‘

V
 Digitized by the Internet Archive
in 2017 with funding from
Boston Public Library

https://archive.org/details/bostonschoolsong00maso_3
 #

V
 THE

BOSTON SCHOOL SONG BOOK.

PUBLISHED UNDER THE SANCTION OF THE BOSTON ACADEMY OF liTOSIC.

ORIGINAL AND SELECTED.

BY

LOWELL MASON.

BOSTON;
J. H. WILKINS, & R. Sr'^CARTER.

1841 .
Er.tered, according to Act of Congress, in the year 1840, by Melvin Lord, in the Clerk^s

Office of the District Court of Massachusetts.

*•
PREFACE.
/ V
-
^ ,* i
When mireic is intro^ced into schools, it should be the leading object to give the children
a thorough knowledge of its elementary princijiles, and not merely to leach them to sing songs
by rote. This can be done by the use of the Black Board,* proceeding according to the
Manual, without any book in the hands of the pupils. But in addition to elementary
mslruction it is also desirable to introduce the sinking of suitable songs, (at first by rote) as a
relief from the severer study of the e'ements and as an exercise for the voice also, as a means of
5

improving the general taste and style of performance. To furnisti music for this purpose is
the object of the present work. It will be found to contain a sufficient variety of songs on
interesting subjects, nearly all of which, as well the music as the poetry, are new. The attempt
bas'been made to introduce such words only as would probably interest the pupils, and the
moral tendency of which should be always unexceptionable.
En addition to songs, many rounds, sentences, and lessons have been inserted. In general
it may be best that tlie rounds should be sung by solo voices, selected from the most advanced
pupils. If sung in chorus the parts should be equal.
The questions at the end of the book, are such as the pupils will be able to answ'er if the
instruction has been thorough. It is hardly possible that pupils can answer them unless the

subjects to which they relate are understood. Let it not be supposed, however, that all w hich
is implied in the.se questions can be taught in a few' months. Children cannot be made to
understand the subject of music without a long course of instruction but there is lime enough
5

between the age of 10 and 16 for the acquisition, v/ithout interfering with other studies. Where
schools are kept for so short a lime, that onlyja part of the course can be given, the teacher
will use his discretion as to what should be oinitled. In general it is advisable that the instruc-
tion be thorough as far as it goes. In some cases when the term is very short, it may not
fee expedient to introduce any thing beyond what is implied in the first twelve chapters, leav-
ing the whole subject of transposition for future instruction. But while there maybe many
schools where from the limited time devoted to music, it may be impossible to introduce all
the subjects to which these que.stions relate, yet it is certain that to answer all of them cor-
roctly and understaudingly requires no more ihan a thorough knowledge of the mere element-
ary principles of the art, and no one who undertakes to study music should be satisfied with
'
less than this.

* Much assistance may be derived also from the “ Musical Exercises,” [recently prepared by the ^

author,] printed in characters sufliciently larf-e. tf> be seen acro.ss the school ro<»m, and adapted to
ti.e Manual. These exercises are used in the Boston Grammar Schools, where miwic is a regular
study.

t of Instruction in the Elements of Vocal Music, by L. Mason.

 CONTENTS
SONGS. Sunrise, .23 Love your neighbor, , . 69
Adieu, 72 The beautiful flower, . . 44 Morning is breaking, . .63
All hail to our favorite Ma)', 84 'rhe fading leaf, . . . .27 Now let notes of joy, . . 47
Always some good, . . 78 'I’he flowers of the lea, . 84 Over mountain, .... 9
Away ! o'er b^right sunny The fount of joy, . . .66 Sing over,
it 22
meadows, .... 24 The grove 100 Sing we another, . . . .73
Away to the garden, . . 37 The hobby horse, . . .93 Spirits bright ! ... 113
Bell Chimes, 14 The jourriej'', .... 12 Scotland’s burning, . . .29
Bliss is hovering, . . . 98 . The lovely-May is coming. 88 Sweetly now at evening
Chant, ‘‘I will lift up,’' . 116 The love of truth, 18 . hour, 83
Change, (parting at school,) 94 SThe might with the 58 right. .
,
’Tw^as w^eil, 11
Come and see how happily, 97 The Pilot, 68 Thomas and Andrew, . . 17
Come, May thou lovely, 5 The
! Reapers, . 108 . . I’ime, how’ fast, ... 21
Come seek the bower 90 The . Rain, 20 The bell that’s in, ... 26
Contentment, 40 The Sail, ..... 74 . The bell doth toll, ... 45
Departure of Winter, . 10 The Singer’s song, 52 . . fThe noblest hero, ... 85
Evening Song 16 'I’he Sun and the Brook, 50 . I'o spend the da}’’ well, . 41
First day of May, , . .110 The Stars, 76 Time and tide, . . . .71
Friendship,
’

28 The Singing meeting, 87 . . The hour is come, ... 79

God of Love, .... 31 The way to contentment. 70 7’o the praise of truth, . .99
Greenville, 115 The way worn traveler, 80 . White sand, 105
.....
. . . .

Home, 36 The Wish, 6 What you’ve to do, . . 116

In the cottage, . . . lOl The Swiss toy girl, 102 . . When a weary task, . . 35
Marlow, 113 To the good cause, 46 . .

May Song, .30 To our mother, . . . 106 SENTENCES.

Morning Song, .... 4 ’Tis near the spot, . . 48 All things round us, . . 49
^My native land 22 Vacation song, . . . .56 Art thou disappointed, . .67
New year song, ... 96 We know a land, . . . 54 Be to others, .... 95
Old Hundred, . . . . 112 VV’^elcome to school, . . .28 Beauty blooms, . . . .61
Our Father land, ... 86 Better poor, 17
'^Patriotic song, . . . .64 ROUNDS. Birds are singing, 6 ...
Peace,, 7 Again the summer’s near. 65 Firm, w ith heart and hand, 19
'‘Pleasures of childhood, . 34 Beauty blooms, . . . . 61 God said, &c., .... 15
Rich, after dull, <fcc. . . 60 Before you make a prom- God commands, .... 51
Singing and study, . . 92 ise, 114 Hast thou a sorrow, . . 39
^Sicily, 114 How sweet to be roaming. 77 He tliat would thrive, . . 25
Song of the free, ... 62 If your ear, .... 75 .

Spring evening, .... 8 Law'rence ! LESSONS.

Spring song, .... 32 Let us endeavor. Pages 33, 53, 81, 85, 89, 95,
“
Spring wishes, . .42 . . Let your pleasure, . . 97, 101, 102, 105, 109, 115.
Summer song, .... 26 Love of truth, , . .
 ;

THE
BOSTON SCHOOL SONG BOOK.
MORNING SONG.
Sloderato.

r r -
r
1. Moni-ing's goid-en light is break-ing, Tints of beau-ty paint the skies 5
2. Well, I’m rea-dy, qui - et rest-ing Has restored my wea - ried powers 5

-jizzitiziizji:
-0—0-c- i

Morning’s feather’d choir are wak-ing, Bid - ding me from sleep a - rise,
ni a-gain, all sloth re - sist -ing, La - bor thro’ the day’s bright hours.

;zt=|: -Wd
zjtziiiizMzsl: -m-
£ i
3 4
But with thanks let me remember When I leave the downy pillow,
Him who gave me quiet sleep; Which so oft has borne my head,
Let me all his mercies number. Sure it’s right a time to hallow
Ajid his precepts gladly keep. To the hand that kept my bed.
5
Letme never prove ungrateful.
Letme never thankless be
From a sin so base and hateful,
May I be forever free.
 ^ — —
“ Come, May ! thou lovely lingerer.’^ MOZART. 6
Allegretto.

-g^j=g-r3'4*^ *^4is^:g«3;a£gE^
1
^ i

Come, May thou lovely

^

lin-gerer
\

And deck the groves a -

1

gam, Ana
. ! ! -

2 True, win-ter days have ma-ny And

. many a dear de - • light: We
3 But oh, when comes the
. sea-son, For mer-ry birds to sing. How
9-O-»-0 — Il|^

:r^:
i ^ j
0—
rEzitizIzigtiizzz,

^ i ^ tf ^
let thy sil - very streamlets Me - an - der through the
.

plain 3
.

We
frol - ic in the snow-drifts. And then —the win - ter night, A -

sweet to roam the mea-dows, And drink the breeze of spring 3

Then
u z:^zzlzrq'^
-b- aEtE^: ;i!zz@!zzs^z:

T “<©
^
__
hd
dd I ^ f--
bj
i 1 ^1 %
long once more to ga - ther The flow^ rets fresh and fair 3
Sweet
- - round the fire we clus - ter, Nor heed the whist- ling storm, When
come, sweet May ! and bring us The flow' • ret fresh and fair 3
We
-
0- -O-
— t- :t: --gi :

s-b—-I—
i— -|
—SZg-I-^^-j*
zsziibpz:^-
LnJ bn*
b<»
tZ
I

May Once more to wan

! - der. And breathe the , -r-,
balmy
I

air.
all with out is drea - ry, Our hearts are bright and w^arm.
long once more to wan - der And breathe the balmy air.
 — ^ L
6 THE WISH,
Andante*

O
Yet ah! how sweet ’twould be But ’twas not meant, I know.
Under the orange tree; We should be birds, and so
Deep shady
grove! Pll not repine:
Might but wander there,
I Thine I will ever be.
Breathing thy balmy air Home of my infancy!
Region of Love! Ever be thine!

SENTENCE

Birds are sing-ing, Hopping, springing, Cheer>ful - ly from bough to bough ;

o _L A J m m J _r T-
TT
rn
^ — [

^
1

r
A
L_^
1®^

^
i

Streams are flow-ing, Blos-soms blow-ing,

^
1 lA
r

No ex - cuse for
!_i
i-?
dull
I

«
-ness now.
^
1
JL
 PEACE. 7

±!s=3:=J3
ii
life be - friend - ed, Nurse of er deeds than war.

_ie —
zzzzt—-tz'
^.ri^gzz^ :^i: W- m:
iizzzi^:
2. Thou hast thrown a smile of beauty,
O’er the meadow, hill and grove;
Thou hast quickened us to duty.
Thou hast warmed our hearts to love.
3. Ours is now each smiling flower.
Ours the lofty mountain pine.
Ours the fruit-tree’s golden shower.
And the close entwining vine.
4. Stillstay with us, still replenish
Fields with fruit, ourselves with love;
Discord and dissension banish,
Peaceful spirit from above.
 SPRING EVENING.

1
^
Than in spring w^hen day’s de - din - ing >
And the wes - tern clouds are shin - ing
j
When the birds so
5 S

-G— I
-p-
iprqr.qz:nii^ii;^i:3^qTqzq:rais=gziH^
^4^z:tTz:j^iJ-=6=fl
t=qfZ-V-l
|z;f zfi|z|ifz; ;:lzfzs^zi^:I:^zit**zftf3i u
fond-Iy
11'^
twit-ter, And the sharp shrill crickets
I

tit-
I

ter Honey - la - den bees.

5

4:: i

Mur-mur with the breeze 5

Oh! what time for thought is fit - ter.

07=i?'
t:
 SPRING EVENING. 9

2
Then we leave our home,
To the fields we roam,
And we sit amongst the haying;
Hear the pleasant sound.
Of the birds around,
Or some far off flute that’s playing;
Hear the loud and croaking chorus,
From the sedgy marsh before us:
All the meadows ring;
While the songs they sing
Back to summer thoughts restore us.

3
But ’tis night! away!
For we must not stay
Chatting here so late together.
Yet ’twere sweet to stay.
Mid the new mown hay.
All the night, in summer weather!
Time is o’er for chat and dancing;
Now the gentle moon advancing,
Calls the stars out all,
vSetsthem, great and small,
In the clear blue heavens glancing.

ROUND FOR FOUR OR EIGHT VOICES.

way.
 —
10 DEPARTURE OF WINTER.
Moderato. f
P

^ ® U k)» I S' I ^ ^ ^ \ I

( Old winter! now farewell my friend ! Full many a merry meeting, 7

^
*
(
Which thou hast brought us now must end 5 We wait the spring's warm’ greeting. )

zz:=:_4^ia!zz_z?zIa'zezs!:z';iii^^zt;"tzT«'za^zz!it
iP
z^z z^z^; zq:!
-»-- :^^_?'zz^ ez -i!-?-_j^ ?:
- 0- ^ f- -g- £
^ I

T ake hence what was to SO dear 5

But bring it back an

IPZZPFZ
:s:
z^zzizz^zzit ii:

^— _ /TS CHOEUS Soli.

Z^i —
.

I— 1^—fV— 1 I ^

^ -,^1
‘'^T

,^Efe|E333^fe^^z^S:5?E|i^2^|
^ ^_X _0_i.
-&- ^
5 III
^ f ^
1
-m-&-0- r f 1
.
r¥ r
r
j- -B-
-V- ,- I

- - - oth- er year : We’ll not be sighing, Thou art not dying 5 A-dieu ! we meet a - -

=:zzzs^zi^za^z^z^z^zMza!zat3^z^zTzii:±titzz^z5z^zi

^ -
f»» «T; 'zziizLstiz:

I
r-r
^ ^
l<»
-a,z|zfzr-
.1 .bX 5»
-
r
U ,
!
-
i»x
.

lit» k*<
- - - gain,
in. We ll not be
We’ll sigh-mg,
sigh-ing, Thou
1bou art not dy-ing j
A - dieu ! we meet a -

'^’
4 . i^zpzpzp:z|4zEWzq!z^ffzzzt:^Jpzpzpz^;
-M-
-U-U-z^&titzizfcrzzitzizfc^ztz^z^
 DEPARTURE OF WINTER. 11

2
Old winter! now farewell my friend!
Full many a merry meeting,
Which thou hast brought us, now must end.
We wait the spring’s warm greeting.
And Oh! the spring how sweet will be
The harmony and melody
Of birds in chorus.
Rejoicing o’er us:
But we shall meet again.
3
When wearied nature needs repose,
Thou’lt come, thy pleasures bringing;
Then round the crackling fire we’ll close
Our winter-ballads singing.
Or on the ice by night or day.
On flying skates we’ll glide away.
So not sorrow,
I 11

’Tis but tomorrow.

And we shall meet again.

ROUND FOR THREE VOICES.

^Twas well be - gun, ’Twill soon be

-h--i-l-

done.
-

Yes,
0-+- I
yes.
12 THE JOURNEY.
Alleg^ro,
 P 1

THE JOURNEY. 13
^ f . i

^
- j - i ^
“
.

& Cr
^ .

^
J
d*
w
1
iw s ^ r I

^
1 i
It
" " !

