r m and s 1. The difference between ray and rah called a komma, is the difference between a greater and a smaller step. The scale may therefore bo described as consisting of two little steps, separated one way by a couple I of steps, and the other way by a triplet of steps. I One little step has a "major third" (couple of steps) above it, and the other has what is called a "tritone" (triplet of steps) above it. Doh may be defined as that tone of the scale which stands on a little step with two steps and a little step above. The great characteristics of d are, first, that one little step leads up to it, and second, that the other little step lends down to its third above. From t, up to f we have a major third with little steps above and below " Mus. Theory," Book I., pp. 5 to 10. FOURTH it. From f up to t we have the peculiar interval called a tritone. Thus t and f become the most marked character- istic tones of the scale. From their mental effects t may be called the sharp tone of the scale, and f ihajlat tone of the scale. We shall presently see how the whole aspect of the scale changes whenever t is substituted for a f, or f for a t. It may be worth notice that the interval from t, to f is slightly great- er than the true Tritone from f to t. Both contain a major third, but one has,in addition, to a major third two little steps, and the other one greater step, and two little steps are larger than one greater seep. Perception of Transition. Transition is the " passing over " of the music from one key into another. Sometimes, in the course of a tune, the music seems to have elected a new governing or key- tone ; and the tones gather, for a time, around this new key-tone in the same relationship and order as around the first. For this purpose one or more new tones are commonly required, and the tones, which do not change their absolute pitch, change, never- theless, their " mental effect " with the change of key-relationship. To those who have studied the mental effect of each tone, the study of " transition ' ' becomes very interesting. At the call of some single new tone characteristically heard as it enters the music, the other sounds are seen to acknowledge their new ruler, and, suddenly assuming the new offices he requires, to minister in their places around him. The musical fact, thus dogmatically stated, may be set before the minds of pupils in some such such way as the following : " Listen to me while I sing to you a tune. I shall ' figure ' the first line, and you will tell me what tone that is on which the figure ' eight ' falls. The tune begins on a. What is ' eight ? " ' Teacher sings to figures as below : KEY F. s s 1. 2. d : 1 6. 7. " Yes, the ' eight ' was a. What is the mental effect of B ? " The grand or clear note. " Can you tell by your ears, the difference between s and d ? Which gives the fullest feeling of repose, is the stronger resting tone ? " d. I will sing the second line of the tune. Tell me the effect on j r our minds of the tone which wow falls to the syllable 'eight.'" Teacher sings as follows : St. Co. (New). TIP. 49 : s d 1 : t 1 1 : s 1 s :fe 1 s ) i 9 3. 4. .5. U 7. S. { " Was that s the grand, clear trumpet-tone, or d the firm, final resting-tone ? . . Listen again, while I sing both lines, and you compare the two ' eights.' " Teacher sings. " What was the differ- ence between them ? . . Yes, the first was a and the second sounded more like d. And yet, let me tell you, the two sounds were exactly the same in pitch. How came the second ' eight ' to produce so different an effect on our minds ? What made it so much a tone of rest and collusiveness ? . . Let us take the Modulator, and you shall sol-faa the two lines you have heard as I point to them." The teacher points while the pupils sing, but gives the f of the original key where tho accidental occurs. Thus : d 1 f Js " Was that as before ? " Xo. "But try it thus again. . . Did the s sound like d then ? Was it any way different from the other a?" No. " Then what do we want to make s sound like d?" A new tone instead of f. " Very well. Then we will call the new sound fe, and sing it properly. They sol-faa it from the centre column of the Modu- lator. " You feel that you have passed over into a new key." The same musical fact, in another transition, may be shewn thus : " I wilt figure two lines. Tell me what is the mental effect of the first nine and of the second nine? Each line begins on d. What is nine?" The teacher figures without the modulator KKY A. :d f 2. : n 3. : r 4. d :- 5. i. f : n : r 2. 3. 4. d :- C. 7. 8. tai: 1, : s, 6. 7. 8. f:- The first nine had strongly the effect of f ; the second had tho repose of d. " Yes, but they are both exactly the same tone in absolute pitch! What has altered the mental effect of the second ? " You introduced a new tone instead of tj. " Yes, it was tho new tone which changed the effect of f. Then let us call that new tone tau (spelt ta) and 50 FOURTH STEP. sol-faa these two lines from the modulator." They sol-faa. " You feel that we have, as before, passed over into a new key, but into a different new key." Distinguishing tones of transition. When tran- sition is made by means of a new tone instead of f, the mental effect of the new tone is felt to be in contrast with that of the tone blotted out. The desolate tone is changed for a piercing tone, and the fiat tone of the old key is thrown out to make room for the sharp tone of the new. We therefore call fe the sharp distinguishing tone. When tran- sition is made by the introduction of another tone instead of t, it is felt that the sharp piercing tone of the old key has been exchanged for the flat dfSdlate tone of the new key. Taw is therefore called the flat distinguishing tone. The teacher will know how to make this evident to the ear of the pupil. Melodic tendency to transition. Let the pupils laa (not sol-faa) from the modulator such a passage as this : i! i! KEY D. :n.f|s :d - II :- t.l:s i! d !l f - il |f..:f i :- I and they will feel that the f sounds unnatural. It is more natural to sing a sound which is " under- leading-toue to S, as t, is to d, a sound which we should call fe. Let them sing it again, using fe, and they will feel that the mental effect of t 1 8 has become that of m r d. The reason is that our ears are so much accustomed to the two full " steps " m r and r d leading down to a key-tone, that whenever they perceive similar intervals accented in a similar manner they prefer to interpret them as m r d. Try the only other interval of two full steps in the scale, 1 8 f, and you will find the same habit of ear, the same tendency of mind to interpret this interval as m r d. Deal with this example as with the other. KEY D. n |s : t d 1 : 1 | f : ) Here t is felt to be the unnatural tone. Yon want an "over-leading-tone" to 1, as f is to m. The ear naturally interprets the constantly repeated f B 1 as d r m, and desires to make the last three tones m f m. Indeed it may be noticed that the " tritone," as a melodic progression (with its three long steps) is not loved by the ear, and that the lower part of the scale is much preferred to the upper. Adjacent keys in transition. Such transitions as have just been studied are called transitions of one remove, because only one change is made in the pitch tones us"d. When s becomes d the music is said to go into the firxt sharp k*y. When f becomes d we say that a transition is made into the first fi/it key. Eighty per cent, of all the transitions of music are to one or the other of these two keys, and of them the first sharp key is the one chiefly used in " principal transition," or tran- sition from the principal key of the music. The relation of these two adjacent keys should be very clearly understood by the pupil, and he should be led to notice how the pitch tones change their mental effect. This may be proximately described by the table below. Piercing t becomes Calm m. Sorrowful 1 Rousing r. Grand B Strong d. Desolate f it changed for Piercing t. Calm m becomes Sorrowful 1. Rousing r Grand 8. Strong d Desolate f. If the teacher has a black-board, it will be well for him to lot his pupils construct the new key by the side of the old one in some such way as this: ' I have drawn the scale [as at side] and you will see that I have observed carefully the shorter distances bet ween m f and t d'. Let ns suppose that our 8 is changed into d. To represent this I write d on the right of B. What change now takes place in the mental effect of B?" , "In that case what will 1 become, and what will be the change of mental effect?" * * " What will t become, and how will it change its effect?" * * "What of m?" "What of r?" "What of d?" . " What becomes of f P Is there a Step or a Little Step between d and the tone below it?" , "What d" te f m lab r oh d fah y me X i 1, ray , dob '' St. Co. (New.) FOURTH STEP. 51 IB there between 8 and f ? " , " Then f is not near enough to the new d to form a proper ' leaning tone.' We therefore banish f from the new key, and use fe instead. This is the principal change of mental effect which occurs. How will you describe it ?" Again the teacher may say "Let us suppose that f has become a new d. I will write d on the left hand of f. What shall I write on the left hand of m ? r ? d ? s ? 1 ? What becomes of t ? " * * " Yes, the new flat tone is put in its stead." t Keturning Transition. As a rule all tunes go back again to their principal key, but the returning transition is not always taken in so marked a manner as the principal transition, because the principal key has already a hold on the mind, and the ear easily accepts the slightest hint of a return to it. Commonly also it is in the principal transi- tion that the composer wishes to produce his effect, and in which he therefore makes his chords decisive, and his distinguishing tones emphatic. It is not always so, however, and in hymn-tunes the returning transition is often as beautiful and effective as the principal transition. Let it be carefully noticed that the return to the original key is the same thing in its nature as going to the first flat key, so that a study of the mutual relation of these two keys is the groundwork of all studies of transition. For convenience of memory it is well for the student to draw a diagram of a principal key with its first sharp and first flat keys, and to learn by rote the relations of their notes. Thus let him say aloud " d f, d s ; r s, r 1 ; m 1, m t ; f to t, f d ; s d, s r ; 1 r, 1 m ; t to f, t m. It may be interesting to mention that in passing to the first sharp key, the new t requires the old 1 to be raised a komma to make it into a new r. If it were necessary, this form of the tone might be called Lay. Notation of Transition. Tonic Sol-fa pupils always prefer that their notes should correspond with the mental effects of the tones they represent. We therefore adopt the plan of giving to some tone closely preceding the distinguishing tone, a double name. We call it by its name in the old key as well as by that which it assumes in the new, pronouncing the t f ta m 1 8 old name slightly and the new name emphatically, thus M'Lnk, S'ltay, D'fah, &c. These we call bridge-tones, and write them thus m\, 8r, df. We call this the Perfect Method of indicating transi- tion. But when the transition is very brief we write the new t as fe, and the new f as ta. This is called the Imperfect Method. The teacher will point on the modulator and teach by pattern such phrases as Id : n |s : d 1 I *d : ti I d or |d : n |s : d 1 | s : f e | s and | d : n |s : d 's I f : n | r or i d : n | s : d 1 | ta : 1 s making the pupils sol-faa in both ways. Occasion- ally the transition is taken as in Ex. 129 and 123 on a bridge-tone which is not common to the two keys. In these cases we write the " better " notation of transition thus : | f : *et, | a or |t : taf | n Signature of Transition. The signature of the new key is placed over every transition when written according to the perfect method. If it is a sharp key (i.e. to the rigM on the modulator) the new tones are named on the right of the key name, thus, A. t., or ( if two removes ) A. t. m, If it is a flat key (i.e. to the left on the modulator) the new tones are placed to the left, thus, f. B?., or d.f. B?., and so on. By this the singer knows that he has a new f or a new t to expect. More distant removes would have their two or three other distinguishing notes similarly placed. Mental effects of Transition. The most marked effects of transition arise from the distinguishing tones which are used. Transition to the first sharp key naturally expresses excitement and elevation ; that to the first flat key depression and seriousness. Manual Signs. It is not advisable to use manual signs in teaching transition, because they are apt to distract attention from the modulator with its beautiful "trinity of keys." The greatest effort should be made to fix the three keys of the modu- lator in the mind's eye. But if, on occasion, it is wished to indicate transition by manual signs, the teacher may, to indicate transition to the right on the modulator, use his left hand (which will be to the pupils' right) thus. When with the right hand he reaches a bridge-tone, let him place his left hand close under it, making the sign proper to the new St. Co. fNew.) + See other "presentations of Transition" in "Teacher's Manual'.," pp. 130 to 133. 5'2 FOURTH STEP. Kry, then withdrawing his right hand, let him proceed to signal the music with his left. He can use the reverse process in the flat transition. Signs could easily be invented for fe, ta, etc., but we do not advise their use. Chromatic Effects. The ear forms such a habit of expecting t to move to d 1 and f to move to m, especially in cadences and other phrases meant to decide the key, that a new effect arises when the rar is disappointed of its expected gratification. This is markedly the case when a new t or a new f threaten to decide for us a new key. Some of the Ex. 127*- KEY E. Effect of the new t. most startling and a few of the most beautiful effects of modern music are thus obtained. See more on "Chromatic Resolution of Chords" in " How to Observe Harmony." Such exercises as the following should be care- fully taught by pattern, from the modulator. Let them be first sol-faad and afterwards laad, the voices lingering on the distinguishing tone. But let the voices carefully mark the resolution (or "progression") of that tone, because on the reso- lution it depends whether the effect will bo transi- tional or chromatic. B. t. d' f :d n :d s :t, f :- n ti :d r :t, f - |*i t Ex. 128 . KEY A. E. t. * 'n 1 r :d t, :d n : s f : n : *s 1 : t d' :r> t d 1 | Ex. 129 . KEY E? Effect of fe chromatic. r s (' t- d :r n :d f :fe s :- d' :s 1 : s f e : f " : ~\\ rf-f 11 ti n It Ex. 130 . KEY B? . Effect of the new f. f. E/* j d ll :d t, :f n : r d ;d s f : n r :f n r d i r *, Ex. 131. KEY F. f. B7. ii i d /i :d n :d s :d> t : d< : 'd n :d s :d f n | t| M; i II /I , Ex. 132 . KEY B. Effect of ta chromatic. , l| n :TI r :d ti :ta, li :t, d : si ll : ta. t, : d n r d l| II r\ S| di Cadence Transition. The commonest form of transition to the first sharp key is that in. which it gives life and beauty to a cadence. See Exs. 133, and 134. When a transition docs not begin before the second-last measure*of a line, and does not con- tinue beyond the cadence, we call it cadence-tran- bition. The first flat key is seldom used thtis, but LORD, WHILE see Ex. 141. We write cadence-transition in the 'Imperfect" manner that is, with fe or ta. The Cadential Movement of the Bass. | d : r I or |r :r s, sounds like |f :s [dor |s :s ,cl of tin- first sharp key, and suggests transition to thf! mind even without the fe. FOB ALL. Ex. ] f.H U. Lord, : 12. O L33. KEY A. n : r while for d : t, guard our Firmly. PI : d all man - d : r,, shores from r :ti kind we fi : s, .f, d :d pray, In rii : d foe, With s : r ev - 'ry t, : t| peace our Dr. ( n : f e clime and d.ti:l, bor - dert }ro/t. ^> S coast, 8| bleu; ev - 'ry St. Co. (New.) ' Or the third last accent FOURTH STEP. 5j : s f :r PI : d f :n r 1 t| r : s f :r ^ d o : n With HEAR US r : t| pros - p'rous FOR OUK d : ri| times our NA - TIVB 1, .ti :d LAND, The t| : S { crown, OUR land we f i Pl| FIELDS WITH love the f ( : si.f ( most. H| NESS. cit - ies PLEN-TEOUS- 3 Unite us in the sacred love Of knowledge, truth, and Thee, And let our hills and valleys shout THE SONGS OF LIBERTY. 4 Lord of the nations ! thus to Thee Our country we commend ; Be thou her refuge and her trust, HER EVERLASTING FRIEND ! PRAISE TO GOD. Ex. 134. KEY A. Joyfully. German Chorale. n : r d : n s :f n : li :ti d :r ti : 1, s, : 1. Praise to d : t| 2. Praise to God! 1, :d him who let us t|.s,: l|.t. raise, d : light, From our f. :fi Praise to hearts a n, : fei him who song of s, : fe, gave us praise ; S| : sight ; made the d : ti 1, :d f :n r : s :f n : r d : t, d : Of that HI : s, Praise to good- ness f, : If him who let us t,.r :d.l. sing, t| : ear ; Whence our n : r Will ho lives and d :f, not his bless - ings si :-.f, chil - dren spring. HI : hear? fonn'd the 3 Praise him for our happy hours ; Praise him for our varied powers ; For these thoughts that rise above, For these hearts he made for love. 4 Praise his mercy that did send Jesus for our guide and friend : Praise him every heart and voice, HlM WHO MAKES ALL WORLDS REJOICB. Passing Transition. The commonest form of the transition to the first Jlat key is that in which it makes a passing harmonic ornament, not in a cadence, but in the middle of a line or near the beginning. See Ex. 142, 144. The first sharp key is seldom used thus, but see Ex. 170, 171. We write Passing transition in the " improper " manner. Extended Transition is that which is carried beyond a cadence. The first sharp key is much used in this way in hymn-tunes, often occupying the second or the third lines, and sometimes the greater part of both. See Ex. 135, 136, 137, 140. St. Co. (New). The first^fltf key is seldom thus employed in tunes which are in popular use. It is rare to find such an example of it as Handel gives in Ex. 143. The Exercises. All the early transitions, and all the more difficult transitions which follow, shoull be well taught from the modulator. If this is not. done transition will become a confusion instead of a beauty and a pleasure to the learner. Missed Transitions. If one "part" is silent while another changes key twice when it enters both bridge-tones are given in some old music, thus r "d, but this plan is not now adopted. When apart enters after others which are already in the new key the bridge -note is placed in brackets ( d ). 54 FOURTH STEP. Ex. :d I. :d O 135. KEY E. Gently. n : r |n : 1 Sa - viour, go b - d :t, |d :f SAVIOUR, GO Bl M. 50. 3 :f |n :1 ESIDE US. s : f |n : r ev - er tee may n : r |d : t. n : | go; d :- |- side us, Wher- n :r |d :f 2. Step-herd, go be - side us, And lead thy faint - ing flock ; B. t. :d r : n |f : n f. E. r :- |d :i,n f : n |r : r d :- |- And "id. let no harm be - t. : di 1 1, : 8, tide us, From f, :- In, : f ,d ma - lice of the t, :d |f, :s. foe. d :- |- With pas - tures green pro- vide us, And well- springs from the rock. 3 Master, stay beside us, Our hearts with wisdom store ; Be strength and grace supplied us, To grow for evermore. 4 Father, go beside us, Till all our wand'rings end ; LET WEAL NOR WOB DIVIDE us FKOM THEK, OUR FAITHFUL FRIEND. Ex. 136. d :r KEY F. n : n LO ! M f :n Y SHEP] r : SERB'S ] C. t. "1 :t IAND. d 1 :r' n' :r' A. Stone. d 1 : 1. Lo! my d : t, Shop -herd' s d :d hand di - 1, :d vine! ti :- Want shall df :r nev - er n :f more be s :f mine ; n : 2. When I faint with sum - mar's heat, He shall lead my wea - ry feet f. F. in : n f :f r : r n : s :f n : r d : ti d :- In a 'd :d pas - ture r : r fair and t, : s. large, d :- He shall n : r feed his d :f, hap - py i : - -f. charge. n, : - To the streams that still and slow, Through the ver - dant mea - dows flow. 3 He my soul anew shall frame ; And his mercies to proclaim, When thro' devious paths I stray, Teach my steps the better way. 4 Though the dreary vale I tread, By the shades of death overspread. There I walk from terror free, STILL PROTECTED, LOUD, BY THEE. Words by Tapper. COURAGE ! Music by A. L. c. Ex. 137. KEY B7. Boldly. M. 112. g, :-.BI|S, ; li.ti d : - It, : si : - S|| li.t,: d.r n :- |r : Dan - gers do not dare me, Ter - rors do not scare me, s, :-.f||n ( : r. d, : n, | S| : fi :- filf, : ni.r. d, :d |t, : F. t. t r : - .a|t|.d : r .n f : If : ft : - .t|t : t d 1 :- |d :- God, my guide, I'll bear me Man - ful-ly for ev er. t, :-.l||S| :f,.R, TI : - |r : r s : - .s | s : f n :- |d :- 8t Co. (NewJ. FOURTH STEP. 55 f.Bt7. fd :- .t|r :d ti :- Hi Trou - ble's dark-eat hour, 1|H, : - .'III : n t f, :- |f| d :- .r | n :f s : 11 To the Spec- tre's pow er, d :- t,|d : li HI : If, n : - .r |f : n Shall not make me d :-.t,|l, :s cow f. - Id er I HI 2 Up, my heart, and brace thee, While the perils face thee, In thyself encase thee Manfully for ever. Foes may howl around me, Fears may hunt and hound me, Shall their yells confound me ? Never, never, never ! t,.t,: |f.f: n.d: Never, never, never ! 8|.8|t |S|.S,: S|.IV 3 Constant, calm, unfearing, Boldly persevering, In good conscience steering Manfully for ever. Winds and waves defying And on God relying, Shall he find me flying ? Never, never, never ! Ex. 138. Let this be practised until each syllable (A and men) can be taken with one breath. Or. t. KEY C. M. 80. d> :- I- :- A t t I-! ( :n |1 :s d :"- |- :- O LITTLE CHILD, LIE STILL. Words from the " Lamp of Love." Ex, 139. KEY D. Softly. M. 96. Mainzer. :- It : *'f : 1 Is :f : n .r |n :d . . . . . . men, A f :r |s : f ml, : It, : d : Id : f. C. f :r |s :f n : s |1 :t d' :- 1- : . . . . . men. :- It, : d s : | :f n : 1- : : n n : r : n s : :f n : 1.0 2.0 :d 3.0 4. Then ~uT lit d "- tie tie :t, :d child, child, n : child, an lie lie : r when - gel still still d : thou wings lit - tie with thy r : near, sleeps ti : : r THOU whom :t, r : n :fe NOT MM :d s : FEAR; keeps, ti : NEED'ST Je d : then, cend, But To say meet A - thy men! Friend, St. Co. (New). and and r . **"" sleep ! rest, t, :- must die, quick grown, And :(n) To :1 one :f God'Y Je - BUS in n A. L. C. d : r : n Je - He d : SU8 sweet d is -ly :d Fear Shalt no - thou thing as - t d 1 : : n need the r fear morn n : - whom ing :d com mand, the lit - and tie 56 FOURTH STEP. n : : r r : : n s : - - : f :- :- - n : : s a : 1 : t v God doth I eep, I5y day or night. Then I ay thee\ wake, so I lest, His CHILD TO BE, Love t v - 'ry f \ d : - : t, t , :- :d ti :- - : t, : - : - d : : n r _il :r ( ' qui - et I 'e In his kind hand Till It te shall \ child will o wn Safe, at his side! And t aou shalt d' :- :n r i : : r r : - : n r : : r : : n d :~ down in ilum ler deep Till morn ing light. one, * but .ove him best ;- He first lov'd thee. n : : d 1 :- :t t, :- - :d d : : t, t, :- :- d :- say, " Dear child, come fly To HEAVEN'S BRIGHT LAND." \ live be - fore the throne, BE- CAUSE HE DIED ! BLEST BE THE HOUR. Tune " Dublin.' Ex. 140. KEY G. D.t. : n n : s :f n : r :d r :1 : t| d : : r s 1. Blest be the hour when friends shall meet, Shall :d d :t| : 1| s. : : 1. fi : - : f i HI : : t ( n 2. Sweet hope, deep cher ish'd, not in vain, Now f. G. 1 : t : d' f :n . r d 1 : :*d r : :n f : :n \ j meet to tirt no i nore, And wit ti ce - les tial f f :- :n thou art r :d rich t| C ly < 1 : : i,n, s, jrown'd, All thu : :d 1, :t, :d k t was dead re - i r : n : d d :t t : s, s : f : n r_li : t, d :- wel - COB no greet, On an im - mor - tal shore. s, : - : 1 s, : : s, t, : :d f : - : f , n, . k vivcs a - gain; All that was lost is found. 3 And while remembrance, lingering still, Draws joy from sorrowing hours, New prospects rise, new pleasures fill The soul's capacious powers. 4 Their Father fans their generous flame, And looks complacent down ; The smile that owns their filial claim IS THEIR IMMORTAL CROWN. Ex. 141. KEY C. M. 72. d : |n : s Hal - le d :- |d : St. Co. (NetoJ. S I jah! n I HALLELUJAH. ta : 1 | lu - jah ! f :f I Natorp. FOURTH STEP. 57 r,r" :- Id 1 :- \ 1 Hal - le - Mr :n |fe :- - d' :t | : lu - jah! s : s | : Hal ' - le s :1 |t :- if :- |f :- lu - jah! :- d' :- |f :- } f :- In 1 Hal - le f : |d' : r' : lu s : 1 . 1 * :- 1 : I! jah! d :- | : : Ex. 146. XBY B|?. s, : d |t, : d I. Through the day thy nj : PI, | s, : 1 M. 58. THROT] r :d.t,|d :d 'GH THE n : n Now wo d :d DAY. r .d : ti 1, : 1, 1 s, : love has spar'd us, f , : si |n, : HI lay It,. us down to rest ; l,:si s, :fe, |s, : 2.Pil - grims here on earth, and strang-ers, Dwell-ing in the midst of foes; si : d | t, : d r :d.t,|d :d n : n r .d : ti 1, : 1| |s, : Through the si - lent HI : HI | s, : 1 Us and ours pre- watch-es guard us, f i : S| | n, : n, serve from dang - ers, Let no d :d In thin foe our peace mo - lest: L,:SI s, :fe, |si : e arms may we re - pose, id : ta, 1 1, : 1 r : d |t, : d :r n :f n :r |d : Je - sus, now our d, :n, |f, :f guar - dian be, r, : fe t | si : Sweet it , is S| to trust in thee. : 1, s, : s, |d : And, when life's short day is past, Rest with thee in heav'n at last. Ex. 143. KEY F. d :n :f 1. Great is the d :d :r 2. Great is the f. Bl7. s :di s Lord his n :">t| mer - cy GREAT IS THE f :- :n works of 1, :- :d of the LORD. r : : n might De - s, : : d, Lord ; He Handel. 1| : t, : d mand our f , : r, : n. gives his d .,r : n : r d songs d| food; . i F. t. s .f : n n :r :d d 1 :t.l:s.f no - West PI, .,f ['. S, : s, Let his as - s ,d : n .r : d sem d bled :t, :d saints u - n : f : n .r child - ren And, ev - er mind - ful of his n : r : n 1, :t, :d mo - :n, his d .,r : n : r d :- :- tongues. d : : good. nite Their d : t| : d .n, har makes ny of 1, : s, : s. word, He St. Co. (New). pro - mise 68 FOURTH STEP. Ex.144. KEY B7. M. 72. Words by Russell. A. L. C. n : r : d 1 O'er the dark d, : r, : n, i.'fhe wea - ry ti ; 1, : si wave of f i : : n, bird hath 1, : - : t, Gal - i - f i : : 8 ( .f, left the d lee n, air, : : Si : 1 : ta The gloom of \ n, : f, : s, t And sunk in - 1, : - : r 1, :t, :d t, : - : - n :r :d t, : 1| : s, twi - light fi :- :f, -i there .61 : s : 1| fast, si : : And d, on the : n : HI wa - ters f, : : HI to his shel - ter'd nest ; The wand -'ring beast hath 1, :- :t, d : : r :n :f n :d :r d : : t| d : : drear - i - f| t !8|.f i ly De - scendsthe tit - ful n, : : f i : n, : r, d, : n, : f , ev - 'ning I'll '. ! T| blast, d, : - : - sought his lair. And laid him down to wel - come rest. 3 Still, near the lake, with weary tread, Lingers a form of human kind ; And, from his lone, unsheltered head, Flows the chill night-damp on the wind. 4 Why seeks not he a home of rest P Why seeks not he the pillowed bed ? Beasts have their dens, the bird its nest ; - He hath not where to lay his head. 6 Such was the lot he freely chose, To bless, to save, the human race ; And, through his poverty, there flows A rich, full stream of heavenly grace. I LOVE MY LOVE. Ex. 145. K : n : s BY C. M. 88 1 :- :s , twice. Word s :- :f B by Charles A n :- :d' \ackay. d 1 :t :d' n 1 : - : d ( A. L. 0. t :- : - 1. What is the n : d : n mean - ing f :- :n of the song That n : - : r | d : - : n rings so n : r : n clear and d : - : n loud, s : - : - 2.Whatis the moan - ing 3.0 hap - py words ! at of thy thought, O Beau - ty's feet We maid - en fair and sing them ere our young P prime; , - : :t \ Thou - : :s.f d 1 : - : n | s : - : t night - in - gale a - n : - : d 1 1| : - : s.f d 1 : - : n 1 s : - : n 1 mid the copse, Thou n : - : d |t, : - : d in thine eyes, Such sum - mers pass, And n 1 :f :n' |r' : d 1 :t lark a - hove the 8 : 1 : s |f :n : r There And is such plea - sure when the ear ly mu sic on thy care comes on with St. Co. (New). FOURTH STEP. d 1 :- :- 1- : O. t :d'f n : cloud ? n : - :- 1- : What says d : tongue; Time, There Still is be s : : :s, |t, : - : s, d :- Up in Pl| l*l| the wal : PI, | f i : nut - :f, tree? nil ; What can join in the mean the cho - ing rus be? free n |n : - : r d : :t, |d :- :(s) thy song, thou joy ous thrush, Si | s, : - f( n, : - : r, | HI : - (HI) such glo ry on thy face it ours, in care's des - pite, To f. C. - 1- : :<*s s : 1 : s 1 1 : - : t ' "I love my love be- 1- : . ,n m :f :n |f :- : r d 1 : - : d 1 | t : - : t cause I know My n : - : d.n| s : - : f d 1 : love n : loves :- |s :- |1 :- :t love be- If :- :r d 1 :- :d' |t :- :s cause I know My n : - : d.n| s : - : s n 1 : love s : in 1 :- me, d 1 :- r' :- :- loves If :- :- _s :_! : s \ love my\ n r_f : in j d' :- :- |- me. n : Pitching Tunes. By this time the pupil is probably possessed of a C 1 tuning fork, but that should not prevent (it should rather promote) his constantly exercising himself to remember " one C " (C 1 ) as recommended p. 29. In pitching the key F, it is useful to suppose your C 1 s, and fall on your key-note thus, s m d. The pupil will not now find it necessary to run down to G, but will fall upon it at once from his C'. E may be pitched by falling to m, thus, C'd 1 s m - ""d. A may be pitched by falling on 1, thus, C'd 1 1 - J d. D may be pitched thus C'd' r' - r 'd'. The key may be pitched a little higher (sharper) or a little lower (flatter) than any tone of the "standard scale of pitch," p. 29. The tones thus required are named " F sharp," " E flat," &c., and the sign I? is used for "flat," and J for "sharp." A sharp bears no relation to the tone below it and after which, for convenience, it is named, but its relation is to the tone above it. To that tone it is an under-little- step, as t t to d. It is like the f, in transition, changed into fe. In order to strike it correctly we sing the tone above and then smoothly descend a little step to it. A flat bears no relation to the St. Co. (New). tone above it and after which it is named. It is an pver-little-step (as f to m) to the tone below it. Jt is like the t, in transition, changed into ta. To pitch it correctly in the cases of A 7, G p, and T)?, we should sing the tone below and then rise to it a little step. But in the more commonly used keys of B t? and E t? it is easier and surer to pitch thus : For B P suppose your C' to be s and sing s f - f d. For E [7, suppose it to be 1 and rise stepwise to d'. thus, C'l r t d 1 . Eecitation. The art of reciting well on one tone is a very difficult but exceedingly beautiful one. A pure and exact enunciation, making every word stand out as it were in bright colours before you, is a wonderful charm even in common speech, but when one listens to the clear utterance of some great singer, words seem like old friends arrayed in startling beauty and inspired with new jpowe< A good elocutionary recitation depends on the study and practice of the most suitable rhythms, emphases, and pauses for expressing well the meaning of the words, and on a thorough mastery and careful practice of the articulations and vowels of speech. The emphasis of words belongs to elocution rather 60 FOURTH STEP. than to singing. The choice of ncccnt also, in words set to music, belongs to the composer rather than to the performer. Varieties of rhythm the pupil will learn in the study of chanting. But the consonants and vowels, the articulations and continuations of voice, are proper objects of the singer's study. Of these, the vowels or continua- tions are the more important to the singer, because on them alone can a good tone be prolonged, and every fault a man has in speaking vowels is greatly magnified the moment he begins to sing. But the vowels have already been practised to some extent in connexion with the voice exercises, and will be studied more fully in the next step. Besides, in first attracting the attention of the pupil to the action of his vocal organs it is easier to begin with the consonants. In preparing the scheme of exer- cises on consonants and vowels, the author has been greatly aided by old studies of Dr. Rush on the Voice, and by Mr. Melville Bell's " Visible Speech" and "Dictionary of Sounds." But his chief help has come from the generous and patient personal assistance of Mr. Alexander J. Ellis, author of "English Phonetics," "Early English Pro- nunciation," and other works. An Articulation is a joint. A joint implies in this caso both a separation and a connexion of spoken sounds. The lips may come into contact with one another, or the lip touch the upper teeth, or the tongue touch teeth or palate. There may be thus an absolute or nearly absolute stopping of the vowel sounds. And these points of separation are also made points of junction. They are joints or articulations. Qualities of articulation. If the student produces strongly P and B, without any distinct vowel following them, as in la-p, tu-b, ho will soon notice that P has a hard quality and gives nothing but breath ; that B has a softer quality and something of voice in it. In fact the larynx takes part in the act of articulation. The same differences may be easily noticed between the Tip-tongue articulations T as in pe-t, and D as in mai-d, and between the Back -tongue articulations K as in seek, and G as in plag(ue). These we propose to call the two qualities of articulation, the Breath quality, and the Voice quality. Modes of Articulation. If the student pro- nounces carefully the Lip-articulations P as in shee-p, WH as in wh-ile, and with the use of the teeth F as in U-f(eJ, he will soon notice that in St. Co. (New). producing P the lips shut the passage of the breath; that in WH they give it a narrow central opening ; and that in F they oblige the breath to force its way through chinks on both sides of the point of junction. It is easy to notice the same difference of passage in producing the Tip-tongue articula- tions T (with shut passage) as in be-t, S (with central opening) as in ta-ss, SH (central) as in la-sh, and TH (with side openings) as in wra-th; and in the Back -tongue articulation K (shut) as inla-kfej,and Mid-tongue Y (central) as in y-oung. Again, there is the trill or tremulous motion of the tip of the tongue for the rough R (written R') as in herring, and a peculiar mode of articulation called nasal, in which the voice resounds within the nose, as for M, N, and NG. These we propose to call the five Modes of articulation : shut, central, side, trilled, and nasal. Organs of Articulation. The muscles of articu- lation reside chiefly in the lips and the tongue, for the teeth and the palate are comparatively station- ary. The work has to be done by the Lips, or by the Tip, the Middle or tho Back of the tongue. "We may call the Lips, tho Tip, Middle, and Back of the tongue the four organs of articulation. These Organs, Modes, and Qualities produce tho following : The Lip articulations, P, B, WH, W, and M, are easily understood. But it will be seen that in F and V the upper teeth act with the lower lips in making the articulation. The Tip-tonguo articulations, T, D, T,, N, and tho trilled R' are also quickly understood. For TH, DH it will be seen that the tip of the tongue acts against the teeth. S, Z, and SH, ZH require both the tip and middle of tho tongue, the teeth and lips also usually acting. S, Z use the tip more decidedly than SH, ZH. The letters DH, ZH, are commonly used by elocutionists to represent the soft forms of TH.SH. ThetrilledR' occursonly before vowels. When not before a vowel, R is vocal and modifies the proceed- ing vowel, forming diphthongs. See pp. 143, 144. YH and Y require no explanation. CH and J are double articulations, or conso- nantal diphthongs, and might be spelt TSH and DZH. Hence they are not included in tho table. The Aspirate H is simply the sound of breath driven sharply through the open larynx. Its im- pulse comes from the muscular floor on which the lungs rest. See p. 96. Ex. 146. FOURTH STEP. TABLE OF ENGLISH ARTICULATIONS.* SHUT. Breath. Voice LIPS. ~ i^_ ~ Lips. p pea B bee TIP-TONGUE. Teeth. Palate. T toe D doe Mid-tongue. BACK- . TONGUE. K keen G gain CENTRAL. Breath. WH F TH wheel feel thin Voice. SIDE. Breath. Voice. TRILLED. Voice. NASAL. Voice. M SUM W V weal veal DH then S SH YH seal rush hew (yheu) Z ZH Y zeal rouge you (rooih) L lay R' ray N sun NG sung How to sing a consonant. A study of the above table will shew how little there is in any of the consonants which can be sung. The breath articulations with shut posture,. P, T, K, have positively no sound ; the hisses WH, F, TH, S, SH, YH, cannot be sung at all, and should be made as short as possible ; the buzzes W, V, DH, Z, ZH, Y, are very disagreeable when continued, although it is just possible to sing them ; the voice articulations with shut posture B, D, G, are far too smothered for singing ; and although L, R, M, N, and NG may be more or less murmured or hummed, they cannot be properly sung. In passing, however, from consonant to vowel and vowel to consonant, that is from one fixed position to another, the organs necessarily assume an end- less number of intermediate posi- tions, and voice being uttered during the time of this change, there results a varying sound, which may be called a Glide. This is not a glide in pitch, but in vowel qualities. The organs do not change much, and there is comparatively little glide between b and oo, but there is a great change in the organs, and therefore a considerable glide be- tween b and ee. A similar dif- erence may be observed between the Glides k to ai, and k to oa. It should be noticed that as long as any two sounds, for example m and ee, are kept separate, how- ever closely they are put together, there is no syllable. It is the glide which makes sounds into syllables. Indeed the only part of a consonantal effect which can be really sung is the glide. The exercise of singing a consonant, therefore, consists of making this glide conspicuous by opening t/ie mouth well for the vowel and clos- ing it smartly for the consonant. All real intelligibility in singing depends upon the manner in which the singer brings out the glide, taking care not to introduce puffs, or to prolong hisses or buzzes. On this exercise he will then con- centrate his attention. Ex.146. Enunciation Exercises on the Lip articulations. Let the following lines he sung aa in a chant, on the tone G, the pupils taking extreme care to make the requisite distinctions of articula- tion and to bring out the glide. When an exercise has been sung to the open aa it should be practised with the other principal vowels ai, ee, au, oa, oo ; for each vowel will introduce a new glide. . The | lips -pro : duce-with | shut : passage | paa : b | maa : \ aap : aab \ aura. : \ aap : pa . The | lips-pro : duce-with | central : passage | whaa : vraa \ vrhaa : \raa \ &c. . The | lips-pro : duce-with (central: passage] fan : vaa \ faa : vaa \ aai : aav*\ ani : taa \ aav : vaa St. Co. (Ncw.J * For Diagrams see " Teacher's Manual," p. 198. t Don't open lips, t Note, p. 62. 62 FOURTH STEP. Ex. 147152. Ex. 147. Enunciation Exercises on the Tip-tongue articulations. . The | Tip : tongue-pro | duces : . with | shut : passage | taa : da | naa : | ant : aaA. \ aan : oat : taa \ ad : daa | . The | Tip : tongue-pro | duces : . with | central : passage | aaa : zaa \ saa : &c. * . The | Tip : tongue-pro | duces : . with [central: passage) thaa : dhaa | laa : \ oath : aadh | aa.. | aath : thaa \ aadh : dhaa | &c. Ex. 148. Enunciation Exercises on the Mid, Back, and trilled-Tip-tongue articulations. . The | Mid : tongue-pro | duces : . with | central : passage j shan : zhaa \ aash : aazh \ . The | Back : tongue-pro | duces : . with | shut : passage | ka : gaa \ ngaa : \ ak : nag \ aang : . The | Tip : tongue | trilled : . pro | duces : with | central : passage | Taa : laa \ aaiaa : aaraa \ Ex. 149. Pronunciation of the Lip articulations. Recite on one tone (G) paying exact attention to the thick letters. This will require close attention to a careful pattern. Where the pronunciation varies from the spelling, the proper phonetic letters are introduced. The ending articulations and tho double articulations are very difficult in singing. They must be delivered very distinctly but very quickly. Cop, cab, pull, bull, cup, cub, pet, bet, mop, mob, babe, babble, bump, peep, stopcock, upmost, leap/., map, member, _/ilm, minimum, mumble, triumph. "When. Wen, where, Ware, while, Wile, whither, wither, whim, whip, wharf, whelm, whimper, whiffle, vihiff. Vain, vain, fault, vault, bar, veer, foist, voiced, fife, five, serf, serve, safe, save, muS, puS, move, love. Ex. 150. Pronunciation of the Tip-tongue articulations. Bet, beA., tire, dir, neat, need, troll, droll, colt, ro/d, butch, ba&.ge, writer, riier, tight, tieA, titilute, tetra- gon, tittL-tattltf, t, tew, thrill, /nil, path, paHhs, oath, oadhz, mouth, mou&bz, lath, l'/dhs, clodhz, close, ladhe, lave, owez, Ioath8om, loadh#th, fair, fair'er, near, near'er, err, ert'ing, ftc, mirr'or, br'td, ibi'ee, ver'ily, r'evelr'y, pr'uier'y, littr'ally, liter' ar'j, holilj, worldlily, l/8tl88ly,yollily,bl/dhely, boldly, ', foully, eel-like t tll-looA, play, flame, glass, slave, 8ddl, kettle. Ex. 151. Pronunciation of the Mid and Back-tongue articulations. 'Z.upe, gape, tulaia, glass, barter, garter, Itrate, grate, 6ack, bag, duclt, dug, peclf., peg, pick., pig, frock, frog pack,', ( ;k'. xtkt, strict, pidfjiidt, quilLset, k/ik-kwk, 1tnc\Let, clang, clan, thing, thin, dinging, dinning, mgmg, si /tiling, angktious, compungktion, congkord, ungktuous, Jungktion, longest, long-gest, rung, run. Ashes, asses, shuie, sign, Oreeshian, adhelhion. shaises, incizhion, speshial, seizhure, Rushian, treazhure, shrewed, vizhion, suspishious, intruzhion, batch, baj, batu, etch, lej, frets, leech, liej, beats. Ear, year, ooze, yeuz, booty, byuty, do, den (dew, due), pyure, tyune. Ex. 162. Error exercises on the articulations. "Foller," follow, window, sorrow, pillow, shallow. "Runnin," running, writing, speaking, walking, singing. " Laud," lord, storm, worm, far, first, smart, worst. " Gwacious," gracious, great, green, rich, rest, rough, right, "'appy," happy, heaven, hymn, hail, when, why, which, while. " Hone," own, and, air, ill, eve. St. Co. (New.) * Don't let final dh run into dhth, nor z into zs, nor v into vf. FOURTH STEP. 63 The soldier's steer," the soldier's tear. 4 That lasts till night," that last still night. 4 Study deceit," studied deceit. 4 A languid aim," a languid dame. 4 His cry moved on," his crime moved on. 44 Luxurious oil," luxurious soil. " Pray to nobody," prate to nobody. "Make lean your heart," make clean your heart. 44 Proof of utility," proof of futility. " Beer descending," beard descending on his breast. Collective Beading. This practice, commenced recognised by all who observe with care. Even L the second step, p. 15, should now be revived the following well-known musical responses shew ith great care and constancy. the natural tendency to the mixed-measures of Pulses and Accents in Public Speaking. Any le who listens to a good public speaker may notice tat the pulses of his speech are of equal length id constant recurrence, like those of music, but iat he has a greater liberty of neceut. His accents metimes fall so as to divide the pulses into three- ilse measure, but more commonly into two-pulse vpeech in distinction from the unchanging measures of song. They are here given in various rhythmic forms, as we find them in the 44 uses " of different cathedrals. In the three-pulse forms we may notice the heaviness of the second pulse when this measure is sung slowly. Let each example be sung in exact time and accent. easure. Some public speakers even beat time KEY F. ith their hands while they speak, and nothing \ d :- 1, :t, d :- II terrupts the regularity of their movement but ( Spare us good Lord. iis occasional introduction of a ; hree - pulse measure. ot:i in poetry and in music if we begin in three- KEY F. ulse measure or in two-pulse measure, we must (Id :1, :t, d :- mtinue in it. But in prose the two-pulse and f 1 Spare us good Lord. iree-pulse measures are continually intermixed in le same line. Let the pupil try to speak, in a KEY A. ear declamatory tone, and with proper emphasis, j d.d:d d : - .d l|.l,:t| d : II ie following words, and to mark the pulses and ( We beseech thee to hear us good Lord. :cents of his voice as he does so. He will then on understand our meaning : 44 And suddenly KEY A. iere was with the angel a multitude of the \ :d .d d : d.d d : 1 ( : t, d : II 3avenly host." The words 4< heavenly host" we f We be- seech thee to hear us good Lord. ay, for the moment, leave out of consideration, jcause in chanting they would belong to the KEY G. dence, and the cadence is rhythmical music not jcitation. j : d |d : d .d d : -.1,1 1, : II \ And bless thine in- her - i - tance. If we recite these words on a single musical tone, KEY Gr. id then write down the rhythms we have used, ( . A A ' ft - t, 1,1-1, II ley will probably have the following appearance : 1 U U U t l>] 1 1 1 1 < 1 1 ( And bless thine in- her-i - tance. || Two-pulse Measure. Two-pulse Measure. . : 1 1.1:1.1 1 : 1 .1 And, in reciting " Thou art the everlasting Son," And sudden ly-there was with-the^ every one will admit that it is better to use the three- pulse measure, thus Three-pulse Measure. Three-pulse Measure. Thou : art-the : ever | last : ing | Son 1 : 1 : .1 1 .1 : 1 : 1 .1 II than to sing thus an - gel ' a multi tude of-the|| | Thou : art-the | ever : lasting | Son Here you notice that the first and second measures are of two beats, while the third and fourth are of three beats. Some of the old church chants had three-pulse cadences or closes, but in the recitations the frequent occurrence of three-pulse measures is St. Co. (New.) Chanting. The chant is intended to aid the united recitation of prose words by many people. It supplies, therefore, a single tone for the recita- tion, and a short musical phrase for the cadence of each line of the words. A melodic cadence at the 64 FOURTH STEP. Ex. 153160. end of sentences, is natural to public speakers when they rise into an excited state of mind : whether they be fishwomen quarrelling in Billingsgate, or preachers closing their discourses among the moun- tains of Wales or of Scotland, or even ministers of the Society of Friends speaking or praying under atrong emotion. The reciting tone may be as long or as short as the words require. It is indicated by a Hold /TV placed over the note. This elasticity of the reciting tone should always be kept in mind by the accompanist as well as the singer. The music of a chant should always be learnt familiarly and by rote, before it is sung to words. Then the words should be taken line by line, and taataid by pattern, clearly recited by pattern, and sung to the music. At the present step the pupil must obey exactly the marking of the recitations. Afterwards he may learn to make "markings'' of his own. The present labour will be repaid not only by the groat enjoyment there is in a freely delivered chant, but also by marked and valuable improvement in lihythinical Perception. The teacher can beat time in pulses, or better still, use a metronome. If he uses a baton let it move simply from left to right and back again ; ho will then have his accent sometimes on one side and sometimes on the other. Ex. 153. Learn as above the rhythms of Ex. 123. Notice cases of three-pulse measures in the recitations next before the first cadence of the first verse, the second cadence of the second verse, the first cadence of the third, and the first cadence of the last verse. Two-pulse measures are much more common in this position. Ex. 154. Learn as above the rhythms of Ex. 124. Ex. 155. Ditto Ex. 125. Notice three-pulse measures from the beginning of the first recitation of the first verse, of the first recitation of the third verse, of the first recitation of the fourth verse, and of the first recitation of the fifth verse. Ex. 156. Learn as above thcrhythmsof Ex. 1 26. TIME. The silent quarter-pulse is indicated, like the other silences, by a vacant space among the pulse- diviiona. It is named sa on the accented and se on the unaccented part of the pulse. The time exercises should be taught as directed, p. 19. Ex. 157. i|l :1 .1 I ,1 .1,1:1 .1 (I TAA TAA-T.U ifffatcfo TAA-TAI St. Co. (XewJ. KEY G. | d : n .s | ,f .PI ,r : d d it KEY G. | PI : r .d | ,t, ,d ,r : m .m ui:v D. I s :n .f | ,r .m ,f : s .3 I KEY D. I s : PI .d | ,1 .s ,f : m .d ; Ex. 158. 1,1 .1,1:1 .1 |1,1 .1, :1,1 .1, n tafatefe TAATAI tafatew tafatese KEY F. | d ,r .m ,f : s .s | s ,f .m , : n ,r .d , i! KEY F. I PI ,r .d ,t, : d .d | f ,f .f , : m ,PI .n , ! KKY D. | B ,n .d ,m : s .m | r ,m .f , : PI ,f .s , li KKY D. | m ,s .PI ,d : PI .s | f ,r .t, , : s ,PI .d , || Thirds of a pulse are indicated by a comma turned to the right, thus : , , ||. The first third of a pulse is named TAA, the second third TAI, the third third TEE, and the silences and continua- tions are named in the samo manner as before. Ex. 159. i 1 TAA : i ,1 ,1 I i .,1:1 taataitcc TAAfe TA.A.SAI KEY F. 1 d : r ,m ,f | m ,,s : s i KEY F. 1 PI : f ,n ,r | m .,d : d . || KEY A. 1 S : PI ,d ,n | s .,s : s || KEY A. 1 PI :d ,1, ,t, | d .,d :d i Ex. 160. < 1 .1 :1 .,1 |1 ,1 ,1 :1 .1 I TAATAI TAAfe tataitce TAATAI KEY F. 1 d .r : PI .,f | n ,r ,d : r .d 1' KEY F. 1 PI .r : d .,r | m ,f ,g : f .PI ; KEY A. |d .s, : PI ,r | d ,t, ,d : PI .r n KEY A. 1 PI .d : s .,1 1 s ,f ,PI : r .d FOURTH STEP. 66 Ex. 161. (11 ,1 J f taataitee : 1 - ,1 taa-aitee 11,1.1,1 tafatefe KEY F. |d ft ,s : m r A |d ,r .m ,f KEY F. | s ,m ,d : PI r IX-PULSB MEASURE. NOTE. It is better to boat the second pul.M of " three-pulse measure " towards the right, than ^as some do it) towards the left, because it thus corre- sponds with the medium beat of the " lour-pulse measure," and the second pulse of three-pulse measure is like a medium pulse. It is commonly treated (both rhythmically and harmonically) as a continuation of the first pulse. Similar reasons show a propriety in the mode of beating recom- mended for "six-pulse measure;" but when this measure moves very quickly, it is beaten like the "two pulse measure," giving a beat on each accented pulse. H. 60. Efforts to remember this rate and twice as fast, M. 120, and about hulj as fast again, 31. '.'-J, and between that and 60 two rates, M. 80 and M. 72, and between that and 120 operate, M. 106, should be frequently made, as recommended, p. 34. By self discipline this can be done. St. Co. (New.) The Registers. It has been shewn that the human voices make together one great organ running through its various registers from the lowest bass to the highest soprano so that the voices of a class containing men and women could run up one grand homogeneous scale of three or four octaves. See pp. 29 and 32. The compass of each particular voice is only a portion cut out of this great scale and taking the registers as they come. It should be carefully noted that the differ- ence of male and female voices, as soprano, contralto, tenor, bass, does not necessarily make any difference of quality on identical tones. Thus a contralto, a tenor, and a bass, when naturally trained, do not generally differ in quality on G,, A,, and Ji,, and a soprano, contralto, and tenor singing the identical tones C, D, , could not be distin- guished from one another except by the shades of difference which naturally mark individual voices, Ex. 1626. FOURTH STEP. 67 or the more marked differences introduced by false training. Uncultivated male singers are commonly much ashamed of their weak Thin register until they have made it strong by practice. Already some progress has been made in strengthening it by means of Ex. 104, p. 33. This stacotto koo-mg exercise must not be discontinued. It may, how- ever, now be varied after the manner of the two exercises which follow. *Ex. ] 62. KEYS F, G, F, G. _ -- . ^ ~ ^ ~"^ ri'.d': Kt Id'.l : t .s 1 : koo, fee. Ex. 1 63. KEYS A, B, AS, c :? iTt fi I s.,s : ft koo, &c. Recognition of the first or Thick Hegister. As the Thin register was found to be neglected by men and commonly used by women, so the Thick regis- ter is neglected by women and commonly used by men. Many soprano singers do not know what it is, and even contraltos are afraid to employ what they think is a man's voice. Mdme. Seiler says it is quite common for voice-trainers to encourage women to ignore altogether the upper Thick register using the Thin instead ; so that when on A, they do at last enter the Thick register it is on its fully vibrated tones, and the change of quality is unpleasantly marked. To enable female pupils to recognise the Thick register, place the scale (p. 29) or the Voice Modulator (p. 106) before them, and then, beginning with a tone (B, A, or Gr) decidedly within the Thin (their easy) register, let them sing downwards (guided by the manual signs) d' s m d, and with increased force on the lowest tone. This last tone will certainly be in the Thick register. Having got that quality of tone let them run up, retaining the same quality, to F. This is the converse of the process by which the tenors and basses learnt to recognise the Thin register, p. 33. Strengthening of the Thick register. Contraltos and sopranos will require the same staccato koo-ing exercise to strengthen the lower part of their voices, which tenors and basses required (p. 33) for the higher part of their voices. The process of strength- ening must be upwards from the undoubted territory of the Thick register towards the border- land of Thick and Thin. Be careful not to force pd, ( koo, n, &c. :r, |fT : > ni s. Ex. 165. KEYS G, A, GjJ, Aft. Ud,.n,: r,.f| ( 1 koo, &c. i "^ rY . *- S| : Si tEx. 166. KEYS G, A, G J, AJ. ( koo, _-- &c. X|ffi: :> ^ this register too much, for the registers cannot be made to overlap upwards without injury. Mule voices may join with the female voices in this exercise, for it is easy to them, and they may encourage the sopranos and contraltos, but they must sing softly lest the voices which need the exercise should be unheard. Let the following exercises be used after the manner described p. 33. The men will have to suppose the notes an octave higher than they are written. Ex. 164. KEYS A. B, A J. Id, :- Blending of Registers. A good singer should be able to pass from one register to another without allowing the difference to be noticed. With this view the voice trainer strengthens on the " optional tones" (p. 32) the weaker of the two registers 'in men the Thin in women the Thick) till it equals, in volume, in quality, and in ease of production, the stronger one. He then tests the power of the singer in producing one or the other register at will, as in the following exercises imitated from Garcia. The notes in common type are to be sung in the Thick, and those in italics in the Thin registers. The effort will be to make the two tones as similar as possible. Let the pupil take no breath in passing from one register to the other, and let him sing each exercise quicker and quicker. Male voices will sing these exercises in the higher part of their range, and female voices in the lower part of their range. Men and women will sing identical tones. None of the keys must be omitted, because we have to give exercise to all the small Laryngeai muscles, through the whole range of the optional tones. This is a case in which class teaching is insufficient. It can only set the pupil in the right way. He must judge his own progress. The effort to do so will make him eager to enjoy the advan- tage of individual teaching. This Exercise can be used for the " Upper Thick," in key C, and for the "Upper Thin" in keys C', D 1 , E 1 , &c. It may be adapted for the " Small" in keys B 1 , C*, &c. + Be careful not to carry the " Lower Thick " above B (or A, for men), but to change into the " Upper Thick." St. Co. (New.) 68 FOURTH STEP. Ex. 1679. Ex. 167. KEYS C, D, C$, Di. d 1 :,/ d 1 : d 1 koo, &c. Ex. 168. KEYS C, D, CS, DS, D. E. d 1 :r' id' :r' |d' :r' |d' : II koo, &c. Ex. 169. KEYS C, D, CJ, D5, D, E, D5, F, E, FJ. d 1 koo, &c. d 1 :<*' |d' :- Recognition and Management of Optional Tones. Tenor singers should now systematically study the best use of their optional tones. First, before commencing any tune they should notice the key, and from that ascertain to what Sol-fa notes their optional tones will fall. The Voice Modulator p. 106 will at first assist them in this. Second, they should study the phrasing of each passage in which the optional tones are employed. Third, in cases in which a piano or forte is required they will remember that they can obtain a stronger tone with tho Thick than with the Thin register. Some persons habitually change the register at a certain piU-h, whatever the passage sung. Others try to avoid changing the register within any single musical phrase, as much as possible. Descending from the thin register, they keep it as far as they can. Ascending into the thin register, they begin their phrase, if possible, in that register. In Exercises 170 to 173 a thin horizontal mark is placed over the tone in which, for various reasons, it is thought best that a tenor voice should change into the thin register, and a double horizontal mark is placed where it is thought better to change into the thick register. Let the pupil be required to find the reasons for each of these changes, and be encouraged to suggest other and better changes. A Knowledge of Dissonances is useful to the singer in making him fearless. If he docs not recognise the fact that he is striking a dissonance, ho feels as though something were wrong, and is tempted to sing falsely. But if he knows what he is doing he strikes his tone with courage, looks well to the resolution, and makes it beautiful. Notice the definition of dissonances, p. 21. Fart-pulse Dissonances. At p. 21 there is an explanation of the commonest sort of dissonance which appears on the weak part of a pulse, Die part-pulse passing tone. Four other apologies are fit. Co. (New.) also accepted by the ear for dissonances on the weak part of a pulse. When, like s in the follow- ing | r .,s : s || they simply anticipate the tone which follows them, when like 1 or t in the following | d 1 .t : d 1 | s .1 : s || they wave upward or downward, or when, like f and m in the following | s ,f : r .m | d || they hang upward or downward from the proper tone of the chord, or when, like t and 1 in the following | m .t, : d .1, | t, || they guide, generally by an upward step, to the tone which follows. All these melodic relations are accepted as an occasional apology for dissonances. In addition to these dissonances on the weak part of a pulse, dissonances are also allowed, though less frequently, on the first or strong part of a pulse. These are all called Fore- strokes. They nearly all " resolve " (see p. 21) by going a step downwards. The smoothest " prepar- ation" for these discords is when, like r in tho following : r | r .d || the dissonance has j u st been heard as a consonance in the previous chord. This will bo called a Horizontal forestroke. The preparation which stands next in acceptance with tho ear is when, as s in the folio wing : 1 | s . f || the dissonance comes down from the tone above, liku a passing tone, but on tho strong part of a pulse. This is called an Oblique forestroke. A less common apology is when, like f in the following | .m : f .m || we have a Waving forestroke. Less frequently still we may have, like m in the follow- ing | d .r : m .f | s || an under oblique fore- stroke resolving upward. But when the composer wishes not to apologi/.e for a forestroko, but to assert it for the sake of a certain tart effect he leaves it Unprepared, like 1 in the following : m | 1 .s : f || . Advanced pupils only will have time to study these points. They may do so privately by marking beforehand, in the exercises, the cases they wish to notice, and, when the time for singing comes, listening for the effects. Or, if the whole class is sufficiently skilful and attentive, tho teacher may lead the class to examine each of the follow- ing cases and then to sing the phrase softly to laa two or three times. See Examples of Part- pulse Passing tones in Ex. 133, I. 1, m. 4, p. 2; and m. 7, p. 1 ; and 1. 2, m. 4, p. 1 ; and Ex. 172, I. 3, m. 3, p. 2, a peculiar case. See Anticipation tones, Ex. 174, 1. 4, m. 2, p. 2. See Waving tones, Ex. 125, m. o,p. 2; Ex. 171, 1. 2, m. 3, p. 3 ; Ex. 174, I. 3, m. 3, p. 1, 2, 3; and I. 4, in. I, p. 1, 2, 3. See Horizontal Forestrokes in Ex. 172, 1. 2, in. 1, p. 2 and 3 ; and 1. 2, m. 3, p. 3 ; and m. 4, p. 1 and 2 ; FOURTH STEP. 69 Ex. 174, L 5, m. 1, p. 3. See Oblique Forestrokes, Ex. 170, I, 1, m. 1, p. 4 ; and m. 2, p. 4; and m. 3, p. 4 ; and m. 5, p. 4 ; and MJ. 6, ^>. 4. Full-pulse Dissonances. All the apologies above described are also accepted by the car as excusing full-pulse dissonances. If the music moves very quickly, Passing tones and other dissonances so common on the weak part of a pulse are freely used on the weak pulse, the strong and weak pulse being treated harmonically as though they were one pulse. But when the music moves slowly the ear is not so content with these slight apologies ; and only the "passing tone" is much used. On the strong pulse, however, as on the strong part of a pulse, the various forestrokes are often employed. When prepared they are employed for the smooth- ness of melody, when unprepared for the sake of effect. See examples of quick moving dissonances in Ex. 141, L 1, m. 3, p. 2 ; and L 2, m. I, p. 2 ; Ex. 192, L 1, m. 3, p. 2 and 6 ; /. 6, m. 4, p. 2 and 6 ; I. 10, m. 2, p. 5; Ex. 174, I. 7, m. 3, p. 2. See the partial dissonance (explained p. 36). Ex. 140, I. 2, m. 1, p. 2 ; and I. 3, m. 3, p. 2; and Ex. 143, I. 3, ?. 2, p. 2 ; and " disguised " (d for f and fe for t), Ex. 174, 1. 7, m. 3, p. 4 ; and also Ex. 144, 1. 1, m. 2,p. 1, in which last case the t not being resolved on d sounds more like a forestroke. See Horizontal fore- strokes in Ex. 170, I. 1, m. 4, p. 4, in which f, hori- zontally prepared, continues two pulses and then resolves on m. It is the same with m in the next measure and with r in the measure following. The waving fe in I. 1, m. 4, p. 4, waving against a disso- nance is curious and harsh. Also in Ex. 174, L 7, m. \, p. 1; and Ex. 142, 1. 1, m. 4, p. 1. See a case of " delayed resolution " in Ex. 137, L l,m. 3, where f passes through a consonance before it is resolved ; and Ex. 141, 1. 2,m. 3, p. 1, where it passes through consonance and partial dissonance to its resolution. See an ZTwprepared dissonance "1 against t" intro- duced for its own touching effect in Ex. 174, I. 7, m. I, p. 3. See d and s (Tonic and Dominant) exercising the privilege of long holding (or pedal) tones, in spite of dissonance, because of their relation to the key, in Ex. 138, I. 1, m. 2, p. 2; and I. 2, m. 2, p. 2 ; and m. 3, p. 3. New Cadences. In two-part music the full chords cannot be given. But, for reasons given in the "Common-places of Music" two-part conso- nances always stiggest the chords of which they form a part. Thus, a, with d above it suggests the St. Co. (New.J chord DC ; m with s above it suggests, not the " unmeaning " and seldom used chord Ma, but D5 ; t, with r above it suggests, not the " weak " chord T, but S ; 1 with f above it suggests Fb, and so on. Thus interpreted, the exercises in this step intro- duce us to two new cadences in addition to those (the D, the S, the F D, and the L cadences) which are named on p. 48. See the uncommon cadences on F and R in Ex. 137. See what we call S D cadences in Ex. 142, and a F D cadence in Ex. 143. See what we call a "weak -pulse cadence" in Ex. 141, L 2, m. 2, p. 2 ; and a " F D weak-pulse cadence " in I. 1, in. 4, p. 2. Phrases, Sections, Periods. The nature of a cadence has been explained at p. 48. There it has been shewn that the cadence naturally cuts the melody into parts, and that these parts are called "Sections." "Phrases" are divisions of melody within a Section. "Periods" are divisions of melody including two or more Sections. In ex- tended pieces of music we use the word " strain " to represent several periods combined in one melodic whole. A Section, which is two measures in length, we call a Duain, one of three measures a Triain, and one of four a Quadrain. Musical Form. A good form in house or orna- ment or animal must be symmetrical and varied and adapted, in all its parts, to its chief purpose. So, in music, awell-formed tune has symmetry and pro- portion in the length of its principal parts or "lines ;" it has both symmetry and variety in the rhythms and melodic replies of its musical phrases ; and its harmony as well as the style of its melody combine together to express the general sentiment desired. A disjointed, ill-formed tune would be like a picture in which a number of men and women beautiful and ugly, should be thrown together " any how." A well-formed tune is like those men and women artistically grouped in one picture where the beautiful are placed forward and the ugly kindly put in the shade, and the colours and postures all arranged for some unity of effect. It is pleasant when one sees a house or an ornament or an animal, to "know its points" of excellence, but we can receive much enjoyment from them without so intelligent an eyesight. In listening to music the case is similar. But in sinying music the case is different. For the singer is an Artist. The sculp- tor and the painter can present their own works to the public view. But the musical composer is de- pendent on another artist the singer or the player 70 FOURTH STEP. to present his works. By singing loudly or softly, quickly or slowly, in various places and various (Ic^rei'S, the singer can make or mar the handiwork of the helpless composer. Every intel- ligent singer will therefore feel it his duty to study his music beforehand, and to fix in his mind how, by the art of Expression (p. 30), its various rhyth- mical divisions and melodic ideas are to be dis- tinguished and "set off' one from the other, how he can change a bare outline into a coloured picture. The main principles of Melodic Relation have already been suggested under the headings " Relative motion of parts" and "Imitation," pp. 36, 37. Some ideas of "phrasing" or marking out of melodic divisions are suggested under the heading "Breathing-places," pp. 9, 30. Other principles of Rhythmic Proportion may be easily apprehended, and then an examination of a few examples will shew the pupil how to begin this enjoyable study. A fuller development of it is found in " Musical Theory," Book III. Parsing or Analysis of Musical Form. The practice of requiring a pupil to make a written or verbal analysis of the tune about to be sung is very useful. Even elementary pupils should answer the first and second questions, 1st. What is the Form as Psalm-tune, Song, Dance, March, etc. 2nd. What are the Key, the Measure, the Rate, and the Style P 3rd. What is the Rhythmical Division ? (That is, does it divide itself into two principal parts, or into three P It it Two-fold or Three-fold ?) And what is its Cadence design P The first " Cadence design " makes its principal dividing cadence (the most important cadence next to the final one) on the first sharp key ( S D), or in a minor mode tune on the relative major (D) ; the second, on the Dominant S i or SE M ) ; the third, on the Tonic generally, with its Third or Fifth in the air (D D5DorL 3 L5L); and the fourth must have some other Cadence in that place. 4th. What is the Structural Plan ? That is, describe or mark the place where the Periods and Sections (p. 69) of the Tune begin, using the Roman figures, I, II, etc., to indicate Periods, and the small capitals, A, B, etc., to indicate Sections. Thus IA means First Section of First Period. St. Co. (New.) 5th. What are the Transitions or Modulations most worthy of note ? 6th. What are the Principal Responses ? That is, first, (or Pds.), what arc the principal Melodic or Rhythmic replies (see Imitation, pp. 36, 37), of Period to Period ? Second (or Sec.), What are the principal Melodic or Rhythmic replies of Section to Section within each Period? Third (or Har.), What are the principal points in the relation of " Parts" in the Harmony ? (See above, p. 36). 7th. What are the most interesting devices, that is, Sequence, Fugal Imitations, etc. ? 8th. What is the Emotional Development and Point? That is, describe how, in the successive Sections, the " feeling " of the tune rises and falls ; and say which in your opinion is the most remark- able and effective point (whether of elevation or depression) in all the tune. Examples of Parsing. The following examples should be tested by singing over and over again, and comparing one with another the various .Sec- tions and Periods of the tune. The teacher will find useful examples of Parsing from the Charts in " Teacher's Manual," p. 194. Ex. 133 is 1st. A Psalm-tune. 2nd. In key A, in two-pulse measure, of firm and prayerful style, about M. 80. 3rd. Is Two-fold, and of the first cadence design. 4th. IA a Quadrain, IB a Triain, lengthened by the "hold" to a Quadrain; HA a Quadrain, II Triain, sung as a Quadrain. 5th. IB First Sharp Cadence. 6th. (Pds.) HA contrasts with IA by setting of f against n' otherwise it imitates it. IIn contrasts the r 8 against the g r of IB, and has contrary motion in its second phrase. (Har.) contrary motion of parts at the end of IB, and similar motion at the beginning of HA. 7th. None. 8th. IA seems to make a quiet assertion with a double emphasis on n- IB seems to give an excit- ing reply ; HA the assertion made more yolemn by f twice emphasized. HB, the joyful sure decision leaping up to the brilliant g and making the "point" of the tune by falling on the solemn f . Ex. 1701. FOURTH STEP. 71 Exercise 137 is 1st. A song for S and C. 2nd. In key B[j, in four-pulse measure, in a bold style, at M. 112. 3rd. Is Two-fold, and of the first cadence design. 4th. IA, a Duain, IB, Duain, Ic, Duain, ID, Duain ; HA, Duain, IIu, Duain, lie, Duain, HD, Duain. 5th. First sharp extended in ID. 6th. (Pds.) HA B has contrasted motion to IA . (Sec.) IB is a rising imitation of IA, and ID simi- larly rises out of ic. HB imitates HA a third higher, He again returns strongly to the rising motion which sets off the wide intervals and the elegant rhythm of IIu. Rhythmical unity in the beginning and ending of every Section till the last which makes the rhythm of the last more effective, (liar.) I has principally contrary motion between parts ; HA opens with contrary motion, IIu has chiefly similar motion, He has contrary motion, HD has oblique and similar motion. 7th. A melodic sequence in HA and B. 8th. IA, a resolute thought (with TAA -AATAI and accented s and d)> IB, repeated more earnestly, Ic, a rising feeling, ID, passionate resolution ; HA, quieter counsels, HB, repeated in loftier strain. He, return of the passion bringing the tune to its " point " of greatest energy, Ho, the subsidence of passion in settled resolve. When a systematic course is pursued, the exer- cises of the 3rd and 4th Steps can be taken in the following order : 97, 115, 134, 136, 140, 141, 142, 143, 144, 145, 113, 119, 120, 174, 175. Some of the exercises with fugal imitations are too difficult for the present step. F or a fuller course, apply to the Secretary of the Tonic Sol-fa College. Ex. 170. KEY C. s : 1 .t I d 1 : Ho - san - na, : | .d : r .n HOSANNA. Optional Tones, d 1 r m' f ' * Hallelu- jah! -.lit.d'lr 1 : Ho-san - na, f : - |- .r : m.fe Hallelu- jah! -.t : aij^ln 1 : Ho-san - na, s : |- .n : f .s Hallelu- jah! Ma Inzer. -.d'lr^lf :- Ho-san - na, 1 :- |-.l:s.fe Hallelu- / - .f 1 : n'.r'ln 1 : -.n'rr'.d 1 r 1 :- na, -.f :n.r Hallelu- HALLEI otional Tones -jah! -.1 :s.fe - .r 1 : d'.t 1 :s.f n :- !