！ ** , w * · * · · · --#########È. |-----№ſſºſiſi #··· ：######ſſſſſſſſ|-Wae№.83，{j};{{#if:{} #- ſſſſſſſſſſſſſ|- - �� Æſ: ##|）####ſae·ſł{{####· -, ， ， ， ， ·-1.####}###############） ;################ ·-·iſ:·#}#### Q [] {{{lºſſiiſ --~ ########## • . ºf ºxº ºº ºc = - sº wºrrº-sease Rº: º E- - ***E - - tºº-ºººººººººººººººººººººººººººº º- ############ - §§§ºtº; ####################### = - f i. YoF THE HH LIBRARY # ; #|, ºrw8RSITY OF MICHiſay, Hä # So * {3} |## º #: * -- G E-H Bº ES: Bº Fº º * - * - sº E --º º S PENINSUUAM AMOENA - \s º: º: _{i º #: = E ****** –—— E. ºxº E - E. - - ------- º = Hº- #IIITIIIHITITIIIHIIIºalſTIIIITITIIIHIIIHIIIHäft Nº. Music . . NaT--- 30 'C', 'ſ & T & THE STANDARD COURSE OF LESSONS AND EXERCISES Üouiſ $ol-fa tºtfjob of Utaching ºtlatºit. - FouxDED ON MISS GLOVER’s “SCHEME FOR RENDERING Psaxopy CoNGREGATIONAL.” A.D. 1835.) ADDITIONAL EXERCISES. BY JOHN QURWEN, FOURTH EDITION OF THE NEW STANDARD COURSE, CORRECTED 1878. Price Three Shillings and Sixpence. . . . Alombon : TONIC SOL-FA AGENCY, 8, WARWICK LANE, PATERNOSTER ROW, E.C. Lntered at Stationers' IIall. The right of translation reserved. PRICES OF THIS WORK, & THE EDUCATIONAL BOOKS & APPARATUS USED WITH IT. $tambºo (ſouth:$t, The New Standard Course. By John CURWEN. In cloth boards, price 3s. 6d. The complete book is necessary for obtaining EIonourable Mention in the courses on Expression and Musical Form, and for the Teacher’s and Mem- ber’s Certificate. The Six Steps of Standard Course, the same as the above, omitting all the four-part exercises, and the examples of rhythm, &c. In paper covers, 1s. 6d. Standard Course Exercises. First part, including the two-part exercises in Tune, Time, and Voice-training, as far as Ex. 114. /rice Twopence.—Exercises in Tune. From Standard Course. No. 1, sold separately, One Penny, omitting the exercises in Time and Voice-train- ing, and reaching to IX. 112.--Time Exercises. From Standard Course. Price One Halfpenny.—Voice Exercises. I'rom Standard Course. One Penny. First Exercises for Mixed Voices, con- taining ample exercises in the first and second steps, with some exercises in the third step. Price One Penny. Additional Exercises for Mixed Voi- ces, in three Parts, the first Part com- mencing with the third step, the second with the fifth, and the third with the sixth. Price fourpence each. These additional exercises are carefully select- ed so asto include varieties of difficulty and of style, and illustrations of Ex- pression, Harmony, and Musical Form. Llementary Rhythms. Price One Ełalfpenny. Necessary for the Element- ary Certificate.--Intermediatelºhythms. Price One Halfpenny Necessary for the Intermediate Certificate. — Advanced Rhythms. Price One Penny. Necessary for the Members' Certificate. — Ele- mentary Transitions. Price One Half- penny. Necessary for the Intermediate Certificate.—Internaediate Transitions. Price One Penny. Necessary for the Members' Certificate. Advanced Tran- sitions. Price One Penny. Necessary for the Advanced Certificate. —Minor Mode Phrases. Price One Halfpenny. Necessary for the Intermediate Certifi- cate.—Chromatic Phrases. Price One Halfpenny. Necessary for the Members’ and Advanced Certificates. Elementary Standard, containing First Exercises for Mixed Voices, Addi- tional Exercises, Part I., Elementary Rhythms and Elementary Transitions, with suggestions for Expression and other studies on the cover. Price Sia:- pence. Designed for pupils who have had some practice, in singing, and in- tend” to take the Elementary Certificate with ease and perfectness. The Standard Charts, containing the principal exercises of Standard Course “Musical Theory,” Book I., 4d. ; Book II., 4d. ; Book III., 1s. 4d. in very large type, for class teaching. Price, with frame, £1 1s. and Cross, price 10s. IFor Associated Courses of Lessons and Exercises, adapted to various purposes, see complete catalogue of Mr. Curwen's Works. # , Cº. - ücarper's #Amtal, The Art of Teaching and the Teach- ing of Music, being the Teacher’s Manual of the Tonic Sol-fa method. By JoHN CURWEN. Price Five Shillings. This work opens with a treatise on Method and Skill in teaching generally, with many illustrations ; and then treats of the application of these princi-- ples to the teaching of music in its- various branches, with many specimen lessons and other belps to teachers. §ºrntong, EIow to Observe Harmony. By JoHN CURWEN. Complete, Two Shillinger’ This book unfolds the principles of harmony in teaching order. Beginning with the simplest chordal progressions, it. º step by step, to the most difficult. It supplies a set of examples (chiefly in the form of chants, exhi- bited in both notations), in each of which one new chord or new progres- sion, and only one, occurs. The com- plete book is necessary for obtaining Eſonourable Mention in the Courses of EIarmony Analysis and Musical I'orm, and in preparing for the Ad- vanced Certificate. The Pass Stage of Harmony Analysis, being Steps 1 to 8 of the above. Pub- lished separately, price . One Shilling. Necessary for the Pass Stage in Har- mony Analysis, and in preparation for the Members’ Certificate. EIarmony Ear Exercises, selected chiefly from Psalm-tunes by modern composers, and arranged on Mr. Cur- wen’s plan. This book may also be used for E[armony Analysis. Price Iſourpence. $ Chord-singing Charts: A new series of chants arranged on Mr. Curwen's plan. Price, with frame, 12s. 6d. In- tended for tuning exercises in element- ary classes, as well as for the teaching of Eſarmony in classes. - Cº. . . § Ölje (£ommonplace; of §usic: A Students' Hand-book, originally pre- pared for the first course of Euing Lectures, in Anderson’s University, Glasgow, Session 1866-7. Containing : A (4s.), Tract on Musical Statics; B (1s. 6d.), C (2s.), , D (1s. 6d.), E°, Construction Exercises in Elementary Composition, with explanations. F (2s.), G (6s. 6d.), H. (2s.), Text Book of EIarmony and Musical Form. Jº, The Easel ... JoDIN CURWEN. Tract on Musical History. I (5s. 4d.), L (6s.), M (4s.), Historical Specimelis of Music. By Johs. CURwen. Neces- sary for , the courses of Elementary Composition. Those parts marked * are not yet published, 1878. - Štaff jotation, A Practical Introduction on the Tonic XSol-fa method of Teaching Music. By Price 6d. Necessary for obtaining Honourable Mention in the course of Staff Notation.—A Short Introduction to the Staff Notation, being No. 9 “Reporter.” Price One Penny. —Intermediate Staff notation Exercises. Price O'ne Penny. Intended to prepare for the Intermediate Certifi- cate.—Advanced Staff notation Exer- cises, a new edition. Price One Penmy. Intended to prepare for the Members' and Advanced Certificates. - üchtier8' àràct3. Hints for Voluntaries, price 2d. Hints for Ear Exercises, price 3d. Studies in Mental Effects, price 3d. Examples of Sight-tests for each Certificate, price 2d. Voice Report Book : a set of forms for registering the character and condition of the voice, with “counter-part '' for teacher. 1s. - 3pparatit}. E[and Modulator, with Time-names, Voice Modulator, and Manual Signs at the back, mounted on a board for pointing in class, 3d. Pupil’s Card, containing pp. iv. & v. of this work, . 1d. Bome Modulator, #d. Pocket Modulator, #d. Card Modulator (ex- tended), 1d. Student's Modulator (ex- tended and large), 2d.—Modulators for the pattern : The Step Modulators three in one, 8d. ; The Threepenny Modulator ; The Sixpenny Modulator; I)itto, with rollers, 2s. 6d ; The Shilling Modulator; Ditto, cloth, with rollers, 4s. 6d. ; Calico Modulator, 2s. 6d. ; Ditto, mounted with rollers, 6s. 6d. ; Drawing-room. Modulator, 1s. ; The Lecture Modulator, very large, 3s. 6d. ; or on cloth, with rollers, 10s. ; Large Extended Modulator, in sheets, 2s. 6d. ; Voice Modulator (see p. 106 of this work), price is. Time Chºrt, 1s. ; Ditto, cloth, with rollers, 5s. fºrmony Chart, price 1s 6d. Ditto, cloth, with rollers, 6s. Wall Sheets, Nos. 1 to 6 (Time), 3d. each ; Nos. 7 to 20 (Tune), 6d. each ; Nos. 21 to 23 (Voice), 3d. each. Tonic Sol-fa Tuning-forks, tuned to 512 vibrations in a second. Prices :— Teacher’s, 1s. ; Pupil’s, 1s. ; Ladies’ (silver plated ), 2s. Tonic Sol-fa Metronomes, 1s. Tor “Theory Honours.” INDEX OF TOPICS, T U N E . Absolute pitch and pitching tunes 3, 28, 29, 59 3 Rey relationship.................. , t e º 'º & & e º 0 Octaves................................. ... -5, 29 Menta, ts- ................. ..iv, 4, 15, 28 Čedſ of movement and diffio. ...... 28 Names and signs........................ 3, 5 §: ngânăiaising: - e º e - - - - * * * sº # - £8. Diſ1–10.0-lilº. . . . . . . . .* a 3. - 3 § ...V, 3, 8, 11, 12, 24, % % - 3. Manual signs........................... iv, 51 {}ſhi" !cises—.............. 12, 24, 42, 77 The scale..................... . . . . . . . . . . . 28, 48 Berception of Transition ......... 49, 50 Distinguishing tones of 1st remove 50 Mentab-effect-of-transition ...... , 51 The second remove ............... 117, 118 Chromatic effects ........................ 52 Cadence transition........................ 52 Passing transition ........................ 53 Extended transition ..................... 53 Memorizing adjacent keys ...... 50, 77 The modes ........................ 84, 85, S6 The modern minor .................. 86, 87 Repeated and prolonged tones ...... 99 Melodic imitations and marked en- trance....................................... 100 Subordination of parts and accom- paniment ................................. Imitative sounds Tones congenial to the sentiment or Spirit of the tune............... Rapid passages ........................... Effect of the Explosive and Pressure tones and the Legato & Staccato styles ....................................... 103 TJnison, Cadence, Distinguishing tones ....................................... Agility, strength," and downward extension ........................... 151, 153 H A R M O N Y. A chord....................................... Relation of chords D & S......... 20, 27 he common intervals ............ 1, 36 Positions and Constitutions of chords , 27, 48 Dissonances and their resolution 21, - 36, 69 Chord is and dol, against ray ... 31, 37 Chord 7S, fah against Soh, and the The Gray924!/............................... Modulation and transitional ditto... 88 The third remove ........................ 123 Accidentals ................................. T | M. E . Accent, pulse, measure 6, 7, 18, 63, 64, 65 Beating time .................. 7, 24, 65, 66 Time names and Tuatai-ing. V, 6, ſº 5 Continued tones and half pulses ... 7 Silent pulse. Pulse-and-a-halftones Quarter-pulse tones 18, 19 Silent half-pulse. Three-quarter pulse tone. Two quarters and a half. 'IHalf and two quarters. tº a tº º 0 tº * * * * * * Syncopation ........................... 34 - Silent quarter-pulse. Thirds of a pulse ....................................... 64 Sixths, Eighths, Ninths, &c., of a pulse ....................................... 110 Time ear exercises........................ 24 Rate of movement, sustaining and remembering it.................. 33, 34, 66 E X P R E S S O N . Breathing for the sense ............... 16 The normal force of a piece...... 30, 98 Type marks for expression of words - p. 30, Ex. 97 General principles .................. 30, 94 The degrees of Force, with their combinations and modes of de- livery 95, 96, 97, 98, Ascending and descending passages 99 • * * * * * * * * * * * * * * * s s - - - e s e Dissonances ................................. 104 Expression of words. Effect of Speed and force ............... 130 t Phrasing 9, 16, 30, 69, 70,98, 135, 149,150 PRON UNCATION. Effect of vowels on Quality of tone 1, 14 Collective readin ... 15, 16 Recitation on a monotone 35, 36, 47, S2 The Consonants or articulations 66.6ſ, G2 e - 6 & e g a 4 & e º e s e º 'º - e. Importance of the Glide, in singing consonants .............................. 61 Order of accents in speech and song 63 Preparin recitations 35, 59, 63, 93, 94. IOleIO Y. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 69 The §. their mechanism, and The Parsing of melody ......... :..... 70 dialectic varieties............... £36 to 142 | Relative motion of parts and imi- - The Dipththongs ............... tº #| pºº" 36 - arsing fugal passages ............... 104 OUIDCIS . . . . . . . . . . . . . . . . .................... 16 VOICE TRA|N|NG. Chants .............................. 35, 63, 64 Its importance............................. 156 The #. Chant, EIymn Tune -* Position of Singer........................ 2 | T.:*: jºi tº e º 'º - © tº s e -£8. 144, 145 Good klang and quality 1, 2, 3, 14, 26, G : igal, Glee, Part Song and 146 * # * * | The Canon and fugué. iść tº * * aſ R. & - - - ! UlgllC ......... .6 to 148 Tuning of voices together 14, 26, 45, tata.................................... 148, 149 , 81 Compass ........................ 29, 106, 109 N O T A T | O N . The Registers .................. 32, 66, 107 || Of tune and octaves........ … 5, 29 Thin Register ........................ 33, 67 || Of accent and measure............ 6, 7, 18 Thick Register.............................. 67 || Of vocal parts and musical scotions 8 Small Register ........................... 105 || Of repetition...... ................. . . . . . . . . . 16 Voice Modulator................. ......... 106 || Of Sounding and silent pulses and Examination of voices ... 81, 108, 109 their parts............... 6, 7, 18, 34, 64 Blending of Registers .................. Of the hold ................................. 2S Optional tones.................. 32, 68, 110 || Of chords.................. 20, 26, 46, 47, 87 Boys' voices .............................. 7 || Of rate of movement..................... 3 Voices and parts...... 29, 30, 81, 108, 109 || Of chanting ........................... 35, 36 Iſlattening.................................... 109 | Of transition........................... 51, 53 Choral contrivances ..................... 149 || Of registers ................................. 6 Resonances ........................tº w e º 'º e s s a 149 || Of the minor mode .................. 86, 87 Vocalornaments, portamento, shake Of expression....... • - - - - - - - - - - - - - 30, 96, 97 Swell, appogiatura, turn 150. 151, 155, Of consonantal Sounds.................. 156 || Of vowel sounds........ * * * * * * * * * * * * * * * * * * * 136 Training in class .................. 150, 151 | Writing exercises............... 12, 24, 77 partial dissonance ............... 36, 46 Relationship of F with D and S, ambiguity .......................... 45, 46. Chords major, minor, or diminished 46 Chord RAEI and grave ray............ 46 Chords T, L, M, and 7R............ 46, 47 Mental effects of Chords............... 47 Cadences ........................... 48, 52, 69 Apologies for dissonance............... Chromatic chords and their resolu- tion .......................................... S3 Chord relation in the Minor mode 87 MUSICAL FORM. 6. principles and divisions of iv MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN IXEY. Note.—The diagrams shew the hand as seen by pupils sitting in front of the teache. toward his leſ. . Jand. The teacher makes his signs in front of his ribs, chest, face and Read, risinſ 4 little as the tones go up, and falling as they go down. FIRST STEP. The GRAND or bright tone,—the Major DoMINANT, making with Te and Ray the & a tº Dominant Chord, the Chord S, and with The PIERCING or sensitive fah also the Chord 7S. ME. The STEADY or calm tone,—the Major MEDIANT, making with Soh and To the rarely used Chord M. DOH. The STRONG or firm tone,— the Major Ton Ic, making with Ilſe and Soh the Tonic Chord, the Chord D. NOTE.-These provimate verbal dese slow'y—when the ear is filled with th SECOND STEP. THIRD STEP. tone, – the Major LEADING TONE, making with Ray and LAH. Jºah the weak Chord T. The SAD or weeping tone, —the Major SUBMEDIANT, making with Doh and Ilſe the Chord L. RAY. The Rous|[NG or hopeful tone, – the Major SUPER- TONIC, making with Fah and FAIHI. - Lah the Chord R,-in which The DESOLATE or awe-inspiring case it is naturally sung a tone,—the Major SUBDomſ IN ANT, komma flatter, and may be making with Lah and Doh, the Sub- distinguished as Rah. dominant Chord, the Chord F. 'pºons of inental effect are only true of the tones of the scale when Sºſ/ e Key, and when the effect is not modified by harmony. FINGER-SIGNS FOR TIME, Y” AS SEEN FROM THE PUPIL'S (NOT THE TEACHER's) POINT OF VIEW. | tº AA-efe, tafa TAI. -AATAI. Vi TONIC SOL-FA TIME CHART, By John CURWEN. Wholes, Halves. Quarters. Thirds, : 1 : 1, l. 1, 1 || : 1 (1 .1 TAA tafatefe taataitee Ol' TAA-AI .." -AA TAAtefe taa-aitee Or -AA-AI : : l - e ,1 : 1 l &T’ SAA - TAA-efe taatai-ee or SAA-A I : 1 . I : 1, 1.1 : ,] .1 TAATAI tafa TAI saataitee : — º l :- 9 1 O I 9 l : l &T 6 -AATAI safatefe taa-aisee : , 1 || : 1, 1 . I , | : 1 , , SAATAI tafatese taasai-ce : 1 . : 1 . , 1 | : 1 , ,l TAASAI TAASefe taasaitee Eighths. : 11,11,11,11] sº : 11,11,11 ts. " tamafanatenefene 3 accentS tafatefetifi - 3 3 3 e 3 3 Ninth: ; 111,111,111] ºr ; 111.111 2 ts. taralatereletirili 3.C.Cent'S taralaterele NoTE.—“Ai” is pronounced as in maid, fail, &c. “Aa’’ is pronounced as in father, “a” as in mad, “e ’’ as in led, and “i” as in lid. When it is desired to show the strong accent the letter “r” is inserted thus, “traa-ai,” “traatai,” &c. When there is need to express the medium accent the letter “1” is inserted in a similar way. These time-names are copied from M. Paris's “Langue des durées.” The minute divisions are seldom used except in Instrumental Music. In the Tonic Sol-fa notation we often write two measures in the place of one in the common notation, thus expressing the accent more truly. J. C. Se ba. h) - -*Ö | ta. re Se ba }}} 7" T HIE EXTEIN IDED IMIOID UIL.A.T OF . DOH=Gb D9 Ab Io Bo F C * .” -* -.' ..” # ##################EEEHEHFHºà-É el) - gº [ cº-ſ- †. I I ſ I --I as-- [ º–L *TT. Tº Fºj: Tab = Eb Bb F , C, G D 4. E B F# G# G# D: | - S 8 ba , t; m l D! W D| | S d' f S 3 - I' - * s d' f b S e ; ba. t m l r S r" ba t m I I' S C | DOH | Ci f - r" 8 € ba. f m i r s d S e ba B TE B | m l I S C f r" m r S d f b | ta l rv le | || Se ba t In. S 6 tº t, n |A| LAH |A| 5 d f It’ S d f b | la - r" S 9 ; ba t m l, - r - - G - 1. tº t, m 1, . SOH | G | d f se d f Sel b ba fe # t m 1, * S d - r s, d F | FAH | F t m l, r" l se ba t, se ba t E ME E l, r s d f . - | TA I’ S d f. b ma 1, r\ | | I 6 : sel ba t m, l }. RAY s, d f se ba t, m, 1, D | * D Sl | ser s, d f b l i se de ; ba t m. 1, º S, r, s, C | DOH | C f - ba, t m l | I, | | se ba, f Bl t B|| m, 1, se R" rt S. d f, N O TI C E . Several friends have said to me “why do you not arrange your book in lessons P It would be so convenient for us, every time we go to our class, to know exactly how much and how little we have to teach.” I would gladly have done this ; but the different capacities, tastes, and circumstances of our pupils make it impossible. A School lesson and a lesson to an Evening class, a Reformatory lesson and a College lesson, differ exceedingly both in the manner of teaching and in the number of things which can be taught. I can only pro- vide a general method, some points of which are essential and some non-essential, leaving the teacher to adapt this method to the particular class he has to deal with. Such topics as Harmony, Pronuncia- tion, Musicall'orm, Voice Training, and the difficult parts of Time, Tune, and Expression may, however important, be reckoned as non-essentials, and will have to be omitted in many classes. . Although I could not fix the exact amount of instruction and exercise which every class can receive lesson by lesson, I have divided the method into Steps. By a step I mean a certain stage of the pupil’s progress at which he is expected to stop and examine himself, and bring the different divi- sions of his labours (turie, time and expression) abreast of one another. This is what is called, in the counting house, “taking stock,” in the House of Commons, “IReporting progress.” It is ascer- tained that ordinary students do learn a certain proportion of each branch of the subject concurrently, and this proportion is given as nearly as possible in each step. One-sidedness of study is most danger- ous and miserable to the student. A clever reader of tune who cannot keep time is constantly finding . himself wrong, and annoying his neighbours, and a good timeist who is often singing out of tune feels himself, to be unsatisfactory, and often stops the class to get his errors corrected. with their amplitude of questions at the end, enable all the members of a class to march together, to keep Step. * * But the Lesson'is a different thing from the Step. A very dull class may require three or four lessons before they finish the first stage of progress and bring themselves up to the mark distinctly drawn, by the examination at the close of the first step Rarely have we found classes so quick and ready that they can accomplish the first step at a single lesson. The teacher studies the kind of class he is about to teach, and draws out the plan of his lessons accordingly. ... Until he knows his class more per- fectly he will seldom be able to do in a lesson exactly what he had planned to do, but be always' goes to his class with a plan,—having chosen the exercises to be done, and having anticipated in his own mind and pictured to his imagination, the blunders he will be required to correct, and the brief verbal explanations he will be expected to make. When a new topic is introduced, it occupies a larger portion of time than the other topics, and may at first do this even to the exclusion of others. But directly a subject has reached the “wearying point ’’ in a class it must stop, even if it has occu- pied only a short time. At first the chief care will be given to the subject of tune, and not until the attention of the class gets near the wearying point, does the teacher introduce the first elements of time, as a variety. When the association of syllable and interval in d m s is fully established, and not till then, will much attention be given to the earlier time names. It is not wise to introduce a great number of new topics in one lesson. The Voice exercises should occupy a brief portion of each lesson at its opening. On all teachers, taking up our Method, I urge faithful attention from the begin-, ning to three things—the Pattern—the Mental IEffects, and the preparation for Certificates. The experienced teacher knows how to arrange the topics of his class, how to pass promptly from One' to the other, how to keep up the interest, and how to secure an even progress in all the branches of study. . For the inexperienced teacher, I have gathered together all the helps I could think of, in the “Teacher's Manual of the Tonic Sol-fa. method.”* ſ JOHN CURWEN. Plaistow, 2nd July, 1872. * Price Five Shillings. THE STANDARD COURSE OF THE ONIC SOL - FA METHOD OF TEACHING TO SING, FIRST STEP. produce a good tone, fifth and third. To train the muscles which rule the lungs. To recognize and produce its upper octave and the lower octave of its fifth. Given a key tone, to recognize and produce To recognize and produce the simplest divisions of time. VoICE TRAINING A singing lesson is a calisthenic exercise, and uld be preceded, where possible, by such gym- stic movements of the arms and shoulders as will rcise and strengthen the muscles of the chest. Food Tone,—From the earliest exercise, the pupil juld try to produce a good tone, that is, a tone ar and pure (without any admixture of breathi- s), and of a pleasant quality. For this purpose Istant, if possible, daily attention must be directed three things: 1st, the “shock of the glottis; ” l, the throwing forward of the voice; and 3rd, control of the breath. Purity of tone depends the first and third of these, quality on the second 1 third. The lump in our throat called the yna: or “Adam's apple,” is the instrument of ce. The glottis is the slit between those lips of larynx (or vocal cords), which form its lower ining. When Garcia and other voice-trainers ak of the “shock of the glottis;” and when Dr. sh, Mr. Melville Bell, and other elocutionists ak of the clear “explosion” of vowel sounds, y refer to the firm closing, followed by the tinct opening of these lips of the larynx. The ion of the lips of the mouth, in pronouncing bngly the letter p, in papa, will illustrate this ; l the “shock of the glottis” may be felt in a slight cough, or in pronouncing clearly the letter g, as in game; or k, as in keep. This “shock” does not require force, but only definiteness of action. It must also be delivered with as little breath as possible. The word Skaalaa, (aa as in father) which many voice-trainers use for their exercises, has this advantage, that its first syllable necessitates that clearly marked “explosion” of the vowel of which we speak; but in using it, the s must be scarcely heard, and the k must be delivered sharply. Quality of voice (timbre, that which makes the difference between a hard wiry voice, a soft clear voice, a full rich voice, &c.) depends chiefly on the habit of throwing the air-stream forward in the mouth. Professor Helmholtz' experiments, as well as the practice of Garcia and others, support this view. The stream of vocalized air should strike against the palate as near as possible to the root of the upper teeth. Some vowels naturally favour this habit more than others. In English, ee, at (as in fail, maid, &c.), oa (as in oar, coat, &c.), and oo, are all “forward” vowels, as any one may know by a few experiments with his 'own voice. The frequent use of these vowels, in vocalizing, in connection with a proper management of the breath, enables the voice-trainer “to form,” says Madame Seiler, “out of a sharp, hard, and dis- St. Co. (New.) IB 2 IFIRST STEIP, agreeable voice, a voice sweet and pleasing.” The open vowel at (as in father) is commonly formed, by the English, the French, and the Germans, far back in the mouth ; but “the Italians,” says Madamo Seiler, “form no vowel so far front as their clear-sounding beautiful aa.” When wo copy the old Italian voice-trainers in Omploying this vowel—so useful in vocalizing, because it opens the mouth properly—let us take care to throw it for- ward, and so give it the soft round Italian quality. It is unfortunato that our ee, ai, oa, and oo, do not, like the Italian aa, promoto the propor opening of the mouth. The proper management of breath promotes a correct striking of the toncs, as well as their purity and quality. Insufficient breath causes flatness of pitch, at the same time with thin and poor quality. The slightest unnecessary force of breath makes itself heard along with the vocal klang, and causes mixture and impurity of tono. “Every tone,” says Madame Seiler, “requires, for its greatest possible perfection, only a certain quantity of breath, which cannot be diminished or increased without injury.” As the breath has to be received into the lungs by the same channel through which it leaves them, it is obvious that the regular action of breathing must be interrupted when we speak or sing. Hence the necessity of care and management. Elocutionists as well as voice-trainers recommend that the lungs should be kept fairly full. Mrs. Blaine Hunt says: “Accustom yourself to take breath wherever you can, although you may not feel the necessity for it at the time. This is important to beginners, as it teaches them soon to take it without exertion, and less perceptibly to the hearer.” Of course the sensible singer can- not take breath in any place in which his doing so would spoil the sense and continuity of the words, or of the musical phrases. There is no need of noisy effort to draw in the breath; the nose and mouth being open, it is only necessary to expand the ribs and the lungs are filled. In the beginning of his studies the singer should take breath at the cnd, and at some convenient place in the middle of each line of poetry. Gradually the muscles which hold the ribs distended sideways, as well as those wnderneath the lungs, by which alone the breath should be expelled, or rather expended, will gain strength. A long sustained tone should not be expected at first ; and the swell upon such tones, properly delivered, is, as Garcia, Bassini, and others shew, among the last attainments of vocal power. Exercise steadily pursued, and nothing else can give to the muscles the requisito power of control. Voico Cxcrcises should, for a long time, be sung, as the old Italian masters required, only softly. The effort to sing softly (or piano), with a full but not overcrowded chest, compels attention to the control of tho muscles; it also the better enables the pupil to perceive for himself what is meant by purity and beautiful quality of tone. Until this perception is formed nothing is done. The pupil in a popular evening class, must, in this matter, rely chiefly on himself and his daily practice. It is but little study of individual voices which a class-teacher can give. Much, howover, is done in Classes by imitation and sympathy. Wo havo noticed that every teacher who himself understands what “a good tone” is, will have it in his class; and when once the right habit is established there, new comers naturally and easily fall into it. Position.—The singer should (a) stand with heels together or in the soldiers posturo of “stand at ease;” (b) with head erect, but not thrown back; (c) with shoulders held back, but not up; (d) with lungs kept naturally filled—not with raised chest, except on extraordinary occasions—but with the ribs, never allowed to collapse, pressing against the clothes at each side, and the lower muscles of the abdomen drawn in ; (e) with the mouth freely open, but not in the fish-mouth shape 0,-the lips being pressed upon the teeth, and drawn somewhat away from the opening, so as not to deaden the sound,- the lower jaw falling, the palate so raised as to catch on its front-part the stream of air from the lungs, and the tongue flat, its tip just touching the lower teeth. These rules have to be carefully studied by the singer, and, at first, they will make him stiff and self-conscious; but soon, and with care, the proper position will grow into a habit. Everything will be most easy, and the motto of the old masters will be realized—“Pleasant face makes pleasant tone.” The teacher “calls his pupils into position ” by giving out as words of command— “a,” “b,” “c,” “d,” “e.” At each order, the pupils take the position indicated by those letters as above, and the teacher watches to make sure that they do so properly. He makes a sign—a motion— with the fingers of his left hand to those who do not open the mouth sideways as much as he wishes, and another sign to those who do not keep their teeth about two finger-breadths apart. He shakes his head at those who do not make a “pleasant face,” and so on. Garcia says: “Open mouths of St. Co. (New.) TIRST STEP. g an oval shape, like those of fishes, produce tones of a sorrowful and grumbling character; those of which the lips project, in the form of a funnel, give a hard barking voice; very wide mouths, which exhibit the teeth too much, render the tone rough ; those which have the teeth too close, form shrivelled tones.” These points must be attended to at the commencement and in the course of every early lesson. can be saved from slovenly habits and coarse flat singing. IEx. 1.--To train the muscles at the sides of the lungs and under them.—To be repeated at the open- ing of each lesson of the first step. The pupils standing, if possible, in single file, round the room (so that the teacher may approach each one and quietly signify any defect of position while the exercise is going on), the teacher raises his hand while the pupils take in breath slowly, and without noise. The pupils hold*their breath while the hand remains high, and let out the breath again through the mouth, and gradually as the teacher lowers his hand. The teacher counts “one,” “two,” “three,” &c. (at the rate of M. 60, or as slowly as a common eight-day clock ticks), while he lowers his hand. The pupils say, by holding up hands, who held out as far as “three,” “four,” “six,” &c. The teacher is well satisfied with “four” at first, and does not require even that from weak lungs. Ex. 2.—To train the laryna for the production of pure vocal klang. To be repeated at the opening of each lesson in the first step. The teacher sings on the syllable ai (as in gain, pail, &c.) a middle tone of the voice, say G or A. The pupils imitate that tone, commencing immedi- ately the teacher opens his hand, and cutting it off sharply the instant the teacher closes his hand. This done, he gives the vowel ai again, but immedi- ately changes it into the more open and pleasant aq ; changing, however, as little as possible the at position of the tongue, so as to secure the “for- ward” Italian aa. The pupils imitate, attention being given exclusively to the position and to purity of the voice. This is done with various tones —say with D, with F, and with A. FIRST ExERCISES IN TUNE. Pitch,-By “pitch,” we mean, the highness or lowness of sounds; the difference between the sounds produced towards the right hand on the There is no other way in which the pupil | piano and those towards the left, or between a Squeak and a growl. We are not anxious, at present, to teach the absolute pitch of sounds. Our first and chief work is to teach the relation of sounds in a tune to what is called the key-sound of that tune. Key Tone,—Everything in a tune depends on a certain “given " sound called its governing, or key-tone, from which all the other tones measure their places. At present the teacher will pitch the key-tone for the pupil. The modulator represents this key-tone with its six related tones, in the way in which they are commonly used. The pupil will learn to sing them by first learning to perceive their effects on the mind, and not by noticing their relative distances from each other. Pattern,--The teacher never sings with his pupils, but sings them a brief and soft “pattern.” The first art of the pupil is to listen well to the pattern, and then to imitate it exactly. He that listens best, sings best. When it is the pupil's turn to sing let him strike the tones firmly, and hold them as long as the teacher pleases. As soon as the modulator is used, the teacher points on it while he sets the pattern, and also while the pupil imitates. Ex. 3.-The Teacher asks his pupils for a rather low sound of their voice. He gets them to sing it clearly, and well drawn out, to the open syllable aa. He takes it for the key tone of a tune. He sings it, and immediately adds to it what is known as the fifth above. The pupils try to imitate the “pattern,” singing (still to ad) the key tone and its nearest related tone. When, by patient pattern and imitation, this is done,— Ex. 4. The Teacher gives a different low sound of the voice for the key tone, and asks the pupils to give him that other related tone again. This he does several times, always changing the key tone. Names and Signs,—Immediately that a thing is understood it is important to have a name for it, and sometimes a sign also. Any name or sign which is agreed upon between Teacher and pupil, will answer the purpose. But it is convenient to use the same names which others use. On our modulator and in our notation we call the key tone just given Doh, and the other nearly related sound Soh. For voice Exercises, in which the Teacher has to look at pupils while he gives them signals to guide their singing, it will be useful to employ the closed hand as a sign for Doh, and the open hand, pointing outwards, with the thumb upwards, for Soh. St. Co. (New J * By means of the ribs, not the throat. 4 - FIRST STEP. Ex. 5. The Teacher gives Doh and Soh (to the open aa) and, immediately after, another sound, different from Soh, which he knows as the third of the scale. The pupils imitate his pattern. The Tonic Solfa name for this sound is Me, and the sign is the open hand with the palm downwards, Ex. 6. The Teacher, by the above named manual signs, causes the pupils to sing (while he watches their position and the opening of their mouths,) to the open sound aa such phrases as the following, Doh, Soh, Me, Soh, Doh.—Loh, Me, Soh.—Soh, Me, Doh, Me, &c., &c. The Teacher changes his key tone with nearly every new Exercise, lest the pupils should be tempted to try and sing by absolute pitch, instead of directing their attention to the relation of sounds. - Mental Effect.—The effect felt by the mind as it listens to these three tones, arises first from their difference in pitch, one being higher or lower than the other, and secondly and chiefly from their agreeing well with each other, so that it is pleasant to hear them one immediately after the other, and pleasant to hear them sounded together. ... The science of sound shows how closely and beautifully these three tones are related to each other, in the Ex. 7. ICEYs D & F. Ex. 8. KEYS D & F. SOH S - N ME / \ / m DOH d d d Ex. 10. KEYS I) & F. Ex. 11, SOH S DOH d d ICEYS D & F. Mk X . Vº | /\/\. Y ſ \ , ſ \ number of their vibrations. Their agreement may be shewn by Sounding together 1st Doh and Soh, 2nd Doh and Me, 3rd Ilſe and Soh, and 4th Doh Me Soh. When three toncs are thus related, and sounded together, they are called a Chord. The pupils will be led to notice the different effect on their minds of the three tones of this Chord. As they form the Chord of the key tone, they are the bold, strong, pillar tones of the scale, on which the others lean, but they differ in the manner of their boldness, one being brighter, another stronger and more restful, another more peaceful, &c. The Teacher, having brought his pupils to a clear con- ception of these tones, apart from syllabic asso- ciation, now attaches to each of them its singing syllable,_teaching by pattern, and pointing on the modulator the six following exercises. Tor the sake of solitary students, who cannot be thus taught, these exercises are printed, in the form of diagrams, with skeleton modulators at the side. The first letters of the syllables on the modulator are used to indicate the notes, and so point to the modulator in the mind's eye. A narrower typo and somewhat altered form is given to the letter m (m), for convenience in printing. Ex. 9. ICEYS D & F. |//\ Ex, 12. Keys D & F. - d St. Co. (New.) TIRST STEP 5 Octaves or Replicates,—It is in the nature of music, that tones, which vibrate twice as fast or twice as slow as some other tone, should sound so like that other tone, and blend so perfectly with it, that they are treated as the same tone and receive the same name. They are the same in Relative position and mental effect, the difference of pitch being the only difference between them. Thus every sound has its “replicate ’’ or repetition above and below. The two sounds are called, octaves one to another, because if you count the tones of a scale from any sound to its replicate (including the tones at both ends) you count eight or an octave of Sounds. We put a figure one upward thus—(), as a mark for the upper octave, and downward thus—(1), as a mark for the lower octavo. If we wish to indicate higher or lower octaves still, we use the figure (‘). The sign for a higher octave would be given by Ex, 15. KEY C. d d!—d! d d - ſ \ S SOH m \ St FIRST ExFRCISES IN NoTATION. In the following Exercises, “Rey G.,” “Key C,” “Rey A,” tell the Teacher where to pitch his Doh. The letters point on the modulator in the mind’s eye. The Teacher pitches the key tone. The pupils “sound the chord,” singing (when they have a middle sound of the voice for Doh,) Doh, Sohl, Me, Loh, and when they have a low sound, Doh, Me, Ex. 16. KEY C. raising the hand which gives the sign, and for a lower octave by lowering it. - Bºx. 13. The Teacher gives a low sound of the voice for Doh, and patterns to the open syllable aa, d, m, s, d'. The pupils imitate. Again, by manual signs, the Teacher requires the pupils to sing which over of these notes he pleases, while he watches the position and the opening of the mouth, in each exercise varying the key. Ex. 14. The Teacher gives a middle sound of the voice for Doh, and then patterns to the open aa, d, m, s, sº, d. The pupils imitate. Again, watch- ing his pupils, he requires them, by manual signs, to make any of these tones he pleases, in each exer- cise varying the key. The Teacher sets for each of the following Exer- cises a Solfa pattern on the modulator. Ex, 17. KEY G. A |W \ Soh. As there is no indication of time, the tones may be made as long or as short as the Teacher likes. Agentle tap on the desk will tell the pupils when to begin each tone. During this Exercise it may be well to let the large modulator hang before the pupils, that they may glance at it when their mental modulator fails them. * St. Co. (New). 6 TIRST STEP. |Fx. 18–24. IEx. 18. KEY G. S; d m s m s m d Ex. 19. REY C. s d' s m s m s d Iºx. 20. KEY A. d s, d m s m d FIRST ExFIRCISES IN TIME. Time and Rhythm. The word time is commonly used in three different senses. Sometimes it means the degree of speed at which the music is sung, as when we speak of quick time, slow time, etc. This we call “The Rate of Movement.” Sometimes it means the arrangement of accents in a tune, as when we say “common time,” “triple time,” etc. This we call “The Measure.” Sometimes it means the varied lengths of a set of notes standing to: gether, as when we speak of “keeping the time ’’ in a certain phrase. These time-arrangements of brief musical phrases we call “Rhythms.” . The word Rhythm is also used in a general sense to ex- press the larger relations of time and accent, such as the number and kind of measures in a tune, and the proportion which is given to each “Section ” of the tune. Accent or Stress. The Teacher, by singing on one tone such an exercise as the following, KEY G. d : d |d :'d : d d : d |d aw - ful | dawn-ing a - wake, a- | rise, leads his pupils to distinguish the difference be- twéen a weak and a strong accent both in words and music. The Teacher will be careful not to let his pupils exaggerate the strong accent, so as to make a jerked tone instead of simply an accented tone. Accent is produced by the combined use of distinctness (or abruptness) and force—in their vari- ous degroes, and it differs in quality as one or the other element predominates. An upright bar (|) shews that the note which follows it is to be sung with the stronger accent. Two dots, thus, (:) shew that the note which follows them is to be sung with the weak accent. . -> Pulses,—It will be noticed that in music the voice is naturally delivered in successive beats or impulses, Some having the strong and some the 1.x, 21. REY C. - s m s d d' m Ex. 22. Rex A. m d m s s s, d Ex. 23. S m s d \ KEY C. d' m s d m weak accent. These we call Pulses. The Teacher illustrates this. The pulses move faster in Some cases and slower in others, but the pulses of tho same tune are equal in length one to the other. Tho Teacher illustrates this. The beginning of a pulse of time is indicated by an accent mark as above, and its end is shown by the next accent mark. In Tonic Solfa printing we place the accent marks in each line of the music, at equal distances, so as to measure time pictorially. Measure.-In music the accents rocur in regu- lar order,-that is, if they begin thus, -STRONG. weak, they go on in the same way,+if they begin STRONG, weak, weak, they continue to recur in that order and so on. The Teacher illustrates this by singing tunes to his pupils, and requiring them to tell him which order of accents he uses. The time which extends from one strong accent to the next is called a measure. It is the primary form of a measure. If the tune begins on a weak accent the measure is reckoned from that, and Cxtends till the same accent recurs again, This is the secondary form of a measure. Two-pulse measure.--When the accents of a tune - recur in the following regular order, STRONG, weak, STRONG, weak, and so on, or weak, STRONG, weak, STRONG, and so on, that tune is said to be in two pulse measure. The primary form of two pulse measure would be represented thus, { : } and the secondary form thus Time Names.—We call a single pulse (whatever be the rate of movement) TAA or TAA-AI (&i as in pail, nail, &c.) When we wish to indicate a strong accent, we introduce the letter R, thus, TRAA. Ex. 24. The Teacher causes his pupils to sing a number of primary two-pulse measures on one tone to these time names, while he beats the time steadily. He does this till all have “got into the St. Co. (New.) Ex. 25–31, FIRST 8'ſ' EP. - 7 swing " of the rhythm (TRAA, TAA, TRAA, TAA, &c.), so that all the voices strike the beginning of each pulse perfectly together. Alternate measures are then sung by teacher and pupils, maintaining the same rate. They do this again with an entirely different rate of movement, only taking care to keep up the rate of movement when once begun. In this exercise let the pupils be careful to sing each pulse fully to the ond. The second vowel AI is often added to make him do so.” Bx. 25. The teacher in the same manner makes his pupils practise secondary two-pulse measures (TAA, TRAA, TAA, TRAA, &c.) Ex. 26. Sing Exs. 20, 22, and 23, beginning with the strong accent, and again beginning with the weak. IEx. 27. Sing Exs. 18, 19, and 21, beginning with the weak accent, and again beginning with the strong. Three-pulse Measure.--When the accents of a tune recur at regular intervals thus, STRONG, weak, weak, STRONG, weak, weak, and so on (that is like the accents in the words “heavenly,” “happi- ness,” and so on) or weak, STRONG, weak, weak, STRONG, weak, and so on, (that is like the accents in the words “amazing,” “abundant,” and so on) the tune is said to be in three pulse measure. The primary form of three pulse measure is this : and the secondary this : : In the three pulse measure, when sung slowly, the second accent is not weak, but often nearly as strong as the first. For convenience, however, we always Write this measure as above. Ex. 28. The Teacher will make his pupils sing TRAA, TAA, TAA (primary three-pulse measure) on a single tone, while he beats time, first at one rate of movement and then at another rate, always sustaining, in each excrcise, the rate at which ho commences it. Ex. 29. The teacher will do the same with TAA, TRAA, TAA (secondary three-pulse measure). º Ex. 30. Sing exerciscs 20 and 22 in the prº- mary three-pulse measure, making two measures, and the first pulse of the next, to each exercise. Ex. 31. Sing exercises 18 and 19 in secondary three-pulse measure, making for each excrcise, two moasures and two pulses of a third measure. Continued Tones.—When a tone is continued from one pulse into the next, we mark the continu- ation by a horizontal line, thus (–). The time-name for continuations is always obtained by dropping the consonant, thus, TAA, -AA, &c. Tupils are apt to .time as it strikes on the Chart. fail in giving their full length to prolonged tomos. But in TAA-A1, -AA-A1, &c., the change of vowel from Al to AA compels them to mark each pulse separately. Half-pulses.—When a pulse (TAA) is cqually divided into two parts, we give it the name TAATAI, The sign for an equally divided pulse is a dot in the middle thus: ( :) and thus: ( d . m :). Beating Time.—Pupils should never be allowed to “boat'’ time till they have gained a sense of time. Speaking im Time.—The value of the Time- names depends on their being habitually used in time, –each syllable having its true proportion. Taatai-ing.—We propose to use this as a short word for the phrase “singing to the time names,” just as we use “Solfaa-ing” to save the circumlo- cution “singing with the use of the Solfa syllables.” In the early steps of any art it is better to learn each element separately. As the pupil has first learnt tune separately from time on the Modulator, so now, with the help of the Time Chart, he studies time separately from tune. The rule of good teach- ing that, at the first introduction of any distinct topic, that topic should occupy much more than its ordinary, proportion of each lesson, will strongly apply in this case; for we have to establish in the Anemory an association of syllable and rhythm, just as, in teaching tune, we have already begun to establish a mnemonic association of syllable and *nterval. 1st. The teacher patterns and points on the Time Chart (just as he patterms and points on the Modulator) and the pupils imitate (taatai-ing on one tone) the first half of one of the time exercises. The Teacher's pointer will sufficiently well beat 2nd. Teacher and pupils Taatai the time-phrase alternately, the teacher singing softly, with clear accent and very exact and well filled time, but only pointing or tapping on the Time Chart when the pupils take their turn. This is done till the pupils “get into theswing,” striking the accent well together and giving each tone its full length. 3rd. The second half of the exercise is taught in the same way by patternandalternating repetition. 4th. The two parts are put together and patterned and alternated as above, but at a quicker rate, with- out pointing, the teacher beating time only when it is the pupils turn to sing. 5th. The pupils Taa- tai from the book as directed in Ex. 32. The other processes of Time-laaing, of Tuning the time- forms and of Taatai-ing in tune, are introduced a little later, when the time-names are familiar. Each process is only continued till the exercise is St. Co. (New). * Laber on (p. 18) the AI may be omitted. 8 . - FlRST STEP. perfect. These many processes, each increasing in difficulty, give variety to the work of the learner and keep his attention fixed on an otherwise unin- teresting but most important subject. Ex. 32. First slowly—repeated so at least three times, and then quickly, and repeated so six times. l : 1 l : — } o - 0. *- TRAA TAA TRAA -AA TRAA -AA TRAA TAA Ex. 33. Slowly—and quickly. - - l : 1 : 1 l : — | — : — | TRAA TAA TRAA TAA TRAA -AA -AA - A.A. Ex. 34. Slowly,–and quickly. - : 1 l : — amº : 1 l : 1 l | } TAA TRAA - A.A. -AA s 'TAA T1&AA TAA TRAA Ex. 35. Slowly,–and quickly. - l : 1 : : — : 1 l : 1 : 1 | }| TRAA TAA TAA TRAA -AA TAA TIRAA TAA TAA Ex. 36. Slowly,–and quickly. : 1 : : l : — : — l : 1 | TAA TRAA TAA TAA TRAA -AA -AA TRAA TAA Time Laa-ing.—The Teacher when all the above exercises have been properly learnt, with time names, will cause them to be sung again in the same way, but to the open syllable Laa. The time syllables are, like the Solfa syllables, valuable as mnemonics, and must be much used, especially in the early steps. But they must not be too exclusively used, lest our pupils should be able to sing correct time to nothing else. Ex. 37. Laa Exs. 32 to 36. TUNE. Tune Laa-ing.—As soon as the memory-helping Solfa syllables have been rendered familiar, every tune should be Laad from the book. Some teachers make a habit of Laa-ing from the modulator, directly after the Solfa pattern has been learnt. One study should be always before the teacher's mind while his pupils are Laa-ing,-that of the blending and tuning of the voices. As all are using the same syllable Laa (not law or loa) it is more easy to notice whether in unison (that is when all sing the same tones) the tones blend as into one voice,—and whether, in harmony (that is when several melodies are sung together) the tones tune well with each other. - Two-part Singing—It is at first very difficult for or too low for high voices. pupils to sing independently one of another. The simplest form of two-part singing is that in which one set of voices repeatedly strikes the same tone (“tolls the bell”), while the other set sings the tune, as in exercises 38 to 41. These exercises should first be taught by pattern from the modulator, and then sung from the books, the Teacher beating the pulses by gentle taps on the desk. If the long tones are not held the proper length, they must be sung to the time names. | Brackets are used both at the beginning and ending of lines to shew what parts of the music may be sung together. Double Bars (|) are used to shew the end of a tune, or the end of what is called a musical “section,” generally corresponding to a line of poetry. Whero the double bar occurs, the regular accent mark, whether strong or weak, is omitted. But it must nevertheless be understood and observed. Exchanging Parts.-The exercises of this and the second step do not go too high for low voices, All kinds of voices can sing both the upper and the lower parts. At theso, two steps, therefore, as soon as an exercise is sung, and without a moments pause, it should be sung over again, -those who have sung the higher part St. Co. (New.) IFIRST STEP. “----g & taking the lower, and those who have sung the lower taking the higher. It is obvious that those carly exercises are best fitted for those classes in which the voices are all of the same sort, that is, all men's voices, or else all women's and children's voices. If, however, the class is a mixed one, the exercises can well be used, although they will not bo so pleasant. It is better in this case to let the voices be mixed for both of the parts; for variety, how- ever, the teacher may occasionally give the higher part to the ladies, and the lower to the gentlemen. Breathing Places. It will be soon felt that Ex. 38. REY D. f f | : — | : — s : — I d' (ld : d d : d d : d | : d Iºx. 39. REY D. f d : d 1 m ; m s : s | : d' | : — | : — I d : — d : — Ex. 40. Key F. f f d : — |. : — I m : — | : — | : d d , ; d |d : d d : d Ex. 41. REY D. f + |d : m S : m S : m : — (la : d d : d d : d | Iºx. 42. REY D. Quickly. f | : m m : s , s : d' | * — (ld : — I — : — ſ] : — — : — lix. 43. REY B. f. + d : — |sſ : — I m : — I d : — ('m : n, lm, m| |s : s |m| : — Ex. 44. KEY F. Quickly. | : m S : m d : m S : m | : – 's : — 'd : — m : — |. : m d : m S : m | : m p1 : — I d : — 'm : — l l : — d! d d music naturally divides itself into short portions or phrases. Just before the opening of a phrase is, musically considered, always the best breathing place. The pupil will soon learn to select breath- ing places for himself; but at the present step we have marked the most convenient breathing places by means of a dagger thus f. The endings of lines, however, are not marked, as breath should always be taken there. The pupil who sings on till his ribs collapse and his lungs are empty, and then takes breath, produces a flat tone, and feels uncomfortable. ! — S : — ſm ... d ; d d : d d : d d : d ſº + . : d' s : s 1 m : m | | | Q : — : — I d : — 'd : — d SOH f : - | S | ‘. . . : d d : d 'd : d d : — ME f : S ſm : S S : d o : d d : d d : | : - " DOH : s , s : m m : d d O : — — : — I d " " I o f : — |d : — si . . | | S! : Sl m : di m : s : — d : m |. : m S : S S - d : — s : — I m : — I — : — S : m | : m | : d | | s] : — — : — 'd : — — : — St. Co. (New’. ) FIRST STEP. Ex. 45. Slowly,–and quickly. l : 1 , 1 | 1 : 1 , 1 TAA TAATAI TAA TAATAI I: EY C. | d : T.s d' : s m s m : s m |d : — || KEYC. I d' : S.m. |d : p1.s |d's ; d.s |m ; – || Ex. 46. Slowly,–and quickly, | l : 1 . 1 : 1 TAA TAA TAATAI T.A.A. id : m s, m: d s. m . s. m . s. m. ; d || In : d d,m : s d.M : s ,m d.m : s || Taatai-ing in Tune,—Laa-ing on one tone helps to form that abstract idea of a rhythm which is desired. But such an idea is never truly Cstablished until the ear can recognize a rhythm as the same, through all the various disguises which different tune-forms put upon it. To learn the abstract, you must recognize it in many concretes, the abstract idea “round” in the concretes—wheel, plate, full moon, penny, &c., &c.; of “crimson” in a shawl, a feather, a flower, a punctured finger, &c., &c. If we saw nothing round but a wheel, we could not form an abstract idea of “roundness.” As a help to this distinct conception of rhythm, it is useful to taatai each time exercise on various tune forms. The Teacher 1st, tunes the time-form, solfaa-ing and teaching, by pattern, one of the phrases printed under the time exerciscs, 2nd, Ex. 48. Key D. Quickly,–and slowly. | d : d : d m ! — ; 1 . 1 : 1 , 1 TAATAI TAATAI REY G. : sſ,d m 1. – || TAA, | d ; d.d |m.d.; m,d s : — ll REY G. | d : sis||d : sim d.d.; sim |d : – | 1 , 1 : 1 , | | 1 , 1 : 1 | TAATAI TAATAI TAATA I TA A | d' : s , |m, s: dº | d', s: p1.s |p1.s ; d || | d : St d.m. ; d d.s.. d, sº d.m.; d || patterns the same from the Modulator, as before, but taatai-ing, as he points, instead of Solfaa-ing. The pupils imitato. The time-names shew them the Sameness of the rhythm, while the modulator points them to the difference in tune,—3rd, causes his pupils to sing the same from the book. Ex. 47.-Taatai in tune, all the tune-forms printed below Ex. 45 and 46, and any others, the Teacher may invent. The following exercises (introducing three-pulse measure without divided pulses, and taatai in two- pulse measure), should now be solfaad by pattern, from the modulator, taataid from the book, solfaad from the book, and laad from the book. Let each “part" be taught separately before the two parts arc sung together. d : – ; S : S . S d ; d. ; d) m : m : Fl S : - : — : – ; d T] : — : — S : S : S d : — ; – m : — : m d : — : — St. Co. (New.) FIRST STEP Ex. 49. REY D. Quickly,–and slowly. | d : m ... S | * — : — l d : – ; d. m : — ; – m m . S : d! S : — : — S m : — : m m : — : — m Ex. 50. KEY G. Slowly,–and quickly, f | : Sl d : – ; m : d : m ; SI I'll : – ; St d : — ; d. + º st : d : m st : d : : I'll p1 : – ; Sl Pll ; SI : d Ex. 51. ICEY C. Slowly,–and quickly. d : r1 s : s f d .m : s , d' s : — d : d | p : m d.d.; pl. s | Fl : — Bx. 52. REY G. Slowly,–and quickly. |. d : m , d is f: d |m : d S : Si |f| : p.m. |M|.m.; "| | S, ; d | Sl Ex. 53. IEY D. Slowly,–and quickly. |d nºn | ". f| S : S pl; — (ld d |d d |d in : n |d : — MoDULATOR, VoIUNTARIES. At every lesson, the pupils will be exercised in following the Teacher's pointing on the modulator, The difficulty of this is, that the without a patterm. Dointer cannot shew accent, but, in cases of diffi- culty, by means of the time names the teacher can explain any rhythm he wants. The pupils will learn to follow promptly, and to form the habit of holding the tones as long as the pointer stays on a note. f + d! : S : | : — — : – ; d |d : — : — - : ['l S | : - : — * : – ; m d : – ; — e ME s : – ; s |n : — | ſ] : – ; rºl : — DOH S : - ; SI d : — | o pl : — : SI Pl : — º f - S! m : s d' : d' d', s: d'.s |m I d : m ſm : m m .pl : m .m d : — f - : P1 |d : sſ.d n : d s : s |d : Si |m| : " , Síl d.d.; d Pll ; Śl I'll ſ] . S : S p1.s : s fl d' : s d! I ſm : ſº ſ] : ['l ſ] . S : S pl : — The movements of the pointer are most visible when it passes from note to note with a curve side- ways The Teacher can invent his voluntaries or take them from other Courses. But they should never include greater difficulties than belong to the step which the class has reached. See the “Hints for Voluntaries.” These Exercises will prepare fol the next, - St. Co. (New J 12 IFIRST STEP. EAR EXERCISEs. The Teacher will now give his pupils short musi- cal phrases, sung to figures, and ask them to toll him to which figure or figures d fell ?—to which m P−to which s?—to which d'?—to which s, P He will also give them a key tone and chord, singing immediately to the sharply opening syllable skaa, either d, m, s, d', or sp and requiring the pupils to tell him what tone he has sung. The answers to these exercises should not come from a few only of the class, but the Teacher will contrive (by subdividing the class or otherwise), that all shall feel the responsibility of thinking and preparing an answer, and all will be interested. Sce “Hints for Ear Exercises.” It is a great advantago when the answers to these ear exercises can bo written by the pupil, and afterwards examined and regis- tered by the teachor or his assistants. PoinTING FROM MEMORY. At the close of each lesson the pupils should take a pride in shewing their teacher how many of the previous exercises they can point and Sol-fa from memory. These Exercises should be registered in favour of each pupil. Musical memory should be cultivated from tho first, because it will greatly facilitate the progress of the pupil in future steps, and will be of constant service to him in after life. WRITING ExERCISEs. Notation is best taught by writing, and the thing noted is more quickly and easily practised when the notation is clear and familiar to the mind. Hence the value of writing exorcises. For the first step the teacher should bid his pupils draw on slate or paper four (or eight or sixteen) two pulse measures, in the primary (or secondary) form. The teacher may do the same on a black board to shew his pupils what is meant. When the measures are properly drawn out, the teacher will dictate the notes to be written in each pulse, or he will write them on the blackboard for his pupils to copy. These notes ho may invent for himself, or copy from other courses, but they must always belong to the same “step.” DICTATION. Dictation has always been difficult as soon as the time became at all complicated, but the time names give us a means of dictating, by Very brief orders, one pulse at a time, “Rhythm,” “Accent, and “ Tume,” at once. Thus, if we were dictating Ex. 52, we should first say to our pupils “secondary two-pulse measure.” “Prepare for 8 measures.” - “TAA lower sp" “TRAA d,” “TAATAI m d,” &c., or in Ex. 53 “TúAATAI" d m,” “TAA m,” &c. The Tonic Sol-fa music paper will be found very useful for dictation. By this means a whole class may be permanently supplied with copies of a tumo, while in the process of writing they make a thorough acquaintance with the tune, and are thus prepared to sing it. The Sol-fa music paper is so ruled that the copyist can keep his pulses of equal lengths throughout the tune. He can allow one compartment to a pulse, or two. In either case he will not find it necessary to mark with the pen or pencil more than the strong accCnts. WRITING FROM MEMORY. Pupils should also be well practised in writing tunes from memory. Even where it is difficult for a whole class to point on their modulators from memory at the same moment, so as to be seen by the teacher, it is not difficult to Cngage a whole class at the same moment, in writing with closed books from memory, the tunes they have learnt. If every pupil has his number, and writes that number on the right hand upper corner of the exercise, in- stead of his name, assistants can be employod to correct the exercises, and to register a mark for every pulse properly Written. SUPPLEMENTARY. EXERCISES. The Teacher naturally desires to see that all the members of his class (except the careless and inat- tentive who have no claim upon him) have mastered the topics of each step before that step is left. Some classes require longer practice on one topic, and some on others. For this purpose as well as with the viow of gathering all eyes to one point in his elementary explanations, he is recommended to make good use of the blackboard, and the “Standard Charts,” pp. 1 to 5 (Tonic Sol-fa Agency). The “Wall Sheets,” No. 1 (for time exercises), and Nos. 7 and 8 (for tune) may also bo used as supple- mentary to the exercises of this step. St. Co. (New.) TIRST STEP. 13 QUESTIONS FOR IVRITTEN OR ORAL EXAMINATION. 1 To what three practices must the pupil give daily attention in order to produce a pure and pleasant tone 2 What two habits improve the purity of tone'ſ 3 What two habits improve the quality of tone' . 4. Which are the forward vowels in the English language? 5 What three things are promoted by a proper management of the breath 6 What mismanagement of the breathing causes flatness of pitch? 7 What effect on a tone arises from the use.of too much breath" 8 Where should a beginner regularly talke breath 7 9 Where should we not take breatlı iſ 10 By the action of which set of muscles should the breath be expended ! 11 What are the two reasons for sing- ing the early voice exercises softly 7 12 Describe the best position for the body in singing—for the head—for the shoulders—for the chost—for the mouth —the lips—the lower jaw—the palate— the tongue. 13 Describe the bad effects of any wrong positions of mouth or body. 14 What do we mean by the “pitch'' of sounds ! 15 What is your idea of a key tone? 16 Why is it important to listen well to the pattorn? 17 What is the name for the key tone of a tune, and what is its manual sign : 18 What are the names and signs for the tone which is commonly known as the fifth above the key tone, and for hºt which is known as the third above it, ', 19 From what two causes arise the different effects of the related tones Doh, Ilſe, and Soh on the mind? 57 Hold a steady tone, without taking breath, for five seconds. 5S Sing any two of the exercises 38 to 44, and 48 to 53, chosen by the teacher, to the open syllable Laa, correctly and without breathiness of tone. 59 Sing to the open syllable Laa, the Suh to any Doll the teacher gives you. 60 Sing in the same manner the lower oh!. B. \ Sing in the same manner the upper O/?'. 62 Singin the same manner the Me. G3 Sing in the same manner the lower Jleſ. DOCTRINE. 20 What is the name given to a set of three tones thus related 21 What is an octave or replicate, and its sign : 22 We can tell pupils what tones of the scale to sing, either by pointing on the modulator, or by giving them manual signs. . . What other Way have we of doing so : 23 What do “Key G.,” “Rey C,” “ICey A.” mean at the beginning of a tune 7 24 What are the three common uscs of the word “Time,” and what distinct name do we give to each of the three things 25 Eſow is “Accent” produced 26 What is the sign for a strong ac- cent, and what for a weak | 27 What is the name we give to the time which extends between one accent (of either sort) and the next? 2S What is the time name for a one- pulse tone, and how do you, alter it when it has the strong accent 7 29 In what cases may pulses be dif- ferent in length one from the other ? 30 In what circumstances are pulses the same in length one with the other ? 31 What is the order of accents in the priº form of two-pulse mea- sure ? What in its secondary form 2 32 What is the order of accents in the primary form of three-pulse mea- sure ? What in its secondary form 3 33 Give thc time namos which re- present a primary two-pulse measure, and a secondary three-pulse measure ? 34 FIow do you mark a two-pulse tone, and how do you name it? 35 Eſow do you mark and name a three-pulse tone 36 Why is it important, in elemen- tary teaching, to use distinct names for continuations : IPRACTICE. 64 Taatai the upper “part" in one of the lixs. 51, 52, or 53, chosen by the teacher. 65 Taatai in tuno one of the Exs. 51, 52, or 53, but not the same as in the last requirement, chosen by the teacher. 66 Point on the modulator from memory any one of the ExS. 46 to 51, chosen by the teacher. 67 Write down from memory an- other of these exercises. 68 From any phrase (belonging to this stage) sung to figures, tell your teacher, or writo down, which figure was sung to Ilſe. 37 What educational principle dis- tinguishes the early steps of any art? 33. How long should the pupils re- peat the first time exercises" 39 What is the difficult thing which , the teacher has to maintain in the time cxercises : 40 Why are the pupils at first not to beat time ! 41 How is it that the Sol-fa syllal les come to be mnemonics (or memory- helps) of tune, and the time syllables mnemonics of time ! 42 What is the use of Laa-ing 43 What is the meaning of a bracket? * 7 What is the meaning of a double {ll' ſ . 45 What are the best breathing- places when music only is considered 46 What is the sign for a pulse equally divided into two-parts? What is its time name 7 47 What do you mean by taatai-ing 7 48 What is meant by taatai-ing in tune 7 49 How does the practice of taatai- ing help the mind to individualize— to form a distinct conception of—a, rhythm 7 5) In the practice of modulator vol- untaries, what two habits must the pupil form 3 51 What difficulties must not be in- cluded in voluntaries } 52 Describe the two forms in which ear exercises can be presented ? 53 Why should musical memory be cultivated 7 54 What is the best way of teaching notation ? 55 . What advantage does the singer get from the practice of writing music 56 EIow would you dictate the air of the first four measures of Ex. 53 : 69 Ditto Soh. 70 Ditto Doh. 7 1 Ditto Doh!. 72 Ditto Sohl. 7 3 Having heard the chord, tell, or write down which tone of the sale was sung to Skaa. Do this with two dif- ferent tones. 74, Follow to the teacher's pointing on the modulator in a new voluntary, containing Doh, Ilſe, Soh, Doh', and Sohº. TAA, TAA-AA, and TAATAI. 75 Write from dictation, and after- wards sing a similar exercise, St. Co. (New). 14 Ex. 54–5. SECOND STEP, To train the voice in purity, beauty, and good accord. - To distinguish and produce the medium accºnt and the four-pulse and six-pulse measures,- To produce them. To distinguish the mental effects of d, m, s, t and r. also the whole-pulse silence, the half-pulse soionds in three pulse measure, and the fourths of a pulse in their simplest form. cords, and passing tones. VoICE TRAINING. The teacher calls his pupils into position just as he did at the beginning of every lesson in the first step. Every lesson of the present step should open with the following three exerciscs. It is exceed- ingly important that the pupils should cultivate for themselves a good position in singing. It will then become an easy habit. Ex. 54. CHEST EXERCISE, to strengthen the muscles under the lungs and on its sides, and give them control over the slow emission of breath. The same as Ex. 1, oxcept that the breath should be breathed out more slowly, and that a sound may accompany it. Some will now be ablé to continue the tone while the teacher slowly counts ten, say for ten seconds. The weak-chested must riot be discouraged. This exercise daily practised will be life and health to them. IEx. 55. Vocal, KLANG ExERCISE.-The same as Ex. 2, except that instead of using only one tone the pupils will sing the Tonic chord. They will sing, in obedience to the teacher's manual signs d m s d' d' s m d. The manual signs enable the teacher to watch the posture of his pupils, and the pupils to watch the commands and intimations of the teacher. This exercise will be sung slowly (say at M. 60) and also softly, for the sake of studying beauty in the quality of tone. When in any exer- cise, the teacher feels that he has secured that good quality, he occasionally ventures on a middle force of voice, but always, strives to maintain the same good quality. In mixed classes of men and women this exercise will, of course, be sung in Octaves, as the voices of men and women are naturally an octave apart. The importance of this simple exer- cise, and the difficulty of obtaining a perfect and pure unison of voices in it are strongly enforced by Fetis (see “Choir and Chorus Singing,’’ page 9). The exercise is 1st, Sol-faad once, 2nd, Sung once to the forward syllable lai, 3rd, sung three times to the forward and pleasant Italian syllable laſt, and 4th, sung once to the best English syllable for the sharp accented delivery of tones—koo, striking four sharp koos to each tone. The first step of this pro- cess puts the oar in tune: the Second places the To observe the reasons for breathing viaces. To commence the study of chords, intervals, dis- tongue properly, and so prepares the mouth for the real Italian aa : the third gives the best form of mouth for the production of a beautiful sound: and the fourth strengthens the voice by vigorous (not forced) action, and favours that downward motion of the larynx on the delivery of short and accented (though not loud) toncs which has to be formed into a habit for after use. The exercise, having been thus six times sung in Key C, the same pro- cess will be repeated in Key D. Tuning Exercises can now be added for the pur- pose of teaching voicos singing different parts to study one another, and to chord well together. To Some extent this is done in overy exercise, but it requires also separate study. The teacher divides his women's and children's voices into three “parts,” (1st, 2nd, and 3rd) and causes them first to sol-faa and then to lai and laa, the following exercise. When this is done to the teacher's. satisfaction he utters the word “change ’’ and thoso who have sung the first part take the second, the second the third, and the third the first. At the word “change” again the same processisrepeated. The teacher thon divides his men's voices in a similar manner and Carries them through the same six-fold exercise. The teacher, in this exercise, watches his pupils— first, to ensure the holding of their books easily, not cramping the chest, as high as possible (so as just to see their conductor over the top) and with- out bending the head, second, to secure a uniformly clear, soft tone, making a signal to anyone whose voice is so prominent as to stand out from the rest, —and third, to maintain the perfoct tuning into each other of all the parts of the chord. The distinct entry of each “part” is meant to assist the percep- tion of “just '', or exactly true intonation. See Fetis, page 9. It is not every class that has the thoughtfulness and courage to take this exercise at the beginning of the Socond step, but it should be attempted. The division of voices is a severe test of independence, and thereforo useful. Some sing- ers will never be independent till you compel them to try. For some time the accord of the voices will be very rough and imperfect, but soft singing and listening Will amend the fault, St. Co. (New J SECOND STL12. 15 IEx. 56. KEYS F and G. 1st. : : s : — m : — 2nd : m : — m ; pl d : — 3rd,' |d ; – 1 — ; – |d : d |d : — TUNE. Mental Effects, It is of small importance what names the pupil gives to the montal effect of the different tones, but it is all-important that he him- Self (not his teacher, nor his class-mates) should give those names, or if he cannot find a name, that he should at least form for himself a distinct idea. of each mental effect. Let him listen carefully, therefore, while his teacher sings to the class such “exercises for ascertaining the mental effect” as those below. (a) The teacher first sings the exer- cise to consecutive figures, telling his pupils that he is about to introduce a new tone (that is, one not d m or s) and asking them to tell him on which figure it falls. (b) When they have distinguished the new tone, he sings the exercise again—laa-ing it—and asks them to tell him how that tone “makes them feel.” Those who can describe the feeling hold up their hands, and the teacher asks one for the Ex. 57. REY B9. Effect of Ray, high in pitch. | d : s m : d | r : — d : — || Ix. 58. REY B5. Ditto. : s |d : — ; m | r : – ; sº |d : — || Ex. 59. KEY F. Effect of Ray, low in pitch. : s |d : m ; d |r : — ; m |d : — || JEx. 60, REY D. Ditto. | d : s |m ; d [r : — ſm : — || Collective Reading.—The following exercises 65 to 70 (including leaps of r and t without any new difficulties of time) will now be taught, in the same manner and with the same processes as Ex. 48 to 53, with this addition, that after the tune has been Laad correctly and easily, the words will be studied. The Teacher reads the portion of words from one breathing place to another, giving clear vowels and sharp consonants, the pupils imitate collectively. Vowcls are ways of emitting the broath; conso- [Silent pulse, see p. 18.] s : — |- : -- m : s , , s : — : m : — |d : s m : — : : d : s |d : — description. But others, who are not satisfied with words, may also perceive and feel. The teacher can tell by their eyes whether they have done so. He multiplies examples (like those in “Studies,” &c., which he may point on the modulator) until all the class have their attention fully awakened to tho effect of the new tone. (c) This done he tolls his pupils the Sol-fa name and the manual sign for the Inew tone, and guides them by the signs to Sol-fa the exercise, and themselves produce the proper effect. The signs are better, in this case, than the modulator or the notation, because with them the teacher can best command the attention of every eye, and ear, and voice, and at the first introduction of a tone, attention should be acuto. The manual sign for ray is the upturned hand, Open, and shewing the palm ; that for te is tho upturned hand, pointing with the forefinger. Ex, 61. Rex D. Effect of T, high in pitch. | d : m s : t , t , — d! : — || JEx, 62. REY D. Ditto. | d . m |s : t , t : s d' : — || Bx, 63, KEY F. Effect of Te, low in pitch. | d : s |m ; tı t! : — d - : — || Ex. 64, KEY F. Ditto. : s d : m s : — |t| : — |d || nants ways of interrupting it. Both require definite positions and movements of the lip and tongue, Many uneducated persons are lazy in their use of both organs. The object of the teacher will be to show by pattern that marked and clear utterance which is the beauty of speech. Musical tones can- not be prolonged on consonants; the vowels are therefore the more important to the singer. The clocutionary studies of “accent,” and “inflection,” necd not occupy the time of the class, because there St. Co. (Yew.) 16 - - SECOND STEP. is no inflection in a musical tone, and the music necessarily decidos the accent. A simple monoton- ous delivery of vowels and consonants will therefore be sufficient for the teacher's present purpose. The pupils will enjoy this exercise in proportion as their teacher criticises their pronunciation with care. A closer study of the subject will follow in the fourth step. Breathing Places have, thus far been chosen to suit the natural division of a line of music into “phrases.” But the sense of the words is more important than the marked distinction of phrases. It therefore over-rules all. Let the pupil notice that in Ex. 65, we take breath before each cry of “fire.” This is a case of “breathing for emphasis,” and illustrates an important rule for taking breath. In Ex. 67 let him notice that the musical phrasing would place the breathing place between “I” and “love,” but the poetic phrasing does not allow us to disconnect any parts of a word or any two closely related words. “Morning bells I” would not sound well, therefore the division “Morning bells” f “I love to hear.” This is a case of “breathing for sense.” In Ex. 69, the musical phrases of the first line naturally divide between m and r, each being two measures in length. This breathing place is quite suitable for the first and third verses, but it would cut a word in two if it were used for the second or the fourth. In the third line the musical division suits the first and second verses, but if adopted for the third and fourth verses would make the nonsense “Shall foster and ” f “mature the grain,” and “The angel reap-” f “ers shall descend.” The practice of dividing the “announcements’’ for Collective Reading at the breathing places, is of great use in calling attention to this important Iºx. 65. KEY G. A round for four parts. subject. In every exercise of this step there should be with the collective reading a discussion on the correctness or doubtfulness of the breathing places here marked,—but the teacher will decide for the whole class, so that the breathing may be with one consent. Adelightful effect of unity and clear ex- pression is produced by this unanimity of breathing. Rounds.-Ex. 65, is a Round for four “parts.” The first “part" commences the Round-alone, and goes on steadily repeating it until stopped. When the first “part” is going to strike the note under the asterisk (*) the second “part" strikes the first note of the Round, and so on. The third “part '' follows the second, as the secondimitated the first. A clap or some other signal of the teacher's hand tells you when to stop a Round. It should first be learnt from the modulator by the whole class as one part, and should not be sung as a “round” till the third step, unless the class has been very well practised in maintaining the rate of movement. When the whole class can sol-fa it “by heart,” watching the teacher's beat and keeping most exact time with the stroke of his hand,-let the class be divided into four parts, and each part tested in the power to sing separately. Even when this is fairly done, the parts will still find it difficult to “hold | their own,” as soon as the other parts enter. " The difficulty of maintaining the rate of - movement is very much increased when the r! Round is in three-pulse measure or contains divided pulses. It is this difficulty which d makes the Round so valuable an exercise in time keeping. - Da Capo pronounced Daa Caapoa [oa as in coal] and abbreviated D.C. means “roturn to . the beginning.” G f tº * > f . st : Si |d : d |s, : s |d : d : — m : — | T : — I m : — T] Seot-land's burn -ing, Scot-land's burn -ing, Look out, Look out, f * f f f f D.C. I’ I-> T- I- - | ... — S |-| : - || S : — : r d : d t| : r | : d d Fire! Fire I Fire I Fire Pour on º - ter, pour on I wa - ter. t | Ex, 66. REY D. A round for four parts. f : + * + - D.C. ſº d : r |m : d m : s |: : – ' d', d': t , t d'. s : m, d s : G |d : — | Sing it o - ver with your l might, Never leave it, Never leaveit till 'tis right. SI St. Co. (New.) SECON ſ] STEP. 17 Ex. 67. Key C. A round for four parts. f D.C. # | e | e | | d); d º t d! * — d : s , s : s m : s d' : – ' d' : r" | Pi', d': S : º | Morn-ing | bells I love to hcar, Ting-ing | merri-ly, loud and clear. ‘‘ GONE IS THE HOUR OF SONG.” Ex. 68, ICEY E. Round for four parts. J. G., # }|. : d', d'It : t I d' : — |- : - || S : S , S | S : S | S : S ſº :- | Gone is the hour of SOIng, Now let us! say to all, good night. *… D.C. }|. : m .m | r : r |m : " |d : — d : d .d is : s |d : — |- - | Sweet sleep & plea - sant dreams, Goodl night, Once more to all, good l night ! * SOW IN THE MORN THY SEED.” A. L. C. JEx, 69, KEY G. Words by James Montgomery. : d m . m . m : r |d : — — ; tı r : m | r ; d t| : — — ; si 1. Sow in the morn f thy Seca, At eve thold not thy hand; TO 2. The good f the fruit-ful ground, Ex-| pect not t| here nor there; O'er : d d : d sº : Si m : — | – : s |t| : d s : m s : — — ; si 3. Thou canst not toil t in vain : Cold heat,f and moist and dry, Shall 4.Thence when f the glo - rious' end,- The day of God f is come, The d : d tº ; d r m I. : S S m r : r d : :- — — doubt and | fear f give thou no heed, Broad|-cast it f o'er the land. hill and dale,f by plots, ’tis found Go forth then,f ev - 'ry - where. mi : m s, m st : d tº ; S. m : d d : t d : — | – fos - ter + and ma - |ture the grain, For gar - ners t in the sky. an - gel reap - ers t shall de - 'scend, And l heav'n cry fl “Har-vest 'home.” Ex. 70. ICEY B. “ FRET NOT THYSELF.” R. P. SI : T : s |d : t : d m : r : d d : – ; – ) tº : – ; r | | Fret not thy- self f tho' thy way be fall drear & - Y, A. | m ; d. ; m, 1 m. : ri : m, 1 di : rſ : m, 1 s : – ; – 1 SI : - ; tı m : d : m | r ; tı : r d : ru : r | r ; – : — d : – ; - bright-er to - mor - row fis dawn -ing fto cheer thee. : d : d tº ; tı ; tı |d : s : s list : — : — I d : - : – Cease thy complaining—f thy thoughtless f repining. The clouds may be black, f, but the sun is still f shining. Though thou art hemm'd in f by mountains f of sorrow, Stand still—f a broad path f may be open'd f to-morrow. St Co. (Yew.) 18 - SECONID STEP. TIME. The Medium. Accent.—Pupils will casily be brought by examples and illustrations to notice that in addition to the strong and weak accent, there is also a medium accent to many tunes. . The intro- duction of the medium accent makes two two-pulse measures into a four-pulse measure and two three- pulse measures into a six-pulse measure. This mark | is used for the medium accent-and, when, in Dic- tation or for clementary teaching, we wish to mark this accent in the time names we insert the letter L, thus, TLAA or TLAATAI. It will be noticed that several of the exercises already sung, require (when not sung slowly) this medium accent, in place of every alternato strong accent. Lot the pupils try Ex. 65 and 69, singing them quickly and lightly. They will soon perceive the natural necessity for a medium accent. The teacher, however, must not expect too great a nicety of distinction at first. The finer points, both of timo and tuno, require much practice. Four-pulse Measure.--Whºn the accents of a tune are arranged in the order strong, weak, ME- DIUM, weak (as in the words “momenTAry,” “plane- TAry,”) and so on, it is said to be in the four-pulso measure. The pupils will taatai on one tone, as below, while the teacher beats, first slowly, then quickly. NotE.—When the pupil has learnt to hold his tones to their full length, and where nearly all the pulses are undivided, it will be sufficient to call a pulse TAA omitting the AI. A primary four-pulse measure. | 1 : 1 || 1 : 1 | TRAA TAA TLAA TAA The common secondary form. : 1 1 : 1 | 1 TAA TRAA TAA TLAA Six-pulse Measure.--When the accents of a tune are arranged in tho order strong, weak, weak, ME- DIUM, weak, weak, (as in the words “spiritu AL i ty,” “immuta BILity,”) and so on, it is said to be in six- } A primary six-pulse measuro. : 1 : 1 || 1 : 1 : 1 | TRAA TAA TAA TLAA TAA TAA The common secondary form. : 1 || 1 : 1 : 1 || 1 : 1 | TAA TRAA TAA TAA TLAA TAA Silent Pulse.—It is more difficult for pupils to appreciate time in silences than in sounds. There- fore the silent pulse was not introduced in the first step. The name for a silent pulse is SAA. In taatai-ing, after the first time of going through an exercise, or as soon as the rhythm is perfectly learnt, the silence-syllables should be less and less heard. M. Paris uses only the one word “Hush ’’ for all the silences. In dictation, as well as for tho purpose of first marking and measuring them dis- tinctly to the mind, we find the advantage of a ſoparate name for each silence corresponding with Another secondary form. | : 1 | 1 : 1 T.A.A. TL.A.A. TAA !..., | T R A A. Another socondary form. | | 1 : 1 l : 1 TL.A.A. TAA. TRAA TAA pulse measure. The pupils will taatai on one tone, as below, while the teacher beats first slowly, then quickly. Another secondary form. f 1 || 1 : 1 : 1 TAA TL.A.A. T.A.A. T.A.A. 1 : 1 | TRAA T.Y.A. Another scCondary form, | 1 : 1 : 1 || 1 : 1 ; , || TLAA TAA TAA TRAA TAA TAA the names we use for sound. Silences are donoted in the Tonic Sol-fa notation, by thc simplc absenco of any namo for sound. Even if an accent mark is placed at the ond of a line, a silent pulso is sup- posed to follow it. Pulse and a half Tones are very common and ºy learnt. They are named and written as bo- OW. Quarter Pulse Tones are more easily learnt when the pulse is divided into four distinct quarters than when it is divided into a half and two quarters —two quarters and a half—or a throc-quarter tone St. Co. (New.) SECOND STEP. 19 and a quarter tone. Therefore the “four quarters” are introduced in this early step. They are thus named, tafatefeſa is the short vowel for aa, and eis the short vowel for ai.] Thus the vowels still divide the pulse as before. If the time-names are to become aids to the memory, we must again repeat that even in speaking both teachers and pupils should form the careful habit of uttering them in their proper time. Thus, TAA should be as long as TAATAI, and “tafatefe’” should occupy no more time than either; Tºx. 71. | 1 : l : TAA SA Al TAA SAA KEY G. d : | d : | d :d.r |m : d || KEY F. s : | s : s :m.r |d : m || KEY A. d : |r : |m :tºr |d : si || JEx. 72. | I : 1 | : 1 .. 1 TAA TAA g SAA TAATAI KEY G. d ; sº | :d.r |m :- d [tid : r || KEY F. m :d ; r.dls :- m r ,d : tº || KEY G. | r :s :r t|s :-.t||d.r ; m || Iºx. 73. TAA -AATAI TAATAI TAATAI TAA IEY G. ld : - tº dr|r1,r ; d : |m.r; d sº | REY F. ld : - ºr ; r.s tºr: d : |t|r ; d : s || KEY A. | n : - .r ; d.tº r d : d : r .d : \'ſ : d | neither TAA nor TAI should have longer utterance one than the other; and tafatefe should form foul exactly equal lengths. In the Tonic Sol-ſa nota- tion a comma divides a half pulse into quarters. Let the Exercises 71 to 75 be (a) taught by pattern and repeated, see page 7. The exercise may be divided into two patterns if necessary. It should be sung at at least two distinct rates. (b) Alter- nated, see p. 7. (c) Laad, see p. 8. (d) Taataid in tuno, see p. 10. I : 1 . 1 | 1 : 1 | TAA TAATAI TAA TAA KEY.A. | SI : |t| : |d ; st.tild : r || KEY F. s : |r : | r ; tıd |r ; m || KEY F. | T : [ s : |m :r t|r ; d || l - 1 1 , 1 : 1 | T.A.A. - AATAI TAATAI TAA KEY B. d :ti | :r .d s! :- d 1 m, r ; d || :-.t||r.d.; d || :- r pl.s : s || KEY F. m : r | :d.m. |s KEY F. m :d : s ,r1|m : - 1 , 1 : 1 : 1 | SAA TAATAI TAA TAA | REY A. ld : – s; n.d | Sºtº: r : set r : t ( KEY A. | " : - .d.; tıd |r1,r : n : |d,t,; d : 5; I(EY G. | S : - tº r it, dri i P1 : [ms : 3 : in St. Co. (New.) 20 SECONID STEP, Ex. 74. l : 1 1 , 1 : 1 TAA "TAA TAATAI TAA 1,1,1,1 : 1 . 1 | 1,1,1,1 : 1 . I tafatefo TAATAI tafatefe TAATAI KEY G. - }| : S | .m. ; d. |*** : Si t . | it, .t st : tº , I' KEY G. | . S | .m. ; d || "... . . . • Fl | nº in .d Ex. 75. l : l . 1 | 1 : 1 TAA TAATAI TAA TAA } 1 : 1,1,1,1 || 1 , 1 : 1 TAA tafatefo TAATAI TAA REY G. | d m .d m : d | r , t): r , t) | r s, d KEY E. • | d : t , r d : m | tº ,r d m | r : s d TUNE. The Two Principal Chords.-As the tones d m and s, sung together form a chord, so do the tones St and ri. The first we call the chord of Doh, the second the chord of Soh. We always write chord-names in capital letters, D, S. These two chords considered separately and in themselves, are exactly alike. Their tones are precisely at the same distances of pitch one from the other, and if the chord S, or the successive tones s t rl were heard without the sound of any previous chord of D, or succession of d m s, they would produce precisely the same effect upon the mind. But as soon as we place two such chords at a certain interval one from-the other we establish a new set of relations, and so enrich the xiental effect. It is no longer one chord and its 1 . 1 : 1. TAATAI . 1 TAATAI 1 : 1 : 1 : TAATAI !º ...! ||...} : 1..., | | .m. ; d . S. | .m. ; d . : |- a data , ſº | ...tſ : S. | | .m. ; d .pl | .m. ; d ; | ** * * * * * * | 1 . 1 : 1 .. 1 1 : 1 ; TAATAI TAATAI TAA TAA 1,1,1,1 : 1,1,1,1 || 1 , 1 : 1 | tafatefo tafatofe | TAATAI TAA im, rid, r ſ m 'd : d r,d,tud :r,d.tod | r , t) : s, ; tıdr,tºld .m: m | tºd.r,t); d, r.m.,d | r , s : S | interval relations which the car perceives, but two chords and their relations to each other, so strong and rapid is the power of mental association. That chord, in a tune, which is the first to occupy the ear, rules the chords which follow. Thus in Exercises 57 to 64 we were careful to “establish the | key ’’ by making d m s heard before we could make the mental effects of t and r felt. This relation between D and S, that is between any chord and that other which starts from its own highest tone, is a peculiar and very important one. It is called the relation between Tonic (D) and Dominant (S). It is the chief element in key-relationship. These two chords alone are sufficient to make music. Many a single page of brilliant classic music con- sists of the chords D and S. St. Co. (New.) Ex. 76, STOOND STEP. - 21 Thirds, Sixths, and Tenths, Most classes and all self-teaching pupils will be glad to study the harmony (or the sounding together of tones) as they sing, and they will sing the better for doing so. Intervals or distances between tones, are generally counted step-wise on the scale—always including the two extremes. Thus the distances between d and r or m and f are called a second, those between d and m or r and f are called a third, and so on. Dy counting, in this way, on the modulator, it will be seen that from d to the m next above is a third, from d to the m next below (m) is an inverted third, or a sixth, and from d to the higher octave of its m above (ml) is a tenth. So also from 1 to d is a third (a minor or lesser third) from 1 to d is a sixth, and from 11 to d' is a tenth. What are the intervals between m and S P —m and sl?