'

LbJ ‘
r -f-
tale is done — 'till the tale is done.
^ _

‘JJr B ^
m 0
1

- “ m - . - " — -
1

I ^ r
_
\ 1

L_
1 \

1
1

L
«.

_ 0 r Hi .
Ij
d* I
-fif-
2. ‘‘My jaunt, then, was to the pole.
first
Where all is ice and snow.
Where naught can stand the frost, but soul.
Nor tree, nor plant can grow.”
Chorus: — His story is, &c.
3. “ Such cold as this I ne’er could bear.
So ’way I turned my feet.
Till ’twas so hot, ’t would singe one’s hair.
And make you die of heat.”
Chorus : —His story is, kc.
4. “And when I’d got some short repast,
To stay my appetite,
I turned my course, and journeyed fast.
Nor staid a single night.”
Chorus: — lis story is, &c.
5. “I next arrived at Mexico,
Where silver is so thick;
Now here, says 1, I guess I know.
I’ll fill my bag right quick.”
Chorus: — His story is, 8tc.

6. “So round I went, from pole to pole,

To see this wondrous world;
Till back I came, to that same goal.
From which I had been whirled.”
Chorus: — His story is as true, is as true, as the gun.
And more he could tell, but he now has done — but, &c.
14 BELL-CHIMES.
 ! —
BELL-CHIMES. 15
2
Wake, while thousand hearts, as one, are beating,
Far and wide proclaim their jubilee;
Speed thro’ hill and vale our greeting.
Tell to all the world: We’re free.:||
We’re free —we’re free.

3
Say, we’ve fought the battle for opinion;
Say, we dare to look around, above;
All we feel, we speak; dominion
There is none we own, but love.;|j
But love but love. —
4
Wake, ye bells! your chimes are
blithe as morning,
When breath makes all the world seem new;
its
Yet a sound of Sabbath-warning,
Blending with them, says: Be true!:]!
Be true be true» —

A4
®
P
SENTENCE.

^
— pr i.._ -
^ ^
r -T
1 -

—J
-
1*^
r
1
1

1
1

1
1

\ —t 1 p ] 1 1

God said : let there be light God said :

“ Let Uierc be

w w w
« r r
light and there WAS LIGHT
 1

16 EVENING SONG. MUSIC BY ZELTER.

TT —# i ^ ^
r-r—^
^ [?• s
1
r
1

LIw
1

*2
'“1

i ^
5
-f—^
-f —1
^ 5r
1 w
V
^
-
-- • -

-.U.
—
^ ^
-] -1
1
1

L
-
•-

i ^ ^ 1
,

dis - - - - taiice Com - eth the sweet peace- lul night.

r~-
—#^ U - A A rT: AO ^ ^ 11\lr
w
—^
i9 *
1
O'
itzjf "
'---ILL
1

1 1
:jiLL ic IL -4
 1 —
EVENING SONG. 1/
2
Now hath the night-breeze awakened,
Stirring the leaves in the bowers,
Linden its perfume is spending
White with its silvery flowers.
3
Thus our songs we will praise thee,
in
Peaceful and loveliest night!
While the fair queen of the heavens,
Sheds all around us her light.

ROUND FOR FOUR OR EIGHT VOICES.

^
^ ^ r MX ^ ^
^ 1 r*
^
-1
::

w ^_L
/fl r. 10
P- |_J_
t
^ a
^ ^
1

^ !

IL. L^::
^ ^ ^
i

j
P u
:

Tho - mas and An- drew and Ja - bez all met to - geth - er m
1

1
—9mlT—JT
1

-H
1
-
r»
P r."
1
“

w
1

\v.y w i 1_ .
1
!

chit chat 5
Sto - ries of this and of that did they

1 ^
r *— _

^ ^
-

-
~i
1

1
i1
— - r
r-
P- ^L
- 0 0 !
1

tell, Hill their hearts all went pit pat.

SENTENCE.
T" r—
^

J --P
1
— 1
1

•
1
—
T' '""I 1
- 1

^ "d
^zskzdmtzziiar: -0
• d- -j—•
-.4
1-

-J.:
jM —0— tit
Bel- ter poor my whole life long, Than to do my neigh-bor wrmtg
13 THE LOVE OF TRUTH, popular melodv.
 THE LOVE OF TRUTH. 19

2
My footsteps lead, O truth, and mould my will.
In word and deed my duty to fulfill:
Dishonest arts, and selfish aims to truth can ne’er belong,
No deed of mine, shall be a deed of wrong.
3
The strength of youth, we see it soon decay,
But strong is truth, and stronger every day:
Though falsehood seem a mighty power which we in vain assail,
The power of truth will in the end prevail.

4
My days of youth tho’ not from folly free,
I prize the truth, the more the world I see.
I’ll keep the straight and narrow path, and lead where-e’er it may^
The voice of truth I’ll follow and obey.

SENTENCE.
 1 1 — t ! -

20 THE RAIN. SCHADE.

Andante.
i —T”
1
1
1
1 v__
•
d—M
9 ._l_
..

^ 9 P S &
:~S j 1
-
2_. p
s
-

f r—
-Jt
^ .

'
ify-

r
2?

p
- i

-r
, i

1 . See, o^er yon - der mountains5, Moves the mis - ty rain,

O ‘if
-fl i
-dt P
p ^ p
n 9
^
. . ..
“
^ H — ^ ^
;

^ t

—
1

: [I : : tz ::

^ E
p
"] 1
S
p
— ^
^
1 1
? 1
r
L

—^
-
J
. 1r

s
^
9
» S
r
jtj
p
'

.
- ^
—^
1
ii> 1r r .
p
f— - >—
1 1 1 r i 1

Pass -ing from heavhi’s foun i - tains. Bless- ings on the plain.

p 9
r
~
-P
1

1
_ 9 '

^
O' “
amm *“ -

L _J
1

-J L
-
'
—J I

—L 1

O ^ ^
rH? ^ "7
J ^
'
~:
J
<

J 4
1

^
1 !

X
1 i 1 1

\f i4 1 1
J -4 ^ 1

{ j 1

f 4 S nr A zTi
.

9 9 9 f
pn r * p f 5 % 9 -E.

I
I
1
J r
1
1
1
r
I
i
1
-
1
1
1
1
— 1
1

Now’s the time for grow - - ing 5

Q,uick-ly then be sow - ing

^•44? 1
-p 'P —P
^ P— -
^
^
1

1 ^
1
1 1 1 1

-
r JL-L
A 1 r 1 1
-
1 (

-1 - 1 1
 1

THE RAIN. 21
2
Rich or poor, what matter r
Each is here for good:
Good seeds let him scatter
In contented mood.
For ye share together
Sunshine and wet weather,
Heaven these blessings gives
To each one that lives.
3
Let the sage so knowing,
On his wisdom build;
We still planting, ploughing.
Wait what God hath willed.
heaven befriendeth,
’Tis while
Rain and sunshine sendeth.
That the verdure thrives:
God the blessing gives.

ROUND FOR FOUR OR

0 vi

/I
-
1

^
0
- -
_
r
—
1

q
J 1 —
iJ-t::zez:d
^
SIX VOICES.

-1
r i
g
I

^ ^ ^ ^
1
-
r“‘i ri 1
L
T

Law Fence! Law - - - - rence ! Take your grist and go right

A r •
\ ^ 10 ^
0 0 0 a
f
"
T
1 r L t

iK-
U
1 1 1

^
1 1 1

^ ^ L- '

straight to mill, And see, my boy, that not a bit you spill.

ROUND FOR TWO VOICES.

 ^ h
22 MY NATIVE LAND.
Allegro* I

-h-

I I i I I I .
'
i
O land of g-ood that gave me birth^ My love-ly, na-tivelandj

—it — s/~
4izmztz^: -I—
mp
-
9- -
9- :=P -
9-
£ltt
-o—
Repeat /.
I i I
I

En - roll’d a - midst the great of earth, Thy name shall ev - er stand.

i^zz^:
iti:
-
0 —\ :dzEi.

2 4
Ilove the man that honors thee, I love those laws that chime with
I well approve his choice, And scorn to favor wrong; [truth,
To live and die among the free. That bless in age, and guard in youth,
A
friend of freedom’s cause. And wake the widow’s song.
3 5
I love the stream of mental light. May all the good that heav’n can
That flows amidst thy hills. Be destined e’er to thee; [send,
I love the spire of towering height. May Zion’s strength thy walls de-
That says, ‘‘ Here Zion dwells.” And keep thee ever free. [fend.

•ROUND FOR FOUR VOICES.

" * ****

8 J ^
gzg: jg ^ ztzqcz^ _ X
dJ jld.y.
mi 1
^ 9 r
I

L L.
1

L
G ^ gXJ— \
1

v>y #<s \ dJt .zzxr -gJL

Sing it o-ver, With your might, Never leave it, Never leave it, Till His right.
 — ;

SUNRISE. MOZART. 23

For.
~]
""T" r
A ^ -
J -r hJ :

IVA 191 T p®'-;- ~

1 ( ^
1
J
1 t
.

1
1
1
1 1 1

XJ-AS-
fill the air with sweet perfume, And wnere, like diamonds to the sight, Dew-drops sparkle
^ 1

A r r
A A
—_jw—
*
lA *
"A 'm '

-U -1-
1
1
1
J
1— 4—; ' \ ..

2 , Fair the face of morn;

is
Why should your eyelids keep
Closed when the night is gone?
Wake from your sleep!
Oh, who would slumber in his bed
When darkness from his couch has fled
And when the lark ascends on high,
Warbling songs of joy?
Fair is the face, &c.
24 AWAY O’ER BRIGHT SUNNY MEADOWS.
ILively,

^
TI

~ ^ bright sun - ny mea-dows ! A - way o^er

2 '

j A - way the clus - ter • iiig bow - er, Cool shades and

Izfiizt; litzt
 1

AWAY O’ER BRIGHT SUNNY MEADOWS.

—^rn—^
25
i
—
-ir
^ :
T"'
1
——
'**1
]
^
-
^ •
1
LL
1

A A
^ L
j

'

'i.. r-
cares that cloud the mind.
A
#_ij_

r* a
•
B -
h
•
^ ^ • 1
1

# - 1 . w
1

1
1
1

-
‘ ^ •
f
L
1
* -

2. All over us is the azure

Of heaven extended wide;
And under us by the streamlet
The flowers bed, side by side;
We love their timid glances,
W e love their colors bright,
We love to see them bowing.
And shrinking from the light.

SENTENCE.

He that has thriv^u, May lie 'till seven.

 1

26 SUMMER SONG.

r-B
^ MIV-j
—1
n
"Zl _-t—
I Ll j r.
) j
1 r ^ ^ ~4D— -5^—1
'Tj
ZY
r*^ ^ 1
|-

L L
^ m ^ tS-
y.
t

tew
\ 1

^ «
D
r r r r
^
They are dear
^ 1 !

All your scenes j 50 bril - liaiit, to me.

xr. ^ r Id ^ 4a r.
B
1

TT Ij J_5S3 -
^ ^ i— -J U-L. L m J
^ J 1

N
1—^-UJ ^
-
-_L J ^
.
.
1
1 L_
2 4
All the day I’m lively, Meadows, fields and mountains.
Though the day is long; Clothed in shining green;
And from morn to evening, Little rippling fountains,
Sounds my happy song. Through the willows seen,

3 5
Let my mind
be ever Birds that sweetly warble
Bright as yonder sun; All the summer days,
Pure as are the breezes. All things speak in music
Just as night comes on. Your Creator’s praise.

ROUND FOR FOUR VOICES.

Q /fl
^
^ Q i
P_3tiSzJ
0 ^ 1
j iW
or ilV
te P
g
r X1 W 0 — ^'-1-
J
JL
The bell thal^s in the slee - pie high, Is ring - iiig mer - ri • ly
 THE FADING LEAF. 27

CHORUS. dim.

©zfzdriJrjdtiSzijd
S -i4

r -ru '
u

&
'

found me, I fade with those a - round me, All murmuring life is
2 X
I 1
X-
— 1
—P- -g --
~r

:tL 1 ±

2
saw the sky so blue,
I
The birds were singing o’er me,
The flowers sprung up before me,
Of every changing hue.

3 4
The pleasant breeze was here. We
fade as all else must;
It whispered every hour. No more the birds are calling.
And held me in its power. The flowers and leaves are falling:
Light tossing in the air. Tomorrow we are dust.
28 FRIENDSHIP.

’Tis not the cold and formal drawl,

That wakes the inward flame,
But ’tis the song that glows like fire,
The song that feeling hearts inspire,
A music worth the name.
 — ^L
FRIENDSHIP. 39
3
But hark! those sweet concordant notes
That breathed a magic spell,
That seem like sounds which angels sing,
Like sounds which have in heaven their spring,
Where holy beings dwell.

4
’Tis these that glow ^vom friendship's soul,
’Tis these that speak the heart:
’Tis these that show the peaceful mind.
The spirit meek, and pure, and kind.
Unstained by vicious art.
5
O yes, ’tis here that music dwells.
In friendship's sweet abode;
’Tis here that notes concordant sound,
’Tis here that harmony is found
Like that which dwells with God.

ROUND FOR FOUR VOICES.

-y1 1
cr • "1 '1 r ^ ^ " "I*
p p 1’

—r
1 1

Cf er - list dSt - 1 r
^
" I 1

/I r
.4 4 . t
1

u .
1

|_ 1

Scot-land’s burn- ing, Scot-land’s burn- ing, Look out, look out,

o e—s
.b
,
-|
r
1
1 1

—m “1
'

m 1 -
:

-\
.

4
i

—t
r
a^TZii^
1
1

— a.

Fire ! Fire ! Fire : Fire ! Pour on wa - ter,

:

Pour on
V
wa
1

-
1

-a/-
ter.
 >

30 MAY SONG.
ClieerfuL

^ 1 '
-rrj—
•A. Zj Zj V
ifV w ii7
^ a -
j-K 1

9 9 r L & ®
^ ( r f
_
' - - . _ i

'
i

'
'
_

r r
\

flow - ers smell sweet - ly, all blink - ing with dew, The
_
TT.'tr A m
9 1 1
~ 9 w9 "
O F
.-^_4zzz- -_j
•

f-
1

f- 1—
1

L
^ 1 - U_| 1
JL_|
1

«-_ =p-Fr :Jz 3== J ^

1 —44
ffzzi*;

Stream - lets flow free - ly, the grass grows a - - - new.

-/E
= 1
:
i
The nightingale flutes night long in the wood,all
And songs of all birds us God is most good; tell
The fishes glide under the water’s blue dome,
The bees round the sweet blossoms busily hum.
3
O welcome, O
welcome, thou bringer of mirth!
Our songs shall break forth, like the streams from the earth:
Away, then, O sorrow’, and dulness, depart!
We’ll meet the good May wfith a merry light heart.
 ,

GOD IS LOVE. 31
Andante.