- :- na. d :- |- :- jah! Mainzer. f : l-.f'in'.r \ Ho-san - na, is : |-.s :f .n ^ jah! Hallelu- Ei:. 171. KEY C. s : 1 .t |d' : Hal - le- lu-jah ! n : | - .s : f .ft Ho-san - f :- jah! 4 1 : t .d 1 Hal - le -lu f :- men, r 1 :- men, r :t .1 jah ! Hal - Ho - n : jah! ,UJAH. d 1 r 1 n 1 f Hal - le -lu s : men, d' : men, n .f : n .r san - .f : n .r Hallelu- n'.Tzf'.n' -jah! A - - .t : 1 .s men, A 1 :r'.d'|t.l:s.f A n 1 :- l-.n 1 : r'.d' A - -.r 1 : d'.t A - t : A |s .1 :s .f men, Hal - le - lu - di . I . _ 1 men. men. men, A n : d'.t|l .s : f .n A - s .f : n .r jah ! Hal - le - lu - le - lu- jah! A A stroke over a note thus shews where the Tenors are recommended to introduce the thin register. and a double stroke thus = shews where they are advised to use the thick register. St (New.) 72 Ex. 172. KEY G. FOUJRTH STEP. AMEN. Optional Tones, m f s 1 .d : r .n :f .s,f n .d 1 : t .d' :1 .t d'.s,f:pi .d : r t, A men,A .d : r .n : f .s,f men, A n : men, .n : A f .r A . - - Albrechtsberger. : .1 :f .s,f n .^j_^.jij_-_.JL men.A d .n J^_j8 ' d men, A - men, f. G. d :"t, .d : r .t. D. t. ir'.d 1 :- .1 t,l:t .d',r' t|pi ; r : s A n 1 .r'.d 1 ; t .d 1 : f men, A - men, d .f :- n .s,f: n .d : r .ti men, A n .1 : r : s : - .r men,A men, A n .d 1 : s r .n : f .s,f men,A d .s : r .n : f .s,f nun, A n : ti .d : r .s, men, A n,8.1,t: d' men.A d : ,n.r,d: r men, A :- .t d' :- men. d :- - .d :-.t|,l ( : t, .d,r THE CUCKOO. Ex.173. KEY C. M. 112. Round for four parts. Optional Tones, d' r 1 n 1 s . : s .,s | n 1 : d 1 Hark! 'tis the cue - koo's d 1 . : : d> List to the mol - low voce, notes, From G. t. Tho :1 :f yon - der aha - dy I grove ; s : - .1 1 s_.f_: n . song I dear - ly f. C. love. A. L. C. n' d 1 Cue - koo! : n Cue - koo ! n 1 d 1 Cue - koo ! Cue koo ! r\ :n.,n|s : d' Hark! 'tis the cue - koo's St. Co. (New.) t : voice, : f n : f |n : r From yon - der sha - dy grove ; ;[ '. n .,n | n : d n List tothemel - low s : notes, FOURTH STEP. G. t. The PI ; song __ I dear - ly f. C. love. 73 ^; d : d .,d | d : n il Hark! 'tis the cue - koo's d : d .,d I d : n List to the mel - low s : notes, CODA. To be sung by all together. /= :d From G. t. The :d : t, yon - der sha - dy d : - d | Si : S| song I dear - ly j, :m' |d" Cu -koo! Cue - koo ! Cue - koo ! grove ; f. C. love. PP D.C. Cue - koo ! Ex. 174. KEY G. l.The 3. In .8, THE MAYTIME. WORDS BY J. S. STALLYBRASS. A. L. C. d : Id : S, May time, the May time, in PI, : In, : s, - Id May May s, : d : time, time, how oh, s, .f : r .t| |s : - .s, \ love - ly and fair, howJ waste not the hours, oh, \ : .si |s, .f : r .t, t How love- ly and] Oh, waste not the/ PI .,f : n .r |d love - ly and fair, What waste not the hours, Go s : - .S| |n .,f : PI .r fair, how love - ly and hours, oh, waste not the n : 1 .,1 |r ,fe : - .fe pas - time and pleasure are twino you sweet garlands of d :- .d |d :d .d fair, What pas - time and hours, Go twine you sweet s : | : there ; flowers ; t| .r : - .d 1 1| : .1 pleasure are there ; The garlands of flowers ; Oh ! : I : .r t| :d .d |r .,< The And 1 :t| - eth, - dows, night - in - gale sing far on the mea St. Co. (New.) .r PI : f .f |S .,f : PI r,d v, Andtherel f ,8 ,f : n ,f ,n | r ,n ,r :d . .t| : t| .d .81 : d .r n :- 1- : , La la la la la la, O'er field and hill anc dale. La la la la la la, Is fulness of life anc .iy- / n .f : - .n|r. : - .r d :- - I- : .s s : - |n : .n n : |d : .d field and hill and dale. The May - time, the May - time, the reacheth us no an- noy. .r : r .d|- .d : t,.S| d : - - I : .n n : Id : .d 8) : |ri| : .ni O'er field and hill and dale. The May - time, the May - time, the There rcacheth us no an -noy. FINE. ^ D. t. ti : r | - : f n : - - Id ' : 1 : : | : .id'v lovo ly May time. The/ 8| : ti 1 : t| d : 8| | n, .d d : t|.l|| n l : s .f n .f : n .r |d : d i lovo ly May time. 2 The jates of the earth that were lock'd up so fast, Let ] f. O. d 1 :t .1 |ni : 8 .f n .f : n .r d : t, d .,d : r | n : fe .,fe . gates of the earth that were lock'd up so fast, Let out their poor pris - 'ners atr r .,r : r | n ti : T.| ,,t| d : - .8) |n, : si d :d |d :- i out their poor pris - ' nors at last. Let out their pris - 'ners at 8 :- |- : .f n .f :- .f i .,r : d .n s .s : 1 .1 1 8 .f : n .r v last, As li - lies, and ro - ses, And vi - o - lets for po - 8ies,Andthel t, :- |- t, d .r : - .r |d .,t ( : d .d n .n : f .f In ,,r : d . < last, As li - lies, and ro - ses,And vi - o - lets for po - sies, D.C. d .r : - .r |n : n .f 8 | 8 : 8 . " n .f : - .n r :-.r d : - | - n pinks,and the bunch-es ol blue bells, And t ie little red pirn - per- nels. .t| : t|.d | - ,8|: d ,r n : - |n : .r :r.d -.d : t .s, d : | The pinks and bunches o qbh bells, The little redpimper- neis. [] 8t. Co. (New.) FOURTH STEP. 76 Ex. 175. KBY D. THE SEA FOB, ME. St SOPRANO. A.L.C. : : : : : : : : s * :- :- - :- :* * :- :- CHORDS. n ;n in |n '.- '.r\ The n in in | n \ sea for ti id :r |n :r :d me, r :- :- La la la la, &c. d :d :d |d :- :d d :d id |d :- : s, :l, :t, |d :t, :1, t, :- :- - :- :s . :- :i )' :- :r' * :- :- - :- : ' ") ores I '.- '.t \$ '. \l the deep blue sea for me, Beau - ti - ful, ma- It, :- : :n :n :f :f in :n |n :- : f :- :s |1 :- if is, :- : d :- : |s, :- : d :- :- |- :- : f :- : |f :- : cen s :- :- |rf' :- :- do. t '.- \cfl | r 1 : \$ f J n \ ._ ._ ^ jes - tic, glo - ri - ous, and free; Rush in in I in in r :- in |f :- :n :r :r |r :- : d in is d :- : |d :- : si :- : is, :- : S} .~~ ^ . d in :s - :' :*' r \ ._ ;_ _ ; r l ; r l r ] :- :- - :- \r ?i - ing a - long g with re - sist - - less might, Or Id 1 :s :n si :t| :r |s :r it a, :ti :r |f :r :t. d :n is |d' :- : |d ! :s :n s, it i r s i r it s. :t, :r |f :r :t| d in :s |d :- : rf" :- \t if :- :*' ing the t :- :l \l :- it lor to slum ber light. ( luU sai n :- : |f :- : s :- : |1 :- : fe :- : |fe :- : : it. d :- : |r :- : n :- : |fe :- : r :- : r :- : s, :- :- - ;- : * * :- :- - :- :* s :- \- |- :- :* rf' :- :- - :- :rf The sea for me, the sea for It, :- : t, :d :r |n :r :d r :- :- it, :- : n :f :s |1 :s :f - :- : s, :1, :ti Jd :t, :1 ( t, - :- is, :- : d :r :n |f :n :r St. Co. (New.) FOURTH STEP. me. the n :- :- |d :- . deep blue :n :n | :n :n sea for :s :s | :f :f s :- : |s, :- : me, :n :s FINK. A. t. dolce. Id 1 :s :n :n :n |n :- d :- :- l- :- Our ship on its :d :d |d : : bo t, : s, :i smooth d :d :d |d ly s :- :- |- glides, n :n :n |n d :d :d id s :- :/ \n : Light - ly o'er n :- :r |d : di :- : id, : the bil I- :/ :n lows she Hi :- If, :- r gai t, r. |fe, :- : t\ :- rides; s, :- :- Then d :- join si : n, : :- I- t*i :d us f, :fi :f, if, : : grate t, :t, :tj |t : si :si :BI | S| : ful song, d :d :d |d : d, :d, :d, d : As to ou Id :- :r Id, :- : St. Co. f'Ji home |r :- : borne d, :- : |f, :- : is, :- : f. D. long. d :- :/ \ on - wardJ n, :- :g| ( d, :- : D.s. FOURTH STEP. 77 Modulator Voluntaries now include transition of one remove. These should not be made too difficult by wide and unexpected leaps on to the distinguish- ing tone ; nor too easy by always approaching the distinguishing tone stepwise. While the effects of transition are in process of being learnt these exer- cises may be solfaad, but the teacher cannot now bo content with solfaa-ing. Every exercise should also be laad, p. 37, and that to the Italian laa, p. 2. Two-part Modulator Voluntaries interest the pupils much and form good voice exercises when sung to the pure and open skaalaa, and the simpler they are the better for this purpose. But if they are made difficult to the pupil they become difficult to the teacher and his attention is so taken up with the music he is making that he forgets to listen for the proper quality of voice. The teacher who would use only good two-part music should prepare such exercises carefully. Sight-laa-ing. The laa-voluntaries are really sight-singing exercises, if the teacher does not get into self-repeating habits of pointing. See p. 42. But, at their best, they give no practice in reading time at sight. Therefore the absolute necessity of sight-laa-ing from new music (as the monthly Reporter) or the black-board. Memorizing the three keys. The pupils should now know from memory, not only what is above any one note on the modulator and what below it, but what is on its right and what on its left. The one key no longer stands alone on the mind's modu- lator. It has an elder brother on the right and a younger on the left, and each of its tones bears cousinship to the other two families and may be called to enter them. Therefore at all the later lessons of this step exercises should be given in committing to memory this relationship, p. 51. The pupils must learn to say these relations, collec- tively and each one for himself, un'thont the modu- lator. Memory Patterns. It is difficult to indicate divisions of time by the motions of the pointer on the modulator with sufficient nicety to guide the singer in following a voluntary, and it is important to exercise the memory of tune and rhythm. For these reasons our teachers give long patterns extending to two or more sections including some of the more delicate rhythms. These patterns are given laa-ing but pointing on the modulator. The pupils imitate them, without the teacher's pointing, first solfaa-ing and then laa-ing. St. Co. (New.) Memory Singing. The practice of singing whole pieces to words from memory, in obedience to the order " Close books : eyes on the baton," is a very enjoyable one. The singer enjoys the exercise of subordination to his conductor along with a sense of companionship in that subordination, and de- lights in the effects which are thus produced. This practice is very needful at the present stage in order to form a habit, in the singer, of looking up from his book. This should now be his normal position. But, as from necessity, the learner's eyes havo hitherto been much engaged with his book, he will havo to make a conscious effort to form " the habit of looking up." Occasional " Memory Singing '" will make him feel the uso and pleasure of this. Ear Exercises, as at pp. 24, 42, will fasten on the mind the mental effects of fe and ta. Time Ear Exercises, as at p. 24, should still be continued with the new difficulties of time. Dictation, as at pp. 12, 24, with the new language I of time just introduced, will now be carried to a i much greater extent. Copies of tunes belonging j to this step from other courses, or original compo- ! sitions, or pieces for special occasions, can thus be rapidly multiplied. When once the practice of Dictation and the use of the " Tonic Sol-fa Copy Books " has got into familiar use in school or class many things can be done by it. Some schools are taught entirely by a Modulator, a set of Wall Sheets and Copy Books. The further we go in Dictation the more useful the time-names become. The "announcements" for Ex. 174, I. 3, m. 2, &c., would be as follows : " TAA m " "TAATAI f f" <; TAAfe s f" "TAA m" " taataitee r dr" " taataitee m r m " taataitee f m f " taasaitee 8 S" " TA.A.SAI 1" "TAA&47 S" TAA.SA1 f"_ TAATAI d r" "-AATAI r" &c. The third measure of the same tune would be announced thus " TAATAI s-one f " " TAATAI r t-one." Pointing from memory and Writing from memory, as at pp. 12, 24, should still be practised. The second does not at all take the place of the first. We have known pupils who could write from memory, but could not point the same tunes on the modulator. It is important to establish in the ! memory that pictorial view of key relationship which the modulator gives, especially now that thd studj' of Transition is added to that of the scale. 78 FOURTH STEP. QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. DOCTRINE. 1 Name the tones of the chord of F. Say in what respect it is like the chorda 1) and 8 ? IIow is it related to the chord D. and how would you describe its mental effect ! 2 Describe the chord "8. In what case is the dissonant effect of /a* against toh more slightly felt ? How is the /ah in this chord commonly pre- pared, and how is it always resolved I 3 What is meant by " ambiguity of chords," and which of the chords can- not be imagined to belong to more than one key ? 4 What is a major chord ! A minor chord ? a diminished chord ? and which of these are in themselves the most acceptable to the ear I 6 What is the difference between the tones ray and rah ? Which tones of the scale require rah to tune with them, and which ray t 6 What are the tones of the chord RAH ? In what position is it most commonly found ! And how would you describe its mental effect I 7 What are the tones of the chord T? How are ita root and fifth usually resolved T In what position and under what circumstances is it commonly employed, and what is its mental effect ? 8 What are the tones of the chord Lt In what position is it used apart from the minor mode t And what chord is used interchangeably with it t What is its mental effect t 9 What are the tones of the chord Mt Can it be easily substituted for the dominant or sub-dominant like the chords T and R ! Is it much used T 10 What dissonance in there in the chord "K ? And how is it prepared and resolved ? For what chord, in cadences, do modern writers often substitute 7R6 t 11 What is the chief source of men- tal effect in a chord I And in what position is that mental effect best developed ! 12 What is a cadence ! Name the last three or four chords of a tonic cadence. Of a dominant cadence. Of aplagal cadence. Of asm-prise cadence. 13 What is the principal case in which a chord is used in its e position, and what is the peculiarity of this case I In what other cases is the c position allowed, and what are its three princi- pal apologies ? 14 Can you remember any pecu- liarity in the doubling or omission of the third which belongs to tl- - .?hord "8! st. Co. (y.-v).) Or any other peculiarity which belongs to minor chords generally ? 15 Where are the little steps of the scale t The greater steps 1 The smaller steps I By what intervals are the two little steps of the scale separated from one another ? How can you define doh J 16 Which are the most markedly characteristic tones of the scale ? And how may they be described t 17 What is transition ? In what respect are those tones of a tune changed which do not change their pitch t 18 What is the sharp distinguishing tone, and what is its effect on the ear ? What is the flat distinguishing tone and its mental effect 1 19 From the ear's dislike to the tri- tone as a melodic progression, what melodic phrases, often repeated, natu- rally suggest transition ? 20 What is meant by the first sharp key ! The first flat key ! In going to the first sharp key, beside the substi- tution of the piercing tone for the desolate tone, what change of effect takes place in the tone a third above the distinguishing tone ! Does any other change besides that of effect take place on the lah I (see " Grave ray " p. 46) In going to the first flat key, besides the change of a piercing for a desolate tone, what change of effect, and what other change takes place in the third above the new distinguishing tone! 21 What is the difference between the principal and a returning transi- tion! 22 What is a bridge tone ? Give examples of a bridge tone making tran- sition through the distinguishing tone of the new key. 23 What is the meaning of the little notes placed to the right or left of the key signature in transition ! 24 What are the general mental effects of transition to the first sharp key ; And to the first flat key t 25 How would you indicate transi- tion by the manual signs ! 26 What kind of effect is produced on the mind when / does not move to toh in the next chord, or when ta does not go to lah T And by what name is that effect called ? 27 What is the commonest case of transition to the first sharp key, and by what name is it called ! What is the difference between the flat and sharp keys in this respect ! 28 What is the commonest case of transition to *h 'Jist flat key, and by what name is it called ! How does the sharp key differ from the flat in this respect ! 29 How do you define extended transition ! Which of the two transi- tions is more used in this way ? 30 What is a sharp ? And what relation does it bear to the tones which stand below and above it in the scale I What is a flat t And what relation does it bear to the tones above and below it in the scale ? 31 On what particulars of knowledge and skill does a good musical recitation depend? What are other words for the articulations and continuations of voice ? Which of these two is the more important t And why I Why is the other of the two to be first studied ? 32 Name and illustrate, by example, all the five lip articulations. 33 Name and illustrate the two arti- culations of lip and teeth. 34 Name and illustrate the two arti- culations of Tip-tongue and teeth. 35 Name and illustrate the five arti- culations of Tip-tongue and palate. 36 Name and illustrate the two arti- culations of the Mid-tongue with the Palate, in which the Tip-tongue takes a very decided part, the two in which it takes a less decided part, and the twc in which it takes no part. 37 Name and illustrate the three Back-tongue articulations. 38 Name the six articulations with shut passage, placing the two qualities (breath and voice) together in couples. 39 Name, as above, the eight articu- lations with central passage. 40 Name, as above, the five articu- lations with side passages. 41 Name the three articulations with . 42 Describe the aspirate H. In the articulations what organs of speech come in contact and separate ? 43 Which are the consonants least capable of being sung ' Which are the six Hisses ? Which are the six Buzzes ! How far are the Hisses and Buzzes capable of being sung ? Which are the three smothered consonants 1 Which are the five which can be murmured or hummed. What is a Glide T What is the difference between the Glide joining b and oo and that joining 6 and eel if two sounds are kept distinct, but pro- nounced rapidly one after the other, what more do they want to make them into a syllable t As scarcely any of the consonants are pleasant when sounded alone, what part of a consonantal effect FOURTH STEP. 79 is it that can be really sounded ? And what habit in the management of the organs of voice is it therefore important for the singer to form 1 44 Describe in writing ten common errors in the use of consonants. 45 What is the difference between the recurrence of accent among the pulses of music and among the pulses of public speech 1 Give illustrations of the " mixed measures " of speech. 46 What is the purpose of a chant, and into what principal parts is it divided ? What governs the length of the reciting tone? In teaching the music and words of a chant, which should be learnt by heart throughout the whole ? How should the recitation of words be studied ? 47 What is the name for a silent quarter of a pulse, when it comes within the accented half ? When with- in the unaccented half? How is it indi- cated in the notation ? 48 By what vowel is the first third of a pulse indicated ? the second ? the last ? How are thirds of a pulse written in the notation ? 49 What different sorts of accent are there in a musical passage, and how do you define a pulse 1 What must the Tonic Sol-fa translator do when he wishes to know whether crotchet, quaver, or minim, are treated as the pulse in a common notation tune ? How should quickly moving sbc-pulse measure be taa-taid 1 50 Why is the pupil not taught to beat time in the early steps ? 51 Describe the kind of exercises by which the teacher endeavours to infuse into his pupils a sense of time. 62 Describe the most clearly visible ways of beating two-pulse measure three-pulse four-pulse six-pulse. 53 The beat to the right being asso- ciated in four-pulse measure with a medium accent, why is it also suitable to the second pulse of three-pulse measure ? 54 Does the quality of tone in the lower part of a woman's voice differ in any respect from that of the same tone when produced by the higher part of a man's voice ? What register of their voices are male singers commonly ashamed of before their voices are cultivated ? 55 What register is most neglected in uncultivated women's voices? Des- cribe the means by which the teacher leads his female pupils to recognise their thick register. 56 Describe the process by which the thick register in women is strength- ened. 57 What is meant by the blending of the registers ? Describe the exercises by which the thick and thin registers are equalized. 58 What are the Sol-fa names of the optional tones of a tenor voice in key C 1 Q ? Bi? ? F ? A ? D ? If a group of tones commencing on an optional tone ascends above Gt, in which register would you begin it ? If such a group commencing below the optional tones ascends to F, in which register would you begin? If such a group beginning above G descends into the optional tones, what register would you use ? If other things are equal, which register would you prefer on the op- tional tones for a forte passage ? for a piano passage ? 59 What is the advantage of a knowledge of dissonances to the singer ? 60 What are the five principal apologies for a part-pulse dissonance on the weak part of a pulse ? What is the common resolution of part-pulse dissonances on the strong part of the pulse ? What are the three prepara- tions for such dissonances? And the names for those preparations? Why does a composer sometimes leave a dis- sonance unprepared ? 61 When a class is competent to study this subject of dissonances, how does the teacher introduce it practically to their attention ? 62 Among full-pulse dissonances, which of them are used more freely when the pulses move quickly than when they move slowly ? How are forestrokes used when smoothness of melody is the object, and how when dissonant effect is desired ? 63 Describe the six additional ca- dences introduced in the two-part exercises of this step. 64 What is a section ? What is a phrase ? What is a period ? What is a section of two measures called ? One of three measures ? One of four ? 65 What are the three principal element* of good Form ? Why is it more important for the singer to study the principles of musical form than for the listener ? 66 What are the three questions which even elementary pupils should answer in respect to every tune, before it is sung ? What are the other questions which pupils should answer in a complete parsing of musical form T 67 How should modulator volun- taries at this step be conducted ? 68 Whence the necessity of sight- laaing from books ? 69 Whence the importance of memo- rizing the modulator ! 70 Why are memory patterns f use? 71 Give reasons for the practice of memory singing. 72 What new powers of dictatiom do the time exercises of this step bring to us? 73 Why should pointing from memory as well as writing be con- tinued ? 74 Hold a steady tone with one breath for twenty seconds. 75 Sing with a beautiful forward quality of voice each part of Ex. 121 in key E, M. 70. 76 Name pulse by pulse the chords in the first and third measures of Ex. 122, p. 45. 77 Laa in perfect tune the second part of Ex. 122, while your teacher or some other person, with correct voice, laas the first or third part. p. 45. 78 The teacher having caused to be ung to figures consecutively, chord by St. Co. (New.) PEACTICE. chord, Ex. 122, omitting the second mea- sure, let the pupils say to which figures the chord Da was sung ; the same with Exs. 123 to 126. Even elementary pupils should know by ear the mental effects of the principal chords in their a posi- tion, pp. 45 to 47. 79 In the same manner let the pupil distinguish the chord of Sa in Exs. 122 to 126. 80 In the same manner let the pupil distinguish Fa in Exs. 122, 123, and 124. 81 In the same manner let the pupil distinguish ?Sa in Exs. 122 & 123. 82 In the same manner let the pupil distinguish La in Ex. 126. 83 Listen to the laaing of Exs. 123 to 126 and name the cadences, p. 48. 84 In the same manner as questiom 78 let the pupil distinguish the chord D6 in Exs. 124 and 125. This and the following four questions (to 88) may be answered by the more advanced pupils. 85 In the same manner let the pupi distinguish DC in Exs. 124 and 125. 86 In the same manner let the pupil name F& in Exs. 124, 125, and 126, care- fully distinguishing it from La. 80 87 In the same manner let the pupil name R6 in Ex. 124, and "lii in Ex. 126, carefully distinguishing them from Ek. 88 In the same manner let the pupil name To in Ex. 126, and T6 in Ex. 125, carefully distinguishing them from "Si and 'Sc. 89 The teacher singing or causing to In- .sung to figures (one to seven twice) Ex. 127ft, let the pupil decide on what hgure the distinguishing tone of the tirst sharp key was heard. The same with Ex. 128. p. 50. 90 In the same manner let the pupil name the distinguishing tone of the first flat key in Exs. 130, and 131. '. 1 1 The teacher singing or causing to bo sung to figures (eight to one line, six to the next) Ex. 133, let the pupil name by its figure first the distinguishing tone of t rausition, and second that of return- ing transition. '.>-' The same with Ex. 136. Sevens metre. '.':; The same with Ex. 140. Common tn"tre. or eight-sixes. '.i ( The same with Ex. 143. M Signal by manual signs and from rnriuory, so that quick pupils could sing m>m your signalling, Exs. 65, 99, and the air of 97. p. 51 and preface. 96 Signal, as above, the first and third parts together of Exs. 86, 86, and UB. 97 Signal, as above, the first and third parts of Exs. 124, 125, and 126. ; is Mark the best breathing places (to suit the phrasing and the sense) for the first and second verses of Ex. 133, second line of the poetry, and Ex. 134, third line of the poetry. 99 Add any marks of expression (p. 30) which occur to you in Exs. 140, 142, 143, 144, and 145. 100 Pitch without a tuning-fork the keys B, B flat, E, E flat, and A flat. The pupil has not satisfied this require- ment, if when tested he is found to be wrong so much as a step. 101 Sing to words any one of Exs. 133 to 145 as required, p. 25, question 46. 102 Enunciate, with freely moving jaw, Ex. 146, tirst with the vowel aa, next with the vowel oo. (p. 61.) 103 Enunciate Ex. 147, first with the vowel 01, and then with the vowel oa. 104 Enunciate Ex. 148, first with the Towel <', and then with the an. 105 Sing correctly on a single tone may three words from each paragraph FOTJKTH STEP. of Ex. 149 which the teacher points to. 106 The same with Ex. 150. 107 The same with Ex. 151. 108 The same with Ex. 152. 109 Recite, in exact time, the ex- amples in the second column, p. 63. 110 Taatai on a single tone, exactly as marked, the rhythms of Exs. 123, and 125. 111 Taatai from memory any one of the Exs. 157 to 161, the first pulse being named. 112 Taatai the upper part of any one of the Exs. 170 to 174. 113 Beat, as directed (p. 66) four two-pulse measures at the rate of M. 60, pause for two measures, and con- tinue the beating at the right moment for two measures more. A silent metro- nome not seen by the pupil is the best test of this exercise. 114 The same, with four-pulse mea- sure, M. 90. 115 The same, with three-pulse mea- sure, M. 60. 116 The same, with six-pulse mea- sure, M. 120. 117 Sing to koo with the thin register Exs. 162 or 163 whichever the teacher choosas. p. 66. 118 Sing to koo with the thick regis- ter Exs. 164, 165, & 166, whichever the teacher chooses. 119 Sing to koo Exs. 168, and 169, whichever the teacher chooses, making the registers of the same loudness and quality. 120 Mark, for the Tenor singer, in Ex. 133 first, the optional tones, and next the places at which it is most ad- visable to change register, as is done in Exs. 170 to 173, and as suggested, p. 68 and question 58 above. 121 The same, with Exs. 135, 136, 137, 138, 143, and 145. 122 Without, at the time, referring to pp. 68 and 69, turn to examples of the part-pulse passing tone anticipa- tion tone waving tone hanging tone guiding tonehorizontal forestroke oblique forestroke waving forestroke unprepared forestroke. 123 Without, at the time, referring to p. 69, turn to examples of the full horizontal forestroke the oblique fore- btroke and the unprepared forestroke. 124 Without, at the time referring to p. 69, find examples of the following cadences, F, R, D, rD weak pulse 8 weak pulse rD. 125 Parse any one of Exs. 97, 116, 134, 136, and 140, which the teacher nviy select. 126 The same with Exs. 141 to 14:.. 127 The same with Exs. 113, US'. 120, 174, 175. 128 Mark the best breathing j>l ;i< in each part of Exs. 170 to KL', so a* I . . sustain the voice, shew off the TIK phrases, and not interfere with tho sense of the words. 129 Add any marks of expression (see p. 30) which occur to you to Exs. 170 to 174. 130 Sing to words any one of Exs. 170 to 174, as required, p. 25, question 46, which the teacher may select. 131 Follow the examiner's pointing in a new voluntary, striking the di- guishing tones both of the tirst sharp and the first flat keys by leaps, and singing to lac. 132 Point and sol-faa on the modu- lator, from memory, any one of K\~. 133 to 144, chosen by the examiner. 133 Write, from memory, any other of these twelve exercises chosen by the examiner. 134 Laa, at first-sight, any exercise not more difficult than these twelve. 135 Say aloud or write down, with- out looking at modulator or book, tin- bridge tones, to right and to left of each scale tone, as directed, p. 51. 136 Tell which is Je and which is ta, as directed, p. 25, question 56. 137 Tell what tone (/ or to) is ikan, as directed, p. 25, question 57. 138 Taatai any rhythm of two or three four-pulse measures, belonging to this step, which the examiner shall Ian to you. See p. 25, question 58. 139 Taatai in tune any rhythm of two or three four-pulse measures, be- longing to this step,which the examiner shall sol-faa to you. 140 Sing to words, from memory, any one of Exs. 133 to 145 chosen by the examiner, singing cither part, but taking the last verse of the word*. 141 Write correctly the three musi- cal phrases which would be dictated as follows : 1st, " TAATAI me doh " " snfatefe me ray doh" "TAAfe t l doh" "TAA ray." 2nd, "taf.-ifi-s-- doh ray me" "TAATAI me doh" tafatefe me ray doh te\" "TA\ doh." 3rd, "taataitee doh me soli" "Taa-aitee fah ray" "TAATAI /ah me" "TAATAI ray doh" "TAA te,." 81 FIFTH STEP. To practise more advanced Chest Klang and tuning exercises. To read chords disguistd l>j notation. To recoqnise chromatic chords. To perceive the power of cadence and emphasis in developing the mental effect of a tone. To distinguish the various Modes of the Common Scale. To recngnise and produce the characteristic cadences, and distinguishing tones of the Modern Minor. To recognise and produce Modulation and Transitional Modulation. To recite correctly. To arrange words for Chanting. Perception of the various modes of delivering tones, attack and release. To practise the degrees of Musical Force and Speed. To apply them to the various requirements of Melodic and Harmonic Expression. Parsing Musical Passages. The small Sfffiiter. The lesser Breaks. Perception of Registers. Scales of Registers. Classification of voices. Management of optional tones. Agility of voice. Sixths, Eighths, and Ninths of a pulse. Rare divisions of Time. Chest and Klang. For each key the singers change parts. At M. 60 the lower voices will have to economise their hreath for 24 seconds. Key Efr, the upper voices slurring each Phrase of six tones to the forward Italian laa, M. 80. Key F, koo-ing, M. 72. Key E, laa-ing as above, M. 60- Key FJ, Sol-faing, M. 92. In all these keys Basses may use the thin register for d'. Tenors should not need to do so. This exercise is not to be sung staccato. The notes must not be detached, but on the other hand they must not be slurred into one another. There must be a clear stepping from note to note. Ex. 176. KEYS E [?, F, E, and t Chest and Klang Exercises. t , :d 4 n t s d 1 ,s t n :d,n :- | II In the third line no ono tone is made to pre- dominate in the melody : :n' |r" :d' 1 1 :1 |s :f | n || But in the last line, by the influence of its over-fifth, by accent and by cadence, 1 again predominates : :n' |1 :r' | d' :t |1 :- I - II Another example is afforded by the old tune. " Martyrs." When written according to the oldest copies, those which correspond with the present singing of the tune in the Highlands of Scotland, the tone r is made to predominate, in the first line uy its twice rising to its over-fifth, and making a cadence on it : :r |f :r |1 :f In :r |1 || In the second line by its cadence on the under- fourth : :1 |d' :1 |t :r' |1 :- | - || In the third line by its cadence : :1 |d' :s |1 :f In :r 11 || And in the last line, after three cadences on the fifth of r, by a very decided cadence on itself falling from its over-fifth : :d' |t :s |t :1 |r :- |- || The Modes. This power of making any one tone of the Scale so prominent as to stamp its own character on the whole or any part of a tune, was early understood among all nations, long before what we now call harmony was known. In the St. Co. old Greek and Latin music there were as many Modes of doing this as there are tones in the Scale. In each mode special predominance was given to some one tone. Even to the present day the great eastern nations of Persia, India, and China, who dislike our harmony, are exceedingly exact about the correct intonation of the various modes of melody. (See examples in the " Historical Speci- mens " of my "Common Places of Music"). Much of the old music of Scotland, Ireland, AYal< >, and England, cannot be written as still traditionally sung, except by the use of these modes ; and when (as in the case of " Martyrs " in Scotland, " Bangor " in Wales, and other well-known tunes) musical men, seeking to bo wiser than Bach and Handel (who recognized the modes), altered the melody to suit the supposed require- ments of modern harmony, and printed these altered melodies, the consequence was that thi- people either ceased to use the tune or continued to sing it differently from the printed copy. The Modes are called by various names ; by the Greek, the Latin, the Indian, and the Chinese writers on music. It will be sufficient for us to cull them by the name of the Scale-tone, whose mental effect pervades them. Thus we have three modes with a major-third above the principal tone or Tonic three major modes those of Doh, Fait, and So/i, and three minor modes, those of Lai, Ray, and Ale. The mode of Tt, with its diminished fifth, is but little used. Of the major modes, that of Doh is almost exclusively used in modern times and among the western nations. It was called, in anciont times, the Secular Mode the mode of the dance and the song rather than of Ecclesiastical solemnity. No other mode suits modern harmony so well. Of the minor modes, the Lah mode has come to be the only ono used among the nations of modern Europe, in connection with harmony. It could not be adapted to harmony, however, with- out alterations ; and these so much modified the pure effect of the old mode, that we prefer calling the modified form " the Modern Minor " instead of " the Lah Mode." The history of the tune " Dundee " or " Windsor " will illustrate this. In its original form, and also as copied from car by Dr. Mainzer, in his " Gfelic Psalm Tunes," it is u Ray mode tune, and cleared from Gajlic flourishes, reads thus : :r |r:n |f :n |r:r |d ||f |l:s |f :n |f ! ! :f |l:s 'f :n |r:r |d || f |n:r |r:d |r ! FIFTH STEP. 85 d':t n':r |d':t i\ r l n' -d' ri t 1 se This melody could have been written so as to begin on 1 instead of r, without altering the inter- vals. Melody alone would not decide which mode it is in. When harmony began to meddle with it, i a " leading tone " to the r was wanted, and the j ;hree d's were changed in some printed copies into i de which is a little step beneath r. In this form i the tune appears in Este's " Whole Book of : Psalms," A.D. 1592. But, so strong was the j resistance of the popular ear to such an alteration | of the melody that, forty years later the tune : appears in John Knox's Psalter with the first and second d's unaltered, and only the last made into I de. Later still, harmonists found the Ray mode, for other reasons (See " Construction Exercises," p. 90.) unfavourable to their purpose, and wrote the tune in the Lah mode, altering the three notes as before, thus : id'ln'ir'ld'it |1:1 |se||d'|t:l ll:se|l || But the alteration of the notes in the books did not necessarily alter the tones of the people's singing, and wherever books and instruments do not dominate, there may still be heard the clear, firm, solemn cadences of the old melodic mode, | 1 : 1 | s or in its older form | r : r | d and | 1 : s | 1 or | r : d | r. Thus, in the Highlands of Scotland, this tune is still sung. Even in England the modern version of the tune is seldom used, except where there is an organ or some other instrument to make the voices sing according to book. It is felt by all that se intro- duces a wierd unsettled effect, and greatly alters the whole spirit of the tune. It creates also a difficulty in striking the d' with which the next line begins. The ear naturally regards se as a new t, and can easily strike after it, t or r', because they have something to correspond with them in the supposed new key ; but is puzzled to find d'. (See the diagram at the side). So, in the history of this tune, a curious thing happened. When musicians began to alter its melody, the people in the churches of Scotland, without presuming to resist the demands of harmony, or to contend against a learned Precentor or a Choir, fell instinctively into the expedient of striking some other tone of the St. Co. (New.) same chord, which was easier than the uncertain se, and from which they could more easily rise to d 1 . A new tune called " Coleshill " not interfer- ing with the harmonies of Dundee, was the result. It reads thus : :s | ' Id 1 :s |n ||d> |n Id 1 |s n' :r' |r'.d':t :s The Doric or Kay Mode. Before the introduction of modern harmony, this mode was the principal one used for worship. Throwing its emphasis on the earnest " prayer-tone " r, it was strong and hopeful as well as sad. The softer Lah mode can- not take its place. Much less can the modern minor with its sense of restless unhappiness. In Wales, both North and South, this mode is much preferred to the Lah mode, and popular tunes, printed in one mode, are sung in the other. The difference is easily observed, because (in addition to the question of the artifical leading tone) the expressive cadence d' 1 1 in the Ray mode, becomes s f m in the Lah mode. It is like transition to the first-flat key. (See diagram). Let the pupils notice and describe the changes of melody, which would be necessary to put the tune " Martyrs " above into the Lah mode. Let them do the same with the following old Ray mode tunes singing them in both modes. The first is the burden or chorus of an ancient Christmas Carol " Nowell, nowell," which Mr. Chappell ascribes to A.D. 1460 : :r |r :- :f |ri :- :d |n :-.r:d.ti 111 :- :li Id :- :d |r :- :r In :- :n 1 r s f n d t 1 r s d t f n 1 r |d :f :n |r :- :d |r :- The next " Bangor," is a tune of the ancient British Church, as it may now be heard in the churches of Wales and Scotland whenever sung without book or instrument : :n id 1 .t 11 :s FIFTH STEP. :1 |r ! :1 .s |f :n jr || These studies are not mere matters of curiosity, or of history, for by far the largest part of the popu- lation of the world, at the present moment, makes use of these various modes in singing. Mission- aries, above all others, should study this subject well. The Modern Minor is built on the ancient Lah mode with adaptations to modern harmony. The relation of tones to one another is more strongly felt when they are sounded together in harmony than when they are merely heard successively in melody. Harmony, therefore, introduces new principles. The* chief principle of modern har- mony is that which chooses a particular chord, called the Tonic Chord, makes it preoccupy the ear, and then makes the chord on its over-fifth, its dominant, and that on its under-fifth, its sub- dominant, minister to it. The meanings and uses of these terms are given on pp. 20, 27, and 46, and at p. 48, this principle of " Chord Relation " is illustrated by the cadences. Those who not only see, but listen to these cadences, will understand what is meant. In the common, bright, clear Doh mode the chord relationship was satisfactory and pleasant. Two strong major chords, S and F, two- fifths apart, yielded and ascribed superiority to the chord D, which stood equidistant between them. The modern minor is an attempt to apply the same chord relation to the Lah mode. But in no other mode, except that of Doh, are the Tonic, Domi- nant, and Sub-dominant all major chords, and the ear naturally dislikes two unsonorous minor chords (See p. 46,) together, especially in a cadence. 8E. In the Lah mode, L the Tonic, M the Dominant, and R the Sub-dominant are all minor. The first harmonists shar- 86 pened the third of the Tonic L, making (s) the chord 1 de m, and this is still done sometimes in slow music, but the most f satisfactory artificial arrangement is that PI which sharpens the third of the Domi- nant M, making m se t, whenever it is wanted as a dominant. Occasionally, however, s is still used, especially IE descending stcpwise passages. Se is related to 1 as t is to d'. Bay. The use of se, instead of s, makes a great unpleasant gap in stepwise passages, between se and f. Therefore, in such 1 se s (ba) f n I passages the composer often introduces another tone which he uses in place of f. It is related to se as 1 is related to t. We call it bay and write it ba. : 1 | se : ba sounds much like id 1 | t : 1 and : m | ba : se | 1 sounds like : s I 1 : t d . There are, therefore, two " alternative tones " in the modern minor, one intro- duced for harmony's sake, the other for the sake of melody. Jiay, however, is not so often substituted for f as se is for s. 1 f- n s r f n d t r 1 St. Co. (New). d t 1 Difficulties of the Singer. These arise from the modern minor, with its altered notes, being so like, and yet so unlike, the major of the same Tonic. See diagram at the side. The ear is drawn away from the key and confused. To prevent this it is best to train the singer to imi- tate the relative major, not the Tome major, and so to keep the Dob in mind. Thus the teacher patterns on the modu- lator | m 1 : d 1 | t : d> || and immediately follows it by I di : 1 | se : 1 ||. After a time he will give any major phrase and ask for the corresponding minor. The difficulty, already noticed, of strik- ing d 1 after se is increased by the intro- duction of ba, because ba strengthens the feeling of a change of key. This feeling also makes it difficult to strike f, (especially by lean) as is seen by the diagram at the side, and felt by all singers. It will be easilv seen from the diagram, and has often been felt by the teacher, that in singing such a phrase as ba : se | 1 :t | dl : the pupils will sing do' instead of dl, and even in singing such a passage as this : m | ba : se | 1 : | m : the pupils, instead of falling upon the same note with which they began, sometimes sing de as though it were the m of the major key drawn at the side. Such exercises as the following should be constantly practised from the Modulator, first xnl-faa\ng and then laaing, always singing its relative major before each minor phrase. Id 1 :n' |r' :t Id 1 :- || 1 :d' |t :se|l :- || ba 1 f n s r f n this : m Ex. 1816. FIFTH STEP. 87 D.O. Ex.183. KEY B ? . L is O. Compare Ex. 123. Id 1 :t |1 :t |d ! :- || 1 :se|ba:se|l :- || PI d :f n - n d :f t, :r d - D.C. d 1, :r d - se li :1| se,:t li - In 1 :d' |s :1 t id'Hd 1 :! jn :ba|se:l || 1, L :r. 1, - pii 1 :r 1. - D.C. \rt :d' |t :1 |s :- ||d' :1 |se :ba |n :- || Ex. 184. KEY C. L is A. Compare Ex. 124. ^^ ^^ D.C. d r':t se - 1 f :r' d':t 1 - ;8 :1 it :s |n' :- || n :ba |se :n |d' :- || 1 f :f n - n f :1 1 :se 1 - The teacher patterns the relative major. ( 1 r :r n - d r :f PI :n 1 - |n :se |t :n |d' :1 |se :1 |n :se |1 :- || Ex. 185. KEY C. L is A. Compare Ex. 125. |d' :t |1 :se|l :ba|se:l |n :se|l :- || d'i di:r' P|| - pi 1 r 1 :d'.t d':t 1 - But few composers understand about this. They 1 1 :1 se - 1 se:l 1 :se 1 - therefore sometimes introduce tones which give 1 1 :f m - d ti '1 n .'n 1 - great trouble to the singer, without adding, in the i least degree to the beauty of the music. \Vhen Ex. 186. KEY C. L is A. Compare Ex. 126. composers write for a hired theatre- chorus (who d*i _i . _i di "i i j i dare not say that anything is difficult much less i n 1 :r' 1 - r 1 r 1 .d 1 t :t - hint that it is unnatural), we cannot wonder at j 1 d 1 :t i _ 1 se :1 1 :se 1 _ their mistake. Even Handel has sometimes thus / A erred, and his notes to the phrase " Till thy people pass over, O Lord," are selaom correctly sung even r 1 1 :n f - f n :1 r ;n 1 - by the Handel Festival chorus at the Crystal Chord Relation in the modern minor. L is the Palace. Tonic Sol-faists, after this warning, Tonic of the minor mode as D is of the major. will know the difficulty and master it. Modern Therefore M, or with its commonly-sharpened third composers for the voice ought to know the diffi- 86 M, is the Dominant, and R the Sub-dominant. culty and, except when it adds beauty to the music, avoid it. What is said of the relations and habits of D, S, and F (pp. 21, 26, 27), applies almost equally to Z, The Exercises. As the modern minor is so much the creature of harmony, it should be first studied in such exercises as the following six. They are simply previous Tuning Exercises changed into the modern minor : 86 M, and jR in the minor. What is said of 7 S (p. 46), applies to < se M, and the habits of 7 R (p. 47), are imitated, as far as possible, by 7 T, and so on. For exacter particulars See " Construction Exer- cises " p. 90 to 101. The chord M (p. 46) is caUed the " Mediant " in the Major, and D is called Ex. 3 81. KEY E. Z is C #. Compare Ex. 85. 1 1 :1 se - se 1 :1 1 :se 1 :- d n :d PI - PI PI :d d :t, d :- li d :1, n - PI d :1, pii ipi| li:- Ex. a 182. d :ti KEY B d - >. z :d' t .,t:t :t d' : > die. s 1 :- > die. gin, We all se : :se 1 :- gin, We all be - g - :1 f 1"n to die, We all begin t< .1 :t.l : se.ba se tn :1 - .,l:se is be - g in to die, We all begin tc SUMMER IS GONE. Ex. 190. KEY B7. Z li :- Hi :-.t, is G. Slow. d : Am, "Fort | :t| 1 :n |r :d t, : une, my foe." 1. Sum - mer is 2. Sum - mer is S.S.C. or T.T.B. gone, gone, d :- And sad - ly sighs the breeze, And here I sad - ly sigh, 1 : d :ti | :li sei : :i| 1, :- i- :-.t d :- 1 : li :sei | :li n, : li :- 1- :-.t, d : 1 : n, : |- :- :- Hm, Hm, St. Co. (New.) 90 .firm STEP. 1. :- Hi :- t, d Moan All, ing all it a- goes lone, I :- I :-.ti d d d li : 1 :-.ti 1, :- 1- :-.t, Hm, n : in ;- .n n : | Sweet Sigh flow'rs are on, ye dead, winds; t, :d ir :d t, :- 1 sei : li It, :1, sei : | n, : 1 : : 1 Hm, r : is :-.f n : | Sigh Those on, ye dear, dear winds, friends, 1" * ^^ 1 : d :- 1 t, :- 1 : d :- | si :- |- :- 1, :- 1 Hm, :t. 1, :n ir :d ti : Through Not bare and one dear l<-af - less friend is trees, nigh; ! d :t, I- :li se, : HI : li :sei | :1| HI : 1 : Hm, :n n :s |f :n r : The Though song -birds spring a - all have gain will flown, come, : d :n ir :d 1 ; si : 1 - : : d, :- It, :d, : Hm, :r.d t, :1, sum - mer me can - 111 :sei days are not re - 1, : gone, turn. For To se :1 in, : d, : n ( : i :r. r, :d, | :t 1. : Hm, I I ' i- : I : THE CHBISTIAN'S PABTINQ WORDS. Words by Jt Ex. 101. Ml ^ U.Let me ir.We have (Id :d |d' :d Up - ward |n :n itnes Montgomery. KEY C. L is A. M. 50. 1 .d':t .1 jse :se se.t :1 .se|l :1 Russian Air D.a 1 .d':t .1 m 1 :se 1 : go, the day is spent a night of d .n :r .d |t, :ti break-ing, Dear com - wak ing, In the ti.r :d .ti |d :d pan - ions, let me wil - der - ness be - d .n :r .d |d :t| go; low. 1 : day. Q * d'.n'sr'.d'it :t t.r'zd'.'t |1 :1 1 .a :t .1 in 1 :se now I bend my n .s :f .n |r :r way. Part we r .f :n .r |d :d here at break of d .n:r .d |d :t. St. Co. (New). FIFTH STEP. 91 2 Let me go I may not tarry, Wrestling thus with doubts and fears ; Angels wait my soui to carry Where my risen Lord appears ; Friends and kindred, weep not so, If ye love me, let me go. 3 Heaven's broad day hath o'er me broken Far beyond earth's span of sky ; Am I dead P Nay, by this token Know that I have ceased to die. Would you solve the mystery ? Come up hither, come and see. Ex. 192. 1. :- KEY G. L is E. : It, :- 1. Drive li :- dull 2. Come, come, DRIVE DULL CARE AWAY. AIR. " We be soldiers three." r :- :d |t| :- : 1| :-.t t :d care a - way, Let us be t| :- :1| |sei :- : 1| :-.sei:l| join our song, Mer - ri - ly hap |se, :- v chant :n py> :n, it d :-.t|! li |ti : blithe li :-.s and gay ; : fe, | S| : loud and long ; s :-.f : n |r :-.d :r Ban - ish your sad - ness and n :-.r : d is, :-.l|:t| Ban - ish your sad - ness, bid n :-.r:d join in our d :-.ti:l, sor - row be- jt| :- :n r :- .n :d |t; :-.l| :t| lay, And let us all sing and be I sei :- :ni t| :- .d :li |sei .-.baiisei gone, And let us all sing and be d :1, mer - ry. li :i; mer - ry. i Words by THE DESTRUCTION OF SENNACHERIB. Music by A. L. C. Ex. 1 1. The As 2.Likethe :li .,se, 3. For the 3. KEY F. L is D. d :d :r -sy - rian came leaves of the An - gel of n n :l|.,t| d :d wolf on sum - mer wings on down for - d : like a est when d : 1| .,S6| Death spread his 1 n :n : ba se :se :ba n :n : co - horts host with d :d : were their d gleam - ing ban - ners t, :t, in at pur - pie sun - set S6| :S6| breath' din the face of the foe as St. Co. (New) . :r the the ba and were ll he n fold green, d blast, se : gold; seen : t, : pass'd; - :d And his, That And" And the lake the :d .,r And the 92 FIFTH STEP. d' :t :1 eheen of their leaves of the n : s : f eyes of the rit. n :n :r blue wave rolls host on the d :d :t, heart but once s Z n si :f :n )ears was like >r - est when :r :d eep - ers waxed dim. d :d :d 1 :s :f stars on the Au - tumn hath d :t, :1, dead - ly and ,,r n :n :n n sea, blown 861 chill, L nd C| TOW P :- :d .,r When the , That :- :li -,t, And their li :- lee. strown. ll 1- still; night - ly on mor - row lay 1, :li :li ,1: deep Ga - 1 with - er'd a se : sei : s ev - er g hcav - ed, And for THE JEWISH CAPTIVES. Ex. 194. KEY A. L is f*. Slow. (d :- \ l.Far, . 2.Far, 1, :- \ 3-Far, |n :- .r d :- far from home, far from home, | S6| :- .86| 1| :- far from home, : li : :f n :- .r |d :r n : home, home, home, Where Our Can Jiuby - Ion's wa harps with un n, :n |1| cap - tives tune - ters roll, - tun'd string the string ? V down, hang, se, : V sung P I- : .n And While 1 : ,n, Je n : |n bit - ter cap - tors r :d |ti : n : tears, scoff, :li sei : -m - BH lem! f :- | :n d :r |n :r d :- sighs, mirth, se, : Ex - And I :se. press the an - guish of bid us songs of Zi 1, :t, |d :t, 1, :- joy! ft. Co. A - (Ntw). way from thcc, how can A. L . C. : Id :- t, \ Far, far from/ Far, far from 1, :- in. :- * Far, far from 1 :n, ba, : S6; lli.ti d.d) In si - lence sit wef On wav - ing wil - lows' 1 1 :rii ba, : se ; U,.t, :d .1 A Shall Zi - on's songs be' I : .n f If : And hoa . vv And ask for 1 : ,n. r d It, :L My chief - est It, : 1, 1 j our soul. on sing. | :se. 1| 1 : we sing: Ex, 1956. FIFTH STEP. 93 Ex. 195. KI PC :Y G. )BGIVE TH INE ENEMY D. t. "d 1 :- t :s Fttcht. 1 :t d : For ti :BJ give thine en - e For df :1 my, thine give thine 1 .s :n .s en - e f :n .r en-e my, thine / d 1 :s' - .fi :n' t - - .r' :d' .t 1 .t en :- .PI :t e r * e d :- my, d .r :m \ my, thine ) n :- .r en d :- e - my, 1, :1 .s thine f [ en e - - my, thine en - - my, / : :f n :d r :n f :1 :s .f j - .f : s .d ( Forgive thine For - r :- .r en - e - give thine my, en-e - :d For - my, tliine 1,' :fi give thine en-e - 1 :t, en - e n :d' my, thine d :t, .1, :t .1 en- e - f : thine se : 1 .n :1 :se e - t, :- .t, en - e- 1 :- my, my, For my, :n .r en-e - thine en d :- .r,d my, my, thine / d 1 :- For n :d give thine t :s give thine r :PI en - e - 1 en f my, :t - e - :n .r d 1 my, P1.1, en-e - :t .1 t .PI :n en-e - my, '. S -.r 1 :1 .t thine ene - . d 1 : thine my, - .n :d .n thine ene - thine my, f. G. d's.f :r .f n :d' -.t :1 - .s f thine, - .d e - :n thine t|.S| :d my, thine en r' :- .r en - e - e d :- , my. thine en - e - my, thine my, For d . tj :1| .PI give f :- .PI my, thine r en en - e - Chanting. The pupil will now learn the recita- tions of Exs. 177 and 178, paying special attention to the Consonants as taught at the last Step. Ex. 196. Sing to words Exs. 177178, having first learnt the music by heart. Arranging Recitations. In connection with the study of Chanting, it will he well for the Teacher to give out a portion of a Psalm or some other St. Co. (New). passage of Scripture ; to he fully marked for Chant- ing, with Cadence bars, Pulse divisions, Accent marks, and Type-expression. (See pp. 35, 36, 59). The comparison of these various plans, before th<; class at its next meeting, will prove both a fine exercise of taste, and an interesting study of the sense and meaning of the words. Besides, the Tonic Sol-faist should give himself the trouble of mastering all these principles of recitation practi- FIFTH STEP. cally, for he may some day have the duty and happiness of leading a congregation, and then, whether ho uses a book marked for recitation like our exercises or not, he will require a practical mastery of our principles, unless he is content with tasteless, sinful " gabbling" instead of chanting. In commencing such exercises, the student will first cut off the cadences. Ho will naturally try to arrange these so that the musical accent may correspond with the sense of the words. This cannot always be done. The attempt to do it, in difficult cases, often leads the marker to put too many syllables into the pulses of the cadence so, that when it is sung quickly, as cadences should be sung, an irreverent dancing effect is produced, and when the cadence is sung slowly, it naturally makes the recitation also both heavy and jerky. The practice of putting several syllables into the pulses of a cadence, compels the reciter to put many sylla- bles into the pulses of his recitation. *It is certainly better in the cadence as far as sense will allow to keep only one syllable for a pulse. Compare : ": . Which | ttilleth the : noise of the \ teas i . the : noise of their || waves : and the tumult : of the | people " with " : . Which ttilleth the : noise of the \ teas : . the noise : of their \ waves : and the \\ tu : mult | of : the \ people." The last can be sung quickly ; the first must be slow and heavy, and still jerky. In preparing the Recitation, let the student first make sure of its beginning and ending. For he must remember that the chant is a mixture of Speech and Song. The Recitation is Speech ; the Cadence is Song. This necessitates some compro- mise, at least some " management " at the points (before and after the cadence) whore Speech and Song meet. As an accent comes at the beginning of every cadence, there must always be before it either an unaccented pulse, or a pause of a pulse supposed to bo unaccented. As we cannot well hare two strong pulses together, it is unnatural to make any other than a woak pulse between the reciting tone and the cadence. Thus, if in the follow- ing sentence we feel the necessity of emphasising both " martyrs " and " praise," we should not attempt to write " : . The \ noble : army of | martyrs \ praise " but " : . the \ noble : (may of | martyrs : \ praise, &c. As every cadence clows with a soft pulse the mind naturally expects the strong pulse to follow, and if the words will not bear this, you must give a pause to let the accent pass by. Thus " | Thee : \ : . The | holy : Church : throughout \ all " or better thus " : . The : holy \ Church" Another hint is this. It is important that the student should use a metronome for his recitation, else he will find himself continually varying his rate of movement, and that cannot be done by a great congregation. It is very unnatural to hurry the pulses of the reciting tone and slacken those of the cadence. They should all move at the same rapid rate. If you chant slowly it is impossible to make the pauses indicated by the dots. In further studying the reciting tone, the careful marker will observe that the two-pulse rhythm is the most common and easy, but the best speech contains a well-arranged variety. As a general rule, the rhythms in which a passage is best said are those in which, for chanting, it should be sung. Chanting, however, is not private talk ; it is public speaking. Public speaking differs from private talking in this that the pulien in public speaking are necessarily more regular, in order that the voice may carry further. The student, moreover, must not despair if he finds it, in some cases, ex- tremely difficult to reconcile sense and rhythm. Prose is often written more for the reader than the speaker. The prose style of a Bolingbroke, a Brougham, a Gladstone, or a Bright, is quite different from that of a student or a learned trans- lator, who seldom speaks further than across a table, and it is altogether more rhythmical. It was not all the translators of the Bible who studied the rhythmical structure of their sentences. While the student is thus recommended to exercise his judgment and taste in deciding which plan best expresses the sentiments of the words and best draws out the voice of the whole people, he should be always ready to unite cheerfully in the " use " which he finds established in the church in which he worships. The following hints are for the Precentor. First, avoid chants with high reciting-tones out of the reach of ordinary voices. Long recitations on a high tone are screaming impossibilities to a congrega- tion. Second, avoid chants with wide intervals in the cadence. Such cadences are not like the natural cadences of an excited public speaker. They are almost necessarily slow and heavy when a congre- gation sings them, and " slow " cadence makes jerky recitation. Expression. At page 30, a brief and superficial reference to this subject is made. The pupil being St. Co. (New). * Because the pulses of recitation and cadence should move at the name rate. FIFTH STEP. 95 now well grounded in the doctrine and practice of time and tune, is free to give full attention to expression. The subject is one of great intellectual and artistic interest, and both voice and mind should go through a thorough training in expres- sion. The chief elements of expression are speed and force. How speed of movement influences the emotional effect of tones has been shown p. 28. How the various Degrees of Force can influence expression is never known until the pupil has really learnt to control his own singing in this respect. It is one of the simplest, easiest, most effective, and most neglected of all the contrivances of music. Ordinary singers employ either an uniform weak drawl, or an equally uniform shout. They have never cultivated a medium force of voice, and they can never give that light and shade of sound, which, like the varied distances and lights in a painting, throw such a charm over the musical picture. The first thing to be secured the foun- dation of all the rest is a good delivery of each tone, both for the sake of quality and clearness of impulse. Delivery of the Voice. In singing, the student must remember that he is not singing to the top of his head or the bottom of his throat, or to the inside of his mouth, but to an audience in front of him. He will, therefore, direct his breath out- wards, in a steady, well-regulated stream, keeping his teeth always wide apart even when he has to round his lips. By this means he will avoid shrill bird- warbling, bass growling, and vague humming, and will produce a rich, round tone, without discor- dr.it upper "partials." Attack and Eelease. Closely connected with a good quality of sound, and essential to its pro- duction is that clear striking of every tone that " good attack," as M. Fetis calls it that " shock of the glottis," as Garcia describes it that firm, but light and elastic " touch " as Mdme. Seiler speaks of it which should become a habit of the singer. Every tone should have a sharp confident opening as well as a distinct close. It should be like a newly cut coin. " Any one," says Dr. Lowell Mason, " who gives attention to the production of tones by a good instrumentalist, or to the manner in which they strike the ear when the ' attack ' is made upon them (or when they are first brought forth by a skilful player), cannot fail to observe their great superiority in promptness and energy of delivery, to those usually heard in singing. Indeed, choir or chorus singing can hardly be heard without reveal- St. Co. (New). ing the fact that whatever proficiency may have been made in reading music, so far as it relates to time and tune, the proper use of the vocal organs in the enunciation or* emission of tone has been sadly neglected." Any one who, in the Crystal Palace or elsewhere, has heard some great artist singing with the accompaniment of a vast chorus, must have been filled with wonder to notice how easily the artist's voice was heard above the thousands of uncultivated voices. It was greatly because the artist had formed the habit of good attack, and made his voice reach the ear more quickly and more truly. The increasing habit in singing classes (when time, tune, and words are learnt) of studying delivery and expression, with closed books, under the guidance of the leader and his baton, have done much in England to remove this defect, of bad attack. Mr. F. Kingsbury, in his sensible pamphlet on the voice says : Pass the breath in a small stream letting it commence suddenly, as if produced by the sudden opening of a valve, but without any further effort. Unnatural forcing of the breath must be avoided, while care is taken not to let it ooze out. By this prompt attack, after a few experiments the singer will positively feel the back of the throat and mouth simultaneously filled, as it were, with ? solid body. The muscular power of these parts is> felt to grasp or lay hold of the sound. This sensa- tion of laying hold of the tone should always be present to the singer. He will then be conscious of a power to mould and shape the sound at his will. The following hints from Mr. Ellis will assist the teacher in observing, and the pupil in learning the proper mode of attack. Only, that which he calls the " clear attack," forms the true action of the glottis to be practised by every singer. In this, the vocal membranes are brought into contact exactly at the moment when the breath is made to act upon them. In the " gradual " attack, the vocal membranes are brought together while the breath is being emitted, so that the passage through whisper to voice (whisper being speech without the vocal membranes) is unpleasantly audible. As this attack is common in speech, it is the more neces- sary to guard against it in song. It causes what we call " breathiness." In the " check " of the voice, the vocal membranes are brought tightly together before the breath acts upon them, and are separated with a sensation of a click in the throat. Only for an extreme staccato effect should this be FIFTH STEP. used. la the "jerk," the proper clear attack is made with the addition of a sudden jerk of the breath, produced by the diaphram or muscular floor on which the lungs rest. This jerk can be easily felt by the hand. It is the proper form of the aspirate H for the singer that is H without " breathioess." But, care must be taken not to allow a puff of wind to escape before the vocal membranes are brought close enough together to make the clear attack. In the " slurred " attack (that is the attack on the second vowel, or the con- tinued vowel in a slur) there is a simple relaxation in the emission of breath between the two vowel impulses. So that no very sensible sound is heard between the two vowels, and no " clear " attack is heard on the second. The distinction between the slur and the glide (p. 61.) is this : In the glide the voice continues in full force while the organs are passing from one vocal position to another, and in the slur the voice is continued, but with greatly lessened force. This is true both in music, when wo pass from one tone to another, and in speech when, without change of tone, we pass from ono vocal position to another. The " release " of the vowel by a clour action of the glottis, leaving no ragged ends to the sound, should be very carefully practised. It produces as beautiful an effect as the clear attack itself. The teacher will make his pupils try all the various modes of attack, but practise only the clear attack. The power of recognizing bad execution helps the pupil to understand and enjoy that which is good. Degrees of Force. To give his pupils a proper command of their voices, in this respect, the teacher will find distinct and frequent practice necessary. The degrees of force ho may introduce m the following manner : " Sing me a tone to the open LAH, at an easy pitch of your voice, which shall be neither loud nor soft. . . What shall we call it, if neither loud nor soft ? " Medium. " Yes, it is called a medium, or, to use the Italian word (which has been adopted into all languages for this musical purpose) a mezzo (med'zoa)* sound of the voice. Let us write m in the middle of the black board, for mezzo, and you can Ex. 197. sing with your medium force, whenever I point there. Let each one try to fix in his mind what is his own medium force of voice, and learn to pro- duce it at command. Sing it now, as I point. . . Again. . . &c." "Sing the same sound lovier." . . For the loud sound wo use the word forte (fortai) or the letter /. We will write / to the right of m, on the black board. . . "Now sing as I point." (m. f. f. m. &c.) " Sing the same sound softly. For the soft sound we use the Italian word piano (pyaa-noa), and the letter p. We will write p, to 'the left of the m, thus : p. m. f. " Now sing with ' medium,' ' weak,' or * strong ' (mezzo, piano, or forte) power of voice, as I point to one or the other of these letters." The teacher points sometimes slowly, sometimes quickly, some- times in one order, sometimes in another, and this pupils sing accordingly. When these rough outlines of vocal force have been ascertained, and a good command of them sec ured, the teacher may proceed to develop, in a similar manner, the intermediate and the extreme degrees of force, using the marks m.p. (mezzo- piano), and m.f. (mezzo-forte), for the intermediate degrees, and ff. (fortissimo}, and pp. (pianissimo), for the extreme degrees, very loud and very soft. Let the teacher show, by example, that it is possible to give a very loud tone without scream- ing : The black board will now have the following signs marked on it : pp. p. mp. m. mf. f. ff. The teacher will exercise his pupils in passing from one part of this scale of strength to another. A really gradual (not a jerking) passage from one end of this scale to the other, and then back again, is one of the most difficult feats in music. The pupil must take a good breath before he begins, and use his breath economically. The exercise is of first importance. f f f / P P P P 1 1 H :1 1 .1 ll :1 Ex 198. \ P , p / 1 / / St. Cb . (XewJ * The inverted full point marks f f 1> \f l f f f an accent on the preceding syllable. Ex. 199203. FIFTH STEP. 97 Ex. 199. pp p f ff ff f P PP ff f P PP I :l \l :l I : I : 1 :1 ll :1 Ex. 200. pp p mp m if f ff ff ff ff f m > i i I pp pp pp m mp p pp 1 : | : 1 i Ex. 201. f f mf m mp p pp PP PP PP P m P m / f ff ff : | : . 1 i Crescendo (Kreshen-doa),*&c. A long tone or a succession of tones passing gradually from the piano or pianissimo, to the forte or fortissimo is allied a crescendo tone or passage. A long tone or a succession of tones passing from the forte or fortissimo, to the piano or pianissimo is called a decrescendo or diminuendo tone or passage. The gradual passing from pianissimo to fortissimo and back again to pianissimo is called a swell. The crescendo is indicated thus, -=^L The diminuendo thus, The swell thus, For the development thus far of the subject of force in music, the Editor is indebted to Dr. Lowell Mason, of America, who was the first to reproduce, in the English language, the Pestalozzian prin- Ex. 202. KEY D. : < > :r |n :f s |t Staccato and Detached Tones. When a tone is meant to be sung only half its proper length, and in a marked (not loud) manner, this is indicated by means of a small dash thus ( ' ) placed over the note. This mode of singing is called staccato (stakkaa'toa). When a tone is meant to be sung about three- quarters of its proper length, this is indicated by a dot placed over the note. These tones would be called " half, staccato " or "detached" tones. Legato. -When it is intended that the tones should glide gently and easily one into the other (the degree of force with which the first tone ends being the same as that with which the second begins}, a slur /- s or the word legato (legaa - - toa) is written over the note. Sing the following, St. Co. (New.) * For pronunciation, ciples of music teaching, by which Nageli and others had created a musical revolution in Germany. See his " Boston Academy Manual of Vocal Music." Pressure and Explosive Tones. Pointing on the " scale of force," as above, let the teacher cause his pupils to perform a very rapid crescendo. A tone delivered in that manner is called a " pressure tone." It is indicated thus (<). In the same manner a quick or sharp diminuendo will produce the "explosive tone" marked thus (>). This manner of delivering a tone is also called sforzando, and marked */. A combination of the two last modes of delivery on one short tone should be expressed thus (/\). This musical ornament is very elegant, but difficult to perform. A tone delivered with equal force, from beginning to end, is called an " organ tone," and may be indicated thus (=). A :t A 11 A :s :n ir :d first with staccato, next with detached, and lastly with leqato tones. Do not make the legato dull and heavy, but smooth and elegant. Ex. 203. KEY F. :s s :f in :r is Application of Force. The application of the various degrees of force to the sense of the words is deferred to the last step. But, the use of force, as suggested by peculiarities in the musical phrases which are sung (apart from any modification which words may suggest), is now to be studied. Of course the words cannot be neglected at any step, see Teacher's Manual, p. 202. 