—m and sl? These intervals (which are the third in various positions) form the sweetness of all harmony, and are therefore, abundantly used. In Jºxercise 69 find twelve thirds and six sixths. In Iºxercise 80 find a sixth followed by a tenth. Octaves and Unisons.—Exercise 69 has its first tone and its last, in both parts, the same, that is in identical wnison. At the beginning of the last line of words it has an octave between the parts. These unisons and octaves do not give the true feeling of harmony, —that is, separateness with agreement, and they are seldom used on a strong pulse where they would be much noticed, but they are useful in the flow of the harmony—allowing the parts to pass through them/to something sweeter or stronger, or bringing them to a close on the key tone. Two such inter- vals, one following the other, would make the harmony disappear. Therefore, such a succession is, as the pupil will notice, carefully avoided. In speaking of unison above, we have referred to absolute unison, but the word unison is also commonly used to indicate the singing of the same tones, by male and female voices, an octave apart, as in our “Vocal Klang Exercises.” * Eifths and Fourths.—In Exercise 69 there are two fifths (s, to r in both cases) and in Exercise 70 there is a fourth s, to d. The two tones of a fifth agree with one another more perfectly than those of any other interval except the octave, but they have not the sweetness of the thirds. Their agreement is somewhat hard and cold, though strong and sure. They are, therefore, not very much used in two- part harmony, and two of them in succession are the dread of all composers. I'ourths are the inver- sions of fifths (as sixths are of thirds) but are very much less acceptable to the ear. They have neither the perfect agreement of the fifths, nor the sweet agreement of the thirds, and are much avoided in two-part harmony; even bald unisons and octaves being prefered to them. Where used they are found on a weak (and therefore, less observed) pulse or on a strong pulse in places where they suggest to the mind certain familiar habits of chords to be hereafter explained. Discords.-Octaves, fifths, fourths, and thirds are concords. Seconds, as f against S, or d against r, whether close together or separated by octaves (that is, whether seconds, or sevenths, or ninths) are discords. They sound harshly together. But a ‘Discord may be so sweetly introduced, and so pleasantly brought to a close, and the “part '' which contains it may move so Smoothly that it is made agreeable. This is because the ear naturally notices the motion of the two melodies as well as the actual consonance or dissonance of the moment. Thus, in Exercise 69, we have, on the fifth pulse counting from the last, or the fifth-last pulse, d dissonating against r, but it is so “prepared” by its own previous “sweet ’’ consonance with m, and so smoothly “resolved” by going down step- wise to t, and there satisfying the ear with another Sweet consonance, that it cannot be called unpleasant. It is only unpleasant when singers are afraid of it, and so put themselves out of tune. Hence the advantage of knowing what you sing. Find a similar discord at the close of Exercise 78. Passing Tomes.—As we have observed that the Weak pulse is less noticed by the earthan the strong pulse, so is the second or weak part of a pulse less noticed than the first part. Therefore, things may be allowed there which the ear objects to else- where. Thus in Exercise 79, second score, third measure, second pulse, we find an apology for the dissonant r, because it is on the weak part of a pulse, and because it moves smoothly step-wise from one tone of the scale to the next. Find other ex- amples of the same “part-pulse passing tone" in the same Exercise 79 Ex. 76–Name, pulse by pulse, the harmonic | intervals of Exercises 69, 70, 77, 78, 79, and 80, St. Co. (New.) 22 SECOND STEP. Let the Exercises which follow, be taught with the same process of Pattern from the Modulator, first one part and then the other—taatai-ing in tune every difficultrhythm—Sol-faa-ing from the book- laa-ing from the book—collective reading of words WHEN LANDS ARE GONE. —study of breathing places—and singing to words, as before. Before each exercise, when the key-tonc is pitched, let the pupils Sol-faa by the manual signs the two chords, thus—d m s, strl d', or in middle keys d S1 m, Sl t r d, Ex, 77. KEY A. 12. P. : s |d : – ,d |m : r m : d | r : r m : - .m. |s r n : r |d When|lands are gone f and |mon - ey's spent, Then learn - ing is fmost ex - cel - lent, : s 1 m : - . Pll S : S. : d |t| : tº d : - .d |t| : tº |d : s m : : | : r d : – ,m |m : s s . . d |r : – ,r |m : r |d - and mon-ey's spent, Then learn -ing is fimost ex - cel - lent. : d t| : – ,r | r : : | : m tº ; d | S : – , S, S ; SI |d When lands are 2 In youth f the time we thus employ, Is counted as f the richest joy. gone Them! learn -ing is fºrmost ex - cel - lent. 3 When little else f old age can cheer, These harvests are f most rich and rare, Ex. 78. KEY B5. M. 72. FARMER JOHN. A. L. G. : Si ld : s |m| : d s : s |s : s itſ ; tı |d : d |t| : — | – 1. A |hale old man fis | Far - mer John, A hap - py man is he; 2. Hard work - er, too, f is I'ar - mer John, He la - bours ev - 'ry day, 3. Con - tent - ed . . soul f is Far - mer John, Light-| heart - ed, gay, and free ; - : S 'd : s |m| : di 's : Si |s|| : s , s : sº |m| : di 's : – ' – ; S1 |d ; SI |m| : dº | S : S. S ; SI Iri : m | r : r d : — — He | ris - es, t with the lark f at morn, And sings right mer - ri - |ly. And I as he ploughs, for sows the seed, He sings his cheer-ful lay. In win - ter cold, f or sum - mer bright, He whis- ties mer - ri - ly. - : SI d : Sl |f|| : di SI : Sl |S| : Sl d : d |t : Sl d : — | — : SI,s. SI SI: Si tº 11 *- si,S.S, sº S .d |r : - . Sl Tralala la la, la, la, Tralala, la, la, la, la, Tra. S1,s, SI,51; SI S. It : — si,SI, SI,s: s ,r |d : - .s. m .m. ; r ,r |r1,r1,r1,r1: r ,r d .d : d .t, |d la la la la, f Tralala la la, Tra la la la la la. d .d : t ...t |d d .d ,d : t . Sº Pl ..I'll ; r. •rl |dſ St. Co. (New) & SECONī) STEP, 23 . . . tº THE DAISY. Ex. 79. KEY F. M. 76. Words by Fletcher. A. L. C. S . S : S : m m . T : r : d .d : d : m I , " : r 1, Little flow'r with starry brow, Slumb'ring in thy bed of snow; 2. Basking in the gladsome beam; Or, be- side SOD162 murmuring stream, p] , ſm : m : d d , tº ; tı : d .d : d : d SI . St t : 3. Thee no wind nor storm can tear, From thy love - ly mountain lair; 4. Type of truth, and emblem fair, Virtue strug - gling through despair, S , S ; S : m m , r : I' : d .d : d , r ; m , r d : — : Or with light - ly tinged ray, Wintergone & storms a-lway. Gently bow - ing from thy nest, Greet the water's sil-ver breast. - m .m. ; m : d d , t , t : d .d : d .d : d , t d : — ; Nor the sleo - ty, Sweeping rain, Root thee from thy native plain. Close may sor - rows hem it round, Troubles bend it to the ground; r , r I’ : m r .d : t : d , r : m : s , |m .d : r . Peeping from thy couch of green, With thy mod - est simple mien, Or mid fis - sure of the rock, Hidden from the tempest's shock, t , t , t ; d S. , S: ; S. : d , d : d : In d .d ; tı : Winter's cold, nor Summer's heat, Blights thee in thy Snug re-treat ; Yet the soul with - in is calm, Dreads no an - guish, I fears no harm , S S : S : m m . T : I' : d , d : d , r ; m , r |d : — . . | How I love to see thee lie, In thy low se - re -ni- | ty. Vie with snow - y li - ly's bell,— Queen and fai-ry of the dell. m . m : m : d d : tº ; tı : d .d : d .d : d . t1 |d ! — : Chill'd by snow or scorch'd by flame, Thou for ev-er art the Samo. Conscious that its head may rise, Planted 'neath congenial skies. COME, GENTIE MAY. IEx. 80. REY D. M. 60, twice. A. L. C. m : — : — |m : r : m s : – ; – | –- : – ; d' : — ; – t : r" : t 1. Como, gen - the May, - Come, gen - the 2. Come, flow' - ry May, Come, flow' - ry 3. Como, love - ly May, Come, love - ly l : – ; – |d ; tı : d m : – ; – | – : – ; m : — ; – | r : tº : r d' : – ; — — : – ; ri : s : 8 |m : s : s d' : — ; m s : — : — May, Win-ter, cold win - ter f has ling - cr'd long - May, Chil-dren are long - 'ing f for iver - dant fields, May, - Deck with thy beau - ty, f each wav - ing bough, m : — : — — : – ; d : tº : tº |d : m : m m : – ; d tº ; – : — St. Co. (New.) 24 SECOND STEP. t ; t : t d' : — : s , s : – ; m Now let thy balm - Deck'd with thy flow’rs Bring us the haw - thorn'st || whit - r ; r : r |m : – ; m m : – ; d t so bright Come, Comc, Come, birds' sweet song : pres - ence yields; ling - 'rest thou? m : – ; d |t| : — : — Beating twice to the measure.—Let Ex. 80 be patiently taataid, while the teacher beats every pulse, never pausing and never hurrying. Only thus can the exact lengths of Sound and silence be appreciated. But when six-pulse measure moves more quickly than this should do, each pulse is regarded by the ear as a third of a pulse, and the whole measure as a two-pulse measure with ample use of “thirds.” In this case the conductor beats only twice in a measure. Modulator Voluntaries are used at every lesson. Ear Exercises, like those in “Hints for Ear Bxercises,” and if possible, ear exercises in which the pupil writes the answer, will also be as con- stant as the lesson hour. If the teacher finds that tho pupils do not discover which is reasily, he does not either tell them or let them guess, but he reminds them again of the mental effect of r, and illustrates over again the high rousing r and the low prayerful r, and then again tests them. After the Sol-fa prelude, the pupils must be very careful to note to which tone figure one falls. They do not possess a sufficient clue unless they catch the first note. The teacher should be very careful to make his own pattern clear. One way in which a teacher keeps all his class at work is to cause all that can answer to hold up their hands, and then to select those whose answers he wishes. Another way is to give the proper answer and ask all who were right to hold up hands. - In time ear exercises the teacher 1st taatais with accent two plain measures, then continuously laas a rhythm of two measures on one tone, which he requires his pupils to write or taalai. 2nd, he sol- faas a short rhythm, and requires his pupils to taatai it in tune. Many of the old exercises and some of the “Hints for Ear Exercises” will give him ready materials. yf breez - es * | s : — : — |m : – ; – |m : r ; m s : – ; – : – ; – |d ; tı : d |r : – ; – 1 m : s : s | T : S : S play; and gay, en'd spray ; | tº : – ; – d ; tı : t: | d : " : T. the woodst with the for plea-sure f thy May-time,t why Fill all Longing Beau-ti - ful | *E=- May. May. May. m : — : — gen - the flow' - ry lov - ly | *E* imsº Dictation.—Notation, and with it, clear percep- tion, will be cultivated by Dictation Iºxercises. The second part of Ex. 77, second score (or line), fifth measure (always counting the first part of a mca- sure as one) would be dictated thus:–“TRAA lower ty’’ “-AA-TAI r" “TLAA r ’’ “SAA ’’ “SR.A/1,” &c. Ex. 78, third score, first measure, would be dictated thus—“trafatefe lower sis|sis,” “TAATAI lower s lower tº “TAA-AA r.” Pointing from Memory and Writing from Memory will still be practised diligently, as recom- mended at page 12. The teacher who can appoint half an hour before or after the regular class meeting for memory pointing, memory writing, and dictation exercises finds the interest of his class and the accuracy of its knowledge ten folded. At the close of every lesson, one or two of the exercises should be chosen for the memory exercises of the next meeting. The pupil should copy that exercise six or ten times from the book, until he finds by testing himself that he can write it from memory. In the presence of the teacher, even at first, ten minutes is sufficient for writing from memory on clear paper without book. Meantime the teacher may walk about his class to give advice or information. In less than five minutes the quickest have their exer- cises ready. The teacherglances over them andmarks them as suggested at page 12, and the secretary credits the marks in favour of each pupil, in the class book. The teacher can make remarks on the common errors, or shew them on the black board. Elementary Certificate, Pupils now begin to make up their list of six tunes for the Elementary Certificate. See Preface. SUPPLEMENTARY EXERCISES for this step may be found in Wall Sheets. St. Co. (New.) SECONID STEP. 25 / QUESTIONS FOR JVRITTEN OR ORAI, EXAMINATION. l Is the watchfulness of a Class- teacher suffic ent to form in his pupils habits of position, &c. 7 Who must form them : 2 What is the object of the “Chest Exercises 1 '' 3 In the “Vocal Klang Exercises” what are the chief points of the pupil’s study ? 4 Describe the four steps of this ex- ercise and the reasons for each 3 5 What is the special purpose of the “Tuning Exercises,” and what are the three points to which the teacher will give attention during these exercises : 6 When the tonic chord is established in the ear, what do you yourself feel to be the mental effect of a high Ray when sung somewhat slowly 7 Describe the effect in your own words, as nearly as you can describe it, but be careful to describe only your own perceptions not those of others. 7 In the same way, describe the effect of a low Ray. 8 What mental impression do you receive from a high Te'º 9 What feeling is produced by a low Te 10 EIow do you distinguish vowels and consonants : 11 What kind of persons are com- monly lazy in their use of lip and tongue, and consequently indefinite in their vowels and consonants : 12 Why is the clear and marked de- livery of vowels so important to the singer ? 43 Eſold a steady tone without taking breath for ten seconds. 44 Sing Doh, Me, Soh, Doh!, Doh', Soh, Me, Doh, in Keys D or C, to the “for- ward” Italian Laa, as softly and as pleasantly as you can. 45 Sol-fa any example you please shewing the Mental Effect of high Ray', —of low Ray,+of high Te, of low Te. 46 Sing to words the upper part of any one of the Exs. 65 to 70, chosen by the examiner. Sing correctly as to Time Tune and Pronunciation, without breathiness of tone and with proper breathing places. Marks should be given for each of these four points. - 47 Ditto With Ex. 77 to 30. 43 Sing to Laa the Ray and the Tel to any Doh the teacher gives. 49 Sing to Laa the Ray' and the Te to IDOCTRINE. 13 In choosing breathing-places, what consideration is more important than that of the natural division of the mu- sical line or section into phrases? - 14 Give an example (different from those referred to above) the “breathing for phrase.” 15 Give an illustration of “breathing for emphasis.” 16 Describe the called a Round. 17 What is the chief difficulty in sing- ing a Round ! 18 Describe the Four-pulse Measure. 19 Describe the Six-pulse Measure. 20 By what syllabic modification do We express the medium accent in Dicta- tion and in Elementary teaching 21 What is the name for a silent pulse ? 22 What is the name for a pulse-and- a-half sound ! 23 ELow do we name that quarter of a pulse which occurs at the end of the first half 7–that, at the end of the second half º–that, at the beginning of the first half —that, at the beginning of the second half 7 24 EIow would you dictate the last three measures of Ex. 79. 25 When tones related to one another as Doh, Me, and Soh are, or as Sohl, Ter, and Ray are, are sung together or in succession, what is such a combination called '' 26 When one such chord has been first heard and has pre-occupied the ear, “Imusical form ** IPRACTICE. any Doh the teacher gives you. 50 Taatai from memory any one of the Exs. 71 to 75, chosen by the ex- & Inliner. .51 Taatai the upper part of one of the Exs. 77 or 78, chosen by the teacher. 52 Taatai-in-tune the upper part of one of the Exs. 79 or 80, chosen by the CX8.IOlner. - 53 Point on the modulator from mem- ory (sol-faaing) any one of the follow- ing four Exs. 65, 66, 67, 69, chosen by the examiner. 54 Follow the examiner's pointing in a new “voluntary,” containing Doh, Me, Soh, Te and Ray, but no difficulties of time. 55 Write, from memory, any other of these exercises chosen by the examiner. 56 From any phrase (belonging to this stage) sung to figures, tell your ex- in which “breathing for sense” would contradict | if another such chord starts from the highest tone of the first what can you say of the relationship between them : 27 Name or write a third, a sixth, – a tenth. 28 EIow are sixths related to thirds? EIow are tenths related to thirds '' 29 What is the quality in these inter- vals which makes them so much used in E[armony. 30 What is the difference between a common unison and an identical uni- son 7 31 Where are octaves and identical unisons useful in two-part harmony ? 32 What effect on the harmony would consecutive octaves and unisons produce 3 33 Name or write two fifths, and two fourths. 34 EIow are fourths related to fifths 7 35 Of fifths, fourth, and thirds, which contain the nearest or most perfect agreement of vibrations? Which the sweetest ? - 36 In what case are fifths avoided by composers : 37 Why are they not very much used in two-part harmony ? 38 How are fourths regarded in rela- tion to harmony ? 39 Name or Write four different sorts of Concords. 40 Name or write several Discords. 41 Describe how the Discords you have heard are prepared and resolved. 42 Describe the passing tones you have noticed on the weak part of a pulse. aminer (or write down) which figure was sung to Ray,+to Ray', to Tel,-to Te. 57 FIaving heard the tonic chord, tell your examiner (or write down) which tone of the scale (Doh, Me, Soh, Te or Ray) was immediately sung to skaa. I}o this with two different tones. 58 Taatai any Rhythm of at least two measures belonging to this step which the examiner shall laa to you. EIe will first give you the measure and the rate of movement by taatai-ing two plain measures and marking the accents by r or l without beating time, but the two measures you have to copy he will sim- ply laa on one tone. 59 Taatai-in-tune any Rhythm of at least two measures, belonging to this step, which, after giving the , measuro and rate as above, the examiner may sol-faa to you. St. Co. (New.J 26 Ex, 81—3, THIRD STEP, To execute more difficult Chest, Klang and Tuning Evercises. To recognize the a a d b positions, and the warious constitutions of Chords,-the resolution of the “Major Dominant,”—&nd the dissonance d a 7ainst r in S. To recognize and produce the Fourth and Siwth of the Scale. To recognize the different sorts of voices. and one rate of movement. To pitch tunes. To select breathing places. To gain first ideas of Expression. come conscious of the great break from the thick or first to the thin or second register. to mental effect. thin or second register. combinations of quarter-pulse and syncopations. Ex. 81. CHEST EXERCISE. The same as Ex. 54, except that 15 seconds may now be expected from all instead of ten. If the teacher is not quite. sure of being able to count M. 60, he will use at least a string metronome. REY C, B and D. Vocal Klang Exercise, |a : p1 : S | : p1 : S Ex. 83. TUNING F. KERCISE. To be used with the same processes as Ex. 56, taking care to secure a soft tone, each part listening for the others and | : t , r) | : t To observe the relation of speed of movement To recognize and produce one tone in absolute pitch To be- To strengthen in men the To recognize and produce half-pulse silences, various divisions of sound produced by To study the elements of Chanting. To recognize the partial dissonance t f, and the unprepared dissonance f against S. To recognize the relative motion of two parts. Ex. 82. Vocal, KLANG ExERCISE. To by used with Manual Signs and with the same processes as Ex. 55. After exercising in each key, let the teacher test the pitch. There should be no flatten- ing in these chordal exercises. : r" | d' : — : — | learning to enjoy the perfect blending of the voices. Ex. 85 and 86 to be used in the same way, without words. r! : — | S t |d : — KEY D. Tuning Exercise for three “equal” voices. d! : — s : d' t : | : |m : — |s S : |t : — | — : — : m d : — m : d s : — Positions of Chords.-In connexion with the tuning exercises, a study of the “positions” and “constitutions” of chords will promote thoughtful, and therefore sure singing. Only the more intelli- gent classes, or the more intelligent members of classes will be expected to pursue this study. When the tones of a chord stand one above the other as closely as possible (as D when it stands in the order d, m, S counting upwards,-or S when it stands in the order s, t, r) they are said to be in their normal position, the lowest tone being called the Root, the middle tone its Third, and the highest its Fifth. In Ex. 56, measures 3 and 8 D is in its “normal” position. In Ex. 83, measure 3, pulses 1 and 2 S is in its normal position. Let the pupils listen to them afresh, and feel their strength. In Ex. — : — s : r m1 : — st : — |t| > si |d : — | *- *sº 83, measure 3, pulse 4, S has its root in the lowest part, but is not in its normal position. When the root is in the lowest part the chord, even if not in its close normal form, the chord is in the a position. When the third is in the lowest part, the chord is in its b position. See Db in Ex. 85, measure 2, pulse 1, and Sb in Ex. 83, measure 3, pulse 3. Let the pupils listen to them afresh and mark their compara- tive weakness. When the fifth is in the lowest part, the chord is in its c position. This will be illustrated at the next step. The a position is best and most used. The b position is much used to make the melody of the lowest part smoother or more pleasant. The c position is only used in special cases, to be afterwards noted, but chiefly in the close of a section, as in Ex. 85. - St. Co. (New.) - Ex. 84–6, • TEIIRD STEP. •) 27 Üonstitution of Chords.—One or more of the constituent parts of a chord may be omitted or doublod. In Ex. 56, measures 3 and 8 D is com- plete. Completeness we mark (when we wish to mark constitutions) by a figure 1, thus Dal. See Sal in Ex. 83, measure 3, pulses 1, 2, and 4. The root (the most important tone of the chord) is often and freely doubled. The trebling of the root (not uncommon in four-part harmony) is marked by 2. In Ex. 56 measure 7, pulse 2, therootistrebled,— indeed, the chord has to be supposed. If, however, a third or fifth were added to this trebled root we should call it the chord Sa2. The third, the source of sweetness, is rarely omitted. Its omission would be indicated by 3. The third is doubled frequently in Da, Do, Fa, and Fo; but in Db and Fb, where the third is already made prominent by being in the lowest part, its doubling (too much sweetness) is avoided (See Minor Chords, page 46) except for the sake of better melody in the parts; and in S the third cannot be doubled, because its t always gocs to d' of the next chord, and we should then have the bald effect of two t's going to two di's— consecutive octaves. See page 21. The doubled third is marked by 4. It is quite common to omit the fifth. Being so like the root, its presence or absence is less noticed than that of the third. Its omission is marked 5, its doubling 6. See Daş in Ex. 56, measures 4 and 7, and Ex. 83, measures 1 and 4. See Saô in Ex. 83, measure 2, and Sb5 in Ex, 85. KEY C. Tuning Exercise, as above. /*N /"> d' d!: d||t : - || t d' : d' d!: t d':- m s : m s : – || s | s : m ſm : r m :- d |ri : d s : – || s |m : d st: s |d :- s JWords to Ezº. 85 to *From all-that dwell-be low the skies — Let the-Cre | a tor's prăise a rise — Let the Re deem er's name be sung — Through every land by ev’ry tongue — Words to Ea. 86 to Glory-to thee-my God-this night 'for all-the blessings of the light — Keep-me-O keep-me King-of Kings ‘be neath- thine | own Al might y wings — For give-me Lord-for thy-dear Son 'the ill-that I-this day have done — "That with-the world-my self and thee . I ere-I | sleep at peace may be — measure 3. Omitted roots—omitted foundations— are marked on, but we only interpret a chord as having its root omitted when the habits of the ear make it absolutely necessary for us to think of the absent root in such a place. See Ex. 83, measure 1. Progression of S.—Notice that S seldom moves to any other chord than D, its t going to d!, its r to m or d, and its s to d or s or more rarely to m. Sce the close of Ex. 83, and Exs. 85 and 86. Thus these two chords, which arc in their own internal structure the same, acknowledge a relationship to one another, S proves itself the clinging depen- dent on D. But, like other dependents, it is said to dominate—that is to rule the key, and is called the Dominant. In fact, its clear declaration of allegiance to D decides the key. Wherevor, in the region of pitch, two such chords thus cling together there is a key. Let the pupils listen afresh to the softly laad close of Ex. 83. The Chord Four Soh,-Notice, at the close of Ex. 86, the dissonance d against r occurring in the chord of S, the third of the chord being omitted to make room for it. It would be counted as a fourth in this chord. We call the chord “ Four Soh,” and write it thus 4S. In this case the posi- tion is a and the constitution 3. IEx. 84. Name, pulse by pulse, the chords, with their positions and constitutions, of Ex. 85 and 86. Thus Daš, Sal, &c. Ex. 86. KEY G. Tuning Exercise, as above. fi In r n : -Il a r ; d. | r : T | m :- d |d : t|d : - || d |t| : d |d ; tıld :- d |d : s d : - || d s : m s1: s |d :- be taught at Ev. 110. °E ternal are-thy mer cies Lord — | E ter nal truth at tends thy word — | Thy praise-shall sound 'from shore to shore — *Till Suns-shall rise and set no more — be taught at Ev. 110. Teach-me-to live-that I-may dread 'the grave-as little as my bed — Teach-me-to die-that so-I may rise glorious | at the judg ment day — 'O may-my soul-on thee-re pose 'and with, sweet sleep-mine eye lids close — Sleep-that-may me-more vigorous make 'to serve-my | God when I a wake — St. Co. (New.) 28 * TEIIRID STEP. Ex, 87–96, The Hold (as) signifies that the note below it may be held as long as the conductor or singer pleases. Mental Effects of Fah and Lah.-The mental effects of these tones are developed with the same process which was used for t and r, page 15. The manual sign for fah is the hand firmly pointing downwards. The manual sign for lah is the hand hanging down from the wrist. Iºx. 87, KEY A. Effect of high Fah. | d .tl. : d .r | m : d |f : — || Bx. 88. KEY A. Effect of high Fah. | d . m | tº ; sº | f : f |m Ex, 89, REY A. Effect of low Fah. | d . tº ; d .r | m : d | f : — || Ex. 90. KEY A. Effect of low Fah. | d : tºd m, r ; d | f : fi | St : – || Ex. 91. ICEY G. Effect of low Lah. | d. r. m .tl|r : 1 | d ; tı li : – || Ex. 92. KEY F. Effect of low Lah. : sſ (d : m ; d | 11 : — : tº |d : – || Ex. 93, KEY D. Effect of high Lah. : d m : s , t : 1 || 1 : — I d' || Ex. 94. KEY D. Ditto. | d : m s : m | 1 : — |s Ex. 95. KEY A. Effect of Fah and Lah. | d : sº |m ; d l ; f |m : — || IEx. 96. KEY D. Ditto. | d : s |m : 1 | f : s |d : — || Speed of movement and mental effect.—Hitherto we have studied the mental effect of tones when sung slowly. Let the pupils sing any exercise containing lah and fah very slowly indeed, and notice how their mental effects are brought out. Then let them sol-faa the same piece as quickly as they can, keeping the time and observing the change. Lah and fah are now gay and abandoned * —e tº tº *m-. © instead of weeping and desolate in their effect, and the other tones undergo a similar modification. Let the pupils try in thc Same way any other tunes which are deemed most characteristic. They will thus discover for themselves that great speed of movement makes the bold tones (d m s) sharper in their effect, though still firm; and makes the emo- tional tones (r f 1 t) more bright and lively, but leaves them still the emotional tones of the scale. . Handel in his songs calls “to arms” chiefly by the use of d m s, but he also cmploys d m s with great rapidity of movement to express the abandonment of jolly laughter. Emotional laughter, however, he expresses by the rapid use of t r f 1. It is also well known how effectively his songs employ these emotional tones in their slow and more serious moods. Ex. 113 includes good illustrations of f and 1 in both aspects. In measure 3, pulse 2, and measure 4. pulse 2 we have the quick fah in its lively, abandoned Spirit. In measure 5, pulses 1 and 2 we have the slower fah in its moro solemn effect. In measure 7, pulse 1 we have the quick lah in its brilliant emotion. In the second-last measure we have the slower lah in its loving, earnest, Serious emotion. The Scale.—We have now studied a key- | tone with its six related tones. Seven toncs d thus related to each other are called a scale. f The successive tones of the scale ascending in pitch are, d r m f S 1 t d descending, d! t 1 s f m r d. The pupil must now prac- tise himself in repeating the names of the notes, in their successive order both in ascend- ing and descending. d m and s are readily classified as the bold and strong tones of the scale, and t r f l as the leaning tones. Of these last t and f have the strongest leaning or leading tendency, t leading upward to d1, and f downward to m. Of the intervals of | * this scale and its harmonic structure, more at the next step. d The Standard Scale of Pitch,-Hitherto the teacher has fixed the pitch of the key-tone. The pupils themselves should now learn to do it in turn. Any conceivable sound can be taken as a key-tone, and the relationships of chord and Scale, which we have already studied, will spring out of it. But, -it is found convenient to have one standard scale of pitch tones by which others may be gauged. For this purpose a certain tone called tenor or middle C, which stands high in a man’s voice—low in a woman’s, and is producible by a Ž : St. Co. (New.) THIRD STEP. 29 stretched string giving 256 complete vibrations in a second, is fixed upon as the standard, and its scale is called the “standard scale.” This is given at the side. The octave of this tone C (512 vibrations) is usually given in tuning-forks for vocal purposes. Pitching Tunes.-The pupil strikes the C tuning-fork, and runs down to the tone he wants. That tone he swells out, and then repeats it to the syllable doh. At first it will help the pupil’s memory to notice that he has to spell the words “bag” and “fed '' in running down this scale, thus:— | d' : – t : 1 s : f |m : r |d : – || C JB A G I' E D C Remembering C'.—It is much more easy to fix on the memory one tone in absolute pitch than is commonly thought, and it is a great advantage to be able to do so. Frequently the teacher asks his pupils to sound C (which in a man's voice is really C) and then tests them with the tuning-fork. In this way the pówer of recol- lection is soon developed. In estimating the chances of certainty, however, we should always bear in mind that any bodily or mental depression has a tendency to flatten even our recollections. Classification of Voices. In the following ex- ercises the parts are not kept within so close a range as before. It will not now be possible to “exchange parts.” It is therefore necessary that the teacher should (either himself or by his assistants) examine every voice in his class and divide them into higher and lower voices. The female and children’s voices are naturally pitched about an octave higher than the men's. The pitch tone G stands at about the middle of the range of female and children's voices. In examining these voices, the teacher pitches this tone as a key tone and requires the pupil to sol-faa, first upward and then downward from it. If the fuller—more beautiful—and more easily produced tones of the voice lie above G it may be classed as a high voice. If the best tones of the voice lie below G, it may be called a low voice. Cultivation may afterwards make a dif- ference, but this simple mode of classification answers our present purpose. The high voices of women and children are called Soprano (pro- nounced Sopraano); the low voices, Contralto. The G, an octave lower than the last, serves to divide the men's voices in the same way. It is the quality of the tones above and below G. C or G, not the present reach of the voice, which decides the question. The high voices of men are called Tenor ; the low voices, Bass. The Compass of Voices upward and * downward varies greatly, and is not | the sufficient test of their fitness for 8 the high or low “part ’’ in the music, but it is useful to bear in memory that I " the oasy compass of most voices is about | * an octave and a half. Basses and Con- traltos easily compass—one from Ga to | * C, the other from G to C". Tenors and Sopranos easily compass—one from C, to F, and the other from C to F. Voice trainers commonly give the name Mezzo- (pronounced Metso) Soprano to voices which scem to be between Contralto and Soprano, and Baritone to voices which are neither Bass nor Tenor. But the most scientific of them have reached the conclusion that true medium voices are comparatively rare, and that those which seem so are commonly only un- cultivated Tenors or Contraltos, -the high part of a man's voice and the low part of a woman's being the most liable to neglect. The diagram, at the side, shows the common easy compass of voices as given above. The difference |A| of the type in the letters and the double - printing of F, E, D is explained under Gl the heading “Registers,” p. 32. Octave Marks,—The pitch of doh is # always taken from the unmarked octave { of the Standard Scale, and this d with the scale above it are without octave D marks. But, to save the unnecessary multiplicity of octave marks both in G. writing and printing, the Tenor and B. Bass part are always written an octave higher than they really are. In quot- A. ing octave marks, as in dictation, it may be useful to distinguish the higher G2 octave marks by naming them before the note, and the lower by naming them after,- thus D2 “two-D " — De “D-two '’ — G3 “three G” C. “C-one,” &c. It will help the memory to notice that the higher comes first. Thus, we say that the easy Bass compass is, as above, “from G- two to unmarked C,” that of the Contralto “from G-One to one-C,” that of the Tenor “from C-one to F f St. Co. (New.) 30 THIRD STEP, unmarked F,” that of the Soprano “from unmarked C to one-F.” Naming of Parts.-In the titles of tunes the initial-letters are used to name the parts, tiſſus:— S for Soprano, C for Contralto, T for Tenor, and B for Bass. Breathing Places.—After Ex. 11.3, the breathing places are no longer marked, but if the markings already given have been carefully studied, the pupils will be able to mark breathing places for themselves. Before the words are read collectively the class should do this under the guidance of the teacher, who will often remind them of the prin- ciples laid down, page 16. In addition, it may be noticed that if one wishes to take breath before a strong pulse, the time of the breath must be taken from the end of the previous weak pulse; but that if one wishes to take breath before a weak pulse the time of it may be taken away from the beginning of the same pulse,_that it is not only convenient but necessary to take a good breath before all long sustained tones or long connected passages. In sol-faaing or laa-ing breath should still be taken “for phrasing.” This will lead to a study of the musical phrases. The importance of taking breath for clear soft “emphasis”, will appear in such Exercises as 97, where the purity of the tone on the first dº will be wonderfully im- proved by requiring a breath to be taken before it. Expression is such a use of loudness and softness in singing as tends to make the music more expres- sive. Even in the earliest steps, pupils enjoy thus embellishing their music. In the fifth step the subject is more fully treated. Here it is enough to draw attention occasionally to what is indeed the chief part of expression—that which is Sug- gested by the words. In our Tonic Sol-fa books we Carly adopted the plan of using type-marks for this kind of expression. First, there must be fixed the medium or normal degree of force proper to the general sentiment of the piece to be sung, then whatever words are printed in the common type are to be sung with that appropriate medium force, whatever words are printed in small CAPITALs are to be sung louder, and whatever words are printed in italics are to be sung more softly. In writing, a single line is drawn under the words for italics, and a double line for small capitals. These marks of the pen can be easily added by the student to his printed copy. In Exercise 97, the general sentiment of the words is subdued and prayerful; therefore the common type indicates soft singing, but in the last two lines the spirit of earnestness rises to a climax and demands greater force of voice. The general spirit of Ex. 100 is soft and gentle, but it should begin very Softly—in- creasing in force as the phrase ascends. Ex. 101 and 102 also open with ascending phrases to be treated in a similar way. Continuous or repeated tones as in the second line of Ex. 103 and in Ex. 65 suggest the same treatment, Notice that any tunes like Ex. 102 and 103 which require a light and tripping style, require also a soft voice. Observe, in all these cases, how useful this distinc- tion of loud and soft is in marking out the musical phrases or in “phrasing.” Ex. 97 to 103 should now be taught in the same manner as before, except that previous to each exercise, the teacher will put the voices in tune by causing his pupils to sing, after his manual signs, for a low key-tone, d, m, s, f, l, d', -s, t, r', d', and for a middle key-tone d, 8, m, d, f, l, d, . 5, tº r, d. SUN of MY SOUL. IEx. 97. KEY C. Mainzer. : s , s : s d' : t | 1 : 1 |s : 1 | f : s |m : d' It : 1 |s 1. Sun of my soul,"f thou | Sav - iour dear, It is not night fif thou be near : 2.When the soft dews f of kind -ly sleep My wea - ried eye - lidst gent -ly steep, : m |m : m |d : r | f : f |m ; d. ||r ; tı |d : m | r : d |t| 3. A - bido with me f from morn till eye, For | with - out thee f. I can - not live: 4.Come neart and bless us when we wake, Ere through the world:tour way we take: St. Co. (New.) ill.IRD SI E1. - 31 ' ' S s : s d' : t | 1 : 1 |s : s 1 : t d' : ri', r d! : t d! Oh may f no earth - born cloud a - rise, To |hide theef from thy | ser - vant's eyes. Be my last thought,t-Howl sweet to rest For ev - er f on my Sav-iour's breast! : S f : f |m : s l ; f |m : m | f : r |m : f s : – , f |n) A - bide with me t when night is migh, For with - out thee t I dare not die. TILL | IN THE or - CEANf| OF THY LovE WE | LOSE OUR - SELVEsfīN | HEAv'N A-Bove. LABOUR'S STRONG AND MERRY CHILDREN. Ex. 98. REY G. $ Round for two parts. d : m s : s 1 : 5 | f : m f : m | r : d tº ; d | r : La - bour's strongfand mer - ry chil - dren, Com - radest of the ris - ing sun, No de - spond-ing,tl No re - pin - ing! | Lei - sure must f by toil be bought; * - I).C. -(|s , : – , s | f : – , f |m : – ,r1|r : r |d : s l ; tı |d : — | – : — | Let us sing f a | Song to-ge - ther, Now our toil f is done. | Nev - er yet f was good ac-com-plished, With-out hand f and I thought. ALL THE SPRINGING FILOWERS. Ex. 99. KEZ F. Round for two parts. # |d : r |m : f |f ; – In : . | : f | S : 1 t : — (d' : !! All the spring-ing ſlow - - ers, All the fruit - ful show - ers, | - D.C., f : — | r , s ) l ; f | s : t # = |* love, d : 1 s : f | All the stars a - bove, Are I tell - ing God is LUILLABY. Ex. 100. Key D. Round for two parts. # d ,r : m .f s : — I d' : d! |t : — Lulla-lul-la-by, . lul - la - by, + 1 : 1 s : — f : f | n : Pl | lul - la - by, Sweet-ly sleep with | | |. : r |d : º - Za - by, f : f | Pl : — l : 1 |s : — lul - la - by, | lul - la - by, + f f |m : fil Sweet = ly sleep with r : I' |d : — | Yul - la - by, ; | : º | - | St. Co. (New.) 32 TEIIRD STEP. DOH, RAY, ME. Ex. 101. KEY G. Round for four parts. | : — — : — | r : — |— : — ..] Doh, Ray, * + }| : s , l ; s f : f | s : f HoDD You R HEAD UP in sol - faa - ing, WEIO COMIES 102. REY EY. Round for three parts. + d |r : r |f : f comes laugh - ing, laugh-ing, Ex. ilº.’ # i". | m : m !augh-ºng, + : m | f : f |ºlº come laugh - ing + s , s: s , s , s , f : m , r |d .d.; d.d | r ,r : r ,r Ha, ha, ha, hā, ha, ha, ha, ha, Ha,ha,ha,ha,ha,ha,ha,ha, Ha, ha, ha, ha, ha, ha, ha, ha, # º, – – – || – |- - Me, FAH, f D.C. | : p1 | f : m r : r ſm : r | O - pen well your mouth in Zaa - ing. LAUGEIING P *- + s : d' | s : m | r ; d, r m : Who comes laugh-ing here a - main P ; GLAD EIFAIRTS AND FIREE. Iºx. 103. REY A. Round for four parts, d : r ; tı : — ; | Glad hearts and free, } S : S : S S : f , m : r , d La, la, LA; LA, la, la, la, la, Registers.-In the highest part of the compass of men's voices, and in the lowest part of the com- pass of women's voices, may be noticed a remark- able change in the quality of the tones. The place where this change occurs is called “the great broak.” It is in all voices between F and G. The break arises from the different way in which the tones are produced in the larynx. Below the break the tones are produced by what we may call the first or thick register of the voice, above the break by the second or thin register. In women's voices there is a yet higher register, beginning with g', which we may call the third or small register. These registers of the voice are indicated on page 29, the “thick” register being shown by large capital letters, the “thin'" by ordinary small + f d : s |m : d s, St |d - We come laugh-ing I here a - main, + D.C. m ,r1: m .m s , s: s , s , s , f : m r |d - | IIa, ha, ha, ha, ha, ha, ha, ha, Ha, ha, ha, ha, ha. 3% m : f : r m : – ; Come sing with I me. T), C. SI : Sſ : Sl d : — ; | Well We A - ' GIREE. capitals, and the “ small” by common letters. * Optional Tones.—Although the lower registers cannot be forced upward, beyond the limits men- tioned, without injury to the voice, the higher registers can in all cases be used some way below their proper limit. So much is this the case with the thin register, that the three tones F, E, and D are called optional tones, and the pupil is advised to exercise his voice in order to equalise the quality and power of these three tones, and to use either register interchangeably. In women’s voices it is this thick register at the bottom which is commonly found to be uncultivated, and in men's voices it is the thin register at the top which is commonly left untrained. *Italic capitals shew the Upper thick and thin registers. St. Co. (New.) Ex. 104, THIRD STEP, i. - 33 Recognition of the Lower Thin Register, It will be seen from the scale, p. 29, that women naturally use this register in the middle of their voices and have no difficulty in recognising it, L that, among men, Basses have little need for it except for solo singing and for any part-music which demands an uncommon compass of voice,— but that Tenors require a careful cultivation of this register and of the “optional tones.” It may also be noticed that Contraltos require a special culti- vation of the first or thick register, but that is deferred till the next step. to discover and recognise the thin register, the teacher causes them to take a loud tone for doh (Say D), which is decidedly within the thick register, and then guides them by his manual signs to sing the chord slowly, thus, d m s. to sing the Soh softly, they will instinctively produce it in the thin register. Having once found that register, it will not be difficult for them to continue the same quality of tone in a downward phrase like the following, s f m r d. Having got back to the doh in the thin register they may then take breath and sing it again in the thick. Of course the pupils can take A or GI for their key-tone. They will then have to follow the manual signs thus, d m s d! ; —d' will be delivered softly in the thin register, and the descending passage in the same register would be d! t 1 s f m r d. It is better that all the men's voices should go through this experiment. Strengthening of the thin Register, Exercise —regular exercise—strengthens the tones of this re- gister so as to make them blend easily into the tones of the stronger register. Like all other exercises in- tended to strengthen the muscles, it must have some- thing of force and violence init, a marked shock of the glottis (see p. 1), but must not be over-strained. I'or. strengthening the legs a run is better than a walk, but over-exertion does more harm than good. Therefore the necessity in the following exercise of using well the forceful staccato syllable koo. It will be remembered that a new combination of the delicate muscles of the larynx is required for every conceivable sound which it produces and that all these muscles and combinations of muscles have to be exercised. Hence, the necessity of using this exercise in various keys, so as to bring intervening tones into play. Ex. 104 should be first sol-faad with the manual signs; second, sung to koo five or more times, much more quickly and force- fully; third, sol-faad again. On sol-faaing the second time the quality of the tone will be found In order to enable men If he allows them to be very much improved. But care must be taken not to fatigue the voices. At first five koo- *ngs will do this, and there must be a rest before the exercise is used in another key. The first and second keys will be quite fatiguing enough at first. The keys are so arranged that without the use of the tuning-fork the teacher can pass from one to another. For example, after exercising in key B, he strikes ray, calls it doh, strikes the chord and proceeds with the exercise again. After thus using what is called the key of C sharp, he strikes tel, calls it doh, strikes the chord and proceeds with the exercise in key C. In the same way the ray of key C will give him key D. This exercise should be used for a very short time, at every future lesson of this step. If the class is a mixed one, women’ should join in this exercise, which lies in the lower compass of their voices, and is easy to them. They will encourage the men's voices, and prepare them- selves for a blending of the thick and thin registers at the next step. - Iºx. 104. To strengthen the Thin Register. To be sung in the highest part of men's voices, and the lower part of women's voices. KEYs B, C#, C, D. | m : f | : m TIME. The Metronome (pronounced metronoam) is an in- strument for regulating the rate of movement in a piece of music. It is a pendulum which can be made to swing at various rates per minute. M. 60 placed at the beginning of a tune in the Tonic Sol-fa notation means “Let the pulses of this tune move at the rate of 60 in a minute.” The stroke of the metronome is the moment when it passes the lowest point of its arc. In the case of very quick six-pulse measure, the metronome rate is made to correspond not with pulses but with half measures—“beating twice in the measure.” Sustaining the rate of Movement. — When a tune, as in psalmody, is intended to be sung to several verses, the singers may vary the rate of movement according to the sense of the words, and in simple songs this rate of movement may be occasionally accelerated or retarded to suit the sentiment. But even this power of varying the rate of movement with any good effect depends upon a previously gained power of sustaining the rate of movement uniformly. Exercises for the cultiva- d : r | :- | St. Co. (Now.) C 34 STEP. THIRD tic l and testing of this power are frequently in- troduced. The teacher causes his pupils to taatai On one tone a simple measure, thus, TRAA TAA TLAA TAA, repeating it steadily, say six times with the metronome, so as to get into the swing. He then stops the metronome and they continue holding the rhythm steadily for another six measures. Just at the stroke of the first pulse in the next measure he lets his metronome go, and then the class immediately see whether they have sustained the rate. Accomplished musicians say that this power of sustaining a uniform speed is one of the first and most important musical elements. The irregular and ever-varying speed of movement, without any apology, on the ground of Expression, which many organists and precentors indulge in, is very painful to practised ears. Remembering M. 60,—It is quite common among Tonic Sol-faists to be able by habit to form a concep- tion in their own minds of the rate of movement given in the title of a tune, without referring to a metro- nome. This power is gained by first fixing in the mind the rate of M. 60 as a standard of comparison. Then, twice that speed, M. 120, or a speed half as fast again, M. 90, are easily conceived. Even some intermediate rates are recollected with considerable precision. To fix M. 60 in the mind, the teacher frequently asks his pupils to begin taatai-ing at What they conceive to be that rate, and then tests them well with his metronome. The recollection of rate of movement is, like the recollection of pitch, af- fected by temperament of body and mood of mind. But these difficulties can be conquered, so that de- pression of either kind shall not make us sing too slowly. - - - The silent half-pulse is indicated by the absence of any note between the dot which divides the pulse in two and the accent mark. It is named SAA on the accented and SAI on the unaccented part of the pulse. See Exs. 105, 106, 107. * The three-quarter-pulse tone is indicated by a comma placed close after a dot, leaving a quarter to fill up the pulse. It is named as below, TAAefe, Ex. 105. Slowly,–and quickly. || 1 , 1 : . 1 . 1 : | | TAATAI SAATAI TAATAI S.'ſ.'ſ KEY F. 1 m, r : .d r.d : | s , f : m . . m .r ; d. || REY G. | S1.3 : , tºld,m : . . f.r it. s m ; d. || With lighter accont and quicker speed TAAefe is the Same thing as TAA-AA-TAI. And this is the same thing in small as TAA-AA-AA TAA. The teacher causes such an exercise as 71 to be sung quickly and lightly. Two quarters and a half are indicated by the use of the comma and dot, as below, Ex. 106. This pulse-form is called tafa TAI. It is the same thing in its nature with the larger and more strongly accented time-forms TAATAI TAA and TAA TAA TAA -AA. The teacher causes such exercises as 72 to be sung rapidly. A half and two quarters are indicated as below, Ex. 107, and are called TAAtefe. This pulse-form is the same in its nature as TAA TAATAI and TAA-AA TAA TAA. See Ex. 75 Syncopation is the anticipation of accent. It requires an accent to be struck before its regularly recurring time—changing a weak pulse or weak part of pulse into a strong one and the immediately following strong pulse or part of a pulse into a weak Its effect in time is like that of a discord in OL16. tune. It is a contradiction of the usual and ex- pected. Both the discord and the syncopation should be boldly attacked and firmly held by the voice,—just as one grasps a stinging nettle to master it. Insufficient definitions of syncopation have led many singers to strike the new accent, indeed, but also to retain the original strong accent on the immediately following pulse. This common misunderstanding entirely destroys the intended effect. In Ex. 108 the first line shews how synco- pations are commonly written, and the second line shews the real alteration of accent which they create and the manner in which they should be sung. The R in our time names assists this ex- planation. Note that it is difficult to “beat the measure '' in the ordinary way (see preface) during syncopations, because they seem to contradict the beating. It is easier to beat simply pulse by pulse. Exs. 105 to 109 should be taught as above, pp. 7, 8, and 19, especially with “time-laa-ing,” p. 8. '...: '... "...: '... I TAATAI TAASAI | TAATAI TAA SAI KEY F. | S. m . . 1 |s.m : | s , f : r , | f |m ; d. || KEY F. | m. s : , s f. 1 : |f ,r : f , n.d.; m, , St. Co. (New). THIRD STEP. 35 Ex. 106 Slowly,–and quickly, 1 : 1,1 : 1 .. 1 . 1 : 1 TAAtefe TAATAI SAATAI TAA IEY GE, d.r,m: d.s.) .11:t) |d, r,t) : f'.m. ||r. :d || I: EY F. |s.f,p); r.m. | f :m |m, r.d ; tı,d |p1, . r Ex. 107. Slowly,–and quickly. , 1,1: 1 ,,1 | 1,1. 1,1 : 1 1 | TAAtefe TAAefe tafatefe TAA REY D. | d rim; f 'm Irm.f,s: 1 | S ºf : m or [ s , f :m ,r || REY D. | m f,s: 1 ,t d',1,s,m: r | d on ; r ,f |m , s :f , 1 || Bx. 108. Slowly,–and quickly. T- | 1 : 1 || 1 : 1 : 1 TAA TAA TAA TRAA -AA TAA | 1 : 1 || 1 || 1 : — : 1 | Ex. 109. Slowly,– and quickly. 1 : 1 : 1 TAA TAA. TAA TAA Chanting is the recitation of words on a single tone with a musical close or cadence at the end. The chant of English origin, called the Anglican Chant, has either two reciting tones with cadences, in which case it is called a “single chant,” or four recitations with cadences and is called a “double chant.” The most important rule in reference to chanting is that the music should be well learnt “by heart” before any attempt to apply words to it. The chant is commonly and properly applied to prose words (see next step), but the chanting of ymns is not out of place when the hymns are very long. It also forms a good exercise preparatory to the art of prose-recitation. The rhythms are so I- -> | 1.1 : 1.1 | 1.1 : – , 1 || – .1 : 1.1 : 1 : 1 | TAATAI TAATAI TAA TRAI 1,1, 1 : 1 . 1 || 1 , : 1 | tafa TAI TAATAI TAA SAM TAA REY G. | m.s,f : m.d | f : r |m,s,f : pl.d tº, ; d || REY C. | s.l.,t: d'.S .1 : s 11,t,d': t , s |f , : m || | | 1 ,f : s ,m | 1 , f : s , m|| 1 ., 1 : 1 TAAefe ,,1 || 1 , | TAAOfe TAATAI : i , 1 TAATAI REY F. | S if, m: r ,d ſtud, r,m; f I&EY F |s ºf s als,fºr n | r ºf . m ..d f.1 : 5 mi | 1 , | | – : — | 1 : 1 | TAA TIRAA -AA -AA TAA , TAA | 1 : — : 1 : 1 | 1 º smº ºr | TRAI TAI TAATAI TAA TAA simple and admit of so little variation that attention can be almost exclusively given to distinct and sharp utterance. The division of words for Chanting is commonly made simply by placing a single bar where the cadence begins and a double bar where the cadence ends. In addition to this there have been many contrivances for guiding the manner of the recita- tion so as to secure appropriate breathing places and to prevent confusion. Our Tonic Sol-fa teach- ings naturally suggest the division of the whole into pulses. Our simple rules are that the syllables which stand together—whether joined by hyphens or otherwise—are to be sung in one pulse,_that St. Co. (New,) 36 * TLIIRID STEP. Ex. 110, this mark before a syllable denotes a silence on the first half of a pulse and a convenient breathing place,—that this mark . denotes a silent pulse, and this — tho continuation of a sound. In Ex. 85 notice the rhythms to the short rocitations TAA TAATAI twice, SAATAI TAA TAA once, and SAATAI TAATAI once, and the rhythms to the longer recitations SAATAI TAATAI TAATAI twice, TAA TAATAI TAA TAA once, and SAATAI TAATAI TAA SAATAIonce. Verify each of these rhythms and study the reasons for their differences of rhythmic form. Why will not one form do for all the short recita- tions, and another for all the long ones P. It is important to notice that the pulses of the cademco and of the recitation move at the same rate although it is customary and also natural to put more syllables into Cach pulse of the recitation than into those of the cadence. In teaching Chanting the teachor causes his pupils (a) to taatai a line by pattern, (b) to recite it by pattern, clearly and distinctly, and (c) to sing it to the chant already learnt by heart. IEx. 110. Chant the words to Exs. 85 and 86. New Consonances.-Hitherto we have had for thirds and sixths and fifths and fourths (See p. 21): m s t r" s r" AND d m s t d s Now, there are added d] 1 m AND f 1 T. f m l The harmony student will find and mark cases of each new consonance, and listen to them while the music is sung. The Partial Dissonance,—The very peculiar interval of the scale f to t with its inversion f to t is not a discord according to the description at p. 21. Dut its offect on the ear forbids it to be called a concord. The ear requires rest and sweetness after it, and therefore expects f to go to m and t, to d. We call it the partial dissonance. See and hear Ex. 116, l 4, ºn 1, p 4.—NoTE.—l stands for line or score, m for measure, and p for pulse, Ex. 119, l 1, on 4, p. 4. But the effect of the partial dissonance is specially illustrated in the cadences of Ex. 99. New dissonances.—We have hitherto studied (see p. 21) one dissonance, d against r. It is the model of those dissonances which occur on the strong pulse and * are regularly “prepared” and “resolved.” . . We now have other dissonances of the same kind. In Ex. 114, in addition to d against r in ºn 3 and 6, We have s against 1 in ºn 4, and f against sin ºn 2. In Ex. 116, in addition to the Ordinary d against r, 7 5, an 1, we have the same dissonance with delayed resolution l 4, ºn 1, and m against f with the less common interrupted resolution,-the consonance 1 “interrupting” the resolution of m' upon r", and f against S in l 1, ºn 2. f against s—Although this dissonance is used on the strong pulse, and with the same kind of preparation as above, it is far more commonly used on the weak pulse and often without any sort of preparation. Its favourite form of melodic pre- paration, however, is when the ficomes down stop- wise from s and goes on as it always must to m. See and listen to Ex. 97, l 2, ºn 2, p 1, 2,-Ex. 111, on 7, p 1—where f is unprepared and has an inter- rupted resolution,-and Ex. 118, 7, 5, p 2. This dissonance f against S is the model of unprepared discords. i Relative Motion of Parts. Two parts may move upward and downward at the same time. This is called similar motion and is generally sweet and plea- Sant as in Ex. 97, ºn 5, and in Ex. 99. When the first two measures are sung with the second two. Two parts may move upward and downwardin opposite directions. This is called contrary motion, and is cxceedingly gratifying to the ear. See and listen to Ex. 97, pulses 3 to 6 and 9 to 12, and Ex. 99, when the third and fourth measures are sung with the fifth and sixth. In the last case, indeed, the parts cross one another. The crossing of parts Wis common in Rounds, but not in other composi- tions. Anything which tends to confuso one part with another is objected to in modern music. Oblique motion is that in which a part “stands”— that is, continues the same sound, while the other part moves downwards or upwards. See Ex. 117, on 6, 7, and Ex. 97, beginning of line 2. Very much of the relative motion of parts cannot be déscribed by these simple terms. The ear could not be satisfied with one sort of relative motion only. It requires variety; but that which satisfies longest is the similar motion. Imitation,--The music-student cannot fail to notice that every kind of imitation is agreeable to the ear. It is a great help to the singer to notice such cases. Imitations in the Waving of the St. Co. /New.) TEIIRD STEP, 37 melody—or melodic figure—such as that simple one in Ex. 70, l 2, where the air of the SCCond measure imitates, in figure, that of the first,--or that in Tºx. 98, between the two parts at the opening of line 2,-Or those in Ex. 101, l 2, are easily per- ceived. The imitations in Ex. 116 are interesting. In the opening, the second part is imitated by the first, for a measure and a half, starting a fifth above. In the second line the music of “grief of heart” is replied to, a fifth above, by that of “killing care;” then, the second part repeats “grief of heart” a small step higher and is again replied to by the air a fifth higher. Let the student carefully verify observations like these ; it will teach him to see more in a piece of music than most others see. When the imitation is in two or more parts simul- taneously, as in Ex. 97, pulses 9, 10, with 11, 12, it is called a harmonic sequence. The study of rhythmic imitation is very interesting. See in Ex. 113, l 2, tafa TAI tafat AI TAA quickly replied to by the same rhythm with contrary motion. See TAA TAATAI TAA in Ex. 116. Find other examples. “Elementary Rhythms,” containing passages selected from popular songs, and published separ- ately, will now make good home practice and prepare for the elementary certificate. Laa Voluntaries.—Whon once the use of the Sol- fa, syllables is fixed in the ear and has obtained mnemonic power, it becomes very important to provent that otherwise useful power satisfying the pupil. The practice of laa-ing every tune which has already been sol-faad is a step towards liberty, but lad-inſ, the Modulator voluntaries is a step further still towards that ready perception of the mental cffects of the tones, apart from associated syllables, which is desired. This practice, there- fore, of laa-ing at first sight from the teacher's pointing should be constantly used. The Pupil's Pointing on the Modulator while he sol-faas must still be encouraged. Where it is possible for the pupils to point in class—each using a mounted “Homo Modulator,” and holding it up, while the teacher passes along the rows behind or stands on a chair or table so as to overlook all—that is the best plan. It makes all work. The “Standard Additional Evercises” appended to this book, introduce four-part pieces at this step. The “Standard Mia!ed- Voice Exercises” and the “Standard Men’s Voice Exercises '' introduce four- part music in the course of this step. OH ! GIVE THANKS. Ex. 111. KEY A. Round for four parts. f # + | : r n : d.,d]r ; tı |d : s m : f |s : n,m | f : r ºr n : d ! Oh! give thankstothel God of hea - ven, For his mer-cy en-ſ dur-eth for ev - er. T).C. | : | : S ; SI SI : d : : S : S | S : Fl | Hal - le - lu - jah, | Hal - le - lu - jah. PEACE, LOVELY PEACE. Ex. 112. KEY EV. Round for four parts. - f $: # f | . r , I m : – , r | , m : f , f is º * S ; Peace, love - ly peacö a - gain re - news her º, Hur- f *. f D.C. S ..,d' : t , ºr |d , s : s ,f | : r d : - | | rah, hur-rah for peace and lib - er - | ty and truth; St. Co. (Now.) THIRD STEP. PRAISE YE THE LORD. ~, Ex. 118. KEY A. A. L. C. Sl : – , sº |d : – , S| |m : r |d : , s s,f.m. ; f, i.r |m : , S Praise the Lord + with cheer - ful voice, f Re-I joice, + re- m : - .I’ll ||Pl : - , Sl : S. |m| : : ,ti | d : Re-joice, |s f.r ; f,"...r II. : f : – , f |m : - , m i r : f joice, Praise the Lord f with cheer - ful | : ...t |d : , S| list.d : ti,d ..I’ | d : , SI l,t.d : ti,d ..I’ | re-joice, re- joice, re- joice, gº |m : , s | 1,8 f : " ..s. If M. r. : d ..." |r : – ,r |d : voice, re- joice, t_ º * > gº ſº ré - joice. | : |l. ...t 3 d. , Sl | li ...t] : d . S. |f : – , f |m| : * | – Praise the Lord, re- joice, re - joice. t : - .d |r .d ; tı .d |r : m |f — m : – , f | s : d 1. In his tem - ple if joy - ful raise TO our God f the I' : - , ml lf. T. : rj .ml |f| : Sl | 1 : — Sl : – , f |m|| : I'll 2. Now his migh - ty | acts f re - cord, Sing the great - ness 3. Now to praise f the namo di - vine, Ev - 'ry liv - ing r .m : r , d [tſ : — SI : - , s d : – , S: m : r |d : — |song †— praise, While the fir - ma- ment f on high, f , S| if ºr | TI : - r] : – ,mi |m| : - . Si ; Sl |m| : — | f of Ollr Lord, Trum - pet, harp, f and psal - try bring, •y f crea - ture join, Bring your sweet - est,[f no - blest Song, S : - , f l r , r_: ". , f |m r |d : ..r |m, r.d : r,d, tº |d , r : m ,s Sing his pow'r f and ma . jes - ty. f Re-|joice, gº º f re- m : – ,r |d .t] ; d . 1 |s| : fi |m| : : , St Id : – , m Sound his praise f with tune - ful string. Re-joice, Swell the chor - rust loud and long, s,f, m : f.p. r |m , f : s l : - . 1 |s : – , d t : r |d : — | joićé, Praise the Lord f with] cheer - ful voice. m, r.d : r,d, tº [d ,r : m f : - , f |m| ! - T is : – , f |m| : — St. Co. (Wew.) TEIIRD STEP. 39 A.M.E.N. *. ^. Ex, 114. KEY C. Mainzer, o S : d' – : t l : r" | — ; d! — ; t d' : – , A. tº tºº gº tº {-} tº * . - men, d : f — : m r : S — : f m : 1 r : S : - , A. * | ºn tº tº tº * tºº gº ºn tº men, S : d' | f : t p1 : 1 r ; S – , t : 1 , t I d' : A. tº wº º g- gº tº tº tº sº º IſleIl, , ſº : — . 1 *- , I' * – , S tº- .d * - , f •ºmº ...t ex- , ºl r f m : A gº tº . ſº tºº tºº tº tºº ſº tº Iſle Ll, THE SECYLARE. Ex. 115. KEY E). Words by Hogg. M. 96. A. L. C. s : – , l ; s s : – , f : m m : – , f : s , 1 : – , s : f |m : r : m 1. Bird of the wil - der-ness, Blithe - some and cum - ber-less, Sweet be thy rep. Em- blem of hap - pi-ness, Blest is thy dwell-ing-place—| Oh! to 8, - m : – , f : m m : – , r ; d. d : - , r : m | f : - .m.; r |d : t, ; d 2. Then, when the gloam - ing comes, Low in the hea - ther blooms, Sweet will thy Yep. Emblem, &c. 1st timo. I).C. 2nd time. s : – , f : m r : m : f m : — : r : ['l : r d : — ma. - tin o'er moor-land and lea. de - Sert with thee! bide in the m : – , r : d tº ; d : r d : — | ; tı ; tı |d : – ; wel - come and bed of love be ; de - Sert with thee! f) o o O O } 1 .t,d': s ,r1 : s 1 .t,d': s ,r1 : S |d irri: r .m,f : m f,s |f .s, l: s ,l,t: d La la la la, la la la la, La la la la la la, f , f : m .d : m f , f : m .d : m d , : t , ; d . r : m f : m . l,t,d': s ,m : s 1 .t,d': s ,m : s d : rm; f isl: s 1,t|d' : - ; . La Ja la la, la la la la, La la la la | f ,f : m .d : m f , f : m , d : m d , ; r , ; m if |m : — ; St. Co. (New.) 40 TEIIRID STEP. •sº IN SWIEET MUSIC. s Gebhardi. Tºx. 116. o |m : REY C. .* | º 5 : 1 , t d' : d' | d' : t , 1 || s : — 1 : s , f In sweet mu - Sic is such art, is such art, d : r .m. | f : f f : m r l’i : d | 1 : s , f | ri : — | f : m , r |d : In Sweet mu - sic, & | : f |m : . . . : : |t : S r! : — — : — EGill ing Care, kill - ing care, | ti : r d : .m |m : d s : — — : — |— : s | f : r and grief of heart, and grief of kill - ing care, and grief of heart, 1 : — — : — | – : — s : 1 .s | f : — | f : s , f |m : — |m : f .m heart, Tall a - | sleep, fall a - | sleep, fall a - | f 2 — : d' It : t d] : — : 1 : — s : f m : — I m : — and grief of heart, Eall &l, º sleep Ol' r ; m , f | s : f m : — : f : — m : r d : — |d : — — : – Id' : 1 m' : — — : — — : 1 |r! : — — : s | dº g sleep, or hear - ing I die, r : — | r : — d : — : | hear - ing die. d : — |t| : — d : — : IBIALLELUJAH. Iºx. 117. ICEY D. -> Mainzer. : : d' |t : - . 1 |s : f.r |r.1 : s , f |m| d': – |- : t d' : | Hal- le - lu-|jah, Hal- le - lu - |jah, A - | º -> II].CIl. | I- I-> Dºº- -> | : d! |- .t :1 |- , s:f |- n:r |— : tº d .m : 1 , s | f | r : s , f |m : | A - | tº- tºº - - º - gºe - men, Hallelul-jah, Hallelu -jah, HALLELUJAH, AMEN. Fx. 118. KEY A. - Mainzer. d , s : – , f | – .m : - .r | r , d: – , tºld , : p1 | r : f |m : s | f : r d : : Halle - lu-|- jah, A- men, A- men, Hal- |le - lu - |jah, A - men, A - men. d : tº li : s , s: 1 : St. film. SI: d. t.) – , S: – , t |- . d: – ,r – .d : – , t d . ; | Hal-lo - |lu - jah, A-I men, A - men, Hallelul - jah, Hal-l - le - lu-l - jah, A-1 men. St. Co. (New.) TEIIRD STEP. 41 ART THOU POOR. Ex. 119. ICEY A. I. L. R. : d , tºld : – , r |m of : S.,d |t| : — d . ; – ; ; ; – | p : f |m : — | º thou] poor, yet hast thou golden slum - bers, O Sweet con - tent \ : m, , filmſ : – , t) |d ,lſ: t ,d si : — |d : — d : — |d : tº d : — | : m of r : – ,d |t| ,r : d ..,m | r : — : d : — tº : 1 Art thouſ rich yet is thy mind per-plex'd, Oh pun - ish : | : d or |t| : - . 1 |s, ,tº: 1ſ.,d t| : - } : lſ : — | r : ri I- (| : — | : d , t d : – ,r |m ºf : s ,d] tº ; d [-...r m of |s : f | ment! T}ost thou laugh to see how fools are vox - cd To add to gold - on \ | st : — : T. S. | 1 : - . t1 |d ºr ; m ...,d S. : d |- .tl. : d .., lilt : r | m : r f : m | r ; d. r : — |m : r d : — — : mum - bers gold - en mum - bers, Oh sweet con - | tent | |d : t 1 : St | f : m T : – |s| : fi mſ : — — : "WHERE I)O THE FAIRIES IDWELL P Ex. 120. ICEY C. A. L. C. s .l.,t : d! . r" |m| , r) : d! r",d',t : ſm', r",d] : .d' : t , d' Tell me where the fair-ies dwell, f Tell me, + Tell me fwhere fair-ies m .r : m , f | s , f : m : s,f . m . : f', m, r |m : I , ") Tell me, Tell me > |rl : , r) : ml ,rl | d' , : — f ,f :-f |- .m. ; r , f | 1 ; : 1 dwell? where fair-ies dwell ? In some cav - ein dark and deep P º |f : s,f,p) |f : s , f |m : — r ºr : r ,r | r .d : t , r : — Tell me In some cavern dark and deep? | - T- |r! : s , s: s | – , f : m , d'It : , t m! : r".r'; r" |- d': t , 1 is : .s no In some qui - et mossy cell ? Oh no! In the depths of shady woods? Oh | — * - | – m .m. ; m .m. |m .r : d .m. |s In some quiet mos - syl cell? f f : f f |f.p.: r ºf |m In the depths of sha - dy|woods? * St. Co. (New.) 42 THIRD STEP. |d : , s , r" : , s |m| r",d!: rl , t d! : — | – : .m. no! Not there, not there do the fair-ies dwell Then *- ; , S : , s , s ,f,p) : f .r m : — | — : ar, ar, /~\ rld't : lm'r'd : t : rſ |f| : — s m', r" : d' , t tell me, tell me, where, where, where P All a - mong the : S.f." | : f,m,n s |r : — m ,s,f : m .s tell me, tell me, (; .t,d': s f .s,l : s , f |m .f, s : r s m', r": d' , t | 1 ,t,d': s , s fra-grant flow'rs, ’Neath the drooping li - ly's bell, In the pur-ple vio-let's ped, 'Tis ||f ,f : m r .m,f : m , r |d .d : t m .s,f : m .s | f ,f : m .m r' d',t : m .rl | d' : — s m', r": d' , t | 1 ,t,d): s f , s, 1 : s , f there the fair-ies dwell. La la la la la la la la la, La la la la la ,f : s , f 'm : — m .s,f : m , | f , f : m r .m,f : m . |m .f, s : r s m', r": d! ,t | 1 ,t,d': s , s ] r] .d',t: ml , r" | dº : — la la la la. La la la la la la la la la 'Tis there the fair-ies dwell. | |d .d ; tı m .s,f : m . |f , f : m .m. | f ,f : s , f |m : — Modulator Voluntaries have now increased in rapidity and difficulty, though they are still confined to one scale. To make sure of avoiding mannerisms and to secure variety, the best teachers find it necessary to study and prepare their voluntaries when they come to this step. The “Hints for Voluntaries” are only intended to suggest such as are suitable for each step. The teacher who wishes his pupils to follow his pointing rapidly can teach them to do so, by never letting his pointer wait for them. - Ear Exercises.-A few two-part Ear Exercises, as in the “Hints,” can now be wisely introduced, but only to quick and observant classes. To others each “part" of the exercise will serve as a separate exercise. When the great majority of the class do not follow the ear exercises with pleasure, the teacher goes back to earlier steps, continually re- minding his pupils, not by words, but by examples and illustrations, of the mental effects of particular tones, and continually urging them to notice the jirst tone of the exercise after the “prelude.” The necessity of written answers to the ear exercises increases with the length of the exercises. Time Ear Exercises as at page 24, are still con- tinued. Dictation.-See pp. 12, 24, but name the octaves as at p. 29. Thus, the beginning of the last line above “TLAAtefe m f s”—“TAA r ’’—“TRAAtefe S one-m one-r.” Pointing from memory, writing from memory as at pp. 12 and 24. Elementary Certificate Slips being given to the pupils, they are now, that is six weeks before the close of the class, constantly coming up for indi, vidual examination in one requirement or the other, first passing the examination of the assistants, and then that of the teacher himself. The examination is conducted sometimes before the whole class, some- times privately, according to the convenience of teacher and pupils. All the requirements must be done within six weeks, else the examination begins again. St. Co. (New.) THIRD STEP. 43 QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 1 What is a “hold”—What does it signify 2 What is the advantage of a know- ledge of chords to the singer ... 3. Describe the normal position of a chordl? & 4 What are the root—the third—and fifth of a chord 5 What is the difference between the a position and the normal position of a chord 7 6 What is the b position of a chord? —the c position ? 7 Which of these positions is the most acceptable to the ear? and how are the other positions used ? What does the name “Constitu- tion” of chords refer to ? 9 How do we figure the omission of the third —of the fifth –of the root 10. How do we figure the doubling of the third l—and fifth 7–and trebling of the root 11 Which of the three tones of a chord is most easily omitted without notice 3 12 What quality of a chord is lost by omitting the third —the root 13 Which tone of a chord can be easily doubled because it is the least noticed!—and which because it is the most characteristic and important } 14 In the resolution of S into D Where does te go —soh!—ray ? 15 Why is S called the Dominant 7 16 Describe the chord 4S 17. What do you yourselves feel to be the Inental effect of low lah?—of high lah . 18 What is the effect of high fall 2 of low fah'ſ 19 How does greater speed of move- ment modify themental effect of doh, me, and Soh! — of ray, fah, lah, te ł Mention any examples that occur to yOu. 20 Which are the strong tones of the Scale, and which the leaning tones? Which have the strongest leaning tendency 21 What are the successive tones of the scale descending in pitch —What are they ascending' .22 Eſow many vibrations in a second give the standard pitch tone, middle Q –In what part of men's voices is this C : Where is it in women's voices? 23 Describe the manner in which º are pitched from the standard SCalle. DOCTRINE. 24 What variable circumstances affect our power of recollecting a tone in absolute pitch { 25 What pitch tone stands at about the middle range of female and chil- dren’s voices !—of male voices ! 26 . How do we judge whether an uncultivated voice belongs to the con- tralto or bass class of voices, or to the Soprano or tenor 7 27 What is the easy compass of the Soprano voice —of the contralto 3 28 What is the easy compass of the tenor voice —of the bass 1 29 Among uncultivated voices, Which part of a man's voice is most commonly found to be neglected?—of a Woman’s 7 30 The octave marks of a tune being taken from doh, how do we know which doh is to be without an octave mark key G. how would the lah below the key-tone corresponding with the pitch E be marked In key C how would the me above the key-tone correspond- ing with the pitch E be marked 31 With what octave marks are the bass and tenor parts written ? 32 In speaking of octave marks for the purposes of ãictation, how do you distinguish the lower doh from the higher doh 7–the lower C2 from the higher C2. 33 If we want fresh breath on a strong pulse, where do we take away the time of the breathing 7 And if on a weak pulse ? 34 Write down all the rules for breathing places which you can remem- ber. 35 What is meant by “Expression” in music?—and what are the elements of tone chiefly employed in it ! 36 In using the type-marks for expression of words what has to be first settled in the mind before those marks obtain their true meaning 7 37 What, then, is the meaning of Common type 3–Italic type 7–SMALL CAPITALs? 38 What is the writing mark for Italics?—for small capitals? 39 Eſow are ascending passages and continuous or repeated tones naturally treated for expression? 40 What other means are there, besides taking breath, of separating and distinguishing musical phrases one from the other while one sings? 41 . What is the “great break of register” in the voice : 42 Where does it occur in men's voices !—in women's 3 Between what tones in absolute pitch is it always found 7 43 ...When does the “small register,” peculiar to women’s voices, commencé ! 44 What are the three commonly used “optional tones” between the thick and thin registers ? 45 Describe or write the exercise by by means of which men come to per- ceive their thin register. 46 Why is forceful action of the larynx necessary to the strengthening of the thin register 7 What syllable puts the organs of voice into the best position for this kind of vigorous effort? 47 Why is it necessary to employ the strengthening exercise in various keys? 48 Describe the process of using the strengthening exercise, Ex. 104. What is a metronome 7 50 What is the meaning of M. 80. placed in the title of a tune? 51 How is the rate of very quick six- pulse measure marked † 52 Why is it necessary to have exer- cises for sustaining a uniform rate of movement 7 53 Describe the exercises for attain- ing this power. - 54, Why should therate indicated by M. 60 be fixed in the mind # Describe the exercise for teaching 56 What is the name for a silence On the first half of a pulse?—for the Second half 7 , 57. How is a three-quarter-pulse tone indicated in the Sol-fa notation? 58 How is the pulse divided into three-quarters-and-a-quarter indicated in the time-names? What are its two larger relatives 59 . How is the pulse divided into two quarters-and-a-half indicated in the Tonic Sol-fa notation and in the time- names ;. What are its larger relatives? 60 How is the pulse divided into a half-and-two-quarters indicated in the Tonic Sol-fa notation and the time names : What are its larger relatives? 61 ... What is syncopation ? How does it affect the next following strong pulse ? 62 What is there in tune like synco- pation in Time? In what style should Syncopation be sung 7 63 What is chanting 7 64. Describe an Anglican single chant—a double chant, St. Co., (New). 44 TBIRD STEP. 65 What is the most important rule in chanting? 66 Why should a student of chant- ing begin by chanting hymns : 67 By what marks are the words divided for chanting, so as to separate the words of the reciting-tone from those of the cadence : How is TAA or any division of TAA indicated in the printing of the words 1 EIow is SAA indicated? SAATAI? 6S What relation is there between the rate at which the pulses of the :* move and those of the recita- 1OIn 79 Hold a steady tone with one breath for a quarter of a minute. 80 Sing, softly and pleasantly, to * Italian Laa, Ex. 82 in keys B and 81 Name, pulse by pulse, the chords with positions and constitutions in Exs. 85 and 86. 82 Sol-faa from memory any example you please, shewing the mental effect of high fah, low fah, low lah, high Yah. .83 Give from memory an example of the manner in which speed of move- ment modifies mental effect. 84 Repeat the names of the scale tones upward, – downward, – repeat the strong tones upward and down- ward, repeat the leaning tones upward and downward. 85 Strike, by the help of a tuning- fork, the pitch tone C (for women's voices C", for men's voices unmarked C,) and run down the standard scale of pitch. S6 Pitch the key D,-G,-A,-F. 87 Strike from memory the pitch note C" (for women) and C unmarked (for men). ' ' . 88 Are the best tones of your voice above G (for women and children) or Gl (for men) or are they below that tone? S9 What is the easy compass of your voice 7 90 For which of the four common parts in music is your voice best fitted ? 91 Write the Soprano of a tune in key C with the proper octave marks. Do the same in key B. t 92 Write down “three G '' – “G three" — “two ray ”—“ray two " — “unmarked G.” & 93. Write the letters by which you would indicate in the title of a tune that it is to be sung by two Sopranos 69 What is the process of teaching chanting recitations : 70 What are the new Consonances introduced at this step, distinguishing the thirds from the fifths 7 71 What is the partial-dissonance, and its effect upon the mind 1 72 What new prepared dissonance have we in this step 7 73 What dissonance is considered the model of unprepared discords? On what kind of pulse does it most com- monly occur, and what is its favourite melodic preparation ? PRACTICE. and a Contralto, by Soprano, Tenor, and Bass, by Soprano, Contralto, and Tenor. t 94 Mark breathing places, consider- ing the phrasing only, to Exs. 100, 101, 98, and 115. 95 Mark breathing places for em- phasis in Exs. 115 and 120. 96 Mark breathing places to corres- Fººd with the sense of the words in Ex. 11 97 Mark with your pen underneath the words the style of “expression ” you think it best to give to them in ExS. 112, 119, and 120, 98 Sing to words any one of the exercises from 97 to 103 as required, page 25, question 46. 99 Ditto With exercises 110 to 120. 100 Sing to laa the lah and the lahi to any doh the teacher gives you. 101 Sing to laa the fah and the fah, to any doh the teacher gives. 102 Sing A in the thin register of your voice,—in the thick register. 103 In the key of C what are the Sol-fa names of your three principal optional tones 7–in the key of G 3—in the key of D?—in the key of A . 104 Sing to koo Ex. 104 with your thin register in key D. 105 Taatai with accent a four-pulse measure, at the rate of M. 60 from memory, at the rate of M. 120,—at the rate of M. 90. * 106 Taatai with accent eight four- pulse measures, sustaining the rate of M. 60,—the rate of M. 90. 107 Taatai from memory any one of the Exs. 105 to 107 chosen by the ex- aminer, the 1st measure being named. 108 Taatai the upper part of any one of the Exs. 113, 115, or 120, chosen by the examiner. 74. Describe what is meant by the similar motion of two parts in relation to each other, by contrary motion,-- by oblique motion. 75 Which kind of relative motion is the least wearying to the ear? Which is the most exciting 7 76 What is meant by imitations of melodic figure? 77. What is meant by imitation of rhythmic form 2 78 What is meant by harmonio Sequence, 109 Taatai in tune the upper part of any one of the Exs. 111, 112, 114, 116, 117, 11S, or 119 chosen by the examiner. 110 Recite in correct time any two of the recitations in the words to Ex. 86 chosen by the examiner. 111 Show examples of the new con- sonances introduced at this step. 1; 2 Ditto of the semi-dissonance. 113 Ditto of the new prepared dis- SOIla IłCeS. ; Ditto of fah against Soh unpre- 8.TeC1. $ 115 Shew an example of similar motion between parts, – of contrary motion,-of oblique motion. 116 Shew an example of rhythmic imitation,-of melodic imitation, — of harmonic sequence. 117 Follow the examiner's pointing in a new voluntary containing all the tones of the common scale but no diffi- culties of time greater than those of the second step. 118 Point and sol-faa on the modu- lator from memory any one of the following seven exercises, 97, 98, 99, 100, 103, 111, 112, chosen by the ex- aminer 119 Write from memory any other of these seven exercises chosen by the examiner. 120 Tell which is lah, which is fah, as directed, page 25, question 56. 121 Tell what tone of all the scale is skaa, as at page 25, question 57. 122 Taatai any rhythm of two four- pulse measures belonging to this step, which the examiner shall laa to you, see page 25, question 58. 123 Taatai-in-tune any rhythm of two four-pulse measures belonging to this step, which the examiner sol-faas to you, see page 25, question 59. St. Co. (New.) Ex, 121—2. 45 FOURTH STEP. To perform Evercises for Strengthening the Chest, securing Purity of Tone, and perſect Blending of “Parts.” To know by ear the Chords of the Subdominant, Dominant-Seventh, Supertonic, Leading-tone Submediant, and Mediant in the Major Mode. To observe Cadences. To remember the structure of the Saai, in its conjunct intervals. To perceive Transition to the First Sharp and the First Flat Keys, its mechanism and its mental effect. To perceive Chromatic Resolution. To distinguish Cadence, Passing, and Extended Tran- sition. To Pitch Tunes. To learn correct Recitation, with Special regard to the consonants. To learn the art of Chanting. To become familiar with the silent quarter-pulse and the sounding thirds of a pulse. To learn the art of Beating Time. To strengthen the Thin Register in Ilſen. To recognise and strengthen the Thick Register in Women. To Blend the Registers. To understand Part-pulse Dissonances. To observe various points of Musical Form. Ex. 121. CHEST AND KLANG. These exercises staccato “koo,” at M. 50. Fourth time, the same are now united. The lower part is to be sung as in key Dº. Fiſth time, in key D, the upper voices a chest exercise, always to the word “Skaa-laa,” laa-ing as above, at M. 50. Laa-ing is used here and on one breath. When taken at the rate of as a rest before the last effort. Sixth time, in key M. 50 the pupil will have to economise his breath E, the upper voices sol-faaing, at M. 70. Sol-faaing for 20 seconds. Those who sing the upper part is used here to make sure of correctness of tune may take breath at the places marked. They in the highest tones. The teacher will be careful must deliver the first measure very Softly (pp), not to carry the voices any higher than is here the second measure softly (p), the third measure indicated, for, especially in an exercise with in- with a medium force of voice (m), and the fourth creasing force, he may cause the first or thick register measure with full force of voice (f). As soon as of men to be strained, and unfit them for chang. the exercise is thus sung, the singers must change ing the register on the optional tones. It is parts for the sake of rest and variety, and this remarkable that the woman's voice changes int', is reckoned one performance of the exercise. the Small register just where, an octave lower, the Let the exercise be performed, thus: first time man's voice changes into the thin register. But in key C, the upper voices “slurring” each measure women do not commonly use optional tones below to the forward Italian “laa,” at the rate of M. 60. the G'. ... Their voices, however, require equal care Second time, the same in key D. The teacher will to avoid straining. Basses may use this thin pass from key to key as directed, p. 33. Third register for d' in keys D#, D, and E. time, in key C#, the upper voices singing to the REYs C, D, C#, D#, D, E. Chest and Klang Exercise. M. 70, 60, and 50. #9 - f ºn f d'.nl : s ,r1 [d .m : s ,m ||f , 1 :d', l if , 1 :d', l is , t :r', t , s , t :r', t|d' :- — ;-- | Skaa. tº- - - - - - - - - * * e- laa. d : — — — | f : — — — s : – ||— : – ' d' : — |— :-- Ex. 122. TUNING Exercise. To be used with the parts cannot be changed. IXs. 123 to 126 are the same processes as described at p. 14, except that to be employed in the same way, without words. KEY E. Tuning Exercise for three equal voices. º : — It : — |d ; – 1– : – ; | : t d! : — : | m : r |m : — : | 1 : . : — | f : — |m : — |– : — | : sſ |d : — | f : — | – f : — |s| : — |d : — |– : — The Chord Fah, –The tonesf, l, and d sung together with those chords,--that is, when starting from the | form the chord of Fah. This chord considered fifth below the first or leading chord D, just as the separately and in itself is exactly the same as the chord S starts from the fiſth above, it obtains a chords j and S. But when placed in relation | distinct mental offect. See p. 20. In Ex. 123 there St. Co. (New). 46 FOURTEI STEP. are two cases of Fin its a position. Let the exercise be softly laad, F being dwelt upon longer than its proper time, and let the pupils decide its mental effect. If D is called the Resting chord and S the Moving chord, F may perhaps be called the Serious chord. When D is called the Tonic and S the Dominant, F is called the Subdominant. It is much used before these chords in the Tonic close or cadence. See Ex. 123. It is also much used in its b position. See Exs. 124, 125, and 126. The Chord Seven-Soh.—When f intrudes as a dissonance into the chord of Soh, the chord thus modified is called Seven-Soh, and written 7S. The figure 7 is used because thef commonly occurs at the interval of a seventh above the S ; but it may occur at the interval of a second beneath the S. There is often an additional octave (making a fourteenth or a ninth) between the dissonance f and its resist- ing tone s. When this is the case the dissonant effect is very slight. The dissonant f follows, both in its preparation and resolution, the rules named in the paragraph “f against S,” page 36. Let the pupils softly laa again Ex. , 123, lingering and listening on 7S and its resolution. Ambiguity of Chords.-Observe that there is nothing in the structure and intervals of the first phrase of Ex. 123 to prevent the ear interpreting the chords as : S | S : D | S. But according to the principle named at page 20, the ear naturally prefers to regard the first chord which rules it as a principal chord, and has, therefore, no difficulty in interpreting the first phrase as : D | D : F | D. Except for this pre-occupation of the ear by the first chord which is emphatically struck, D, S, and F are ambiguous. But there is no ambiguity in 7S. It cannot be mistaken for any other chord. It decides the key with an absolute certainty which S does not possess. Major, Minor, and Diminished Chords. – The chords hitherto described have a major or larger third at the bottom. Chords of this kind are by far the most acceptable to the ear. Their tones have a perfect agreement in every respect—a full somorousness. But for contrast and for variety of mental effect, chords which have a lesser or minor third at the bottom are necessary. The minor chords of the scale are R, L, and M. Let the pupil point them out upon the modulator. They are glad of doubled thirds, even in the b position, p. 27. Far less somorous than even the minor chords is the chord Te, for it has an imperfect or diminished fifth. The Grave Ray.—When the tone r is required to tune with f (as m tunes with s, and l with d'), and when it is required to tune with 1 (as d tunes with s, and f with d'), the ear of singers, and of quartet players on stringed instruments, naturally seeks to produce the r a little lower than when it is required to tune with s and t. When we wish to dislinguish this lower or “grave ’’ form of r from its commoner form we call it Rah, to make it cor- respond, in its vowel sound, with Fah and Lah. The interval between rah and ray is called a komma. General Thompson, who first drew attention to this point in his “Just Intonation,” says that in the chord "S the acute form of ray is used because it is more important that it should agree with the root and third of a chord than with the dissonant seventh. His “Enharmonic Organ” proves this. The Chord Ray, r, f, l, (more properly called I?ah) is the most used of the minor chords. It fre- quently occurs in its a position when the bass moves thus— | f : 5, [d || But it is most commonly found in its b position. See Ex. 124. Let the pupils laa this exercise, dwelling on Rb, and listening to it. When F is called the “Serious ” chord, R, from its similarity of effect, especially in its b position, is called the semi-serious chord. The Chord Te, t, r, f.