_ _
1r
.
1 1

Tr i fr
-y SK*
1

^
J

m J
1 ^ L
- J
d 4L - - _ J
J
1

L
'
ti:
T-
.

r » » -g—
.

r
s 1
'
'
'

'5'
Mur - muir God IS love/' God is love."
^ 1

i . . ..
,

i i
I ^ ^ '

401 dm
'

r d- _
r®
i
1

. 0.
i
•
JJL
-G-
2 . Round yon pine clad mountain, 4. Music now
rinoing, is
Flows a golden flood: Through
the shady grove,
Hear the sparkling fountain, Feathered songsters singing,
Whisper God is good.*’ Warble God is love.”
3. See the streamlet bounding, 5 . Wake my heart, and springing
Through the vale and wood, Spread thy wings above,
Hear its ripples sounding, Soaring still and singing,
Murmur “ God is good,” God is ever good.
God is good.
 -

SPRING SONG. J. ANDRE.

Allegretto.

1. iC heav-eus are smil-ing' so blue; The hills and the

0 1@— - 0 -0 - ^ -T* —
9bi:tTz«: 1

±&:

^ ^
r
meadows all glit - ter with dew. The trees wave their
.uu C
blos-somS; so

fragrant and fair, And sweet warb-ling songsters are fill-ing

U
the air.
•

- 0 —0 -
— |jj0—

2
We’ll off to the woods, and leave sorrow at home!
We’ll climb the green hills! ’tis pleasure to roam.
Oh! who in the city would stay the year round,
When pleasures like these are so easily found.
3
But ah! the sweet flowers, but bloom for a day!
See, many have fallen, and sprinkle our way:
They fall in light showers, if branches but wave,
And strew the lone violet’ balmiest grave.
 SPRING SONG. 33
4
So ali things must feel the cold finger of death!
The strongest must fall, and must yield up their breath,
The fate of the monarch is seen in the rose,
And ours in the slenderest blossom that grows.

5
But death has no terrors to those who do right.
To them he appears like an angel of light,
And smilingly beckons their spirits away
To realms of unending, unspeakable day.

LESSON I.

.1 .
^
1"
""M 1”!
n A ._r 1 1
1
—
y
^
“t ^
^ 9 9 1 ^
1 1
9ai 9^

CJ "I'
^
r

— ^ ir
d a~^"^
\
-p

r r rw
—
LESSON
— 11.

r-i--
^
-
:xi:
tit:: _xi:_[i -4Z_[Z]:
1

ZII3.

LESSON III.

Z9
aq_.
Wa F^~
"j}~j r[~i~| ‘ifi:
:EE
34 PLEASURES OF CHILDHOOD.
 ^ —
PLEASURES OF CHILDHOOD. 35
2 3
Oh, how we’re favor’d, Yes, we will ever.
To live so cheerful. By night and daily.
So free from sorrow, Sing forth our pleasures
And free from care: In full good cheer;
While many ’round us We’re yet in childhood,
Are sad and tearful: And all goes gaily;
For, sad misfortune Our age of sadness
Does not them spare: Is not yet near:
Then we’ll be happy Then let our voices
While yet we can, Resound aloud;
While days of childhood For all is sunshine,
Shall yet remain. There’s not a cloud.
Our childhood’s. See, Our childhood’s. See.

ROUND FOR FOUR VOICES.

"1 -A- 1 r
z J
iJ 10 jJ j j _ B _r & -m P 1
e L
.
1

J 1 r
J- ^
1
j[•^ Wlien a wea-ry task you find it, Per - se - vere and nev - er mind it,

T -i -i: :
w r
w R “
f i 1

^ 1
—
i

—
1

B
1

... ..
± i .0 . J
1 1 1
*
Ui-
Nev - €r mind it, Nev - er mind it.

I' —
I
ROUND FOR TWO VOICES.

The noblest he- ro of the whole, Is he who can himself con - trol,
 HOME. MUSIC BY C. E. PAX.
Andante Sostenuto.
K
o
o
'

± :i
-'-1
r — —
^ iT 0~ j g n M ^
^ —X
I

^ 1 1
1
r —
1
_
r'
1
— .IS
1 I

Home, home, can 1 for get thee Dear, dear, d hoK >d
1 .

A - - -
Sr
-
- ?

A ^ .
1
—
1 .
1
.1 -
^ 1
1
- I-
_
1 -

1— O !

I
^1
ym
1
m
1

r
1
_1
^

J
1 1

J U-J I i

Home, home, why did I leave thee?

Dear, dear friends do not mourn:
Home, home, once more receive me.
Quickly to thee I’ll return.
Home, home.
Dearest and happiest home.
 ii
mer - ry. Till sink - ing *heav- en The even-ing stars shine.

2. Life’s smiling around us 4. With generous hope, we

With roseate hue; Look forward on life;
With trouble and sorrow, :||
No darkness hangs over :1|

With days that go heavy, The sky of our heaven;

We’ve little to do. No envy, nor strife.
3. Our voices unite in 5. Then join us, companions,
The chorus we sing. Gay garlands we’ll twine,
We’re joyful and happy, :|j
We’ll sing and be merry :||

In summer and autumn, Till sinking in heaven

In winter and spring. The evening stars shine.
 — ;

WELCOME TO SCHOOL. Popular Melody.

Moderato.

'
-p- |- ^ -
»!*«
1. Come, where joy and glad- ness Make each youth-ful stranger a

-t

i=IZl]l=Zlt
•itC; ^z,izrn^-:iid=ztgiiSr|z:^z:^:|
1 I I

wel - come guest 5

Come, where grief and sadness Will not find a dwell-ing

5i5E^^— ^-1
pf.: Zj
1
—
— ®-i —— I
zzi
!
H
p
®-zrz|;z|^ I
I I
BB 1

your breast. Time with us will pass a - way. With

^itzz^zizzziz
ss •P-i
tzzjzzzt:

;fc^!!!lz^zg^z^zpzqzzq=q==:jzqi=i|zz^^
izz^zzq:

I I I
C-r-T-
books, or work, or ' health - ful play 3
Some-times with a

I :[=«
 WELCOME TO SCHOOL 39

Thus, our days employing,

We are always learning some useful thing;
These pursuits enjoying^
Merrily together we will sing.
Tho’ in sports we take delight.
We also love to read and write;
Those who teach us, too, we prize.
Who strive to make
us good and wise*
Come where joy and gladness, &c.

SENTENCE.
'^-#3-
V
^

if
— ——^
f-1
-
"1

^
gg
-
^

ay n I

f
-

_
^
^
j
I

—
1

9_i ^
p
^
p—

h-j 4- 4-
-
——
'
— '"y

--

Hast thou a sor - row That weighs on thy heart ?

-It
^ ^ '
IT
p It
1

^
1
1

p?
m
. i
1 1

m
• !

j
.1 _ l-K-
^
p.
1
1

- 1 -- 1
* - 4 .
r

Sing a sweet song, And how al - tered thou art.

40 CONTENTMENT.

2
The sultan and the grand mogul,
And, what’s his name?* who soon,
Though lord of earth, grew very dull
And wistful eyed the moon;
I envy not such men as these.
But laugh at them with perfect ease.

Alexander the Great.

 — — .

CONTENTMENT. 41

3
For pleasure, fame, and riches too,
Are but as brittle glass;
Things in mysterious order move.
And oft it comes to pass,
The poor man’s mite becomes a pound,
The rich man finds he has a bound.

4
With manly purpose do what’s right,
Nor care for fame or gold;
So shalt thou find thy spirits light,
And fresh when thou art old:
With glowing heart, and conscience clear,
There’s not a thing on earth to fear.

ROUND FOR THREE VOICES.

-T
-e-tr-cv iB
^
I

W
I
J ^)

~~9 ;

9
1

B
r- ^ ^ fr
9 !

B
-L
1

To spend the day well think - ing nought of the mor - row

rv 1 1

U b lb
M k . im 1 A ifek. J B
JL
1

^ T _rj
.

D
—^
1

w LJ U
To help a poor neigh - bor in want, or in sor - row,

2i.tzzzr=--T—3-1 1
:
-
\—0 - ^iri:
^ 0- :-g=j "d -
-
L_^
Gives peace, gives rest, makes hap - py, makes blest.
 !

42 SPRING-WISHES.
Allegro.

-O—
CHORUS, ^ ^ ^ ^ f
?* “d-

1. Come a - gain! come a - gain!

.

come a
^ - -
!

gain!
-
2. Come a - - gain! come a - ^ain ! come a - - gain

:t=:

'I r lIi ksd

Sweet spring weather, Spring, come reign !

Spring, come reign !

Spring, come reign ! Come a - gain ! come a - gam come a

:

Spring, come reign ! Come a - gain ! come a - gain ! come a

O come ! bring the blossoms back a-gain ! The mod-est lit -tie snow-drop Al-
O come ! bring the swallows back a-gain ! They come & build their nests now Just

e-=#- -0-P-
 SPRING-WISHES. 43

-
^
rea - dy is
^
in si^ht^ And eve - ry day we watch it
^ .

With
where they did of old, While w^e with joy and won -der The

won - der and de - light, \^e won - cl^r where, since an - tumn, Its
bu ‘ sy scene be - hold. And, cu - ri - ous, keep ask- ing, ‘‘
Where

— 04 -
-

lit - tie life it kept 5 And if all through the win - ter. Be -

have the swal-lows been. Since hill - side, field and for - est. In

:stz3t

^
H
-p?

zifczS:
> ^
m
^
nealh
H ^ snow
the it slept. Come a - gain!
au - tumn lost their green. Come a - gam !
44 THE BEAUTIFUL FLOWER.
Affettuoso,

m-
t
1. 1 know of a flow - er, most tmr
>-
to e hold 5
'Tis

—^-
-w»
 THE BEAUTIFUL FLOWER. 45

2
In stormy troubles, the heart it keeps up,
life’s
And tempers the gall of adversity’s cup;
And though we be humbled, and stripped of our all.
This beautiful flower, from our breast will not fall.

3
It shareth our whatever abode. lot in
It blooms on our smooth, and our difficult road;
And though even hope fail, our last only stay.
This flower still blossoms, and knows no decay.

4
Oh! bless ’d be the hour in which it was found.
The sweet flower of FRIENDSHIP and may it abound; !

And bless’d be the hand, which first gave it to me.

Thro’ life my companion it ever shall be.

ROUND FOR THREE VOICES.

-m- :=t
ISTZpi

The bell doth toll, Its c - choes roll, I

:S
know the sound full
I
i r -
^ -
1
—^ 1 1
1
1 ! "rr ___

^ r
— V 1
• . . I
j
r • ^ vr 1. - -

^ ! J La

well. hear it ring. It calls to sing, With its

r-#-

bim, bim, bim, borne, bell, Borne, borne. bim, borne, bell.
TO THE GOOD CAUSE.
Polish JSTational Air.
 . ^
TO THE GOOD CAUSE.
— a ®
i , — 47

ROUND FOR EIGHT VOICES.

j
j—
1

2, 1
1

2
1 1

r
\

^ ^
1

1 ...

g
1
1

j A1
- -
T
f g g '

Q '

; g --L
Now let notes of joy as - cend - ing, And har - mo - nious

ra
19 «» 1

^
-1

Hn
1

HU H L __4_1
9 9 1
1I

1 1
'

^
1

- • ^ri L
'
1

1
— W

MQ
p-
voi

Ar_L
1
—
• ces blend-ing,

mm
1
rir—
1-1
LI
1
r
Glad-den

F
[

1
^-1 1

1
eve - ry

w
—
—
heart,

a — riVl^
L
11
Glad

LJ
- den

9~
eve

1
a
K
1

1
- ry

a-'
pc.
1

1
- .

heart 5 Friends with you we'll share the plea-sure. If you know the

air and measure, Come and lake a part. Come and take a part
 NEAR THE SPOT
- ^ 1 — WHICH 1

48 ’TIS IN I DWELL.
Andante.

-W=^
. C ^Tis near the spot in which I dwell, There stands a love - ly
*
^ En - com-passM by charm-inff dell, In which I love to
/B ^

-i—0-

-0 — fT 1 1
—rs— ^ —rteJ r fV-H

P
1
i
f**^i

--^=t=r=t-±
-

1 1
^ J
U k 1

grove, ) rj.

rove, 5
seek the gen - tie breez- es^ sigh, And

(^v|— ' -\
s'*
1

— ..

^
1

«^ 1
.
-a- ,

32]

1— '—

h h
rh
fefd ^
S-
^ ^^
"i f*— —d ^ d—J -
.H_
- ^
9 H '

H--
W ~

T\ ^
jffi jUk _ _

X
t .
.
1

s ! iz r r : __ _r*^ _
1

i1 .
.

1
H
1 1
1

Ld
^ ^ ^ 1

hear the fea-therM s(?ng-ster’s cry cuck - oo, cuck - oo, cuck -

A *

JLirr-n Z Z
W ^ — -
R
T7
iF .
1
^
1

1
1
"
Hi
 —
’TIS NEAR THE SPOT IN WHICH I DWELL. 49

• _1 5
^ j "1^ r ^ j r. ^ TTl
w
r
gm
,9 FE ifw
^ ^
» Sr r
ir 1
' 1
t I

_
1
\

hear the feather’d songster’s cry, Cuckoo, cuckoo, cuckoo, cuckoo, cuck- oo.

1--
n ^ ® ^ * J J t
•
r
I !
1

1
r
. L '
1

2
If days of sadness e’er assail,
I hie me to the wood,
Where streams of pleasure never fail.
Where all is bright and good:
’Tis here, when no one else is nigh,
I hear the cuckoo’s cheerful cry.
Cuckoo, &c.
3
When days of joy come o’er my head,
I seek this charming scene.
Alone along the valley tread,
And view the lively green:
And who so happy then as I,
In hearing oft the cheerful cry.
Cuckoo^ etc.

SENTENCE.

jizJL

All things round us and a - bove, Still pro- claim that God is love.
50 THE SUN AND THE BROOK.
 THE SUN AND THE BROOK. 51

The brook flowed on,

And said anon:
‘^Good Sun, it should not grieve you
That as I run,
I gaze upon.
The motley flowers, and leave you.
You are so great
In heavenly state.
And they so unpretending;
On you they wait
And only get
The graces of your lending.
But when the sea
Receiveth me.
From them I must me sever;
I then shall be
A glass to thee
Reflecting thee forever.’’

SENTENCE.
T- ~=^¥f
—
--#- 1
—
God commands, and I must do, He will guide me safe-Iy through.
52 THE SINGER’S SONG.