98 FIFTH STEP. Ex. 204. Already some hints on the subject have been given at p. 30, and the teacher will add more as he comes to the cases in each tune sung. It is only the systematic study of verbal expression which is deferred to the next step ; musical expression alone will now be systematically studied. Additional Exercises." We shall, from this place freely use the Additional Exercises (Pts. 1, 2, and 3) for the illustration of various points in musi- cal and verbal expression, in musical Form and in the Analysis of Harmony. Our illustrations will be principally taken from the earlier numbers, but for the Ess. all three numbers will be required. It is very important that the pupil should, as far as possible, not only see but " hear " the illustrations. When the class cannot sing the piece, a quartet should sing it to them. Pains have been taken not only to suit these exercises to the progressive steps of this book, and to select them from the best composers, but also to secure in them as groat a variety of style as possible. It is quite common for a class to sing a large quantity of music without really learning anything, because they are always singing the same sort of music. There is, however, always something new to learn in each of these Additional Exercises. Normal Force. By this is meant not the force of certain passages, but the general the prevail- ing force of the whole tune. Some pieces of music by their bold character, evidently demand loud singing to bring out their proper effect See ' trod speed the right," p. 1. _" ^M, _son S; " p 18. Ladv" p 21, &c. Of course the sense of the words, and the character of certain phrases will introduce modifications in the course of the tune, but the "normal force" is that principally used. The pupil should endeavour to obtain full command of the Medium force of his own voice. The teacher should give out a tone, and require his pupils to sing it in various degrees of force as h- demands them. Mezzo! piano! forte! piano! mezzo, &c. He should then require his pupils to jndga from the musical style, speed of movement, &c., of various tunes, which of these three degrees of force should be the normal or general one given to the piece. Piano Passages. A true piano is sung, not with laxity, but with effort. To keep a piano passage from flattening in pitch, and to deliver it with clear and just intonation is very difficult. Echoes are commonly sung by a few select voices in another room, but, for the practice of pianissimo, it is better that they should be sung by all. When a true blended and real pianissimo of many voices can be obtained, it is far finer than the piano of a few. Illustrations of piano and pianissimo, for simple musical effect, may be found in "The Waits" when sung the last time, in the imitations of the "Cuckoo" and the "Quail," pp. 9 and 14, at the change of measure in " Swiftly," p. 29 ; and again at the change of measure, p. 31, &c. Forte Passages should be sung with a very clear vocal klang, and should be perfectly free from the sound of breath. Such a forte is very heart- stirring. But the rude, coarse forte produced by strong lungs and harsh voice is only deafening. Illustrations of this may be shown in the manner of singing " God Speed the Right," p. 1. ' The Waits," p. 8, when sung the third time. The close of " Freedom's Sons," p. 13 ; close of " Hear Me," p. 19, and several closing parts of " Swiftly," p. 32, &c. Melodic Phrasing is the art of dividing a melody into its natural parts, and showing by the manner of delivery that the singer himself distinguishes these parts, and wishes his hearers to distinguish them also. It is as important that these phrases should be distinctly marked by the good singer, as that the various members of a sentence (as indi- cated by the stops) should be marked by the good reader. This can be done by singing one phrase piano, another mezzo or forte and vice versa, by com- mencing a phrase forte and ending it piano and vice versa, by delivering the last tone of a phrase staccato, and shortening the first tone of the next phrase so as to allow a momentary silence before it, and so on. The proper choice of breathing places has a great effect in marking off the phrases. In some cases the phrasing of all the " parts " will be simultaneous; in other cases each "part" wiU have its separate phrasing. The phrases m " God Speed the Right " (p. 1.) are sufficiently marked out by the lines of the words. Each of the long lines is easily divided into two, however, if more breathing places are required.* Ex. 2O4. Mark the phrases and breathing places, on the supposition that there are no words to modify your judgment, in " God Speed the Right," (p. 1.) and as the two opening periods consist of the same music, mark how you would St. Co. (New). distinguish thm in musical expression. For phrasing see further Musical Theory," Book IV. pp. 244 & 261 Ex. 205210. FIFTH STEP. Ex. 205. p. 2. Mark in a similar way " Jackson," Ex. 206. Mark in the same way " The Waits," Ex. 207. Mark in the same way " Freedom's Sons," p. 13. Ex. 208. Mark the phrases and breathing places in the Contralto and Tenor of " Spring Life," p. 3. Ex. 209. Mark in the same way the Soprano and Bass of " May-time," p. 5. Ex. 210. Mark in the same way all the parts of " Thou shalt show me," p. 7. Ascending Passages. Passages which atcend by the steps of the scale (or otherwise) should, as a general rule, be delivered crescendo. Each tone should run into the next with regularly increasing force. We naturally associate height of pitch with ideas of energy and spirit. Full force of sound also naturally suggests the same ideas, and (except where it would interfere with some greater effect) should always accompany ascent. The gradual nature of the ascent also tends to "set off" the wider skips of interval in the other parts. It is difficult to make the crescendo gradual, each tone running into the next with a steady and not jerked increase of force, neglecting for the moment the common accents of the measure. It is generally necessary to commence piano, in order that the singer may have breath and strength to spare for the end. The slightest signs of fatigue in a cres- cendo, would utterly and miserably kill its musical effect. Imitative illustrations may be presented in the opening of " The Fortune Hunter," p. 4, where there is an ascent of an octave from s, to s, in the opening of " The Waits," p. 8, where there is an ascent of a fifth. Ascending imitative phrases, as in the last four measures of " Swiftly," p. 32, should be sung with a crescendo effect ; notice also the ascending bass. See also Standard Course Exercise 137. As a general rule, such passages as these should be commenced more or less piano in order to get the crescendo. For the same reason, it is almost always necessary to take breath before commencing such a passage. Descending Passages should commonly be delivered diminuendo, because an idea of quiet and rest is naturally connected with descent of sound. Descending imitative phrases follow the same rule. Find examples in " Going Home," p. 2 ; " May Time," top of p. 6. But where the character of the tune or the character of the words requires energy and powe~, this rule must be broken. See the bass " Awake .ZEolian Lyre," p. 64, 1st score. When an ascending passage, in one " part," comes into contrast with a descending passage ia another, and both passages are properly delivered, the effect is very beautiful. See " The Quail Call," p. 14, soprano and bass ; ." How Lovely," p. 60 (S. against C., and T. or S. and C. against T. and B.), three times in two scores to the words " Gone forth the sound of their." As a general rule, such passages as these must be commenced more or less forte, in order to get the diminuendo. Repeated Tones. The repetition of a tone, if it has any meaning, is intended to impress that tone upon the ear with cumulative force. To assist this purpose a repeated tone should be delivered cres- cendo, partly because the singer thus compensates the ear for want of variety in interval by variety in the degrees of force, and partly because he thus " sets off," by contrast, the movement of other parta, just as the line of the horizon " sets off" a variei landscape, and a quiet rock the rolling sea. The steadily increasing power also shows that the singer is not weary ; and it is among the rule* of art never to show weariness or exhaustion UE the artist. See examples in 2nd score, " Going Home," p. 2 ; 2nd score, " Cuckoo," p. 9, and 1st score, " O, Saviour," p. 86. Repeated phrases aa4 passages should be treated in the same way *t repeated tones. See Standard Course Ex. 113; air, meas. 3 and 4, and contralto meas. 5 and 4. Ex. 115; meas. 11 and 12, and "repeated pas- sage," Ex. 120, last four measures. Prolonged Single Tones. Lifeless monotony n unbearable in music, and therefore every ton should take some form. It will be found by ex- periment that the form most suitable for holding tones is the swell, and this swell should be full ani strong rather than soft and insignificant. The composer commonly means that the other parts should be covered with a flood of sound from th holding tones. " The greatest difficulty of this form of tone," says Fetis, " consists in employing aa equal time in the increase of power and its diminu- tion." A perfectly simultaneous and equal (not jerking) delivery of this " tone form " by a chorw is very difficult to attain. Only practising without book, but with the signal of the gradually out- stretching and gradually returning hands of the 8t. Co. I New). * " Musical Theory," Book IV., treats the subject of Expression with new illustrations. 100 FIFTH STEP. teacher, can lead to this attainment. See the close of " Hallelujah Amen," p. 28 ; " Swiftly from," three cases, pp. 29, 30. In the case of repeated tones running into a prolonged tone, or a prolonged tone breaking into repeated tones, the two should be treated as one, and the crescendo extended through both the prolonged and the repeated tones. See the bass in the close of "Cuckoo," p. 10; " Harvest Home," p. 39, two cases ; " Theme Sublime," p. 68, 3rd score, and p. 70, 2nd score. See also Standard Course Ex. 138. Melodic Imitations. When a composer makes one section or period of a melody imitate another, he designs that the singer should, by his manner, draw attention to the imitation. The best way of doing this is to make a contrast of force between the two. One must be more or less loud and the other soft. The pupils must study " the points " of a tune in order to know which of the passages must be loud and which soft. In "Jackson's," p. 2, the second section imitates the first chiefly in its rhythm. As it is a "rising" imitation, it is natural that it should be sung louder than the phrase it imitates. In the " QuaU Call," p. 14, the section beginning " Look at her " imitates the first section, and is itself imitated by the section which follows. As the imitations are all " rising," the first section must be delivered very piano to get anything like a forte on the last imitation. A striking rising imitation is in " Hear me," p. 18, 1st score. A falling imitation, which would naturally be softer, is in " Nearer," p. 35, 2nd score. In " Where the Gay," p. 65, we have a descending rhythmic imita- tion, preparing by its diminuendo for the striking succession of ascending imitations which imme- diately follow. See Standard Course Ex. 113, 6th score, at " Rejoice, rejoice." Ex. 188, meas. 5 to 9. Ex. 233, on " and in " to " me live." Harked Entrance. When (as in much of the old sacred music, in the old English Madrigal, &c., &c.) each " part " in turn, takes the lead in an- nouncing (in fugal style) the principal melodial theme, that " part " should assume its passing office with dignity, decision, and expressive clear- ness. The other " parts " should, at the same time, " give way," and hold themselves subordinate. It is plainly the composer's intention, that the entrance of these phrases into the music should be distinctly marked, like tho entrance of some dis- tinguished guest into a drawing-room, when all conversation is hushed and all eyes are intent. St. Co. f Study examples in " Thou shalt show me," pp. 7, 8, in which all the parts hush, to listen to " thou shalt show me ; " " Bon Accord," p. 11, where the same thing should take place on the words " O, Grant us by," or " Thy goodness more." Marked entrance is often effective when there is no fugal imitation, as in " Going Home," p. 2, second score ; " Hear me," p. 18. 4th score ; " Spring Life," pp. 3, 4 ; " May Time," pp. 5 to 7. See also Standard Course Ex. 116, scores, 1 and 2 ; and Ex. 113, scores, 1, 2, 6, contralto, " Rejoice." Subordination of Farts. As in tho rule of " marked entry " the other parts were kept subor- dinate to the part which was entering the music, so in many other cases this hushing of several parts for the better display of some principal part has to be observed sometimes, as in " Gipsies Tent," p. 36, end of 1st score ; during part of the tune the melody is evidently given to the soprano, and the contralto, tenor, and bass sing a -subdued accom- paniment, like the soft accompaniment of a piano or organ. Sometimes, as in " 0, the Joy of Spring," p. 57, this is tho case through- out the tune. Sometimes, as in " Saviour, Breathe," p. 92, the principal melodies are given at one time to the soprano and contralto, and at another time to the tenor and bass. When the chorus is only an accompaniment to the melody, the harmony should bo delivered in careful accor- dance with the joyous or the saddened spirit of the ruling melody, and always so as to let that melody be well heard. An unsympathetic accompaniment disgusts the mind of tho listener. Let it be under- stood however, that whenever the part accompanied is silent, the accompaniment itself may speak out in fuller force and claim the attention of the listener. See " Gipsies Tent," p. 35. Humming Accompaniment. Humming accom- paniments may be produced in several ways. First, by tightening and vibrating the lips without any voice from the larynx, the lips vibrating all round and not on one side. This should only be done when something of a reedy buzzing effect is wanted. Second, by a soft voice from the larynx with only a slight opening of the lips. Third, by a soft voice from the larynx, resounding in the nose, the lips being closed. In this case the singer must be careful not to contract the muscles of the nose so as to produce a nasal quality of tone. Care should also be taken to secure an exact and unanimous striking of the tones, so as to imitate the effect Ex. 211221. FIFTH STEP. 101 of stringed or roed instruments. See " Night around," p. 22, and " Angel of Hope," p. 48. In these cases the third plan should be adopted. See also Standard Course Ex. 190. Imitative Sounds. When it is desired to imi- tate the rippling of water, the sighing of wind, or the sound of the drum or horn, the syllables commonly written under the notes, cannot be a sufficient guide to the singer ; he must try to imitate the sounds intended, without caring to pronounce the exact syllables which dimly intimate them. The effect of nearness or distance is con- veyed by loudness or softness of sound. Thus when the Christmas waits (p. 8) are supposed to bo at a distance they sing softly ; as they approach their singing sounds louder, and as they retire again their music dies away in the distance. The same remark applies to the sound of the drum, or any marching instruments. In a similar way the sound of distant bells, wafted by gusts of wind, may be imitated. See " Come, let us all," pp. 24, 25. In imitating laughter we must remember that it has two characters ; it is either light and trifling, or heavy and bold. Such a passage as " Fortune Hunter," p. 5, first score, may be treated in either way according to the spirit of the verses ; if in the latter way it will contradict, but worthily, the natural diminuendo of a descending passage. Ex. 211. What musical expression would you give to the air in " May Time," from end of p. 5, to first line p. 6 ? Ex. 212. What musical expression would you give in " God Speed the Right," p. 1, to the air in first part of 3rd score, to the air and bass in first part of 4th score, to tenor and bass in 3rd score, and to what part of this piece does the rule of subordination of parts apply ? Ex. 213. What musical expression would you give to " Harvest Home," p. 41, end of second and first part of 3rd score, also to soprano and con- tralto, 2nd score, also to tenor and bass, p. 40, first part of 2nd score, and also, tenor and bass beginning with second part of 2nd score, ending at the top of p. 41 ? Ex. 214. What musical expression would you give in " Loud the Storm-wind," p. 95, to the air of chorus, 2nd and 3rd scores ? Ex. 215. What musical expression would you give to the air of the first line in " Father," p. 34, and to the aii of the first line in " If I had," p. 45 ? Ex. 216. What musical expression would you give to the tenor and bass in the first eight mea- sures of " Saviour, breathe," p. 91 ? Ex. 217. What expression would you give to the music in " Hear me," p. 19, 2nd score, where each of the parts in turn utters the words " It is thou ; " and to the 1st and 2nd scores on p. 26 ; and to the 3rd and 4th scores of " Swiftly," oiv p. 31, and to the 3rd and 4th scores of p. 30 ; ant to the first three scores of " We fly," on p. 20 ? Ex. 218. How should the accompaniment be sung in " Home," p. 76 ? Ex. 219. What expression would you give to the music in all the four parts, of " How Lovely," p. 61 ; scores, 3 and 4 ? Ex. 220. What musical expression would you give to Standard Course Exercise 170, 1st score, both parts; Ex. 115, 3rd score, third and fourth measures ; Ex. ; 170, 2nd score, both parts ; Ex. 171, Amens in air, Hallelujahs, in contralto; Ex. 194, air in 9th and 10th measures, and llth and 12th ; Ex. 145, last eight measures ; Ex. 193, first section, ditto second section ; Ex. 190. first and second sections ? Ex. 221. What musical expression would you give to Ex. 136, air, 1st score; Ex. 195, 1st and 3rd scores ; Ex. 195, contralto, fourth measure, from lah to third me ; Ex. 116, contfalto, half second, and whole of third score ? Congenial Tones. As every tune has its own proper character, (bold and spirited, cheerful, didac- tic, solemn, &c.) it is natural that the Tonic Sol-faist should give clearest force to those tones of the scale which correspond best with the general sen- timent of the piece, are " congenial " with that sentiment. Thus, in a quick and stirring tune, he would naturally emphasize the trumpet tone Son, the rousing RAY, the strong DOH, &c. ; and in a slow and solemn tune, the sorrowful LAH, the deso- late FAH, &c. With this idea in the singers' minds, the tune will immediately become a new thing. The pupils will soon discover that they possess the power of making this, or any other peculiar effect prominent in the general harmony, very much in proportion to the height, in their own voice, of the tone which gives that effect. Thus a high tenor tone will tell better than a low one. A high con- tralto tone will also command attention, because energy and spirit is implied in the very effort of the voice to rise above its medium compass, and tha more piercing sounds are better heard. Low St. Co. (New). * See " Musical Theory," Book IV, p. 259. 102 FIFTH STEP. Ex. 222 b. sounds (in contralto and bass) also imply energy and force, and they are capable of yielding a good effect, especially when the harmony is " dispersed," and no other sound lies near. Some composers have great skill in setting the congenial tones of the music to that register, in each voice which is the most distinctive and the most beautiful. Any high sound, or any favourably situated low sound which is not " congenial " with the general effect, the instructed singer will, therefore, deliver as lightly as possible. On the other hand, when the congenial tone occurs in a favourable position, he will never let it miss of its effect. With these principles to guide him, every singer may know where the strength of his " part " lies, and where it can best contribute to the general harmony. Psalm tunes, of the " didactic and variable " style, will thus be very differently treated according to the character of the words sung. If we were sing- ing " The Fortune Hunter," (p. 4) we should notice that it was a very lively and playful tune, meant to be sung in a light staccato style that, therefore, the quickly uttered emotional tones of the scale, would produce an effect congenial with the general character of the music. The sopranos would find an opportunity of developing congenial tones with bright explosive force on the first r of their part, and the second 1 and the second f. To contrast with these and give force to the jollity, the first s and the second d' would be similarly delivered. The 1 being in the high part of the voice should be brilliantly attacked ; and the piquant effect of f against the t, and below it, should be brought out with sharp accent. The contraltos have nothing very effective till the two bursts of bright sounds under the soprano 1 and d'. The greatest power of the tenor lies in the delivery of t under the soprano f ; and the best point of the bass is in the of the same chord. " Rise my Soul " (p. 33) is naturally a tune of joy, changing into meditative kood on the last section. The sopranos will, there- fore, find congenial tones in their first bright 8, in the stirring t and the triumphant d', for the change of character in the tune their returning f can be well given. The contraltos have a good M| in that full part of their voices, which best dis- tinguishes them from other voices ; they can help the excitement in the beginning of the second score by delivering their s, which is in the upper part of their voice, clearly and lightly. The tenors can set their mark on this tune by a prompt delivery of in the first chord ; their 1 at the St. Co. (Nsv>j. beginning of the last section is also in a charac- teristic part of their voice. The basses have a tine effect in the full part of their voice in the first cadence, and they can well employ the high part of their voice in the second cadence, where 1 for a joyful effect should be delivered curtly ; the re- turning f which follows will be naturally well marked. But, if to suit the words this tune has to be sung with a solemn or mournful effect every- thing is changed each voice must then strive to bring out f and 1 wherever they occur, and to lessen the force of the brighter tones. In " Come, let us all," (pp. 24, 25) the bell ringing (which is heard as a distant subdued accompaniment to the cuckoo), is given to two parts. But of these two subdued parts, the most distinct and bell-like are first the tenor, afterwards the bass, because the tones are thrown by change of key into the higher parts of those voices ; and of the two subdued parts, these must always have the pre-eminence. See also congenial we and fa '< in a tune which expresses at once solemnity and repose in Standard Course Ex. 136 ; the congenial doh, me, soh, in a tune of great boldness, Ex. 137, and the con- genial lah and fah in a tune which expresses soft and tender feelings, Ex. 140. Ex. 222. Describe the general character of ' Jackson's," p. 2, and its congenial tones ; name those congenial tones in each " part " which lie in the full characteristic region, or in the higher or more marked part of each voice. Ex. 223. Describe " The Waits," p. 8, as above. Ex. 224. " Father," p. 34, as above. Ex. 225. " Nearer my God," as above. Rapid Passages. The composer would never give the singer a rapid passage or run if he meant the notes to be blotched, and blurred and run into one another, so as to be little better than an indefinite and disagreeable single tone. He designs them to stand as distinctly united and as distinctly apart " as the pearls 01 a necklace, resting on a black velvet dress." The singers must give them the clearest articulation, and there must be perfect unanimity of attack. In order to secure this effect the pupil should always take breath at the begin- ning of a long run, and economise it carefully so that there be no appearance of fatigue at the end. In some choruses it will be necessary to " smuggle in " the breath even in the middle of the run. Illustrations can be found in " Thou shalt show STEP. 103 me ' (p. 7) on the first syllable of the word "presence." An exact delivery of the TAA-efe, with unanimity of attack, will make this little run bright and beautiful. In " We fly by night " (p. 20) there are runs which will require careful forethought for the management of the breath. In " Hallelujah " (p. 27), unanimous and perfect delivery of TAA-efe, TAA-tefe, tafa-TAi will be re- required. In " Swiftly " (p. 32) we very seldom hear " universal song " sung with pearl-like clear- ness ; it is more like a skuttering upstairs of many irregular feet. Handel's runs should be cultivated with great care as exercises in flexibility. See also rapid passages in Standard Course Exs. 102, 120, 174, and 247. Form of Single Tones. The explosive tone naturally expresses vigour and decision of feeling. See pp. 12, 39, 42, 45, 57, and Standard Course Ex. 141. When a composer alters the accent by synco- pation for a moment, he wishes the syncopation to be noticed by the hearer. The singer must, therefore, give it the explosive tone. Syncopation generally expresses restless force or impatient desire. See p. 87, 4th score. See also " Ye spotted," p. 81, a case of piano-explosive tones, in tenor s, end of 1st score ; contralto d, with soprano r, at beginning of 2nd score. See also Standard Course Ex. 114. The pressure tone naturally suggests deepen- ing emotion. In any touching three-pulse measure to deliver the second pulse with this tone, at least occasionally, produces a beautiful effect. See " Jackson's," p. 3 ; notice also " The Woods," p. 72, second score. See also Standard Course Ex. 139, and Ex. 140. Pressure tones on a weak pulse, swelling into explosive tones on the next strong pulse, are often very effective. A good solo singer would often instinctively use them in slowly moving psalm-tones, on the last pulse of a measure moving to the next accent. See p. 57, 3rd score, and p. 17, last score. See also Standard Course Ex. 193. The legato style of singing is a modification of the pressure tone. It gives a smooth, gliding effect to the tones, and lessens the distinctions of accent. See p. 63, 3rd and 4th scores ; and p. 82, 1st and 2nd scores. The staccato style of singing is a modification of the explosive tone. It gives an abrupt, forceful St. Co. (New.) effect to the tones, and necessarily lessens to a con siderable extent the distinctions of accent. See tenor and bass, p. 40, and p. 42, first and last scores. See also a piano-staccato, immediately following a legato passage on p. 82, third score. Unison Passages. Passages in which all four parts strike either the same tones or their octaves together, should be sung with great care, so as to produce a perfect and clear blending of the voices. The voices should feel for one another, but not timidly, for such passages are generally meant to be very firm and strong. They should sing with conscious sympathy. See " God Speed," p. 1 ; " Fortune Hunter," p. 4 ; " 0, Saviour," p. 87 ; " Harvest Home," p. 41, 2nd and 3rd scores ; and " Stout Limbed Oak," p. 78, first and last scores. Cadences. Few things are more painful to a listener than to think that a singer is tired, few things more inspiring than to feel that he closes without fatigue. Even when the cadence is down- ward and diminuendo it should be firm, but in ascending cadences a sustained crescendo is abso- lutely requisite. See close of " Harvest Home," p. 41 ; and " Quail Call," p. 15, 1st and 2nd scores. Notice a vigorous descending cadence in " God Speed," p. 1 ; and others in " Theme Sublime," S, 71 ; " Rise my Soul," p. 33 ; " Stout Limbed ak," p. 77, 4th score. See also contrasted cadences, Standard Course Ex. 145, last two scores. Distinguishing Tones of transition of the minor mode and of chromatic resolution (except when occurring in some subordinate part, and evidently introduced more for the convenience of the har- monizer than for any effect upon the harmony), should always be delivered with marked emphasis ; for they have an important meaning. They change the mental effect of all the other tones. For the voices, in whose part the accidental occurs, not to deliver it firmly is to rob the whole music of its meaning. The tones of " returning transition '' should also be emphasized. But, if the transition itself were carelessly given, this second effect would be lost. Those movements of the bass which mark the tonic cadence of a new key, as | d : r | s. and | r : r s, : or of the relative minor, as | r : m | 1 and | m : m | 1 should be markedly delivered, because they help to certify the transition or modulation. See p. 52. 104 FIFTH STEP. Ex. 226-232. Chromatic resolutions should also be firmly shown, because they are intended to reassert the key. Special attention should be given to those tones of the chord which would be quite differently resolved if a transition were meant. In " Hope will banish," p. 12 ; 2nd score, the fe in the air is not in a favourable position for accent, but that in the bass should be well delivered. In " How beautiful," p. 12, at the end of the 1st score, the cadence is made to change key, more by the move- ment of the bass than by the very light distin- guishing tone in the contralto ; therefore, let the bass move firmly. In the next score the distin- guishing tone of returning transition, which in this case is f, although it docs not appear till the end of the section, comes out then with effect, and should be clearly delivered by contralto and bass. The same voices have the " returning f " at the top of p. 13. In " Hallelujah," p. 26, the sopranos have a very effective returning f. In " Lord, in this," p. 33, of course, the e will be well marked, because it is the distinguishing tone of the minor. In the second line of words there is a modulation to the major, which should be strongly marked by the cadential movement of the bass, and by the tenors' clear use of 8 instead of the preceding so. In " Ye spotted Snakes," p. 81, the tenors have a returning f at the end of the 1st score, and the contralto a transitional f at the beginning of the next score. In " Saviour, Breathe," p. 91 and 93, the chromatic resolution of le into f should be clearly marked by the voice. In this piece, as well as at pp. 79, 94, 95, and 96, the manner in which such tones as de, re, ma, &c., flow into the tones which follow them should be clearly and lovingly marked. Dissonances. In all cases of dissonance there is a "resisting" tone, and a " dissonating " tone. Every singer should know which of the two be- longs to his part, the strong resisting tone or the smoothly moving dissonance. See pp. 21, 36, &c. It is difficult for pupils with uncultured cars to sing either of these tones steadily. But they matt be sung without any " giving way." Else, their purpose is lost, and their beauty gone. Where would be the beauty of a cataract if the resisting rock gave way to the struggling current which strikes against its side and then flows on ? The resisting tone should be sung in a firm, almost " explosive " style, and the dissonating tone (which springs from its "preparation," and flows forward to its " resolution ") should be delivered as part of f. Co. fNnc.J a short melodic phrase in a very smooth-connected manner. Let the pupils test their power of deliver- ing dissonances well by singing " Jackson's " p. 3. where on the word " through " the contraltos have d dissonating against r of the soprano, and on the word " day " r against m, where also on the word " led " the sopranos have t dissonating against the tenor d', and on the syllable " vin " m slightly dissonating against f,, in the bass ; while, on the same syllable the tenors have s, not only dis- sonating against this low f, but beating as a second against the 1 of the contraltos. This study of the dissonances will not only give the singer courago but great enjoyment, and will wonderfully add to the beauty of the effect. See also Standard Course Exs. 114, 141, 244. Ex. 226. What is the stylo in which you would sing the passage in " Harvest Home," p. 40, " O'er them the wavy wealth; " and "Theme Sublime," pp. 69, 71 ; and the "Stout limbed oak," pp. 77, 78 ? Ex. 227. What form of expression would you apply to the following tones on p. 67. Bass f, 1st score ; 2nd score, tenor d, followed by bass s and f ? Ex. 228. What form of musical expression would you give to the two la/is of contralto, p. 85, 3rd score ? Ex. 229. What style of expression would you give generally to the tones of Standard Course Ex. 140 ? Ex. 230. In singing the p. passage, " Morn- ing Prayer," p. 79, 1st score, what special care will be required from the singers in all the parts ? Ex. 231. Why should the contralto and bass in " Come, Freedom's," p. 13, 2nd score, third and fourth measures be firmly delivered ; and what note, soonfollowing in the same voices, should be specially emphasized '; In " Rise, my soul," p. 33, what aro the most noticeable distinguishing tones, and how should they be sung ? Ex. 232. What musical expression would you give to Standard Course Ex. 142, third score, ta, and fe, ; Ex. 189, third score, te ; Ex. 193, second score, ba? Parsing Fugal Passages. The practice of parsing, described at the last step, becomes more difficult, but also more interesting when we have to analyse fugal imitations, or those in which one part seems to fly after another. In these cases the great rhythmical divisions of the melody are not so regular. One musical idea is made to interlaca FIFTH STEP. 105 with another thus, in Ex. 234, before the first section is complete the second voice commences a section of its own, and it is so very frequently throughout this and other pieces. We are therefore obliged to describe the passages and sections in such manner as the following : Ex. 234 consists first of a subject of one measure and a half, started by the upper part, and imitated at the interval of a fourth below by the lower part after one measure. This also, after one measure, ' is imitated in the fourth above with a varied cadence. This again, after one measure, is imitated in the fifth below ; and again, after one measure, in the sixth above, and again in the sixth below. After two measures the original theme with the old cadence is taken up by the higher voice for two measures, while the lower voice ornaments it. Then follows a sequence of two measures, each portion of which contains an internal imitation. The piece is concluded by four measures of orna- mental cadence. Ex. 195 opens with a subject in the lower part of three measures and a half which is imitated in the higher part, after three measures in the fourth above, the lower part supplying a soft and light accompaniment. Then follows eight measures of what may be called contrapuntal symphony that is, a play of the parts one against the other without special meaning. One measure before this is concluded, the higher part starts the old three-measure theme, which is indefinitely imitated after two measures, and then for six measures more there is another contrapuntal sym- phony. Again the lower part starts its first theme with a varied cadence extending to five measures, and this is imitated again in the fifth above, not as before after three measures, but after one mea- sure. This coming closer of an imitation is called a Stretto. After a brief ornamental, f ugal imitation, the piece closes with five and a half measures of contrapuntal symphony. The singer should mark with pencil the exact length of the fugal subjects. When the other part or parts merely accompany the fugal subject they will, of course, be kept subdued. In the interludes and symphonies the parts may be of equal force. In the stretto the entries should be strongly marked, but the parts may be of equal force till the first which entered has finished the imitated subject, leaving the second to be well heard in its close. These observations will show the importance of this study. Let the student be now required to write out analyses of such exercises as 233, 235, and 246. Himjroea ie, :1 1,1 1.1 1,1 1 1 . The Exercise of singing them to the teacher's beating, quicker and quicker, will be very amusing to the pupils, and will greatly help to refine their sense of time divisions. There are two ways in which a pulse may be divided into Sixtht. It may first be divided into thirds and then the St. Co. (New). thirds into halves thus taataitee, tafatefetijt, :1 1 ,1 1 ,1 Ij which we may call thirds-sixes," or it may be first divided into halves, and then the halves into thirds thus TAATAI, tarnlaterele, :1 1 1 .1 1 1 | which we may call " halves-sixes." The Ninths suppose the pulse to be divided into thirds, and then each third into thirds again, thus taataitee, taralatereletirili, :1 1 1 ,1 1 1 ,1 1 1 1 . It will be a useful exercise for the teacher while beating time to call for " halves," " quarters," "eighths," "thirds," "thirds-sixes," "ninths," "halves," "halves-sixes," and so on. Eare Divisions of Time. It will be useful here to give the notation for some of the less common rhythms. When a pulse is divided into a quarter tone, a half tone, and a quarter tone, it is M-ritten thus | t ,1 .,s : or better thus | t ,1 .-,s : When a pulse is divided into a three-quarter tone and two- eighths, it is written | r ,,mf : When a pulse is divided into a three-eighths tone, an eighth -tone, and a half tone, it is written j d,-r.m : When a pulse is divided into a half-pulse continuation, and Q three halves -sixths, it is written : - .fmr | In instrumental music, especially for strings, it is some- times necessary to divide a pulse into less than an eighth when the same tone has to be very rapidly repeated ; in this case we place as many dots over a note as the parts into which it is to be divided. In the instrumental score of "Hallelujah to the Father," from Beethoven's Mount of Olivet we find a half- pulse divided into six and another into nine ; they would be written as follows : .sltd'r'm'l .n'r'd'tlsfnrll These exceedingly rare cases of rhythmical division require careful examination before they are sung, in the Common Notation as well as ours. It will be perceived that the Tonic Sol-fa Notation does not make any lower division of the pulse than that into eighths, and that division it indicates by the simple absence of a mark. The occasional practice of writing, in the Established Notation, two measures as though they were one (See "What is a pulse?" p. 66), makes it necessary, in that Notation, to have a more minute sub- division of pulse. In the Tonic Sol-fa Notation we, in Buch pieces, put two measures for each one of the Established Notation. We find, practically, that this mode of writing secures a more ready appre- ciation, and a more exact execution of the time. Ex. 233. KEY E(j. M. 96. FIFTH STEP. GIVE UNTO ME. Ill Gebhardi. i s :- |1 :- .t d 1 :- ' Give un - to me, : 1 : Id 1 :- - :- It :- spi - rit . if . __ The li it, .d |r .d :ti .1 ( s ( :t made Bb- t. d'f :d of self df, :- Give : |n . con - :1, .t, |d 1 :t .d |r'.d':t .1 s :1 .t , low . sac H. :- .1 un - t :f .n r ly wise, The ' :ri |s :- ' ri - fice; d :- - :t, I o me, made ' :n .f is :f n - de t ;d' truth, Thy d : fice, And n :n light of the n :1 nee of free - dom | rit 11 :- - =1 j bonds - - man ' :d t, :d .r ( low ly wise, The spi "it :s |d' : :d' 't :t 1 give, And in the light of ) dg :s |s :n r :n .f s .f :n .r 1 of self - sac - ri - fice, self |se :se 1 :- .1 |d' :- .1 let me live, And in tl n .r :d .t| 1 ( : ll : - sac - ri - .1 n l : _ le light, s :- .f | in the light, In |s :f bonds - man d 1 :- live, n :- I live. self - sac f :- .f |1 :- .t in the light of f :- If :- truth And It :n' 1 :r' light of truth, Thy f .8 .f y me live in the light of de : | :de in the ri - fice ; And d 1 :- :d' - :t truth, In the n :- .r |d :d r :s in the light of truth, Thy is :d' d 1 :- |t :- bonds - man let ma :n r :1 |s :f Thy bonds-man let me let :s And And St. Co. (New.) 112 FIFTH STKP. f truth, r light :f s :s Is :r n Thy :r bonds-man t, :- let 1 me :t, live, d of truth, Of truth : I Thy :n Thy bonds f : bonds It :- d 1 :- in : r : IS man let me, let me |r : In : Id :- d : It, man let me, let me n live. d live. PRAISE TO OUR GOD. Rinck. s :s .s |s :d * Praise to our God and f : , : Praise to our God f .s :1 i : d 1 :t | : glo - ry, r :r .r |r :s Praise to our God and t .de 1 r'.n" :f s :s .s is :1 .t d'.r'in 1 | : flo - ry, I :d .d |d :r .n\ Praise to our God and r' | : Praise to our God and f :n I : glo - ry, - .n 1 :r> .d 1 t .d 1 : and d 1 :- glo f .r :n glo - ry, r :r .r | Praise to our - |t :s .s ry, Halle- .f |s .f :n .r and r :n .fe glo - ry, s .1 :t |- .1 :s .f \ glo - xy, s :s .s |s :d \ Praise to our God and j n .r :d | :n .n God and n'.r':d'.t |1 glo - Halle- B :f .n ry, and , r'.d':t .1 |s :s .s lu - jah, d :d.d fl . lu - jah, Halle-/ r :r .r |s .f :n .rt , glo - ry, Hallc- d' :- |- :t lu d 1 :- jah, n :- jah, - | :s .s Halle- 1 ;n .n jah, Halle-lu 1 :1 1 lu - jah, f :f 1 :t .t Jlallc- :r .r jah, Halle-lu d 1 :- Id 1 : lu - jah ! n .f :n .r |n : In n :d .d |f .1 :s .f ( jah, Ilallo-lu Ex. 235. KKY Bb- M : 96. 'S\ | : 1 . t Love thy : I : St. Co. (Xev>). LOVE THY NEIGHBOUR. d :ti |d neighbour as thy- self, Love thV J. Mainser. I : fi :n. If, neighbour as thy- FIFTH STEP. 113 :f i :n r :- .d |ti :d .r n : | :r f. Eb- /- is C. d s :n | : ba.se Love thy li : is, : neigh - - bour as thy - d :t| |d :S| self, Love thy i,n : |r : self. 1 :se |1 it Love thy d' :t jl :se neigh - - bour 1* CP 1 T*' * oC | 1 as thy -.d':t .1 lse.1 :t .d neigh - bour d :n | : ba.se as thy 1 :se |1 :t self, Love d' :t IPI : thy neigh-bour, ' self, Love thy neighbour as thy - self, Love, - :n in 1 Love thy neigh :se | Bb.t rl rr'.d 1 It .d 1 :r'.t d '. t Love If :s thy :n thy f :s .f |PI bour :d bour hour -.d':t,l as thy - |se.l :t.se self, 1 :s neigh r :t - Id" Love thy neigh-bour, Love neigh - - sd : Iti : d 1 as t,Pl, :1, thy |S| :f~i self, "I self, :d, |- Love rri.Pi, as thy thy Love thy neigh-bour, Love thy |d :r neigh-bour as thy - Pii :s | ! :t, ueigh-bour as thy - self, d self, : si : n :r .d Love thy Iti.d :r .n r > s, Love thy |s : r igh :f thy :f .n |r .n :f .r thy- :r ,ti neigh-bour, 1 :- bour as f .n:r .d |t,.d Love - - - neigh-bour as thy- n :r | :r .r n :r | :r .r n .:r |S| : . :l : .t| id :r self, Love thy neigh-bour, Love thy neighbour, Love, d :si | :. Love thy self, n :r |n .s :f .n PI .r :d .r |n :r d :s, |- :l,.t, Love thy d :r |n :f neigh-bour, Love thy d :tj |d .n :r .d neigh-bour as thy - S|.f,:ni.f, |s, :f. self, Love thy PI, : |S| : neigh-bour, Love thy :l|.t| id :r neigh-bour, Love, Love thy i d :t, |d .n :r .d si.f, \ neigh-bour, s :n | :r.,r neigh-bour, Love thy n :d | :t : .,t| neigh-bour, St. Co. fNewJ n .n neigh-bour d :tai |.f :r d : |t, : as thy d :- |- : self. 114 FIFTH STEP. QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. DOCTRINE. 1. Describe your own voice. What if its easy compass its quality and volume in each register its host region ! By what name is it called ? p. 81. 2. Under what name is the chord '8 disguised, by notation, in cadence transition to the first sharp key ! How is the same chord disguised in passing transition to the first flat key ? How do you know when the chords ~f''R, and ''I) are transitional, and when they are chromatic ! p. 83. 3. What are the three principal things -which intensify the mental effect of particular tones in a tune ? p. 83. 4. When any particular tone of the iseale is strongly emphasised through- out a tune or part of a tune, how is this fart described in words, and in what parts of the world is modal music till used in the greatest variety. 5. Which are the modes with a major third above their principal tone or tonic which are those with a minor third ! Of the major modes which is the one almost exclusively used among Western nations ! Of the minor modes which is the one exclusively used in :;onnertion with modern harmony ? : 1 1 1 1 historical changes through which the tune Dundee or Windsor has passed. What is the mental effect of tin- introduction of itl and what is the difficulty which, especially in this tune, it occasions the singer 1 6. Why is the Ray mode peculiarly suited for worship ? what is the pecu- liar cadence which distinguishes the Bay mode from the Lah mode I p. 85. 7. What is the chief principle of modern harmony ! In what respect has the Doh mode better chords for its Tonic, Dominant, and Sub-dominant than any other mode ! What kind of rlini-d dm > the ear object to when two ue.h chords occur consecutively among the last four chords of a cadence ? 8. How did the first harmonists overcome the difficulty of three minor chords in a cadence of the Lah mode J What is now found the most satisfac- tory arrangement for introducing variety in this cadence T p. 86. 9. Where does the tone bah stand, Mid how is it related to it 1 Why is it introduced ! How manv alternative tones are there in the modern minor, and which of them is most used ? 10. Describe the six chief difficulties St. Co. fNf- ) | which arise to the singer from the in- troduction of se and bah in the niiuor mode. p. 86. 11. Using the words Tonic, Domi- nant, Super-tonic, &c., as indicating the "Chord Relation," what is the chord relation of minor LI of minor Dtof *vMiot minor T1 of SKI of BAH and F1 of minor ft 1 How do we distinguish the chord names of the major from those of the minor, mode in writing, and how do we dis- tinguish them in speech T 12. What is meant by the word Modulation ? What are the commonest modulations from major to minor, and from minor to major t -p. 88. 13. What is meant by Transitional Modulation ? What is the commonest change of this kind, and what new dis- tinguishing tone does it introduce ? What other change of this kind is common, and what distinguishing tone does it introduce ! 14. What is the meaning of the word Accidental, and how are acci- dentals expressed in the Tonic Sol-fa Notation ! p. 88. 15. Describe six cases of very rarely occurring sharps and fiats with the names given to them. 16. What is the practice chiefly to be avoided in chanting ? p. 94. 17. In marking passages for recitu- tion what is the first thing which the student should do, and what are the faults he has to avoid in doing it ? 18. What is the great distinction between the recitation and the cadence of a chant ? What kind of pulse should always come before the beginning of a cadence T What kind of pulse should always come after the end of a cadence ? What relation should there be between the speed of the reciting tone and that of the cadence T 19. What is the difference between the rhythms of public speaking and private talk ? 20. In choosing chants, what are the two blemishes which should lead a precentor to reject some I 21. What re the principal elements of expression in mane ! What are tho common defects of singers who do not study expression T p. 94. 22. What is the principal habit to be formed in the delivery of tones ! and for what quality of tone should we lis- ten in out "vcn voice ! 23. By what other names is a good " attack " of the tones described ? Give illustrations of its importance. Des- cribe generally the sensations which accompany it both in the larynx and the mouth. p. 95. 24. How do the breath and glottis act together in the clear attack ? in the gradual or breathing attack ? in the check .' in the jerk J in the slur ! What is the difference between a slur and a glide ? 25. What is meant by a clear Re- lease of the Tone, and what is its importance ! ilii. Describe the manner in which a teacher should introduce his first exer- cis.-s on the degrees of force. p. 96. 27. What are the names and signs for a long tone, or a phrase increasing in force .' diminishing in force ? first increasing and then diminishing ? 28. Describe the Pressure and Ex- plosive tones. 29. Describe the Staccato, the Detached, and the Legato styles. 30. What are the two considerations which principally guide us in applying various degrees of force to music ! 31. How is it that it is possible for classes to go on singing a large quantity of muiic without really learning anything .' 32. What points in a tune have to be considered with the view of deciding whether it should be sung loudly or softly, or with a moderate degree of force \ -p. 98. 33. How should a true piano be sung! 34 . How should a real vibrating /ork be sung'! 86. what is " phrasing " t Show its importance. Mention three or four ways in which musical phrases can be marked off, and distinguished by the singer. 36. What is usually the best form of force in ascending passages, and why ! 37. What is usually the best form of force in descending passages, and why? 38. How should Repeated tones be delivered, and why ? 39. How should prolonged single tones be delivered, and why ! 40. What is the best way of ' setting off" the inu the moun the ' moun tain, tain, Oh,] No/ n :- s :r :f boy o' the t| .'t, :1| boy o' the boy o' the n :- T jd :- tain. |fli \ tain, tain. moun moun 120 SIXTII STEP. Ex. 246. KEY C. s : :s Ho - ly, :n :d Ho - ly, HOLY, HOLY, HOLY. Telemann (1750) 1 ho f ho . .1 ':- > ly, ta : :1 s iy, :n .r :d' ho 8 ":n :f~ Lord :n .d ho - - ly, ho - iy, :t .d 1 :r' r 1 :d' of :s of n 1 :r' :d' t oth, S oth, :s Ho - :l y ' Lord r :- .n :f God n : God Sa f Sa ba - :- :fe - - ba - Lord (I d 1 :- .t :d' of :n of r 1 .n 1 :f God :f Sa t, . :- Sa God ha - :d ba - r 1 oth! S oth! :s .s,sl Heaven and I earth are full of thy d 1 .s :d' glo - ry full f. C. .f of thy glo - G. t. :d'f.s,s Heaven and earth are full of thy 1 .s,l:t .l,t d 1 .s glo - ry, full, : d 'f j- .n,r:n Hea - I - ven and earth land! f . F. L is D. - .t,l:s .f n .n,f : r'.n'.d'.r 1 t .d l ,r':n l ,f'.r 1 ,n l d 1 . :*n .n,n ba .m,ba:se.ba,se of thy glo r :- .r ry. Ho - san d .,r :nt .1 na! Ho - son S -l.t:d .t na ! Heaven and 1 .n ;lri earth are full of thy r full, are full, are full of thy glo - ry. Ho - san . G. t.m. 1 .n :*s glo - ry, full d :is..s.s na ! Heaven and .f thy 1| .8j,l|:t| .l|,t| earth are full of thy f. C. n .n : d s .s,s 1 .Sj. :t .l,t d 1 . s :d' glo -T. Heaven and earth arc fuU of thy glo- i-y. full d .8, :d g :f .f ' n :- .f,s glo -ry, full of thy glo - .r',n':f : n 1 .d 1 ,r' :n' ,f .n',f ' r 1 .t ,d' :r',n' .r'.n 1 d 1 .1 ,t id'.r'.d 1 ,! 1 are full 1 :- .t of thy fflo d> :d' ry, Ho - san t .8 ,1 :t na! Ho - san 1 :- .1 . ry Ho san na! Ho- St. Ci. (2feic.) SIXTH STEP. 121 t .8 :d' - .t ,1 :t .t d 1 is d : 1 ert. ! 1 est. na in the high s :- .f ,n r .r d :s Ban na in the high GOOD NIGHT. Words translated by J. S. STALLYBRASS. A. L. C. Ex. 247. KEY A. s, :- Id : l.Good night! 2.Good night ! n, : In, : [To illustrate chromatics.] S| :d |n : = r We May t, ! - .re |n :d have fought our the star - ry - .1, |se, :1, good night ! good night ! HI : Is, : 3.Good night ! , 4. Good night! good night ! good night ! There's Heav'n an eye that - ly Fa - ther, s :- .f |n : r :- ..de~[r :re 1 .. -' n : ^~.7"|d :s, \ dai - ly fight; splen - dour bright t, :- .t, |d : knows no night ; with thy might Peace of mind and Cheer the eye that, t, :- .le|t, :1, Child of man, while Bless, and streng - then, rest sick SB, : thou and fromhea - ven j withsor - row f - .se,|l| :n, i art sleep - ing, re - store us, / r :- .de |r :re n r^~.r |d :si f s : dim. .fe|s :n To re - ward our Weep - ing watch - eth ti :- .lei|t| :1| toil are giv - en; for the mor - row, sei :- . sei 1| :HI Noi Star n : sy day has ry splen - dour - .re |n :d Faith - ful watch and For the new day's ward 'tis keep - ing ; work be - fore us, There's Heav'n an eye that - ly Fa - ther n :- .re |n : tak - en flight : soft and bright ! s, :- .fe,|si : wakes all night. \ with thy might ! P d : |d : Good night ! Good night ! rii :- .re,|ri| : PP 1| - -Si |S| : good good f, : good good night! night! In, : night! night! Good night ! Good night ! St. Co. (New.) , : : | : s :f il.On the woods there broods Deep re mi" r\ + ll + + '2. In the heav'nly land An - gel n : |n :r d .ti |n : n :r |d : :n |n : \ - pose, deep re - pose, Not one No pain |d : s, :f, |m : : | :d s sing, an - gels sing, Not No :d ,1| |sei : - .seiil .ti |d :ti breath stirs A - mong or care Can en - d .ti :d .1| |86| :- . sei li .se the firs, And no ze - phyr ter there, But sweet voi - ces 111 .ll |P1| '. ,n\ f\\ !I |Pl| !l'| one breath stirs A- mong pain or care Can en - the firs, And no ze - phyr ter there, But sweet voi - ces F. t. .= 1, : | : .'et, d .,r blows. The birds ring. On earth blows, ring. ; . ta d'|d' .d 1 :d' .t,l The birds ha ve ended their On earth we soon end our d .,r :n |n :- .r,d birds have all end - ed their , earth we must soon end our Hi : t '.-flS > d.f. E b- :n |s :- .f,n r : | : \ iave all end - ed their song, j we must soon end our song, : .|d|n .n :n .r,d ti : 1 : ,i,tl The birds have ended their song, The] On earth we soon end our song, On/ se : I : 8 :- ,n ,d' song, Wait a- song, ti : | : ti :- ,d ,n song, Wait a- ong, / F. t.m. |r : is :- ,n .d 1 |s : > \ while, ere i in : r :- ,d ,r long, Wait a - while, Iti : dti :- ,d ,n m : ( ( while, ere St. Co. (NewJ long, Wait a - while, SIXTH STEP. 123 ere r |r long. It, long, f. Bb- : '1, l Thine : ta if| eye n, Thou'lt with d si |li :ti shall gent - ly s, |fe, :f, close, HI the an - gels sing, rail. S| Thine Thou'lt Si :- ,fe,,S||l| eye n, :- shall gent ,rei ( P1| |f| with the an * d f ' t n'Z r s Three Bemoves. Almost the only cases of three removes are those of three flat removes with modu- lation to the minor, or of three sharp removes with modulation to the major. In these cases the similarity of the upper part of the two modes (m ba se 1 and s 1 1 d') assists the ear in passing over from one key into the other, especially if that form of the minor mode containing bah is used. The third flat remove is the more difficult to sing simply because the minor mode into which it enters is itself artificial and difficult. The third sharp remove is the less difficult, because the major mode into which it enters is more natural to the ear. The Physical Changes, therefore, made in three removes, vary with the varying use of bah and se. They may be greater or smaller than those of two removes. The Mental Effects are obvious, for a modulation from major to minor and a flat remove together naturally produce a gloomy depression of feeling, and a modulation from minor to major combines with a sharp remove to produce a strange kind of excitement. t n I r 1 s d f t n 1 r s d 1 / se t m I T s df ba t n 1 r s d f se t n I r B d f ba t m I T s d f t n I d/ t m r s s df t n 1 r s d/ se ti n I r s df ba t n 1| r s d THE EXERCISES. In the same manner as above the teacher will shew his pupils on the modulator that in Ex. 249 the transition to the third sharp key is not very difficult, first, because it moves to the St. Co. (NewJ gels close. n sing. more familiar and more natural major mode, and second, because the second distinguishing tone (m) enters first, after that the third (1) and the most difficult (t) last of all. In teaching each part separately it may be well for the third part to remember that f m is the same thing as r de of the the preceding key, and for the second part to notice d 1 fe is the same as f t,. All three parts should hold out the d its full length in order to get it well into the ear before taking the new transition. The section in key C should be practised separately before it is united to the previous section in E (7. This also should be the case with the section in key B \), which is difficult, being a sudden remove from the major to the artificial minor. Although the distinguishing tone of the second remove (f ) comes late, it is only an alternative tone with bah, and so is awkward to sing. This tune contrasts very plainly the natural boldness of the "relative major " and the cold brightness of the "tonic major." In Ex. 250 the transition to the minor of the third flat key is very difficult to sing, first, because it is to the minor, and, second, because it introduces the " alternative tone " (f ) so early. If the third part sings f, f correctly and boldly, the second part will have no difficulty. In learning the third part separately it may be well to remember that :li |fi :f .n|r islike :ri |d rd'.t I 1 of another key. It may scarcely be necessary to note that, in the second part, d r f is like ma f la of the previous key, and in the first part m 1 is like s d'. Other examples may be found in "Additional Exercises," pp. 78 & 94 for special effect, p. 86 for subordinate transition and return, and pp. 79, 84 & 92 for returning transition. 124 SIXTH bTEP. Ex. 249. KEY Eb- W. G. M'K. I :se |1 :t d'.t :- .1 |se :n d .n :- .n |n :f n .r :n .f |n :n s :s "I :t n :n |f :f d :ti |d :r 1 .t :d .r In :d | :n 1 se |1 :t | :d d .n - .n |n :f d :d if :r C. t. m. 1. d .t :- .1 ise :"i8 n .r :n .f |n : m s | :d .t, 1, ti |d :r 1 .t :d .r In :*f ^ / d 'd f .- Bb - r 1 |n' :r d 1 : d 'r 1 [d 1 t jd 1 - |- :'e se| f |s :s, d | :rn. iHCZ. d :ti (I, :se, HI :n ( |f| :ni .r, ' f. Eb. p ti .d |r :rl d :t .1 It :se 1 :- 1- f, .1, |se, :l|n f :f .1 se :n .r d : |- r ( .ni ifi : f |d.t| 1 ( :r .f |n 'n. li : 1 n | (| - i- -== d 1 s n Ex. 250. KEY C. s :s .s 71 Id 1 s. d. ~-=^ s :s |s -=c n . L is C. 1 rl.sell :d' di t W. G. . C. t.n m. ~^^z ("s ifty. 1. 1. ==- \ j n :n .n |f ;n r :n .f |n mad .r :f if :n.l se |"s c ! d :d.d If :d ti :d .r |d d l| fi :f .n ir :1, n l n |S| s :s7s~jT :d' ^==~ s :s |s -= 86 d 1 1- n :n .n |f :n r :n .f |n n f :f~|s :-.f n 1 d :d.d |f :d ti :d.r |d d f :fe Is :si d _ 1 l 1 Ex. 251. KEY C. Andante. THE LULLABY. s :- .s |1 :s d 1 :- .r' |d' :t n 1 Peace - ful slum n :- .n |f b'ring on :n n the o :- .f in cean, Sea :r s St. Co. (New.J A. L. C. :- .r 1 jd 1 .t :d' .1 , - men fear no danger ' :- .f |n .r :n .fe) SIXTH STEF. 125 s : I ' s * Q t 1 * - ling, ( S : ~ .PI |1 .1 :s .fe S \ They ( Hear in storms hear lulla- .d |f .f :PJ .re a mo-ther's lul-la- by, n by, lul -la, lul -la- : |r .d :r .t, lul -la, lul -la- r by. : I = I MUSIO OF THE SPHERES. Ex. 252. d :- l.Stars PI, :- 2.See KEY A. Words tr .d |d :s, .d are giv'n us our Pll |P1| JPI| .PI, yon star written inslated from BESSELD, by J. S. Si n :- .r |r :d rALLYBRASS. d .t| ill .Se,|l| A. L. C. :li -t, life S| con to bright - en, :- .f| jf| in, so - la - tion ; And n, " Here our dim :f, If. is past earthly :fi -f. all d :d .1, |1, :s, path - way to light - en ; PI, :1, .f, |f, :PI, earth's tri - bu - la - tion ; PI They S| Pil - in |n .,d :f .n r scourg fe, cour - :d |t, - ing rod, :fei is, age high, :- .(s,)j can sweet - en the .'S| | S| .,PI| ' 1| . Si grim, keep your %. Co. (New.) 126 SIXTH STEP. s.d.f. C. s :s .f |n :d .r n :r |d : ma d' :d' ,,t il :se \ raise up the soul to her 1 t| :t .t |d *n, ,f| Fa - ther, God. s, if, |n, : See you the sol - emn "id.,r :n .,n |f :f , If thro' the dark you would climb the sky." Hark to the ho - ly ' 1 .t :d' .r 1 |n' .,re' ing: :n ing, 1 : 1 . 1 | se : se . se "All that is earth - ly shall 1 :1 .1 |se :se .se They to the worlds and the 1 soon 1 a :f .f |f :n i words there glow - f .f :f |PI .,re be go - ing; :f .f |f :n mel-o - dies ring - ges are sing - ing: A. t.m.l. f 1 :f .Pi'|r' :r'.d' t :- .1 |se : bi - deth sure ; r :re |n : thou shalt move, id :- |s, :d Souls that are Or - der'd a - n : | : pure, d : l : right, No - thing on earth a- 1 :1 .s |f :f .n There is an or-bit where '8 : |S :f n : |d :r n : ir : d :- | : } Souls that are / t, :- It, :t, 1 Or - der'd a - pure shall for d : |n, :f, right by e - aye en i :- Ifi : ter - nal dure." PI, : | : love. Ex. 253. KEY C. SOUND THE LOUD TIMBREL. Words by MOOHB. A. L. C. s :- .n :s I.Sound the loud 2.Praise to the PI I PI '. T tim - brel o'er Con - que - ror, d 1 :t :1 E - gypt's dark praise to the s : :s sea! Je - : :s Lord, His s 1 :- .n 1 :d' ' ho - vahhath ( n :- .d :n | word was our t s :d' :d' d 1 :-.t :d' -i . . * G. t . . tri - umph'd his 8 :n :d peo - pie are n :- .s :d' t : : Sing for the r s, : :n, .s, pride of the n :n :r ar - row, his breath -was our sword! Who shall re- turn to tell ty - rant is d :t :1 bro - ken, His 1; IS, : S, s :- .fe:s cha - riots and n :- .re:n PI :d :n horse-men all d :d :d f :f :f splen-did and / E - gypt the sto - ry Of those she sent forth in the hour of her / St. Co. (New.) SIXTH STEP. 127 f. C. f :n : vain was f :f Lord hath their :f looked boast - ing ! The f :m : n out from his Lord hath but n :r :d pil - lar of brave, How d : :ds .s pride ? For the s.d.f. E b- n 1 :r' : d 'l .t P d 1 :t cha - riots. d :t, all her and brave ritard. n :n :d .r n :n :n \ sunk in the d :n :n I dashed in the / spo - ken, And horse - men are sei :se, :1| .ti glo - ry, And thou - sands are 1. :- : PI s ; ,n :s n' :n' :r d 1 :t :1 wave. 1, :- : Sound the loud den :- .d :m tim - brel o'er s :s :f E n :r :f tide. , s :- :s s 1 :-.n':d' s :d' :d ! d 1 :- .r 1 :t d 1 :- : .I ) sea; Je - ho - vahhath [ n : :s n :- .d :n tri - umph'd his peo - pie are s :n :d n :- .f :r free. TRUE LOVE. Ex. 254. KEY G. s, : |d :n l.True love can n\ '. |l*1| IS| 2.True love can A. L. C. n .r : Id : r * |1 : s : Hi never si.fi: die, in, : True f, :- love, If, : true PI, : love Ifl never die, True love, true love s.d.f. B n .s : if.r : d :- i : dj^ d :- .d |d :r never, S| .n, : nev-er - Hi -f| ; die, HI Al- | 1 I though its first Pll ', iHi 1 1| bright never, nev-er die, Life's spring may pass a n : gleam d : way, 1 1 :n May :d Soon S fly t, fade :- .f [I, :t, like child - hood's If, r* i |fi :fi its sum - mer d :- l dream, PI, I day, P. t. Yet : fe !t, But St. Co . fNew.J 128 SIXTH STKP. cres. r pi :r .PI |s if .n 1 : : fire, f : : gloom, G. t.m. TiU rd True cres. r .n |s :f .n j burns its se - cret d :t, .d [I, .ti :ti .d life it - self ex -( ti .d |1, .t, :t, .d ( bright 'mid win - try love will ev - er ' 1 : | :s .,fe cres. s : IPI :1 .,t d 1 : is : pire : Ev - er f : | :n .,re glow - ing, Ev - er n : |d :f .,f grow n : ing, in : I bloom, Still un- dy ing, Timede- fy - - ing, P i n : | :r d : |- ? TiU we die, / d : is, :f, n, : |- PP : si : (I, we d die. PI, : I : 1 ' A. L. C. S . :n .,re TiU : f. :- If. COME, FAYS AND FAIRIES. Ex. 255. KEY D. d 1 . :s .,fe s : n : : Come, fays and n . :n ,,re fair n : d :n ,,n n : Come, fays and n . :s .,fe Come, d . : : Come a - :d ..d way, d : Come, d . : n' : d 1 : :? V .d 1 :n' .,r' d 1 .t :l,t.d' fair s : ies, n :n -,n Yes, n :f Come,a - way n .n :s jr fays and fair -ies n .r :f .n ' : Come a - :d .,d way, Yes, d :t| d . :d d . :d . ! Come, come, come, come, 8 .8 :s.fc.s.l 8 .f :r . shin - ing bright, n .r :t t . 8| . *8| . s .d 1 :n' ..r 1 Now for - sake the n .n :s .,f d :d . d 1 .t :l,t.d' r .r 1 :r',d'.t,d While the moon is n .n :n,re.n,f wood's deep sha-dows, n .r :f .n d . :d . Come and dance in her t .t :t ,1.8,1 d . :d . s . :B . Come, come, come, come, Come, come, come, come, Come, come, St. Co. fXew.) SIXTH STEP. 129 t .1 :s .s sil - ver light,yes s .fe :s .f s .d 1 :n' .,r' , Cornea - way, ye n .n :s .,f d 1 .t :1, t.d 1 s .s :s,fe.s,l s .f :r . shin-ing bright, n .r :t| . fays and fair -ies, "While the moon is n .r :f .n n .n :n,re.n,f r .r :s .t. d . :d . d . :d d . :d . i . :BI . ' come a - way,yes Come, come, come, come, Come, come, come, come. FINE. S d' :n' r' d 1 .t :i _,t .d' i ' .t :s .1 ,t n .r 1 :d' Now for - sake n .n :s d . :d the ,f woods' deep s n .r :f d . :d tia - dows, < .PI 1 1 Dome and dance in her sil - ver light. ;\ . :t si .8, :d Come, come, come, come, 1 Dome, come, come a - way. ; d.f. C. L 'W .d Id 1 ,! 1 . n 1 r' .t :" P r' .d',d':t . L S .f :n .v Come .maf , trip it n .n merri-ly :n ,f .s ho, ho, ho, s .s :s List to the li - ly ri .d',d':t .1 bell's sweet sound,! s .f :n ,| .d r d d :d,d. d t, .r :s r 1 .d',di:t .1 L s .f :n . Come , trip it merri-ly ho, ho, ho, List to the li - ly bell's sweet sound,/ .14.' d> .d 1 :d .r'.pi 1 .t > j :s r' .t :s .1 ,t n 1 .r' :d' Come, .f .r trip it merri-ly, h n .n :n ,f .s s d .d :d,d-d t o, ho, .8 .r ho, :s Lightly trip it round and round. t| . it . t, .t, :d Come, trip it merri-ly, h o, ho, ho, Trip it round and round. A. t.m.l. PP S| . P :*dr ,r Wea-ry : si . n :n n :- ,re t n S :- r .f mor - tals now are sleep t| . :tj . La de n . la, la, HI ' la, HI . la, la, d, :d, la, la, la, la, S| . :s, . n .ll -,ti d Sil -ver si :d ars the d :- ,t,4 n :- ,-,r d :s .,fe s : fair watch are keep - ing, Fays and d . :1, . s S| . Si . :S| . 86 :sei. 1| . :n .,re PI : la, d, . La, la :f, . n i, la, . JPli la, n, . la, la, : pii . pi| la, la, . :PII . 1, . : Come, come, d . :d . St. Co. (New.) 130 SIXTH STEP. n :n .,re n : d : r .t,4:r . : , ies, Fays and d : fair - ' - d . :d . ies, d . :d . Come from the glen, t, . :t, . t, . :t, , | d . :s, .,fe > come, Fays and Come, come, 8, :- fair - come, come HI . rd; . ies, come, Come, come, S| . !S| . come. come, Si . :s, . n .d,r:n . :s .,fe s : n :n ,,re n : Come from the hill, d . :d . Fays and d . :n .,re fair n : ies, Fays and d : fair d . :d . Come, come, d| . ;di . come, d, . : d . :d . d . :si .,fei Come, come, s, :- Come, come, come, Fays and fair d : r .ti,d:r .ti f n .d,r:n D. D.S. ies. d . :d . Come from the foun -tain, t, . :t, . Come from the rill, d . :d . yes. ta, : come, come, PI, . :di . Come, come, S| . IP . come, come, Si . :s . Come come, d| . ' di . yes. m it, : { ies, come, More Distant Removes are much used in modern music. Thev can be studied on the extended modulator. See also my "Construction Exercises," p. 154, and "The Staff Notation." Effect of Speed and Force. We all know that when we are excited our pulse moves quickly, and that when we are calm and meditative our pulse moves more gently and slowly. This is the general principle which must govern our speed of move- ment in singing. It should be regulated by the character of the emotion we are expressing. We may also notice, that the same state of our feelings, which naturally suggests that we should speak quickly, generally leads us, at the same time, to speak aloud. And the same emotions which lead us to speak slowly, commonly also suggest that we should speak softly. Hence the connection between speed and force. In this study, however, the following caution from Dr. Lowell Mason should be kept in mind. He says, " The very same words may be sung by different persons, or even by the same per- son at different seasons, in different moods of mind, St. Co. (New.) and so with a pervading difference of expression. The hymn commencing, "When I can read my title clear," would be sung by one man (looking at his Christian hopes through the tears of penitence and sorrow) with a subdued trembling confidence, and by another man (who has long taken Jesus ' for ' the Christ,' in whom his soul trusts) with the free full triumph of gratitude and faith. The Israelites, before they crossed the Red Sea, might have sung such a hymn as that which begins h' almighty power of God, That made the mountains rise ; That spread the flowing seas abroad, And built the lofty skies. But they would have sung it, in a very different strain after they had crossed the Red Sea ! It might be said, that, in both these cases, th&gocond way of singing is the right way. But allow- ances must, nevertheless, be made for this difference in the general style and manner of delivery." The principles here laid down are necessarily incomplete ; but they will serva the purpose of setting the pupil to think. Each case given SIXTH STKP. 131 below, should be brought before the class, and sub- mitted to the judgment of the> pupils. They should then be requested to find other cases illus- trative of the same principles, or cases developing any new principle. Let the pupil remember that this exercise of independent thought and feeling is the only exercise, in connexion with this subject, of any real value to him. The mere learning of rules for expression, without apprehending and testing their meaning, and without trying to apply them for yourself, or to invent others if need be, would be just the putting on of so many weights and shackles to hinder all free movement. * Loud and Quick. These principles will naturally suggest to us that passages of music expressing joyful praise, gladness of heart, and other excited emotions, should be delivered with force, and with quick and sometimes accelerated speed. Besides this, among the many passages where music seems to act the wards, there are some in which this dramatic delivery naturally assumes the same qual- ities of loudness and quickness. Joyful praise. Illustrations of this will be found in " Jacksons," p. 2, v. 4, last line, "Swiftly" p. 32 "Nature's," &c., and St. Co. Ex. 111. Gladness. See Sunshine, p. 45, last two lines of verses 1, 2, " Spring life," p. 3, where full voiced gladness bursts out on the words " Hurrah," " grow away," &c., see also St. Co. Ex. 174, at the open- ing and at the close before " FINE." Excited emotion. By this we mean other exciting emotions besides those of praise and gladness ; and any of these emotions when suddenly aroused. See the feeling of patriotism in p. 13, first 8 measures and last 8 measures, see exulting confidence in " Rise my soul," p. 33, v. 1, see a change to excited confidence in " Nearer my God," p. 34, v. 2, lines 1 to 5, in " Hope will," p. 12, close of each verse, in " Hear me," p. 18, third score, where the words are those of prayer but the feeling is that of exult- ing confidence, and in "Saviour breathe," p. 91, third score, where even the depressing sentiment of confession is naturally overlooked in the rising urgency of passionate entreaty. See cases in which the excited emotion suggests also, acceller- ated speed, in "We fly," p. 20, through the whole, and in " Awake," p. 62, end of second score, con- trasted with the slow and sustained music which precedes it. Dramatic effects. Cases in which our mental asso- ciations naturally suggest loudness and quick-no-^ St. Co. (New). * This subject is more fully treated in the " picturing out " or acting of a musical passage may be found in " Quail," p. 14, score 2, " Ruthless the winter comes on," " Awake," p. 64, score 4, see also St. Co. Ex. 175, accompaniment in Tenor and Bass " rushing along." The student should here be cautioned against an unnatural straining after expression, against giving such expression to a single word, or to a single line of the poetry, as will distract the attention from the general sentiment the pervading and pre- dominating feeling of the piece. The author of " Our Church Music " cites two striking illustrations of this. " The following stanza," he says : Sinners rejoice, and saints be glad, Hosanna, let his name be blest ; A thousand blessings on his head With peace, and joy, and glory rest : "is evidently throughout a jubilant one; and the individual word peace does not change its charac- ter. I once heard a leader, with a powerful voice, singing this hymn. Catching at such words as ' rejoice] l be glad,' &c., he bounded on exultingly. But suddenly his eye fell upon the word ' peace.' This ' gave him pause. ' He was startled. But, with ready presence of mind, he checked his musical career, and sinking his voice to a whispering pianissimo, faintly articulated the word peace. This accomplished, however, he rallied manfully for the remainder of the line, to depict the ' JOY ' and ' GLORY ' of it." The following stanza : See, the storm of vengeance gathering, O'er the path you dare to tread, Hark ! the awful thunder rolling Loud and louder o'er your head : our author heard sung with an AWFUL crescendo on the third line, and a great thundering of the organ- pipes. But the true feeling of the verse is that of subdued solemnity. The attitude both of speaker and hearer is that of quiet listening. " Would not an effective reader," he says, " sink his voice to a whispor, and turn the listener's ear inward, to the thunder of his own conscience, rather than stun it by material noise P " Let the student always ask himself " What should be my own state of mind (excited, or quiet, &c.), while uttering this sentiment?" Let him determine first to feel the sentiment quietly and fully, next to speak it feelingly, and then to sing it so as to make others feel. If he does this he will never be found labouring to bring out expression in "Musical Theory," Book IV. 132 SIXTH STEP. Ex. 256259 from unimportant words, and forgetting the main sentiment which he is uttering. Loud and Slow. Passages which express some grand idea on which the mind delights to dwell should be sung loudly, and not only without quick- ened movement ; hut often in a delayed and sustained manner. Grand Ideas. See examples in " God speed," p. 1 "Spring Life," p. 4, " praise and pray," where, in the same place, the other verses would he sung loud and quick, and in "Quail," ' p. 15, end of third verse, where after trembling and fear, there comes a sol- emn confident utterance of thoughtful faith on the words "God for his creatures will care," "How lovely," p. 61, first score "throughout" to "tid- ings," expressing the universal triumph of the gospel. Musically considered, this forte, rallen- tando prepares the way, by contrast, for the light piano which follows, in " Sunshine," p. 45, where the singer is contemplating with strong satisfaction the blessings he has realised, and where, in the same place the previous verses would be sung loud and quick. See also St. Co. Ex. 139, last line v. 3 & 4. Ex. 256. "What musical expression is suitable to the words in " Morning prayer," p. 80, " I feel my being new created?" in "May time," p. 5, opening of v. 1 and 3 ? Ex. 257. What expression would you give to " Quail," p. 15, " God be thanked," and " Look she goes?" to "Home," p. 76, "tell me heaven ?" and to "Saviour," p. 92, "for we are safe if thou.' Ex. 258. What expression would you give to "The stout limbed," p. 77, last score and p. 78, third score ? and to "How lovely," p. 58, last score. Give your reasons in both cases. Ex. 259. What general musical expression would you give to the words in St. Co. Ex. 134, and what special expression to Ex. 113, scores 1, 2, 3, 6, 7 ? in Ex. 175, on the words " The sea," "The deep blue sea for me?" what expression would you give to St. Co. Ex. 143, "Great is the Lord," " He makes his promise good." Soft and Slow. The principles stated at the commenaement of this subject naturally suggest, that words which express Worship, Sadness, or other Subdued Emotions as well as those which place the mind in the attitude of Meditation, Des- cription, or Repose, should be sung more softly and often more slowly than other passages. There are St. Co. (New.) also several Dramatic Effects which can be well expressed by soft and slow singing. fPorship. See examples in " Hear me," p. 17, at the opening, where the second score, being a repe- tition section and expressive of rising urgency is naturally sung louder than the first ; but still piano, " Lord in this," p. 33, v. 2, where the worshipful feeling is deeper and humbler than in v. 1, and should be suflg more softly and slowly. This expression prepares for rising urgency of prayer in v. 3. See also St. Co. Ex. 135, v. 1. Sadness. See illustrations in " Shepherds lament," p. 89, score 4, where the closed door, pro- duces a sadness, which sobs in the words " and all, all," and deepens into utter desolation, delaying the utterance of the words "me, a dream to me," and in St. Co. Ex. 188, v. 2, second and third scores, Ex. 190, v. 2, last two lines. Subdued Emotion. See examples in "Jackson's" p. 2, v. 2, first and last lines, add v. 4, second line. Note that in this piece, the last line of the last verse would be sung with a contrasting expression, " Quail call," p. 14, " Ah ! but " to " defend," also the same, "cold" to "cries," and the subdued feeling of the listener, v. 1 and 4 of the same, " Come freedom's," p. 13, v. 2, lines 1, 2, " Fortune hunter," v. 5, last two lines, " Hope will," p. 12, v. 1, line 1, and v. 2, line 1. See also St. Co. Ex. 139, v. 3, first line. Meditation, Description, or Repose. See examples in " If I had," p. 45, last score " But thoughts " to " here,' ' " How lovely," p. 58, duet, " Swiftly," p. 31, "sweet," &c., "My lady," p. 21, where soft respectful " description " mingles with " excited emotion," which, see above, requires a different treatment, " Spring life," p. 3, "Hear me," p. 18, " I will," where the singer anticipates the sense of repose. See also St. Co. Ex. 119," oh, sweet content" " oh, punishment," Ex. 193, where, the whole is descriptive and subdued ; but where, in the second and third verses, the second half is made softer and slower still by the " subdued emotion." Dramatic Effect. See illustrations in " Night around," p. 22. The accompaniment imitates the effect of a night breeze, "The woods," p. 73, last score "and vanish," &c., when the diminuendo, pianissimo pictures the passing away of a dream, " Ye spotted," p. 83, fourth score, " Beetles black," where the low voiced horror of the fairies, when thinking of the "beetles," is contrasted with their loud defiance of the spiders. Ex. 2601 SIXTH STEP. 133 Soft and Quick. On the same principles it is easy to see that passages expressing Gaity or the feeling of Cunning and Inuendo are naturally delivered in a soft, light, and quick manner. Gaiety. See examples in " Come let," p. 24, "trip it to and fro," "Fortune hunter," p. 5, "Gipsies' tent," p. 35, and" O the joy," " The woods," p. 71, where the light gaiety of the music is moderated by the descriptive character of the vords. See also St. Co. Ex. 78, "Tra, la, la," Ex. 174 where the gaiety of the first half of the music is contrasted with the holdness of its opening and close, and with the more legato descriptive passage which follows. Playful Cunning. See examples in "Fortune hunter," p. 4, v. 8, " Without asking my lady," and v. 10, last line where the fun would he increased by a pause after "not," " Quail," p. 14, v. 3, "here I lie." See St. Co. Ex. 145 on the last words " my love loves me," as though playing with a pleasant secret, Ex. 120, where after the importunate " Tell me," another set of voices seems to reply "Oh! no," and p. 42, from "all among" to "dwell," where the pretty little secret is let out. Dramatic Effect. See examples in "Swiftly," p. 29, where first the quick fleeting shadows and after- wards the quickly glinting sunbeams are imitated, See St. Co. Ex. 102, where the rise and fall of laughter is not only imitated but enacted. Ex. 26O. What expression would you give to "O Saviour," p. 86, 6 measures beginning "Save us ?" " Father my," p. 34, v. 1, lines 5, 6 ? "Lord in this," p. 33, v. 4, line 2 ? " Saviour," p. 92, " Though " to " fly ? " " Loud the storm wind," p. 95, "soft comes?" Ex. 261. What expression should be given to St. Co. Ex. 97, v. 1, line 1, v. 3, lines 1 and 2 ? to Ex. 194, v. 1, "In silence" to end, and in what different manner should the mingled emotions of {"oy, and sustained, intensified agony, in " Jerusa- em," &c., be expressed? Ex. 137> first line of each verse ? Ex. 139, v. 3, " and quiet lie ? " Loud to Soft. Passages which suggest " Excited emotion " at their opening, gradually changing to " Subdued emotion," will naturally be sung dimin- uendo. See "Spring," p. 51, "Cloe" to "gone," "Going home," p. 2, v. 2, last line, "Morning prayer," p. 79, where the ma in the contralto twice hushes the outburst of greeting at the solemn sense of the Divine presence, and where,on the repetition, the feeling, still more deepened, may be expressed St. Co. (New.