-The root and fifth of this chord form the “Partial-dissonance” described at page 36, and follow the rule of “Resolution” there described. This chord is much used as a “Substitu- tional Chord” for 7S. In many places in which there is not room for "S, or where 7S does not allow so pleasant a melodic flow in the parts, this much weaker chord is substituted. It is chiefly usedimitsb position, whichislessharshthan the «position. Liston well to Tô in Ex. 125. See Ta in Ex. 126. T, in its relation to S and "S, is called the weak moving chord. The Chord Lah, l, d, m, has its chief use in the minor mode, which will be described in the next step. Apart from this, it is used almost exclusively in its a position, Lb being seldom seen, and Le never. La is used, interchangeably with Fö, when the tone 1 is wanted in the bass, and when a minor chord is required to set off the clearer sonorousness of the major. Let Ex. 126 be laad and the T. dwelt upon. Notice that S can resolve into L, as can also 7S and T,-for special effect. L, from its proper mental effect, is called, the sorrowful chord. The Chord M, m, s, t, though in itself as good as any other minor chord, for some reason not yet suf- ficiently explained is rarely used in Modern Music, St. Co. (New.) £x. 123–6, fºotjRTEf STEP. 47 Perhaps the mental effect of its fifth contradicts too strongly the mental effects of its root and third. The tone f in 7S also contradicts the mental effect of the rest of the chord, but it is a decided disson- ance, and is easily resolved downwards. M is called the unmeaning chord. The Chord 7R has, in it, the dissonance d against r with which we are already familiar in the less-used chord 4S. See pp. 21, 27. The dissonating d is prepared and resolved in the same way, in this chord also. "Rb is much used in closes, as a “sub- stitutional chord” for F. Listen to it in Ex. 126. ‘For fuller explanations of the habits of these chords, reference should be made to “The Common- places of Music” and “How to observe Harmony.” We can only attempt here to awaken such an inter- est in the subject, as will lead the singer to further study. A thorough knowledge of the nature and meaning of the music he sings, both heightens the pleasure of the singer, and gives him confidence in striking his tones. This intelligent singing is what we are most anxious to promote. * The Mental Effects of Chords are much governed by the natural effect of that tone which is heard in the bass, especially if it is doubled. But the chief source of mental effect in a chord is its root. It follows therefore that the clearest mental effect of a chord is that which it gives in its a position. It then best developes the proper mental effect of its root. This should be shown by experiment. Ex. 123. REY G. Tuning Exercise, as above. /~ ar, | | | | | || m : 1 | r , f |m : — m d ; f |m ; – ||t| |d : d \t : r |d : — d |d : fſ |d : - || s |d : fſ |s|: s |d : – 'Be hold-how good-and How | PLEASANT IT Is — || 'For brethren-to dwell 'to gether in u ni ty — As the dow of Hermon — || And-as-the dew-that-de scended-up on 'the moun — tains of Zion — - 'For there-the Lord 'com | manded the blessing — | Even life for ever more — . 'The grace-of-our Lord — Je sus Christ — || Be — with you all A men — St. Co. (New.) * For dogmatic summary of the subject see “Mus. Theory,” Book W. Ex. 124. KEY A. Tuning Exercise, as above. /*N /TN m | f : r º: lſ: f |m : r |d I d 1ſ: 1 || st: - }|s|| 1 : d d | :- d | f : fi |s|: - ||m| | f : 1 |s|: s |d |-| 'The Lord — bless — thee — || And — | keep — — — thee — s ... 'The Lord make-his face | Shine up on-thee — || And be gracious un to thee — 'The Lord-lift up-his counte nance-up |on – thee — || and — |give — thoo — peace — Iºx. 125. REY A. Tuning Exercise, as above. /*N /*N | m : f jº f : m.r|m : r |d : — d |d : d t! : - }|d tº:d |d : t |d : — |. d : 1 |-| rſ :d s: sºld :- Ho every one-that thirsteth 'como |ye to-the waters — || And he-that hath-no money | come ye buy and eat — | . Yea come buy wine and milk — || without — money ‘and-with out — price — Wherefore do-ye spend money 'for that which f is not read" || and-your labour for that which satis fieth not — || . . . Hearken diligently unto me 'and eat-yo |that-which is good — || 'and let-your soul 'de light it self in fatness — 'In cline-your ear 'and come unto me — || Hear — and your soul shall live — || Seek-ye-the Lord while-He may be found — || Call yo-up|cm IIim while He-is near — IX, 126. KEY A. Tuming Exercise, as before. |? S : f -ſ; f : m | r : r - d m : r |d : - || d ºr ; d |d ; tı d : - } d |d : sº i-liliği iºli. Now unto him-that is able — | . 'to do-exceeding-A BUNDANT LY 'a bove all-that we o ask or think — 'Ac cording to-the power 'that | worketh in us — | . 'unto him-be glory-in-the church | by Christ Je — sus -— THROUGH — ouT ALL AGEs – | world-with out | end — A — men — ) 48 - FourTH STEP. TÉx, 127, Ex 127. Name, pulse by pulse, the chords with their positions and constitutions, of ExS 122 to 126. Cadences.—It has already been noticed (p. 9) that music naturally divides itself into short portions or phrases. No one can sing over a tune without also observing that several such phrases together maturally form a larger divison of the melody, and that these larger divisions close in such a manner as conveys to the mind with more or less complete- ness, a feeling of rest. These resting-points in a tune are called cadences. The teacher call sol-faa. several melodies, and ask his pupils to hold up their hands, or make some other signal, when he comes to the natural points of rest. These cadences cut the tune into larger portions which we call Sections. These Sections correspond with lines in poetry. When harmony is added to melody, the cadences become more marked and decisive, and the chords move towards these points of rest in a very clear and marked manner. Properly speaking a cadence in harmony consists of the two last chords, but other chords approaching such a cadence are very care- fully marshalled. The principal cadence is that of the Tonic. Listen to it in its various approaches in both cadences of Ex. 86, and 123, and in the Se- cond cadence of Exs. 85, 124, 125, and 126. Notice that the chords F, S, D, contain all the tones of the scale, so that when these three chords proceed to a cadence it is as though the whole scale were sum- moned to do homage to its Tonic. Among these Tonic cadences however is one in which the Dom- inant (S) is omitted, and there is nothing but the progression of the Sub-dominant (F) to the Tonic. This is called a plagal cadence. It produces a very solemn effect when the key is well established in the ear. See Ex. 123. The cadence next in importance to the Tonic is that on the Dominant. Listen to it with its various approaches in Exs. 85, 124, and 125. This cadence is felt to be one of expectancy as well as of rest. The only other cadence to be here noticed is that on L, just where from the common habits of cadences D would be expected. This we call the Surprise cadence. C Positions.—The c position (p. 26) of chords is chiefly used in De, as the third-last chord of a cadence. See IXs. 85, and 124. There is this great peculiarity about the third position of D, that it asserts the key very strongly, for while the chord itself is the Tonic, the Dominant of the key is allowed the emphasis and importance which belongs to the bass tone of a chord. When the cadence St. Co. (New J Listen to it in Ex. 126. |- moves thus, F, DC, S, D, it is as though the music in coming to a close swung like a pendulum from Sub-dominant to Dominant, passing through the point of rest—the Tonic—to which it finally returns. The 6 position of chords is in its own nature unson- orous and partially dissonant, the ear is not satisfied that any other chords should use it except those on the Tonic, Dominant, and Sub-dominant, It com- monly has some apology in the melodic motion of the bass. It is either “passing,” or “continuing,” or “accented and moving stepwise.” Constitution of "S and Minor Chords,—(Compare p. 27.) . Differing from consonant major chords, 7S allows its third to be omitted, because by the help of its seventh, there still remains a third in the chord. Minor chords also differ from major chords in allowing their third to be doubled in the 5 posi- tion, because as the minor chords are in themselves Somewhat harsh and unsonorous, additional sweet- ness improves them. The Steps of the Scale.—We have now learnt the complete common scale of music, and have seen that these Seven peculiarly related tones produce certain effects on the mind by virtue of that relationship. We have seen also that these mental effects repeat themselves in “Réplicates' or Octaves. * The pupils should now beled to observe the Steps, from one tone to the next, of this scale. The teacher may laa the scale and ask his pupils to tell by ear where the tones lie closest to each other. They will quickly see that the two Little Steps, are between m f and t, d. They will not be able to perceive by ear but they may be told, as a mathe- matical and musical truth, that there is a difference among the other steps of the scale, that the three Greater Steps are between dr, f s and 1 t, and that the two Smaller Steps are between r m and s 1. The difference between rayandrah called a komma, is the difference between a greater and a smaller step. The Scale may therefore be described as consisting of two little steps, separated one way by a couple of steps, and the other way by a triplet of steps. One little step has a “major third” (couple of steps) above it, and the other has what is called a “tritone” (triplet of steps) above it. Doh may be defined as that tone of the scale which stands on a little step with two steps and a little step above. The great characteristics of d arc, first, that one little step leads up to it, and second, that the other little step leads down to its third above. From t up to f we have a major third with little steps above and below * See fuller analysis of Scale “Mus. Theory,” Book I., pp. 5 to 10. fºotjRTH STEP. 49 it. From f up to t we have the peculiar interval called a tritone. Thus t and f become the most marked character- istic tones of the scale. From their mental effects t may be called the sharp tone of the scale, and f the flat tone of the scale. We shall presently see how the whole aspect of the scale changes whenever f is changed into a tort into a f. It may be worth notice that the interval from t to f is slightly great- er than the true Tritone from f to t. Both contain a major third, but one has,in addition, to a major third two little steps, and the other one greater step, + and two little steps are larger than one greater step. Perception of Transition, — Transition is the “passing over” of the music from one key into another. Sometimes, in the course of a tune, the music seems to have elected a new governing or key- tono; and the tones gather, for a time, around this new key-tone in the same relationship and order as around the first. For this purpose one or more new tones are commonly required, and the tones, which do not change their absolute pitch, change, never- theless, their “mental effect” with the change of key-relationship. To those who have studied the mental effect of each tone, the study of “transition” becomes very interesting. At the call of Some single new tone characteristically heard as it enters the music, the other sounds are seen to acknowledge their new ruler, and, suddenly assuming the new offices he requires, to minister in their places around him. The musical fact, thus dogmatically stated, may be set before the minds of pupils in some such such way as the following:— “Listen to me while I sing to you a tune. I shall ‘figure' the first line, and you will tell me what tone that is on which the figure “eight’ falls. The tune begins on s. What is “eight?’” Teacher sings to figures as below:— REY F. | ; S | : f |m : r |d : 1 |s 1. 2. 3. 4. 5. 6. 7. 8. | “Yes, the “eight' was s. . What is the mental cffect of s?” The grand or clear note. “Can you toll by your ears, the difference between s and d ? Which gives the fullest feeling of repose, is the stronger resting tone P” d. I will sing the second line of the tune. Tell me the effect on your minds of the tone which now falls to the syllable “eight.’” Teacher sings as follows:— 4 ſº , t | 1 : s , s : fe |s 1. 3. 4. 5. 6, 7, 8. “Was that s—the grand, clear trumpet-tone, or d the firm, final resting-tone P . Listen again, while I sing both lines, and you compare the two ‘ eights.’” Teacher sings. “What was the differ- ence between them P Yes, the first was s and the second sounded more like d. And yet, let me tell you, the two sounds were exactly the same in pitch. How came the second ‘ eight’ to produce so different an effect on our minds? What made it so much a tone of rest and conclusiveness P . . Let us take the Modulator, and you shall sol-faa the two lines you have heard as I point to them.” The teacher points while the pupils sing, but gives the #* the original key where the accidental occurs. lllS : — {: s d' : t | 1 : s s : f Q 1. d 9 ~ * “Was that as before ?” No. “But try it thus again. Did the s sound like d then P Was it any way different from the other s?” No. “Them what do we want to make s sound like d?” A new tone instead of f. “Very well. Then we Will call the new Sound fe, and sing it properly. They sol-faa it from the centre column of the Modu- lator. “You feel that you have passed over into a new key.” The same musical fact, in another transition, may be shewn thus:– - “I will figure two lines. Tell me what is the mental effect of the first mine and of the second nine P. Each line begins on d. What is nine P’’ The teacher figures without the modulator— KEY A. ſºlº d : – ; || || || - 1. 2. 3. 4. 5. 6. 7, 8. 9. | : d | f : m : r |d : - ; taſ: l ; sº | f : — | 1. 2. 3. ...]" '6, 7, 8, 9. The first nine had strongly the effect of f; the second had the repose of d. “Yes, but they are both exactly the same tone in absolute pitch! What has altered the mental effect of the second P” You introduced a new tone instead of tr. “Yes, it was the new tone which changod the effect of f. Then let us call that now tone tau (spelt ta) and St. Co. (New). 50 foLIRTÉ STEf. sol-faa these two lines from the modulator.” They sol-faa. “You feel that we have, as before, passed over into a new key, but into a different new key.” Distinguishing tones of transition.—When tran- sition is made by means of a new tone instead of f, the mental effect of the new tone is felt to be in contrast with that of the tone blotted out. The desolate tone is changed for a piercing tone, and the flat tone of the old key is thrown out to make room for the sharp tone of the new. We therefore call fe the sharp distinguishing tone. When tran- sition is made by the introduction of another tone instead of t, it is felt that the sharp piercing tone of the old key has been exchanged for the flat desolate tone of the new key. Taw is therefore called tho flat distinguishing tone. The teacher will know how to make this evident to the ear of the pupil. Melodic tendency to transition.—Let the pupils laa (not sol-faa) from the modulator such a passage as this : — *:::: • All º tº }| : m, f | s , ; d |ºlº |t, l ; s } • and they will feel that the fsounds unnatural. It is more natural to sing a sound which is “under- leading-tone to s, as t is to d, a sound which we should call fe. , Let them sing it again, using fe, and they will feel that the mental effect of t 1 s has become that of m r d. The reason is that our ears are so much accustomed to the two full “steps” m r and r, d leading down to a key-tone, that whenever they perceive similar intervals accented in a similar manner they prefer to interpret them as m r d. Try the only other interval of two full steps in the Scale, 1 s f, and you will find the same habit of ear, the same tendency of mind to interpret this interval as m r d. Deal with this example as with the other. # | : — | 1 : — s : — | f : — KEY D. {|a. in | s : t | : 1 |f – I-> > tº |f, s : 1 | : — |s - Here t is felt to be the unnatural tono, You want an “over-leading-tone” to 1, as f is to m. The ear naturally interprets the constantly repeated f S 1 as d r m, and desires to make the last three tones m f m. Indeed it may be noticed that the “tritone,” as a melodic progression (with its three long steps) is not loved by the ear, and that the lower part of the scale is much preferred to the upper. Adjacent keys in transition.—Such transitions as have just been studied are called transitions of one remove, because only one change is made in the pitch tones used. When s becomes d the music is said to go into the first sharp key. When f becomes d we say that a transition is made into the first flat key. Eighty per cent. of all the transitions of music are to one or the other of these two keys, and of them the first sharp key is the one chiefly used in “principal transition,” or tran- sition from the principal key of the music. Tho relation of these two adjacent keys should be very clearly understood by the pupil, and he should be led to notice how the pitch tones change their mental effect. This may be proximately described by the table below. Piercing t becomes Sorrowfull 3 y Rousing r. Grand s j 3 Strong d. Desolate f is changed for Piercing t. Calm Ill. Calm Yıl becomes Sorrowful 1. Rousing r 75 Grand S. Strong d 5 Dosolate f. 3. If the teacher has a black-board, it will be well for him to let his pupils construct the new key by the side of the old one in some such way as this:— —, “I have drawn the scale [as at side] | and you will see that I have observed d f carefully the shorter distances between tê m m f and t d!. Let us suppose that our S is changed into d. To represent lah r this I write d on the right of s. What change now takes place in the Soh—d mental effect of s?” # 3. “In that t case what will I become, and what fah / " | will be the change of mental effect?” me 1 # * “What will t become, and how ! will it change its effect P” + x “What of m P” a , “What of **y 8, r?” ... , “What of d?” , , “What becomes of f P Is thero a doh f Step or a Little Step between d and the tone below it P” x * “What . St. Co. (New J FOURTH STEP. 51 is there between s and f P” x * “Then f is not near enough to the new d to form a proper “leaning tone.’” We therefore banish f from the new key, and use fe instead. This is the principal change of mental effect which occurs. How will you describe it P’’ Again the teacher may say “Let us suppose that f has become a new d. I will write d on the left hand of f. What shall I write on the left hand of m P-r P-d P−s?—l ? What becomes of t P”, 4 × “Yes, the new flat tone is put in its stead.”f Returning Transition.-As a rule all tunes go back again to their principal key, but the returning transition is not always taken in so marked a manner as the principal transition, because the principal key has already a hold on the mind, and the ear easily accepts the slightest hint of a return to it. Commonly also it is in the principal transi- tion that the composer wishes to produce his effect, and in which he therefore makes his chords decisive, and his distinguishing tones emphatic. It is not always so, however, and in hymn-tunes the returning transition is often as beautiful and effective as the principal transition. Let it be carefully noticed that tho return to the original key is the same thing in its mature as going to the first flat key, so that a study of the mutual relation of these two keys is the groundwork of all studies of transition. For convenience of memory it is well for the student to draw a diagram of a principal key with its first sharp and first flat keys, and to s d! f learn by rote the rolations of their - notes. Thus let him say aloud “d f, t "|ds; r s, ri; m 1, m. tº fºot, f dis f—ta d, S r ; 1 r, 1 m ; t to f, t m. It may " I " | be interesting to mention that in passing to the first sharp key, the new r s d t requires the old 1 to be raised a fe—t komma to make it into a new r. If d f it were necessary, this form of the tº m l, tone might be called Lay. Notation of Transition, — Tonic 1, r s | Sol-fa pupils always prefer that their | | | notes should correspond with the s, d f mental effects of the tones they | represent. We therefore adopt the plan of giving to some tone closely preceding the distinguishing tone, a double name. We call it by its name in the old key as well as by that which it assumes in the new, pronouncing the St. Co. (New.) , thus, old name slightly and the new name emphatically, thus M'Lah, S'I?ay, D'IFah, &c. These we call bridge-tones, and write them thus—ml , Sr, df. We call this the better way of indicating transition. But when the transition is very brief we write the new t as fe, and the new f as ta. The teacher will point on the modulator and teach by pattern such phrases as |d : p1 s : d' | Sd ; tı |d or |d : p1 |s : d! s : fe |s and |d : m |s : d's f : m |r or |d : p1 |s : d' | ta. : 1 |s making the pupils sol-faa in both ways. Occasion- ally the transition is taken as in Ex. 129 and 123 on a bridge-tone which is not common to the two keys. In these cases we write the “better” notation of transition thus:— | f : fetſ |d or t : taf |m Signature of Transition.—The signature of the new key is placed over every transition when written according to the better method. If it is a sharp key (i.e. to the right on the modulator) the new tones are named on the right of the key name, A. t., or (if two removes) A. t. m. If it is a flat key (i.e. to the left on the modulator) the new tones are placed to the left, thus, f. B7., or d.f. Bb., and so on. By this the singer knows that he has a new for a new t to expect. More distant removes would have their two or three other distinguishing notes similarly placed. Mental effects of Transition.—The most marked effects of transition arise from the distinguishing tones which are used. Transition to the first sharp key naturally expresses excitement and elevation; that to the first flat key depression and seriousness. Manual Signs.—It is not advisable to use manual signs in teaching transition, because they are apt to distract attention from the modulator with its beautiful “trinity of keys.” The greatest effort should be made to fix the three keys of the modu: , lator in the mind's eye. But if, on occasion, it is wished to indicate transition by manual signs, the teacher may, to indicate transition to the right on the modulator, use his left hand (which will be to the pupils' right) thus. When with the right hand he reaches a bridge-tone, let him place his left hand close under it, making the sign proper to the new + See other “presentations of Transition” in “Teacher's Manual,” pp. 130 to 133, 52 JFOURTEL STEP. key, then withdrawing his right hand, let him proceed to signal the music with his left. He can use the reverse process in the flat transition. Signs could easily be invented for fe, ta, etc., but we do not advise their use. Chromatic Effects.-The ear forms such a habit of expecting t to move to d' and f to move to m, especially in cadences and other phrases meant to decide the key, that a new effect arises when the ear is disappointed of its expected gratification. This is markedly the case when a new t or a new f threaten to decide for us a new key. Some of the Ex. 1275. KEY E. Effect of the new t. most startling and a few of the most beautiful effects of modern music are thus obtained. See more on “Chromatic Resolution of Chords'' in “How to Observe Harmony.” Such exercises as the following should be care- fully taught by pattern from the modulator. Let them be first sol-faad and afterwards laad, the voices lingering on the distinguishing tone. But let the voices carefully mark the resolution (or “progression ”) of that tone, because on the reso- lution it depends whether the effect will be transi- tional or chromatic. B. t. # * f 8 d! f ;: | : d |s * || :- In ; ml |t| : d | ; tı | :-- | t in Ex, 128. REY A. E. t. # ſ 1 º' #d | : d |m : s | f : — |m * || : t: | * || ,-] | i Ex, 129. KEY E9. Effect of fe chromatic. * -: $ ** º | : r | : d | * : — d! : s | ; S |te ºf | :- d—f tº m 7. Ex. 130. KEY Bºb. Effect of the new f. f. Ep. x. 3. lſ r & ;: a | : d | : f | : r | : ds | : m | : f |n : r | | | | Ex. 131. REY F. f. B D. • 8 d fi } a n : d | ; d. It : — d! : fá | : d |s : d | :-- | t| P: i | f Ex. 132. KEY B. Effect of ta chromatic. 3% N. n lſ r ; : " |r : d |t| : taſ l ; tı |d : 8 || || ** ; d |p) ; r |d ! 'r s] di Cadence Transition.—The commonest form of see Ex. 141. We write cadence-transition in what transition to the first sharp key is that in which it gives life and beauty to a cadence. See Exs. 133, and 134. When a transition does not begin before the second-last measure"of a line, and does not con- tinue beyond the cadence, we call it cadence-tran- sition. The first flat key is seldom used thus, but may be called the “improper " manner—that is with fe or ta. The Cadential Movement of the Bass.--|d :r |s, or |r ºr |s sounds like | f :s |d or |s is |d of the first sharp key, and suggests transition to the mind even without the fe. LORD, WHILE FOR ALL. Ex. 133. KEY A. Firmly. J). Croft. : d [m : r in : d |r ; tı (d : d is ; r in fe ſº 1. Lord, while for all man - I kind we pray, In ev - 'ry clime and | coast, : d : ti d : Pl f : s , f |m| : d t : t| d , t : 1 S| 2. O guard our | shores from lev - 'ry foe, Withl peace our |vor . ders bless ; l St. Co. (New J * Or the third last accent. FOURTH STEP. 58 : S f : r ſm : d f : m O HEAR, US FOR OUR | NA - TIVE : m r ; tı d : mſ lſ t! : d With pros - p'rous times our cit - ies 3 Unite us in the sacred love Of knowledge, truth, and Thee, And let our hills and valleys shout TILE SONGS OF LIBERTY. IPRAISE Ex. 134. REY A. Joyfully. m : r |d : m s : f |m : — 1. Praise to God! O let us | raise, d : t l ; d tº , s: 11, tº d : — 2. Praise to him who I made the light, ld : t , 1 ; d f : m | r : — Of that good-ness let us | sing, m : Sl f : l tº, r : d. 1 t : — Praise to him who form'd the ear; 3 Praise him for our happy hours; IPraise him for our varied powers; For these thoughts that rise above, For these hearts he made for love. Passing Transition.—The commonest form of the transition to the first flat key is that in which it makes a passing harmonic ornament, not in a cadence, but in the middle of a line or near the beginning. See Ex. 142, 144. The first sharp key is seldom used thus, but see Ex. 170, 171. We write IPassing transition in the “improper’’ Ill&LIllſleI’. Extended Transition is that which is carried beyond a cadence. The first sharp key is much used in this way in hymn-tunes, often occupying the second or the third lines, and sometimes the greater part of both. See Ex. 135, 136, 137, 140. /*N r : t r : 8 f : r d LAND,-The land we love the most. t : SI f : m f : SI.f. m CrOWn, OUR | FIELDS WITH | PLEN-TEous-l NESs. 4 Lord of the nations ! thus to Thee Our country we commend ; Be thou her refuge and her trust, HER EVERLASTING FRIEND ! TO GOD, German Chorale. lſ : t| d : r t| : l s] : — From our hearts a Song of praise ; f : f m : fel |s : fel |s|| : — Praise to him who gave us | sight; s : f |m : r |d : tº d : — Whence our lives and bless - ings spring. pl r : f |s : – , f |m| : – || Will he not his chil - dren | hear P | 4 Praise his mercy that did send Jesus for our guide and friend: Praise him every heart and voice, HIM WHO MAKES ALL WORLDS REJOICE. The first flat key is seldom thus employed in tunes which are in popular use. It is rare to find such an example of it as Handel gives in Ex. 143. The Exercises.—All the early transitions, and all the more difficult transitions which follow, should be well taught from the modulator. If this is not done transition will become a confusion instead of a beauty and a pleasure to the learner. Missed Transitions.—If one “part" is silent whilo another changes key twice,—when it enters, both bridge tones are given, thus **d. The singer will tune himself by the other parts. St. Co. (New). 54 FOURTEI STEP. o SAVIOUR, Go BESIDE Us. Ex. 135. KEY E. Gently. M. 50. ; d n : r |m : 1 |s : f |m : 1 s : f |m : r m : — — 1. O Sa - viour, go be - side ws, Wher- ev - e, we %ay g0, - ; d |d ; t |d : f |m : r |d : f |m : r |d ; tı |d : — |— 2. O | Shep-herd, go be - side us, And I lead thy faint -ing l flock; IB, t, & f. E. : s d ºr ; m | f : m | r : — |d :lim | f : m | r : r d : — | – | And] let no harm be - | tide 26S, Prom na - lice of the foe. : sld |t, ; d. l ; si |f| : — |m| : fid |t| : d | f : s , |d : — |– With] pas - tures green pro- vide llS, And well-springs from the rock. 3 O Master, stay beside us, 4 O Father, go beside us, Our hearts with wisdom store; Till all our wand'rings end; Be strength and grace supplied us, LET WEAL Nor wor: DividE Us To grow for evermore. FROM THEE, our FAITH FUL FRIEND. LO ! IMY SEIEPEIERD’S HANID. C. t. Ex. 136. ICEY F. A. Stone. ſº | d : r |m : m | f : m i r : — I ml : t d' : r" | m) ; r. I d' : — 1. Lo! my Shep-herd's hand di - vine ! Want shall nev - er more be | mine; d : t : l, ; d. |t| : — |df : r | n : f | s : f |m : — 2. When I l faint with sum - mer's heat, He shall I lead my wea - ry | feet f. F. •. lm : m f : f | F : r m : — s : f |m : r d : t d : – ; In a pas - ture fair and | large, He shall | feed his hap - py charge. | fd : d |r : r |t| : s |d : – |m : r |d ; fl. s : – , f |m| | – || To the streams that still and | Slow, Through the ver - dant I mea - dows | flow. | 3 He my soul anew shall frame ; 4 Though the dreary vale I tread, And his mercies to proclaim, By the shades of death o'erspread, When thro' devious paths I stray, There I walk from terror free, Teach my steps the better way. STILL PROTECTED, Lol{D, BY THEE. Words by Tupper. COURAGE . Music by A. L. C. Ex. 137. REY B5, Boldly. M. 112. S 1 : – , Sils : 11, tºld : — |t| : s : - . Sil 11, t:d .r |m : — | r : Dan - gers do not dare Ime, Ter - rors do not scare me, S : - . filmſ : ri ld ; Fl |s : f : – , f f : "I.rld : d |t| : F. t. r : - .d |t|.d : r , t) | f : — | f : fet : – , t t , t d' : — |d : — God, my guide, I'll bear In 1G Man - ful-ly for ev gº €I’. t : - , lls : fſ.m. rt : — |r r s : – , s , s : f m : — |d : — : St. Co. (New), FOURTEf STEP. 55 f. B'). f d : – , t, r : d |t| : — | 1 : Trou - ble's dark-est hour, lm - .s.lf. : T |f|.........If : d : – , r |m : f S — | 1 : TO the Spec-tre's pow - er, d : – , tº d : 1 . I pl : — |f| : 2 Up, my heart, and brace thee, While the perils face thee, In thyself encase thee Manfully for ever. Foes may howl around me, Fears may hunt and hound me, Shall their yells confound me P Never, never, never ! Ex. 138. Let this be practised until each m : – ,r | f : m r : — |d : Shall not make me / cow - €r d : - , till ; sº | f : — |m| : Never, never, never ! s.si: – |s|..si: – sº.nl: — | – : 3 Constant, calm, unfearing, Boldly persevering, In good conscience steering Manfully for ever. Winds and waves defying And on God relying, Shall he find me flying P Never, never, never ! syllable (A - and men) can be taken with one breath. KEY. C. M. 80. - G. t. - lſainzer. d : — |– : — – : — It : — |df : 1 |s : f | – : m r | n : d A - - - sº tº i...— . . . . . . .”.” d : m | 1 : s f : r s : f l m 1 : — |t| : — d : — |d : f. C. — : m | 1 : s f : r | s : f mt : s | 1 : t d! : — — : - - º t- º º - - • | IſleIl. d : — |— : — I — : — |t| : — ds : — — : f |m : — — : O LITTLE CHILD, LIE STILL. Words from the “Lamp of Love.” A. L. C. Ex. 139. REY D. Softly. M. 96. : m m : r ; m s : – ; f |m : — : r | r : – ; – |d : r : m 1. O ..lit - tle | child, lie still and | sleep / Je - sus is 2. O lit - tle child, lie still and rest,- PIe sweet - ly : d |d : tº ; d m : – ; r d : — ; t |t| : – ; – |d : d : d 3. O lºt - tle | child, when] thow Anust die, Fear no - thing 4. Then! with thy an - - gel wings quick grown, Shalt thou as - r : – ; r |r m : fe is : – ;(s) is : 1 : t , d' : – ; T near, THOU | NEED'ST NOT | FEAR ;— No one need | fear whom sleeps whom Je sº sus keeps, And l in the morn - ing t| : – ; t — ; d. t, : – ;(n) ||...} f : r in : – ; them,-- But say A - men To | God's com - mand, and cend, To meet thy | Friend,- Je - sus the lit - - tie St. Co. (New). 56 FOURTH STEP. m : – ; r | r : – ; m s : – ; – f : – ; – |m : – ; s s : 1 : t God doth keep, By day Ol' night. Then lay thee wake, so blest, IIIs | CHILD TO 13E, Lovel ev - 'ry d : – ; t |t| : – ; d |t| : – ; – |t| : – ; – d : – ; m m : f : r qtd - , et lie In his kind hand Till he shall child will I own— Safe, at - his side And thou shalt d : — ; m m : – ; r | r : — : m | : — : — | r : — : m |d : — down *n slum - ber deep Tº!! I ºo?”, tº tng Wight. One, but I love him best ; – He first - lov’d thee. m : – ; d |d : – ; t |t| : – ; d |d : – ; t |t| : — : — |d : — Say, “Dear child, come fly To | HEAVEN's BRIGHT . LAND.” live be - fore the throne, BE-1 CAUSE THE DIED ! | BLEST BE THE HOUR. Tune “Dublin.” Ex. 140. KEY G. - - I). t. : m m : S : f m : r : d r : l ; tı d : — ; T S 1. Blest | be the hour when | friends shall meet, Shall : d d : t| : 1 st : – ; iſ f : – ; f m! : – ; tım 2. Sweet I hope, deep cher tº ish'd, I not in vain, Now - f. G. d 1 : t : d! |f__: n : r |d : – ; f d [r : – ; n | f : – ; m meet to part InO || more, And with ce - I les tº tial f : — : m r : d : tº id : – ; lim, s : – ; d 11 : tº ; d crown'd, Alll that was dead TG = thou art | rich tº ly r : m : d d t ... Sl S : f : m r : ll : tí d : — *===º | wel - come greet, On an im - mor gºe tal shore. Sl : – ; 1 Sl : – ; Sl t| : – ; d f : – ; fl. . . m . — wives a - gain; All that was lost is found. 3 And while remembrance, lingering still, 4 Their Father fans their generous flame, Draws joy from Sorrowing hours, And looks complacent down; New prospects rise, new pleasures fill The Smile that owns their filial claim The Soul's capacious powers. * Is THEIR IMMORTAL CROWN. - HALLELUJAH. lºx. 141. KEY C. M. 72. Natorp, : — |m : — s : s : d : — ta : — ta. : 1 : Hal - le sº lu - jah! Eſal - lo * * lu - jah! d : — |d : — |m : m : d : r ſm : — | f : f | : St. Co. (New). FOURTEI STEP. 57 | : — d' : — t . . . . Hal - le - lu - jah! Hal - le tº- ||r : n |fe : – |s : s , : s__: l l t : – ſ FT — m' : — r — — : — iſ | FIal --> le - - lu º - - º º jah f : — d! : — s : — — : — |d Ex. 142. Key Bb. M. 58. THROUGH THE DAY. s] : d |t| : d r ; d. tº d : d m : m | r , d:t 1.Through the day thy | love has spar'd us, Now we lay us m] ; pil |s : li |f| : S1 |m| : T |d : d |ti. 11: s 2. Pil - grims here on l earth, and strang-ers, Dwell-ing in the s] : d |t| : d |r ; d. tºld : d |m : m | r .d.; tı | Through the si - lent watch-es guard us, Let no foe our m! : riſ | Sl : l f : Sl |m| : m d : d |tt, l: Sl |Us and ours pre -l serve from dang - ers, In thine arms may d : ta | 1 : l l r d |t| : – |d : r |m : f Je - sus, now our guar - dian be, Sweet it is to d : rj | f : fſ | r : feſ |s : — |m| : fi |s|| : 1 And, when life's shortl day is past, Rest with thee in IEx. 143. KEY F. f B9, GREAT IS THE LORD. d : m : f s : – ; d's f : — ; m | r : — 1. Great is the Lord : his works of might d : d - : r m : – ; m t| || 1 : – ; d S| - 2. Great is the mer º cy of the Lord ; - F. t. d ,r : m : r d -* — ||tſm : s , f : m m : r H.-- blest songs: - Let his as - |sem - Ti of: S : S. | : – ; – |s|d : m .r ; d d t childT- ren food; - And, ev - er mind - m : r : m 11 : tº ; d d ,r ; m : r d : — nite TT Theirſ har - Ill() - Hi- of tongues. d : tº ; d .ml | f | – : m 11 : s : s |d : — word, He makes his pro — mise good. m! : — | f : — lu 4- jah! | d : – | f : – ) e - | e : — & 11 : 1 |s : — down to rest; st : fel s : — midst of foes; peace mo - lest : st : fel s : — WG re - pose, m : r |d : — trust in thee. S! : S. : — heav'n at last. IHandel. : m l] ; tı : d De - mand Ollſ : di |f| : rj : m He gives his : d I d' : t , 1 ; S.f lled! 'saints ll - : d |m : f : m .r ful of his St. Co. (New). 58 FOURT II STEP. ‘ ‘ O’ER, TIBIE I) ARE WAVE OF GALILEE.” Ex. 144. REY B9. M. 72. Words by Russell, A. L. C. m : r : d t| : l ; SI lſ : – ; tı |d : – ; – s : l ; tal 1. O'er the dark ſwave" of Gal - i - | loe The gloom of d : rſ : mi fi : – ; m, f : – ; S.f, m : – ; – |m| : fi : si 2.The wea - ry bird hath left the air, And sunk in - lſ : – ; r |- “. : d t| : – ; – m : r : d t| : l ; st =-mº- -mºs twi º light ga. - thers fast, And on the wa -> ters f : – ; fi 19__: S. : ll s] : — : — d : rj : m | f : – ; pil to his shel º ter'd l nest ; The wand-'ring beast hath lſ : — ; tı |d : – ; – | r : m : f |m : d : r d : – ; t |d : — : — drear - i - ly De - scends the fit º ful ev - 'ming blast. f : – ; st.filmſ : – ; – |f| : m) : ri d : ". : f |m, : – ; r di : – ; — | sought his l lair, And laid him! down to wel - comel rest. 3 Still, near the lake, with weary tread, Beasts have their dens, the bird its nest;- Lingers a form of human kind; He hath not where to lay his head. And, from his lone, unsheltered head, Flows the chill night-damp on the wind. 5 Such was the lot he freely chose, To bless, to save, the human race; 4 Why seeks not he a home of rest ? And, through his poverty, there flows Why seeks not he the pillowed bed P A rich, full stream of heavenly grace. I LOVE MY LOVE. Ex. 145. KEY C. - M. 88, twice. Words by Charles Mackay. A. L. C. s : m : s , 1 ; – : s , s : – ; f |m : – ; d! d' : t : d! |m| : – ; d. t : – ; – 1.What is the mean - ing of the song That rings T so clear and loud, | m : d : m | f : – ; m m : – ; r |d : – ; m |r1 : r : m |d : – ; m s : – : – 2.What is the mean - ing of thy thought, O maid - en fair and] young P | 3.0 hap - py words ! at | Beau - ty's feet Wel sing themere our prime; |- : : t d' : – ; m s : – ; t d! : – ; m s : – ; ml |m| : f' : m' |r! : d' : t Thou] might - in - gale a - mid the copse,_Thou larkT a . bove." i. ! — : : s.f. In : – ; d |t| : – ; s.f|m : – ; d |t| : – ; d s : 1 : s | f : m : r | There is such plea - surel in thine eyes, Such mu - sic i- thy And when the ear - ly sum - mers pass, And care comes on with St. Co. (New). FOURTH STEP. G. t |d : – ; – |- : ; df |m : – ; m |m : – ; r |d : – ; tı |d : – ;(s) cloud P What says thy Song, thou] joy - ous thrush, | : – ; – |- : :" 1ſt, d : – ; si |s : – ; fl. |m, : – ; r |m| : — º tongue; There! is such glo - ry on thy face— Time, Still be it. OurS, in care's des - pite, To f. C. s : s : s |t| : – ; sº |d : – ; – || – :ds s : 1 : s | 1 : – ; t Up, in the , wal - nut tree ? “I love my love be - mſ : mi : m | f : – ; f, m) : – ; – - : ; lim |m : f : m | f : – ; r What can the mean - ing] be 2 =mºº sm-mºs join in the cho - rus! free— d : – ; d! |t : – ; t d' : – ; – |r! : – ; – |m| : – ; – | – : : s , s : l ; s | CallS0 I know My love loves me, I love º m : – ; d.m. s : – ; f |m : – ; – s : – ; – d' : – ; – | – : ; m |m : f : m | 1 : – ; t d! : – ; d. t : – ; s m) : – ; – |r! : – ; – d' : – ; – – : – ; love be- cause I know My love loves me.” |f : – ; r |m : – ; d.m. s : – ; s s : – ; – | f : – ; – |m : – ; – | – : – ; Pitching Tunes.—By this time the pupil is probably possessed of a C" tuning fork, but that should not prevent (it should rather promote) his constantly exercising himself to remember “One C” (C) as recommended p. 29. In pitching the key E, it is useful to suppose your C's, and fall on your key-note thus, s m d. The pupil will not now find it necessary to run down to G, but will fall upon it at once from his C. E may be pitched by falling to m, thus, C'd' s m – rid. A may be pitched by falling on 1, thus, C'd', 1 – d. D may be pitched thus C'd' r" - "d'. . The key may be pitched a little higher (sharper) or a little lower (flatter) than any tone of the “standard scale of pitch,” p. 29. The tones thus required are named “F sharp,” “E flat,” &c., and the sign 9 is used for “flat,” and tº for “sharp.” A sharp bears no relation to the tone below it and after which, for convenience, it is named, but its relation is to the the tone above it. To that tone it is an under- little-step, as t to d. It is like the f, in transition, changed into fe. In order to strike it correctly we sing the tone above and then smoothly descend a little-step to it. A flat bears no relation to the tone above it and after which it is named. It is an over-little-step (as f to m) to the tone below it. It is like the t, in transition, changed into ta. To pitch it correctly in the cases of AD, G p, and D9, we should sing the tone below and then rise to it a little step. But in the more commonly used keys of B9 and E2 it is easier and surer to pitch thus:- For BD suppose your C to be s and sing s f – fü, For EP, suppose it to be 1 and rise stepwise to d", thus, C'l – t d', Recitation.-The art of reciting well on one tone is a very difficult but exceedingly beautiful one. A pure, and exact enunciation, making every word stand out as it were in bright colours before you, is a wonderful charm even in common speech, but when one listens to the clear utterance of some great singer, words seem like old friends arrayed in startling beauty and inspired with new power. A good elocutionary recitation depends on the study and practice of the most suitable rhythms, emphases, and pauses for expressing well the meaning of the words, and on a thorough mastery and careful practice of the articulations and vowels of speech. The emphasis of words belongs to elocution rather St. Co. (New). 60 FOURTH STEP. than to singing. The choico of accent also, in words set to music, belongs to the composer rather than to the performer. Varieties of rhythm the pupil will learn in the study of chanting. But the consonants and vowels, the articulations and continuations of voice, are proper-objects of the singer's study. Of these, the vowels or continua- tions are the more important to the singer, because on them alone can a good tone be prolonged, and every fault a man has in speaking vowels is greatly magnified the moment he begins to sing. But the vowels have already been practised to some extent in connexion with the voice exercises, and will be studied more fully in the next step. Besides, in first attracting the attention of the pupil to the action of his vocal organs it is easier to begin with the consonants. In preparing the scheme of excr- cises on consonants and vowels, the author has been greatly aided by old studies of Dr. Rush on the Voice, and by Mr. Melville Bell’s “Visible Speech” and “Dictionary of Sounds.” But his chief help has come from the generous and patient personal assistance of Mr. Alexander J. Ellis, author of “English Phonetics,” “Early English Pro- nunciation,” and other works. An Articulation is a joint. A joint implies in this case both a separation and a connexion of spoken sounds. The lips may come into contact with one another, or the lip touch the upper teeth, or the tongue touch teeth or palate. There may be thus an absolute or nearly absolute stopping of the vowel sounds. And these points of separation are also made points of junction. They are joints or articulations. Qualities of articulation.—If the student produces strongly P and B, without any distinct vowel following them, as in la-p, twº-b, he will soon notice that P has a hard quality and gives nothing but breath; that B has a softer quality and Something of voice in it. In fact the larynx takes part in the act of articulation. The same differences may be easily noticed between the Tip-tongue articulations T as in pe-t, and D as in maî-d, and between the Back-tongue articulations K as in seek, and G as in plagſue). These we propose to call the two qualities of articulation,-the Breath quality, and the Voice quality. - Modes of Articulation. — If the student pro- nounces carefully the Lip-articulations P as in shee-p, WH as in wh-ile, and with the use of the teeth F as in li-f(e), he will soon notice that in producing P the lips shut the passage of the breath; that in WEI they give it a narrow central opening; and that in F thcy oblige the breath to force its way through chinks on both sides of the point of junction. It is easy to notice the same difference of passage in producing the Tip-tongue articula- tions T (with shut passage) as in be-t, S (with central opening) as in la-SS, SH (central) as in la-sh, and TEI(with side openings) as in wra-th; and in the Back-tongue articulation K (shut) as in la-k(e), and Mid-tongue Y (central) as in y-oung. Again, there is the trill or tremulous motion of the tip of the tongue for the rough R (written R') as in herring, and a peculiar mode of articulation called nasal, in which the voice resounds within the nose, as for M, N, and NG. These we propose to call the five Modes of articulation: shut, central, side, trilled, and nasal. + Organs of Articulation.—The muscles of articu- lation reside chiefly in the lips and the tongue, for the teeth and the palate are comparatively station- ary. The work has to be done by the Lips, or by the Tip, the Middle or the Back of the tongue. We may call the Lips, the Tip, Middle, and Back of the tongue the four organs of articulation. These Organs, Modes, and Qualities produce the following:— The Lip articulations, P, B, WH, W, and M, are easily understood. But it will be seen that in F and V the upper teeth act with the lower lips in making the articulation. The Tip-tongue articulations, T, D, L, N, and the trilled R' are also quickly understood. For TH, DH it will be seen that the tip of the tongue . acts against the teeth. S, Z, and SH, ZH require bóth the tip and middle of the tongue, the teeth and lips, also usually acting. S, Z use the tip more decidedly than SH, ZEI. The letters DH, ZEI, are commonly used by elocutionists to represent the soft forms of TH, SH. The trilled R' occurs only beforevowels. When not before a vowel, R is vocal and modifies the preceed- ing vowel, forming diphthongs. See pp. 143, 144. YH and Y require no explanation. CH and J are double articulations, or conso- nantal diphthongs, and might be spelt TSH and DZH. Hence they are not included in the table. The Aspirate H is simply the sound of breath driven sharply through the open larynx. Its im- pulse comes from the muscular floor on which the lungs rest. Sec p. 96. St. Co. (New). Ex. 146, rounTH STEP. 61 TABLE OF ENGLISH ARTICULATIONS.* IIPS. TIP-TONGUE. BACK- T^_-___-S TONGUE. SEIUT. Lips. Teeth. Palate. Mid-tongue. Breath. IP T tºº ſº R & pea T T toe keen Yoice B — — ” — — — ” bee doe gat?! CENTRAL, Breath. W.H. F. TH — S SH YH wheel feel thin — seal rush hew (yhew) Voice. W. W. DH — Z - ZH Y *= weal weal then — zeal rouge 3/0% (roozh) SIDE. Breath. tº smºsºm === miss=s sº- - gº * Voice. - ~ * I — * gº tº * T lay TRILLED, Voice. — — — ” tºº gº tºº ºs - ray NASAL. *- Voice. M — N — — — NG - S207% S80% sºng How to sing a consonant.—A study of the above table will shew how little there is in any of the consonants which can be sung. The breath articulations with shut posture, P, T, K, have positively no sound'; the hisses WH, F, TH, S, SH, YH, cannot be sung at all, and should be made as short as possible; the buzzes W, V, DEI, Z, ZH, Y, are very disagreeable when continued, although it is just possible to sing them ; the voice articulations with shut posture B, D, G, are far too smothered for singing; and although L, R, M, N, and NG. may be more or less murmured or hummed, they cannot be properly sung. In passing, however, from consonant to vowel and vowel to consonant, that is from - one fixed position to another, the organs necessarily assume an end- e * I- -> , --> . The lips-pro ; duce-with shut : passage | pag: bad || mad : less number of intermediate posi- tions, and voice being uttered during thé time of this change, thore results a varying sound, which may becalled a Glide. This is not a glide in pitch, but in vowel qualities. The organs do not change much, and there is comparatively little glide between b and oo, but there is a great change in the organs, and therefore a considerable glide be- tween b and ee. A similar dif- erence may be observed between the Glides k to ai, and k to oa. It should be noticed that as long as any two sounds, for example An and ee, are kept separate, how- ever closely they are put together, there is no syllable. It is the glide which makes sounds into syllables. Indeed the only part of a consonantal effect which can be really sung is the glide. The exercise of singing a consonant, therefore, consists of making this glide conspicuous by opening the mouth well for the vowel and clos- ing it smartly for the consonant. All real intelligibility in singing depends upon the manner in which the singer brings out the glide, taking care not to introduce puffs, or to prolong hisses or buzzes. On this exerciso he will then con- centrate his attention. Ex. 146. Enumciation Exercises on the Lip articulations. Let the following lines be sung as in a chant, on the tone G, the pupils taking extreme care to make the requisite distinctions of articula- tion and to bring out the glido. When an exercise has been sung to the open aa it should be practised with the other principal vowels ai, ee, aw, oa, 00; for each vowel will introduce a new glide. I-> -- ~~ I- + -- . asp: aab | aam : | aap: paa tº g |-> . The lips-pro : duce-with central : passage || whaa : waa whaa : waa &c. ; : The lips-pro : duce-with [..side : passages faa : Vaa |faa : Vaa Jaaf : avº aaf : faſt ||aav : Vaa | St. Co. (New-) * For Diagrams see “Teacher's Manual,” p. 198. # Don't open lips. † Notc., p. 62. 62 - IFOURTEI -STEP. JEx, 147–152. Ex. 147. Enunciation Exercises on the Tip-tongue articulations. º - º I-- ~ - I-> --> gTheſ Tip : tongue-pro duces : . with shut : passage | taa : daa | naa : | aat : aad in : |aat : tag aad : daa | º -> Jº- > , - : . The Tip : tongue-pro duces : . with central : passage | Saa: zaa Saa : &c. * - º º º > -> --> -> e The | Tip : tongue-pro duces : . with side : passages thaa : dhaa laa : | aath : aadh aal Iº- | aath : thaa aadh : dhaa &c. Ex. 148. Enunciation Exercises on the Mid, Back, and trilled-Tip-tongue articulations. e I- -> . The Mid: tongue-pro duces : . with central : passage shaa : zhaa aash : aazh - -> → I- -> -> . The Back : tongue-pro duces : . With shut : passage |kaa : gaa |ngaa : |aak: aag aang : : . The Tip : tongue | trilled : , pro |duces : with central : passage | raq : Tad |aaraa : aaraa Lx. 149. Pronunciation of the Lip articulations. Recite on one tone (G) paying exact attention to the thick letters. This will require close attention to a careful pattern. Where the pronunciation varies from the spelling, the proper phonetic letters are introduced. The ending articulations and the double articulations are very difficult in singing. They must be delivered very distinctly but very quickly. Cap, cab, pull, bull, cup, cºb, pet, bet, mop, mob, babe, babble, bump, peep, stopcock, tºpmost, leapt, map, member, film, minimum, mumble, triumph. - When, wen, where, ware, while, wile, whither, wither, whim, whip, wharf, whelm, whimper, whiffle, whiff, Fain, vain, fault, vault, fear, veer, foist, voiced, fife, five, serf, serve, safe, save, muff, puff, move, love. Ex. 150. Pronunciation of the Tip-tongue articulations. Bet, bed, tire, dire, meat, need, troll, droll, colt, cold, batch, badge, writer, wider, tight, tied, titilate, tetra- gon, tittletattle, tantalize, avidity, oddity, meditate, paint, pained, painless, nap, map, Son, some, muttn, Saddm. Moss, moth, face, faith, Seal, zeal, ice, eyes, base, baize, sport, store, Skope, Sere, Smile, Swear, Sue, Swit, jezwīt, Spazms, feasts, fifths, desks, zest, assassim, sashes. Death, deaf, loth, loaf, they, few, thrill, frill, path, padhs, oath, oadhz, mouth, moudhz, lath, ladhs, clodhz, close, ladhe, lave, owez, loathsome, loadheth, fair, fair'er, near, near'er, err, err'ing, fir, mirr'or, br'ide, thr'ee, ver'ily, r'evelry, pr’uder'y, litter'ally, liter'ar'y, holily, worldlily, listlessly, follily, blidhely, boldly, falsely, foully, eel-like, ill-look, play, flame, glass, slave, Saddle, kettle. Ex. 151. Pronunciation of the Mid and Back-tongue articulations. Kape, gape, klass, glass, karter, garter, krate, grate, back, bag, duck, dug, peck, peg, pick, pig, frock, frog packt, akt, Sekt, strikt, picknick, Quikset, klik-klak, kricket, clang, clan, thing, thin, dinging, dinning, . singing, sinning, angktious, compungktion, congkord, ungktuous, fungktion, longest, long-gest, rung, run. Ashes, asses, shine, sign, Greeshian, adhezhion, shaises, incizhion, speshial, seizhure, Rushian, treazhure, shrewed, vizhion, suspishious, intruzhion, batch, baj, bats, etch, lej, frets, leech, liej, beats. Ear, year, ooze, youz, booty, byuty, do, deu (dew, due), pyure, tyune. Ex. 152. Error exercises on the articulations. “Foller,” follow, window, sorrow, pillow, shallow. “Bunnin,” running, writing, speaking, walking, singing. “Laud,” lord, storm, worm, far, first, smart, worst. “Gwacious,” gracious, great, green, rich, rest, rough, right. “’appy,” happy, heaven, hymn, hail, when, why, which, while. “Home,” own, and, air, ill, eye. St. Co. (New.) * Don’t let final dh run into dhth, nor z into Zs, nor V into Vf. FOURTH STEP, 63 “'The soldier's steer,” the soldier's tear. “That lasts till night,” that last still night. “Study decoit,” studied decCit. “A languid aim,” a languid dame. “His cry moved on,” his crime moved on. Collective Reading.—This practice, commenced in the second step, p. 15, should now be revived with great care and constancy. Pulses and Accents in Public Speaking.—Any one who listens to a good public speaker may notice that the pulses of his speech are of equal length and constant recurrence, like those of music,--but that he has a greator liberty of accent. His accents sometimes fall so as to divide the pulses into three- pulse measure, but more commonly into two-pulse measure. Some public speakers even beat time with their hands while they speak, and nothing interrupts the regularity of their movement but this occasional introduction of a three-pulse measure. Both in poetry and in Illusic if we begin in three- pulse measure or in two-pulse measure, we must continue in it. But in prose the two-pulse and three-pulse measures are continually intermixed in the same line. Let the pupil try to speak, in a clear declamatory tone, and with proper emphasis, the following words, and to mark the pulses and accents of his voice as he does so. He will then soon understand our meaning :-‘‘And suddenly there was with the angel a multitude of the heavenly host.” The words “heavenly host’’ wo may, for the moment, leave out of consideration, because in chanting they would belong to the cadence, and the cadence is rhythmical music—not recitation. If we recite these words on a single musical tone, and then write down the rhythms we have used, they will probably have the following appearance:— I Two-pulse Measure. Twº Measure. And sudden ly-there was tº. ſ tº Measure. ** Measure. : : . : 1 º l multi fude º of the Here you notice that the first and second measures are of two beats, while the third and, fourth are of three beats. Some of the old church chants had three-pulso cadences or closes, but in the recitations the frequent occurrence of three-pulse measures is an - gel ” a. “Luxurious oil,” luxurious soil. “Pray to nobody,” prate to nobody. “Make lean your heart,” make clean your heart. “Proof of utility,” proof of futility. “I300r descending,” beard descending on his breast. recognised by all who observe with care. Even the following well-known musical responses shew the natural tendency to the mixed-measures of speech in distinction from the unchanging measures of song. They are here given in various rhythmic forms, as we find them in the “uses '' of different cathedrals. In the three-pulse forms we may notice the heaviness of the second pulse when this méasure is sung slowly. Let each example be sung in exact time and accent. KEY F. • } d : — l ; tı d : — Spare llS good | Lord. KEY F. } : ll : t d : — Spare us good Lord. KEY A. }|&#i. d : – , d 11, ll: t |d : — Webeseech] thee to hearus good | Lord. KEY A. ; d.d |d ; d.d |d : 1 : tº |d - | We be-I seech thee to hear us good | Lord. REY G. } : d |d : d .d |d : – , 1, 11 : — And bless thinein- her - i - tance. - KEY G. • ( : d d : d : – , t) || 1 , 1 : 1 R And bless thine in- her-i - tance. And, in reciting “Thou art the everlasting Son,” every one will admit that it is better to use the three pulse measure, thus— | Thou : art-the : ever | last : ing | Son— than to sing thus— | Thou : art-the ever : lasting | Son— Chanting.—The chant is intended to aid the united recitation of prose words by many people. It supplies, therefore, a single tone for the recita- tion, and a short musical phrase for the cadence of each line of the words. A melodic cadence at the St. Co. (Now.) 64 Ex, 153–160. FOURTFI S TEP. end of sentences, is natural to public speakers when they rise into an excited state of mind: whether they be fishwomen quarrelling in Billingsgate, or preachers closing their discourses among the moun- tains of Wales or of Scotland, or even ministers of the Society of Friends speaking or praying under strong emotion. The reciting tone may be as long or as short as the words require. It is indicated by a Hold as placed over the note. This elasticity of the reciting tone should always be kept in mind by the accompanist as well as the singer. The music of a chant should always be learnt familiarly and by rote, before it is sung to words. Then the words should be taken line by line, and taataid by pattern, clearly recited by pattern, and sung to the music. At the present step the pupil must obey exactly the marking of the recitations. Afterwards he may learn to make “markings” of his own. The present labour will be repaid not only by the great enjoyment there is in a freely delivered chant, but also by marked and valuable improvement in Rhythmical Perception. The teacher can beat time in pulses, or better still, use a metronome. If he uses a baton let it move simply from left to right and back again; he will then have his accent Sometimes on one side and sometimes on the other. Iºx. 153. Learn as above the rhythms of Ex. 123. Notice cases of three-pulse measures in tho recitations next before the first cadence of the first verse, the second cadence of the second verse, the first cadence of the third, and the first cadence of the last verse. Two-pulse measures are much more common in this position. Ex. 154. Learn as above the rhythms of Ex. 124. Bx. 155. Ditto Ex. 125. Notice three-pulso measures from the beginning of the first recitation of the first verse, of the first recitation of the third verse, of the first recitation of the fourth verse, and of the first recitation of the fifth verse. Iºx. 156. Learn as above therhythms of Ex. 126. TIME. The silent quarter-pulse is indicated, like the other silences, by a vacant space among the pulse- divisions. It is named sa on the accented and se on the unaccented part of the pulse. The time oxercises should be taught as directed, p. 19. Iºx. 157. 1. . 1 | : 1 , 1 | } TAA TAA-TAI ,l , 1,1 : 1 REY G. | d : m ICEY G. | m : l' REY D. | S : m KEY D. |s : m Ex. 158. | l,l 1,1 : 1 tafatefe KEY F: | d ,r .m ºf : S REY F. | m ,r .d ,t) : d KEY D. | s m .d ſm : s KEY I). m ,s.m.,d : m .d , 1 TAATAI , S .d , ſm , S | 1 ,l 1, tafatese | S ºf . m . | f |f , f , | r ,m , f , |f jl” tº , d , d ſm , m S , S : m , d : 1,1 . 1, tafatese : m r .d , ; m m . m . : m ºf , s , : s ,m .d , | l; | | Thirds of a pulse are indicated by a comma |. The first third of a pulse is named TAA, the second third TAI, the third third TEE, and the silences and continua- tions are named in the same manner as before. turned to the right, thus—: Ex. 159. l : l l l | 1 ol | TAA taataitee TAA-efe KEY F. | d - : r ſm f |m ;S I: EY F. | m : f ſm ºr m ºd KEY A. |s : m d m s ;S ICEY A. TAA -TAI safatefo | m : d 1 tº d od Ex. 160. * #|| . 1 : 1 ..,] | 1 || 1 TAATAI TAA-efe tataitee IKEY F. | d , I : m of |m ºr d KEY F. | m .r : d .,r | m if is KEY A. t | d , Si : m or |d it, d KEY A. | m .d : S ,1 1 s ºf m { { : l . TAASAI : S : d . : S : d : l , 1 TAATAI I .d f : m : m I r .d | St. Co. (New), FOURTH STEP, - * 65 Ex. 161. ſº 1 : 1 – 1 | 1,1,1,1 : 1 . 1 | taataiteo taa-aitoe tafatefe TAATAI KEY F. | d m is : m – d d ºr .m f : S , S | KEY F. | s m d . m - is s ,f .m ºr ; d .d || REY A. --- | d it, d . m – d | r ,d , r ,m ; d. , S1 || IKEY A. | m if m i r - m s ,l , s ,f : m .d || What is a pulse ?—It will be noticed that the six-pulse oxercises in this step move more quickly than Ex. 80, and that the time is most easily indicated by “beating twice to the measure,” as directed p. 24, and might have been written accord- ingly in two-pulse measure. FX, 175 might have been written thus— e t e t - | | • { *| : -,-,S | **** *} | The present plan is only adopted for the sake of greater clearness to the eye in the time divisions. All such rapidly moving tunes should be taataid as “Two-pulse measure abounding in thirds.” It will also be noticed that many of the rhythms, given in our time-exercises might be written out more fully by making one measyre into two. Tunes are differently written in this respect in the common notation as well as in the Tonic Sol-fa notation. Even Handel in one copy of a tune puts into two measures the music which in another copy he puts into one measure and in yet another into four measures. The principle which seems to guide composers is this. The quicker they wish the music to be sung the fewer measures they give it, and the slower they wish it sung the more measures they divide it into. . They know that singing quickly makes the accents slighter and less observable, and that singing slowly developes accents which would otherwise have been scarcely noticed. As in common life it is only by occurrences that we can mark the flight of time, so in music it is only by accents that we can measure out our tones. The accents of a musical passage may be distinguished as the prin- : - - |-tº- S : dº ! cipal and the subordinate ones. The principal accents should be marked by the divisions of a measure,and the subordinate accents by the divisions of a pulse. Whether any particular accent is principal or subordinate depends much on the rate at which the music is sung, and is always a matter of judgment. A pulse or beat we define as a unit of the principal and regularly recurring accents of a tune, but a pulse is not in all cases an absolute, undeniable, unmistakeable unit. It is “a measure of estimation.” The composer sings or plays or feels his music, and where, in his estimation, the principal accents fall, there he writes the great pulses of his measure, the subordinate accents falling into their places within those pulses. But if the subordinate accents are numerous and regu- larly recurring, it is often better for the clear reading of his music that he should treat them as principal accents. Unfortunately in the common notation there is no certainty which mote (crotchet, quaver, or minim) the composer means for a “beat.” If writers made if a law that the crotchet (for example) should always stand for what they mean to be a beat of their music, we should have no difficulty in understanding them, but even the same composer represents a pulse at different times in different ways; so that the Tonic Sol-fa tran- slator is obliged to listen to the music, feel the accents, and write accordingly. Beating Time.—Hitherto the pupil has not been allowed to beat time. He has only learnt to sing in time. Because no one can well learn two things at once, and, consequently, those who try to do so are constantly found beating to their singing instead of singing to an independent, steady beat. There are some, however, to whom the Swing of the hand or the motion of the foot easily becomes instinctive. The beating goes on without need of thought or attention—like the swing of a pendulum. Such persons and such only can use beating in time as a criterion of singing in time. Hitherto the teacher has been the standard of time for his pupils. He has infused into them by watchfulness, by criticism, by decision, his own feeling of time. He is striving throughout to make his pupil’s sense of hearing appreciate time; but when that failed, there was always his beating (communicating time through another sense, the sense of sight) to correct them. If he wishes, now, to give them a criterion of their own, he may proceed as follows. The teacher says, “Watch my beating, and do as I do.” St. Co. (New.) I) 66 FourTII STEP. He beats the four-pulse measure at the rate of M. 60. The pupils imitate him. This should be done by one hand, silently, chiefly by the motion of the wrist (the thumb being always upwards), and with very little motion of the arm. The finger should pass swiftly and decidedly from one point of the feating to the next, and it should be held steadily at each point as long as the “pulse’’ lasts. When this is properly done, the teacher will say, “Now, you shall beat one measure, I the next, and so on.” This not-easy exercise accomplished, a more diffi- cult one is proposed. Let each pupil beat one measure, in turn, all taking care that there is no pause nor variation in the rate of movement. A more difficult exercise still—but most useful for establishing the sense of time in both ear and mind—will be for the teacher and pupils to beat time together for a few measures, and then at a Two-PULSE MEASURE. THREE-PULSE MEASURE. Up: Up: DOWN powN] Ricºt . . NoTE.—It is better to beat the second pulso of “three-pulse measure” towards the light, than (as some do it) towards the left, because it thus corre- sponds with the medium beat of the “four-pulse measure,” and the second pulse of three-pulse measure is like a medium pulse. It is commonly treated (both rhythmically and harmonically) as a continuation of the first pulse. . Similar reasons show a propriety in the mode of beating recom- mended for “six-pulse measure;” but when this measure moves very quickly, it is beaten like the “two-pulse measure,” giving a beat on cach accented ulse. M. 60–Efforts to remember this rate and twice as fast, M. 120, and about half as fast again, M. 92, and between that and 60 two rates, M. 80 and M. 72, and between that and 120 one rate, M. 106, should be frequently made, as recommended, p. 34. By Self discipline this can be done, Four-PULSE MEASURE. LEFT : given signal to drop the hand, and pauso for one, two, three, or more measures (as the teacher may havo fixed boforehand), and to begin beating again at the right moment. In this oxercise you will soon notice how fast time goes with the ardent tempera- ments, how slow with the heavy-minded, and how difficult it is for any one to attain an exact šense of time. The same series of excrcises will be pursued in three-pulse measure, in two-pulse measure, and in six-pulse measure. A metronome may.be intro- duced as a test, instead of the teacher's own judg- ment. There are various ways of beating time. We recommend the following as the most appro- priate and the most clearly visible. The direction of the motion is from the thinner to the thicker end of each dash. The thick end of each dash shows the “point of rest' for oach pulse. SIX-PULSE MEASURE. {} p * Up . RICHT | L: . oows| DMX º The Registers.—It has been shewn that the human voices make together one great organ— running through its various registers from the lowest bass to the highest soprano—so that the voices of a class containing men and women could run up one grand homogeneous scale of three or four octaves. See pp. 29 and 32. The compass of each particular voice is only a portion cut out of this great scale and taking the registers as they come. It should be carefully noted that the differ- ence of male and female voices, as Soprano, contralto, tenor, bass, does not necessarily make any difference of quality on identical tones. Thus a contralto, a tenor, and a bass, when naturally trained, do not generally differ in quality on G, A, and B, and a soprano, contralto, and tenor singing the identical tones C, D, E, could not be distin- guished from one another except by the shades of difference which naturally mark individual voices, St. Co. (New J Ex, 162–6. FOURTEI STEP. º 67 or the more marked differences introduced by false training. Uncultivated male singers are commonly much ashamed of their weak Thin register until they have made it strong by practico. Already some progress has been made in strengthening it by means of Ex. 104, p. 33. ... This stººgato koo-ing exorcise must not be discontinued. It may, how- ever, now be varied after the manner of the two exercises which follow. IEx. 162. KEYs F, G, F#, G#. > . . º. º- > , --> --> 1 > } m",d'; r,t d'.1 : t ,s | : t d' : — | lcoo, &c. IEx. 163. I&EYs A, B, A: C. I- -> > . I- > , -- : di |f|,t : 1,1 |s,s: f,f |s : s d' koo, &c. Recognition of the first or Thick Register,-As the Thin register was found to be neglected by men and commonly used by women, so the Thick regis- ter is neglected by women and commonly used by men. Many soprano singers do not know what it is, and oven contraltos are afraid to employ What they think is a man's voice. Mdme. Seiler Says it is quite common for voice-trainers to , encourage women to ignore altogether the upper Thick register using the Thin instead; so that when on A, they do at last enter the Thick register it is on its fully vibrated tones, and the change of quality is unpleasantly marked. To enable female pupils to recognise the Thick register, place the Sofile (p. 29) or the Voice Modulator (p. 106) before them, and then, beginning with a tone (B, A, or G) decidedly within the Thin (their easy) register, let them sing downwards (guided by the manual signs) d' s m d, and with increased force on the lowest tone. This last tone will certainly be in the Thick register. Having got that quality of tone let them run up, retaining the same quality, to F. This is the converse of the process by which the tenors and basses learnt to recognise the Thin register, p. 33. Strengthening of the Thick register.—Contraltos and sopranos will require the same staccato koo-ing exercise to strengthen the lower part of their voices, which tenors and basses required (p. 33) for the higher part of their voices. The process of strength- ening must be upwards from the undoubted territory of the Thick register towards the border- land of Thick and Thin, Be careful not to force this register too much, for the registers cannot be made to overlap upwards without injury. Male voices may join with the female voices in this oxercise, for it is easy to them, and they may encourage the sopranos and contraltos, but they must sing softly lest the voices which need the exorcise should be unheard. Let the following oxercises be used after the manner described p. 33. The men will have to suppose the notes an . octave higher than they aro written. Ex. 164. KEYs A, B, Aff. I- I- }: m : rſ | f : m | D:- S| : SI koo, &c. iſ Ex. 165. KEYs G, A, G#,A#, > -- . Iº- > . I-> → . ~~ dºm: rif |m|.SI: fill st : s d Roo, &c. Ex. 166. REYs G, A, G#,A#. I-> Jº- T-- ~~ I- Dº- } : di |r1,r1:ri,m) frºf:s,s | 11 : SI |d koo, &c. Blending of Registers.--A good singer should be able to pass from one register to another without allowing the difference to be noticed. With this view the voice trainer strengthens on the “optional tones” (p. 32) the weaker of the two registers (in men the Thin—in women the Thick) till it equals, in volume, in quality, and in ease of production, the stronger one. He then tests the power of tho singer in producing one or the other register at will, as in the following exercises imitated from Garcia. The notes in common type are to be sung in the Thick, and those in italics in the Thin registers. The effort will be to make the two tones as similar as possible. Let the pupil take no breath in passing from one register to the other, and let him sing each exercise quicker and quicker. Male voices will sing these exercises in the higher part of their range, and female voices in the lower part of their range. Men and women will sing identical tones. None of the keys must be omitted, because we have to give exercise to all the small Laryngeal muscles, through the whole range of the optional tones. This is a case in which class teaching is insufficient. It can only set the pupil in the right way. He must judge his own progress. The effort to do so will make him eager to enjoy the advan- tage of individual teaching. 4’ St. Co. (New.) 68 FOURT H STEP. Ex, 167—9, Ex. 167. KEYs C, D, C#, D#. d! :º) |d in d!": ni" |d :- || } Roo, so tº e º ſ \. 3. - rºles. KEYs C, D, C#, D#, D, E, D#, F, ºfä "a di d' d' d' Id – ! koo, &c. - Ex. 169. KEYs C, D, C#, D#, D, E. | º º ld ºr | :r" |d :— | KOO, &c. Recognition and Management of Optional Tones, —Tenor singers should now systematically study the best use of their optional tones. First, before commencing any tune they should notice the key, and from that ascertain to what Sol-fa notes their optional tones will fall. The Voice Modulator p. 106 will at first assist them in this. Second, they should study the phrasing of each passage in which the optional tones are employed. Third, in cases in which a piano or forte is required they will remember that they can obtain a stronger tone with the Thick than with the Thin register. Some persons habitually change the register at a certain pitch, whatever the passage sung. Others try to avoid changing the register within any single musical phrase, as much as possible. Descending from the thin register, they keep it as far as they can. Ascending into the thin register, they begin their phrase, if possible, in that register. In Exercises 170 to 173 a thin horizontal mark is placed over the tone in which, for various reasons, it is thought best that a tenor voice should change into the thin register, and a double horizontal mark is placed where it is thought better to change into the thick register. Let the pupil be required to find the reasons for each of these changes, and be encouraged to suggest other and better changes. A Knowledge of Dissonances is useful to the singer in making him fearless. If he does not recognise the fact that he is striking a dissonance, he feels as though something were wrong, and is tempted to sing falsely. But if he knows what he is doing he strikes his tone with courage, looks well to the resolution, and makes it beautiful. Notice the definition of dissonances, p. 21. Part-pulse Dissonances,<-At p. 21 thero is an explanation of the commonest sort of dissonance which appears on the weak part of a pulse, the part-pulse passing tone, Four other apologies are also accepted by the ear for dissonances on the weak part of a pulse. When, like s in the follow- ing — | r , s : S | they simply acticipate the tone which follows them,--when like 1 or t in the following — I d' , t , d' | S , 1.3 s , || they wave upward or downward, or when, like f and m in the following— |s f : rºm | d || they hang upward or downward from the proper tone of the chord, or when, like t and 1 in the following — m .t, : d .1, t| || they guide, generally by an upward step, to the tone which follows. All these melodic relations are accepted as an occasional apology for dissonances. In addition to these dissonances on the weak part of a pulse, dissonances are also allowed, though less frequently, on the first or strong part of a pulse. These are all called Fore- strokes. They nearly all “resolve * (see p. 21) by going a step downwards. The smoothest “prepar- ation” for these discords is when, like r in the following — r | r .d ||...the dissonance has just been heard as a consonance in the previous chord. This will be called a IIorizontal forestroke. The preparation which stands next in acceptance with the ear is when, as sin the following — : 1 |.s. f | the dissonance comes down from the tone above, - like a passing tone, but on the strong part of a pulse. This is called an Oblique forcstroke. A less common apology is when, like f in the following— .m. ; f.m. || we have a Waving forestroke. Tess frequently still we may have, like m in the follow- ing — d ºr ; m if |S || an under oblique fore- stroke resolving upward. But when the composer wishes not to apologize for a forestroke, but to assert it for the sake of a certain tart effect he leaves it Unprepared, like 1 in the following—: m | 1 ,s : f |. Advanced pupils only will have time to study these points. They may do so privately by marking beforehand, in the exercises, the cases they wish to notice, and, when the time for singing comes, listening for the cffects. Or, if the wholo class is sufficiently skilful and attentive, the teachcr may lead the class to examine each of the follow- ing cases and then to sing the phrase softly to lad two or three times. See Examples of Part- pulse Passing tones in Ex. 133, l. 1, m. 4, p. 2; and m. 7, p. 1; and l. 2, n. 4, p. 1; and Ex. 172, l. 3, ºn, 3, p. 2, a peculiar case. Sec Anticipation tones, Ex. 174, l. 4, m. 2, p. 2. See Waving tones, Ex. 125, ºn. 5, p. 2; Ex. 171, l. 2, ºn. 3, p. 3; IEx. 174, !. 3, m, 3, p. 1, 2, 3; and l. 4, n. 1, p. 1, 2, 3. See Horizontal Forestrokes in Ex. 172, l. 2, m. 1, p. 2 and 3; and l. 2, m, 3, p. 3; and n. 4, p. 1 and 2; St, Co. (New.) IFOURTET STEP. 69 Bx. 174, 7, 5, ºn. 1, p. 3, See Oblique Forestrokes, Ex. 170, l. 1, m. 1, p. 4; and ºn, 2, p. 4; and m, 3, p. 4; and m. 5, p. 4; and m. 6, p. 4. Full-pulse Dissonances.—All the apologies above described are also accepted by the ear as excusing full-pulse dissonances. If the music moves very quickly, Passing tones and other dissonances so common on the weak part of a pulse are freely used on the weak pulse, the strong and weak pulse being treated harmonically as though they were one pulse. But when the music moves slowly the ear is not so content with these slight apologies; and only the “passing tone’’ is much used. On the strong pulse, however, as on the strong part of a pulse, the various forcstrokes are often employed. When prepared they are employed for the Smooth- ness of melody, when unprepared for the sake of effect, See examples of quick moving dissonances in Ex. 141, l. 1, m. 3, p. 2; and l. 2, n. 1, p. 2; Ex. 192, !. 1, m. 3, p. 2 and 6; l. 6, m. 4, p. 2 and 6 ; l. 10, ºn. 2, p. 5; Ex. 174, l. 7, m. 3, p. 2. See the partial dissonance (explained p. 36), Ex. 140, l. 2, m. I, p. 2; and l. 3, ºn. 3, p. 2; and Ex, 143, Z. 3, ºn. 2, p. 2; and “disguised ” (d for f and fe for t), Ex. 174, l. 7, m. 3, p. 4; and also Ex. 144, l. 1, n. 2, p. 1, in which last case the t not being resolved on d sounds more like a forestroke. See Horizontal forc- strokes in Ex. 170, Z. 1, n. 4, p. 4, in which f, hori- Zontally prepared, continues two pulses and then resolves on m. It is the same with m in the next mcasure and with r in the measure following. The waving fe in Z. 1, m. 4, p. 4, waving against a disso- nance is curious and harsh. Also in Ex. 174, l. 7, an. 1, p. 1; and Ex. 142, 2.1, n. 4, p. 1. See a case of “delayed resolution ” in Ex. 137, l. 1, m. 3, where f passes through a consonance before it is resolved; and Ex. 141, i. 2, ºn. 3, p. 1, where it passes through consonance and partial dissonance to its resolution. See an Unprepared dissonance “l against t” intro- duced for its own touching effect in Ex. 174, l. 7, wn. 1, p. 3. See d and S (Tonic and Dominant) exercising the privilege of long holding (or pedal) tones, in spite of dissonance, because of their relation to the key, in Ex. 138, l. 1, m. 2, p. 2; and !. 2, n. 2, p. 2.; and m. 3, p. 3. New Cadences.—In two-part music the full chords cannot be given. But, for reasons given in the “Common-places of Music” two-part conso- nances always suggest the chords of which they form a part. Thus, s, with d above it suggests the chord De; m with s above it suggests, not the “unmeaning ” and seldom used chord Ma, but Dö; tº with r above it suggests, not the “weak” chord T, but Sb ; 1 with f above it suggests Fb, and so on. Thus interpreted, the exercises in this step intro- duce us to two new cadences in addition to those (the D, the S, the F D, and the L cadences) which are named on p. 48. See the uncommon cadences On F and R in Ex. 137. See what we call SD Cadences in Ex. 142, and a FD cadence in Ex. 143. See what we call a “weak-pulse cadence” in Ex. 141, l. 2, m, 2, p. 2.; and a “*D weak-pulse cadence ’’ in l. 1, m. 4, p. 2. Phrases, Sections, Periods,--The nature of a cadence has been explained at p. 48. There it has been shewn that the cadence naturally cuts the melody into parts, and that these parts are called “Sections.” “Phrases " are divisions of melody within a Section. “Periods” are divisions of melody including two or more Sections. In ex- tended pieces of music we use the word “strain ’’ to represent several periods combined in one melodic whole. A Section, which is two measures in length, we call a Duain, one of three measures a Triain, and one of four a Quadrain. Musical Form.—A good form in house or orna- ment or animal must be symmetrical and varied and adapted, in all its parts, to its chief purpose. So, in music, a well-formed tune has symmetry and pro- portion in the length of its principalparts or “lines;” it has both symmetry and variety in the rhythms and melodic replies of its musical phrases; and its harmony as well as the style of its melody combine together to express the generalsentiment desired. A disjointed, ill-formed tune would be like a picture in which a number of men and women beautiful and ugly, should be thrown together “any how.” A well-formed tune is like those men and women artistically grouped in one picture — where the beautiful are placed forward and the ugly kindly put in the shade, and the colours and postures all arranged for some unity of effect. It is pleasant when one sees a house or an ornament or an animal, to “know its points' of excellence, but we can receive much enjoyment from them without so intelligent an eyesight. In listening to music the case is similar. But in singing music the case is different. For the singer is an Artist. The sculp- tor and the painter can present their own works to the public view. But the musical composer is de- pendent on another artist—the singer or the player St. Co. (New.) 70 ROURTEI STEP. —to present his works. By singing loudly or softly, quickly or slowly, in various places and various degrees, the singer can make or mar the handiwork of the helpless composer. Every intel- ligent singer will therefore feel it his duty to study . his music beforehand, and to fix in his mind how, by the art of Expression (p. 30), its various rhyth- mical divisions and melodic ideas are to be dis- tinguished and “set off” one from the other, how he can change a baro outline into a coloured picture. The main principles of Melodic Relation have already been suggested under the headings “Relative motion of parts” and “Imitation,” pp. 36, 37. Some ideas of “phrasing”—or marking out of melodic divisions are suggested under the heading “Dreathing-places,” pp. 9, 30. Other principles of Rhythmic Proportion may be easily apprehended, and then an examination of a fow examples will shew the pupil how to begin this enjoyable study. A furler development of it is found in “Musical Theory,” Book III. Parsing or Analysis of Musical Form.—The practice of requiring a pupil to make a written or verbal analysis of the tune about to be sung is very useful. Even elementary pupils should answer the first and second questions,— 1st. What is the Form—as Psalm-tune, Song, Dance, March, etc. - 2nd. What are the IKcy, the Measure, the Rate, and the Style? * 3rd. What is the Rhythmical Division P (That is, does it divide itself into two principal parts, or into three ? Is it Two-fold or Three-fold?) And what is its Cadence design P. The first “Cadence design” makes its principal dividing cadence (the most important cadence next to the final one) on the first sharp key (SD), or in a minor mode tune on the relative major (D); the second, on the Dominant S (or SEM); the third, on the Tonic generally, with its Third or Fifth in the air (D3 D 5 D or L3 L5 L); and the fourth must have some other Cadence in that place. 4th. What is the Structural Plan P. That is, describe or mark the place where the Periods and Sections (p. 69) of the Tune begin, using the Roman figures, I, II, c.to., to indicate Periods, and the Small capitals, A, B, etc., to indicate Sections, Thus IA means First Section of First Period. 5th. What are the Transitions or Modulations most worthy of note P 6th. What are the Principal Responses? That is, first, (or Pds.), what aro the principal Melodic or Rhythmic replies (see Imitation, pp. 36, 37), of Period to Period P Second (or Sec.), What are the principal Melodic or Rhythmic replies of Section to . Section within each Period P. Third (or Har.), What are the principal points in the relation of “Parts” in the Harmony ? (See above, p. 36). - - 7th. What are the most interesting devices, that is, Sequence, Fugal Imitations, etc.? 8th. What is the Emotional Development and Point P That is, describe how, in the successivo Sections, the “feeling” of the tune rises and falls; and say which in your opinion is the most remark- able and effective point (whether of elevation or depression) in abl the tune. Examples of Parsing.—The following examples should be tested by singing over and over again, and comparing one with another the various Sec- tions and Periods of the tune. The teacher will find useful examples of Parsing from the Chants in “Teacher's Manual,” p. 194. Ex. 133 is— 1st. A Psalm-tune. 2nd. In key A, in two-pulse measure, of firm and prayerful style, about M. 80. - 3rd. Is Two-fold, and of the first cadence design. 4th, IA a Quadrain, IB a Triain, lengthened by the “hold” to a Quadrain; IIA a Quadrain, III: Triain, sung as a Quadrain. 5th. IB First Sharp Cadence. 6th. (Pds.) IIA contrasts with TA by setting of f against m; otherwise it imitates it. JIB contrasts the r s against the s r of IB, and has contrary motion in its second phrase. (Har.) contrary motion of parts at the end of IB, and similar motion at the beginning of IIA, 7th: None. 8th. IA seems to make a quiet assertion with a double emphasis on m. If seems to givo an excit- ing reply; IIA the assertion made more solemn by f twice emphasized. IIB, the joyful sure decision lcaping up to the brilliants and making the “point” of the tune by falling on the solemn f; St. Co. (Now.) Ex, 170–1. 71 FOURTEL STEP. Laercise 137 is—1st. A song for S and C. 2nd. In key Bb, in four-pulse measure, in a bold style, at M. 112. 3rd. Is Two-fold, and of the first cadence design. 4th. IA, a Duain, IB, Duain, Ic, Duain, ID, Duain; IIA, Duain, IIB, Duain, IIC, Duain, III), Duain. 5th. First sharp extended in ID. - 6th. (Pds.) IIAB has contrasted motion to IA B. (Sec.) IB is a rising imitation of IA, and ID simi- larly rises out of Ic. IIB imitates IIA a third higher, IIc again returns strongly to the rising motion which sets off the wide intervals and the elegant rhythm of IID. Rhythmical unity in the beginning and ending of every Section till the last which makes the rhythm of the last more effective. (Har.) I has principally contrary motion between parts; IIA opens with contrary motion, III, has chiefly similar motion, IIC has contrary motion, IID has oblique and similar motion. . . 7th. A melodic sequence in IIA and B. . . . 8th. IA, a resolute thought (with TAA -AATAI and accented S and d), In, repeated more earnestly, Ic, a rising feeling, ID, passionate resolution; TIA, quietGr counsels, IIB, repeated in loftier strain, IIc, return of the passion bringing the tune to its “ point ’’ of greatest energy, III), the subsidence of passion in settled resolve. When a systematic course is pursued, the exer- cises of the 3rd and 4th Steps can be taken in the following order:-97, 115, 134, 136, 140, 141, 142, 143, 144, 145, 113, 119, 120, 174, 175. Some of the exercises with fugal imitations are too difficult for the present step. IFor a fuller course, apply to the Secretary of the Tonic Sol fa College. IHOSANNA. Ex. 170. Key C. s : 1 , t d! : Ho - San - na, - . 1 : t ,d]r : IIo-San - na, Optional Tones, d r m f * – , t : d!.r'[m] : Ho-San - na, Mainzer. — ,d]: r", m| f | IHo-San - na, *- : | .d: r .m. | f : — |- .r: rife s : — |- .nl : f.s | 1 — |- . 1 : s ,fe Hallelu-ljah! IHallelu-|jah! IHallelu-|jah Hallelu- – fi; m, r|m| : — |- .m': r".d'] r] : — – r": d'.t | 1 : s , f | n : — |– : — Ho-san - na, - - Ho-san - na, Ho - San - Ilà. s : — |– , s: f .m. | f : — |- ,f : m r |m : — |- ,f : m r |d : — |— : — jah! Hallelu-l jah Hallelu-|jah! Hallelu-|jah! - FIALLELUJAH. * Ex. 171. KEY C. Optional Tones, d' r" m' f - Mainzer. s . It dſ : — 1 : t , dir! : — it : d'.r'ſ m'.s': f'.m' f" : – l = f'; tı', r' | Hal - le-lu-jah! Hal - le -lu-jah! Hal - le -lu-jah! A - men, A - ?. m : — |- , s: f'.m. f : – |- . 1 : s fels : – |- 't : 1 s | 1 : r".dlt l; s ºf A. cº º * | men, A - men, A - men, Hal - le - lu - m) : — |- .m.; r.dll r" : — i-.rl: d', t|dſ : — t : – ' d' : – | – : – Imen, 7––– men, A - || men, A. - D101l. m"; d. t | 1 , s: f 'm, r : t , 1 |s f : m r |m f : m r l’s , 1 : s , f |m : – | – : - jah! Hall lo - lu-liah Hal - le - lu - jah!"A - - In 1011. * A stroke over a note thus — shews where the Tenors are recommended to introduce the thin register, and a double stroke thus = shews where they are advised to use the thick register. St. Co. (New.) 72 FOURTH STEP, Ex. 172. REY G. AMEN. Optional Tones, m f s 1 Albrechtsberger, .d r ºr ; f.s,fºr 'd' : t .d' : 1 , t d'. s,f : m .d : r , t) |d -: , l ; f , s,f A. wº tºº men, A tº º men, A sº *- men, A sº : : .d : r , n : f ,s,f|m : .nl : f ,r |m ,s,f : m .d : r ,t A. tº Eº | nión, A. gº mon, A tº * * D. t. == m , d' : – , t : - . 1 | lr', d' : - .t,l: t dr|m|rld': t , d' : f m , 1 : r . S men, A i º tº gº º sº mcm, A - men, A. º * - d .m : r , s : d tim : r : S d f : – ,m : – ,r |— ,d : – ,tſ,lſ; tı .d, r men, A. º men, A. tº a º men, A {- -º tº sº es tº f. G. | :"t .d : r , t |d , s : r ,ri : f .s.firl,s. 1,t: d' : – , t | d' : — ; Imen, A. gº möm, A gº sº men, A tº gº IſløIl. m , d' : Sr .m : f .s,f|m : tí 'd : r , s |d : ,m, r,d: r d : — ; men, A. * = gº 1 men, A tº m0n, A ſº IIlGIl. TEIE CUCRCOO. Ex. 173, KEY C. M. 112. Round for four parts. Optional Tones, d' r" m' A. L. C. º : d' | S : | : 1 s : 1 || s : f |m : | : | Hark! 'tis the cuc - koo's! voice, From yon - der sha - dy grove; ; G. t. . f. C. } d'. : d!.,d' d' : d! t : | : rſs s : – , 1 s , f : p1..r ds : . . List to the mel - low notes, The song I dear - ly love. : : mſ dſ : | : | : | d! : Cuc - koo ! : | : | } Cuc - koo! }| : | : | : m) d! : ; : : i : m) |d : Cuc - koo ! { Cuc - koo ! : łº : m,n] s : d' t : : f |m : f |m : rº |d : | : Hark!’tisthecuc - koo's voice, From yon - der sha - dy grove; : St. Co., (New, J FOURTEI STEP. 73 G. t. f. C. | ; pl.,m |m : d S : | ; tım | Fl : - f|m ºr ; d.t|ds : | : List to thomel - low notes, The song I dear - ly loyo. { { |d : d ..,d d : m S : | : d d : d |t| : tº id : | : { liº 'tis the cuc - koo's] voice, Proml yon - dor sha - dy grove ; * † - G. t. f. C. ID.C d : d ...,d |d : m s : | : Sd d : – , d s : s d's : | : | List to the mol - low notos, The song I dear - ly love, : Cod A. To be sung by all together. == ')}!. /0– #0% : m| | d! : : ml | d' : : m| | d! : ; ml |d! : | | Cu – koo ! Cuc - koo ! Cuc - koo ! Cuc - koo ! TEIE MAYTIME. Ex. 174, REY G. WoRDS BY J. S. STATLYBRASS. A. L. C. , Si |d — |d : , Sí | Fl : — |d ; , Sí | Sº,f : r ,ti | S : – , Sl 1.The May gº time, the May tº time, how love - ly and fair, how 3. In May gº time, in May tº- time, oh, waste not the hours, oh, : , s |m| : — |m| , S1 | Sl — |m| : : , Sí |S| f : r ,t How love - ly and Oh, Waste not the T- m of . m .r |d : – , f | Fl : 1 .,1 | r ,fe : – , fe s : — | — : love - ly and fair, What pas - time and pleasure are there; waste not the hours, Go twine you swcot garlands of flowers; S : – , s |m ,f : m ,r |d : – , d d : d .d |t| ,r : – '.d |t| : , Sí fair, how lovo - ly and fair, What pas - time and pleasure are thoro ; The hours, oh, wasto not the hours, Go twine you sweet garlands of flowers; Oh! : | : , r m : f , f |s of : T. r d ºr : m r ſm | f |m f : s , is Thol lark it up - Spring - eth, La la la la la la la. Tia And docp in the sha - dows, La la la la la la la, La t : d .d | r ,d : t Sld ,tſ: 11, 1 |t|m ºr ; d. , d [t] . ; d. , | r , ; T . night - in - gale sing - eth, I.a. Ja, la la la la la, La la la la Ja, far on the moa - dows, La la la la la la la, Lal la la la la St. Co. (New.) 74 FOtjRTTT STEP. .