When the heavy hours drag,

Heavier hours bringing,
When our spirits faint and flag,
Then we fly to singing.
Cheerily the while we sing,
Flies the brightened hour.
Dullness lifts her drooping wing.
Charmed by music’s power.
When by vile vexations crossed.
And innought take pleasure.
When our coj^ifort we have lost.
Try a sprightly measure.
This shall charm back all our powers,
While we fondly hear it;
What the dew is to the flowers,
Songs are to the spirit.
 —
THE SINGER^S SONG. 53
4. Mountain, valley, field and grove.
With sweet songs are ringing;
We like birds will evermore,
Cheer the hours with singing.
Say what helps us all along.
On the way before us.
Like a true and tender song.
Or a noble chorus.

0 o
'I Ij
^
_

^ ^
"

m
i
LESSON
r M
^
--
V.
-0
o' --P
[ 1
P
i
-
..

i
^1
— m
1
..

B t..
i

l1_jL_1 -jI U.:

a
^
-mJ
L r J 9
!
4!3I

L. L. . d '
1-

LESSON VI.

/jL
#yV\
h
U ^ ^
Im fw
“
1® ~
^
4i
\
- ift
\
- - -
f W 1
a
® ^ —^A i

m
i
-^Ti.
lO H B
^ n
'

|z 4i 4I -t ..t
1

.. . d
1

tz.. 1

LESSON
'3-
K
h 13“
^ .1
1
VII.
n
J
I I

P
—^ I I
1
'•-]
^ 1
••
1 r:. .
-
1
^ ^
&
1

c/
—o 1 d
—
'

I
.

J=:z=4-:
Ah ° — -1 ^ :

a ^
^ 1 J _
=Tr
|L
^
i

S'
e - 1
s cz
\

L_s—
LESSON VIII.

H
^i5=t=|z:ilz=t: _J
.Q. . .,_d jd .^.^jsL.
—h- 1
--

:.-d^ 315. rdzj=a4t

:=t=r"=qFr
L c^JZ
 ^ 1

54 WE KNOW A LAND. NAGELI.

Moderato.

Sf 1. We know a land of beau - ty’s train, A -

i
dom’d with streams and
'

:^pz^
tf=a:
groves, and fields, Where clus - tering grapes and wav - ing grain. The

; a

ground

O:- -]—
in rich
—
F=^

"T=t- —
*1-

pro - fu -
rjB

- - sion yields.
m^m
-i=7F-^ "d
fci

This realm of
^ I

beau -
I

ty

L_« 1 J

-d-
 T
WE KNOW A LAND. 6S
O
We know a land of virtue’s growth,
A land that no deception knows,
A happy land, where love and truth
Allay the pain of earthly woes.
This worthy land we well may own.
It is a land we call our own.

3
We know a land where moral light
Has shed its hallow’d Influence round:
Whose people know the God of might.
And love the gospel’s gladd’ning sound.
This sacred land so lovely shown.
We surely may be proud to own.

4
We hail thee, land so pure and great;
With welcome honors thee we greet:
Oh! may we every evil hate,
That God may here maintain his seat.
So shall we ever love to own.
That this great nation is our own.

ROUND FOR FOUR VOICES-

1 —^ FA ^1
Y
^ «
Let
1

us
1

en -
'
.99
1

dea
x4,„—L
-
1

vor
I

To
i
1

show that
A
F.
-1

when
— -
^

ev - er
1

We
1
L

1 =
join in song*, We keep time to - - geth - er.
56 VACATION SONG.

1. A - way o - ver mountain, a - way o-ver plain ! Va -ca-tion has come with its
^ ^
O’# A ^ — n
r r^r r: ^ «It
—1^ M *
_ - -A •
®
r
1
1 -
t
1

-
W L .
1
1
1 1

!
- 1-
. . . _

^
i U
IS
^
&
pleasures a - gain 3
Where young steps are bounding, And young hearts are

— l-y
 !

VACATION SONG. 57
;:jz.-z!zzq!!

I 1
*11
•z:;zi:|iJzz^zi:^z:Sz:^z:
^
iHiliii
*Tr I

- way I To the fun and the frol- ic, a - way boys, a - - way !

2.
LipZ^t-
-9—-Q — 9-

We’ve sought your approval with hearty good will,

3.
We “old ones,” have spoken, we young ones sat still;
But now ’tis all over, we’re off to our play.
Nor will think of a school-book for three weeks to-day.
Away, away
Nor will think of a school-book for three weeks to-day.

The fresh breezes revel the branches between;

The bird springs aloft, from her covert of green;
Our dog waits our whistle, the fleet steed our call.
Our boat safely rocks where we moored her last fall,
Our boat, our boat!
Our boat safely rocks where we moored her last fall.

4. Where the clustering grapes hang purple, we know.

The pastures and woods where the ripe berries grow.
The broad trees we’ll climb where the sunny fruits rest,
And bring down their stores for the lips we love best.
Love best, love best!
And bring down their stores for the lips we love best.
5. Dear comrades, farewell! ye, who join us no more,
Think life is a school, and till term-time is o’er.
Oh! meet unrepining each task that is given.
Till our time of probation is ended in heaven.
In heaven, in heaven!
Till our time of probation is ended in heaven.
58 THE MIGHT WITH THE RIGHT, dr. callcott.

/
t=|:
^ 1
gpS-i
r -t; 1
i
power main-tains 3 But the day shall yet ap - pear, When the
fts

-* —»- - 0-
:V-i -'U
 THE MIGHT WITH THE RIGHT. 59
With the

might with the right, and the truth shall be, When the

ait

right,
/
± -» —C- m
I®
w
—O — (SP- -1
h: h

might with
vith the right,
] and the truth shall be. And come what there may. To

-a/— 1(CZW.
'Xi

Let good men ne’er of truth despair, Though interest pleads that noble deeds
Though humble efforts fail; The w’^orld will not regard;
Oh! give not o’er, until once more To noble minds, that duty binds.
The righteous cause prevail. No sacrifice is hard.
In vain, and long, enduring wrong. The brave and true may seem but few,
The weak may strive against the strong: But hope has better things in view;
But the day shall yet appear. And the day will yet appear.
When the might, &c. When the might, &c.
 :

60 “Rich, after dull and shade-brooding night.”

Andantiiio.

# ^ r a ^ 15 ^
I
^ ^ Rich
1 . Rich; af - ter dull and shade-brooding- night, ri - ses morn-ing^s

5E®
h4— EEi;

)^ppz:Jz:^z:^z5|:J^gzKJz|z|?z: ijzJz|z3"i3:
-i»- -0-my-

beau - te - ous light.

b -ing’s flush to
U ^ morn
As the na - ture, Man. to

SEE
 ^ —
— 1

‘‘Rich, after dull and shade-brooding night.” 61

2
Softly distil the dew-drops of dawn,
O’er herb and flower, and garden and lawn.
As the dew-drops to the flower,
Man,
to thee is heavenly grace;
O
be thou, then, to thy race
As the dew-drops to the flower.
3
Kindly the bower with shades overspread.
Shield from hot noon the lanouishing head.
Like a bowery shade in summer,
Man, to thee is heavenly grace;
O be thou, then, to thy race.
Like a bowery shade in summer.
4
Bearer of plenty, pure from the mount.
Pours o’er the fields the bright-gushing fount.
As a fount to sun-parched pastures,
Man, to thee is heavenly grace;
O be thou, then, to thy race,
As a fount to sun-parched pastures.
5
Pure from the storm’s dread cloud-tents unfurled,
Streams forth the bow of peace o’er the world:
Like the rain-bow after tempest,
Man, to thee is heavenly grace;
O be thou, then, to thy race,
Like the rain-bow after tempest.

ry ^4
•
!

J
1 i
SENTENCE.
—— 1 I
"2
• J ^TT
Z- r 2 JT'
LJ —— i

1 —0—» 1

Beau • ty blooms the long - est there. Where the mind it - self is fair.
 t
63 SONG OF THE FREE.

'T T
^ up
1 \

A
~i ~n
S S »
fC^
_
r- L 1
tar
~
- . r_:^0 P 1

P rT-t
^ 1 1 1 1

r
. . •
..j

live as the free: Oh! where is the na-tion In

^ m
w *
m m
W -4-
P
1

r
P
1

-
'

- -
111
P
1^
P P JP P P
1 1

+1=^—1=
r 1

-—I 1
-1 ;
1 1
1

We’ll sing of our glory,

And tell the glad story,
Through earth’s wide domain;
That here is no cow ’ring.
To haughty o’erpow’ring:
No sov ’reign to reign.
 SONG OF THE FREE. 63
3
I We’ll speak of the treasure,
[
Possessed in full measure,
[jiv To rule as we choose:
""
; All sovereign dictation,
In this happy nation,
r
•* We’ll ever refuse.

.A. 4
i ; Our lands and our waters,
^1 Our sons and our daughters,
;|,
Shall ever be free:
f ^ We’ll shout for the glory.
We’ll tell the glad story,
^ In loud merry glee.

^
r Let tyrants and slavery,
I
And vices and knavery.
Be put far away:
Then all that we cherish, *

Shall fadelessly flourish.

Nor ever decay.

ROUND FOR FOUR VOICES.

1

T n
r
L
—ujj
SS
CL lo zr
^ '

_L
-4
m £?
1

]L

Morn-ing is break - ing, Songsters are wak - ing:

Q
CXi 1 LI »-cr- —
n fi rr^ r_
•i 1

tar &J J
b _
“1 r
5^ ZSd ^_L
All things are cheer - ly. When ’tis so ear - ly.
 ; 1

64 PATRIOTIC SONG Scotch Air.

Maestoso*
'-
Q 'b
tti:
3? 3
niziti!
zz4zs(tz|
:|zz|zz|i::;^gzz^-^:j^iz^z:^z:|z:^±:^z;- I
L i>
k L I* i. L ^ ^ r ^ ^ I 1

bid
^ we you wel- come
1. Friends^ here, Free-dom^s sa- cred cause revere

SlblE
I 4^-«'
-<?--

:-bzs^:
:izz*zz?zx3?zzS!zzSzzizzi
S'
Dai - ly breathe a prayer sin - cere, For them who suf - wrong.
fer wroiiff.

9tzli:
I
-b #-
 PATRIOTIC SONG. 63
2
Who is he devoid of shame,
Justice for himself would claim,
Yet deny to all the same.
Through vain and selfish pride?
Friends, you long our hearts have known,
You’re not left to fight alone;
We will make the cause our own,
For Heaven is on our side.

3
Who would live, to live in vain.
Live alone for worldly gain?
Spending days and nights in pain
For some ignoble end.
We would hope to leave behind.
Better times than now we find;
Better be it for mankind.
That we have lived their friend.

ROUND FOR THREE VOICES.

1^1

1 4
A - - gain the sum-mer’s near us, Its gen - tie breez - es

b r w I"
..*hT
^ ^
_ __ p.
PI n n n ±
H
i

•
1 Ij
I

Hit d ^ ^ S- ^ 1-0 1

^ i

sigh; The fea-therM war- biers cheer us, The cuck-oos sweet - ly

:a:-b -:i 1
1
0--
r n
f" f m — r
1
T-
J ^ ^ “
L -0
ZTh T^ r ^ n-if-h
^ f ^ ^ P 1
1

JJ Li J L
- - J
-3L_ ^
1 1

J
1 1 1
1“"
J " 1 1
-

-t
-1 -

^ J -*1
^

c
^
^
-
1 J
j c:^ ‘*^^..1: Itf-

cry, Cuckoo, Cuckoo, Cuckoo

m THE FOUNT OF JOY.
 THE FOUNT OF JOY.

Il«

2
Every one, own way,
in his
Eagerly pursues it;
But to seek, is oft the way
Certainly to lose it.
Happy he who knoweth,
Where the true joy groweth,
And the false foregoeth!
Yes! weH^e stores of joy to bless,
And our danger is excess!

SENTENCE.

^ ^ ^
iirpiillppiplp
Art thou dis - ap- point-ed ? Mur-mur not, Cut with pa-ticnce bear thy (ot.
68 THE PILOT.
 » u I

THE PILOT. 69

Ah! dangers often met,

Pilot,
We are apt to slight;
all
And thou hast known these raging waves,
But to subdue their might.
‘‘Oh! ’tis not apathy,” he cried,
“ That gives this strength to me;
Fear not, but trust in Providence,
Wherever thou may’st be.”
3
“ On
such a night the sea engulphed,
My father’s lifeless form;
My only brother’s boat went down.
In just so wild a storm; T
And such, perhaps, may be my fate.
But still I say to thee.
Fear not, but trust in Providence,
Wherever thou may’st be.”

ROUND FOR TWO OR FOUR VOICES.

—•h ~U ^ A r f L. —r# r
^ 1II 1 ^It —
— M
. 1

^ 1

Love your
J •
neighbor, Live
r
M
r
1

~
1I

by
b.
1

la
—-
r-
r
LJ
bor,
l_L

Would you pros -

J »
I

per, That^s the way.

70 THE WAY TO CONTENTMENT, bischoff.

CHORUS.
 —C —
THE WAY TO CONTENTMENT. 71
_L '' .
' ^ ^ ^
€ - d
S ^ ’

d ^
1

^ ^ r 1 if
1

vW r 1^
\

S S I 1

j LsL
_

F
i

I 1 1 1r 0 r

glad, glad, glad, And then we’ll all be glad.

TT.'rf r ^ ^ M M d ^ i
r '*1
0
-j v ar Ufa
Sr
-
1

H
I ' ' 1

_ . ..
Iet
L
' ‘

- i-ii-,iiiiiiiii a -
L ^jL— I

..-J

2
Let us banish lust and pride,
Living pure and humble;
Given to ail well-doing,
Every vice eschewing:
Chorus: — Come let us all, &c.
3
Let us ever cherish truth.
Truth is worth possessing;
Let us live uprightly,
' Hourly, daily, nightly.
Chorus: Come let us all. Sac,

4
Let us seek in all we do,
Solid, lasting treasure;
Good we e’er may cherish.
Good that will not perish.
Chorus: —
ome let us all, 8cc.
Note. —At the words glad, glad, glad, the hands are to be clapped.

ROUND FOR TWO VOICES.

dl 9
j

^J
1

^
\

!
'
r
1
t
r
—n
I

~i
g^..
1

-
Ij
9
« r
r
I

r
iZit
Time and tide will wait for no man.
72 ADIEU. heaving School.