} \>j & pianissimo, rallentando finish to the diminuendo. The words of the second verse do not require such refined expression : but those of the third verse in the same place, demand all the feeling which con- ductor and singers can throw into them. See also St. Co. Ex. 79, score 4, v. 1. Single tones may take the same shape, but in that brief and condensed form, which we call the explo- sive tone, when the singer wishes to express vig- our and energy in a somewhat spasmodic manner. Let the pupils sing the scale upward and down- ward with a feeling of resolute determination, to the words, "No! I will not! No! I will not!" See also illustrations in the fairies saying " Hence, hence," to the spiders, p. 83, "Where the gay," p. 65, score 4, the energetic climax of a remarkable crescendo passage, "Hear me," p. 18, first and fourth scores, "The Shepherd's," p. 88 in which a number of explosive tones must be excused on account of the state of passionate excitement which the singer has to impersonate, "Harvest Home,'' p. 39. Soft to Loud. Passages which suggest "Sub- dued emotion" at their opening, gradually chang- ing to "Excited emotion," will naturally be sung crescendo. See "At first," p. 54, first score, where the gathering force of a mountain stream is repre- sented by crescendo and accelerando ; and the same thing, p. 55, score 4, "Loud the storm wind," pp. 94 and 95, "loud," &c., where the subdued feeling of description gradually changes into dramatic excitement. See also St. Co. Ex. 139, v. 2, "And in," to "to be," Ex. 175, " Beautiful " to "free," where contemplation rises into ecstasy. Single tones may take the same shape but in that brief and condensed form which we call pressure tone, when the singer wishes to express the breath- ings of desire, entreaty, or any deepening emotion. Let the pupil sing the scale slowly upward and downward to the words " Oh ! do, pray do ! Oh ! do, pray do! " See "Jackson," p. 3, on the words, v. 2, last line, " Father," p. 34, v. 1, where a pres- sure tone on each syllable of " From human agony," would well express the deepening emotion, " Hear me," p. 17, score 2, " 0," ditto p. 18, second score, "prayer," "0 Saviour," p. 86, score 2, "Save,* " Help." It should here be noticed, however, that the same emotion is sometimes expressed violently and passionately by the explosive tone which in other moods would require the desireful pressure tone; see ''Saviour," p. 87, "Save," "Help," and 134 SIXTH 81' KP. Ex. 262271 "Homo," p. 76, score 1, "shall." See also St. Co. Ex. 189, Ex. 194, each syllable of "the anguish of our soul." Ex. 262. Mark for expression the following stanza, first on the supposition that the poet wishes the mind strongly impressed with the contrast in the picture, for the sake (for example) of some lesson he means to draw from it, and, secondly, suppos- ing the sentiment to mean nothing more than a descriptive meditation : In winter, from the mountain, The stream, like a torrent, flows , In summer, the same fountain la calm as a child's repose. Ex. 263. Mark the following from Gersbach's "Little Singing Bird," translated by Mr. James Stally brass: On airy wings The skylark springs Toyonder cloud on high ; His thanks to God He flings abroad. And fills the wide blue sky. O songster rare. You swing up there Creation's morning bell ! My songs I'll blend "With yours, and send Them up to heaven as well. Ex. 264. Ditto, ditto. Oh ! never fear Old Winter's cheer, Though rude and sharp his greeting ; His coat is rough His voice is gruff. But warm his heart is beating. He wears no smile And for a while He'D seem to hide our treasures ; Hut in the end He'll prove a friend And bring us back Spring pleasures." Ex. 265. Ditto, ditto. When Spring unlocks the frozen ground And scatters all its treasures round, How sharp and active then is found, Old Master Spade the Gardener ! When 'mong the crops feeds hungry Bun, Oh ! who will rise before the tun To scare the rogue and make him run T Old Master Spade the Gardener ! Suppose the last line in each stanza repeated, what would be your feeling in the repetition, and how would you mark it ? St. Co. (New.) Ex. 266. Ditto, ditto. Oh ! there's not a sweeter pli-asuiv Than to know a faithful heart. Ye that own so rich a treasure Never, never with it part ! Blest are we, in joy and woe, If but one true heart we know. Ex. 267. Ditto, ditto. Your cage is nice and ready ; Though green boughs, pretty bird, Are now your home delightful And rightful, Yet spiteful Is Winter, and he'll pinch hard. The eage has long been ready : What says the pretty bird ! I'm still to freedom clinging And swinging And winging My flight o'er the bright green sward ! Ex. 268. Mark this from "Favourite Welsh Hymns," by Joseph Morris : Far on the ocean, one cold starless night A small bark was sailing in pitiful plight ; The boom of the billows, as on rushed the storm, O'ercame the stout hearts of the men with alarm. But one in that lone boat was fearless the while, The captain's bright boy, looking round with a smile ; " The storm," he said, " threatens, but still do not fear, We safely shall land, for my father doth steer." Ex. 269. Mark this, by the Rev. W. B. R. : Never forget the dear ones, What songs, like theirs, so sweet ! What brilliant dance of .strangers Like their small twinkling feet ? Thy sun-lights on life's waters, Thy rainbows on its foam ; Never forget the dear ones Within thy house at home. Ex. 270. Mark this, from Barry Cornwall : Oh ! the summer night Has a smile of light. And she sits on a sapphire throne ; Whilst the sweet winds load her With garlands of odour, From the bud to the rose o'erblown. But the winter night Is all cold and white, And she singeth a song of pain ; Till the wild bee hummeth And warm spring cometh, Then she dies in a dream of rain. Ex. 271. How would you treat the last verse of " Oh ! where and oh ! where is your Highland laddie gone ? " We once heard it sung all in one piano. Should question and answer be given alike f Suppose, and suppose that your Highland lad should die '. The bagpipies should play o'er, him and I'd lay me down and cry; And 'tis oh ! in my heart I wish he may not die. SIXTH STEP. 135 Will you take the first line as a simple thought- less remark of the questioner, as a solemn fear seriously entertained, or as a heartless mocking sug- gestion ? Is the opening of the second line the sad musing of sorrow as it pictures the parting scene ? Or is it the earnest voice of a momentary triumphant feeling, claiming, even in death, some honour for the Highland lad ? Does the last line imply hope, or a troubled heart near despair ? Mark the verse according to all these various readings. Finally, on this subject of expression, let pupils be always reminded, that, in the preceding exercises, we have only introduced them to certain gen- eral principles and instruments of ART. But, to use the memorable words of M. Fetis, " ART WITHOUT LOVE is POWERLESS. To persuade we must BELIEVE in what we say. To MOVE WE MUST OURSELVES BE MOVED." If you want to see how this principle is forgotten, and how little the highest art can do without TRUTH and LOVE, go listen to the well-paid chorus in some first-rate opera-house of England or France, or to the unbelieving choir and organist in some of our greatest churches. Phrasing of Words. From the commencement of the course, as at pp. 9, 16, and 30, the attention of the student has been directed to the proper division of the melody into portions, marked by breathing places. At pp. 69, 70, instructions and exercises have been given in the art of quickly detect- ing the natural divisions of musical sections and phrases, and at p. 98, the principles of " Melodic Phrasing" are still further developed. But to the singer a yet more important art is that of dividing the words so as to give the sense most clearly and of making the hearer receive that sense as the singer feels it. When singers take breath in the middle of a word, or between words which so belong to one another as properly to make up a compound word, they commit an outrage on the poetry they sing. " Who would do so ? " exclaims the irritable reader. " Let him listen attentively," says Mr. Wordsworth, " to the next ten singers and out of the number, nine shall be caught in what appears an impossible fault. Intelligent people have sung words thus punctuated, I saw the vir, tuous man contend With, life's unnumbered, woes. And, he was poor with, out a friend. Pressed, by a thousand foes." The singer should form the habit of looking on words not singly but in groups joined together St, Co. (New.) naturally by the sense. In other languages than our own the little words are absorbed into the larger ones. Thus, in Latin or in Hebrew nearly all the "groups" marked in the verse below could be expressed by single words. Without studying deeply the details of grammatical analysis,the musical student will easily see, by his common sense, what words belong to one another. Let not such words be separated. When the smaller grou ps the compound words are readily distinguished, the student will begin to form these again into larger groups. Thus each line of the following verse may be divided into two larger groups as well as into three or four smaller ones. The stronger the retaining power of the lungs the larger the phrase they can easily deliver in one breath. With all my powers of heart and tongue I'll praise my Maker \rith my song Angels shall hear the notes I raise Approve the song and join the praise. Mr. G. F. Root proposes that a verse, like the following, should be sung by the class to some familiar tune : While shepherds watched their flocks by night, All seated on the ground, The angel of the Lord came down, And glory shone around. Let the pupils be first required to take breath in the middle of the words "shepherds," "seated," " angel," and " glory." " All would feel," he says, "that taking breath between the syllables of a word is wrong, and thus one rule would be deduced. Next, the pupils might be asked to take breath after the words ' their,' and ' by ' in the first line, and after ' the ' in the second, &c. It would then be seen that the breath must not be taken after words that are in close connexion with other words. Finally, the pupils should sing the verse, taking breath where the stops occur, and after emphatic words. That will be found agreeable and expressive, and thus the rule for correct breathing would be established." The musical and poetical phrases, in ordinary cases, coincide with each other. But where thai is not the case, the words must rule. In the follow- ing illustration, from W. A. Wordsworth's " Trea- tise on Singing," the musical phrasing would suggest, as breathing places,, those where the cross is placed. But such a phrasing would, in two places, be false to the sense. The other marking l 136 SIXTH STEP. Ex. 2723 therefore necessary. Sing the passage in both ways. KEY A. t x x it :-.t, not that meads are green, It t :- .r |n not that its r hills :f .n |r : are fair. In a chorus it is a point of special importance that all should be agreed as to the principal places of taking breath. It produces a delightful effect of unity and clear expression thus to make the " phras- ing" unanimous. Ex. 272. Divide the words of Ex. 191, 144, 140, into smaller groups and mark them after the manner of the verse above. "With all," &c. Ex. 273. Divide into larger groups, and mark in the same way, the words of " Hope will," p. 12, "Come freedom's," p. 13, "Lord in this," p. 33, " Father my spirit," p. 34. Vowels. The importance of vowel sounds to the singer has been shown, and the consonants have al- ready been studied, pp. 69, 60. Whenever a class grows careless in the utterance of consonants.the "ar- ticulation exercises" Nos. 146 to 152 will have to be revived. This study of the consonants is sufficient to render intelligible the rapid recitations of a chant, or the quick speech of a comic song, but not to produce any lengthened tones with clearness and beauty. It is to the vowels that we owe the chief charm of speech in song. Unfortunately also it is the vowels in which the dialects of the different parts of the country principally differ. The local teacher may not always think it advisable to fight against an accepted and well confirmed local habit of speech. But he should at least know what the received sounds are, and how to produce them. Again, those vowels which are commonly short in speech have often to be sung to a long note, but few speakers have been accustomed to notice the exact formation of these vowels, or to sustain them, except for a passing moment. Now these vowels in Eng- lish are rarely shortened utterances of the corres- ponding well known long vowels. They generally require some parts of the vocal organs to be differ- St. Co. (New.) ently arranged. Hence the power of sustaining them has to be learnt as a new art. So difficult are they that Kollmann and some other writers on musical pronunciation, misled by the word short, and not noticing that these vowels really differ from others in quality, take for granted that " the short vowel, cannot be prolonged." But to hear the quality of a vowel altered in singing, as for example steal, sate, cart, fool, substituted for still, set, cat, full, produces a most disagreable, often painful effect even on the uncultivated hearer, whereas a pure vowel is a pure delight. The following explanations will help to make the subject clear to the pupil's mind. Mechanism of the Vowels. Vowels are produced by giving certain fixed forms to the cavities between the larynx and the lips. Those cavities act as a "resonator" to the tones produced in the larynx, just as the body of the violin acts as a reson- ator to the tones generated by its strings. By their varying shapes they modify the quality, and tend also to modify the pitch, of the vowelb. Not only are some vowels of a much pleasanter quality than others, but some vowels are more easily and clearly produced at a low or a high pitch than others. As any fixed shape of the vocal cavities will produce a new vowel, the number of possible vowels is practi- cally infinite, and the number acknowledged in var- ious languages and dialects, without reckoning individual peculiarities, is very great. We shall of course confine our attention to the principal Eng- lish vowels, indicating their commonest dialectic varieties. The following diagram is a kind of vowel modu- lator, the vowels being for convenience expressed in glossic letters. The arrangement is according to natural pitch. If the vowels oo, on, an, an, ai, ee, are pronounced in a whisper, without any effort to give them any particular musical character, and run up quickly, the rise in pitch will be as perceptible, and much of the same character, as the rise in pitch produced by pouring water from a height into a jug till it is full. The exact relation of vowel quality to absolute pitch is still under investigation, but it is believed that when the change of register does not interfere, the character of the whispered vowel system is generally maintained, ee being best adapted to the higher, and oo to the lower pitches, and so on. SIXTH STEP. 137 SCALE OF ENGLISH VOWELS/ OE.NEUALLY LONG. / EE, in beet. GENERALLY SIIOHT. AI, in ba, or else the tongue is lowered into the position of a, and ae is substituted. See St. Co. Ex. 133, v. 4, "commend," Ex. 171, m. 4, "Amen," Ex. 144, v, 4, "where," Ex. 145, m. 3. v. 3, " ere." The sound of ae is so commonly used for c in Scotland (where e is reserved for our /, the Scotch j-n' being Bounded like our pen] and in the provinces, and even by many Southern speakers, that the use of ae for e need not be corrected, but care must be taken to avoid a for e, as is some- times heard in Scotland. When e is written brief in unaccented syllables either i or e may be spoken hut e is generally the best for the singer. Sec St. Co. Ex. 137, last note. The singer must bo very careful not to prolong such words as " kept, set, met, wed, ell, Ben," into "caped, sate, mate, wade, ail, bane, &c., and hence must practise the prolon- gation of this vowel sound. Ex. 286. Practise this vowel in Key D. in the manner described above. Ex. 287. Comparison exercises as above : pet pate pat, bet bate bat, tell tale tallow, dell dale dully, kennel cane can, get gate gat, fell fail fal- low," sell sale Sail, shell shale shall, let late lattice, met mate mat, neck snake knack. i. as in hip, pit, bid, cliff, his, gild, lynx. The tongue and lips are precisely in the same position ns for ee, but the larynx is lowered, so that the voice naturally sinks from ee to i in lowering pitch and great care is required to sing both ee and i to the same pitch. The vowel i is very characteristic of English, and although it does not occur as a recognised long sound, it has to be constantly pro- longed in singing. All meaning is lost if " lip, sit, grit, bid, hid, sick, sin," are prolonged into "leap, seat, greet, bead, heed, seek, scene." Such words as " happy, vanity, unity," have constantly a long tone to their last syllables, which must never be called ee. See prolonged tin St. Co. Ex. 116, St. Co. (New.) t41 sc. 2, "kill," Ex. 139, m. 2, "little," Ex. 140, v. 3, " fill," Ex. 174, m. 12, " hill," Add. Ex. p. 30, sc. 3, " village." The great fault of English speak- ers is to use t long for ee, and of foreigners to use ee short for i. Before r, i long is always used for ee long, and after r many speakers find the pure ee difficult. Most bass voices take i for ee. In the Comparison exercises prolong the final y as in baby, etc, singing it to a note as long as that for the fol- lowing e or ee, etc. Ex. 288. Practise this vowel in Key E in the manner described above. Ex. 289. Comparison exercises as above : let baby be, a palfry free, with ugly glee, a tiny knee, the glassy sea, make worthy thce, a wintry tree, thy enemy me, a flashy she, best city tea, they chiefly flee, cried gruffly flee, the lucky key, fit feet, sit seat, mill meal, knit neat, whip weep. FIFTH G-nour, UO, 0. uo. as in full, wool, could, book and foot. The tongue, teeth and lips are in precisely the same po- sition as for oo, but the larynx is lower. Most elocutionists consider tio to be the same as oo short, but the Scotch pronounce " book, look, cook," with a real oo short, and the effect is so different from the English, that they are wrongly supposed to say oo long. Compare Yorkshire book, with oo long ; Scotch Idol;, with oo short, and Southern buok, with uo short. Also compare English pool, French piiol, written "poule," and English puol, written "pull." The distinction between oo and uo is precisely the same as between ce and t ai and e, au and o. But a good imitation of uo (not of oo) can be made with widely opened lips, and sung at any high pitch on the scale, where oo cannot be touched. This sound is therefore valuable to singers. It is a common, fault to say ruom, suon, and evenfuod, with uo shoit. in place of room, suon, food, with oo long. But when "pull, full, could, would" are prolonged, the singer should never say "pool, fool, cooed, wooed." The words "wool, woman, would," present great difficulties to Scotch arid Welsh, and even many English speakers. The pure wuo should be heard in each. In the provinces ^l and uo are constantly interchanged, so that "bull" is pronounced "bul" in- stead of "buol," and "foot" is pronounced "fut" in- stead of "f uot." Observe that uo and not u should be heard in bull, full, pull, (and their derivatives, bul- lace, bullet, bulwark, bullion, fuller, f ullage, fullers, Fulham,pulpit,pullet,butcher,cushion,cushat,sugar, cuckoo, huzzar, huzzay! hurrah! push, bush, to put. 142 SIXTH STKV. Ex. 2902. The game of put has u. The word fulsome ia pronounced both ways. All other words with M short have M not uo. In blood flood, oo is sounded u ; in soot both u and uo are heard. Ex. 200. Comparison exercises, as above : pool pull, fool full, cooed could, wooed would, shooed should, food good, who'd hood, shoot put, goose puss. Ex. '290A see above, Ex. 283. o. as in nod, pond, stock, odd and dog. The tongue, teeth and lips are precisely in the same po- sition as for au, but the larynx is lower. Hence this sound has often been thought to be the same as ait short, and most elocutionists put it down as such But if any singer inadvertently prolonged the name of God into r when no vowel follows is nearly always aur ; the au is long and the r' should be slightly trilled for distinctness, though it is frequently altogether omitted. The words " soft, often, office, broth, groat, gone, cross," and sometimes "dog, long," especially in America, are pronounced with ax, but either o long, or no long are preferable, and o short is much used, and is indispensable in " dog, long." See prolonged o in St. Co. Ex. 68, m. 2, "song," Add. Ex. p.l, m. 3, "God,"p. 4,sc. 3,m. 2, "spot," p. 14,sc. 4,m. 2,"on.' Ex. 291. Comparison exercises as above : odd awed, pod pawd, sod sawed, holiday haul, Moll maul, stock stalk, yon yawn, nod gnawed, fond fawned, God gaud, pollard pall, rot wrought, hock- ey hawk, solid salt, totter taught. Ex. 292. Error exercises on the vowels. The teacher sings on G the wrong pronunciation, and the pupils immediately (on the same tone, and pro- longing the syllables) sing the correct pronunci- ation of that word, and of the other words like it. " a/tone " atone, adore, among, alone, amaze, alarm, awake, above, about, amidst. " Divert," divert, digress, direct, divulge, engine. "Teatimoany," migratory, patrimony, dilatory, and matrimony. "Cummand, 1 ' command, complete, comply, commend, correct, and corrupt. "Goodni ss, ' ' goodness, endless, St. Co. (New.) matchless, boundless, anthem, forget, yes and in- stead. " Evidwnce," evidence, silence, prudence, ardent, excellent, providence, influence, content- ment, judgment. "Regelar," regular, educate, singular, articulate, perpendicular, particular. " Fee-aar," fear, near, their, more. " Ai \\ a house, a mile, a town. "Thee bee," thu bee, thu house, thu mile, thu town. "Thu evening," th<>e evening, thee upper, thee open, thee apple, th tumn. " Aimen," aamen. " Jeroosailum," JITIMI- salem. " A nice house," an ice house. " A nox," an ox. " This sour," this hour. " Our roan," our own. "This sage," this age. " On neither side," on either side. "Bear u sonward," bear us onward. " Tai kit," take it. " Ree din," read in. "Glory yand honour," glory and honour. "The glory, ooand the power," the glory and. Note that in the solemn style of music, the word "my" is pronounced fully, but in the familiar style, as it is in the last syllable of " clammy," " mummy," " Tommy," that the termination "ed" is in sacred music sung as a separate syllable. that the word " wind" is sometimes in poetry pro- nounced weind, that the word "heaven" is some- times pronounced as one syllable, and sometimes as two, and that when pror.ounced in two syllables, the second should be very lightly dwelt upon. Diphthongs. There are four principal diph- thongs in the English language ; ei as in height, oi as in foil, im as in foul, and eu as in feud. It will be convenient to treat along with the Diphthongs the vowel no, as in pore, because although it is not a diphthong it is used in English only as the first element of one. A diphthong is not merely two vowels put close together. The word " cawing ' might be repeated ever so quickly without its two vowels producing the sound of oi as in "coin.' 1 The two vowels must be cemented and bound to- gether by the Glide already explained, p. 61. Thus in the phrase " pap is a Tonic Sol-ii'st," we have two cases of vowels put close together. The second vowel in each case has a clear separate "attack." If we allowed the voice to continue while the organs are passing from one vowel po- sition to another, we should make these double vowels into diphthongs, thus, " papeiz a Tonic Sol- feist." Let it be noticed that the common letters * and M, as usually pronounced, are really diphthongs though single letters, and that the sounds au, ee, etc., are simple vowels although they have two letters, and are hence properly distinguished as Digraphs. One Ex. 2936. -SIXTH STEP. 143 ol the vowels which form a Diphthong is much shorter than the other. In a Diphthong, the Glide which is the characteristic part should always be longer than the shorter of the two vowels, and one of the two vowels should he formed hy a closer ap- proach of the lips or of the tongue and palate to each other. It is important to nbtice that the ac- cent is generally laid on that vowel which has the widest opening. ei. as in I, eye, isle, buy, tie. This diphthong is very variously pronounced in speaking. The second element is always the same, i, not the foreign sounding ee. The first element, although it has the principal stress, is extremely short and diffi- cult to catch, but is generally u, ' (not it) or aa. The stress suggests to the singer that the first vow- el should be dwelt upon, but its indefiniteness, as fcpoken, leaves him to chose his own vowel, and he selects the beautiful aa. The Glide between aa and t should be very marked. When ei has to be sus- tained, in 'singing, prolong the pure aa sound, and finish rapidly, clearly and distinctly with the glide and t. See St. Co. Ex. 65, sc. 2, Ex 116, last word. Ex. 293. Sing the following pairs of words on any tone, beirg careful not to raise the pitch on the final sounds. Sing the first word of each pair as short, and the second as long as possible. Pie pipe, buy bribe, tie tight, die died, fie fife, thy scythe, sigh size, sly slice, my mine, nigh nine. oi in boil, boy, buoy, buoyed, toy, toyed, quoit, coin, joy. The proper first element of this diphthong is o, not au, and those who have learnt to prolong o will find a great refinement from its use, but others may use CM. Even in speaking, the first element is some- what prolonged ; much more so in singing. Avoid the vulgarity of singing oi as ei. See cases in St. Co. Ex. 134, 174. When oi occurs before a vowel as in " toying," sing oi distinctly and commence the next syllable with y thus toi-ying. Ex. 294. Sing on any tone or group of tones the following words. Anoint, ointment, oil, boil, broil, coil, foil, foist, froise, groin, hoise, hoist, join, joint, joist, loin, moil, point, poise, poison, soil, spoil ; destroy, decoy, loyal, royal, voyage. ou as in thou, how, npw, cow, out, down, town, plough, round, house. This diphthong resembles ei in character. The first element is the same as in ei, and is always short in speech, having the stress. The second element is always uo, and may be lengthened in speech. Do not use the foreign oo for St. Co. (New.) uo. In singing select aa as the first element, and when the diphthong has to be sustained, prolong the pure aa (taking great care not to round the lips before the glide), and finish rapidly, clearly, and distinctly with the glide and uo. Be careful not to lower the pitch in finishing off with uo. The rule of making aa always the first element will prevent all sorts of vulgarities and provincialisms. See cases in St. Co. Ex. 80, 134. Ex. 295. Sing as in Ex. 267, descending on ei and ascending on ou : how hound, now noun, cow cowed, about out, found out, round about, round sound, thou doubt' st, cow house. eu in pew, imbue, tune, dew, cue, few, view. This diphthong is always preceded by a consonant. In wnite, wnion, wse, &c., a y is always prefixed in speech. The first element is i which is always short and without stress. The second element is oo and in' accented syllables, is long, having the stress, but in unaccented syllables, as dotranent, may be short. The glide from i to oo is very short, but longer than the i which is just touched. To make the first element long, as ee with the stress, in tree- oo See-oo-zwt for "true Susan," is a great vulgarism, especially offensive in singing. This diphthong always becomes oo after r , as rue, imbrue, crew, etc., but not after /, n, s, z. In singing, dwell on the second element. See cases St. Co. Ex. 146, score 2, Ex. 174, score 9. Be careful not to change t and d into ch and j before eu, and not to pro- nounce - ture, - dure, - as in nature, verdure, either as - chur, -jur, or as -tur, - dur, but keep the t, d and the diphthong e>t quite pure in singing, what- ever may be your practice in speaking. Ex. 296. Sing as above : lieu, lute, illumine, new, news, nuisance, newt ; sue, consume, resume, pew, tune, dew, cue, few, view. ao as in roar, tore, ore, more, four, is never u-sed in received English except before r, forming part of a diphthong, and is hence placed here. But it is a pure vowel in itself. The tongue, teeth and lips are precisely in the same position as for on ; but the larynx is more depressed and hence the pitch is naturally deeper. It may be obtained by pronouncing oa and thinking of aa. If the student will sing aa to a very prolonged tone, and first round his lips and then open them successively, without interrupting the tone or in any way changing the position of his other organs, he will pronounce aa, ao, aa, ao, alternately, and gain much knowledge of the effect 144 SIXTH STEP. Ex. 2978 on vowel quality produced by rounding the lips. When clearly produced, an is a. very beautiful vowel, much finer than either au or oa. It is very eommon in the provinces in place of oa, it is the true Welsh o long, it is the Italian open o, and is in general use on the continent. It may be used to replace oa in low pitches, but never when pure oa it be produced. It always replaces oa before r, and is sometimes used in place of o or an in such words as "soft, often, office, broth, gone, cross." It will require some practice for the pupil to hold the fixed position of this vowel. The learner will 1)0 assisted by remembering some familiar word in which it occurs. It is important to distinguish such words as moiv-er, one who mows, from more, as in the Comparison exercises ; the first words have "a and two syllables ; the second ao and only one -syllable. Ex. 297. Practise this vowel in the key of F in the manner described above. Ex. 298. Comparison exercises as above : bloro Mower, ore ower, tore tow-er (one who tows), gore x;oor, roar rower, hoar hoer, shore shewer, lore lower, sore sower, more mower, store stower. Other Diphthongs such as ai-i in day, oa-uo in known, i-u in beer, c-u in bear (see Ex. 279), ao-u in boar (with the above vowel ao in place of oa), HO-H in boor, need not be separately practised. The singer should in the four last cases always trill the r even when final, at least slightly. And when r comes between two vowels as in weary, .l/ary, glory, ho should bo careful never to omit the glide to u ; wee-r'i is Scotch, Mai-ri is very vulgar, :ind yloa-ri is old fashioned. The South of England custom of ending at with :i vanishing i and oa with vanishing no, rather spoils the vocal effect. Hence it is best to practise avoiding it in singing. Special Forms of vocal music.* Of the various forms of vocal music adapted to special purposes, the simplest is, The Response. Tills may bo only the word 'Amen," on one tone and in unison, or the same harmonized, or it may be a more lengthened sen- tence like the responses after the commandments. 1 n any case, if a response is intended to be really sung by the whole mass of a congregation it must be as simple and natural as the " Gregorian tones," and must have a pitch and range easy to all kinds of voices. A. humble full-voiced unisonous "Amen" cannot be got at a higher pitch than E orF. The Chant. The practice of reciting a verse of ;i Psalm on one tone and ending each recitation with a natural cadence was older than Gregory or even Ambrose. It is the "form" of every exiiii s speaker. Its essentials are a reciting-tone and ;i cadence. The length of the reciting-tone depends on the length of the words. The cadence m:. of one, two, three or more tones. The regular form of the Anglican Chant (a reciting-tone with ;t two-measure cadence, followed by another with a three -measure cadence), p. 35, originated in England at the time of the Reformation. It has as much variety and beauty as can be desired in so elemental a form, but tho reciting-tone is often placed too high or too low for tho common voices of the people and the cadence is often made too wide in its intervals to be smoothly sung, thus unfitting it for its proper use. Instructions in chanting are given, pp. 36, 27, 59, 63, 47, 82, 93. Hymn Tunes. There were metrical hymns, as distinguished from prose chants, in the earliest ages of the Christian church, and although " time " and "measure" were not then written in music the tunes for these hymns were necessarily miny with the accents and measure of the hyrmis. At the time of the Reformation many of tho old Latin hymn-tunes were revived, and others made. Thu attempt to sing them with large masses of voices, in simple people's harmony, encouraged musicians to study tho progression of plain sustained chords, and so helped to form modern harmony. It is still this march of plain chords which is the glory of the hymn-tune. Tho introduction of chromatic resolution of unprepared discords other than those which (like 7 S, 7 T, i**M, and 7 SE) are familiar to the common ear of difficult transitions and modu- lations like those in tho Tonic-minor, of the sharp sixth of the minor bah, except when moving from and to the seventh se, of extreme compass for the " parts," and of difficulties in time is ruinous to the congregational character of a psalm or hymn- tune. Let not the precentor be misled by the great names of composer, or harmonist attached to such tunes. Very few great composers ever taught a psalmody class or took the trouble to make them- selves acquainted with the capacities and incapac- ities of the common people's voice. We have many hymn-tunes for the Organ and many for tha Choir, but only a few for the People. St. Co. (New). ' Musical Theory," Book m., treats this subject more fully. SIXTH STEP. 145 The speed at which a hymn-tune is sung affects its harmonic character its rhythmical impression and its adaptation to the emotion of the hymn. When a tune before sung at moderate speed is sung very quickly, every two pulses (in two and four-pulse measures) or every three-pulses (in three and six-pulse measures) become practically to the ear, one-pulse, and the harmony should be altered accordingly ; the chords being made to change less frequently, and many "passing tones" allowed. Thus if "Jackson's," p. 2, were meant to be sung rapidly, as a la, la, la tune, the chords would have to be changed once in a measure (as they do in dances or quick marches) instead of twice; and if the " Waits," p. 8, were altered, by exceedingly slow singing, into a mournful hymn-tune, the chords should be made to change twice or three times as frequently as now so as to suit the slow and sol- emn tread of the music. To sing at great speed a tune harmonized for slow singing, and changing its chords at every pulse, produces a heavy jogging effect. To sing slowly a tune harmonized for speed, produces a drawling effect. The precentor must look to his harmonies. The more rapidly a tune is sung the more marked is the rhythm, and the greater necessity for Rhyth- mical Balance and proportion between the lines. The popular ear demands this balance. Witness its delight in dance-tunes and marches. If the tune books do not make the lines of equal length, it will be easy for the Precentor or Organist to do so, be- cause ''balance of rhythm" comes naturally to the people. In selecting a tune for a hymn, the Precentor will have to consider what is the general sentiment of the hymn. He will find it convenient to clas- sify hymns as first, the bold and spirited, second those expressive of cheerful emotion, third those which are didactic and varied in character, and fourth those which are solemn and prayerful. To the first class of hymns, tunes in two or four-pulse measure, moving somewhat quickly, and having doh, me, and soh placed in effective positions in the melody, are well adapted. Tunes of this character when sung very slowly and firmly, change their effect into the grandly solemn. To the second class of hymns, tunes in three or four-pulse measure having te, ray, //zand lah placed in the mosteffective positions, are well adapted. These cheerful tunes can be changed by slow and firm singing, not into grand tunes,but into prayerfully solemn tunes,of the fourth St. Co. (New.) class. To the third class of hymns, tunes must Lo adapted which give no special effectiveness in their melody either to the strong or to the leaning tones of the scale. These non-emotional tunes have generally a step- wise melody, and they cannot bo much al- tered iii mental effect by speed of movement. Different speeds are used for the same tune in different places, but the natural force of habit pre- vents any great change of speed in the same tune at the same place. To some extent however change of sentiment from verse to verse may be indicated by change of speed. If the congregation are ac- customed to the ways of their precentor, a bold tone or two from his voice will rouse them into spirited expressions as by electric sympathy ; and a pause after a verse will easily suggest that the precentor desires the next Terse to be sung softly and more slowly. This art of adapting music well to the words is a great secret of spiritual success in the precentor's office. Anthems differ from hymn tunes in giving mu- sical expression to particular words rather than to the general sentiment of a hymn of many verses. See "Hear me when I call" p. 17, and " O Saviour" p. 85. The anthem is free to introduce repetitions of music and words, the silencing of parts, and fu- gal imitations, which are inadmissible in a hymn of many verses. Although these contrivances are es- sentially characteristic of an Anthem, they must be carefully used in one which is intended to be sung by a whole congregation. It will be well not to leave the tenors or contraltos, who are often weak in a congregation, to take the lead in a fugal passage, and it is unwise to attempt a fugal entry on a half -pulse, or to introduce any other perplexity of the time. The Motet is the ancient form of the anthem. Anthems often consist of various dis- tinct movements, with changes of key and measure and speed, one movement being so contiived as to set off by contrast the other movements. Cathe- dral anthems are written for choirs which are seated in two divisions, one on the Dean's side (that is on. the right hand as you enter from the nave) called Decani; and the other opposite on the Precentor's side called Cantoris. Some parts of the anthems are sung by the full choir (marked" Full"), and other parts antiphonally, that is alternately by the two halves of the choir. Portions marked "verse" are to be sung by one voice to each part. Thcso anthems also include solos, duets, &c., and bold rc-- citations in unison, which are called choral recitu- 146 SIXTH STEP. tives. Anthems are generally intended to be sung with organ accompaniment, though many of the full anthems may he well performed without it. The Madrigal is the oldest form of secular vocal music in parts. It partakes of the old style of har- mony, abounding in fugal entry and imitation. No one part predominates over the others, but each takes its turn in specially claiming the ear of the listener. Any number of voices may join in a madrigal. The same style of music was used in the old anthems, of which "Bon accord," p. 11, is a short example. Some quaint point of sentiment at the close often characterizes the madrigal. There is no good example of a madrigal in the Additional Exercises. " The time for joy" p. 15, is the near- est. See however examples in the Tonic Sol-i'a Reporter "In going to my lonesome bed" No. 6S, "The Silver Swan" No. 274, and "Flora gave me" No. 287. Many pieces are called madrigals which are only harmonized airs, such as " My lady " \>. 21. A light form of the madi7 jal is the Jiatlet, which was sung chiefly to "fal-la," as an accompaniment to dancing. Instrumental accompaniment is out of place in this class of music. The Glee is a musical form of English birth. It is meant for single voices, and therefore gives each an opportunity of display, and develops every nicety of time and tune. It is commonly extended, like the anthem, into several distinct movements, one reliev- ing, by its variety of style, the general effect of the others. See "Swiftly " p. 29, " Come let us all" p. 24, "The Spring " p. 50, "Awake" p. 62. "The Stout limb'd oak " p. 77, and " Ye spotted snakes " p. 81. These glees will boar a number of voices on each part, though great care should be taken to secure unity and delicacy. But many glees con- tain too minute divisions of time for this. Instru- mental accompaniment was never intended for such glees and would defeat their object in displaying the Toices. But accompanied glees have been written by Sir Henry Bishop and others, in which the in- struments play special parts and produce special effects. The Part Song differs from the glee as th Hymn tone differs from the Anthem. The Part Song and Hymn-Tune repeat the same music to several verses, which the Glee and Anthem never do. The Part Song is claimed as of German birth. It is intended to bear many voices on each part. It differs from the madrigal in not admitting so much of the fugal style, in depending more upon modern St. Co. fNew.) choral effects, and in permitting the upper JKU-I generally to predominate. Specimens of th< man part songs are to be found on pp. 1. : . 13, 14, etc. The Part Song as naturally England, is to be seen in " Sunshine after rain ' ' p. 44, and " Harvest Home " p. 39. The greatest refinement of this style is to be found in the com- Switions of Mendelssohn (pp. 71 and 79) and enry Smart (pp. 45 and 88). The Hmmom:,,! Air is practically a part song, but from the nature of its origin a greater comparative interest attachep to the melody. See the examples on p. 12 and pp. 57 and 65. rhe plainer part songs, like those first named, would bear accompaniment, but are better without it; suchpart-son^.sas those of Mendelssohn and Smart with their fine development of voice and expression, would be injured by it. Oratorio Choruses are meant to be sung by lun/e - of voice, and to receive full band accompa- niment, though the harmonies are generally com- plete without it. See " Hallelujah " p. 26, "How lovely " p. 58, and " Theme Sublime " p. 66. Operatic Chortles are generally of a light style requiring accompaniment, but not a great mass of voices. See examples in the Tonic Sol-la Reporter, "Market Chorus," No. 487 and"Carnovale," No. 142. A Canon is a fugal imitation in which the music of the leading part is imitated through its whole length in the other parts. A fine example is "Thou shalt shew me" p, 7. It has four voices engaged on two subjects and is called a Canon " four in two." The leading subject is announced by the so- prano, and continued to the first note of the second score of p. 8, after which it is repeated as far as its first cadence. This leading subject is again taken up by the tenor, but not till after six measures, and is carried on to the end, the tenor having time only just to commence its repetition. Meanwhile the counter subject has been announced by the contralto in the third measure. This is carried on to the end of the first measure of the second score, p. 8, the contralto having time to repeat nearly half of it. This counter subject is imitated by the bass, also after six measures. The bass has no time for repe tition. The Counter Subject in this case closely resembles the leading subject itself, and may be called a "fugal imitation " of it. A A'owW is a canon with one subject, and in one " part 1 ' which is taken up successively by the different voices. SIXTH STEP 147 A. Fu//ue does not' require its subjects to be imi- tated exactly as in a Canon, or through their whole length. But it is a more lengthened piece and is moiv varied in the treatment of its subjects. It allows the parts which are not engaged upon the subject to sing beautiful phrases, as Accompani- ments, which should be delivered in a subdued manner. It also permits short interludes or dis- tinct Episodes, and various kinds of Closes, in which the Subject does not necessarily play any part. The ssent.iah of a Fugue are that there shall be a Subject and a Response, carried through the various parts of which the music consists, and that this Subject shall be the main point of interest in the whole movement. Some make a counter sub- ject essential to the Fugue. Others say that there is no Fugue without a Stretto(see p. 105), and others again require for their true Fugue an Organ-point or Pedal. But the strict definitions are practically in- convenient. It is difficult to exclude from the ca- tegory of Fugrues any piece or movement the whole frame work of which is evidently built on some one Subject and Ilespon.se. According however to our own definition, " Hallelujah, Amen," p. 26 is not a Fugue ; for though it has a Subject in the first two measures which is simply repeated in the next two, and has a proper Response starting from a fifth above in the Soprano, and although the same subject is again announced in the Bass of sc. 4, and has again a Response a fifth above in the Tenor, and once more re-appears at the bottom of p. 27, yet the Subject is not carried through the parts in turn, and it is not made the principal point of interest in the greater part of the Chorus. Such pieces may be called Fugal passages or movements, but not Fugues. Two smaller passages of the same kind are in " Bon Accord" p. 11, and "Hear me" p. 19. The Subject is a Phrase (seldom extending to a Section) of melody, which is imitated (more or less perfectly) in its rhythm or melodial waving or both in the after parts of the Fugue. It is of such 2haracter as can be easily recognised by the ear when it re-appears in different parts and in different keys. In the more complete Fugues it is imitated by the several parts successively, and that several times over in different ways. Each time of its being " carried through " the parts is called a new " Unfolding " of the Subject. St. Co. The Response or Answer is an exact or nearly exact Imitation of the Subject. It generally com- mences, the first time it is made, on the fifth above or the fourth below, or in the octave. Afterwards it may commence on the same tone as the Subject or on the 1st, 2nd, 3rd, &c., either above or below. It may be by contrary or similar motion. It may be in equal length of tones, or expanded or contracted. It may also be with contrary accents (per arsin vt thesin], the Subject and Response beginning one on the weak and the other on the strong pulse. The Counter Subject is really an Accompaniment to the Subject or to the Response or to both. There is often however no distinct Counter-subject, but the Accompaniment varies. On the other hand there are sometimes several Counter-subjects in different parts. A good illustration of the Counter- subject is in the first movement of " Theme sub- lime," p. 66. The Subject (of three and a half measures) is announced in the Contralto, with a Counter-subject in the Soprano. The Response is immediately given an octave below by the Bass, with the same Counter-subject above it in the Tenor, Next the Subject appears in the Soprano, sc. 2, with the Counter-subject below it in the Contralto. The two are inverted. Then comes the Subject in the Bass again altered in its first interval, with the Counter-subject in the Tenor. And lastly the al- tered Subject comes in the Soprano again with the Counter-subject under it in the Contralto. This is not quite a perfect " carrying " of the Subject " through" all the parts, and several other elements of Fugue are wanting ; but as, with the exception of a little play of the Accompaniment and a ca- dence, there is nothing else in the movement but Subject, Counter-subject and Response, we prefer to call this a Fugue. The Stretto. The Response generally commences the first time it is made, after the Subject is completed, but it often commences with the last pulse of the Subject and sometimes earlier. In the latter parts of a Fugue it greatly adds to the excitement and beauty of the music when the Response appears in one part before the Subject has come to a close in the other. This drawing closer of the answer to the beginning of the Subject is called Stretto. Sometimes there is more than one Streuto, the Res- ponse coming each time closer to the beginning of the Subject. 148 SIXTH STEP. Organ Point or Pedal, Complete Fugues, after i 'luploying a vast variety of contrivances for shewing >tf in various lights their Subjects and Counter-sub- jects, often conclude with a long holding tone, com- monly in the Bass, called an Organ Point, which Hoods with its grand sound the last parting phrases of their various themes. There is such an Organ Point in the close of "How lovely " p. 61, but it is placed in the instrumental part. JVb Complete Fugue is to be found in Additional Mxercisee, but there arc interesting illustrations of t he less regular forms which should be carefully -tudied, each student being able to answer ques- iions upon them. In the second movement of ' Theme Sublime " p. G7, the Subject is " carried through " all the parts twice, first in the order, I lass, Tenor, Soprano, Contralto ; then in the order, Soprano, Bass, Tenor, Contralto. It then occurs again, p. 68, sc. 1, m. 6, in the Bass and is answered in the Soprano. In the third movement p. GO, sc-. 1, m. 7, a Sub- ject (of six and a half me asures) is announced in the Contralto. The Response comes (with a Strctto of one pulse) in the Soprano sc. 3. It is taken up again (with a Stretto of one pulse) in the Tenor, sc. 4, but here the close is altered to accommodate 1 he Bass which wishes to enter at the fifth instead of the seventh measure. After being thus " carried through " once, the subject re-appears slightly al- tered in the Soprano at the end of sc. 5, with the same Stretto which the Bass secured. Then fol- lows a digression or episode of sixteen measures, containing the first four tones of Subject and Res- ponse fugally treated in Tenor, Contralto and So- prano. At the bottom of p. 70, the contracted .Subject re-appears in the Contralto, and is again " carried through " the Bass, Soprano and Tenor, but with ever shortening proportions, the close of its melody being broken off to mako way for the cadence In " How lovely " p. 58, a Subject of eight mea- sures commences in the Contralto, and after a full measure' s interval the Bass takes up the Response an octave below. After a measure of interlude there enters p. 58, last score, an Episode of ten measures containing imitative passages, and passing into the lirst sharp key. Then p. 59, end of sc. 2, the Sub- ject re-appears in the Tenor, but only the first half of it. Before this is concluded the Soprano takes up the Subject for the same length, but omitting the middle part gives only the first and last portions. With a very close Stretto (after only one measure) the Tenor again introduces the Subject in the saino way as the Soprano. At the bottom of p. 59, is r. brief interlude. On p. 60 a new Subject is introdu- ced in the Soprano with a Counter-subject in the Tenor ; to which there is immediately a response in the Contralto with the same Counter-subject in the Bass. Then follows an Episode of fourteen measures containing phrases imitating those of the previous Episode. Once more softly and alone t>. 61, sc. 2, about three quarters of the original Sub- ject is delivered by the Contralto, but before it is finished the Soprano takes up its closing 'phrases, and the Tenor re-echoes them. A short cadence concludes the piece. In singing music of this land it would be well for the Singer to mark in his own part, all those passages or phrases which contain the Subject, the Response, or the Counter-subject, and to sing them with clearness and vigour ; singing everything else except the Episodes in a very soft and subdued manner.* Recitntii-e is a sort of artificial declamation, in which the singer endeavours to imitate the inflec- tions, accents, and emphasis of natural speech. It differs from the recitation of a chant, chiefly in changing its key frequently, more frequently indeed than is common even in the wildest and most im- passioned speech that is unconnected with music. Instruments (one or more) are employed to an- nounce, and sometimes sustain the chords of each new key. The length of the notes in a Recitative are intended by the composer only as approxima- tions. The singer delivers them absolutely accord- ing to his own fancy. He makes them long or short, quiet or impassioned, just as he thinks best. He must avoid the regular rhythm of an air. Ho must simply express with energy and propriety, what- ever passion there is in the words. Recitatives serve to connect the different parts of an Opera, an Oratorio or a Cantata, by the narration of events or the suggestion of sentiments which carry on the story. An Opera is a play in which the actors sing in- stead of speaking their parts, and which is accom- panied throughout by a band. While developing some exciting story, it gives opportunity for the introduction of a great variety of musical forms. It might be supposed that this union of four arts, poetry, music, painting, and acting, to excite lively St. Co. (New). * See other examples of Fugue analysed in " Musical Theory," Book m, pp. 223 & 22ft Ex. 299. SIXTH STEP. 149 interest and illusion, would elevate all the arts thus employed. But it is not so, because the human mind cannot appreciate the highest excellence in a number of arts at the same time, and the arts of acting and singing sadly interfere with one another. Hence, neither the best poetry, the best painting, the best acting, nor (except in solo singing) the best music are to be found in the Opera. For the best music wo must look to The Oratorio. This is a sacred opera, without scenery or acting, in which music enjoys its full and undisputed sovereignty. It develops some sacred story by means of recitatives, songs, duets, trios, quartets, and single and double choruses. Choruses are more used, and solo voices, less than in the Opera. The attempt to bring an ordinary Opera into this pure sphere of music "by singing it without the action and the scenery, only tends to shew how much exciting Operas are dependent on sensuous effects for their popularity. The Cantata. This, if a sacred one, is a short Oratorio, if on a secular theme a short Opera, commonly without scenery or action. Music for equal voices. In England and in the United States most part singing is done by Mixed Voices that is, by Male and Female voices together. This is best, both socially aud musically; but it cannot always be attained. It is therefore desir- able that women in their work-shops and men in theirs should have music specially harmonized for them. Our Tonic Sol-fa composers are rapidly using their skill to supply this want. Mr. Callaway has done our young men great service ; and his investigations and historical enquiries on the sub- ject have contributed much to the value of this work. Choral Contrivances. As we have often had oc- casion to notice that some even of the great com- posers are quite cruel in their demands on the vocal compass, it is equally fair for a Chorus-leader to bor- row a few voices from one part to assist another for a phrase or two. Thus the Tenors may aid the Contraltos when their part lies too low, and the Contraltos may assist the Tenors when their part is too high, and so on. The Resonances. If one takes a wide organ pipe or a wide brass instrument, which is of the same length as a narrow one, the pitch of the two will be the same, but that quality which arises from the resonance of air in the tube will be different. The wide resonator will give a pure but somewhat dull St. Co. (New.) and sombre tone. The narrow resonator will give a more marked and clear sound. So does the shape of the human mouth, in singing, affect the cha- racter of the sound. A full distended mouth givr* the Sombre Eesonance, fit for wailing awe and la- mentation. A narrowed mouth gives the Clear Resonance, well suited to aid the expression of joy and exultation. A medium shape given to tho mouth adapts it for quiet peaceful songs. Sing tlio following phrase, 1st to the words, "Hark, the voice of Rachel weeping," 2nd to " See the con- quering hero coming," 3rd to " Sweet and peaceful is our meeting." |d :s |f :r j r :f | n :d || It is important to cultivate the medium resonanco as a habit, from which to vary as the sentiment requires. Some persons always use the sombre resonance, and utter every sentiment with the same dull face and tone. Ex. 299. Say, with which Resonance each of the following songs should be sung, and give your reasons for the decision, "Night around" p. 22, " Angel of hope" p. 48, and " Home" p. 74. Breathing Places. In addition to the sugges- tions already made for the choice of breathing places, pp. 16 and 30, it should be noticed that the little step of the scale f m, t d 1 , fe s, de r, ta 1, etc., is always most effectively delivered when the first tone glides into the second; we should therefore never take breath between two such tones. For a similar reason we should not take breath between a dissonating tone and its resolution. It is absolutely necessary to take breath before a crescendo or swell passage, or before any long holding-tone, or before a passage of quick tones "a division," as it is called. Care must be taken always to do this rapidly and easily, so as to interfere as little as possible with the preceding rules. " The mouth," says Dr. Mason, " should retain the position it had while performing the previous note, and by no means form itself into the shape necessary for the following note ; neither must the mouth be, at all, closed while taking breath." There should bo no sobbing or catching noise in the inhalation. " Emission of breath," says Sabilla Novello, in her " Voice and Vocal Art," "should be made as tardily as possible, and the student will do well to consider breath more as a propellant power which sends forth sound by remaining behind it, than as the sound itself The chest and the muscles below it should be TtfffAptmuMtntly 150 SIXTH STEP. expanded. Fresh supplies of air will thus be more rfttdily admitted, afld subsequently remain longer than if the walls of the chest are suffered to collapse." Portamento, or the carrying of the voice from one tone to another, is made by a rapid and con- nected glide, or more properly by a slur, see p. 96- The voice passes through all the tones of the inter- val, but with * relaxation, in the emission of breath. This, in solo singing, and after a long and careful practice, may be made a very beautiful ornament; but the lazy imitations of it common among chorus singers, are discordant and disagree- able to all except the self-satisfied singer. It will be useful, howeVer, to the chorus singer in cases in which the musical phrasing differs from the verbal. By a careful Portamento the musical connection may be retained while the verbal distinction is made. There can however be no breathing place in a Portamento. Voice Training. It is only to a small extent that voice training can be carried out in class, but the experience gained in a well trained class will encourage many pupils to seek additional Sntctise under the watchful ears of a master. The itnculty of voice exercises in a mixed class arises from this, that each of the Seven "Parts" (See p. 106) requires to cultivate a different compass, and that voices singing the same exercises, an octave apart, must usi> diffVr^nt registers at the same time. It would therefore be nec"8sarv, (if breaks and registers are to be watched) to divide the class into Seven or at least Four parts, and the rest of the parts would have to sing "a second" toftly while the teacher was attending to the one which performed the exercise. Only where the pupils themselves are intelligent and observant itudents of their own voices can voice-training in class be profitable. In ignorant and careless hands it may destroy voices by forcing them up into un- natural registers. No teacher should attempt to carry pupils far in these studies who has not patiently examined and reported on every voice in the manner described at the last step. It is well for the student to know at once that the secret of success will not be in the partie ilar form of his exercises, or in the multitude of them, or in their being written by this man or the other. but in their being frequently used and perfectly worked through. G ustave Nauenburg, in his " Daily Sing- Rtudies for all Voices,' says " The celebrated ginger, Farinelli, was already reaping the first fruits of his fame, when he visited the singing master Pistocchi, to ask his unfettered judgement on his past per- formances. Pistocchi said, 'Nature has lent you all the qualities of an artist in song; with properly conducted Voice-forming Studies you would become a truly great singer.' This was not the answer Farinelli had expected ; but inspired with a wish to attain the highest point in his art, he begged that he might pursue his studies with the worthy master. Pistocchi accepted the anxious scholar. The studies which Farinelli daily practised with persevering zeal, were all written on a si>i/ile sheet. In a year's time the master dismissed his pupil with the character of an accomplished singer. 'What can the exercises on that sheet have been?' has often been asked." This question Herr Nauen- burg answers by saying that doubtless they were such as would daily, 1st, Tune the voice to the different chords. 2nd, Strengthen it (securing equal strength for all its tones), and 3rd, Give it Flexibi- lity. To these objects of Voice Training M. Seiler has taught us how to add Quality. Herr Nauen- burg published on a simile sheet a few simple and easily remembered exercises with these ends in view, and the exercises of this work, seeking strength and flexibility, are chiefly copied from his. Manner of using voice exercises in class. The exercises used thus far have not had a range above Fj{ for males and ono-FjJl for females ; so that none of them except tli> Rejrinter themselves have passed over any difficult points of breakage in the registers. But the pupil has now learnt how to study his own voice more minutely, and wishes to cultivate it to the fullest extent. He will see (p. 106) that the range of tones to be cultivated and the registers and breaks to be studied differ with each kind of voice, and for each new key In will have to "Sol-fa his breaks" (p. 110) afresh. If the pupil stands in front of a large Voice Mod- ulator,* ho cannot miss teeinrj, while he sings, the Register he is in and his place of break ; but it may be useful to state distinctly what are the keys through which each of the following exercises should be worked by each different sort of voice, and what are the Sol-fa notes just below each break in each key. Although the use of a Voice Modulator render* all this unnecestary, it will serve to show what minute care is required even whon we make the imperfect division of voices into only four " parts." Notice that the lower voices in each St. Co. fNtu.J Voice Modulator," price Is. Ex. 300. SIXTH STEP 151 part will have to be excused the highest tones, and the higher voices must not be forced to the lowest tones. It may also be noticed that each of these exercises can be made into " flying exercises," passing upwards or downwards through all the parts. For an upward flight, it is started low in the Bass, caught up by the Tenors the instant the Basses have finished, takings for d, and sung in the new key, caught up again by the Contraltos in the new dominant, and once again, in the same way, flung to the top of the scale by the Sopranos. For a downward flight the exercise will be started by the Sopranos, and caught up by each lower part in the 6'wAdominant key. EXERCISES WITH RANGE OF A TENTH (Ex. 301 to 303), have to be thus worked. Basses. Keys from F-two (F 2 ) to C-one (C ( ). In F2 f ' is the tone below the break ; in G 2 r' ; in A 2 dl ; in B 2 1 ; in C, 1. Tenors. Keys from C-one (C|) to G-one (G t ). In C| 1 ; in D| s ; in E| f and r' are tones below breaks ; in F| f and d' ; in G ( r and t. Contraltos. Keys from E-one (E ( ) to B[?