* l g S & |f º : ſº , I' d , P : – , r |m : — ..f S : — ..] — : S ..f la la la, O - ver! field and hill and dale, O - ver la la la, There is fulness of life and joy, , And there f is ºf : m ºf m | r ,p) ºr ; d . , t , t , d - , s : d .r |m : — — : La la la la la la, O'er fiold and hill and dale, La la la la la la, Is fulness of life and joy, m f : - .m. ||r : - .rid : — — . .s |s : – ſm : .m. |m : — |d : .d field and hill and dale. The May - time, the May - time, the reacheth us no an-| noy. .r: r .d |- .d.; tı, s|d : — – : .m. |m : — |d : – ,d s : — |m| : .m. O'er field and hill and dalo. The May - time, the May - time, tho There reachethus no anſ-noy. - FINE D. t. I-> • /~ t| : r — : f pi : — |d : | : : | : , Sd. love sº sº ly May - time. ſº st : tí | – ; tı |d : s m .d d : t , 11|ml : s , f |m , f : m r |d : d loye gº gº ly May - time.||2 The gates of the earth that werel lock'd up so fast, Let | f. G. d! : t , 1 |r11 : s , f |m , f : M ,r |d : t d ..,d : r |m º gates of the carth that were lock'd up so fast, Lot out their poor pris - 'ners at r ,r : r |m t| : t ,t|d : – , sſ |m| : Sl d : d |d : — out their poor pris - 'ners at last, Let out their pris - 'ners at S : — | — : , f | p , f : – , f |m or ; d .m s , s : 1 , 1 |s ,f : m ,r | last, As li - lics, and ro - scs, And vi - o - lets for po - sies, And the tº : - |- : , t d .r : - ...r |d it d .d |n n : f f |m ºr ; d . last, - As li - lies, and ro - ses, And wi-o - lets for po - sies, D.C. d.T : - .r |m m.f s : — s : s , f |m f : - .m. ||r : – ,r |d : – ||— pinks,and the bunch-es of blue - bells, And the little red pim - per- nels. ...t] ; tı.d – , sſ; d, r |m : — m : , r : r .d – .d : t , sſ |d ; – || – The pinks and bunches of blue - bells, The little redpimper- nels. St. Co. (New.) FOURTH STEP. 75 Fx, 175. IKEY D. C11orus. m :m : 1 m :- :m m La la la la, &c. d :d :d Id – d d |- :– : s s : – ; 8 |m| the deep blue sea. |t| : – ; :m :m |S| :- d : — |S. *- g= (362)2 sº s :- :- |d :- :- I t jes ſº- tig, olo ; pl. : pl | : m m }. d : — |d :- Sl |- : nº! : nº! I r" :– :- || – - ing a - | long |d : s :m |s|| : tº :r |s |d' : S SI : t , r | S d! :- ; # # :- ; d) # °lull tºº ing the sai m : — |f :- S d : — |r :- m f |- :– : s , s : – ; – ||— The sca |t| :- t| :d :r ſm |- :– : [ s : l ; t |d | THE SEA FOR IME. pl |m d |d : *l d! for mo, : f d :a | ri do. ri - Ous, :m ºf | Sl : r" | }. with re - sist :l |t| ; tı |S| : t ; tı S ; t : ! . . ;- - lor | 1 :- |fe :- ; S S * — for me, :d | r : — $ Sopr'ANo. : s , s :- :- |– :- The sea, : t| :d :r |m :r : s] : 1 :t |d :t £) : – – : – ; ! :- Beau - : Pi |m : – ; | - * — |– * f * f *- : d" | # :- :- — ;- and free; :m :r :r |r :- s! :- :- — ;- – |– :- : *) d' : — tº- *g less might, r | f :r ; tı |d : Pl :r | f :r ; tı d : m : ; ) l ; – :- — ;- to slum º tº fe :- |fe :- : r : — |r :- :- - - : s d' :- the sea :- |t| : – ; m : :- |S| :- : d :r A.L.C. : S | S : – ; – for me, :d | r :– : — : 1 |t| :– : – ; C}^{2S : # I d' : – ; / ti - ful, Iſla,- : s | 1 :- if : | f : – ; fº p.), :- * — Rush ºf d : M ; s : d :m : 3 f) – |– : – ; d) -- -- Or : s |d' : – ; : s |d :- : : S S : – , – ber light. : : t s! :- :-- – |– : – ; d. for : s 11 : s :f :m [f ;m :r St. Co. (New.) EOLRTEI STEP. : 1 :f |- : r - lows she gai the deep blue – |m :- :m :m :m – |d :- d :- : [d :- FINE. A. t. dolce. *= -sº - | rs 7.) - º ship : m :m :m |m :- | S d :d tº d - - |— --> Sld :d — — : s : l s :- :- — ;- - - ly || glides, ; d d m ; pl. :m |rl :f |f| d : d : d |d n |* :- - - d. : "I #1 :- º- º ly rides; t! :- |fe :- : S. r] :- |r! :- s :- – i- :- :r r_:- - - :d our grate º * : li | 1 : tº ; tı ; tı |t| :f |f| S| : S ; SI |S| : zº, : f | s : – ; – ) l ; – f | n :- our | home wo're borno :r in :- |r :- d : — ld :- |f| :- si :- ful m! :- :- — ; – ; ," | d' :- :- SG2, for me, : s : s ( ; f : f in is s! :- : | St :- : d : – ; |- : r :d | 3 :- - - : f : m on its bo º- • sº tº SOIll |d t; it t| |t| : : . |d SI - S : SI |S| s : – ; f | n :- :r d :- :- Light - ly o'er the bil tº- m :– :r |d :- ; tı 1 : – ; d — ” |d - f – : |- :- : * |d :- :- — ; tı :d Then join UlS |s :- S| : St S| |S| : |- - m; ; pl. :rl ||Pl : m :– :- — : s] | d : – ; ). song, As on - Ward | :d ; d d r1 : – ; 3. d :d ; d. d d :- f. D. ID.S. - - ºr "º - - || a - long. | |t| :- : "It]: t |t| : — | |S| :- d's :- :- — ;- St. Co. (New J FOURTEI STEP. 77 Modulator Voluntaries now include transition of one remove. These should not be made too difficult by wide and uncxpected leaps on to the distinguish- ing tone; nor too casy by always approaching the distinguishing tone stepwise. While the effects of transition are in process of being learnt these exor- cises may be solfaad, but the teacher cannot now be content with Solfaa-ing. Every exercise should also be laad, p. 37, and that to the Italian laſt, p. 2. Two-part Modulator Voluntaries interest the pupils much and form good voice exercises when sung to the pure and open Skaalaa, and the simpler they are the better for this purpose. But if they are made difficult to the pupil they become difficult to the teacher and his attention is so taken up with the music he is making that he forgets to listen for the proper quality of voice. The teacher who would use only good two-part music should prepare such exercises carefully. Sight-laa-ing.—The laa-voluntaries are really sight-singing exerciscs, if the teacher does not get into self-repeating habits of pointing. See p. 42. 13ut, at their best, they give no practice in reading time at sight. Therefore the absolute necessity of sight-laa-ing from new music (as the monthly Ičeporter) or the black-board. Memorizing the three keys.-The pupils should now know from memory, not only what is above any one note on the modulator and what below it, but what is on its right and what on its left. The one key no longer stands alone on the mind's modu- lator. It has an elder brother on the right and a younger on the left, and each of its tones bears cousinship to the other two families and may be called to enter them. Therefore at all the later lcssons of this step exercises should be given in committing to memory this relationship. p. 51. The pupils must learn to say these relations, collec- º and cach one for himself, without the modul- ator. “ Memory Patterns.—It is difficult to indicato divisions of time by the motions of the pointer on the modulator with sufficient nicety to guide the singer in following a voluntary, and it is important to exercise the memory of tune and rhythm. For these reasons our teachers. give long patterns— Cxtending to two or more sections—including some of the more delicate rhythms. These patterns are given laa-ing but pointing on the modulator. The pupils imitate them, without the teacher's pointing, first Solfaa-ing and then laa-ing, Memory Singing.—The practice of singing whole pieces to words from momory, in obedience to the order “Close books: eyes on the baton,”—is a very enjoyable one. The singer enjoys the exercise of subordination to his conductor along with a senso of companionship in that subordination, and de- lights in the effects which are thus produced. This practice is very necdful at the present stage in order to form a habit, in the singer, of looking. up from his book. This should now be his normal position. But, as from necessity, the learner's eyes have hitherto been much engaged with his book, he will have to make a conscious effort to form “the habit of looking up.” Occasional “Memory Singing ” will make him feel the use and ploasure of this. Ear Exercises, as at pp. 24, 42, will fasten on the mind the mental effects of fe and ta. Time Ear Exercises, as at p. 24, should still bo continued with the now difficulties of time. Dictation, as at pp. 12, 24, with the new language of time just introduced, will now be carried to a much greater extent. Copies of tunes belonging to this step from other courses, or original compo- sitions, or pieces for special occasions, can thus be rapidly multiplied. When once the practice of Dictation and the use of the “Tonic Sol-fa Copy Books’ has got into familiar use in school or class many things can be done by it. Some schools are taught entirely by a Modulator, a set of Wall Sheets and Copy Books. The further, we go in Dictation the more useful the time-names become. The “announcements” for Ex. 174, l. 3, n. 2, &c., would be as follows:—“TRAA m ”—“TAATAI f f '’—“TLAA-cfe S f"—“TAA m ”—“traataitce r d r *—“taata.itcc m r m '-'tlaataitce frn f ''— taaSaitce S S ’’—“ TRAASAI 1 ''—“TAASAI S ’’— TLAASAI f" — “TRAATAI d r’” — “-AATAI r" &c. The third measure of the same tune would be announced thus “TRAATAI S-One f"—“TAATAI r t- One.” Pointing from memory and Writing from memory, as at pp. 12, 24, should still be practised. The second does not at all take the place of the first. We have known pupils who could write from memory, but could not point the same tunes on the modulator. It is important to establish in the memory that pictorial view of key relationship which the modulator gives, especially now that the study of Transition is added to that of the scale. St, Co. (New.) 78 FOURTEI STEP. QUES TI ONS FOR TVRITTENT OR ORAI, EXAMINATION. 1 Name the tones of a chord of I’. Say in what respect is it like the chords I) and S 1 EIow is it related to tho chord D, and how would you describe its mental effect 7 • A 2 Describo the chord 7S. In what case is the dissonant effect of fah º; soh more slightly felt 7 EIow is the fah in this chord commonly pre- pared, and how is it always resolved? 8 What is meant by “ambiguity of chords,” and which of the chords can- not be imagined to belong to more than one key 7 4 What is a major chord?—A minor chord? — a diminished chord" — and which of these are in themsclves the most acceptable to the car 7 What is the difference botwoen the tones ray and orah 7 Which tones of the scale require rah to tune With them, and which ray ? 6 What are the tones of the chord IRAEI ? In what position is it most commonly found? And how would you describe its mental effect 7 7 What are the tones of the chord T? How are its root, and fifth usually resolved ? In what position and under what circumstances is it commonly employed, and what is its mental effect 7 8 What aro the tones of the chord L? In what position is it used apart, from the minor mode 7 And what chord is used interchangeably with it ! What is its mental effect 7 9 What are the toncs of the chord M7 Can it be easily substituted for the dominant or sub-dominant like the chords T and R. l Is it much used ? 10 What dissonance is there in the chord 7R 7 And how is it prepared and resolved? For what chord, in cadences, do modern writers often substitute 7Rb" 11 What is the chief source of men- tal effect in a chord ' And in What position is that mental effect best developed 7 12 What is a cadence 2 Name the last three or four chords of a tonic cadence.—Of a dominant cadence.—Of a plagalcadence.—Of a surprise cadence. 13 What is the principal case in which a chord is used in its c position, and what is the peculiarity of this case? In what other cases is the c position allowed, and what are its three princi- pal apologies : 14 Can you remember any pecu- liarity in the doubling or omission of the third which belongs to thºs chord 7S, DOCTRINE. Or any other peculiarity which belongs to minor chords generally 15 Whore are the little stops of the scale?—The greator steps!—The smaller steps ? By what intervals are the two little steps of the scale separated from one another ? Eſow can you defino doh 7 16 Which are the most markedly characteristic tones of the scalo 7 And how may they be described 17 What is transition ? In What rospect are those tones of a tume changed which do not change their pitch { 18 What is the sharp distinguishing tone, and what is its effect on the ear ! What is the flat distinguishing tone and its montal effect '' 19 From the car’s dislike to the tri- tone as a melodic progression, what melodic phrases, often repeated, natu- rally suggest transition ? 20 What is meant by the first sharp key —The first flat key —In going to the first sharp key, beside the substi- tution of the piercing tone for the desolate tone, what change of effect takes place in the tone a third above the distinguishing tone 7 . Does any other change besides that of effect take 'place on the lah 7 (see “Grave ray” p. 46) In going to the first flat lºcy, besides the change of a piercing for a desolato tone, what change of offcct, and what other chango takes place in the third above the new distinguishing tone 7 21 What is the difference between ; principal and a returning transi– iOn 22 What is a bridge tone 7 Give examples of a bridge tone making tran- sition through the distinguishing tone of the now key. 23 What is the meaning of the little notes placcd to the right or left of the key signature in transition ? 24 What are the general mental effects of transition to the first sharp key –And to the first flat key 7 25 FIow would you indicato transi- tion by the manual signs 7 26 What kind of effect is produced on the mind whon fe docs not move to soh in the next chord, or when ta docs not go to lah —And by what name is that cffect called '' 27 What is the common.cst, case of transition to the first sharp key, and by what name is it called ! What is the difference between the flat and sharp. kcys in this respect 7 . 28 What is the commonest case of transition to the ºrst flat key, and by what namo is it called 7 FIow does the sharp key diſſer from the flat in this respect 7 29 Eſow do you dofino oxtonded transition ? Which of the two transi- tions is more used in this way ? 30 What is a sharp —And what relation docs it bear to the tones which stand bolow and above it in the scale 7 What is a flat 7–And What relation docs it bear to the tones abovo and below it in the scale 7 31 On what particulars of lºnowledge and skill does a good musical recitation depend ? What are other words for tho articulations and continuations of voice Which of theso two is the more important 7–And why? Why is the other of the two to be first studiod 7 32 Name and illustrato, by cramplc, all the five lip articulations. 33 Namo and illustrato the two arti- culations of lip and teeth. 34 Namo and illustrate tho two arti- culations of Tip-tongue and teeth. 35 Name and illustrate the five arti- culations of Tip-tongue and palato. 36 Name and illustrate the two arti- culations of the Mid-tongue with the Palate, in which the Tip-tonguo takes a very decided part, tho two in which it takes a less decided part, and the two in which it takes no part. + 37 Name and illustrato the threo" Back-tonguc articulations. r 38 Name the six articulations with shut passage, placing the two qualitics (breath and voice) together in couples. 39 Name, as above, the eight articu- lations with contral passage. 40 Name, as above, tho five articu- lations with side passagcs. 41 Name the three articulations with nasal passage. 42 Describe the aspirato II. In the articulations what organs of specch come in contact and scparato'ſ 43 Which aro the consonants loast capable of being sung ' Which are the six Eſisses 7 Which are thé six IBuzzes IIoW far are the E[isses and Buzzcs capable of being sung ' Which are tho three smothered consonants : Which are the five which can be murmurod or hummed. What is a Glide 7 What is the difference between the Glide joining b and oo and that joining b and ee ? If two sounds are kept distinct, but pro- nounced rapidly one after the other, What more do they want to make them into a syllable % As scarcely any of the consonants are pleasant whom sounded alone, What part of a consonantal effect St. Co. (Nºw.) fºotſINTET STEP. 79 is it that can bo really sounded ? And what haljit in the management of tho organs of voice is it therefore important for the singer to form 44 Describe in writing ten common errors in the use of consonants. 45 What is the differonce botWoon the recurrence of accent among the pulses of music and among the pulses of public specch 7 Give illustrations of the “mixed measures” of speech. 46 What is the purpose of a chant, and into what principal parts is it divided ? What governs the length of the reciting tone 7 . In teaching , the music and words of a chant, which should be learnt by heartthroughout the wholo 7 EIow should tho recitation of Words bo studiod 1 47 What is the namo for a silent quarter of a pulse, when it comes within the accented half —When With- in the unaccentod half?—TIoW is it indi- cated in the notation ? 48 By what vowel is the first third of a pulso indicated?—the second —the last 7 FIow are thirds of a pulso written in the notation ? 49 What clifforont sorts of accent are thore in a musical passage, and how do you define a pulse! What must the Tonic Sol-fa translator do whom he wishes to know whether crotchet, quavor, or minim, are treated as the pulse in a common notation tune?. How should quickly, moving six-pulse measure be taa-taid " 50 Why is the pupil not taught to boat timo in the cally steps ? 51 Doscribe the loind of exerciscs by which the toacher endeavours to infuse into his pupils a sense of time. . . . . 52 Describe the most clearly visible ways of beating two-pulse measure— threo-pulse—four-pulsc-six-pulsc. 53 The boat to the right being asso- ciated in four-pulse measure with a 74 FIold a steady tono with one breath for twenty scConds. 75. Sing with a beautiful forward quality of voice each part of lºx. 121 in key Iº, M. 70. 76 Name pulse by pulse tho chords in the first and third measures of Iºx. 122, p. 45. 77 Laa in perfect tune the socond part of Ex. 122, while your teacher or Some other person, with correct voice, laas the first or third part. p. 45. 78 The teacher having caused to be sung to figures consecutively, chord by medium accent, why is it also suitablo to the second pulso of three-pulsemeasure? 54 Docs the quality of tone in tho lower part of a woman’s voice differ in any respect from that of tho same tono when produccd by the higher part of a man’s voice 7 What ; of their voices are male singers commonly ashamed of before their voices are cultivated 55 What rogister is most neglected in uncultivated women’s voices? IDcs- cribe the means by which the teacher leads his female pupils to recognisc their thick register. 56. Describe the process by which the flick register in women is strongth- CI10C1. 57 What is meant by the blending of theregisters ? Describe the exercises by which the thick and thin registers anºe Oqualized. What are tho Sol-fa, names of the optional tones of a tenor voice in key C –G !—Bb —F —A 7–D ! If a group of toncs commencing on an optional tone ascends above Gr, in which register would you begin it! If such a group commencing below the optional tones ascends to F, in which register would you begin? If such a group beginning above G descends into the optional tones, what register would you use { . If other things are equal, which register would you prefer on the op- tional tones for a forte passage?—for a piano passage 3 59 What , is the advantage of a lºnowledgo of dissonances to the singer? What are the five principal apologics for a part-pulso dissonance on the weal; part of a pulso'ſ What is the common resolution of part-pulso dissonances on the strong part of the pulse 3 What are tho three prepara- tions for such dissonances? And tho names for those preparations ! Why PRACTICE. chord, Ex. 122, omitting the second moa- sure, let the pupils say to which figures the chord Da was sung ; the same with lºxs. 123 to 126. I’ven elementary pupils should know by ear the mental effects of the principal chords in their a posi- tion. pp. 45 to 47. 79 In the same manner let the pupil distinguish the chord of Sa in Exs. 122 to 126. 80 In the same manner let the pupil distinguish Fa in Exs. 122, 123, and 124. 81 the same manner let the pupil distinguish 7Sa in Exs. 122 & 123, does a composer sometimes leave a dis- Sonanco unpreparcd 61. When a class is competent to study this subject of dissonances, how docs the teacher introduce it practically to their attontion ? " 62. Among full-pulse dissonances, which of them are used more freely When the pulses move quickly than when they move slowly 7 EIow arc forcstrokes used when smoothness of melody is the object, and how when dissonant effect is desircd', 63 Describe the six additional ca- dences introduced in the two-part exerciscs of this stop. 64 What is a section ? What is a phrase ? What is a period? What is a section of two measures called 7–One of three measures —Ono of four ! '65 What are the three principal clements of good Form 7 Why is it more important for the singer to study the principles of musical form than for the listener 66 What are the three questions which even clementary pupils should answer in respect to every tune, before it is sung ' What are the other questions which pupils should answer in a complete parsing of musical form 1 67 FIow should modulator volun- taries at this step be conducted 68 Whence the necessity of sight- laaing from books : 69 Whence the importance of memo- rizing the modulator | º Why are memory patterns of liSG2 71 Give reasons for tho practice of memory singing. 72 What new powers of dictation do th9 time exerciscs of this step bring to us? 73 Why should pointing from Tº emory as well as Writing bo con- tinued 82 In the same manner let the pupil distinguish La in Ex. 126. 83 Iisten to the laaing of Exs. 123 to 126 and namo the cadences. p. 48. S4 In the same manner as question 78 let the pupil distinguish the chord Dö in IExs. 124 and 125. This and the following four questions (to 88) may be answored by the more advanced pupils. 85. In the same manner let the pupil distinguish Dc in Exs. 124 and 125. 86 [n the same mannor let the pupil name Fli, in lixs. 124, 125, and 126, care- fully distinguishing it from La. - St. Co. (New J FOt]f{TEI STEß. S0 87 In the same manner let the pupil name Rb in Ex. 124, and 7.Rb in Ex. #26, carefully distinguishing them from Q. 88 In the same manner let the pupil name Ta in Ex. 126, and Tb in Ex. 125, carefully distinguishing them from 7Sb and 7Sc. 80 The teacher singing or causing to be sung to figures (one to seven twice) Ex. 127b, let the pupil decide on what figure the distinguishing tone of the first sharp key was heard. The same with Ex. 128. p. 50. 90 In the same manner let the pº. name the distinguishing tone of the first flat key in Exs. 130, and 131. 91 The teacher singing or causing to be sung to figures (eight to one line, six to the next) Ex. 133, let the pupil name by its figure first the distinguishing tone of transition, and scCond that of return- ing transition. • 92 The same With Ex. 136. Sevens Imetre. 93 The same with Ex. 140. Common metre, or eight-sixes. 94 The same with Ex. 143. 95 Signal by manual signs and from memory, so that quick pupils could sing from your signalling, Exs. 65, 99, and the air of 97. p. 51 and preface. 96 Signal, as above, the first and third parts together of Exs. S5, 86, and 123 97 Signal, as above, the first and third parts of Exs. 124, 125, and 126. 98 Mark the best breathing places Ş. suit the phrasing and the Sense) for the first and second verses of Ex. 133, second line of the poetry, and Ex. 134, third line of the poetry. 99 Add any marks of expression (p. 30) which occur to you in Exs. 140, 142, 143, 144, and 145. 100 Pitch without a tuning-fork the keys B, B flat, E, E flat, and A flat. The pupil has not satisfied this require- ment, if When tested he is found to be wrong so much as a step. 101 Sing to words any one of Exs. 133 to 145 as required, p. 25, question 46. 102 Enunciate, with freely moving jaw, Ex. 146, first with the vowel aa, next with the Vowcloo. (p. 61.) 103 Enunciato Ex. 147, first with the yowel ai, and then with the vowel oa. 104 Enunciate Ex. 14S, first with the vowel ee, and then with the au. 105. Sing correctly on a single tone any three Words from each paragraph of Ex. 149 which the teacher points to. 106 The same with Ex. 150. 107 The same with Ex. 151. 108 The same with Ex. 152. 109 Recite, in exact time, the ex- amples in the second column, p. 63. 110 Taatai on a single tone, exactly : marked, the rhythms of Exs. 123, and 9. 111 Taatai from memory any one of the Exs. 157 to 161,–the first pulse being named. 112 Taatai the upper part of any one of the Exs. 170 to 174. 113 Beat, as directed (p. 66) four two-pulse measures at the rate of M. 60, pause for two measures, and con- tinue the beating at the right moment for two measures more. A silent metro- nome not seen by the pupil is the best test of this exercise. 114. The same, with four-pulse mea- surc, M. 90. 115 The same, with three-pulse mea- sure, M. 60. 116. The same, with six-pulse mea- sure, M. 120. 117 Sing to koo with the thin register Exs. 162 or 163 Whichever the teacher chooses. P. 66. 118 Sing to koo with the thick regis- ter lºxs. 164, 165, & 166, whichever the teacher chooses. 119 Sing to koo Exs, 168, and 169, whichever the teacher chooses, making the registers of the same loudness anā quality. 120 Mark, for the Tenor singer, in Ex. 133 first, the optional tones, and next the places at which it is most ad- . visable to change register, as is done in JExs. 170 to 173, and as suggested, p. 68 and question 5S above. 121. The same, with Exs. 135, 136, 137, 138, 143, and 145. 122 Without, at the time, referring to pp. 68 and 69, turn to examples of the part-pulse passing tone—anticipa- tion tone—Waving tone—hanging tone —guiding tone–horizontal forcstroke —obliqueforestroke—waving forestroke —unprepared forestroke. 123 Without, at the time, referring to p. 69, turn to examples of the full horizontal forestroke—the oblique fore- stroke and the unprepared forestroke. 124 Without, at the time referring to p. 69, find examples of the following cadences, F, -R,-SD,-FID—Weak pulse S—Weak pulse PID. 125 Parse any one of Exs. 97, 115, 134, 136, and 140, which the teacher may select. ” 126 Tho same with EKS, 141 to 145. 127 The same with Exs, 113, 119, 120, 174, 175. - 128 Mark the best breathing places in each part of Exs. 170 to 172, so as to Sustain the voice, shew off the musical phrases, and not interfero with thq sense of the Words. 129 Add any marks of cxpression (see p. 30) which occur to you to EXs. 170 to 174. - 130 Sing to words any onc of Exs. 170 to 174, as required, p. 25, question 46, which the teacher may sclect. . . . 131 Tollow the examiner's pointing in a new voluntary, striking the dis- guishing tones both of the first sharp and the first flat keys by leaps, and Singing to laa. 132 Point and sol-faa on the modul- lator, from memory, any one of EXS. 133 to 144, chosen by the examiner. 133 Write, from memory, any other of these twelve exercises chosen by the examiner. 134 Laa, at first-sight, any cxcrcisc not more difficult than these twelvc. 135 Say aloud or write down, with- out looking at modulator or book, the bridge tones, to right and to left of each Scale tone, as directed, p. 51. 136 Tell which is fe and which is ta, as directed, p. 25, question 56. 137 Tell what tone (fe or ta) is skaa, as directed, p. 25, question 57. 138 Taatai any rhythm of two or three four-pulse measures, belonging to this step, which the examiner shall laa to you. See p. 25, question 58. 139 Taatai in tune any rhythm of two or three four-pulse measures, be- longing to this step, which the examiner shall sol-faa to you. •. 140 Sing to words, from memory, any one of Exs, 133 to 145 chosen by the examiner, singing either part, but taking the last verse of the words. 141 Write correctly the three musi- cal phrases which would be dictated as follows : 1st, “TRAATAI me aloh”— “Safatefe one ray doh '’—“TrAA-efe tet dol, ** – TAA ray.” 2nd, “trafatese doh, ray, me.”—“TAATAI me doh "- “trafatefe one ray doh tel” – “TAA doh.” 3rd, “traataited doh me soh " – “Taa-aitoo fall ray " — “TRA ATA1 fah me?”—“TAATAI ray doh'—“TAA tel.” Ex, 176, 81 FIFTH STEP. To practise more advanced Chest Klang and tuning eacercises. To read chords disguised by notation. To recognise chromatic chords. toſlé. cadences, and distinguishing tones of the Modern Minor. Modulation. To recite correctly. delivering tones, attack and release. warious requirements of Melodic and IIarmonic Ea:pression. Scales of Registers. Sia:ths, Eighths, and Ninths of a pulse. The lesse,' Breaks. optional tones. Agility of voice. JPerception of Registers. Chest and Klang-For each key the singers change parts. At M. 60 the lower voices will have to economise their breath for 24 seconds. Key E2, the upper voices slurring cach Phrase of six tones to tho forward Italian laa, M. 80. Rey F, To distinguish the various Modes of the Common Scale. To arrange words for Chanting. To practise the degrees of Musical Force and Speed. To apply them to the To perceive the power of cadence and emphasis in developing the mental effect of a To recognise and produce the characteristic To recognise and produce Modulation and Transitional Perception of the various modes of Parsing Musical Passages. The small Register. Classification of voices. Management of JRare divisions of Time. koo-ing, M. 72. Rey E, laa-ing as above, M. 60. Roy Pit, Sol-faing, M. 92. In all these keys Basses may use the thin register for d'. Tenors should not need to do so. Ex. 176. KEYs Eb, F, E, and F# Chest and Klang Exercises. f !d m is d' s m 'd ſm is d' s m 'd m is d' s m :d m is d' :d f l d' l if :d ºf 1 d', l if Skaa - || - * gº a g- gº gº º es Ia, Skaa - wº º sº gº :d smsº : — -* : — sº : — *=sº e - : — * Skaa - I - º wº G ſº t- º * Gº, º tº tº * wº ge + *S. f + T). C. ; d ºf 1 d' l if :d ºf 1 d! :ds,tºr f ºr tº: Sltºr | f ºr tº: Siter | f ºr tº: Siter | #d - - - - - | la, Skaa. | - - - || - - - || - - - la. * — -- - *** : ClS sº-sº * — *º : — º-º , – Sd * gº tº * es gº tºº tº tºº gºs gº e- gº tºº tº tº la. Examination of Voices.-- Since the proximate classification of voices, at the third stop, p. 29, many voices will have changed. Cultivation will have developed new capacities. Each voice should therefore be examined afresh, and a report of its presext physical condition drawn out, shewing its easy Compass, and its Quality and Volume in each register. The teachor will know, by its Best Region, whether it should be called First or Second Soprano, First or Second Contralto, First or Second Tenor, Or, First or Second Bass. In large classes, and in Ordinary evening classcs, the teacher will not have time to go through this important process, unless he can command competent assistance. But, where- * See p. 108, and ever it can be done, cvery pupil should, several times in the Course, receive advice about the cha- racter and management of his voice. He should in fact be “put in charge” of his own voice, and expected to present it in improved condition at the next examination.* TUNING EXERCISES, for the purpose described at p. 14, can now be continued, and with the same process—except that there can be no changing of parts. When the men's voices are practised, the parts marked for first and second Soprano, should be sung by first and second Tonors, and those marked first and second Contralto, by first and socond Basses. “Voice Report Book,” 1s. St. Co. (New.) 82 FIFTff STEP. Ex. 177. /*N REY G. S.S.C.C., or T.T.B.B. . ~~ /N S d :l S : — pl fe | Pl S :f m *-*. d r | d d :d d : — d d d ph :f di : — d l § f ; F) l : — º r p] I’ :d : — d r d t :d d * S S| d TI - ; pl. f : — T]] te 'He is-de spised and-re jected of men — quainted with grief – And-wo hid-as-it He-was-de spised We es teemed him not Surely, he-hath borne our griefs – || Yet-we did-es | teem him stricken — And | Smitten of : I’ : t : Sl : m : Sl :(l | "A man-of sorrows –- WV Gºl’O-Oll]` J- : I' ; tı - : Sl ..f. : Sl — car ried our d and ac fa, ces from-him — sor rows — | º God af flic tod . . . But he-was wounded 'for our trans gressions — || Eſo-was bruiscd for Oll]" in i qui ties — || "The chastis ment-of our peace was-up on him — And with | his stripcs we are healed – . . . All we-like sheep 'have gone a stray — || wo-have turncil every one to his own way — . And-the Lord hath laid on him — || | The in iqui ty of us all — - - © He was-op pressed 'and he-was af flicted — || Yet ho op' nod not his mouth — || Hº-Was brought as-a | lamb to-the slaughter — || And-as-a sheep-be fore-her shearCrs 'is dumb So he op' med not his mouth — - Ex. 178. REY G. D. t. /*N /TN d r :f m : — | r s 1 , t , d! ..] d! : t , d : — S| I’ : t| d : — tim f S S : – , f |m —- | m S| : Sl Sl * sld |d , T : Pl I' : I’ d — d : ta : S. d : -— sld f :m , f |s| : Sl d : — f. G. zºº - • ar) d's s : ta l : — l f : m I’ : I' d : — S T S ; Fl f : — d t ; d. d : t| d : — m t| |d :d d : — f f : S. Śl S] ni :- d's m ; d. f : — f r :d S. ! Sl d :— And-I heard-a great voice out-of | heaven — saying — || "Be hold-the Taberna clo-of God — is with men 'And he-Will dwell-with them—and they-shall Sclf-shall be-with them and be their God — be llis people And God-him St. Co. (New.) Ex, 179–180, IFIFTEI STEP, 83 . . 'And God-shall wipe-a way-all tears — from their eyes" — | . 'And there-shall-be no-more death — neither Sorrow nor cry ing — * Neithor are passed a way What-are these-which — came — they — shall-there be — (??'62- (*)" robes and made them | white in-the blood of-the Lamb — They-shall hunger-no more neither sun light-on them | nor — an y heat IFor-the Lamb-which is-in-the |: , 'And God 'shall wipe a way — Disguised and Chromatic Chords,--In Ex. 177 the chord on the 7th pulse may at first be read 71°Fe, but a little study of the modulator, and a quiet listening to the progression of the chord, show it to be 7Sc. It is disguised by what is called the improper notation of transition. (See pp. 52, 51). In analysing disguised chords we write the true name of the chord, and its resolution in parenthesis thus:–("So D.) . Chromatic Resolution.—The same chord at the 12th pulse of Ex. 179 is not a disguised transition chord, because-it is resolved chromatically. (See p. 52). Instead of moving to S, which would make any more pain — || 7'ayed These-are they-which came out-of great tribu lation — || thirst any more – || t midst-of-the And-shall lead-them unto living fountains I'or-the for mer things 'in white – robes — || And — whence And-have washed-their Neithor-shall-the throne 'shall | feed — of waters — All — | tears — from their them — || eyes — : a real (SD), it moves to De, a chord which, like "S and Db, has a peculiar power of deciding the key. De, while it is itself the very Tomic of the key, puts also the very dominant tone of the key in the most prominent position,-the Bass. Thus the chord 7"|R, threatened a transition only to show how fast it clung to the original key. In the same way we notice that tº D in the 15th pulse of Ex. 178 is only "S disguised. It makcs the transition which we express thus, ("S D). But, the same chord in IX. 179—4th pulse, is not a disguised transition chord, because it is resolved on 7S, the deciding chord of the original key. Ex. 179. ICEY C. JV. G. Ilſº N. | s : s , d' : ta.tal :(l r! :rl ,r1|m| :m) f :rl |m} :r d! :- Lord, have mor - cy up- on us, And incline our hearts to keep this law. |m :m S : S S | S : — S : S , S | S : S 1 : 1 s : – , f |m : — |d' :d d : d!,d' |r! :d t : t , t d! :d d : d' d' :t d : — Lord, have |mer - cy up-on us, And incline our hearts to keep this law. |d :d m :m .m. | f : m s : s , s id' :d f :fe |s : si d : — Iºx. 180. Name all the chords in Exs. 177 to 179. Effect of Accent, Cadence, and the Over- fifth in developing the mental effect of tones. It is easy to understand how the placing of any particular tone under the strong accent of a tune, will necessarily bring out its proper mental effect into notice. It is also easy to understand how those resting points in a tune, called Cadences, p. 48, must give emphasis and importance to the tone on . which they close. A close implies a pause to follow, and even in Elocution, a pause after a word gives it emphasis. In those Rhythmic closes there is also, very commonly, a descending motion of the Melody which gives weight to the tone it falls upon. The very name—“Cadence,” springs from this idoa. But another source of emphasis is more easily felt than explained. It is the influence on any tone of its over-fifth, or what is the same thing, of its under-fourth. Though we cannot give reasons for the power of the over- fifth in music, it may be interesting to observe that, in the order of consonances, the Fifth is, next to the Octave, the most perfect, and that the Fourth is next to it in truth of accord; that when a musi- cal sound is resolved into its constituent parts, the St. Co. (New.) 84 - FIFTII STEP. Fifth is the third part or “partial,” the First after the Octave of the Fundamental Tone,—that in Harmony, which is only Closer Melody, the Fifth soon came to be called the Dominant on account of its acknowledged power in deciding the key, and that Consecutive Fifths in Harmony are felt tº be hard and disagreeable, probably because they suggest the idea of two tones with Dominants whère one only is wanted. In the first line of a woll-known tune, “St. Bride's,” we have 1 made emphatic and predominant.—1st, by the cadenge upon it, and—2nd, by the motion to and from its under-fourth :— :l m : 1...,t |d :t | 1 :– | – | By precisely the same means, in its next line, d is made predominant :— - :d s : dor m! :r" | d! :- | – || In the third line no one tone is made to pre- dominate in the melody – :m |r! :d. It #1 s :f |m| || But in the last line, by the influence of its over-fifth, by accent and by Cadence, l again predominates: in 1 :r" | d! :t | 1 : — | – || Another example is afforded by the old tune. “Martyrs.” When written according to the oldest copies, those which correspond With the present singing of the tune in the FIighlands of Scotland, the tone r is made to predominate, in the first line by its twice rising to its over-fifth, and making a cadence on it :— :r | f :r | 1 :f m :r | 1 || In the second line by its cadence on the under- fourth :— :1 d! :l t :r" | 1 :- | – || In the third line by its cadence:— :l d' : s | 1 :f m :r | 1 || And in the last line, after three cadences on the fifth of r, by a very decided cadence on r itself falling from its over-fifth :— :d. It is t : 1 | r - | – || The Modes.—This power of making any one tone of the Scale so prominent as to stamp its own character on the whole or any part of a tune, was early understood among all nations, long before what wo now call harmony was known. In the old Greek and Latin music there were as many Modes of doing this as there are tones in the Scale. In each mode special predominance was given to some one tone. Even to the present day the great eastern nations of Persia, India, and China, who dislike our harmony, are exceedingly exact about the correct intonation of the various modes of melody. (See examples in the “Iſistorical Speci- mens '', of my “Common . Places of Music ''). Much of the old music of Scotland, Ireland, Wales, and lºngland, cannot be written as still traditionally Sung, except by the use of these modes; and when (as in the case of “Martyrs” in Scotland, “Bangor ’’ in Wales," and othor well-known tunes) musical men, seeking to be wiser than Pach and Handel (who recognized the modes), . altered the melody to Suit the supposed require- ments of modern harmony, and printed these altered melodies, the consequence was that the people either ceased to use the tune or continued to sing it differently from the printed copy. The Modes are called by various names; by the Greek, the Latin, the Indian, and the Chinese writers on music. It will be sufficient for us to call & them by the name of the Scale-tone, whose mental effect pervades them. Thus we have three modes with a major-third above the principal tone or Tonic—three...,major modes—those of Doh, Fah, and Soh, and three minor modes, those of Lah, Ray, and Ilſe. The mode of To with its diminished fifth, is but little used. Of the major modes, that of Doh is almost exclusively used in modern times and among the western Inations. It was called, in ancient times, the Secular Mode—the mode of the dance and the song rather than of Ecclesiastical solemnity. No other mode suits modern harmony so well. Of the minor modes, the Lah mode has come to be the only one used among the nations of modern Europe, in connection with harmony. It could not be adapted to harmony, however, with- out alterations; and these so much modified the pure effect of the old mode, that we prefer calling the modified form “the Modern Minor ’’ instead of “the Lah Mode.” The history of the tune “Dundee º’ or “Windsor’’ will illustrate this. In its original form, and also as copied from ear by Dr. Mainzer, in his “Gaelic Psalm Tunes,” it is a Ray mode tune, and cleared from Gaelic flourishes, reads thus:– :r | r :m | f :m | r :r |d | f | 1:s | f :m | f || :f 1 : s \ f :m | r ºr |d | f |m :r | r ;d r ). St, Co., (New J IFIFTEI STEP. - 85 This melody could have been written so as to begin on l instead of r, without altering the inter- vals. Melody alone would not decide which mode it is in. When harmony began to meddle with it, a “leading tone" to the r was wanted, and the three d’s wore changed in some printCd copies into de—which is a small step beneath r. In this form the tumo appears in Este's “Whole Book of Psalms,” A.D. 1592. But, so strong was the resistance of the popular ear to such an altoration of the melody that, forty years later the tune appears in John Knox's Psalter with the first and second d’s unaltered, and only the last made into de, Later still, harmonists found the Ray mode, for other reasons (See “Construction Exercises,” p. 90.) unfavourable to their purpose, and wrote the tune in the Lah mode, altering the three notes as before, thus:– - ; 1 || 1:t d'; t | 1:1 sell d' im!: r" | d:t d' || :d' |m|:r" | d!:t | 1:1 | sell d! t : 1 || 1 : sell || But the altoration of the notes in the books did not necessarily, alter the tones of the people's singing, and wherever books and instruments do not dominato, there may still be heard the clear, firm, solemn cadences of the old melodic mode, | 1 : 1 |s or in its older form | r r d and | 1 : s | 1 or r ; d r. Thus, in the Highlands of Scotland, this tune is still sung. Evon in England the modern version of the tune is seldom used, except where thore is an Organ or some other instrument to make the voices sing according to book. It is felt by all that se intro- duces a wierd unsettled effect, and greatly alters the whole spirit of the tune. It creates also a difficulty in striking the d' with which the next line begins. The ear maturally regards seas a new t, and can easily strike after it, f| ri t or r", because they have something to pl! correspond with them in the supposed | T-d now key; but is puzzled to find d'. (See | r t tho diagram at the side). So, in the history of this tune, a curious thing d! 1 happened. When musicians began to t se alter its melody, the people in the churches of Scotland, without presuming to resist the demands of harmony, or to contend against a learned Precentor or a Choir, foll instinctively into the oxpedient of striking some other tone of the same chord, which was easier than the uncertain se, and from which they could more easily rise to d'. A new tune called “Coleshill”—not interfer- ing with the harmonies of Dundee, was the result. It reads thus:— : 1 || 1 : s d' : s | 1 : 1 |m| || :dl |m| :r" | d' : s d! ||d |m| :rl | d! :s | 1 | 1 |m ||d s : 1 |rld': t | 1 || The Doric or Ray Mode.-Bofore the introduction of modern harmony, this mode was the principal one used for worship. Throwing its Cmphasis or, the earnest “prayer-tone'' r, it was strong and hopeful as well as sad. The softer Lah mode can- not take its place. Much less can the modern minor with its sonse of restless unhappiness. In Wales, both North and South, this mode is much preferred to the Lah mode, and popular tunes, printed in one mode, are sung in the other. The difference is easily observed, because (in addition 1 r to the question of the artifical leading tone) the expressive cadence d' t 1 in the S d | Ray mode, becomes sf m in the Lah mode. t It is like transition to the first-flat key. f (See diagram). Let the pupils notice and pl 1 describe the changes of melody, which would be necessary to put the tune “Martyrs’ above into the Lah mode. Let them do the same with the following d f old Ray mode tunes—singing them in both modes. The first is the burden or I' S t; m chorus of an ancient Christmas Carol “Nowell, nowcll,” which Mr. Chappell 1 r ascribes to A.D. i460 — :r | r : – ; f | p :- :d |m :-.r:d, t | 11 :- :ll |d : – ; d. | r :– :r |m :– :m |d :- — | r , f :m | r : – ; d. | r :- || The next—“Bangor,” is a tune of the ancient British Church, as it may now be heard in the churches of Wales and Scotland whenever sung without book or instrument :- : 1 | f :m | r : 1 |r! : 1 | l ; d. , t | 1 ; S : d', t | 1 || | 1 St. Co. (Now.) . S6 - FIFTH STEP. :1 |r! :d! |r! :f |r! :d,t | 1 || : 1 |r! : l , s |f : m r | These studies are not mere matters of curiosity, or of history, for by far the largest part of the popu- lation of the world, at the present moment, makes use of these various modes in singing. Mission- º above all others, should study this subject well. The Modern Minor is built on the ancient Lah mode with adaptations to modern harmony. The relation of tones to one another is more strongly felt when they are sounded together in harmony than when they are merely heard successively in melody. Harmony, therefore, introduces new principles. The chief principle of modern har- mony is that which chooses a particular chord, called the Tomic Chord, makes it preoccupy the ear, and ther makes the chord on its over-fifth, its dominant, and that on its under-fifth, its sub- dominant, minister to it. The meanings and uses of these terms aro given on pp. 20, 27, and 46, and at p. 48, this principle of “Chord Relation ” is illustrated by the cadences. Those who not only Sce, but listen to these cadences, will understand what is meant. In the common, bright, clear Doh mode the chord relationship was satisfactory and pleasant. Two strong major chords, S and F, two- fifths apart, yielded and ascribed superiority to the chord D, which stood equidistant between them. The modern minor is an attempt to apply the same chord relation to the Lah mode. But in no other mode, except that of Doh, are the Tonic, Domi- nant, and Sub-dominant all major chords,-and the ear naturally dislikes two unsonorous minor chords (See p. 46,) together, especially in a Cadence. SE,-In the Lah mode, L the Tonic, M the Dominant, and R the Sub-dominant are l all minor. The first harmonists shar- Sé pened the third of the Tonic L, making (s) ithe chord 1 de m, and this is still done sometimes in slow music, but the most f satisfactory artificial arrangement is that m which sharpens the third of the Domi- nant M, making m se t, whenever it is T wanted as a dominant. Occasionally, however, s is still used, especially in d descending stepwise passages. Se is t related to 1 as t is to d'. l Bah.—The use of se, instead of s, makes a great unpleasant gap in stepwise passages, l between se and f. Therefore, in such Se passages the composer often introduces (s) another tong which he uses in place of f. (ba) It is related to se as 1 is related to t. f We callit ball and write it ba. : 1 |se : ba Sounds much like : d' t : 1 and " | : m ba : sell sounds like ' s | 1 , t di. There are, therefore, two “alternative I’ tones” in the modërn minor, one intro- duced for harmony's sake, the other for d the sake of melody. Bah, however, is t not so often substituted for f as se is for s. l Difficulties of the Singer. — These arise from the modern minor, with its altered notes, l being so like, and yet, so unlike, the *º minor of the same Tonic. See diagram m S at tho side. The ear is drawn away from the key and confused. To prevent this it is best to train the singer to imi- r f tate the relative major, not the Tonio —m major, and so to keep the Doh in mind. d— Thus the teacher patterns on the modul- tº r lator |m| : d! | tº d! || and immediately follows it by d! : 1 se : 1 , ||. After 1 d a time he will give any major phrase se t and ask for the corresponding minor. The difficulty, already noticed, of strik- ba. 1 ing d! after se is increased by the intro-. f— duction of ba, because ba strengthens the feeling of a change of key. This |*| S feeling also makes it difficult to strike f, (especially by leap) as is seen by the r f diagram at the side, and felt by all m singers. It will be easily seen from the d diagram, and has often been felt by the teacher, that in singing such a phrase as this m ba : se | 1 : t , |dſ : — the pupils will sing del instead of d1, and even in singing such a passage as this : m ||ba : se | 1 : — m : – the pupils, instead of falling upon the same note with which they began, sometimes sing de as though it were the m of the major key drawn at the side. Such exercises as the following should be constantly practised from the Modulator, first sol-faaing and then laſting, always singing its relative major before each minor phrase. .C. ld in |r! :t lä - || 1 :d. It sell - || * St. Co. (New). fºx. 181—6. A t- FIFTH STEP. 87 D.C. ld it |l :t |d! :- || 1 :se |ba :se |l :- || D.C. |m| :dſ s : 1 ||t :d! || d' : 1 |m :ba |se : 1 || T).C. |m| :dl |t : 1 |S – || d' : 1 |ge :ba |m :- || D.C. |s :l it is |m| – ||m :ba |se :m |d :- || Thé teacher patterns the relative major. |m :se [t :m |d : 1 |se : 1 |m : se | 1 :- || |d :t | 1 :se 1 :balse : 1 ||F : se | 1 :- || But few composers understand about this. They therefore sometimes introduce toncs which give great trouble to the “singer, without alding, in the least degree to the beauty of the music. composers write for a hired theatre-chorus (who dare not say that anything is difficult—much less hint that it is unnatural), wo cannot wonder at their mistake. Even Handel has sometimes thus erred, and his notes to the phrase “Till thy people pass over, O Lord,” are seldom correctly sung even by the Handel Festival chorus at the Crystal Palace. Tonic Sol-faists, after this warning, will know the difficulty and master it. Modern composers for the voice ought to know the diffi- .# and, except when it adds beauty to the music, avoid it. The Exercises.—As the modern minor is so much the creature of harmony, it should be first studied in such exercises as the following six. They are simply previous Tuning Exercises changed into the modern minor :— Iºx. 181. KEY E. L. is C#. Comparo Ex. 85. /~\ arº 1 || 1 : 1 |se:– || se 1 : 1 || 1 : se | 1 :- d m :d |m :- ||m m :d |d ; tı |d : — l d : 1 | p :- || m |d : 1 in :m | 11 : — Iºx. 182. REY Bb. L. is G. Compare Ex. 86. /N /*N d |d :tſ |d :- || d t : 1 t : t| d : — lſ | 11: sell, :- || 1 | sel: l l l ; sell li:- lſ | 11:m | 11 :- || 1 |m| : dº |m| :m | 1. . . When } Tºx, 185. KEY C. J., is A. Compare Ex. 125. Ex. 183. KEY B 2. L is G. Comparo Ex. 123. fi 'd :f n :- If Id ºf t| :r |d :- d l ; r |d :- || se] ]] : 1 ser:t | 1 :- lſ | l ; T | 11 :- || ml || 1 :r m) :m l! :- Ex. 184. KEY C. L. is A. Compare Ex. 124. à |r! :t Se: – f f :r d : t | 1 : — | f : f |m : – || m | f : 1 || 1 : Se | 1 : — 1 | r : T | p :- || d | T : f |m :m | 1 :- à Id :r" |m| :- fi r idlt|d it 11 :- 1 | 1 : 1 |se:- || 1 |se:1 | 1 : sell ;- 1 || 1 :f m :- || d |t| : 1 |m :m | 1 :- Ex. 186. KEY C. L. is A. Compare Ex. 126. ô In ºr Id – ||f|r! :d. It :t 11 :- 1 d':t | 1 :- || 1 |se : 1 || 1 : sell – 1 || 1 : m | f : – || f | p : 1 | r m 1 : — Chord Relation in the modern minor. D is the Tonic of the minor mode as D is of the major, Therefore lſ, or with its commonly-sharpened third sellſ, is the Dominant, and R the Sub-dominant, What is said of the relations and habits of 13, S, and F (pp. 21, 26, 27), applies almost equally to L, sellſ, and R in the minor. What is said of 7S (p. 46), applies to 75°M, and the habits of 7P (p. 47), are imitated, as far as possible, by 7 T, and so on. For exacter particulars—See “Construction Exer- cises” p. 90 to 101. The chord M. (p. 46) is called tho “ Modiant ’’ in the Major, and D is called “Mediant” in tho Minor. “Minor D’’ (that is D in the minor mode) is as little used as Major M. R is called the “Super-tonic” in the Major, and T in the Minor. “Minor T,” and “Minor 7T,” are used like R and 7R (pp. 46, 47). L is called the “Sub-mediant ’’ in the Major, and both F and JB.A. are Sub-mediants in the Minor. T is the chord of the “Leading Tone’’ in the Major, and S.E in the Minor. No chord on the flat-seventh of the Minor (S) is used in distinctively Minor passages. It will bo noticed that we write the chord-names for the minor mode in Italic Capitals to distinguish them from the same chords when St. Co. (New), 88 FIFTH STEP. influenced by the habits of the major mode; for the same purpose of distinction in speaking We Say “Minor L,” “Minor T,” &c. The student should compare the above six chants in every respect * with their major-prototypes. To make the com- parison one of ear as well as eye, the two versions should be laad softly, the student looking at the major while the minor is sung, and at the minor while the major is sung. Ex. 187. Naimo all the chords in Exs. 181 to 186. Modulation originally meant singing in mode. We use it for a change of mode, as from the D mode to the L mode—from the major to the minor, or from minor to major. Major tunes frequently introduce touching cadences in their Lah mode or “Relative Minor.” (See Exs. 195, Meas. 23. 212, Meas. 14). And, it is almost a necessity for a minor tune, that some large portion of it should be brightened by modulation to the relative major. (See Exs. 189,-5th Meas., 190,-11th Meas., 191,–5th Meas., 192,-4th Meas., 193,-10th Meas). And even in 188 and 194 there are short phrases of major, with f and s to distinguish it. Transitional Modulation.—When the music changes both its key and its mode, at d f l the same time, some beautiful effects are t m introduced. The commonest change of this kind is that from the major mode to 1 T the relative minor of its first flat key. se–de This originates a new “ distinguishing d tone” which we call (on the “improper ba—f method of notation), de.. The bah is often used, disguised as t. The phrase : r de : t| : de | r is really : 1 | se : ba : se | 1. (Sce Ex. 234, Meas. 5). This “transitional modul- s d lation” is more frequently used in Passing £ than in Cadence modulation. (See Exs. f 233,245, and 236.) Additional Exercises, m 1 || P: 33, 3rd score; p. 47, 4th scóre ; p. 49, 1st Score; p. 52, 1st score; p. 54, 2nd, **TS6 || 3rd, and 5th scores ; p. 80, 4th score ; r p. 88, 2nd Score, and p. 60, 1st score. -ba || Another, though not a frequent Tran- d sitional Modulation, is that from the major to the relative minor of the first sharp kcy. This originates another distinguishing tone which we call re. The bah, in this case, is rarely used, but it would be called in passing modulation de. The transitional modulation of the first remove— minor to major is more common. Cases may be found moving to the first flat key in Add. Exs. p. 60, 3rd score; p. 69, 1st score; p. 88. 4th score, and to the first sharp key in Add. Exs. p. 33, 3rd score; p. 59, 1st score; p. 60, 4th score; p. 79, 3rd score; p. 87, end of second score; p. 96, lst score. Accidentals, Properly speaking, nothing is accidental in music, but this word is frequently used to indicate any tones which are out of the com- mon scale. It will be the student's business to judge whether these tones indicate transition from the key, or lead to a chromatic effect in the key, or are merely brief ornamental passing or waving tones. In the Tonic Sol-fa notation we indicate a sharpenednoteby altering its vowelinto ee, thus d, dee, (written to save space de) and a flattenéd note by altering its vowel into aw as in caught, thus m, maw, l, law, s, saw, and r, raw. To save space these are Written—ma, la, sa, ra. See Ex. 247. Rare Accidentals,—In uncommon cases like those in Ex. 247, the sharp of 1 is introduced. It is called le. It seldom has any very traceable key- relationship, but is introduced as an accompanying third to de. In the same way, but in exceedingly rare cases, bah is sharpened generally to accom- pany le. It is called be. In even rarer cases still, the sharps of m and t are required. They could Inot be properly written respectively f and d, because that would make them slightly too high. The sharp of any tone bears a fixed relation—that of a little step to the tone above. Its relation to the tone from which it is named, varies slightly according as it is taken from a greater or a smaller step of the scale; but it is always less than a littlo step. The sharp of m may be called my, that of t may be called ty. If in similar out-of-the-way cases, the flats of d and f were required, the flat of d would be called du, and that of f would be called fu. See “Staff Notation,” p. 31. EAREWELL, MY OWN NATIVE LAND. Ex. 1838. REY B J. L is G. Rather slow. : Pl l :- . 1 |t| .d :r t| |d : — 1. Fare - well my own dcar na - : Pll , r) |d :- . 1 | Sel,] I : t ,se 1 : — 2 Fare - well to all my kin - .r |d : p] r : – , d ...t] |l :d t AII: “The Shepherd's Daughter.” |t| .d :r ...t] long fare - :- . 1 | Sellſ : t ,se child - tive land, Doar friends 8, dred dear, My hood's home, fare - St. Co. (New.) RIF I'EI STEP. 89 d : — |— : m r :- .d |t| : I’ d :- , t | 1 :d well, Iºach | lov - ing heart and kind - ly hand, I lſ :— |— ; pl. f :— , fell si : t l :- . Sell : m well, With throb - bing heart and fall tº ing tear, I Ciſol{Us. t; :- . 1 l ; se l l ; – ||— :– || 1 :- [d :— |t| :se, | 1 \ bid you now fare - well. IFare - well, fare ye well. ||r – ºr, In, in ºr |d :- - - f :- In :- |r, nºr. Id \ | bid you all faro - | Well. Fare - well, faro ye well, | OUIR, LIFE IS EVER,. # NotE.-Sing it firmly, with tho “pressure form 'more or less marked on every second pulse of the measuro Ex. 189. I&EY C. L. is A. M. 66. Grattºn. : : m 1 : — ; t d' : – ; r" | pil : – ; f | Pl' : – ; r" Our life is OV $º Cl on the wing, And : m 1 : – ; t d' : — ; r m! :- ; fl. mi : — ; ri d! :- : t Our l life is Gy wº CI’ OTl the wing, And death is d : – ; t 1 : — ;1 if : – ;f |m| – in Ir' :-, d'ºr', m' d' :-, t:d.r death is (3V - GT nigh; The mo - mont when our | livos be - :— :rl | d! : – ; ml | – : r" :r" | d! :- : d' | t :— ; t | 1 : – ; 1 ev - cr, cv - or nigh; The l mo - ment when our | lives be - t :— :ml | d'.m': f'.m':rl, d'] r].d!:r) : – — ; d. : d! t ,t: t , t d! :- gin, We all bo - gim to die, We all begin to die. se : — : se l l ; – : 1 f : 1 : t , 1 : se.bal se :m : 1 || – ,l:se : se | 1 : — gin, Wo all be - I gin to die, We all begin to dio. SU IMMER IS GONE. Ex. 190. REY B). L is G. Slow. AIR, “Fortune, my foe.” lſ : — l ; – , t d :— — ; tı | 1 :rl | r :d t] :— — — 1. Sum - mer is gone, And | Sad - ly sighs the breeze, 2. Sum - mer is gone, And here I sad - ly, sigh, S.S.C. Or T.T.B lſ : — |– : – , t|d :— |— : d :t |– : 1 |se :- |— :— lſ :— |– : – , t) d :— |— : 11 : se – : ll |m} :- — ; – l :— — — , t) d_ :— |— : m :— — — — — — — Hm, - Hm, St, Co, (New, ) FIFTII STEP. Ex, 191. | 1 : 1 1.Let me 7.We have |d :d | |d! :d! Up - ward | |m :m l : — |l – t d : -— Moam - ing it goes All, all a - lone, 11 : — [– : – , t |d : – 11 : — |— :- .tl. |d :— l — — — . t1 | d - Hm, m :— |p) : – , m | I] - Sweet flow'rs are dead, Sigh Orl, ye | winds; tº ; d. ||r :d t| :– sel : 1 |t| :l sel : — r] :— — — *ms - Eſm, r — s : : - , f |m :— Sigh OD, ye winds, Those dear, dear friends, r — |— :— |d :— t! :- — ; – |d :— s] :- — ; – | 11 : — Hm, : t Through Not The Though For TO |— |— TEIF CHRISTIAN’S PARTING WORDS. Words by James Montgomery. REY C. L. is A. M. 50. 1.d': t , 1 |se : se go, the day is spent a night of d ,m :r .d |t| : t d", ml:r', d'It :t now I bend may p1.s :f , m r ; r lſ :rl |r :d t| :— |— :— bare and leaf - less trees, One dear friend is nigh; d : tº [- : 1 seſ : — — — 11 : se! ||— : 1 pl : — |— : — m — — — – :— — — Hm, In S | f : m r — — : — song -birds all have flown, Spring a - gain will come, d :m |r :d t| :— |— :— s — |– :— — :— — — d :- |te ; d. |s| :— — : — Hm, t| : 1 || 1 : se l! :- — ;– Sum - mer days are gone. me can - not re - turn. seſ : l |m| : — — — :— I'll - I- ºr |d :- - - ri :d |— :te la — — — Hm, lèussian Air D.C. se,t : 1 , sell : 1 1.d!: t , 1 |m| : se l l ; – break-ing, Dear com -| pan - ions, let Ime go ; Walk - ing, In the wil - der - ness be - low. tl ,r ; d. t1 |d :d d .m. ; r , d [d :t d :— t .r':d'. t | 1 : 1 | 1.d.; t , 1 |m| :se | 1 : — way. Part wo here at break of day. |r ºf ºr r |d :d d .m.; r , d [d ; tı |d :— St. Co. (New). FIFTEI STEP. 91 2 Let me go—I may not tarry, 3 Heaven's broad day hath o'er me broken Wrestling thus with doubts and fears; Far beyond earth's span of sky; Angels wait my soul to carry Am I dead P−Nay, by this token Where my risen Lord appears; I(now that I have ceased to die. Friends and kindred, weep not so, Would you solve the mystery P If ye love me, let me go. Come up hither, come and see. DRIVE DUILL CARE AWAY. Ex. 192. IFY G. L. is E. AIR.—“We be soldiers three.” lſ : – ; |t| : – ; r : – ; d |t| : – ; lſ : – ,t) ; d 1.I)rive dull CarG a - Way, Let us be lſ : – ; |seſ : – ; tº : – ; l |se : – ; l :-.seſ: 1 2. Come, COmē, join our song, Mor - ri - ly |t| :– :m d :-, tr: 11 |t| :- :- s :-,f : P |r :-, d:r m :-, r :d hap - py, blithe and gay; Ban - ish your Sad - ness and join in our |se :- :m | 1 :-. SI: fel |s| :- :- |m :-, r : d |S| :-, 11:t |d :-. t1: 1 chant it loud and long ; Dan - ish your sad - ness, bid sor - row be- Itſ :- :m I. : – ,m :d |t; :-.1 : t d : 1 :- |- :- : — lay, And I let us all sing and be mor - ry. |seſ : – ; pl. t| : – , d : 1 |sel , - baſ: Se | 11 : li :- |- : – ;- gone, And I let us all sing and be mer - ry. Words by TEIE DESTRUCTION OF SENINACHIERIB. Music by J34/ron. A. L. C. Ex. 193. INEY F. L. is D. * :l ...,t) |d :d : I’ m : m : li ºtſ |d :d : I' m :-— ; d ..,r s a e s a s , , , , , , s a se e s = e s s a e s e e s ] { * * * * * * * * * * * * 1. The As|-sy - rian came | down like a wolf on tho fold And his 2. Like the leaves of the for - est when | sum - mer is green, That : 1. ..sell li : 1 : t d :d : 11., sell : ll : t| d : — !!!...it 3. For the An - gel of iſſatà" spread his Wings on the blast, And m : m :ba se : se :ba pl : m :ba se :-- : 1 .,t co - horts wore gleam - ing in pur - ple and gold; And tho host with their ban - mel's at sun - Sct WOTG SOCI) . Iliko the d :d :d t ; tı : 1 sel ; sel ; 1 t! : — : d ..,r breath’d in the face of the foe &S he pass'd ; And the St. Co. (New). 92 FIFTEI STEP. #9 d! : t : 1 . S : f : m I : S :f m :— :d ºr sheen of their spears was liko stars on the Sea, When the leaves of the for - , cst when | Au - tumn hath blown, That m :S :f m : I' : d d ; tı : 1 Sel : — : Iſ ...t. cyes of the sleep - ers waxcd dead - ly and chill, Anā their, *it. dim. m - : pl : I' d :d : d ..,r m ! pl : m l : — blue W’a,YG rolls night - ly on" doop Ga - li - lec. host OD. the mor - row lay with - er'd and strown. d :d : t l : 1 : li ol! Se : Sel : Sel l | — hcart but OIlCC hcav - cd, And forlov - or grow still ; THE JEWISH CAPTIVES. Ex. 194. REY A. L is Fºt. Slow. A. L. C. ||d : — |p) :- , T | d : — |— : : |d : – , tſ 1. Far, - far from homo, Ear, far from 2.I.'ar, far from home, Far, far from l :— . ] sel :- , se | 1 : — - : l : — |Pl : - . T 3.Far, far from home, IFar, far from lſ : — |— :f pl : – , r |d :r pi :— — ; pl. bai : Se li, t **) home, Where Baby - lon's wa -ters | roll, In si - lence sit wo home, Our harps with un-tun'd string On way - ing wil - lows d : — |— :r m :m) | 11 : t , 11 se! :- |— : m bai : Se 11, tº ; d. 1 home, - Can cap - tives tune the string 2 Shall Zi - on's songs bo t| :— — . .m. |m :-- |m :— |m :— |– : .m. | f : — | f : – down, And] bit º tor tears, And hoa - Vy hang, While cap - tors scoff, Andi ask for sel ; – ||— : , m r :d |t| : li |se : — – : .mil r :d |t| : 1 sung P Jel-ru - Sól, º- lom My chief - est sighs, Ex - press the an - guish of Oll].” Soul. mirth, And bid us songs of Zi - OI). sing. sel ; – ||— :se | 1 ; tı |d ; tı 1 : — |– :se l! :- — joy 1, A - way from thee, how can We sing P :— — :m d :r |m :r d :— |t| :— | 11 : — |– St, Co. (New). --- Ex. 195—6. FIFTH STEP. 93 IFOR,GIVE THINE ENEIMY. D. t Ex, 195. It EY G. & I’uchs. : : : Sūl — t; : S l : t For - give , thine | en - we - d : — t : Si lſ ; tı df : 1 1 s :m ,s |f : m , I' For sº give thine | en – o – my, thino On - C - || my, thino d' : Sl — , fi : fill – , rl ; d. , t | 1 , t : d' — ; t d! : — my, thine CIl º c - my, thine on tº- - C - || Imy, m : – , r d :- , t | 1 : i , s |f : – , || | I’ : — d , r ; pl €Il sº G º - Imy, thino | cm º - O - º lmy, : :f p] :d T ; pl f : 1 — : s ,f For - give thino | Cn - C - || my, thine CIl - G - — , f : s , d r : – , T | d : :d l :f l : tº | Forgive thinel on sº C - || Imy, For - give thino | Cn - e - m :d' — : t , 1 | se : — | 1 , pl. : 1 — : se | 1 : — : \ my, thine . Cn - e - Imy, thino on º e - || Imy, : t , 1 |f : — — ; m , r |d :- .r,d] tº : – , t) || 1 : — f : — my, thine Cn-e - my, thinel en - C - my, For - | | d' : — I t : s - 1 :t d : t , 1 | t .pl :m — , r) : 1 , t I d' : — For - give thine en - e - || my, thine en-e - Imy, thine ene - my, ſm : d I : m f :m , r | p , 11 : 1 — : S f :- |- .m. ; d .m give thino | en - e - my, thine en-e - my, | thine ene - f. G. d's f :r ºf |m idl – it : |- , s :f — : m r : – , r d : — thine en- C - my, For *s give thine, | thine en – c - || Imy. r l ; t d , t) : 1 .m. | f : – ,m r :- .d |t| , s : d – :t d : — my, thine | on - e - my, thinel Cn - e -l my, thine en | - e - I my. Chanting.—The pupil will now learn the recita- passage of Scripture; to be fully marked for Chant- tions of Exs. 177 and 178, paying special attention ing, with Cadence bars, Pulse divisions, Accent to the Consonants as taught at the last Step. marks, and Type-expression. (See pp. 35, 36, 59). 3X º * * —l 7 fin or The comparison of these various plans, before the sº sº 177—178, having class at its next meeting, will prove both a fine f e exercise of taste, and an interesting study of the Arranging Recitations.—In connection with the sense and meaning of the words. Besides, the study of Chanting, it will be well for the Teacher | Tonic Sol-faist should give himself the trouble of to give out a portion of a Psalm or some other i mastering all these principles of recitation practi- St. Co. (New). 94 - IºIFTII STEP. cally, for he may some day have the duty, and happiness of leading a congregation, and then, whether ho uses a book marked for recitation like our oxercises or not, he will require a practical mastory of our principles, unless he is content with tasteless, sinful “gabbling ” instead of chanting. In commencing such exorcises, the student will first cut off the cadences. Ho will naturally try to arrange these so that the musical accent may correspond with the sense of the words. This cannot always be done. The attempt to do it, in difficult cases, often loads the marker to put too many syllables into the pulses of the cadence-so, that when it is sung quickly, as cadences should be sung, an irreverent dancing effect is produced, and when the cadence is sung slowly, it naturally makes the recitation also both heavy and jerky. The practice of putting several syllables into the pulses of a cadence, compels the recitor to put many sylla- bles into the pulses of his recitation. *It is certainly better in the cadence—as far as sonse will allow— to keep only one syllable for a pulse. Compare: “: , TVhich stilloth the : noise of the seas : ... the : noise of their || waves : and the tumult ; of the people " with": , IPhich stilleth the : noise of the seas . . the vioise : of their waves : and the , || tu : mult i of : the people.” The last can be sung quickly; the first must be slow and heavy, and still jorky. - In preparing tho Recitation, let the student first make sure of its beginning and ending. For he must remember that the chant is a mixturo of Specch and Song. The Recitation is Speech ; the Cadence is Song. This necessitates some compro- mise, at least some “management'' at the points (before and after the cadence) where Speech and Song mect. As an accent comes at the beginning of every cadcnce, thcro must always be before it either an unaccented pulse, or a pause of a pulse supposed to be unaccented. As we cannot well have two strong pulses together, it is unnatural to make any other than a woak pulse between the reciting tono and the cadonco. Thus, if in the follow- ing sentence we focl the necessity of cmphasising both “martyrs’ and “praise,” we should not attempt to writo—“: The - noble army of martyrs praise”, but “: , the noble : army of martyrs : praise, &c. cadence closes with a soft pulse the mind naturally expects tho strong pulso to follow, and if the words will not bear this, you must give a pause to lot the tion. As every . The accent pass by. Thus “ Thee : — || : | holy Church throughout all ” or botter thus “ . . The holy | Church.” Another hint is this. It is important that the student should use a metronome for his recitation, Clso he will find himself continually varying his rate of movoment, and that cannot be done by a great congregation. It is very unnatural to hurry the pulses of the reciting tone and slacken those of the cadence. They should all move at the Game rapid rate. If you chant slowly it is impossible to make the pauses indicated by the dots.. In further studying the reciting tone, the careful marker will observe-that the two-pulse rhythm is the most common and easy, but the best speech contains a well-arranged varicty. As a general rule, the rhythms in which a passage is best said are thoso in which, for chanting, it should be sung. Chanting, however, is not private talk ; it is public speaking. Public speaking differs from private talking in this—that the pulses in public speaking are necessarily more regular, in order that the voice may carry further. The student, moreover, must not despair if he finds it, in some cases, ex- tremely difficult to reconcile sense and rhythm. Prose is often written more for the reader than the speaker. The prose style of a Bolingbroke, a Brougham, a Gladstone, or a Bright, is quite different from that of a student or a learned trans- lator, who seldom speaks further than across a table, and it is altogether more rhythmical. It was not all the translators of the Bible who studiod the rhythmical structure of their sentences. Whilo the student is thus recommended to exercise his judgment and taste in deciding which plan best cxpresses the sentiments of the words and best draws out the voice of the whole people, he should be always ready to unite cheerfully in the “use ’’ which he finds established in the church in which he worships. The following hints are for the Precentor. First, avoid chants with high reciting-tones out of the reach of Ordinary voices. Long recitations on a high tone are Screaming impossibilities to a congrega- Second, avoid chants with wide intervals in the cadence. Such cadences are not like the natural cadences of an excited public speaker. They are almost necessarily slow and heavy when a congre- gation sings them, and “slow ’’ cadence makes jerky recitation. - Expression.—At page 30, a brief and superficial reference to this subject is made. The pupil being St. Co. (New). * Because the pulses of recitation and cadence should move at the same rate. FIFTH STEP. - 95 now well grounded in the doctrine and practice of time and tune, is free to give full attention to expression. The subject is one of great intellectual and artistic interost, and both voice and mind should go through a thorough training in expres- sion. The chief elements of expression are speed and force. How speed of movement influences the emotional offect of tones has been shown—p. 28. . How the various Degrees of Force can influence cxpression is nover known until the pupil has really learnt to control his own singing in this respect. It is one of the simplest, easiest, Ihost effective, and Amost neglected of all the contrivances of music. Ordinary singers employ either an uniform weak drawl, or an equally uniform shout. They have nevor cultivated a medium force of voice, and they can never give that light and shade of sound, which, like the varied distances and lights in a painting, throw such a charm over the musical picture. The first thing to be secured—the foun- dation of all the rest—is a good delivery of each tone, both for the sake of quality and clearness of Żmpulse. Delivery of the Voice.—In singing, the student must remember that he is not singing to the top of his head or the bottom of his throat, or to the inside of his mouth, but to an audience in front of him. He will, therefore, direct his breath out- wards, in a steady, well-regulated stream, keeping his teeth always wide apart—even when he has to round his lips. By this means he will avoid shrill bird-warbling, bass growling, and vague humming, and will produce a rich, round tone, without discor- dant upper “partials.” Attack and Release.—Closely connected with a good quality of sound, and essential to its pro- duction is that clear striking of every tone—that “good attack,” as M. Fétis calls it—that “shock of the glottis,” as Garcia describes it—that firm, but light and elastic “touch" as Mdme. Seiler speaks of it—which should become a habit of the singer. Every tone should have a sharp confident opening as well as a distinct close. It should be like a newly cut coin. “Any oné,” says Dr. Lowell Mason, “who gives attention to the production of tones by a good instrumentalist, or to the manner in which they strike the ear when the “attack' is made upon them (or when they are first brought forth by a skilful player), cannot fail to observe their great superiority in promptness and energy of delivery, to those usually heard in singing. Indeed, choir or chorus singing can hardly be heard without reveal- ing the fact that whatever proficiency may have been made in reading music, so far as it relates to time and tune, the proper use of the vocal organs in the enunciation or emission of tone has been Sadly neglected.” Any one who, in the Crystal Palace or elsewhere, has heard some great artist singing with the accompaniment of a vast chorus, Imust have been filled with wonder to notice how easily the artist's voice was heard above the thousands of uncultivated voices. It was greatly because the artist had formed the habit of good attack, and made his voice reach the ear more quickly and more truly. The increasing habit in singing classes (when time, tune, and words are learnt) of studying delivery and expression, with closed books, under the guidance of the leader and his bâton, have done much in England to remove this defect, of bad attack. Mr. F. Ringsbury, in his sensible pamphlet on the voice says:—Pass tho breath in a small stream letting it commence suddenly, as if produced by the sudden opening of a valve, but without any further offort. Unnatural forcing of the breath must be avoided, while care is taken not to let it ooze out. By this prompt attack, after a few experiments the singer will positively feel the back of the throat and mouth simultaneously filled, as it were, with a Solid body. The muscular power of these parts is felt to grasp or lay hold of the sound. This sensa- tion of laying hold of the tone should always be presont to the singer. He will then be conscious º power to mould and shape the sound at his WI11. The following hints from Mr. Ellis will assist the teacher in observing, and the pupil in learning the proper mode of attack. Only, that which he calls the “clear attack,” forms the true action of the glottis to be practised by every singer. In this, the vocal membranes are brought into contact exactly at the moment when the breath is made to act upon them. In the “gradual” attack, the vocal membranes are brought together while the breath is being emitted, so that the passage through whisper to voice (whisper being speech without the vocal membranes) is unpleasantly audible. As this attack is common in speech, it is the more neces- Sary to guard against it in song. It causes what we call “breathiness.” In the “check" of the voice, the vocal membranes are brought tightly together beſore the breath acts upon them, and are Separated with a sensation of a click in the throat. Only for an extreme staccato effect should this be St. Co. (New). 96 FIFTH STEP. used. In the “jerk,” the proper clear attack is made with the addition of a sudden jerk of the breath, produced by the diaphram or muscular floor on which the lungs rest. This jerk can be easily felt by the hand. It is the proper form of the aspirate H for the singer—that is H without “breathiness.” allow a puff of wind to escape before the vocal membranes are brought close enough together to make the clear attack. In the “slurred ” attack (that is the attack on the second vowel, or the con- tinued vowel in a slur) there is a simple relaxation in the emission of breath between the two vowel impulses. So that no very sensible sound is heard between the two vowels, and no “clear ’’ attack is heard on the second. The distinction between the slur and the glide (p. 61.) is this: In the glide the voice continues in full force while the organs are passing from one vocal position to another, and in the slur the voice is continued, but with greatly lessened force. This is true—both in music, when we pass from one tone to another, and in speech when, without change of tone, we pass from one vocal position to another. The “release" of the vowel by a clear action of the glottis, leaving no ragged ends to the sound, should be very carefully practised. It produces as beautiful an effect as the clear attack itself. The teacher will make his pupils try all the various modes of attack, but practise only the clear attack. The power of recognizing bad execution helps the pupil to understand and enjoy that which is good. Degrees of Force.—To give his pupils a proper command of their voices, in this respect, the teacher will find distinct and frequent practice necessary. The degrees of force he may introduce In the following manner:— “Sing me a tone to the open LAH, at an easy pitch of your voice, which shall be neither loud nor soft. What - shall we call it, if neither loud nor soft 2 ” Medium. “Yes, it is called a medium, . or, to use the Italian word (which has been adopted into all languages for this musical purpose) a mezzo (med-zoa)* sound of the voice. Let us write m in the But, care must be taken not to sing with your medium force, whenever I point there. Let each one try to fix in his mind what . is his own medium force of voice, and learn to pro- duce it at command. Sing it now, as I point. Again. . . &c.” “Sing the same sound lowder.” . For the loud sound we use the word forte (for-tai) or the letter f. We will write f to the right of ºn, on the black board. “Now sing as I point.” (in. f. f. m. &c.) “Sing the same sound softly. For the soft sound We use the Italian word piano (pyaa-noa), and the * p. We will write p, to the left of the m, UlS : — - £9. 774. ' j. “Now sing with ‘medium,’ ‘weak,’ or ‘strong ' (mezzo, piano, or forte), power of voice, as I point to One or the other of these letters.” The teacher points sometimes slowly, sometimes quickly, some- times in one order, sometimes in another, and the pupils sing accordingly. When these rough outlines of vocal force have been ascertained, and a good command of them Secured, the teacher may proceed to develop, in a similar manner, the intermediate' and the extreme degrees of force, using the marks m.p. (mezzo- piano), and ºn.f. (mezzo-forte), for the intermediate degrees, and ºff. (fortissimo), and pp. (pianjssimo), for the extreme degrees, very loud and very soft. Let the teacher show, by example, that it is possible to give a very loud tone without scream- 2117 — The black board will now have the following signs marked on it :— 209. 29. 7)?p. ???. mf. f. ſf. The teacher will exercise his pupils in passing from one part of this scale of strength to another. A really gradual (not a jerking) passage from one end of this scale to the other, and then back again, is one of the most difficult feats in music. Thé pupil must take a good breath before he begins, and use his breath economically. The exercise is middle of the black board, for mezzo, and you can of first importance. Ex. 197. | f f f p p 29 }|| : l l l ; 1 | , 1 | 1 Ex, 198. | 2 . Ø |f f f 1 : 1 : l l l l ; St, Co. (New), *The inverted full point mark * | p f | f £9 | s an accent on the preceding syllable, { } { } | { { . . 1 : 1 | 1 : 1 1 : 1 | 1 à : 1 : 1 : 1 : 1 I}x. 199—203. --- IFIFTEI STEP. 97 Px. 199. pp ſp f 1 : 1 | 1 Ex. 200. £29 p mp %), | 1 : — Ex. 201. | f onf in 1 : f |ſ f £2 pp : 1 1 : — | mf f ſº ſº sº-sº * —s ſº |— *º- |— *= } %p p £29 pp *==º * * mºsº Q :— |— : — |— Crescendo (Kreshen-doa), *&c.—A long tone or a succession of tones passing gradually from the piano or pianissimo, to the forte or fortissimo is called a crescendo tone or passage. A long tone or a succession of tones passing from the forte or fortissimo, to the piano or pianissimo is callod, a decrescendo or diminuendo tone or passage. The gradual passing from pianissimo to fortissimo and back again to pianissimo is called a swell. The crescendo is indicated thus, --T The diminuendo thus, T= The swell thus, =T- For the development thus far of the subject of force in music, the Editor is indebted to Dr. Lowell Mason, of America, who was the first to reproduce, in the English language, the Pestalozzian prin- Ex. 202. KEY D. F < I-> I-> - I-> { |d :r |m :f s : 1 It :d Staccato and Detached Tones.—When a tone is meant to be sung only half its proper length, and in a marked (not loud) manner, this is indicated by means of a small dash thus (!) placed over the note. This mode of singing is called staccato (stakkaa toa). When a tone is meant to be sung about three- quarters of its proper length, this is indicated by a dot placed over the note. These tones would be called “half. Staccato ” or “detached ” tones. Legato.—When it is intended that the tones should glide gently and easily one into the other (the degree of force with which the first tone ends being the same as that with which the second begins), a slur 2-TS or the word legato (legaa’- toa) is written over the note, Sing the following, f f f inf * — sºmº * # f p £2}} | pp 10p p? | %, ºnp p £29 |— * —s |— *se ſº e * * * — fºp 20 ſp 7)\p |- onf f f f | memº |— * — g | — ciples of music teaching, by which Nägeli and others had created a musical revolution in Germany. —See his “Boston Academy Manual of Vocal Music.” Pressure and Explosive Tones.-Pointing on the “Scale of force,” as above, let the teacher cause his pupils to perform a very rapid crescendo. A tone. delivered in that manner is called a “pressure tone.” It is indicated thus (<). In the same manner a quick or sharp diminuendo will produce the “explosive tone” marked thus (>). This manner of delivering a tone is also called sforzando, and marked Sf. A combination of the two last modes of delivery on one short tone should be expressed thus (A). This musical ornament is very elegant, but difficult to perform. A tone delivered with equal force, from beginning to end, is called an “organ tone,” and may be indicated thus (=). /\ /\ /\ /\ - – *º d :t | 1 : s f :m |r :d | first with staccato, next with detached, and lastly with legato tones. Do not make the legato dull and heavy, but Smooth and elegant. Ex. 203. KEY F. } ; S s :f |m :r | : 1 |s Application of Force.—The , application of the various degrees of force to the Sense of the words is deferred to the last step. But, the use of force, as suggested by peouliarities in the musical phrases which are sung (apart from any modification which words may suggest), is now to be studied. Of course the words cannot be neglected at any step. St, Co. (New.J * For pronunciation, see Teacher's Manual, p.202, E 98 FIFTH STEP. Ex. 204, Already some hints on the subject have been given at p. 30, and the teacher will add more as he comes to the cases in each tune sung. It is only the systematic study of verbal expression which is deferred to the next step ; musical expression alone will now be systematically studied. “Additional Exercises.”—We shall, from this place freely use the Additional Exercises (Pts. 1, 2, and 3) for the illustration of various points in musi- cal and verbal expression, in musical Form and in the Analysis of Harmony. Our illustrations Will bo principally taken from the earlier numbers, but for the Exs. all three numbers will be required. It is very important that the pupil should, as far as possible, not only see but “hear ” the illustrations. When the class cannot sing the piece, a quartet should sing it to them. Pains have been taken —not only to suit these exercises to the progressive steps of this book, and to select them from the best composers, but also to secure in them as great a variety of style as possible. It is quite common for a class to sing a large quantity of music without really learning anything, because they are always singing the same sort of music. There is, however, always something new to learn in each of these Additional Exercises. Normal Force.—By this is meant not the force of certain passages, but the general—the prevail- ing force of the whole tune. Some pieces of music by their bold character, evidently demand loud singing to bring out their proper effect.—See “God speed the right,” p. 1. “Freedom's sons,” p. 13. “Time for joy,” p. 15, &c. Others, equally by their gentle motion, suggest soft singing. “Hear me,” p. 17. “Jackson,” p. 2. “Hope,” p. 12. “My Íady,” p. 21, &c. Of course the sense of the words, and the character of certain phrases will introduce modifications in the course of the tune, but the “normal force” is that principally used. The pupil should endeavour to obtain full command of the Medium force of his own voice. The teacher should give out a tone, and require his pupils to sing it in various degrees of force as he demands them. Mezzo , piano fort0 1 piano mezzo, &c. He should then require his pupils to judge from the musical style, speed of movement, &c., of various tumes, which of these three degrees of force should be the normal or general one given to the piece. Piano Passages.—A true piano is sung, not with laxity, but with effort. To keep a piano passage from flattening in pitch, and to deliver it with clear St. Co. (New). and just intonation is very difficult, Echoes are commonly sung by a few select voices in another room, but, for the practice of pianissimo, it is better that they should be sung by all. When a true blended and real pianissimo of many voices can be obtained, it is far finer than the piano of a few. Illustrations of piano and pianissimo, for simple musical effect, may be found in “The Waits” when sung the last time, in the imitations of the “Cuckoo’’ and the “Quail,”—pp. 9 and 14, —at the change of measure in “Swiftly,” p. 29; and again at the change of measure, p. 31, &c. Forte Passages should be sung with a very clear vocal kläng, and should be perfectly free from the sound of breath. Such a forte is very heart- stirring. But the rude, coarse forte produced by strong lungs and harsh voice is only deafening. Illustrations of this may be shown in the manner of singing “God Speed the Right,” p. 1. “The Waits,” p. 8,-when sung the third time. The close of “Freedom's Sons,” p. 13; close of “Hear Me,” p. 19, and several closing parts of “Swiftly,” p. 32, &c. Melodic Phrasing is the art of dividing a melody into its natural parts, and showing by the manner of delivery that the singer himself distinguishes these parts, and wishes his hearers to distinguish them also. It is as \mportant that these phrases should be distinctly marked by the good singer, as that the various members of a sentence (as indi- cated by the stops) should be marked by the good reader. This can be dome by singing one phrase piano, another mezzo or forte and vice versa, by com- mencing a phrase forte and ending it piano and vice versa, by delivering the last tone of a phrase staccato, and shortening the first tone of the next phrase so as to allow a momentary silence before it, and so on. The proper choice of breathing places has a great effect in marking off the phrases. In Some cases the phrasing of all the “parts” will be simultaneous; in other cases each “part ’’ will have its separate phrasing. The phrases in “God Specd the Right'’ (p. 1.) are sufficiently marked out by the lines of the words. Each of the long lines is easily divided into two, however, if more breathing places are required.* Ex. 204. Mark the phrases and breathing places, on the supposition that there are no words to modify your judgment, in “God Speed the Right,” (p. 1.) and as the two opening periods consist of the same music, mark how you would distinguish them in musical expression. * For phrasing see further “Musical Theory,” Book IV, pp. 244 & 261 Ex. 205–210, FIFTH STEP. Ex. 205. p. 2. Ex. 206. Mark in the same way “The Waits,” ), 8. p Ex. 207. Mark in the same way “Freedom's Sons,” p. 13. lºx. 208. Mark the phrases and breathing places in the Contralto and Tenor of “Spring Life,” p. 3. Ex. 209. Mark in the same way the Soprano and Bass of “May-time,” p. 5. Iºx. 210. Mark in the same way all the parts of “Thou shalt show me,” p. 7. Ascending Passages.”—Passages which ascend by the steps of the scale (or otherwise) should, as a general rule, be delivered crescendo. Each tone should run into the next with regularly increasing force. We naturally associate height of pitch with ideas of energy and spirit. Full force of sound also naturally suggests the same ideas, and (except where it would interfere with some greater effect) should always accompany ascent. The gradual nature of the ascent also tends to “set off” the wider skips of interval in the other parts. It is difficult to make the crescendo gradual, each tone running into the next with a steady and not jerked increase of force, neglecting for the moment the common accents of the measure. It is generally necessary to commence piano, in order that the singer may have breath and strength to spare for the end. The slightest signs of fatigue in a cres- cendo, would utterly and miserably kill its musical effect. Imitative illustrations may be presented in the opening of “The Fortune Hunter,” p. 4, where there is an ascent of an octave from s, to s, —in the opening of “The Waits,” p. 8, where there is an ascent of a fifth. Ascending imitative phrases, as in the last four measures of “Swiftly,” p. 32, should be sung with a crescendo effect ; notice also the ascending bass.