1st Voice.
2d Voice.
So
I
go - est thou for
go from thee for
-
-
ev
ev -
- er forth,
er forth,
A
A
-
-
m
dieu,
dieu,
zpz-fc.:;

A-dieu,
A-dieu,
A
A
-

®S:
iilil I

^ ^ ^
dieu. )
dieu. 5
For - get me not in thought of fame. But

-r-l- -H ^-
— 1*#- -1^ ii

t i** _ ls!f ^ ^ ^
in thy heart be Still the same, A - dieu, A - dieu, A -
/CN

04#-
_^1
 ADIEU 73
Q
V. We’ll sing the song before we part, Adieu, See.
^d. V, We’ll sing the song before we part. Adieu, &c.
Both, Where’er thou art, be heaven thy guide,
And love inspire whatever betide. Adieu, &c.

3
\st, V. The
flowers are budding bright and fair. Adieu,
V. The
flowers are budding bright and fair. Adieu, &c.
Both. And nature wears her gayest smile.
But clouds may lurk unseen the while. Adieu, &c.
4
1^^. V. The clouds may spread when thou art gone. Adieu, &c.
^d. V, The clouds may spread when I am gone. Adieu, &c.
Both. And when the world is cold and drear.
We’ll bless the link that bound us here. Adieu, &c.

ROUND FOR FOUR VOICES.

fa:
- - 9 -S> h
t:
Sing me an - oth - er be- fore we de-part, Sing it in

h-#-
V-
praise of our mu - si - cal art. Sing

r-#-
X
-9 —9 — 9 -

Do do do, Sol sol sol, Sol sol sol. Do.

74 THE SAIL. Venetian Melody.

0 —0 — 0 -

r* s; e; b b: .& 5 5
shore ! Gai - ly sing - ing, Light-ly spriiig-ing, Gai - ly sing -mg, Light-Iy

-O-
 THE SAIL. 75
1 2

2
The joyous birds are warbling zn the tz'ees,
While swiftly on we’re bounding ivith the breeze^
The waves before' us run,
Leaping, dancing,
^ •

b oaming, glancing,
1*1 o )
f
jLj jT Hi X #

In the brightly setting sun.

The moon is softly stealing through the sky^

And fills with gentlest feeling every eye.
And many a brilliant star.
Flashes o’er us.
Repeat.
And
before us.
In the rolling wave afar.

ROUND FOR FIVE VOICES.

If your ear is closed to song, Yourself, and all your friends you wrong.
76 THE STARS, from c. m. von weber.
 — —^
THE STARS. 77
2
Ye heavenly lights! O attend us,
And light us along on our way;
How bright are the smiles that ye lend us,
Then list ye, O list to our lay.
The earth and the heavens, &c.

'I

How
1
r
r^T
r
sweet to
ROUND FOR THREE
^
m
•
I
i
1
r

be roam-iiig,
^ J
—J
When
r*^i
1r

L
•
n0J
!

sum
—
VOICES.

-
m

mer
'
r'

|gg|t

is
^^ J

e
blooming, Thro*
r ^
J 1

^ _

wood-land and grove, Thro’ wood-land and grove. How sweet to be

^ d •» ,.iiir " H '

r
A J® T
d r n A
—
1

r1 1
^
d m—^:±
1 . 1

m
j I I

^ i s' J
r I
“j
M 1li
1[4
1

roam-ing, When sum - mer blooming, Thro’ woodland and grove, Thro’

——
is

_^L — !

— j
T — —
—i-^i— — —
1-«-| r^-
1
_5?)
1

-f—1-5^
-^ 1—
--
1
ziii^zzzizj 1
wood- land and grove. How sweet, how sweet, how sweet to be

inC
L-b
^
J 1 I 1
-- ijf
i
~T^l
J r
- ^'zzd
1

S
1

::t=d^- =t=^
1 1

T * Id-

roaming. When sum -mer is blooming. Thro’ w'oodland and grove.

 n u
ALWAYS SOME GOOD. 79
2
Winter spreads garb of snowy whiteness,
its
Spring-time brings its days of sunny brightness;
Good that’s mix’d with some alloy,
Yet a good we may enjoy.
3
Summer’s suns and Autumn’s fruitful showers,
Fill the fields with waving grain and flowers;
Good that’s not v/ithout alloy,
Still a good w^e may enjoy.

4
Every season brings a sum of pleasure.
Every fortune brings some little treasure;
Good that’s mix’d with some alloy,
Yet a good w^e may enjoy.

ROUND FOR FOUR VOICES.

n ——
1

n r“1
— —j —
%
——
!
U ^
1
1 1

L 1 CD
^
I 1

^
i

fr t—S.
Lj
1 !

® i
1 1
1L - 1

The hour is come of twi - light gray, And even-ing veils the

face of day, The s’aades of night be - gin to fall,

Lb F- =1=1:
-1=4=4
;+
W ”* : d ^ S)t -ZjzJ ; 12 "I;

And dark-ness soon will cov - er all.

80 THE WAY-WORN TRAVELER. FMglish Song^

1 ( Faint and
li
wea - ri - ly the way- w'orn trav - el - - er
^
Wandering drea - ri - ly and sad un - rav - el - - er
-H-
tipi :q:

Oh ! how brisk - ly then the way- worn trav - el - - er

Plods un cheer - i - - ly a - - fraid stop 5 ?

or the maz - es on the moun tain topj 5

-a-
-5^-
I
Treads the maz - es on the moun -tain top.

zp-tfi
;z^z:
-i:
-h-t-
isiz:
£3z3
Doubt - ing, fear - While his course he’s steer - ing,

iS:
-Q-
n
 —
THE WAY-WORN TRAVELER. 81
2
Though so sad and lone the day has past away,
’Twould be folly now to think on’t more;
Happily he sits in twilight’s softest ray,
Ever welcome to the cotter’s door.
Doubting, fearing,
While his course he’s steering,
Cottages appearing.
As he’s nigh to drop;
Oh! how happy now the way-worn traveler.
Rests securely on the mountain-top.

LESSON IX.

LESSON X.

4=t -P- r r-
itz?: H
-

(-

-p?

-o-
 :=t; =t:
-zSzzrjzzz]^ zn^:
-I
4- -1^
-r-f-
w'injr- iiig, Are - ly sniff - Thoir
ing,, Thoii rho - rus so
heatii -cr, Arc skip- ping lo - getn - er, And all in the
#- -0-
'

iiiS
:ii:

f- —1^ T~^ —iJ IT T —^ ^ ^ —1^—N- -1

^zIi^zz^ZT^~~^zgzi~i$~V":*~:^zvz^z]
loud seems to
joy seems to
Come haste to eii -Joy the sweet
 — —U
ALL HAIL TO OUR FAVORITE MAY. 83

-ft ^ ^ ^ 2^ T
^
1 ^
Pgzz|izz|zz:t^:-|zzgzzgzz|::z|zzgzfjtzz^zl^|
^ — jz ^ ^ ^ — — t^«iZi
.

Maj’’, The sea - son of bios - soms so gay> Come

-0 —0 —-0

r-r=tfrHr -^7^-
^ I fejs* ^ 1^^
haste to en-joy the sweet May, The season of bios - soms so gay.
- 0- -
0- —
LtzMz: 0 - -

dziL ii
ROUND FOR THREE VOICES.
jZZ r =a
-i^zpzzlz:
— gi— 1
— »— I *
I
Sweetly now at even -mg' hour Bells are ring-ing,

- — k-23
—* -0 ~
r
j
— ^
^

t-b-®'-
n —
.

* 0- jd- inr
I

From the
4i
lof - ty old church tovv'er, Hear them
Uding-ing,

> > > >

it K zz: —
1
i — —P— P^”~P —P~^^P^~P^ f=^5tzitli ]

^ di.. . d tzdzi
Bim, Borne, Call-ing all from la -bor, Man and child, and neighbor, Bim, Bomm
84 THE FLOWERS OF THE LEA. h. s. van dyke.

* The pause to be observed only at tiie close of the stanza.

 1 —
THE FLOWERS OF THE LEA. 85

o
They were sleeping, :||

With dews on the plain;

They are weeping, :||

For home, now, again.

Then take them and cherish,
The flowers of the lea;
They never can perish.
While treasured for thee.
I am twining, 8lc.

LESSON XI.

ROUND FOR FOUR VOICES.

^ r
1
r __
.
1

^
/Q
_
. J_j J
r
— w J
j

^
/I
1

_ ^ 1
=4:
I

\
1
i J L
Love of truth, Guide my youth, From my heart. Ne’er de-part.
06 OUR FATHER LAND.
Alleg^ro.
r-#_

:=^-zi33~-1=J=^T-ST^-33= -^Zgz^ig: zizzg^^

'a'
I S '0I
~»~
r r
» I
I
1
^ '

1. Come, one and all, around we stand ;

Come join in swelling cbo - rus 5
And

0 —0-

2.
^ -i- -d-r
|^ -i5-
\

I
•
I

'I-g-rf®--?5-
praise our good-ly na- live land, Our fa-tber-land that bore
_^5zz=zizz::pz;q=*z:^z;pzz^zqzqz4
z^zz^zqzi};:

Old ocean bore from Mammon’s marts,

The plant of Freedom hither;
It blossoms yet, and glads our hearts.
And we’ll not let it wither.

3. Where now we stand, our sires once stood;

Firm men were they, true-hearted;
Say, lives there now a race as good.
Or have they all departed?

4. From zeal for freedom and for God,

No charms of wealth could win them;
O’er ocean these wilds they trod;
tost,
They carried home within them.

5. They cared not to be here renowned.

Cared not for fame or glory;
But persecutions on them frowned.
And made them great in story.
 THE SINGING MEETING. 87
Andantiuo.

2
Yet, springeth the rose bush, Oh! never!
Without the rude thorn on its bough.
The summer breeze stays not forever.
For soon will the winter wind blow.
3
But friendship shall driveaway sadness.
And love fill our bosoms with joy;
While singing together in gladness,
Our happiness none shall destroy.
68 THE LOVELY MAY IS COMING, paisiello.
Andante*

•=i -#-+-«
=£=;=; iz'zc?

1
^ I* ^
1. The love - ly May is com-ing, All decked in glittering
pzi:p:=pz:qz=l^:
t: - —
1

Ye flowers from grove and mea - dow,

r . r 9 9
— ^

'

^ ^
—
: -j :

^
*^T" 1^- :=\
JH
9 -S A ^ ^
... .If:
- _J
-4— f-j
J J F ;r::
V .

f i\\
^ ^ ^ -M
1

S Hv. ..S 2 A ..
’o^y
^T/
F - F S 9 r __ . F . _ ’
9 _ r r r--
F
1

F F F ^
• 1 1 1

^
r
Come, to
1

meet your
1,^^

queen! Ye
i

flowers from grove and

1

F F ^ ^ « 2 9 ^
X7*i^ .A . _ - 1
1
'
— H H
i
f 1
1
igf II F F
.
-

i 1 U T L»-J
1 1 -1 1

-H-

mea - dow, Come, to meet your queen.

-+
 THE LOVELY MAY IS COMING. 89
2 3
My friendly staff I’ve taken, The birds are floating o’er me,
My little bundle tied, In circles light and gay;
And now I’m free to wander, They soar and sing above me,
Where the road may guide High and far away.

4
The lovely May is coming.
All decked in glittering green.
Ye flowers from grove and meadow.
Come, to meet your queen!

LESSON XII.

A
AQ ^ -H n ^
J
n _ 4“^i:- P
_l
H
1

Zl A
^ m ^
W V ^ -

A
I 1 1
.'I

d : - U '

^ B ^
,

n :: TT] ^

n . :: ^ r
^
1

—J
,

1 1
- -

^
Iff
d ^
i_.i^
^
d 1
r— r— 1
J J ...

LESSON XIII.

Q-;
A
^ ^
"ar
A
-

\
1 1

m ^
I .
-
n
S
— 1

w
1
^
•

- P
^
i
-J
1
— 1
. »

. 4 J
'

d- Tg:
90 COME SEEK THE BOWER.
. TT tSfe-J

g~g~g~S~T
E|E?=jEi£|33Efesi|=f2i?r
r
$ g g ±
Come, seek the bowV, the
^ bJ ^
1. ro - sy bow’r, I love its cool re - - treat 5
The
2. Ye youths and maid-eris, join the song-, I love a cheer- ful glee; The

.^-5q- .K «-
I—}-l IH 1- H-+- H- -I 1- t:

Szg-gigz-g i
sun is high; and great his pow’r, And weary are our feet. (

e-choes shall our notes pro-long, Then, come, and sing with me. ^ 2d voice. And
 ^
COME SEEK THE BOWER.— (Continued.) 91

sought the bower, the rosy bower, And sat in the plea - sant shade, They
sung a song, a cheerful song. And sat in the plea - sant shade. They

r
P- p_ -L
[_ 1

Sr

-F — §9

i-
1

"p
—
1
1

•——

sought the bow^r, the ro - sy bower, And

sung a song, a cheer-ful song. And
 —
92 SINGING AND STUDY.
Andante*

^=S=3-'S:=S::i:f4--S:i:f=S=Si=g{:
U U U ic^ Ld '
U P
1. Let us glad-ly sing - ing, Pour our joys a - long:

=*^^=S-&-t;-|i -t I Fl--‘.i=fe=g =^Iii=jJ

TT ^ |V T— ^ *+31^—1^—
j-T— >
-^-h

Let us danc-ing, spring - ing, Be a hap- py throng.

1^ — 1*^ l^T
^!E§ 3Ear3E:g:
— — -
-
0 0 0

Music! ’tis a treasure, Let us all be cheerly.

Rich as Eden’s bloom; Let us all rejoice;
Fill’d with all that’s pleasure, Love our studies dearly.
Free from all that’s oloom. Making them our choice.

ROUND FOR THREE VOICES.

”9"#.,
ST /I
—
“I — .
; ”1
-
s—^-A
t
^
^ ^ 1

— wi
r 1-
" ’
^ Zm
] 1

1 9
1

1
9Z3L^0
'_J_
1 !
-

0
J
m
H +
J-X
^-x
Let your plea-sure, Wait your lei -sure. But your work do

”zir
W-^-\hi^11 ^0
1
0 0 0 0 0 Q tt
1 1 .. 1 1
J

1
“T _

r-9 *

not - lay. No, no, no, no, no, no, no, do not de - - lay.
de
 THE HOBBY HORSE. 93
Allegro.

J A
1

ft ^ .
S i J
1
ri T
.L - -

s #
vSV ^ r 1
'

-u
iS
^ 5 :
:
A
F 1

_ w 5 m I J
F
^ ^ ^ f
1

^
\ \

1. Hop, hop, hop! Go and nev - er stop:

i Where ’tis smooth and

— - /i
r.
h-
J
.
L
'
.