-one (B^i). In Ej s and r' ; in F| s and d 1 ; in G| f and t ; in A| r and 1 ; in B|?| r, s and r'. Sopranos. Keys from B ( to Fj. In B ( d, s and r' ; in C d, f and dl ; in D m, t and m 1 ; in E r, 1 and r' ; in F d, s and d 1 ; in FJ d, s and d'. EXERCISES WITH RANGE OF AN OCTAVE (Ex. 304 to 307), may be worked each in two higher keys, as well as those given above. Basses. Keys from F 2 to E|. In D| s ; in E ( f. Tenors. Keys from C ( to B ( . In A ( d and 1 ; in B, s. Contraltos. Keys from E ( to D. In C d, f and d' ; in D m and t. Sopranos. Keys from B f to B|?. In G f and t ; in A m and 1 ; in B[? r and s. EXERCISES WITH DOWNWARD RANGE may be worked thus : Basses. Ex. 308. Range a tenth. Keys C down to Ab| ; Ex. 309 down to F, ; and Ex. 310 from C down to D|?|. No break. Tenors. Ex.308. Range & tenth. Keys G down to Efc> ; Ex. 309 down to B, ; no break ; and Ex. 310 from G down to A^,. In D m'. Contraltos. Ex.308. Range a tenth. Keys BJ> down to G. In B|? s, and r, ; in A 1 ( and r, ; in G t, and f, ; Ex. 309, down to E|>. In F d and s, ; in Eb 1 ; Ex. 310, from Bj? down to C. In F s, ; in E fj ; in D m, s,. Soprano*. Ex. 308. Range a tet.k. Keys G down to E. In G t|, f ( ; in F d and S| ; in E s ( ; Ex. 309, down to C. In D 1 ; in C d ; and Ex. 310, from F 1 down to G. In F d', s ; in D m', m ; in C d', f ; in B s ; in A ml ; in G f,. Agility of Voice. Ease and flexibility of the voice are commonly regarded as natural gifts, but Madame Seiler has shown that they are really dependent on the formation of certain habits in the action of the vocal organs. In all groups of tones rapidly succeeding each other, the vocal membranes have to be set vibrating in short, quick impulses, and after each impulse there is a natural recoil like that of a gun after the discharge. The breath retreating expands the windpipe, and thereby draws down the larynx. These momentary motions can plainly be seen outside the throat, so that the voice-trainer can watch and see whether his pupil is forming the habit on which is built agility of voice. This will suggest the reason why it is important that all exercises in agility should at first be practised slowly and piano except in the case of the Italians generally, and of individuals in other nations, to whom the proper movements of the larynx have already grown into a habit, and seem to be natural and instinctive. Madame Seiler recommends the employment of simple exercises, using at first koo. See p. 14 and 33. Let each of the following exercises, therefore, be first sung to the syllable koo without slurs, softly and slowly, second more rapidly and more loudly, tlurd more so still, fourth to the open and more beauti- ful vowel aa, on the word skaa-laa, with slurs and expression as marked : Ex. 300. KEYS B(7, up to F. M. 60 to 132. :d,r,m Skaa :d \ ( { :m,f ,s |f ,s ,1 :s,l ,t l.t.d'it.d'.r'jd' t, :d laa. Id St. Co. (New.) m'.r'.d' Skaa r',d' 4 t : s ,f ,m :f ,n,r jd laa. m :t. id SIXTH STEP. Ex. 301. KE.YS B up to E. M. GO to 132. tres - een - do. :d,t t d Skaa laa. :d t, :d |r :m f :s |d , M , r 4 d t r :m t r ,m |f ,n,f :s,r ( a t, :d |r :m dimin - tteii - do. ~= =:>:=>:>> t.d'.t :l,t,l |s,l,s:f,s,f Skaa 1 s :f i,r |d laa. |d Ex. 302. KEYS B up to E. M. 60 to 1GO. ) cres cen - do. d .n :r .d |r .f :n .r Skaa PI.S :f .n |f .1 :s .f s.t:l.s |l.d':t. t.r'rd'.tld 1 : laa. f d'.n'rr'.d' |t .r 1 :d'.t Skaa I :- is :- di - min 1 .d':t .1 is .t :l.s f .1 :s .f |n .s :f .n do. r .f :n .r |d : laa. t, :- Id :- Ex. 303. KEYS B up to E. M. 60 to 160. :d .n Skaa Id r".f frT.s |f .1 :T.t :d |r :n .d':t .r 1 laa. f :s |d n'.d 1 Skaa r'.t:d'.l It .s :l.f t : s .n :f .r |d laa. n :r |d Ex. 304. KEYS B up to F. M. 80 to 160. d :r,d,t, :d Skaa r rn.r.deir n if.n.rein f :s,f,n :f s : 1 .s .f e : s t :d',t 4 le:t la, d 1 :r' t d' t t : Skaa t td'.t.leit :t t l,se:l s :l,s,fe:s f :s,f 4 n:f n rf.nj-etn T :n,r t de:r SIXTH STEP. 153 Strength, of Voice. The following three exercises are extremely difficult to perform well. They are intended to strengthen the volume of pure vocal klang to increase the retaining power of the chest in holding a steady breath for about thirty seconds and to cultivate the faculty of passing from Forte to Piano and vice versa without losing pitch. The Teacher will test the pitch of ach exercise as it concludes. The pupil will bear in mind the remark on p. 33 that strength is obtained by some- what forceful exercise, and by the careful use of the crescendo passage and the explosive tone, but always be it remembered, with as little breath as possible. Ex. 305. KEYS Bb up to A. M. 60 to 132. :d -- - r :n |f .s 1 . t d 1 |t .1 :s,f.n,r j ji j d :d ! |d Skaa ... . . . . laa. :d t, :d If n : |r : d :- 1- ( :d< t .1 :s,f.n,r|d r : n |f .s > > /rv :1 .t d 1 :d (d 1 j Skaa . . . . . laa. (:d ~~ '. ~~~ t, : d If : n : | Ex. 306. KEYS Bb up to A. M. 40. ~^ d :- i i n :- IS : f : |- t : |1 : \ Skaa . . . _ m _ . rl i , . g U . i . s :f ( ri.r |d : d :- 1 I f :- H . laa. Skaa . _ _ . _ - id :- f :- 1 i : 1 : fa :- |- :-" ) (l f : I? : r . d.t,.l,l S| : s , ._ { _ ._ M . - - laa. Skaa . . . i : 1- :- li 1 s, :- [- :- t, :- - |r : r ... : h : |r d :t|.l||s,d : K - - - . . . . laa. - 1 : ~ . _ IB.A - St. Co. (New.) 154 SIXTH STEP. Ex. 307. KEY Bb to A. M. 72, 60 & 50. Id' :- t :1 is :f n :r |d : : Id :- r :n |f Skaa . laa, Skaa . ( Id :- - :- - :- Id :- - : Id :- : i < .^ P / P / 1 :t jd : d 1 : : t : : t : 1 laa, Skaa LAA, Skaa . LAA, - :- |d :- n : ~ ~ ~^ r ^ ^~~ . ~~~ r : : f P f P / i : 1 :- 1 :- s :- |- .- s : | f Skaa . LAA, Skaa LAA, - :- f :- 1 :- n : |- :- n : 1- : r P f P / f :- 1 :- n :- |- :- n 1- r Ska,i . LAA, Skaa LAA, : T :- 1 : " d :- |- :- d : | : t, P f P f r - r : Skaa !" : ." LAA, d :- |- Skaa - : r LAA. 1- - ti :- 1 :- d :- |- :- d : | : t, f> f P / n- - r : 1 '" n :- |- :- n i f 1 Skaa - LAA, Skaa LAA, ( ~~ : ~ t, :- 1 :- d :- |- :- d : 1- : 1 P f P / i 1- :- f : 1 s : I : s : 1- 1 Skaa . LAA, Skaa LAA, jl- :~ r : 1 : n : I : n : i- : f P f P f /I- :- 1 : 1 : t :- |- :- t : i- - : d 1 Skaa . LAA, Skaa LAA. f 1 : t :- 1 : r : | : T : 1 : n 1 ' St. Co. (New.) SIXTH STEP. Downward Cultivation of Voice. Nearly all the exercises in voice training books are adapted for the extension of the voice upward but the lower tones equally require cultivation with regard to strength, if not to flexibility. Mr. Proudman found the following exercise very useful in training Contraltos and Basses for the Paris Prize Choir. To it are added two exercises from other teachers. These exercises have added to them, here, an ac- companying upper part to be sung piano. Ex. 308. ores d 1 :- i- :- Skaa d 1 :t .1 |s .f :n .r cen - do. If :- 111 :- .t. dim. n :r J.P. d : laa. in : Ex. 309. d 1 : it :- d 1 :t .1 |s .f :n.r Ex. 310. n : | :f d :m |d :si |r : |d !:> := ,fi : I HI The Shake or Trill is an ornament much culti- vated by the solo singer. When performed with great evenness and accuracy it produces a very delightful effect upon the hearer. It consists in rapidly alternating the principal tone with the tone above it in the scale. When a shake is introduced in a close, it is usual to commence it by accenting the principal tone. Thus if the cadence is r. r | d the singer would strike r m r m r m &c., accenting the r, and ending thus : m r de r. When a Shake is introduced in the course of a song, for mere or- nament, it is usual to commence it by accenting the higher tone thus : m r m r m r &c., accenting the m and closing thus : m r de m r. Mdme. Seiler says that the most beautiful trill is formed by practising triplets, thus : m r m r m r, accenting first the higher and next the lower tone. She re- commends that the trill should be practised at first always piano, to the syllable koo on each tone, and afterwards with other syllables slurred. The mouth, she says, must continue immovably open and the tongue must lie perfectly still. The trill must be sung very slowly at first ; afterwards quicker and quicker. But it is no trill directly the two tones lose their distinctness. The Swell, that is the practice of a lengthened Crescendo and Diminuendo on each tone of the scale, was at one time much practised by voice trainers, but it has been found injurious to many voices. Garcia speaks of it as a last acquirement. Mdme. Seiler condemns it in the early steps and even St. Co. (New). Cruvelli has abandoned it in the first part of his course. It is exceedingly difficult to perform this exercise with perfect evenness, that is without giving a jagged shake to the tone ; and it is espe- cially difficult to make the diminuendo as good as the crescendo. It was common, in a swell on the optional tones, to allow the singer to change register, so as to get the middle part of the swell on the lower and stronger of the two registers; this also required much art. Those however who wish to attain that magic power a perfect control of the voice on every tone, in all its gradations of force, are commended to careful daily practice and a voice trainer. The Appoggiatura (appod-jyatoo-ra) is a grace note placed before a principal note, and occupying the place immediately above or below it. The long Appoggia- tura occupies half the time properly belonging to the note before which it is placed, which time it takes from that note. Thus Haydn writes, : m | f : : s | m : || . But by means of appoggiaturas he directs us to sing thus, :m | f : :l.s | f :m ||. In the Tonic Sol-fa Notation there is no sign for the long Appoggiatura, it being thought much better to write the notes in the time in which they are to be sung. The short Appoggiatura can scarcely be said to take any time from the lote before which it is placed. It only gives a kind of " fillip" to the accent. It is expressed in the Sol-fa Notation by a note like a bridge note of transition, distinguished from that however, by being in italic type, thus r d. 156 SIXTH STEP. The Turn. The direct Turn which is most com- mon, consists of a triplet of notes beginning with that above the principal tone. Thus I f : f | m : with a direct Turn on the second f would be sung 3 thus, | f isfm.f |m : j|. As the writing of this Turn would spread out the music too much it is better to employ the sign of the common nota- tion, thus /-v. The inverted Turn consists of a triplet of notes beginning below the principal note. Thus | d : d with an inverted Turn of the second 3 note would be J d :t,dr.d ||. The sign for this is . When either the first or last note of the triplet has to be sharpened, this will be expressed by writing, in small size, the altered note under or fe /^ over the ^. Thus re would be sung | femre.m ||. m Both these Turns when used in a cadence may some- times be allowed to delay the time, but not when they occur in the course of a piece. They should be delivered with subdued voice, but with great clearness. The direct turn gives spirit to the ex- pression, the inverted turn gives tenderness. " The natural voice," says Nauenburg, " is merely the raw material, which has to be elaborated into an instrument of art. Even in the most favourable organization, if tho voice be unculti- vated, there will be found side by side with healthy *nd powerful tones, others that are sickly, feeble, xirill, in short, unavailable for the purposes of art, until they are trained and beautified. Indeed, the greatest irregularities come to light in voices in which the natural development of the organ has already been disturbed by unregulated singing and various physical influences. High tones, wrested from nature, will by-and-byc rob the lower tones of that clear ring of true voice which we call Klany, and of fulness. So long as the body, and with it the vocal organs, are yet growing, the voice will doubtless stand a good deal of mismanagement . but it is sure to collapse when the physical strength can no longer withstand unnatural treatment. The forced tones below as well as above, often lose their fulness and energy, nay, there occasionally happens quite a new break of tho voice. Such results plainly prove that those tones were forced, and not founded in the nature of the organ." Voice exercises should be repeated every year, and at the opening of every season of singing practice meetings. Every one should seek to have a culti- vated voice. The cultivated voice is known from another by its first sound. There is no mistaking the matter of his instrument. Finally, let us remember two things. First, that even music must bo enjoyed " soberly," and the more steadily and soberly it is pursued the more fresh will be our desire for its pleasures and the more keen the enjoyment they bring. And last, that all this vocal culture only puts into our hands a delicate but effective instrument. See, reader, that you use it nobly. Exercise yourself to win a humble, true, and joyous soul, and let your heart be heard singing in your voice. Use that voice for social recreation innocent and elevating. But use it most rejoicingly for " the service of song in the house of the Lord." If the singing at your place of worship does not satisfy you, try to improve it : but first of all show that you mean cheerfully to fulfil your own personal duty of vocal praise, who- ever leads the singing, whatever tunes are used, and howsoever the organ is played. The Tonic Sol-fa movement has been 'listin^uinhed from all other efforts to promote music among the people by it* System of Certificates for practice and theory. These certificates nave grown into common use and general accep- tance, partly through the good will of teachers and pupils towards the method and their desire to testify a grateful love a proud fealty to if, but chiefly because of their proved advantages. For the true pupil they find out (what he wants to know) bis weak placet, thcw him in what direction self-teaching specially demanded, and give him the rtmftdenee of knowing that he has really and satisfactorily reached a certain tige. When some unloving, unsocial THE CERTIFICATES. pupil boasts that "he could take the certificate if he would," the surest way to destroy his boast is to try him. For the true teacher (who knows how easy it is to obtain merely one-sided or merely collective results and how deceptive) they offer the only practica- ble means of guaging his real work. The ambition to obtain them also promotes such an amount of home work that fully four-folds (as has been as- certained) the usefulness of the class. All faithful teachers of our method "put honour" on the certificates, by definitely preparing the class, lesson by lesson, for each of the requirements, by making them necessary for admis- sion to their higher classes, and above all by inflexibly refusing to allow uncer- tificated singers pupils ungrateful to the method and careless of their own progress and their teacher's honour to take part in any public Demonstra- tion or Concert. This is commonly the strongest power with which the teacher can enforce self -drill at home. Woe to the teacher who, by weakly yielding, throws this power away. Our Certificates have been already accepted by other societies than our own as grounds of admission to Crystal Palace choirs, to Choral Societies, und to Precentorships. The more faithful we are to ourselves, in this matter, the more will our higher certificates grow in public acceptance and ivcfulness. sixni STKP QUESTIONS FOR WRITTEN AND ORAL EXAMINATION. DOCTRINE. 167 1. What is meant by transition of two removes .' In going to the second sharp key. what tones of the old key are blotted out. and what tones of the new key are introduced ? How does this move the key tone .' In going to the second flat key, what tones of the old key are blotted out and what of the new introduced ! How does this move the key tone ? p. 117. 2. What emotion does the second sharp remove express ? what the second flat ? For what purpose is a principal second remove chiefly used 1 How is a subordinate second remove commonly employed ? 3. What are the three points to be observed in helping pupils to master Transitions? What are the points which make some transitions easier than others ? What points make them more difficult ? 4. In transition of three flat removes what Modulation generally takes place 1 What Modulation usually accompanies three sharp removes? What physical changes may, or may not be made in a transition of three removes ? What is the common mental effect of three flat removes ? of three sharp removes ? 5. What are the general principles which should guide us in fixing the speed of movement and the degrees of Force in singing ? Which should be more studied the actual words or the mood of mind in which they are uttered ? Give an illustration. What is the ex- ercise, in connection with this subject, which is of chief value ? p. 130. 6 What kinds of passages should be sung loudly and quickly ? Mention four kinds with illustrations to each. 7. What kind of passages should be sung loudly and slowly ? 8. What kinds of passages should be sung softly and slowly? Mention five kinds with illustrations to each. 9. What kinds of passages should be sung softly and quickly .' Mention three kinds with illustrations to each. 10. What kind of passages should be sung with a gradual change from loud to soft? Give illustrations from memory. 11. What is the mental effect of a sudden change from loud to soft on single tones ? Give illustrations. 12. What kind of passages should be sung with a gradual change from goft to loud ? Give illustrations. St. Co. (New.) 13. What is the mental effect of a change from soft to loud on a single tone.' Give illustrations. 14. What kind of Phrasing is more important than the proper division and marking out of the parts of a melody ? What habit should the singer form in order to perceive quickly the proper phrasing of words ? When musical and poetical phrasing do not agree, which of the two should yield ? In Chorus singing, what is important in reference to phrasing ? p. 135. 15. How often should the use of the articulation exercises of this step be re- vived ? In what circumstances will a mastery of the consonants render sing- ing intelligible without much study of the vowels ? In what kind of singing is a study of the vowels absolutely necessary for clearness and beauty ? In what elements of speech do the local differences and vulgarisms chiefly shew themselves ? In what respects do the vowels commonly called short, in Eng- lish, differ from, the long vowels ? What is the new art of vowel utterance which the singer has to learn but which the speaker does not require ? p. 136. 16. If the cavities of the throat and mouth are held open steadily in any one fixed form while voice is produced, what element of speech will result? How many vowels are possible ? Name the six principal vowels going upward in the order of natural pitch ? 17. In what manner in speaking do we name the vowel sounds ? What vowel forms the centre of the vowel scale? In proceeding upwards what change takes place with the middle of the tongue ? In proceeding downwards how do the lips change their position ? For which vowels is the back of the tongue highest and for which vowels is the tongue altogether lowest ? Give the let- ter names (not the sounds) of the three principal descending vowels, of the two principal less sonorous ascending vowels, of the four ascending vowels that are commonly short in speech, of the three more obscure descending vowels. 18. Mention three words in which an occurs, without being so spelt. How is this sound formed ? Give the position of the lips, teeth and tongue. How is the deeper, thicker, ah formed? What defects in pronouncing this vowel are common in your neighbourhood ? 19. Mention three words in which an occurs without being so spelt. What is the position of the tongue and lips in forming this sound ? What difficulties are found in sustaining an 1 In wha pitch of what voice is there a tendenc> to change this vowel? What wrong pronunciation of this vowel are you familiar with ? p. 138. 20. Mention three words in which the sound oa occurs, without being so spelt. What are the positions of the tongue, lips and teeth in forming this vowel '.' What are the tendencies of this vowel in the lower pitches and in the higher pitches ? What faults in sounding this vowel are you practically acquainted with? 21. Mention three words in which on occurs, though not so spelt. What is the position of the tongue, lips and teeth in producing this vowel ? In which voice, and in what pitch of it has this vowel a tendency to change ? Name any defects in sounding oo with which you are familiar. 22. Mention three words in which the sound ai occurs, but not so spelt. What is the position of the lips, teeth and tongue for this vowel? la -which voice and at what pitch has it a tend- ency to change ? How is this vowel commonly mispronounced ? 23. Mention three words [in which the sound ee occurs, though not so spelt. What is the position of the tongue and teeth in producing ee ? In which voice and at what part of its pitch is this vowel likely to alter ? 24. Mention three words in which the sound u occurs, though not so spelt. What is the position of tongue, lips and teeth in holding this vowel ? In what voice and at what part of its pitch is this vowel most likely to change? What defective pronunciation of it do you know ? p. 139. 25. Mention two words in which the sound a occurs, though not so spelt. What is the position of the tongue, teeth and lips for this vowel ? What is the natural change of a at high pitches ? What defective pronuncia- tions of this vowel are you personally acquainted with ? 26. Mention three words in which the sound e occurs, though not so spelt. What is the difference between the po- sitions of the organs in ai and in e? What is e likely to change into at high 158 SIXTH STEP. pitches ? What defects do you notice in the pronunciation of this vowel ? 27. Mention three words in which the sound i occurs, in one of them at least the i being differently spelt. What is the difference of the position of the organs for ee and for i ? What faults do you know of in the pronunciation of this vowel ? 28. Mention three words in which the sound uo occurs, though not so spelt. What is the difference in the position of the organs for oo and for uo ? What wrong pronunciation of this vowel are you acquainted with ? p. 141. 29. Mention three words in which the sound o occurs. What is the differ- ence between the position of the organs for au and o t What three other cases are there in which vowel positions differ in the same way, though otherwise alike T Have you noticed any mispro- nunciation of o T 90. How is the pronounced before a vowel ? how before a consonant ? How is my pronounced ? 31. What are the four principal diphthongs in the English Language T What vowel is treated along with the diphthongs, and why t What is the difference between two vowels put close together and a diphthong ? Give an illustration. What is the difference between a diphthong and a digraph T Of the three elements of a diphthong, which is neither the longest nor the shortest T Of the two vowel elements, which generally has the accent ? p. 142. :12. Mention three words in which tin- diphthong et occurs, though not so spelt. On which vowel element does the stress fall, and what sound should be given to that element in singing? How should the glide be treated ? 33. Mention three words in which the sound oi occurs, though not so spelt. What is the proper first vowel element and which of the two should In- prolonged ? What error in prononnc- iii'r this diphthong have you noticed t .".4. Mention three words in which the sound OH occurs, though not so spelt. What is the second vowel ele- ment, and which of the two should be prolonged in singing and with what sound f 35. Mention three words in which the sound eu occurs, though not so spelt. What is the second element, what is the first 1 Which has to be prolonged in singing ? What error has to be avoided in pronouncing t and d before eu \ 36. What other diphthongs can you describe? 37. Mention three words in which the sound ao occurs, though not so St. Co. spelt. What is the difference in the position of the organs for oa and for ao ? How may the pronunciation of this vowel be easily attained ? 38. What are the musical properties proper to a Response ? p. 144. 3i. What are the essentials of a Chant ? Describe the form of an An- glican Chant. What are two of the common faults in the construction of an Anglican Chant ? 40. How did the modern hymn tune originate ? What are some of the defects of structure which often unfit ;it for the voice of a Congregation ? 41. How does the speed of a hymn tone affect its harmonic character ? 42. How does the speed of a tune affect the rhythmical impression it pro- duces, and what sort of speed demands the closer attention to rhythmical pro- portion and balance ? p. 145. 43. What sort of tunes are best adapted to the bold and spirited hymns, and how do tunes of this character change their mental effect when sung slowly ? What kind of tune is best adapted to hymns of cheerful emotion, and how do such tunes alter their mental effect when sung slowly ? 44. What is the sort of tune which best suits hymns of didactic and varied character t 46. How can a precentor best remind a Congregation of & change of senti- ment in the hymn, and secure the proper expression ? 46. How do Anthems essentially differ from Hymn tunes in their aim and in their musical character '. When Anthems are meant for congregational use, what musical difficulties should be avoided? Explain the words Decani, Cantoris, Full, Verse. 47. What are the musical character- istics of a Madrigal ? What kind of sentiment often characterises a Mad- rigal ? What is a Ballet ? 48. For what peculiarities of vocal arrangement was the English Glee specially adapted ? What sort of Glees will bear a number of voices on each part? 49. How does the Part-Song differ from the Glee, and how does it differ from the Madrigal? How does the Harmonized Air differ from the Part- Song? p. 146. 50. Whence arises the importance of music for equal voices .' p. 149. 51. For what vocal arrangement are Oratorio Choruses specially adapted ? 62. What is the style of Operatic Choruses ? p. 146. 68. What is a Canon* and what is meant by " a Canon four in two " ! 54. How does a Fugue differ from a Canon T p. 147. 55. What are the essentials of a Fugue, and what other musical contri- vances are necessary to a fully developed Fugue ? What sort of pieces may be called Fugal Passages or movements rather than Fugues .' 56. What is a Subject in Fugue, and what is meant by its various exposi- tions? 57. What is a Response in Fugue ? Where does it commence the first time it occurs, and what are some of the various ways in which it is treated ? 58. What is the Counter-subject in Fugue I What other forms often take the place of one distinct Counter- subject ? 59. What is Stretto, and what is its emotional effect ? 60. What is an Organ-point, and what is its effect ? 61. How does a Recitative differ from the good recitation of a Chant ? How should Recitative be sung and what is the chief use of it ? p. 148. 62. What is an Opera, and why does a combination of arts fail to produce the highest developement in any one of them? 63. What is an Oratorio, and how does it differ from the Opera ! 64. What is a Cantata ? 65. What choral contrivances are allowable when Composers write"parts" which are beyond the fair limits of a chorus voice ? p. 149. 66. In what respect does a wide mu- sical pipe differ in its effect from a narrow one ? What kind of Resonance or Timbre is produced by a full distended month, what by a narrow mouth, what by a mouth of medium shape and size ? 67. In what places of melody ought we not to take breath, and in what places are we obliged to do so ? 68. How is the Portamento made ? In what cases should it be used in Solo singing and in Chorus singing ? 69. Whence arises the difficulty of carrying out voice exercises in a mixed class? In what cases only can voice training in a class be profitable? In what cases is it likely to be injurious ? What is the secret of success in voice exercises ? What, according to Nauen- trarg, are the three objects of voice training ? What other object should be kept in view ? 70. What is the use at the large Voice Modulator? p. 150. 71. How is flexibility of voice secured ? 72. By what kind of practice is strength of voice maintained ? 73. "What is the special use of down- ward voice cultivation exercises ? SIXTH STEP. 159 74. In what does the Shake or Trill eonsist ? In what case does the singer usually accent the principal tone, and how does he close ? in what case the upper tone, and how does he then close? How does Madame Seiler recommend that the Trill should be practised ? 75. What is a Swell ? Why has it been abandoned in the early steps ? 76. What Is the long Appoggiatura, and how is it expressed in the Sol-fa notation t What is the short Appog- giatura, and how is it expressed in the Sol-fa notation ? p. 155. 77 . What is the direct Turn and how is it written? What is the inverted Turn and how is it written ? 78. What irregularities are com- monly found in the natural uncultivated voice ? What injury is produced by high tones wrested from nature ? 79. What two things must we con- stantly bear in mind if we would gather the highest possible enjoyment from music? 80. Sing your part in Exs. 243 to 248, whichever the Examiner chooses. 81. Ditto Exs. 249 to 255. 82. Work Exs. 256 to 259, whichever the Examiner selects. 83. Work Exs. 260, 261, whichever the Examiner selects. 84. Work Exs. 262 to 271, whichever the Examiner selects. 85. Work Exs. 272, 273, whichever the Examiner selects. 86. Sing any one of the Exs. 274 to 280 which the Examiner may select. 87. Sing any of the Exs. 281 to 291, which the Examiner may select. 88. Sing Ex. 292. S9. Sing any of the Exs. 293 to 298 \vliich the Examiner may select. 90. Sing (if your voice is bass) to the correct vowel " passing by " Add. Ex. p. 79, so. 3, m. 4, second bass, "go" Add. Ex. p. 33, sc. 2, last note, bass, "amain," Add. Ex. p. 64, sc. 1, "be" Add. Ex. p. 71, 1st pulse, " love" Add. Ex. p. 61, sc. 3, m. 3. 91. Sing (if your voice is soprano) to the correct vowel, " la " Add. Ex. p. 8, sc. 5, m. 3, 1st note," storm " Add. Ex. p. 95, sc. 2, m. 3," roar " Add. Ex. p. 64, sc. 4, m. 1, 2, 3, and 4, " troops " Add. Ex. p. 20, m. 4, "shadows" Add. Ex. p. 43, sc. 3, m. 6, "Amen" the last syllable St. Co.. Ex. 172. 92. Sing (whatever your voice) to the PRACTICE. correct vowel, " love loves " St. Co. , Ex. 145, "rills" Add. Ex. p. 62, sc. 4, m. 4," along " St Co., Ex. 175. 93. Sing, first using the vowel aa and then a, "last" Add. Ex. p. 39, sc. 3, m. 2, and " path " Add. Ex. p. 7, sc. 4, m. 4. Sing also first using u and then aa to the first syllable " away " Add. Ex. p. 53, sc. 2. 94. Find words in Add. Ex. p. 34 and 53 in which ai is sometimes sounded instead of a. 95. Find cases in St. Co. Ex. 144 in which ai is sometimes sounded for the article a. 96. Find words in St. Co Exs. 78 and 113 in which ei is sometimes sounded instead of i. See Ex. 299. 97. Find a word in St. Co. Ex. 143 in which oa, is sometimes sounded instead of the sound u. 98. Find a word in St. Co. Ex. 98 in which u is sometimes sounded instead of o. 99. Find a word in St. Co. Ex. 115 in which t is sometimes sounded instead of e. 100. Find a word in St. Co. Ex. 77 in which u is sometimes sounded instead of . 101. Find a word in Add. Ex. p. 77 in which e is sometimes sounded instead of u. 102. Find words in Add. Ex. p. 3 in which f.-.-aa. is sometimes sounded before r instead of ee with the mere vanishing u. 103. Find 'cases in St. Co. Ex. 144 and 145 in which " the " before a con- sonant is sometimes sounded thee instead of thu. 104. Find cases in St. Co. Ex. 144 and 145 in which " the " before a vowel is sometimes sounded thu instead of thee. 105. Find four cases in St. Co. Ex. 175 of the diphthong which is sounded ei, and sing them as directed. 106. Sing the diphthong oi in Ex. 113 as directed. 107. Sing the diphthong ou in Ex. 69 as directed. 108. Sing the diphthong sounded tu in St. Co. Ex. 145, v. 3, m. 2, dwelling on the second element. 109. Without referring to St. Co. write an analysis of " Thou shalt shew me," Add. Ex. p. 7. 110. Write an analysis of the fugal imitiations in " Hallelujah Amen," Add. Ex. p. 26. 111. Write a fugal analysis of the first movement in "Theme sublime," Add. Ex. p. 66. 112. Write a fugal analysis of the second and thi rd movements of "Theme sublime," Add. Ex. p. 67. 113. Write a fugal analysis of "How lovely," Add. p. 58. 114. Answer the question in Ex. 299. St. Co. 160 APPENDIX. CHROMATIC TONES. APPENDIX. CHROMATIC TONES. Accidental Sharps and Flats. The notes of the Chromatic Scale, which lie hetween the notes of the ordinary scale, are as follows : Flat. Scale. Sharps. t f :n :f n :re :n r :de :r Stepwise Motion. The Chromatic sounds inuM also be mastered in the form of stepwise progression in an upward or downward direction, thus : le d de r t ta 1 1 r re n 1 la s la se f fe s s fe f s s se 1 n na r fe 1 le t r ra d f There is no model in the common scale for tlii.s. The notes may lirst be introduced as an ear exercise, n the teacher singing to laa d r, and then d de r, and getting the class to perceive the new tone. na re Leaps. When both the Flats and the Sharps art- r familiar as waving tones and in stepwise motion, they may be approached and quitted by leaps, as ra de frequently happens in modern music. All the exer- A cises on leaps should be formed upon one pattern, u The commonest and easiest use of Chromatic Dtes is as waving tones coming from and returning the note a little step above or below. namely, first giving the intervening note, and then omitting it. For example : Sharps. Example of First Presentation: Sharps. Teacher n r de r n de r a r re n a re n ngs to laa, and points on modulator d t, d several mes. He then does the same with s fe s. With- f n re n f re n f s se 1 f se 1 it pointing he then sings, also to laa, m re m veral times, questioning the class, varying it with 1 s fe s 1 fe s s 1 le t s le t i r m, and making them feel the resemblance to t, d and s fe s, and the contrast with m r in. d 1 t le t d 1 le t s 1 le t s le t !e elicits the fact gradually that the new note is gher than r ; then names it, and gets the class to ng it. He then explains the names for all the f r de r f de r r ren f r re f larps of the scale, de re fe se le, and gives Flats. >pious exercises on them, always waving from and d r na r d na r d 1 t ta 1 d 1 ta 1 the tone next above. Flats. These must be taught by comparison witli t, d ra d t, ra d t 1 la s t la s i f m. Unlike the sharps they are most easily >proached from the tone below. Thus : f s la s f la s f n na r f na r 1 ta 1 r na r s 1 ta 1 s ta 1 n r ra d n ra d s la s d ra d Exercise ori Waving Chromatics. d 1 1 la s d 1 la s d r na r d na r d 1 :t :d' t :le :t 1 :se :1 Is :fe:s > \ < d 1 ta 1 s d 1 ta s s la s f s la f St. Co. (New). APPENDIX. CHROMATIC XOXKS. 1G1 If the Voluntaries be all constructed on this principle, power over these chromatic leaps will gradually be gained. Transitional Models. It will be noticed that some of the above progressions of notes have already been studied under Transition (imperfect method) or the Minor Mode, and many difficult intervals which occur, such as m ta, fe^d', 1 de r, ta de 1 , &c., are best referred to their prototypes in the key in which they really are. Hints for teaching difficult intervals in the Minor Mode, by R. Dunstan, Mus.Bac. Fak, Se. This interval may easily be mastered by singing the following exercises from the modula- tor : n :- II :- :n : se : se:-|se:l f :- 1 :- f : se :1 If :1 I se : se : f : > se : 1 :se > se : J)ofc Se- l : Id' :- 11 :d' d 1 :1 Ise : Id 1 : If the pupil "thinks of taa" he will readily be able to attack se (a little step below it) from any other note. SI. Co. (New). Intervals. The Chromatic tones may also Le studied from the point of view of intervals. With- out going into the subject of Intervals generally, we may explain that for the purposes of Intervals the scale is divided into twelve little steps, each of which, roughly speaking, is of the distance between d t|. - The following table shows the number of semi-tones which each interval contains : Semi-tones. Minor Second 1 Major Second 2 Augmented Second 3 Minor Third 3 Major Third 4 Diminished Third 2 Perfect Fourth 5 Augmented Fourth, or Pluperfect Diminished Fourth 4 Perfect Fifth 7 Diminished Fifth, or Imperfect 6 6 tes. Exam A .pic. t. 1 re d> n re d> t di 8 se m 1 d 1 re' t f 1 H< & j d f f d t l| d f fl B i t l \ A Augmented Fifth .......... 8 -- Major Sixth .............. 9 Minor Sixth .............. 8 Augmented Sixth .......... 10 Major Seventh ............ 11 Minor Seventh ............ 10 Diminished Seventh ........ 9 Octave .................. 12 It matters not whether the Intervals be comprised within the notes of the common scale or not. A Minor Third is the same Interval whether it occurs as 1, d or as d ma. The teacher may, therefore, point Voluntaries which exhaust any one interval, presenting it in all its forms in the scale, both as- cending and descending. For example, a succession of Minor Seconds : d t| r de n re f n s fe 1 se t le d 1 t d 1 In reverse order : t d 1 le t se 1 fe s n f re n de r ti d These two exercises, it will be observed, also com- prise Minor and Diminished Thirds. Another exercise on Minor Thirds would be : li d t| i r d d nnsffla Which could be shortened afterwards to : li d t| r d na r f n s f la s ta 1 na r r f sstal 162 APPKXDIX. CHROMATIC TONES. This process can be continued with the easier in- tervals, but with the wider and more difficult ones it would involve melodies which would be practi- cally unsingable. The best practical course is for the teacher to follow, in his Voluntaries, the actual habits of composers, and present Chromatics inter- spersed with Diatonic notes. Naming of Intervals. Notice that intervals formed by two adjoining notes are seconds, however either of the two may be inflected ; those formed by three adjoining notes, thirds, and so on. Thus d ra, d r, and d re are all seconds (Minor, Major, and Augmented), as also are f fe, f a, and f se. On the pianoforte d re is the same as d ma, and f se the same as f la. But in the language of intervals they are different. Thus d re is a second aug- mented) because the sounds from which it is derived (d r) are two adjoining notes, and d ma is a third (minor) because the interval from which it is derived (d and m) is formed by three adjoining notes. Flats or Sharps. The teacher who wishes to point chromatic voluntaries may fairly ask. should I point sharps or fiats, d ra or d de ; 1 le t or 1 ta t ; 8 la 1 or s se 1. The notes being the same on the pianoforte, composers are often in- different as to which they write. Some theorists hold that flats should generally be preferred to sharps, r ma m instead of r re m, &c. In music, however, especially of a popular kind, sharps are much more common than flats, and flats (be- cause they are less often encountered) are more difficult to singers. The best way is for the teacher to point both by turns, and when he wishes his voluntary to be specially searching and difficult, to prefer flats. The Extended Modulator. It is to be wished that the Extended Modulator, which gives the com- plete range of keys, may become more common, and supersede, for advanced pupils, the small sectional modulators. It affords far better practice to the pupils, and gives much greater scope to a teacher whose fancy for the invention of melody is active. In using the Extended Modulator the teacher should always observe absolute pitch. Each column re- presents a key. and in the proper key the teacher should start. As a rule it is best to begin in C and return to it at the close of the voluntary. The loss of pitch, if any, can then be ascertained. The following will serve as a specimen of a somewhat advanced voluntary on the Extended Modulator : St. Co. (New). C E d 1 s n d n s d' d'l n d 1, d n 1 - C Dfc,. Eb. 1 se t 1 id 1 t r 1 d 1 <*'t 1 d' t 1 s G. ' Ai?. tlifnsfnrftid d t, d r n . d *r n f n s, 1, ti d 1, ^s, 1, t, d Br>. C. D. 1. 1,8, 1, t, d 1, i,s 1 t d 1 1 IB 1 t d 1 C. 1 s f ** 1 t d 1 1 s f n r s t| s d In this voluntary the changes of key are made in the easiest way, by passing horizontally to a note of the same pitch in the new key. The more difficult exercise is to leap obliquely to a note of different pilch in the new key. The following is an example : C- Ab- s n 1 d 1 t d 1 r 1 1 d 'n f r 1, t, d -- s, Eb. F - l t r ti d r T ti d r f n 1 s d f n Bb. Eb- c. *li d f n i,n se t 1 d 1 d 1 del n' n 1 r 1 1 r 1 r 1 d 1 s 1 s t 1 d 1 -- t -- d 1 - The principles on which all Voluntaries on the Extended Modulator should be constructed are these : 1 . Take a phrase of six or eight notes, and having pointed it in one key seek to get imitations of it in other keys, and in their relative Minors. 2. Never change key without introducing promptly the distinguishing tones of the new key. A change of column without the new tones is merely a change of notation. 3. Do not be afraid to repeat a note. All good melodies repeat notes. 4. If possible, let your phrases fall into measures and become rhythmical. This makes the sing- ing more spirited. A VOCABULARY OF MUSICAL TERMS. NOTE. Mr. ALEXANDER J. ELLIS, who has kindly added the pronunciations to the following words, states that they are mere English imitations of Italian, but that a very near approach to the true Italian pronunciations will he made, if in those given ai is never allowed to vanish into ?e, or on into oo ; if aa be used always for a, and ee for t ; the broad ae (St. Co., p. 140) for e, and the broad ao (St. Co., p. 143) for o\ if also the consonants which are here doubled, be really doubled in speech, as in "book-keeping," "boot-tree," "mis-sent," "un-noticed "; and r' be always very strongly trilled. Italians do not generally pronounce their vowels so short as English short vowels, or so long as English long vowels. The full stop turned upwards ( ) in the middle of a word, throws the accent on what precedes. If thsre are two such in one word, the first one has less weight than the second. Abbandono, con (koan ab bandoa-noa}, with self -aban- donment. Accelerando (atchel-air'an-doa}, more and more quickly. . Accelerato (atehel-air'aa-toa}, increased in rapidity. Acciaccatura (afchiak-katoo-r'a}, a short appog- giatura. Adagio (adaa-jioa}, very slow and expressive. Adagio Assai or Molto (adaa-jioa assaa-i, moal-toa), extremely slow and expressive. Adagio Cantabile e Sostennto (adaa-jioa kantab-ilai ai aostenoo-toa) , slow, sustained, in a singing manner. Adagissimo (adaajis-simoa}, slower than adagio. Ad libitum (ad &?), Latin, at will or discretion. Affettnoso (a/et'too-oa-soa}, with tenderness and pathos. Amizione, con (koan afflee-tsioa-nai), in a manner ex- pressive of grief. Agilita, con (koan ajee-litaa-}, with lightness and agility. Agitato (aj-i taa- too), with agitation. Alia Breve (al-aa brevai), a quick species of com- mon time used in Church music. Alia Cappella (al-laa kapel-laa),in the Church style. Alia Stretta (al'laa str'ait'taa}, increasing the time. Allargando (al'laar'ffan-doa},wiih free, broad style. Allegretto (al-legr'ait-toa}, cheerfuL Not so quick as Allegro. Allegro (alleg-r'oa}, quick, lively. Sometimes modi- fied by the addition of other words, as follows : Allegro Assai (alleg-r'oa assaa-i),very quick. Allegro con moto (alleg-r'oa koan mo-toa), with a quick lively movement. Allegro con Spirito (alkg-r'oa koan spee-ritoa) quick. With spirit. Allegro di Molto (alleg-r'oa dee moal'toa), exceed- ingly quick. Allegro veloce (alleg-r'oa velo-chai], quick, to abso- lute rapidity. Allegro vivace (alleg'r'oaveevaa-chai), with vivacity. A.llegTissira.o(allegr'ees'simod), superlative of Allegro. Amabile (amaa-bilaf), amiably. Amoroso (am-oar'oa-soa), lovingly, tenderly. Andante (andan-tai}, "going" easily and rather slowly Andante Affettuoso (andan'tai affettoo-oa-*oa), slow, with much pathos. Andante Cantabile (andan'tai kantab-ilai), slow and in a singing style. Andante con Moto (andan-tai koan mo'toti), slow and with emotion. Andante grazisoso (andan-tai gr'aa-tsioa-soa], slow and gracefully. Andante Maestoso (andan-tai maa-estoa-soa), slow and with majesty. Andante non troppo (andan'tai non tr'op-poa), slow but not in excess. Andantino (an-dantee'noa], a little slower than Andante, moving gently. Animate (an-imaa-toa), with animation. Anima con (koan an-imaa], with soul, with fervour. A plomb (aa ploan"), French, n' indicating French nasality, in a decisive, firm, steady manner. Appassionato (appas-sioanaa-toa), with fervid, im- passioned emotion. A.ypoggi&tfiTa.(appod'jiaatoo-r'aa}, a forestroke. 104 MUSICAL TERMS. Ardito (aar'dee-loa), with ardour. A tempo \' illairtaf) , in a showy, sparkling style. Burlesco (boor'lai-koa), with comic humour. Cacophony (kakof-uni), English. A discordant combination of sounds. Cadence (kai-dens), English. A close in melody or harmony. Also an ornamental passage at the end of a piece of music. Cadenza (kaden-tsaa), Italian. An ornamental series of notes at the close of a piece of music. Calando (kalan-doa), becoming softer and slower by degrees. Cantabile (kantab-ilaf), in a smooth, melodious, graceful, singing style. Canticle (kan-tikl), English, cantico, pi. cantici (kawtikoa, katrtiehee), Italian. Devotional song. Canto (kan-toa), the highest part in a piece of vocal music. Cantor (kan-taur'}, Latin, cantore (kanloa-r'ai) Italian. A singer. Cantoris (kantaor-r'is), Latin. A term used in Cathedral music, to distinguish the singers on the left side, where the Cantor or Precentor sits. Canzonet (kanzoanet-}, English, canzonetto (kan-- tsoanait'toa), Italian. A short song. Capriccio (kapr'eet-chioa), in a fanciful style Celerita (cfieleritaa-), with celerity, quick. Cavatina (kavatee-naa),a,rL&irof one movement only, sometimes preceded by recitative, of a dramatic character, and generally employed in Opera. Chorus (kaor'r'us), Latin, coro (ko-r'oa], Italian. A band or company of singers, Chiaroscuro (kyaa-r'oskoo-roo), light and shade in piano and forte. Comodo (ko-modoa)j with composure, quietly. Con (koan), with. Con moto (koan mo- too), with motion, or a spirited movement. Con Spirito (koan spee'r' itoa) with quickness and spirit. Coi, Col, Coll', Colla, Collo, (kei r koal, koall, koal-lna, koal'loa), with the. Corale (kor'aa-lai), the plain chant. Crescendo (kr'aishen-doa'), becoming louder. Somcy times expressed thus <: Da Capo, or B.C. (daa kaa-poa). from the beginning. Da (daa}, from, dal (daal), from the. Decani (deekai-nei), Latin. A term used in Cathc- dral music, to distinguish those singers who arc placed on the right side of the building, (entering the choir from the nave), where the Dean sits. Decrescendo (dai-kr' aishen-doa), gradually decreas- ing in power of tone. Dell', Delia, Dello, (daill, dail'laa, dail'loa) of the. Detache* (daitaashai) French, make each syllable short and accent equally. French term for staccato. Deliberate (dailce-ber'aa-(oa') adj., deliberatamente (dailee'ber'aa-tamain'tai), adv., deliberately. Demi (dem-i), English, (du-mee), after a consonant, (d-mee) after a vowel, French. A half. Diluendo (dee'loo-en-doa], a washing away, a dis- solving. Passages so marked to diminish in force, until they vanish into silence. Diminuendo (deemec'noo-en-doa), diminishing the force. Di Molto (dee moal-(oa'), much or very. Dolce (doal-chai), in soft and sweet style. ^/ I Dolorosa (do-loar'oa-saa), ] Dolente (dokn-tai), with an expression of pain, ( dolorously. MTTSICAI, TERMS. 165 Duett(deu-et"), English, Duetto (doa-ait-toa), Italian. A composition for two performers. E, Ed, (ai, aid), and. Eco, Ecco, (ek-oa, ek-koa) Italian, echo (ek-oa, English. A repetition or imitation of a previous passage, with some modification of tone. Elegante (el-aigan-tai), with elegance. Energico (ener' -Jikoa), con energia (Jcoan en-er^jee-aa) energicamente (ener''jikaamain-tai), with energy. Enharmonic (en-haar'mon'ik), English, enarmonico (en'aar'mon'ikoa), Italian, proceeding by quarter tones. Espressivo (es-pr'essee~voa), or con espressione (koan espr'es-sioa-nai), with expression. ^ Extempore (eks-tem-puri), Latin, unpremeditated. / Facilmente (fach-ilmain-tat), easily, with facility. Fermato (fair'maa'toa), with firmness and decision. Fine (fee-nai), the end. Forte (for'-tai), loud. Fortissimo ( for' 'tees- simoa), very loud. S Forzando (for'tsan-doa), forzato (for'tsaa-toa), with peculiar emphasis or force. <" Forza (for'-tsaa), force, vehemence. Fugato (foogaa-toa) in the fugue style. Furioso (foo-r'ioa-soa), with rage, furiously. Gajamenta (gaa-yaamain-tai), Italian, Gaiement (gemon'), Erench, n' nasal, Gai, Gaio, Gajo, with gaity. Giocoso (jokoa-soa), humorously, with sportiveness. ,V Giustamente (joo-staamain'taf) t justly, with pre- cision. ~r Giusto (joo'stoa), in just and exact time. Glissando (gleessan-doa], in a gliding manner. (/ Grande (yran-dat), great. Grandioso (gran'dioa-soa), in grand and elevated style. Gr&v&'me'a.'te(gr'aa'vamain'tai), with gravity, digni- fied, and solemn. Grave (gr'aa-vai), a very slow and solemn move- ment. / Grazia, con (koan yr'aa-tsiaa), graziosamente, (gr'aa't.rioa-saamain-tai), grazioso (gr'aa'tsioa'soa), in a flowing, graceful style. Gusto (ffoo'stod), gustoso (goostoa'soci), con gusto, (koan goo'stoa), with taste, elegantly. II, (eel), the, as il violino the violin. Impeto (im-petoa), con impetuosita, (koan impet-- oo-oa - sitaa'), impetuoso (impet^oo-ocfsoa), adj., impetuosamente (impet'oo-oa'samain'tat), adv., with impetuosity. Tmponente (im-ponen-tai), with haughtiness, Impromptu (impr'om-teu), Latin, an extempo- raneous production. Iinprovvisamente (im'pr'ovvee'samain'tai), extempo- raneously. Innocentemente (in'noachen'taimain'tai), innocentd (in'noachewtai), con innocenza, (koan in'noachen: tsaa), in artless simple style. La flaa), the, as la voce (laa vo f chaij, the voice. Lagrimoso flag'r'imocfsoaj, in a mournful dolorous style. Lamentabile (laa-mentab'ilaij, lamentoso (laa - men- toa-soaj, plaintively, mournfully. Languente (lan-gwen'laij, langnido flan'gicidonj, with languor. Largamenta (laar'gamain'taij, very slowly. Larghetto (laar'gaittoaj, a slow andmeasured time ; but less slow than Largo. Larghissimo (laar'gees-simonj, extremely slow. Largo (laar'-goaj, a very slow and solemn degree of movement. Le f/ff/V,the, as levoci (laivo'cheej, fem.pl. the voices. Legatissimo (lai-gatees- simoa), very smoothly con- nected, [gliding manner. Legato (laiffaa-toa), bound or tied, in a smooth Leggiero (led-jier'-oa), with lightness. Leggierissimo (led'jier'ees' simoa}, with the utmost lightness and facility. Lentando (lentaan-doa), with increased slowness. Lento (len-toa), in slow time. Ma (maa) but ; as allegro ma non troppo (ttlleg^r'oa maa non tr 1 op-poo), quick, but not too much so. Maesta, con, (koan maa-aistaa-), maestoso (maa'ais- toa-soa), with majesty and grandeur. Marcato (maar'kaa f toa), in a marked and emphatic style. Meno (mai'noa), less, as meno forte, less loud. Mesto (mes-toa), mestoso (meslocfsoa), mournfully, sadly, pathetically. 16(5 MUSICAL TERMS. Mezza voce (med-azaa voa-ch at), observe not (met'ttaa), in a gentle, flute-like voice. Mezzo (med-dzoa observe not met-tsoa), half, as mezzo-piano, rather soft ; mezzo-forte, rather loud. Moderate (mod-air'aa-toa), adj., moderatamente (mod-air' aa-taamain'tai), con moderazione, (koan mod-air' aa'tsioo'nai), with a moderate degree of quickness. Moderatissimo (mod-air'atees-sitnoa), in very mode- rate time. Molto '.tnoal-toa), very, extremely ; as molto allegro, very quick. Molta voce, con (koan nwaltaa voa'chai) with full voice. Morendo (mor'en-doa), gradually subsiding, dying away. Moto, or con moto (mo-toa, koan mo-toa, almost mau-toa), with agitation. Nobile (nob-ilui : , nobilmente (nob-ilmain-lai), with nobleness, grandeur. Non (non an adverb of negation, generally associ- ated with troppo as, Non troppo allegro (non tr'op-poa alleg-r'oa), non troppo presto (non tr'op-poa pr'es-toa), not too quick. Non molto (non moal-toa), not very much ; as non molto allegro, not very quick. Non tanto (non tan-ton], not too much ; as allegro non tanto, not too quick. Nuovo, di (dee nwo-voa), newly, again. (o, nearly au), or ; as flauto o violino (Jlaa-ooto* o vee-olee-noa, nearly Jlout-toa au .), flute or violin. Obbligato (ob-bligaa-toa), a part to be performed by some particular instrument in conjunction with the principal part, and indispensable to the har- mony and proper effect. Obbligati (ob-bligaa-tee), pi., two or more indispens- able parts to be performed by different instru- ments in conjunction with the principal part. Oppure (oppoo-r'ai), or else. Ordinario (or'dinaa-r'ioa), usual ; as a tempo ordi- nario, in the usual time. Farlando (p<'jr' k,n-doa\ in a speaking manner. , passionate (pas-sionaa-toa), in an impassioned manner. Pianissimo (pyaanees-simoa), extremely soft. Piano (pyaa-noa), soft. The opposite of forte. Piano piano or piu piano (pyaa'noa pyaa-noa, pyeu pyaa-noa}, more soft or very soft. Piu ( pyeu], almost like the English pew) an adverb of augmentation, as piu forte louder, piu lento slower. Piacere al (al pyaaehai-r' ai), at pleasure in regard to time. Piu mosso (pyeu mos-soa), with more motion. Piu tosto (pyeu tos-toa), or pinttosto (pyeuttos-toa), rather ; meaning " in preference," as allegretto o piuttosto allegro (al'legr' ait-toa o pyeuttos-toa alleg-roa), rather quickly, or in preference, quickly. Placido (plaa-ehidoa), calm, quiet. Poco ( po'koa, almost pawkoa), a little. Poco meno (po-koa mai-noa), somewhat less. Poco piu mosso (po-koa pyeu mos-soa), a little faster. Poco a Poco (po-koa aa po-koa,) nearly (pauk aa pawkoa) by degrees, gradually. Poggiato (pod-jyaa-toa), dwelt on, struck impres- sively. Poi (po-ee almost poi), then ; adagio, poi alleyro, slow, then quick. Pomposo (poampoa-soa), in a grand and pompous manner. Portamento (por'tamen'toa), sustaining the voice, gliding from note to note. Precipitainente (pr'echee-pitamain-tai), precipitate (pr'echee-pitaa-toa), con precipitazione, (koan pr'echee-pitaa-tsioa-nai), precipitoso (pr'echee'- pitoa-soa), in a hurried manner. Prestamente (pr'es-tamai>t-lrn), hastily, rapidly. Prestezza (pr'estait-tsaa), with haste and vivacity. Prestissimo (pr'estees-simoa), exceedingly quick, quicker than presto. Presto (pr'es-toa), very quickly. Primo (pr'ee-moa), first; as primo tempo, return to the original time. Quasi (kooaa-zee, nearly kicaa'eee), in the manner or style of ; as if ; almost ; as quasi allegretto, like an allegretto. MUSICAL TEKMS. 167 Quieto (kooee-et-oa), nearly (kwee-et-na), usual form cheto (ket-oa), with, calmness and repose. Rabbia (r'nb-byaa), with rage, furiously. Eaddolcendo (r'ad-dolchen-doa), raddolcente (r'ad-- dolchen-tai), with augmented softness. Eallentando (r'al'lentan'doa), more and more slowly Bapidamente (r'apee'damain-tai), con rapidita (koan r'apee-ditaa-'), rapido (r'aa'pidoa), rapidly with rapidity. Eattenendo (r'att-enen-doa), restraining or holding back the time. Bawivando (r'awvivatfdoa), reviving, re-ani- mating, accelerating, as ravvivando il tempo, animating or quickening the time. Becitando (r'ecA-t'taw^oa), declamatory, in the style, of recitation. Recitative (r'ech'itatee'voa), a species of musical recitation. Religiosaineiite (r'ailee-jioa-samain-tai), religioso (r'ailee'jioa-soa). in a solemn style. Rinforzando (r'in'forttati'doa), riuforzato (r'iw- for'tsaa-tna rinforzo (r't/br''too), with addi- tional tone and emphasis. Bisolutamente (r'ee-soaloo-tamain-tai^risol'u.to (r'ee-- soaloo'toa ,risolu.zioa.e con (koan r'ee'soaloo'tsioa'ttai) in a bold decided style. Risolutissimo (r'eesoa-lootees-simoa], with extreme resolution. Bitardando (r'ee'taardan-dod], ritardato (r'ee'taar- daa-toa), a gradual delaying of the pace, with corresponding diminution in point of tone. Bitenendo (r'ee-tenen'doa], holding back in the time, slackening. Bitenente (r'ee-tenen-tai), ritenuto (r'ee-tfnoo-toa), slackening the time. The effect differs from Kitardando, by being done at once, while the other is effected by degrees. Scherzando, scherzante, scherzo, scherzevolmente, scherzosamente, scherzoso, (sker' tsan-doa, sker'- tsan-tai, sker' -tsoa, xker'tsai'voalmain'tai, sker' tsoa- - samain-tai, sker' tsoa- soa], in a light, playful, and sportive manner. Segno (sai-nyoa), a sign ; as dal segno, repeat from the sign. Segue, seguito (seg-wai, seg-witoa), now follows or as follows. As segue il coro (seywaieel ko-roa], the chorus following. Sometimes means, in similar or like manner, to show that a passage is fo be performed like that which precedes it. Semplice, semplicemente, semplicita, con, (saim-- pleeciuii, saimplee'chuimain-tai, koan aaimplee'- chitaa-), with simplicity, artlessly. Sempre (sewpr'ai), always; as sempre staccato (sem-pr'ai stakkawtoa], always staccato, or de- tached. Serioso (ser'-ioa-soa], in a grave and serious style. Senza (sain-tsaa), without. Siciliana (seechee - liaa-naa}, a movement of slow, soothing, pastoral character, in six-pulse time, resembling a dance peculiar to the people of Sicily. Sforzando (sfor'tsan-doa), sforzato (sfor'tsaa-toa), imply that a particular note is to be performed with emphasis and force. Sincopato (sin-kopaa'toa), to connect an unaccented note with the accented one which follows. Slegato (slaiyaa-toa), separately or disconnectedly. Slentando (slentan'doa), a gradual diminution in the time or speed of the movement. Sminuendo (smee-noo-en-doa), gradually diminishing the sound. Smorzando (smor'tsan'doa), smorzato (smor'tsaa-toa), diminishing the sound, dying away by degrees. Soave (soa-aa-vai), nearly (swa&vai,) in soft, sweet, delicate style. Soavemente (soa-awaimain'tai), with great sweet- ness. Solennemente (soalen-naimain-tai), solemnly. Solennita con (koan soalen - nttaa'), with solemnity. Soli (soa-lee), pi., implies that two or more different principal parts play or sing together i.e., one voice or one instrument of each part only. Solo (soa-loa), sing., a passage for a single voice or instrument, with or without accompaniments. Sonorammente (sonor'- amain- tat), sonorita con (koan sonor'-itaa-), sonorously; with a full vibrating kind of tone. Sostenuto(*os-nan-doa),treTHOlsinn-oalan-doa), tremolato (tr'em-oalaa-toa), tremolo (tr'em-oaloa], a tremolous effect produced by rapid reiteration of a sound. Troppo (tr'op-poa], too much; generally preceded by the negative non ; as, adagio non troppo (adaa-jioa non tr'op-poa), not too slow. Tutta, tutte, tutti, tutto (toot-taa,-ai,-ee } -oa], all : as, con tutta forza (koan toot-taa for'-tsaa), with all possible force. Tutti (toot- tee), the entrance of all the instruments after a solo. Tutta forza con (koan toot-taa for'-tsaa), with the utmost vehemence ; as loud as possible. Un, uno, una (on>t, oo-noa, oo-naa), a, as un poco (oon po-koa), a little. Un poco ritenuto (oon po-koa ree-tenoo-toa], gradually slower. Va (vaa), goes on; as, va crescendo (vaa kr'ar- then-doa), continues to increase in loudness. Veloce, or con velocita (velo-chai, koan velo-chitaa'), in a rapid time. Sometimes signifying as rapid as possible. Velocissimo (vai-loacJues-simoa), with extreme rapid- ity. Vigoroso (vee'yoar'oa-soa), vigorosamente (<- ffoar'oa-samain'tai), boldly, vigourously. Vivace, vivacemente (veevaa-chai, veevaa-chai- main-tai), quick and lively. Vivamente, vivacita con (vce-vaamain-tai, kotn veevaa-chitaa') with briskness and animation. Vivacissimo (vee-vaachees-simoa), with extreme vivacity. rVoce (voa-chai), the voice. Volti subito (vol-tee noo-biloa), turn over quickly. Volante (rolan-tai), in a light and rapid manner. GRADED TIME EXERCISES For Pupils preparing for the Elementary Certificate, 2. :d d :d d :d,d d : :d d :d d : d :d d :d d :d d ,d :d d :d Id : d :d d :- 3. d : |d :d d :d ,d |d :d d : |d : - d : |d :d d :d |d ,d :d 4. d : |d :-,d d : |d :d d :d ,d |d :d d : j :d , d : |d :d 5. d :-,d|d :d d ,d :d |d :d Id :- | : d :d :d d :- ,d :d 6. \ :d :d d : :d d :d :d ,d d : : d :d |d :- ,d , :d Id :- .d |d :d Id St. Co. (Xew). d :d ,d |d :d Id : :d ,d |d :d d ,d :d id :- ,d id (169) 170 Graded Time Exercises. 7. :d d : Id : Id :d,d d : I :d d :d,d d : :d d : I sd d : :d d :d ,d Id :d d : Id :d 8. d : :d Id :d :d .d Id :- ,d :d d : :d d :- ,d :d d : :d d :d :d ,d d : e. Ud :d Id 4 -d 4 :d :d d ,d -d ,d :d SI 1 :d .d d ,d .d 4 :d ,d Id :d ,d d 10. Id : :d,d.d,d d :- :d Id :d ,d :d il d :- ,d :d Id :- :d ,d d :d,d.d,d:d ,d 11. Ud :- :- |d :d :< d :- :- |d :- :- d :- :d |d :d :d d :- :- |- :- : U d :- :d |d :- :d d :- :d |d :- :- Id :d :d |d :- :d St. Co. (New). Graded Time Exercises. 171 :d 12. d :d |d,d,d,d:d ,d d :d ,d,d|d : |d ,d,d:d ,d |d,d,d,d/ :d d ,d,d:d .d |d 13. d :d ,d |d :d d :d ,d,d|d : d ,4 :d ,d |d ,,d :d ,d d :d,d.d,d|d : d :d ,d |d ,,d :d d :d ,d |d,d,d,d:d II d ,,d :d ,d |d ,,d :d ,d d ,d,d:d ,d |d : 14. d :- :d |d :- :d d :d :d |d :- :- d :- :d |d :d :d d :- :- |d :- :- d :d :d |d :- :d d :d :d |d :- :- d :d :d |d :- :d d :- :- |- :- :- 15. |d :- Id :- ,cl |d :d ,d d : |d :d ,d d ..d :d .d |d ,d,d:d ,d d : |d :d d,d.d,d:d ,d |d :d ,,d d Id : St. Co. (New). d :d ,,d |d :d ,,d Id :- 172 16- Graded Time Exercises. d :d :d .,d Id :d :d ,d :d Id :- .d :d ,d Ud :- ,d :d,d,d,d 17. d :d :d |d :- :d Id :- :d |d :d :d Id :- :d |d :d :d d : : d :- : Ud :d :d |d :- :d I il 1 II d :- :d |d :d :d Id :d :d |d :- :d Id :d :d |d :- :d d ' :- .d :d .d d :- ,d :d ,, I :d 19 ' d ;- :d .,d Id :d :d ,d,d d,d.d,d:d ,d :d ,, :- ,d Id d ,,d :d A d ,d Id I :d ,d 20. d ,d ,d :d d d ,d ,d :d ,d d :- :d |d :- :- II d : :d d :- : :d ,,d :d ,d ,d ,d , :d Id :- I :d ,d Id :- ,d |d : Id .d :d,d,d |d ,d :d,d,d Id :d |d : I :d | :d | :d .d |d :d,d.d,d Id :d ,d |d :d St. Co. (Xew). Id Graded Time Exercises. 173 For Pupils preparing for the Intermediate Certificate. These exercises are to be sung on me tone as well as in tune. No. 1. KEY G. M. 72, twice. |d :- :d |d :r :n r :- :- |s, :- :- PI :r :d |n :-,r:d s :- :- |- |d :- :d |d :r :n f :- :n |r :- : No. 2. KEY E[>. M. 72, twice. Un :n :PI |n :r : Un :r :n |f :- :s [1 :- : d :- :- |- :t, :d PI :-ir:d |n :- :r d :- j- |- :- : No. 3. KEYBb- M. 96, twice. :s, Id :- :d |d :t, :] s, :- : :s, n :- :- |- :r :d f :- :- |- :n :r d : :_ :Sl d :- :- |- : No. 4. KEY I>. M. 66, twice. 5 :- :f |n :r :d 1 :- :- is :- :- f :- :n,r|s :- :f,n r :- :- n :- :- |f :- :n l :s :fe |s :- :s 1 :t :d' |n :- :r d :- :- |- :- No. 5. KEY A. M. 80, twice. d :- :d |n :r :d f : :- :r d :- :t|,d|r :- :d,r St. Co. d :- :- |- :ti :d r :- :si |n :- :r d :- :- |- :- 174 Graded Time Exercises. No. 6. KEY I). M. 72, twice. : :s |n :f :s 1 :- :- |- : :1 1 : :1 |r :n :f s : :d |d :d' It :- :- I- :1 :s f :- :- |- :n :r n :-.f:s |s : :t| d :- :- |- :- No. 7. KEY G. M. 112. lid :s, |d,r:n,f s :- ,f |n (11 : :s : ,s f : |n ,n r :d |f :n r :d n : |r :s No. 8. KEY E!j. M. SO. :n .rid :d .4 Id :n : ,d|f :-.n |r :d t, :- |- t : |d' s : ,s |n :d fe : r :- |d No. 9. KEY C. M. 72. d ,r :n ,f 1 .1,1:1 .1 |s (Id 1 :s ,,s |n :s d 1 .d'.d'id 1 .d 1 |t :- .d 1 n 1 .r^d'st .1 |s .f :n .f n :r ..d |d :- .s No. 10. KEY At?. M. 80. s, :1, .t, |d : .1 n ,r,d:r .d,t||d :t, .d |r > If ,n,r:n .fe |s : .81 1 1 : If .n :r .d :- ,n H n :- .r |d ,ti,d:li v. Co. (Xew). |d : No. 11. KEY F. M. 72. Id :d |d ,s, : d,t|,d,r:n ,d |r : Ur,d,r,n:f .1 |s ,f,n:r ,d No. 12. KEvEb- M. 84. ( |n :- ,f s ,,s :s ,s |n :- ,d Graded Time Exercises. 175 n :- ,r |d : s ,f,n:r ,f |n ,r,d:ti ,r \ n :n ,,n |n ,d : s .,1 :s .f |n : ,d / n :r ,,d |d : d 1 |r :n ,r:n,f f :f .f |n :- ,,n s :d |r :- ,n d : No. 13. KEY J. M. 88. :n,,r d . :d . |d :t|.d r | :d ,,r n : |-.,r:d,t|jd ,S|'.feiiS| } ,d:t|.d n ,,r:d | ,s:f,n r, :d . No. 14. KEY A. M. 66. ii :si ,S| In : :- ,,r d : .d :t| ,d n .,r:r ,d t :- it ( ,d:r , No. 15. KEYBb- M. 72. S| iS| ,S| ;ri| ,S| d .d ,d :t|,l, .s, No. 16. KEY C. M. 90. :d ,t| ill ,S| 1 n ,r :f .n,r:d ,t| |d pi) d : .s, j :d,,r :d ,, n :d |s :- ,n n :d |s :d ,, n :s St. Co. (\'-'w). r : |d 17G No. 17. KEY K. M. 104. (A beat for every pulse.) ,,f|s :n :d' |t :-.l: :d s :n Graded Time Exercises. f.l :s.f :n ,r |n :- :n,,f s :-.! :s |s : f n :-,r:d,,r|n :d',t:l,s|8 :n :d.,n r :- :- |d :- No. 18. KEY F. M. 88. n .r Id :- .d :r .n n :d :s,f f\ f :n :s,fe,s 1 :s :d,t u d :- :l u t,,d :r }'' No. 19. KEY I). M. 80. [Tripletted tlirec-pulse measurc=nine -pulse measure.] :n s :f | f ,,f :f d : No. 20. KEY-Eb- M. 108. n *n |n .r :d .n td' It :1 |s :fe ltd' It :1 _ :n :d :f |n :r,d :n.f n : |r No. 21. KEY . M. 90. d : n :d s :f .n r :- ,r s .d :- ,n If :f .,f in : n n * .n r ,r :- f .f :-,n |r :n ,fe d ,S|5- St. Co. (AVirJ. ADVANCED RHYTHMS, For pupils preparing for the Matriculation and Advanced Certificates. For the Time Exercise of the MATRICULATION CERTIFICATE (requirement 2) Nos. 1 to 17 should be practised to laa on one tone, also in correct time and tune. They must be sung at the rate marked. The key may be changed when necessary. The test used in the examination is sent from the College and not seen before, but it contains no greater difficulties than these. For the Time Exercise of the ADVANCED CERTIFICATE (requirement 1) any one of Nos. 18 to 42 is chosen by lot in the examination, and sung on one tone at the rate marked. The candidate also sings to laa a test sent by the College to the examiner, and also writes from ear two or three measures of " Elementary Rhythms" sung to him. 1. KEY A. S| M . 88. Na - tive land, .,d : r ,,t| I t|,d.- I'll love theel ever, :d ,, Let me Bishop. n : - .n : f .,r / raise the wel-come; 't, strain, Mine were ban .ti :n . ish'd feet that r,d.- :d,n Hop'dto i:ti :li \ press thy turf a ( gain! Now these eyes .PUT : t| .si iji il - him' J with) glad :d :n .,r j As they' d :- .li :t|,n.- lit scan thy beauties I o'er, : Si .,f, In, Ne'er a- ' gain .f. :. .1, J shall melt in ' lit] f I sad :d noss, :d .,t, |t,, Part - ing' to re - turn :d ..d / O Bri-i II d :- .8 ( :li,d.- |s ( tan - nia ! native ' land, P1| .,f || S| na- tive| land, - .d : t| .,r I'll lovethee r,d.- :- J. CUBWEN & SONS, 8 & 9 Warwick Lane, JS.C. Price One Penny. Where also may be had Elementary Rhythms (Jd.) and Intermediate Rhythms 177 178 2. J1,-f isle M. 80. : f .,r |K ^ clasp 'd by I waves s ,d : o - ceac 8 far, SAAte-ene. TAAsefe. .d,-r in an PI .d' .f era erald :r . ,r zone. that peers Bishop. ..f :f .1 J forth from) .1 il .8 :- so I pear) -like - .8,-8Jft .P)l From ncy" own and fair. .d 1 : - . In : n .,n|s .f : - .f In .d 1 : 1 .,s j The! breeze oft inl mur-murs a Iplaintbringsfroma-) na - tive t .1 isle : 8 .,f | n and my i lov : r ere gui -tar. II", 3. KEY G. M. 60. >,n : n .,r Here we meet, too ta-ana-te-ene. taralaterele. tafaterele. 3 8 n,-r.n,-f : 8 soon to : n Here I'll preM thee part, n .,n : n ji |n,-r.n,-f:8 Here we meet, too ' soon to part, n,-r.n,-f : s , fsf.nfn:r .s,f Here to leave will .r Rossini. :d . smart. to my heart, Where 8 fsf 3 .nf Pi : r 8,f 8 nf n 8 rnr : d Here to~~ leave wiU raise a smart. 8 fsf 8 .nf n : r .,8 n ,d % _ ; none ha7~ place a - bove thee. 4. KEY D. M. 72. 1 .8 ,-t |r' .,d' : 5 t .d' fate, deai d !"AAte-ene. 8 .1, ta-anatefe. -8:8 .,se se Bishop. .1 :t .1 - er, nev - or ) r',d'.t ,1:1 4 j | Thy 1 love, thy n. .f :n .r f 1 be my hap - py tit .t :d' .,d' i 1 get me not, for- 5. KEY A. M. 96. n s, :d :n youth to : t, .n-f share, Must nev s .8 :B .d 1 thou may' at grant this d 1 Itrd'-n'.! 1 lot. r' .r' get me But :n' .f',r' hum - ble pr y 'r, For- J d 1 : not, For get afatefe. me not. From Handel' i " Samson," p. 6. f ,1 .8 : f ,8 .n : r,n .d j ' :- .r,d:r,d.t| s.t.l :,!. :n,f.r :- .ri,r:n,r.d \\ f,s.n d 1 [Advanced Rhythms.] 179 II 6. ;BY F. M. 58. d :d .r In s : -,f .n,f | s .r From Handel's " Samson," p. 95. PI .r :n .f |s : -.d'.t.ll s :-,f.n,f|s : -,d'.t,ll f .n : r .n | f .n : r .n f .PI : r .n |f :-,s.f,r j |n,f.n,d: s,l.s,n|d' .1,1: g .f n : r .,d | d : 7. KBY F. M. 66. TAA-efene. From Handel's " Samson," p. 21. : .8 Id 1 :- .ta,l:ta.l,s|l :- .s,f:s .f,n f ..r' : d 1 ,r' ,t : 1 ,t 4 s d 1 .,t : l,t,s:f ,s,n H-Ui d 1 .f :n : r ., 8. KEY D. M. 84. s : n .,r : PI ,r 4 d 1 : t : d' f : r .,d : r ,d ,t From Handel's " Samson," p. 35. n : f .,nf : s : r .,dr : n 1 1 : - ,d 4 t| : d ,r ,n I f ,s ,1 : f jit :t :1 ..t tlr ; - .f .n : r t n ,f n.d t r : n,f ,s : 1 ,t ,d'> P! ( f ,s :n r_r .d I d ; - ,n t r ; d ,r t n | 9. KEY F. M. 88. .d :d .d |f : .f |n .n :n .n |r .n,f : s II i|L_-M From Handel's " Messiah," p. 65. 10. KEY F. M. 88. f .n : f |n : .8 |s .l,t :d' .d 1 t ,8 : From Handel's "Messiah," pp. 64, 65. .r : s :n |r : Id .s :s .s |d' : .d 1 t .t :t .t |1 .t,d':r' r s . l,t : d' I - : t - .1,8 : 1 .s |fe : s [Advanced Rhythms.] 180 11. MY F. M. 96. TAI-AA. Prom Handel ' " Jcpbtha," p. 1. 4| ,s : f .n : r .dlti.fe: -. :- .n|s,.n : -.f : -.r Isi.r : -.n: -.d s : .d:t ( .l 3| 12. KEY C. M. 104. (I .1 ;- .sjfe.s :-.f |r> : \ I I I .s:-. fin From Mozart's "Twelfth Mass," p. 66. ' n :d.d 13. KBY B7. M. 72. From Handel's " Acis and Galatea," p. 11. < 14. KBY D. M. 116. From Sandtfi " Samson," p. 9. f :t :t |t.d'; r'.d'; t U-.d'ir'.d'st |-.d';r'.d'; r 1 :n' : f ' |n' :r'.d': t.l r' :t :- f :s.f:n.f|r :- :s If.arf :n |r :- :- I 15. KEY A. M. 60. From HandeFt "SaiUSWl," pp. 33, 34. 16. KEY O. M. 126. From Graun'i "Te Deum," p. 9. : .sis ;f .n|a : f .n 1 .1,1:1 .1 11 . : - .d'l- .t : - .1 1- .8 : - .1 Is :f |n || 17. KBY D. M. 80. From 0raw' " Te Deum," p. 21. Un' :r' |- .de 1 : r> .n 1 If'.n'.r" :- .d' |- .t : d 1 .r' |n',r'.d' :- .t II 18 KEY E M. 60. From Graun't M Te Deum." p. 27. 4|n' t-.r'j'.d'jr'.d'.d'.tld' : : I- .de 1 : - .r' : n 1 .' t :-.t :d' || "~l I 10. KEY A. M. 80. From Graun't u Te Deum," p. 29 T! t : .n ln.de : r 1- .t| :d.n J 1 * ' Un .8,l:s I- .f :- .n,r n .f,s : f . I [Advanced RhTthma.] 181 20. KEY G. M. 80. ( : . 1 1 d 1 : - . t : d 1 . r :- ,,t : d 1 .,r' s : - .f :m .,r|n,f.s :n : r From Handel's " Acis and Galatea," p. 39. : - .PI : r .,d ) llr .8 : - .r :- .n,f In .s : - .d :- .r.nlr .s : - .r :- .n,f n .r : d 21. KEY E. M. 66. |t From Handel's " Messiah," p. 3. -,dV.t_,l:s .f |n,r.d ; d' f,n.r : B.t. |8,f.n :i'f -,n.r ; 8 .f |n .,r : d 22. KEY G. M. 72. From Mozart's " Twelfth Mass," p. 2. . A.r*x \x JJJL* fjta mmvam ju.v&u>t a j. wciiLii. Ofxaao^ : .n:f In .f : - .n : 1 .s I s.fe: fe : |f.,f:n : r.f.l: d : t, 23. KEY D. M. 84. s : : -.,f : n.,r :n,r.d A. t. From Handel's "Samson," p. 34. I f ; - .r : r .,dr[ n ; - .d : d.,t|d| r ; - .ti ;t|.,l| tJ d t r t n : md ; t|,d ( l|| ^j : 24. KEY G. M. 80. Fae. |s From 883 jln : -,-r.dt|l||8|l|t|.drn ; f .r It) :- .d Id 30. KEY Q. M. 80. .lf,-:siv.fr,-|d tana-a. tene-O- From Gtraun't " Te DeUm," p. 35. :r .^nf|n .If,- : sn,-.fr,- Id :r |d 31. KEY A. M. 72. ,: .. Tanafa-AI. .s From Handefs " Samson," p. 66. :d d :d |d :rr,d.- il' :nr,d.- |cP :- .t II .8 : f .n |rd,t|- :d ,f n :r .,d Id [Advanced Rhythms.] 