-See also Standard Course Exercise 137. As a general rule, such passages as these should be commenced more or less piano in order to get the crescendo. For the Same reason, it is almost always necessary to take breath before commencing such a passage. Descending Passages should commonly be delivered diminuendo, because an idea of quiet and rest is naturally connected with descent of Sound. Descending imitative phrases follow the Same rule. Find examples in “Going Home,” p. 2; “May Time,” top of p. 6. But where the St. Co. (New). Mark in a similar way “Jackson,” I character of the tune or the character of the wor | requires energy and power, this rule must be broken. See the bass—“Awake AEolian Lyre,” p. 64, 1st score. When an ascending passage, in one “part,” comes into contrast with a descending passage in another, and both passages are properly delivered, the effect is very beautiful. See—“The Quail Call,” p. 14, soprano and bass; “How Lovely,” p. 60 (S. against C., and T. or S. and C. against T. and B.), three times in two scores to the words “Gone forth the sound of their.” As a general rule, such passages as these must be commenced more or less forte, in order to get the diminuendo. Repeated Tones.—The repetition of a tone, if it has any meaning, is intended to impress that tone upon the ear with cumulative force. To assist this purpose a repeated tone should be delivered cres- cendo, partly because the singer thus compensates the ear for want of variety in interval by variety in the degrees of force, and partly because he thus “sets off,” by contrast, the movement of other parts, just as the line of the horizon “sets off” a varied landscape, and a quiet rock the rolling Sea. The steadily increasing power also shows that the singer is not weary; and it is among the rules of art never to show weariness or exhaustion in the artist. See examples in 2nd score, “Going Eſome,” p. 2; 2nd score, “Cuckoo,” p. 9, and 1st score, “O, Saviour,” p. 86. Repeated phrases and passages should be treated in the same way as repeated tones. See Standard Course Ex. 113 ; air, meas. 3 and 4, and contralto meas, 5 and 6. Ex. 115; meas, 11 and 12,-and “repeated pas- Sage,” Ex. 120, last four measures. Prolonged Single Tones.—Lifeless monotony is unbearable in music, and therefore every tone should take some form. It will be found by ex- periment that the form most suitable for holding tones is the swell, and this swell should be full and strong rather than soft and insignificant. The composer commonly means that the other parts should be covered with a flood of sound from the holding tones. “The greatest difficulty of this form of tone,” says Fétis, “ consists in employing an equal time in the increase of power and its diminu- A perfectly simultaneous and equal (not tion.” jerking) delivery of this “tone form" by a chorus is very difficult to attain. Only practising without book, but with the signal of the gradually out- stretching and gradually returning hands of the * “Musical Theory,” Book IV., treats the subject of Expression with new illustrations. 100 RIFTEI STEP. teacher, can lead to this attainment. Seo the close of “Hallelujah Amen,” p. 28; “Swiftly from,” three cases, pp. 29, 30. In the case of repeated tones running into a prolonged tone, or a prolonged tone breaking into repeated tones, the two should bo treated as one, and the crescendo extonded through both the prolonged and the repeated tones. See the bass in the close of “Cuckoo,” p. 10; “Harvest Home,” p. 39, two cases; “Theme Sublime,” p. 68, 3rd score, and p. 70, 2nd score. See also Standard Course Ex. 138. Melodic Imitations.—When a composer makes one section or period of a melody imitate another, he designs that the singer should, by his manner, draw attention to the imitation. The best way of doing this is to make a contrast of force between the two. One must be more or less loud and the other soft. The pupils must study “the points” of a tune in order to know which of the passages must be loud and which soft. In “Jackson's,” p. 2, the second section imitates the first chiefly in its rhythm. As it is a “rising ” imitation, it is natural that it should be sung louder than the phrase it imitates. In the “Quail Call,” p. 14, the section beginning “Look at her ” imitates the first section, and is itself imitated by the section which follows. As the imitations are all “rising,” the first section must be delivered very piano to get anything like a forte on the last imitation. A striking rising imitation is in “Hear me,” p. 18, 1st score. A falling imitation, which would naturally be softer, is in “Nearer,” p. 35, 2nd score. In “Where the Gay,” p. 65, we have a desconding rhythmic imita- tion, preparing by its diminuendo for the striking succession of ascending imitations which imme- diately follow. Seo Standard Course Ex. 113, 6th score, at “Rejoice, rejoice.” Ex. 188, meas. 5 to 9. Ex. 233, on “and in ’’ to “me live.” Marked Entrance.—When (as in much of the old sacred music, in the old English Madrigal, &c., &c.) each “part ’’ in turn, takes the lead in an- nouncing (in fugal style) the principal melodial theme, that, “part º' should assume its passing office with dignity, decision, and expressive clear- Iness. The othor “parts” should, at the same time, “give way,” and hold themselves subordinate. It is plainly the composer's intention, that the entrance of these phrases into the music should be distinctly marked, like the entrance of some dis- tinguished guest into a drawing-room, when all conversation is hushed and all eyes are intent. Study examples in “Thou shalt show me,” pp. 7, 8, in which all the parts hush, to listen to “thou shalt show me ; ” “Bon Accord,” p. 11, where the same thing should take place on the words “O, Grant us by,” or “Thy goodness more.” Marked entrance is often effectivo when there is no fugal imitation, as in “Going Home,” p. 2, second score ; “Hear me,” p. 18, 4th score ; “Spring Life,” pp. 3, 4 ; “May Time,” pp. 5 to 7. See also Standard Course Ex. 116, Scores, 1 and 2; and Ex. 113, Scores, 1, 2, 6, —contralto, “IRejoice.” Subordination of Parts.—As in the rule of “marked entry” the other parts were kept subor- dinate to the part which was ontering the music, so in many other cases this hushing of several parts for the better display of Some principal part has to be observed sometimes, as in “Gipsies Tent,” p. 36, end of 1st score ; during part of the tune the melody is evidently given to the soprano, and the contralto, tenor, and bass sing a subdued accom- paniment, like the 'soft accompaniment of a piano or organ. Sometimes, as in “O, the Joy of Spring,” p. 57,-this is the case through- out the tune. Sometimes, as in “Saviour, Breathe,” p. 92, the principal melodics are given at One time to the soprano and contralto, and at another time to the tomor and bass. When the chorus is only an accompaniment to the melody, the harmony should be delivered in careful accor- dance with the joyous or the saddened spirit of the ruling molody, and always so as to let that melody be well . An unsympathetic accompaniment disgusts the mind of the listener. Let it be under- stood however, that whenever the part accompanied is silent, the accompaniment itself may speak out in fuller force and claim the attention of tho listener. See—“Gipsies Tent,” p. 35. Humming Accompaniment.-Humming accom- paniments may be produced in severalways.-First, by tightoning and vibrating the lips without any voice from the larynx, the lips vibrating all round and not on one side. This should only be done when something of a reedy buzzing effect is wanted. —Second, by a soft voice from the larynx with only a slight opening of the lips.--Third, by a soft voice from the larynx, resounding in the nose, the lips being closed. In this case the singer must be careful not to contract the muscles of the nose so as to produce a nasal quality of tone. Care should also be taken to secure an exact and unanimous striking of the tones, so as to imitate the effect St. Co. (New). Ex. 211—221. 101 FIFTH STEP. of stringod or reed instruments. Sec-‘‘Night around,” p. 22, and “Angel of Hope,” p. 48. In these cases the third plan should bo adopted. See also Standard Course Ex. 190. Imitative Sounds.--When it is desired to imi- tate tho rippling of water, the sighing of Wind, or the sound of the drum or horn, the syllables commonly written under the notes, cannot be a sufficient guide to the singer; ho must try to imitate the sounds intended, without caring to pronounce the oxact syllables which dimly intimato them. The effect of nearness or distance is con- veyod by loudness or softness of sound. Thus when the Christmas waits (p. 8) are supposed to be at a distance they sing softly; as they approach their singing sounds louder, and as they retire again their music dies away in the distance. The same remark applies to the sound of the drum, or any marching instruments. In a similar way the sound of distant bells, wafted by gusts of wind, may be imitated. See—“Come, let us all,” pp. 24, 25. In imitating laughtor we must remember that it has two characters; it is either light and trifling, or heavy and bold. Such a passage as “Fortune Hunter,” p. 5, first score, may be treated in cither way according to the Spirit of the verses; if in the latter way it will contradict, but worthily, the natural diminuendo of a descending passage. Ex. 211. What musical expression would you give to the air in “May Time,” from end of p. 5, to first line p. 6 P Ex. 212. What musical expression would you give in “God Speed the Right,” p. 1, to the air in first part of 3rd score, to the air and bass in first part of 4th score, to tenor and bass in 3rd score, —and to what part of this picco does tho rule of subordination of parts apply f Ex. 213. What musical expression would you give to “Harvest Home,” p. 41, end of second and first part of 3rd score, also to soprano and con- tralto, 2nd score, also to tenor and bass, p. 40, first part of 2nd score, and also, tenor and bass beginning with second part of 2nd score, ending at the top of p. 41 ° IEx. 214. What musical expression would you give in “Loud the Storm-wind,” p. 95, to the air of chorus, 2nd and 3rd scores P - Ex. 215, What musical expression would you give to the air of the first line in “Father,” p. 34, and to the air of the first line in “If I had,” p. 45 P IEx. 216. What musical expression would you give to the tenor and bass in the first eight mea- sures of “Saviour, breathc,” p. 91 P Ex. 217, What expression would you give to the music in “Hear me,” p. 19, 2nd Scorc, where each of the parts in turn utters the words—“It is thou; ” and to the 1st and 2nd scores on p. 26; and to the 3rd and 4th scores of “Swiftly,” on. p. 31, and to the 3rd and 4th scores of p. 30; anti to the first three scores of “We fly,” on p. 20 P IEx. 218. How should the accompaniment be sung in “Home,” p. 76 ° Ex. 219. What expression would you give to the music in all the four parts, of “How Lovely,” p. 61 ; scores, 3 and 4 P Ex. 220. What musical expression would you give to Standard Course Exercise 170, 1st score, both parts; Ex. 115, 3rd score, third and fourth measures; Ex. 170, 2nd score, both parts; Ex. 171, Amens in air, Hallelujahs, in contralto ; Ex. 194, air in 9th and 10th measures, and 11th and 12th ; Ex. 145, last eight measures; Ex. 193, first section, ditto second section ; Ex. 190, first and second sections? JEx. 221. What musical expression would you give to Ex. 136, air, 1st score ; Ex. 195, 1st and 3rd scores ; Ex. 195, contralto, fourth measure, from lah to third me ; Ex. 116, contralto, half second, and whole of third score ? Congenial Tonest—As overy tune has its own proper character, (Iſold and spirited, cheerful, didac- tic, solemn, &c.) it is natural that the Tomic Sol-faist should give clearest force to those tones of the scalo which correspond best with the general sen- timent of tho picco, are “congenial” with that sentiment. Thus, in a quick and stirring tune, he would naturally emphasize the trumpet tone Soiſ, the rowsing RAY, the strong I)011, &c.; and in a slow and solemn tune, the sorrowful LAH, the deso- late FAII, &c. With this idea in the singers' minds, the tune will immediately become a new thing. The pupils will soon discover that they possess the power of making this, or any other peculiar effect prominent in the general harmony, very much in proportion to the height, in their own voice, of the tone which gives that effect. Thus a high tenor tone will tell better than a low one. A bigh con- tralto tone will also command attention, because energy and spirit is implied in the very effort of the voice to rise above its medium compass, and the more piercing sounds are better heard. Low St, Co. (New). * See “Musical Theory,” Book IV, p. 259. 102 Ex. 222–5. fif'ſ H STEf. sounds (in contralto and bass) also imply energy and force, and they are capable of yielding a good effect, especially when the harmony is “dispersed,” and no other sound lies near. Some composers have great skill in setting the congenial tones of the music to that register, in each voice which is the most distinctive and the most beautiful. Any high sound, or any favourably situated low sound which is not “congenial” with the general effect, the instructed singer will, therefore, deliver as lightly as possible. On the other hand, when the congenial tone occurs in a favourable position, he will never let it miss of its effect. With these principles to guide him, every singer may know where the strength of his “part" lies, and where it can best contribute to the general harmony. I’salm tunes, of the “didactic and variable ’’ style, will thus be very differently treated according to the character of the words sung. If we were sing- ing “The Fortune Hunter,” (p. 4) we should notice that it was a very lively and playful tune, meant to be sung in a light staccato style—that, therefore, the quickly uttered emotional tones of the scale, would produce an effect congenial with the general character of the music. The sopranos would find an opportunity of developing congenial tones with bright explosive force on the first r of their part, and the second l and the second f. To contrast with these and give force to the jollity, the first s and the second d' would be similarly delivered. The 1 being in the high part of the voice should be |brilliantly attacked; and the piquant effect of f against the t, and s below it, should be brought out with sharp accent. The contraltos have nothing very effective till the two bursts of bright sounds under the soprano 1 and d'. The greatest power of the tenor lies in the delivery of t under the soprano f; and the best point of the bass is in the s of the same chord. “Rise my Soul” (p. 33) is naturally a tune of joy, changing into meditative mood on the last Section. The Sopranos will, there- fore, find congenial tones in their first bright S, in the stirring t and the triumphant d', for the change of character in the tune their returning f can be woll given. The contraltos have a good sel in that full part of their voices, which best dis- tinguishes them from other voices; they can help the excitement in the beginning of the second score by delivering their s, which is in the uppor part of their voice, clearly and lightly. The tenors can set their mark on this tune by a prompt delivery of s in the first chord; their 1 at the beginning of the last Section is also in a charac- teristic part of their voice. The basses have a fine effect in the full part of their voice in the first cadence, and they can well employ the high part of their voice in the second cadence, where 1 for a joyful effect should be delivered curtly ; the re- turning f which follows will be naturally well marked. But, if to suit the words this tune has to be sung with a solemn or mournful effect—every- thing is changed—each voice must then strive to bring out f and 1 wherever they occur, and to lessen the force of the brighter tones. In “Come, let us all,” (pp. 24, 25) the bell ringing (which is heard as a distant subdued accompaniment to the cuckoo), is given to two parts. But of these two subdued parts, the most distinct and bell-like are first the tenor, afterwards the bass, because the tones are thrown by change of key into the higher parts of those voices; and of the two subdued parts, these must always have the pre-eminence. —See also congenial me and fall in a tune which expresses at once solemnity and repose in Standard Course Ex. 136; the congenial doh, ºne, Soh, in a tune of great boldness, Ex. 137, and the con- genial lah and fah in a tune which expresses soft and tender feelings, Ex. 140., Ex. 222. Describe the general character of “Jackson's,” p. 2, and its congenial tones; name those congenial tones in each “part ’’ which lie in the full characteristic region, or in the higher or more marked part of each voice. Ex. 223. Describe “The Waits,” p. 8, as above. Ex. 224. “Tather,” p. 34, as above. Ex. 225. “Nearer my God,” as above. Rapid Passages.—The composer would never give the singer a rapid passage or run if he meant the notes to be blotched, and blurred and run into one another, so as to be little better than an indefinite and disagreeable single tone. He designs them to stand as distinctly united and as distinctly apart “as the pearls of a necklace, resting on a black velvet dress.” The singers must give them the clearest articulation, and there must be perfect unanimity of attack. In order to secure this effect the pupil should always take breath at the begin- ning of a long run, and economise it carefully so that there be no appearance of fatigue at the end. In some choruses it will be necessary to “Smuggle in ’’ the breath even in the middle of the run. Illustrations can be found in “Thou shalt show St. Co. (Newy. FIFTH STEP. 103 me” (p. 7) on the first syllable of the word “presence.” An exact delivery of the TAA-efe, with unanimity of attack, will make this little run bright and beautiful. In “We fly by night" (p. 20) there are runs which will require careful forethought for the management of the breath. In “Eſallelujah. ” (p. 27), unanimous and perfect delivery of TAA-efe, TAA-tefe, tafa-TAI will be re- required. In “Swiftly ” (p. 32) we very seldom hear “universal song ” Sung with pearl-like clear- moss; it is more like a Skuttering upstairs of many irregular feet. Handel’s runs should be cultivated with great care as exercises in flexibility. See also rapid passages in Standard Course Exs. 102, 120, 174, and 247. Form of Single Tones.—The explosive tone naturally expresses vigour and decision of feeling. See pp. 12, 39, 42, 45, 57, and Standard Course Ex. 141. When a composer alters the accent by synco- pation for a moment, he wishes the syncopation to be moticed by the hearer. The singer must, therefore, give it the explosive tone. Syncopation generally expresses restless force or impatient desire. See p. 87, 4th score. See also “Ye spotted,” p. 81, a case of piano-explosive tones, in tenor s, end of 1st score ; contralto d, with soprano r, at beginning of 2nd score. See also Standard Course Iºx. 114. The pressure tone naturally suggests deepen- ing emotion. In any touching three-pulse measure to deliver the second pulse with this tone, at least occasionally, produces a beautiful effect. See “Jackson's,” p. 3; notice also “The Woods,” p. 72, second score. See also Standard Course Ex. 139, and Ex. 140. Pressuré tones on a weak pulse, swelling into explosive tones on the next strong pulse, are often very effective. A good solo singer would often instinctively use them in slowly moving psalm-tones, on the last pulse of a measure moving to the Inext accent. See p. 57, 3rd score, and p. 17, last score. See also Standard Course Ex. 193. The legato style of singing is a modification of the pressure tone. It gives a smooth, gliding effect to the tonés, and lessens the distinctions of accent. See p. 63, 3rd and 4th scores; and p. 82, 1st and 2nd scores. The staccato style of singing is a modification of the explosive tone. It gives an abrupt, forceful effect to the tones, and necessarily lessens to a con siderable Cxtent the distinctions of accent. See tenor and bass, p. 40, and p. 42, first and last Scores. See also a piano-staccato, immediately following a legato passage on p. 82, third score. Unison Passages.—Passages in which all four parts strike either the same tones or their octaves together, should be sung with great care, so as to produce a perfect and clear blending of the voices. The voices should foel for one another, but not timidly, for such passages are generally meant to be very firm and strong. They should sing with conscious sympathy. See “God Speed,” p. 1; “IFortune Hunter,” p. 4; “O, Saviour,” p. 87; “Harvest Home,” p. 41, 2nd and 3rd scores; and “Stout Limbed Oak,” p. 78, first and last SCOTOS. Cadences.—l'ew things are more painful to a listener than to think that a singer is tired, few things more inspiring than to feel that he closes without fatigue. Even when the cadence is down- Ward and dimimuendo it should be firm, but in ascending cadences a sustained crescendo is abso- lutely requisite. See close of “Harvest Home,” p. 41; and “Quail Call,” p. 15, 1st and 2nd scores. Notice a vigorous descending cadence in “God Speed,” p. 1; and others in “Theme Sublime,” p. 71; “Rise my Soul,” p. 33; “Stout Limbed Oak,” p. 77, 4th score. See also contrasted cadences, Standard Course Ex. 145, last two scores. Distinguishing Tones of transition of the minor mode and of chromatic resolution (except when occurring in some subordinate part, and evidently introduced more for the convenience of the har- monizer than for any effect upon the harmony), should always be delivered with marked emphasis; for they have an important meaning. They change the mental effect of all the other tones. For the voices, in whose part the accidental occurs, not to deliver it firmly is to rob the whole music of its meaning. The tones of “returning transition ” should also be emphasized. But, if the transition itself were carelessly given, this second effect would be lost. - Those movements of the bass which mark the tonic cadence of a new key, as d : r | S, and | r : r |s| or of the relative minor, as r : m | 1, and m : m | 1 should be markedly delivered, because they help to certify the transition or modulation. See p. 52, -*. St. Co. (New.) 104 Ex. 226–232, FIFTEI STEP. Chromatic resolutions should also be firmly shown, because they are intended to reassert tho key. Special attention should be given to those tones of the chord which would be quite differently resolved if a transition were meant. In “Hope will banish,” p. 12; 2nd score, the fe in the air is not in a favourable position for accent, but that in the bass should be well delivered. In “How beautiful,” p. 12, at the end of the 1st score, the cadence is made to change key, more by the move- ment of the bass than by the very light distin- guishing tone in the contralto; therefore, let the bass move firmly. In the next score the distin- guishing tone of returning transition, which in this case is f, although it does not appear till the end of the section, comes out then with offect, and should be clearly delivered by contralto and bass. The same voices have the “returning f" at the top of p. 13. In “Hallclujah,” p. 26, the sopranos have a very effective returning f. In “Lord, in this,” p. 33, of course, the se will be well marked, because it is the distinguishing tone of the minor. In the second line of words there is a modulation to the major, which should be strongly marked by the cadential movement of the bass, and by the tenors' clear use of s instead of the preceding se. In “Ye spotted Snakes,” p. 81, the tenors have a returning f at the end of the 1st score, and the contralto a transitional f at the beginning of the next score. In “Saviour, Breathe,” p. 91 and 93, the chromatic resolution of fe into f should be clearly marked by the voice. In this piece, as well as at pp. 79, 94, 95, and 96, the manner in which such tones as de, re, ma, &c., flow into the tones which follow them should be clearly and lovingly marked. Dissonances.—In all cases of dissonance there is a “resisting ” tone, and a “dissomating ” tone. Every singer should know which of the two be- longs to his part, the strong resisting tone or the smoothly moving dissonance. See pp. 21, 36, &c. It is difficult for pupils with uncultured cars to sing either of these tones steadily. But they must be sung without any “giving way.” Else, their purpose is lost, and their beauty gone. Whoro would be the beauty of a cataract if the resisting rock gave way to the struggling current which strikes against its side and then flows on ? The resisting tone should be sung in a firm, almost “explosive ’’ style, and the dissonating tone (which springs from its “preparation,” and flows forward to its “resolution”) should be dolivered as part of a short melodic phrase in a very smooth-connected manner. Let the pupils test their power of deliver- ing dissonances well by singing “Jackson's '' p. 3, where on the word “through '' the contraltos have d dissonating against r of the Soprano, and on the word “day” r against m, where also on the word “led ” the sopranos have t dissonating against the tenor d', and on the syllable “vin’ m slightly dissonating against f, in the bass; while, on the same syllable the tomors have s, not only dis- sonating against this low f, but beating as a second against the l of the contraltos. This study of the dissonances will not only give the singer courage but great enjoyment, and will wonderfully add to the beauty of the effect. See also Standard Course Bxs. 114, 141, 244. Iºx. 226. What is the style in which you would sing the passage in “ Harvest Home,” p. 40, “O'er them the wavy wealth; ” and “Theme Sublime,” pp. 69, 71; and the “Stout limbed oak,” pp. 77, 78 P Bx. 227. What form of expression would you apply to the following tones on p. 67. Bass f, 1st score ; 2nd score, tenor d, followed by bass s and f P - Iºx. 228. What form of musical expression would you give to the two dahs of contralto, p. 85, 3rd score ? Ex. 229. What style of expression would you give generally to the tones of Standard Course Ex. 140 P Bx. 230. In singing the p. passage, “Morn- ing Prayer,” p. 79, 1st score, what special care will be required from the singers in all the parts P Ex. 231. Why should the contralto and bass in “Come, Freedom's,” p. 13, 2nd score, third and fourth measures be firmly delivered; and what note, soon following in the same voices, should be specially omphasized P. In “Rise, my soul,” p. 33, what are the most noticeable distinguishing tones, and how should they be sung P Ex. 232. What musical expression would you give to Standard Courso IX. 142, third score, ta, and fe, ; Ex. 189, third score, Se; Ex. 193, Second score, ba P Parsing: Fugal Passages.—The practice of parsing, described at the last step, becomes more difficult, but also more interesting when we have to analyse fugal imitations, or those in which one part seems to fly after another. In these cases the great rhythmical divisions of the melody are not so regular, One musical idea is made to interlace St. Co., (New.) Ff.IFTIT STEP. 105 with another—thus, in Ex. 234, before the first section is complete the second voice commences a section of its own, and it is so very frequently throughout this and other pieces. We are therefore obliged to describe the passages and Soctions, in such manner as the following:—Ex. 234 consists first of a subject of one measure and a half, started by the upper part, and imitated at the interval of a fourth below by the lower part aſter one measure. This also, after one méasure, is imitated in the fourth above with a varied cadence. This again, after one measure, is imitated in the fifth below ; and again, after one measure, in the sixth above, and again in the sixth below. After two measures the original theme with the old cadence is taken up by the higher voice for two measures, while the lower voice ornaments it. Then follows a sequence of two measures, each portion of which contains an internal imitation. The piece is concluded by four measures of orna- mental cadence. Ex. 195 opens with a subject in the lower part of three measures and a half which is imitated in the higher part, after three measures in the fourth above, the lower part supplying a soft and light accompaniment. Then follows eight measures of what may be called contrapuntal Symphony—that is, a play of the parts one against the other without special meaning. One measure before this is concluded, the higher part starts the old three-measure theme, which is indefinitely imitated after two measures, and then for six measures more there is another contrapuntal sym- phony. Again the lower part starts its first theme with a varied cadence extending to five measures, and this is imitated again in the fifth above, not as beforo—after three measures, but after one mea- sure. This coming closer of an imitation is called a Strotto. After a brief ornamental, fugal imitation, the piece closes with five and a half measures of contrapuntal symphony. The singer should mark with pencil the exact length of the fugal subjects. When the other part or parts merely accompany the fugal subject they will, of course, be kept subdued. In the interludes and symphonies the parts may be of equal force. In the stretto the Cntries should be strongly marked, but the parts may be of equal force till the first which entered has finished the imitatod subject, leaving tho second to be well heard in its close. These observations will show the importance of this study. Let the student be now required to write out analyses of such exerciscs as 233, 235, and 246. It will be difficult to do so by sight, they should sing the exercises with a friend several times over. * The Small Register is in the highest range of the human voice, and belongs to females and boys alone. They naturally pass into it on one-F# (Ff), or one-G (Gſ). It is remarkable that the change of breakage into this register should be just an octave higher than that into the thin register. It is this fact on which early students of the voice built the false theory, that the registers of the male and fe- male voices were the same—only, an octave apart. The distinction in quality between the small register and the thin is not so marked as that between the thin and the thick. The small muscles by which the voice is produced in this register aro very delicate, and Garcia recommends that they should not be overstrained by too much practice. Some deep contralto voices, though weak and breathy in the thin register, produce many tones of this highest register. Their larger larynx and stronger chest enable them to force these tones more easily than many Sopranos; but, though the volume is greater the quality is inferior, and ordinary singers should be advised not to cultivate a useless and unpleasant part of their voice. Specially gifted solo singers, like Alboni and others, have had opportunities of cultivating and using every register of their voices in a manner which, to most contraltos, would be impossible. For ordinary choral singing the tones of this , register, except one-G (G), are little used; but Bach, Handel, Haydn, Mozart, Beethoven, and Mendelssohn all use one-A (AI) in some of their choruses, so that every choral society should be able to command full, clear and unstrained force on this tone. This can be best obtained by culti- vating the small register of the sopranos. It is sweeter and brighter than that of the contraltos above referred to—and besides, it is continuous, in them, with a good thin registor (which such- contraltos generally lack), so that passages running across the “break” can be sung with an even quality of voice. The classic composers expect their solo singers to go much higher. Beethoven in Jºngedi requires two-D (D?); such things must be done by voices professionally trained. In psalm tunes written for trained choirs one-G (GI) may be used even on holding tones; but, psalm tunes written for congregations should not even touch the small register, because the mass of women's voices in a congregation are not trained to its use, St. Co. (New). * Sco furthor “Musical Theory,” Book III, p. 105. 106 THE VOICE MODULATOR. THE F S I)b Ab Eb Bb C Q: G D A T 13 grºis m I d C2 d f 2- t; b| t m l r s d 3 1 r s d f - ... O 5 - t m 1 al 1 r s d f § S d f - .* t m 1 —£2– t m l r s g s d f E f t m l r s Ä m l r s d f I'll f p: t; m IJI ‘s; pl. l r s d f ; r s d f - ; ; - 3 & - t m P t; m 1 r Dl §§ r s d f — d f : § 3; t m 1 1 & = . . . 1 r s d ; ; g º d f § t; ; : ...B. TT É.ſ.l.º.S. d * 1 r s d f ; : e t; # t pll ; : A. 1 r s d f H == s. d f ; : t pl1 --~~ t m l r s ; : G S d f f ; : t m l r s m l r s d f ; : F f t; m ; : _A' m 1 r s d f c I 8 d f : : *ºtº ºw ººse ewes sº a es see e º º t m # t pll r ; : JD r S d f ſº d f : : - t m 1 I ź &= t " i r s : C d f §: $E t ; : ...}} t m l r s d P 1 r s d f t; t m 1 A. 1 r s d f s d f t m 1 Eº: t m 1 c s Gl S d f ><=E f t pll r s m l r s d f Fl f - f, Pl El pl l r s d f r s d f --~ t; m t m 1 1. ~$ D : r s d f & * =e f 1 d §§ C : d f t pl1 r § &== m I' S § 2. | : - 2 ><=== t #'s B, : t m l r s d § 1 r s d f $ 5 : - t £d t m 1 Š As : l r s d f § s d f : t; m 1 A F t m l r s G., : s d f . # E- f - : t m I r S m l r s d f F, : NoTE.:-The thick horizontal line shows the “great break” between the Thick and Thin Registers, below G. The thin line, an octave above, shews the “small break” between the Thin and Small Registers. The dotted lines shew the average place of break, the other lines the highest place that is safe. Åſ. Co. (New".) FIFTEI STEP. 107 The small register, like the other registers, can overlap downwards; but it does not so frequently do so as the thin register in men's voices. It may often be of advantage and a relief, especially to a second soprano, to take One-F (FI) habitually in the small register. - - The Lesser Breaks of the voice divide both th thick and the thin registers into upper and lower parts. The break between the upper and lower thin register, is quite manifest in ordinary soprano voices between one-C (Cl) and one-D (DI). The upper thin may overlap downward, but does not commonly do so. The break between the upper and lower thick registers is easily noticed in male voices between A-one (AI) and B-one (BI). The upper thick register may overlap downwards, but seldom does so in male voices. Madame Seiler says that in women's voices this break occurs one-third higher, between C and D ; but we have noticed that many women habitually make the upper thick register overlap downwards, so that they change into the lower thick, just where the men do, on A-One (AI). - Speaking Registers.-Men commonly speak in their thick register. Tenor voices, however, use the pleasant higher thick register. Very rarely a man may be heard speaking in his thin register, with a thin Squeaking quality. Those who have to do with partially deaf persons ought to know that men are better heard when they speak gently at a high pitch of their voice, than loudly at a low pitch. This constant speaking in the thick register is the reason why men are tempted in singing to strain their voices too much upward, and to neglect the cultivation of their thin register. Women commonly speak in their thin register; but some Contraltos use their rich upper thick tones, and occasionally a woman may be heard to speak in the rough lower thick register. habit of using the thin register in speech which tempts them, in singing, to employ it downward more than is necessary—and so, to neglect and ignore the better tones of the upper thick register. Mechanism and Feeling of the Registers.-In the lower thick register, the whole length and the whole substance of the vocal membranes are thrown into full vibration. (See the Diagram at the side of the Voice Modulator). The air must, therefore, press upon the membranes with a greater volume than in the other registers. We feel the air passing into the windpipe from all parts of the lungs. This Widens the rings of the windpipe, and as a con- t It is this common Sequence, draws down the larynx. “One thus has a sensation,” says Madame Seiler, “as if the whole body took part in this formation of sound.” In the upper thick register, while the whole thickness of the membranes is still in vibration, their length is greatly shortened. “The sensation,” Says Madame Seiler, “is as if the tones came from the upper part of the chest.” These physical sen- Sations do not show how the sounds are generated, but what parts of the nervous system are excited in the process. They help us, however, to recognize the distinctions of register, and they account for Some of the conflicting names by which the registers have hitherto been known, In the lower thin register the whole length of the membranes is again employed; but only their thin edges vibrate. “The feeling is as if they had their origin in the throat.” In the upper thin register the membranes are again shortened, and the feeling is “as if the throat had nothing to do with the tones—as if they were formed above in the mouth.” In the Small register only a small part of the glottis to the front of the larynx is opened, and “One has the feeling,” says Madame Seiler, “that the tones come from the forehead.” Thus the singer is like the violin player who sometimes uses a thin string, sometimes a thick one, sometimes a short string, sometimes a long one. These points of information will help to fix the pupil's attention On the various changes of his voice. Boys' Voices we find to be much the same, in their various registers, as women's voices, but they are commonly used more roughly and coarsely. The practice of permitting boys to shout against an instrument fri village schools and churches, not only tears the voice to pieces, but destroys that tënderness and fineness of feeling which music ought to promote. It is this coarse use of boys' voices which has produced the impression that they are different in quality from those of women and girls, and incapable of gentle training; but of course the greater physical strength of boys gives a greater volume to their voices than girls possess. It is a great mistake to set all the boys in a school to sing the contralto, and all the girls soprano. The soprano and contralto voices are found in about equal proportions among both boys and girls. When the time of the “change of voice ’’ comes, the practice of singing should, for a time, not be even attempted, and should be only gradually St. Co. (New.J 108 FIFTH STEP. and carefully resumed. Many voices have been ruined by the neglect of this precept. Voices and “Parts.”—The four principal “ parts” of choral music are marked at p. 29; but for glees, anthems, and men's voice music, we require a more minute classification, and as the cultivation of the thin register has probably made some good tenors, and that of the thick register some good contraltos, the teacher should now advise each of his pupils as to the part or parts for which his voice is adapted. The “parts” which women have to sing are often divided into first soprano, Second soprano, and contralto, Occa- sionally we meet with four-part women's music requiring the contraltos to be divided into first and second. The “parts” which men have to sing are froquently marked—first tenor, second tenor, and bass; an additional part being sometimes written for a first or second bass. Those who have analysed a great number of voices know that there is an almost boundless variety. Nothing should satisfy a teacher who wishes to use his class for the higher kinds of music, but an individual examination of each voice,—on the plan of the “Voico Report Book.” The process of examination is simple but needs to be conducted with deliberate care. The teacher gives in the case of women and boys, the pitch of G, and in the case of men G-one (G1). If only a tuning-fork is used, the greatest care is necessary to secure the exact pitch. Beginning with G or G-One (GI), the pupillaas downwards, (in long tones, taking breath before each), s, f, m, &c., while the teacher points on the “Voice Modulator.”* The teacher takes notes or dictates them to an assistant. Doubtful tones should be tested over again. The various “breaks” should be crossed both upwards and downwards. When this has been done, the pupil, starting again from G or G-One (GI), laas upwards, s, l, t, d', &c., while the teacher again studies and records the present condition of his pupil’s voice. The teacher can bracket together several tones of the scale at the side of his Voice Report, and mark either by words or by figures (1 for fair, 2 for good, 3 for very good), first the quality then the volume; or, he can mark the tones singly in the same way. ... Figures showing degrees of excellence in the blending of the registers should be given in each case. The most useful men's optional tones should be named, and the place at which a woman's voice breaks, between the upper and lower thick registers, should be marked. After St. Co. (New J this it will be easy to mark the full compass of the voice and its best region. These considerations will decide the name to be given to it, as first or Second Soprano, &c., first or second contralto, &c. A faithful “Voice Report Book” will be invalu- able to the teacher when he wishes to select singers for any particular purpose, and it will lead the pupil to study and cultivate his own voice. A first Soprano cannot easily be mistaken; she possesses in addition to a good thin register, a few tones of the small register which easily blend with it. A second Soprano is distinguished by the possession of a good upper thick register, along with a good thin register, even if she cannot com- mand more than a tone or two of the small. A Contralto voice is that which possesses good full tones in the distinguishing region of the con- tralto “part”—the upper and lower thick registers. The teacher must not be misled by the great compass upward which some of these voices possess, for their thin register is commonly weak and tune- less; whilst their small register, though strong, is hard. When first contraltos are wanted, the teacher will naturally select those which are weaker in the lower thick, and better in the upper thick registers than the rest. This last voice is sometimes called mezzo (med'zoa), Soprano. A first Tenor (as it is now called in Germany and France), or an old English “counter tenor,” cannot be easily mistaken. He has a light and pleasant quality of voice in the upper thick and lower thin registers. Well-trained counter tenors can give good tones up to one-F (F) at the top of the upper thin register; but such a range is not common. The highest reach of men's voice “parts” in Palestrina's time was one-C (Cl), or one-D (DI); the counter-tenor in Tallis and Morley's music reaches A and B7, and the first tenor in German men's voice music does not often go above B7, . It is quite common for tenors to force their vºpper thick register as high as this tone, but it is the distinctive quality of the first tenor that he uses with pleasure his thin register, and produces with it by ight, yet soft and flute-like tones. This first tenor, counter tenor, or tenor alto was used in England for the highest parts in men's voice music throughout the famous Elizabethan and Madri- galian age. But at the restoration of Charles II., the Italian Opera brought along with it the Eunuch singers, whose rich, strong contralto voices sug- gested to bass singers the employment of their equally powerful, but not rich, upper thin registers. * Large “Voice Modulator,” 1s. IFIFTYE STEP. 109 This unfortunate discovery led to the neglect of the softer and brighter counter-tenor, and all the contralto music through Handel's period was written for the hard-toned bass-alto, and the same voice is still used instead of the richer female contralto, in cathedrals and choral societies, in which eighteenth-century traditions are preserved. It has been observed above (See “Small Register”) that contralto, as well as bass singers, possess the power through their larger larynx and stronger chest of forcing the highest register of their voices. Like them the bass-altos are weak and breathy in the next register below, so that there is no con- tinuity and equality of voice across the break at G, and the change of register is marked and unpleasant. This peculiar, unsympathetic voice, is often uncertain and out of tune, and its cultivation is very undesirable. The Tyrolese basses use this thin voice in their Jodl songs; but do not attempt to employ the region of voice lying between. The true counter-tenor or tenor-alto is no more wanted to take the place occupied in modern times by the contralto than is the bass-alto. But, for men's voice music, and for solo singing, it is very valu- able. The teacher will notice that many tenors have of late been misled by the false talk of a chest G or a chest A, so as to force their thick voice upwards, leaving the beautiful tones of their thin voice entirely uncultivated. The practice of men's voice music, either separately or for half an hour after a mixed-voice class, will remedy this, and restore to England her long lost counter-tenors. The second Tenors are known by the excellence of their lower tones; they have but little use for their thin register except on G. There, however, it should be truly cultivated if not also, as an optional register, on F. E. D. Tenors of both kinds, of the highest eminence, habitually change to the thin register on D or E. The shouting of the tenor part on a forced upper thick register is most pain- ful to the ear, and a fruitful source of flattening. The -First Bass, or Baritone Voice may be dis- tinguished from the second bass by its not possessing fulness below C-one (Cl), or B-two (B2). Such voices seldom have the proper tones of the thin register, but they often find it a relief to employ that register as an optional one, instead of the higher two or three tones of the upper thick register; it saves them from straining and flatton- ing. The second Bass is distinguished by its full robust tones on A-two (A2), G-two (G2), F-two (F2), and even lower. In the upper part of the voice it is not very dissimilar to the baritone. Those basses which have the so-called bass-alto or “head-voice” generally (though not always) of a shrill and screamy character, are advised not to use it. The examination of voices, here recommended, cannot occupy less than from fifteen to thirty minutes for each person, and should be regarded as a separate private lesson of great value to each pupil. Compass.--It will be noticed that in these instructions for the classification of voices, we have avoided any reference to compass as a criterion of judgment. This is not only because we are thus free to secure the best quality and the best volume for each “part,” but because of the great injury done to voices by the habit of singing beyond the range of their proper part. Teachers and psalmody conductors are specially exposed to this danger. They wish to show other people the right tones and are careless of the manner in which they pro- duce them. Previous teaching by quiet pattern is really a quicker, as well as a better way, of reaching the desired result. Some highly trained solo singers may with impunity cultivate a great range of voice, but others are found to injure the tones of their proper compass by going much out of it. When the more minute classification of “parts” is required (each of the ordinary four parts being divided into first and second), it may be useful to note that few composers go beyond the limits marked on “The Voice Modulator,” p. 106. The highest men's voice, the counter- tenor, and the lowest women's voice, the second contralto, coincide ; they sing the same part. From this point upwards and downwards the common compass of parts rises and falls by thirds. The Causes of Flattening are—1st, Physical Weakness. In this case the singer should restrain his enthusiasm for the sake of others, and sing softly, and listen.—2nd, The forcing of the Upper Thick Register in the higher part of men's voices, which is immediately cured by the cultivation of the thin.—3rd, Breathiness of Tone and other defects in various parts of particular voices.—4th, Defects of Ear, to be cured by long and atten- tive listening, and by study of mental effects. —5th, Careless and lax-delivery of Piano or violent and coarse delivery of Forte, which can easily be avoided.—6th, Habitually singing with “tempered” instruments, with their flat fifths and sharp thirds, putting the car out of tune.—7th, Sympathy with bad singers who are near, and inattention to the leader.—8th, Bad posture in Sing- St. Co. (New.) 110 FIFTEI STEP.. ing.—9th, Neglect of breathing places, and the consequent exhaustion, and—10th, Worst and com- monest of all—want of interest, and its consequent drawling delivery. The teacher should make the maintenance of pitch a distinct object of his care, and should call tho attention af his pupils to it, often testing them at the end of a piece. The close of one verse and the beginning of another is the commonest place for inattention and, therefore, for flattening. Ict the teacher beware of it. If he is acting as a precentor, let him make his voice heard on its effective tones, especially at the start- ing of the lines. An organist may maintain the pitch without playing loudly, by a skilful manage- ment of the more piercing stops. A cadence ('S to D) delivered at a high pitch in an interlude, will impress the ear better than the loud roaring of the lowest tones. * Solfaa-ing the Break-Tenor singers should, at this stage, be required to mark the places at which it is most advisable to change from the thick to the thin, and from the thin to the thick registers. See p. 68 ; but note that when the registers are well equalised, so that the change from the one to the other can scarcely be noticed by the hearer, it onay be better always to chango at one point of absolute pitch, instead of trying to suit the musical phrase; this is done by some of our best singers. Each pupil should study the capabilities of his own voice. Other voices, as well as the tenors, should form a habit of “Solfaa-ing their breaks” as soon as the key is pitched. Thus, for example, a second soprano, with a bad “upper thin” tone on one-F (FI), who is advised to cultivate her “small” regis- ter on that tone, should learn to calculate the Sol-fa. mote on which it will fall. While Key C is being pitched, she calls to mind that the note she has to watch is f; while D is pitched, she thinks of her re and m ; while E is pitched, she reminds herself of de and r, and so on. Mark the optional tones, and the places of change in the manner adopted in Dxs. 170 to 175.-See questions at close of this step —No. 73. Sixths, Eighths, and Ninths of a Pulse are very little used except in instrumental music. The Jºighths of a pulse are thus named, tanafanatenefene, :l 1,11.1 1,11|, . The Exercise of singing them to the teacher's beating, quicker and quicker, will be very amusing to the pupils, and will greatly help to refine their sense of time divisions. There are two ways in which a pulse may be divided into Sia:ths. It may first be divided into thirds and then the thirds into halves thus—taataitee, , tafatefetſ, :l 1 l l l l which we may call ‘thirds-sixes,” or it may be first divided into halves, and then the halves into thirds thus — TAATAI, taralaterele, :I I I I I I which we may call “halves-sixes.” The Ninths suppose the pulse to be divided into thirds, and then each third into thirds again, thus —taataitee, taralatereletirili, l l l l l l l l l |. It will be a useful exercise for the teacher whilo beating time to call for “halves,” “quarters,” “eighths,” “thirds,” “thirds-sixes,” “ninths,” “halves,” “halves-sixes,” and so on. Rare Divisions of Time. It will be useful hero to give the notation and naming for some of the less Common rhythms. When a pulse is divided into a quarter tone, a half tone, and a quarter tone, it is Written thus t , 1,...,s : or better thus t ,l.—,s: and is called tafa-efe. When a pulse is divided into a three-quarter tone and two-eighths, it is written |r ..., m f : and called TAA-efene. When a pulse is divided into a three-eighths tone, an eighth-tone, and a half tone, it is written d,—r.m. ; and called ta-ana.TAI, Wher, a pulse is divided into a half-pulse continuation, and three halves-sixths, it is written : - .fmr and called -AAterele. In instrumental music, especially for strings, it is sometimes neces- Sary to divide a pulse into less than an eighth when the same tone has to be very rapidly re- peated; in this case we place as many dots over a note as the parts into which it is to be divided. In the instrumental score of “ Hallelujah to the Father,” from Beothoven's Mount of Olives wo find a half-pulse divided into six and another into nine ; they would be written as follows:– : ..sltdºr'm' * . .m'rld'tls frir|| But we have no time names for such minute divisions. These exceedingly rare cases of rhyth- Imical division require careful examination before they are sung, in the Common Notation as well as in ours. It will be perceived that the Tonic Sol-fa Notation does not make any lower division of the pulse than that into eighths, and that division it indicates by the simple absence of a mark. The occasional practice of writing, in the Established Notation, two measures as though they were one (See—“What is a pulse P” p. 65), makes it neces- Sary, in that Notation, to have a more minute subdivision of pulse. In the Tonic Sol-fa Notation We, in such pieces, put two measures for each qme of the Established Notation. We find, practically, that this mode of writing secures a more ready appreciation, and a more exact execution of thé time. St. Co. (New), FIFTII stEP. i 1 i GIVE UNTO M.E. Ex. 233. KEY Eb. M. 96. w Gebhard. s — || :– , t d! :- — ;t | 1 :t .d Ir', d': t , 1 s : l .t | Give um - to mc, made low - ly wise, 'The . : | tº | : : | : : ) Bp. t. |d — — — It : — dlf ; d |— ;f — , I\l |S : — | Spi º {- - rit º of sclf º Sal C - - ri - fice ; * | : : | d f * — |l : – , t |d * — |— : t ) Give um - to me, made *- * |f -se * *- 'Fl ..f , 1 r :p) , f is :f \ e- - The con - fi - dence of frec - dom | l : t .d |r .d : t 1 Sl : 1 ...t |d * -*. -- |t| : — \ | low sº tºº - ly wise, The Spi º t - º rit j f, Eb. mt; ; S |d •- — ; d! } t. : t t; : d' | 1 *º- |- : I | givo, And in the light of truth, Thy bonds - - man d's :S |S : m r : m , f |s , f : m , r |d :— : t] :d , r of self - sac - ri - | fice, self - Sac - Ti - | fice, Self - | Sac * |Se : Se 1 : – , 1 |d! :- ,r m! :- : p1 f :— , f | 1 — , t | let me live, And in the light, And in the light of , |rl ,r ; d. , t | 1 |l :-- s : – , f |m : m f :— |f : — ) - ri - fice ; And in the light of truth And d! :- | : di — :t | 1 :rl | — :d! It : Pll 1 :ri truth, In the light, In the light of truth, Thy | m :— ,r |d :d I. : S |S :f m : 1 |— : s , ||— :f \ in the light of truth, Thy bonds - man let 10] G. livo |S : d' d — it :— d! :- | ; S l : 1 | 1 : In bonds - mall let līlū) live, And in the light of | |— :m r : 1 |S f m — / : ph de :- |— ; de Thy | bonds-man let In C | live, And | in tho St. Co. (New.J 112 FIFTH STEP. f :— — :f S : S |S : I' m :— | : S l : — | truth, Thy º let me live, Thy | bonds - r : — I — ; r. t! :- — ; tı d — : m f : — | light of truth, Of truth, Thy | bonds - /*N |t — d! :- [m :— | r :— |s -- m :— |— : — | Ill&LIl let Ime, let In G live. |r :— lm :— |d : — d :— |t| : — d :— |— --- Iſl{\D. | let Ime, let ICl6 live. IPRAISE TO OUR, GOD, Ex. 234. KEY D. M. 96. Ičinck. s : s , s |s :d' d' :t : s : s , s |s : 1 , t d', r":m' Praise to our God and glo - ry, Praise to our God and glo- ry, : | : r :r .r |r : s : m | d : d .d |d : r .m Praise to our God and glo - ry, Praiso to our God and l : 1 , 1 || 1 :t .de r .nl ::f |- .m! :rl d' t , d' :r | : 2. Praise to our God and glo - ry, and glo - ry, f , s : 1 | : r :r .r |r :m , fe s , 1 : t |- . 1 : s , f glo - ry, Praise to our God and Iglo - ry, and s : s , s is :d d! :-- it : s , s \m', r":d',t | 1 : 1.1 |r', d': t , 1 |s : s , s | Praise to our God and glo - ry, Halle-Tu - jah, Halle- Tu - jah, Halle- m , r :d :m ,m |f , r :m , f |s , f :m ,r |d ; d.d | 1 , s :f .m. ||r :r , r |s , f :m . r glo- ry, Halle-l lu º º - | jah, Halle-lu — jah, HallcluT-T d! :- — ;t d! :- : s , s \ 1 : 1 | : t , t d' : — d! lu - tº- - jah, Halle-| lu - jah, Halle-Î lu º jall m ; d.d |f . 1 : s , f |m — :m , m | f :f :r , r |m , f :m , r |m jah, Halle-lu - |jah, ºms--- LOVE THY INEIGHBOUR. 1.x. 235. KEY Bb. M. 96. J. Matncer. | : s |— : 11, tºld :t) |d :r m :— 'd : — ': | : I lovo thy neighbour as thy - self, -*- | : | : : | '. | |– :r, .m. | f :m |f| :s \ Jovo thy | neighbour as thy- St. Co. (New). FIFTH STEP. 113 f, Ep. L is C. § :f 1– :m |r – d It! :d.r]n :- — ;r is ºn I- base Love thy | neigh - - bour as thy - Sélf, Love thy 1 :— |s|| :— : s -– : 11, tºld :t |d : si || m :— |r * | self. Love thy | neigh - - bour as thy - 1 : se l l ; t |d :t | 1 :se | 1 :se : rſ - .dºt...l |se.1 : t , d' neigh - bour as thy - self, Love thy neigh-bour, d :m |— :ba.se l ; se | 1 : t d :t |m : — — :— — : — self, Love thy - neighbour as thy - self, Love, tºº * tº t :m Im) : — — :rl, d' It d! :r',t d! :t | 1 :s' | f : s , f |m : 1 Love thy neigh gº bour as thy- self, Love thy |neigh *- - bour — ; Se :rl | – .d': t , 1 |se.1 : t ,se l ; s |f :m r ; tı |d º * * Love TºnyT neigh-bour, Love thy |ncigh — º Bb. t. -> S d :—- |t| : — id : | : : s |– : 11, tºld ; tı |d : r | &lS thy - self, Lovo thy | neigh-bour as thy | | tim : 1 s] :f |m| :d 1–- :r .mil fi :m |f| :r | T : St | 1 :t &S thy - self, Love thy." neigh-bour, Love thy | neigh-bour as thy - m :r : m :r , d [t], d :r .m. ||r : s , s : — — :f .m. ||r .m. ; f. r - self, Love thy neigh-bour, Love thy neigh tºº bour as thy- d : t| |s| :— |— :— — — — ; tı & f .m :r .d [t] .d :r , t Self, Love * gº {-} gº gº tºp thy | neighbour as º m : T | : I , T | m r | : r , r m : r |s :— —- : 11, t| |d :r Self, Love thy neigh-bour, Love thy noighbour, Lovo, Love thy d : tº : S1, S1 d : Si : s , slid : S. : s! :- — ; l. t. self, Love thy m :r |m , s :f . m . m .r :d , r |m : r |d : s - : 1. t1] d :r |m : f neigh-bour, ſoye thy neigh-bour as thy - sclf, Love thy - neigh-bour, Love thy d : t d .m :r .d s], f:m , f |s|| :f im |s] :- — ; li, tº 1d :r neigh-bour, T T T T. Love, Love thy S :m :r.,r m .m. | f :r d – |t| :– d – |- : — | neigh-bour, Love thy neigh-bour I-- Hº- gº self. m : | :tſ, tºld :ta | 1 :f |m| : SI I- :f In – – – neigh-bour, St. Co. (New.) 114 FIFTH STEP. QUESTIONS 1. Describe your own voice. What is its easy compass—its quality and volume in each register — its best region ? By what name is it called 7 —p. 81. 3. TJnder what name is the chord "S disguised, by notation, in Cadence transition to the first sharp key? How is the same chord disguised in passing transition to the first flat key? How do you know when the chords 7ter, and tal) are transitional, and when they are chromatic —p. 83. - - * 3. What are the three principal things which intensify the mental effect of particular tones in a tune?—p. 83. ... When any particular tone of the scale is strongly emphasised through- out a tune or part of a tune,—how is this fact, described in words, and in what parts of the world is modal music still used in the greatest variety. . 3. Which are the modes with a major third above their principal tone or tonic—which are those with a minor third Of the major modes which is the one almost exclusively used among Western nations? Of the minor modes which is the one exclusively used in connection with modern harmony ? Describe the historical changes through which the tune Dundee or Windsor has passed. What is the mental effect of the introduction of se?—and what is the difficulty which, especially in this tune, it occasions the singer ? 6. “Why is the Ray mode peculiarly suited for worship !—what is the pecu- liar cadence which distinguishes the Ray mode from the Lah mode t—p. 85. 7. What is the chief principle of modern harmony ? In what respect has the Doh mode better chords for its Tonic, Dominant, and Sub-dominant than any other mode? What lºind of chord does the ear object to When two such chords occur consecutively among the last four chords of a cadence 3 8. How did the first harmonists overcome the difficulty of three minor chords in a cadence of the Lah mode 7 "What is now found the most satisfac- tory arrangement for introducing variety in this cadence?—p. 86. 9. Where does the tone bah stand, and how is it related to se? Why is it introduced ? EIow many alternative tones are there in the modern minor, and which of them is most used ? 10. Describe the six chicf difficulties DOCTRINE. which arise to the singer from the in- troduction of se and bah in the minor mode.—p. 86. 11. Using the words Tonic, Domi- nant, Super-tonic, &c., as indicating the “Chord Relation,” what is the chord relation of minor L 7—of minor D 2—of sellſ?—of minor T 2–of SE 2 —of BAFT and I'?—of minor R 2 How dowe distinguish the chord names of the major from those of the minor, mode in writing, and how do we dis- tinguish them in speech 3 12. What is meant by the word Modulation ? What are the commonest modulations from major to minor, and from minor to major 7—p. 88. 13. , What is meant by Transitional Modulation ? What is the commonest change of this kind, and what new dis- tinguishing tone does it introduce 7 What other change of this kind is common, and what distinguishing tone does it introduce : 14. What is the meaning of the Word Accidental, and how are acci- dontals expressed in the Tonic Sol-fa Notation?—p. 88. 15. Ilescribe six cases of very rarely occurring sharps and flats with the names given to them. 16. What is the practice chiefly to be avoidod in chanting —p. 94. 17. In marking passages for recita- tion what is the first thing which the student should do, and what are the faults he has to avoid in doing it 7 18. What is the great distinction between the recitation and the cadence of a chant'ſ What kind of pulso should always come before the beginning of a cadence : What kind of pulse should always come after the end of a cadence 3 What relation should there be between the speed of the reciting tone and that of the cadence 3 19. What is the difference between the rhythms of public speaking and private talk 1 20. In choosing chants, what are the two blemishes which should lead a precentor to reject some 3 21. What are the principal elements of expression in music 7 What are the common defects of singers who do not study expression ?—p. 94. 22. What is the principal habit to be formed in the delivery of tones 7–and for what quality of tone should We lis- ten in our own voice : FOR TVRITTEN OR ORAL EXAMINATION. 23. By what other names is a good attack” of the tones described Give illustrations of its importance. lyes- cribe generally the sensations which accompany it both in the larynx and , the mouth.-p. 95. 24. Elow do the breath and glottis act together in the clear attack?—in the gradual or breathing attack —in the check?—in the jerk —in the slur ! What is the difference between a slur and a glide : 25. What is meant by a clear Re- lease of the Tone,—and What is its importance 26. Describe the manner in which a teacher should introduce his first exer- cises on the degrees of force.—p. 96. 27. What are the names and signs for a long tone, or a phrase increasing in force 7—diminishing in force —first increasing and then diminishing 2S. IDescribe the Pressure and Ex- plosive tones. 29. Describe the Staccato, the Detached, and the Legato styles. 30. What are the two considerations which principally guide us in applying various degrees of force to music 31. How is it that it is possible for classes to go on singing a large quantity of music without really learning anything 32. What points in a tune have to be considered with the view of deciding whether it should be sung loudly or softly, or with a moderate degree of force 7—p. 98. 33. EIow should a true pudno be ung 3 34. How should a real vibrating forte be sung 7 35. What is “phrasing ” Show.its importance., Mention three or four Ways in which musical phrases can be marked off, and distinguished by the singer. * 36. What is usually the best form of force in ascending passages, and why : 37. What is usually the best form of force in descending passages, and why? 38. How should Repeated toncs be delivered, and why 7 º 39. How should prolonged single tones be delivercd, and why - at is the best way of “setting off '’ the musical imitations in a melody ?—p, 100, St. Co. (New J FIFTH STEP. 115 fugal imitations?, What is the name given to a fugal imitation which has been heard before, but which now follows its leader sooner?—p. 104. 54. Describe the highest register of female voices. State the pitch at which they pass into it. What is the name of this register ? Why should contraltos generally refrain from using it 7 p. 105. 5. What is the highest pitch which classic choruses require the first Sopra- nos to sing 3 - What is the highest pitch Which should be used in church choirs Where the congregation does not join 7 What is the highest pitch that can be expected from 'congregations ! . 56. What kind of voice will some- times find it a relief to sing one-F (F) in the small register ? 57. Describe the lesser breaks of the Voice. How, and at what pitch-sound are these manifested in female voices 7 How in male voices? 58. , What registers are commonly used by men in ordinary speaking, and What by women What is the conse- quence of these habits on the singing Voice * 59. What is the mechanism of the Lower Thick register, and what are the Hysical sensations felt in producing It : 60. What is the mechanism and sen- sation of the Upper Thick registor 2 61. What is the mechanism and sen- sation of the Lower Thin 7 62. What is the mechanism and sen- sation of the Upper Thin 63. What is the mechanism and sen- sation of the Small ? 64. What points are noticeable in boys' Voices when compared with voices of Women : . What course should be taken at the “change of voice " '' 65. Name the four “principal parts” into which voices are most commonly classified. What other “parts * are Sometimes required 7 p. 10S. 66. Describe the manner in which Voices are examined and recorded. 67. , What are the characteristics of a first Soprano 2 What of a second Soprano 7 PRACTICE. the Exs. 177 to 179—whichever teacher chooses. 80. Give an example different from those quoted of increased intensity given to the mental effect of a tone by accent—by cadence—by the interval of the 41. EIow should the ontrance of a “part ’’ previously silent be treated ? 42. In what two cases should any of the parts, in music, be subdued and subordinate 3 43. How should accompaniment be delivered '' 44. Describe the three ways of pro- ducing what is called a humming accompaniment. What should be specially noticed in the imitation of natural sounds ! 45. What are the tones of the Scale most congenial to a quick and stirring tune, and what to a slow and Solemn tune? In what ranges of his voice is each singer able to make his tones most effectively heard in the midst of the harmony 7–p. 101. 46. If in the harmony a singer finds a tone placed in an effective part of his voice, which is congenial with the sen- timent he is singing, how should he deliver it, 7 47. How should rapid passages and runs be sung, and when such pieces are sung in chorus, what point is it impor- tant to notice In the management of the breath for a run, what point has the singer to notice at the beginning, and What at the end ? 4S. What kind of feeling is naturally expressed by the explosive tone, and what by the pressure tone Which of these forms of tonesis the exaggeration of the legato style, and into which of them does the staccato Inaturally break out'?—p. 103. 49. In what manner should unison passages be sung, and What should each singer strive to do? 50. In what style should cadences be sung, and why : - 51. EIow should distinguishing tones be sung, and why In cases of dissonances, what should every singer know in reference to his own part.? EIow should the resisting tone be sung, and how the phrase which contains the dissonating tone 7–p. 104. 53. Why is it difficult to parse the rhythm of pieces in which there are 77. Hold a steady tone with one breath for twenty-four seconds. 78. Sing with a beautiful forward quality of tone, to the Italian lah. Ex. 176. - 79. Analyse the harmony of one of 68. What are the characteristics of a first Contralto ? What of a second 69. What are the characteristics of a first Tenor 7 What of a secondº From what class of men's voices do...we get the most agreeable tones in the upper thin register Give two powerful reasons why basses should not use this register. 70. . What are the characteristics of a first Bass 1 What of a second 7 , 71; What are the two reasons why in classifying voices you do not take Compass for your guide In what Ghoral part, as in Eſandel's choruses, do the Yoices of men and women Coincide, Singing identical tones : In mon's Voice music, what is commonly the highest tone of first Tenor, and the lowest of second Bass In women's Voice music, what is commonly the highest tone of first Soprano, and lowest of second Contralto 72. State all the causes within your knowledge of “flattening.” Mention anything you think likely to prevent, arrest, or correct it. p. 109. 73. Mark in the heading of Exs. 188 to 191, 193, 195, the Sol-fa, names of the optional tones, at the command of a tenor voice;—mark also the places at Which you think it desirable to change the register. 74. In What cases may singers form the habit of changing the register al- Ways on the same tone in absolute pitch 3 In What cases should other than tenor voices study carefully their optional tones : . What are the chief uses of sixths, eighths, and ninths of a pulse in music 7 OW are eighths of a pulse named and written ? How are third- Sixths of a pulse named and written ? How are half-sixths of a pulse named and Written ? How are ninths of a pulse named and written ? p. 110. 76. Give the Time names for the following:— : t ,l ,-,s || : r , ,m f || ... 3 :d,—r , m | : – , f m r || a fifth or under fourth. 81. Write from memory or sing the three versions of the tune Dundee or "Windsor.—p. 84. 82. Draw from memory the diagram which shows the difference between the St. Co., (New.) 1 16 lºx. 236–242, FIFTEI STEP. Lah mode and the Ray mode. Write and sing the tune Nowell in the Ray mode and also in the Lah mode. 83. Laa, from the teacher's pointing on the modulator all the exercises given in the paragraph “Difficulties of the singer.”—p. 86. 84. Name the tones of the minor mode which bolong to the following chord relations: Tonic,+Sub-dominant, —Dominant, - Super-tonic,-Leading Tone,—Sub-mediant, Mediant. 85. Analyse any one of the chants, Exs. 181 to 186, which the teacher may require. 86. Point out examples, without having to look for them, of modulation to the relative minor, and of modula- tion to the relative major.—p. 88. S7. Point out examples, without having to look for them, of transitional modulation to the relative minor of the first flat key, and to the relative minor of the first sharp key. 88. Sing with correct time, tune, and expression, one of the Exs. 188 to 195, selected by the teacher. 89. Taa-tai on one tone the recita- tions of Exs. 177 and 178. 90. Mark the following passages of scripture for cadence and recitation. —Psalm 1, 8, 20, 84, 93, 98, 149. Isaiah. 12. 91. Deliver the vowels aa, ai, and ee, as forward in the mouth as possible, and with the best quality of voice you can produce.—p. 95. 92. Deliver the vowel aa, with clear attack,--with breathy or gradual attack, Twith the check, with the jerk, with the slurred attack. 93. Sing the vowel aa, and end it NoTE, that TAA standing alone may be used to indicate a whole pulse, and that after the first measure the accents are not necessarily marked by R and L. Ex. 236. Write in correct time TRAAtefeld, r, m —TAATAI f, m, TLAA r, LTAA d, and trafat'AI d, r, m, —tafat AI r, m, f, TLAATAI m, r, TAA d. Ex. 237. d, TAA r, LTAA d. Ex. 238. Ex. 239. TRAA-efe s, f, LTAA-efe m, r, TLAA d,—TAA t-one—TAA-efe 1-one, r—TAAtefe d, t-One, trafatefe d, r, m, f, TAATAI s, m, TLAATAI l, s, TAA one-d,—tafatefe one-d, t, l, s, L tafatefe f, m, r, d, -TAATAI S, S-One—TAA d. TRATAI d, r, LTAAS AI m,-TLAATAI with a clear release.—p. 96. 94. Perform any one of the Exs. 197 to 201, which the teacher may select. 95. Select from memory and sing a crescendo passage, a diminuendo pas- sage, a swell passage.—p. 97 96. Sing Ex. 202. 97. Select and sing a passage with staccato tones, with detached tones. 98. Select and sing a legato passage. 99. Sing a tone with medium force of your voice,—forte, piano ; with which degree of force should the fol- lowing pieces be sung through the greater part of their extent —Ex. 134, 141, 144, 188, 192, 194. 100. Select and sing a passage with true vigorous piano.—p. 98. 101. Select and sing a passage with clear vibrating forte. 102. Perform in the teacher any one of the E which he may select. 103. Select and sing an ascending passage in the proper manner.—p. 99. 104. Select and sing a descending passage with proper expression. 105. Select and sing with proper ex- pression a good example of repeated tones. 106. Select and sing a good example of the prolonged single tone. 107. Select and si of imitations in melody. 108. Select and ; a good example in which the marked entrance of a “part '' is required. 109. Select illustrations of subordi- nation of parts, humming accompani- ment, and imitative sounds. 110. Perform in the presence of the resence of the . 204 to 210, DICTATION EXERCISES. a good example examiner one of the Exs. 211 to 214, chosen by him. 111. Perform any one of the exer- cises 222–225 which the examiner may Select. 112. Perform any one (chosen by the examiner) of the runs named in the paragraph “Rapid Passages,” with proper delivery and proper manage- ment of breath. 113. Select and sing a good example of the Explosive tone,—of the Pressure tone. 114. Sing a Unison passage with Some other voice in perfect †g and unanimity of attack. - 115. Select and sing a cadence in a proper manner. - 116. Select and sing three different examples of distinguishing tones. 117. Select and sing two different examples of dissonances, your teacher holding the resisting tone. 118. Describe or parse Exs. 194, 196, or 197, which ever the examiner chooses. 119. If your Yoice is soprano sing two tones, at least, in the Small *śhow.b th 120. ow, singing, the place of the lesser ºo: ; in ;: OWD. voice, and what part or parts of the music you can sing best. . 121. If you are a tenor or contralto singer mark, in presence of the ex- aminer, the optional tones and the best places of change in any one of the Exs. 174, 175, which he may select. 122. Tell your examiner what are the Sol-fa names of your optional tones in ºf Cy-F,-B flat, E flat, G, D, TAA d. JEx. 240. IEx. 241. Ex. 242. TRAA -AA Observe also octave marks, p. 29. f, s, –TAAS.A.I. 1, - SAATAI s, – TAATAI s, s, - TRAA S,-safatefo 1, 8, 1,–tafatefo f, s, f, 8,-trafat AI m, r, d; and TRAATAI d, m, taataitee r, m, f, LTAATAI m, d, saataitee s, f, taataitee m, r, d, LTAATAI r, d. SAATAI 8, - trafat'AI m, f, s, – S.A.A.TAI 8,-trafa TAI 1, t, one-d,—SAATAI s, – TAATAI f, m, TAA-efer, d, TAA d. SAATAI d, – traa-aitee m, r, - taa-aitee d, t-one —- taataitee 1-one, t-one, d, -- S. St. Co. (New.J 117 SIXTH STEP, Continuation of Chest, Klang, and Tºning Evercises. Two Removes in Transition, and to sing such a Transition. of Three Removes and to sing such a Transition. To perceive the Physical Facts and Mental Effects of To perceive the Physical Facts and Mental Effects To understand Principles on which various degrees of Force and Speed are applied to Words, and to make use of them. To practise the Phrasing of Words. To exercise the Organs in sustaining vowel sounds clearly and correctly. To understand the Principal Forms of Vocal Jºſusic. To understand the Resonances and their ºse. Chest, Klang, and Tuning Exercises.—Exer- cises for strengthening the chest, for the cultiva- tion of a pure and beautiful klang and for the exact tuning of the voices one with the other, should still be pursued, at the opening of overy lesson. The various voice exercises in the begin- ning of the last step and the minor mode chants in three parts will answer the purpose well. The teacher will choose the kind of exercise which he finds his class requires. “Wall Sheets” will enable the teacher to use more complex voice exercises, while leaving him at liberty to walk among the ranks of his class and superintend the posture and vocal delivery of each pupil. Seo Nos. 21, 22, 23. pl l r s d Two Removes.—Transitions to the t | first sharp key or to the first flat key r s d'f (p. 50) are transitions of one remove. t in 1 But the music often passes over the d f key of the first remove to the key of tº * 7ts first remove ; this we call a transi- tº l r s ionºs. that anºwii first lead his pupils to observe the 1 r s d f | physical facts connected with these * I'l removes. First, they will notice, that s d f the second sharp key raises the key # m / r tone and with it the whole music a f. fullstep, that it blots outfamdd of the m l r s d old key and introduces in their place t m and t of the new key as marked in r s d f the signature, and that, of the two distinguishing tones, t is the more tiºn 1 important because it distinguishes the second sharp remove from the first. Second, they will notice, that tho second flat key depresses the key tone and with it the whole music a full step, that it blots out the tones (which the sharp remove introduced) t and m, and it intro- duces, for the new key, the tones (which the sharp remove blotted out) d and f-and that of these two distinguishing tones, the f is the more important as distinguishing the second flat remove from the first, To evercise the Voice for Strength and Agility. These physical facts will prepare the mind for observing in the exercises which follow, that the Second sharp remove with its raised d and its effec- tive t is even more expressive of rising emotion than the first sharp key, that the second flat remove with its depressed d and its effective f, is even more expressive of seriousness and depression than the first flat remove. Compare p. 51. A transition of two removes from the principalkey (a principal tran- sition) is seldom used except for imitation and Sequence. A transition of two removes from a subordinate (not principal) key of the piece is not uncommon and if the transition is from the key of the dominant to that of the sub-dominant or vice versa it is generally quite easy to sing. This kind of “ oscillation ” across the original key keeps that key in mind, and lessens the violent effect of the two removes. See “How to Observe Harmony,” p. 54, and the “Common-places of Music,” p. 111. THE EXERCISES.–The following two exercises should be done with great care, every transition passage, being taught by pattern from the modul. lator. No words are provided, in order that attem- tion may be given exclusively to the various points of difficulty in the transitions. Each part should be first solfaad and then clearly laad. If, in teaching the parts any difficulty arises, it is a good plan to toach the first phrase of the new key separately before the transition is attempted; for when the pupil knows what is on the other side of the bridge he crosses more boldly. . This plan of introducing transition is even more important when the parts are sung together, Great assistance may be given to the pupils by shewing them on the modulator the first difficult interval or intervals which the now distinguishing tones create, and by likening these intervals to Some others with which the ear is more familiar. . The pupil must not begrudge any amount of patient care required in mastering these transitions, for such transitions occur in every classic Work and sometimes very frequently, A St. Co. (New.) 118 STEP. SIXTH good study of the modulator with a thoughtful exercise of his voice will not only teach him these particular tunes, but will shew him the way to master similar difficulties in other music. In Ex. 243 the transition to the second sharp key becomes comparatively easy when the pupils realize the exact imitation there is in all the parts. As mentioned above, t is the more important of the two distinguishing tones. If the third part strikes it firmly and promptly the second part will have little difficulty. In teaching the parts separately, the ear is not assisted by harmony to establish the new key; it will therefore be useful to show on the modulator what the notes would have been in the old key. Thus the third part would have de l' r and the second part would have m de r. The second distinguishing tone m is felt to be a little sharp but is seldom a difficulty. This should be traced on the modulator. -- In Ex. 244 the difficulty of the “principal” transition of two removes is again lesserted by imi- tation. The second distinguishing tone comes in first, and then the Second part strikes the first and more important distinguishing tone. When the Second distinguishing tone is heard first the transi- tion is easier to sing. It is something like taking One remove at a time. But the second case, that of a subordinate and “oscillating” two removes,at mea- sure 9, is more difficult to sing because there is not the same help from imitation and second because the first distinguishing tone is first introduced. The next transition has a perfect imitation note for note in its Second part, and in its first part there is an exact imitation of the melodial waving of the previous phrase one step lower. . This last phrase would bo rf m r (two more flat removes) if it were not har- monised chromatically, and so retained in the origi- mal key. Other examples will be found in “Additional Iºxercises,” p. 65 for imitation,-pp. 68 & 72 for oscillation and to give effect to the next transition,-- and p. 83 a transitional modulation to the minor for special effect, also to prepare effect. , m . I' |m ,r :d s! :- |d Ex. 243. REY F. - m in f. |S : s d :r |m :— d :d |ti.r. {d t! li.d.;- ...t] |d ;— d td.l. |S| :rlſ fi.lt: S |d :— G. t. m. S :r s |m : — 1 s :r :t |d : — m r ; tı t : Sl |d : — detſ : si £. F. | r! :- |d * r!] ;t f : — |m : — taf ºf | SI : — |d : — taf r Ex. 244. KEY F. M. 70. ſp d : T |m . S S : m d :t, |d :d t :d d : Sl |d :Fl Sl :d f, C. |m : — f d' : S | 1 , t , d! |d : — d s : m |f :S tº ld : — |ri.r ; d |f ,r :m ,d |d : m r : — |d : — |S :d d_ : t |d : — |r! :d S] : — |d : — W. G. M. N. |r! ! r m : S |S :f | |d : t d :d , tall, : l §l : SI d : Pll |f| :f | St. Co. (New,) SIXTH STEP. . 119 cres. G. t. m. r :m |d : — m : r |f :m fem :r If : m) . | t 4t |d : — d :t |r :d r d :tº |r :d Sl : Sl |d : — d : SI |31 : 1 r d : SI |S| : 1 ) f. C. f d. f. Bb. dim. | 1 m) : s! |f| ; rl . | 1 : t: |d : — dr :f |m : r | d s : m |f : 1 r : s , f |m : — 1 tº :r |d :t fd : de |r :f Sl :SI |d : — f s : Sl |S| : Sl F. t. dim. %) d f : la |S :f m : S |f : r l : t |d : — lºr ºf |m : r d : de |r : 1 f : S. |m| : — lir :t |d : Sl l : m |f| :f | : Si |d : — oh, I’M THE BOY O THE MOUNTAIN. Ex. 245. REY F. Words adapted from UHLAND,by J. S. STALLYBRAss. A. L. C. ; S1 |S| :d ºr Is T. : d' s : – ; f | r :- : 1 |ll ºr ºf 11 :- is 1.The Moun - tain. Shep - herd boy, am I, Your lof - ty tow’rs be - : s , s :d :m |s :m :d |t| : – ; tı |t| :- : 1 || 1 :r :f |f : – ; m 2.When | thun - der clouds be- low me crawl, A - | bout me stands al, 3.But I when Some day the church bells ring, And vil - lage maids in -- | low me lie ; Here! shoots the sun his ear - ly rays, With me the m :- :r |d :- : s , s :d :m |s :m :d |t| :- ; tı |t| :- :f |m :- :d s :- :f |m :- : s , s :d :m |s :m :d' s :- :f |r :- : 1 s : – ;m bright blue hall; I know them well, they hear me call: “Oh spare º gar - lands sing, I'll take the tru - est for my bride, And sit II].6 f. B. b. , - C. t.n). m :- :r |d :- : Inti |d :- :d |s| :d :m m :– :r |d :- : det long - est while he stays. Oh, I’m the boy o' the moun - tain, Oh, |m :- :r :- :t |d :- ; d.s.film :- :m |s :m :d is :- :f |m| :- : 'Is fº fa - ther's cot - tage wall!” Oh, I’m the boy o' the moun - tain, Oh, by my own fire-side. . No l more the boy o' the moun - tain, No f. F. - d! :- :d! |s :d! :m' |m| :– :r d! :- : f'd' d' : – ; m |s :r :f F1 :– “r id :- | I’m the boy o' the moun - tain, I am the boy o' the moun - tain. In :- in Is in d is :- if |m :- : 1 mim - d [t] ;t :l is :- if |m| :- | I'm the boy o' the moun - tain, I | am the boy o' the moun - tain. | more the boy o' the moun - tain, No more the boy o' the moun - tain. St. Co. (Now.) 120 SIXTH STEP. HOLY, HOLY, HOLY. full, alºe full, are full of thy glo - ry. Ho - san | - º º . G. t.rm. . f. C. .m : 1s ... I - :f .f glo - ry, full Of thy 11 : Si,11; tı list earth are full of thy l m .m :ds .s,s | 1 , s ,l : t , 1,t glo - ry, Eſcaven andl carth are full of thy d , s :ds *- : glo - ry, full Of thy d' , s : d! glo - ry, full pl : – , f, s glo - - º d Ex. 246. KEY C. Telemann (1750). S : — : S l : — : 1 ta : — : 1 S : — !d *- Ho - ly, ho - - ly, ho - - s ly, Lord : m :d f : — :f S : m :f -*. :m , T : m Ho - ly, ho º - ly, ho - - ly, ho - ly, — : t , d! :rl Fl : Cl : m m : rſ : d' t ! S : di God of Sa. - - ba - || oth, Ho - ly, T :- , m :f m : — . . S f : — :fe S : : 1 Lord God Of Sa - - ba - oth, Lord *N d! :— , t : d! rl .ml | f | : m I'l : — : : God of Sa - - ba. - | oth ! S :f : m t -*- :d S :— : : S , S,S God of | Sa º - ba - | oth ! Heaven and G. t. : : : , : d'f, s,s, 1 , s, l: t , 1,t| d' , s :d \ Heaven andlearth are full of thyl glo - ry, full, .s, l: t , 1,ti d' , s :d' – , t, l: s , f |m : | : dif | .m. r. m .r,d eartharefull of thyl glo-ry full of thy glo - ry, Eſea - I - ven and carth and f. C. f. F. L. is D. — , t, l: s , f |m .m,f : Srl, m'.d, r" tº , d!, r":m',f.r',m' d' . :lm .m,m |ba .m,ba:se.ba,se of thy glo - ry. Ho - Tsan - |nal Ho - sºn - Tinal E[eaven and carth are full of thy r :- , r d ..,r ; mt ,l s , 1,t ; d. ,t 1 .m. ; lm |— : I' : 'Is Sps na. Heaven and — , Yl,m) :f m .d', r" :m',f .m., f | r , t ,d] :rl,ml .r,m) d! . 1 ,t : d", r , d', r' are full of thy glo - ry, Ho - San - ma. Ho - San - | 1 : – , t d : d! t , s ,l :t l : — * - - gº ry F[o - S&D. - º na! E[o - St. Co. (New.J ... SIXTH STEP. 121 t , s : d! |- , t ,l it .t d . S d : • In 8, in | the high * * * ost. S :— , f ,m ir * - , r d : S d : | S8.Il - - Ilà, | in the high - * * est. GooD NIGHT. Words translated by J. S. STALLYBRASS. A. L. C. Ex. 247. ICEY A. [To illustrate chromatics.] –T t Sl : — |d Sl :d |m : r :– , re |m :d 1. Good night ! good night ! We have fought our 2. Good night ! good might ! May the star - ry )|r! :— |rl : m : — |S| : t :- . 1 |se :l 3. Good night ! good might ! There’s an eye that 4. Good night ! good might ! Heav'n - ly Fa - ther, "T"- ass- --- S :— , f |m : r :– .de |r : I'e ml :– , r |d : Sl dai 4- ly fight; Peace of mind and rest from hea - ven splem - dour bright Cheer the eye that, sick with sor - row t :- , t |d : t : — , le|t : 1 Sel :— , sell :m knows no night; Child of man, while thou art sleep - ing, with thy might Bless, and streng - them, l and re - Store us, %)?, —-T T=- f dim. r :— , de |r : ré m . :— ,r |d : Sl S :— , fe |s : m To re - ward our toil are giv - Cn: Noi - sy day has Weep - ing watch - eth for the mor - row, Star - ry splen - dour t :- , le. It :l Sel :- , sell :m m :- .re |m :d Faith - ful watch and Ward 'tis keep - ing; There's an eye that For the new day's work be - fore llS, Heav'n - ly Fa - ther ſº #9% m :— , re |m : d : — |d : l :- . S1 |S| : tak - en flight: Good night ! good night ! soft and bright ! Good night ! good night ! Sl :- ..fe |s| : I'll :- , rel |m| : f : —- |r! : wakes all night. Good might ! good night ! With thy might! Good might ! good night ! • 9 St, Co, (New J SIXTEI STEP. NIGHT SONG. Ex. 248. KEY B p. A.L.C. #9 _T-- __LIT-- e . . ; : | : s : f |m :-- |p1 :r |d :— :m |m : — 1.On the woods therebroods Deep re - pose, decp re - pose, Not one No pain :rl ,r |d :t) |ll : — |t| :t) |d :— s] :f |m| :— : | !d 2. In the heav'nly land An - gels sing, an - gels sing, Not No m : — |r! : I' d , t d . 1 |se : — – , sel: li , t |d :t breath stirs A - || Imong the firs, And no ze - phyr Ol' Cal'6 Can em - ter there, But sweet voi - ces d , t d . 1 |se :- sell , sei:l .fi |m| :- , pil pl :f |m| :r On 62 breath stirs A- || mong the firs, And no ze - phyr pain or Calle Caml en - ter there, But sweet voi - ces / F. t. –- T I- d.f. E b. l : — |— : ,fert| d ..,r :m |S :— , f,p) r : — | — : blows. The birds have all end - cd their song, ring. On earth we must soon end our song, ..) |d :— — . : Sid Im .nl ::m r,d |t| – ||— : , lit blows. The birds have crided their song, The ring. On earth wesoon endour song, O ºnf | : , tad' d' , d! :d' , t , 1 |se : — *º : S – m (d The birds have ended their song, Wait, a- On earthwesoon endour song, −I I-> d ºr :m |m :- ,r,d |t| : — |— : t :- d .pl birds have all end - edtheir song, Wait a. earth. We must SOOOl end our song, - - f F. t.m. |S : f :- m if |r : ls :- m d! |s : while, Cl’é long, Wait, a - while, | |r! : r :– d. ir |t| : det : — d J1 |m : while, €l’0 long, Wait, a - while, St. Co. (New.) SIXTH STEP, £) f. B. b. - f := m if |r : r 1 Sl CTG long, Thine eye I’ :- d ºr |t| : taf |m| Gre long, Thou’lt! With - ra!!. | |— ; Sl S| (feſs||l Thine eye shall gent l |— : m m :- relm If Thou’lt | with the an Three Removes.—Almost the only cases of three removes are those of three flat removes with modu- lation to the minor, or of three sharp removes with modulation to the major. In these cases the similarity of the upper part of the two modes (m base lands ltd') assists the earin passing over from one key into the other, especially if that form of the 7 fl minor mode containing bah is T S ( | used. The third flat remove is * r * r s the more difficult to sing simply d f because the minor mode into t in ' I's d f | which it entersisitself artificial ł m and difficult. The third sharp 1 r s d! f remove is the less difficult, S 6 t; nº. 7 I because the major mode into s d f which it enters is more natural ba # in l r s d to the ear. The Physical f S 63 t Ghanges, therefore, made in In l r s d f three removes, vary with the ja 1 | X.º.º. of bah and se. r & d f . ‘. be gº. or Smaller all U.D.OS6 O O TODO OVGS, d f # T. l r s | The Mongº Effects are obvious, —for a modulation from maior t in l r s d f | to minor and a flat sº # m together naturally produce a 1 r s d f gloomy depression of feeling, S 62 tº 7 r and a modulation from minor s d f to major combines with a sharp bat m l r s d º to produce a strange kind of excitement. THE EXERCISES.