1
1
_

-J
A
Wm
. . 1

1
n
1 LJ
F
I
1I-

'tdLt:
I
I

r
iA ^
zrlizz~~::

3
Jump, jump, jump!
Don’t you hit that stump!
Never will I cease to ride you,
’Till I farther yet have tried you:
Shun, I say, that stump!
Jump, jump, jump, jump, jump.
94 CHANGE. (Parting at School.) HIMMEL.
Andante.
>
-M:sr-zzz\z.
:£3:;
= := =:4
1 1
: =t=:1==t
) :r 3Ei=f
-H
1. We can - not re - main
I

so for - - ev - — er, Here

-o-
:t==
1:;

r r
un- der the changea - ble The flow - ers that
 — —
CHANGE. 95

2
Then since we must
surely be parted,
We’ll cleave what’s purest and best;
to
For this will forever unite us,
Though far in the east or the west.

3
And when we are far from each other.
Our hearts, they shall ever be near!
The blessinor that lights on a brother,
To all, yes, to all shall be dear.

SENTENCE.
0 \>~A “]
h'l —^
1" — h ! !--] -
d
X
H
s
:j-T-
s
! I !t
a T
^
A
9 9
^ ^
"9 9 t=1
faf
1

—t—
i
07^

t-J
1
n

——
._9

(8 pi± 1

Be to oth-ers kind and true, As you’d have them be to you;

rK 2 9 J I
r1
-5
— ^
t~?in
% ^ -
J riffll

f
^
^ dt?
a
— "^“1 T-
P a. Pt t-
Nev-er do nor say to men. That which you’d not take again.

LESSON XIV.

S-4 r 1
"»~iP — —Th -H
1

n
ijl*
 —
96 NEW YEAR SONG.

2. The stern old year! Pm glad he’s parted!

And yet I loved him well;
He brought the best, while we weak hearted,
Read wrongly what befel.
3. He loved us, though he brought us sorrow;
He always taught in love;
We left the lesson ’till the morrow.
And so did not improve.
4. Now Thou art come, with smiles so pleasant;
But say, canst thou do this:
Bring back our earliest new year’s present,
The days of childhood’s bliss.

5. Who sends thee doubtless sends thee giving

As good as we can crave;
Young year! we hope we may be living.
To bear thee to thy grave.
 — —
COME AND SEE HOW HAPPILY. English Melody. 97
Allegretto.

1. Come and see how hap - pi - ly We spend the day,

2. We im-prove the pie -sent hour. For swift it flies;

— pi:

r
i
^
I

^ ^
I

^ ^ ^ ^
I I • I
I

Al- ways join-ing cheer- ful - ly In school or play;

Youth is but a pass-ing flower, Which blooms and dies;

•I
^— i
—h-J- ^— “ ^zz^^Ff
•=:Sz:f-g-p3^:gz-^-S-Sz:Jz:gz:
-
I
I

^ ^ ^ D. €.
In our books and sports combined, Many are the joys w'e findo
But with stu dy and with song. Time with us still glides a - lomig.

Come and see, &c,

96 BLISS IS HOVERING.
Allegretto.
CHORUS.

1.
I

Bliss is
I ^ '
!.
i-
hovering, smil-ing
u
r
eve
=1
u<
ry - where,

G”^iTJiTT_
i:^=S:
:p—P- -W—W- £

2
Innocence unseen is ever near;
In the tall tree-top it lingers,
In the nest of feathered singers;
Innocence unseen is ever near.
 BLISS IS HOVERING. 9Q
3
Pleasure echoes, echoes far and near;
From the green bank deck’d with flowers,
Sunny hills and pleasant bowers,
Pleasure echoes, echoes far and near.

4
Up, and weave us now a flowery crown;
See the blossoms all unfolding.
Each its beauteous station holding;
Up, and weave us now a flowery crown.
5
Go ye forth and join the May-day throng;
Sings the cuckoo by the river.
In the breeze the young leaves quiver;
Go ye forth and join the May-day throng.

ROUND FOR THREE VOICES.

^ -

O. ^
r
“T ^I™1 1 1
dmi--]
1

1
^ & r 1
1
1

^ J »
/i *

--nizir [=_? .
^
& ^1^
jp

To the praise . . of truth . . . we sing.

it is a no - ble thing.
 —— 0 ^ U

THE GROVE. C. M. VON WEBER.

Original key E for men^s voices.

^;z^=Sz:^z:3z:»i:gi;*:i:?==-^rIi=5=l»=ri;J
^ ^ grove, \ ^ 1

fresh and love- ly The

choes sound, where grove, the grove, where e -

great and spacious world, The world, the world, our a - bode, is

-
7—
®— I

. /. r ft _ _ R
—
—Q- — —I
$
-0 --

I
-fc'
choes sound, The grove where choes sound, I’he
a - bode, The w'orld is a - bode. The

— ,

^
j_ i^z^izi^z;
s
^ZI
I* s /.
:ZSE2^iE^^;3z‘Sz
— i^—0- —0 —^— i—PP--—Tq
)
f
I

1
— f 0
^ ^—
jg? — 1
0 0 — — — 0 —-0—0 —L
^ 0 0
^ ^
the morn mg horn, We
I

where echoes
grove We sound. k to the note of
world is our a - bode. We »-der a way through the fields so fair, We
-

zlzzzpzi:^z.^z;*z:pz;«z;^z;:^:i^.^pzi
'z:ffz5z:uz:!
 THE GROVE. 101

hark to the note of the morninff horn, Where flowerets and roses the grove adorn, Where
wander away through the fields so fair. Our cho-rus is mer-ri - ly sounding there, Our
^zz^tz^z^z^zpzjizq'^q^q!^^z

’/>
m
^ ^ ^
flowerets and roses the grove adorn, The grove, the grove, the grove the grove. The
cho-rus is mer-rily sounding there, 'rhe world, the world, the world, the world, The
gE:rgz^jez^gz^Z|gZ|azj» z~:j-:=zziz:zzzzz4:zzzz~:z:ii^:|
I Lrf- u^-i — (— ? 1 1

j’-,.
1^4
—0- _ 4=
c/
^ ^
I

^
1

^ ^
I I I

choes sound, The grove where e - choes sound,

our a - bode, The world is our a - - bode.

— )- z^zzt
Z^tZTJiZ

LESSON XVI.
i02 THE SWISS TOY GIRL. jno. barnett.
 THE SWISS TOY GIRL. lOa
2
Come round me, ladies fair,
I’ve ribbands and laces,
I’ve trinkets, rich and rare.
To add to the graces,
Of waist, neck, or arm.
Or your sweet pretty faces.
Then buy. See.

3
I’ve paint, and I’ve perfume.
For those who may choose them;
Young ladies, 1 presume
You all will refuse them;
The bloom on your cheek
Shows that you never use them.
Yet buy a little toy, &c.
4
I’ve a cross to make you smart,
On your breast you may bear it,
Just o’er your little heart,
I advise you to wear it.
And I hope that no other
Cross e’er will come near it.
So buy a little toy of poor Rose of Lucerne.
Yes, yes, I do, :||
So buy, &c.

LESSON XVII.
t04 Allegretto. IN THE COTTAGE.
 J — —
IN THE COTTAGE. 105

2
Blest with life, and blest with health,
Wedesire no splendid home;
Nor, to be the slaves of wealth,
Do we ever wish to roam.
Though but lowly be our state, &c.
3
All the sweets of wealth will pall:
Honest hearts and liberty,
In our cot are with them all
Home is home where’er it be.
Though but lowly be our state, &.c.

LESSON XYIII.
0 /i 1
1^^
^ p jf -t
0 — 0-0 ^
I 1 i

^
1
1 1
1

_
—± "r•

"BBOB
1

^
at
0 \

-
®

^ -111'=rno^n
A-
• S'
t t Bb
J ^
[
J 1 1

r__ . 1 i 1 lx
L _ 1
' ' '

ROUND FOR THREE VOICES.

lie.
White sand and gray sand, White sand and gray sand, Who^ll buy my white sand ?
106 TO OUR MOTHER, words by pfeiffer —music by nageli.
 —
TO OUR MOTHER. 107

Bowers —A - - long life’s path of flowers.

2. Mother! Mother! deep the heart is stirred,

When the winds thro’ woods are heard;
But deeper stirs the Mother’s tone,
The tender voice we love.
That sings to us of spring-time flown.
Of hope and heaven above.
3. Mother! Mother! beautiful is spring.
Sunshine gilds the blossoming;
But far more beautiful her smile.
That lights our eyes with hope.
That bids our budding joys the while.
With livelier courage ope.
4. Mother! Mother! sweet the taste of flowers,
To the bee that sips for hours;
But sweeter far the rapturous bliss,
It thrills thro’ every chord.
When comes to us a mother’s kiss.
Our most desired reward.

5. Mother! Mother! prizes more than one,

Greet us when our duty’s done;
But all of them are nought beside
The pleasure pure and sweet.
To be a mother’s fondest pride.
And make her joy complete.
 »

108 THE REAPERS

-V*=^=3=3^=3==(
9
The sic - klc’s edge sharp — r I

ened.
L.
The

—
1.

•-
8 — ;
1=-=r
P P _P
q IT: :-i|
P : :
•
_ zjzz-^:
^ '

:!i?^=SE^Q _-l
I
—p— —
reap- mg men are come, So gay and frol - ic -

—
-p—
1

^ H
^

-
ps .
51
1—
N--

f
^ ^ - r.
i

The morn-ing birds are wak - ing, The

P’
H h-
-P— P-
41:

^zi^z::^;=nzirT
S: zzPzzPPzPzf
JEE 5#"

-5-
A A—X
^
1 I

1
.

yel- low ears are shak - ing, For now is the har-vest

:p~ P~P~p:
t:
r
THE REAPERS. 109

Up, while the morning breezes,

So fresh around us blow;
To the fields away we’ll go;
The lark is homeward springing,
Our merry songs are ringing.
For now is the, &c.
3
We’ll work ’till evening’s glimmer.
Shall on the steeple play;
And then the moonlight ray.
Our homeward path shall lighten,
And round our garners brighten.
For now is the, Stc.

LESSON XIX.
 ; ±r
110 FIRST DAY OF MAY. c. m. von weber.
Allegro.

J-iE^zp|zt®ri-fzzS==K!!^-i-:33
0r ^ I

How sweet is
b the pleasure on May’s love-ly morn ing, To
With gar -lands of flow-ers our tern - pies a doru ing, And

0-v^5^,-f:zpz^zjzz[^zE^i;it=^:^|:^zzprpz|z|=zz^^
zz=zz4z^zi:^zi!zzifci;ilzizi^zi4izz^zl^zi*izzzzi^z^i

fc^zzjzifl ZzS f-J —f^-

f^-T^p s ^g-T-ai —
zizz;®z*^zgzi$z:5zgzfezz^zt±^;-itf4#^=®=ir4
-j©-^r D L ksJ* bs** 1 Is**^ I
'
I

r
g
rove o’er the meadows all blithesome and free ! ,

There’s pleasure in
danc-ing, and sing-ing with high mer-ry glee. *

lizi^zzi!;

:—^zfzisz±:^z^z«z±:?z|?z|?zl
— — 5;^:^z;0 _±:3._p_4 _±
,

^ ^ “i ^ ^ \

freedom, what -ev - er the i-son, That makes eve-ry ob - ject look

z;z^zzpztztz|:^;
1 1 ^
IJ ^

zz;ZjBz^zrfz±:^z^z^z±;«ZflZ^z±:«z:«z:aZ±-zs;:z_—
-^-
B g
\ I I

^
I

I 1

love-ly and fair Then sure-Iy for plea-sure we have a good

®^Z33‘t'pESiE|:fEtESEf'iEtE?EfiE^^':5
 1 :

FIRST DAY OF MAY. Ill

'

ea-son,
rea-son,
-(9-(»
i-<
For free-dom has
‘
— I
I

blest us
^ ^
-&-0-
and
—
^ r
treed us from
0-,
T"^“i
^
care.
^
La

.La
Bis ^ Bis ^ |*J^-

=-^3^z-TCgzi^^4-izq^=;T
-0-m- - 0 - 0 -0 -
—
—0-0- —-\—m-0
-L_
0-0
I
1
f_-

tmif. la la la la

zw-wzwz-fcw. I^ZWIW^WZ^W-
• — -w::W-W^W-W=W-
— '-i-l-l
'

'-•
ke»-ts#-| ^-y*-
j^ —
la la la la la la la la la la la la ^ la la la ^
j^JZZ e- Bis. fe Bis. I

-- 0-- 0 - - 0- 0 -
^ 0- =pgi?E=| JL
0 I

la la la la la la la la la la la

a:i$iE^z^z^z^z^zp":fz^z^Z| z^zm:z^zj
1 kis»— 4—! ^-1
la la la la la
“la1 “la la la la la la la la la

i:-^—

[For other verses page J

^ see jiext
112 FIRST DAY OF MAY.
2
O us this May-day dispel all our sadness,
let
And give to the winds every sorrowing cloud;
Let’s fill up our pleasure, and pour forth our gladness,
In songs that shall echo them loud and more loud.
There’s pleasure in freedom, &.c.

3
All nature in beauty and splendor is shining.
The hill and the valley are lovely and bright;
From earliest morning to evening’s declining.
There’s naught that appears, but it gives us delight.
There’s pleasure in freedom, &c.

OLD HUNDRED.

:a=3=:
f
\ -G~\ I I i
'

-o-
I

Be thou, O God, ex -alt-ed hi^h, And as thy glo - ry fills the sky,

jz^zq p|-T~~~ri:32:f:;jzi]z:izgz:q::gzqzir|:^
dt -p™- •

-prr- I I
T®-.
So let it be on earth displayed, 'Till thou art here as there obeyed.

pzsfcl;-:
 — &
MARLOW. C. M. 113

-
9—9—9—9-
-m—0- iiizpzi^Li:
©III* I I I I I
I
I I

1. Thee will I bless, O Lord, my God, To thee my voice I’ll raise,

2. My soul shall glo-ry in the Lord, His wondrous acts proclaim,
^

pzqzrip:

:=t
n; 4=:

d
- 9 — 9-
m
A Q- 0-0~-qr^ \-o
-^zm.
I I
r-f^- "ST

For - ever spread thy fame abroad. And dai-ly sing thy praise^
Oh let us now his love re-cord. And magni - fy his name«

ROUND FOR TWO, THREE, FOUR, FIVE, SIX, SEVEN

OR EIGHT VOICES.

Spir - its bright! Make our la - bors light.

—p— 1^--
— |_L —^_L_| 1—
—
1 1 1 1

- ^_4~i
^=4-——— A—^ ^ ^ --0—qf 1 1

Teach us all the pleasing art, To do our work with cheerful heart
LSI
 ' . r
114 SICILY. 8s &. 7s.