183 TAAtefene. TAAte-ene. SAAte-ene. 32. KEY E7- M. 30. From Handel's " Samson," p. 42. .8| : .f ,-n| n :- .f,n|r :d ., (| .1 :s .f,-n|n .,8 :l,s.f,n|r tin .d,-t|; d .,1s |s : il' (In .fs.lt :d' : .f |r .s .r d .t| :d .r,nf|r 33. KEY G. M. 80. : s Is From Graun's " Te Deum," p. 35. fe .sl,td':r' |-,d' .t,l:s,f .n,r II 34. KEY D. M. 66. f. G. 35. KEY E. M. 100. il' U ,f.n,f: s,f.n,f|n .s : 36. KEY D. M. 80. |- .t,-d':t .r' 37. KEY G. M. 80. |r .sr,- : t&,-.r't,- SAAtene-fe. From Handel's " Jephtha," p. 70. .d 1 : n .,s : fe '/ :fe .,n If : .nf,s:f .n |r - .n Safatefe. f : - .s |n .d : n From Handel's "Jephtha," p. 105. ,ri.r,n: f,n.r,n|r .f : ,s.f,s: l,s.f,s|f .1 : - .r 1 r'.d' :d' .t |d TAI-AAte-ene. - .t,-d':t . From Graun's " Te Deum," p. 35. .n .,rW: r' SAAte-ene. TAAtene-e. .t From Graun's " Te Deum," p. 36. .8 .f,-s:f .n d' .,tl : s [Advanced Rhythms.] 184 38. KEY D. M. 80. .f'r 1 ,- : n'd 1 ,- .r't,- Id 1 From Cfraun't " Te Deum," p. 35. .f'r 1 ,-: n'd',- .f'r',- 89. KEY D. M. 84. n .,rn: n .,rn| f .,nf : f .,nf AA-efene. From Handel' t " Samson," p. 97. s .,fs: s .,fs|l .f : s .1 it, : - .t, |d To be sung in two parts, the Examiner or some other person taking one part. 40. KBY Q. M. 120. From Handel's " Dcttingen Te Deum," p. Id. si : 8 |- .f,n :f f .n,r : n i _ .r,d :f :- .li.tiUi : - .ti4 ti : - .li .sild :- -U, f .8 : n .r I n : r .,d t, .s, :d 41. KEY G. M. 120. n : - .fe,s | fe In two parts, as above. From Handel' i " Dettingen To Deum," p. 17. :- .86,1 se : - .l,t |n : 1 .8 : n |- .r,d:r .d,ti:n .r |d .t, : f .n : r 1- .n :d ti d : ti .,1| Hi 11 1 : - .t ,1 | 86 .n :1 : se 42. KBY B*?. M. 120. 8| : d, :n : si In two parts, as above. From Handel't "Dettingen Te Deum," p. 28. 1, :- .8, : 1, .f. r, :, :- .f, MI : 1. :- .tai 1, .d : r :- .1, t, .r : n :- .t t d .n :f : - .r F. t. 8, .n ( : 1| : - .r ( 8, :-.d, :d df.r : n .d :r.t, d :-.n : :r.d n :-.d :f -.r : n :-.d '8 : : - .n ti : r :r [Advanced Rhythms.] Thesd Exercises are intended for students or classes preparing for the Intermediate Certificate. Requirement 4. 1. KEY F. Cadence Transitions to First Sharp Key. :s ,f :r in : s :fe |s :s f :r in :d d :t ( id r :s |f :r in :fe is :n r :s |f :r In :r |d i :i r 2. r 3. ( :s In :f !r :s II :fe |s :r If :s |n :d Ir :t< |d C I I I i 4. :d Ir :f |n :s Ife :1 |s :n f :1 is :d' In :r |d < :d I ti 5. \ :d iti :s, |d :s jfe :r ;s : :f is :n 6. i :s If :n |r :d r :fe |s :r In :f Is :n 7- :s f :s :n d :f |n : r :r |d f :r |d f :fe |s :s r :n |f :r d :t, |d d 1 :fe |s :s In :1 |s :d n :r |d 9. :d |n :s t :fe |s :n if :r Id Fassingr Transitions to First Flat Key. 10. KET D. in :r |n :d n :f is : Id 1 :ta ll :s Id 1 :t ' Udi : :t Id 1 :s In :1 is : 1 :ta :t Id 1 :r' |dl : Price OXB HALFTBNNT. LONDON : J. CURWBN & SONS, 8 & 9, WARWICK LANE, E.G. 185 N 186 12. s :n if :1 It :d' It : Is :ta |1 : If :f IN : II' ' 13. n If :n Ir :fe Is : |s :f |ta :1 Is :t I j d 1 :t |1 :s If :n |r : In :ta 11 :s If :r |d : II 15. [With imitation.] l :d r :f |n :f Is :ta |1 :t 16. [Oscillation.] j s :f In :1 |s :fe Is :- |d' :ta |1 :r' |d' :t Id 1 :- :f |n :r In :r |d Extended Transitions Better Method. 17. XT D. A.t f.D. d 1 it in :d In :f is : d :n |s :d t ( :r |d 8 : ,1* 18. { |. =f ... . 19. il" !f " ' 20. f.D. :d Id :t, |d g : A.t it :- d'f :r A.t. f.D. is : I *r :n |f :n.rd : A.t. n : If :r In :1 is : (In : :d if :r |d :t ( 21. d :r |n :f Ir :d is : A.t :d in :r .d t, :r f.D. f.D. 22. A.L f.D. Ud 1 :t ll : If :f in :- "1| :ti id :n r :r |d s ; 23. jln :d |r : If :n |r : A.t :r Id : f.D. The return transition ia made on the lut note BO that the Exercise can be repeated or the next one taker without pauae. [Elementary Transitions.] 187 First Sharp Transitions, shewing Cadential forms of Bass. 24. KEY E. S.B. ( :d n g Id' :1 8 :fe |s :f n :d Is :n r r |d ?:d s f In :d r :r is, :ti d :1, It, :d f, si Id 25. ( :n n r Id :n n :fe |s :n f :s 11 :d' n r Id (:d d r In :d 1. :r Is, :d 1. :si If, :1. s, s, Id 26. r r f In :s 1 :fe |s :n f :1 Is :n f r |d 1:1 t, S| Id :t. 1, :li |s, :d 1| 'f In :d r s |d 27. ( :n f n Ir :n.fe s :fe |s :f n :d' It :l.s|f f |n i> ti d Ir :d t, :li Is. :. 1, :fe, Is, :1. It, si Id First Flat Key, Imitation, and Oscillation. 28. K BY E. S :n d :r In :fe 8 - I- :n f :s 11 :t d' . i ~~ i~" ( :d n :r Id :li S| - I- :d 1 :s If :r d :- 1- t:t d> :ta 11 :1 r 1 d 1 |t :s f :n In :r d :- 1- i:n n :d If :f fe r |s :n r :d Is :s, d . i i 29. KEY F. Extended Transitions, without Distinguishing C.t. Tone. f.F. ( *d n :s Id :r n | :d' f :n' In' :r' di s :- 1- 1 ( *d d 5*1 In :r d - |- :t,n r :d Is :si ds. . !- 1 30. C.t. IF. i :n d :r In :d t, d |r :t,n s :d' In' :r> dig :- 1- I f:d n :r Id :n r d |ti : s id n .d Is :s, d s, :- 1- 1 31. KEY F. With Distinguishing Tone, c.t. f.F. 'n 8 :f In :r d : | :"1 s :d> Id' :t dig :- |- 1 la t, :B) Hi :ti d : |- :df n :1 Is if d S| :- 1- 1 32. C.t f.F. r :d Iti :d r :f |n :r s 1 :r' Id' :t 11, lid f :n Ir :d ti :si |d '.t\n f :r 11 : S| [Elementary Transitiona.] 188 83. '" C.t f.F. n f IB n f |1 :tn' f .n 1 |r' t dig d r |n d ll s, |f :,d t, :d If 8 d8, 34 C.t. f .F. n r Id n 8 f In :r s 1 .t :d: |d" t dig d r |n d t, s, |d :t,n f :n |r S ds, 35 C.t. i .F. s f In d n r |d :rg n 1 :r' |d' t dig n r Id n 8 81 |1, :*in d :r |n.f 8 d 8 | I I Sudden Extended Transition and Chromatic fe in Bass. 36. KEY D. A.t. :s Ud' :t (Id :n |f :n f :r |n :d r :t| |d :n d'f :r :r 't, :r Is, :f, s :f |n :- ni .'S| |d ; f.D. 'd 1 :s |n :ta l|H :n |d :n 1 :s |f :r f :n If : 8 :f |n :r n :1 | s :fe n :r |d :- s :t, |d :- 37. KBY D. :d' td |t :ta n :d |r :n Sudden Passing Transition. A.t :d> Is :' f.D. f :f :tn t, :d r :d II Chromatic fe and ta (in Air), and Cadence Transition to First Flat Key in Better Method. 38. KET D. A.t. 8 :fe If :n d :r Is, :1, :d f.D. f.GK II i,n :f Is :in f,d :r |n :'d :f :ta |t :d 1, lit Id :- |df :n |r :d [Elementary Transitions.] :f, |ii : 's, :i D.t. n :r Id : n :r Id : 8 :s, 'd ?- inierraeliiat? fen0iiinns frntn tjje Ctoira. Selected from the works of Bach, Handel, Graun, Haydn, Mozart, &c. These selections are intended to give exercise to classes which are preparing for the study of difficult music, and especially to aid pupils in obtaining the Matriculation or the Advanced Certificates. The keys may he changed to suit the voice. J. C. 1. s His KEY A!?. :r :f name is n .r : d .t| : d ex - eel - lent, 2. KEY C. .n 1 n 1 .n 1 : r 1 .d 1 d.f. B>. |f : *s, Je- ho-vah's glo-ry known ; The 3. KEY F. s I s : - : f I n :-:r |d:-:t| No more to I Am - mon's God and 4. KEY D. r" |r':- : d' No more to Two Removes. B 7. t.m. Bach's " Blessing and Glory," p. 11, 12. s : r : f In .r : d .t, : d His name is ex - eel - lent. " Samson," p. 95. : .r it, .s, : s .r |n shall I from his presence fly. " Jephtha," p. 4. PI : - : r |d : - : ti 1| : - shall our cym - bals ring. " Jephtha," p. 4, 5. i -r If Their i - dol gods G. t.m. King, fierce Mo - loch, E. t.m. t :-:! |s:-:fin :- rn'h'r 1 :- :d'|t:-:l|s:-:fln:- Am - mon's God and! King, fierce Mo - loch,l shall our cym - bals ' ring. II (I II 5. KEY C. t ;r'.t ; 1 .s And their 6. KEY D. d 1 .t ] bute, 3. t.m. de't :r'.t : 1 .8 "Jephtha," p. d 1 .t : d 1 : 92. tri - And their tri - bute. d 1 .t rd'.l :t .d" r 1 .d 1 : r' .n' : r' .d' " Samson," p. 83, E. t.m. t .1 :ti .t :d' 84. world t :t :r' 8 : : s d' : - : - world, rules the world in state. r 1 : n 1 Eules the rules the Price ONE PENNY. LONDON : J. CUBWEN & SONS, 8 & 9, WARWICK LANE, E.G. 189 190 7. KXT G. f|n .n : .n d t | .d : d .r t, .t, : |t,.c Brethren.fare- well your kind at- tendance now I iif : .f |f .f :f .n d : .d |n : .n 1 "Samson," p. 94. d.f. F. :r .d 1| : |dr : r .n | pray for- bear, Lest it of-' G. t.m. : .is|f .f :f .n d : || you'll nothing hear im- pure. " Acis and Galatea."p. 52. : - .r n : f n .r : s .n \ 1 1 fend to see me girt with friends, Ex-peot of me 8. KEY E!?. f. A>. fir : - .r n :f n.r:s.n|d : 8 r 1 1 Mur - m'ring still his gen - tie love, Mur - m'ring still his gen - tie) B9. t.m. !ld : T : - .r n :f |n .r :s .n |d : | : || love, Mur - m'ring still his gen 9. ur B?. (i : | :n, 1| : lt| : And his hands ,.n : In :- .n is : IB : s, \ 1 par . - ed the 1 dry land. Foi ,|n : :n if :- .f |n :r ( \ sea, and | he hath fash - ion 1O. XBT F. ,| :n .r :n - .r :n :n .r f .n : r . tie love. " Come let us sing," p. 20. d.f. A?. d :1, |f s :f . form - ed and pro - ) B>. t.m. "r :- |d :t, . His is the i f. E!7. taf :>|-:- - d it. "Israel," p. 26. d :t, .1| pi : : up - on the! ground, si : f, .d r : n ,t| : d up - on the ground, mingled with 1 B 1 1 Mingled with the hail, ran a- long G. t. m. ,i :n .d :r - .r : r :*d .d Id .t| : 1 ( . \ \ mingled with the hafl, ran *- long (|- ,ti :d : n .r d : - .d : t| .d ti : ' the hail, ran a - long up - on the ground. [Intermediate Transitions.] 191 I! 11. KEY E. s : f ; - I n Take the heart : s II : r : - |s.f ; n.r : d you' fond - ly gave ; | 1 mine; d. f. D. ;- fs :f :- |n Take the 12. KEY B>. : s, In, : d| |t a : s. But I woe ! when burst - ing heart d. f. A?. " Jephtha," p. 15. : r' : n 1 lodged in your breast with you fond-ly gave. un - con - troll' d, The f, :r, |r :d glow - ing me - tals Song of the Bell," p. 36. t, : m, | 1, fierce ex - pand. 13. KEY B7. ;d His E?.t. t| .d : r .t| ; 1| .d i r .1 ( ; t\ .d : r .t t d. f. A 1 ?. drous 1 frame to dr : raise, "Blessing and Glory," p. 10, 11. : S Whose lone glo : : d" de - d'.s :l.t : f ~~ > i end : r rious n : praise. 14. KEY E'?. Three Removes. Haydn's " First Mass," p. 52. a. d. f. G7. : s.s s : s | : 1 He is bless -ed tha s : s | : s i com - eth, O s :- |- :- Lord. - - :- |r :d j in thy ' |t| : | r : d j t| :-.d|r :d 1 , :- 1 : iame. , , l , j Ho |. ly i E7.t. m. 1. "s : d 1 |t : r 1 c I 1 :- |s :1 )less - ed, is r : | r .,n : f .,s 1 f : | n y He is 1 bless ed that com - eth. | 16. XBY 0. .n : t .t |t : Un-will-ing-ly .t it .t : t .d 1 i theirl super - sti - tion A.t. ' . : .d 1 id yields this rest m. 1. "Samson," p. 1. : I .d :d .r . ; To breathe heav'n' j .n |f .r :r .d fresh bio wing,pure and sweet. [Intermediate Transitions.] 102 16. KET D. d. f. C. i : s |s : - : s 1 :- :- I s :it r' :- 1 In dia mal dance a - round f. r. H n" :- :- | : : j blue, : : r | f : - : r n : - In dis mal dance !l f :- :- |n :- :- n :- : - Id :- :r n:-. round the fu r - - nace blue. ' 17. MY A>. "i II : Is :d De signed for t ( : t| f : f in joy and peace, u I made B7. t. m. 1. S *'f :n |r :r to ro - Tolt and d . '- | cnme. 18. KEY C. Maefan M n 1 :- |8' :- f :- - |n' : t : |d' : " Jsphtha," p. 4. the fur nace i. d. f. A?. J " Song of the Bell," f. D7. :- ."it|r" The toe p. 36. : r Sport up Xacfarren't "May-day," p. 30.31. A. t.m.l. : I :".| I chant ed I ground ; A. in : I joy :d .tin oua, I joy : d .ri n : d | s : n oua t throng now comos a long. II 10. KEY B>. : |d : d .r |n .n : ,: ti.d Gome,then,myl daughters, choicest art be G. t. m.l. E. t. m. 1. | .i,d: d .r n -stow, ) j brow, And in your songs for ever be con- fess'd The valour thatpre -serv'd. " Judaa Maccabseus," pp. 98, 99. | .r:n.f To weave a .t|r'.t :l.s r .r : |r .r : r . chaplet for the victor ' s) 20. KEY F. Two Removes. More difficult rhythms. " Jephtha," p. 40. G. t. m. |d : .r |t, .t, :1 He f .f :s .r |n .n : .t| mad* a bloody slaughter, and pur n .r :n -sued the fly - ing foe t| ,t| : 1| .8) till Imght bade sheathe thel [Intermediate Transitions.] 193 i 1 sword, 21. KEY A i .d :n .d |f t .d And taste the joyi of f .,f:f .n |d vio - to-ry and peace. " Jephtha," p. 33. d. f. G. H.s : s .s : s .s il :n t I f .,s : f .,n ; f ..r i s ..1 ; s .,f : s .,*n j In vain they roll their) foam - ing I tide, 1 : s ,,f : s X - .n : n ,n in their foam-ing | tide. il 22. KEY E?. : .d |n Be - gone, F. t.m. IT Fly .s, be - gone, ft it) : my I child ! .s, |f .r : And leave me ,t| |r .r :r .d Thou hast un - done thyl fa - ther. "Jephtha," p. 61. li .1, : .!!, to the 23. KEY B?. n .d : .S| |d : n Saying, The sword of t .t :r" .t |s : for his Is - rael fought, 'God .n |d .d : and Gideon." r .r :r .d 1 1, rack of wild des-pair. " Judas MaccabaBus," p. 56. C. t. m. .d :d .r |n : .T'{ It was the Lord that' .d" :n' .d 1 1 1,1.1 : .d'.t.d'ls : 1 | And this their wonderful salvation! wrought. 24. KEY C. r 1 Ha! .8,8 " Samson, ' p. 68. .s :s .1 |t .t rt.d'.r'.d'j I thought that labour and thy chains had) il SI il dostthou, then, al -rea-dy sin - gle meP D. t. m. : ,n .n,n | l.s .s : s,s .s ,1 it .,1 : 1 .t | s .s : s ,f .s ,r / Hadfortunebroughtmetothatfieldof| death, where thou wrought' st wonders with an ass's* 1 .1 tam'dthee. jaw, I'd left thy carcase where theasslay dead. 25. KEY C. s .s :s .s |d' .d 1 : For the horse of Pharoah .d' Id' went! in D. t. m. "Israel," p. 133. :d' .r 1 h'r'.r" : .r'.d'.r'it .t :t .d'.r'l s with his chariots and with hisl horsemen in - to the sea. [Intermediate Transitions.] 194 26. KEY Gfr. . t| : n .t| | d . t| : Be - hold thy servant, Three Removes. More difficult Rhythms. "Samson," p. 44,45. .t, Id .t| : n .t| | r Thy" servant in dis-tress, God! :- .r |r :- be - hold, !l e n : r .d |t| .lj,S|: d .t| To dust his glo -ry they would r .d_,t|:n .r,d|f .n,r:g ,f,n tread,To dust his glo - ry they would r tread, .Is Anc Js :f .jn n : i ' him | num ber 27. KBY B?. , id : d .d 1 1| : .n, ( | Here lies the proof: If f.E>. ,ti .d :r .s, |d : .rl f \ in- vo - cato his aid. His jit : .t |t .t :1 .8 ' 1 spells that gave our hero .r,d|t, a - mongst - -t, the dead. l,.li :1, .t, |d : Da-gon be thy God, f .f :f .n id : glo-ry is con-cern'd. d 1 : .s Id 1 ! strength, Then know "Samson," p. 74. .d :d .r 1 1, .t, : With high devo - tion C. t. m. 1. .d : d ,r |n .."s: s .1 Let him dis- solve those magi .n :f. ,s|d : whose God is God. II II 28. KBY B!7. : g |r .n : f .n Sound then the last a - II f .f :s .r |n : with in - trepid hearts; 29. KIT E. : |n .,r:n d : | .d : d .r larm ! And to the D. t. .d in .n : r .df |t .,t : t .d 1 Del -pendent on the might of Israel's G. t.m.l. "Jephtha," p. 31. "s .,r : r ,n |f .f : field ye sons of Is - rael ! God. 8 .n : r .d Taught by great Al - fred, never from your door, If MI :n_ I thrust the poor. . d. f. a. No Macfarren't "Christmas," p. 21. -.f|s :1 1 :r will you re - lent - less tale can to the time more r .,d:d.d |d fitt - ing be than one 30. KBY B7. : .1, Hi His migh ty r :- .r, |f, .,f,: t ( . griefs, His mighty griefs re-dress, flntermediate Transitions.! " Samiwn," p. 43. I .HI : HI .HI His might; II 1. s griefs, d. f. I .li :l|.t| d s I :- .di .t .r :f .n |d His mighty : E">. t. m. : r .n |f .f : f ,n Nor by the hea-then be they II *K griefs, told, His mighty griefs re-dress, F. t. m. .is : r .n if .f : f .n |de Nor by the I heathen be they told. 31. KEY G. Two and Three Bemoves. Advanced Rhythms. A. t.m. " Jephtha," p. 102. n r : r ,n ,f : r jn ,f n ,r ,d : r ,d ,t, : d "r : r,n,f:r,n,f n.r.d : r ,d,ti: d j| Still I'm of thee 32. KEY G. , 1 si : - ,f e,,S| : li t t\ ,d pos - sess'd Such n ,,d : s : HI is kind heav'ns de - cree. ' Macfarren't " Christmas," p. 26. s.d.f. Bt? fi 8 ~ . f i : 8 |P1| .,HI i red up - on the) .,li d ,,ti : d I 1 1 Blood of Dan - ish j,f, :- I .1, | 1 snow, A - 33. KEY G>. y! ,t| | d .t| : n ,t| Be-hold,be-holdThy E>. t. m. 1. ii- .de n :r .d |t|l t ,S|. war - riors la 1, :- .r :d mid the con d .t| : .t| d ,t| : i ser-vant, Thy ser-vant i t .d r,d.t| qu'ring Sax - ons. " Samson," p. 42, 43. n ,t| r : | : n dis- tress, : .n |f .n ,r : s .f ,n j Re turn, re - turn, fir : .l,s|s :- ,f,n O God! n : .r si : hold Thy ser Re - turn, O God of } - .f rT :r" .,d|d : || M hosts! be- hold, be- vaut in distress. 34. KEY B|?. And hear'n Maefarren't " Christmas," p. 22. G. t.ra.l. li : - .r : d .1| d .,ti: d : li 11 .r :d,l|.- n : :is breath - ing forth his sor - rows, Lifts ' up his withered hands : : :s. d : :d S| : d "" ~* n ~ . "~* iy King who reigns on high, : r : n 1, :s :-. f n : r : d : I hirq who hears the poor man's cry." The) [Intermediate Transitions.] 196 II 35. KBT B&. L is O. Minor Mode. "As the Hart," p. 8. .t| |n .,t| : t| .d Ir : se, .1, |t| t .t|,n,lr ,,r :d . t t ,ti) My tears have been myl meat day and night, While theyl dai - ly say unto' Id me, C. t.ni. "r 1 .,t : t .1,1 1 se dai - ly say unto me, in 1 .,d':l .,se|t I Where is now thy God P II If 36. KEY F. X is D. 1, : |1| : ill Fount of I mer s.d.f. End .,1,| se, : n ( cy free - ly .,!,( se, : HI d :- flow Rossini's " Stabat Mater," p. 16. - *' : ~ ' less streams of love be - stow - t, :- ing. 37. KEY B7. More than Three Removes. , se, : - : seill, : - :d |t| : - : HI | 1 Song of the Bell," p. 27. flii :- : ' Night con: Night comes) on with sa - ble I man - tie, O. t. m. 1. | "8 : - : 8 Soft - ly :- :1 |t :1 :s Id' :s :n sleeps the burh er peace ful, r. s. d. f. E?. 111 : :f n : - : - |r dread, soft - : r < With - out j, : : B7. t. : : pi, :- Guard :t, - ed d : - : d rn | f : - : r sleeps the pea sunt n : - : d peace ful,) G. t. m. 1. d : - : de | r : - : re I |f| s : - : - and! care - by the law, :r d :- :d ful watch - ing o - ver ' o'er [Intermediate Transitions.] s :_&_ : n \ *__'_{_ : r I d : - : his lone - ly I bed. fr0m it Classics. More than Three Removes. 38. KEY E. r.s.d.f. C. .s :s .s :1 .t jd ! .d :d'n' .r 1 :d' .t Id 1 Of swift-er flight, of ' swift-er flight and sub - tier ' frame, d.f.Bb- " Jephtha," p. 42. Of :r :n swift - er r flight .r :r .r and subtler frame. 39. KEY C. .1 t .s :d' .n 1 d 1 .t,di:r' .s - .d' :d> - men,A Beethoven's " Mass in C," p. 23. s.d.f. Ek d' men, d.f.Db- A . id 1 men, A d 1 men, C. t.m.l.r.s. A - j n 1 men, d 1 . men. 40. KEY :d When she r.s.d.f. n go - :s saw Him, It all .,f:f .,i the Lord of f :n . glo - ry, :- .t His :d ., All his Rossini's "Stabat Mater," p. 9. jr," p. y. :f -,fj marr'd and' :- .d 1 |de' :- .de 1 age marr'd and Ab- t.m.l.r. n| ; if ; I :'d' l-.s ;fe.s from the :- .s Fa ther's ry, Smart d : rod. 41. KEY G. :s And |s.f:n.r in his eyes with s : |n : bright - ness "Creation," p. 42. f : I :f n : > shines The soul, > l.r.s.d.f. :n the ise : | :se breath and : | :f .r d ir :d age l of his d :- God. Price ONE PENNY. J. CURWEN & SONS, 8 & 9, WARWICK LANE, E.G. 197 198 42. KEY D. Graun't " Te Deum," p. 9. j The <|8 : s :f.n |s :f n 1 .1 : 1 .1 11 .,s : s .d> -.t :- .1 |-.s :- .1 good - ly fel low f ,n.f | n : ship of the prophets praise Thee, praise B. d. f. F. : R :l,.n f praise Thee, The n d 1 : t.l .s,f |n : - .f :f .f,f|f .n : >-ble army of martyn r : 1 Thee. <| Thee, O. t. m. j,.f.n : |1 .8 : 1 1 praise Thee, praise Thee, praise Thee, praise ! 43. KEY GK Transitional Modulation. Two Removes. " Israel," p. 100, 101. A. t. m. f. D. X is B. .8 The n : d .d |i t si : s,.s depths were congeal - ed, the n : d .d :n.n' id 1 : 1 .1 |se :n depths were con-goal - ed, the) depths were congeal - ed. :d 44. KEY A. \ Like if. me, a - vene to " Samson," p. 49 :- |- :r.d|t, :- | each de - light, :r > She ' : | : r | se : I : t ir : | : n I d : | :1| wears the te - diousl wid - - ow'd night, She H d. f. GK : | :r wean the te dious wid ow'd night. 45. KBT B>. (in :d :1 r : : :n "Acis and Galatet : f n : r : d t,.r : d i | Melt - ing C mar t. m. X is A' det : : t d 1 : s man, last : d 1 r' : t : s n 1 : 1 1 love. ,,fi :1 :f Melt - ing mar n 1 : 1 : d 1 man fill the grove. t :d' :1 se : 1 1 Melt i ag mar - man, last ing love. ing [Advanced Transitions.] 199 46. KEY P. |n : n .n 1 1 .1 In the warm! sunshine II II r .r : r ver-si - ty, : |n .n : n .ba O. t. m. L is E. se : T | s : ne of our prosp'rous days, friends swarm ! .r :f .n d ' II draw in their head. II 47. KEY C. L is A. : n .ba Ise .1 : t .d 1 till Thy peo - pie pass I- :r' ver, "Samson," p. 14. t| : t ( .Id t,.t, : t,.d I But in the winter of ad- "Israel," p. 152. d 1 :t .1 which Thou hast) pur chas D. t. m. I.SI^IL :t| .d |r .n :f .s |l__.t_ id 1 .r' |t o - ver, Lord. ed, till Thy peo -pie pass 48. KEY A. :r .d |t|.r : d .t, il, :r|.r, In, : -.HI u ; r .d | t|.r : d ,t, ' I Thy peo - pie Thy peo - pie | which Thouhastpur - chas- ed, li II, :n they shall be 'Israel," p. 128.129. d. f. G. L is E. fe,se,:sei.l| \ still, till Thy Jt|.d ;r .n | people pass 49. KEY D. II : |f :n ver, The en - e - my d> : n .r will Lord. d 1 :- said, will take, pur - d. f. C. L is A. *r .n : ba.se: 1 .t Id 1 .r 1 : n 1 .r 1 : d' .t "Israel," p 103. s : : sue, d' 50. KEY At>. 8 : f in Lord ! lay | not Transitional Modulation. Three Removes. "St. Paul," p. 21. : - ,n |n :r.l, t, this sin to their charge. : s Lord f :n Je - BUS ! II- I i ceive |n : r ceive my spi - rit ! fiP s d.f. C>. L is A). .41:1.1 |l.t ;d'.d' i And when he had said this hel [Advanced Transitions.] se :-.! il : fell a -I sleep. 200 61. KEY B>. X is O. But all the II II C. t. m. L is A. " Creation," p. 40, 41. woik 1 : plete. t| t d . sei was not com -plete, But :t .t d' all the work : - .t :d' .sej was not com-) f. F. L is There D. 1 : want : n d ed yet :- .d :t, .1, * that wondrous : n D. t. m. 1. d : n be ing, That grate - ful should God's pow'r 62. KEY A!?. LiaF. Id : n : se 11 works The | works r thou li :t, of thine d :1, :- ad- Haydn's " First Mass," p. 4. F. t.m.l. hands. : r thy s face : f from us, d' :t Hide not d 1 thou Hide :- :d' :n I not ' d' thy face. 63. KEY F. Re - I joice, d IV Beethoven's " Mass in C," p. 40, 41. |r :r in the n : - .n |n : n Lord and mag - ni - C. t. xi*t : t |t .t: t .tid 1 } I fy him all ye gecd ofl ! ra-el, :d' Id 1 rd'.d 1 How plen - ti-ful, Lord, thy Si II B. d. f. E7. L ia C. msi d i : 1 1 : - 1 1 : 1 good : s which thou hast laid : n up |re : - .re for them that re :n fear thec. 64. KEY E7. :r |s : I :1, Its voice to : S| |IT_ row it II ) I loud. F. t. m. :f |_J_n_ I : r d Id : t, |f it - ' self not I feel - ing joy [Advanced Transitions.] Romberg's "Bell," p. 41. j^J^_i | r :_d_ I shall or pain, And) 20i r .d : t ( .l| |n : n .n <|r.d ;t|.l| I with its va - ry-ing :d :1, notes ' va - rv - insrl snflnfl : va - ry - ng scene soi : | .n : se.n II : li tend, On life's e'-vent - ful, D. t. m. 1. : | m ,S| : d .n And as ita s t-.rils^jvtilr^: ,d|s :-.n|l :-.slf .s : l.t tones, which first so I clear, Soon fade, and! on the ear de - d 1 :|: cay. II Transitional Modulation. More difficult Rhythms. 65. KEY El?. " Acis and Galatea," p. 24. Bt?. t. d.f. At?. L is F' .t :d' No show'rs |- .r' :t .,t to larks so d 1 .s : pleasing, ."ill .f :r .s Not sunshine to the bee, Not sleep |- .t : se .,se to toil so 1 .1 E?. t. .tpi'lf .r 1 :t As these dear smiles to d' 56. KEY F. : s Ife : f .f |n .f : s .1 |r :s ' They ' loa - thed, they loa-thcd to ' drink of d. f. Si?. L is G. d 1 .s :d'r' I- .d',t:di |- .ta :1 .se |1 ter in - to blood. II II 57. KEY B 7. L is G. T : ti ,t| | sei : .se Wretch-ed in - deed! But sei.se,: li .t, |d .li "Israel," p. 16. f :n .s |1 :1 .t ri ver : He turn -ed their' " Judas Maccabseus," p. 9. HI brace. C. t. m. L is A. | i,s : s .s Dis - tractful .f : 1 .s |n .n : the cho-son na - tion, let not Ju - dah's race Theirl ru-in with desponding arms em-' d 1 : | .s :s .1 it .t : |t .r 1 : f j doubt and deeper- 1 a - tion 111 be - come * D . t. m. L is B. .n II : .is |t : .s j I I AM ! The Lord of ! in .n : n .ba| se I Chosen by the Great Hosts 1 :n .ba who still the in same, We trust, .1 id'.l :1 .n |f : will I give at- ten-tive ear. [Advanced Transitions.] 202 SI ill 58. XBT E>. d : : d I tj .,r : s Hal le - llu - jah. M Hal le - llu jah. A*>. L is F. Haydn' t ta,f, : - : f, A - men, . m. Z is A. s if, : - i f. A - men, " First Mass," p A - men, H| .,861! t| A - men. 69. IBT A. is F$. Beating thrice to the measure. Singing great Jeho - rah's praise, The f .n ;r .d |t t : 1| | ho - lv choir em - ploy, Jephtha," p. 49. ;- .l,[t| .1| : t, .del f. D. L is B. [|n.e: 1 .t Ise.ba; n.ba[se.l ; t .d'jr'.t ; n'.r'ld'.t ; d'.r 1 n 1 :1 |t ; l..se| 1 : { The ho - ly choir em - ploy. II ' ' iB^itnd'in :f In : is.,f:n.,r|d : ta 1 1 :- Such as on our ao-lemn days, I Singing great Jehovah's praise. 60. II H Q. .d The wa .1, " Israel," p. 100, 101. A. t. m. ten were ' gath - er - ed, the wa .1| : t, .s, j - ters were / f. D. L is B. d .,d :d .n |de 8 e.ba : se .n II .,1:1 .d |t| .t, : gath - er - ed, the wa - ters were ' gath - er - ed to - geth-er. 61. . t ,: . |1 . :r .8 In .r.d: d |- .r : t ( .,d Id No show' rs to larks so 'pleasing, Not sun - shine to the ' bee, jl E>. t. L is C. d .t,,l,:l as - ing As these t : se .,1 dear smiles to [Advanced Transitions.] " Acis and Galatea," p. 42. d. f. A7. : . r n If .r : ti .n Not sleep to toil BO : ti .n j o toil BO i 203 62. XEY D>. Zis .BO. n' :- Thou, Id 1 : 1 se.,1: t . | : 1 i se : t .t|d Lord, art Saydn's "First Mass," p. 21, 22. God a-lone, n 1 : I - : - A 1, .t, :d .r,r,if : e n : men, aJ. - I migh - ty and e - ver - if- 2 ; Y n : 8 .f,n| r ver. A : - .r Lord for 63. KEY F. L is D. ( In .r_ : d .t, : d ,t|.l| j f .n | I Thou in thy I mer O. t. m. tn : r se : t last - ing. A - men.) B>. t. m. 1. jit's : |n rd.dj I O praise ye the) |d .r :n .fe s :f men, I A : - .n "Israel in Egypt," p, 112. r .de : r : cy r .r : n . f '. ^r .d ti : - .r : s, tt| d .t| :d hast led forth thy peo pie, which thou hast f, .n, :r, . 1 *l : se, .t| 1, : : se, 1. l deem ... . ed. s.d.f. B?.Zistf. :- ,.,,j - i Transitional Modulation. More than three Removes. 64. KEY At?. "As the hart," p. 28. f. DO :d From r :1 |s :f hence - forth and for n :- - : At?. t.Zis F. d' :- |- :t 1 :- 1- : m'l se : n 11 : ... ... .... il ! 0. t. m. 1. r. |t 65. XBY 0. er - mora. :d> for It I OT er n' : more. II All our n : strong. B .fe:f cher - ish, d 1 :n art and |f toil I r re s.d.f. A?. d pay. : :d r.s.d.f. A>. L'uF. " Song of the Bell," p. 22. Should the mould be] wrong, Or the " gush " too) :- .r |d F. t. m. |"s : - .f in Ah ! perl-haps, ; r ,n while joy we :- .d id :., I All our hopes and wish es I per ish. [Advanced Transitions.1 204 66. KEY D. L is B. id 1 :- .d 1 |d' .,d':di.d' Id 1 .,t ; 1 ,- 1 All th'inhab-i - tantsofl Ca - naan .t shall d'.l " Israel," p. 121. .se |1 : .t melt a - way, shall' melt d<.l : .se 1 1 a - way, s. d. f. Bt?, : s |d'l : the f. G. :d'g |- by great .r 1 : n 1 .de 1 r< : - .d 1 t :- .1 shall melt a - way, shall melt a ! I ). t. m. 1. ,r'| r 1 B. t. m. 1. r'f : ness of Thy arm, of a - way ; 67. KEY C. L is A. \\ Thy arm. Hossiiti'y " Stabat Mater," p. 14. 1 .,t : Q' .,t : i .,i n .,a : i| : a .,r : n .,T : s .,1 n ,,r :a : For His peo - pie's sin He suf - fer'd, 1. r. s. d. f. Db. 1 .,t :d' .,t:l .,f n ,,re: n : 'n .,f : s .,1 : s .,f n .,r :d : His own pre - cious life Ho of - ferd. 68. KKY B?. d :d As at :d d Mer- i :-.d:r n - bah they did, n und si* - :r ! des ert, A!?, t. m. :*t ( : r Af - ter f for " Come, let us sing," p. 23. r. s. d. f. G?. L\&EJ. : n | m se : - .1 : se.l i at I Mas r sa in the) f :-.f if :n.t|:d.r ( years grief at I this diso-bedient' 1.1 i] II II d race, said: de bel, : 1 I said: : :d.t,in :d : t|.l ( 'Tis a I peo - pie that do r :d :t,.f err, and in their n :-.d:l, hearts re - bcl, Bfr.t. m. Zis G. n : n 8 : :f Af ter for ty . f. At?. X is F. jlfl.n f :f 'Tis a peo - pie : s .s : f .n r and that of my sta :f :-.f f. E7. L is C. years grief d this n .t\: de.r dis-obcdicnt :n I : n .r jde : that do ' err, t r ii t n tutes I are still [Advanced Transitions.] Bb. t. m. X is (?. :-f I- :f .f :n.r J and in their hearts re - un '-mind - fuL NEW EDITION. MINOR MODE PHRASES, SELECTED FROM WELL-KNOWN COMPOSERS. For the 6th requirement of the Intel-mediate Certificate, any one of Noa. 11 to 22, taken by lot must be Sol-faad in correct tune and time. Two attempts allowed. The key may be changed when necessary. No. 1. KEY Q. L is E. li :l|.t, |d :r n as un-daunt-ed nl, : |* I Still II SIR H. BISHOP. From " Tis when to sleep." :f |ti :n 1 .1 :d |r :n II, : | y a tan - gled ' brake, n :- .r |d .r :d .t pause to mark the on we stray, Thro' li td |ti :rii si - lent way The Wo \ li :ti |d :r in : - cau - tious trav'1-lers I take. No. 2. KEY II | . m m 1 Bump not the flask, thou >. L is O. t, MENDELSSOHN. From the "Turkish Drinking Song." d :1,.,1 churl-ish clown, On the' board as tho* you would n break :- |d it! No. 3. KEY A. L is ft. ;n .r d :1, it, :n, Christmas - time, when W. BOTD. li :-.t, Id :d frost is out, The From a Part-Song. |f :f grow -ing old, :ni il| :- .ti |d :r But I sure - ly, soon as :f in :r A - pril comes, 'Twill :se ( |1| : | wake and bloom a - ' gain No. 4. KEY C. L is A. ( Sweet The :n |n d 1 : WELSH A.H. It :t |1 ing, Makes' ev From " The Dawn of Day." It bo :1 1 : glad, |se Spring a - gain re - | turn n :f jr :n ,d :r birds are sing - ing j from each spray, 'Tis' I a - lone am | sad. PRICE ONI HALFPENNY. LONDON: J. CURWEN & SONS, 8 & 9, WARWICK LANE, E.G. 20.1 206 No. 6. KBT A. I is I J. . THOMAS, from - There are good fish in the aoa." l:n.r|d :d iti.li :t,.djl| : | :l|.tijd.t,:l,.ti |n, :se, 1 1, : i ' I ' f i:n In.frn.f in :li In : | :n |n :r .d it, :n |1| : i No. 6. KIT D|>. L\sB\>. WILSH AIB. From "Of noble race was STienkin." f From his |8e.l:t.sel d 1 : cave in Snow-don's' moon-tains, Hath the d .l,;r .t||n :n pro - phet niin . strel spo - ken ; :1 .t Id'.n'rr'.d 1 It .r'rd'.t f It o - mens great sue - 1 .d':t .1 |se :- .m, f .n :f .r in :ie cess in war, Of I con - quest the sure i to ken. No. 7. KBT 0. Li* A. ,:n il :n |f :n i I We I all must work, it :n H. LAHKR. |f :n .r From a Part-Song. d 1 :- I- , :n.r /There's d 1 :d id :d'.t our lot. Each :1 |1 .l.se no - thing done, There's no - thing won, With- one must take his 1 :l.se|l :l.se out the earn - est part, \ heart. " No. 8. KBT A. Liaft. , :n, d : it, :1, } The sad leaves are ti :- dy 0. O. ALLBN. - |n, :m ing, the Fn n : |r :d sweet birds have am a Part-Song. t, :- 1- flown, ' O'er ev |t| :d f ry fair ti :sei |n) :n. i :- |r :d iloom - ing and t, :- i- bright, bios som once :t, n : r The frost |r :d spi - rit r :- lays - Id :li her cold 1, I |1, !80, fin gen to - 1 :- i- night. No. 9 KBT ] i-.d.rm :sci Jb. li :ti.d |r :d.t> HANDBL. d :r.n|f :n .r n :r.d it, :1, From "Judaa," n : I sword. f Where warlike Ju - . das wields h is right - - eous ( Minor Mode No. 10. KBT F. LiaD. J. R. THOMAS. c:n :n |d :n.,n 'Mournl not for the owl, nor his :n Nor <:se n :n.,n lone - ly the bird, nor his t| :m |1| : .,t| gloomy plight; The ghast-ly mate, They're d :d ,,r in :n owl hath his share of 207 From "The OwL' i. = i , good; d :n .,n | each un-to each :- r n pride, |f :n .n ^Thrice fond - er, perhaps, since a r :d |f :- ,nl 1 :f .r in :n strange dark fate Has' rent them from all be - side. No. 11. KBT Bb. L is O. i :ni ' Veil'd n, by HKNHT SMART. From " Good night, thou glorious sun." :- .n, |ba ( :sei Hi thy cloak of ' crim-son gold, Thy d :n |r :1, day's high du - ty d : done. No. 12. KBT 0. se :1 ise :n On thee a - lone our P. LA THOHB. in :n spi - rits stay, While ba :se From the Tune " Hereford," :t held in life's on - e :t |1 ven way. No. 13. KBT D. Z is B. :n Or lie, :n Iba :se HANDEL. 1 :- I heav'n, earth, seas and I sky :t In :f Ere From "Jephtha." d 1 :se |1 :t one con - fa - sion :r |d :ti 1| a daugh - ter's ' blood II No. 14. KBT D. LisJB. n :n |ba :se HBNKT SHAUT. From "The Lady of the Lea." Cold, with - in the :t id 1 : grave lies she, d :d !r :- .d Sleep-ing peace - ful- No. 15. KET D. L\B B. :1 .t :t All in the {.d :n .b 'Does my sweet :se .1 downs the fleet was se :n .n .t William, Does my sweet LBVKRIDGB. n :- .f :n .r moor'd, The streamers d :n' ' Wil - liam minor Mode Phrases.) From "Black-eyed Susan, 1 :t, .1, :d ., ing in the wind, : "< in .,l:d' .t .sell Sail* mong your ' cre^P IN No. 16. KEY 0. Lis A. Hnonr SMART. From "Now May is her&" rl.sell :t |se.ba:se.l|t :se in zl.iell :se 't :n Id 1 : | L:l.sel I I No. 17. KBT A. L is Ft. :li In : It. :se ( ini : | :m Iba: :i From the same. :t No. 18. KBY C. L is A. In :n |ba :n Iba :se Un : HAYDN. From "Achieved is the glorious work." :se |1 it If : |n : | j| 1 :t id 1 :d' 1 :t lie : ]ie :se |1 No. 19. KBT C. LuA. { in HANDEL. in From "Esther." :n lae :n II : For ' ev - er ' bless No. 20. KEY B ie :n iba :se 11 : ,se :1 it :se id 1 : It od, For I ev - er I bless - | ed, For I ev - er I bless ed. H d * S|n, :se. baj :se, |1 ( d :ti it, J. L. HATTON. From "Jack Frost" d :r iti :sei | li :ti |sei : I 111 :d :ie ( Hi : H No. 21. KBT 0. LuA. n :ba m :ba lie :1 G. A. MACFARRBX. t :d' |t :d' From "The Three Fishers. |r' :t II :- i : No. 22. KBT Eb> is ?. HANDBL. Phrases from " Israel in Egypt" e II :n iba :se 1 :f |n : II : I :se ba :se |1 :se ll.ttd'.l se : In :- I :d' 11 :se in n Iba -ba lie (:se ll.tt (:M 11 : : :n Ise :ba |n :ba se :1 t Id 1 :1 . se : (Minor Mode Phrases.) FIRST EXERCISES FOR MIXED VOICES. TO BE USED AS AN INTRODUCTION TO "ADDITIONAL EXERCISES." Ex. 1. KEY D. d : n : FIRST STEP. ;- d' :- d 1 :- In : Id : Ex. 2. KEY E'p. f (Sopr. and Bass.) :s :d n :d s d :d d :n Ex. 3. KEY C. f d :n s :n d : d : : d :n s :n :s :d n d t d :n :- d :d t s :s :s Id :- d Ex. 4. KEY F. n :d In :d d :n Ex. 5. KEY G. d :s, :d :d :n :d :n :s :s _ t Ex. 6. KEY F. d.s,:d n .d :n :n id :d d :- n .d :n n si : s .n :s s :n n .d :n d : Ex. 7. KEY G. Si :si !l. Swell the s, :s, n :n !2.Hark! the id :d SECOND STEP. SWELL THE ANTHEM. d an l n voice d :d them, f :n of :d na d :d the :d :n ture :d s song; t, r sings, S| d Praia d n Prais d A.L.C. :n es f :d 68 f :d LONDON: J. CURWEN & SONS, 8 & 9, WARWICK LANE, E.G. PIUCE Id. 8t. Co. (New). 210 FIRST EXERCISES. r :d t, :d r : 8| :s. d .d to our God be - long; Saints and an - gels T si :BI 8, JPV S| ; l :BI l 8| 8 :n r :d t, : n :n n :n to the King of Kings! Let us join f the t, :d Si :BI Si ! d :d d :d n :d r : s :s 8 !PI r :r d :- join to sing Praia - esf to the heav'n -ly King. d :d t : t| lt| d :d d :, d :- s :n t i r :r n :s s :s n : chor - al song, And the grate - f ul notes f pro - long. d :d 8 ( : i :>i d :d sj :s, d, :- SWEET SUMMER-TIME. Ex. 8. KKY G. A.L.C. 8 .n :n d 1 .8 :s t .d 1 :ri .t d' .r 1 :n 8 .PI IPI 1. Summer-time, Summer- time, Mer-ry, mer-ry Summer- time ; Gai-ly fling, n .d :d PI .Pi :n s .n :s .8 s .8 :s n .d :d 2. Summer-time, Summer- time, Mer-ry, mer-ry Summer- time ; nga - gain, d 1 .8 :s 8 .d 1 :d' r' .d' :t .r 1 "n 1 *. r 1 :d' d .8 :s 3. Summer-time, Summer- time, Mer-ry, mer-ry Summer- time ; Sing a - gain, d .d :d d .d :d 8 .8 :s .8 d .d :d d .d :d d 1 .8 :s PI' .n 1 :n' . r i d 1 : tr 1 t c . 1 .V .0 d .n 1 :s gai- ly sing, 'Tia sweet Summer- time. Brightly now the sun's gay beam, n .n :n s .B :s .8 n : s .8 :s .s 8 .s :s sing a - gain, 'Tia sweet Summer- time. Sweetly scent-ed is the air, s .d 1 :d' d' .d 1 :d .t d 1 : r 1 . t :r' .t d .d 1 :t sing a - gain, 'Tis sweet Summer- time. Now the birds on er - 'ry tree, d .d :d d .n :s .8 d j~ ~ I . B :* .s n .d :s t .r 1 :t .8 d .n 1 :s 8 .PI :PI d 1 .8 :s n 1 .n 1 :n' .r 1 d' :- : Glances o'er the crys-tal stream, Summer- time, Summer- time, 'Tis sweet Summer -time. 8 .8 18 .8 8 .s :s n .d :d PI .n :n s .s :s .8 n : RpHUteoui flow'n bloom r' .t :r' .t er - 'ry - where, d 1 .d 1 :t Summer- time, d 1 .s :s Summer- time, 8 .d 1 :d 'Tis sweet Summer d 1 .d 1 :d' -t -time. d 1 : Warble their sweet mri - o - dy. Summer -time, Summer- time, 'Tis sweet Summer -time. 8 .8 :s .s n .d :s d .d :d d .d :d d .n :s .s d : In marking the Teno; Registers (as p. 68), study the optional tones (pp. 32, 110), the phrasing St Co (New) (PP' *^ 7 ^) ^^ ^ e nee< ^ ' or P^o or forte in each case. FIRST EXERClSKb. 211 MUSIC IN THE VALLEY. Ex. 9. KBT Ab- A.L.O. d : 8, Id :r n : |r : d :s Id :r n : 1. Mu- sic in the val ley, Mu - sic on the hill, Si : s, is. :si si : is, : Hi :n ( IS, :si si : 2. Mu- sic n :n by |n the :r fire d :- side, It. :- Mu d - sic :d in Id the hall, d : 3. Sing d : with d joy Id f ul :d voi d :- ces, is, : Friends and lov'd ones ;s. dear ; d : r : r |r :s n : Id :- t| :d |r :t, d : Mu - t, : sic t. in It, the wood d : land, is, : Mu S| - sic :mi in IS, the rill; s, : Mu - s : sic S in Is the :s school S '. room, in" : Mu r - sic :d for It, us :r all; n : Dis - cord 8| and vex- a d :- tion, Id :- Ne'er shall s, :s. en - ter here, d, : s : n Id :n s : in : r :t, IS, it, r : Mu - d : sic d on id the :d moun d :- tain, is, : Mu S| - sic in the air, s, : Mu - n : sic S in in our :s spr pf : row, Id :- Mu ti - sic :r in It, our :r care, t, : Join d : the d hap Id - py :d cho d : rus Id :- Of 8, all na - Is, ture fair, si : d : 8, Id :r n : id :- t, :d |r : t, d : Mu - sic n. in IS, the true s, : heart, is, :- Mu l - sio ev - 'ry- where. n, : Mu - d : sic d in Id our f*:- ness, |n : Mu r - sic :d ev - It, : r where. d :- Swell d, : the d. glo - nous an d :- them, Id :- Mu 81 - sic's ev - |si : 'ry- where. d, :- St. Co. (NewJ 212 I IK8T EXERCISES. HIGHEB, HIGHER "WILL WE CLIMB. Ex. 10. KEY D. A.L s :s |d' :cl n 1 :-.r'|d< : s :n |s :d' d 1 :t j : l.Higher, high - er t n :n 'n ;n will we climb f s :- .s |n : Up the mount of n :d |n :n glo - ry, n :r | : 2. On - ward, on - wardf d 1 :d' Is :s may we press f d 1 :-.t|d' :- Through the path of d 1 :s d :s du - ty; s :s | : 3.Clos-er, clos - er, f d :d id :d let us knit t d :s |d : Hearts and hands to - d :- .d id :n ge - ther, s :s | 8 :s |d :d' n 1 :- .r'|d' ; s :n |s :d' d 1 :t | : That our names f may n :n |n :n live thro' time, f s :- .s in : In our coun - try's n :d |n :n sto - ry ; n :r | : Vir - tue is true d 1 :d' is :s hnp - pi -ness, t d 1 :- .t |d' : Ex - eel - lenco, true d 1 :s |d' :s beau - ty : s :s | : Where our fire - side - d :d |d :d com - forts sit, f d :s, |d : In the wild - est d :- .d |d :n wca - ther ; s :s | : r :-.n|r :r r :- .n |s : s :- .n |s .'d 1 d 1 --.t|t Hap - py,fwhen her t, :d is, :t. wel - fare calls, t, :d |r : He who conquers,! n :- .d |n :n he who falls. n :- .r |r : Minds are of ce - s :- .8 |s :s lea - tial birth, 8 :- .s is : Make we then fa d 1 :-.d'|d' is heav'n of earth, s :- .s Is : O, they wan - der s, .'d it- :s widefwho roam 8| :d |t| : For thnjoys of d :- .d d :n life f from homo, s :- .s |s : d 1 :s |n :d d 1 :- id 1 :d' d' :t m 1 :r' d' :- 1- : I.He who con - quers, 2. Make we then a 3. For the joys of d :s |n :d he who heav'n, make we life, for the n : in :n con - quors, he who then a heav'n of joys of life from n :r |s :s falls, earth, home. n :- |- : : 1 : d 1 :s m :d s :- Id 1 :t d 1 :- |- : I.He who con - quers, 2. Make we then a he who heav'n of falls, earth. : 1 : 3. For the joys of d 1 :s in :d life from 8 : 'Si : home. d :- |- : St. Co. Ex. 11. KBV Ap. / BI :d :ti d :- .r :n s :n :d r : : \ l.I'm but a stran - ger here, Heaven is my home; S| :si :s. S| t- .S| :BI 8| :Pl| :d si : : 2. What though the tempests rage ? Heaven ia my home ; n :n :r d :- .t, :d s :n :d ti :- :- 3. There at my Sav - iour's side, Heaven is my home ; d :d :s. HI :- .81 :d| s, in, :d| Si : : 4.There-fore I mur - mur not, Heaven is my home ; , s, :d :ti d :- .r :n s :n :d 8| J : Earth is a de - sert drear, Heaven is my home, ri, :si :si S| :- .8) :S| s :n :d s, : : Short is my Sil - grimage, Heaven is my home ; d :n :r :- .t, :d s :n :d s, : : I shall be glo - li - fied, Heaven is my homn; d :d is\ pi :- .S| :d| S| in\ .'d s, : : What - e'er my earth - ly lot, Heaven is my home ; d :d :d t, :- .d :r r :r :r d :- .r :n \ Dan - ger and sor - row stand Round me on ev - 'ry hand ; Si :s, :si si :- .HI :si t| lt| !t| d :- .t, :d And time's wild win - try blast Soon will be o - ver- past : n in in r :- .d :t, s" :s :s n :- .r :d There are the good and blest, Those I loved most and best ; d :d :d Si :- .8) :si S| tS| :S| d ;- .S| :d And I shall sure - ly stand There at my Lord's right hand ; / s .n :d r :- .n :r d :n :r d :- : Heaven is my Fa - ther-land, Heaven is my home. d :d :d t| :- .d :si HI :si is. HI : : I shall reach home at last, Heaven is my home. n :s :n r :- .d :t r d :d :t, d :- :- And there I, too, shall rest, Heaven is my home. d :d :d S| :- .S| :S| d i S| *S| d, :- :- Heaven is my Fa - ther-land, Heaven ia my home. St. Co. (New.) 214 Ex. 12. KKT F. FIRST EXERCISES. SWEETEST, FAIBEST. A.L.C. ; \ : ', 1 : s : |n :s r r : I. Sweet - est, fair - est, fbest of pla - ces, Is home, sweet home; d :- .r |d :s. n :- .r |r :d .d d : - Id : t, :- - : 1 : : 1 : n : - 18 : s :- |- .: 2.There the dear ones fwait to meet me, At home. sweet home; 1 1 : : 1 : d : - Id :n 8 *^ | "~" * : 1 : 1 : n : m :r d :- |- : There are dear ffa mi liar fa - ces, At home, sweet home; d :- .r |n :r d :- .t; id :S| ,s d : - Id :t, d : | : : 1 : : 1 : s : |8 : n : | : Tried and true hearts flong to greet me, At home, sweet home; S 1 : : 1 : d : is. ' d :- | : r :- .r |r :d t. :- .d |r :-- n - .n in :r d :- .r |n : Oth - er skies fas clear may be, Oth - er landsfas fair to see, 81 :- .s, |s, :s, 81 :- HI Is, : 81 : - .8, |8| :t, d :- .d |d : t, :- .t, 1 1, :d r :- .d |t, : d : -.d |d :r n :- .8 |s : Friend ship's handfl oft have press* d, Hap - py though tsfoft fill my breast, s, :- .8, |s, :n : 81 :- .8, IS, : d : -.d |d :8, d :- .d id : 8 :- .n |d' :n : n :- .r |r :d s : |n :s None can be f so dear to me tAfl home, sweet d :- .d |n :d d :- .t, it, :d d : Id :- ' n :- .s |s :s :- .8 s :n n : |8 : Yet I long fa gain to rest tAt home, sweet d :- .d |d :d 81 :- .8, |s. :d d : id :n t r : | ; n : in :r d :- |- : home, Home, sweet home. , *' : 1 : d :- |d :ti d :- 1- : : 1 : 8 : |8 : n : | : home, Home, sweet homo. \ 8 : 1 d :- 8, : d :- i- : St. Co. fjfetoj. FIRST EXERCISES. 215 MAY IS COMING. Ex. 13. KEY G. A.L.C. d :d :d ir :- :r PI :- :- |r :- :- d :d :d |t :- :d 1. Coming thro' clouds t and dark - ness, Com-ing thro' sleet t and d :d :d It, :- :t, d :- :- |t, :- :- S| :S| :s, |s :- .n, n :n ;PI is :- :s s :- :- is :- :- n :n '.n Ir :- :d 2. Coming fa d :d :d morn of is, :- :s, Slo ry, :- :- Is, :- :- Com-ing f a day of d :d :d |s, :- :s. r :- :- 1- :- : si :t, :r |s :- :PI n :- :- |r ;_ ;_ rain, Beau-ti - ful month of flow - ere, s, :- :- 1- '- ' S| :si :si jS| :- :d d :- :- |t, :- :- t, :- :- I- :- : s, :t, :r |s :- :s s :- :- |s :- :- rest, Faith sees its gold en pro - raise 1 s, :- :- 1- :- : s, :si :S| |s, t- :d s :- :- is. _ _ * d :d :d |n :- :r d :- :- |- :- : r :r :r |r :- :d v Hast'ning to us a - gain; Thought of the win - try d :d :d Id :- :t, d :- :- h :- : t, :t, :ti |t. :- :d ' n tn ;PI is :- :s PI :- :- |- :- : : : 1 ' ' Break thro' the cloud - ed dj . j west; Star of the dark - est :d :d |S| :- :si a| :-:-|-:-: : : i I t, :- :- 1- :- : n :n :n |PI :- :r d :- :- - :- : s :s :s hour Cheer of the dark - est day Comingjftho' s, :- :- - :- : d :d :d |d :- :t| d :- :- - :- : PI IP! :P1 : ; 1 : : : : : : : : : : s :s :s hour, Beaming with death - less ray Coming,ttho' ' ' I : : : : : : : : : : d :d :d |s :- :n PI :- :- |r :- :- d :d :d |p> :- :r d :- :- - ;- ; tern - pests low - er, Beauti - ful month of May. |n :- :d d :- :- |t ( :- :- d :d :d |d :- :t| d :- :- :- : |s :- :s s :- :- |s :- :- PI :n :n is :- :s n :- :- - :- : tern - pests low - er, Blessed e - ter - nal May. Id :- :d S) :- '- Is, :- :- d :d :d |s, :- :s, d, :- :- St. Co. fNew). 21G FIRST EXERCISES. THIRD STEP. * Ex. 14. KEY F. BllAILSFORD. Ex. 15. KEY A. NARKS. /C\ / n n :f s :- s f :n r :r n - /TV n f :r ti - d 1, :f n :r d - L 1 d i d :d t, :- d t, :d d :t, d - Si li :1 S| - l f. :1. s, :f| n, - 8 s :d r :- n f :s 1 :s 8 - d d :f r - d d :d d :t. d - d d :1, s, :- n r :d f. :n d - d l.:f, 8| - n, f,:r, si :s, d, - EX. 16. KEY G. GttEOOlUAN. Ex. 17. KE - G. J.S S. d 1 :d> |s :s s : s |s : s s : s | s : s Pains, nor toils nor tri - als heed - ing, And in heav'n' s own time sue - ceed - ing, d :d Id :d d :d |d :d si : si |si : S| si : si | s : f \ Truth ! thy cause, what - e'er de - lay it, There's no pow'r on earth can stay it, d 1 :- |r' :-.r n' :- I- : s : | s : - .s d :- |- : God speed the right! God speed the right ! d : | s : - .s S ! | : s : |s : - .s d :- 1- : God speed the right! God speed the right! s : It :-.t d 1 : |- : s : | s : - .s d :- |- : God speed the right ! God speed the right! n : |r : - .r d :- |- : s : I s : - .s d :- I- : God speed the right! God speed the right ! LONDON : J. CURWEN & SONS, 8 & 9, WARWICK LANB, B.C. In three parts, 4d. each 218 ADDITIONAL EXEKCISE8. PAHT I. GOING HOME. KEY F. M. 88. GW-**. :d n : s d 1 : - .f n : r s :- .d r : n l.How many a pang, How many an ill, How many a : S| d : r d :- .d d : t. d :-.d t, :d 2. He bears us, as in win - try storms, When winds are : n s : r n : - .f s : s s : - .s s : s 3. Be God our guide, whate'er be - tide, And when our : d d : t, li : - .li i : fi HI : - .HI si : d f ,,s : n .,f | r : : s t .1 : 1 .s s :1 .t Id 1 :- .t harm - ful snare Might sore - ly plague, and bruise, and r : d t, : :t. r .d :d .t, t| : d .r |d .n : s .f rav - ing wild, A faith - ful ten - der fa - ther s : s s : s : s : s 8 : s s : - .s time shall come, For us pro - vide in man - sions t, :d s, : s : s : s s : s .f n : - .r 1 d 1 .t : 1 .8 1 .8 :f .n n : r :- d :- : kill, Were God not with us there. n .8 : f .n f .n : r .d d : t, : d :- warms His lit - tie dar - - ling child. s :- .d |d :d : s :- .f n : : wide, An ev - er - last - - ing Home. d :- .d |d :d s, : s, : d :- : KBY Et>. M. 72. JACKSON'S EVENING HYMN. W, Jackson. n : : n f : - :n n : r : d t, :d : f : in r : : n l.Fa - ther, in high hea - ven dwell-ing, May our eve - ning d :- :d r :- :d 1. :- :li s, : s, : d :r :d t t : : d 2. This day's sins, rdon, Sa - vieur, K - vil thoughts, per - s : : s 8 : : s :- : t in i I :s : s s : : s 3.From en - tice - ments of the De - vil. From the might of d : :d t, : : d f, : - : f . s, : d : 1, :t| :d f :- :n \ 4. Whilst the night - dews are dis- till - ing, Ho - ly Ghost, each / 8 : f :n n : r : . ci 1 : f : 1 s :d :f n : : r d : :- song be tell - ing Of thy mer - cy large and free. 8, : : a. 8| : s : f : :d d : - :d d : : t, d :- :- verse be - F : - : d 1 ha - viour, d 1 :t : En - vy, d 1 : - : d* pride, and f :- :1 van - i - s : :f ty; n : : spi rits e - vil, Be our shield and pan - o - pty; r : :d 81 : BI : 1 :- :f n :- :f s : : 8 t d :- :- \ heart be fill - ing, With thine own se - ren - i - tv; St. Co. (New.) ' ADDITIONAL EXERCISES. PART I. 219 p r : : r Through the ti : :t, From the s : : s Let thy 6 ( : : si \ Soft - ly n : : s day thy d : :d world, the s : : d 1 pow'r this d : : n will the 1 : s : i'i love hath d :- :d flesh, de - d' : - : T night de - f :n :d eyes be s : f : n fed us, r :- :d liv - er, s : : s fend us, t, : : d clos - ing, r : - :f Through the d : t ( : r n : : s \ day thy r :d :d Save us s : : s And a s, : : s, While on now, and s : : s heav'n - ly d : : n thee the 1 : s :d' t :l : s f : care hath led us, With d :- : n f : :d ti : save us ev er o f :d' :d' d" :- :d' s : peace at - tend us, And f in :d f :- : n r : \ soul re - pos ing, Ev n ri : r :f n : di - vin est cha d li :- : r d : thou Lamb of Cal S s :f : I s : an - d gel . ic : r. com s, : er bless ed Trin pa - d :- :- ty- d : - : ry! n : : d ny< :-:- ty. SPUING LIFE. (Words translated from E. M. ARNDT, by J. S. STALLYBRASS.) KEY D. M. 144. : : S |d' l.Hur -rah! Hur -rah! s |n 2. Hur- : s rah! d 1 : Hur - rah ! 8 i S 3. Hur : s -rah! PI : Hur -rah! 8 |d 4. Hur -rah! Hur -rah! f .s:f .n| r : ti - ny r .n : r .d leaves, ti :- hill and : dale, days are : 1 long, kg be - hind, n .s : f.l | s : n .s : f.l |s : n Gersbach. d 1 : t |1 : s \ Flow - ret fair, d .n : r.f In : Bloom and be fragrant; d .n : r.f |n : d Put forth all thy 1 :s |f :rt , Brook - let clear, : 1 : Bird - ie dear, : 1 : Heart of Man, Mur-mur, thou youngster ; Warble, thou songster; : 1 : Leap up and worship ; Slant- ing down thro' Woods are leaf - y, What, thou would'st not/ s : - .t |t : s Clam - ber up my s : - .r |r : t ( Bid - ding all my : I : Flow' rs are nod ding When all else are t.d':t.l|s :- cot - tage eaves, r ,n : r .d 1 1| :, loved ones hail, : I : to thy song, glad of mind P t :-.d'|r' :d' Clam - ber up my s : - .n| f : n Bid - ding all my : I : Flow' rs are nod - ding s : s |s : s When all else are / St. Ci. (New.J 220 ADDITIONAL EXERCISES. PART I. t .1 : s .fm : : :i d' :- t :-.r' d 1 :-!-; cot - tage eaves. Hur- r .f : n .r |d : rah! Hur- 1 :s rah ! Grow a- n :- |r :-.f way ! n :- |- : loved ones hail. Hnr- : | :s to thy song. Hur- s : s |s : s rah! d 1 :- rah! n : - Hur- - |- :s Hur- - I- :s rah! s : rah! d :- Slant a- s : - .s Chant a- Si : - .s way ! s :- 1- : 1 way ! d :- I- : glad of mind. A - way! A - way ! Praise and pray ! / 8 :- I- :- n : - - 1 : f :- : n :- | : Flow n : 1 : ret, d :- - 1 : bios t, :- : som! d :- | : Brook ... : 1 : let, 1 : mur s : ; mer ! 8 :- | Song ... ster, 1 : war s : ; ble! d :- | : Take part, my heart! THE FORTUNE HUNTER. (Words translated from EUCKERT, by J. S. STALLYHUASS.) KEY F. M. 60, twice. Oet-sbach. : si |s, : 1, : ti 1. I'd of - ten been : 8, | si : li : ti 3. With clat - ter and : 81 Is, : I, : t, 7. I'll give up, me - : si |s, : li : ti 8. I spied a green 9. By la - bour and d :- told d :- noise, d :- :d.d|r -.d:r was a - .1|! 8, tions did : - .s : s - ter this :-.l ( :t, est so and per S n :d :r |n :n :f \ ro ver; I thought I'd make d :d :t, |d :d :d throng them, Men, wo - men and 8 : n : s | s : s : s bub - ble ; Who knows that when d : d : s/ |d : d : r sha - dy, To build me a sis - tence, My house I have/ ^^ That luck :d.d|t, Whole na : n .n| s thought, Running af d : - : d .d| s. spot In the for thought, By skill / s : - : n.n|r : - : n.r d :d : 1 :- :d'.l s : - : n.s |f : -.s: f bold Her haunts todis d :- :d.d|t| :- : M, -cov - er. d :d : La, la, f :- :l.f la, la, la, la, la, n : - : d.n| r : - : ti boys, But no Luck was a s : - : s . s | s : - : s .f -mong them ! La, la, n :n : |d' :- : d 1 la, la, l.i, la, d 1 :- : s |t :- : s caught She will pay for the n : - : d.d| s\ : - : S|.s, trou - ble ? La, la, d :d : |d :- :d la, la, la, la, d : - : n |s : - : si cot Without ask - ing my wrought, Without For-tune's as La - dy. La, la, -sis tance. La, la, la, la, la, la, la, la, la, la, St. Co. (New.) ADDITIONAL EXERCISES. PART I. 221 FINE. in :d :d .f : - : d 1 la, la, la, la, d :- : if :- : 1* d'.t : l.s: f.nlr :- :s la, la, la, la, la, n : - : d | ti : - : t t A' IKi E. d :- la! d :- Si I s : 1| : t> \ 2.1 left my own si | S| : If : ti la, _. la, la, s :- :n 1 1 : - :f.l la, la, la, la, s :- :s |f :- :f la! n : - 4.1 ask'd of those s, |s : I, : ti la, la, la, la, d :- : 1 :d :d la, la, la, la, d : - : | S| : - : S| la! d :- 5. At one place I S| | S| : 1| : t| , la, la, la, la, la, la, la, la, la, la, la, la, la! la! 6.Atagreat ci - ty's lO.Here. Luck, is my d :-.t,:d |r :d :r n : - : r | n : n : f s :-.f : PI | r : n : r D.S. d :- :- gate - way, And wander 'd a - d i -.S| : S| | ti ! 1| ; S| broad, Went this way and Si : - : t| | d : d : d that way, And tried ev'ry d :-.t,: d 1 1| : t ( : t| road. d :- :- near me, Where was the shy d : -.r : PI 1 s : s : s elf ; But none seem'd to s : - : s | s : s : s hear me, Each sought for him s :-.s : s | s : s : f -self. PI : - : - ask'd them If For -tune was d :-.d : d j s. : 1, : t. near; They said she had d : - : si | d : d : r past them Full ma-ny a n :-.r : d | s, : s, : s. year. d : - : - \ gate -way I ask'd, had she dwell- ing, And here will I been ? They ansvver'd " here stay ; Come in, if you're wait we, To wel- come her wil - ling ; If not, keep a - in." way! KEY Q. THE MAY-TIME. Words translated from the German by J. S. STALLYBKASS. M. 66, twice. /: s s : d 1 : PI In : s :d n : PI.S :f.l|s :- :s, | The :d May-time, the d : - : - May-time, how |- :PI :d love - ly d : d.n and fair, :r.f|n :- What The May - time, howl love-ly and fair, : PI The :d n : - : s |s : time, Id : . : I : : s May d : - : - \ The May time, What r : - : - | - ; - : s s : -.f : PI |r :t, : there ; t, :- :- 1- : - The : n night - in-g n : -.r: d ale sing - eth, |t| : sj : s :- :- |- : - ! : : i : : S S there ; s :- :- |- ; _ : : : 1 : : The 1 n n St. Co. (New.) :d.n:r.f|n Gersbach. :d :f.n\ pas - time and plea - sure is : : si | S| : d : d What pleasure is : : r i n : s : s What pleasure is n : d : t|.r| d : n : d pas - time and plea - suro is ' Over :-.f:n |r : t, : it up - springeth, : s, : : -,r: d 1 1, 222 ADDITIONAL .EXERCISES. PART I. 1 d :- : d |n : - : n s : - :- Id 1 :- :n.f s : - : d .r | n : - : r \ field and hill and dale, Over field and hill and j : :s ( .sild :- :d Over hill and n : - dale, : - 1- : - : : :d.d|d :- :t, f Over hill and,' : : 1 : : s .s s : - : s Is : - : d .r n : - : s.l |s :- :f \ Over hill and dale, Over field, Over hill and 1 : .- 1 : :d.d d :- :d |d :- : : : n.f |s : - is,/ / d :- :- 1- :- 8 .' d :n |n :s :d n :n.s :f.l|s :- :., x dale. The gates of the earth, that were lock'd up so fast, Let d :- :- 1- :- d d :- : - |- : n : d d : d.n : r .f | n : - : dale. The earth gates, so late - ly look'd fast, n : - : - 1 - :- n n : - : s |s : - : : : 1 : : dale. In May""" time, d :- :- I- :- d d :- :- |d :- : ; : 1 : : s Let / d : d JT. r .f | n : d : f .n r : - :- |- :- it 8 : -.f : n | r : t| : \ out their poor pris'- ners at last, As li - lies and ro - ses, : : BI | si : d : d t, :- : - | - : - : n n : -.r : d 1 1| : S| : poor pris'- ners at last, : : r | n : s : s s : - ' - | - ; - : ; : I : :s poor pris'- ners at last, And n : d : t|.r |d : n : d s : - : - | - : - : : : | : :n out their poor pris'- ners at last, ; : : I : : s,.s d :- : d |n : -.n : n s : - :- Id' :- :n.f And the pinks, and bunch - es of blue bells, And the ; | ; ; : |d : - .d : d n : - :- |n :- : Bunch - es of blue bells, s :-.f:n |r : t ( : : : I : :s s : - : - |s : - : d .r vio - lets for po - sies, And blue bells, And the n : - .r : d 1 1, : s, : I : :d d :- :- Id :- : s :-.d:d |n :- :r d :- :- I : s s : d 1 : n In : s : d red lit- tie pim - pcr- nels. In May- time, in May-time, oh, : :s, |d :- : t. d :- :- I : d d :- : - | - : n : d And pim - per- nels. In May time, ob, n :-.n:n I s :- :f n : - :- 1 : n n : - : s | s : - : red lit- tie pim - per- nels. In May time, j 1 : : a 1 8j : - : s, d :- :- I : d d :- : - | d .' - : And pun - per- nels. , St. Co. fNewj. ADDITIONAL EXERCISES. PART I. 223 n : n.s : f.l|s : - : BI d : d .n : r .f | n : d :f.n r : - waste not the hours, Go twine you sweet gar - lands of flow'rs ; d : d .n : r .f | n : : : : s, |s, : d :d ti :- sweet gar - lands of flow'rs ; ; ; 1 : ; : ; r | n : s : s 8 : - sweet gar - lands of flow'rs ; : : ! : : s n : d : ti.r|d : n : d S Go twine you sweet gar - lands of flow'rs; s : - .f : n | r : t. : . t 1 : : s,.S| d :-.d far on the mea - dows, There is ful - n< n : - .r : d It, : 8, ' ; " ; ! : ; : : 1 : : s s : - .f : r, | r : t, : . And deep in the sha - dows 1 : : n n : - .r : d It, : s, : S t ""* :- |d' : - : n .f s :d : d .r | n : - : r d : joy. And there 3 reach-eth us no an- noy. n : - :- I- ;: - : ; : S| | d : - : t, d : joy. And no an- noy. s : - :- 1- : - : d .r n : n : n .f | s :- :f n : joy, And then 3 reach-eth us no an- noy. d :- . i ~ i ; ; : :d |s, : - : s, d : And no an- noy. 8 Oh! n : d | n : - : n ness of life ana : S|.8|| d : - : d There is life and ? I : : s .8 There is : ' : :d.d THOU SHALT SHOW ME. KEY D. M. 96. Canon, four d' :- life f ;n |s : Thou in |f the : s r path BS) in two (subjects) d 1 :- - : show : : 't |d' : 1 me the path Id :- - Thou I S. Webbe. - 1- 't of :d |f :- shalt show i , f t : d'.,t : 1 : d'.,r'|d' :d' t 1 :- |d' :d' Thy pre : s .f n : sence is ful ness of :- |n :- of life; : : : '* in |s :- - Thou 1 : Thy . c 1 A\ . S | U shalt show : 1 St. Co. (New). 224 ADDMIOXAL EXERCISES. PART I. r' : Id 1 :d' joy, And at f : I n ' pre - sence, me the : |d :- f :f |f :r'.r' Thy right hand there is : |r :r in Thy 1 :- 1- :t path of - :d |f :- n 1 :- |d' :d' plea - sure for d :- |1, :1 pre - sence is d 1 :- |d' :- life ; in :n |f : r 1 :- | :r> \ ev - - er f : is : s | ful - ness of Thy ' r :- |- : s.f Thou shalt shew me the patu of ,) d 1 :- Is :- more. Thou d :|: 1 cR : d'.,r'| d 1 : d 1 shalt shew : 1 : t :- Id 1 :d' ful - ness of r : |n : in Thy Thy - :t |d' :- me the : |d :- Thou r> :- |d' :d' joy, and at f : |n : pre - sence, FINE. ^ d'.,t : d'.,r'| d : : d 1 1 : i : t \ path of :d |f :- , shalt shew f :f |f :r'.r' Thy right hand there is : | r : r in Thy ( D.S. t :- Id 1 :d' ful - ness of pre - scnce ia life ; ' d 1 :- Id' :- life ; in pre - scnce is - :n |f :- r :- 1- :s .f n :|: r : |n : me the plea - sure for d :- |1, :1 pre - sence is path of r 1 :- |- :r' ev - er f : |s :s ful - ness of life ; ^ d 1 : |s" : more. Thou ^ d :!:- joy. in Thy ; g | (Jl ; shalt shew : 1 : KEY 0. M. 72, twice. Fa la la : n .f 8 : - : - THE WAITS. 1st time P-, 2nd/., 3rd/:, 4th/., 5th p., 6th pp. Jeremiah Savillc, 1667. r' :- :- d' : 1 :t Id 1 :- : r'.n 1 f ' : - :- \ la, Fa la la la, Fa la la s :- :- n :n :s |n :- :f.s 1 :- :- / : d'.d 1 d 1 : - : - t :- :- d' :d' :t |1 :- :t d' :- :- jj Fa la la : d'.d 1 d 1 : - : - la, Fa la la la, Fa la s : - : - 1 : 1 : s 1 1 : - : s f : - : - } n 1 :- :- r 1 :t :-,d'|r> :- rn'.f s' : - .1' : s .f |n' : n 1 :- la, Fa la la la, Fa la la la la la la la, s :- :- s :s :-.s|s :- : n .r n :-.f :n.r|d :d :- f d 1 :- :- t :r' :-.d'|t :- : t .t t :-.t:t.t|d' :1 :- i la, Fa la la la, Fa la la la la la la la, 1 d :- :- s :s :-.s|si :- :n.i n :-.n:n.n|l :1 :- / St. Co. (New.) ADDITIONAL EXERCISES. PART I. 225 f : f i :-. n '|r' :- : n 1 B.C. d 1 :1 : r' |t :s : d 1 d 1 : d 1 :-.t|d' : Fa r : 1 : la la la; r :-.d|t, :- : 1 . :-.l|t :s : Fa S d'.t la la la la la, Fa la la la la. f :f :f.n|r :r : n n :r :-.r|n : Fa la la la, 1 : d 1 : r |r' : t : d 1 s : s : -.s |s : Fa r : la la la la ; r : -.r| s : : Fa n la la la la la, Fa la la la la. f ' f :r Is :s :d s : s, :-.S||d : THE CUCKOO. KE1 ' F. M. 96. : 1 : SOLI. /. Gersbach. \ \ : * m : | : : | n : d . : 1 : Cue - koo ! Cue - koo ! and : : 1 : : 1 : : 1 : n : | : d CHOR : s, ' Who us. d : d.d|n.,r : d .n sings in the shady thicket s near? Cue - koo ! and - 1 : : 1 : d : | :d f :-.f|l :f 1 : s | s : s m : | : n .r n : n | n : s \ hark d how c - cho an f - swers clear, Cue - : n |n : m koo! The d : \ :d.t, two short notes are 1 d :d |d :n f 1 :-.l|f : 1 d" :d' Id 1 : : T \n : s s : s | s : s hark f, how e - cho an d - swers clear, :d |d : Cue - koo ! The : m \d : d two short notes are d :d |d :d S :f |f :f.n r : r |r .n:f n : - .s |n : s n : \ : s \ scarce-ly heard, when n : r |r : r .d e t, cho quick -ly : ti | t|.d : r mocks the bird, Cuc- d : - .n | d : n koo ! Cue- , d : | :* / s : s | s : s S : s I s : s s : - .s | s : : h : scarce -ly heard , when S| . : si | s, : s. e i - cho quick ly : si |si : s. mocks the bird, d :-.d|d : Cue - koo ! : n \d : , m koo! d : 1 : ' 1 : 1 : : s \m Cue - koo ! : m \d : :* I* : \ Cue - koo! :* \d : / : 1 : : 1 : : \ :s n : 1 : \\ o tell me now the songster's d .d : d .d | r : si name. Cue - d : | :* koo! d : I j j St. Co. (New.) 226 ADDIlIONAL EXERCISES. - PART I. : 1 : : | : n : | :d.r n ; - .PI j PI ; PI .f ' 1 : 1 : Cuc- : | : n koo ! We d : \ :d.t. hear them sing, and d :-.d|d :d.r f :-.f|f :s 1 : s |s : : s \ n : : 1 : Bird of beau - ty, 11. :-.l,|li :d bird of fame, f :d |d : Cue - koo! : n \d : : 1 : s :-.f|f :-.r r : n .f | s : s s .f : n .r | n : PP : : s \ catch the tone, Then n : - .r |r : - .t. turn and sing it, t ( : d .r |n : n sing it as our own. Cuc- n .r : d .t||d : n koo ! Cue- ^1 1 * n i : 1 : : 1 : : 1 : it \ : : 1 : : 1 : : : Cue - koo ! :m \d : / n : I : ' koo ! cm. di : : 8| PP o : s | n : s Cue - koo ! O :n |d : : : s O d.d:d.d|r :r tell me now the songster's n .PI : n .n| s : s tell me now the songster's : 1 : s .s : s .s 1 1 : 1 tell me now the songster's n : |f : d s :- |f :-'4 name, O t, :- |d :r name, Q. d- : 1 f : name, O = 1 :f. tell me r : 1 1 : s tell me tell me now the songster's n : - .f | s : 1 tell me now the d : |d :d tell me the s : s | : f .1 n : |r : song - ster's d : 1 1| : song - ster's s :- | :f d : s |n : name. Cue - koo! d :n Id : name. n : | : s : s |n : Cue - koo ! :n |d : n : | : r tell mo the d :ci.r|ri :f name, tell me now the song - - ster's song - ster's name. Cuc- d : | : n name. koo! d : | : s, : 1 : : 1 : n .n : n .n|n : s tell me now the song -ster' d.d:d.djd :d dim. dim ^ :s |pi : :s |ri : : | Cue - koo ! Cue - koo ! :n |d : :n |d : : | PP di :- |- :d' s :-|-:d s :- | s name, Cue - koo ! Cue - koo ! A . I . . .__, I . . 1 St. Oo. fNmo.J ADDITIONAL EXERCISES. PART I. 227 KEY G. M. 80. BON ACCORD. (Music from the old Scottish Psalters.) s : | s : d Lord, bless our d : | a, : S| ti : - .d | r : n fel - lowship this S| : - .1,1 ti : d r : s |n : d hour, And bless the r : ti | d : si r :r |d : food we eat ; 1, :t, |d : n : |n : n Lord, bless our d : - | d : d r : - .r 1 s : s fel - lovvship this s : s |d : d hour, And bless the t ( : si | 1, : n. f : r |n : s food we eat ; Oh, f i 8| ! dj : :' 1 : : | :d t : 1 : s Oh, t- ; 1, |s, :d f : n | r : d grant us by Thy ti : d | 8| : si t| : ~.d | r : n sav - ingpower.A - 8| : - .Sil si : Si Oh, f :n |r :d grant us, by Thy s : f |n : s sav - ing power,A - s : s |s : n round Thy throne, a- r : - . r | r : s grant us, by Thy :d |t, : 1, Oh, grant us, sav - ing power, Oh! si : l|.t||d : n grant us by Thy r : d ft, : d po\ver,A - round Thy sav - ing power, A - s, : - .1,1 1| : d throne to meet, / by Thy eav - ing r :d |d : t, round Thy throne to A , J 1 1 1 Jf m. t, : a | i|.S|. i, ,S| d :-|-:- meet. n, : | : s : | s : d On ev - 'ry d : | si : s. t, :-.d|r rn soul as-sem - bled S| : - .1|| t| : d f : n |r : r d :- I- : - n : |n : n r : - .r | s : s round Thy throne to s, : 1, ifi : s. meet. On ev - 'rv d : |d :d" soul as-sem - bled s, : - .s,|si : d r : s |n : d here, Oh, make Thy r : ti | d : si r : r |d : face to shine, li : ti | d '. 1 : : I : d : | : s Thy ti : 1, Is, : d s :s Id :d here, Oh, make Thy ti : s, | 1| : HI f : r | n : s face to shine, Thy fi : s, jd, : Thy f :n |r :d good - ness more our :d |t, : 1, good - ness more our s : f |n : s hearts can cheer, Thy s, : l,.t|| d : n Thy good - ness more our hearts can f : n |r : d good - ness more our t| : d | s, : s, hearts can cheer, Than s : s | s : n t, :-.d|r :n hearts can cheer, Than 8, : - .8,1 S| : S| rich - est food, Than r : - .r | r : s r :d |d : t, rich - est food or u, U |1|.S|!I|.S| d : I : wine. n, : | - : wine. d : |- : rich - est food or f : n | r : r good - ness more our r :d |t, :d cheer, Than rich - est hearts can cheer,Than s, : - .1|| t, : d food or wine, Than rich - est food or s, : li |ft : s, rich - est food or wine. d, :- |- :- wine. Si. Co. (New.) 228 ADDITIONAL EXEliCISES. PART I. *HOPE WILL BANISH SORROW. KEV F. M. 72. Words by GEO. BENNETT. Hivabiait Melody. P ' ~ --= a - P , - ^v -^rr ' " S I - .n : l.s s .,f : n : r .n : f . 1 : s .f f :n : s : -.n : 1 . s s .,f : n : \ l.Once again we're doom'd to part, Deem not 'tis for ev - er ; Love if rooted in the heart, d :- .d:d.d r .,r : d : t|.d : r.f :n.r r :d : d : -.d : d.d r.,r:d :- ' 2. When I'm far a -way from thee, O'er the o - cean sail - ing, You will often muse of me, n : - .s : f .n So a __ .,9 s .s : s :s s : s : n : -.s : f .n s .,s : s : 3.Faith and trust in heav'nwe have, God is ev - er near - est, He can still the stormy wave, d :- f .d:d.d t,.,t,:d :- f .n : r.Si:l|.ti -o t, :d : d :-.d:d.d t|.,t,:d :- ( J i .8 : t.l :s. fe A A 1 : s : r f :- .n : r ,d ti.,d . r : 1 : - .s : f .n Time nor tide can sev - er; 'Tis the sad a- dicus that chill, Make the parting t|.r : n : r r : r : r : - .d : t|. 1, 8| ,,1| : t/ : f : - .n : r .d Tears & sighs pre - vail - ing, But ne'er think of me with fear, Check at once the s".t :_ r'.d: t. 1 d 1 : t : ti :- .d : r .n f 1 r : r :-.n:f.s Bear me safe - ly, dear - est. Then, farewell my na- tive shore, Clasp me to thy \ Si . S| : 3 :r fe : s : 81 : - .li: ti. i r ,,d : t, : t- : - .d : r .n cres. r ,,n : r : 8 : - .n : f .s 1 .t :r' d':t 1 s :r> : - .n : f .r r :d : sadder still. Say "we" 11 meet to -mor row," Hope will banish sor - row. d .,d i 81 : Si :-.d:d.d d :- - :d d : - .d : t,.t. t : d : ris-ing tear, Sing "wiHlmeetto -mor row," Hope will banish sor - row. 1 .,1 : t : d 1 : - .T : s . s f .8 : t 1 ' 8 f n ~ .8 : r . s f : n : heart once more, Sing "we" 11 meet to r ," Hope will banish sor - row. -mor rov f .,f : f : n : - .d : r .n f :- : f i Si ! ~ .8|! 8|.8| si : d : HOW BEAUTIFUL THE SUNSHINE. KEY D. M. 80. Words by GEO. BENNETT. German Air. mf ^ -.,. em. ^___^= : .s 8 ..(1 d 1 :- .8 s . f r':r' : .8 n 1 ..r 1 : d 1 .t :1 .r 1 8 1. How beau ti - f ul the sun - shine gleams In glorious summer's golden prime, : .n n .,n : n :- .n f..,f:f : .f n .,s s .8 :s .fe r 2. But oft the sun shine brighter glows, And dear-er seems to heart & eye, : .s 8 .,8 ' 8 : .8 8 .,8 :s ! .r' d .,t: d 1 .r 1 :n' .r' t 3. 'Tis thus in life, the cares and clouds But make the pleasures sweeter still, : .d d .,d: d :- .d t ,,t :t : t, d .,r: n .r :d .r S P A.t. mf : s s .,n :n .8 :d' .,8 1 : : 1 r 's f n .r ;d .r n \ On all a- round it sheds its beams, From ear - ly morn to ev - en- time ; :r n ..d :d .n :s .,s f : : f l r ..t d .t, :1, .t, d - When sparkling j o'er the wintry snows, Or glowing o'er the autumn sky; :t d .,s : 3 . d 1 :d' .,d' d 1 :- : Ji rig r n .s :s .8 S When twilight sorrow's vale en - shrouds, Hope shinesmorebrigliton sun-kiss'd hill; :s d .,d :d .d :n ,,n f : :f t et, .,s : S| .Si :s, .S| d St. Co. (Ncir.J *In teaching, introduce here St. Co. Ex. 133 to 145, or "First Exercises" 18 to 21. ADDITIONAL EXERCISES. PART I. 229 f. D. in/ eres. > / : *s s .,d':d' -. c t D 1 .,d':d' :- .d 1 And yet we tire ere summer's sped, And : t r n ,,n : PI : - .n f .,f:f :- .1 When light and shade more e - qual seen, The : "t d 1 .,s : s :- .d 1 d 1 .,1 : 1 : - .f 1 The r Id-en threads time's weft per- vade, Shine : dg .,d:d :- .d f .,f:f :- .f t .,d':r' .PI' :f .,t wish the long long days were s .,s : s .s : t .,f cloud will make more bright the r 1 .,PI': t .d 1 : r' ,,s brighter for its warp of s .,s : s .s : s ,,si d 1 fled. n beam. 8 shade. d COME, FREEDOM'S SONS. KEY Bi?. M. 72. Schultz. / S| d :d d :- .si S| .Pi| : 1| ,S| _si__.fi : HI .d l.Come, free - dom's sons, and join in ring- ing cho - rus, In .S| PI| '. PIj Pl| I - .Pl| t f i'i '. di pi| 2. In rain and storm our sky is oft - en frown - ing, And |i s, : si Si :- .8) si .d : d .d s, : s, .s, 3. Then free - dom's sons, come join in ring- in o cho - rus, In .S, di : di d, : - .d, d| .d| : d, .cl| t a : d, .d; B.C. n .d : s .PI r .n : r .d t, .t, :1, .1, s, : . .8, li : ti joy- ful mu - sic praise this fa - vour'd spot of earth ; Come , praise the S| .n : s, .s, s, : - t ]. S| . S| : fe, .fe, S| : S 1 f i : f i girt by ra - ging seas our land is rough and sear; But health and d .d : n .d t, .d : t| .H r .r : d .d t, : . .d d : si \ joy- ful mu- sic praise this fa - vour'd spot of earth ; Come , praise the d| .d : d| .HI s, : - -d, ri .r, : n r. S| : . ,ll f . : r, / d : - .r n .d : f .n n .r : .8 f .n :r .d t, .It : si .d \ skies in beauty shin-ing o'er us, And loudly sing to praise the land that PI, : - .si si .BI : S| ,8| si .s, : .81 S| .8) : si S| si .f, :PI, .li peace our dai- ly la- bours crowning, Give countless blessings to the cheerful 8 I : - .t, d .PI : r .d d . t| : .n r .d : ti .1, si .r : n .n skies in beauty shin-ing o'er us, And loudly sing to praise the land that \ d, : - .s, d .d : ti .d S | . S | .' .8, S| .si : si .il S| .t| : d .1, / r 8! d : .i li :t, d :- .r PI .d : f .PI gave us birth; Come, praise the skies in beauty shin-ing 1, f 1 "I : .8, f, :fi HI : - S| S| .81 : si .s. spi rit's here ; But health and peace our dai - ly la - bours f : r d : .d d : S| si : - .t| d .n : r ,d gave us birth; Come, praise the skies in beauty shin-ing f, : si d, : HI If : r i d, .ii d .d : t, .d St. Co. (New). 230 ADDITIONAL EXERCISES. PART 1. n .r .s f .n : r .d t, ..It : 8, .d -*^ ^ r : t| d .n : n .n o'er us, And loud-ly sing to praise the land that gave us birth, the land that S | . S , S| S| .8) : S| ,S| si .f, : HI .1, L : f i PI) . Si : 1 1 . 1 1 crowning, Give countless blessings to the cheerful s[-i - rits here, the cheerful d .t, .n r .d : t, .1, 8| .r : n .n f :r d .d ;.d .d o'er us, And loud-ly sing to praise the land that gave us birth, the land that III .81 .8, S| .s, : S| .s. si .t, :d .1| f| I S| d, .d :1, .1, / f r n .d : d .d r : t, d :^ . ijave us birth, the land that gave us birth. 1, S, 8, .1, :li .1, li : si .f| n\ : - . spi - rite here, the cheerful spi - rite here. r t. d .n : n .n r : r d :- . gave as birth, the land that gave us birth. f. 8, d, .1, : 1, .1, f ( : s, d, :- . THE QUAIL CALL. (Words translated from the German by KEY 0. M. 66, twice. J. S. STALLYBRASS.) P f Gtrsbach. ,n ; - : n.n | n : -.n : n f -.s : f |n : : s.,s s : : | : : I.I lark to the Quail how she pipes at morn, "Comea- long! Come a-long ! d :- :d.d|d : -d : d r -.r : r |d : : - : s.,s | s : : 2. Cool on the hea - ther the dew yet lies ; " Cold the night ! Cold the night ! " 8 : - : s.s | s : -.s : s S -.818 |s : : j : 1 : : 3. Now come the huntsmen with horn and hound; "Get you gone! Get you gone ! d :- :d.d|d : -.d : d t| -.t,: ti | d i : : : ! : : 1 4. Hark, when the reaping is ov er and done, ' ' I'll be- gone! I'll be- gone! ' d 1 : d 1 : d 1 | d -r'-d 1 t - : |s:-. s : s s : 1 : t Id 1 : -.r 1 : d 1 come let us hide in the corn " Look at her, steal- ing through yonder green n : s : 1 | s : -.s : s 8 - : |s :-. s : s 8 :fe : B 1 :-.!:! flutt'-ring and shiv - 'ring she cries j Runs to the sand, where she mak - eth her d 1 : d 1 :d'.r'|r, : -.f: n 1 r 1 - : |"f : -.t : t r 1 : d 1 : t |1 : -.1 : 1 here I lie safe in the ground : While the wheat stands and the leaves are yet d : n : f | s : -.s : s S - : | s : -.s : s t : 1 : s |fe :-.fe: fe ruth - less the win - ter comes on." Hi - ther and thi - ther she flits and she t :- :- |s en -ing r 1 : -.r 1 : d 1 |T : -.1 : s skies ; bare ; d 1 :- :- "God be Who'Uba- thank'd, God be thank'd ! d 1 :- jd'^'ld 1 :- :- friend? Who'll defend P " ,':. : PI., PI |f :- :- reap - ers they lay me so f : - .s : 1 | s : - .s : s \ vale of her birth she would stay, Look she goes, Look she goes, eres - cen do. 1 s :-.s:s | s :1 :t A\ . u . ~ i _ . _ who for the hum-ble pro- n :-.n:n |f :f : f vides." PI : - : - _ _ . slum - her he gave to mine d' :-.d':d' |t : d 1 : r 1 eyes. d 1 : - : - _ ; _ ; God for his crea - ture will s : - .s : s | s : s : s care. d :- :- _ . _ . , ov - er the moun-tains a - way. Words by /. S. Stallybrass. /KEY B17. S.S.C.T.B. THE TIME FOB JOY. (" Soldiers, brave and gallant be") M. 144. PI : - .n |d : n : n .r | n : f e Oaitoldi. s : - .s i s : n : - .n|n : s l.When the win - tor's d : - .d | d : r past a - way, d : - .d | d : - When woods put on their d :d.r|d : 1, green ar - ray, s, :-.s,|si : 8, s, :-.S||s, : li i 1| .i'il 1| 1| si :-.Silsi : 2. la the leaf -y n : - .n|n : r month of June, n : - .n |n : Un - dera high and d : d ,t|| 1| : r cloud - less moon. r : - .r | r : 3. Let the sum - mer sun be high, d :-.d |d : Or winter fogs blot li : 1, .t|| d : r out the sky, si :-.S||si : ' n .n : n .n |PI : r n : | : s n : d | r : r d :- 1- :- \ Fa la la la la la d.d:d.d|d : t, la, Fa d : s |n : d la la la la * : n .f | s : s la. n : | : Fa la la Fa la la la la. BI.S,: S|.s,|si : s, s : | d| : n ( .f| S| : 1| | r.| : si 8) J 1 : d.d:d.d|d :r Fa la la, d :n.f |s :- Fa la la la :d.d|d :t, la. d ,ti: d .r |n : Fa la la la la la di ,d, : d|.d|| d| : S| la, Fa la la, d. : - | : d .d Fa la Fa la la la d : li Is, : s, la la la la la )a la la la. d. :-!-:- la. / St. Co. (New.) 232 ADDITIONAL EXERCISES. - PART I. n . - .n|n : s n : - .n|d : n : n . r | n : f e s : - .s | s : , Then the birds con- spire to sing, Then, then with joy they hail the Spring, d : - .d|d : r d :-.d|d : d :d.r|d : 1, ti :-.t,|ti :- J si :-.s,|si : si si :-.8,|si : 1, 1 1| .Til 1| I 1 ; s, :-.s,|si : 1 E'er the dew hath shut the rose, While yet a breath of eve - ning blows, I n : - .n|n : r n : - .n|n : d : d .t|| 1; : r r : - .r |r : \ Songs of joy can still a rise, Deep in the heart their foun - tain lies, d :-.d|d :t. d :-.d|d :- 1, :l,.t,|d :r si :-.8,|S| : / P n .n ' n .n | n i r n : I : s n : d |r : r d :!-:- Fa la la la la la la, Fa la la la la la. d.d:d.d|d : t, d : s |n : d : n .f ! s : s n : | : Fa la la la la la la la la la, Fa la la la la. S..S,: s,.s..s,. : s. s, : |d, : n,.f s/ : li |r, : si si :-!