–In the same manner as above the teacher will shew his pupils on the modulator that in Ex. 249 the transition to the third sharp key is not very difficult, first, because it moves to the – , S |l ; tı d : — \ shall gent - ly close, - . S. Ife :f m : — the an - gels sing, :S SI ! —— |— - ly close. :f m : — |— sing. - gels more familiar and more natural major mode, and second, because the second distinguishing tone (m) enters first, after that the third (1) and the most difficult (t) last of all. In teaching each part separately it may be well for the third part to remember that f m is the same thing as r de of the the preceding key, - and for the second part to notice d' fe is the same as f t. All three parts should hold out the d its full length in order to get it well into the ear before taking the new transition. The section in key C should be practised separately before it is united to the previous section in E b. This also should be the case with the section in key B b, which is difficult, being a sudden remove from the major to the artificial minor. Although the distinguishing tone of the second remove (f) comes late, it is only an alternative tone with bah, and so is awkward to sing. This tune contrasts very plainly the natural boldness of the “relative major” and the cold brightness of the “tonic major.” In Ex. 250 the transition to the minor of the third flat key is very difficult to sing, first, because it is to the minor, and, second, because it introduces the “alternative tone” (f) so early. If the third part sings f f correctly and boldly, the second part will have no difficulty. In learning the third part separately it may be well to remember that f :f m | r is like :m d :d,t | 1 of another key. It may scarcely be necessary to note that, in the second part, d r f is like ma fla of the previous key, and in the first part m 1 is like s d!. Other examples may be found in “Additional Exercises,” pp. 78 & 94 for special effect, p. 86 for subordinate transition and return,-and pp. 79, 84 & 92 for returning transition, St. Co. (Wew.) SIXTH STEP. Ex. 249. KEY Ep. IF. G. M. N. #9 ----- : m l : se | 1 : { d'.t. - . 1 Ise in S . S | 1 : t º |d .m :- .m. |m & m .r ºn f {r : pl m : m |f : : li d ; tı |d lit d ºr -īr :d d :d |f : I' T- £) C. t. m. l. d : — |— : m l : S6 | 1 t d' , t :- . 1 |se : mS | m * |— :(l d ,m :- . m [p] m , r ; pl. , f |m : mS * d *- |— !d t! l :t |d I ll .tl. :d , r im : rif | d ; ri |m| : Tl d! -- |— : dir d : t |l : Sel S : 1 |d : t: d - |— : fese l : Sel |l : m | - I- ſm :f |S : Sſ d -e |— : rm, pl; :m |f| : Pl, , r) ) f. Ep. ft) l : t .d |r : r 1 d : t , 1 |t : Se l * |— m :f , 11, Ise : Iſm f :f , 1 |se :m , r |d ===s |— d :r .ml If ; Fid .tl. l :r , f |m : Fl l * |— Ex. 250. ICEY C. JP. G. M. N. S. d. **** 9 tº mºl. —-TT T- dim. s : s , s: T1 ºd s :s |s : sm | 1 : 1 , sell ; d. t : — In s :- ) m :m .m. |f : m r :m , f |m ; mad £ :f f :m , 1 |se :- |m S f | d :d.d f :d |t| drild ºl, f f.r r I, n = Fis s : s , s ) l ; d. s : s |s :se | 1 || :m', r" |d' : t i d' : — |— :— m :m .m. |f :m | r :m , f |m :m | f : 1 |s : – , f |m :— |— : — d : d.d. If :d |t| :d ,r |d :d | f :fe is :sſ |d — — — Ex. 251. ICEY C. Andante. THE LULL.A.B.Y. A. L. C. #9 S :– , s | 1 : S d :- , r) |d : t m! – , r) |d' , t d .. 1 | Peace - ful slum - b'ring on the o - cean, | Sea - men fear no danger m :— .m. |f : m m :— , f |m : r S :— , f |m ,r :m , fe St. Co. (New.) SIXT TI STIAEP. . 125 *-*========= -- - - - - - - ------ S :— — . S :- .s | 1 'S d! :-TTT ; d. nigh, - Winds and waves in gon - tle mo - tion, S : — |— , f :m ,r |m : — |f : — m :— , f |s : Pl The winds and waves in gen - the mo - tion, , f) *it, ſ}}) S. :– ,m | 1 , 1 : s , fe s : — |f ,m :f , s m : — |— : Sootho them with their lu-la-| by, lul -la, lul -la-' by. m :- .d If f :m .re ſm : — |r .d :r . t1 | d : — |— s.d. f. Eb. f sm :- .m. |f : m d :– , t | 1 : Se m :– ,r |d , t) :d ,r 1. When the wind tem. - pest - uous blow - ing, Rolls the billows mountains mad :- , d ir :d m :– ,r |d : t m :- ,r |d , t) :d ,r 2.’Neath a hea - ven black and Scowl - ing, Trust - ing One a - bove the C. t.m.l. 40 mS : — |— : S :– , s | 1 : S d :— , r" |m| : d! high, Still no fear of dan - ger know - ing, They in hor - rid tem - pest's how - ling, mS :- - ,f : m r |m : — |f : — m :— , f |s : m sky, E'en then no fear of dam - ger know - ing, They in the hor rid tem - pest's how - ling, *it. %9 S :- . In | 1 , 1 : s ,fe s :— |f . m :f , s m :— — . They in storms hear lulla- by, lul -la, lul -la- by. m :- , d [f ,f :m ,re |m : — |r .d :r , t) |d : — |— : Hear a mo-ther's lul-la-lby, lul -la, lul -la-l by. * MUSIC OF THE SPHEREs. Ex. 252. KEY. A. Words translated from Besseld, by J. S. STALLYBRAss. A. L. C. d :– , d |d : Si .d |m :– ,r |r :d d , t : 1 , sell : li .t 1.Stars are giv'n us our life to bright - en, And our dim earthly m :- .ml |m| : I'll . Fli | Sl :— , f |f| :m m :f |f :f ,f 2. See yon star written l con - SO - la - tion; “Eſere is past aii." d :d , 1 | 1 : Sl m : m |m ...,d :f .m. ||r :d |t :- .(s) path - way to light - en; They can Sweet - en the scourg - ing rod, They m : li , f |f| ; pl. S] :S |S| ..,m) : l ; SI fel :fe |s| :- , (s) earth's tri-bu -la - tion; Pil - grim, keep your | cour - age high, St. Co. (Now.) SIXTH STEP. s.d. f. C. S : s , f |m d .r |m : r |d : mad! :d! ...,t | 1 ; Se raise up the soul to her Fa – ther, God. See you the sol - emn t : t ,t |d :m ..f Sl :f |rl : — maid, r :m ...,p) |f :f º If thro’ the dark you would climb the sky.” Hark to the ho - ly 1 , t : d! .rl |m| rel:m 1 : 1 , 1 |se :se , se | 1 f f |f : m words there glow - ing: “All that is earth - ly shall soon be go - Ing; f ,f :f |m .,re :m l : 1 . 1 |se :se , se | 1 :f , f |f : m mel-o - dies ring - ing, They to the worlds and the a - ges are sing - ing: - - A. t.Im.1. f :f .m. ||r! :r', d' t :- . 1 |se :- || 1 d :— |s|| :d m :— — \ No - thing on earth a - bi – deth sure; Souls that are purc, 1 : 1 , s |f :f .m. ||r :re [p] :— dem :– |s| :m d : — ||-- There is an or-bit wherel thou shalt move, Or - der'd a - | right, s :— |s :f m :— I'd :r m :— jr :— d :— |— : | Souls. that are pure shall for |aye Oll º dure.” l t! :- |t| :t d :— |T| :f s : — |f| :— |m| :— — . Or º der'd a - right by e - - ter º Imal love. SounI THE LOUD TIMBREL. Iºx. 253. REY C. ' Words by MooRE. -- A. L. C. S : – , I\l : S m! : ml . I'l d : t , 1 S : – ; S s! :- .m. ; d. 1.Sound the loud tim - brel o'er | E - gypt's dark | sea Je - ho - vah hath : º º o : : : ; S m :- 'd :m 2, Praise to the Con - que - ror, praise to the Lord, IHis l word was our - G. t. - S :d! . ; d. d! :- , t , d! r' : — : : : : : - tri - umph’d—his peo - ple are free Sing— for the pride of the | s :m :d m : – , s :d t – : º :— ; pl. , s , pl. : m r ar - row, his breath was our sword : ! Who shallre-l turn to tell : : : : I's s : – , fe: s pl ; d : Pl f :f ;f - ty - rant is bro - ken, His cha - riots and horse-men all splen-did and d :t : 1 lſ : s : Si |m :- .re:m d :d :d | r : l ; t E - gypt the sto - ry Of those she sent forth in the l hour of her St. Co. (New.) SIXTEL STEP. 127 f. C. - - f : m : : e : : főll dl t : di brave, IIow | vain was their boast - ing!— The Lord hath but :— ; d.s. s if :f : f : pl : pl m : I' :d pride P For the Lord hath looked out from his pil - lar of s.d.f. E. p. /0 *itard. m! ; pl : dil, t d! :t : 1 m : m :d ,r | Pl ; pl : p1 | spo - ken, And I cha - riots and horse - men are sunk in the d : t :d lſ, t d : t :l Sel ; Se : l ; tı id : ) : m | glo - ry, And all her brave thou - sands are dashed in the f*C. t.m.l. - l : — ; m S : – , m : S pl! : p1 : Pl d : t: : 1 Wa, Ve. Sound the loud tim - brol O'er E - gypt's dark l : – ; dem : – , d .m S . S :f m : I' :f . tide. S : – ; S s! :- , m' :d s ; d! :d d! :- , r) :t d! :- : Sea ; Je - || ho - vah hath tri - umph’d—his peo - ple are free. | m : — ; S m :- , d :m S : m : m :— , f :r m :— ; | TRUE LOVE. Ex. 254, key G. — 4 + 0. −– , -- −– _LE=- s — |d T:m |m .r:— I'd : r — | 1 S — 11 : , f 1.True love can | never die, True love, true love Call m! :- |m| : Si |s|.fi :- [m] : f :— |f| Pll :— |f| : , li 2. True love can I never die, True love, true love Căl Il > I- S.d.f. B. b. . never, In GW-Gl’ die, Al - though its first bright s! .m. ;- | 1 , f : — m : — : laſ |m| :- ,rl | 1 :t never, In OV-01’ die, Life's spring may pass a - F. t. | m * — | : m S :— , f | 1 ; tı d : — | : r s , f | gleam May fly like child - hood's dream, Yot. d "— | :d t : — l |f| :f | m : — | : felt Way, Soon fade its sum - mer day, But St. Co. (New J I28 * SIXTH STEP. C}'65, :f , G. t. m. cres. m :r , I\l |s pl | 1 :-- |-- : º : T , F1 |S :f , m ... burns its se - cret fire, Till life it - self GX - d : t , d | li , t) : t .d |f : — ' — : r d : t , d | ll .t : t , d bright 'mid win - try gloom, True love will ev - er f (??'6S. l : — |— : s ,fe s * |m :1 .,t d! -se |S : pire IEv - er glow - ing, By - er grow º ing, l : — |— : p1 .,re m : — |d :f of |m - |m : ) bloom, Stillum-l dy - - ing, Time de-lify tº - ing, £) #9/9 rºl :— — :r d — — s! :- [l :t d :— — . Till we die, Till we die. ||d , - Is if |m| :- — ; f :- [f :— |m| :— —- : - COME, FAYS AND FAIRIES. Ex. 255. KEY D. A. L. C. d! , : s ,fe |s *º- m g : s , :ril ,re Come, fays and fair - tº- ios, - Come, fays and m : m .,re m : — d :m ...m. |m : — m : s ,fe Come, Come a -| Way, Come, o : : d ..,d d *-*. : ar) :Yº m! : — d : : S s , d' :m .,r" | d' , t : 1,t,d] fair {- - |ies, Yes, Come,a - way ye fays and fair -ies S , – m :m ...,m m :f m .m : s , f |m ,r :f ,m Come a - way, Yes, :d ..,d |d : ti d : :d d :d Come, come, Come, COme, s , s :s,fe.s.l. s ,f :r . s .d! :m' or d' , t : 1,t, d' |r! .r! :r,d'.t,d While the moon is shin -ing bright, Now for - sake the wood’s deep sha-dows, Come and dance in her m .m. rure.n,f |m ºr it m .m : s , f |ml ,r :f .m , t , t , 1 s ,l d o :d Sl º : Sl o d :d o d ſº :d o S o : S e Come, come, COme, come, Come, COme, COme, COme, Come, come, St. Co. (Newu SIXTH STEP. 129 t , 1 : s , s |s d! : m sil - ver light,yes, Come a - way, ye |fays and fair -ies, While the moonis .,r' d' , t , 1,t .d. l s , s :s,fe.s, 1 |s .f : Iſ . Shin-ing bright, s ,fe :S m .m : s ,f |m .r :f .m. |m .m :m,re.pl,f |m ,r : t . r , I' ; S ...t d :d d :d tº d o :d o Sl ſº : Sl º come a - way, yes, Come, COme, COme, COme, Come, come, COme, come, - sº FINE. s , d! ; pl. .,r" | d' , t : i , t , d! r" , t :s . 1 ,t |m| , r) :d Now for - sake the woods’ deep sha - dows, Come and dance in her|sil - ver light. ſºl , ſº : S ., f |m .r , I'l f , f :f ..f f |f ,f : m d :d , d :d & t] . :t e St , s :d Come, COD10, COD10, COme, Come, COme, come a - way. df. C. f I- /9 Come, trip it merri-ly ho, ho, ho, List to the li - ly bell's sweet sound, , maf |m .pl :m ,f , s S , S ; S r! .dl,d' : t , 1 s , f : pl , d r |d d :d ,d .d tl , r is r! , d!,d! : t , 1 s , f : m Come, trip it merri-ly ho, ho, ho, List to the li - ly bell's sweet sound, f | I-> - , 1,t idl d! :d', r".m. ||r! .t :s r' . t : s , 1 ,t |m| , r) :d Come, trip it merri-ly, ho, ho, ho, Lightly trip it round and round. , f m .m :m ºf , s S , S ; S f ,f :f ,f f , f : m , I' d .d :d d .d t] . r ; S i t] . :t t ...t :d Come, trip it merri-ly, ho, ho, ho, Trip it. round and round, A. t.Im.l. £ : :ld,— ºr m : m |r :- ºre Ji |s :- — if }}}} Wea-ry mor - tals IlOW are | sleep Eº m s. ; SI . S] . ; SI . S| . ; SI , Sl ; SI, , t| , : t , La la, la, la, la, la, la, la, la, la, m : 1 – ſtild : d d :- ſtid |m — = ºr d : s ,fels *--> ing Sil-verſ stars the watch are keep tº ing, Fays and fair tº d : ; li . S . ; SI . SI . ; SI , Sel. : Seſ. | . ; Pl .,re m *º la, La, la, la, la, la, la, la, la, Come, come, d; , ;f . I rl , ; "|| | | T , ; "|| | | || , ;"|| | | || : ld :d . St, Co., (New.) 130 SIXTH STEP. m : In , ré Fl : -— d iOS, Fays and fair - º ies, : | d º : d º d º Come, COTme, COme, come, Fays and fair - - ies, m .d, r :m , : s ,fe |s Come from the hill, Fays and fair º : d . d . :m .,re m Como, COme, COmé, d o : d º d & : - d Q | Come, d : r .tl,d :r .t ies. Come from the foun-tain, d t : d º t| º : t e t & COme, COme, Come, COme, COmé, m º : d º S | º : S ſ g S! º iès, come, | MorelDistant Removes are not much used in ordin- ary choral music. They can be studied on the extonded modulator. See also my “Construction Exercises,” p. 154, and “Staff Notation: an In- troduction.” Effect of Speed and Force,—We all know that when we are excited our pulse moves quickly, and that when we are calm and meditative our pulse moves more gently and slowly. This is the general principle which must govern our speed of move- ment in singing. It should be regulated by the character of the emotion we are expressing. We may also notice, that the same state of our feelings, which naturally suggests that we should speak quickly, generally leads us, at the same time, to speak alowd. And the same emotions which lead us to speak slowly, commonly also suggest that we should speak softly. Hence the commection between speed and force. In this study, however, the following caution from Dr. Lowell Mason should be kept in mind. He says, “The very same words may be sung by differont persons, or even by the same per- 80m at different seasons,—in different moods of mind, : r .tl, d:r . . : Come from the glen, : d . tº . : t , t; . : t | * COIO, O. Come, come, come, cone, : Ci . Sſ . ; SI . S! . ; S1 . COme, : — p] : In ,,1'6 ! m : — º ies, Fays and fair * : — : d , ; d . | Come, come, :d . d : ; S. ºfeſs : — come, i come, Fays and fair * f. D. D.S. m .d, r. In d S : — Come from the rill, yes. ;t\ . d , ; d . taf : — COm0, Come come, yes. and so with a porvading diſſerence of expression. The hymn commencing, “When I can read my title clear,” would be sung by one man (looking at his Christian hopes throughthetears of penitence and Sorrow) with a subdued trembling confidence, and by another man (who has long taken “Jesus’ for ‘the Christ,’ in whom his soul trusts) with the free full triumph of gratitude and faith. The Israelites, before they crossed the Red Sea, might have sung such a hymn as that which begins— I sing th’ almighty power of God, That made the mountains rise ; That spread the ſlowing seas abroad, - And built the lofty skies. But they would have sung it, in a very different strain after they had crossed the Red Soa It might be Said, that, in both these cases, the second way of singing is the right way. But allow- ances must, nevertheless, be made for this difference in the general style and manner of delivery.” The principles here laid down are necessarily incomplete; but they will serve the purpose of Sotting the pupil to think. Each case given St. Co. (New.J SIXTH STEP. 131 below, should be brought before the class, and sub- mitted to the judgment of the pupils. They should then be requested to find other cases illus- trative of the same principles, or cases developing any new principle. Let the pupil remember that this exercise of independent thought and feeling is the only exercise, in connexion with this subject, of any real value to him. The Inere learning of rules for expression, without apprehending and testing their ràeaning, and without trying to apply them. for yourself, or to invent others if need be, would be just the putting on of So many weights and shackles to hinder all free movement.” * Loud and Quick,--These principles will naturally suggest to us that passages of music expressing joyful praise, gladness of heart, and other excited emotions, should be delivered with force, and with quick and sometimes accelerated speed. Besides this, among the many passages where music seems to act the words, there are some in which this dramatic delivery naturally assumes the same qual- ities of loudness and quickness. . Joyful praise.—Illustrations of this will be found in “Jacksons,” p. 2, v.4, last line,—“Swiftly” p. 32 “Nature's,” &c., and St. Co. Ex. 111. Gladness.-See Sunshine, p. 45, last two lines of verses 1, 2,-‘‘Spring life,” p. 3, where full voiced gladness bursts out on the words “Hurrah,” “grow away,” &c., see also St. Co. Ex. 174, at the open- ing and at the close before “FINE.” Evcited emotion.—By this we mean other exciting emotions besides those of praise and gladness; and any of these emotions, when suddenly aroused. See the feeling of patriotism in p. 13, first 8 measures and last 8 measures,-see exulting confidence in “Rise my soul,” p. 33, v. 1,–Seg a change to excited confidence in “Nearer my God,” p. 34, v. 2, lines l to 5,-in “Hope will,” p. 12, close of each verse, —in “Hear me,” p. 18, third score, where the words are those of prayer but the feeling is that of exult- ing confidence,—and in “Saviour breathe,” p. 91, third score, where even the depressing sentiment of Confession is naturally overlooked in the rising urgency of passionate entreaty. See cases in which the excited emotion suggests also, acceller- ated speed, in “We fly,” p. 20, through the whole, —and in “Awake,” p. 62, end of second score, con- trasted with the slow and sustained music which precedes it. Dramatic effects.-Cases in which our mental asso- ciations naturally suggest loudness and quickness St. Co. (New). in the “picturing out ’’ or acting of a musical passage may be found in “Quail,” p. 14, score 2, “Ruthless the winter comes on,”—“Awake,” p. 64, score 4,-See also St. Co., Ex. 175, accompaniment in Tenor and Bass “rushing along.” The student should here be cautioned against an unnatural straining after expression, against giving Such expression to a single word, or to a single line of the poetry, as will distract the attention from the general sentiment—the pervading and pre- dominating feeling of the piece. The author of “Our Church Music" cites two striking illustrations of this. “The following stanza,” he says:— z Sinners rejoice, and saints be glad, Hosanna, let his name be blest; A thousand blessings on his head With peace, and joy, and glory rest : “is evidently throughout a jubilant one; and the individual Word peace does not change its charac- ter. I once heard a leader, with a powerful voice, singing this hymn. Catching at such words as ‘ rejoice,’ ‘be glad,’ &c., he bounded on exultingly. But suddenly his eye fell upon the word ‘peace.” This ‘gave him pause.’ He was startled. But, with ready presence of mind, he checked his musical career, and sinking his voice to a whispering pianissimo, faintly articulated the word peace." This accomplished, however, he rallied manfully for the remainder of the line, to depict the ‘Joy’ and ‘ GLORY of it.” The following stanza:— See, the storm of vengeance gathering, O'er the path you dare to tread, IIark the awful thunder rolling Tuoud and louder o'er your head : our author heard Sung with an AWFUL crescendo on the third line, and a great thundering of the organ- pipes. But the true feeling of the verse is that of subdued solemnity. The attitude both of speaker and hearer is that of quiet listening, “Would not an effective reader,” he says, “sink his voice to a whisper, and turn the listener's ear inward, to tho thunder of his own conscience, rather than stun it by material noise P” - *. Let the student always ask himself—“What should be my own state of mind (excited, or quiet, &c.), while uttering this sentiment P” Let him determine first to feel the sentiment quietly and fully, next to speak it feelingly, and then to sing it so as to make others feel. If he does this he will never be found labouring to bring out expression * This subject is more fully treated in “Musical Theory,” Book IV. 132 Ex. 256–259. SIXTH STEP. from unimportant words, and forgetting the main sentiment which he is uttering. Loud and Slow.—Passages which express Some grand idea on which the mind delights to dwell should be sung loudly, and not only without quick: ened movement; but often in a delayed and sustained manner. Grand Ideas.—See examples in “God speed,” p. 1 —“Spring Life,” p. 4, “praise and pray,” where, in the same place, the other verses would be sung loud and quick-and in “Quail,” p. 15, end of third verse, where after trembling and fear, there comes a sol- emn confident utterance of thoughtful faith on the words “God for his creatures will care,”—“How lovely,” p. 61, first score “throughout", to “tid- ings,” expressing the universal triumph of the gospel. Musically considered, this ſorte, raiſed: ando prepares the way, by contrast,-for the light piano which follows, -in “Sunshine,” p. 45, where the singer is contemplating with strong satisfaction the blessings he has realised, and where, in the same place the previous verses would be sung loud and guick. See also St. Co. Ex. 139, last line v. 3 & 4. Ex. 256. What musical expression is suitable to the words in “Morning prayer,” p. 80, “I feel my being new created?”—in “May time,” p. 5, opening of v. 1 and 3? Ex. 257. What expression would you give to “ Quail,” p. 15, “God be thanked,” and “Look she goes?”—to “Home,” p. 76, “tell me heaven P”— and to “Saviour,” p. 92, “for we are safe if thou.” Ex. 258. What expression would you give to “The stout limbed,” p. 77, last score and p. 78, third score ?—and to “How lovely,” p. 58, last score. Give your reasons in both cases. Ex. 259. What general musical expression would you give to the words in St. Co. Ex. 134,- and what special expression to Ex. 113, scores 1, 2, 3, 6, 7 ?—in Ex. 175, on the words “The sea,” “The deep blue sea for me?”—what expression would you give to St. Co. Ex. 143, “Great is the Lord,” “He makes his promise good.” Soft and Slow.—The principles stated at the commencement of this subject naturally suggest,- that words which express Worship, Sadness, or other Subdued Emotions as well as those which place the mind in the attitude of Meditation, Des- cription, or Repose, should be sung more softly and often more slowly than other passages. There are also several Dramatic Effects which can be well expressed by soft and slow singing. Worship.–See examples in “Hear me,” p. 17, at the opening, where the Second score, being a repe- tition section and expressive of rising urgency is naturally sung louder than the first ; but still piano, —“Lord in this,” p. 33, v. 2, where the worshipful feeling is deeper and humbler than in v. 1, and should be sung more softly and slowly. This expression prepares for rising urgency of prayer in v. 3. See also St. Co. Ex. 135, v. 1. Sadness. – Seo illustrations in “Shepherds lament,” p. 89, score 4, where the closed door, pro- duces a sadness, which sobs in the words “and all, —all,” and deepens into utter desolation, delaying the utterance of the words “me, a dream to me,”— and in St. Co. Ex. 188, v. 2, second and third scores, -—Ex. 190, v. 2, last two lines. Subdued Emotion.—See examples in “Jackson's” p. 2, v. 2, first and last lines, and v. 4, second line. Note that in this piece, the last line of the last verse would be sung with a contrasting expression,-- “Quail call,” p. 14, “Ah! but ’’ to “defend,”—also the same, “cold '' to “cries,”—and the subdued feeling of the listener, v. 1 and 4 of the same, “Come freedom's,” p. 13, v. 2, lines 1, 2,-‘‘IFortune hunter,” v. 5, last two lines, “Hope will,” p. 12, v. 1, line 1, and v. 2, line 1. See also St. Co. Iºx. 139, v. 3, first line. Meditation, Description, or Repose.—See examples in “If I had,” p. 45, last score “But thoughts” to “here,”—“How lovely,” p. 58, duet,_“Swiftly,” p. 31, “sweet,” &c., “My lady,” p. 21, where soft respectful “description” mingles with “excited emotion,” which, see above, requires a different treatment, “Spring life,” p. 3,-"Hear me,” p. 18, “I will,”—where the singer anticipates the sense of repose. See also St. Co. Ex. 119, “oh, sweet content” “Oh, punishment,”—Ex. 193, where, the whole is descriptive and subdued; but where, in the second and third verses, the second half is made softer and slower still by the “subdued emotion.” JDramatic Effect.— See illustrations in “Night around,” p. 22. The accompaniment imitates the effect of a might breeze,_“The woods,” p. 73, last score “and vanish,” &c., when the diminuendo, pianissimo pictures the passing away of a dream, “Ye spotted,” p. 83, fourth score, “Beetles black,” where the low voiced horror of the fairies, when thinking of the “beetles,” is contrasted with their loud defiance of the spiders. St. Co. (New.) Ex. 260–1 133 SIXTEI STEP. Soft and Quick-On the same principles it is easy to see that passages expressing Gaity or the feeling of Cunning and Inuendo are naturally delivered in a soft, light, and quick manner. Gaiety.—See examples in “Come let,” p. 24, “trip it to and fro,”—“Fortune hunter,” p. 5,- “Gipsies' tent,” p. 35,-and “O the joy,”—“The woods,” p. 71, where the light gaiety of the music is moderated by the descriptive character of the words. See also St. Co. Ex. 78, “Tra, la, la,”—Ex. 174 where the gaiety of the first half of the music is contrasted with the boldness of its opening and close, and with the more legato descriptive passage which follows. - Playful Cunning. —See examples in “Fortune hunter,” p. 4, v. 8, “Without asking my lady,” and v. 10, last line where the fun would be increased by a pause after “not,”—“Quail,” p. 14, v. 3, “here I lie.” See St. Co. Ex. 145 on the last words “my love loves me,” as though playing with a pleasant secret,_Ex. 120, where after the importunate “Tell me,” another set of voices seems to reply “Oh no,” and p. 42, from “all among” to “dwell,” where the pretty little secret is let out. Dramatic Effect.—See examples in “Swiftly,” p. 29, where first the quick fleeting shadows and after- wards the quickly glinting Sunbeams are imitated, See St. Co. Ex. 102, where the rise and fall of laughter is not only imitated but enacted. IEx. 26O. What expression would you give to “O Saviour,” p. 86, 6 measures beginning “Save us?”—“Father my,” p. 34, v. 1, Jimes 5, 6 P-ºlord in this,” p. 33, v. 4, line 2 P-4° Saviour,” p. 92, “Though’’ to “fly P”—“Loud the storm wind,” p. 95, “soft comes P” Ex. 261. What expression should be given to St. Co. Ex. 97, v. 1, line 1, v. 3, lines 1 and 2 P-to Ex. 194, v. 1, “In silence” to end,-and in what different manner should the mingled emotions of joy, and sustained, intensified agony, in “Jerusa- lem,” &c., be expressed ?–Iºx. 137, first line of each verse P-Ex. 139, v. 3, “and quiet lie P” Loud to Soft.-Passages which suggest “Excited emotion’’ at their opening, gradually changing to “Subdued emotion,” will naturally be sung dinin- wendo. See “Spring,” p. 51, “Cloe” to “gone,” —“Going home,” p. 2, v. 2, last line,—“Morning prayer,” p. 79, where the ma in the contralto twice hushes the outburst of greeting at the solemn sense of the Divine presence,—and where,on the repetition, the feeling, still more deepened, may be expressed by a pianissimo, rallentando finish to the diminuendo. The words of the second verse do not require such refined expression; but those of tho third verse in the same place, demand all the feeling which con- ductor and singers can throw into them. See also St. Co. Ex. 79, score 4, v. 1. Single tones may take the same shape, but in that brief and condensed foom, which we call the explo- sive tone, when the singer wishes to express vig- our and energy in a somewhat spasmodic manner. Let the pupils sing the scale upward and down- ward with a feeling of resolute determination, to the words, “No | I will not No! I will not l” See also illustrations in the fairies saying “Hence, hence,” to the spiders, p. 83,-" Where the gay,” p. 65, score 4, the energétic climax of a remarkable crescendo passage, “Hear me,” p. 18, first and fourth scores,-‘‘The Shepherd's,” p. 88 in which a number of explosive tones must be excused on account of the state of passionate excitement which the singer has to impersonate, “Harvest Home,” p. 39. Soft to Loud.—Passages which suggest “Sub- dued emotion” at their opening, gradually chang- ing to “Excited emotion,” will naturally be sung crescendo. See “At first,” p. 54, first score, where the gathering force of a mountain stream is repre- sented by crescendo and accelerando, and the same thing, p. 55, score 4,-" Loud the storm wind,” pp. 94 and 95, “loud,” &c., where the subdued feeling of description gradually changes into dramatic excitement. See also St. Co. Ex. 139, v. 2, “And in,” to “to be,”—Ex. 175, “Beautiful” to “free,” where contemplation rises into costasy. - Single tones may take the same shape but in that brief and condensed form which we call pressure tone, when the singer wishes to express the breath- ings of desire, entreaty, or any deepening emotion. Let the pupil sing the scale slowly upward and downward to the words “Oh! do, pray do | Oh! do, pray do?” See “Jackson,” p. 3, on the words, v. 2, last line,—“Father,” p. 34, v. 1, where a pres- sure tone on each syllable of “From human agony,” would well express the deepening emotion,-"Hear me,” p. 17, score 2, “O,”—ditto p. 18, second score, “prayer,”—“O Saviour,” p. 86, score 2, “Save,” “Help.” It should here be noticed, however, that the same emotion is sometimes expressed violently and passionately by the explosive tone which in other moods would require the desireful pressure tone; see “Saviour,” p. 87, “Save,” “Help,” and St. Co. (New) 134 Ex. 262—271 SIXTH STEP. “Home,” p. 76, score 1, “shall.” See also St. Co. Ex. 186, Ex. 194, each syllable of “the anguish of our soul.” - - - - Ex. 262. Mark for expression the following stanza, first on the supposition that the poet wishes the mind strongly impressed with the contrast in the picture, for the sake (for example) of somelesson he means to draw from it, and, secondly, suppos- ing the sentiment to mean nothing more than a descriptive meditation:— - - In winter, from the mountain, . The stream, like a torrent, flows; In summer, the Sámie fountain, Is calm as a child’s repose. Ex. 263. Mark the following—from Gersbach's “Little Singing Bird,” translated by Mr. James Stallybrass:– On airy wings ... The skylark springs To yonder cloud on high ; E[is thanks to God He flings abroad, And fills the wide blue sky. O songster fare, You swing up there— Cireation’s morning bell ! My songs I’ll blend With yours, and send Them up to heaven as well. IEx. 264. Ditto; ditto. Oh! never fear Old Winter's cheer, - Though rude and sharp his greeting ; E[is coat is rough His voice is gruff, But warm his heart is beating. He wears no smile - And for a while E[e’ll seem to hide our treasures; But in the end - He'll prove a friend , And bring us back Spring pleasures.” Ex. 265. Ditto, ditto. When Spring unlocks the frozen ground And scatters all its treasures round, IIow sharp and active then is found, Old Master Spade the Gardener! When 'mong the crops feeds hungry Bun, Oh! who will rise before the sun To scare the rogue and make him run ? -- Old Master Spade the Gardener! Suppose the last line in each stanza repeated, what would be your feeling in the repetition, and how would you mark it 2 Ex. 266. Ditto, ditto. Oh 1 there’s not a sweeter pleasure ... Than to know a faithful beart. Ye that own so rich a treasure . Never, never with it part Blest are we, in joy and woe, If but one true heart. We know. Ex. 267. Ditto, ditto. Your cage is nice and ready; Though green boughs, pretty bird, Are now your home delightful And rightful, - Yet spiteful Is Winter, and he’ll pinch hard. The Cage has long been ready : . What says the pretty bird? I’m still to freedom clinging And swinging My flight o'er the bright green swardſ Ex. 268. Mark this from “Favourite Welsh Hymns,” by Joseph Morris:— IFar on the ocean, one cold starless night A small bark was sailing in pitiful plight; - The boom of the billows, as on rushed the storm, O'ercame the stout hearts of the men with alarm. But one in that lone boat was fearless the While, The captain’s bright boy, looking round with a smile; “The storm,” he said, “threatens, but still do not fear, We safely shall land, for my father doth steer.” Ex. 269. Mark this, by the Rev. W. B. R.:— Never forget the dear ones, What songs, like theirs, so sweet 3 What brilliant dance of strangers Like their small twinkling feet Thy sun-lights on life’s waters, Thy rainbows on its foam; Never forget the dear ones Within thy house at home. Ex. 270. Mark this, from Darry Cornwall:— Oh! the summer night JHas a Smile of light, And she sits on a Sapphire throne ; "Whilst the sweet winds load her With garlands of odour, IFrom the bud to the rose o'crblown. But the winter night Is all gold and white, And she singeth a song of pain; Till the Wild bee hummoth And warm spring cometh, Then she dies in a dream of rain. Iºx. 271. How would you treat the last verse of “Oh where and oh! where is your Highland laddie gone?” We once heard it sung all in one piano. Should question and answer be given alike f Suppose, and suppose that your Highland lad should die? The bagpipies should play o'cr, him and I’d lay me down and cry; - - * And ’tis oh! in my heart I Wish he may not die. St. Co. (New) SIXTEI STEP. 135° Will you take the first line as a simple thought- less remark of the questionor, as a solemn fear seriously entertained, or as a heartless mocking Sug- gestion ? Is the opening of the second line the Sad musing of Sorrow as it pictures the parting scene P Or is it the earnest voice of a momentary triumphant feeling, claiming, even in death, some honour for the Highland lad? Does the last line imply hope, or a troubled heart near despair P Mark the verse according to all these various readings. Finally, on this subject of expression, let pupils be always reminded, that, in the preceding exercises, we have only introduced them to certain gen- eral principles and instruments of ART. But, to use the memorable words of M. Fétis, “ART WITHOUT LovE IS POWERLESS. To persuade we must BELIEVE in what we say. To Movie WE MUST ouBSELVES BE Moved.” If you want to see how this principle is forgotten, and how little the highest art can do without TRUTII and LovE, go listen to the well-paid chorus in some first-rate opera-house of England or Frange, or to the unbelieving choir and organist in some of our greatest churches. Phrasing of Words.--From the commencement of the course, as at pp. 9, 16, and 30, the attention of the student has been directed to the proper division of the melody into portions, marked by breathing places. At pp. 69, 70, instructions and exercises have been given in the art of quickly detect- ing the natural divisions of musical sections and phrases, and at p. 98, the principles of “Melodic Phrasing” are still further developed. But to the singer a yet more important art is that of dividing the words so as to give the sense most clearly and of making the hearer receive that sense as the singer feels it. When singers take breath in the middle of a word, or between words which so belong to one another as properly to make up a compound word, they commit an outrage on the poetry they sing. “Who would do so?” exclaims the irritable reader. “Let him listen attentiyely,” says Mr. Wordsworth, “to the next ten singers and out of the number, nine shall be caught in what appears an impossible fault. Intelligent people have sung words thus punctuated,— - I saw the vir;-tuous man contend With, life’s unnumbered,—woes. And,-he was poor with, Lout a friend. Pressed,—by a thousand foes.” The singer should form the habit of looking on words not singly but in groups joined together maturally by the sense. In other languages than our own the little words are absorbed into the larger ones. Thus, in Latin or in Hebrew nearly all the “groups” marked in the verse below could be expressed by single words. Without studying deeply the details of grammatical analysis, themusical student will easily see, by his common sense, what words belong to one another. Let not such words be separated. When the smallergroups—the compound words—are readily distinguished, the student will begin to form these again into larger groups. Thus each line of the following verse may be divided into two larger groups as well as into three or four smaller ones. The stronger the retaining power of the lungs the larger the phrase they can easily deliver in one breath. With all my powers of heart and tongue I’ll praise my Maker with my song Angels shall hear the notes I raise Approve the song and join the praise. Mr. G. F. Root proposes that a verse, like the following, should be sung by the class to some familiar tune:— While shepherds watched their flocks by night, All seated on the ground, The angel of the Lord came down, And glory shone around. Let the pupils be first required to take breath in the middle of the words “shepherds,” “seated,” “angel,” and “glory.” “All would feel,” he says, “that taking breath between the syllables of a word is wrong, and thus one rule would be deduced. Next, the pupils might be asked to take breath after the words ‘their,’ and “by” in the first line, and after ‘the in the second, &c. It would then be seen that the breath must not be taken after words that are in close connevion with other words. Finally, the pupils should sing the verse, taking breath where the stops occur, and after emphatic words. That will be found agreeable and expressive, and thus the rule for correct breathing would be established.” – The musical and poetical phrases, in ordinary cases, coincide with each other, Buf Where that is not the case, the words must rºle. In the follow- ing illustration, from W. A. Wordsworth’s “Trea- tise on Singing,” the musical phrasing would suggest, as breathing places, those where the cross is placed. . But such a phrasing would, in two places, be false to the sense, The other agrking is St. Co., (New.) 136 - * Ex. 272–8 sixTH STEP. therefore necessary. Sing the passage in both ways. KEY A. t X X #. r –, m f :-. tºld :- r|r! iº It, is not that itsl meads are green, It f X }| :– ,r |m :- .d |r :f .m. ||r :— is not that its hills are fair. In a chorus it is a point of special importance that all should be agreed as to the principal places of taking breath. It produces a delightful effect of unity and clear expression thus to make the “phras- ing” unanimous. Ex. 272. Divide the words of Ex. 191, 144, 140, into smaller groups and mark them after the manner of the verse above.—“With all,” &c. Ex. 273. Divide into larger groups, and mark in the same way, the words of “Hope will,” p. 12, “Come freedom's,” p. 13, “Lord in this,” p. 33, “Father my spirit,” p. 34. Vowels.-The importance of vowel sounds to the singer has been shown, and the consonants have al- ready been studied, pp. 59, 60. Whenever a class grows careless in the utterance of consonants,the “ar- ficulation exercises” Nos. 146 to 152 will have to be revived. This study of the consonants is sufficient to render intelligible the rapid recitations of a chant, or the quick speech of a comic Song, but not to produce any lengthened tones with clearness and beauty. It is to the vowels that we owe the chief charm of speech in song. Unfortunately also it is the vowels in which the dialects of the different parts of the country principally differ. The local teacher may not always think it advisable to fight against an accepted and well confirmed local habit of speech. But he should at least know what the received sounds are, and how to produce them. Again, those vowels which are commonly short in speech have often to be sung to a long note, but few speakers have been accustomed to notice the exact formation of these vowels, or to sustain them, except for a passing moment. Now these vowels in Eng- lish are rarely shortened utterances of the corres- ponding well known long vowels. They generally require some parts of the vocal organs to be differ- ently arranged. Hence the power of sustaining them has to be learnt as a new art. So difficult are thoy that Kollmann and some other writers on musical pronunciation, misled by the word short, and not noticing that these vowels really differ from others in quality, take for granted that “the short vowel, cannot be prolonged.” But to hear the quality of a vowel altered in singing, as for example steal, sate, cart, fool, substituted for still, Set, cat, full, produces a most disagreable, often painful effect even on the uncultivated hearer, whereas a pure vowel is a pure delight. The following explanations will help to make the subject clear to the pupil’s mind. Mechanism of the Vowels.-Vowels are produced by giving certain fixed forms to the cavities between the larynx and the lips. These cavities act as a “resonator” to the tolles produced in the larynx, just as the body of the violin acts as a reson- ator to the tones generated by its strings. By their varying shapes they modify the quality, and tend also to modify the pitch, of the vowels. Not only are some vowels of a much pleasanter quality than others, but some vowels are more easily and clearly produced at a low or a high pitch than others. As any fixed shape of the vocal cavities will produce a new vowel, the number of possible vowels is practi. cally infinite, and the number acknowledged in var- ious languages and dialects, without reckoning individual peculiarities, is very great. We shall of course confine our attention to the principal Eng- lish vowels, indicating their commonest dialectic varieties. The following diagram is a kind of vowel modu- lator, the vowels being for convenience expressed in glossic letters. The arrangement is according to natural pitch. If the vowels 00, oa, alſ, aa, ai, ee, are pronounced in a whisper, without any effort to give them any particular musical character, and run up quickly, § rise in pitch will be as perceptible, and much of the same character, as the rise in pitch produced by pouring water from a height into a jug till it is full. The exact relation of vowel quality to absolute pitch is still under investigation, but it is believed that when the change of register does not interfere, the character of the whispered vowel system is generally maintained, ee being best adapted to the higher, and 00 to the lower pitches, and so on. St, Co. (New.J SIXTEI STEP. 137 SCALE OF ENGLISH WOWELS, * GENEl{ALLY LONG, GEN ER.A.T.LY SI IORT. EE, in beet. I, in bit. #. AI, in bait. H º § º-rºw-- IE, in bet. 6 A, in bat. |U, in but. AA, in baa, bazaar. AU, in Paul. 5’ \ —— O in pol, rº e 3 OA, as o in pole. g à | OO, in pool. £d UO, as it in pull. In speaking of the vowels it will be most con- venient not to call them by their sounds, but by the usual alphabetic or spelling names of the letters composing their glossic form : ee will be “double- e,” i will be “eye,” ai will be “a-eye,” and so on. The teacher will thus be able to call for a sound without first pronouncing it. The open Italian aa forms the centre of this vowel scale. Proceeding upwards from aa the middle of the tongue is raised for each higher vowel. The lips are open throughout this series. Below aa the lips are gradually more and more rounded, being closest for oo or wo. At 00 or wo the back of the tongue is highest, and the tongue is altogether low- est at au or 0. The tongue is in precisely the same position for oa and aa, but for aa the lips are not rounded, and the larynx is lower. * Just as in studying tune we took the boldest tones of the modulator first, so in studying the vowels wo commence with those most readily produced by the singer or most familiar as separate sounds to the speaker. The vowels will therefore be studied in five groups in the following order, first aa; second art, oa, oo; third ai, ee; fourth tº, a, e, i.; fifth wo, o. Here the first group stands alone; the second are all spoken with rounded lips; the third are the less Sonorous long vowels; the fourth are all short vowels With open lips; and the fifth are peculiar vowels with rounded lip. FIRST GROUP ; A.A. aa—inbaa, papa, father, harp, calf, ass,chance,aunt, laugh, guard, heart. This sound is formed with the lips well open, and the teeth considerably separated. The tongue is depressed, lying almost flat, and quite free in the lower jaw. Pouting the lips, or clos- ing the corners, so as partly to cover the teeth, much injures this, and all the upper vowels. If the tongue is lowered too much as for aw (the lips not being rounded) a deeper, thicker, lower sound is formed, the glossic ah, which is much used in Scotland in place of both aa and au. A short form of aa or ah is used in the North in place of a, and in the West a long form of a is used for long aa. All these variations materially injure the quality of tone in singing. The ah is felt to be uttered in the throat, the long a is almost a bleat, driving the sound against the palate. Obtain the pure aa by keeping a medium position of the tongue, and en- deavouring to drive the breath against the upper teeth, but keeping the teeth well opened. A still finer sound, the glossic a', is made by keeping the tongue flat but altogether raising it in the mouth to the same position as for u, and is heard now in Paris and very much in London, in place of aa (in ask, 7tant, pass, path, and such words not containing 7) but its use detracts from the pureness of the quality of tone. - As this Italian aa has been so much used in pre- vious exercises, it is not necessary to give now exercises upon it here, but if from not perceiving the importance of pure vowels the pupils have been allowed to change aa into au, ah, oa, or a, they must now go through the klang and tuning exercises of this step over again with exclusive attention to the vowel aa. If there remains any difficulty in pro- ducing the Italian aa, let the plan recommended by Fredrick Wiek, of Dresden, and Madame Seiler be adopted, of beginning with oo, and then chang- ing the vowel into aq, thus: 00-aa. The oo puts the mouth in a forward position and so prepares it for the best quality of tone that can be got on aa. Of course the teacher will be careful not to stop at oa or au on the road. As aa is the central vowel we do not expect any marked difference to arise from the change in the pitch. Its tendency however to alter into aw in the * For pictorial diagrams, see Teacher's Manual, p.198. St. Co. (New.) 138 Ex. 274–6, - SixTEI STEP. lower part of men's voices is very noticable. Try with the class such passages as second part of St. Co., Ex. 78, ms. 11 and 13, Ex. 136, sc. 2, m. 8. Add. Ex. p. 2, Sc. 4,1m. 3, v. 2, Bass, p. 9, Sc. 1, m. 3, Bass. And it sometimes has a tendenty to alter into w at the top of the soprano voice. Try such cases as St. Co. Ex. 172, last “Amen” 1st part, -and Add. Ex. p. 5, m. 1, Soprano. SECOND GROUP; AlJ, OA, OO. au—as in Paul, daub, cause, caught, laud, law, all, talk, broad, brought, cord, fork, &c. The tongue is much lower than for aa, the back of it being as much depressed as possible. The middle parts of the lips are widely separated, but they are slightly rounded at the corners. The jaw is de- pressed. As, in the North; deep ah is used for au, so in the West aa is substituted for au, as kaard for “cord.” Thesound of 40 (see Tiphthongs p. 143) is frequently confused with aw by people in the South, who for “more” (properly maor), will say mawr, or even man, l, and even confuse “court,” (properly kaort) with “caught.” Sometimes au is used provincially for aa, and ao or oa for art. Ex. 274. After striking the tonic chord of Key G. sing the vowel at in lengthened tones, first downwards from G, then upwards from G, and always piano till the Sound is securely struck at all pitches. . The teacher will find it necessary to set a pattern for his pupils. He should guide them in the beginning and ending of the tones by means of the “manual signs.” The pupils should take breath before each vowel, and deliver it with that clearand perfect attack (without breathiness, forco, or hollowness), that “good touch,” on which the quality. of tone so much depends. Even on this almost invariably long vowel the pupils will soon perceive how difficult it is to hold a vowel position Withºut hange, for even a second of time. They will feel th9 constant tendency to relax the rounding of the lips so changing into ah, to rise into aa, to faii intº24, or to end with a slightu, representing a final, If there is any difficulty in gotting a good quality of tone on this vowel it should be practised of Wiek's plan described above. The singer will feel that this, like all other vowels, is more difficult to produce at certain pitches than at others. At no moment must his attention be withdrawn from the purity of the vowel sound. As high pitched and low pitched voices have different difficultics to con. tend with in producing vowel sounds with purity, the women’s apd children’s and the mon's voices should be practised separately and alternately ; the alternation will give them rest and opportunity for Self-improving criticism. As this is not an excr- cise in strength of lungs or compass of voice, cer- tain voices will be allowed to drop out when the majority of the class has gone beyond their reach. The tendency to change this vowel in the high part of the Sopr, voice may be studied in such cases as Add. Exs. p. 45, sc. 4, “thoughts.” oa.—as in load, shoal, coat, blow, hoc, globc, grove, ‘most, folk, though. The tongue lies flat and free in the lower jaw, in the same position as for aa. The lips are much more rounded than for alſ, a considerable portion about the corners being quite closed. But the teeth inside the lips should be kept well apart, and the lips should not be pursed or outwardly rounded into the shape of an O, as either critor much impairs the quality of the tone. In the South of England there is a tondency to finish the vowel by closing the lips still more and raising the back of the tongue, producing a final oo; this should be avoided in singing. In many places the larynx is too much depressed, producing the broader sound ao, which too closely resembles wit: this is particularly unpleasant to a Southerner. Care must also be taken not to commence the vowel . with a sound resembling to and then finish with oa ; this arises from not rounding the lips at the moment of striking the vowel; it is very common and should be Qarefully avoided. The Cockney fault of almost confusingoa with the diphthong out, making “no hoo” into “now how,” (which is also the practico in Ireland, whom the sound of long out should be heard before l, as in “cold soul,”) must of courso never bo tolerated. We may say the same of stain and bain or steen and been, sometimes heard in the far North for stone and bone. Ex. 275.-Practise this vowel in key F#, and in the manner described Ex. 274. Guard against the tendency towards ah or and in the lower, and to in the higher pitches. Study it at high pitches in St. Co. Ex. 175, last sc. m. 2, “home,” and Add Exs. p. 41, sc. 4, m, 4, “homc.” Seeit at low pitches in St. Co. Ex. 136, 2nd Vorse, last word, 2nd part. Add. ExS. p. 17, Sc. 3, 1m. 2, bass, and p. 24, SC, 4, m. 3, bass, “fro.” IX.276.-Sing the following wordstolongsounds. Each pair should be sung to the same tone and the Same breath ; bought boat, caught coat, groat St. Co. (New.) Ex. 277–280, 139 SIXTH STEP. Grote, abroad read, flawed flowed, sawed sowed, gnawed node, naught note, sought cresote. 00.- as in fool, cool, whose, lose, you, soup, two, rheum, wooed, rude, rule, blue. The back of the tongue is raised nearly into the position required for k, and quite conceals the uvula, but the tonguo is thick and not wide, the back part of it lies be- tween, but does not touch the back teeth, and the tip presses gently below the lower gum. The open- ing of the lips is much more contracted than for oa, but the teeth must be kept wide apart to secure a good quality of tone. Be careful not to pout the lips, making a funnel of them, and thus muffling the tone. Be careful also not to raise the middle, instead of the back of the tongue, for if you ap- proach the ee position with the tongue while the lips are rounded, you will get one of those French Sounds so common in Scotland (glossic co, oe or we, French eu eit or ºt), and sounding like at Or i to Inglish ears. Thus, as Mr. Mclville Bell observes, when a Scotchman says “John has gone out to cool himself,” an Englishman is apt to hoar “to kill himself.” As this vowel has been somuch used in the klang exercises it is not necessary to practise it here except by way of comparison. Its natural changes at high pitches may be tested by the sopranos in such cases as St. Co., Ex. 175, sc. 9, 1st note. See instructions under wo. Iºx. 277.-Comparison excrcises as above, Ex. 276: groove grove, coot coat, doom dome, room roam, tool toll, gloomy gloaming, boon bone, noose nose, stool stole, whom home, hoop hope, loof loaf, poop pope. THIRD GROUP, AI, EE. ai.—as in paid, ail, aim, ale, flame, hay, they, weigh, great, gauge. For this vowel the lips are wide open; any contraction of the opening spoils the sound. The teeth are wide apart, the middle (and not the back) of the tongue is raised. No part of it presses against the palate, though the cdges lightly touch the back teeth, the tip of the tongue lies loosely near and slightly higher than the lower teeth, but must not touch them. There is a great tendency in the South to raise the middle of the tongue still higher towards the end of the Sound, thus making it taper into i. Some elocu- tionists consider that this tapering ai-i gives a soft- mess and a beauty to the speech; others think it may well bo dispensed with. In singing, endeavour to produce ai without the tapering. In the North the tapering is not used, but there is a contrary ten- dency to broaden the Sound into that heard in the South only before ?', as in “air, care, pear, pair, pare,” which is the long sound of e explained below. The indefinite article a is commonly spoken of as ał, but it has this sound only when emphatic ; other- Wise it is e, ºt, a, a' or aa, according to the habits 9f the speaker, and tº, aq, are best adapted for sing- ing. Notice the tendency of ai to change at low pitches, while the Basses sing Add. Ex. p. 33, sc. 2, last note “Face,” and p. 45, sc. 1, last pulse “rain.” Ex. 278-Practise this vowel in Key E and in the manner of Ex. 274. f - Ex. 279.-Sing the following pairs of words on any tone, each pair to the same breath, and dwelling on the important syllables : pay-er pair, obey-er O bear, a stay-er a stair, decay-er care, lay-er lair, pray-er prayer, array-er rare, sway-er swear. ee.—as in meet, moat, mete, me, tea, grief, seize, quay, people. Tho middle of the tongue is brought close to the middle of the palate, against which and the teeth it is pressed close on each side, leav- ing a narrow channel at the top for the breath to pass through. The tip of the tongue is directed down towards the back of the lower teeth, against which it is pressed in ordinary speaking, but in singing itshould be kept free, asit willhave to assume slightly different positions for different pitches, and as the tight pressureinjures the quality of the tone. The teeth must be kept open, but cannot be opened so widely asfor ai, withoutimpairing the pureness of the tone. The larynx must be as high as possible, but as this cannot be maintained for low pitches, there is a constant tendency for this vowel to sink into a lengthened i. Notice this tendency while the IBasses sing St. Co. Ex. 136, 4th verse last word, Add. IX, p. 1, m. 3, “Speed ” and p. 74, m. 3, “dream.” It can only be sung in great purity at high pitches, Before r it always falls into i, as in “ear, mere, pier.” Singers must be careful not to let “leap, steal, feel, seen, green,” Sound the same as “lip, still, fill, sin, grin.” lengthened. When, how- ever, short or “brief” ee does not run on to the fol. lowing consonant, it may be always sung as i, if more convenient. Iºx. 280.-Practise this vowel in Key B and in the manner described above. Men should guard against this sound descending into i (as in still) only lengthened. § TourTH GROUP, U, A, E, I. u.—short, in but, brush, judge, tun, sun, dun, blood, rough, money. For this vowel the tongue is almost flat, and altogether higher in the mouth St, Co. (New.) lqU Ex. 281–284, SIXTH STEP. than for aa, but it is quite free from all the teeth, loose and unrestrained, filling nearly the middle of the hollow of the mouth. Many persons drop the tongue too deep, which destroys the beauty of this simple natural sound and gives it a disagreeable roughness or thickness. Care must be taken not to round the lips in the least. The teeth must be wide apart. If the larynx is lowered, as in the low pitches, the sound naturally approaches aa, but all approach to oa can be avoided by keeping the lips open. Notice this vowel at low pitches in the Bass, St. Co. Ex. 119, m. 8. “punish,” and Ex. 145, m. 10, joyous thrush.” Add. Ex. p. 47, Sc. 4, m. 3, “shuts.” Try to sustain it purely although not at low pitch in Add. Ex. p. 58, scs. 1 and 2, “lovely,” St. Co. Ex. 98, last word, 1st v. “ done,” and Ex. 99, ms. 6 and 8, “bove” and “love.” The deeper vowel (glossic wu) is common in North Wales and in the Provinces. As a short vowel it is the commonest of con- versational sounds and all our unaccented vowels have a tendency to fall into it. But notwithstand- ing this, many writers on elocution condemn it as slovenly and obscure. In the South of England this vowel is long before R in accented syllables, the R being generally omitted, as in mirth, earth. In none of these should e long (the modified at of air) be tolerated. Other examples are in nurse, purse, murmur, word, world. In these a deeper sound, made by lowering the back of the tongue and much heard in the West, should be avoided. No approach to aa should be allowed. In both these sets of words the singer must learn to insert the r as a very slight rapid trill following the vowel. In Scotland these sets of words are pro- nounced with different short vowels before a tril- led r’. Ex. 281.-Practise this vowel in Key D and in the manner described as above, Ex. 274. In order to guard against its great tendency to change, let the pupil think, while he sings, of one of the above words containing this vowel. - Ex. 282.—Comparison exercise as above. Ton tone, nuns nones, run roan, pup pope, sup soap, sun sewn, rut rote, rum roam, stirring starring, bird bard, occurred card, deterring tarring, serve Salve, firm farm, gird guard, herd hard, girl garland, pearl parlance, further farther, Serge Saljeant. Ex. 283?–Sing on any tone each pair to the same breath : buck book, luck look, cud could, St. Co. (New). tuck took, knuckle nook, rush push, gullet bullet, pulp pulpit, null pull, hull bull, hulkbulk (at in both). a.—in tap, pat, pant, Sad, mash, flax, plaid, plait, bade. The whole tongue is greatly higher than for aa, and the middle of the tongue is more raised than for w. It is however much lower than for ai, and should be quite free of the back teeth, below which it hangs freely, the tip of the tongue being slightly higher than the lower teeth, but not obstructing the free opening of the mouth. Both teeth and lips must be wide open. Persons who mince their words in England pronounce the word man almost as though it were men. Mr. Bell accuses the mincers of saying “ the ettidude is edmirable.” The sound which they really use is the open sound of ai (glossic ae) so much heard in France, Italy, and Germany, (6, di,) and frequently in Some English provinces in place of e. The larynx is lower for a than for ae; partly for this reason, there is a natural tendency to convert a into ae at high pitches, which require the larynx to be raised. See a at high pitches in St. Co. Ex. 134, m. 3, v. 3, “happy,” and Ex. 137, m. 7, “man- fully.” Foreigners always confuse a and ae. It is heard as a long vowel in the West and in Ireland in place of aa, and in Ireland it is the name of the first letter of the alphabet. In Scotland short ah (the deeper Sound of aa) is constantly substituted for a, and the teacher should carefully correct any tendency to Say aa for a, except in such words as “pass, glass, ask, path, lath, aunt, haunt, gauntlet, grant, Sha’n’t,” aa is commonly used in these cases; the use of a is only common in the West and among the educated classes in the North. See cases St. Co. Ex. 133. v. 4, last line, “everlasting.” Add. Ex. p. 21, Sc. 3, m. 3, “glass.” The unaccented a in idea, China, against, passable, is generally pro- nounced tº and may be so sung, but the effect of a (see aa,) or aa, is much finerinsinging and is always admissible. See Add. Iºx. p. 47, sc. 1, “alone,” and p. 34, Sc. 4. m. 4, “around.” Any final trilled r in such cases must be avoided most sedulously, especially before a following vowel. In -al, -an, final, an u sound is generally used in speaking, but an a sound is admissible in singing. See Add. IEx, p. 32, sc. 4, “universal,” p. 34, sc. 1,”human.” Singers should never sing l, n, without any vowel when there is the least excuse for their inserting one, as the quality of their tones is so bad. Ex. 284.—Practise this vowel in the Key D and in the manner described above, Ex. 274. * This exercise should be introduced later, as 2005. Ex. 285–289. 141 SIXTEI STEP. Ex. 285.-Comparison exercises as above : pat pate, pad paid, bat bate, back bake, ban bane, tap tape, tack take, dally dale, cap cape, can came, gap gape, fat fate, fan fain, sat sate, sham shame, lack lake, mat mate, map mape. e.—short, in threat, dead, health, friend, said, heifer, leopard, any, many; long, before r and ta- pering into w, in there, where, ere, e'er, stair, stare, pear, bear, bare. The tongue is precisely in the same position as for ai, but the larynx is lowered. Hence in high pitches e has a ten- dency to become ai, or else the tongue is lowered Into the position of a, and ae is substituted. See St. Co. Ex. 133, v. 4, “ commend,” Ex. 171, m. 4, “Amon,” Ex. 144, v, 4, “where,” Ex. 145, m. 3. v. 3, “ere.” The sound of ae is so commonly used for e in Scotland (where e is reserved for our i, the Scotch pin being sounded like our pen) and in the provinces, and even by many Southern speakers, that the use of ae for e need not be corrected, but care must be taken to avoid a for e, as is some- times heard in Scotland. When e is written brief in unaccented syllables either i or e may be spoken but e is generally the best for the singer. See St. Co. Ex. 137, last note. The singer must be very careful not to prolong such words as “kept, set, met, Wed, ell, Ben,” into “caped, sate, mate, wade, ail, bane, &c., and hence must practise the prolon- gation of this vowel sound. Ex. 286.-Practise this vowel in Key D. in the manner described above. Ex. 287-Comparison exercises as above: pet pate pat, bet bate bat, tell tale tallow, dell dale dally, kennel cane can, get gate gat, foll fail fal- low, sell Sale Sall, shell shale shall, let late lattice, met mate mat, neck Snake knack. i.—as in hip, pit, bid, cliff, his, gild, lynx. The tongue and lips are precisely in the same position as for ee, but the larynx is lowered, so that the voice naturally sinks from ee to i in lowering pitch and great care is required to sing both ee and i to the same pitch. The vowel i is very characteristic of English, and although it does not occur as a recognised long sound, it has to be constantly pro- longed in singing. All meaning is lost if “lip, sit, grit, bid, hid, sick, sin,” are prolonged into “leap, seat, greet, bead, heed, seek, scene.” Such words as “happy, vanity, unity,” have constantly a 1ong tone to their last syllables, which must never be called ee. See prolonged i in St. Co. Ex. 116, sc. 2, “kill,” Ex. 139, m. 2, “little,” Ex. 140, v. 3, “fill,” Ex. 174, m. 12, “hill,” Add. Ex. p. 30, sc. 3, “village.” The great fault of English speak- ers is to use i long for ee, and of foreigners to use ee short for i. Before r, i long is always used for ee long, and after r many speakers find the pure ee difficult. Most bass voices take i for ee. In the Comparison exercises prolong the final y as in baby, etc, singing it to a note as long as that for the fol- lowing e or ee, etc. Ex. 288.—Practise this vowel in Key E in the manner described above. Ex. 289.—Comparison exercises as above: let baby be, a palfry free, with ugly glee, a tiny knee, the glassy Sea, make worthy thee, a wintry tree, thy enemy me, a flashy she, best city tea, they chiefly flee, cried gruffly flee, the lucky key, fit feet, sit seat, mill meal, knit meat, whip weep. FIFTH GROUP, UO, O. uo.—asin full, wool, could, book and foot. The tongue, teeth and lips are in precisely the same po- sition as for oo, but the larynx is lower. Most elocutionists consider wo to be the same as oo short, but the Scotch pronounce “book, look, cook,” with a real 00 short, and the effect is so different from the English, that they are wrongly supposed to say 90 long, Compare Yorkshire bºok, with oo long; Scotch book, with oo short, and Southern bºok, with to short. Also compare English póol, French pool, Written “poule,” and English pºol, written “pull.” The distinction between oo and uo is precisely the Same as between ee and i ai and e, au and o. But a good imitation of wo (not of oo) can be made with widely opened lips, and sung at any high pitch on the scale, where oo cannot be touched. This sound is therefore valuable to singers. It is a common fault to say rilom, süon, and even füod, with wo short, in place of rôom, séon, föod, with oo long. But When “pull, full, could, would” are prolonged, the singer should never say “pool, fool, cooed, wooed.” The Words, “wool, woman, would, ” present great difficulties to Scotch and Welsh, and even many English speakers. The pure wuo should be heard in each. In the provinces u and wo are constantly interchanged, so that “bull” is pronounced “bul” in- stead of “buol,” and “foot” is pronounced “fut” in- stead of “fuot.” Observe that to and not a should be heard in bull, full, pull, (and their derivatives, bul- lace, bullet, bulwark, bullion, fuller, fullage, fullers, Fulham, pulpit, pullet, butcher, Cushion,cushat,sugar, cuckoo, huzzar, huzzay! hurrah! push, bush, to put. St. Co. (New.) 142 Ex. 290–2. SIXTEL STEUP. The game of put has u. The word fulsome is pronounced both ways. All other words with at short have tº not wo. In blood flood, oo is sounded * ; in Soot both w and uo are heard. Ex. 290.-Comparison exercises, as above : pool pull, fool full, cooed could, wooed would, shooed should, food good, who'd hood, shoot put, goose puss. Ex. 290b–see above, Ex. 283. 0.—as in nod, pond, stock, odd and dog. The tongue, teeth and lips are precisely in the same po- sition as for au, but the larynx is lower. Hence this sound has often been thought to be the same as att short, and most elocutionists put it down as such But if any singer inadvertently prolonged the name of God into gaud, he would feel ashamed of the ir- reverence. The following exercise will shew how the sense may be utterly destroyed by not attend- ing to this distinction. The difference between aw and 0, is of precisely the same nature as that be- tween ee and i, ai and e, 00 and wo. Let the student prolong odd, he will find it distinct from awed. Next let him shorten awed as much as possible, and he will not get odd. Foreigners usually say ad short in place of o, which is a peculiarly English vowel. The accented syllable or whom no vowel follows is nearly always aur'; the at is long and ther'should beslightly trilled for distinctness, though it is frequently altogether omitted. The words “soft, often, office, broth, groat, gone, cross,” and Sometimes “dog, long,” especially in America, aro pronounced with alſ, but either o long, or ao long are preferable, and o short is much used, and is indispensable in “dog, long.” See prolonged o in St. Co. Ex. 68, m. 2, “Song,” Add. Ex. p. 1, m. 3, “God,” p. 4, Sc. 3, m. 2, “spot,” p. 14, sc. 4, m. 2, “on.” Ex. 291.—Comparison exercises as above: odd awed, pod pawd, sod sawed, holiday haul, Moll maul, stock stalk, yon yawn, nod gnawed, fond fawned, God gaud, pollard pall, rot wrought, hock- ey hawk, solid salt, totter taught. Ex. 292.-Error exercises on the vowels. Tho teacher sings on G the wrong pronunciation, and the pupils immediately (on the same tone, and pro- longing the syllables) sing the correct pronunci- ation of that word, and of the other words like it. “attone” atone, adore, among, alone, amaze, alarm, awake, above, about, amidst. “Daivert,” divert, digress, direct, divulge, engine, “Testimoany,” migratory, patrimony, dilatory, and matrimony. “Cummand,” command, complete, comply, commend, correct, and corrupt. “Goodniss,” goodness, endless, matchless, boundless, anthem, forget, yes and in- stead. “Bwidunce,” evidence, silence, prudence, ardent, excellent, providence, influence, content- ment, judgment. “Regelar,” regular, educate, singular, articulate, perpendicular, particular. “Fee-aar,” fear, near, their, more. “Ali house,” a house, a mile, a town. “Thee bee,” thu bee, thu house, thu mile, thu town. “Thu evening,” thee evening, thee upper, thee open, thee apple, thee all- tumn. “Aimen,” aamen. “Jeroosailum,” Jeroo- Salem. “A mice house,” an ice house. “A nox,” an ox. “This sour,” this hour. “Our roan,” our own. “This sage,” this age. “On neither side,” on either side. “Bear u sonward,” bear us onward. “Tai kit,” take it, “IRee din,” read in. “Glory yand honour,” glory and honour. “The glory, ooand the power,” the glory and, Note that in the solemn style of music, the word “my” is pronounced fully, but in the familiar style, as it is in the last syllable of “clammy,” “mummy,” “Tommy,”—that the termination “ed” is in Sacred music Sung as a separate syllable, that the word “wind” is sometimes in poetry pro- Inounced weind,-that the word “heaven” is somc- times pronounced as one syllable, and sometimes as two, and that when pronounced in two syllables, the second should be very lightly dwelt upon. Diphthongs.-There are four principal diph- thongs in the English language; ei as in height, oi as in foil, ou as in foul, and ent as in feud. It will be convenient to treat along with the Diphthongs the vowel ao, as in pore, because although it is not a diphthong it is used in English only as the first element of one. A diphthong is not merely two vowels put close together. The word “cawing” might be repeated ever so quickly without its two vowels producing the sound of oi as in “coin.” The two vowels must be cemented and bound to- gether by the Glide already explained, p. 61. Thus in the phrase “papa is a Tonic Sol-faist,” wo have two cases of vowels put close together. The second vowel in each case has a clear separate “attack.” If we allowed tho voice to continue while the organs are passing from one vowel po- sition to another, we should make these double vowels into diphthongs, thus, “papeiz a Tonic Sol- feist.” Let it be noticed that the common lefters i and it, as usually pronounced, are really diphthongs though single letters, and that the sounds ant, ee, etc., are simple vowels although they have two letters, and are hence properly distinguished as Digraphs. One St. Co. (New J Ex. 293–6. 143 SixTH STEP. of the vowels which form a Diphthong is much shorter than the other. In a Diphthong, the Glide which is the characteristic part should always be longer than the shorter of the two vowels, and one of the two vowels should be formed by a closer ap- proach of the lips or of the tongue and palate to each other. It is important to notice that the ac- cent is generally laid on that vowel which has the widest opening. ei.—as in I, eye, isle, buy, tie. This diphthong is very variously pronounced in speaking. The second element is always the same, i, hot the foreign sounding ee. The first element, although it has the principal stress, is extremely short and diffi- cult to catch, but is generally ºt, a' (not a) or aa. The stress suggests to the singer that the first vow- el should be dwelt upon, but its indefiniteness, as spoken, leaves him to chose his own vowel, and he selects the beautiful aa. The Glide between aa and i should be very marked. When ei has to be sus- tained, in singing, prolong the pure aſ Sound, and finish rapidly, clearly and distinctly with the glide and i. Soe St. Co. Ex. 65, sc. 2, Ex 116, last word. IEx. 293. Sing the following pairs of words on any tone, being careful not to raise the pitch on the final sounds. Sing the first word of each pair as short, and the second as long as possible. Pie pipe, buy bribe, tie tight, die died, fie fife, thy Scythe, sigh size, sly slice, my mine, migh nine. oi in boil, boy, buoy, buoyed, toy, toyed; quoit, coin, joy. The proper first element of this diphthong is 0, mot aw, and those who have learnt to prolong o will find a great refinement from its use, but others may use aw. Even in speaking, the first element is some- what prolonged; much more so in singing. Avoid the vulgarity of singing of as ei. See cases in St. Co. IEx. 134, 174. When oi occurs before a vowel as in “toying,” sing of distinctly and commence the next syllable with y thus toi-ying. Ex. 294. Sing on any tone or group of tones the following words. Anoint, ointment, oil, boil, broil, coil, foil, foist, froise, groin, hoise, hoist, join, joint, joist, loin, moil, point, poise, poison, soil, spoil; destroy, decoy, loyal, royal, voyage. ou as in thou, how, now, cow, out, down, town, plough, round, house. This diphthong resembles e; in character. The first element is the same as in ci, and is always short in Speech, having the stress. The second element is always wo, and may be lengthened in speech. Do not use the foreign 00 for especially offensive in singing. 10. In singing select aſ as the first element, and when the diphthong has to be sustained, prolong the pure aa (taking great care not to round the lips before the glide), and finish rapidly, clearly, and distinctly with the glide and wo. Be careful not to lower the pitch in finishing off with u0. The rule of making aa always the first element will prevent all sorts of Vulgarities and provincialisms, See cases in St. Co. Ex. 80, 134. Bx. 295. Sing as in Ex. 267, descending on ei aid ascending on ow; how hound, now noun, cow cowed, about out, found out, round about, round Sound, thou doubt'st, cow house. eti in pew, imbue, tune, dew, cue, few, view. This diphthong is always preceded by a consonant. In ºnite, ºnion, use, &c., a y is always prefixed in speech. The first element is which is always short and without stress. The second element is oo and in accented syllables, is long, having the stress, but in unaccented syllables, as document, may be short. The glide from i to oo is very short, but longer than the which is just touched. To make the first element long, as ce with the stress, in tree- 00 See-00-gun for “true Susan,” is a great vulgarism, This diphthong always becomes oo after r', as rue, imbrue, crew, etc., but not after l, m, s, z. In singing, dwell on the second element. See cases St. Co. Ex. 145, score 2, Ex. 174, score 9. Be careful not to change # and d into ch and j before eu, and not to pro- nounce - tºre, - dure, - as in nature, verdure, eithor as - chur, -fur, or as -tºr, - dur, but keep the t, d and the diphthong eit quite pure in singing, what- ever may be your practice in speaking. Ex. 296. Sing as above: lieu, lute, illumine, new, news, nuisance, newt ; Sue, consume, resume, pew, tune, dew, cue, few, view. - a0 as in roar, tore, Ore, more, four, is never used in received English except before r, forming part of a diphthong, and is hence placed here. But it is a pure vowel in itself. The tongue, teeth and lips are precisely in the same position as for oa; but the larynx is more depressed and hence the pitch is naturally deeper. It maybe obtained by pronouncing oa and thinking of aq. If the student will sing aſ to a very prolonged tone, and first round his lips and , then open them successively, without interrupting the tone or in any way changing the position of his other organs, he will pronounce aſt, ao, aa, ao, alternately, and gain much knowledge of the effoot St, Co. (Now.) 144 Ex. 297–8 SIXTH STEP. on vowel quality produced by rounding the lips. When clearly produced, ao is a very beautiful vowel, much finer than either au or oa. It is very common in the provinces in place of oa, it is the true Welsh o long, it is the Italian open o, and is in general use on the continent. It may be used to replace oa in low pitches, but never when pure oa can be produced. It always replaces oa before r, and is sometimes used in place of o or au in such words as “soft, often, office, broth, gone, cross.” It will require some practice for the pupil to hold the fixed position of this vowel. The learner will be assisted by remembering some familiar word in which it occurs. It is important to destinguish such words as mow-er, one who mows, from more, as in the Comparison exercises; the first words have oa and two syllables; the second ao and only one syllable. Ex. 297. Practise this vowel in the key of F: in the manner described above. Iºx. 298. Comparison exercises as above: blore 'blower, ore ower, tore tow-er (one who tows), gore goer, roar rower, hoar hoer, shore shewer, lore lower, sore sower, more mower, store stower. Other Diphthongs such as ai-i in day, oa-uo in known, i-u in beer, e-w in bear (see Ex. 279), ao-w in boar (with the above vowel ao in place of oa), wo-u in boor, need not be separately practised. The singer should in the four last cases always trill the r even when final, at least slightly. And when r comes between two vowels as in weary, Mary, glory, he should be careful never to omit the glide to w; wee-r'i is Scotch, Mai-r'i is very vulgar, and gloa-ri is old fashioned. The South of England custom of ending ai with a vanishing i and oa with vanishing wo, rather spoils the vocal effect. Hence it is best to practise avoiding it in singing. Special Forms of vocal music.” Of the various forms of vocal music adapted to special purposes, the simplest is, . The Response. —This may be only the word “Amen,” on one tone and in unison, or the same harmonized, or it may be a more lengthened sen- tence like the responses after the commandments. In any case, if a response is intended to be really sung by the whole mass of a congregation it must be as simple and natural as the “Gregorian tones,” and must have a pitch and range easy to all kinds of voices. A humble full-voiced unisonous St. Co. (New). “Amen” cannot be got at a higher pitch than E Or F. - - The Chant.—The practice of reciting a verse of a Psalm on one tone and onding each recitation with a natural cadence was older than Gregory or even Ambrose. It is the “form * of every excited Speaker. Its essentials are a reciting-tone and a cadence. The length of the reciting-tone depends on the length of the words. The cadence may be of one, two, three or more tones. The regular form of the Anglican Chant (a reciting-tone with a two-measure cadence, followed by another with a three-measure cadence), p. 35, originated in England at the time of the Reformation. It has as much variety and beauty as can be desired in so elemental a form, but the reciting-tone is often placed too high or too low for the common voices of the people and the cadence is often made too wide in its intervals to be smoothly sung, thus unfitting it for its proper use. Instructions in chanting are given, pp. 36, 27, 59, 63, 47, 82, 93. FIymn Tunes.—There were metrical hymns, as distinguished from prose chants, in the earliest ages of the christian church, and although “time ’’ and “measure '’ were not then written in music the tunes for these hymns were necessarily sung with the accents and measure of the hymns. At tho time of the Reformation many of the old Latin hymn-tunes were revived, and others made. The attempt to sing them with large masses of voices, in simple people's harmony, encouraged musicians to study the progression of plain sustained chords, and so helped to form modern harmony. It is still this march of plain chords which is the glory of the hymn-tune. The introduction of chromatic resolution—of unprepared discords other than those which (like "S, 7T, 7*M, and 7SE) are familiar to the common ear—of difficult transitions and modu- lations like those in the Tonic-minor, of the sharp sixth of the minor bah, except when moving from and to the seventh se, of extreme compass for the “parts,”—and of difficulties in time—is ruinous to the congregational character of a psalm or hymn- tune. Let not the precentor be misled by the great Ilames of composer, or harmonist attached to such tunes. Very few great composers ever taught a psalmody class or took the trouble to make them- selves acquainted with the capacities and incapac- ities of the common people's voice. We have many hymn-tunes for the Organ and many for the Choir, but only a few for the People. * “Musical Theory,” Book III., treats this subject more fully, SIXTH STEP. 145 The speed at which a hymn-tune is sung affects its harmonic character—its rhythmical impression— and its adaptation to the emotion of the hymn. 'When a tune—before sung at moderate speed—is sung very quickly, every two pulses (in two and four-pulse measures) or every three-pulses (in three and six-pulse measures) become practically to the ear, one-pulse, and the harmony should be altered accordingly;—the chords being made to change less frequently, and many “passing tones” allowed. Thus if “Jackson's,” p. 2, were meant to be sung rapidly, as a la, la, la tune, the chords would have to be changed once in a measure (as they doin dances or quick marches) instead of twice;—and if the “Waits,” p. 8, were altered, by exceedingly slow singing, into a mournful hymn-tune, the chords should be made to change twice or three times as frequently as now—so as to suit the slow and sol- emn tread of the music. To sing at great speed a tune harmonized for slow singing, and changing its chords at every pulse, produces a heavy jogging effect. To sing slowly a tune harmonized for speed, produces a drawling effect. The precentor must look to his harmonies. The more rapidly a tune is sung the more marked is the rhythm, and the greater necessity for Rhyth- mical Balance and proportion between the lines. The popular car demands this balance. Witness its delight in dance-tunes and marches. If the tune books do not make the lines of equal length, it will be easy for the Precentor or Organist to do so, be- cause “balance of rhythm" comes maturally to the people. In selecting a tune for a hymn, the Precentor will have to consider what is the general sentiment of the hymn. He will find it convenient to clas- sify hymns as first, the bold and spirited, second those expressive of cheerful emotion, third those which are didactic and varied in character, and fourth those which are solemn and prayerful. To the first class of hymns, tunes in two or four-pulse measure, moving somewhat quickly, and having doh, ºne, and soh placed in effective positions in the melody, are well adapted. Tunes of this character when sung very slowly and firmly, change their effect into the grandly solemn. To the second class of hymns, tunes in three or four-pulse measure having te, ray, fahand lah placedin the most effective positions, are well adapted. These cheerful tunes can be changed by slow andfirm singing, not into grand tunes, but into prayerfullysolemn tunes, of the fourth class. To the third class of hymns, tunes must be adapted which give no special effectiveness in their melody either to the strong or to the leaning tones of the scale. These non-emotional tunes have generally a step-wise melody, and they cannot be much al- tered in mental effect by speed of movement. Different speeds are used for the same tune in different places, but the natural force of habit pre- Vents any great change of speed in the same tune at the same place. To some ēxtent however change of Sentiment from verse to verse may be indicatéd by change of speed. If the congregation are ac- customed to the ways of their precentor, a bold tone or two from his voice will rouse them into Spirited expressions as by electric sympathy; and a pause after a verse will easily suggest that the precentor desires the next verse to be sung softly and more slowly. This art of adapting music well to the words is a great secret of spiritual success in the precentor's office. Anthems differ from hymn tunes in giving mu- sical expression to particular words rather than to the general Sentiment of a hymn of many verses. See “Hear me when I call” p. 17, and “O Saviour” p. 85. The anthem is free to introduce repetitions of music and words, the silencing of parts, and fu- gal imitations, which are inadmissible in a hymn of many verses. Although these contrivances are es- Sentially characteristic of an Anthem, they must be carefully used in one which is intended to be sung by a whole congregation. It will be well not to leave the tenors or contraltos, who are often weak in a congregation, to take the lead in a fugal passage, and it is unwise to attempt a fugal entry on a half-pulse, or to introduce any other perplexity of the time. The Motet is the ancient form of the anthem. Anthems often consist of various dis- tinct movements, with changes of key and measure and Speed,—one movement being so contrived as to set off by contrast the other movements. Cathe- dral anthems are written for choirs which are seated in two divisions, one on the Dean's side (that is on the right hand as you enter from the nave) called Lecani; and the other opposite on the Precentor's side called Cantoris. Some parts of the anthems are sung by the full choir (marked “Full”), and other parts antiphonally, that is alternately by the two halves of the choir. Portions marked “verse” are to be sung by one voice to each part. These anthems also include solos, duets, &c., and bold re- citations in unison, which are called choral recita. St. Co. (New.) 146 SIXTEI STEP, tives. Anthems are generally intended to be sung with organ accompaniment, though many of the full anthems may be well performed without it. The Madrigal is the oldest form of Secular vocal music in parts. mony, abounding in fugal entry and imitation. No one part predominates over the others, but each takes its turn in specially claiming the ear of the listener. Any number of voices may join in a madrigal. The same style of music was used in the old anthems, of which “Bon accord,” p. 11, is a short example. Some quaint point of sentiment at the close often characterizes the madrigal. There is no good example of a madrigalin the Additional Exercises. “The time for joy.” p. 15, is the near- est. See however examples in the Tonic Sol-fa Reporter—“In going to iny lonesome bed” No. 68, “The Silver Swan.” No. 274, and “Flora gave me” No. 287. Many pieces are called madrigals which are only harmonized airs, such as “My lady’’ p. 21. A light form of the madrigal is the Ballet, which was sung chiefly to “fal-la,” as an accompaniment to dancing. Instrumental accompaniment is out of place in this class of music. The Glee is a musical form of English birth. It is meant for single voices, and therefore gives each an opportunity of display, and develops every nicety of time and tune. It is commonly extended, like the anthem, into several distinct movements, one reliev- ing, by its variety of style, the general effect of the others. See “Swiftly ’’ p. 29, “Come let us all” p. 24, “The Spring ” p. 50, “Awake” p. 62, “The Stout limb'd oak” p. 77, and “Ye spotted Snakes” p. 81. These glees will bear a number of voices on each part, though great care should be taken to secure unity and delicacy. But many glees con- tain too minute divisions of time for this. Instru- mental accompaniment was never intended for such glees and would defeat their object in displaying the voices. But accompanied glees have been written by Sir Henry Bishop and others, in which the in- struments play special parts and produce special effects. - The Part Song differs from the glee as the Hymn tune differs from the Anthem. The Part Song and Hymn-Tune repeat the same music to several verses, which the Glee and Anthem never do. The Part Song is claimed as of German birth. It is intended to bear many voices on each part. It differs from the madrigal in not admitting so much of the fugal style, in depending more upon modern It partakes of the old style of har- choral effects, and in permitting the upper part generally to predominate. Specimens of the Gor- man part Songs are to be found on pp. 1, 3, 4, 5, 13, 14, etc. The Part Song as naturalized in England, is to be seen in “Sunshine after rain” p. 44, and “Harvest Home " p. 39. The greatest refinement of this style is to be found in the com- positions of Mendelssohn (pp. 71 and 79) and Henry Smart (pp. 45 and 88). The Harmonized Alir is practically a part song, but from the nature of its origin a greater comparative interest attaches to the melody. See the examples on p. 12 and pp. 57 and 65. The plainer part songs, like those first named, would bear accompaniment, but are better Without it; such part-songs as those of Mendelssohn and Smart with their fine development of voice and expression, would be injured by it. Oratorio Choruses are meant to be sung by large masses of voice, and to receive full band accompa- niment, though the harmonies are generally com- plete without it. See “Hallelujah.” p. 26, “How lovely” p. 58, and “Theme Sublime” p. 66. Operatic Choruses are generally of a light style requiring accompaniment, but not a great mass of voices. See examples in the Tonic Sol-fa Reporter, “Market Chorus,” No.487 and “Carnovale,” No. 142, A Canon is a fugal imitation in which the music of the leading part is imitated through its whole length in the other parts. A fine example is “Thou shalt shew me” p, 7. It has four voices engaged on two subjects and is called a Canon “four in two.” The leading subject is announced by the so- prano, and continued to the first note of the second score of p. 8, after which it is repeated as far as its first cadence. This leading subject is again taken up by the tenor, but not till after six measures, and is carried on to the end, the tenor having time only just to commence its repetition. Meanwhile the counter subject has been announced by the contralto in the third measure. This is carried on to the end of the first measure of the Second score, p. 8, the contralto having time to repeat nearly half of it, This counter subject is imitated by the bass, also after six measures. The bass has no time for repe- tition. The Counter Subject in this case closely resembles the leading subject itself, and may be called a “fugal imitation ” of it. A Round is a canon with one subject, and in one “part ’’ which is taken up successively by the different voices. St, Co., (New,) SIXTH STEP 147 A Fugue does not require its subjects to be imi- tated exactly as in a Canon, or through their whole length. But it is a more lengthened piece and is more varied in the treatment of its subjects. It allows the parts which are not engaged upon the subject to sing beautiful phrases, as Accompani- ments, which should be delivered in a subdued manner. It also permits short interludes or dis- tinct Episodes, and various kinds of Closes, in which the Subject docs not necessarily play any part. The esentials of a Fugue are—that there shall be a Subject and a Response, carried through the various parts of which the music consists, and that this Subject shall be the main point of interest in the whole movement. Some make a counter sub- ject essential to the Fugue. Others say that there is no Fugue without a Stretto(see p. 105), and others again require for their true Fugue an Organ-point or Pedal. But the strict definitions are practically in- convenient. It is difficult to exclude from the ca- tegory of Fugues any piece or movement the whole frame work of which is evidently built on some one Subject and Response. According however to our own definition, “Hallelujah, Amen,” p. 26 is not a Fugue; for though it has a Subject in the first two measures which is simply repeated in the next two, and has a proper Response starting from a fifth above in the Soprano, and although the same subject is again announced in the Bass of Sc. 4, and has again a Response a fifth above in the Tenor, and once more re-appears at the bottom of p. 27, yet the Subject is not carried through the parts in turn, and it is not made the principal point of interest in the greater part of the Chorus. Such pieces may be called Fugal passages or movements, but not Fugues. Two smaller passages of the same kind are in “Bon Accord” p. 11, and “EIear me” p. 19. The Subject is a Phrase (seldom extending to a Section) of melody, which is imitated (more or less perfectly) in its rhythm or melodial waving or both in the after parts of the l'ugue. It is of such character as can be easily recognised by the ear when it re-appears in different parts and in different keys. In the more complete Fugues it is imitated by the several parts successively, and that several times over in different Ways. Each time of its being “carried through '' the parts is called a new “ Unfolding ” of the Subject, The Response or Answer is an exact or nearly exact Imitation of the Subject. It generally com- mences, the first time it is made, on the fifth abovo or the fourth below, or in the octave. Afterwards it may commence on the same tone as the Subject or on the 1st, 2nd, 3rd, &c., either above or below. It may be by contrary or similar motion. It may be in equallength of tones, or expanded or contracted. It may also be with contrary accents (per arsin et thesin), the Subject and Response beginning one on the weak and the other on the strong pulse. The Counter Subject is really an Accompaniment to the Subject or to the Response or to both. There is often however no distinct Counter-subject, but the Accompaniment varies. On the other hand there are sometimes several Counter-subjects in different parts. A good illustration of the Counter- Subject is in the first movement of “Theme sub- lime,” p. 66. The Subject (of three and a half measures) is announced in the Contralto, with a Counter-subject in the Soprano. The Response is immediately given an octave below by the Bass, with the same Counter-subject above it in the Tenor, Next the Subject appears in the Soprano, sc. 2, with the Counter-subject below it in the Contralto. The two are inverted. Then comes the Subject in the Bass again altered in its first interval, with the Counter-subject in the Tenor. And lastly the al- tored Subject comes in the Soprano again with the Counter-subject under it in the Contralto. This is not quite a perfect “carrying ” of the Subject “through” all the parts, and several other elements of Fugue aro wanting ; but as, with the exception of a little play of the Accompaniment and a ca- dence, there is nothing else in the movement but Subject, Counter-subject and Response, we prefer to call this a Fugue. The Stretto.