ROUND FOR FOUR VOICES.

y
— - -p
J J-r- — 1 ]
r“t' ^ ITT
- W W ^0 &A _ . ga 8_.K
Cr f-
^ ^ r T- ^ t

Be - fore you make a prom-ise, Con-sid - er well its im -

"m— V "
~l1
Cy O 5 1 ri
——
.iR L j?? ...
V.
# 1- ^ “1 -

J
t
-i-
]
t
1
I /

f?h p L ..1.r
PirJi:_ _
I
_LJ ^
^ 1
L
r
1
'
r
- por-tance; And when made en-grave it up - on your heart.
 GREENVILLE. 8s 7s. j. j. rousseau. 115

£::1ziti=n:
«:
SzIfE
” j
“^•
i
1
I

Lew
r I
I
I I

bv
-P'
I
I -o-
I

(Far irom mortal cares re-lreat - iiig’, Sordid hopes and vain f?S, >
( Here, our willing foot-steps meet-ing, Ev’-ry heart to heav'n as - pires.
es.
J

-#4-^EEEEEEfe?EEEtf£EEEEEEi?E!EI:
Mercy from a - bovc proclaim- iiig, Peace and pardon from the skies.
I
1

:q;
-St®- a»
^ I I -[ 1 11 —
knvil ID*
From the fount of glo-ry beam- ing, Light ce - les-tial cheers our eyes.

- 0-0 0 -0 ~ -
0 -0 - - 0 -0 -
iSEEEE :p:

LESSON XX.

i f
116 “ I will lift up mine eyes unto the hills.” (Ps. 121.)

=1:

-oo-

\
I will lift up mine eyes unto the hills/'
From whence cometh my help.
2 < He will not suffer
ihy foot to be moved/'
^ He tlmt keepeth thee will not slumber.
\ The Lord is thy keeper -
g*
\ The Lord is thy shade upon thy right hand.
« C The Lord shall preserve thee from all evil,"
( He shall pro serve thy soul.
* -

-<s>-
I

9-L-fe:
-o-
ee: it
My
C
^ Which made - -- --
help cometh from the Lord," , , - .

-
-

-
heaven and earth,
C Behold, he that keepeth Israel," _ - -

I Shall not - slumber nor sleep,

The sun shall not smite thee by day,"
^
I Nor the - -- -- -- --coming--
- - -
f moon by night.
C The Lord shall preserve thy goittg out," and thy in," IP-
\ From this time forth, and even fi»r evermore," A - - - - men.

ROUND FOR THREE VOICES.

- - mor-row
m^-
stay, There’s al -
-Sf-
ways dan-ger
"d
in de - lay.
i
 i

QUESTIONS ON THE ELEMENTS OF MUSIG

I. GENERAL DIVISION OF THE SUBJECT.

1. How many distinctions exist in the nature of musical sounds ?

2. What is the Second ? Third ?

first ?

3. How many departments are there in the elementary principles of music ^

4. What is the first department called ? Second ? Third ?
5. What is that distinction in the nature of musical sounds, on which rhythm
is founded ? Melody? Dynamics? [Power?
6. What is that department called, that relates to the length of sounds ? Pitch ?
7. In how many ways do musical sounds differ ?

8. Ho w many essential properties have musical sounds ? What are they ?

9. What is the subject of rhythm ? Melody? Dynamics?
10. If sounds differ from one another only as it respects their length, is the dif-
ference Rhythmical, Melodic, or Dynamic ?
11. If sounds differ with respect to their pitch, is the difference Rhythmical,
Melodic, or Dynamic.
12. If sounds differ with respect to their power, is it a Rhythmical, Melodic, or
Dynamic difference ?

II. RHYTHM. DIVISIONS OF TIME, SlC.

1. How is the length of sounds regulated, (or governed) in music ?

2.
10. What are the portions of time called into which music is divided ?
3. What portions of time are smaller than measures ?
4. How many kinds of measure are there ?
5. How many parts has double measure ? Triple ? Quadruple ? Sextuple ?
6. On which part of the measure is double time accented? Triple? Quad-
ruple ? Sextuple ?
7. What is the character called which is used for separating the measures ?
8. What distinguishes one kind of time from another?
9. In beating time, how many motions has double time ? Triple ? Quadru«
pie ? Sextuple ?

What is the use of beating time ?

III. RHYTHM. OF NOTES.

1. What are those characters called, which represent the length of sounds?
2. Are notes rhythmical, melodic, or dynamic characters? Why?
 S

118 QUESTIONS ON THE ELEMENTS OF MUSIC.

8.

6. How many kinds of notes are there in common use ?

4. What the longest note called ?

is The next, &c.
How much does a dot add to the length of a note ?
6. What do notes represent ? What ate notes for ?

IV. RHYTHM. VARIETIES OF MEASURE.

1. How many kinds of time are there ?

2. How many vaiieties in each kind of time ?

8. How are the different varieties of time obtained?

4. By which figure is the kind of time designated ?
0. By which figure is the variety of time designated ?

6. What is the upper figure (numerator) for ?

7. What is the lo.ver figure (denominator) for?
8. Do the different vaiieties of time difter to the ear, or to the eye only ?

9. What does the numerator express (or number) ?

10. What does the denominator express (or denominate) ?

11. Suppose the figures to be uhat two notes will fill a measure ? What
one note ? What four ? &c.
Note. — imilar questions may also be asked in reference to the different kinds cind varie-
lles of time.

V. MELODY. THE SCALE.

1. What is the second distinction in musical sounds ?

2. What is the department called, arising out of this distinction?

8. Of what does melody treat ?

4. What is that series of sounds called, which lies at the foundation of melody?
D. How many sounds are there in the scale ?
e. H ow do we designate, or speak of the sounds of the scale? Numerals. ,

7i What is the first sound of the scale called One. What the second? Two, &c.
?

8. What is the difference of pitch between two sounds called?

9. H ow many intervals are there in the scale ?
10. How many kinds of intervals are there in the scale ?
11. What are the larger intervals called Smaller?
?

12. How many tones are there in the scale 13.

? How many semitones?
14. What is the interval from one to two ? Two to three Three to four? &c. ?

VI. MELODY. STAFF, LETTERS, SYLLABLES, CLEFS.

1. What is that character called, which represents the pitch of sounds?
2. Is the staff a rhythmical, melodic, or dynamic character ? Why ?
 QUESTIONS ON THE ELEMENTS OF MUSIC. !19
3.

How many lines are there in the staff? 4. How many spaces ?

5. What each line and space of the staff called?

is
6. How many degrees does the staff contain ?
7. (Pointing to the staff,) Which line is this ? Space ? &c.
8. (Pointing to the staff,) Which degree of the staff is this? &c.
9. What is the space above the staff called? Space below ?
10. If lines are added below the staff, what aie they called?
11. If added above the staff, what are they called?
12. Where upon the staff is one usually written? Ans. Added line below,—
Wiiere two ? Three ? &c.
13. What letter is one ? two three ? &c. ?

14. What syllable is one ? two ? three ? &c.

15. On what other degree of the staff, besides the added line below, is one
often written Aas. Second space.
16. Hovv can we tell whether one be written on the added line below, or on
the second space ?
17. Ho w many clefs are there ?
18. What are they called? Ans. G clef (treble) and F clef (base).
19. What does the G clef signify Ans. G second line.
?

20. What does the F clef signify? Ans, F fourth line.

21. If the G clef is used, where must one be written?
22. If the F clef is used, where must one be written ?
23. What letter is one What syllable is one ? What numeral is D ? What
?

numeral is Re What syllable is D

? What numeral is Sol ? What let-
?

ter is 5 ? What syllable is 5 &c. &c. &c.

?

VII. RHYTHM. ^RHYTHMICAL CLASSIFICATION, OR FORMS OF MEASURE.

1.
10.
When in J time there are four quarters in a measure, what is the form (or
relation) of the measure called? AfiS. Primitive.
2. Why is it called the primitive form of the measure ? Ans. Because it is
the most simple, easy and natural; or, that which the figures express,
.3. What are all other forms of the measure called ?
4. How are derived forms obtained from the primitive ?
5. How many derivatives are there in the first class ? Second ? Third ?
6. What is peculiar to the derivatives of the first class ? Second?
7. What is peculiar to the first derivative of the third class ?
8. Why is the second derivative in the third class called irregular?
9. How can derived forms be reduced to primitive ?
When a note commences on an unaccented part of a measure, and is con-
tinued on an accented part of the measure, what is it called? Ans. Syn-
copated note.
 120 QUESTIONS ON THE ELEMENTS OF MUSIC.

11. In which class are syhcopated notes found ?

Note — thought unnecessary to repeat the questions for different kinds, or varieties of
It is
measure, as &c It* the principle be understood, it can easily be applied to these
and other varieties of measure.

VIII. RHYTHM. RESTS.

4,
1. When a measure or part of a measure is passed over in silence, what is it
called ?
2. What are those characters called, which indicate silence ?
8. Are rests rhythmical, melodic, or dynamic characters ? Why?
How many kinds of rests are there ?
Note.—^E xercise at present, only on whole, half, and quarter rests.

IX. DYNAMICS. DYNAMIC DEGREES.

1. What isthe third distinction in musical sounds ?
2. What is the department called, which arises out of this distinction ?
8. What is the subject of dynamics ?
4. When a sound is neither loud nor soft, what is it called ? How marked ?
5. When a sound is soft, what is it called ? How marked ?
6. When a sound is loud, what is it called ? How marked ?
7. If a sound is very soft, what is it called ? How marked ?
8. If a sound is very loud, what is it called ? How markj^d ?
9. What does Piano, or P signify? 10. What does Forte, or F signify?
11. M
What does Mezzo, or signify ? 12. What does Pianissimo or PP signify ?

13. What does Fortissimo, or FF signify?

X. MELODY. SKIPS.
10.
1. In the use of one and three, how many changes may be produced?
2. What are they? Ans. 1 3, and 3 1. Sing them.
3. How many changes may be produced with 1, 3 and 5, provided we com-
mence with 1. '

4. What are they ? Ans. 13 5, and 15 3. Sing them.

5. How many changes may be produced, beginning with 3 ?
6. What are they ? Ans, 3 15, and 3 5 1. Sing them.
7. How many changes, beginning with 5 ?
8. What are they? Arts. 5 13, and 5 3 1. Sing them.
9. How many changes may be produced with 13 5 and 8, beginning with 1 ?

What are they ? Sing them.

 QUESTIONS ON THE ELEMENTS OF MUSIC. 121
11. How many, beginning with 3 ? 12. What are they ? Sing them.
13. How many, beginning with 5? 14. What are they? Sing them.
15. How many, beginning with 8 ? 16. What are they ? Sing them.
17. To what sound does 7 naturally lead ? Aas. 8.
18. What sound must we think of, to enable us to sing seven right ? Ans, 8.
19. What sound is a guide to 7. 20. To what sound does four lead ? Ans, 3.
21. What sound is a guide to 4 ? 22. What sound will guide to 2 ? Aas, 1 or 3.
23. What sound will guide to 6 ? A ns. 5.

XI. MELODY. SCALE EXTENDED.

1. When sounds are sung higher than eight, how is eight to be regarded?
2. When sounds are sung lower than one, how is one to be regarded ?
3. What sound of the upper scale is 9 ? 10 ? &c.

XII. MELODY. CHROMATIC SCALE.

1. Between what sounds of the scale, may intermediate sounds be produced?
9. Ans. 1 and 2, 2 and 3, 4 and 5, 5 and 6, and 6 and 7.
2. Why can there not be an intermediate sound between 3 and 4, and 7 and 8 ?
3. What is the sign of elevation called, by which intermediate sounds are
indicated ?
4. What is the sign of depression called, by which intermediate sounds are
indicated ?
5. When a sharp is placed before a note, how much higher is its sound ?
6. When a flat is placed before a note, how much lower is its sound ?
7. What is the intermediate sound between 1 and 2 called, when it derives its
name from 1 Ans. (}l. 8. What letter
? Ans. ? Cf).
What is it called, when it derives its name from 2 ? Ans. b2.
10. What letter ? Ans. Dl?.
Note — Ask similar questions with respect to the other sounds.,
11. On what degree of the staff is |{1 written ? {}2 ? ? j}5 ? ?

12. On what degree of the staff is p2 written ?^7 ? ^3 ? ? [^6 ?

13. What syllable is applied to (Jl, &c

? 14. What syllable is applied to [?7 ? &c.
15. When all the intermediate sounds are included in the scale, how many
are there altogether ? Ans. 13. 16. How
many intervals ?
17. What are the intervals called ?
18. What is a scale of thirteen sounds, and twelve intervals of a semitone each,
called ? Ans. Chromatic* scale.
19. What is the common scale of eight sounds called? Ans. Diatonicf scale.
* From the Greek Chroma, signifying color probably because the notes
;
representing the
intermediate, or artificial sounds, were differently colored,
t From the Greek i>ia through, and Tonos, a tone.
1^2 QUESTIONS ON THE ELEMENTS OF MUStC.
20. By what character is the ascending chromatic scale formed ?
21. By what character is the descending chiomatic scale formed?
22. Are flats and sharps, rhythmical, melodic, or dynamic characters ?
23. Does a sharped sound naturally lead upvvards, or downwards?
24. To what does C2 lead ? &c. i^c.
25^ Does a flatted sound naturally lead upwards, or downwards?
26. To w hat does lead ? &c. 27. Which is the guide to a sharped sound ?
28. Which is the guide to a flatted sound? 29. What is the guide to ^^4 ? &c»
30. What is the guide to ? &c.
31. How far does the influence of a sharp, or flat, extend? Arts. Through the
measure in which it occurs.
32. Under what circumstances does the influence of a sharp, or flat, extend
beyond the measure in which it occurs? Ans. When the same sound is
continued fiom measure to measure.
S3. When it is necessary to take away the effect of a sharp or flat, what char-
acter is used ?

XIII. MELODY. DIATONIC INTERVALS

1. When two sounds are both the same pitch, w hat are they called? Ans. Unison.
2. When we proceed fiom any note to that which is written on the next degree
of the what is the interval called ? Ans. Second.
staff,
3. When we skip over one degree of the staff, what is the interval called.^
Ans. Third. 4. When we skip two degrees ? Fourth.
5. When we skip three degiees ? Fifth. 6. When we skip four degrees ? Sixth.
7. W^hen we skip five degrees ? Seventh.
8. When we skip six degrees ? Eighth, or Octave.

XIV. ^MELODY.— MAJOR AND MINOR INTERVALS.

1. If a second consists of a semitone^ what is it called ? Ans. Minor Second.
2. If a second consists of a tone, what is it called ? Ans. Major Second.
10.
3. If a third consists of a tone and semitone, w^hat is it called ? Ans. Minor Third.
4. If a third consists of two tones, what is it called? Ans. Major Third.
5. If a fourth consists of two tones and one semitone, what is it called ?
Ans. Perfect Fourth.
6. If a fourth consist of three tones, what is it called ? Ans. Sharp Fourth.
7. If a fifth consists of two tones and two semitones, what is it called ?