-:- Fa la la la la la la, Fa la la la la la la la. d.d:d.d|d :r d :n.f|s : :d.u;d : t ; d .ti: d .r |n : Fa la la la la la la, Fa la la, Fa la la la la la la la la. d..d. : d .d d : s. d, ! | :d.d d : I, | si : s, d, :-|-:- Fa la la la la la la. P cres. t| : t|.lj t| : d t| : t, |r : r .d r : n |r : r n : s | s : f e \ Hark ! do you hear the tale they tell? Near and more near the tid - ings r : r .d|r : n r : r |t, : ti.li t| d | t, I t| d :t, |r :- s, :si.ri||si : s. 81 : s, | si : : | : s, i :~ 11. :- Hark ! do you hear the night-in - gale, Sing loud and clear, His thrill - ing : 1 : : P\T :s.n s : | : s n : 1 1 : r Hark! do you hear, Hark ! do you hear our songs re - sound, Still loud and clear, The whole year 8| : s. . 1|| s : d| si : s ( |s, :s,.l s, : d, | a, : si d :n |r :- / /. ff s :- I- :- r : r .d|r : n f :-.f|f :- s :f.n|f :r swell : Now with a sun - ny sky a - bove, Now is the time for t, :- 1- :- t, :t|.d[t| : Si d :-.d|d :- n : r ,n|d : s si :-|-:- s, :8|.ni|s, : s, fi :-.fi|fi :- HI : f, . S|| 1| ; S| tale? Here, in the green and sha - dy grove, Here is the place for F :- I- :- t| t|.l|| S| : d 1, : - .1,1 1| : d :l,.d|d :t, round P Where joy desccnd-eth frm a - bove, There is the place for si :!: 8, :s,:i|ti :d fi :-.fi|f| : d, :r,.di|f, : si t St. Co. (New.) ADDITIONAL EXERCISES. PART I. 233 d :-.d|d :- VP n .n : n .n|pi : s n :- I- :- P d.d:d.d|d : t, \ joy and love, n : - ,n|n : Fa la la la la la d.d:d.d|d : t. la, d :- |- :- Fa la la la la la n .n : n .n| n : s s, :-.Si|s, : S|.s,: S|.s,| s, : s, si :|: BI.SI: si.sil si : s ( joy and love, Fa la la la la la : 1 : k, n .n : n .n|n : s Fa la la la la la joy and love, d| ; - .d|l d, : d.d:d.d|d :n Fa la la la la la d :- |- : la, d .d : d .d|d : n Fa la la la la la la, Fa la la la la la / cres. d : | : s .s n : | : s .s .ff n : : n .n n : i : la, cres. Fa la n : s .s |n : la, / Fa la : s .s |n : la, ff Fa la : s .s |n : d .d la. d :- |- :- la, Fa la la, S, : H|.P1|| 8) ! Fa la la, :ni.ni|s, : Fa la la, Fa la la. i HI ,pi|| n, i Fja la la, :"d~.d|d :-. cres. d :- ! :d.d Fa la la, :d.d|d :- d :- | :d.d Fa la la, :d.d|d : ff d :- | :d,.d Fa la la. d, :- j- :- la Fa la la, Fa la la, Fa la la. KEY F. PP n :f |s :1 HEAR ME WHEN I CALL. r : | s : d : |r :n G A Hacfarren. f m 1 n ' \ Hear me when I d :d |d :d call, O t, :- Id :- Lord of my d :- It, :d right - eousness; j d :-.d|d : s :f id" 1 :1 S ""~~ | S ~~ n : | s : s 1 :-.sjs : Hear me when I a :li In, :f, n :f |s :1 Hear me when I d :d |d :d call, O s, : | HI : Lord of my 1, :- Is, :d ? :d |f :n right - eousness ; r : - .d|d : n right - eousness ; Have t, : - .d | d : d call, O t, :- |d :- Lord of my s :f |d :1 s : | :f n :- |f :s s : - .n|n : s Hear me when I d ' 1| |PI| : f | call, O Lord of my L : | r, :m.f right - eousness ; Have s, : - .d | d : d St. Co. (New.) 234 ADDITIONAL EXERCISES. PART I. ertt. s : In : r i. my. d :d | :d s , t :- |n : r JT.t. d :d | : mer cy up - d : Id : s, on me, Have 1| ! 1| | ;d g| mer - cy d :- |d ^ up - on me, f li :li 1 :",!. ' s : |s : s n ' n | '. * n 8 :- Is : s And n : n | : mer - cy tip n : | d : ti on me, Have mer - cy n : |d up - :ti on me, 1, : 1. 1 : : I ;l|r and r :d |t, :1, t s :- |f :n 'im. f :- |r un - to r : d | ti : r my my : s, : s r : | n pray - er. t, :- |d : :- |s : pray - er. d :- |d : 1 :1 I : heark en d : - |r : n heark - - en and : | :df C.t. ff 8 :1 |T :d' 1 :- |s un - to r :- |s r 1 :-.s|s heark en n : |r : d n 1 : d' |1 : t .d Lord, lift thou M :- |f :f up the light of thy n : s |f : f .n coun - te- nance up - s . | ,f : PI .r on me, f :f 1 : d 1 : | d 1 : t d 1 :d p |d' :r'.d d> :t |t : t d :d' | : Lord, lift thou t ( n : | r : r up the light of thy d :n |f :r.l coun - te - nance up - 8 : - .8 | 8 : 8 on me, f :f 1 : ,?._!_:_ t : d 1 1 1 : f ? : I :1.1 t :d' fl :d' Lord, lift thoj up the f :s |f :d ri- ,- of thy :f .f coun - te - nance up - f :s |f :n.f fi ':- \- :- r 1 : d' |d' : 1 f :- |- :"?.!' r 1 :d' Id' : d' Lord, > : | r : lift thou up the f :n if : light :r |r of thy : r .r coun - te - nance up - r :n |f :1 Lord, lift thou up the ligh f. F. # dolce. :_ |_ : _ dig : f | n :r * 1 d :1 |s :~ - :r down in peace and and take : | :d's r : on me. I will lay me s : | : f n : | : : I : r 1 : I : d : I : : I : on me. s :-|-:- d :-|-:- : | : and ta 1 e : | :i,n, s, : &, Co. (New.) ADDITIONAL EXERCISES. PART I. 235 r : s.f PI : s : - :f PI : r d :1 s : : r r : n take my rest, I will lay me down in peace, and take my t, : d : r d : t, d : : : :d d : t, : my rest, and take my rest, and take my s : s : f n : r n : : : : s r :- |s :- * 8| : ~~ d :- : : : : : PI, S| : | s ( : / f :- J fc_ : r ~s :7~ f :- If :- : s n : : rest; For it is thou, Lord, on . d :- , : : : : : :1, r :d t, :- , rest; For it is thou f i * . : : :s" |d' :t 1 : 1 : : s rest; For it is thou on . li : 1. r :d ti : : d :- - :- r : r, : S, 1 \ For it is thou, Lord, thou, Lord, on / f. B7. pia. PI :*S| 1, : -.8, si : 1, : : s, 1, : t, d :r i :. 1 : r \ ly that mak - est me dwell in safe ty; that d : d Si f| ! -.PlJ P1| I f i : : si f, :- f, : : s, | S| : si that mak - est me dwell in safe - ty ; Thou on - ly |d :fd d : d :d d : r.d t| : d d :- f :- n : :T ly that mak - est me dwell in safe ty ; that ll :1,PI| fi : -.d|| d| : f, ' ^ : n, f, : s, |1| : t, d : : ti 1 , ly that mak - est me F. t. PP PI : -.r r mi; : s 1 :t |d' :1 s : : s IT t ~"~ mak - est me, dwell in safe ty. A - men, 8 t : s, : s. s,d : r.d t, :d d : f : n : Si d : : t-.l. ' mak - est me dwell in safe ty. A - men, d : -.t, t. : df : - : s f :- - : s : : n s : mak - est me dwell in safe ty. A - men, d ! -.S|| 8| ! d ,f 1 : ! n ( f i : S| li : f, d : : : Jff s :f n :- d 1 :- : t : 1 t : |t : d 1 :- : A men, A . <, .t* .', . men, A men, t, :- d :- d : r : | : - :- |s :f PI : | : |s :- 1 : n : s : : - :- |s :- 8 . "~~ ~~ A - men, A men, A men, i : ! 1, :- si : : : 81 : ~!ld, i s - i- : - 8l. Co. (New.) 236 ADDITIONAL EXERCISES. PART I. KEY F. M. 108. d' :d'.t|l : r' :r'.d'|t : C. t. Matthew Locke. d'f rr'.d'lt :s' r'.f : n'.r'ln'.d 1 : We fly by night, : | d : d .d We fly by : |f :f.s we fly by night, f : - -n ! r : we fly by night 'mong troops of spirits, "1 : 1 . 1 1 1 : s s : - . s | s . s : we fly by night 'mong troops of spirits, d' ff |r' :d" d 1 : t |d f .d': night, 1 s : 8 .8 We fly by : |f :f.n night, we fly by r : |s : s .f night, by night 'mong troops of spirits, "1 : f ! s :n s : s |d .d : f. p. : 1 : r :r.d| t, : d'g :g.f|n : We fly by night, d :d.t,|d : d 1 :d'.t|l.t:l.s f .s:f .n|r : we fly, - - d : d .d|d : r : r .r |r : We fly by night, | n't :t.l| s : _We fly by night, ? : s ,s| s : we fly by night, we fly by night, 1 :1.1|1 : 1 :l.f|s : : |d' s :s.f \ We fly by n : |d :d.t, night, we fly by 1, : If night, we : f .n r .n : r .d| t|.d : t ( .l ( fly / / s : s .f |n .f : n .r d .r :n .d |r .n : f .r n .f : s .n |f .s : 1 .f we fly - r : r .r |d d " :d .d t, :-".t, d" :- |f :"f .f i we fly by night, t : t .t |d" a, : Id :d .t. We fly by n :n .n li .t, :d .t,,l night, by : - .s s, : si night, we fly by , 8 :d' Id 1 :d'.t d .r : n .d |r .n : f .r we fly, - we fly / s .1 : ta.s |1 .t :d' by :f t :d' Id 1 :t night 'mong troops of r : n r : r D.C. d' .d 1 : - | spi- rits. n .n : I : n : - .n |d night, we fly d 1 :- .d 1 |d r . by = night 'mong s : s troops of 8 : s spi- rits. 8 .8 :- i : n .f : s .n |f . :1 .f 8 :d night 'mong 8, : si troops of d .d : I : spi- rits. ... by St. Co. (New). - f ADDITIONAL EXERCISES. PART I. 237 MY LADY IS AS FAIR AS FINE. KEY '. 1 : d .r B>. M. 90. p PI : - .n | PI ; f F. t. PI : r .d | f : r n : r .d | r s : d 1 John Benet, 1614. d> :t |d :d.r\ My" la - dy is as si :-.s,|si : 1 ( fair as fine, With milk - white hands ane si : f..ri|| TI : t 8| : d | tn : d I gold - en hair ; Her r : - .r | d : d : si d :-.d|d :d d : si | si : s".f n : s | sd 1 :T 1 : s .f | n .f : PI .r My : d ( la - dy is as d, : - .d,| d, : f , fair as fine, With milk - white hands an( di : d| |s, : s, d| : d, | s d : n ( I gold - en hair ; Her fi :si |d i \ n : ores. 1 r .n | r .d : t|.d '. B?. rl,.ti:d.n|r : n : - .s |f :d r : r |n . eyes d : the ra - diant 4- A 1 4. 1 M 1 l| .u | l| . 1, . S| .1 stars out - shine, ta,f, :S|.l||t, : Light - ing all S| : - .S|| I, things : d far and near : d :ti |d : d : r | r : - .r s r : n .d| r : d : n |r :d T : s | s ! eyes the ra - diant S| | S| ! ~ .S i Her eyes the stars out - shine, 8 iri ; di | Si ; stars out - shine, Light - ing all n, : - .nj f| things 1| far and near : si : si |d| : d : - .r |n : d .s l,.t :d |d.t,:- r^ripT 11 :=> :d d :t, |d .d: Fair Pll as Cyn - thia, :-.f ( |si : si not f, so fickle ; I Pll |7|]T|! Smooth as glass , tho' :PI, not so brittle. n :r, Idi.d,: d : d |d : s, r : |s : r .PI f :d |d.r :n.f s :-.f|f .n: Fair d, as Cyn - thia, not f| so fickle ; : d, |s,.si:~ Smooth as glass, tho' f i .S| : 1| ,t|| d : d| not so brittle. s, : s, |d.d,: # F. t. : | :d.r n : - .n |PI : f PI : r .d| t| : r n : r .d | r s :d' My : | :pi|.f heart is like a si : - .s,| si : 1, ball of snow, Fast s, : f t . n\\ TI : ti melt - ing s, :d |t at her PI : d : 1 : fi~~ "d :-.d|d :d d :si |s, :I.f n : s | 8 d 1 : af My heart is like a d| : - .d|| di : f| ball of snow d| ' d| | S| , Fast melt - ing d, : d| | at her d : P>I d 1 cr :t id 1 :d.r r es. f. Bl?. ., 1 : r .n |r.d : t,.d r l|.t,: d.n|r : " r PI : - ,s | f : d r :r glan r 1 ces bright ; Her ] : - ,r | d : d < : s .f | n .f : n .r < a - by lips like nightworms glow, Spark - ling thro* the S| : - .S|| 1| : d d : PI r : d pale twi- d : t, s : s 1 : r | r : - .r r :s|.ljt ( :-.r glan-ces bright; Her f, :s, |d :- ru - by lips like nightworms glow, : si 1 si : -,s, s ir, : d ( | S| : Her lips like nightworms glow, Spark - ling thro' the PI, : - .P)|| f i I li pale twi- S| : s. SI. Co. (New). 238 ADDITIONAL EXERCISES. PART I. / In ' PP d : - .r | n : d .8j l,.t,:d |d.t,: d : - .r | n : d d : t| | d .d : light: Id : Is : Neat she is, no it :-.fi|s, : a, d :d |d : s ; fea - ther lighter; f i ^ r : 7 | s : r .n Bright she is, no f :T |d.r:n.f dai - sy whiter, r, : TI | d|.d|: ? : - .f | f .n : - light: Id, : Neat she is, no d| : - .d|| d| : n, fea - ther lighter; TI : d, | Si.Si : Bright she is, no f,.s,: Ij.tild :d| dai - sy whiter. NIGHT AROUND. KBY P. M. 72, thrice. (Arranged for this work by GEO. OAKEY). BI : n ; r Hm, d :- Hm, &c. a, : - n : - d :- Hm, &c. I - 1 : : B, | t| : 1| : ti d - If, :- :- n, - |r :d :r d - Is, :- :- d Air by Weingand. ' I : r | d 1 so we'll pass li :t, Id : 1 .s s : s | sd : s : s |s : time a - way s, : si |d : our time a - way. The : f . si : si I d f i : .d St. Co. (New,) 242 KEY D. Allegro. M. 88. ADDITIONAL EXERCISES. PART I. HALLELUJAH, AMEN. (From " Judaa Haccahaaus.") Handel. / : 1 : : : : \ : 1 : : 1 : : d .r |n,f .s : 1 .s Hal-le - lu - jah, A-men, : 1 : : 1 : ; ~5* . t | d',r'.n' : f .n 1 / d : - .r |n,f.s : 1 .s 1 . s : f .n | f .n : r d : | : Hal le - la - jah, A-men, A- men, Halle - lu-jah, A - men. / A. t. / : 1 : :d .r | n.f.s : 1 .s 1 .s : f .n |f .n : r Halle - lu - jah, A-men, A - men, Halle - lu- jah, A - 1 . s : f .n |r .n : f n :d.t| |d :d - .d : t| d | S| .d : - .t| A - men, Halle - lu- jah, A - men, Halle - lu - jah, Hal-le - lu - jah, Hal - le- f . PI' : r' .d 1 1 1 .d' : r' d' :r' 8 .f |s .8 :f .s f .s : .s | s : - .s Halle - lu - jah, Hal-lo- lu - jah, Hal-la - lu- : 1 : :* n .r |d,r.n : f .n f .n : r .d 1 1| .d : s, Halle - lu - jah, A-iucr., A - men, Halle - lu- jah, Hal - f. D. d if | : m t 1 : - |s : d' d" :f |f :n'.r" men , A - men, A men, Hal - le - lu - jah, Hal d : - ,ti,l|i 8| : - .ir n :f .n |r : s : f ,n.r | s : la jah, Hal - le- lu - jah, Hal - le lu jah, 8 : f | s : - . r 1 d 1 :r' .d 1 It .1 :T d' :- .r 1 Id 1 .8 : d' jah, Hal-le - lu- jah, Hal- le - lu - jah, 1. : - .8|,1,| t, .8) : - men, Halle - lu- jah, A - mon. St. Co. fNewJ / f n : 1 .s |1 .s :f A - men, Halle - lu- jah, A - n : 'd' |r' : r .r 1 men. O Ju - dah, re- :d s |f :f .f s : .d 1 r joice, re-j n : .s |1 1 .,iV:f ji' f r\ jice, - - l If 1 .s : f .n |f .n : f A - men, Halle - lu- jah, A - Ju - dah,re- d : in 1 | r' : r' .r 1 men. Ju - dah, re- : f d' Id 1 : t .t joice, re- joice, re - d 1 ; .n 1 |fi .,n':r' .n'.f joice, re -joice, d 1 : .d 1 |d .r',d':t .1 ,t / / n 1 : .d 1 |r' .,n':f jn'.r n'.r'.d 1 : .s 1 :- .t songs di- f :- .f d' : .n 1 If'.f :fi.f \ vino, With cherubim and n : .s 1 .1 : 1 .1 Re-joice, s : .s |1 :s Ju - dah, in S .8 : .8 joice, Re-joice, n 1 : .n 1 |f .,n':r' .n'.f Ju - dah, in n 1 .n 1 : .n 1 Jn - dah, in d> .d : .d' s : .t songs di- r' : - .r 1 songs di- f :- .s d' .d 1 : d 1 .d 1 vine, d 1 : .s f .s : 1 .t vine, With cherubim and 1 : 1 : t .t : t .t d 1 : - .d 1 N Re-joice, d 1 : .d' Id 1 .r',d':t .1 ,t n 1 .n 1 : n 1 .n 1 r 1 : - .t se - ra - phim harmo - nious S .8 I S .8 f I - .f join, Wi n : .s hcheru-bimand s .s : s .s se - ra - phim harmo - nious s .s : s .s s : - .s d 1 .r 1 :n> -d 1 r 1 .d 1 :t .8 d' : .r 1 join, Wi : .s n 1 .n 1 : n 1 .n 1 ,h cheru-bim and d .r : n .f r 1 .r 1 : r' .r 1 n 1 : - .n 1 se - ra - phim harmo - nious s .1 : t .s d 1 : - .d se - ra - phim harmo - nious A. t. / t : sd ,r |n,f.s : 1 .s 1 .s :f .n |f .n :r s : f. D. in 1 : r 1 \ join. Halle - lu - jah A-men, s : r S| | s, : f| A - men, Halle - d :d lu-jah, A - Id :t, men, .d : - and in dg ; s Har - mo - nious ' r 1 : tin .r | d,r.n : f .n join. Hal - f .n : 1 .s le - lu - |1 .s :f jah, n : and in I m t : t join. Halle - lu - jah, A-men, s : "d |d : \ Har - mo A - men, Halle lu-jah, A - : r nious men, d :- join, and in ds : s St. Co. (New.) 244 ADDITIONAL BXERCISK3. PART 1. / f :- Is :- s : - :d' d' :- |r> :- > songs di \f :- If :- songs di d 1 :- IT 1 :- songs di 1 :- It :- vine n : vine n 1 :- vine d' : bar - - :1 .8 mo - - nious 1 .s :1 .s |f .n :f har - - : f ' .n 1 mo ... nious f .n 1 :" .n' Ir'.d 1 : r' har - - :d' mo ... nious d 1 :- I- :t / s :d'.t |d',r'.n' :d'.s d'.s :l,t.d" l.t.d' : t i. , I : join. Halle - lu - jah, A-men, A- men, Hal-le - lu - jah, A - men, n : s .f I s,f .n : f .n f .n :1 .s 1 .s :f n : : join. Halle - lu - jah, A-men, A- men, Hal-le - lu - jah, A - men, d' :n".r' Id 1 .t : d 1 .t d^t :d' .s d 1 .s :r> 8 :|: join. Halle - lu - jah, A-men, A- men, Hal-lo - lu - jah, A - men, d 1 :d .r |n,f .s : 1 .s 1 .s :f .n f .n : r d : | : : | :r' d 1 : I . Adagio. : \ :t 1 : | : d 1 A - men, : I : : I : A - men, Hal- : i :f n : | :s A - men, : | :' n 1 : | : A - men, Hal- I :r' d 1 : | : d' A - men, A - men, Hal- : | :t d' : | : : i :s 1 : I :n t :-.t|d ! : d 1 :- |t :- men. men. men. le - lu-jah, A , f :-.f!s :- s :- |- :f le - lu-jah, A - - r 1 :-.r'ln' : f 1 : Is : le - lu-jah, A r :-.r|d :- s :-,': St. Co. (NtwJ ADDITIONAL EXERCISES. PART I. 245 Words by SWIFTLY FROM THE MOUNTAIN'S BROW. Music by Cunningham. Samuel Webbe. KEY EU. Allegretto. M. 80. d 1 :s d 1 :d' .r',d': t .d' r" : r .f : 1 .f : s .d 1 Swift - ly, swift - ly from the mountain's brow, Shadows, shadows nurs'd by : n : d .t ( ,d : r .n f : n .d : t| .r : r .n Swift - ly, Shadows shadows : d : n .s ,s : s . s f : r ,t| : t .s from the mountain's brow, nurs'd by d : n : n .d f .f : f .n r :t|.s, d :f,.l, S| : - .m Swift - ly, swiftly from the mountain's brow, Shadows nurs'd, shadows nurs'd by / dim. ft d 1 : t d 1 : : t d 1 night re - tire, re - tire, r : r n : "~^ r n 1 : s s : : s S night re - tire, re tire, fl : s, d : : si d s :d' swift - ly n : d s : n swift - ly .r',d':t .d 1 r 1 :r .f : 1 .f : s .d 1 d' : t di from the mountain's .ti,d : r .n brow, Shadows, f : shadows PI .d : nurs'd by t| .S|,l|: t[,r.d,n night re - li : si tire, 8| .s,s : s .s from the mountain's f .f : f .n f :- brow, r : t| .s i shadows, d : fi .1| shadows r ,ti,d : r .n r : r ,n,f n tire, d Shadows nurs'd by S| : - .PI, night re - f| : S| Shadows nurs'd, shadows nurs'd, P Dole. M. 80, twice. >. : t d 1 : : n : n If : - : s 1 : - : - I s : - : - d 1 : - : - 1 - : - re - tire. And the peep - ing sun - beams now, : r PI : :d :d Ir : - : PI f :- :- |n :- :- d :- : - |- 5- : - : s S :d> d 1 : - : - |- : - : - -:-:-!-:-:- : pi : n If :- : s re - tire. re - tire. And the peep - ing : si d : - : - : - 1- - : - : - 1 - : - : - :d :d 1 r : - : n St. Co. (New.) 246 ADDITIONAL EXKROISES. PART I. B?.t. - : - : - - : - t : : s d : - : d ti : - : - Is : - f :- :- v Now paint with gold, now paint -:-:-)- : - : : : n "I, : - : 1| 8 ( : - - s, : - : - - :- : s now I :- :- s :- :f n : - : - *r : - : - r : - : - n : - : - r : - : - sun - beams now rint with gold, now paint f :- :- |n :- :r : - : - df , : - : - BI : - : - - : - : - - : - : s. now, in:-:- r :- : - | n : - : - r :- :- |d :- :- t, :- :- d :- :d with gold, now paint with gold the s, : - : s, BI : - : - |- : - : - - :- : s, s, : - : s. 8, : - : - - : - ! i, paint with gold, now paint with gold the |d :- :- t, :- :- |s :- :- f :- :- n :- :- T : - : - n : - : r with gold, now Is,:- : s, s, : - : - |- : - : - paint with - : - : 81 Id, : - :d| gold the s, :- :f, |n, :- : f i \ paint with gold, now paint with gold the f. E?. /d :- :- It, :- :- da:- :- |- :- :- : n : n f : - : s 1 :- :- \ vil lage spire, And the peep - ing sun s, :- :- |- :- : f , ,t,:- :- 1- : - :- :d :d r : - : n f :- : - n :- :- |r :- :- ds:- :- |- :- :- - : - : - : : : : vil lage spire, s, : - : - Is, : - : - .<*,,: - : - |- : - : - :d :d d :- :d f : - ! And the peep - ing sun - / Bt?. t /s:-:- d 1 :- :- -:-:- - : - : - - : - : : : 8 d : - : d \ beams, now, now paint with n:-:- d :- :- -:-:- - : - : - - : - : : n "1, : - : 1| j : : : n : n f : - : 8 1 :- :- 8 :- :f n : - : - lr : - : - And the peep - ing sun beams now paint with d:-:- :d:d r:-:n f : - : - n : - : r d : - : - 1 d f i ' - beams, St. Co. (New.) ADDITIONAL EXERCISES. PART I 247 t, : - : - gold, I si : - : - gold, r : - : - gold, 8| : - : - /Id :- :- is :- :- f now pai now, |n : - : - r now pai Is, :- : - si t, :- :- |d nt with gold, : - : si | 8| : - : s, s, : - now paint with gold, :- :- Id :- :- t, :- nt with gold, : - : s, | Si : - : s\ si : - now paint with gold, :-:d d :- : - | ti : - :- |n :- : - r : - : - now paint now :- Is :- :- f :- : - now paint :- 1- :- :- - :- : ., now/ f. E7. with 8| '. '. S| paint with n : - : - gold s, : - : - - gold r" : - : - n the vil - lage ~ i| S| i ~ !~|~ I ~ the vil :-:r n :- : - |r : - spire, lage spire. : - d s : - ; _ _ : _ . with Id, :- :d, gold s, : - : f | n. the vil - lage : - : f i s, : - : - | s ( : - spire. paint with ! dolce. s :1 .1 gold i |f : B .s,f the vil - lage n .,rn: 1 | s .d 1 : t spire, d' :- j- :- Sweet, * ah sweet the |r : n .t| war ... bling d .,t,d: f .f |n : r throng, n : 1 : .d ' Sweet, oh 1 : 1 : ! s sweet the war - bling - .1,8 |f :n j throng, the s : - .s 1 1 : s Sweet, oh sweet the d : - .d |f :n f : - .r 1 |r" .,d': d 1 .,t d .t< :- . Sweet, t| |d n oh - - .f,n|r :d sweet the war - bling r : - .f |f .,n:n .,r f :- . war - 1 r : - . f |n >ling throng r Id - 1 : : 1 : : 1 : d 1 : - I - throng, n :- I s :- .s |1 Sweet, oh sweet d :- .d |f St. Co. (New.) :s .d 1 On the |d : t ; r' : r .f |n : - .n \ white emblossom'd spray, the! I : s .d 1 ( On the! 248 ADDITIONAL EXERCISES. PART I. / r .f :f .r |s : white emblossom'd spray, : |d :d : |f :f On the d .n : n .n |f : f .s : l.t.d' |d' :t white emblossom'd spray, On the t .r 1 : r .f |n : s .1 white emblossom'd spray, ta.ta:ta.s |1 : : | T : s white emblossom'd spray, on the : I : d .f white emblossom'd spray, n .s : BI .ta : |1| : 1 .s Na - ture's f .n : r .d | s, : on the white emblossom'd spray, / : |n : n n .r,d: r,n.f,s 1 1 : 1 .1 t .d'.tjd 1 .d 1 |t : t .s Na ture's : 1 : u-ni - ver-sal song, Nature's : | : f .f f n u-ni - ver-sal song Echoes r .n,f: n .n |r : r .t| s .f,n:f,s.l,t|d" : - : |- :d .d" r 1 .1 : s . s | s : u-ni - vor-sal song, Nature's : |f :f u-ni - ver-sal song f .n,r : d.r.n.f | s : : 8 .n | : : | :d .s :d'.s |1 .t :d'.r' echoes, : n .d | : ti .d to the r' .t : s .n : r .n Echoes, echoes to the t .s : |n .d : '_ echoes, 1 .t| : d .r |rT : echoes, echoes to the d .s, : |d .r : d .d,f ris - ing day, f .s : 1 .t |d' : rhoes, .n : |1 .f :s .1 echoes, echoes to the : d .n |f .r : n .f ris - ing day, echoes, : | : d .n d 1 :t |d' :- ris - ing day, n : r n : - s : s s : ris - ing day, s : s, |d : - p n .s,f :n .n |f .!, : f .f ,n r ,r'4':t .d',r Na - tore's n - ni - ver - sal d .n,r:d .ta, 1 1| .d,ta,: 1| .r,d t ( .,d : r n,f s :- .s |1 Na - ture's u d :- .d |f :- .1 t .s : s ni- ver - sal : - .r s : si / DS. Id 1 :- d 1 .s : d' .s : .r',r' d 1 :t |d' : - song, Echoes, echoes to the ris n : d ,n,r:d .ti |d ,n,r:d .f n ing day. : r |n : ing day. : s s : Ech - oes to the ris s : n : f s : 1 s song, Ech oes to the ris - ing day. Id : d :r n :f s :si |d : St. Co. (New.) ADDITIONAL EXERCISES, PART 2. NOTE. The Standard Course Exorcises, 188, 189, 191, and 192, may precede these, but it is not essential that they should do so. For style of singing see " Hints on the Tur.ea." KEY A?. L is F. By permission irom Anglican Hymn Book. J. Criijcr. 1 1, d t ( n r d t. Id r n f I. Lord, in this thy mer - cys day, Ere it pass for \ P1 i ll S6| 1| li 1, se, ll t, d d I 2. By thy night of a - gon - y, By thy sup - nil . 1 |d n n n n n n s S 1 3.By thy tears of bit - ter woe For Je - ru sa - V 1, L n, d| r l la n, ll Si d f, 4. Grant us 'neath thy wings a place, Lest we lose thit ] r r d n d t. 1, li sei ll ~ I aye A WAY, ON OUR knees we fall and pray. Id t, d - S| ll f I f i | PI| P1| m ca - ting cry, By thy wil - liny - ness to die. S S n |d d r - .d ti ti d lem be - low, Let us not thy love fore - g- S ( Si d - |d, f, r, r, |PI n. 1 day of grace, Ere we shall be - hold THY FACE. RISE MY SOUL, ADORE THY MAKER. KKY G. By permission from Anglican Hymn Book. D. t. G. E. Monk. , n :f s : r d :r n : t| n 1 : 1 u - V l.RlSE MY SOUL, A DORE THY MA - KER ! Ax - GELS PRAISE d :d t, : t, li : li S6, t S6| l,r :f r : I.Nev - er cast me from thy pre - sence Till my soul s :f r : s n : r t, : n " 1 : 1 s : S.Thou the night wast my Pro - tec - tor : With me stay d :1, si : s, li : fi HI : HI d f if s : i.Ho - ly, ho - ly, ho - ly Giv - er Of all good, f. G. / t : t d 1 : f d : f n : d r : d : JOIN THY LAYS; WITH THEM BE PAR - TAK EK. n : s n : rl, :d d :d t, :- d :- Shall be full Of thy bles - sed es sence. t : t 1 : r'l : 1 s : s s :f n : All the day, Ev - er my Di - rect or. s : n 1 : taf : f | d : HI s, : d, :- \ Life and food, REION, A - DOR'D FOR EV Ell! St. Co. (New.) LONDON : J. CURWEN & SONS, 8 & 9 WARWICK LANE, E.O. PRICE FOURPEXCE. R 250 ADDITIONAL EXERCISKS. PART II. FATHER, MY SPIRIT OWNS. KEY E (?. L is C. " mourn," in Anglican Hymn Book, by per. G. A. Maefarren. : n 1 : - .n|d .r : n r """* i ^~ :f 1 :-.flr.n :f n : | l.Fa- ther, myepi rit owns Thy right to mine and me ; :d n : - .d | l|.t. :d r :- i- : r f : - .r 1 1| : r t, ! 2.A - las ! the brit - tie reed, On hu - man life to lean! : 1 d 1 :-.l|n : 1 1 :- 1- : 1 r 1 : - .1 |f .8 : 1 t : | 3.1n deep submis sion, aid The brok - ken heart to lie, :li 1, :-.l,U, :li f :- 1- : r r : - .r |r : r se, : | . B>.t. f. E?. : n f :f hi, : se, n :- |- :d d :t, |1, : se ( 1, :-.l,n|f Yet par - don hu man groans From hu - man a go - ny ; The eye's :d d : d | l|ij : n. n, : | li f i : f , 1 r, : r\ HI :-. n it,|r A so - lace frail in - deed, 'Tis gone as soon as seen ! Then who : 1 1 : 1 | lr : t, 1, :- 1- : n r :r |r : t. d :-.ds|l Nor, when the stroke is made, To mur - mur or re - ply ; Great grace M 1, :1, l*f, :n, d, :- 1- 1 1m r. : r, | f , : n. 1, :-.l,n|r : 1 se : 1 |t : n .r>d : - .1 1 se :1 f :r |d :t, li - 1- de- sire, the soul's deT light, Thy wis - dom hath seen good to blight. : n r : d |n : t. d :-.d|r :d ta, : ta, 1 1, : se. 1, :- 1- shall fill the cheer - less void, Or stay the soul 'mid hopes de - stroyed ? : 1 t : d 1 | t : t 1 :-.l|r : n f :f |n : -.r d :- |- for great -est need be- stow, And strong sup- ports for deep eat woe. :d t, : 1, | se, : se, 1, :-.l,|t, :d r : r |n : n, 1, :- 1- NEARER, MY GOD, TO THEE. KBT F. From Anglican Hymn Book, by per. Henry Smart. /d :- |d :f n : r |s : d : |r : r n :|: \.Near - tr, my God, to thee, Hear thou my prayer ; 8, :- jl. :r d :t, Id :- d : |d : t, d :- I- :- 2.Though the great bat - tie rage Hot - ly a - round, n : |f :1 8 : 8 | 8 : n : - |1 : s s : | : 3. When, my course Jin \shtd, I Breathe my last breath, d :- If, :r, s, :-.f,)n, : 1, : f , : s, d :- |- : \ 4. And when thou, Lord, once more, Glo - rious shalt come, St. Co. fNmo.J ADDITIONAL KXERCISES. PART II. 251 c. t. 1 i"l : 1 1 : t d' :r' |n : 1 : |d' :t 1 : | : E'en though a df :- |f :s hea - vy cross, Faint - ing, I bear, s :f |n : f : in :-.rd : | : Still where my 8 d' i | r' ; r Ent - 'ring the df :- |r :s.f cap - tain fights Let me s : 1 .t|d : t 1 : |1 be found ; : se 1 : | : of death ; sha - dow - y n : r |d Val - ley : r : |n Oh! for a dwell -ing place. In thy bright home ! f. F. d 1 :- |f : n 1 r 1 : r 1 |d' : J n : 1 1 : s Still all n :- |f Through toils my : s and there : n prayer strife d' shall f shall be, : s .f n : Near - er, my 'd :- |d :t, Near - er, my *d : |f .n : r to be I be :s d :- E - - ven 1 :- |r Near - er, my THROUGH ALL B - TER - NI - TY Near - r, my f :f |n : r : |d :t| d : _ |- : _ God, TO THBB, li : ti .1| I se ( : Near 1| Near 1. er to : s, : s, er to : f n : r thee. thee. thee. d :- | : God, TO THEE, r : r 1 1| : God, TO THEE, Near f. er to : s, : s. God, TO THEE, Near er to thee. THE GIPSY'S . TENT. KBY A. M. 120. Allegro Vivace. mf SOLO S. or T. i : d : r Bohemian Air arranged by W. H. Birch. (By permission.) n : - .r : d s t : d : m r '. : Eight measure* I.We live so 2. Come to our :d :d mer - ry, so hap - py and free, green - wood home and blithe some be, :d :d :d :d :r :r La, la. : s, :s. : S| : s, : si : si : 1| : 1| Symphony. : n : n :n :n :n:n :f:f d. : : d, : : d, : : f, : : La. la. St. Co. (New). O.N. edition W. H. BIRCH, London Street, Reading. 252 ADMTIOXA.L EXERCISES. PART IT. Dane -ing and In the wild :r :r sing - ing be - woods to roam :r :r neath the oak- light - ly and ir : t| tree. free. :d :d : : \ CHORUS, ff S| :d :r We live so :li :1| :li :1| :li is. is, :s, HI :si is. :f :f r, : : r, : : :f :r :n :n d : : d :d :t, Come to our d| :HI :S| , , n : - .r :d mer - ry, so It, :-.f,:n, yd : - .ti : d si : d : n hap - py and HI : S| : HI d :d : d free, fi :- :- 1. :- :- 1, :r :f Dan - cing and f . : fi : li r : 1, : r 1 :-.s :f sing - ing be fi :-.S|:l, f : - .n : r f green - wood home Id :-.s, :d and blithe - some di : HI : d| be, f i : - : - In the wild f , : f , : f , woods to roam f, :-.f.:f, / * * : : E. t. r s :d> : r 1 Come to our We'll tell your d ] : - . t : t for - est home, for - tunes young I : s : / hap - py and maid - en quite f : 1, : t, neath the oak 1, : f i : f. d. tree, n, : : : t|H : n :,d :d :f :f : r : r : r : r : s, : si r : r : r light - ly and \ r, : ri : s. d :- :- free. d, : - : - : r s : s : s : s s, : : : s : s t, : : / n : : bright. ' true; s : rf 1 : - .d List to oui And pro - mise r } : d 1 : I sweet songs they'l al - so fond s ./ : n : - .r make your hearts lovers for d :- :- light. ] you. n : n : n : n r r n f n : d :d :d :d d d d t| d :- - s : s : s : s 1 1 s s S ~~~ *" d : d : : f. 8| Id, ; - -\ s d 1 : r 1 d 1 :-.t : t 1 s f n s :d> -.d Come to our n n : n for - est home, f :-.f :f hap - py and t, r t| bright, d - List to our d :d -.d s s : s s : - .s : s s s s S ~ ~ n ; n n We'll tell vour d d ;. d for - tunes young s : - .s : s maid en quite S| t| S, true, d And pro - mise d :d d St. ADDITIONAL EXERCISES. PART II. f. A. ff r 1 : d 1 : 1 s : 1 : -.t d 1 : - : - d s ( : d : r n . - .r : d \vect songs they'll make your hearts d :d :-.r light. d : : We live so l,n, : s, : s. mer - ry, so si :-.f,:m, f :f :f n : s : - .f n : : f d : d : t, d :-.t,:d al - so fond f , : f i : f i lov - ers for you. d : : We live so mer - ry, so d : - .s,: d , s, : d : n r : : 1, : r : f 1 :-.s:f f : 1, : t, hap - py and n, : si : HI free, _ i Dan - cing and f. f .i i ii : li sing 1 - ing be - fi i . - .S|: i| neath the oak 1 d :d :d 1, : : r : 1| : r f : - .n : r r : r : r hap - py and \ di : n, : d, free, f, :- :- Dan - cing and fi : f . : f i sing - ing be - neath the oak 1 r, : r ( : s, j SOLO C. or B. d :- :- n\ '. l\ '. t\ Taste of our Come, where the : 1. : li d '. . t\ \ l\ Gip - sy fare, song - thrush and : li : li n\ : l t : d whole -some and lin - net holds : 1. : 1, plain, sway, : t, : t, ( tree. ' HI : ri| : n, : n, i HI r HI :f, :f, | d : - : :d :d :d :d :d :d :r :r d, :- :- 1, : : 1, : : li : : r, : : / t\ :r in / : - .n, : r n : d : t\ l\ '. : n\ n\ '. l\ '. t\ And if you Come where they like it then war - ble their pray come a - well tun - ed gain. With lay, Oh rich foam - ing come with a t ( :t, : t| : r : d : t. : 1, : 1, : 1, : li fi :f, : f, : 1. : 1, : sei : pi| : ri| : ri| : rij r : r :r :f : n : r :d :d :d :d ri : n : : HI i : HI 1, : : 1, : : Id - .t\:l\ ale in large light - some heart, n : - .r : d bum - pers of cheer - ful and horn, We'll gay, We'll f\ ' t\ ' T toast our brown sing, feast, and / : - . : r \ beau - ties till ' dance till the li : 1| : li : li : t, : t ( : t, : t, : t, : r n, : HI '. Pll ' Pit : f , : f , : f , : f , : f i : t/ d :d * d '. d : r r : r : r :r :f 1, : If : : n : : r, : : r, : : / St. Co. (New.) 254 ADDITIONAL EXERCISES. PART II. n :d :-.t h :- : 8 dawn's the bright close of the : d i t| morn, day. li :- . ff si : d : r n : - .r : d H :d : : 1, : sei 1, :- : We live so Pll : S, : s. mer - ry, i-o hap - py n, : 5, : : n : j" n : d :- :Z| d :d :t, d :-.t,:d d :d : . n, : :* 1. :- : We live so d| \ HI 1 S| mer - ry, so d : - .s,: d hap - py d, : n, : r : : I, : r :f 1 :- .s :f f : 1 : t, d ; ; free, f, :- :- Dan - cing fi :fi and 1| sing - f 1 ' ~ ing be - .8, : 1| neath the oak 1. : fi : fi tree. HI : : 1, : - : - r : 1| : r f :- .n : r r : r : r d : : free, f. :- :- Dan - cing f. :fi and sing - fi :- ing be - f, f, neath the oak 1'; ' T\ '. S, tree. d :- : 8 :f :- f :n : r : 1 : s.f n : : n f : s : Gai - ly, 1, : 1, : - hap - py, si : a. ; jol - ly and free, No d :- :d life e - d :d : d :d : d :d : s : s : s s :- :d d :d : Gai - ly, f . : f , : - hap - py, s : si : jol - ly and s, : f : n .r free, No d : : tai life e - li = 8) : 8 :- :d.r ours 'neath the d :-:!.!, n :f : r oak d :- tree. d :- '. ~~ s :f : Gai - ly, 1, : 1. : - f :n : hap - py, s, : a, : old d : d :- :n.f s : :f n : - - : d :d :- d :d : ours 'neath the n, : : li.li old i : oak : si tree. d :- ; Gai - ly, hap - py, 8| : S| : rail. T :1 :_. n : - :{J d 1 : t ) . , f :s J- l adagio. . s : : d .r n : f : r d :- jol - ly and free, No ti : t| : t| d : : d life e - quals d :d :d ours 'neath the old oak d : : m.f| s, : 1 ( : f tree. n, : : 8 : 8 8 : : d d :d :d d : : d .d d T^ : t, d :- jol - ly and free, No life e - quals ours 'neath the old oak tree. si : f : n.r d : : ta ( li : si : f , R, : - : 1..1, s, : - :[j' j d :- St. Co. (New.; " ADDIliONAL EXERCISES. PART 11. 255 HARVEST HOME.' KEY D. M. 80, twice f Is : s |d" : Har - vest home, n : n |n : Chorus from har - vest home, f :f |f : ' Helvellyn." t : d 1 | r 1 : t G. A. Macfarren. har - - vest f :- |- :f home, 1 d 1 :d' Is :- Har - vest home, \ d :d |d :- har - vest home, d :d |d : r 1 : d 1 It : s d 1 : |- : home, d' : - |- : har - - vest d :- |- :d s :s 1? : Har - vest home, n : n |s : har - vest home, f :f |f :- t :d' |r' :t P d 1 : - | : d 1 home. We n : | : s har - - vest f :- |- :f d 1 :d' Id 1 :- Har - vest home, d :d |n :- har - vest home, f :f |1 :- r 1 : d 1 |t : r 1 d 1 :s |s :- home. We come, We d : | : n har - - vest s : | : s t :1 Is :l.f come, we come, And we f :n |r : f .r : | : s .s come, we come, And we r : d 1 1| : S|.S| n : s | d 1 : bring the last d : n |s : s : s js : bring the last d : d |n : t :d'.l|s : 1 .f load of our gol - den f : s .n |r : f .r s : s .s | s : t load of our gol - den r : n .d| t| : s. f :- |n : grain. r :- |d : i t : - | d 1 : i grain. d :- |- : A. t. cres. r :-.r|t| : - .ti n : - .n|d : - .d f :- 1 : Loud - ly shout, : hi. :-.!, loud - ly shout, a- gain, a- gain, a- gain. ff d :- |d :-.d Loud - ly : |dif :-.f shout, loud - ly r : | s : - . s shout, a- gain, a- n : - .n| 1 : - .1 gain. Har - vest f :- 1 : Loud - ly : |df, :-.f shout, loud - ly fi :- Is, :-.s. shout, a- gain, a- gain. 1, :- 1 : f : |n : - .r s : , : , : In :-.r s : | : Har - vest d :- |- : home, har - vest d :- i- :- home, - :- |d :-.d home, : |s :-.! Har - vest S ~~ | home, : is :-.! loud - ly s : | : Har - vest : Is, :-.f home, har - vest home, n, : | : 8t. Co. fNewJ. 250 ADDITIONAL EXERCISES. PART II. f. D. : : Id :-.r Loud - ly Id :- |d :-.d \ shout, : |n :-.f ' Loud - ly : Hi :-.!, / : ' : shout, d :!-: shout, s, :- 1- :- dolce. : | :*s r :- |- :-.d har - - vest t, :- |- :- .d f :- |- :-.n bar - - vest s, :- |- :-.d s :- |l.t:d'.r' d :- 1 : home. d :- 1 : , n : | :d s home. The d :~ 1 :*,i, ) n 1 : d 1 |s : 1 . : 1 : The The : | :ds fields board once more have will groan with n : n |n : n f : s |f : s fields once more have board will groan with \ t, : si |t, : s, ,8 :- |r :1 n : s |n : s boun - teous been, O'er Eng - lish cheer, In d : s, | d : s, 8 : | n r : s |r : s them the wa - vy hon - our of the r : s, | r : s, s : |l.t:d'.r n : s | n : s wealth was seen, The fall - ing year, The d :si |u : S| n 1 :f>.n'|r'.di:t.l liinm - teous Eng - - lish r :- |- :f been, cheer, n :- |d : O'er them the lion - 'ring the f :- |f :f wa - - vy bravo de - n : | : n f :s |f :s fields once moro have board will groan with t| : S| |t| : S, n : s | n : s boun -teous been, O'er Eng - lish cheer, In d : s | d : s, r : s |r : s them the wa - vy hon - our of the r : s, |r : s. n : s | n : s wealthwas seen, O'er fall - ing year, In d : BI |d : s ( / 8 : |r : 1 f. G. 8 : Hi : f cres. n : 1 1, : f now they are thus has en - ti :- It, :r r : n |r : n now they've lost their thus h:is shed its se, : n, | se, : n. n : |d : 1 robb'd of their rich'd us with d :- |1, :d d : n |d : n am - pic store,they've gold - en store, has / 1, : n. i 1| : HI / wealth was din ing r : 1 :f f :s |f :s them the wa - vy hon - our of the t, : s, | t-i : s. seen, But year, Which n : 1*8, : t, n : s Hi : r wealthwas seen, Hut fall - ing year, Which d : s, |*i : r. St. Co. (New.) ADDITIONAL EXERCISES. PART II 257 / s :- |r :1 s : |n : - .d s :- |- :- - :- |n :-.dv am - - pie store. Shout once more, shout once gold - - en store. r :- |- :f n : |n : - .d s :- |- :- : |n : - .d f :s |f : s n :- I : In :-.d s : 1 : lost their am - pie store. Loud - ly shout, shed its gold - en store. t| : S| |ti : si d :- | : : 1 : : 1 : D. t. piu ores. / i i i i a . i a . _ i _, i r | . i 1 s . . more, i 1 once d' ':- It i-,s 1 f | i L I S ~~"* ~"~ t ~~~~ S J ~~" "^ loud - ly shout, loud - ly shout, once : 1 : : |!|r : - .s ( S ~~" \ ~~ ~"~ s : | : / 1 poco rit. ff a tempo. -^ s : |s : S* -__ 1 O \ a s : s |d" : 1 :1 Iff : more, shout once more, Har - vest home, har - vest home, S" \ Q ' | 9 s : | s : n : n | s : f :f f :- s : |s : s : | s : d 1 :d' ;d' : d 1 rd 1 |d' : more, shout once more, Har - vest home, har - vest home, s : | s : s : | s : d :d |n : f :f |1 :- / t : d 1 | r 1 : t 1 :- Is : S* c 1 f\ 1 t | U r' :r' n' :- \ har - - vest home, Har - vest home, har - vest home, f : |- :f n :- I- : n : n |n : 1 :1 |se :- r' :d' |t :r> d' :- |- : d 1 : d 1 'd 1 : 1 :1 It :- har - - vest home, Har - vest home, har - vest home, s : | : s d 1 :- 1- : d 1 : d 1 1 1 : f :f |n : rf . i fi :-|-:- t :- |- :-.d' d 1 U . har vest home. 1 : | '. s : | : - .s S . ~~ i ~ ~ T-l 1 1 . f 1 : | :-.n n 1 :|: har vest home. r I r . | s : | :-.d d : ( : St. Co. (New), 258 ADDITIONAL EXERCISES. PART II. Wore G K / .n 1 l.A- .8 .s for this work eorge Bennett. BY C. Alia Mi n* :.d'.l way to the s :s .f by AWA \rcia. s : d 1 .s s for - est, fair > n : n .n f Y TO THE FORI : r 1 .s s : - a - ture in -vites, :f .f PI :- ]ST. .s i? :d'.l With fra - grance an .n s : s .f Music by Franz Abt. s : d'.n ' i beau - ty and PI : n ,n .d 1 3.We'll .d d' : d 1 .d' sit. on a d : n .f d 1 :d'.d' d .,t : 1 .t d' : - .d 1 d 1 :d .d 1 The lov'd and th .d d :n .f d' :d'.d' e lov - ing our d :d.l, moss - bank and sp 8 : 8 .8 S read out our fare, : s .s d : - fe .,8 : 1 .r 1 s poco rit. : .s s : s .s s : s .s t ..d 1 : r 1 .n 1 * :- f V down, And s : - .s r' : - .r 1 syl r d 1 - vande- lights; The sun in its splendour shines lov - ing-ly : r .fe s : .s t, .,d : r .n n .f :t,.s s :s .s : d 1 .d 1 t : .s s : s .s s : s .s s .,1 : t .d 1 dain - ties shall share ; We'll troll r .,n:fe.r 8 : .s s, ., the gay car - ol or tune - ful quar li: t, .d de.r : S| .s 8 : s .s -tet, Our 8 : - .8 d'.de'rr'.ni a tempo. > PI 1 1 Pi' .PI 1 PI 1 -" :1 .r 1 ITI t : 1 .s s : - .n f ^s~Tl .t glad - ly we'll has - ten from ci s : 8 .B 8 : f .f f d 1 : t .ta 1 : 1 .1 8 ., ty and town, ^ :f .f n : - .t r'id'.t d 1 :- .r day for- get, i : s .8 d : - .c rit. '. : '5? S la la! s .fe.l : s .d' t ind glad - ly we'll I r .,Pi:f .f has - ten from s . ta : 1 .1 i f .,s : 1 s s .n 1 : r 1 .de 1 cares and our tro d :d .d de f : 1 .t ci - ty and 1 :f .f u - bles for ONE : r .r 8 d 1 : town. f PI : .d,n )ur cares and our I r .,n : f .r trou - bles for n .s : f .n rit. PP la : .d,n s ,fe,i : s .d 1 , r 1 ONE \ r day for- : r .s, Trala d 1 : .d,n get. Trala d : .d,n la la la la la la! B .fe,l : s .d 1 s la la la la la la s .fe,l : s .s s Trala la la la la la : .d,n s .fe.l : s .d 1 Trala la la la la la : .d,n s .fe,l : s .s ? : .s -^ a tempo. , . d 1 :d' .d 1 ? : 1 .r 1 a : 1 .t d 1 :^ . la! t And : .s glad - ly we n : f .s 11 has - ten from c 1 :f .f p i - ty and i :f .f town. n : I 1 : .s d' :d' .d 1 d' :d' .r' d |i : s .s s : la! 8 Our : .s cares and 01 d : r .n ir trou - bles for < f :f .r a >NB day for - : s .si get. d , . 8t. Co. (Nrv>.) ADDITIONAL EXERCISES. PART II. - ^- .1 8 : d 1 . 8 8 : r 1 . ss : - .s n' : d .1 s :d'.n 2. We'll hie through the for - est with laugh - ter and shout, Its glades and its olois - ters we'll .8 s : s .f n : n . n f :f . f n :- .n s : s .f n : n .n .d 1 d' :d' .d 1 d 1 : d 1 . d 1 d 1 ,1:1. t d 1 :- .d d 1 :d.d d 1 :d'.d' 4.A- way to the for - est, a - way and a - way, Our hoi - i - daj ' bright - ens a .d d : n .f s : s . S S : s . s d :- .d d :n.f d :d.l, poco rit. P - : - <^: n 1 : n 1 .n 1 n 1 : 1 .r 1 d 1 .,t : 1 .s s : - .n f .,8 : 1 .1 d'.de 1 : r 1 .n 1 , roam 'neath the sha - dows of lin - den and larch, We'll roam 'neath the sha - dows of 1 S : s .s 8 :f .f f :f .f n : - .d r ..n : f .f s .ta: 1 .1 / d 1 : t .ta 1 :1 .1 s ,,r' :d'.t d' : - .n f .,s : 1 .s s .n 1 : r 1 .de 1 souls that are grate - ful, and hearts that are true, With souls that are grate - ful, and d :d .d de : r .r S : s .s d : - .d r .,n : f .r n .8 : f .n \ rit. rit. f y> Q PP i fi :1 . t d' : : .n 1 r 1 : : .n 1 lin den and larch. la la! la 1 :f . f n : .d,n 3 .fe,l : s .d 1 t : .d,n s .fe,l : s .d 1 Trala la la la la la la! Trala la la la la la r 1 : r 1 r 1 d' * : .d,n s .fe,l : s .d" s 1 : .d,n s .fe,l : s .d 1 hearts that are true. Trala la la la la la la ! Trala la la la la la r : r . l d : .d,Pl s .fe,l : s .s s : .d,n s .fe,l : s .s a tempo. ^ / r> i* r 1 : S d 1 :c I 1 .d 1 & : 1 .r s : 1 .t d 1 : la! We'll roam 'neath th e sha dows of lin - den and larch . t : S n : f .s 1 :f .f T :f .f n : S 1 ; .s d 1 n I 1 .d 1 d 1 : d 1 .r i 1 : s .s s : la! Witt souls that are grate - ful and hearts that are true. 8 : .s d : r .n f :f .r s : s .S| d : St. Co. (New.) 260 ADDITIONAL EXERCISES. - PART II. SUNSHINE AFTER RAIN. KEY Bt? Firmly and in moderate time. (Copyright.) Henry Lanet. mf -=c^ !> -=^m in>- F. t. -- / ; .8) d . S| : n .r,d d : s, .s, n .d : s .f,n r s .s : d 1 \ I.I left my love in Eng - land, In pov-er - ty and pain/L'he tears : .n. s, .n, : s, .f, n, : s, .f. Hi .f, : 8| .1| t _ J l in . - .a 2.1 left my love in Eiig - land, And sailed the stormy sea, To : .d d .d : d .t| d .d : d .d *|H : - .s 3.1 sought my love in Eng - land. Ami brought her o'er the sea ; A : .d, n, .(i : S| .s, 1, .s,,fi: HI .TI d| .I") : H| .f. 8 ,d - .n 1 ^=CT ^==- f. Bt>. p -=: 1 . s,f : n .s s . f ,n : n . r da, :- .si li .1| : 1| .ti,d ;>. hung hea- vy iu my eyes, But hers came down like rain. I gave her half of 2.1 wrought & strove from f .f :f .f f .n,r : d .ta. li .r,d:t ( .ti l| ) : Si :fe, rl gave her earn my bread by dai- ly toil, An hon-est man and frco.JI wrought and (My farm is f .jn : i .t| d .r : n .d d .1 :s .f m t, ; - ,t| d .d :d .d hap - py man, a hap-py wife, To bless my homo and me. My farm is large,my r .,d : t, .81 1, .t, :d .n, f, .r, : S| .BI d si . S| : s, ~-~" * ~~~ r .t, : s, .s <: li .1| : 1| .t|,n r : - .si n .n : n .r,d d .d : d .r.n all I had, Rc- press'dthcris - ing sigh, For, thinking of the days to come, I moni till night, And Biiv'd my lit - tie store ; f i : - .n,,r, de, : d| d, :t. .s, S| .86) : 1| .HI n, .HI : f, . f ( half of all I had, ) strove from morn till night, And ev -'ry sum-mor gave me wealth,And large, my wants are small, ) d .ti.l,: ti .s 8 :- .fe f :- .f n .r :d .t ( d .tai : I, .s. wants arc small,! bid (my care) de- part ; And sit be - neath my own oak tree, With : : :- .li.t d .t, : 1| .sei 1, .8, : f , .n, i ^^~~ cen - do. ^ f~^ f . r,n : f . r,n f : s .,f n,f .r,n : d .r tii*-. i * ,,Q . 1 ,T . 8| lift*) d .d :f,-s.n,-f. kept my cour-age high. "0! fare- well," I said," if sea - sons pass, And sun- shine fol - lows fi .si : 1, .la, i : s, .,s, BI .t, : d .fei si .fe, : s, .s, s, .81 :BI .s ( made the lit - tie more. Oh ! at length I bought the 6eld I ploughed,The sun- shine fol-lowed f ( .f : f .n r : t, .,t, d .f :n .r r .d : t, .r d .n :r .d proud,yet grate-ful heart. Oh', the children smil- ing round the board, Ne'er ask for broad in TI .r : r .d ti : s, .,s. d .s, : 1| .r. S; .TI : S| .f| HI .n :tj .d , St. Co. (Xew.) ADDITIONAL EXERCISES. PART II. 2G1 ff- .r ram, And *l : s. rain ; d .ti The :d .,r vain ; The s, : 1, .,t. n,f .r,n : d .r morning dawns on Si ,t, : d .fe, n .f :n .r day has dawn'd up d ,s, : 1, .r, M-J.^ darkest night, You'll .fe, : s morning dawn'don that dark night,And .d .t, -on the night,The .r, : si .f| s .f,n:n .r,d see me back a - I went back a - d .d :d .t, sun has fol-lowed n ( .d| : si .si gam. PI, gain. Words by IF I HAD BUT TWO LITTLE WINGS. Music by Coleridge. (COPYRIGHT.) Henry Smart. f) KEY E7. Con moto. M. 88. cres. ^, : s s : - .s | n : s d 1 : -= .n | n : n n : - .n | d : PI 1 : -.r | r : r If : n I had but two n : - .n | d : n lit - tie wings, And n : - .d | d : d were a lit - tie d :-.d|l, :d feath - 'ry bird, To d : -.d | d : d : s s : - .s | s : s 1 :-.l|l :1 1 :-.l|n :1 r : -.1 1 1 : 1 If :d I had but two d : - .d | d : d lit - tie wings, And li : - .1,1 1| : I, were a lit - tie feath - 'ry bird, To f e, : -.f e| f e : f e r :f |1 :-.s you I'd fly, my t, :t, |f :-.n s : s ! r : s you I'd fly, my f : r 1 1, : si f :n Id 1 :-.t dear, To you, to r : d |n : - .r s : | : se dear, To d : | : n 1 : n 1 1 : - .1 you I'd fly, my d : n | r : - .d 1 :d' |fe :-.fe you I'd fly, my 1 | R . . I . | b . dear. d :- It, : f e : - | s : dear. f) r : |s, : s. But I :t But * IT I :s But t, :r |f :f thoughts like these are St. Co. (New.J _>. cres. ^> dim. r 1 : - ,d'| d 1 : n s : d 1 |n' : - .d 1 t : - .1 1 1 : s \ thoughts like these, but s : - .s | s : d thoughts like these are i n . : s |s : s d die things,and t '. ,d'| d' i s d 1 :s jd 1 :-.s s :- .f |f : s thoughts like these, but f : - .n|n : thoughts like these are i - :n |d :n f die things.and :-.f|f :n i - die things, like these are | i dlethings,and 2G2 ADDITIONAL EXERCISES. PART II. poeo ritard. 8 :- If :- n :- |- :f n : | : r d. _ 8 I stay here, and I stay here, But r :- |r :- d :r |d :r d : 1 1| : d : | n I stay here, and I, and I stay here, 1 :- It :- s : se | 1 : s :): S \ "~ j ~~" s I stay here, and I stay here, But r :- Is, :- d :n, Hi :f, As :f S| Sj \\ . n : 1 ) d : | J d I stay here, and I stay here, And I stay here, cret. > s : - .s |n : s d' : - .n|n : n n : - .n| d : n 1 :-.r|r r ' in my sleep to n : - .n|d : n you I'd fly ; I'm n : - .d | d : d al - ways with you d :-.d|l, :d in my sleep d :-.d|d The d s : - . s | s : s 1 :-.!!! : 1 1 :-.l|n :1 r :-.l|l 1 in my sleep to you I'd fly ; I'm al - ways with you in my sleep The d :-.djd :d '' : "- 1J1 ' :1 ' 1. :-.li|li : s, fe, :-.fe|fe : fe / r~rrrFf-.. : FT; isr : -.t 1 :n |t :-.! FT^I, , world is all one's own, The world, the world is all one's own, t, :t| |f :-.n r : d |n : - .r d : n | r : - .d d : It, s : s |r : s 8 : 1 : se 1 :d' |fe :-.fe fe :- |8 : world is all one's own, The world is all one's own. P f ; r | t| i s, d : I : n li : 1| |r : -.r r :- |8, . But ^>. cret. -^. : | :t r 1 : - ,d'| d 1 : n 8 : d 1 | n 1 : - .d t : - .11 1 : s \ But then one wakes, but then one wakes, And where am I P All, I : r s : - .s |s : d n : s |s : - .8 s :-.f|f : d : | : s t : - .d'|d' : s d 1 :s |d' :-.d' d' :-.d'|d' : s =- __^I "" But then one wakes,but then one wakes, And where am I P All, t, :r |f -f f : - .n|n : : n d : n f :-.f|f : n then one wakes, and where am I P One wakes, And where am I P All / St. Co. (New.) ADDITIONAL EXERCISES. PART II. 263 ooco ritard. dim, s :- |- :f n : | :f n : - | : r d :- - B^.t. "1, all a - r :- |r :- lone, All, d :r |d :r all a - d :- |t, : lone, d :- - Sleep 8 id, 1 :- It :- all, all a - s : se | 1 : 1 lone, a s : I : s lone. S ~ " "* * ml, all a r : | s, : lone, all, all a - di i f , P)| | 1| f Xj lone, all, all a - (Sj : s, | s : f (BI : j : si lone. n :- -? d :- -5 Sleep d f| \ all a lone, all, all a - lone, a - lone. / TI : Si | s, : - .d > d : - itj| ti : l|.s, ores. n : - .r |d : t| r : d s r i :f stays not though a r, :n, | s, : -- .s. mon - arch bids; Sol love to wake e'er ri| : - ,f|| I, : set break of day t| : i| 1, , For t, : d | d : - .s, Si :-.s,|si : l,.t| d : - .t,|n : n n in n : r stays not though a fi : ni |ni : - .ni mon - arch bids; Sol love to wake e'er d, :-.r,|n, :n\ break of day ; For li : li f. : f, / n : - .d|n : r though my sleep be d : - ,s,| d : t. gone, For d : n, | d : se, li : 1( | d ,t, : li.t though my sleep be 1. :fi If, :fi f. EP. gone, m iti : - - : v : s s : - .n| s : f For though my n : d |n : r sleep, my sleep be d :r |r :r gone, yet : t though my sleep be si :-.s,|s, : si gone, For though my sleep, my sleep be f i '. Y\ \8\ '. S| gone, d s, : r s yet For though my sleep be gone, yet while / / : 1 :1 s :-.f|f : '^rF'Td 1 :t 1 : - .s s :-.l\ yet while 'tis dark, 'tis dark one shuts one's lids, And f : n | r : de r : - .rfr i - .d d : t, | 1, : s, r : - .n|n :d while 'tis dark one d> : t |1 : s shuts one' s lids, yet 1 :-.l|r :- while 'tis dark one r :f |r' : r' shuts one' s lids, And t ', .d | d' '. s while 'tis dark one 1 :s |f :n shuts one's lids, r :d |t, : 1, while 'tis dark one BI :- If :- shuts one's lids, And f : - .n |n : n while 'tis dark one shuts one's lids, one shuts, one shuts one's lids, And St. Co. (New.) 264 ADDITIONAL EXERCISES. PART II. dim. poco ritard. s :- If :- n :- 1- :f n : | : r d :- !- still dreams r :- |r :- on, And d :r |d :r still dreams d :- |t, :- on. d :- f- still dreams 1 :- It :- on, and still, . and s : se 1 1 : still dreams s :- |- :- on. s :- 1- still dreams r : | si : on, and still d :n, |1| :f, dreams - '* ft, is, on. n : | d :- |- still dreams on, and still dreams on, and still dreams on. Words by Geo. Bennett. (Arranged KXY D. Sostenuto con express ione. SOLO CONTRALTO. : ' .*i : i .i | d f> n : Hm, &c. d : Hm, &c. d : 1. As sweet to wea 2. Blestangol, dark ffiL OF HOPE. Music by ixed voices oy ALFRED STONE.) O. Reichardl. - .d \d : r ,n * ./ : / | . r : r . r ry hearts as were life with- slum - ber, And brooding out thee, To prince & | ' r :- |- :- 1 . ti :- I- :- | : s :- J- :- - 1- :~ s, :- I- :- m id 1 1( : r :- : 11 :- s : 1 |t : r 1 d 1 s, :- 1 : / ./:/ 1 ./: s .1 wept, ther scenes so S eglad fair - ness and n : | . i : s\.s\ smiles ; While trusting bright, Still deign'd to d ,r : n ,r \ d ,m : s >ta\ brightens. Where sorrow por - tals Shut in those faith the spi - rit so - lace fal - len 1 :- I- - : s :- - : s : | : s : | : f :- 1- - : f :- : n : i : n : | : Hm, &c. r 1 : |- r :- |- - : r' :- s : - : d' :- |- :- d :- i- :- cl : '. / ta.l : I \ .1:1 . 1 $.8 : n ,d\ s\ : n .r d :- \ : guiles, light. f Quicker. PI : | .s : s .s : 1 .: , se : - .se] se : -.se light- ens, And aimless mor - tals, Andha-lo f : |re : doubt no earth with n : more be- heav'n'sde- f :- d : 1- - : d :- t, : 1. While trusting d : 1 .n : n .n faith the spi - rit n : - .PI 1 PJ : - jn Hra, &c. d 1 : |1 _ s : ^ s : | .d'id'.d 1 r' :-.r'|r' :-.r' f :- |fe :- s : s, : 2.StiU deign'd to ten. so - lace fal - len t : - .t 1 1 : - .t / / t.l:l 1 .d':t .1 s : - .s | s doubt no more n : - ,n| r d 1 :-.d'|t be- : - .r : -.t n : | .n : n .n guiles, And aimless r : | .d:d.d t : | .1:1.1 1 :-.l|l :s.f\ doubt no more be- d : f .Pi|r : - .r . light - ens, And aimless \ n : n j .1 : s .f Id 1 :d' ( .d'rd'.d d 1 :-.d'|t :-.t mor - tals, I 1 :1 I And ha-lo .f :f .f earth with heav'n's own s : - .3 | s : - .s light, Andha-lo se :- I .1:1.1 earth with heav'n's own f :-.f|s :-.s St. Co. (New.J 266 : 1 : guiles, d :- |- :- d' :-i--- light. d :- |- :- s : t .l\ ./: n .r ADDITIONAL EXER 1 : CQDA. tempo prime. s : |n : n An - gel of n : |d :d s : | s : s An - pel of J :- |d :d d :d> | : CISE8. PART II. --. molto espress. :- Mi :t t An - gel of P f :- |- :- Hope t, :-|-:- s :- I- :- Hope d :- |- :- =~7^. |- :t.l d : - 1 Hope, n ' : s |n : n lin - ger mnr d :n |d :d 8 : |s : s lia - per near d :- |d :d I : s \ :n \ lin - gor, still PP s :_|-:- ger, d 1 :-|-:_ ger, 8 :- - :- d^_ :-."\^- n :-~p ; us. d :- |- :- 8 :- |- :- us. d :-|-:- E. Spo/orth. n : r .d Lin - ger, still f :- |- :- us, a 1 . 8 . | US, si :-!-:- 1 : s \ :t\ lin - ger near f :- |- :- still r :- |- :- d' :t |- : lin n "' : | f : f e j -__ ger, ^ Tie 1 1 : lin ... d : | r : re n :- |f : d' :-|-:- lin d :- |- :- . . i . :"- ff :- d :- |- :- . ^ _ HI. n :- |f :- n : |f :- ger near d :- |d :- 8 :- |1 :- ger near d :- |d :- 'LEASANT SPRING :d |s, :- lin d :- 1- :- d' : |1 :- still lin s, :- |- :- d :- |- :- f) KEY Q. M. 88. THE SPBINO, THE I / .(n) n : - .f |s A- : r,d- 1, 1. The Spring, the plea - sant Spring is blown, . ,) s, : - .8) |S| : s, 1, : 1, I s, : - .(d) d : - .r |n : n f : f In : - 2. Coma with all thy sweet - est smiles, .(d) d :- .d |d :d d :d Id :- Let us 8, : 8 t n : f .n With thy d : r .n St. Co. (Ntw.j ADDITIONAL EXEKCI8ES. PART It. 267 D. t jt, .r :- .d , f , s ,i .- ; i ,1*1 , - |n : r n : - .n r s : - .d' leave the smo - ky town, From the mall and s, :- .s, Si : S, 1 l 8| - .8, id :- .n r : - .n r :d Id :t, d :- .d r s : - .s gra - ces, with thy wiles, Come and we will f :- .n t, :d 1st :- d :- .d 'in : - .n ores. / t .d 1 :r' .t |d' .t :d . r 1 n'.f 1 .- :r',t.- id 1 :- .1 s ,f .- : n .,r from the rmg f Ev' - ry one has ta ken s : s S : s : s |s :- .f n,r.- :d .,t ( s : s js : s : s | s :- .d' d 1 ^ 1 .- :s~~ mer - ry be, Who shall be so blest as r .n : f .r n .f : n . r d,t|- :r,f.- |n :- .f s : s, / n : n .,f s :1 .,t Id 1 :- .r' n',f'.- : r'.t .- |d' : s wing, Ev' - ry one, ev' - ry one has ta ken wing, has Id : n .,r d :f .,f s : - . 1 s : s s : s s : s ,,s s : d' .,r ( |d' : - .1 d',r'.- : t .r 1 .- |n' : d 1 we, Who shall be, who shall be so blest as we, so ,|d :d .,r n :f .,r n : - .f s : Id' :n ^ f. Q. ft' Much slower. 1 :f |r' :t d :- |- :- r .r : |r .r :- ta ken v, ing. Clo-e, Strephon, f : |f : n : j : "t|.t| : Ui.r :- d 1 : 1 |t : s s : |- : d's.s : 11 .1 :- bleet as v re? Clo-e, Strephon, f : |s : d ~~ 1 ~~ ~~~ d 's .s : If .f. :- / / n : n | f : d : - .d |d :- .d r : r In : i Co - ry don, A 11 are fled and all are gone; r : de | r : d :- .d |d :- .d d : t, Id : - 1 :1 |1 :- 1 :- .1 Is :- .s s : s Is :- Co - ry - don, A Jl are fled and all are gone; i HI : 1, ; r : f f 1 M ; .1 j n : - , f 1*1 : Si Id :- St. Co. (2ftfo.) 268 ADDITIONAL EXERCISES. PAKT II. P Original lime. ores. f,m.- :j>.- 1 :- .f n,r.- :n.f.- is :- r :- .de r ,f :1 .8 \ What is left's not worth your stay, Come, Au- re lia, i d :d d :- .d d :1, Is, :- 1, :- .li li : !i r d :d |d :- .d d :d |d :- r :- .n r :de C What is left's not worth your stay, Come, Au-re lia, 1, :1. Hi :- .1, S| : f i | HI : f| m f, :n, | / f ,n :r .d ti : s .s s : | : s .s S : : come, come a- way, come a- way, come a- way, ll : 1, ,1| t, : t, .t, |d : : r .r n : come a - way. come a way, r .de : r .r r : :r .r |d " : : t| .t, | d : come, come a- way, come a way, come a way, r, .n, :f, ,fe, : :f, -fi In, : : i'i . TI d, : , S : - .n f : n f : s .s ] 1 : 1,8.- :f/,.- r : - .r Come, Au- re lia, como, come a- way, What is left's not d :- .d d :d d :d .d |d :- 1, 1| t| :- .t, n :- ,s 1 : s f : n ,n | f : f :f S : - .s Come Au- re - lia, come, come a- way, What is left's not d :- .ta. 1, : ta, 1, ' S . S| I 1 1 f :f f :- .f Cl'lS. / S,f.- :n,r.- Id : f .n : f .r jn : f n : r .n f : \ worth your stay, Come, come, Au-re - Ha, como, como a way, t| : t. Id" : t t .d : t| .r |d : r d : t, .t, d : / S : s Is ; 8 : s .s | s : 1 s : s .s f : ( worth your stay, Come, come, Au-re - lia, come. come a way, < f : f In' : r .d : r .ti |d : f i S| : s, .8, 1| . ,{,i :s .f |n .f :s .f n :- |r :-.r n .f :s .1 8 .f :n .r N Come, come, Au-re - lia, Come, come a- way, . . - ( d : r .r n .r :d .r d : I t| : - .t, d :d .d d :d.r 1 Como a- way, corao a- f : r .r Is :s .1 8 : |s : - .s S :s .f s : s .s Come, como, Aii-re - lia, Come, come a- way, . . - 1, :t, .t, d .r :n .f 8 : |s, : - .8. d .r : n .f n .r ;d .t, J St. Co. ADDITIONAL EXERCISES PAKT II. 2G9 p eres. P PI .f : s .1 | s .f : n .r PI : s : - .8, S| : I, | f.- : d,t,.- . ... Come, Au- re lia, come a - d :d .d |d :d .r d : H. :si , way, come a - way, come a - way, f S : s .f | s : s .s s : : : |r,f.- :n,r.- . . . come a - d .r : n .f |n .r : d .t| d :- n : - .PI PI :f If, :, Come, Au- re lia, /> * PP r : d | s : - .S| S| 1. 1- :- f :r |d :t { d :- |- :-. way, Come, Au- re - lia, come a way. s, : i i : 1 :- |s, :- s, :-!-:-. f : r 1 : 1 : r : f |n : r n : i : - . way, come a way. d : |n : - .P; PI f, . . ~ f :- Is, :- d, :-|-:-. I Come, Au- re - lia, Words by AT FIRST THE MOUNTAIN RILL. Music by John Oxenford. (Part-song from " Jessy Lea.") G. A. Macftt'/ren. KEY D. Andante. (T. S. Copyright.) P s ,,s : (V .t : 1 .s e :f.f:s.ll :r :s f f PI : i At first the mountain rill is ^ veak, And from its pris - on scarce 3an break : .,n n .,n : s .f : PI .n r i : r .r : r .r t| : t| : r r r d : / : .,s s ..sjn'.r'rd'.t 1 : - .r : n .f f : f : s ss : s .s i At first themountain rill is i weak, And from its pris - on scarce jan bi-eak Then each | : .,d d .,d : d .d : d .d i : - .r : r .r S| : s, : t, t, d - : J A. t. ore*. f dim. r s,.s. : n .d : t, .r d ..PI : s : - .s s : - .f : n .r r : n : Then each pebble in its way Seems e - nough its course t 5 stay. r S,.S| : s, .s ( : S| .si 3| : S| : d li .,li: li : t, t, : d : sd :- .d :f .t. d : d : n r .,r : r : f f :n : peb blc in its : d, .PI, : r, .f , way n, ".,d, Seems e - : n, : d, nough its course to r, .,r,: r, : s, stay, f) \ d, : d .,d : d .d J Then each pebble in its way Seems e - nough its course to stay. Spreading as it / St. Co. (New.} 270 ADDITIONAL EXERCISES. PART II. f. D. r'..d':t .1 : .f Spreading as it glides a- "t 1 : s .f : n .r n : : long, d : : mf f .,n':r' .d 1 :t .1 Soon it is a torrent r 1 .,d': t .1 : s .f 8 strong n cres. ds : : 8 * glides a - P & ,,s : fe .8 : 1 .n 1 mf in'.jr'rd' .t : 1 .s Spreading as it glides a- long, n' ,f : 1 : n 1 .r 1 s : : long, s : - . s : s . s Soon it is a r 1 :s .1 :s .f /**, s 1 .,f n> .r 1 d 1 .t ( Soon it is a torrent' S ,,S 8 tor - rent strong, n And its path is broad and r .,r : r .r : de.de ta :-- :1 .1 strong ; And its S .,8 I A .8 : 8 .8 And its path is broad and s .,s : feTs TT .n' free, As it r : - : f . 1 .,1 : 1 : 1 .1 path is free, As it f :- :f .f free, As it e dim. ; s' .f : se .1 : n 1 .r 1 bounds in - to the n : - . f : n . r d 1 : - .s :1 .t bounds in - to the s : : bounds, 5 cres. r' : s .d 1 : t .d 1 sea. d d 1 sea. 1 ,,s : f .n : r .d Soon it is a torrent' n' ,,r': s : And its path is broad and r .,r : r .r : de.de s ..s s .8 : s .s And its path is broad and tai : L .1) \ strong And its t .r : n .1 frew, As it r :- :f .f 1 :r' :1 .1 free, As it r .,r : f : r .r path is free, As it ~I^=~ s .,s :d' .t : 1 .s bounds in - to the n ; .n : PI .n d 1 : - .d' : - .d' bounds, as it s :- .1 : 1 .1 t,o, .nils in - to the a :f : sea. 8 " ~""" ? : - .r 1 : t .,1 bounds in - to the t :- ; sea. / cres. .,1 :r' .d 1 :t .1 \ At first, at .t, : d .r first the mountain rill is n .,n : s .f : n .n weak, n .2 : But spreading as it .,f : 1 .s : f .f i 1 s : : : P.,8 d 1 :- .t :1 .s f : : .,1 sea. .f : n .r At first, at 1 .,s : s : At d .,d : n .r : d .t ( first the mountain rill is mf .,d': f .n 1 : r' .d 1 first the rill is 1, :- .d :f .n weak, the rill is m s .f : f .n weak, But r .,r : f .n : r .d weak, But spreading as it/ ere*. 8 .,f : t : 1 \ glides a-long, f .,s : s : r' :- .d 1 :t .1 spread - ing as it t ( .,ti: t .r : 8 .f A torrent strong, its .,d:d" .t : 1 .s s . : .,d' : f .n 1 glides, A torrent n ..n : 1 .s : f .,r path is broad and free, f .f : n .r : r .d r'.t :d' .r 1 : s~ strong, its path is broad, 8 .s : 1, .t, : d As it bounds, n .,f:f :- ta .,1 : r : - As it bounds, de .,r : f : i glides a-long, as it St. Co. (New.) glides, A torrent strong.its path is broad and free, As it bounds, I ADDITIONAL EXERCISKS. PART II. J71 t .,1 :n' :r' f .,n':s' .n 1 :d' .1 s .1 : t :n' .r 1 d 1 : sea. n : sea. d' : sea. d : as it bounds, f .,f : 1 : - r' .,r':f :- as it bounds, f .,f : r : - bounds s .,s : d 1 : s .n in - to the f .f :i :- .f in - to the t .d 1 : r 1 : t .t As it bounds d' .,d':n' .d 1 :n' .d 1 As it bounds s ,,s : s : in - to the - .s : s : S| .si s .,s :d'.t : 1 .s love, is oft so weak at n .,n : s .f : n .n s .,s : n 1 .r 1 : d 1 .t love is oft so weak at d .,d : d .d : d .d P : s Thus : n : s Thus :d A. t. * s,.si : n .d : t| .r Scarcely can its presence r si.Sj : S, ,S| : S| .S| sd :- .d :f .t, can its presence t|-n|.ri| : d| .HI : TI ,f| Scarcely can its presence f. D. first, first, cres. d .,n : S feel; But si : l d : d feel ; But Hi ..d,: n, feel; But f .f :s .! That e'en the : r .r : r .r : - .r : n .f That e'en the : - .r : r .r - .8 its d n its d, its / 1 :r .r :s .f in which 'tis .t| : r .r .f : s .s in which 'tis .S| I t, .t, f :n heart ti :- f :- heart si : - nurs'd r :d s : nurs'd d :- dim. : s .s Scarcely s : - .f : n .r pow'r 'twill soon re r : n :d B -vea] t, r .,r : r : f pow'r 'twill soon re - r, .,r,: r, : s, f : n ,d : d .d veal d, ':?. pow'r 'twill soon re - veal ; And so mighty s r' .,d': t .1 ' s .f And so mighty is its "it .,1 : s .f : n .r is its n : : force, d : : mf in'.,r':d' .t : 1 .s And so mighty is its 8 """ ~"" force, f .,n':r' .d 1 : t .1 Nothing can re- strain its r 1 .,d':t .1 :s .f s : : force, s : - .s : s .s No - thing can re- s : : course ; n : : f dim, s' .,f':n' .r 1 rd'.t Nothing can restrain its s ,,s : s : strain its course ; / s .,s : fe .s : 1 .n 1 Riches, honours, what are r .,r : r .r : de.de ta :- :1. .1 course, Itiches, s ,,s : s .s : s .s Kiches, honours, what are n> .,f':l tn'.r 1 r 1 :s .1 :s .f n : way; d : : d' : : way; 1 ,,s : f .n : r .d Nothing can re-strain its they ? Love thro' r : : f .i 1 .,1 : 1 : 1 .1 what are they ? Love thro' f : : f .f they? Love thro' all will find a n : - .f : n .r d 1 :- .s : 1 .t all will find a s : : all. St. Co. (NewJ. ADDITIONAL EXERCISES. PART II. s .,s : fe .TTT~.Pi 1 ' Nothing can re- strain its r .,r : r .r : de.de s .,s : s .s : s .s Nothing can re- strain its tai : :l|.l, course, can ro- f dim. s 1 .f : se .1 : r' .r 1 course, Love thro' r : :f .f 1 :r' : 1 .1 course, Love thro' r .,r : f : r .r strain its course, Love thro' P eres. r 1 :s .d 1 :t .d 1 all will find a PI t - .PI j n .n d 1 : - .d 1 :- .d 1 n 1 .,r': s : \ way. s : : P : - .r 1 : t 1 all, Lovo thro' s :- .1 :1 .1 all will find a all will tind a t. way. / to -=- ^^ " * = -- : .r : n .f s .,s : d 1 . t : 1 . s s :f : .,1 : r 1 .d 1 : t .1 \ Thus love, thus : .t, :d .r 1 : s : love is oft so weak at PI .,n : s .f : n .n P : : .,s first ; n :f : d 1 :- .t :1 .s But soon it will its .,f :1 .s :f .f f : : .,1 way. : .f : n .r Thus love, thus Thus d .,d : n .r : d .t t love is oft so weak at love is weak at li :- .d :f .n first, so weak at first, But r .,r : f .n : r .d first,But soon it will its , 1 .,s : s : % f ' .n' : r' .d' t .1 :s .f :f .PI cres. s .,f : t : 1 pow'r reveal, f .,8 : s : r' :- .d 1 : t .1 so mightv,Nothing .,d:d' .t :1 .s can re - strain its course, f .f : n .r : r .d r 1 .t : d 1 .r 1 : s Love thro' all, n .,f:f :- ta 1 : r 1 soon re - veals its pow'r, so mighty, PI .,n : 1 .8 : f ,,r Nothing can re - strain, Love thro' all, de . r : f * pow'r re-veal, its pow'r so mighty, Nothing can re - strain its course, Love thro' all, t .,1 :n' :r> f ..n 1 :* 1 .n 1 : d 1 .1 s .1 :t :n' .r 1 d 1 : love thro* all, f .,f : 1 : - love thro' 8 .,s : d 1 : s .n all will find a f .f :f :- .f way. n : r' .,r':f : Love thro' all d 1 .,d':n' .d 1 :n' .d 1 will find a t .d 1 rr 1 : t .t way. d 1 :- love thro* all, f .,f : r : - love thro' all 8 .,s : s : will find a - .s : s : s, .BI way. d : St. Co. (New.) ADDITIONAL EXERCISES. - PART II. 273 O THE JOY OF SPRING. "\Vords by /. 5. C. KEY F. / -=- -^- ^ := r- d.r n .s, : PI : r.d r.li ; r ! f .1 ? the d.d joy of d .8) : Sprin d Bfi Let us t,.d gaily Ii.ll : sing, li While the :l,.r ,2.Now the primrose pale Greets the daf-fo - dil, And the ! n .f s .n : s ; S .8 f .f j f ! r .f \ .TThen com -panlous, ho! To the fields we go, And in \: d.d Id.d : d : r .n f.f| : f, ; f, .f. Slyrian Air. s .r : s .1 : r .f sunshine on the moadis vio-let - scented air is f .f :f .r :s .s harmo - ny be - guile the n : bright, sweet, s : hours, :d .r While the : d .t, Birds in : s .s Now in S|.S: : S;.S; : BI..SI Id '. : n .r / C. t. fres. .^ ^ / = ==- n .s, : n : r .d t|pi.s : n 1 : r 1 .d 1 . t . d" fFTrT:!' .,t d 1 : lambkins play, And the earth is gay, And all na-ture keeps a hoi - i- day. d .S| : d : t, .d s d.n : s : s .s 8 . s : t .d 1 : t .,s S : ev-'ry tree Make a melo - dv, Singing welcome to the sun- ny May. s .n : s : f .n r s.d 1 : d 1 : f' .n 1 r 1 . n 1 : f .n 1 : r 1 .,f ' n 1 : softest trill ; Now in music shrill, Shall our song the joy-ful wel-kin fill. d .d :d :d .d r s.s : s : s ,s S . s : s .s : s .,s d * -== 1 .s :f :t .,i fe.s :d' :t .1 1 .,s : 1 .,s : f .t| d lambkins play, And the earth is gay, And all na - turekeepsa hol-i - day. f .d : d : f .,f re .PI : n : f .t' f .,f : f .,f : t, .s, S| ev-'ry tree, Make a mel-o - dy, Singing wel - come to the sun-ny May. d 1 .ta : 1 : s ,,s 1 .s :s :d' .d 1 t .,t : t .,t : s .f n softest trill ; Now in mu-sic shrill, Shall our song the joy - ful wel-kin mi. f .f : f : r .,r d .d :d . fj fj s, .,si: s, .,s ( : s\ .s t d fit. Co. (New) f. F. id's .se La la i 1 n.n La lii :f'd'.d' La la :*a.a : s .se While the : PI .n Birds in : d 1 .d 1 Now in - :d .d 274 ADDITIONAL EXERCISES. PAKT II. HOW LOVELY ARE THE MESSENGERS. (Chorus from " St. Paul.") Mendelstohn. KKT GK Andante con moto. M. 132. ALTO. P 1 1 : : ! : : si d : - : t, 1 1, : - : s, f : - : n | r : - : d 1 1 ( : d : r | s, : s, : Sl 1 1 How love - ly are the mes - sen-gers that! preach us the gos-pel of nil :- :- 1 : : , ( | peace ; How 1 :- :t, |d :- :r love - ly are the t, :- :d |r :- :f mes - sen - gers that n :r :d IT : li : t, d :-:-!: :d * preach ua the goa - pel of peace ; The gos pel of : : | :BASS.: si How n, : - : | : : s, 1 : - : si |t| : - : d r : - : - !- :n : f a; the : - '. t| 1 1| ' ' s. mes - sen - gers that f :- :n |r :- :d preach us the t, : d : r | s, : s t : s. love ly are the mes - sen - gers that preach us the gos - pel of n : n : r |d : - : : : I : : : :d |d :- :- i - pel of peace ! 1, : - : t| |d : - : r How love t, :- :d |r :- :f peace, How love ly are the mes - sen- gers that - ! - :- Is, :- : - ^ : :d |d :- :f n :r :d |r :1| n : r : d |r : l t : t are they that preach us the gos pel d :- : - I : :d i, : - : - | - : - preach us the gos - pel of peace ! the words fS.( 3.T.B. s :- :- |- :- :n n :- :- |r :- :d ti :d :r |r :n :f \ To all f the na tiona is a :- : s, |d :- :d d :- :- |ti : - :d gone forth the sound of their BI : I, : t| i t| : d : r of : Si peace ; To all the na tions is n :- :- |- :- : s s :- :- | s :- :s gone forth the sound of their t' : n : r | r : d : t. To : s, all f the na - tions is d,:- :d j n : - :d s :- :- |f :- :n gone forth the sound of their r : d : t, | t, : 1, : s, , of peace ; To all the na tions is gone forth the sound of their 8t. Co. (Nev). ADDITIONAL EXERCISES. PAKT It. 275 D. t. n : - : - I : :n words, to d :- :- 1 : :n all ' ' the d 1 :- :- |t :- : t,n na - tions is f :s :1 v gone forth the f :- :- words, the d : - : n |n : - : - words, to all d : - : I : : n words, to sound _ _ 1 ' the is 1 :-:- lit:- : na - tions n : - : | Pi| : - : m \*.\ na - tions is gone, r : - : - gone, / all the /|t :d' : r\ sound of their - :- : f is is - : - : r is s :- :- I- :- : words, is f : - : - |n : - : s gone forth, the s : 1 : t |d' : r 1 : n 1 gone forth the sound of their n :f : s |1 : t : d 1 gone forth the sound of their 1 :t :d' |r' :n' :f gone forth the sound of their s :- :- |f :- :- f':- :- 1- :- : - words, - :- :r is :- :f sound n 1 : - : - |r' :- :d" their 1- : :f the of their t : - : - | : : s words, How sound. words, f :- :- words. PI : - : - words. d' :- :t love - ly the ; 1 ; . : : I : : s d' :-- : t How love . ly ; : 1 : : : s, | s : - :f n : - How love - ly are f 1 : - : n 1 | r' : - :d' t : d 1 : r 1 | s : s : s s : - : - mes - sen - gers that preach us the gos - pel of peace, - ; - ; - | ; : s. s : - : f |pi : - : r n : - :d How love - ly are the mes sen-' / ' f :- :n' |r' :- : d 1 n 1 : r- : d 1 | r 1 : 1 : t d 1 : - : - | s : - : \ are the mes - sen - gers that preach us the gos - pel of peace, : : s f :- : s |1 :- : t n :- : - jf :- :r s :f :n |f :d :r the mes - sen - gers that preach us, that preach us the gos - pel of : : s d 1 : - :t |1 : - : r 1 d 1 : - : - |s : - : i 1 n 1 :r' : d 1 |r' : 1 : t the mes - sen - gers that preach us, that preach us the gos- pel, the f :- :n 1 :- :s |f :- :r s : \ \ - '. - i s : - : - | - : : s \ gers, the mes - sen - gers that preach us, that/ dim. f> f. Gr. / s :- :- |- :- :f n : - : - |n - : f PI : - : - |r : - : d ,:- :- \ f they that preach us the gos - pel of peace. n : - : - j : : r r :- :- |d - :d d : - : - |t, : - : d ^S, : - : - peace, that preach UP the gos - pel of peace. d 1 : s : ta |1 :- :1 se : - : - i 1 : f s : - :- |f :- :n mt, : - ; - gos -pel of peace, that preach us the gos - pel of peace. s : f : n | f : d : r n : - : - 1 1| : BI : - : - | s, : - : s. d s ,:- :- preach us the gos - pel of peace, the gos - pel of peace. ,St. Co. (New). 27G ADDITIONAL EXERCISES. PART II. f. C. L IB A. ! : :r s :- :f |"t :- : 1 se : - : - | se : - : 1 se: 1 : t |t : d' : r 1 ' To all the na - tions is gone forth the sound of their 1 : : ! ! ! ! i i ! t ! ! ! i ' , : : To all the t i : : I : : : : 1 : : . : I : : O. t. X is . ores. 1 d 'f : - : - | : : : : I : : : : 1 : : : : \ words. \ * 1| r :- :d |t, :- : 1, se,: - : - |se, : - : 1, se, : 1, : t| To all the na - tions is gone forth the "'!:- :f |r :- :- : : I : : : : 1 : : : : nu tions, ores. : i ' i : : | : : t. PI : - : - | - : - : - - : - : - To all, ftC. /I : : : : 1 : :d s s 1 : - : - 1 - : - : n 1 n 1 : - : - | r 1 : - : s \ To all the na tions is t| : d : r d : - : - : :ds d' : - : - | - : - : d 1 d':- :- |t :- :s sound of their words; : : : : | : ;dg n 1 : - : - | - : - : d 1 a 1 - - Is - -a a . . | B . . s To all the na - tions is n : - : - n :- :d 1 1, :- : : : 1 : : ! ! : : , the na - tions O. t. / n 1 : n 1 : r 1 |d'f : n : r t :- :- | : :s d 1 : d 1 : t 1 1 : s : f r 1 : - gone forth the sound of their words, is gone forth the sound of their words, n : ba : se I 1 r : n : f f :- :- I : :n d :r :n |f :s : 1 r : - : - a : 1 : t Id'f : s : 1 r :- :- | : :d PI : f : s 1 1 : t : d 1 s : - gone forth the sound of their words, is gone forth the sound of their words, : : : : f | s, : 1, : t, |d : r : r, n :- :- | : : 1, t, : Ij : 8, 1 is gone forth the sound of their words, is gone forth the i- : : s s : - : - 1- :- : n PI : - : - |r :- :d To all the na tions is I 1 " : :f PI : - : - 1- :- :d d :- :- 1 1, : - :d 1- : : s. s : - : - 1- :- : s s : - : - Is :- : s To all the na tions is |f :n : r d :- :s, Id :- : n s : - : - If :- : n sound of their words to all the na tions is t, : d :r |r :n : f * gone forth the sound of their s, : 1| : t, | t, : d : r f : n : r |r : d : t| gone forth the sound of their r : d : ti | t, : 1, : s, gone forth the sound of their St. Co. (New}. ADDITIONAL. EXERGUES. 1'AIIT II. 277 n : - : - I :d :d 1 :- :- ,s :- :- f :- :- |n :- :r r : - : - words, throughout all the lands their glad tid d : - : - |ta,: - : ta 1, :- :- It, :- :- d : - : - |d :- :d d :- :- through - out all the lands their glad tid 1 n :- :- | :d :d f :- :- |r :- :- 1 : - : - | s : - : 1 s : - : - words, throughout all the lands their glad tid d :- :- | :d :d f , : - : - |s,:- : - 1, : - : - Id : - : f , s, :- :- - : - : - d :- :- | : : : : ! : : : : J ': : ; .V it,':- i - dings. p d :- :.- | : : s, d : - : t, 1 1, : - : s. f :- :n |r :- : d / . dings. How love - ly are the mes - sen - gers that!* - : - : - s :- :- |- :- : : : 1 : : : : 1 : : . dings. ..,..] - '- f i n, : - : - | - : - : : : 1 : : p - : : 1 : : | : : s s :- :- |f :- :- - : - : - How love - ly t ; : d : r ] s\ : s\ : s. s, : - : - | : : s. 1, :- :t, |d :- :r t, :- :- preach us the gos - pel of peace, How love - ly are the mes : 1 : : : : I : :n 1 : - : - |- : - : - s : - : - How love ... ly : : 1 : : : : | : :d f , : - : - | - : - : - s, : - : - How love ... ly p In : - : r n : r : d | r : 1, : t ( d : - : - 1 s ( : - : d :- :- |- :- :f they that preach us the gos - pel of peace, thev that Id :- :- '- : - : - | s, : - : s, s, : f, : n, |f, : f, : f. n, : - : | 1, : - : - sen gers that preach us the gos - pel of peace, that d :- :1 s:-:- |f :-:f n:r:d | r : 1, : t| d :- :- | : : t, thev that preach, that preach us the gos - pel of peace, that 1, ": - : f, . . 1 . __ 1 fi :d, :r, S| . . | . . * . . | . 1 1 . HI they that preach us the gos - pel of n:-:-n:-:r d:- - 1 1. : - : d d:-:-l preach us the gos pel of peace. Four measures i set: - : - |1 : - : li s, : - - | f , : - : n, n, : - : - | : ' t, :- :- |d :- :f n:- - ! r : - : d d:-:-j : preach us the gos pel of peace. n, : - : - | - : - : f | s, : - - |s, : - : si d : - : - | : peace, the gos pel of peace. Symphoiiy. St. C<< (Xei vj. 278 ADDITIONAL EXKRdSKS. - PART II. AWAKE JEOLIAN LYRE. KEY D. : s n M. 50. Largo e cres. :-.s|d' : wstenuto. ^ / - : : t I 1 |d' :d' t : J. Dauby. i : t A - wall : t| d e, a - wake, > " : -.n| s : : r E - o - lian i |n : n lyre, r* __ . a - 1 : r : r n :- I- : .d >. a - wake, n 1 : | : ; s | s : s 8 : I- :s ! A - wal : S: d e, a- 1 ^^ i wake, - :- 1- : ; K - 1 1 - lian I Id :d lyre, s, : a - 1 1 / i d 1 :n' I r : t d 1 : - ! - & , ,_ Quicker. ^ f M. 100. 1 wake, JE n : s o - lian lyre, |f :r n :- |- a - wake, : n r : 1- : . I : , s : d 1 |t :r' d 1 : | : s s : I : s s :f |n .f : s .n wake, 2B o - lian lyre, a - wake, and give to f nip - ture, : I- :s, d :- |- : d si : j I : .si: l|.t,|d .r : PI .d a - wake, and give to rap - turo, ' f .\ :t d'|r. :d< t .d 1 : t .d 1 m/ t : :' 1 . Td- v and give to rap - ture .d : r .n |f : n all thy tremb r .n : r .n ling strings ; r : r s .,s : s .f |n : s From f : 1 = - 3 f : 8 8.8 : 8 .8 From H 8 : el-i - con's harmo - nious :s |d' ..d'rd'.ta springs, ?" :- to rap ture n r : n .d all thy tremt s,.d : S|.d ling strings ; From Hel-icon's bar : | :d -mo - nious f ,f:f.n \ From Helicon's bar- f .,f: ' dim. n 1 r' :-.d' f> 8 : ~ : .t d 1 :n' Id 1 : Helicon's ] iar -mo - nious springs, d s .f : f .n |n .r : .t. d .t, : t .d d A thou - sand t| : .r n : 8 rills n : - ,n It : iar -mo - nious springs, bar : .8 -mo - nious sp s .f : f .n n rings, r : .s 8 : s s : - . 