—The Response generally commences the first timeitismade, after the Subjectis completed, but it often commences with the last pulse of tho Subject and sometimes earlier. In the latter parts of a Fugue it greatly adds to the excitement and beauty of the music when the Response appears in one part before the Subject has come to a close in the other. This drawing closer of the answer to the beginning of the Subject is called Stretto. Sometimes there is more than one Stretto, the Res- ponse coming each time closer to the beginning of the Subject, St. Co. (New.y 148 SIXTH STEP. Organ Point or Pedal,—Complete Fugues, after employing a vast variety of contrivances for shewing off in various lights their Subjects and Counter-sub- jects, often conclude with a long holding tone, com- monly in the Bass, called an Organ Point, which floods with its grand sound the last parting phrases of their various themes. There is such an Organ Point in the close of “How lovely ” p. 61, but it is placed in the instrumental part. No Complete Fugue is to be found in Additional Exercises, but there are interesting illustrations of the less regular forms which should be carefully studied, each student being able to answer ques- tions upon them. In the second movement of “Theme Sublime” p. 67, the Súbject is “carried through '' all the parts twice, first in the Order, Bass, Tenor, Soprano, Contralto; then in the order, —Soprano, Bass, Tenor, Contralto. It then occurs again, p. 68, sc. 1, m. 6, in the Bass and is answered in the Soprano. In the third movement p. 69, sc. 1, m. 7, a Sub- ject (of six and a half measures) is announced in the Contralto. The Response comes (with a Stretto of one pulse) in the Soprano Sc. 3. It is taken up again (with a Stretto of one pulse) in the Tenor, sc. 4, but here the close is altered to accommodate the Bass which wishes to enter at the fifth instead of the seventh measure. After being thus “carried through '' once, the subject re-appears slightly al- tered in the Soprano at the end of sc. 5, with the same Stretto which the Bass secured. Then fol- lows a digression or episode of sixteen measures, containing the first four tones of Subject and Res- ponse fugally treated in Tenor, Contralto and So- prano. At the bottom of p. 70, the contracted Subject re-appears in the Contralto, and is again “carried through '' the Bass, Soprano and Tenor, but with ever shortening proportions,—the close of its melody being broken off to make way for the cadence In “How lovely ’’ p. 58, a Subject of eight mea- sures commences in the Contralto, and after a full measure's interval the Bass takes up the Response an octave below. After a measure of interlude there enters p. 58, last score, an Episode of ten measures containing imitative passages, and passing into the first sharp key. Then p. 59, end of sc. 2, the Sub- ject re-appears in the Tenor, but only the first half of it. Before this is concluded the Soprano takes up the Subject for the same length, but omitting St. Co. (New). the middle part gives only the first and last portions. With a very close Stretto (after only one measure) the Tenor again introduces the Subject in the same way as the Soprano. At the bottom of p. 59, is a brief interlude. On p. 60 a new Subject is introdu- ced in the Soprano with a Counter-subject in the Tenor; to which there is immediately a response in the Contralto with the same Counter-subject in the Bass. Then follows an Episode of fourteen measures containing phrases imitating those of the previous Episode. Once more softly and alone p. 61, Sc. 2, about three quarters of the original Sub- ject is delivered by the Contralto, but before it is finished the Soprano takes up its closing phrases, and the Tenor re-echoes them. A short cadence concludes the piece. In singing music of this kind it would be well for the Singer to mark in his own part, all those passages or phrases which contain the Subject, the Response, or the Counter-subject, and to sing them with clearness and vigour; singing everything else except the Episodes in a very Soft and subdued manner.” Irecitative is a sort of artificial declamation, in which the singer endeavours to imitate the inflec- tions, accents, and emphasis of natural speech. It differs from the recitation of a chant, chiefly in changing its key frequently, more frequently indeed than is common even in the wildest and most im- passioned speech that is unconnected with music. Instruments (one or more) are employed to an- nounce, and sometimes sustain the chords of each new key. The length of the notes in a Recitative are intended by the composer only as approxima- tions. The singer delivers them absolutely accord- ing to his own fancy. He makes them long or short, quict or impassioned, just as he thinks best. He must avoid the regular rhythm of an air. He must simply express with energy and propriety, what- ever passion there is, in the words. Recitatives serve to connect the different parts of an Opera, an Oratorio or a Cantata, by the narration of events or the suggestion of sentiments which carry on the story. An Opera is a play in which the actors sing in- stead of speaking their parts, and which is accom- panied throughout by a band. While developing some exciting story, it gives opportunity for the introduction of a great variety of musical forms. It might be supposed that this union of four arts, poetry, music, painting, and acting, to excite lively * See other examples of Fugue analysed in “Musical Theory,” Book III, pp. 223 & 226. Ex. 299. 149 SIXTH STEP. interest and illusion, would elevate all the arts thus employed. But it is not so, because the human mind cannot appreciate the highest excellence in a number of arts at the same time, and the arts of acting and singing Sadly interfere with one another. Hence, neither the best poetry, the best painting, the best acting, nor (except in solo singing) the best music are to be found in the Opera. For the best music we must look to The Oratorio.—This is a sacred opera, without scenery or acting, in which music enjoys its full and undisputed sovereignty. It develops some sacred story by means of recitatives, songs, duets, trios, quartets, and single and double choruses. Choruses are more used, and solo voices, less than in the Opera. The attempt to bring an ordinary Opera into this pure sphere of music by singing it without the action and the scenery, only tends to shew how much exciting Operas are dependent on sensuous effects for their popularity. The Cantata.-This, if a Sacred one, is a short Oratorio, if on a secular theme a short Opera, commonly without scenery or action. Music for equal voices.—In England and in the United States most part singing is done by Mixed Voices—that is, by Male and Female voices together. This is best, both socially aud musically; but it cannot always be attained. It is therefore desir- able that women in their work-shops and men in theirs should have music specially harmonized for them. Our Tonic Sol-fa composers are rapidly using their skill to supply this want. Mr. Callaway has done our young men great Service ; and his investigations and historical enquiries on the sub- ject have contributed much to the value of this work. Choral Contrivances.—As we have often had oc- casion to notice that some even of the great com- posers are quite cruel in their demands on the vocal compass, it is equallyfairfora Chorus-leader to bor- row a few voices from one part to assist another for a phrase or two. Thus the Tenors may aid the Contraltos when their part lies too low, and the Contraltos may assist the Tenors when their part is too high, and so on. - The Resonances.—If one takes a wide organ pipe or a wide brass instrument, which is of the same length as a narrow one, the pitch of the two will be the same, but that quality which arises from the resonance of air in the tube will be different. The wide resonator will give a pure but somewhat dull and sombre tone. The narrow resonator will give a more marked and clear sound. So does the shape of the human mouth, in singing, affect the cha- racter of the sound. A full distended mouth gives the Sombre Resonance, fit for wailing awe and la- mentation. A narrowed mouth gives the Clear Resonance, well suited to aid the expression of joy and exultation. A medium shape given to the mouth adapts it for quiet peaceful songs. Sing the following phrase, 1st to the words, “Hark, the voice of Rachel weeping,” 2nd to “See the con- quering hero coming,” 3rd to “Sweet and peaceful is our meeting.” - :d || |d :s | f :r | r :f |m It is important to cultivate the medium resonance as a habič, from which to vary as the sentiment requires. Some persons always use the sombre resonance, and utter every sentiment with the same dull face and tone. Ex. 299.--Say, with which Resonance each of the following songs should be sung, and give your reasons for the decision,-‘‘Night around” p. 22, “Angel of hope” p. 48, and “Home” p. 74. Breathing Places.—In addition to the sugges- tions already made for the choice of breathing places, pp. 16 and 30, it should be noticed that the little stēp of the scale f m, t d', fes, de r, tal, etc., is always most effectively delivered when the first tone glides into the second; we should therefore never take breath between two such tones. For a similar reason we should not take breath between a dissonating tone and its resolution. It is absolutely necessary to take breath before a crescendo or swell passage, or before any long holding-tone, or before a passage of quick tones—“a division,” as it is called. Care must be taken always to do this rapidly and easily, so as to interfere as little as possible, with the preceding rules. “The mouth,” says Dr. Mason, “should retain the position it had while performing the previous note, and by no means form itself into the shape necessary for the following note; neither must the mouth be, at all, closed while taking breath.” There should be no sobbing or catching noise in the inhalation. “IEmission of breath,” says Sabilla Novello, in her “Voice and Vocal Art,”—“should be made as tardily as possible, and the student will do well to consider breath more as a propellant power which sends forth sound by remaining behind it, than as the sound itself. . . . . The chest and the muscles below it should be kept permanently St. Co. (New.) 150 SIXTH STEP. expanded. Fresh supplies of air will thus be more readily admitted, aſid subsequently remain longer than if the walls of the chest are suffered to collapse.” Portamento, or the carrying of the voice from one tone to another, is made by a rapid and con- nected glide, or more properly by a slur, see p. 96. The voice passes through all the tones of the inter- val, but with a relaxation, in the emission of breath. This, in solo singing, and after a long and careful practice, may be made a very beautiful ornament; but the lazy imitations of it common among chorus singers, are discordant and disagree- able to all except the self-satisfied singer. It will be useful, however, to the chorus singér in cases in which the musical phrasing differs from the verbal. By a careful Portamento the musical connection may be retained while the verbal distinction is made. There can however be no breathing place in a Portamento. Voice Training.—It is only to a small extent that voice training can be carried out in class, but the experience gained in a well trained class will encourage many pupils to seek additional practise under the watchful ears of a master. The difficulty of voice exercises in a mixed class arises from this, that each of the Seven “Parts” (See p. 106) requires to cultivate a different compass, and that voices singing the same exercises, an octave apart, must use different registers at the same time. It would therefore be noccSSary, (if breaks and registers are to be watched) to divide the class into Seven or at least Four parts, and the rest of the parts would have to sing “a second’’ softly while the teacher was attending to the one which performed the exercise. Only where the pupils themselves are intelligent and observant students of their own voices can voice-training in class be profitable. In ignorant and careless hands it may destroy voices by forcing them up into un- natural registers. No teacher should attempt to carry pupils far in these studies who has not patiently examined and reported on every voice in the manner described at the last step. It is well for the student to know at once that the secret of success will not be in the particular form of his exercises, or in the multitude of them, or in their being written by this man or the other.—but in their being frequently used and perfectly worked through. Gustave Nauenburg, in his “Daily Sing- studies for all Voices,” says “The celebrated singer, St. Co. (New J \ Farinelli, was already reaping the first fruits of his fame, when he visited the singing master Pistocchi, to ask his unfettered judgement on his past per- formances. Pistocchi said, “Nature has lent you all the qualities of an artist in Song; with properly conducted Voice-forming Studies you would become a truly great singer.’ This was not the answer Farinelli had expected; but inspired with a wish to attain the highest point in his art, he begged that he might pursue his studies with the worthy master. Pistočchi accepted the anxious scholar. The studies which Farinelli daily practised with persevering zeal, were all written on a single sheet. In a year's time the master dismissed his pupil with the character of an accomplished singer. “What can the exercises on that sheet have been P' has often been asked.” This question. Herr Nauen- burg answers by saying that doubtless they were such as would daily, 1st, Tune the voice to the different chords. 2nd, Strengthen it (Securing equal strength for all its tones), and 3rd, Give it Flexibi- lity. To these objects of Voice Training M. Seiler has taught us how to add Quality. Herr Nauen- burg published on a single sheet a few simple and easily remembered exercises with these ends in view, and the exorcises of this work, seeking strength and flexibility, are chiefly copied from his. Manner of using voice exercises in class. The exercises used thus far have not had a range above Fi; for males and one-Fºl for females; so that none of them except the Togister Exercises themselves have passed over any difficult points of breakage in the registers. But the pupil has now learnt how to study his own voice more minutely, and wishes to cultivate it to the fullest extent. He will see (p. 106) that the range of tones to be cultivated and the registers and breaks to be studied differ with each kind of voice, and for each new key he will have to “Sol-fa his breaks” (p. 110) afresh. If the pupil stands in front of a large Voice Mod- ulator,” he cannot miss seeing, while he sings, the Register he is in and his place of break; but it may be useful to state distinctly what are the keys through which each , of the following exercises should be worked by each different sort of voice, and what are the Sol-fa notés just below each break in each key. Although the use of a Voice Modulator renders all this unnecessary, it will serve to show what minute căre is required even when we make the imperfect division of voices into only four “parts.” Notice that the lower voices in each * “Voice Modulator,” price Is, Ex, 300, 1 5 | SIXTEL STEP. part will have to be excused the highest tones, and the higher voices must not be forced to the lowest tones. It may also be noticed that each of these exercises can be made into “flying exercises,”— passing upwards or downwards through all the parts. For an upward flight, it is started low in the Bass, caught up by the Tenors the instant the Basses have finished, taking s for d, and sung in the new key, caught up again by the Contraltos in the new dominant, and Once again, in the same way, flung to the top of the scale by the Sopranos. For a downward flight the exercise will be started by the Sopranos, and caught up by each lower part in the Subdominant key. JExPRCISES WITH RANGE of A TENTH (Ex. 301 to 303), have to be thus worked. Basses. Reys from F-two (F) to C-one (C). In F., f is the tone below the break; in G, rl; in A2 d! ; in B2 t ; in CI 1. * Tenors. Keys from C-one (C) to G-One (GI). In C, l; in Dis; in El f and ri are tones below breaks; in Flf and di; in G T and t, Contraltos. Keys from E-one (E) to Bb-one (Bb). In Els and ri; in Fis and d!; in Glf and t; in A1 r and 1; in Bb, r, s and r". Sopranos. Keys from Bi to Rii. In B. d, s and r! ; in C d, f and di; in D m, t and m!; in Er, l and r!; in F d, s and d!; in Fº; d, s and d). ExERCISEs WITH RANGE OF AN OCTAVE (Ex. 304 to 307), may be worked each in two higher keys, as well as those given above. Iłasses. Keys from F2 to E!. In D S ; in Elf. Tenors. Keys from C to B1. In Ald and l; in B. s. 'ºntralos. Reys from E to D. In C d, f and d!; in D m and t. Sopranos. Keys from B to Bb. In G f and t , in A m and 1; in B5 iſ and S. ExERCISEs witH DownwARD RANGE may be. worked thus: Basses. Ex. 308. Range a tenth. Reys C down to Abi ; Ex. 309 down to Fr; and Ex. 310 from C down to D51. No break. Ex. 300. KEYs Bb, up to F. M. 60 to 132. :d ºr ſm |r m f :m if is |f S 1 : S.1 ſt |l it d': t:d'ºr'id' Skaa gº º * = } sº laa. :d t :d |r :m f : S ld Tenors. Ex. 308. Range a tenth. Keys G down to Eb ; Ex. 309 down to B1; no break; and Ex. 310 from G down to Abt. In D ml. Contraltos. Ex. 308. Range a tenth. Keys Bb down to G. In Bb Sl and l' : in A l and T1 . in G. tland fl; Ex. 309, down to Ep. In F d and si; in Eb l; Ex. 310, from Bb down to C. In Fs, ; in E fi; in D In, SI: - -- Sopranos. Ex. 308. Range a tenth. Keys G down to E. In G tº fl; in F d, and sl; in E si; Ex. 309, down to C. In D l; in C d ; and Ex. 310, from Fl down to G. In F d!, s; in D m', m ; in C d', f; in B s; in A ml; in G. f. Agility of Voice,—Ease and flexibility of the voice are commonly regarded as natural gifts, but Madame Seiler has shown that they are really dependent on the formation of certain habits in the action of the vocal organs. In all groups of tones rapidly succeeding each other, the vocal * membranes have to be set vibrating in short, quick impulses, and after each impulse there is a natural recoil like that of a gun after the discharge. The breath retreating expands the windpipe, and thereby draws down the larynx. These momentary motions can plainly be seen outside the throat, so that the voice-trainer can watch and see whether his pupil is forming the habit on which is built agility of voice. This will suggest the reason why it is important that all exercises in agility should at first be practised slowly and piano—except in the case of the Italians generally, and of individuals in other nations, to whom the proper movements of the larynx have already grown into a habit, and seem to be natural and instinctive. Madame Seiler recommends the employment of simple exercises, using at first koo.—See p. 14 and 33. Let each of the following exercises, therefore, be first sung to the syllable koo without slurs, softly and slowly, —second more rapidly and more loudly,–third more so still,—fourth to the open and more beauti- ful vowel aa, on the word Skaa-laa, with slurs and expression as marked :— - s ºf m ºf ſm ºr (d m'er'd''|r'd'ſt : d'it, 1 ||t (1 S : 1,s ºf Skaa. * º gº {-> laa, d t ; 1 S : f m :t, ld | St. Co. (New.) 152 SIXTEI STEP. Ex. 301. KEYs B up to E. M. 60 to 132. £réS cº- cen - do. I- - I- > --> I- :d tid |r d ºr ſm ºr m ºf ſm f : S.f s |l s ,l it, l it [d' Skaa &= ". - - -> laa. :d t : d |r : m f : S |d Ex. 802. Keys B up to E. M. 60 to 160. º © © © C}^{2S © o . º can © . © in: .d |r ,f in. m , s:f ,m |f , 1 : s , f Skaa º - º * º d :— |t| :— d — |r - di - min - f - d'.m:r', d' It r :d,t 1. S | Skaa. º- º :— |s º , 1 |S , t , f Ex. 303. KEYs B up to E. M. 60 to 160. ă.nir.fin.s f.1 is tiſ.ālā ºr |d Skaal , - - - - laa. :d |t| :d r in f : S |d Ex. 304. KEYs B up to F. M. 80 to 160. † :r d it :d r :m ºr .de:r Skaa. tº- - º * - d - : — t - * — . :1 is fe:s | : t , 1 (se: 1 m – - f – – i :rld',t :d i. : d'It le; t Skaa. * - * - - sº l : — : — S - * I- | f : s ,f m :f m :f plºre: m r – – d – :- dimin I- d (T ſ d' Skaa l do. S , t m % f : 1 > m', d' Skaa d T- m S *- I- r!, t t (??? |f !/(2), I- - I- t : 1 til Is .1 s : fs ºf ; f |m : s , f |m , s :f .m |d : — ã.1 ñ.s i is :f mºre:m *- : d'It le:t do. , f | S .nif , r |d - lila. -> º- m if m :r ſm ºr |d º lau. |d |d St. Co. (Now.) SIXTH STEP. * 53 Strength of Voice.—The following three exercises are extremely difficult to perform well. They are intended to strengthen the volume of pure vocal klang—to increase the retaining power of the chest in holding a steady breath for about thirty seconds —and to cultivate the faculty of passing from Porte to Piano and vice versa without losing pitch. The Teacher will test the pitch of Cach exercise as it concludes. The pupil will bear in mind the remark on p. 33 that strength is obtained by some- what forceful exercise, and by the careful use of the Crescendo passage and the explosive tone, but always be it remembered, with as little breath as possible. Iºx. 305. KEYs Bb up to A. M. 60 to 132. , It- . . . . f - :d r : m |f , s : 1 , t d! * — |t , 1 isf.nri ã ſå Skaa - - º - - º ºs - se - - laa :d t! :d |f : — m :— |r * —- d :– |— ( :d †.I isf.nrá : — r in lf .s i .t i ã ſå Skaa - - tº- - - º -> †- gº - º laa | :d — , — |— : — t :d |f : — m : — |— Ex. 306. KEYs Bb up to A. M. 40. d :— |– :— |m :— |S – d! :- — ; – t :— | 1 : — Skaa - - º - -- sº - - º - º º | d : — |– :— — :— |— — — — — — — — — : — s : fºr |d — ||d :- — ; – if : – 11 :— |d's :— — — º laa. Skaa. - - - - -> - - * — — Id – || f :- — ; – i- :— — — f d – ||— :-- I- I- f : — |m * — r :d ſtill |S| : — Sl :— {– : — tº- * tº - º laa Skaa - wº- ... • | *-* : — |- : — Sl *- |— : S| : — |— : — > I- -> t| – |r :- [f :- — ; – m :— |r :— |d ; tr. 11 sid :— º - tºº | - tº - tº - - - laa. | — — — — — — — — — — — — — — |s|d :— Št, Co. (New J 154 SIXTEI STEP. Ex. 307. KEY Bb to A. M. 72, 60 & 50. |d! :- i. ; 1 |s :f m :r |d :— — : | Skaa | º - -> Čaſt, d :— — — — — — — I'd :- |- : ſo f | l if ſiſ :— || d! :- — ; – t :— — | & laſt, Skaa. *g º LAA, — ; – d – I'm :— |– :— ‘r :- — + p f |—| – || – |- :– |s :- — ;- Skaa tº - LAA, |— :— |f |— ;— |m :— |— #) f (- :— |f |— :— p! :- |— { Skaa sº - IAA, (1– :– |r |-- : — d :— — £) f |— ;— r |— : — d :— |- Skaa -> - LAA, |— :— |t| |— :— |d :— — ſo f (- — I’ |— :— | p :— — | Skaa --> - LAA, (1– – |t. |-- :— |d :— |— £) f (- - f |— ;— s : — |— Skaa º - LAA, |- — | 1. |— :— m :— — /? f |— ;— | 1 |— :— t :— |— Skaa tº - LAA, |— ;— º |— :— r — — Co., (Now.) SIXTH STEP. 155 Downward Cultivation of Voice.—Nearly all the exercises in voice training books are adapted for the extension of the voice upward but the lower tones equally require cultivation with regard to strength, if not to flexibility. Mr. Proudman Ex; 308 C}*(2S º º d! : — |— , – pl ; S Skaa. *s • . gºs * gº d : t , 1 |s , f :m , r |d t Ex. 309. | d! :- [t : — d! :- |— : — y I-> d : t , 1 |s , f : P , r |d :— — : — The Shake or Trill is an ornament - much culti- vated by the solo singer. When performed with great oveness and ačcuracy it produces a very delightful effect upon the hearer. It consists in rapidly alternating the principal tone with the tone above it in the scale. When a shake is introduced in a close, it is usual to commence it by accenting the principal tone. Thus if the cadence is r. r d the singer would strike r m r m r m &c., accenting the r, and ending thus:—m r der. When a Shake is introduced in the course of a song, for mere or- nament, it is usual to commence it by accenting the higher tone thus:—m r m r m r &c., accenting the m and closing thus:—m r de m r. Mdme. Seiler says that the most beautiful trill is formed by practising triplets, thus:—m r m r m r, accenting first the higher and next the lower tone. She re- commends that the trill should be practised at first always piano, to the syllable koo on each tone, and afterwards with other syllables slurred. The mouth, she says, must continue immovably open and the tongue must lie perfectly still. The trill must be sung very slowly at first ; afterwards quicker and quicker. But it is no trill directly the two tones lose their distinctness. The Swell, that is the practice of a lengthened Crescendo and Diminuendo on each tone of the scale, was at one time much practised by voice trainers, but it has been found injurious to many voices. Garcia speaks of it as a last acquirement. Mdme. Seiler condemns it in the early steps and even C67? = do. |f : —— m : r |d : — found the following exercise very useful in training Contraltos and Basses for the Paris Prize Choir. To it are added two exercises from other teachers. These exercises have added to them, here, an ac- companying upper part to be sung piano. dºwn. * * tº-3 laa. | li :- , t) |d : r |m : — Iºx. 310. m :— — :f r — * — | lº- I-> d :m |d : s if : — |m| : — Cruvelli has abandoned it in the first part of his course. It is exceedingly difficult to perform this exercise with perfect evenness, that is without giving a jagged shake to the tone; and it is espe- cially difficult to make the diminuendo as good as the crescendo. It was common; in a swell on the optional tones, to allow the singer to change register, so as to get the middle part of the swell on the lower and stronger of the two registers; this also required much art. Those however who wish to attain that magic power—a perfect control of the voice on every tone, in all its gradations of force, are commended to careful daily practice and a voice trainer. The Appoggiatura (appod.jyatoora) is a gracemote placed beforea principalnote, and occupying the place immediately above or below it. The long Appoggia- tura occupies half the time properly belonging to the note before which it is placed, which time it takes from that note. Thus Haydn writes, m | f :— : S | m :— ||. But by means of appoggiaturas he directs us to sing thus, im | f :— : 1.s | f : m ||. In the Tonic Sol-fa. Notation there is no sign for the long Appoggiatura, it being thought much better to write the notes in the time in which they are to be sung. The short Appoggiatura can Scarcely be said to take any time from the note before which it is placed. It only gives a kind of “fillip’’ to the accent. It is expressed in the Sol-fa Notation by a note like a bridge note of transition, distinguished from that however, by being in italic type, thus rd. St. Co. (New). 156 SIXTH STEP, The Turn. The direct Turn which is most com- mon, consists of a triplet of notes beginning with that above the principal tone. Thus | f : f |m :- with a direct Turn on the second f would be sung 3 thus, f : sfm.f |m : — ||. As the writing of this Turn would spread out the music too much it is better to employ the sign of the common nota- tion, thus ~. The inverted Turn consists of a triplet of notes beginning below the principal note, Thus d: d with an inverted Turn of the second 3 note would º : t|dr.d The sign for this is R. When either the first or last note of the triplet has to be sharpened, this will be expressed by writing, in small size, the altered note under or fe over the cºv. Thusº would be sung | femre.m. ||. IIl Both these Turns when used in a cadence may some- times be allowed to delay the time, but not when they occur in the course of a piece. They should be delivered with subdued vôice, but with great clearness. The direct turn gives spirit to the ex- pression, the inverted turn gives tenderness. “ The natural voice,” says Nauenburg, “ is merely the raw material, which has to be elaborated into an instrument of art. Even in the most favourable organization, if the voice be unculti- vated, there will be found side by side with healthy and powerful tones, others that are sickly, feeble, shrill, in short, unavailable for the purposes of art, until they are trained and beautified. Indeed, the greatest irregularities come to light in voices in which the natural development of the organ has already been disturbed by unregulated singing and various physical influences. High tones, wrested from nature, will by-and-bye rob the lower tones of that clear ring of true voice which we call Iſlang, and of fulness. So long as the body, and with it the vocal organs, are yet growing, the voice will doubtless stand a good deal of mismanagement : but it is sure to collapse when the physical strength can no longer withstand unnatural treatment. The forced tones below as well as above, often lose their fulness and energy, nay, there occasionally happens quite a new break of the voice. Such results plainly prove that those tones were forced, and not founded in the nature of the organ.” Voice exercises should be repeated every year, and at the opening of every season of singing practice meetings. Every one should seek to have a culti- wated voice. The cultivated voice is known from another by its first sound. There is no mistaking the master of his instrument. Finally, let us remember two things. First, that even music must be enjoyed “Soberly,” and the more steadily and soberly it is pursued the more fresh will be our desire for its pleasures and the more keen the enjoyment they bring. And last, that all this vocal culture only puts into our hands a delicate but effective instrument. See, reader, that you use it nobly. Exercise yourself to win a humble, true, and joyous soul, and let your heart be heardsinginginyour voice. Use that voice for social recreation—innocent and elevating. But use it most rejoicingly for “the service of song in the house of the Lord.” If the singing at your place of worship does not satisfy you, try to improve it ; but first of all show that you mean cheerfully to fulfil your own personal duty of vocal praise, who- ever leads the singing, whatever tunes are used and howsoever the organ is played. The Tonic Sol-fa movement has been distinguished from all other efforts to promote music among the people by its System of Certificates. See pp. vi., vii, above. These certificates have grown into common use and general accep- tance, . through the good will of teachers and pupilstowards the method and their desire to testify a grateful love—a proud fealty to it, but chiefly because of their proved advantages. For the true pupil they find out (what he wants to know) his weak places, shew him in what direction self-teaching is specially demanded, and give him the confidence of knowing that he has really and satisfactorily reached a certain stage. When some unlowing, unsocial TELE CERTIFICATES. pupil boasts that “he could take the certificate if he would,” the surest way to destroy his boast is to try him. For the true teacher (who knows how easy it is to obtain merely one-sided or merely collective results and how deceptive) they offer the only practica- ble means of guaging his real work. The ambition to obtain them also promotes such an amount of home work that fully four-folds (as has been as- certained) the usefulness of the class. All faithful teachers of our method “put honour” on the certificates, by definitely preparing the class, lesson by lesson, for each of the requirements, by making them necessary for admis- sion to their higher classes, and above all by inflexibly refusing to allow uncer- tificated singers—pupils ungrateful to the method and careless of their own progress and their teacher's honour— to take part in any public Demonstra- tion or Concert. This is commonly the strongest power with which the teacher can enforce self-drill at home. Woe to the teacher who, by weakly yielding, throws this power away. Our Certificates have been already accepted by other societies than our own as grounds of admission to Crystal Palace choirs, to Choral Societies, and to Precentorships. The more faithful we are to ourselves, in this matter, the more will our higher Certificates grow in public acceptance and ºnsefulness. SIXTH STEP 157 QUESTIONS FOR TVRITTENT AND ORAL EXAMINATION. 1. What is meant by transition of two removes? In going to the second sharp key, what toncs of the old key are blotted out, and what toncs of the new key are introduced ?. EIow does this move tho key tone In going to the second flat key, what tones of the old key are blotted out and what of tho new introduced EIoW does this move the key tono 7 p. 117. 2. What emotion does the Second sharp remove express'—what the second flat . For what purpose is a principal socond removc chiefly used ? How is a subordinate second remove commonly employed 7 3. What are the three points to be observed in helping pupils to master Transitions? What are the points which make some transitions easier than others ? What points make them more difficult, 7 4. In transition of three flat removes what Modulation gencrally takes place? What Modulation usually accompanics three sharp removes': What physical changes may, or may not be made in a transition of throo removes 7 What is the common mental effect of three flat removes?—of three sharp removes? . What are the general principles which should guide us in fixing the specd of movement and the degrees of Force in singing ' Which should be more studied—the actual words or the mood of mind in which they are uttered? Give an illustration. What is the ex- ercise, in connection with this subject, which is of chief value? Ip. 130. 6 What kinds of passages should be sung loudly and quickly 7 Mention four kinds with illustrations to each. 7. What kind of passages should be sung loudly and slowly 3 ... What kinds of passages should be sung softly and slowly Mention five kinds with illustrations to each. 9. What kinds of passages should be sung softly and quickly? Mention three kinds with illustrations to cach. 10. What kind of passages should bo sung with a gradual change from loud to soft 7 Give illustrations from memory. 11. What is the mental offect of a sudden change from loud to Soft on single tones? Give illustrations. 12. What kind of passages should be sung with a gradual change from soft to loud 7 Give illustrations. DOCTRINE. 13. What is the mental effect of a change from soft to loud on a single toncº Give illustrations. 14. What kind of Phrasing is more important than the proper division and marking out of the parts of a melody ? What habit should the singer form in order to perceive quickly the proper phrasing of words? When musical and poetical phrasing do not agree, which of the two should yield In Chorus singing, what is important in reference to phrasing 7 p. 135. 15. EIow often should the use of the articulation exercises of this step be re- vived 7 In what circumstances will a. mastery of the consonants render sing- ing intelligible without much study of the vowels? In what kind of singing is a study of the vowels absolutely necessary for clearness and beauty'. In what elements of speech do the local differences and vulgarisms chiefly show themselves 7 In what respects do the vowels commonly called short, in Eng- lish, differ from the long vowels What is the now art of vowel utterance which the singer has to learn but which the Speaker does not require ? p. 136. If the cavities of the throat and mouth are held open stoadily in any one fixed form while voice is produced, what element of spoech will result 7 EIow many vowels are possible 7 Name the six principal vowels going upward in the order of natural pitch' 17. In what manner in speaking do We name the vowel Sounds ! What vowel forms the centre of the vowel scale 7 . In proceeding upwards what change takes place with the middle of tho tongue " In proceeding downwards how do the lips change their position ? For which vowels is the back of the tongue highest and for which vowels is the tongue altogether lowest ? Give the let- ter names ; the sounds) of the three principal descending vowels, of the two principal less sonorous ascending vowels, of the four ascending vowels that, are commonly short in speech,- of the three more obscure descending vowels. 18. Mention three words in which aa occurs, without being so spelt. Eſow is this sound formed? Givo the position of the lips, teeth and tongue. How is the deeper, thicker, ah formed ! What defects in pronouncing this vowel are common in your neighbourhood 7 19. Mention three words in which au occurs without being so spelt. What is the position of the tongue and lips in forming this sound? What difficulties are found in sustaining aw In what pitch of what voice is there a tendency to change this vowel ! What wrong ronunciation of this vowel are you amiliar with ? p. 138. 20. Mention throc words in which the sound oa occurs, without being so spelt. What are the positions of the tongue, lips and teeth in forming this vowel ? What are the tendencies of this vowel in the lower pitches and in the higher pitches : What faults in sounding this vowel are you practically acquainted With ? 21. Mention three words in which oo occurs, though not so spelt. What is the position of the tongue, lips and teeth in producing this vowel . . In which voice, and in what pitch of it has this vowel a tendency to change Name any defects in sounding oo with which you are familiar. 22. Montion three words in which the sound ai occurs, but not so spelt. What is the position of the lips, teeth and tongue for this vowel? In which voice and at what pitch has it a tend- ency to change EIow is this vowel commonly mispronounced? 23. Mention three words in which the soundee occurs, though not so spelt. What is the position of the tongue and teeth in producing ee ? In which voice and at what part of its pitch is this vowel likely to alter ? 24. Mention three words in which the sound w occurs, though not so spelt. What is the position of tongue, lips and teeth in holding this vowel ? . In what voice and at what part of its pitch is this vowel most likely to change? What defective pronunciation of it do you know 7 p. 139. 25. Mention two words in which tho sound a occurs. though not so spelt. What is the position of the tongue, teeth and lips for this vowel 7 What is the natural change of a at high pitches 7 What defective pronuncia- tions of this vowel are you personally acquainted with ! 26. Mention threo words in which the sound e occurs, though not so spelt. What is the difference between the po- sitions of the organs in ai and in e? What is e likely to change into at high St. Co. (New.) 158 SIXTEI STEP. | | Carion ? p. 147. 55. What are the essentials of a Fugue, and what other musical contri- Varices are necessary to a fully developed Fugue? What sort of pieces may be called Fugal ºlºges Ol' movements rather than Fugues 56, What is a Subject in Fugue, and What is meant by its various exposi- tions : 57. What is a Response in Fugue? Where does it commence the first time it occurs, and what are some of the Various ways in which it is treated 7. 58. What is the Counter-subject in Fugue? What other forms often take the place of one distinct Counter- subject 7 59. What is Stretto, and what is its emotional effect : 60, . What is an Organ-point, and What is its effect 7 61. How does a IRecitativo differ from the good recitation of a Chant EIow should IRecitative be sung and what is the chief use of it? p. 148. 62. at is an Opera, and why docs a combination of arts fail to produce the highest developement in any one of them 63. ... What is an Oratorio, and how does it differ from the Opera” 64. What is a Cantata, 7 65. What choral contrivances are allowable when Composers write"parts” Which are beyond the fair limits of a chorus voice 7 p. 149. * 66. In what respect does a wide mu- sical pipe differinits effectfrom a narrow one? What kind of Resonance or Timbro is produced by a full distended mouth, What by a narrow mouth, what by a mouth of medium shape and size : 67. In what places of melody ought We not to take breath, and in what places are we obliged to do so? 68. Eſow is the Portamonto made 7 In what cases should it be used in Solo singing and in Chorus singing 7 69. Whence arises the difficulty of carrying out voice exercises in a mixed class? In what cases only can voice training in a class be profitable? In what cases is it likely to be injurious ! "What is the secret of success in voice exercises : What, according to Nauen- burg, are the three objects of voice training ' What other object should be kept in view 7 70. What is the use of the large Voice Modulator? p. 150. 71. How is flexibility of voice secured 7 72. By what kind of strength of voice maintaine 73. What is the special use of down- pitches? What defects do you notice in the pronunciation of this vowel ? 27. Mention three words in which the sound i occurs, in one of them at least the i being differently spelt. What is the difference of the position of the organs for ee and for i ! What faults do you know of in the pronunciation of this vowel 7 - 28. Mention three words in which the sound uo occurs, though not so spelt. What is the difference in the position of the organs for oo and foruo 3 What: wrong pronunciation of this vowclare you acquainted with ? p. 141. 29. Mention three words in which the sound o occurs. What is the differ- ence between the position of the organs for au and 6% What three other cases are there in which vowel positions differ in the same way, though otherwise alike 1 EIave you noticed any mispro- nunciation of o 7 30. How is the pronounced before a vowel?—how before a consonant 7 EIow is my pronounced? 31. What are the four principal diphthongs in the English Language 7 "What WOWel is treated along with the diphthongs, and why? What is the difference between two vowels put close together and a diphthong 7 Give an illustration. What is the difference between a diphthong and a digraph 1 Of the three elements of a diphthong, which is neither the longest nor the shortest ? Of the two vowel elements, which generally has the accent 7 p. 142. 32. Mention three words in which the diphthong ei occurs, though not so spolt. On, which vowel element does the stress fall, and what sound should be given to that element in singing? How should the glide be treated? 33. Mention three words in which the sound oi occurs, though not so spelt. What is the proper first vowel element and Which of the two should be prolonged? What errorin pronounc- ing this * have you noticed ? 34. Mention three Words in Which the sound ow occurs, though not so spelt. What is the second vowel ele- ment, and which of the two should be Pºlºnged in singing and with what sound . 35. Mention three words in which the sound eu occurs, though not so Spelt. at is the second element, what is the first 7 Which has to be prolonged in singing ' What'erfor has $o be avoided in pronouncing t and d before eu ? 36. ... What other diphthongs can you describe.” 37. Mention three words in which the sound ao occurs, though not so spelt. What is the difference in the position of the organs for oa and for ao 7 How may the pronunciation of this vowel be easily attained 38. What are the musical properties proper to a Response 7 p. 144. 39. What are the essentials of a Chant 7 Describe the form of an An- glican Chant. What are two of the common faults in the construction of an Anglican Chant, 7 40. How did the modern hymn tune originate 7 What are , some of the defects of structure which often unfit it for the voice of a Congregation ? 41. EIow does the speed of a hymn tune affect its harmonic character ? 42. How does the speed of a tune affect the rhythmical impression it pro- duces, and what sort of speed demands the closer attention to rhythmical pro- portion and balance 7 p. 145. 43. What sort of tunes are best adapted to the bold and Spirited hymns, and how do tunes of this character change their mental effect when sung slowly What kind of tune is best adapted to hymns of cheerful emotion, and how do such tunes alter their mental effect when sung slowly 3 44. What is the sort of tune which best suits hymns of didactic and varied character 7 45. How can a precentor best remind a Congregation of a change of senti- ment in the hymn, and Secure the proper expression ? 46. How do Anthems essentially differ from Hymn tunes in their aim and in their musical character When Anthems are meant for congregational use, what musical difficulties should be avoided ? Explain the words Decani, Cantoris, Full, Verse. 47. What are the musical character- istics of a Madrigal 7 What kind of Sentiment often characterises a Mad- rigal? What is a Ballet 7 48. For what peculiaritics of vocal arrangement was the English Glee specially adapted? What sort of Glees will bear a number of voices on cach part 7 49. Eſow does the Part-Song differ from the Glee, and how does it differ from the Madrigal? How does the EIarmonized Air differ from the Part- Song 7 p. 146. 50. Whence arises the importance of music for equal voices 7 p. 149. 51. For what vocal arrangement are Oratorio Choruses specially adapted ? 52. What is the style of Operatic Choruses 7 p. 146. 53. What is a Canon, and what is meant by “a Canon four in two " ? practice is 7 54, BioW does a Fugue differ from a ward yoice cultivation exercises : St. Co. (New) * SIXTEL STEP. 1.59 74. In what does the Shake or Trill consist In what case does the singer usually accent the principal tone, and how does he close ?—in what case the upper tone, and how does he then close? Eſow does Madame Seiler recommend that the Trill should be practised ? 75. What is a Swell? Why has it been abandoned in the early steps ? 80. Sing your part in Exs. 243 to 248, whichever the Examiner chooses. 81. Litto Exs. 249 to 255. 82. Work Exs. 256 to 259, whichever the Examiner selects. 83. Work Exs. 260, 261, whichever the Examiner selects. 84. Wark Exs. 262 to 271, whicheyer the Examiner selects. - 85. Work Exs. 272, 273, whichever the Examiner selects. 86. . Sing any one of the Exs. 274 to 280 which the Examiner may select. 87. Sing any of the Exs. 281 to 291, which the Examiner may select. S8. Sing Ex. 292. A. S9, §. of the Exs. 293 to 298 which the Examiner may select. 90. Sing (if your voice is bass) to the correct vowel “passing by ” Add. Ex. p. 79, sc. 3, m. 4, second bass, “go” Add. Ex. p. 33, Sc. 2, last note, bass, “a main,” Add. Ex. p. 64, sc. 1,–“be” Add. Ex. p. 71, 1st pulse, “love” Add. Iºx. p. 61, Sc. 8, m. 3. 91. Sing (if your voice is soprano) to the correct vowel, “la " Add. Ex. p. 8, sc. 5, m. 3, 1st note, “ storm '? Add. Iºx. p. 95, sc. 2, m. 3,-4* roar ’’ Add. Ex. p. 64, sc. 4, m. 1, 2, 3, and 4,- “ troops ''. Add. Ex. p. 20, m, 4,- “shadows.” Add. Ex. p. 43, sc. 3, m. 6, ... —“Amen” the last syllable St. Co.. Ex. 172. 92. Sing (whatever your voice) to the 76. What is the long Appoggiatura, and how is it expressed in the Sol-fa. notation ? What is the short Appog- giatura, and how is it expressed in the Sol-fa notation ? p. 155. 77. What is the direct Turn and how is it written ? What is the inverted Turn and how is it written ? * > 78. What irregularities are com- PRACTICE, correct vowel, “love loves” St. Co., IEx. 145,-‘‘rills.” Add. Ex. p. 62, sc. 4, m. 4,-" along’” St. Co., Ex. 175. 93. Sing, first using the vowel aa and then a, “last’” Add. Ex. p. 39, sc. 3, m. 2, and “path’” Add. Ex. p. 7, Sc. 4, m. 4. Sing also first using w and then aa to the first syllable “away ” Add. Ex. p. 53, Sc. 2. 94. Find words in Add. Iºx. p. 34 and 53 in which ai is sometimes sounded instead of a. - 95. Find cases in St. Co. Ex. 144 in which ai is sometimes soundled for the article a. - 96. Find Woºls in St. Co Exs. 78 and 113 in which ei is sometimes sounded instead of i. See Ex. 299. 97. Find a word in St. Co. Iºx. 143 in which oa is sometimes sounded instead of the sound w. - * . 98. Find a word in St. Co. Ex. 98 in Yºh w is sometimes sounded instead OI O. 99. Tind a Wordlin St. Co. Tºx. 115 in yºh i is sometimes sounded instead Of €. 100. Tind a Word in St. Co. Iºx. 77 in yºn w is sometimes sounded instead Cºf 6. 101. Find a word in Add. Iºx. p. 77 : which e is sometimes soundled instead OI 20. 102. Find words in Add. Ex. p. 3 in which ee-aais sometimes sounded before monly found in the natural uncultivated voice What injury is produced by high tones wrested from nature ? 79. What two things must we con- stantly bearin mind if we would gather the highest possible enjoyment from InllS10 ! - 7' instead of ee with the mere vanishing 14. - 103. Find cases in St. Co. Ex. 144 and 145 in which “the ” before a con- sonant is sometimes sounded thee instead of thu. - 104. Find cases in St. Co. Ex. 144 and 145 in which “the ” before a yowel is sometimes sounded thu instead of thee. 105. Find four cases in St. Co. Ex. 175 of the diphthong which is sounded ei, and sing them as directed. 106. Sing the diphthong oi in Ex. 113 as directed. º 107. Sing the diphthong ou in Ex. 69 as directed. 108. Sing the diphthong sounded eit in St. Co. Ex. 145, v. 3, Im. 2, dwelling on the second element. 109. Without referring to St. Co. write an analysis of “Thou shalt shew me,” Add. Ex. p. 7. 110. Write an analysis of the fugal imitiations in “EIallelujah Amen,” Add. Ex. p. 26. 111. Write a fugal analysis, of the first movement in “Theme sublime,” Add. Ex. p. 66. 112. Write a fugal analysis of the second and third movements of “Theme sublime,” Add. Ex. D. 67. . 113. Write a fugal analysis of “How lovely,” Add. p. 58. gº & 114. Answer the question in Ex. 290. St, Co. (New,) INDEX TO STANDARD COURSE EXERCI SES. NO, PAGE. No. - PAGE. | NO. PAGE” 78 A hale old man ..................... 22 || 247 §: º forá................ #; 126 Now unto him that is able ...... 47 99 All the springing flowers......... 31 143 Great is the Lord..................... * | 144 O'er the dark wa - • We of Gallilee 58 #: *::::::: # echtsberger ......... § 171 Eſallelujah. Ilſainzer ............ 71 || 111 Oh I give thanks............. ........ 37 178 A. #h l * • * * * * * * * * * * * * * * * * * * * * § || ||7 E[allelujah. Mainzer ............ 40 245 Oh! I’m the boy..................... 119 119 *::: thº. | | 1.41 Hallelujah. Watarp sº... .. 56 139 O little child lie still............... 55 193 As lou poor down. The ...... § 113 Hallelujah, Amen.ºginº. #9 || 343 Qn the woods gº;…........... 122 Syrian came dOWn, 'The ...... 173 Hark!’tis the cuckoo's voice... 72 135 O Saviour, go beside us ......... 54 123 Behold how good .................. 47 || 177 He is despised;;.....::::...;.…..... 82 | 189 Our life is ever,....................... S9 115 Bird of the wilderness............ 39 || 3: # ºne *** “.3% 251 Peaceful slumbering............... 124 140 Blest be the hour .................. 56 #; #. * * * * * * * * * * * * * * * * * * * * * * * * * * * 1% 112 Peace, lovely peace ............. 37 * ~4→ ~~~ * in or * C*l-l-l-M.&M.M. l. • * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 134 Praise to God ........................ 53 #3:... º.º. º. 14; ºvery lºº.....…. 58 || 234 Praise to our God .................. 112 "30 Come gentle May ... 35 | 116 In sweet music........................ 40 || 113 Praise ye the Lord.................. 3S 137 Courage................................. 54 194 Jewish Captives, The ............ 92 ; flºº, ’s burning ............... 16 173 Cuckoo, The........................... 72 98 Labour's strong and merry ..... 31 iſ: š.ººne. º †: 79 Daisy, The ........................... 23 | 191 Let me go......…...;.......;..... .. 39 || 115 Šišiai. The . 39 137 Dangers do not dare me ......... 54 || 79 Little flower with Stºrry brow. 23 253 Sound the loud timbréſ”. 126 193 Destruction of Sennacherib,The 91 136 Lo! my Shepherd's hand ...... 54 69 Sow in the morn thy seed ...... 17 101 Doh, ray, me .........." * * * * * * * * * * * * * * 32 | 124 The Lord bless thee ............... 47 || 252 Stars are given us............. 125 192 Drive dull care away............... 91 || 179 Lord have mercy upon us ...... 83 | 190 Summer is gone..................... 89 º 133 Lord, while for all.................. 52 97 S f ul ... : . . . . . . . . . . . . . . 188 Farewell, my ºwn native land. § 3; iºtijneighbour". 112 lin. Of Iny SOlll ..................... 30 194 Far, far from home ............... §3 || Too imilaby’................ 31 | 120 Tell me where the Fairies dwell 41 78 Farmer John ........................ 22 || 3: 142 Through the day..................... 57 4- - 251 Lullaby, The ........................ 124 * 195 Forgive thine enemy............... 93 - 254 True love .............................. 127 70 Fret not thyself ............. … 17 *:: §: • * * * * * * * * * * * * * * * * * * * * * * * ſ: 145 What is themeaning of theSong? 58 233 Give unto me ........................ 14 || 25% Music .# the Špheres tº º e º f * * * * * * * * * * 135 | T. When lands are gone.......:::::... 22 103 Glad hearts and free ............... 32 - *** *-e--" 120 Where do the Fairies dwell ? ... 41 68 Gone is the hour of Song ....., 17 248 Night song ...... ..................... 122 102 Who comes laughing ........... , 32 INDEX TO ADDITIONAL EXERCISES. PART. P.A.G.E. PART. PAGE. PART. PAGE. Angel of Hope ... .................. II 48 || Higher will we climb ......... 1st Ex. 4 | Quail call, The ..................... I 14 * i. º ſº rill ...... II 53 #:where is thy ............ III 7-1 Wake, AEolian Lyre ............ II 62 | Hope will banish sorrow ......... I 12 º w Laker 3 Away to the forest.................. II 42 | How beautiful the sunshine ... I 12 Rise, my soul, adore thy Maker II 33 Bon accord I 11 How lovely are the messengers II 48 || saviour, breathe..................... III 91 * * * * * * * * * * * * * * * * * * * * s a 6 s a e * * Shepherd’s lament, The ......... III SS & If I had but two little wings... II 45 Spring, The ........................... II 50 Chants for Third Step ......... 1st Ex. 8 Spring life .................... ...... I 3 Chants for Fourth Step ..... 1st Ex. § Jackson's Evening hymn . I 2 | Stout-limb'd oak, The ......... .. III 77 3. First Step...... 1st Ex. 1 co tº e - - šunshine after rain ............ II 44 OIſle, l'I'êeClOIn’S SODS ............ I 13 * - irest.................. *** - Čome, ſet us aii "... # #| Lord, in this thy mercy's day... II 3 ||3:...º. #: ; Cuckoo, The........................... I 9 || Loud the stormWind............... III 93 ś º • * * * * * tain's 1st #s. ; .* e - - - iftly from the mountain's... 2 IFather, my spirit owns ......... II 34 May is coming..................... 1st Ex. 5 Fortune hunter, The............ .. I 4 || May time, The ..................... #. ..? | Theme sublime III 66 Morning prayer ..................... III '79 Th shalt show me............... I 7 Gips ’s tent, The II 35 Music in the valley - * * * * * * * * * * 1st Ex. 3 #. ; ſº º * * * * * * * * * * * * * * tº I 15 §. the right............. I My lady is as fair as fine......... I 21 Joy, Ine ................. c - - - - - - - - , . . . . . . . . . Going home........................... I 2 - Waits, The ........................... I S Nearer, my God, to thee ......... II 34 || We fly by night ..................... I 20 Fſallelujah, Amen.................. I 26 || Night around ........................ I 22 | Where the gay dreams........ ... III 65 IHarvest home ......... .............. II 39 Woods, The ......... ................. ITL 71 Hear me when I call.............. I 17 | Q Saviour of the world ......... III S5 Eſcayen is my home .........., 1st Ex, 5 || 0 the joy of spring .......,,...,..., II 57 || Ye spotted Snakes ........... * * * * * * * TDI S1 FIRST EXERCISES FOR MIXED WOICES. To BE USED AS AN INTRODUCTION TO “ADDITIONAL EXERCISES.” * FIRST STEP. d! :- s - ss.) f — S : S | : m s :d d + – : — m S S : m d - + m :d S - + - S d m :d m :d Sl + d :– s ,m : s m .d :m S : m SECOND STEP. m .d :m SWELL THE ANTEIEMI. m :d raise the :d S : m na. - 'ture d :d S SOng ; t r sings, Sl d :— * — LoNDON: Toxic SoL-FA AGENCY, 8, WARWICK LANE, E.C. Ex. 1. KEY D. }| : — m : — | *=ºe Ex. 2. KEY Eb. + (Sopr. & Ba }. s :– m :d S : :d |d — d :d d Ex. 3. KEY C + . d : m S m d =mºs d — — :— d :m Ex. 4. KEY F. f | : Sl m :d | * e o d : Sl IEx. 5. KEY G. | d : Sl 0 m - tº d : Sl | S S S m ==== Sl - as- + d *=- Ex. 6. KEY F. + | d , s:d m .d :m S : m e d , sl:d Ex. 7. KEY G. Sl : Sl d :d 1. Swell the an - them, if Sl : Sl Sl : Sl m : m m : m 2.Eſark! the voice of d :d d :d *- |a - : m S - | :d m . S d ſm : — | - S S d - S e-e |. :— s - - d :— + S] * :— S : m :d d *g - d * - S : S |. : — s! :- [d - A. L. C. d : In Prais - es + m : S Prais - es f Price 1d. | St. Co. (New.) FIRST EXERCISES. r :d | ti :d r : — s| : S d :d to Oll].” God be - long; Saints and an - gels f S| : Sl Sl : Pll Sl : — St : Sl Sl : Sl S : m r :d t : — m : m m : m to the King of Rings | Let liS join f the t :d S| : SI Sl : — d :d :d m :d r : — S : S S : m | r : r d : — join to sing Prais - es f | to the heav'n -ly King. d :d t : — t :t d :d : t d : — S : m S : — r : r m : S S : S m : — chor - al SODg, And the grate - ful notes f pro - long. d :d SI * - SI : Sl d :d Sl : 8 d : — sweBT SUMMER-TIME. Ex. 8. KEY C. A.L.C. S . m . Fl d' , s : s t; , d! :rl , t d! , r) : m S , m : m 1. Summer-time, Summer- time, Mer-ry, mer-ry Summer- time; Gai-ly sing, m .d :d m . m : m S . I'l S . S S , S ; S m .d :d 2. Summer-time, Summer-time, Mer-ry, mer-ry | Summer-time; Sing a - gain, d' , s :s s , d' : d! r! , d' : t , rl |T| # , rl d! | , s :s 3. Summer-time, Summer- time, Mer-ry, mer-ry Summer- time; Sing a - gain, d .d :d d .d :d s , s : s , s d .d :d d .d :d d' , s :s ml , m) : ml , rl | dº *s t , r) : t , s d! .m! :s gai-ly sing, 'Tis sweet Summer-l time. Brightly now the sun's gay beam, m . m : ſm S , S : S . S m : — S , S : S , S S , S : S sing a - gain, 'Tis sweet Summer-l time. Sweetly scent-ed is the air, s .d' :d d] , d' : d' , t d' : — r' , t :rl , t d' .d :t sing a - gain, 'Tis sweet Summer-l time. Now the birds on ev - 'ry tree, d .d : d .m : s , s d : — S , s : s , s | pi .d :s t .rſ : t , s \ d! .m! :s S m m d' , s : s m! .ml :m" , r) |dl : — Glances o'er the crys-tal stream, Summer-time, Summer-time, 'Tis sweet Summer|-time. S , S ; S. , 8 || S , S ; S m .d :d F1 , ſm : m S , S - S - S | Fl : — Beauteous flow'rs bloom | ev- 'ry - where, Summer-time, Summer- time, 'Tis sweet Summer|-time. rl , t :rl , t d! .d! :t d' . s : s s .d' : d! d! . d! :d! . t d! : — Warble their sweet mel – o – dy, Summer -time, Summer-time, 'Tis sweet Summerl-time. S , S - S - S | ſl : S d .d : d .d :d , I'l : S . S :- *In marking the Tenor Registers (as p. 68), study the optional tones (pp. 32, 110), the phrasing (pp. 69, 70, 98), and the need for piano or forte in each case. St. Co. (New). } FIRST EXERCISES. Ex. 9. KEY Ap. d : Sl 1. Mu- sic 8| : Sl 2. Mu- sic p) : m d :d Mu t ; tı Mu - sic - sic Dis SI - : S - sic d : d - Sic tº :s Join the d :d º - cord 3. Sing with joy - ful |d :r in the |S} : Sl by the |m :r |d :d |r : S in the |t| :t in the |s :S and vex- |S| : S. |d :m OOl the ld :d in OUllr |m : s hap - py |d :d |d :r in the |S| : Sl in OUll." |d :t glo - rious |T]] : Sl IMUSIC IN THE WALLEY. m val Sl : fire d voi d p] : wood d : school S 8, d In OUlrl d : Sor cho true S] glad d &D. - - * - - - - - * — |r ley, | Sl side, |t CeS, |S| |d land, |S| room, |FT tion, d : s, d :r Mu - sic on the m :m |S| : S Mu - sic in the d : d |d :t Friends and lov’d ones d : di |f| : si t] :d |r : t Mu - sic in the S1 : ['ll |S| : S. Mu - sic for us r :d |t| :r Ne'er shall en - ter SI - S1 |S| : S. r :ti |S| :t Mu - sic in the SI : 3; |S| : Sl Mu - sic in OULT t! :r |t| :r Of all na - ture Sl : Sl |S| : Sl tº :d |r : t Mu - sic ev - 'ry - Sl :m |S| : Si Mu - sic ev - 'ry - r :d |t| :r Mu - sic's ev - 'ry - S1 : Si |S| : S. rill; Sl all; here, d air, Sl Care, t fair, S| where. m d : Sl Mu - sic m : m Mu - sic d :d Swell the d :d * where d where. d St. Co. (New) fºLRST EXERCISES. HIGHER, HIGHER WILL WE CLIMB. Ex. 10. KEY D. s : s d' : d! 1.Higher, high - er f m : m |m : m 2. On - ward, on - wardt d : d! |s :s 3. Clos-er, clos - er, f d : d [d :d s :s d! :d' That our names fºrmay m : m |m : m Vir - Łue is true d' :d' [s : S Where our fire - side - d :d |d :d r : – , m |r : r Hap - py, twhen her t :d | Sl :t Minds are of Ce - S :- . S | S : S O, they wan - der SI |t| : S d : s |m :d 1.He who con - quers, 2.Make we then a 3. For the joys of d : s [m :d m! :- ,r)| d! :- will we climb tº may we press f d! :- , t d! :- let us knit f d : Sl |d : — m! :- .rſ d! :- live thro’ time, f s : – , s |m * hap - pi-ness, f d! :- , t d :— com - forts sit, f d : Sl | : — wel - fare calls, t! :d |r : les - tial birth, S : – , S is : widefwho roam S :d |t| : d! :- [d] :d he who heav'n, make we life, for the m — ſm : m d : s [m :d 1.He who con - quers, 2.Make we then a 3.For the joys of d' : S |m :d s :m |s :d Up the mount of m :d |m :m Through the path of d : s |d' : S Hearts and hands to - d :- .d (d :m s :m [ s :d In our coun - try’s m :d |m :m Ex - cel - lence, true d : s |d' :s In the wild - est d :- .d |d :m s :-.m. |s :d Eſe who conquers,f m :- .d |r1 :m Make we then fa d! :- .d'ſ d! :s E'Or the joys of d :- .d |d :m d :t ſm' :r con - quers, he who then a heav'n of joys of life from m : r |S : S s : — |d' : t H- who heav'n, Of life from S :— s] :— A.L.C. d :t : glo - ry, m :r du - ty; S ... 8 | : ge - ther, S : S | d! :t sto - ry; m :r | : beau-ty: S : S wea - ther;-- S : S d! :- , t it he who falls, m :- , r |r : heav'n of earth, S : – , S | S life f from home, S :- . S | S tº d : — * falls. earth. home. r1 :— — . d! :- — falls. earth. home. d :- — ; St. Co. (New). FIRST EXERCISES. Ex. 11. KEY Ab. Sl :d : tí 1, I'm but a SI : Sl : SI 2.What though the m in : r 3.There at my d :d : Sl 4.There-fore I S! :d :t Earth is 3, I'll : Sl : Sl Short is my d : m : r I shall be d :d : Sl What – e'er my d :d :d Dan - ger and Sl : Sl : Sl And time's wild m : m : m There are the d :d :d And I shall S : m :d Heaven is my d s :d IBIEAVEN IS MY HOME. d : stran Sl tempests glo - earth t SOr - Sl good SI SULT6 º Fa sº - , r m ger here, . SI : S. rage P , ti :d iour's side, . Sl :d mur not, , I : m sert drear, .S. : S grimage, ...t :d ri - fied, , SI :d ly lot, .d :r row stand ..I'll ; Sl try blast : t and blest, . SI : Sl ly stand , m : r ther-land, .d : Sl at last, shall rest, . S1 . S. ther-land, S : m Heaven is Sl :m Beaven is S : m Beaven is SI :m Heaven is S : m Eleaven is S : m ELeaven is S : m Beaven is Sl : m Heaven is r : r Round me t : t Soon will 8 : S Those I Sl : Sl There at T- T- d : m Beaven is m : SI Heaven is E[eaven is : Sl ELeaven is :d my :d my :d my :d my :d my :d my :d my :d my OIl be loved : Sl my :F my my - :t my : Sl my V. O S t; L O r d’ S I shall reach m : S : m And there I, d :d :d Heaven is my Fa - home too, home. pl home. home. d home. : -> * – , r ſm \ 'ry hand; ...t :d ver- past: , I' and best; S right-hand; | St. Co. (New, IFIRST EXERCISES. Ex. 12. KEY F. | : 1.Sweet - est, fair - est, d :- ,r |d : Sl | : 2.There the dear ones There are dear fifa - mi d : – ,r |m :r d : | : Tried and true hearts|tlong : | : º r :- , r |r :d t! : Oth - er skies tas | clear SI : – , S| |S| : S. S| t| :- .tl. Itſ :d r º Friend - ship's handfL oft S! :- . S1 |S| : Fl Sł S :- .ml |d : m None can be f so d : - .d |m :d m :- , S | S . S Yet, I long f a - d :- .d d :d r :— j— : home, t : — |— : 8 : — |— : home, 8 :— |— : +best m º fwait - SWEETEST, FAIREST. A.I.C. | : .m. |s :— |m :s r — 1 — ; of pla - ces, Is] home, Sweet home ; , r |r ; d.d d :— |d — t! :- |— | : , s m : — |s — S — — to meet me, At home. Sweet home; | : — |d : m s : — |— | : .d m — |m :r d — — liarfa - ces, At home, sweet home ; ...t] id : S. sºld — |d ; tı |d : — — . | : , ſº | S — |s — m — — . to greet me, At bome, sweet home ; | º :— s! :- d :— — .d |r —- m :- . m . m :r d – .r |m -*. may be, Oth - er landstas fair to see, .m. |S| : — s! :- , sº [s] :t d :- .d |d : — .d |t| — d – .d |d :r m – , S | S - have press'd, Hap - py thoughts+oft| fill my breast, , sº |S| :– d :- .d |d : si |d — .d |d * m — ,r r :d S , - |m . S dear to me +As home, Sweet d – , t) |t| :d * — |d : — S : – , S | S : m m : — |S * gain to rest f/\t home, Sweet Sl : – , Sí |S| :d * |d : m m :— |p) : r dº : — | — Home, sweet home. d * |d :t d *- |— S — |s : — m :— — Home, sweet home. d :— | Sl *º- d *- |— : St. Co. (New). FIRST EXERCISES. d d : d :d |d m :m :m |s Break thro' the cloud d :d :d |s| tem - pests low |p) :– : d | S : – ; S | S tem - pests low d :d :d |m Hast'ning to us i |d : — :d S] Ex. 13. KEY G. :d :d Ir :d :d |t| m :m |s 8, Jºd Ol' Ol :d iS IMAY IS COMING. : r m : – : — |r :– : — and dark - neSS, : t d :– :- |t| :– : — : S S : – ; – |S of glo º ry, : s d :- :- [s] :- :- : s! : tº :r |s :- : Beau-ti – ful month of : S1 : Si : Sſ is :- : st : tº : T |S : – ; S Faith sees its gold - en | S : S : S1 |S| :- :d :r d :- :- — ; – : a - gain ; :t : S m : — : — |- : – ; ed west ; ă -g 4- |- - :S d! :- :- |– :- : m :m :m |m :– :r d :- Cheer of the dark - est day— d : d :d |d :- ; tı |d : — º : | tº e & Beaming with death - less ray— e | g & - s |r :– :- |d :d :d |m :- er, Beauti - ful month |t, :- :- |d : d :d |d :- |s. :- :- m :r :m is :- er, Blessed e - ter - |s, :- :- |d :d : d [s] :- ºf :d |t| :- :d thro' sleet r and : SI |S| :- : m :m |r :– :d -ing f a day of :d |S| :- :s : — |S| : – ; – :r |r :- Thought of the win - try d ; tı |t| : — º | Star of the dark - est : – ; S : S : S - Coming,ftho' : – ; m . m . In S : S : S Coming,f tho' d : d : d :– :- - :- | May. : - :- — ;- :– :- [– :- : | | d :- :- |- :- | . T • e St. Co. (New). FIRST EXERCISES. Ex. 14. f m :f d |d :d s s :d d |d : 1 Ex. 16. /*N d m :r Sl d :t m s :f d |d :s Ex. 18. § In :1 d |d :d m s :f d |d :f Ex. 19. /*N m l l ; S d | r : m s | f : m d t :d Ex. 20. /*N d m :r s] | d :t m s : f' d d : Sl TELIRD STEP. * KEY F. BAILSFORD. Ex. 15. KEY A. NAREs /*N /ºry /*N 8 :- || S | f :m | r :r m :- || m | f :r t| :- || d 11:f |m :r |d :- t! :- ||d |t| :d |d :t |d :- s|| 1 : 1 |s| :- || s] | f : 11 |S| :f |m| :- r – || m | f : S | 1 : S s :- d |d :f | r :- || d d :d |d :t) |d :- s! :- ||m | r :d | f :s |d :- d | 1 :f s] :- || m f :r |s|| : Si |d : REY G. GREGORIAN. Ex. 17. KEY G. J.S.S. /*N /*N er, d :- || r m :f |m :r |d :- m | f :m 1 :- || f |m :r |d :t) |d :- l <== t d :d d ºt! d :- d :d |d :— l Sl :f m :f m! :- m :- ||s |s :1 |s ºf |m :- s s : s | f :- || d |d :t) |d :r |d : — 11 :- || s |d :f |s|:S di :- \|d |t| :d | f :- ||f| |s|| : si |s|: s |d :- FOURTH STEP.+ REY F. E. J. HoPKINS. /*N /*N /*N s :- ||s |d :m | r :d |d ; tı ||s |m : 1 |s :- ||s |d :m | r :r |d :- d :- ||t| |d :d l! :s s! :- ||t| |d :d |t| :- ||d l ; d |d :t |d :- m :- || r |d :s | f :m |m :r ||s |s :fe s :- ||s |m : s | 1 :s,f|m :- d :- || s | 11 :m | f :d s! :- ||m| | 1 :r |S| :- ||m| | 1 : Si | f : S1 |d :- KEY Ep. G.O. Bb.t. /*N frº f :- ||s'd 1 :t, d ºr |m :- ||r |d :t) |d :- ||m| 1 :s f :r |d :- d :- ||r s] li :f s : s , s :- || s |s : s , s :- ||f|d |r :m |d :t) |d :- f :- ||r sºld :r |d ; tı |d :- ||t| |d :r |m :- ||d s | f :m 1 :s,f|r! :- l * — tim f :rl |m| : S. d : — Spſ m) :r d : — fid t :d f : Sl d : — KEY F. DR. CHIPP. Ex. 21. ICEY G. G.O /*N /*N /º 's d :- || 1 || s : f |m :r d :- m | r :r s : – || p | f : S | r : r |d : — l – || d d : d |d :t) |d :- d t| : t d :- || d |d :d |d :t |d :- m :- || f | ta; 1 || S :f m :- | s : s , s :- || s d :d | f :r | m :- l * f m :f S! : Sl d :- d | Sl :f m) :- || tal l : m f : Sl d :— * To be introduccd before page 1 of “Additional Exercises.” + To be introduced before page 12 of “Additional Exercises.” St. Co. (New.) ADDITIONAL EXERCISES, PART 1. NoTE.—In teaching to sing, these exercises should be preceded by at least a selection from the Exercises of the 1st, 2nd, and 3rd steps in “Standard Course,” or by the “First Exercises for Mixed Voices.” And before the Ex. on p. 12 is commenced, either the St. Co. Ex. of the Fourth Step, or those on the last page of “First Exercises,” &c., should be introduced. Words by GOD SEPEED THE IRIGEIT. Music from the W. H. Hickson. By permission. - German. . REY D. M. 66. s : s d' : – , s m : m s , : m |m : — | r : - .r m : — \ 1.Now to heav'n our pray'rs as - cend - ing, | God speed the right ! s : s d' : – , s |m : m s : m d : — |t| : – , tºld : — 2.Be that pray’r a- gain re - peat - ed., | God speed the right! s : s d' : – , s |m : m s : m s : — s : – , s s : — : 3. Pa - tient, firm, and per - se - ver - ing, God speed the right ! S : S : - . s. m . m s : m |d : — |s| : – , s|d : — º 4. Still their on - ward course pur - su - ing, | God speed the right ! s : s |d' : – , s |m : m s , : m |m : — | r : – ,r m : — | : In a no - ble cause con - tend -ing, | God speed the right ! s : s d' : -...s |m : n, s , : m |d : — |t| : – , t d : — : Ne'er des - pair - ing, though de - feat - ed., | God speed the right ! s : s , d' , : – , s |m : m s : m s , : — s : – , s , s , : — Ne'er th’e - vent nor dan - ger fear - ing, | God speed the right! s : s d' : – , s m : p1 s : m |d : — |s|| : – , sº d. , ; – : Ev - 'ry foe at length sub - du - ing, | God speed the right ! d' : t , | 1 : s 1 : s | f : m r : m | f : r s : f |m : r Be their zeal in heav'n re - cord - ed, With suc - cess on earth re - ward-ed, m ... : s | f : m | f : m | r : d tº ; d | r , ; tı | I] ... ; r. d : t Like the good and great in sto - ry | If they fail, they fail with glo - ry, d! . . d) |d', ; d. d' : d! s , : s s : s , s : s S. : s , s , : S Pains, nor toils nor tri - als heed - ing, And in heav'n's own time suc - ceed - ing, : : d d : d d : d SI. : S is , ; SI |S| , ; SI s : f Truth ! thy cause, what -| e'er de - lay it, There's no pow'r on earth can stay it, d' : — |r! : – ,r)|m| : — — : s : — s : – , s d. , : — | – : God speed the right! God speed the right ! d : — s : – , s : — |— : S : – S : – , S : — — God speed the right! God speed the right ! s : – , t , : – , t d' : — — : s : — s : - .s : — — God speed the right! God speed the right ! r1 : – | r : – ,r |d : — — : s : — s : – , s : — | – : God speed the right ! God speed the right ! LoNDON : Tonic SoL-FA AGENCY, S, Warwick Lane, E.C. In three parts, 4d. each. & 2 ADIDITIONAL EXERCISES.—PART I. GOING+ HOME. KEY F. M. 88. - Gersbach. : d |m : S d : – , f |m : r S : – , d r : m 1.How many a Tyang, IHow many an ill, How many a : SI |d : r d : - .d d. ; tı d : - .d |t| : d 2.EIe bears us, 8|S in win - try storms, When winds are : m S : r m : – , f | s : 'S S : - , S | S : S 3.Be God OUlſ guide, whate'er be - | tide, And when our : d |d : t l : - . 11 |s| : fi m : - .ml |s| : d f , s : m ., f |r : — : S | t , 1 : 1 , s |s : l .t d! : - , t harm - ful SIOla T6 Might sore - ly plague, and bruise, and r : d |t : — : t| | r .d : d . t1 |t| : d .r |d .m : s , f raw - ing wild, - A. faith - ful ten - der fa - ther 8 : S |s : — S : - |s : S S S |s : - . S time shall come, For UlS pro - vide in man - Sions t : d | Sl : — S : - |s : S S : s , f |m : - , r d' , t : 1 .s | 1 , s : f .ml |m : — |r : — d : — | : kill, Were God not with UIS there. m . s : f .m. | f .m : r .d |d : — | ti : — d : — | warms His lit - the dar - - ling child. S : – , d d : d S : — |s : – , f |m : — | : wide, An ev - er - | last - - ing Home. d : - .d d : d SI : — | Si : — d : — : KEY EP. M. 72. JACKSON'S IFVENING BIYMN. * W. Jackson. m : — : p1 | f : – ; m m : r : d t! : d : f : — ; m | r : — : m |1. Fa - ther, in high] hea - ven dwell-ing, May our eve - ning d : – ; d |r : – ; d 11 : – ; li |s : s : d : r ; d |t| : – ; d 2.This day's sins, O par - don, j Sa - viour, E - vil i thoughts, per- s : — : s , s : — : s | 1 : — ; f | f : m : | 1 : s : s , s : – ; s 3.From en -1 tice - ments of the De - vil. | From the migh of : – ; d |t| : – ; d fi : —- : fſ s : d : | l ; t : d | f : – ; m \ 4.Whilst the night - dews are dis - till - ing, Ho - ly Ghost, each) s : f : m m : r : d' : f : 1 || s : d : f |m : – ; r |d : — : — Somg be tell - ing Of thy | mer - cy large and | free. s] : – ; SI S ; SI : f : – ; d d : – ; d d : – ; tı |d : — : — Verse be - ha - viour, En - Vy, pride, and van - i - | ty; † : – ; d. d' : t , : d' : – ; d! || 5 : — : 1 || s : — : f |m : — : — spi - rits e - vil, Be our | shield and pan - O - ply; r : — . SI - SI : 1 : – ; f |m : – ; f | s : — : St d : — : — heart be fill - ing, With thinel own se - || ron - i - | ty: St. Co. (New.j ADDITIONAL BXERCISES.–PART I. 49 r : – ; r n : – : s 1 : s : n s : f : m r : – ; f |n : — : s \ Through the day thy | love hath] fed us, Through the day thy | t| : – ; t : – ; d. |d : – ; d. | r : — : d : t| : r | r : d : d From the world, the flesh, de -i liv - er, Save us now, and ( s : — : s , s : — : d! I d' : — : s |s – : S S : – ; S | S : – ; S Let thy | pow'r this night de - fend us, And a heav'n - ly st : – ; sº |d : – ; m | f : m : d |t| : – ; d s : – ; sº |d : — : m Soft - ly will the eyes be | clos - ing, | While on thee the 1 : s : d' | t : 1 : s | f : — : m. m : r : f |m : — : r |d : — : — Care hath) led us, With di - vin - est cha - ri - | ty. | d : — : m | f : – ; d |t| : – ; d 11 : – ; r |d — : t |d s=ms ºmº Save uS eV gº er |O thoui Lamb Of Cal - va, -iry ! f : d' : d! d! : – ; d! |s : — : s , s : f : 1 s : – ; f |m : — : — peace at - | tend us, And an - gel - ic com - pa - ny. : In : d if : – ; m | r : – ; d fi : – ; r |s| : — : s |d : — : — soul re - | pos - ing, | Ev - er I bless - ed | Trin - i - | ty. SPRING IIIFE. , (Words translated from E. M. ARNDT, by J. S. STALLYBRASS.) KEY D. M. 144. Gersbach. : : s |d' : — |m , s: f. 1 s : — m. s : f. 1 || s : m d' : t : S 1. Hur-rah! Eſur - rah! Flow-ret fair, Bloom and befragrant; Put forth all thy : : s |m : — |d .m. ; r. f |m : — |d .m. ; r. f |m : d | 1 : s | f : m 2. Eſur - º EIur rah | Trook-let clear, Mur-mur, thou youngster;| Slant - ing down, thro? : S " ; S | S : — : e f : ſº : : 3. Hurl-rah! Hur - rah! Bird - ie dear, Warble, thou songster; Woods are leaf - y, : s |m : s |d : — : : : | : : | : 4. Hurl-rah! Hur - rah Heart of Man, Leap up and worship;|What, thou would'st mot f : s : f .m. ||r : — s : – , t , t : s t.d': t , 1 |s : — t , : - .d'] r] : dº ti - ny leaves, Clam - ber up my | cot - tage eaves, Clam - ber up my r .nl : r .d |t| : — s : – ,r | r : tº r .m : r .d |t| : — s : – , m| f : m hill and dale, Bid - ding all my loved ones hail, Bid - º all my : : : : : : & : days are long, Flow’rs are nod - ding to thy Song, Flow’rs are nod - ding : | : : | : : : s : S. s : 8 lag be - hind, When all else are glad of mind? When all else are St. Co. (New.) 4. - ADDITIONAL EXERCISES.–PART I. | t , 1 : s , f |m : cot - tage eaves. Hur- r , f : m r |d : | loved ones hail. Hur- : | : S to thy song. Hur- s : s , s : s glad of mind. A - s : — – : – Flow º º - m : — — : — Brook - º - : | : Song tº º - : | \ : Take rah! rah! rah! way ! m : ret, let, ster, l : S d! Eur-l rah | : S m Hur-l rah! | — : s S Bur-l rah | | — : s d : A - I way ! | : f : blos — : t Iſlul).' | : S W3r | e S my part, TEIE FORTUNE EIUNTER. |t : – , r' d' : — Grow a-] way ! |r : – , f |m : — Slant a-i way.! | s : – , s , s : — Chant a- way ! | si : - . sºld : — Praise and pray ! | — : — m : — º- tº- Som . | — : — d : — º - mer! | — : — s : — - tº ble ! | — : — |d : — heart | (Words translated from RUCKERT, by J. S. STALLYBRASS.) - : KEY F. M. 60, twice. Gersbach. : sſ |sſ : 11 : tí |d : – ; d.d. l r : - .d : r m : d : r |m : P : f I'd of - ten been told that luck W8 S 8, ro - ver; I thought I'd make : s , s : li ; tı |d – ; d.d |t| : - . 11: s |d tº d : d : d 3. With clat - ter and noise, Wholena - tions did throng them, Men, wo - men and : s] |S| : li ; tı |d – : ['i .m s : – , s: s s : T : s , s : s : S 7. I’ll give up, me - thought, funning af - ter this bub - ble; Who knows that when : s , s : l ; tı |d : - ; d.dls : - . 11; tı |d : d : s |d : d : r 8. I spied a green spot in the for - est so sha - dy, To build me a 9. By la - bour and thought, By skill and per - sis - tence, My house I have I- § -> s : – ; pl.m | r : – ; pl.r |d : d | 1 : – ; d.l s : – ; m.s | f : - , s: f bold #er haunts to disl-cov - er. La, la, la, la, la, la, la, d : – ; d.d |t| : – ; tr.t|d : d : | f : – : 1.f |m - ; d.m. | r : - ; tı boys, But no Luck wasa -mong them La, ia, la, ia," la, la, s : – ; s.sls : – ; s f |m : " : |d' : – ; d. d' : – ; s it : – ; s caught Šhe will pay for the trou-ble? La, la, la, la, la, la, m : - ; d.dll si : – ; st.sºld : d : |d : – ; d : – ; pi |s : – ; si cot Without ask - ing myl La - dy. La, la, la, la, la, la, wrought, Without For-tune's as-sis - tance. La, la, la, la, la, la, St. Co. (New.) ADDITIONAL EXERCISES.—PART 5 Iº- m : d : d d' : – ; d' d',t : 1...s: f.r |r : - ; s |d : - ||s s : l ; tı Ta, la, la, la, la, la, la, la, la, la : 2.I left my own d : — | f : — : 1.f|r – : d |t| : - ; tı |d : - || s |s : li : tſ la, = . 14, la, la, la, la, la, la | 4.I ask'd of those s : – ; m | 1 : – ; f.1 s : – ; s | f : – ; f |m : - || s |s : l ; tı la, la, la, la, lla, la, la, la, la! 5. At one place I d : – ; | : d : d d : – ; | S : - ; SI |d : - || si |s| : 1 : t la, la, la, Ila, la, la, la 6. At a great ci - ty's la, la, la, la, la, la, la! 10.Here, Luck, is my t D.S. d :-,tſ: d | r : d : r m : – ; r |m : m : f | s :-.f : F1 | r : m : r |d : – ; – gate - way, And wander'd a - broad, Went this way and that way, And tried ev'ry | road. d :-.si: s |t| : 1 : s is : – ; tı |d : d : d |d :-.tº; d |t| : tº : t d :- : — near me, Where was the shy elf; But none seem'd to hear me, Each sought for him]-self. d :-r: m s : s : s s : – : s , s : s : s s :-.s: s , s : s : f |m : - : – ask'd them. If For-tune was near ; They said she had past them Fullma-ny a | year. d :-.d : d s : 1 ; tı |d : – ; SI |d : d : r |m :-.r : d s : si : s |d : – : — gate-way I ask'd, had shel been P They answer'd “here wait we, To, wel-come her in.” dwell-ing, And here will I REY G. M. 66, twice. Gersbach. : s , s : d! : p1 |m : s : d |m : m.s; f. 1|s : – ; si |d ; d.m. r.f m : d ; f.r. The May-time, the May-time, how love-ly and fair, What pas - time and plea-sure is : d id : – ; – | – : p1 : d d ; d.m.; r. f. r : – ; : : SI | St : d : d The May º - time, howſ love-ly and fair, What pleasure is ; "| ||P. - 3 S | s : – ; : : º : : : r |m : s : s The May ge time, What pleasure is : d |d : – ; – |d : – ; : : : s |m : d : tſ.rld : r1 : d \ The May sº time, What] pas - time and plea-sure is r : – ; – | – : - : s , s : –.f: m | r : tº : : i : : S.S. there ; The night - in-gale sing - eth, Over tº : – ; – | – : – ; m |m : -. r: d |t| : s : : : : : - S – : – | – : – ; : | : : s , s : –.f: m | r : tº : there ; The lark it up - springeth, s : – ; – | – : – ; | : m | P: : -.r; d |t| : s : l stay ; Come in, if you're wil - ling; If not, keep a - way ! TEIF IMAY-TIME. Words translated from the German by J. S. STALLYBRASS. St. Co. (New.) ADDITIONAL, EXERCISES.–PART I. d : – ; d m : – ; T. field and hill and : sis|d... : - ; d. , Over hill and : : | : : S ,S Over : : | g : d.d d : – ;-- – : - || S dale. .The d : – ; – | – : - ||d dale. The m : – ; – | – : – m dale. In d : – ; – | – : - ||d d : d .m : r f |m : d : f.r | out their poor pris’- ners at : s] |s|. : d : d poor pris’- ners at : r |m , , : s : s poor pris’- ners at m : d : tºr |d : m : d out their poor pris’- ners at | : : S.S. And the | : : s : – ,f : n | r ; tı : - lets for po - sies, vio m : – ,r ; d |t| : s : s : – d.: d |m : – ; r red lit- the pim - per- : s] |d : – ; t And pim - per- m : – ,p) : m s : – ; f rod lit- the pim - per- & : d s : – ; si And pim - per- : – ; m f | s : — Over field s : – ; – | d' : dale, m : – ; – | – : — dale, S : – ; S. S g hill and dale, d : – ; d d : — s : d' : m m : s : d gates of the earth, that were – : — — ; m earth * † sº gates, so m : – : s , s : – ; May gº time, d : – ; – |d : – ; r : – ; – | – : – ; s last, As t| : - ; – } – : – : m last, s : – ; – ) – : – ; last, S * , - | <-- tº- last, d : : - ; d. m : – ,m : m pinks, and bunch - es of º |Bunch - es Of : : | : S And : | : d d : – ; – : S ncls. In d : – ; – : d nels. In m : – ; – ) m nels. In d : – ; – d nels. : d.r |m : — and hill : : d.d |d : — Over hill : r and t] and : – ; d.r |r! . . ; – : s.l. s : – ; f Over field, Over hill and : tº : In f | s : – ; sh fi : p1.s : f.1 s : — lock'd up so fast, d : d.m.; r.f |m : – ; late -ly lock'd fast, e e | : Le s : – f : m r ; tı : ) li - lies and ro - ses, Pi : - .r : d |t| : s : : : | : : s And | : : m s : – ; – d! : – ; pl.f blue * -º bells, And the ſm : – ; – : – ; blue * = bells, s : – ; – s , : – , ; d.r blue tº bells, And the d : – ; – |d : – ; s : d' : m |m : s : d May- time, in May-time, oh, : – ; – | – : m : d May * - sº time, oh, m : – : s , s : – ; May i- time, d : – ; – |d : – ; St. Co. (New). ADDITIONAL EXERCISES.–PART I. 7 S ,S - S ; d.d m : m.s : f.1 || s : – ; sº |d : d.m. ; r.f |m : d : f m | r : – ; – | – : – ; s waste not the hours, Go twine you sweet gar - lands of flow’rs; Oh I ; d.m. ; r.f |m : – ; º : s! |s|| : d : d |t| : – ; – | – : – ; m . sweet gar - lands of flow'rs; : : | : : : r m : s : s , s : – ; – | – : – ; sweet gar - lands of flow'rs; : | e : s |m : d : tſ.r |d : m : d s – : - - : – ; Go twine you sweet gar - lands of flow’rs; s : – ,f : m | r : tº : | : : sist, d :-.d.; d | p : – ; m far on the mea - dows, There is ful - ness of life and m : – ,r : d |t| : s : : : | : : : St.sſ|d : – ; d There is life and º | : : s , s : – ,f : m | r : tº : : : : S , And deep in the sha - dows There i | : : m m : – ,r : d |t| : si ſº : ! : s : – ; – d! : – ; m.f s : d ; d.r |m : – ; r d – : – ; – : — joy, And there! reach-eth us no an- noy. - J. : — * | – : — : : SI | d - : t - sº | - * JOY, And no an- noy. s : – ; – | – : – ; d.r |m : m : m if s : – ; f |m : — — – : — joy, ...And therel reach-eth us no an- noy. d : – ; – | – : – ; : : d s : – ; si : – ; – | – : — | And no an- noy. j TEIOU SEIALT SHOW IMIE. KEY D. M. 96. Canon, four (voices) in two (subjects). S. Webbe, : S : - – : S d' : — I — : | : — : — — : t Thou shalt show me the path : | : o : d : — | — : : — | Thou shalt show o | : : | : : | : : : : | : : | : : | : : | : d! — d! : — — : — |t — d',t : d'or', d' : d' t : — I d' : d' life in Thy pre - Sence is ful - ness of f : m | f : — |r : — |— : s , f |m : — | – : — |r : — |m : — DOlG the path of life ; in Thy : | : : | : : s : — — : s d' : — Thou shalt show : | : : | te : | & : .. f St. Co. (New). 8 ADIDITIONAL EXERCISES.—PART I. f : — I'd : d' joy, And at f : — m : — pre - Sønce, — : t d' : — me the : |d : — Thou d' : — s : — IOOT6, Thou d : — — : — Joy. dl,t : d!.,r' d' : d! pre - Sence is m : — I — ; – life; d : — d! : — life; in — : m | f : — me the m! : — d! : d' plea - sure for d : — li : 1 - SCIOCé 18 KEY C. : di.r"|m" JFa la la : m , f | S : d!, d' d! Fa lal la : d', d' d' | m) : — la, |s : | d! : la, |d : - M. 72, twice. f : f' . If : r".r" |m| : — d! : d' |r! :-- |— : ri Thy right hand there is plea - sure for ev - - €r : |r : r : — | 11 : 1 f : — is : s , in Thy | pre - sence is ful s ness of 1 : — — ; t d' : – ' d' : — — : — t -º- path of life; in Thy — : : — — : m f — r — — : s , f shalt shew me the path of | – : s , d' : — – : t d' : — | 1 , : — — : t | shalt shew me the path | Of º & d : — — : f : — Thou shalt shew t — d' : d! |rl : — d! ; d) |f| : fi |f| : r1,r ful - Iness of joy, and at Thy right hand there is r : — m : — |f — |m : — : | r : r in Thy pre - Sence, in Thy FINE. ,- D.S. – : — It : – d'.t: dºr|d : d [t .: — I d' : d' Thy pre *- Senoe is ful cº ness of /*N r : — — : s , f |m : — — : — |r : — |m : — path of life; as in Thy r' : — — : r d) — |s : — — : s , d! : — GV - - Or IſlCI’G. Thou /N shalt shew f : — s : s d : — — : — : : ful - ness of joy. THE WAITs. 1st time p., 2nd f, 3rd £, 4th f, 5th p., 6th pp. Jeremiah Saville, 1667. r! : – ; – d' : 1 : t d' : – ; r. m|f| : – : — la, Fa la la la, Fa lal la | s : – ; – |p) : m : s |m : – ; fl. s | 1 : – ; – |t : – – d! : d! : t , 1 : – ; t d! : – ; – la, Fa la la la, Fa la | s : – ; – l l ; 1 : s | 1 : – ; s | f : – ; – : t : - .d! |r! : – ; m'.f||s : – , 11: sl, f |m| : m) : — la la la, Ea lal la Ia la la la la, : S – , s s : – ; m .r |m — , f : m ,r |d : d - la la la, Fa la | la la la la la la, : s : – , s , s : – ; m .m. |m : - .m. ; m .m. || 1 : 1 - | St. Co. (New J ADDITIONAL EXERCISES.—PART I. 9 D.C f : f : -.m'ſ r" : – ; n' d' : 1 : r ||t : s : d' d' : d' : -, t d - Fa la la la ; Fa la la la la la, Fa la la la la. r : r : -.d |t| : – ; s f : f : f.m. ||r : r : m m : r : -. r |m : — Fala la la, 1 : 1 : -. 1 | t : S ; d. tº 1 : d' : r" | r : t : d! s : s : –.s s : — Fa la 1a la la ; Fa la la la la la, Fa la la la la. r : r : -. r s : – ; m | f : f : r s : s : d S : S : -. Sºld : — THE CUCROO. REY F. M. 96. SolI. J. Gersbach. : : | : | : S p! . | : 8 || n : d * Cuc -l koo! Cuc - koo! and , : : | : | : In d : | : : n | d : & : e | : | : & | : 8 || R. | : d CHORUS. Cuc - koo! and : sſ |d : d.d |r1,r : d .m. || s : — | — : : | : In d | : d Who I sings in the shady thicket" near ! f : – , f | 1 : f 1 : s s : 8 77 | : m r l’i : n |m S hark how c - cho an - swers clear, Cuc - koo! t The two short notes are d : - .d |d : d | f : m |m : m d | ; d. t. : | d : m 1 : - . 1 | f : 1 d! : d! d' : 3 |m : s S : s |s S hark how e - cho | an - Swers clear, Cuc - koo ! The two short notes are f : - ..fſ fi : fſ d : d |d : : m d : d d : d |d : d s : f | f : f .m. ||r : r | r .m.; f |m : – , s |m : s m : | : 8 scarce-ly heard, when e - cho quick-ly mocks the bird, Cuc-| koo ! Cuc- m : r | r : r .d |t| : t | ti.d : r |d : - .m. |d : n |d : ] : 72 s : s , s : s , s : s , s : s , s : – , s |s : : 8 | n : scarce-ly heard, when e - cho quick-ly mocks the bird, Cuc - koo! st : s , s : s S ; SI |s : Si ld : - . : : n | d : II) : | º e | : : 8 |m : 8 | in koo ! Cuc - koo ! Cuc - koo! d : | | : In d : : In d | º º | e | : S | P: | O | tell menow thesongster's name. Cuc - koo ! º | : s, ld .d.; d.d |r : St d | : In d : | St. Co. (New.J 10 ADIDITIONAL TEXERCISES.—PART I. d d .d ; d.d d : | : | : S | 7 | | : d .r m : - .m. |m : m .f Cuc-I koo ! We hear them sing, and : | : | : m d | ; d. tº d : - .d |d : d . r f : – , f | f : s 1 : s , s : : 8 | n : : | tº Bird of beau - ty, bird of fame, Cuc - koo! | 11 : - . 11 l ; d f : d |d : In d : : | : £9%) s : – , f | f : - .r r m . f | s : s s . f : m .r |m : 3 Tº ; S catch the tone, Then turn and sing it, sing it as our own. Cuc-| koo! Cuc- m : – ,r | r : – ,tſ tº ; d. r |m : m m .r ; d. t|d : m |d : : m - : | : : | : : | : : s | n : . - Cuc - koo ! : | : : | : | : n | d : m : : º | : s , s , s: s , s | 1 : 1 |s : — |f * > koo ! C7'éS. O tell me now the songster's name, O d : | : s] | d.d.; d.d | r : r |m : — | f : d |t| : — |d : r £p O tell me now the songster's name, 0. tell I(10 : s |m : s m .m. ; m .m s : s |dſ : — | f : — | r : — | 1 : s . Cuc - koo ! O tell me now the songster's name, O tell Iſle : m |d : : & : f | St. SI: SI. Sill ; tı O tell me now the songster's m : – , f | s : 1 m : — | r , : — d : s |m : : s |m : tell me now the song - ster's name. Cuc - koo ! Cuc - koo ! d ... : — |d : d d : — |t| : — |d : m |d : m |d : - \ | tell me the song - ster's Ila,IIl6. - | s : 8 : f . 1 || s : — | — : f m | : S m | : r | tell me the song º - ster's name. Cuc-l koo! - O d : d .r |m : f S — |s| : — : | : p1 |d : | : Sl name, tell me now the song - ster's Ila OO16. * dim. dim as : | : s |m : — — : s m — — : — | – Cuc - koo ! Cuc - koo ! : | : m |d — — : m |d — — : — — - sºme £)}) | m., m : p1..n) m : s d! — — ; d) s : — — : d! S gº- º |tell menow the song-ster's name, Cuc - || koo ! Cuc - || koo ! | St. Co. (New.) ADDITIONAL EXERCISES.—PART I. Wº | KEY G. M. 80. s : — s : d Lord, bless our d : — s : s] m : — m : m Lord, bless our d : — |d : d | | : d Oh, f : m | r : d grant us, by Thy : |t| : 1 Oh, grant us, r : d |d : t round Thy’ throne to t| : d | lºsſ; fl.s. f : m | r : r round Thy throne to Sl : 1 |f : SI r : s m : here, Oh, make Thy r ; tı : Sl s : s |d : d here, Oh, make Thy t| : s | 11 : m f : m | r : d good - ness more our t| : d [ s : S. hearts can cheer, Than s : s , s : ". good - ness more our r : d : d cheer, Than rich ! st IBON ACCORD. (Music from the old Scottish Psalters.) t! : - .d | r , : " . r : s , || 1 : d fel - lowship this hour, And bless the st : - . 