Ans. Flat Fifth.

8. If a fifth consists of three tones, and one semitone, what is it called ?

Ans. Perfect Fifth.

9. If a sixth consist of three tones and two semitones, what is it called ?

Ans. Minor Sixth.

If a sixth consists of four tones and one semitone, what is it called ?

Ans. Major Sixth. This chap. may be omitted.

 QUESTIONS ON THE ELEMENTS OF MUSIC.
11. If a seventh consists four tones and two semitones, what is it called?
Aas. Flat Seventh.
12. If a se venth consists of five tones and one semitone, what is it called ?
Ails. Sharp Seventh.
13. If an octave consists of fi ve tones and two semitones, what is it called ?
Ans. Perfect Octave.
Mi lor Intervals altered to Major.
14. If the lower sound of any Minor interval be flatted, what does the interval
become? A.is. M ijor.
15. sound of any Minor interval he sharped, what does
If the upper it become ?

Ans. Major.
Major Intervals altered to Minor.
16. If the lower sound of any Major interval be sharped, what does the inter-
val become ? Ans. Minor.
17. If the upper sound of any Minor interval be flatted, what does the interval
become? Ans. Minor.
Ejctreme Sharp Intervals.
18. If the lower sound of any Major interval be flatted, what does the interval
become ? Ans. Extreme sharp, or Superfluous.
19. If the upper sound of any M
tjor interval be sharped, what does the inter-
val become ? Aas. Extreme sharp, or Superfluous.
Extreme Flat Intervals.
20. If the lower sound of any Minor interval be sharped, what does the inter-
val become ? Ans. Extreme flat, or Diminished.
21. If the upper sound of any Minor interval be flatted, what does the interval
become ? Ans. Extreme flat, or Diminished.

XV. MELODY. — FIRST TRANSPOSITION OF THE SCALE BY FIFTHS.

1. When the scale said to be in the key of C ?
is
2. Why is the scale said to be in the key of C, when C is taken as one ?
Ans. Because one is the foundation, or basis^ of the scale.
3. Suppose G be taken as one, in what key would the scale be then ?
4. What is meant by the key of C ? D ? E ? F ? &c.
5. When any other letter than C is taken as one, what is said of the scale ?
6. In what key is the scale, when in its natural position ?
7. In transposing the scale, what must we be careful to preserve unaltered?
Ans. The order of the intervals.
8. What must the interval always be, from one to twm ? Two to three, &c.
9. What is the interval, always, from C to D ? D to E ? &c.
10. How can the order of the intervals be preserved in transposing the scale ?
Ans. By substituting sharped, or flatted, for natural letters.
11. What is the first transposition of the scale usually made ?
 S S

124 QUESTIONS ON THE ELEMENTS OF MUSIC.

12 How much higher is G, than C ? 13. How much lower is G. than C ?
14. What is the signature to the key of G ? 15. What is the sig. to the key of C I
16. Why is F sharped in the key of G ?

17. What sound has the key of G, that the key of C has not ? ^
18. What sound has the key of C, that the key of G has not ?

19. How many sounds have the keys of C and G in common ?

20. What lettei is one, in the key of C 21. What sound is C, in the key of G
?

22. What letter is two, in the key of C ? 23. What sound is D, in the key of G ?
Note. — imilar questions on the other letters and sounds.
24. In transposing the scale from C to G,what sound is found to be wrong? Ans. 4.
25. Is it too high, or too low ?
26. What must we do with the fourth in this case ? Ans. Sharp it.
27. What does this sharped fourth become in the new’ key of G ? Ans. 7.
28.
6. What effect does sharping the 4th have on the scale? Ans.li transposes it a 5th.
29. What must be done in order to transpose the scale a 5th ? Ans. Sharp the Uh. '

XVI. SECOND TRANSPOSITION OF THE SCALE BY FIFTHS.

1. If the scale be transposed fiom G a fifth higher, to what letter w ill itgo ?
2. In order to transpose the scale a fifth, w hat must be done ? Ans. Sharp
the fourth. 3. What is the fourth in the key of G ?
4. What letter must be sharped, then, in transposing from G to ? D
What is the signature to the key of D? Ans. Two sharps.
6. What letters are sharped ? ? Why
7. How much higher isthe key of G, than the key of C ?
8. How much higher is the key of D, than the key of G ?
9. What letter is six, in the key of C ? 10. What sound is A, in the key of G ?

11. What sound is A, in the key of D ?

Note. — imilar questions should be asked of other letters and sounds. ^

12. What sound has the key of G, that the key of D has not ?

13. What sound has the key of D, that the key of G has not ?

14. How many sounds have the keys of G and D in common ?

15. How many sounds have the keys of C and D in common ?

XVII. THIRD TRANSPOSITION OF THE SCALE BY FIFTHS.

1. If the scale be transposed from D
a fifth, to what letter will it go ?
2. In order to transpose the scale a fifth higher, what must be done ? Ans.
Sharp the fourth. 3. What is four in the key of ? D
4. What letter, then, must be sharped in transposing from to A ? D
5. What is the signature to the key of A ? 6. What letters are sharped ?
7. How much higher is the key of A, than D ?

8. How much higher is the key of D, than G ?

 QUESTIONS ON THE ELEMENTS OF MUSIC. 125
11. How much higher is the key of G,than C? 10. What sound is D,in the key of C?
What sound is D, in the key of D 12. What sound is D, in the key of A
? ?

13. Whit sound has the key of A, that D has not?

14. What sound has the key of D, that A has not ?

15. How many sounds have the keys of A and D in common ?

XYIII. FOURTH TRANSPOSITION OF THE SCALE BY FIFTHS.

1. If the scale be transposed a fifth from A, to what letter will it go ? .

2. In order to transpose the scale a fifth, what must be done ? jlns. Sharp
the fourth. 3. What is four in the key of A ?
4. What letter, then, must be sharped in transposing from A to E ?
5.
3. What is the signature to the key of E ? j1/is. Four sharps.
G. What letters are sharped? Why ?

7. Ho w i^iuch higher is the key of E, than the key of A ?

NoTt. —Other questions may be asked similar to those under the 1st, 2d, and 3d transpositions.

XIX. FURTHER TRANSPOSITION OF THE SCALE BY FIFTHS.

1. What key is a fifth higher than E ?2. What is the signature to the key of B ?
What letters are sharped in the key of B? 4. What key is a 5th higher than B ?
5. What is the signature to the key of Ffl ?

6. What letters aie sharped in the key of Fi ?

7. What key is a fifth higher than F 8. What is the sig. to the key of
? ?

9. What letters are sharped in the key of C j ?

10. What key is a 5th higher than CtJ? 11. What is the signature to the key ofGlj?
12. What letters are sharped in the key of G{{ ?

13. F having been sharped before, what is it called when it is sharped again?

XX. FIRST TRANSPOSITION OF THE SCALE BY FOURTHS.

1. Ho w much higher than C is F? 2. What is the signature to the key of F ?
3. 4. Wh it sound has the key of F, that C has not?
Why is B flatted in the ke^^of F?
5. What sound has the key of C, that F has not ?

6. How many sounds have the keys of C and F in common ?

7. What letter is one, in the key of C 8. What sound is C,

? in the key of F ?

9. In transposing the scale from C to F,vvhat sound isfound to be wrong? 7.

10. Is it too high or too low ? 11. What must be done with it ?
12. Why must it be flatted ?

13. What does the flat 7th become in the new k^y of F jlns. 4. ?

14. What is the eTect of flatting the 7th ^ns. It transposes the scale a 4th.
?

15. What must be done in order to transpose the scale a 4th *dns. Flatthelth, ?

XXI. SECOND TRANSPOSITION OF THE SCALE BY FOURTHS.

1. from F a fourth, what will be the key ?
If the scale be transposed
126 QUESTIONS ON THE ELEMENTS OF MUSIC.
2. In order to transpose the scale a 4th, what must be done ? Arts. Flat the 7th.
3. What is se ven in the key of F ?
7.
4.
9. Wiidt letter must be flatted, then, in transposing from F to Bj? ?
5. What doesEt^ become, in the new key of By? b.What is the sig. to the key of Bi??
What letters are flatted ? Why? 8. How much higher is B^, than F ?
How much higher is F, than C ?
10. What sound has the key of By, that does not belong to the key of F ?
11. What sound has the key of F, that does not belong to the key of B^? ?
12.
8. How many sounds have the two keys in common?

XXII. THIRD TRANSPOSITION OF THE SCALE BY FOURTHS.

1. If the scale be transposed from B^ a fourth, what will be the key?
2. In order to transpose the scale a 4th, what must be done? Ahs, Flat the 7th.
What is seven in the key of By ?

4. What new flat do we obtain, then, in transposing from B) to El??

5. What does the flat seventh become in the new key? Ans. 4.
6. What is the signature of E; 7. What letters are flatted
? ?

8. How much higher is Ep than B? &c. ?

3.

7. XXIII. FOURTH TRANSPOSITION OF THE SCALE BY FOURTHS.

9.
1. If the scale be transposed a fourth from E;, what will be the key ?

2. What is the signature to the key of Aj^ ? 3. What letters are flatted ?

4. How does flatting the seventh, transpose the scale ? Anf^. A fourth.
5. How much higher is A;, than E; ?
13.

XXIV. FURTHER TRANSPOSITION OF THE SCALE BY FOURTHS.

1. What key is a fourth from Al? ?2. What is the signature to D;y ?

What letters are flatted in the key of D]2 4. What key is a 4th from D)
? ?

5. What is the sig. to the key of G J2? 6. What letters are flatted in the key of Gfc?
What key is a fourth from G]2 ?8. What is the signature to the key of CJ? ?

What letters are flatted in the key of Ci? 10. What key is a 4th from Cfe
? ?

11. What is the sig. to the key of Ft?? 12. What letters are flatted in the key of F^?
B having been flatted before, what is it called when it is flatted again ?

XXV. MINOR SCALE. FIRST FORM.

1, In what consists the difference between the Major and Minor scale ?

Ans, A different order of intervals.

 QUESTIONS ON THE ELEMENTS OF MUSIC. 127
2. Are the ascending and descending minor scales alike in regard to intervals,
or do they differ ?
8. In the ascending minor scale, between what sounds do the semitones oc-
cur ? 2 and 3, and 7 and 8.
4. In the descending minor scale, where do the semitones occur? 6 and 5,
and 3 and 2.
5. With what letter does the minor scale commence, when it is in its natural
position ?
6. What is meant by the scale in its natural position? Ans, Not trans-
posed; or formed without either sharps or flats in the signature.
7. In the ascending minor scale, what sounds are altered fiom the signature ?
8. In the descending minor scale, are there any sounds alteied, or do they all
remain the same? 9. When are the major and minor scales said to be related?
10. What is the signature to the key of C Major ? Natural.
11. What is the signature to the key of A minor ? Natural.
12. What is the relative minor to C maj.? 13. What is the relative maj. to A minor?
.4. Upon what sound of the major scale, is its relative minor based ?
15. What is meant by the scale being based upon any sound ? Ans, That
that sound is taken as one.
16. Upon what sound of the minor scale, is its relative major based ?
17. How much higher is the minor scale, than its relative major?
18. How much lower is the minor scale, than its relative major ?
19. How much higher is the major scale, than its relative minor ?
20. How much lower is the major scale, than its relative minor ?
21. What syllable is applied to one, in the minor scale ? To 2 ? To 3 ? &c.
22. What is the sig. to the key of G maj.? 23. What is the relative minor to G maj.?
24. What is the relative major to E minor? 25. What is the sig. to E minor?
26. What is the sig. to D major ? 27. What is the relative minor to D major ?
28. What is the relative major to B minor ? 29. What is the sig. to B minor?
30. What is the sig. to A major ? 31. What is the relative minor to A major?
32. What is the relative major to Fy. minor ? 33. What is the sig. to F?. minor ?
34. What is the sig. to E major? 35. What is the relative minor to E major ?
36. What is the relative major to Cf] minor ? 37. What is the sig. to C{} minor ?
38. What is the sig. to F major ? 39. Whg.t is the relative minor to F major ?
40. What is the relative major to D minor ? 41. What is the sig. to D minor ?
42. What is the sig. to B12 major ? 43. What is the relative minor to B^; major ?
44. What is the relative major to G minor? 45. What is the sig. to G minor ?
46. What is the sig. to El? major ? 47. What is the relative minor to E; major ?
48. What is the relative major to C minor? 49. What is the sig. to C minor?
50. What is the sig. to Al2 major ? 51. What is the relative minor to AJ2 major ?
52. What is the ralative major to F minor ? 53. What is the sig. to F minor ?
128 QUESTIONS ON THE ELEMENTS OF MUSIC.
54 to 79. Whatis the signature to C major ? C minor ? G major ? G minor ?
D major ? D minor ? A major ? A minor ? E major ? E minor ? F
major ?f F minor ? B? major ? B; minor ? E^ major i minor ?
major ? Ai? minor ? B major ? B minor ? F(J major? F{[ minor ? cn
major ? Cf( minor ? GjJ major ? Gf| minor ?

1. Inhow many forms is the minor scale used ?

2. What is its most common form ? Ans. That which has the 6th and 7th
sharped inascending,
3. What is the other form of the minor scale ? Ans, That in which only the
7th is sharped.
4. In the first form of the minor scale, are the ascending and descending
scales alike, or do they differ ?
5. In what respect do they differ ? Ans. Order of intervals.
10.
6. In the second form of the minor scale, are the ascending and descending
scales alike, or do they differ ?
7. What interval has this form of the minor scale, which does not belong to
the other, or to the major scale ? Ans. A tone and a half.
8. Between which two sounds is this interval found ? 6 and 7.
9. Repeat the syllables to the first form of the minor scale. To the second.
Sing the minor scale in its first form. Second.

XXVIL DYNAMICS. DYNAMIC TONES.

1. When a sound is begun, continued, and ended, with an equal degree of
power, what is it called ?

2. When a sound is begun soft, and gradually increased to loud, what is it calleH?
3. When a sound is begun loud, and gradually diminished to soft ,what is it called?
4. When the crescendo is united to the diminuendo, what is it called ?

5. What isa very sudden crescendo called ?

6. What is a very sudden diminish called ?

7. What is that style of singing called, in which the sounds are drawn closely
together, or tied to pne another? Legato.
8. What is that style called, in which the sounds are struck very short, dis-
tinct, and articulate ? Staccato.
y. \
 BOSTON PUBLIC LIBRARY

3 9999 08665 564 2