8 springs, r : - bar d t ( : - .d |d .t t : d .r -mo - nious sp n .r : r .d s. rings, A thou - sand : .8, d :d rills their d : - .d mo - ni ous springs, har-monious, bar -mo - nious sp rinnfs, St. Co. (New). : ! : d'.s a f .n : f ,n| f : n ma/y progress take, 1 .s : 1 .8 |1 :d' m;izy progress take, a f.d:f.d|f :d : 1 : d .n : - .r |r .d : t ( .d laugh - ing flow'rs that n : s |s : -.1 laugh-ing flow'rs that Largo e sostenuto. f M. 50. / s : - .s | s : Now the rich n : - .s j s : dl *lt 1 : - .PI 1 PT . Now the rich d :-.d|d :- t :- !- :- long S ~~"~ I "~~~ \ ~~"~ long ; s : | : % Spit t :- 1- strong, r : | dolce. S. | - s strong. Thro S| : | n ADDITIONAL EXEI l.s:f.n|d' : tCISES. PART II. their mazy pro - gross .1 : s .f |n : r .d 1 : d'.l | s : s their mazy pro - gress .f:d.f|s : s, dim 279 d' :- |- : \ take, n : | : S| a . I e o 1 o take, The d :- !- : / f) rail. ^ 1 :se |1 : - as they flow. : 1 : : j PI ; - .PI 1 1| as they flow. 1 :t Id 1 :-.d' thou - sand rills f .n: r .d|l : d'.piif.sll : thou - sand rills d :r.n|f : "?* Drink r : n |f : round them blow, round them blow. : I :d'.l Drink PI :f |s :1 life and fragrance : 1 : : 1 : se : - .t 1 1 : r life and fragrance s : |s : t stream of s : f In : - .n Mu - sic PI : r |d : t| winds a- d : r | n : f e PI' :r' Id 1 :-.d' d 1 :t |n ( :r' d 1 :t 11 :-.! stream of d : r | n : f e Mu - sic s : | si : d 1 :- It :- jes - tic, n : |r :- 8 '. 1 8 '. jes - tic, d : | si : dolce. : I :PI' And : 1 : s f :n | : winds a- P f t :1 I- :1 \ P f s : | : t Deep, ma - Si : I :r s : | : s Deep, ma - Si : | : 8, -itoso. M. 152. : 1 : : 1 : s :-.l|s :f smooth and J r :- 1- :r 8 : f e | : f e ( smooth and ] r : | : r / n 1 : - .f '| PI' : r' \ Ce - res' gold - en s :-.l|s :f : 1 : ' ver - dant n : - .f |n : r vales, r :d i : : 1 : St. C& (New). 280 ADDITIONAL EXERCISES. PART II. c reign. f :PI | : : 1 : (j : 1 : d 1 : s s : res. d 1 - : ,- Now, d :- |- :- - d 1 :d'.d'|d'.t: l.s 1 :- |t :- now 1 r 1 r . s : f .n|r : ep a - main, n : r .d| 8| : .18 d 1 :t.t|d' :d' head - long impet - uous n : r .r| n : n d 1 rs.sld' :s head - long impet - uous 1 : ~~. \ i : n .n r : n n Now rolling down the ste d'.t ; 1 .s|l .s : f.n f - : - 1 .d' : t see it pour, f :r n : -.srf.nf : - .n : f .r P 1 :t d 1 :- -.n 1 :r'.d' 1 :f s : - see it pour, see it :d.d' t :d'.d' see it pour, - ... f : |d :-- - :- - :- sec it pour, see it :r.t||d :n.d s : n .d P : .ss :-.s |1 : ta.s 1 : The rocks and nod - ding groves r :-.rn :-Ji|f :n f :1 pour, |t : -.t d 1 :-.d' |d' : ta 1 : d 1 c> - :d' d re - t - :f r : 1 s / I 1 : r 1 n 1 : t >el - low to the i : r Id : r : f n : r >el - low to the i S, S| : 8| ff t :- 1- :t \ pour, The rocks and nod - ding groves s, : - .8| d : -.ta,| 1| : s ( f| : d> t Id' re - I : f , :- Id' :- roar, n : | : r : |n : - .f s :- In" :- re - r : | : s d .tj: d .r |n .r : n.f B .1 : s .f |n .f : n .r d t,: d .r |n .r : n.l s : -- | : r 1 roar, d .t ( : d .r |n .r : n.f s .1 : s .f |n .f : n.r d t ( : d .r 'n .r : n.i re - s : | : s / d 1 :- |- :d' bel - - low S *~~ 1 1 . ~~ bel - low bel - low d 1 :- |f :- d 1 :- |t :- to the 8 :- 1- :f to the n 1 :- |r' :- to the s : - | : s d 1 :d'.,t|d' roar, to the roar, n : s M f |n n' : n' .,r'| n roar, to the roar, d : s .,s | d 1 D.S. d'.,t d' :- |- to the roar. , s .,f n : | n 1 .,r' d 1 : - | - to the roar. s .,3 d : | St. Co. (Ntw). ADDITIONAL EXERCISES, PART 3. For style of singing see " Hints on the Tunes." Words George I KEY G P t ' S| ,,S| ll Where the 1 s ; .S| J 2 Where the : n .,n 3. Let us i i d .,d by WHERE THE GAY DREAMS OF CHILDHOOD ? ennett. (Copyright.) German Air. . Moderato. Harmonised by Kiickeu. s,.,n :*n : - .1 s : r : r .,n child - hood, With the t, : t : t, .,d man-hood, That would r : s : f .,n re - al, There's no S| ' S| '. S| ,,S | f 1 - o i . i . . 8 love - light of t, : t, : - ,t| seem not like r :f :- .1 truth in our Si : S| : - .si n : : "1 truth ? The d : - : df dreams, But n : : s d' dreams, Thev d :- :df gay dreams of si .,d : d : - .d bright dreams of n .,s : s : - .f live for the d :d : - .1, 1 :- vi f :- Ts : s .t r' :d' beau - ty f :n mf dim. 1 :-.s : r.,rs Pi. G. d : : d g| youth? They d : : d s , S|.,r : r : - .n sion of .f :f That : re daz - zled our n : - .n : t| pass'd like the S|.,t| : t| : - . t. pre - t : - sent and .t : t cer - tain, The t : d 1 : d 1 sur - est d 1 : - .d 1 : of f,s schemes? We n : : dg| near the temp- 8|.,f : f : - .8 melt v r : - like the .r : s rain - bow, With s : 1 : f e fair - est 8 : - .81 : of S| beams, In d : : d s , youth's morn of S| : s, : - .s. r : d : - .S| cloud- lets By S| : 8 : - .8, ta - tion, It f : n : - .n s,-.,f : f : - .s n : : roll'd, d :- : touch, s : : All Wo poco accell. s : 1 : t touch'd with the s : f e : f grasp at the t : d 1 : r' ~^^=^- D. t.m. r 1 : d 1 : .1$ glo - ries, All s : s : .is bub - ble, We f :n' : .is morn - ing un- s,.,r : r : - .t. fades at r .,s : s the : - .s beau - ty In d : d : - .d man - hood or t, : t| : - .s. age, d :- : The .ds true and the s : s : s last - ing, The d :d : .is s : 1 : t r 1 : d 1 / G. \ ~^> ~^* s : 1 : t r' id '. s t : 1 : -.f touch'd with the s : f e : f glo - ries, All S* c * ni 1 1 1 1 touch'd with t, :d : the r glo - ries Of d :d : .d crim - son and t, : t, :-.ti grasp at the t :d :r' bub - ble, We f :n' : .d's grasp at s : f e : the f bub - ble, It n : n ; .PI bursts at the r : r : - .s true and the \ s : s : s last - ing, The d : d : . d s true and s, : s, : the l last - ing, Our S| : S| : .s> thoughts should en- S| : S ( I - .81 ' LONDON : J. CURWEN & SONS, 8 & 9 WARWICK LANE, E.C. PRICE FOUUPBNCE. 282 ADDITIONAL EXERCISES. PART III. piu lento. n : : n r : t : - .1 s : s, : s, f : n : r |d : gold, All touch'd with the glo - ries Of crim - son and gold. d :- :d d : t, : - .t, d : s, : s. r : d : t| a, : clutch, We grasp at the bub - ble, It bursts at the clutch. s : : s fe : s : - .f n : n : n 8 : 8 :f n : gage, The true and the last - ing Our thoughts should en- gage. d :- :d r : i, :-.BI d :d :d t| : d : BI d : THEME SUBLIME OF ENDLESS PRAISE. KEY B7. M. 60. Handel. / : I ' d t, : .r r .d :d.t, d : : \ Theme sub - lime of end - less praise, di : si It .1, pii : TI di TI PIl U| r * **l w 1 Theme sub - 1 '1 lime of end - less i| i praise, of end - less praise, i i 1 1 : : 8| :d t, : .r r .d :d.t, Theme sub - lime of end - less : : d, : s, n, : .1, li .8, : S|.f, Hi : S, Theme sub - lime of end - less praise, of / F.t. 1 d :s n : ,1 1 .8 :s.f n : .s 8 .f :f .n r : n 1 .t d 1 : Theme sub - lime of end less praise, of end - less, end - less praise, : 8| :d t, : .r r .d :d.t, 1, : .d d .t, :t,n.r d : Theme sub - lime of end - less praise of end - less praise, d :r n : 1. n : t, d : n f :d 8 : r s : d 1 praise, of end - less praise, of end - less, end - less praise, Theme sub - 1, : t, d ; j : 5 8, :df n : .1 \ end - less praise, Theme sub- lime of , . ; A : f n : . 1 1 . s ft f PI : .s a .f : f Theme sub - lime of praise, of i end - less end - less : { ; 8, :d t| : .r r .d : d .t. 1, .r : - .d Theme sub - lime of end - less praise, t : .r 1 r'.d 1 :d'.t 1 .s : 1 .t d' : r : s s : - .n d .1, : 1 lime of end - less, end - less praise, Theme sub - lime of end - leas 1 .8 : 8 .f n : .s f .n : r d : 8) :t, d : n, f, :-.fi end - less praise, of end less praise, / St. Co. (New). ADDITIONAL EXERCISES. PABT 283 f. B>. M. 69. / f : n r : - .r d :- : : : , praise, of end - less 1 J i 4. C| <1| t l| tQ Q t| praise. d :- : : : praise. n : : : d S| ; - , g| of end - less r : n .f s : - .f praise, of end - loss si : d S| : - ,S| praise. f Just and d : f,d, : - .d, r, id, : f| - .f| : n, Just and righteous are thy ways ; / j S| : - . S| li .S| : d . : Just and righteous are f ,di :- -d, li .BI :d righteous are . HI : HI . T|,di - .d : t( thy ways, li .t|,d: r .d t| .d,r: d .ta Just and 1, .Pl|,f|: Si . S| right right - eous . eous are thy f 1 .Pli.rr. HI .d| Just are thy ways, are thy/ - .d : t. : d :- .d r .d :f - .f : n thy ways ; r>i .r, : s, righteous are s, : i ways ; 8| S| ,S| - -s, :f, thy ways, d :- .1 Just and Just and : n, .HI are thy s : - .s right - eous d : righteous are ll .S| : 1, .t, thy ways ; d .5; : d ways, f .n : r d : ways; are thy ways ; Just and righteous are thy ways; 1 F. t. , r s .i,t : d'.d 1 t .d 1 :d are thy ways, f .n : 1 ,Si,fi t .1 :s .1 f :- .f are thy - :t, .t, are thy f .s ,f : n .r ,d right - eous ;t ( n .n Just and right - eous si .l,.t : d ways, d : ways ; ,d :- .d righteous are thy ways, id :- .d r .d :f - .f :n r : - .r Just and d : Just and righteous are thy ways, are thy ways; St. Co. (Ntw). 284 ADDITIONAL EXERCISES. PART III. f. B7. / t| .d : 1 ( .r si : : : : \ are thy ways, : d :- .d rl,. s, :d - .d : tai : li .1| Si : - .fi,r, Just and righteous are thy ways ; Just and right - eous r .d :f - .f :n . -n : n .r,d r ,n,f : s .f n .d :f - .n : n .r ,d righteous arc thv wavs ; Just are thy ways, - and right* - eous ; Just & m ! 'd, :-.d, \ Just and / f. E7. B7. t. : fd :- .d 'La :d> - .d :t d' : - .r 1 "'1 : r .,r Just and righteous are thy ways, are thy ways; Just & f ( .HI : r, s, : *"id : - .n f .n : r n :- .f d :t, .,t, are thy ways ; Just and right - eous are thy ways ; t| .d : t, .1, s, : A s : s .d 1 1 : t s : - .t d 'f : s ,,s righteous are thy ways ; Just are thy ways, Just arc thy ways ; Just & r, .d, : f| - .f| : HI .-|H : n .r,d r .n,f : s .f n : n .r d fi :f .,f \ righteous are thy ways ; Just are thy ways, arc thy ways ; s : - .d f .. :-.f n : n : - .n n : n n : n n : ^ right - ecus 1 are thv ways, And thy mer - cies still en - durc. d :-.d d :t| u i ~~~~ n, : - .se. li :r.d t, :1, se, : 8 :-.! f :-.f S . "~~" d :- .r n : n r :d t, :- right - eous are thy wavs, And thy mer - c:os still en - dure, n : - .f r : - .r d :- li : - -t, d : 1 se, : 1, n, : f. E7. ; ; n : n n : r 1 : d 1 t : 1 t :d' still en - dure, And thy mer - cies still en - : ; -in : - .n n : n n : n ; : : rl :-.! se : d 1 t : 1 still en - durc, And thy mer - cies still en - ' ' : n, :n, n, : f,d :1, n : 1 se : 1 F. t. m. se : f n : 1 s : 1 f :r n : t : d 1 t : d 1 dure, And thy mer - cies still en - durc, And thy mer - cie* n : rd :d n : n r : 1, t. : n : r; n : still en - dure, t : r 'd' : d 1 d 1 :d' t : 1 se : se : 1 se : 1 dure, And thy mer - cies still en - dure, And thy mer - cies , n : fen : f d : 1 r :f n : : st. Co. ,'yctvj. ADDITIONAL EXERCISES. PART HI. 285 f.Bt?. r : d 1 t :- 1 :-.t d 1 :t.l 1 :se.l 1 : : < still en - dure, And tl : n : - .1 y mer - cies sti d :f n 1 en - dure, : - .n n : - 'd : 1, Ev - er se : 1 t :- d 1 :-.1 1 : r'.d 1 t : - .t d 1 : : still en - dure, , n : 1 se And tt :- 1 :f iy mer - ciea sti d : r n .1 en - dure, : - .ri 1| : '. 1 ,81 : f i pii,i'|.ri|,f| : 8| . t a d| .d(,i"i :n<,f i.S|,n l,,U,,t,:d, Sl .l,, S , fi,S|.Pi|,f,:ri,S|.f|,s. faith - ful, ev - - er sure, Ev " " ~ : F. t. / d'g : PI r :*f n,r.n,f: s .t ( d .d,r :pi,f .s ,PI 1 ,s .1 ,t:d',s .1 ,s Er - er HI .d, : S| .d faith - ful, t| .S| . r 'il| >t| ev - - cr d,t|.d ,r: n ,s ( sure, Ev li :d .n f :n .d or, ev - er faithful, ev- er, ev - - er sure, ev - er sure, Ev - er f ,s .n ,f : r ,s .f ,s n .d : PI .fe s ,te.s ,l:t ,s .1 ,t d' .t,l:s,f.n,r n :s jn r .d : t, .li,t, - er, ev - er d :d .r faith t|,l| ,ti,d:r ,t|.d ,r - ful, ev - er sure, ev - er s, :d ji faithful, ev - er sure, Ev - er d' :1 faith s :f - ful, ev - er pi,r.n,f :s .t| sure, ev - er d .d,r:n,f.s,n : Ev - er faith - ful, ev er sure, Ev i yd :f .r *fc' : ', * d :1 sure, ev - er f :1, .f, sure, s,r, :t| t, d tl.-s.f.n,! p.r.n.f.-i l,t,s, Ev - er d .1, :d, .f, sure, ev - er 1 ,s .f ,n : f ,s .1 ,t sure, Ev - er d's .f ,n :r ,d .t|,l| faith s :n - ful, ev - er f ,n .f ,s : 1 ,3 .f ,s ' f - er, ev - er *! :f. faith - ful, ev - er d| ,di,r, :ni,f|.S|,m ( faith li,S|.f ,n|:f|,S|.li,t| \ Ev - er faith - ful, ev - er sure, Ev er St. Co. (New). 286 ADDITIONAL EXKRCISES. PART III. . :f faith - ful, d :li .r n,r.n,f:s .t ( d .d,r:n,f.s,n l.s.f.n: f .s er d .S| n : sure, 81 : ev - er sure, ev d : ti .t| 1, :s, .si f. :" sure, ev n ,f .s ,n : 1 - er .8 ful, .t, er, sure, ev - er sure, ev - er s ' .n n :n .n ev - - er sure, ev - er d,ti.d,r:n ,BI l.S|.l|,t|:d .d sure, i : sure. v - er d .r ev - er er sure, n : sure, d :- sure, d ,r .n ,d : r ev ev - er faith - ful, ev . . ; i ; . d :1, 8, :f| : : : d : 1| Ev - er, si :f t ev - er r\\ I d| i . d :1 8 :f Ev - er n :f faith - fill, n : ev - er d : 1 d :d d :-.d And thv d :d" mer - cies d :- still en - dure, ev - er And thy mer ciea still en - dure, i r\\ : sure, d : 8 : n Ev - er d : s. r :d faith - ful, t| ! 8| : n ev - er t, :d t : sure, t, :- : n ev - er d : s, r : sure, ti :- sure, 8 d :n : n r :d s : n : d s : sure, Ev - er HI : d| faith - ful, 81 :s, ev - er 8, : si sure, s, : ev - er sure, And thy mer - cies still en - dure, / s : n r * . . ev - er ti : d sure, ti :- d :1| a i : f ri|,r|.nifi: BI . t, r :d ev - or Ev - er 8 : f :d .r are, Ev - er 1| J f | faith - ful, n .s, : 1| .ti ev er d ,t,.d ,r : n . si faith ful, d : ev - er ev - er sure. St. Co. (NtwJ. ADDITIONAL EXEECISE8. PART HI 287 1 d| -d|,ri : n,,f| .s ( ,n/ 1 :'' d 1 ' Ev - er 1,,8, .f|,n, ;f,d,r.n,f r : s faith - ful, s .S|,l ( : t|,d .r ,ti B7. t. s :i"'l ^ ev - er d,r .n,r :"1 ( ,f ( sure, ev- il .l,,t, : d,r .n,d f.s .1,8 rin'.r'.d'.ri er, ev t,l .t,d' :r',d'.t,r' - er s :d sure, ev - f " :'l Ev - er s" :f faith - ful, er n ,T ,d ,t| ;d f |,S|.l|,t| faith s faith HI d sure, d .8, f still t| r S| f ful, t, ful, : n en :d :d : 8| ev d ev - d .d| r dure, t, S dure, 3| ;r 1 s :f er faith - ful, 1 t, :- s : n ;r 5| sure, s, : And 8| thy :d 1 r '. ~~"* t, :d jr vj. sure, s, : And l thy : si jr sure, Adagio. f :- .f f :PI r : Ev - er d :- .d faith - ful, S| : d ev d : f :- .d r : s s : Ev - er 1, :-.!, faith - ful, ti : d ev si : mer - t, S mer - :d cies : n cies sure. d :- f .,n n : er - . s, sure. d| THE WOODS. KEY A. Andante con moto. M. 80. Be- ,n : Be- ,d : 8|,"t ,d ti :l,r ,li in ,1, in ,d : 1,,1 ,r ti drest, Si f dre.st, d hold the S|( 48) n t ~ ,n hold the dr ,d woods 8| : fu- ver-dure : l.r ,1. : f r ,f ver-dure : d ,- ,d n ll'' woods d ,-,r :f,-,l Theheav'naa ,- ,t| : ti,- ,t, ,-,f :r,-,f Theheav'nsa - d : d ,- ,d s Mendelssohn. ~ r n r i- in -gain d n are :- :t, : - ,- ,s : f ,- ,s -gain d are : 8) : s. St. Co. (New). 288 ADDITIONAL EXERCISES. PART III. E. t. d : -,-, :" 1 I,- ,s : 1 ,- 4 s : 1 , -.8 s : - __ s f,-,n:f,-,f : 1 ,- ,f bright: Re - d .-.si: 8,4-48. : B id,-,d bright : Rctum-ing Spring in turn - ing r : -spires t : Spring inspires the : r the ~~ V breast, Re s ,- ,d : d ,- ,d : d ,- ,d breast, Return - ing Spring in d A * A ~ ft *fi ft 4 40 . a i 413 a ^ 40 turn-in^ Spring inspires the d : : t| -spires the 1 :- :f '. bright : Ri turn-ing Spring in I d,,-,d:d,-,d :df-,f -spires f : the . f . i breast, Return - ing Spring in n ,- ,n ; n ,- jn i n ,- ,n -pfa-es r : . ^ h2 / d. f. D. L is B. fs : fe ,- ,r' : d' ,- t T~~ "": t : n de : r - d 1 light, d dim. : - ,- ,t : 1 4- ,s \ With hope and : - ,- ,r : n ,- ,n breast With hope and d r : - ,- ,f : n ,- ,f calm n : it : 1 ,- , se : 1 ,- ,r' d 1 : r' : se de : n - 1 light, 1, : - ,- ,86 : 1 ,- ,d' With hope and :- ,- ,ti :d ,- ,d breast With hope and dr : - ,- ,t| : d ,- ,r calm n : A. t. >d : n ,- ,r : d ,- ,t| d :- :- light, 81 4- 8| : 1, ,- ,si : li ,- ,s, light, With hope and calm de - ~ ~ 1^1 : f 4- ( r : d ,- ,t| With hope and calm de - f , : - : - d" light, n. calm calm tn : calm 1-8, : de : s, de :f de : si - light. r ^ : s light, With hope and calm de- d ,- ,d, : d| ,- ,d, : d ( ,- ,d| light. d| : : : i ,S| : s,.n ,d ti :1 <: li : li.f ,r ti :-r f :- - men, d :-,- -,8s : - ,r :f ,-,1 t : - .- ,n : r 4- ,n v For -sake the : , ,s, : 81,- 4 8| : , ,n : n 4 - ,n For -sake the : 4 ,d :d r 4 d fi d : - ,- , : n bus Bj y haunts of : f i,- ,1| : 1|,- ,1, Thou child of 1 ,t, : t|,- ,t| e ,f :r,-,f r x>il . i :--,s and : t :frj n :f ,-, f : f ,- ,f bus d E. t. lr y haunts of ,8 : 1 ,- ,8 : 1 , Thou child of 1 ,d : d ,- t d c oil 8| and : s, : s eres. f ,- ,n : f ,- ,f : 1 ,- ,f care, d ,- ,S| : 8| 4 - ,8| ; 8 Come, d,-,d roam the shady woodland r : : r glen, s ,- ,d : d ,- ,d Come, roam the shady woodland caro,Come, roam the shady wood t land __ * glen,Come,roamthe shad} d 1 ,- ,8 : s ,- ,8 : s ,- ,s 1 wood 1 :- land :f |care,Come, roam the shady d l ,-,d:d,-,d :*f,-,f wood f land - :f glen,Come,roam the shadj n 4- ,n : n ,- 4 n : n ,- /i wood r : land : r St. Co. (Newj. ADDITIONAL EXERCISES. PAliX III. 289 d. f. D. L is B. fs : fe<- 4 r' : d ,- , t 1 : t : n dim. d' : - 4 - .t : 1 .- ,s air, And breathe the d : - ,- ,r : n ,- ,n 1 : - ,- ,se : 1 ,- .d 1 air, And breathe the li .: - - ,t| : d - 4 d - ,- ,t : f ,- 4 r : d ,- ,t| d And breathe the balmy air. glen, And breathe the balm y dr : - ,- ,f : n 4 - ,f n : : r it : 1 ,- ,se : 1 .- ,r' d 1 : r' : se glen, And breathe the balm y dr : - ,- ,t| : d 4 - ,r n : : n A. t. 1d : n ,- 4 r : d .- ,t| d : : balm - - y *8| : : S, balm y tn : - : f balm y rs, : : s ( / : 4 ,s, : S|,n 4 d t| : 1 air, air, And breathe the balmy n ,- ,n : f ,- 4 n :,-/) air, And breathe the balmy d 4 - 4 d| : d| ,- ,d| : d| 4 - ,d, ,-,1. : li.f ,r t, .-.-. air. r : : s : r ,- ,n ^ air. d, : - : - r : f - ,1 s : - ,- ,n Hereo-dours float, '. | ,S| ' S||~ 4 S| Sj and zephyrs play, ( )n rnoi'ning's gold en t| :fr,s' m m mm f f f f f . 4 (Tl n 4 (PlPl I 4 ~ 4 l A 4 ~ 4 I i . 44 f : r ,- 4 f n : - r ,s Hereo-dours float, and zephyrs play, C i A ' d ,- 4 d d : - ,- 4 d : d ,- 4 d d '-- p E. t. d .-,-, : m l 1 .-,8 : 1 4 - ,s : 1 4 -,s s :- beam; With them thy grief swill pass a -way, d t - ( S|: S| 4 -,S| ; s |d,- 4 d r : :r s 4 - 4 d:d 4 beam jWiththemthygriefs will pass a - way, "With t n m* m. pi ' PI 1 1 t* * ' f" H 1 Q Q t *'''* i' ' ^ 4 i "^ " " i IP l>eam;Withtheinthygrief swill pasa a - way, With tl d (4 - 4 d : d ,- -^^^ f s : fe ( - ,r' : d 1 ,- 4 t 1 : t : n >n morning's gold d : d ,- ,d d : s\ en : s, cres. : s f r * : * r / : 1 r \ With them thy grief will pass a- ,- 4 d : d ,- 4 d d : t| lemthygriefswill pass a ,-8 : s-,s 1 : : f iem thy grief s will pas* a 4 ,n ; n 4 ( n r ; t r / dim. d 1 : - .- .t : 1 ,- 4 s dream, And van - ish d : - ,- ,r ; n ,- 4 n ~ i~ 486 : 1 ,- ,d dream, And van - ish li ~ r ti id,- 4 d i way, And van - dr : - ,- ,f : n ,- it : 1 ,- ,se : 1 4 - ish liku a ,f n : : r ,r d 1 : r 1 : se way, And van - ish like a 4 r n : : n St. Co. (New). 290 ADDITIONAL EXERCISES. PART III. A. t. d : n ,- ,r : d ,- ,t. d :- .- dream, Si - iS, : 1, ,- ,si : 1| ,- ,8 ( dream. And van-ish like a n ,- ,n : t ,- ,n : f , ,n dream, And van-ish like a :-.r'|t :- The : n stout -limb'd oak that long has borne Th' unnumber'd shocks of n :f |n : - .n l.s:f.nl.r : :-.r|d.d;r.r win - try skies, n. : f e 1 s : i The :d d 1 d 1 : d 1 |d' : : -.pi'lf'ji 1 : r'.d 1 t :-.s|s.s:s.s s :1 |s : f win - try skiee, 1, :r Is, :- j n |r : - .r \ stout -limb'd oak that long has borne Tlr unnumber'd shocks of d :f |d : : -.d|r .d : t,.l s, : -.s,|d.d : t|.t ( :d' .d 1 Id'.t.l :t .s d 1 : n 1 |1 : - .r 1 ' a., t. Lift ing its head with dauntless : I : scorn, The wind's tu - : 1 : n' :d* |f :r' mul - tuous rage de- ad : d .d |d .t|,l ( : t, .s, Lift - ing its head with dauntless s d : - .n | s : f Lift - ing its : 1 : head with daunt - less : 1 : scorn. The wind's tu - 1 : 1 d :- .d |d :f i f : n |r .n,f : s .f . D. - \ .r 1 :r' .r 1 . fies, \ d . scorn, f n mul The wind's tu - : n 1 1, : - .r The wind's tu - :d |f :r tuous rago de - mul - tuous rage de - t, :d |d : t, mul - tuous rage de - fies, : 1 : fies, The winds tu- d s : | .t : t .t fies, Lift - ing its head with dauntless s : s .s | s,f.s,l: s,f.n,r / n 1 tr :n> |f :r' d 1 :- | : A. t. r's : s .s | s,f.s,l: s,f.n,r\ mul d' - tuous rage de - : s |f : - .f fies, s : | : Lift - ing its head with dauntless tpi : n .n |n,r.n,f : n,r.d,t ( fd 1 : d 1 .d 1 |d' .t,l : t .s d 1 :n' |1 :- .r 1 tn : d | s, : - .S| Lift d - ing its head with dauntless : |r :r .r scorn, The wind's tu n :d |f :r - mul - tuous rage de - \ scorn, Lift - ing its head with daunt - less scorn, n scorn, d :- .n |f :- .f The wind's tu - :- .d |r :- .r n :- |f :- mul tuous d : :r f :n |r : - .r \ rage de - r : d 1 : t| d ' - i : .s |1 :- .f s : s | s : - .s fies, d :d .d |d .t|,l,:t,.s, The wind's tu - d : n | 1| : - .r mul - tuous rage de- t( : d | si : - .si Lift ing its head with dauntless scorn, / St. Co. (New). 294 ADDITIONAL EXERCISES. PAKT in. 1st time. 1)0. 2nd time. $ fies nos. sr' : | r' : fies. fies. \ t :t |d'.t :d'.n' course, its buoyant course It 86 : 86 | 1 .86 : 1 .86 : n 1 1 .n : 1 .n its buoyant course It : | : .d 1 r'.n'if n'.r':d'.t And should it n'.r':d'.t tr 1 :s If : fall, and should 1 :s |f : 1 :s |f : fall, and should 1, :( If, : I- .d',t:d'.r' -.f it -.f -.f it -.f, d'.t n : -.d'|t .d 1 : r'.d'\ fall, its buoyant, buoyant n : -.1 Ise.l : t .1 n :- !- :- fall, : 1 .se |1 : - . n'.r'-.d'.t And should it n .r : d .t| n 1 .r',d': r' guides a -long the i : - .1 se.n : - .f roll - n .r ing waves, :d .t, |d :- . f :- guides .n'ir'.d 1 : t f |f .se :1 .r n roll : .s the : .n : I : .d' the :- .n |1, :- .1, ing waves, 1 .t: d'.t |1 .s:f .n a - long the Is: | the : : .s l.t : d'.t |1.8 :f.n roll - - ing waves, t.d':r.d'|t.l:8.f n : | > roll - - ing f .s: l.slf .n:r.d r : waves, t, : s* :r' pest : 8 : t pest 1 : 1 : r n .f : s .f In .r : d.t 1, :-.l|l :1 ( waves, the roll - ing roll - - ing f .:!. |f .n:r.d the roll - - ing .t, d .r : n ,r| d .t,: l,.s n : |r d' :d' ..d'ld' : f ' And though assail'd with d : d .,d n : f n : i .,i s : t And though assail'd with d :f .,f n :r 8. ( d 1 : - .t,l|t : t still it braves, The 8 : f e s : t 1 :- .r' 'r' : r' still it braves, The d : r ; s. : s n 1 e 8 d' e d 1. f. F. d'l.s roar d'l.s d'1.8 roar d'l. 8 : d 1 |d' : f ' ?ual force The Id :r : 1 |s : t ?ual force The In :r : f .n |f,nr,d:r,d.t|,l - ing tempest still it : f .n |f,n.r,d:r,d.t,,l waves, d ' 1 1, 8 : 1 waves, 8, : ,n" :- Ji' |r' roar - ing tern - n .8 :- .d' |t 1 d' :- .d 1 |s roar - ing tern - d,t|.d.r:n,r.n,fe|8 : f .n |f,nj.d:r,d.ti,l, - ing tempest still it St Co. (Nm). ADDITIONAL EXERCISES. PART III. 295 D. t. m. 1. tr "s :- | :r' n 1 : n 1 [n 1 :r d 1 : |t : d 1 D.S. braves, The roar - ing tern - pest still it brav se,t| : | :t d 1 :d' Id 1 :1 s : | :s s 08. t ( r : - | : r d 1 : n< | s 1 : f ' n 1 : - | r 1 : n 1 : braves, The roar - ing tern - pest still it brav "18, : I : s d 1 : 1 | n : f s : | : s, d Be. Words by MORNING PRAYER. /. S. Stallybrass. Music by KEY C. Adagio. M. 69. 1 II 1 1 .PI X* 1 ' 1 1 1 / 1 f :s n 1 :-jr|r :d f i-.f'ln 1 : r 1 s :l.,f|f :n Mendelssohn. PP f : f |n : -.PI A sol - emn calm, a si - lence ho - ly, Now lies on all thing! :n s :-.s|f :n 1 :-.l|s :s s :1 .,f | f : n i far and nig n : r .,d | ti h; The : -.r : d n 1 : - .n'| t : d d 1 : - ,d'| d 1 : t s : 1 .,f | f : n 1 : t .,1 1 se : -.se A sol - emn calm, a si - lence ho - ly, Now lies on all thing :d d 1 :-.d'|s :1 r :-.r|s :s s : 1 .,f | f :n i far and nig r : r |n h; The : -.n cres. 1 : 1 1 1 : se d 1 :d' Id 1 :t .1 tf dim. rl 4- 1 c 1 L | o f 1 s : - ,s | s : \ woods a - lone are d ,r : n .f | n : - .r bend - ing low - ly.To d .n : 1 .s |fe :fe.l greet their Ma - ker s : f | n : ria pass - ing by, r : f |n : _ - l.t:d'.ri|d' :-.t 1 .t : d'.n'l 1 :r' .fe s : - ,s | s : d' greet their Ma - ker d" : t |d' pass - ing by. - -^ : - .n To woods a - lone are bend - ing low - ly,To ( 1, : 1, in : - .n - : 1 : : .f|f :n.,r 1 .s : fe.nl r :r .d P s : - .s | s : s Ma - ker pass - ing r :-.n|f :f Ma - ker pass - ing d :-.d'|d' :t 8 : s ) . a s, : s, \ ' s : | n : | by. > :-.d' 8 I n d' ""TTd'l d 1 : t .,1 To greet their d : ta | 1 : na Ma - ker, greet their s' : f '.,n'| f ' : d 1 f To greet their n 1 :r'.,d|t : - .s 1 greet their Ma - ker pass - ing by, their Ma - ker pass - ing by. I ( d' : t .,1 1 s : - .f n : r .,d | f : f e s :-.\\fc } \\ t \ d :- | d t St. Co. (New). 296 ADDITIONAL EXERCISES. PART III. n 1 :-.n'|r' : d 1 feel my bo - ing s : - .3 1 f : n f : - .f 'Tn r Tr l new - cre-a - ted, 1 :-.l|s :s P } s : 1 .,f | f : n Where is the care, the s : 1 .,f | f : n op f : f | n : - .n \ tor - ment gone? Thej n : r .,d 1 1| : - .r f n 1 :-.n'|t : d 1 d 1 : - .d'| d 1 : t s : 1 .,f I f : n 1 : t ..1 1 se : -.se feel mv be - ing \ d 1 : - .d'| 8 : 1 new - cre-a - ted, r : - .r | s : s Where is the care, the s : 1 .,f | f : n tor - ment gone r : r |n ? The : -.n cres. 1 1 :1 |1 :se d- : d 1 |d' : t .1 if dim. s : - .s | s '. ~~ \ fears that late - ly d .r : n .f |n : - .r o - ver - weighted.Re d .n : 1 .s |fe : fe.l -tiro a - bash'd bo - s : f ! r, : na fore the Dawn, r :f |n : , l.t:d'.r'|d' :-.t 1 .t : d'.n'l 1 : r'.fe s : - .s | s : d 1 d 1 : t |d' - . : - .n fears that late - ly o - ver - wcighted.Re -tiro a - bash'd bo - fore the Dawn, Re- 1, : 1, |n :-.n 1 . s : f e.n | r : r .d t, :-.t,|d :j% Si '. 8| j :-.d / - : ! : "~T~~^d'| d 1 : t .,1 P s : - .s | s : s 8. _ . | s \ I : . f | f : n .,r Re-tire a- d : ta 1 1 : na bash'd, ro - tiro a - s' : f '.,n'| f ' : d' bash'd be-fore the r :-.n|f :f bash'd bo -fore the d' : - .d'| d 1 : t bash'd be-fore the Dawn, n : | Dawn. d 1 :- |- Dawn. The n s The Re-tire a- tire a - bash'd bo -fore the Dawn,a - d|_2l.Hi :-< n : r .,d | f : f e 8 :-.S 8 ! 8 :8 j fill s, : BI ) d :- |- d n 1 : - .n"1 r 1 : d 1 f r-.f'Tn 1 Tr' 1 / s : 1 .,f | f : n ip f :f |n : - .n \ world, with all its joy andsor - row, 1 :-.l|s :s Is . but a bridge o'er s :d.,t,|d : d .n time's deep flood, Thati n : r | de : - .def J I , J U ^| % 1 f :-.f'|d' :t d 1 : d'.,s |s : s~~ 1 : 1 |1 : -.1 ( world, with all its d : n | s : 1 joy andsor - row, r :-.r|s : - .f Is but a bridge o'er n : f .,r | r : d time's deep flood. That fi : f|.8,| 1, : -.s / cres. f \ : 1 |1 :se 'd' : d< |d' : t .1 cres. r' :f |n' : - .r d 1 :r'.t1s' . _^ , I, a cheer -ful de.r : n.f |n : - .r pil - grim, bor - row,To d .n : 1 .s| fe : fe.fe boar me to m> 8 : - .8 | 8 : 1 home and God. 8 : - .8 |S : f 1 .-rr'lt :-.t TTt : d"7ni 1 : r 1 .r r 1 :-.r'|n' rd'.r' bear me to my t :-.t|d' it n 1 :t.r'|d' home and God s :f |n j : - .n To I, a cheer - ful f : n.r|n : - .n pil - grim, bor - row, To l.s:fejn|r : r .d 1 St. CoTfNcw) ADDITIONAL EXERCISES. PART III. 297 / : I : : .f |f :n .,r ~T~.d'|d|_ :t .,1 To bear me d : ta 1 1 : na f> S* o 1 c c . . a | a . s to my homo and r :-.n |f :f . :- \? God. n :- |- To bear me n' :r'.,d'|t- :-.s' to my home, my s 1 : f .,:V| f ' : d' home, my home and d 1 :-.d'|d' :t God. d 1 :- |- boar me to my d 1 : t .,1| s :-.f home and God, my n : r ,,d | f : f e home, my home and s - \ s 1 * : *l 'foils, : t \ God. d :- |- YE SPOTTED SNAKES. KEY A. Andante. M. 96. S. J. S. Stevens. mf Id :t|.d l-.t| : d ;r :n.f f : n |n : - .n n.r : d.t|| t : 1 i s, : | : Vo spotted snakes with dou- ble f, : S| |1, I S, tong S| ue, Thor -ny S| hedge -hogs be i Lot seen ; GI s, \p | : n :r.d d :d |d : ti d :- |d : d r : n | r : - - .d t, : s I : f Ye spotted \ | d| :r|.ri| snakes with dou- ble fi : n. In : s, tong d, ue, Thor-ny :- |d :-.d hedge-hogs be t( : d |r : i not seen; Newta and P 'i si : |1| :-.r P E. t. cres. : 1 : : r ;df f : n | s : s s : 1 1 : -.1' fa | : tai Newt ta, : 1 s and ta, ;l,r blind worms do no r :d |f :ri wrong ; Come not PI : r |f : - .d Newts and f :n |f :r blind worms, newts and . t| : d |r : - .81 blind worm. s :f blind worm Pl| : f j, newts s t ^ 1 3, newts and t : d 1 | r" : d 1 blind worms do no s : 1 |t : d' d 1 :t |d' :-.d' wrong ; Come not s :- If :-.f s .n : r .d |f : n : s n : r is : r n .f e : s | s : f e our fai - ry : r |d .r,n: r .d near d : s : our fai - d It, s | s queen, d : t| Come not near |r :r d I s : - .s s s : : s 1 1 : 1 near n : our fai - n |r ry id queen, 8| : Come not near It, :- .t, d our fai - ry t| | 1| r j St. Co. (New). 298 ADDITIONAL, EXERCISES. PART III. queen, d : s : queen, si : Con upres.f) Is, :-.s, Phi - lo- l,.t,;d |r :n .f mel with mel - lo - : : 1 : f f :n 1 : d .1, dy, _ |n .r : n .d Sing T :& \- : in fe Sing in your sweet P : \ :d : t| | 1, : Sing in your P : |f.n:f.r n .f e : s | s : f e cret. s :- |f.n:f.r n .f : s .1 |n : r \ Sing in t, :d I- :t, your sweet lul - la - d : r |n : r lul-la - by, sing, cret. by, sing in f .r : n .d| 1| : si your sweet lul - la - your sweet s .f : n |r : s sing in your, t : d 1 | : t lul - la - by, sing, s, :- 1- :- sing in d :t, |1| :- your sweet cret. s, : |r : lul - la, lul - la- d .r : n .f | 8 : si sweet lul - la - by, sing in your sweet lul - la - P d :n.n|f .f : r .r PP 8 : d .d|r .r : t,.t /> '/ d : ' |s :f.n 1 :t.d'|r :n.f by, lul-la, lul-lajul-la- d : 8|.8|| !,.!,: t,.t. by, lul la, lul-la, lid-la- A 1 by. Nev - er s, : |d : r .n harm, nor spell, nor f :d |d : t, n : !?:. 8 : n .n|f .f : r .r n : |s .1 : t .d 1 d 1 :t.l|s :s by, lulla- d : | :s.8 by, lul-la, lul-la, lul-la- by. Nev - er d : |n : r .d harm, nor spell, nor f :f |s :s f : n |B : f .n poeo cret. 1 : - ,s|f .n : r.d ir : |s : f .n dim. 1 :- |r :s night, so good d : - | d : t, f :- |s :s charm, Come our d : |d : r .n love - ly la - dy f :d U.-dis,.!, nigh , So good d :t, |d :d 1 : |n.s:t.d' d' :-.! :-.fe s : |n : f .8 charm, Com* our 1, :- |n ;r.d love - ly la - dy f :-.n|r.d:t,.l, nigh ; So good s, : |n : r .d night, so good f : - | 8 : s St. Co. (New,. ADDITIONAL EXERCISES. PART III. 299 / f : n P Id 1 . :d'. so good d . id. s. : 1. d 1 :-.n.f .r:d.t| night, with lulla, lulla- d :-.d|d.r:si with lul - la - s : - .s 1 1 .f : n-.r PP d : n .n| f .f : r .r by, lul-la,lul-la,lul-la- dim. 8 :d.d|r .r : t|.t,\ by, lul-la,lul-la,lul-la- d : | :s,.s, dim. s :n .n|f .f : r .r night, d : 1 :- by, f)p n : I : s .s night, so good 1, :- n. :f . night, with lulla, lulla- n : -.d|f : s by, lulla- d : ( : s .s by, lul-la,lul-la,lul-la- n : i :si.s, \ with lul - la - by, f. A. D.O. * : 1 : f. D. mf : 1 8 ( r :n.f s .f : s .n|f .n : r .s by. 8 .r, :- mf r, :n,.f S| in, | f i : T( spi - ders come not d : - .d|d : t| Weav-ing n, : hit, : d .r spi - ders co.i e not n .r : n .d|r .d : t|.r Weav-ing t, : d .r here, d :- |d s :-.f n : 1 i r : s / f :n Weav-ing s, :-.f spi - ders come not here, Weav- ing d : | : ff \ : s 1 : s spi - ders come not 1 :1 |s :f t : d' :-.t|l :s here, r :d Hence, f : r' : Hence, Ids : hence, ye long-legg'ii n : - .n|d : d d' :-.s|l : d 1 hence, ye long- legg'd d : - ^ |f : n spin - ners, ye d :d |d :-.d hence, d 1 : d 1 | : n spin - ners, ye f :n | :d long- legg'd spin - ners d : r |n : r f :f Id' :s long- legg'd spin - ners f :r |s : s, d : here, : d. \ n i-f> hence ! d :- p . C. L is A. 81 :1 Bee-ties t :t |d' :r black ap - proach not 1 : se 1 1 : 1 eres. n 1 : 1 1 : t near ; Worm and 1 : se | n : f d 1 . : - 1 1 : - snail do n :- |f :- s :- hence ! d :- tad' ;d" Bee-ties 1 :1 t :n' [n 1 : r 1 black ap - proach not n : n 1 1 : f d^TT |s : s s : 1 1 : r 1 near ; Worm and n : |n : r snail do d :- |s :- ores. 1 :- no n : d 1 :- no 1 :- at. Co. (. : 1 of - d' :- of New). 1 : se | t : t fence, worm and n : 1 n : se t : | se : n 1 fence, worm and n : | n : n d 1 :ri |n' : 1 .t d' :- It :- no of n : | : r 1 :- |se :- , no of n : | : n snail do 1 :s.f|n :f n 1 :r' |d'.t:l snail do li : t, |d : r 300 ADDITIONAL EXERCISES. PART III. A. t.ra.l.^ Con espressione. / id : P\s\ :-.8i li.ti: d r : n.f f :n : : 1 : fence. Phi - lo- mel with mel - o - dy, de n : : : : : 1 : : p\ d . ti: d . 1 Sing in id :- : : . : P\r\ .r : n .d r : s - : fe fence. Sing in your sweet Mi :- : : : 1 P: d t| 1. :- Sing in your / P cres. mf : f.n:f.r n.fe: s s : fe s :- |f .n : f .r f.n:r.d|d : t. Sing in your sweet lul - la - by, sing in your sweet lul - la - t, :d - :t, d :r d .t,: d.l, t, :d |- - : t, d :1, s, :-.f your sweet lul - la - by, in your sweet lul - la, lul - la- s .f : n r : s : n : r f .r : n .d|r : - .s 1.8 :f .n n : r lul - la - by, sing, sing in your sweet lul - la- by, swoet lul - la - s, : : d : t| li : t I - : BI d : f , si : si sweet lul - la - by, sing in your sweet lul - la - P PP n if d : BI.S, li.li: t|.t. d : 8,.s,|l|.l|: t|.t, d : d : r .n r : r s :-.f by, lul-la,lul-la,lul-la- by, lul-la,lul-la,lul-la- by. Nev - er harm, nor spoil, nor Pli ' Pli Hi f f ' Si.S, HI : |s i S i li '. li ti : t, by, P ' 'PP" 1 "* 1 d : :r.r * : VI , : r .r d : n :r.d f : f r : r by, lulla - by, lulla- by. Nev - er harm, nor spell, nor d| : : s,.s d[ : i 8,. 8 d, :- d : d ! d :d ti : si L) dim. ^ f :n|d :d d :r.n|f : n n : r | s : f n 1 : I r : s f : n \ charm, Come our love- ly la - dy nigh ; So go ad night, so good night, d : |si : 1, s, : t|.d|r :d d :_t, |d :d d : hi : t ( d : 1 : |n :f n : s | s : s s : 1 s : s f :- |s :r d : charm, Come our love- ly la - dy nigh ; So go od night, so gooc night, 1, : |d :d d.n: r.d|t, :d s, : |n :_r_ d f i 1 1| * 81 1, :- PP D.S. s . : 1 . s : - .n f .r:d.t. d 8,.8| li.li: t|.t, ( 1 '. 81 . 8 li.li; t,.ti d :- so good night, with lulla, lulla- by, jy, lul-la,lul-la,lul-la- by- d . : d . d : - .s, li ! 81 8| ivn, f,.f,: si.s, r i, : n,.n,lf|.f|: si.s, HI : lul - la - by, PP dim. s . : f . s : - .d d .f : n .r n : r .r ( [ : : r .r d : so good night, with lulla, lulla- by, lulla- 1 zy, lulla- by. n. :f. n :-.d|f, : s t d : 8,.s, ( li : : S|.s, d, :- lul - la - by, St. Co. (NewJ. ADDITIONAL EXERCISKS. 1' ART III. 501 O SAVIOUR OF THE WORLD. KEY A!?. Anduntitw. M. 60. (COPYRIGHT.) John Qost. : | n : r : d 1 1, : 1, s, : |s : f :n |r :d O Sa - viour of the Is, :- f, :, |f, :f, ! | S| : S| '. 8| | S; : 1| .t world, O n, : |d :-.t Sa - viour of the 1. :li Hi :1. d :s |f :n d :- |d :- O Sa - viour of the world, Sa - viour of the : |d, : r, : r, | r, : r, n, : | n, : f, :fi If, :f, t, :- Id :d .d n : - .d d : d n : | r : 1, \ world, Who by thy S| : | n ( : n, .ri| Cross anc sei : - .se . pre - cious Blood . hast re - se, : se, 1, : 1 1, : 1 ( r : - |d :d .d d :-.d|d :d d : |f :f world, Who by thy s, :- 11, :!,.!, Cross an( n, : - .n. . pre - cious Blood hast re - n, : rc, f , : ' f , : f , , d :- |- :t, d :- | n ', n .n 1 :- |n : : | n : n .n\ deem - - ed us, s, : I f , : n, : - Save us and - 1 : help us, ^^^=- Save us and d : 1 1, : n : |r : d : - - 1 : Save us and : |d :d.d help us, n : |r : deem - ed us, s, : ! s, : d, : - - 1 : Save us and : 11. :li-l help us, se, : | se, : cres. -^ 1 : |n : : Is :- f :n |r :d t, : |s : help us, ere*. : |1, :!,.! d :- O Sa - viour of the 1. : s, | f i : n. world, O r, : 1 1| : Save us and help : id : d .d n : - us, O f : |T : s : f |n : r Save us and help |1, :!,.! s, :- Save us and help - |d :- us. us, f, :- !- :- help Sa - viour of the sj : | : S| ns, O | St. Co. (New). ADDITIONAL EXERCISKS. PART III. s. d.f. Gl?. LwEb. Et^. t. mf ere*. df :n |r :d t, :- - |t s e: 1 : 1 1 1 : 1 .1 1 :-.l|l :1 Sa - viour of the world, Sa - viour, Who by thy Cross and pre - cious "ili : li Hi : li s, : - - I't, :- d :1, (I. : 1|.1| d :-.li|l, : 1, df :s If :n r : - |n :- n : n | n : n .n f :-.f|f :f world, of the world, Sa - viour, Who by thy Cross and pre - cious i,r :r |f, : f, 8, : - - |fr :- d :d |d :d.d r : - .r | r : r Sa - viour EP. t. m. 1. / dim. P i d 1 : 1 1 : 1 1 :- .s | 8 : f :- |n : n 1 :- |r :r Blood hast re - deem - ed us, Save us and help us, we dna: |na : na r : - .r|r : r :- |d :d d :- |d :d '1 :- It :d' d 1 :- .t|t : se : 1 1 : 1 r :- |r :r Blood hast re - deem - ed us, Save us and help us, we refe: Ife : f e 8 : - .8)8 : : 1 f, :- If, :f, f. At?. / s : f .n |n : r .d AS, :- | : s : n .d 1 1, : 1, .8, hum - bly be - seech thee, Lord, we hum - bly be - seech thee, O d : d .d |t, : t, .d *s, : f. :- HI : d .1, |s, : fe,.8. we n :1 .8 |f :f .f "t, : 8, |s, : s, .s. 8| : 8, .n |r : d .t, hum - bly be - seech thee, O Lord, we hum - blybe- seech Thee, be-seech thee, O si : si .s, | s, : s, .s, l,ni : - |t. : d, :d, .d, |n : n .r. we hum - bly be - seech thee, O / P si : \ : '. \ : |n :- r d 1 1, ' 1, \ Lord, Sa - viour of the s, : 1 : ' 1 : : li =- f, : "i 1 ri : t. t, :- 1 : : 1 : : 1 : : flf : Lord, P O s, : Is, :- f i : n, |r, : d, t. :- Id, :- r. 5 1 i \ i Lord, O Sa viour of the world. O save St. Co. (New). ADDITIONAL EXERCISES. PAKT III. 303 cret. / cret - cen- s^ : ' s : f :n |r :d t, : n ' n : 1, | n : n .ro> world, O Sa - viour of the world, O Sa - viour, Who by thy d, : 1 s, : 1, : s, | f , : HI r, :- It, :- d :d 1 1, :!,.! n : r I d : t, 1, :- - 11 :- s :f |n : r d : |d :d.d Sa - viour of the world, O Sa - viour of the world, Who by thy HI : | n, : fi :- - 1- :- s, : | se. : li :1| Hi :l..li us and help us, O Sa - viour, do. al. f f. Dt^ At>. t. f :-.f|f :f f d 1 : - - | r 1 : r 1 n- : , : n 1 n 1 : | Cross and pre - cious Blood hast re - deem ed us, /') 1, '. .1,| 1, : 1| r 1 : - - |1 : 1 1 :- |se :ba se : I"!, : Save d : - .d | d : d r 1 : - - |1 : 1 d 1 :- |t : 1 t : | : Cross and pre - cious Blood hast re - deem ed us, f, :-.f,|fi :fi ta,f : - If :f n : | : n n : | : P m^^ 3 *" 3^m^= */ d'f ; | n ; r d : - It, :1, li :si.si|t, : 1|.S| s, : is : Save us and - :- Hi :1, help si : - us, we 1 f 1 f I hum-bly beseech thee, O f, :f,.f,|f, :f,.f, Lord, O n, : | n, : us and help us, ir :- Is :f n : - - |r :d t| : t|.t,| t. : t|.t. d :- |d : Save us and help us, we hum-bly beseech thee, O Lord, O i,r, : |n, : f , s, :- I s, : s. s, : S|.s,l s. : si.s, d, : |ta, : PP > Rather slower. f) 'f :n |r :d t| : lai : ladai la, : s, | : si Sa - vioui of the world, Save us, and help us, we fi :- 1- :- f i : la, :la,.la. la, : s, | : s. save us, d :- I- :- r : la, : la,. la. lai : s, | : si save us, Save us, and help us, we 1, :- Ha, :- si : la. : la, . la. la, : s, | : s, cret. / dim. K\ n :r.r|f : t,.t, d :- - | : - :- |d : d :- |- :- hum-bly beseech thee, Lord, A - men. f, / t \ t . f f i :i,.i||f, :i|.l n, ; - -Hi :- s. :- If, : n, :, : A men, t, :t,.t||t. : r .r d :- - |f :- n : 1 1, : s, :- !- :- hum-bly beseecu thee, Lord, A - men. i S| : s ,S| S] : s,.Si d, :- - I- :- - :- If. : d, :-|-:- St Co (New). 304 ADDITIONAL EXERCISES. PART HI. THE SHEPHERD'S LAMENT. . Andante lento. M. 63. Henry Smart. p in .,"i s : - .f :r .1 ""T"" : s :s jl 1 n 1 :- .d' :t .1 On the * d .d : s .,s brow d :- s : - of yon-der moun - .ti :t, .r r .8 :s .t t tain A tho : n : s n id 1 : d 1 .s s u - sand times I ', PI I PI .PI :d' .n 1 :r .d ! On the i d .,d brow n : - : .1 of yon-der moun - .r :f .f f 1 :- .f :n .s tain A tho : n : n d f :r :d .ti u - sand times I :1> -1 .li d .n : s .,8 : s .f . stand, r c - And : .f on my crook re- f : - .r : de.de pos - ing, Gaze r : 1, : S| down on tho ver-dant 8| '. S| .,d : d .d i t il stand, r i - : .1 And 1 :- .1 :s .ta on my crook re- r : - .r : r .r 1 :f :r pos - ing, Gaze r : f , : f i d : d .,n : n .f down on the ver-dant it) ', DI .,ri| '. I, . 1| n : r : .s d : - ,ti ,d : n .,r d : : t| .t| li : - .d :t, ,d 4 r land. d :t The , : .r flocks as they graze I 8| . ~" (S| |S| S| *,S| fol - - low, My dog he guardeth them s : - land. 8, t- d :- well, n : - well; li :- well; : .t The I d S .,8 From the : "> t .,t From the From the t n : - ,re,n : s .,f nocks as they graze I ? :t .t :d' .1 moun - tain have I do- f :f .f :n .n t : r' .r 1 : s .d' moun tain have I de- Si : 8| .8| : 8| .8, moun - tain have I de- n : : r .r fol - - low, My The flocks as they graze, dim. f) s : f : n . scend - ed, Yet r :r :d . t : : d 1 .d scend - ed, Yet 8| : S| J L . scend - ed, Yet ritard. d : - .n :n ,n ,n dog he guardeth them .HI 1 DI tPi| :n| ,ri| ,ni My dog he guardeth them r . : : n . \ how, yet li. : :ta,. / i :d d :i .i how, I can scarcely) f , . : : s, . " how, yet ^ ~- ^ P If . : :fe s : d 1 .t : 1 .s' fe.s : f . : r d : n how, d . : yet d how I can d : n : d .d scarcely, scarce - ly d .d :d . :t t tell. ITie d : d d :i : na n : s : n .n re.n : 1 . : s 8 : s tell, how, St. Co. yet (New). how I can si : : 8| .s. scarcely, scarce - ly tf si .s, : si . :> g( tell. The d !- ! | d ADDITIONAL EXERCISES. PART III. 305 n : s .,s : f ,r 4 1 1 : s : s .,d' n' :-,r',d': d 1 ,' ,1 s :f : .f mea-dows are sweetly en- am - ell'd With flow - ers so lovely and gay, I d : d .,d : t|,t|,r r : n : s n i n M n : n ,n ,n r : : .r 8. o e e o t i S .,S . S ,8 ( t t : d' : d 1 .,s s : -,se,l : n'.r'.d t :1 : .1 mea-dows are sweetly en- am - ell'd With flow - ers so lovely and gay. i , d : n ,,n : r ,f t f f : n : n d : d M d : l.,lil. r : : .r t f ^ i - ,n ,i : i t s ,n r : It :ti d .n : s .s : s,f ,d n : r : .s ga - ther them but withou ; know - ing To whoml shall give thema- way. In r : -^e.ride^de.df ' ll ll : S| s, : S| .d : d,d,d d :t, : .r 1 : - ,1 ,1 JPI ,n 4 s f r : r d : d .n : n,f,f s : : .t ga - therthembut withou , know - v ing To f i f whom I shall give them a - m m. m 1 way. In B7. t. 1 1 . 1 1 rii iij . ri| . s d : - .d :r t d ,ti d : - : t, .,t, li : 1| .,1| : t| ,d ,t| . rain.in rain, in storm, and in tern ... pest, I stand there be - neath the r s ( .8) : si .si :lai,lai,lai S| \ S6| .,SG| 1| t H| .,1| : S6| .,S6| tn :- .n :f ,f ,f n : : r .,r d : d ,r ,n : pj ,,n rain, in storm, and in tern ... pest, I stand there be - neath the ; ; . t|Pi| : pi| .Pi| '. ri| ( ni ,ri| HI iba^seit 1| t t| ( d : r ,n ,r In rain, in storm, & in tempest,! stand there beneath the/ ;^> P f. Ef. / L : : L . 1| l,n ,,r : r :d .1 s :f : n . r . : : n . \ tree ; But yon door re-mains clos'd a- gainst me. And all, And 1, : n, : n, ",t|.,ti: t, :d .d t, :t, : d . li . : : si . n : d : d ds.,f : f : n .n r : : d .d d :d .d :d .,d tree ; But yon door re-mains clos'd a- gainst me, And all is a dream to d : : d, .d t tree ; But yon d i8|.,s,: si : si .s, door re-mains clos'd a- si : se, : gainst me, And f i . : : ta(. ail, And / ritard. f . : : f e s .1 : t .r 1 : d 1 .n s :- .f : r .n d :- :- , all, and all is a dream to me, a dream to me. d . : : d .d d : : .d : t. . : t; d : .si :1, .1, all, is a dream, a dream to me, a dream to < d : r : na.na n : : .s : s . : s s : .n :f .f me, is a dream, a dream to me, a dream to 1, . : : la,.la, s, : : S.PI I r . \ .81 : s* . : f l 3! : . :f, .f all is a dream, St. Co. (New). 306 ADDITIONAL EXERCISES. PART III. Q. t.m.l.r. : PI n : n .,n : n d ,d ,r n : n : - n "Tib true there ap -pear-cth a rain - bow, Ami 8, :- d r : d .,d : t |S|( d ,t. d :d :- .d me. PI : 8 se : 1 .,1 : t s ,s ,f n : d : n me. 'Tis true there ap -pear-eth a rain - bow, And d :- d t, : 1, !, :,n u nuri d| .HI : S| / r.s.d.f. E>. L is C. ^ QjO n : n vi : f jn ,r t :- : :r o - ver yon cottage it stands : fJf) lint d id M d : t| ,t| ,t| dpi : - : .t| ti .,t| : t| : r ,r But she, a - las! is de- 8 : 8 .,8 : r ,8 ,f m se : - : .se 86 .,86 : 86 : t .t o - TOT yon cottage it stands: d : d .',d : d ,d ,d dpi :- . : : : -~ ~r JHjH f .,f : f :f .f f :s :1 T :s :f n : - .n : f .r she a - las! is de- r : r .r :r .r part - ed, de - r :n :f r- od To : n : r some far land, and d : - .d : ti .t| part - ed to distant, far dis - tant lands, To some far land, and t : t .t :t .t t : : t : d> : 8 8 .,8:8 .8 : S .8 f>f> far dis - tant land, To some far land, and s, : : - : 1, : t, d :- .d :r .f She is de- part ... ed to some far land, and ,=> "= far beyond the PI : .PI : PI .n s :f Pass f 1 : - .f : n .r on, ye sheep, pass f - r :1.1, d : t|. : d . \ on - wards! The 8< : 81. : .d far - ther, E'en r : n : s sea. r * t :d< rd'.s s rd'.n'ir'.d 1 far beyond the d ;l,.l,;li.l, t :1 : .1 sea. Pass r ~~ . r 1 :-.! :.f on, ye sheep, pass n : r . : s . on - wards! Th far - ther, E'en f : r, : n d . :d . :d . ertt. d . : :d . 8 : 8 .8 : 86 86 1 .t : r 1 .d 1 : 1 . v shop - herd, r : r .r : n .n sad, The f . : :na. shep - herd, sad is r : : r he, The shep - herd, O d . : : r . shep - herd, O sad is 1 . : 1 . : s . shep - herd, the f, . :f, . :ta,. he, O f :f .f :fe.fe shop - herd, O sad is 1, : : .1, sad is 8 : t : t he, O 1 . : :1 . he, O f . : : f , . he, t, : - is : n shep - herd, O St. Co. (New) sad, sad is | he, O ADDITIONAL EXEKCISES. PAKT III. 307 n : s : : - .r : n . O sad n : r ,t| : t, . r d :- :- : is he, ftf) t| d : - . : la ( .lai S| : sad, d : .d :f .n s : .s :cV .d sad, sad is , $.n :1 .8 81 ' f.s, :s, .8, Words by Edmeston. KEY D. Adagio soft Two Measure* Symphony.* f : m |n , : t : - .s : s .s s : - . : f .f n : he, sad is he, sad is he. s : - .f : s .f n : - . : d .d d : ) S| :- .81 :BI .Si d :- . : f i .f t d, : \ SAVIOUR, BREATHE. Music by "AvB VEBUM." Moztn-t. t voee. M. 72. - If :t r. s. d. f. F. L is JD.*=^Z :d d n : f |f : _ de - struc - tion : S| 8 ,t| '. 1 1| : : n "se : 1 se : s swift death this : d d n : r |r : / : r r : f | n : r \ f :1 Is :f f^:n |n : walk a - round us, t| : | ! t| t| : d id : the ar - rows : li t| :d |t, : 8 :f )n :r r :n |n : : ba se : 1 | t : se night o'er take 8, : | : 81 si : d J1S, Id :- D. t. m. 1. t,r : fly. "it, :- t,r :- tomb, f :- thee r : heaven 1 : s our couch be d t| : 1, | sei : n. / r : |d .I, : d n : | : n \ An ... n. j d :- |- :d : 1 : Slav the : 1 : f :n |r :s past us t ( : | It .se,: li se : - |1 : f e come our f i : |n- : re. 1 n :r id : f guards from d : t, 1 1, : r round us ; For r : d |t, : n morn in 1 :- I- :1 l.An --. gel f :- I- :f 2.May the / s : | : we clad eree. t :1 Is :d' round us ; We are 8 :f |n :1 \ wake us, Clad in St. Co. (New). wake us, All t :- j- :t thee sur - s : | : s heaven a - / n : |r : - .n > guards f :n morn - :f are :f in safe 1 : from r : s in 8 : 1 safe if n : r bright and if s :fe thou art d :- |t, :- .t, death ... less s : | : s thou art death - lew / bright and * See note on previous page. ADDITIONAL EXERCISES. PART III. 309 f. GK f :- I'd : nigh, l.For 2.A11 s : _ 7- :- f CO . \ DC . D. t. / ir' :1 |t :d' we clad - - d :- I : bloom, f :- 1 nigh, 1, :- I : \ bloom, l.For : | taf : 2. All d : | ti : 1 : d' |t : 1 we s :- |f :- clad na : | r : defer- 1-":- tr I t : 1 .s |d' :f are safe if in bright and :d.t,|d :d n : |r : - .r d :-|-:- nigh, bloom. d :- |- :- nigh, n : 1 : bloom. d :- |- :- Three Measures Symphony. thou art death - - less are safe if s : s |s : f thou art s :- |f :-. in bright and f :f |n :1, death - - less s, : j :s. LOUD THE STORM- WIND DOTH HOWL.* Music by Words for this work by /. S. C. Kreutzer. KEY E7. L is C. Alle 'P cres. n : .n | n ' n .n jro molto. i :i.iil rr.i d 1 :- It :1 se : t | : Loud the storm wind doth d :-.d|d :d.d howl,&the waves threaten d :d.d|d : d .d death in their d : |r : n fu - ry; r : r | : n : .n 1 n : n .n n : n n|ri : n .n n : |n : n f : | : Loud the storm wind doth 1, :-.li|l, rli.l P / se :- .se|se howl,& the waves threaten death in their fu - ryj t, :se, ' : cres. _i'.-_. : se.se t : t .t t : t .t r 1 : Loud the storm wind doth howl, and the r : - .r |r : r .r r : r .r waves threaten death in their r : r .r t| : |d : r n : - .PI | n : n .n n : n .n n :n.nn : |n .*n Loud the storm wind doth howl, and the waves threaten death in their ti :- >t| 1 1| :t|.t| sei :sei.sei|s6| : sei-se, set .' ' 1| : t; St. Co. (New). * For T.T.B.B. by inverting the inner parts. ADDITIONAL EXKRCISK8. PART III. ff f. A>. Zifl* | 1 :d 1 : del se : - .se se : se.se 1 ' : 1 .1 \ fa - ry; Loud the storm wind doth howl. And the n : n : r : - .r r : r .r d 1 :d .d n : 1 | : 1 n : : n n n ,n , n : n .n fu - ry ; Loud the storm wind doth howl, And the d : 1, 1 : "t, : - .ti t| : ti .t. ll :- 1 :!,.!, Loud the storm wind doth howl, PP E 7. t. L is 0. ere*. t : t .t |t : r .r d : 1 : fet :- .t |t : t .t ' waves threaten death in their fu - ry; Loud the storm wind doth r : r .r |r ' : t ( .t ( 1, :d : df :- .f |f :f .f n i n .n | n : n .n n : n : ml :- .1 |1 :1 .1 waves threaten death in their f u - ry ; Loud the storm wind doth * sci :se,.sei|sei : se,.se 1, : 1| : : ,r : - .r |r : r .r t r^ r- n^~ f t : - .t t : t .t .- t : - ~~~I : t .t howl, Loud the storm wind doth howl, And the f :- |- :- fe : - .fe fe : fe.fe fe :- !- : fe.fe 1 : ! : 1 :- .1 1 :1 .1 1 :- i- :1 .1 howl, Loud the storm wind doth howl, And the r : | : re :- ,re|re rre.re re : | :re.re / * ff ^ === ^ d 1 rde'.de'lr' : ro'.re 1 n 1 : . :- |7T :- WRVCB throfltop doftth in their rv n : 1 .1 |1 :1 .1 1 : se : ba se :-" |n' :- 1 :1 .1 11 :1 .1 d' :- |t :1 t : |n : waves threaten death in their fu . ry. B : s .s Ife : f .f n : - 1 - : - :- |n, :- P 0. t. m. L . ... . ... de'ir: | :r d 1 :r'.t|d' n' : i : r d 1 :r'.t|d> : But the tern- pest is past, But the tern - pest is past. " s : | : 8 8 : s . s | s : s : i : 8 8 : s .s | s : i d 1 : | : t di : t s | s : d 1 : 1 - : t d 1 :t.s|s : But the tern- pest is past, But the tern - pest is past. l,d : | :f n :f.r|n : d : | :f n : f .r |n : , St. Co. (New). ADDITIONAL EXKRCI8ES. PART III. 311 SOLI, dolce. : 1 : f :- I* 1 :/' ' : *' | ' : /i : 1 ' : f \ P Soft comes the sun - shine, still - ing- the 8 : | * : * 8 : | 8 I * : |* : s 8 : | : * Soft comes the sun - shine, peace - ful - ly still - ing the rf 1 : | r 1 : d 1 d 1 : 1 1 : oJ 1 : \r [ : rf 1 rf 1 : 1 1 : t Soft comos the sun - shine, peace - ful - ly still - ing the m :- |/ : r '. | s\ : d : n \f : n r : | s\ : | \ HZ~ -= CHORUS, fif) eret. r 1 : I : ' : n 1 : - .n 1 |n' : n 1 .n' storm. - . . Loud the storm wind doth :- i- : : : se : - .se | se : se.se t :-. 1- : d } : : t :- .t |t : t .t storm. ... . ~T Loud the storm wind doth i :- 1- : d : : n : - .n |r : r .r n 1 : n 1 .n 1 | n 1 : n 1 .r. 1 ' n 1 n 1 : - .n 1 n 1 :ii I : howl, and the waves threaten death in their fu - ry. 1 :1 .1 |1 :1 .1 se : 1 :- .1 1 : se | : d 1 :d' .d 1 |d' : d 1 .d 1 r' :- Id 1 :- .d 1 d 1 :t | : howl, and the waves threaten death in their fu - ry, d :d .d |d : d .d t| : 1, :-.d n : n ' : P n 1 : - .n 1 |n' cret. : n 1 .n 1 " ^^SSS^. f :- |pi :-.r' re 1 : re 1 . re re 1 : re'. re 1 Loud the storm wind doth howl, and the waves threaten death in their n : - .n | n : n .n fe : fe .fe fe : fe .fe se : | se : - .se se :- .se|se : se.se 1 :1 .1 1 :1 .1 t : |t :- .t Loud the storm wind doth howl, and the waves threaten death in their n : - .n |n : n .n n i n .n n : n .n n : |n : - .n pt. F. L\sD. . . f> r 1 : d 1 | : I'd' : | : t 1 :t .se|l : d 1 :. | :t fu - ry, But the tern- pest is past ! But the se : 1 | : J . __ 1 . n :n .n |n : n : | : f t : 1 | : r'l ; | ; se 1 :se.n |n : 1 : | : se fu - ry, But the torn- pest is past ! But the n : 1 | : *li : | : r d :r .t,|d : 1, : | :r St. Co. (New). 312 f /I :t .se|l : tern- pest is past ! PI :n jn \ PI '. 1 :se.n |n : tern- pest is past ! d :r .t, |d : r' :- |' . ADI )C. t. Soft Soft f 1 :i tern - p t : t r 1 :i 1 in - p s : f r 1 :- 3ITIONAX EXER( SOLI, dolce. - I* 1 :/' comes the - | s : s - \t : t comes the | 8\ '. S{ fjDCHOKUB. fe 1 :- But 1 : d 1 :- But r : '.f'lf :- fist is past ! , .t|t : eat is past ! 1 .8 |8 : JISES. PART III. sun - shine, * : | s : still - ing the * : 1 8 : s t :- \t :t still - ing the r : | *j : s, fe'.fe'lfe' : pest is past ! 1 .1 11 : d' .d 1 |d' : pest is past ! r .r |r : / sun shine, d : |/ :* - :s' fe 1 : the tern - I- : 1 1 : - : d 1 d 1 : the tern - : na r : SOLI, dolce. . . storm. 8 ~~ | """" t : |rf' storm. *i : \d ! /P f :- |- :f But the t : | : d 1 But the { 8 : 1 :la H :? - :/'.r' Soft comes the * : | * : * sun - shine, : I : n '. d* \d* '. Soft comes the d : \d :d ' : *' ' ' : :n sun - shine, Tho s : | : s storm, - \d : Soft comes the r 1 ;i' |- ;f'.r sun - shine is 8 : t | : t t :r | :.r'.f sun - shine ia s : BI i : s sun - shine, The d : \d :d here. 8 :- |- :- here. d :- | : PI : 1 '. PI here, The fli . _ _ : fll here, The d : s ' : n .d HINTS ON THE TUNES IN ADDITIONAL EXERCISES. WITH REFERENCES TO INSTRUCTIONS IN "STANDARD COURSE." GOD SPEED THE RIGHT, page 1, is treated of in " Standard Course" under the following topics : Normal force, page 98 ; Breathing-places, page 98 ; Treatment of unison, page 103 ; Ap- propriate force and speed, page 132 ; Melodic phrasing and subordination of parts, Ex. 212 ; Degree of force in a cadence, page 103. See analysis of sec- tional relation in ' How to Observe Harmony," page 63. GOING HOMK, page 2. Delivery of repeated tones, page 99 ; Marked en- trance of parts, page 100 ; Melodic Im- itation, page 99. In scores 2 and 3 develope 8. and C., running in thirds and sixths. JACKSON'S EVENING HTMN, page 2. Pervading force, page 98; Treatment of melodies, page 100 ; Study of con- genial tones, page 102 ; Crescendo on single tones, page 103; Expression of joyful feeling, page 131 ; Contrition and supplication, page 132 ; Growing excitement, page 133. See analysis of sectional relation in " How to Observe Harmony," Study carefully the melo- dic phrasing of each part, pp. 69, 70. In harmony let S. and B. deliver well their tertiary dissonance in score 1, measure 3. They have the same in score 4, measure 4, where the Tenors also have to strike a primary disso- nance against the C., and secondary as against the B. This double dissonance should be carefully done. There is a strong primary dissonance between 8. and C., at score 3, measure 5, and an- other in the next measure. See " Stan- dard Course," page 21, and " How to Observe Harmony," page 90. SPUING Li KB, page 3. Vigorous en- try and unanimity, page 100; Outbursts of enthusiasm page 131 ; Didactic style mingled with emotion, page 132. Aim at perfect unity and blending of S. and C. in score 1 and 2. THE FORTUNE HUNTER, page 4. As- cending melodic imitations, page 99 ; Sympathetic singing in unison, page 103 ; Slyness and gaiety, page 133 ; Imitative sounds laughter, page 101 ; Sad reflection, page 132. See analysis of sectional relation in " How to Ob- serve Harmony," page 63. The chang- ing expression suitable to every verse should be carefully attended to. In the last line deliver the word ''not" staccato, and make a slight pause after it. Carefully attend to variations of both time and tune in verses 2, 4, 5, 6. THE MAY-TIME, page 5. Firm entry of parts, page 100 ; Ascending and de- scending phrases, Ex. 211. Should not exceed the rate of time marked. Clear- ness must not be sacrificed to rapidity. Sweet concord in the two-part passages is the essential feature. THOU SIIAI.T snow ME, page 7. - This should frequently be used as a test of steadiness in time and for the practice of syncopation and marked en- try of parts. Let. S., T., and B., hold firmly d against r in score 3, measure 4. THE WAITS, page 8. Example of soft singing, page 98 ; Increasing force in rising phrases, page 8 ; Representa- tion of distance, pajre 101 ; The promin- ent and the subdued tones of a melody, Ex. 223. The highest part will prove very fatiguing if not sung in the upper thin register wiihnut straining. None but undoubted first sopranos should take this part. The piano singing of this piece will discover the presence of low and hard voices among the so- pranos. THE CUCKOO, page 9. Imitative sounds, page 98; Cumulative force on repeated tones, page 99; Unanimous delivery of the bass voices is required in scores 1 and 4 ; Unity and good blending in S. and C., page 10, scores 1 and 2. The close dim. pp will require tenors to use their thin register gently. The word '"cuckoo" should have its first syllable pronounced exactly like its last, and thus aid the imitation of the bird's cry.- BON ACCORD, page 11. Entry of parts, page 100. This piece should be sung firmly, at a brisk rate and with fine rouud tone. It is one of the pieces which should be sung from memory in all its parts. HOPE WILL BANISH SORROW, page 12. General character of a piece, and ap- propriate force, page 98 ; Rising excite- ment, page 131 ; Depressing thoughts, page 132. The rhythm should be well practised. It is nearly the same in all the parts. Emotion ebbs and flows very much in this piece, and its phrasing is an interesting study. Transition analy- sis, score 2, measure 1, " How to Observe Harmony," page 57. How BEAUTIFUL THE SUNSHINE, page 12. See analysis of sectional relation in "How to Observe Harmony," p.igt- 63 ; Study the rhythm, which is varied and somewhat intricate ; Three related phrases in scores 2 and 3, require in- creasing force ; Transition analysis, score 1, measure 4, " How to Observe Harmony," page 57. COME, FREEDOM'S SONS, p. 13. Loud and bold delivery, page 98 ; Discourag- ing reflection, page 132; Poetic phrasing and expression, page 136. THE QUAIL CALL, page 14. Normal force, page 98 ; Imitative phrases in a melody, page 100; Dramatic expression of words, page 131 ; Effect of different expression in contrary motion, page 99 ; Excited exclamation, Ex. 257 ; Verbal expression, page 132 ; Proper rendering of cadences, page 103. The rhythm i;- uot likely to be made perfect unless each pulse is distinctly beaten in learning the piece. Transition analysis, score '2. measure 3, "How to Observe Har- mony," page 57. THE TIME FOR JOY, page 15. Ap- propriate force and speed, page 98 ; Notice alternate periods of p and /, and this order reversed at page 16, score 3 ; Develope tenor in lost score, page 15, and score 2, page 16. The second 8. must not cover up and ob- scure the first 8. in those places where the second is the higher of the two, for even there the notes in the top line form the principal melody. HEAR HE WHEN I CALL, page 17. Subdued and prayerful effect, page 98 ; Exultation, page 131 ; Vowel sounds, page 138; Melodic and harmonic imi- tation, page 100; Marked entry of bass, page 100; Various contrasts of expression, page 132; Pressure tone, page 133 ; Bold delivery of fugal pas- sage page 19 ; Triumphant affirmation. 514 jINT8 ON THE TUNKS. page 98. Transition analysis, " Addi- tional Exercises," page 19, score 3, mea- sure 1, "How to Observe Harmony," page S3. Let the bass, score 4, measure 4, hold its d well against the t and r of C and 8. WE FLY SY NIOHT, page 20. Force- ful delivery, Ex. 217 ; Accelleration of speed and force, page 131. Mark breathing places in the long run for 3., scores 3 and 4, or still better, practise it till it can be sung easily to one breath. Marked entry is very important, espe- cially in C. and T. For public perform- ance this chorus may be preceded by the bass song in the Macbeth music, Heportf.n 520 and 621. Transition an- alysis, score 1, measure 3, " How to Ob- serve Harmony," page 57. MY LADY 18 AS FAIR AS FINK, page 21. Subdued general effect, page 98; Pronunciation, page 140 ; Develope the tenor in the 3ra score ; Mark well the most effective part of the piece, which is at the beginning of 3rd score. Transi- tion analysis, score 1, measure 4, " How to Observe Harmony," p. 67. NIOHT AROUND, page 22. How to pro- duce humming accompaniment, page 100; Dramatic effect, page 132. Obe- dience to the baton is imperative here. The conductor has to keep the chorus in time with the soloist. Transition analysis, score 2, measure 1, "How to Observe Harmony," page 57. Cent, LP.T DS ALL A MAYING oo, page 24. Expression of light-hearted gaiety, page 133 ; Imitation of the cuckoo and of bells, page 101. The piece must go freely and nimbly, the quicker notes being struck neatly and somewhat .-,-,//,,. especially in the downward runs imitating the sound of bells. Notice contrasted effect of / re- presenting drums and a representing fifes. Transition analysis, score 2, measure 1, " How to Observe Har- mony," page 58. HALLELUJAH, AMEN, page 26. Swell on prolonged tones, page 100. The rhythm of the principal subject must be perfect. Strongly marked accent is required at page 27, scores 1 to 3, be- ginning " O Judah." Tenors must use thin register in the hurher passages, und this part must be well developed in measures 6 to 8, where it assumes the importance of an ascending bass. In the same way the bass part must be ] Tough t out when it imitates the same kind of ascent a fourth lower. The long silences are somewhat trying. The two " Amens,-' must be very bold. SWIFTLY FROM THE MOUNTAIN'S BROW, page 29. Expression changing in a new movement, page 98 ; Sunbeams and sha- dows, page 133 ; Warbling birds, Ex. 117 ; Prolonged tones, page 100 ; Nor- mal force, page 93 ; Repose in nature, page 132 ; Expression rapidly changing, pp. 98, 99; Pronunciation, page 140. The two first movements of this alee represent the landscape, and the last one the music of nature at early morn. It abounds in melodial passages and fine effects. Transition analysis, " Ad- ditional Exercises," page 32, score 4, measure 2, " How to Observe Har- mony," page 67. LORD, IN THIS THY MERCY'S DAY, p. 33. See " Standard Course," for proper expression of deepening emotion in y. 2, and increasing urgent supplication in v. 3, p. 132. Study of Verbal Expres- sion, Ex. 260. Vowel and pp. 4. 5. Also a secondary disso- nance in the chord Dc. See " How t: Observe." p. 100 Also a secondary and tertiary dissonance in the chord 9F, p. 38, sc. 3. HARVEST HOME, p. 39. Character- istics of the " Part- Song," p. 146. Form of tones, p. 133. Sharp delivery of detached sounds, p 103. Ascending and descending melody, and subordin- ate parts, p 101. Study of unison, uni- form and equal emphasis, prolonged tones, " Vamping," Ex. 213, and p. 103. See that the correct tones are sung by T. and B. in this vamping accompaniment. The vowel oa, p. 188. Delivery of cadences, p. 103. The fine melody for 8, p. 40, sc. '2, should be well studied, and sung with perfect clear- ness. A pure, bright tone must be go*. at the f (g 1 ), last sc., which must not be attempted by any but.V.v< sopranos. Notice 4>!>D. p. 39, sc. 3., m. 4. See " How to Observe," p. 98. Tenors should use thin register in the three last tones. AWAY TO THE FOREST, p. 42. Stac- cato passages, p. 103 The lively, dancing effect of the rhythm, with al- terations of sfortando and staccato, re- quires much practice. The piece is full of expression. Notice the echo effect in sc. 4, " Tra la," first/ and then pp. Tenors must use thin register on 3 at the close of the " Tra la." SUNSHINE AFTKR RAIN, p. 44. Musi- cal Form, p. 146. Emotion quickly changing, p. 132. Vowel ai, p. 139. Sc. 4, 5 contain some difficult rhythm. Develope tenor and bass, moving in thirds, sc. 3, 4. In these two parts the octaves, sc. 4, m. 1, should be clear. The 8, in its turn, must be developed, sc. 4, m. 2. Bring out the ff at the close, which is intended to give great prominence to a repeated section. IF I HAD BUT TWO LITTLE WINOB, p. 45. Melodic Expression, Ex. 216. Musical Form, p. 146. Reflection, p. 132. Vowels " and u, p. 140. Melodic Imitation in sc. 1, should be studied, see p. 100. Give emphasis to d' m. 3, and 1 m. 5. The bass part, m. 5, 6, ha;* some serious difficulties. Chromatic fe leaping up an octave and resolving on f in ~8d. Tenors should use thi; register at p. 47, sc. 4, m. 3, p. 3, to m. 4. p. 4. ANOEL OF HOPE, p. 48. How to pro- duce humming accompaniment, p. 100. To avoid the danger of flattening, get the ii neon i puny ing voices to listen to th? iiini.it. The Inn 1 -' sustained chords arc. if themselves, difficult to hold in irooil tune without this kind of sympathy with the leading voice. Tenors shonli) HINTS ON THE TUNES. 31,5 iwe the thin register wherever possible, and the closed lips assist them to do so. The rising passage, p. 49, m. 3, to sc. 2, ni- 4, should be delicately sung in the thin, so as not to obscure the solo. TUB SPRING, p. 50. Musical Form, p. 146. Excited emotion becoming subdued, p. 133. The rhythm is va- ried and difficult. Much practising together is required for unanimous de- livery of tafa-AI which is of very fre- quent occurrence and is mingled with various other difficult forms. The piece abounds with melodial two-part passa- ges, such as 8 and B, p. 51, sc. 2, where care must be taken to get good blending of these two parts while the C and T, in unison, must be quite subordinate. Tenors should use thin register on the notes H' r' m', p. 51, sc. 2, 3, 4. AT FIRST THE MOUNTAIN RILL, p. 53. Growing impetuosity descriptive of the gathering force of a stream, p. 133. The descending melodies in 8 and T alternately, starting each time a step higher are very dramatic, and must be commenced each one louder than the last. Tenors require to use the thin register for the higher notes in sc. 1, p. 54, and only first sopranos should at- tempt m' a' f &c.. in sc. 3. The note SO after f' is difficult. Other high passages will be found for sopranos and tenors in p. 64, sc. 5, and p. 55. sc. 1. Notice the dissonance ' dp . See " How to Observe," p. 115. Tenors should use thin register in m. 2, p. 3, 4. Page 54, m. 2,4, 11, 12, 18, 19, 21, 22, and corres- ponding parts of v. 2. O THE jov OF SPRING, p. 57. De- velopment of a principal melody, p. 100. Gay and tripping style, p. 133. Musical Form, p. 146. Pressure tones, p. 103. Subordination of parts should be attended to, see p. 100. Notice the chromatic part-pulse dissonances, fe and re, p. 57, so. 4, m. 2. See " How to Observe," p. 119. The thin register should be employed by the tenors in m. 7, 8, 9, and on all following notes higher than s. HOW LOVELY ARE THE MESSENGERS, p. 58. Musical Form, p. 146. Vowel u, p. 140. Appropriate speed and force, p. 132. Bold and striking change of sentiment, Ex. 258. Fugal passages, p. 148. The proper rendering of " parts " in contrary motion, p. 99. Triumphant joy requiring the sinsrer to dwell on the notes, p. 132. Changing emotion -tri- umph to repose Ex. 219. Let each part study (in keys suited for each voice) the melody which opens this piece, and which becomes the subject. See " Melodic Phrasing," p. 98. Only first sopranos should sing the highest part, which abounds in high notes, often requiring small register. In pp. 59, 60, the thin register is constantly demanded from the tenors. AWAKE, ^OLIAN LYRE, p. 62. Mu- sical Form, p. 146. Smooth legato, p. 103. Downward rush of a stream, p. 99. The opening should have a well- sustained cres. the last chord being cut off sharply when the climax of force has been reached. The ff in sc. 2 is very important. Notice a little syncopation, p. 63, sc. 2. The last movement spirit- oso should have very marked accent. Tenors should use thin register at the second "awake," at p. 63, first five measures of Largo, and in the ff close, except the last note which may be in the thick for the sake of effect. WHERE THE GAY DREAMS, p. 65. A series of cres. passages, rising each time higher. Standard Course, p. 133. Attend closely to the marks for cres. and dim. as they are intended to give form to the melody. Study " How to Observe Har- mony," pp. 97, 101, 112, 113, for the dissonant and chromatic chords *9D, 9 73, 9 4 fes, 7 feRE. Only first soprano voices should attempt the phrase com- mencing sc. 4, m. 2. Tenors must use thin register on the notes r' f ' m in keys C and D, sc. 3, 4. THEME SUBLIME, p. 66. Study of fugal movements, subject, counter-sub- ject, &c., p. 147. Development of parts, p. 148. Study of syncopated passages, and emphasis in a melody, Ex. 227. Fugal entry, p. 148. Form of pro- longed tones, p. 100. Study of runs, and their accompaniment, Ex. 226, see also " Rapid Passages." p. 102. The " subject " and its variations, see p. 148. Delivery of cadences, p. 103. A very useful and invigorating practice piece, which ought to be often used. Study in " How to Observe," p. 103, the discord 1 L. Tenors mark their books for thin register in the following pas- sages : First movement, m. 13-18. Second movement, m. 10-12, 1 s f m. Page 68, m. 11-15; score 5, m. 2-5. Page 69, sc. 1, m. 3-6 ; sc. 4, m. 2; sc. 5, m. 2, p. 1 ; m. 4 to p. 70, m. 1, 2 ; sc. 2, m. 3, p. 2. All the s's in sc. 2, 3, 4 ; p. 71, m. 2, 3. All the s's in sc. 2, 3, and the whole of the last 2 meas. THE WOODS, p. 71. Diverging senti- ments in music and words. Gaiety in music and sober reflections in poetry, acting upon each other, p. 133. Struc- ture of a part-song, p. 146. Dramatic effect the fading away of a dream, p. 132. The vowel ee, p. 13. The normal force (see p. 98) of this piece should be p and the movement a gentle legato. The second verse may be mf for the sake of a little contrast, but the third must resume the p, and the close should be very soft and soothing. Study in I "How to Observe," ?D, p. 103, I'D, p. 98. HOME, O WHERE is THY BLEST HAVEN. p. 74. The study of vocal accompani- ment, p. 100, and Ex. 218. Passionate utterance, explosive tone, p. 134, and Ex. 257. Where the soloist is silent, let the accompanying parts sing out with fuller voice, see "Subordination of parts," p. 100. Study in " How to Ob- serve," to in. 2, p. 2. O SAVIOUB or THH WORLD, p. 85. Musical form of the anthem, p. 145. Prayerful utterance, Ex. 228. Increas- ing force on repeated tones, p. 99. Im- portant words to be made prominent, & 1:1:1. Humble supplication, Ex. U60. nison pass;iges pinao, pp. 98 and 103. 1'hi- transition to third flat, p. 86, sc. 1, is ditticult, as it commences with an upw.-iid leap of an octave in S, and of a seventh in B. In the chromatic unison, p. 87, sc. 4, nothing can help the singers but a strong sense of the note s on which the repented la resolves. Study in " How to Observe." "F, p. 106, ~*K, p. 78, f-ll, p. 68, aD. p. 116. Louu THK STOIUI WIND, p. 93. Sub- dued description changing to the ex- citement of terror, p 13H. The repre- sentation of calm after storm, Ex. 260. Form of repeated tones. Ex 214. See ditticult intervals in S, p. 94, sc. 2, m. 1, 2, sc. 6, p. 1 (the latter will be most easily got by making the transition on previous note, "S.) Practise wull thi p, eria., /, p. 93, sc. 1, 2; page 94. sc. 3, 4. Try the parts separately at p 95, sc. 4. Pint sopranos nnly should sing the highest part in this piece, using the " small register " for re m p. 94, sc. 4. The continuous liiyh passages, like that at page !'.">, sc. 2, 3. 4, are very trying, and good intonation is impossible if any but pure .;/>*. soprauoe take that part. Study tin many discords and chromatic chords in the 12th and l;!th steps of "How to O'oserve." On p. 93 will be found '*/:. On p 94 IT, 7 iy , Lip , Table of English... , Tip-tongue Ascending passages PAGE Accent, cadence, and the over-fifth, Effect of S3 .Medium 18 or stress 6 and pulses in speech 63 Accidentals 88 .Rare 88 Accidental sharps and flats 160 Accompaniment, Humming 100 Adjacent keys in transition 50 Advanced rhythms 177 transitions 107 Agility of voice 151 Analysis, Parsing or, of musical form 70 Anthems 145 Anticipation tones 68 Appoggiatura 155 Articulation, An 60 error exercises 62 exercises 62 .Modes of 60 , Organs of 60 -, Qualities of an 60 -, Double 60 .. 60 .. 61 .. 60 ..99 Aspirate H^ The" 60 Attack and release 95 Bass. First and second 109 Beating time 7,65 Beating twice to the measure ... 24 Blending of registers 67 Boys' voices 107 Brackets 8 Break, Sol-faing the 110 , The lesser 107 Breath, the proper management of 2 Breathmess 95 Breathing places 9,16,30,149 Bridge-tones 51 Cadences 48,69,103 Cadence and the over-fifth, Effect of accent 83 Cadence transition 52 Cadential movement of the bass, The 52 Canon, The 146 Cantata, The 149 Chant, The 144 Chanting 27,35,47,63,83,93 , Division of words for 35 , Teaching 36 Chest, klang, tuning... 14, 26, 45, 81, 117 Choral contrivances 149 St. Co. PAGE Chord, A 4 exercises 5 relation 87 D .. 20 20, .78 46,48 F... R 7R L. m M , Ambiguity of 46 , Constitution of 27 , Disguised and chromatic ... 83 , Major, minor, & diminished 46 , Mental effects of 44 , Positions of 26 , The two principal 20 Chromatic chords, Disguised and... 83 effects 52 tones 160 , stepwise motion ...160 , leaps 160 , transitional models... 161 , Intervals 161 resolutions 83,104 Classification of voices 29 Collective reading 15, 63 Compass of voices 29,109 Congenial tones 101 Consecutive fifths 84 Consonances 36 Consonant, How to sing a 61 Constitution of chords 27 Continued tones ... 7 Contralto 108 C position of chords 48 C', Remembering ' ... 29, 59 Crescendo 97 Degrees of force Descending passages Dictation 12 exercises fifth step . Diminuendo Diphthongs 142, Discords Disguised and chromatic chords ... 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