11|t| : d r : t |d : s r : - .r s : s s : s |d : d fel - lowship this hour, And bless the SI : – , Sils t| : S1 || 1 : m : : S f : m | r : d Oh, grant us by Thy t| : 1 |st : d t! : d |s|| : si grant us, by Thy | Sav - ing power, A - s : f |m : s s : s , s : m saw - ing power, Oh! grant us by Thy st : 11, tºld : m r : d |t| : d by Thy sav - ing power, A - round Thy d : — — : — || s : — s : d meet. On ev - 'ry m) : — | – : — || d : — s] : st d : — — : — ||m : — |m : m meet. On ev - 'ry | : — — : — ||d — |d : d r : r |d : : | : face to shine, 11 : tí |d : : | : d Thy f : r m : s ... : M | r : d face to shine, Thy good - ness more our f : s di : : d |t| : 1 Thy good - ness tº : – ,d | r : m r : d d : t hearts can cheer,Than] rich - est food or SI : – , S: S ; SI t| : d | list; fl. s. rich - est food, Than rich - est food or r : – , r | r : s : m | r : r hearts can cheer,Than rich - est food or § : - , lilt. : s! . . 11 |f| : S. food or wine, Thanj rich - est food or r : r |d ': food we eat ; lſ : t! |d : f : r |m : s food we eat ; Oh, f : s di : t| : - .d | r : m sav - ing power, A - SI : – , Sls : S. round Thy throne, a- r : - .r | r : s Saw - ing power, A - S| : — , lilt throne to meet, Soul as-Sem - bled st : - . 11|t| : d r : - .r s : s Soul as-Sem - bled st : – , Sils : d | . S Thy t! : 1 | St : d - good - ness, more our s : f |m : s hearts can cheer, Thy st : 1ſ., tºld : m more our hearts can d : — | — - wine. m! : — — : — wine. d : — — : — wine. d : — – : — WII 16, St. Co. (New.) 12 ADIDITIONAL EXERCISES.–PART I. * EIOPE WILL BANISEI SORROW. KEY F. M. 72. Words by GEo. BENNETT. Swabian Melody. → ~~ . It s : –.m : 1...sls.,f : n : — |r m : f. 1 :s.f |f , : " : S : -.F. : 1. s is ., f : m : — 1.Once again we’re doom'd to part, [Deem not 'tis for ey - er; Love if rooted in the heart, d : -.d.; d.d |r.,r : d : — |t|d : r. f :m.r | r : d : d : -.d.; d.d |r.,r ; d : — 2. When I’m far al-Way from thee, O'er theo - cean] sail - ing, You will often muse of me, m : – , s : f.m. |s.,s : s : — s.s : s : s , s : s : m : -.s : f.m. |s.,s : s : — 3.Faith and trustin] heav'n we have, God is ev - er near - est, He can still the stormy wave, d : -.d.; d.d |t|,tt: d : — | f |m ; r. sſ: ll.t] tº ; d : d : -.d.; d.d |t|..,t); d : — f /\ /\ #9 T-— r , s : t , 1 : s , fell : s : f : - .m : r .d |t| .,d : r : — | 1 : – , s : f .m Timenor tide can sev - er; 'Tis the sada- dieus that chill, Make the parting ti.r : m : r r : r : r : - .d.; tı. lt | sl., ll: ti : — |f : - . m : r .d Tears & sighs pre - |vail - ing, But ne'erthink of me with fear, Check at once the s , t : r".d': t , 1 |dſ : t : tº : - .d : r .m. |f .,m : r : — | r : – ,m : f .s Bearme safe - ly, dear - est. Then, farewell my ma-tive shore, Clasp me to thy /\ /\ S.S. : d : r fe : s : s] : - . 11; tı.d | r ...,d ; tı : — |t| : - .d : r .m C}^CS. f –T s r ...,m : r : — s : – , m : f , s || 1 , t : r".d': t , 1 || s : - .m.; f.r | r : d sadder still, Say “we’ll meet to-mor º row,” Hope will banish sor - row. d..,d : s : — s! : - .d.; d.d |d : – ; d d : - .d.; tı, t|t| : d ris-ing tear, Sing “we’ll meetto-mor º row,” Hope will banish sor - row. 1 ., l ; t : – ' d' : – , s : s , s | f , s : t , 1 : s , f |m : – , s: r , s | f : m heart once more, Sing “we’ll meetto-mor º row,” Hope will banish sor - row. f ., f : f : — I m : - .d : r .ml | f : — : fi S1 : – , S: s , sil SI " : d IBIOW PEAUTIFUL THE SUNSEII.N.E. KEY D. M. 80. Words by Geo. BENNETT. German Air. on f I- I- C?”628. : , s , s ,d':d' :– , s , s ,rl:r' : .s |m ºr':d! .t : 1 , r" |s :— 1. Howl beau-ti- ful the Sun - shine gleams In glorious summer's golden prime, : , m ..,m) : m :— .m f ..f :f : , f |m .,s : s , s : s , fe r : — m tº Q Q . . tº 2. Butloft "the sun - shine brighter glows, And dear-er seems to heart & eye, : . S | S .,S : S :- . S | S .,S : S : F, d, it :d! .rſ : m r" |t. : — 3. "Tis thus in life, the cares and clouds But makethepleasuressweeter still, .d d ..,d :d :- .d |t| ,t):t : , t d ..,r :m .r : d . r l’s : — #9 A.t. m_f . S s ...m ºr , s :d' ...,s : — : 1 r's of :m ,r :d .r |r1 : — On all a - round itshedsits beams, From ear-ly morn to ev - en- time ; : r m ...,d :d .m : s , ,s : — :f 1 r ,tſ:d .t] : li , t d : — When sparkling o'er the wintry snows, Or glowing o'er the autumn sky; : t d! ...,s : s , d' :d'. ...,d' d' : — : di r's or :m , s : s , s S. : -— When twilight sorrow's valeen- shrouds, Hope shinesmorebrighton sun-kiss'd hill; . S d ..,d : d .d :m ,ſm f : — :f fet, ., SI: Si .S. : Si . S1 |d : — St. Co. (New.) *In teaching, introduce here St. Co. Ex. 133 to 145, or “First Exercises” 18 to 2 l ADDITIONAL EXERCISES.--PART I. 13 * f. D. ºn f : dis s ...,d]: d! And | yet we tire When|light and shade : mt d' , s: s The gold-en threads : dis & • 9 e KEY B9. M. 72. • St d : d 1. Come, free - dom's . SI I'll : m 2. In rain and º | 3. Then] free - dom's m .d : s .m l r .m joy- ful mu- sic praise girt by ra - ging seas d .d : m tl .d joy- ful mu- sic praise d] ...di : d .ml |s| d : - . r m .d skies in beauty peace our dai- ly S| * – ...t , m skies in beauty d : - .st d .d -> I- r ; tı d gave tlS birth ; l : fi Pll spi - rit's here ; f : r gave TulS birth ; f : Sl | d In Ore time’s : r : Sl C7'é8. --" * *-* *=º f 1 .,d': d' : - .d! t ...,d': r" .m) : fi ,t d! : — summer’s sped, And] wish the long long days were fled. •9 o .. *s . 1 S •,S : S . S : t ºf m – e - qual seen, The cloud will make more bright the beam. •yl : – , f' r" ...,m): t , d' : rſ .,s |s : —- : weft per-vade, Shine brighter for its warp of shade. • 9 & : — ..f S •,8 : S . S : S •;8 d * - : COME, FREEDOM'S SONS. Schultz. d : - . S. S1 .m. ; 11 . S. s , f : Pll .d Sons, and join in ring-ing cho - rus, In m : - .ml |m| .m. ; fl. .ml | ri : di .m. storm our sky is oft - en frown - ing, And S| : - .s |s| .d : d .d SI ; SI . Sl Sons, come join in ring-ing cho - rus, In d : sº .d. d .d. : d .d. ta : di .d. D.C. this fa - vour’d spot of earth; Come, praise the : - . 11 |s .s : fel ..fe, s : . . . SI |f| : fi our land is rough and sear; But I health and : t .m. | r .r : d .d |t| : . . . d d : Sſ this fa - vour'd spot of earth; Come, praise the *º .d. TI .TI : T1 .TI | Sl : . || . " f : I’l : f .m. |m .r : .s |f .m : r .d |t| . 11 : s ,d Shin-ing o'er us, - And loudly sing to praise the land that . SI S| . Sl , sº | St . SI : s , Sí |S| f : Pl, . 1 la-bours crowning, Give countless blessings to the cheerful : r .d d ... t1 : .m. | r .d : t , 1 | | SI .r : m .m shin-ing o'er us, And loudly sing to praise the land that ; tı .d Si .S. . S1 | St , s : S] . SI | SI .t] ; d .l . S1 | 1 : t d : – , r | m .d : f .m Come, praise the skies in beauty shin-ing ..si |f| : fi m : - . S] | SI . S1 : Sſ . Si But] health and peace our dai-ly la - bours .d |d : Sl S| : - ...t] .m : r .d Come, praise the skies in beauty Shin-ing .m. | f | : T. di : – , Si ld .d ; tı .d St. Co. (New). 14 ADDITIONAL EXERCISES.—PART 1, -> -> m...r : .# , f ºr : r .d |t| < 1 : s .d |r : t d .m : , M O'er us, And loud-ly sing to praise tho land that gave US birth, the land that SI . SI : : $1 | St $1 : SI SI is .fi : m .11 ill : fſ . S. . . . . 1 growning, Give countless blessings to the cheerful spi - its here, the cheerful . . t1 : ." | r * d : t , li |S| ºr , : In , pi |f : r | .d :d .d o er us, And loud-ly sing to praise the land that gave UlS birth, the land that SI . SI • SI | SI . SI : Si . S1 || 8 | .tl. : d ... lī | f | : Sl di .d : 1 , 1 f : r M. d. : d ...d |r : tí d gº gave U18 birth, the land that gave llS birth. l : Sl Sl 1 : l li l ... Sl .f. pſ : — Spi - rits here, the cheerful spi - rits here. r : tí d. ...T. . . m .m. ||r : r d : — gave LIS | birth, the land that gave UlS birth. f : SI d •l : l 1 f : SI d – . THE QUAIL CALL. (Words translated from the German by J. S. STALLYBRASS.) KEY C. M. 66, twice. 19 f Gersbach. m : – ; m.m |m : -.m. ; m | f : – , s : f |m : – ; s,s s : – ; : : 1. Hark to the Quail how she pipes at morm, “Como a- long ! Come a-long ! d : – ; d.d |d : -,d : d | r : -. r : r |d : – ; : : s,s s : – ; 2. Cool on the hea - ther the] dew yet lics; “Cold the night ! Cold the night !” s : – ; S. s s : -.s : s , s : – , s: s , s : – ; : : | : : 3.Now come the huntsmen with horn and hound; “Get you gone ! Get you gone! !, d : – ; d.d |d : -.d : d |t| : -. t1: tº |d : – ; tº : : 4, Hark, when the reaping is lov - er and done, “I’ll be-l gone! I'll be-gone ! d : d! : d! d! :-.r'; d. t : – ; Q : -.s : s , s : 1 : t | d! :-.r": d! come let us hido in the corn.” g-º S G Look at her, steal- ing through yonder º T1 : S : 1 || s : -.s : 's s : – ; | s : -, s : s s : fe : s | 1 : -.1 : flutt'-ring and shiv - 'ring she cries; Runs to the sand, where she mak - eth her d : d' : d'.r' pil : —,fl; m) | r : – ; |† : —,t : t |r! : d' : t | 1 : -.1 : 1 here I lie Safe in the ground; While the wheat stands and the leaves are yet d : m : f | s : –.s : s , s : – ; s. : -is: s , , t , : 1 : s |fe : -fe; fe ruth - less the win - ter comes on.” Eli - ther and I thi - ther she ſlits and she : t: Tº a |f| : – f'; fl. m) : – ; | d' : di : dº t , , : – ; – s : field, Tell-ing of sweets that the har - vest will yield, Sing-ing the § , : - ; - |s : s : s , s : s : s , s : –.s : s |s : – ; S... : 8 , ; S bed, Pa. - tient-ly waits till the shades are all | fled, Wist-ful - ly |r! : - ; – t : d! : rj |d : t : d! |r! :-r!: r" | d! : – ; T : rſ : dº | green, I by the hun - ter shall nev - er be | secn; Ah, but tho §... : - ; – 15 , : s , : f |m| : r ; d. |t| : -.tº; t| |d : – ; d. : r : m flies, But not a glean-ing of har - vest she spies, Tho' in the St. Co. (Wew.) ADDITIONAL TEXERCISES.—PART I. 15 d! : – ,t : d' r! : – ,d': r" |m| : – ; ; – | – : – ; : : d'.,d' d' : – : — while that she joy - ful-ly glides, “God be thank'd, God be thank'd'' f : – ,f : m s : –.1 : t d' : – ; – | – : – ; : : s ,s | 1 : - : — watch - es the bright - en -ing | skies; - “God be thank'd, God be thank'd'' r) : – ,r1; d. It : - .1 : s is : – ; – | – : – ; d.,d' d' : – ; d.,d]|dſ : – : — reap - ers they lay me so bare ; Who'll ba- friend ? Who'll defend ?” f : – ,s : 1 || s : -...s : s d' : – ; – – : : : : m.,m | f : – : — vale of her birth she would stay, Look she goes, Look she goes, C)'8S • - cen - do. T- s : – ,s : s , s : 1 : t d' : – ; – | – : – ; who for the hum-ble pro- vides.” ;|m :- n: n | f : f : f |m : – ; – |- : – | slum - ber he gave to mine eyes. d' : - .d!: d! |t : d' : r" | d' : – ; – | – : – ; | God for his crea-turo will care. s : – s : s | S : s : s |d : – ; – | – : – ; ov - er the moun-tains a - way. Words by TEIE TIME FOR, JOY. J. S. Stallybrass. (“Soldiers, brave and gallant be”) Gastold. f KEY BV. S.S.C.T.B. M. 144. m : - .ml T : s |m : - .m. |d : — m : m .r m : fe s : – , s | s : — 1.When the win - ter's past a - Way, When woods put on their green ar-ray, |d : - .d |d : r |d : - .d |d : — |d : d .r |d : 1 |t| : – ,tſ |t| : — SI - - , Sils : 8 |S| : – , s ] sº : – ; 11 : 1ſ. r1| 1 : 1 |s : – , s: , s : — 2.In the leaf - y month of June, TJn - der a high and cloud - less moon. m : - .m. | T : r |m : - .m. |m : — |d ; d. tº 11 : r | r : – ,r | r : — 3. Let the sum - mer | sun be high, Or winter fogs blot out the sky, # : - .dld : t |d : - .d |d : — | 1 : 11, tºld : r s : – , s |s|| : — m .m. ; m .m. |m : r |m : — : s |p1 : d | r : r |d : — — : — T'a la la la la la la, Fa la la la la la. d.d.; d.d |d ; tı |d : s |m : d : m , f | s : s |m : — | – : — Fa la la Fala la la la. SI. SI: SI. Sils : 8 |S| : — d, . m .fils : 1 |r : s |s, : — |– : — tº- I'a la la, Fa la la la 1a. d .d.; d.d |d : r d :m.f s : — : d.d |d : tº d. t1; d.r |m : — Tala la la la la la, Fa la la, Fala la la la la la la la. di.d.; d.dll di : s] | di : — : d .d |d : li |s|| : s di : — | – : — Fa la la la la la | la. St. Co. (New.) 1 3 ADDITIONAL EXERCISES.—PART I. f m . - .m. |m : s m : - .m d : — m ; pl. r|p1 : fe s : – , s , s : — Then the birds con- spire to sing, Then, then with joy they hail the Spring, d : - .d |d : r |d : - .d |d : — d : d .r |d : 1 t! : – , tſ|tſ : — |s : – , s, s : s , s : – , Sils : – |li : 11, ril 11 : 11 |s : – , sils : — E’er the dew hath shut the rose, While yet a breath of eve - ning blows, m : – , m m : r m : - .m m : — |d ; d. tº 1 : r r : – ,r | r : — Songs of joy can still a - rise, Deep in the heart their foun - tain lies, |d : – , d d ; tı d : - .d |d : — |ll : 11, t|d : r s] : – , Síl sº : -- ºn al- : r m : — : S m : d | r : r d : — | – : — Fala la la la la la, Fa. | la la la la la. d.d.; d.d |d : tº d : s m : d : m , f | s : s m : — — : — Fa la la la la la la la la la, Fa la la la la. s.si: s. sºls : s list : — | di : T.f, s : 11 | r : s s : — |– : — Fa la la la la la lla, Fa la la| la la la la la. d .d.; d.d |d : r |d : m.f s : — ; d.d |d ; tı |d .tl: d .r n : — Fa la la la la la la, Fa la la, Fa la la la la la la la la. di.d.; d.dll di : si |dſ : — : d.d |d : li |s| : s di : — — : — Fa la la la la la la. C?'6S. Hark! do you hear the tale they tell ? Near and more near the tid ge ings r : r .d |r : m | r : r |t| : t , liſtſ : d |t| : t |d ; tı | r : — st : S.r.l's : si |S| : S1 |S| : : | : s , s : — | 11 : — Hark! do you hear the night-in - gale, Sing loud and clear, His thrill - ing : | : : fő |'s : s ,m s : — : S m : — | 1 : r Hark! do you hear, Hark! do you hear our songs re - sound, Still loud and clear, The whole year st : St. lt. SI : di |s|| : 8 |st : S. lils : di |s : si |d : T | r : — *º s : — | – : — | r : r .d |r : m | f : – , f | f : — "I s : f'.m. | f : r swell: Now with a sun - ny sky a -bove, Now is the time for t| : — – : — tº : tſ.d |t| : si id : - .d |d : — m : r .m. |d : s s! : – | – : - |st : St. Pll s : s | f : - ..ft| f : — |m| : fl. sſ. lt : si tale? Here, in the green and sha - dy grove, Here is the place for F : — | – : — |t| : tſ. 11 st : d 11 : - . 11||11 : — I d : li.d |d : t round P Whore joy descend-eth frem a -bove, There is the place for st : - I - : — si : S. liſti : d | f : - .fi fi : — di : rſ, dºlf : si ſo : t. 11|t| : d t| : tº | r : r .d | r : M | r : r m : s |s ife. St. Co. (New.) ADDITIONAL EXERCISES.–PART I. 17 I d : – ,d |d : — |m .m. ; m .m. |m} : s m — — : — joy and love, Fa la la la la la | la, m : – 'm m : — d.d.; d.d |d ; tı |d : — | – : — st : – , sils : — |s|.S. s. sºls : St |s : — | – : – joy and love, Fa la la la la la |la, d : : - .d |d : — : | : M.n: n in Ir, : S joy and love, Fala la la la la d : – , dildſ : — d.d.; d.d |d : m d : — | – : — Fa la la la la la la, C7'éS. f f d — : s , s m : — : s , s |m : — : " , m la, cres. Fa la la, Fala la, Fala, m : s , s |m : — : s , s |m : — : s , s |m ; d.d la, Fa la la, Fala, la, Fa la la, Fala st : p1...mil 8, *E=º : Pll.mil Si * : m.pl. s : — Fa la la, Fa la la, Fa la la, ; d.d |d : — ; d.d |d *=sº : d.d |d : — C}^{2S, .# d : — : d .d d : — : d .d d : — ; d.d. la Fa la la, Fala, la, Fala IBIEAR, MIE WEIEN I CALL. key F. fº m : f | s : 1 r : — s — d : — | r : Pl Hear me when I call, O Lord of my d : d |d : d t! : — |d — |d : — |t| : s : f | d' : 1 || s : — |s : — |m : — s : s Hear me when I call, O Lord of my d : li m, ; fl. 1 st : — |m| : — | 11 : — s! : ſº —T I- in : f | s : 1 |r : — "Ts : — is ; d | f : m Hear me when I call, O Lord of my d : d |d : d |t| : — |d : — |d : — | 11, t:d s : f { d} : 1 s : — — : f |m : — | f : s Hear me when I call, O Lord of my d : 11 |m| : fi s : fi m : fſ. sillſ : — | r ; pl.f. £) - d .d.; d.d |d Fala la la la m .m. ; m . Pll m Fala la la la ſ] : la, d .d.; d.d |d Fa la la la la : t! la : S : Sl la la m — I — : — | la. d : — — : — la. : p.mil m sºmeº Fa la la. ; St. Sils * d : — — : — la. G. A. Macfarren. f : : - .m. |m : right - eousness; 1 : – , s s : right - eousness; f : - .d |d o r : – , d d : m right - eousness; Have t : – , d d ſº s : - .ml |m : s right - eousness; Have st : – .d d : d St. Co. (New.) ADDITIONAL EXERCISES.—PART I. C7°68. f. B2. -- F. t s : — m ... r d : d :d s! is : — |m : r |d : d : mer - cy up - on me, Have mer - cy up - on me, f | d : — |d : si || 1 : 1 | :d s] | d — |d : s l] : li | : mill *=º - And s : — s : s |m : " | : l r s : — s : s |m : m | : mer - cy up - || On me, Have mer - cy up - On me, | m : — |d ; tı | 11 : 1 | :lm | n : — |d ; tı | 11 : 11 | f * dºwn. % | : Iſr s : — | f : m | f : — | r : r | r : — |m : and heark - * * €Il | UlD. tºº to my pray - er. r : d |t| : 1 |d : — | r : m r : d |t| : t , t) : — |d : heark - - en † =e : | : dif s : 1 ||t : d! | 1 : — s : s s : — |s : and heark - - €D | Ullºl sº to my pray - er. tº | :d f |m : — | r : d r : — s : si |d : — |d : C. t. #' *- s d' : — r! : r" |m| : d' | 1 : t .dll r" : – , s s : s 1 : 1 | : Lord, lift thou | up the light of thy coun - te-nance up - on me, r s : — | f : f m . S : f .m s : — |— , f : m , r | f : f | : sd' : — I d' : t |d : d' |d : rſ, d' d' : t t : t |d : dº : Lord, lift thou || up the light of thy coun - te - nance up - on me, tim : — | r : r |d : m | f : r , l s : – , s , s : s : f | : / *s. I- fi : — — — It d' | 1 : f |rſ : – 1– : 1.1 ſt : d II : d Lord, lift thou up the light of thyl coun - te - mance up - 1 : — — : — | f : s | f : d 1 : — — ; f. f | f : s | f : m. f : — |– : — |r! : d! I d' : 1 |f| : — |– : F, rr ; d) |d : d Lord, |-> lift thou up the light of thy coun - te - nance up - W : |r — | f : m | f : : r |r : r .r | r : m |f Lord, | lift thou up the light f. F. 49 dolce, – : t. 1 | t : — d! : — — : — |d's : f |m : r |d : 1 s : — — ; r gº Ol Dºre, I will lay me | down in peace and s : — — : f |m : — — : — : | : | pia : f d d : — - andl take r' : — | — : — d! : — — : — : ] : d's r : — | OD. ICD-9. and] take S : — | — — |d : — | — : – | : : | : lim Sl *=se St. Co. (New.J ADDITIONAL, EXERCISES.–PART I. 19 - - I- |r : s.f m : — |s : — – : f |m : r |d : 1 |s — — : r | r : m take my rest, I will lay me down in peace, and take my |t| : — id : r |d ; tı |d tº : : : — |t| : — my rest, and take my rest, - and take my | s : — s : f |m : r m : | | : s | r : — s : — |s : — "ld : — — : — — : | | : r l’s : — |s|| : — f : — : : r s : f |m — — : — | f : — | f : — — : s rest ; For it; is thou, Lord, OI). * gº is d : — : : : : lſ | r ; d t| : — rest; * For if is thou f : — : : | -: s d! : t | 1 : — T : — — ; s rest; For it; is thou OIl º tº gº - | : 1 |r : d |t| : — |— : — |d ; – ||— : — | r : — |ri : — |s : — For it is thou, Lord, thou, Lord, OIl - f. B7. pia. |m :d s 11 : -.'s, si : — |lt : — | – : St | 11 : t |d : r |st : — | : I’ ly sthat mak - est me dwell in safe tº- gº ty; that ld. i Sl f : –.m. |m| * — f : — — : s f : — | fi : Sl | S : S. that mak - est me dwell in Safe - ty; Thou on - ly |d : f d d : — |d : d d : r.d |t| : d d : — | f : — m : | : T' ly that mak. - est me dwell in safe * - tº- ty; that | 1. : lim f –.dll di * — f : — | — m f : SI | l : t d : | ; tı ly that mak - est me F. f. £40 m : —, r | r : — |m 1 : — — : s | 1 : t d' : 1 s : | : S r : — mak - est me, dwell in safe gº sº ty. A - men, st : — |s : s |s|d : r.d |t| : d |d — f — |m : s |d — — ; tr.l. mak - est me | dwell in safe * * º ty. A - men, d , t, tº : — |d f : — — : s |f — |— : — s : Il S * mak - est me dwell in safe sº sº ty. A - men, d : -, sº sº : — |dft : — | – : pú | f : s | 1 : f | d | : & / f | s : f |m : — I d' : — — : — t : 1 t : — t : — I d' : — — : — I A. tºº Imeſ, A. sº sº gº gº eme men, A - men, |t| : — : — I'd : – |r : — |– : — |– : – Is : f |m : — |- : — | s : — | 1 : — |m : — s : — — : — – : — s : — s : — | – : — A. sº men, A. * - Imen, A. tºg IſlCI1, & © t d & e | : 11 : – 's : – I- ; – 1– ; – Is – ; ; – 1– : – || St. Co. (New.) 20 ADDITIONAL EXERCISES.-PART I. WE FLY BY INIGHT. Matthew Locke. KEY E. M. 108. C. t. d : d!.t | 1 : r" : r".dſ t d'f' : rſ.d! t : s! |r', fl: ml.rſſm', d': — We fly by night, we fly by night, we fly by night 'mong troops of spirits, : |d : d.d | f : - .m. | r : m 1 : 1 . 1 |s : s s : - .s s. s : — We fly by night, we fly by night 'mong troops of spirits, : | f : f.s ſº | s : s , s |s d' : f' |rſ : d! d! : t |d'.dl: — We fly by night, we fly by night, by night 'mong troops of , spirits, : | f : f .m. ||r : | s : s , f |m l ; f | s : m s : s d.d.; — f. F. : | d's : s , f |m d : d!.t | 1 , t :-1 ..s | f , s: f .m. ||r : We fly by night, we fly, sº - º tº- s r : r .d t! : d : d. t|d : d : d.d |d : r : r ,r | r : We fly by night, We fly by night, we fly by night, we fly by night, m't : t , 1 || s : S : s , s | S : 1 : 1 , 1 || 1 : 1 : 1 ..f s : : |d's : s , f | m : |d ; d. tº 1 : | f : f .m. | r .m : r .d |t|.d.; tı. 1, We fly byl night, we fly by night, we fly - - - S : s , f |m , f : m .r d .r : m .d |r .m : f .r m , f : s .m. | f , s : ] ..f WO fly - - º - º -> --> - -> º tº- r : r , r |d d :d .d |t| : – , t |d : — |f : f .f wo fly by night, We fly by night, by night, — We fly by t; : t , t d! : Fi : T1 .m. || S : - , S | 8 : d! |d : d! . t 8, |d : d . t1 | 1 ,ti :d .tl,lils : SI d , r : m .d | r .m : f .r - We fly, - º - We fly -> tºº --> Hº T).C. s . l ; ta , s | 1 , t : d! t : d! |d : t d! , d' : — | : º * - - by night 'mong troops of spi- rits. m : - .m. |d : f r : m |r : r m . m : — | : night, we fl by night 'mong troops of Spi- rits. d! : – , d' |d : - . 1 || s : S |s ; S S S : - i : m . f : s ,m | f , s : 1 , f is : d | S. : Sl d .d : — | : sº tº- e- by night 'mong troops of Spi- rits. | St. Co. (New). ADDITIONAL EXERCISES.–PART I. MY LADY IS AS FAIR, AS EINE. IF. t KEY B5. M. 90 p tº ºe John Benet, 1614. ; d.r m : – m m : f |m : r.d |t| : r |m : r.d | r s : d' d! : t d! ; d.r My la - dy is as fair as , fine, With milk - white hands and gold - en hair; IHor : "If s] : - ..sil Si : 1 |s| : firl r ; tı | 8 : d tſm : d | r : – ,r |d : d : s! |d : – ,d] d : d |d : s] : 's f |m : s | 5 d!: s | 1 : s f |m f : m.r My la - dy is as fair as fine, With milk - white hands and gold - en hair; Her : di di : - .d.; d. : fi di : d : s di : dº | Sid : " | f : s |d : — C}^{38. f. By. m : r .m. | r , d:t.d r 11.tº; d.m. ||r — |m : – , s | f : d |r : r |m : eyes the ra - diant stars out - shine, Light - ing all things far and near : d : t .d |t|. 11: sſ.l. taifi : S. liſt : — s : – , s: l ; d |d ; tı |d d : r | r : – ,r s r : m .d | r : — |d : m | r : d g : s |s eyes the ra - diant stars out - shine, Light-ing all things far and near : : s , s : - .s | Sir : di : — |m| : - .ml fi : ll s : s] | di Her eyes the stars out - sh £99 d : – ,r |m ; d.s.) 1... t1: d d . t1: — |d : – ,r |m : d d : tº d.d : — Fair as Cyn - thia, not so fickle; Smooth as glass, tho’ not so brittle. T : - ..fils : si |f| : m |r1,r1: – | 1 : - .lls : ml |ri : ri | d.dſ: — d : d |d : s | r : s |s ; r.m. | f : d |d .r: m.f s : – , f |f .m : — Fair as Cyn - thia, not so fickle; Smooth as glass, tho' | not so brittle. d : - .dll di : m T : di | St. st:-- fi. SI: 1. tild : di S] : S. | d.d.; — £) F. t. | : d .r |m : - .m. |m : f m : r .d |t| : r m : r .d | r s : d' My heart is like a ball of snow, Fast melt - ing at her o | : mſ.f, s : – , sº S : 11 |s| ; fl.mil ri : t |s|| : d |t|m : d : | : s |d : - .d|d : d |d : s |s : s , f |m : s |s d! : s My heart is like a ball of snow, Fast melt - ing at her | : d d : — .dll d : fi d : d |s : Sl d : d | sld : m C}^{2S, . B 7. -l | d' : t d! ; d.r : r.m. ||r .d : r1|.tº; d.m. | r : — m : - .s | f : d | r : r glan-ces bright; Her ru - by lips nightworms glow, Spark - ling thro' the pale twi-f r : – ,r |d : d : t.d |t|.11: sr.l. taif : m.dll ri : — sº : - ..sil l ; d |d ; tı 1 : s ,f |m f : m.r : r |r s r : sºlſ|t| : – ,r |d : ri r : d |s : s glam-ces bright; Her ru - by lips nightworms glow, Spark - ling thro' the pale twi-W f : s |d : — ; SI lis sir, , ; d. [s] : — |m| : - Till f : 1 s : S. IIor lips nightworms glow, * St. Co. (New). ADIDI ILONAL EXERCISES ..—PART I. £2% d : – ,r | Fl Neat she is, m - f|s d : d [d Neat she is, di : - .dll'd, 72, thrice. | ū e "|sſ : m : r |d : – Hm, Hm, &c. | tº SI : – ; : m : — | d : – ; Hm, &c d : – ; – | – : – ; round round d : s : li i s : – ; | Si : – gº | – : – ; "| m : – ; – | – : – ; d : – ; – | – : – ; – : 8 | r : f : m to rest is the tim - id : – ; – |s|| : l ; t – : — | – ; – : — : d.s. 11,tſ: d |d.tſ: — no |fea - ther lighter; | : s | f : m rº,r1: — : sº | r : s |s ; r.m no | fea - ther lighter;" : m r - d. sis: - | NIGHT d : d Il O : -.]] S! : I'll : – ,r |m Bright she is, l f : d [dir: rif |s Bright she is, no fi.si: lſ.t|| d : d AROUND. S dai Sl : SI sy whiter. Air by Weingan d : tº d.d: – dai - sy whiter. rt : rſ di.dſ: — | : - f| f |m: – | | did!: — | d. ~ Dº- ; : |& : n : 1. Night 2. Tho’ - * – | – : – ; : – ; – | – : – ; : – ; – | – : — – : - | – : – ; : f : n | r : – ; the earth - rits! awe : r : d t| : – ; == St : — : – ; – s : – : – ; – |st : — – : – ; #| |d : 7 : lies calm - where Sulmb’ring |d : t:d s : – ; – |d : – : — st : – ; – || – : – ; – || 1 : – ; – : – ; s | fe: – ; 7" a- . 3U- ly r g (Arranged for this work by GEO, OAKEY). : : ; : : : - |– : – ; sº |t| : l ; tı |d : – ; – || – – – : – ; – | f : – ; – |m| : – ; – || – – | – : – ; – |r : d : r |d : – ; – || – - |– : – ; – s] : – ; – |d : – : - - #| |d : l ; fe s : – ; – |m : – : [in is soft - ly creep - ing, All these clois - ters night - ly Spi – |d : – ; – | r : – ; – |d : – ; – |d – | 11 : – ; – s : – ; – — , : * : - || – s |fe : – ; r s : – ; – | – : – ; – || – - |- : - ; – |t| : - ; – id : - : - - d : – ; – : s : n : r |d : – ; – laid, Grief if-l self breast, Love fears] not d : – ; – | – : — | : : sſ : – ; – | – : — | In : – ; – – : – ; |m : – ; – || d : – ; – | – : – ; : : d : – ; – St. Co. (New.) ADDITIONAL BYERCISES. —PART I. 23; C. t. cres. |s d': # : Sleep - I – : : - || : : |s|d : — |tſm : r : m d est da S : – ; thou lies : ; f : n : r : 8 |f : m my Song : M | r : the balm - JPoco rit. hear my lute's soft Z6 tº tº- - phyrs gent- ly taf : – ; – | – : – ; m | r : d ; tı – |d ; tı : d s! : – : – 8 r : — : – || – : – ; T | f : s : f – | – : – ; – | – : – : — | n : : 17 : * : EIush | Fill : — | r : – ; SI - : u : " . * - s : – ; – | – : – ; – fe: — * --> |d : — *-* : – | 11 : tº-º - : n | S : - ; - |- : - ; – is : l ; tı |d :- : - - - - : – |- : – ; – s : – ; – – : – ; – |m : – : — |- : – ; – ) – : – ; – |d : – ; – | – : – : — a dºt d'Is : – ; – F : - : — -:- -Td ; tı: d [s : – ; : n |f| : m) : rſ be- lov - ed in heav'n - ly s: – ; – | – : – ; d! t : – : — tri: f : m |r : – ; d |r : n : f lute tones : |d : s : llls : s] : – ; – | – : | $º e tº J | | C7'95. – s : fe: s **** Float - ing TJp - ward. : #| |d : 7 if I - my love d"|7 : – ; – |- nor wake thy] dreams – |m : – ; – || – º – ; tı : d |s| – sº-Tº- |- – s : – ; – || – : |m : – ; – | – : – ; s | fe: – ; d : – ; – | – : – ; – | – : – dim. : 8 |f : n : r d : – ; – |- : my la - dy|. fair. with thoughts of me. ; d [r d ; tı |d : - - - : , - IT- Sl – : - || – : m | f : – ; – |m : – ; – ) – : : – | – : – ; – |d : – ; – || – : ſ St. Co. (New.) 2 { ADDITIONAL EXERCISES.— PART I. !ſ COME, LET US ALL A. MAYING GO. Arranged for mixed voices by GEO. OAKEY. L. Atterbury. KEY E 7. Vivace. M. 132. #9 s : s , s s : 8 1 : s s .s | 1 , f : f : 1 |s .m. ; s |r .m. ; f.r.l r : Come, let us all a May - ing go, And light - ly trip it to and , fro; f m : m .m. ||r : m f : r |m : .m. | f : d |d : m ti.d.; r.d |t| : r .d sº := tºms Let us d : d.dll t : d' d' : t d! . .'s f. 1 : 1.f d' : d! |r!.d': t .d's ; r. r Come, let us all a May - ing go, And light-ly trip it to and fro; d : d .d | St : f : St |d : .d | f : – , f |m , s: d' s : s s f) B2. t. #9 cres - cen - do. : t m d ill : f .r |t| : - . (d : d .d |r — , r ) m : ſm Let us go, f let us go. Come, let us all a May - ing t! : | :Flſ.s | f : fi : li |S| : - , |S| : 8 , Sí |s| – , S: |S| : 1 80, let us go, S . | : ml,lſ | r : 1 , li | r : - . . m . m .m. | r : – , r |d : d £9 let us go. Come, let us all a May - ing : sſdl," | f : : ri , f |S| : – , |d : d .d |t| – ,ti |d : 1 Let us go, f | f : – , f | f : r |m , d: f.r m .r ; d. tº d *=º | r , tſ: tſ. S 90, And light - ly trip it to and fro, tripit to and |t| : - . 11|s ; tı d.d : st : S. si — st.pl.: riſ.dll 11 : tº trip it to and fro, |r : – , r | r : s s : 1 s , f : m , r |m : — * | f.r : r .tº sº : St. s. go, And light - ly trip it to and fro, tripit to and fro, to and 1st time. 2nd time. f f. EO. D.C. §§ |d — f : r |m .d : f.r |m , r ; d. t|d s : — ||d • 8 | ºr ditch; tº fro, light - ly, light-ly trip it to and fro. | fro. The bells shall | m di: St. ml sº : ti d : SI. SI: Sſ. Sºl Sr : – il s . SI d.d.; tr. 1; sº, fi: "...r. trip it, trip it, light - ly trip it, s] : — | r : s , s : 1 s , f : m , r |m t : — || m : s : m : fro, light - ly, light - ly, trip it to and fro, fro. Cuc - koo, > > | S.T.: Il diſta ; sº | di.d.; fl. St. s. s.s.lds : – ||dſ : ...d d ... : – ; d ... : — trip it,trip it, Cºmº The ' bolls shall St. Co. (New.J ADDITIONAL EXERCISES.—PART I. 25 - f. Ep. mi.nl : r .d |t|. 11: sſ, film.m : r .d tſ. 11: s , filmſ : — : ds : m : ring, and the cuc - tºº koo sing, Cuc -koo, I- I- di.d.; tı. li. sſ.fi : pl. r1|dſ.d : t , lils,f : mi, r, di : — : mºtt id : — |d : — ring, and the cuc - º koo sing, The bells shall s : m : s : m : s : m : s r" | d!.m!: r", d! t , 1 : s ,t Cuc - koo, Cuc - koo, Cuc - koo. The] bells shall It- I- I- I- d : — ; d.d |d : — |d : — |d : — :ds d.d': t , 1 s , f : m .r ring, and the cuc - koo sing, The bells shall #9% *-*. s : m : s : m : s : m : : | : d.d'\ Cuc - koo, Cuc - koo, Cuc - koo, And the I- -> I- I- | d : — | : d , s||d : — |d : — |d : — | – : | : m .m ring, and the cuc - koo sing, J- d!.m!: r".dll t. 1 : s , t d!.m': r".d' t . I : s , t d! : —- — ; d. s : d' | s : ring, and the cuc - - koo sing, The drum shall beat, | d .d': t , 1 || s , f : m .r |d .d': t , 1 |s , f : m .r |d : — | : : e ring, and the cuc º- tºº koo sing, fife shall play, The drums shall beat, and the fife shall play, And r : m |r : m r : - .m. ||r : S , S | S : S |s : , S : | : di t : – , d' |t : m .ml |rl : m |r! : , r) The drums shall beat, and the fife shall play, And |s f #9 t : di |t : S 8 : – , s |s : s , d! It : d' |t : : | : d 8| : - .d si : d', d' | S : d 1sT TIME. B D. t. D.S. 2ND TIME. - d! : S |s : f ,m r : S |m 11 : , sſ ||r : S |m : — SO we'll pass Ollr time a - way. The time a - way. S : – f |m : d d : – , t) |d f : .s ||d : – , t |d : — t d! : r | d! : T , s |s : S |s d : S : 8 |s : — SO we'll pass OUIT time a - way. The time a - way l] : t |d ; f, S| : S |d f : .d || s, : SI |d : — || St. Co. (New.) 26 ADDITIONAL EXEROISES.–PART I. *S KEY D. Allegro. M. 88. % \ | Hal , 8 men, lu jah, le Eſal JHal d Hal t tº | : | : : - .r |m,f.s : 1 . s A | 1 A - men, Halle - lu-jah, A - } le - Tu- jah, A-men, HALLELUJAH, AMEN. (From “Judas Maccabaeus.”) | | l , s : f .m. |f .nl : r A - men, Halle - lu-jah, A - f A. t : 8 d.r |m,f.s : 1 . S Halle - lu -jah, A-men, : d le - lu- jah, A-men, : f .m. ||r .m : f m : 8 d , t) |d mCn, Halle - lu - jah, f' .ml : r , d' | t .d! : ri d! :r's , f | s , s : f , s Halle - lu - jah, Hal-le- : | : :t pl. r |d, r,m : f .m Halle - lu-jah, A-men, f. ID. : f | —- : m t l * |s : di dº tºº men, | A tºº tº men, Ekal - : — tºlls : – , Bºr m : f .m. ||r : S gº jah, Hal - le-i lu - jah, Pſal - : f : [s : – ,s r" d! : rl ,d] | t , 1 : 5 Hal - le sº lu-|jah, Hal - : — sºlilti is : d g | – .d : f | — : m lu - jah, tºº * {-} Eſal - : - .r! [d : – , d! I d' — | – : t gº lu - jah, Eſal-l le º ge tº- - lu - : - .tl. d, r.m : f .m. |f .m : 1 .s | 1 , s : f - le - lu - jah, A-men, A - men, Halle - lu-jah, A - : – , f | s : d : | : - le - lu - jah, : - .r |m,f.s : 1 , s | 1 , s : f .ml | f .m. ; r A - men, Halle - lu-jah, A - IIandel. : d .r | 1,f.s : 1 , s Hal-le - lu -jah, A-men, ': d' , t d', r1,r)| : f', m' d : | IſlCºl. 1 , s : f .m. | f .nl : r A - men, Halle - lu-jah, A - - .d ; tı .d |s|.d : – , t) Hal-le - lu - jah, Hal - le- f , s : , s |s : – , S lu-jah, Hal-lo tº f .rſ : r .d |t| .d : si A - men, Halle - lu-jah, Hal - lu- d! : fl |f| ml , r) le - lu - jah, Hal - 8 : f', m.r |s sºmº le - lu - jah, d! : – ,rl | d! , s : d! le §º lu - jah, l : – ,t d! : le jº lu - jah, A. t. d'f : m , r d, r.m : f .m jah, Hal-le - lu - jah, A-men, m 1 : | : Iſle Iſle **s sd : - .r m,f.s : 1 .s Hal - le - lu-jah, A-men, d f : ſ : IDOD1, St. Co. (New.) ADDITIONAL EXERCISES.-PART I. 27. f. ID. f , m : 1 , s | 1 , s : f m : fá' |r! : r" , r" | S : ,d] |r! ...m':f * A - men, Halle - lu-jah, A - men. O Ju - dah, re- joice, re-joice, º gº : : : ds |f : f , f |m : , s |l : S ; : : F i Q , Ju - dah, re-joice, re-joice, re - ( I , s : f .m. |f .m : f d : In |rl : rſ .rſ d! : .m. |f| im":r" .m',f( A - men, Halle - lu-jah, A - || men. O Ju - dah, re-|joice, re-joice, º - \, : : - : fá' |d : t , t d! : .d' |d r",d': t .1,t .d! |r ºn':f nºr'ſ 'r'.d' : .s | 1 :..— . t. I d! : .ml |f|, f ; fl. f \ Re-joice, OT || Juſ. dah, in Songs di- vine, With cherubim and || .s |l : 8 is is : , s | f : – , f |m : , s | 1 . 1 : 1 . 1 || IRe-joice, O Ju - dah, in , Songs di-| vine, F: - .ml |f| im!:r ml,f\ml .ml : .m. ||r! : – , r) d' : , s |f , s : 1 . t \. Re-joice, O || Ju - dah, in songs di- vine, With cherubim and! d] i .r',d!: t ,l,t d! .d : .dl |f : - . S º | e m! .m. ; ml .ml |r! : – , t | S : , t d! .d' : d', d' t , t : t , t d' : – , d' \ se - ra - phim harmo - nious join, With cheru-bim and so - ra - phim harmo - nious! s , s : s , s |f : – , f |m : , s , s , s : s , s , s , s : s , s |s : - , S d! .rſ : ml .d! |r! .d' : t , s d! : , r) |m|.m. ; m) .ml |rl ,rl : rl ,r" |m| : – , m' se - ra - phim harmo - aious join, With cheru-bim and se - ra - phim harmo - nious"; e | : : , s |d .r : m , f | s . 1 : t , s d' : – , d - d'.ºTi' i--| C 0, A. t. . D. t : Bd .r |m,f.s : l , s | 1 , s : f .m. | f . m . r S : — | Im) : rº join. Halle - lu-jah, A-men, A - men, Halle - lu-jah, A - || mon, and in S : rs1 |s| : fi d : d |d ; tı d : — | ds : s Har - mo - nious join. Hal - le - lu - |jah, and in r! : tſi.r |d,r.m : f .m. |f .m : 1 , s | 1 , s : f m : — |mt : t - join. Halle - lu - jah, A-men, A - men, Halle - lu-jah, A - men, and in f S : Sd. |d : — mº- : — | — : r : — | ds : 8 - Eſar - mo -> -> º º dº nious join, / St. Co. (Now.) 28 ADDITIONAL EXERCISES.–PART 1. f : — |s : — S * | — : d! Songs di - - I vine har - : — |f tºmsºmºn m : — — : 1 . s Songs di - - I vine har - d! : — r" : — m — — : f' .m' Songs di * - - I vine har - : — |t : — d! : — | — ; d. ! S : d' , t d', r'.m! : d'. s d! . s : 1, t.d.) | 1,t, d' : t join. Halle - lu - jah, A-men, A-men, Hal-le-lu - jah, A - m : s , f | s,f ſm : f .m. |f .m : 1 , s | 1 , s : f join, Halle - lu - jah, A-men, A-men, Hal-le - lu - jah, A - d : m r" |d it : d' , t di.t : d! , s |d .s : r g join. Halle - lu - jah, A-men, A-men, Hal-le - lu - jah, A - d' : d .r |m,f s : 1 .s | 1 , s : f .m. |f .m : r 7 : | : rl | d! : | : | A - || men, | : 8 || S | : | A - men, | : r" | m' | : | A - || men, * : | : t d! : l | t : – , t d! : — d' : — |t — d' : — — le - lu-jah, A gº * = tº IſlGIl. f : – , f | s : — s : — — : f m : — — le - lu-jah, A - gº ſº IOleIl r" : – ,r1|m| : – F : — s : — s : — — le - lu-jah, A. tºº tº ſº IOleIſle r : – ,r |d : — s : — — : — |d : — — d : — |r! IſlC) - nious 1 , s : 1 , s | f .m In O tº tº fi .m. ; fl. .ml |r! .d. IO.O ge tº d' : — | – ! d! | Imen, m | mCI1, S | men, d | 7 : t 1 : | A - men, : f m : | A - || mon, : r" | d! : | A - men, : S : | nious : rſ nious t Adagio. : d' Hal- F[al- : di Hal- St. Co. (New.) ADDITIONAL EXERCISES.–PART I. 29 SWIFTLY FROM THE MOUNTAIN’S BROW. Words by Music by Cunningham. Samuel Webbe, KEY E 7. Allegretto. M. 80. d! : 8 d! : di .r,d': t , d' | ri : r , f : 1 ..f : s , d! Swift - ly, swift - ly from the mountain's brow, Shadows, shadows nurs'd by : m : d ...tl,d : r .m * m . d . t] .r : r .m Swift - ly, Shadows shadows : d : m .s,s : s , s |f *gº : r . tº : t , S from the mountain's] brow, nurs'd by d : m : m .d : f .m. ||r : t , s |d : fl. 1 || 8 – .m Swift - ly, swiftly from the mountain's] brow, Shadows' nurs'd, shadows nurs'd by dim. % d! : t d : — — : t d! : – d! : S S : d' night re - tire, re - | tire, Swift - ly, swift - ly r : r m : — -º : r m ; — - wº- m : d l : S S : — - : S S : — — : — S : m night re - | tire, re - tire, swift - ly f : Sl d : — – : si d : - *s- smº * sº- .r',d': t , d! I rl : r ,f : 1 ..f : s , d' | d! : t d! : — from the mountain'sſ brow, Shadows, shadows nurs'd by night re - tire, ...tºd: r , ſº * — m .d : t still: turd," | : S| Sl ... — shadows, shadows .8 ;S : S , S f : — º r .tl,d : r , ſºl r : r .m,f m --> from the mountain's] brow, Shadows nurs'd by night re - | tire, ,f : f , m r : t , s \ |d : fſ . 1 |s| : - . Til | 1 | : Sl : — Shadows' nurs'd, shadows' nurs'd, £) IJolte. M. 80, twice. I- — : tº d! : — : m : M | f : – ; s | 1 : - ; – |s : – ; – d! : – ; – – : – ; – re - | tire. And the peep - ing| Sun - beams now, — : r m : — : d : d | r : – : m : – ; – |m : – ; – |d : – ; – | – : – : — — : s , s : di || d' : – ; – | – : – ; – | – : – ; – | – : – ; – | : n : m | f : – ; s re - tire, re - || tire. And the peep - ing — : si ld : — || – : – ; – |- : – ; – – : – ; – |- : – ; – l ; d : d | r : – ; m St. Co. (New.) ADDITIONAL EXERCISES.–PART 1. S| t : Sl with |m : – ; with |s : – ; s paint with |d : – : — with |sſ : — Sl | st : — tº- m : – ; – |r vil gº sº d! |d : – ; f beams, gold, gold, gold, gold, now, : m : m d : m : – ; – | lr : pain And the peep - : d : d IB D. tº : s | Sd : — Now paint : m ml] : — with : — |df ... — |m : – ; – | r : — In OW paint |- : – ; – |- : — |s : – ; – | f : – InOW paint |- : – ; – | – : – f. Ep. d s : – : — | – *º spire, mitſ: – ; – | – : — d s : – ; – |- : – spire, disſ: – ; – |- : – |- : – ; – ) – : — |- : – ; – – : – | f : – ; s 1 : — ing Sun |r : – ; m | f : — : d with : ll t| : gold, S| : : – l r . gold, : - |S| : : – |d : – with : sº | St : – now paint : - |m : with : Sl | d : — now paint | s : * > beam |m : : d : d |r : – ;'m : – s : – ; In OW paint - * – I sº : – ; – – : — * -º * - ſm : — i – r" : — In OW paint – : — – : – ; – – : — t gold : s] |s| : – ; – | – : – with gold – : – F : – ; – |m : — gold SI : – ; gold f mi with m : m | f : – ; s 1 : And the peep - ing * — ſo tº 4 tº º tº a d : d |d : d And the peep - ing Sll Ol By, t : ; : s | Sd : — now paint : : m mlſ : — : f S In OW : r d ; – : — |dfl : — : SI InOW!. : Sl InOWr : d with : l St. Co. (New.) ADDITIONAL EXERCISES.—PART I. SI ||t : – ; – |s : – ; – | f : : - : - |m|...} – : – : – ; – |m : – ; – | r : – : – gold, In OW paint with gold, D.O.W. paint sſ. : - ; – | St : - ; – |- : – ; SI | St.: – ; SI, s , : – ; – | – : – ; – |- : – ; si gold, now, now paint with gold, tº-mº ILOW r : — : — – : - | r , : – ; – d ...: – ; – |t| : – ; – s : – ; – | f : – ; – |-| gold, In OW paint with gold, Il QW paint | |S| : - ; – |s : – ; – |s : – ; sº | S : - ; SI, s , : – ; – | – : – ; – | – : – ; si now paint with gold, In OW f. E). |d : – ; – t| : – ; – |d : – ; d |d : – ; – |t| : – ; – |d s : – ; – | – : – ; with gold the vil º lage spire. |s. : – ; SI, s , : – ; – | – : – ; 1 |s|, : – ; – | – : – ; fl. mºti; – : - |- : – ; paint with gold the vil º -> º lage spire. |m : – ; – F : – ; – |m : – ; r m : – ; – | r : – : — s: – ; – | – : – ; with gold the vil gº lage spire. |dſ : – ; d. s : – ; fl. ſ r. : – ; f |S| : – ; – |s|| : – ; – disſ: – ; – – : – ; paint with gold the vil sº lage spire. $ | S : 1 m |f : s , s,f |m ,r m: 1 |s .d' : t d — — : — Sweet, oh sweet the war º - º bling throng, : |r : m .tſ |d ,td: f , f |m : r m : — | : .d Sweet, oh sweet * war - bling throng, the : : : : S : – , S : S | Sweet, oh sweet the : | | d : – , d f : m : | : S * – .1,s |f : m f : – , r" |r! ...,d!: d! ...,t t - Sweet, - º - oh sweet the war - bling d ,t( : - .t| | d : m - – if,m r : d r : – , f |f ºl; I'l or f : – , f |m *sº : | : : | : war - bling throng, r : – , r |d * - : | : | : d : — — --> | : s , d' t , ºr : r , f |m : – , m || throng, On the white emblossom'd spray, the. m : — | : .d |d .tl. : - .t| |d : — : | – s : – , s | 1 : S f : - ..f... m ... : — : | : s , d' Sweet, oh sweet the W8F tº bling throng, On the d : - .d ºf : Tl r : - .r |d : — : | : St. Co. (New.) 32 ADDITIONAL EXERCISES.–PART I. r ,f : f , r |s white emblossom'd spray, |f : f On the d .m. ; m .m. |f : — f : s : 1,t.d! I d' : t white emblossom'd spray, : | : - -: On the white emblossom'dspray, - t , r) ; F , f |m : s , 1 | ta.ta : ta.s | 1 : — : |s : S white emblossom'd spray, on the white emblossom'd spray, Na - turo's W & : Ol . m . s : s ,ta | 1 : l .s |f .m : r , d |s| , - \ on the l white emblossom'd spray, f % : |m : m m .r,d: r,m.f,s | 1 : I . 1 t .d',t: d! .d! t : t . S Na - ture's u -ni - ver-sal song, Nature's u-mi - ver-sal song Echoes : | : e : f .f, m | r .m., f: m .m. ||r : r , t) s , f,p): f, s.l.,t) d! *º — : — — : d' .d. l r s : s , s |s *s u - ni - ver-Sal Song, Nature's] u -ni - ver-sal song : : : |f : f f .m, r : d, r,m,f s : — | f 4. : s ,m : | : d' , s : d' , s | 1 , t : d' , r) echoes, — =-TT echoes, echoes, echoes to the : m .d : t , dº lſ.t. - d ..TTT : — d : S : |d .r : d .d,f sº = to the ris - ing day, eghoes, r! , t : |s .m : r .m. | f , s : 1 , t d' *º d . m : | 1 ,f : s , ! Echoes, echoes to the ris - ing day, echoes, echoes, echoes to the t , s : | m .d : : d .m : d .m. | f .r : m .f % d] : t: |d : - m .s,f : m .m. |f .1, s : f .f,m | r , r",d': t ,d), r/ ris - ing day, Na º ture's u - - ni - ver -> sal m : r |m : — d .m.,r : d .ta | 11 d,taſ: 1) .r,d |t| ..d: r .m,f S : S |s : — S – , s | 1 : - . 1 | t , s : s ris - ing day, Na tº ture’s u tº ºr ni - ) ver - sal S : SI d sºmmºe d — .d |f : - , r | S : S f J) S. | d! : — d' .s : | d! . s : ..r', rl | d' : t: | d! : — Song, Echoes, echoes to the ris - ing day. |m : — d .m.,r ; d. , t) |d .m.,r : d . m : r |m smººse Ech º oes to the ris - ing day. |s : — m : f |s : 1 S : S |s : — Song, Ech - oes to the ris - ing day. | : — d : r |m : f S : S] |d * St. Co. (New.) ADDITIONAL EXERCISES, PART 2. NoTE.—The Standard Course Exercises, 188, 189, 191, and 192, may precede these, but it is not essential that they should do so. LoRD, IN THIS THY MERCY's DAY. KEY A2. Lis F. By permission from Anglican Hymn Book. J. Crüger. : d t : m |r : d t : — | d : r m : f l 1. Lord, ºn this thy wner - cy's day, Jöre 26 pass for m seſ : 1 | li : 1 set : — | li : t d : d G | By thy night of a - gon - | y, JBy thy Stºp - g pl; - d : m m : m |f. : m -] m : —- |m : S | S : 1 By thy tears of bit - ter WO0 For Je - ru - sa - • * Pl : di |r! : la m : — | li : SI d : f Grant us. 'neath thy wings a place, Lest 200 lose this aye A - || WAY, ON OUIR, knees we fall and pray. |d ; tı |d : — |s 1 | fi, ; fi |m| : m m : — ca. - ting C7'3/, IRy thy w?! - ling - mess to die. |s ; S m : — |d : d r : – , d |t| : tſ d : — lem be - | low, Let llS not thy love fore - go. |s : SI d : — |d : fſ r : ri m : m la : — day of grace, Jºre 206 shall be - hold THY FACE, º : r d : — |m : d t : li | li : Seſ lſ : — * RISE MY SOUL, ADORE THY MAKER. KEY G. By permission from Anglican Hymn Book. D. t. - G. E. Monk. ||ri : f S : r d : r m ; tı m 1 : 1 t : — 1. RISE MY SouL, A - || DORE THY MA - RER AN - GELS PRAISE d : d |t| : t l : 1ſ. set : sel lir : f r : — 2. Nev - er cast %262 from thy pre - Sence | Till my soul - \ | S : f r : S m : r t : m m l ; ; 1 S : — 3.Thou the night wast my Pro - | tec - tor: With me stay d : 1 SI : S. l : fi m : m d f : r S : — ' |4, Ho - ly, ho - ly, ho - ly Giv - er Of all good, f. G. - . t : t: d' : — f d f m : d r : — d : — JoſN THIY LAYS; WITH THEM | BE PAR - | TAK * ER, m : S m : — r 11 : d d : d t : — d : — Shall be full Of thy bles - sed 6S gº º S6%06, t : t: l : — r!] ; 1 S ; S S : f m : — All the day, Ev - er my Di - rect - Ol', S : m 1 : — taf : fi d : m 8| : — d : — Life and | food, REIGN, A - | DOR'D FOR EV - - | ER! St. Co. (New.) LoNDoN : Toxic SoL-FA AGENCY, PRICE FoultpeNCE, 34 ADDITIONAL EXERCISES.-PART II, FATHER, MY SPIRIT OWNS. REY Eb. L. is C. “O mourn,” in Anglican Hymn Book, by per. G. A. Macfarren. : m 1 : – ,m |d , r i P1 | r : — | – : f 1 : – , f l r .m : f |n : – ||— 1.Fa - ther, my spi - rit owns Thy | right to mine and me; : d |n : - .dll, tº d |r – | – : r | f : - ,r |l r |t| : – ' — 2.A - | las ! the brit - to rood, On hu - man life to lean' : 1 d' : - . 1 |m : 1 1 : — – : 1 r! : - . 1 |f , s: 1 t : — | – 3.In deep submis - sion, aid The brok - ken heart to lie, : 1 || 1 : - . 11 l' : 1 | f : — | – : r | r : – ,r | r : r | set : — — B5. t. f. E2. f : m f : f |m l ; se, n : — | – ; d [d ; tı | 11 : se II :-,1,n |f Yet par - don hu - man groans From hu - man a - go - my; The eye's : d |d : d lºrſ : m |m| | : — | – : 1 | f : fi | r , ; m mſ : – ,mitſ r A so - lace frail in - deed, 'Tis gone as soon as seen! Then who : 1 1 : 1 || 1 r : tº 11 : — — : m r : r | r : t |d :-.d s | 1 Nor, when tho stroke is made, To mur - mur or re - ply; Great grace : l l l ; li |d fi : " |d, ; – | – : la | r : r | f : Pll | 1 :-.1m |r : 1 se : l t : m r d : - . 1 |se : 1 f : r |d : tſ" || 1 : — |— de - sire, the Soul's de light, Thy wis-dom hath seen good to blight. : m | r : d m : tº d : - .d | r : d taſ ; ta | 11 : se | 1 : — | – shall fill the cheer - less void, Or stay the soul 'mid hopes de - stroyed? : 1 t : d' t : t 1 : - . 1 | r : m | f : f |m : – ,r |d : — | — for great -est need be - stow, And strong Sup-| ports for deep - est woe. ; d |t| : 1 |se : se l l : - . 1 tº ; d r : r |m : m | 11 : — | – NEARER, MY GOD, TO THEE. . KEY F. From Anglican Hymn Book, by per. JHenry Smart. d : — |d : f |m : r s : — |d : — | r : r |m : — | – : — 1. Near - er, any | God, to thee,_ JHear , thow my prayer; st : – l l ; r |d ; tı |d : — |d : — |d ; tı |d : — | – : — 2.Though , the great bat - the rage Hot - ly a - || round, |m : — | f : 1 s : s s : — m : — l ; s s : — — : — 3. When, Any courselfin - ished, I J3?'eathe Any last breath, d : — | f : r s : – , filmſ : — li : — | f : s |d : — — ‘: — 4.And when thou, Lord, once more, Glo - rious shalt | come, St, Co. (New.) \ C. t. | ml : — | 1 : t d! : r" |m| : — 1 : — E’en though a hea - vy cross, Faint - : — | f : s s : f |m : — : — Still where my cap - tain fights Let sd] : — |r! : r" | s : 1 , t d' : t , 1 : — JEnt s - 'ring the sha - dow - y Val - df : — | r : s , f |m : r |d : — | r : — Oh! for a dwell -ing place. In d :- If ºn Ir' ºr Id – Still all my prayer shall be, m : — |f : S l : s , f |m : — Through toils and strife, to be l : — , t : d! d! : t | d! * –- E es tº e ven there shall I be l : — |r : m f : S |d : — THROUGIſ ALL E - || TER - NI - TY f : f |m : — r : — |d : t| God, To THEE, JYeah" ſº 6?” to lſ : t , 1 |se : — lſ : — si : Sl God, To THEE, Near º 6)" to r : r | ti : — ſ : f |m : r God, To THEE, Mea,' º (2)" to rt : r |ſ| — fi : : — s : Sſ God, To THEE, Mear tº (2?” to KEY A. M. 120. JEight measures Symphony, ADDITIONAL EXERCISES.-PART II. | d' : t ing, I |m : – IOG | 1 ley |m . Se of : m thy bright f. F. lm Mean' fd JNear fd JYear rlſ d theč. Sl thee. m thee. d thee. THE GIPSY2S TENT. Bohemian Air arranged by W. H. Birch. Allegro Vivace. mf Solo S. or T. Si : d : ), 1.We live so 2. Come to Our : d : d La, la. : Sl ; St : m : m d : : La. 77 In GT : – , ,” wº ry, BO green - wood home : d st : d : n hap - py and and blithe-some : d : d : S ; Sl : m : m d : : , I' be Mean' bear, d l l found; tº g death ; home ! | 1 60°, |d 6?", |f .m e?", * frce, be, g f 35 my my my my (By permission.) St. Co. (New). O.N. edition W. H. BIRCH, London Street, Reading. 36 AD) NITION AT, EXERCISES.–PART J }. ,” ! :r ºf ! :- , s : f : li ; tı d * T * Danc-ing and sing - ing be - || neath the oak tree. In the wild woods to roam light-ly and free. CHORUS. f* : r : r : r r :r : t tº :d s] :d :r We livo So :ll : 1 : 1 : 1 : l ; Sl : SI : Sl I'll ; SI : S. : f :f :f :f : f : r :m : m d :d :t Come to Oll].” r : : T : : r : : Sl d : : d :Tl : Sl m : – , r : d s] : d : m r — : — 11 : r : f 1 : – , s : f mor - ry, so hap - py and free, Dan - cing and sing - ingbo - st : - , f : ['ll |m| : s : ['ll : – ; – | f : fi : 1 | f : – , s: 1 d : – , t) : d |d : d : d lſ : — : — |r : 11 : r f : – ,m : r green - wood home and blithe - some] be, In the wild woods to roam d : – , s : d d : Pll ; d. 1 : – ; – | f : fi : fi |f| : – ,f : f JE. t. : : : : r & d! r" | d' : – , ; ; # 2 : s : f Come to our for - est home, hap - py and We'll tell your for - tunes young maid - en quite f : l ; tı |d : — sº : tim : m : f : f : r : r neath the oak | tree. º lſ : fi : fſ |m| : — : — : sid : d : r : r : 8 , Sí r : r : r d : — : — : T S : 8 : S : : 8 : S light - ly and free. rt : ri : s 'd : – ; – Isld : : S| : : t| : : n : – ; – 1 s : d' : -, d'Irl d' : 1 8 f : n : – , r |d — : — bright. List to our sweet songs they'll make your hearts light. true; And pro - mise al - so fond | lovers for you. : ſm : m : m : m 2 : r : r : m : f |m : — : — : d : d : d : d : d : d : d : tí |d : — : — : S : : S : S. : 1 : 1 : S : 8 || S ; – : — d : 3. d : : f : : 81 : : § : — : I; { | d : - : — s : d! : r" | d' : – , t : t | 1 : s : f |m : – ; – ) s : d! : - .d Come to our for - est home, hap - py and bright, List to OULT m : m : m | f : – , f : f | tº : r : t ; — : — d : d : – , d § : § : 8 S : - , S ; S S : S : 8 S : — ; – m : Fl : m We'll tell your for - tunes young maid - en quite true, And pro - mise : d : - , 8 S 8| : tſ : S. : — : — d : d : d d : d : St. Co. (New.) AI)IDITIONAL EXERCISES. —PART II. r' : d' : 1 s : 1 : – ,t sweet songs they'll make your hearts lſ : 1 : 1 |d : – , r |d f : f : f |m : S : – , f al - so fond | low - ers for f : fi : f |S| : s : – , sſd st : d : m r : — : — hap - py and free, m : s : pl|f| : — : — d : ‘d : d l — " - hap - py and | free, d : T : d f : — : — - SoLo C. or B. : : in : ! : #[ | Taste of Oll].” Come, where the d : — : — : l ; li m : – ; — : m : m tree. d : – ; — : d : d #1 : , ; m f : – , in : r And if you like it then Come where they War - ble their : t| : t : t| : r : fi : f : f : 1 : r : r || : I : f rſ : II : : d : – , t) : / | n : - , r : d ale in large bum - pers of light - Some heart, cheer - ful and : li : 1ſ : 11 : 1 : m, ; pl. : I'll ; ſh : d : d : d : d lſ : g l : *-* * * ; F : f cing and f : 1 lſ : r cing and f : fi : – , #1 : { - sy Tare - thrush in P 11 : 1 ml. : m : d : d : d : č COIſlø 8, - tun - ed : d : tſ lſ : sel : m : r : m - : fi Wo’ll We'll : t| : t| f : f : r • I' sing - ing be - f. A.ff d si : d We live !!!" : S. f d d We live fidſ : m l : – , S: f f f f : – , f : fi mſ : / whole -some and lin - net : l : mſ | 1ſ : / *- gain. lay, : l : I'll : d | la : f : { toast our sing, feast, and : t : fi : I' ſ : : – , S: ll : – ,m : r sing - ing be - m , - .r : d mer - ry, so d : – , tſ: d mer - ry, so f : l : t • meath the oak l : f : f r : r r neath the oak r : r ; SI #| : — : — plain, Sway, : t| ; tı : f : f : T : r r : : | P: ; / ; tı l : l : mſ { : m : d : d lſ : : f : - .n: r beau - ties till till the : r dance : t : fi t I. : f rich foam - ing come with a TI - St. Co. (Now.) 38 ADIDITIONAL EXERCISES.–PART II. m : d : – , #|| 7 : – ; – $ dawn's the bright morn. close of the day. # : d : t , 1 : — : — s : d : r m – , r ; d s : d - We live SO mer - ry, so hap - py : 1) : sel iſ : – ; – |m| : SI : Si S — , f : ml || || : si º . (T) m : — ; – g º - ſº e : n : , ; L = |d d t d - tº d |d d * We live so |mer - ry, so hap - py m! : : m la : — : — di : T : s] | d : - , s : d : m r : – ; – ) l ; r : f | 1 : – , s : f | f : 1 : tí |d : — free, Dan - cing and sing - ing be - neath the oak |tree f : — : — |f| : f : 1 |f| : – , s: li l ; fi : f |m| : — lſ : — : — | r : 1 : r | f : - .m : r | r : r : r |d - free, Dan - cing and sing - ing be - neath the oak |tree f : — : — f : f f º | : — ..f. ; f r : I’l SI d -º s : f — | f : m : — r : 1 : s , f |m — : m | f : 5 Gai - ly, hap - py, jol - ly and free, No life o 11 : 11 : — s : s : — |t| : tº : tº d : – ; d d : d d : d : — |d : d : — |s s : s , s : – ; d d : d Gai - ly, hap - py, jol - ly and free, No | lifo e f : fi : — s : si – |s : f : m r |d : – ; ta | 1 : si s : – ; d.r m : f : r |d : – ; – s : f : — | f : m OUll'S 'neath the old oak | tree. Gai - ly, hap - py, d : — ; l. l. d sm- : tí sm- : — l : 1 : — St : Sl d : – ; m , f | s — : f |m : — : — |d : d : — |d : d OUITS 'neath the old oak tree Gai - ly, hap - py, m) : – ; 11, lls : – ; si ld : – ; – | f : fr: — s! : si 7'all. - adagio. º t e . . . . $s |d' : t }: • All à r ſº ſº r : 1 : S.fjm : §: . . . ; ; 1 |s : – ; dr|ri : f : r |d jol - ly and free, No life e - quals ours 'neath the old Oak tree. t| : t , t : – ; d d ; d : d : – ; Til.fils, : l ; f |m| s : s : s s : – ; d d : d : d |d : – ; d.d d : – ; tı |d : jol - ly and free, No life e - quals ours 'neath the old oak | tree. st : f : m.r |d : – ; ta | 11 : s : f |m| : – ; 11.1 s : — {: d : St. Co. (New) 2 ADDITIONAL ExERCISEs.—PART II. $9 ſ KEY D. M. 80, twice. ‘‘ HARVEST EIOME.22 Chorus from “Helvellyn.” I- I-> s : s d' : — 1 : 1 d' : — Har - vest home, har - west home, m ; m |m : — | f : f | f : — d : d! |s — d' : d! | 1 smºs Har - vest home, har - vest home, d : d |d : , – |d : d |d : — T- I- s : s d! : — 1 : 1 d! *º Har - west home, har - vest home, m : m |s — | f : f | f : — d : d! |d — d! : d' | d! *-mº Har - vest home, har - vest home, d : d m — | f : f | 1 : — I-> t : 1 s , : 1 , f |m : s ] d' : — come, we come, And wel bring the last f : pl|r : f .r d . m s : — — : — |– : s , s s : s |s * . come, we come, And wo bring the last r : d |t| : s , sºld : d |m : — A. t. C7'9.S. S d : – , d 1 — | r : – , r |t| : – ,t Loud - ly shout, loud - ly, shout, a- : |ml : - . 1 11 : — |t : – , t Loud - ly] shout, loud - ly |dlf : – , f | r : — s : – , s Loud - ly| shout, loud - ly : |d fi : – , f' fi : — |s|| : – , s ſm : – , r is — : Har - vest home, d : — — : — – : — |d : – ,d home, - IHar - vest te |s – , 1 |s — : Har - vest home, : | Sl : tº- , fi m wº g - I- t : d' |r! : t 1 : — s : hâr tº-e sº vest home, f : — — : f |m : — — : r' . ; d! t : s d' : — — : har tº- gº vest || home, - d — | – : d | : — — : #9 t d' |r! : t |d : — : d' har * sº vest | homo. Wo f : — — , f |m — : S r' : d! t : r d' : s s : — har & wº vest home. We come, We S — | – : s d — : m t : d!. 1 |s : 1 , f | f : — m : load of our gol - den grain. f : s , m r f .r | r : — |d : * s : s , s S t t : – ' d' : load of our gol - den grain r ; pl.d |t| : s] | d — — : m : — , m | d -- .d f * — | : gain, a-gain, a-| gain. # shout, a- gain, a- gain. Har - vest m : - .m. || 1 : - . 1 | f : — : shout, a gain, , a gain. SI : – , Sillſ : – , lil 11 : — : |r! : – , r s — tº har - vest home, d : — — : — — : — |d : – , d home, loud - ly : | S : - . 1 s : — : har - vest home, : | S : - , film : — : G. A. Macfarren. St. Co. (New). 40 ADDITIONAL EXERCISES.–PART II. * : |d : — , I’ Loud - ly d : — |d : - .d shout, : |m : – , f Loud - ly : | lſ : - , l : | : : | f : s | f : s fields once more have board will groan with tº , ; SI | t| : S. s : — | r : 1 boun gº - teous IEng * gº lish r : — — : f f : s | f : s fields once more have board will groan with t| ; SI |t| : S. s : — | r : 1 wealth Wa,S clin tºº ing r : — — ; f f : s | f : s them the wa - vy hon - our of the t| : S1 |t| : S. I- -- m : — — : — | r : — — : - ,d shout, har & tº vest d : — — : — |t| : — |— : – s : — |— : — | f : — — : – , p, shout, har tº s vost, s] : — |— : — s : — | – : – , dolce. : | :ds s : — | 1 , t : d', r The fields & The board : | : ds : — — : — m : s |m : s | r : s | r : s boun - teous been, O'er them the wa - vy Eng - lish cheer, In hon - our of the d : s |d : St 'r : S. | r : S. s : — |m : , , s : — | 1 , t : d', r" been, O'er them the cheer, Hon - 'ring the m : — |d : f : — | f : f m . . s |m : s I. : S I. : S boun -teous been, O'er them the wa - vy Eng - lish cheer, In hon - our of the d : S. d : S. l r ; SI | r : si f, G. eyes. s : — |mt| : f |m : — t| : f seen, But now they are year, Which] thus has en - m : — |ds ; tı tſ — |t| : r m : s |nt : r |r : m r : m wealth was seen, But now they've lost their fall - ing year, Which thus has shed its d : sr |ds : r 'sel ; m, se, Fl f. D. d : — : home. : — : pi : — : dis home. The : — : dis m) : d' |s : 1 Once more have Will groan with m . In |m ; pi m : s m : s wealth was seen, The fall - ing year, The d : S |d ; S. m! : f', m' r", d!: t , 1 Wą, tº tº vy brave de - m : — — : m m : s |m : s wealth was seen, O'er fall - ing year, In d : Sl | d : SI m — |d : 1 robb'd of their rich'd llS with I - d : — | 1 : d d : m |d :-p am - plc store,they’ve gold - en store, has 11 : Pll l; , ; pl. St, Co. (New.) * ADDITIONAL IXERCISES.-PART II s : — | r : 1 S : {tl|]]. sº gº ple store. gold tº tº en | Store. r : — — : f m f : s |f : s m : lost their am - ple store. shod its gold - en store. t| : S. |t| : S. d g D. t. lrl : — — : — — : more; lrl : — | *- *=º * sd' : — t : – , s |f| : loud - ly] shout, poco rit. s : — s : — s : more, shout OILCO s : — s : — |s s : — |s — | S more, shout once S — s : — s t; d' |r! : t l har sº gºe vest home, f — — ; f m : r! : d! t , r) d! : har tº- gº vest home, S — — ; s d sf fl : — — : — t har - tºº sº 1 : — — : — s : r! : — -— : — |f| har gº tºº - r : — — : — s f — m : – ,d s : — — : — Shout once more, — |m : – ,d s , : — — : — — : |m : – , d \ Loud - ly — : | : — — : — — : — | – : — * | — : — * *g | — *=g — — : — — : — | – : — loud - ly] shout, |lºr : – , s|s : — | – : — f* a tempo. -- — |s — s : s d' : — more, Iſar - vest home, — s : — |m : p1 |s * — s : — d' : d! ' d' : — more, Har - vest home, — |s — |d : d m : — — s - : s : s d' : — Har - vest home, — — : p1 : m |m| : — — — d : d! I d' : — Har - vest home, — — : d : d! | 1 : — /N — — : – , d' d' : — —- : — º - vest home. — | – : – , s |s — — : — — – : - .m' m' : — |— : — gº - vest] home. — — : – , d |d : — — : — 41 pied cres. S * - - : ODLCG S : — — . s : — — : OD.C6 s : — — : I- 1 : 1 d' : har - vest home, f : f | f : d : d' | d' : har - west home, r! : r" |m| : har - vest home, 1 : 1 se : 1 : 1 ||t : har - vest home, f : f |m : — : — |m : - . shout once — : — |m : – , s : — — : — Shout, St. Co. (New). 42 ADDITIONAL EXERCISES.–PART II. Words for this work by AWAY TO THE FOREST. Music by George Bennett. Franz Abt. KEY C. Alla Marcia. - e • . ~~ O o I- s' º I- o e º e ml |m| : d! . 1 |s : d' , s |s : r" , s s – , s | Fl : d' , l s : d!, m 1.A - way to the for - est, fair Na - ture in-vites, With fra-grance and beau - ty and . S | S : s , f |m : ſm , m : f , f |m – , m | S : s , f |m ; pl. , m .d.] | di : d! , d! d! : d', d' |d ,t : 1 , t |d : – , d! d' . ; d', d' | d! : d', d' 3.We'll] sit on a moss - bank and spread out our] fare, The lov’d and the low - ing our : m , f | S : S , S S : S , S - – , : m , f ; d. 1 poco rit. - £) →T *. " __e=-º f f fe , s : 1 r" | S : , S | S : S , S | S : s , s , t ,d]; r" .ml |f| — , f' syl - van de - lights; The sun. in its splendourshines lov - ing-ly down, And r : r .fe s : , s |t| ,d : r .m. | Fl , f ; tr. s |s : S . S | S – , S d! : d' , d! |t , S | S ; S: , S | S : s , s , s ,l : t , d' r" : – , r) dain - ties shall share; We'll] troll the gay car - ol or tune - ful quar-tet, Our r ,m : fe, r |s , S | SI oli; tı .d |de. r : s , s |s : S , S | S – , S - a tempo. I- T- ---T m! : m' .ml |m| : 1 r" | d' ,t : 1 , s |s : – ,m | f , s : 1 , t d' .de': r" .m. - glad - ly we'll has - ten from ci - ty and town, And glad - ly we'll has - ten from S : S , S | S : f , f |f ; f , f |m – , d | r ,m : f , f | s , ta : 1 . 1 d! : t , ta | 1 : l , 1 s ,r'; d. , t d! : - .m. |f ,s : 1...s |s .nl : r" .de cares and our trou - bles for one day for- get, Our cares and our trou - bles for d : d .d de : r , r |s : S , S : – ,d | r ,m : f ,r |m , s : f ,m 7°it. 7'it, sf J - © /*N - foſ) f : 1 , t d! : : .ml || 1 | : : , m' ci - ty and town. f la la : zº la l : f , f |m .d," | S fe, 1 : s ,d] |t : .d, m|s fe, l ; s .d' - Trala la la la la la la Tralal la la la la la r! : rl ,rl | d! : _, d," |s fe, l ; s , d! |s| .d," |s fe, l ; s .d ONE day for-| get. Tralal la la la la la la Tra lal la la la la la r : r , s d .drils fel : s , s is : .d, m s fe, l: s , S /~\ > & tempo. . o I- e º /~\ r .s d! : d! . d' ..] d! : 1 ... r" | s : 1 , t d! la | And glad - ly we'll has - ten from ci - ty and town. t : , S | Fl : f , s | 1 : f , f |m : f m s' e , s d! : d! , d' | d! : d' , r) |d! : S . S S la | Our cares and our trou - bles for oxE day for - get. S : .s d : r , m : f ,r |s : s , sſ |d : º St. Co. (Nºw.) ADDITIONAL ExERCISEs.-PART II. 43 f I- º • I- º º > º e I-> 0. º 0 & m| |m| : d' , l l s : d' , s |s : r" , s s : – , S. m' : d', 1 |s : d', m 2. We'll hie through the for - est with laugh - ter and shout, Its glades and its | clois - ters we'll , S | S : S , I | I] : p] , ſm : f , f |m : - , m | S : s , f | ri : In , m , d! |d : d .d' d! . ; d. ,d] | d' ...,t : 1 , t d! — , d! d! : d', d' | d! : d', d' 4. A - way to the for - est, a - way and a -l way, Our hol - i - day bright - ens a .d |d : " ..f s : S , S | S ; S , S : – , d d : m , f | d ; d. 1 - poco rit. • fo =T f f fe , s : 1 r" | S . . S | S : S , S | S : s , s t ...,d!: r .ml | f : : - , f' wan - der a -| bout ; While gold-beams are glint - ing o'er pil - lar and arch, We'll r : r ,fe |s : . . s |t| ,d : r .m. |m , f : t , s |s : S , S | S : – , s ſº d! . ; d. , d' |t ; , S | S : S , S S : s , s , s ,l : t , d' |r! : - .r “red - let-ter | day !” This life has not man - y, then wel - come the few, With r ...,m : fe, r s : , s |S| oli; tı .d de, r , s , s |s ; S , S | S - , S & tempo. I- T- m! : ml , ml |m| : 1 , r" | d' ...,t : 1 , s |s – .m. |f ,s: 1 , t d', del; r".nl : roam'neath the sha - dows of lin - den and larch, We'll roam 'neath the sha - dows of S ; S , S | S : f , f |f ; f , f |m : - .d |r ...m : f , f |s .ta : 1 . 1 , . d' : t , ta | 1 : 1 , 1 |s or'; d. , t |d : - .m. |f , s: 1 , s , s , m' : r", de' Souls that are grate - ful, and hearts that are true, With souls that are grate - ful, and d ; d .d de : I , I S : S , S – , d | r ,m : f , r m , s : f ,m 7'it. *it. fi : 1 , t , d! * .m. ||r! : o , m' lin - den and larch, - la la : - la l : f , f |m : .d," |s ..fe,1 : s , d' |t : .d," |s .fe,1 : s , d' - - Tra lal la la la la la la Tra la la la la la la r! : rl ,rl | d! .d, m |s .fe,1 : s , d! s' : .d," |s .fe, l ; s .d hearts that are true. Tra lal la la la la la la : Trala) la la la la la r ; r. . s. Id .d," | S ,fe, 1 : s , s lis .d," | S ..fe,1 : s , s a tempo. - /*N - I- º o > G 0 Fl : , s I d' : d' , d' d! : l , r" | s : 1 , t , d! : la We'll roam 'neath the sha - dows of |lin - den and larch. t , S | Fl : f , s |l : f . pl ; f |m : s' .s d! ; d. , d! | dº ; d. , r) d! : S , S | S : la : With Souls that are grate - ful and hearts that are true, S : .s d ; r , p | f : f . S : S d • SI St. Co. (New.) 44 ADDITIONAL EXERCISES.-PART II. IHenry Lahee. IF. 5. I- r s , s : d' pain,The tears Sea, TO tim : - . S Sea ; A. sld - , n] ~ *- gave her half of Wrought & strove from SUNSHINE AFTER, RAIN. key Bb. Firmly and in moderate time. (Copyright.) on f < T- - ~ Dº- : . S1 |d , s : m ºrd|d : s ,s |m .d : s ,f,p) 1, I left my love in Eng - land,In pov-er - ty and : , I'll SI . Fli : S. .f. m : S .f. m , f : S. 1 2. I left my love in Eng - land, And sailed the stormy : .d. d .d : d ...t] | d .tl,11: Si lj, tºld .d : .d 3. I sought my love in Eng - land, And brought her o'er the : .di |m| di : s , s | 1 , sof: Pll ,r |d , r) : " ..f ...t,l : s , 1 || 1 , s,f : m .s |s .f,p) : p1 r |d s : – , S| > hung hea-vy in my eyes, But hers came down like rain. 2. f , f : f , f |f .m, r ; d .ta | 1 , r,d : t , t d s , sſ : si (; gave earn my bread by dai-ly toil, An hon-est man and free...I wrought (My farm f .,m : r , t |d .r : m .d d. , 1 : s , f |m t : – , t) hap - py man,a hap-py wife, To bless my home and me. My r ,d : t , S| || 1 , t) : d .ml | f , r) : s , s 'd s , s : S. < T- r tº . SI SI 1 , || : li .tl,d] r : – ,sſ m .m. ; m .r,d all I had, Re-| press'd the ris - ing| sigh, For, thinking of the morn till night, And Sav'd my lit - the store ; f : - .mpril de : di | ; ta S1 |S| se : li , Pl half of all T had, - strove from morn till night, ! And ev -'ry sum-mor large, my wants 8 l’O Small, d tºlſ: t ,s |s : – , fe : – , f |m , r : d .t wants are small,I bid (my care) de-| part ; And sit be - neath my - , — *ms : — *mºs : - lºt, d ...t] : 1 , sel cert - do. /*N J- f .r.ſ ºf .r.ſ f : s , f |f|,f , r,t) ; d ...r |t,d, lºtſ: s , II,t, kept my cour-age high. “O! fare-| well,” I said, “if | sea - sons pass, And fi 's : li la |s| ; SI S1 |S| tº ; d ..fe |S| fel : s ,s made the lit - the more. Oh! at length.I bought the field I ploughed,The f ,f : f .m. ||r : t ,t||d , f : m , r | r , d. , t .r proud,yct grate-full heart. Oh! the children smil-ing round the board, Ne'er r! .r : r .d |t| : s ,s |d , s : li ºr |s| r ; SI fi - f eſ her and is d .d : d .d farm is large, my C?'(2S - d .d : d .r, days to come, I gave me wealth, And d : taſ : li .S. own oak tree, With lſ , s , f : Pl d .d :f,-s .m,-f sun-shine fol - : .d J SI . SI SI SI sun-shinefol-lowed d : pl ask for : r bread in Pll . . T : tº St. Co. (New.) ADDITIONAL EXERCISES,-PART II. T 45 j- /*N m .r : s ,f m,f , r, l ; d , r tod. lºtſ: s , s: , s , f m : " , r,d d : — rain, And morning dawns on darkest night, You'll see me back a - gain.” tº sº o ... ) S ( , SI | S — Sl : SI S. , t) : d ..fe |s| fel ; SI -, S| |S| , SI ; .# * : — ! rain; The morning dawn'don'that dark night, And I went back a - gain. * ...t] : d •, I' m ..f : m , I' r .d : t] tº d .d : d , t, * * vain; The day has dawn'd up|-on the night,The sun has fol-lowed rain. # Sl ; 11 ot d , Sl l , I'l |S| T : S. , fi T] .d : S} . Sl d , - | • | Words by IF I HAD BUT TWO LITTLE WINGS. Music by Coleridge. (CoPyRIGHT.) - IIenry Smart. £) KEY E7. Con moto. M. 88. C?"&S. I-> . S s : – ,s |m : s d' : – ,m |p1 : p1 |m : – ,r1|d : m 1 : -, r | r : r If I had but two lit - the wings, And were a lit - the feath - 'ry bird, To : p1 |m : – ,m |d : m |m : - .d |d : d |d : – ,d 11 : d |d : -.d |d d : S s : – ,s s : s 1 : – , 1 || 1 : 1 || 1 : – ,l |m : 1 | r : -.1 || 1 : 1 If I had but two lit - the wings, And were a lit - tie feath - 'ry bird, To : d |d : – ,d |d : d 1 : - .1ſ 11 : 1 || 1 : – ,lſ l ; sº life : -felfe : fe —=T *- < r : f | 1 : – , s | f : m d' : – , t 1 : m | t : – , 1 || 1 — s : you I'd fly, my dear, To you, to you I'd fly, my dear. t! ; tı | f : - .m. | r ; d |m : – , r |d : m | r : – ,d |d : — t! s : s | r : s , s : — : se 1 : d! |fe : - felfe : — s : . you I'd fly, my dear, To you I'd fly, my dear. % f : r |t| : si : — | : T | II : l l r : - r r_i – Is si IBut * dim -> C7'éS. I-> e : | : t ºr : – , d' d' : m s : d' |m| : – , d'It : - . 1 || 1 : S But thoughts like these, but thoughts like these are i - diethings,and : | : r s : – , s s : d |m s s : s |d : - .d |d : d : | : s |t : – , d' d' : s d' : s d' : – , s , s : – , f | f : S #9–T But thoughts like those, but thoughts like these are i - d.le things,and t| : r | f : f | f : – ,m m : — — : m : In : – , f | f : m thoughts like these are i - d.le things, like these are i - d.lethings,and St. Co. (New) 46 ADDITIONAL EXERCISES. PART II. s : — | f : — m : — | – : f I stay here, and r : — | r : — |d : r |d : r I stay here, and I, and 1 : — t : — s : se | 1 : — I stay here, and I r : — s : — |d : Pll l ; fi I stay here, and I stay s : – ,s |m : s d' : - .m. |m : m IIl my sleep to you I'd fly; I’m m : - .ml d n | n : - .dld : d s : – ,s s : s | 1 : - . 1 #1 : 1 in my sleep to you I'd fly; I’m r ; f T-P- , s|f : m d! : – ,t world is all one's own, The world, the tº ; tı |f – .m. ||r : d |m : – , r {|s : s | r : s s : — : S6 world is all one's own, The f : r |t| : s |d : —. : m I-> : | : t: r' : – , d' d' : m But I then One wakes, but : | : I' s : – , s , s : d } : | : s , t : – , d' d' : s –C But then one wakes, but t| : r |f f f : – ,m |m * || then one wakes, and where am I? poco riffard. *------ m : — — ; r I stay d : — |t| — I stay S : — — : — stay \ tº s : f SI : SI º : Sl here, And I stay C}^{2S. m : - .m. |d : m al - ways with you d : - .d l ; d 1 : - . 1 |m : 1 al - ways with you l : – , lil l : SI 1 : m [t : - .l world is all one's d : m | r : - .d 1 : d! |fe : – ,fe world is all one's l : l |r : - ..]" C?'éS. s : d! |m| : - .d then one wakes, And m : s , s : – , S d : s d! : – , d! then one wakes, And — : m d' : m One wakes, And 9 d : — | – || s here, But : — | – || m here, s : — | – || s here, But m : — — † : I. I;|d here, I-> --- - 1 : – , r | r : r in my sleep! The d : - .dld : d r : - . 1 || 1 : 1. in my sleep! The fe : – ,felfe : fe 1 : — |s : - OWI), d : — |t fe : — s : OWI). k) r — |s|| Sl But I- where am I? All, s : – , f | f : d d' : – , d' d' : s where am I? All, f : – , f | f : m where am I? All | St. Co. (New J ADDITIONAL ExERCISEs. PART II, 47 poco ritard. dim. * T- B}. t. s : — — ; f. m : — | – : f m : — — : r |d — | – ||m 1 all a - lone, All, all a - | lone, Sleep r : — | r : — |d : r |d : r d : — |t| : — |d : — | – || Sid all, all - a - lone, 3, º lone. 1 : — |t : — s : se | 1 : 1 sº : — — ; s s : — | – ||m 1 all &l, º lone, all, all a - lone, all, all a - | lone. . Sleep r : — s! ; – |d : Pll l ; fi ; :* |s #. I |I; df all a, dº lone, all, all a - lone, a - lone. - - I- C?'6S. T==– 11 : s , s : - .d |d : - .tſ tº : 11, sº ſm – ,r |d : t | r : d s : f stays not though a mon - arch bids; So I love to wake e'er break of day; For rt : ml |s : – , sº fl – ..fi fi : f. f.) Fli : - .fi li : sei |t| : l l l ; li t! : d |d : – , sº s : – , sº S : 11, tild : – , t|m m m : m m : r stays not though a mon - arch bids; So I love to wake e'er break of day; For f : m |m| : – ,mil ri : – , r|ri : rſ, ril di : - .rſ m, : "I 11 : 1 | f : fi T=- f. E5. m : – ,d m : r > |d : — — ; t | 11 : 1 |d , tſ: 11, t|d s : – ' — : though my sleep be gone, For though my sleep bo gone, : - . sºld : t : m |d : set | 1 : f | f : f | "It : – ' – : s For though my | sleep, my sleep be gone, yet s : - .m s : f |m : d m . . r : r | r : r S : — — ; t - though my sleep be gone, For though my | sleep, my sleep be gone, yet st : - , sº S ; SI — m : — | f : r |s| s| |ds : r s : — For though my sleep be gone, yet while p —=T T- : | : 1 s : – , f | f : — — : r" | d' : t 1 : - , s , s : - . 1 yet while 'tis dark, 'tis dark one | shuts one's lids, * −I_ f : m r : de | r : – ,r | r : – , d d ; t | 11 : s | r : – ,m m : d while 'tis dark one shuts one's lids, yet while ’tis dark one shuts one'slids, And d : t | 1 : S 1 : – , 1 | r : — | r , f | r : r" |t : – , d' d' : s while 'tis dark one shuts one's lids, while 'tis dark one shuts one's lids, And 1 : s | f : m r ; d |t| : 1 |s : — |f : — | f : - .m. |m : m while ’tis dark one shuts one's lids, one shuts, OD10 shuts one's lids, And St. Co. (New.) 48 ADDITIONAL EXERCISES.-PART II. poco ritard. *-. dim. £) T->=- s : — | f : — m : — | – : f |m : — — : r |d still dreams OIl, And l still dreamsl on. r : — | r : — : r |d : r |d : — |t| : — |d still dream on, and still, and still dreams OLl. 1 : — ||t : — |s : se — S : — | – : — S : still dreams On, and still dreams OD1, r : — |sſ : — |d : " | 11 : fi |s|| : si ſ: #. º : still dreams OD, and still dreams' on, and still dreams' on. Words by ANGEL OF HOPE. Geo. Bennett. KEY D. Sostent/to con espressione. SoLo—CoNTRAL.To. (Arranged for mixed voices by ALFRED STONE.) Music by G. Reichardt. : | , 81 : 8 , 8, d 1. As sweet to wea 2. Blestangel, dark £) m * — |— : — gº- Hm, &c. d : — | – : — — S : — — : — | – Hm, &c. d : – ' — : — — P. : d | 71 : r 8| : — gent - ly alS the dove, pea - Sant thou art dear, C7'éS. %) m : — r — — : — d : — — : — |t| : — Hm, &c. S : — | 1 – | S : — d : m | f : fe |s * : – , d d : r , in s , f : f | r : , , 7. - ry hearts as slum - ber, And brooding were life with-l out thee, To prince & : — | — : — r : — | — : — sº- | — - t : — | — *- — |— *- S : — | – *- sº- | — - SI : - |— : — | , s : s , s , s : t , ! |s ºf : m r | r , d : d When earth's low-| press - ing cares en - cum - ber, Norage nor youth can ev - er doubt thee, | — : — | f : — — : — |m : — | — : — t : — — : — d : — | – : — s : — – : — s : — |– : — s : — — ; – |d : — St. Co. (New.) ADDITIONAL EXERCISES.–PART II. 49 , S ry | , d : r .m. | r : – , , d' : t , ! I s : – , , s : 8 , S d' : - , s |n Ž Bright Hope comes|mis - Sion'd from a - | bove. Where gloom'd the cloud, a glo gº - Thy radiant pres - ence all must cheer. Sweet Seraph, who, when E - den’s C?"®S, * |— : — |r : — |fe : — s : – | – : — — ; – || 1 : — |— : — itſ : — |d : — itſ ; d | r ; f m : — — : — Hm, &c. ſº | | – : — s : — | 1 : — s : 1 |t : rſ d' : — idel : — o : | 1 te — |– : — r – |- : – Is : — ! s f: f | f : s , ! | #1 : – , r s : – , f | n : — º brightens, Where sorrow wept, there glad - ness smiles; While trusting faith the spi - rit por - tals Shut in those scenes so fair and bright, Still deign'd to so - lace fal - len 1 : — — : — s : — | – : — s : — — : — s : — – : — f : — — : — : — — : — im : — — : — m : — — : — Hm, &c .* r! : — — : — |r! : — — : — d! : — — : — d' : — | – : — r : — |— : — s : — — : — |d : — — : — |d : — – : — ta.! : . . . . . . . . . d), s : In , d si : n . , |d : — : : light- ens, And aimless doubt no more be-| guiles. - mor - tals, Andha-lo earth with heav'n's de- light. - - • f Quicker. & f : — re : — |m : — | f : — m : — , s: s , s se : – ,se se : - .se J | 1.While trusting faith the spi - , rit d : — — : — |d : — tº : — d : — .m. ; m .m. |m : – m | n : - .m Hm, &c. d' : — | 1 : — s : — — : — s : — .d': d', d' r" : – ,r)| r" : – ,r) 2,Still deign'd to so - lace falº - len f : — fe : — s : — s : — |d : — | .d!: d', d' t : – ,t | t : - ,t tem. I- →T T- t , 1 : 1 | .d': t , 1 s : – , s s : – , f |m : — | . m . m .m. || 1 : - . 1 || 1 : s ,f light - ens, And aimless doubt Ino more be- guiles, And aimless doubt no more be- m : n | .1 : s , f |m : - .m. ||r : – ,r |r : — .d.; d.d. d : f . m | r : - .r d : d! . . d!: d', d' d' : – ,d]|t : – , t , t : — , 1 : 1 , 1 d! : – , d! t : - .t mor - tals, And ha-lo earth with heav'n's own light, And ha-lol earth with heav'n's own 1 : 1 | . f : f , f | s : – , s , s : – , s se : — | . 1 : 1.1 | f : – , f | s : : - . S - Af St. Co. (New.) 5(). AI)I)ITIONAL EXEROfSES.—PART It. : — | — S : H Il it.: º i # :º # i i Tin T º |- . -- – – SI : — | – ſº KEY G. M. 88. , (m) m : — 1. The Spring, .'sſ) |S| : - , (d) |d : — 2. Come , (d) |d : — = − T-- #9 : — || s : — |m : m | f : — — : — > molto espress. : | : s : — | #1 : #1 CoDA. tempo primo. Ari - gel of An - gel of Hope : d t| : — | – : — S º f Hope — |m : — | f : fe s : se | 1 : — : t , d : — — ; – ) — : — — : — S O — |d : d d : — — : — | — ; # , ! l - ger, lin - Ilêal UlS. º - | - - -*mº | : — : — : — |- THE SPRING, THE PLEASANT SPRING. ..f s ,m.- : r,d,— | 1 : d |s| : the plea - sant Spring is blown, . SI |s| : Sl lſ : 1 |s : .r |m : m f : f | m : with all thy sweet - est Smiles, .d |d : d d : d | d : *º d : — | : Hope, m : s -|m : m lin - ger near d : m |d : d s : — s : s lin - ger near d : — |d : d R. Spofforth. m : r .d Let llS Sl : Si . m : f , m With thy d : r , ſm \ } St. Co. (New) A DIDITIONAL EXERCISES.–PART II. 51 D. t. |t| ,r : - .d |s,f :- : f', 1.- m : r m : – ,m | r s : – , d! leave the smo - ky town, From the mall and | si : – , S1 |S| : Sl |s| : — Sl – , sſ | Sid : - , ſº r : – , m | I’ : d |d ; tı d : – , d | r s : - , S gra - ces, with thy wiles, Como and we Will f : – , ſº | f | : d S : — d : - .d |t|m : – , pl C7'3S. t .d' : r , t |d , t : d! . r" |m', fl.- : r,t — I dº : - . 1 |s,f.- : * ,r from the ring, Ev’ - ry OIlê has ta - ken S : S |s : — S : S |s : – , f |m,r.- : d ..,t s : s |s : — S ; S |s : – , d! d', r",— : s mer - ry be, Who shall be so blest aS r , M : f , T |m ..f : m , I' d,tſ, ; r ,f :- |m : — , f S - º Sl f | | | |d : m ,r |d : f ,f |s : – , 1 s : S | | |r , t : — Strephon, | 1 , 1 : — Strephon, º - • 1 | m : m of S : l ot | d! : — , rº m',f",— : r!,t ,- wing, Ev' - ry one, ev’ - ry one has ta. - ken : S ,S | S : d ..,r" |d : - . 1 |dſ,r).- : t ,r'.- we, ' Who shall be, who shall be - so blest 8,S d : d ..,r | m : f ºr |m : – , f | s : S As f. G. ff. Much slower. ! | 1 : fl |r! : t: d : — — : — S r , r : — ta - tº ken wing. Clo-e, f : — |f : — m : — — : — m tº , t : — d : 1 |t : S S : — — : — d's , s : — blost a8 We P Clo-6, & f :: — |s : — d : — — : — d's , s : — ||r : m |f : — d : - .d |d : – , d r : I’ Co - ry - don, All are fled and all • Q.I’e r : de r : – ' |d : - .d |d : – , d d ; tı l : 1 | 1 : – ' | 1 : – , 1 |s : – , S | S : S Co - ry - don, All are fled and all 3TC \ |ſ| : li |r : — f : – , f |m : - , ſlf l r : Śl St. Co. (New.) 52 PART II. ADDITIONAL EXERCISES, ſo Original time. f,m.- : f,s.- What is left's d : d |d d : d |d What is left's l : ll | li f .m : r .d |t| come, come a- Way, r .de : r , r |r come, come a- Way, ri .m. ; fl. fell s S : – ,m |f | Come, Au-re : — .d |d m : – , s | 1 Come Au-re s,f.- : p1,r.- |d worth your stay, t| : tſ d S : S |s worth your stay, f : f |m f f : 1 : s , f |m .f Come, come, Au-re d : r , r m .r f : r ,r |s Come, come, Au-re t &= .d : S COD16, al- m, r.- : m,f.- |s worth your stay, : 1 |s d : d |d worth your stay, st : f |m| s : | Way, : t ...t | d come a - way, : r , r |d come a - Way, : f .fi |m| f : s , s | 1 come, come a- Way, d : d .d |d f : m .m. |f come, come a- Way, l : s , s| |f (??"®S. f . m : f .r |m Come, come, Au-re t] .d : t , r |d S : s , s |s Come, come, Au-re r .d : r , t |d m : — |r Come, CODO € : — | t S : — |s Come, COI).0 S : — | st Cº'6S, - : — r : - .de | r , f : 1 , s ) Come, Au- re - lia, *== l : – , li | li : 1 | — I’ : – ,m | r : de | Come, Au-re - lia, : — f : — , SI fi : m : S , S | S : | : come a- Way, § : r ,r |m : come a - way, *s : : t ,ti |d : come a - way, * : : r , r) |d ‘. ſo : — 1,s.- : f,m,- |r : - , r * What is left's not : — l : 1 |t| : – , t : — f : f |s : – , S What is left's not : — f : f f : – ,f : f m : r .m |f : — lia, come, come a - Way, : r : t , t |d : — : 1 S : s , s |f : — lia, come, come a - way, : fi Sl : s , Sí | 1 : — : – , r |m , f : s , 1 |s , f : m . a- way, * , º {-} : – ,t : d .d |d : d . r Come a- way, come a- : - , S | S : s , f | s ; S S a- way, gº * > tº : – , sſ |d .r : m ... f |m .r : d .t y St. Co. (New.) & ADDITIONAL EXERCISES-PART II. 53 C?'éS. |r f : s 1 |* f : "...r |" : – ' s : – 's s : 1 I'fr.- : d,t_ - - - - º Come, Au-| re - lia, CODOG 8, - d : d .d |d : d , r |d : | : : |lſ : SI Way, come a - way, come a- way, * #9 S : s , f | s : S , S | S : | : : |r,f.- : m, r ,— - - - - w come a . d ,r ; m , f |m ,r : d , t |d : — |m : – , pl. m : f |f| : SI Come, Au-l re - lia, J - As ſºſ) r : d s : – , s||s : 1 ||— : — | f : r |d ; tı |d : — | – : – , way. T Come, Au-| re - lia, COD16 a, - way. s! : — : : i : - 11 : — |s : — |s : — |— : – , f : m : : | : r f |m : r |m : — | – : – , tº- CODOlG 8, dº way. : — |m : - .m. |m : f | – : — |f| : — s : — |d : — — : – , | Come, Au-| re - lia, Words by AT FIRST THE MOUNTAIN R.ILL. Music by John Owonford. (Part-song from “Jessy Lea.”) G. A. Macfarren. REY D. Andante. (T. S. Copyright.) : ,s s ,s : d' , t : 1 , s |s : f , f : s , 1 || 1 : r : s , f |f : m : At first themountain rillis weak, And from its pris - on scarce can break; - : ...,m |p1, ...,m : s , f : m .m. |m : r , r : r ,r |t| ; tı : r , r r 5 d : : ,s s , s : m', r": d' , t | 1 : – , r : m , f |f : f : S , S | S : - ; S , S At first the mountainrillis weak, And from its pris - on scarce can break; Then each : ,d d ..,d: d .d ; d .d |r : - ... r : r , r | S : S. : t , tº d : – ; A. t. (37°68. f dim. r sis. : p1 .d : t ,r |d or : S : - , S | S : – , f : m , r r : m : Then each pebble in its way Seems e - nough its course to stay. * St.S : SI St SI . SI |S| : Sl : d li ºli; li ; tı t : d : S d : – ,d : f ,ti |d : d : m r ,r : r : f f : m : £ peb - ble in its way . Seems e - || nough its course to stay. - \ tim.m. ; d, .m. ; r , f |m| di: Tl : di I’ſ ...,I'l I' : S d : d ..,d : d .d Then each pebblein its way Seems • e - nough its course to stay. Spreading as it j St. Co. (Wew.) 54 - ADDITIONAL EXERCISES.—PART II. pf. D. on f Sr.,d]: t , 1 : s , f |m : : f' ...,m!: r , d' : t , 1 |s : : Spreading as it glides a- long, Soon it is a torrent strong; mt , 1 : s , f : m .r |d : : r' ...,d': t , 1 : s , f |m : : mf f dim. º : lm' or'; d. , t ...: l ..s |s : : s' fl: ml , r) : d! .t C?'68. Spreading as it glides a- long, Soon it is a torrent d's : — : S S : — : — S : - , s : S , S | S .,s : S : — glides a - long, Soon it is a tor - rent strong, s ,s : fe , s : 1 .ml |m} of: 1 ; pl.) , r) | ri : s , 1 : s , f |m : : And its path is broad and free, As it bounds in - to the Sea. r ºr : r , r : de , de r : — : f , f |p) : – , f : m , r d : : ta, ; -- : l , 1 || 1 , 1 : 1 : 1 , 1 | d! : – , s : 1 , t | d! ; º strong; And its path is free, As it bounds in - to the sea. s , s: s , s : s , s | f : — : f , f | S : — : — 1 .,s : f .m : r .d And its path is broad and free, As it bounds, | Soon it is a torront _--" " f dim. %) (??'(3S, T- m" .,rl: s : And its path is broad and free, As it bounds in - to the Sea. r ºr ; r , T : de .de r : — : f , f |m :- n : n n s : – : s ,s : s , s : s , s | 1 : r! : 1 , 1 | dº : – , d' : – , d! | f | : – , r) : t ,l And its path is broad and free, As it bounds, &lS it | bounds in - to the taſ : — : li , 11 | r ,r f : T , F | S : – , 1 : 1 , 1 |t : — : strong ; And its path is free, As it l bounds in - to the Sea. |. £9 – T- C}^{2S, : ,r : m ºf s ,s : d' , t : 1 , s |s : f : | 1 r º At first, at first the mountain rillis weak, But spreading as it ; , t : d .r m ...,m : s , f : m . m m : f : ,f : 1 , s : f .f ! : S : : : *.s d : - , t : 1 .s |f : : ºl SCál. At first the rillis weak, IBut : . . f : m .r d ..,d : m ,r : d ,ti | 1 : – , d : f , m | r ,r : f .m. ; r .d At first, at first the mountain rill is weak, the rill is weak, But spreading as it *------- mf _- (37°69S. 1 .,s : S : ..,d': f) .ml , r) .d' | t , 1 : s , f : f .m. |s of : t : 1 glides a-long, A torrent strong, its path is broad and free, As it bounds, f , s : 8 : ..,d : d' , t : 1 , s |f , f : m .r : r , d m ...,f : f : — r! : – , d' : t ,] |s . . . .,d': f).m. ||r , t : d' , r) : s ta. ,] .. r : — spread - ing as it glides, A torrent strong, its path is broad, As it bounds, tº otl: t , r , s , f |m ,r1: 1 , s : f ,r |s , s : 1 , t) : d de ,r : f - glides a-long, as it glides, Atorrent strong,its path is broad and frce, As it bounds, − º .,s : fe , s : T.m' | sl. f : se . 1 : m r fr : s , d' : t , d! St. Co. (New.) Ai)IDITIONAL EXEROISES,-BART II. 55 /~\ t ..] : m : I f" om': s ,m' : d! . 1 s , 1 ; t : pl" , rl | d! : — as it bounds, bounds in - to the sea. f ,f : 1 : — s , s : d' : s , m | f , f : f : – , f |m : — f As it bounds in - to the sea. - rl or ; f : — d! ...,d] ; m' .d.) : m' .dl t , d' : ri : t , t d! : — as it bounds, As it bounds in - to the Sea. f ,f : r : — S ,S : S : — – , S ; S ; SI SI d : — /9 : S s , s: d' , t : 1 . S I S : f , f : s , 1 | 1 : r , F : s , f |f : m : Thus | love is oft so weak at | first, That e'on the heart in which 'tis nurs'd : m m ...,m : s , f : m .m m : r , r : r , r |t| : – , t) : r , r ) r : d : : S s ,s : m'. r" : d'. : – , r m , f |f : – , f : s , s |s : – ; S , S Thus love is oft so weak at | first, That o'on the heart in which 'tisl nurs'd Scarcoly : d d od : d .d : d .d |r : – , r : r , r s : – , s : t , t d : — ; º A. t. C7'0s. f dim. r sis] : m .d : t , r |d ," : S : – , S | S — , f : m , T | r : m : - Scarcely can its presence feel; But its pow'r 'twill soonrel-veal; r S1,s) : St . S : S.I . SI |S| : S. : d lſ ,lº 1 : t t : d : S d : – , d : f , t |d : d : pl r ,r : r : f f : p1 : Call its presence feel; But its pow'r 'twill soon re - veal; #9 tºm.m. ; d, .m. ; r ,f "I dº: pl ; d. ri grº ri : S d : d ..,d : d .d | Scarcely can its presencel feel; But its pow'r 'twill soon re - vCal; And so mighty f. D. wn f - Sr.,d': t , 1 : s , f |m : : f| \m': r , d' : t , 1 |s : : And so mighty is its force, Nothing can re-strain its courso ; mt ...1 : s , f : m .r : : r' ...,d': t , 1 : s , f |m : : on f f dim. : : lm' or': d'. .t : 1 .s |s e : s' ºf": ml , r) : d' , t And so mighty is its force, Nothing can restrain its d's : — : S " S : — : — S : - . S : S , S S ,S : S : — * is its force, No - thing can re-' strain its course; / s os : fe , s : 1 .ml |m| fl: 1 : m', r" |r! : s , 1 : s , f |m : . . Riches, honours, whatare they Love thro' all will find a way; r or ; r , r : de.. de r : — : f , f |m : – ,f : m r |d : : ta, ; – : 1 , 1 || 1 ,l : : 1 , 1 | dº – , s : 1 , t d! : : course, IRiches, what are they? Love thro' all will find a way; S , s : S S : S ; S. : — : I , S. : — : — ! ...,s : f . m . r..d Riches, honours, what are they? Love thro’ſ all. Nothing can re-strain its St. Co. (New). w __-T s , s : fe , s : lim Nothing can re-strain its r ,r : r ,r : de.. de S ,S : S S : S , S Nothing can re-strain its taſ . course, Can Tø- ADDITIONAL EXERCISES.–PART II. dim. s' , f : se , 1 ; ml , r) Course, Love thro' r : — ; f .f l : rſ : l , l COurSe, Love thro' r or ; f : T , I’ strainits course, Lovethro' T- £) →T D = : "...r ; m, f T Thus love, thus : ...t : d , I' 1 : s : way. ; , f : m . r Thus love, thus 1 .,s : S : pow'r reveal, f , s : S : r! – , d' : t , 1 SOOD. re - vealsits t otſ; tı ºr ; S. , f s ,s : d' , t : 1 . S love is oft so weak at m ...,m : s , f : m .m : : ., S Thus d ,d : m r ; d .t love is oft so weak at on f ..,d]: f' .m' : r .d. so mighty, Nothing ..,d : d' , t : 1 . S S : , ,d] : f' .m. pow'r, so mighty, m ...,m : 1 . S •, I, pow'r re-veal, its t ,l : m' : rſ lovo thro' all, f ,f : 1 : — rl ºr ; fl : — love thro' all, f of . r : — pow'rsomighty, Nothing Cº'6S. r! : s , d' : t , d! all will find a m : – , m : m , m d! : – , d' : – , d' all, Love thro' S : *º . 1 : l . 1 all will find a S : f first ; m : f : d : – , t : 1 , s love is weak at l : – , d : f , m first, So weak at T-- t , 1 : s , f : f ,m can re - strain its course, f , f : m , r : r .d rl , t , d' , r) : S Nothing can re - strain, can ro - strain its course, fl ...,m'; s! .m. ; d. , 1 s , 1 : t : m' love thro’ſ all will find s ,s : d' : s , m | f , f : f : — Love thro' all will find d! ...,d]: ml , d' : ml .dl t .d : rſ : t: love thro' all will find S ,S : S : — - , S - S : Sl ta. , 1 ; r" m' ,F'; s t way. 3- * : f : – , r) : t ,l all will find a t — " : way. cres. ,1: r" , d' : t , 1 But soon it willits .,f : 1 , s : f .f f : : ,l first, But r or ; f ,m : r ,d first, But soon it willits C}^{2S. s ,f : t Love thro' all, m of : f : Love thro' all, de ,r : f Love thro' all, /*N .r' 8, d! : way. ..f way. d : way. 3. , t a, S St. Co. (New.) ADDITIONAL EXERCISES.—PART II. 57 Words by J. S. C. O THE JOY OF SPIRING. Styrian Air. KEY F. mf I- -- I- Jº- - : d , r | Pl. SI : m : r .d | r , 1 ; r : f , 1 s ,r : s , l ; r , f |m : — 1. O the joy of Spring, Let us gaily sing, While the Sunshine on the meadis bright, 2.Now the primrose pale Greets the daf-fo - dil, And the vio-let - scented air is sweet, : n f is ºn s : s , s |f , f : f : r , f : f , r : s , s s *- 3 Then com, -panions, ho! To the fields we go, And in harmo - ny be - guile the hours, ; d.d d.d.; d : r.m. | f |f| : fi : f ,f sº s : si, sº : s , s: : — C. t. cres. I- Jº- I- -> f -*=L - T- m .s : m r .d ſºm, s : m : r , d! t .d.) : r" .m": f' ...,t d! * — lambkins play, And the earthis gay, And all ma-ture keeps a hol - i- day. d , s : d : G | . sd.m. ; s : s , s s , s : t , d' : t ,s |s . – ev-'ry tree Make a melo - dy, Singing welcome to the sun-ny May. S , ſº . S : f , m r s , d' : d! ; fl.m. ||r! .m. ; fl.m. ; r" of |m| smº soſtest trill; Now in music shrill, Shall our song the joy-ful wel-kin fill. d , d : d : d .d |r s. s : s : s , s | S , s : s , s : s , sld *º- T=- < - dim. - 1 || 1 , f : d! : t , 1 || 1 , s : In : s , se t , 1 : s , l ; f ,r m *- la la la, La la | la la la, La la la la la la la la la, f , f : f : d .d d ...,d : d : d .d | r ,d : t , t : t , t |d – la la la, La la la la la, La la la la la la la la la, d' , 1 : 1 : s , f |f ,p) : s : m .m. |f ,f : f , f : r , s |s sºm- la la la, La la | la la la, La la | la la la la la la la, f , f : f ; fl. f | d ..,d : d : d .d SI SI: St. S1 : St. S1 |d : — Amolto. 7 it. e dim. ~ rić, /*N I- I- - 1 , s : f : t , 1 |fe , s : d' : t , 1 || 1 , s : 1 ,s : f ; tı |d lambkins play, And the earth is gay, And all na - ture keeps a hol-i - | day. f .d : d : f of I'e , m : m : f , f f ºf : f of : t , Sl S! 'ev-'ry tree, Mako a mel-o - dy, Singing wel - come to the Sun-my May. d' , ta : 1 : s ,s | 1 , s : S : d' .d' t , t , t ,t : s , f |m softest trill; Now in mu-sic shrill, Shall our song the joy - ful wel-kin |f|ll. f , f : f : r ,r d .d : d : fi fi S ;SI: SI S1; SI S1 |d : d . r While the : d ...t Birds in : S , S Now in : m . r f. F. :d's se La la : 1 m.pl La la : fid'.dſ Lala : f d.d f : S , Se While the : In , m Birds in : d', d' Now in : d .d i St. Co., (New) 58 ° - ADDITIONAL EXERCISEs.—PART II. . HOW LOVELY ARE THE MESSENGERS. - * (Chorus from “St. Paul.”) Mendelssohn. KEY G. Andante con moto. M. 132. ALTO. * | ; : . . . sºld : - ; tı |l : - : s , f : - ; n | r : – ; d t| : d ºr |s|: s : s , | - Howl love - ly are the mes - Sen-gers that preach us the gos-pel of) *, st : – ; - | : : sº | 1 : – ; tı |d : – ; r |t| : – ; d |r : – ; f { | peace ; Howl love - ly are the mes - sen - gers that & - £) 'm : 1: ; d [t : l ; tı |d : – ; – | : ; d s : – ; – |s : – ; fl. ) preach us the gos - pel of peace; The gos sº pel of : : | : : : : : : ; : | : BASS.: si IIow m) : – ; : : s | 1 : – ; s |t| : – ; d r : – ' : – | – ; m : f peace ; the mes - Sen - gers that preach us the : – ; tı | 1 : - ; sº | f : – ; T | r : – ; d |t| : d : r |s| : s : sº love - ly are the mes - Sen - gors that preach us the gos - pel of m . m : r |d : – ; : : j : : . : d |d : – : — gos - pel of peace . . How love tº s : – ; – ) : . ; sº | 11 : – ; t |d : – : r |t| : – ; d | r : – ; f. peace, IIowl love - ly are the mes - sen - gers that) gº s ly are they that preach us the gos - pel pi : r : d r : l ; tı |d : – ; – : : d | St : – ; -- – : – preach us the gos - pel of peace! the words f S.C.T.B. - : s s : – ; – |- : – ; T m : - ; – | r : – ; d t| : d : r i r ; m : f To all f the na & tions is gone forth the sound of their : tº id : - ; SI |d : – ; d |d : - ; – |t| : – ; d is : l ; tı |t| : d : r of peace; To all the na gº tions is gone forth the sound of their : s m : – ; – |- : – ; s s : – ; – s : – ; s | f : P : r |r ; d ; tı To all f the na s tions is gone forth the sound of their : s] | di : – ; d irſ : – ; d s : - ; – | f : – ; T | r : d : tº |t| : l ; si of peace; To all thc | ma tº tions is gone forth the sound of their St. Co. (Newj. ADDITIONAI, EXERCISES.–PART II. 59 I). t. m : – ; – : ; m 1 : – ; – |- : - ; d. d' : – ; – t : – ; tım | f : s : 1 words, to all thel na tº tions is gone forth the : – ; – ) : ; m |m : – ; -- |– : – ; – || – : – ; – | – : : r s | f : – ; – words, the sound is gone, : – ; m |m : – ; – | – : – ; – ) – : – ; 1 || 1 : – ; – se :-- ; : words, to all - the na º tions : – ; ; ; ; m |d : – ; – – : tº : 1 |m : – ; – |m| : – ; m, 11 r : – : — words, to all the na G- tions is gone, : d' : r" | s : – ; – ) – : – : s , 1 : t : d! |r! : m) : f' fi : – ; – | – : – ; sound of their words, is gono forth the sound of their words, – : – ; – : – | P1 : – ; s s : – : — : – ; – – : – ; r s : – ; f -is gone forth, the sound of their | : :df |s : l ; t d' : r" : ml |m| : – ; – |r! : – ; d. t : – ; – | : ; s is gone forth the Sound of their words, their words, BIow \- : – ; T m : t : 1 : t , ; d! – : – | – ; ; f | s : – ; ; – 1 – : – ; – is gone forth the Sound of their words, the sound. / -- f ; : ] : : ; : : ; : : : s d! : - ; t f How love - ly m : – ; – ) : : ; : : : s! s : – ; f |m : – ; – words. How love - ly are d : – ; t | 1 : – ; s |f| : – ; m' | r : – ; d. t : d! : rl s : s : s , s : – : — love - ly are the mes - Sen - gers that preach us the gos - pel of peace, – : – ; – — : – ; – – : - : — ; : s , s : – ; f |m : – ; r |m : – ; Howl love - ly are the 'mes - sen- | 1 : – ; s |f| : – ; m| | r : – ; d' |m| : r. : d' |r! : 1 : t di : – ; – s : – : \ are the mes - Sen - gers that preach us the gos -pel of peace, : : s | f : – ; s : – ; f |m : – ; – } f : – ; r s : f : m | f : d : r the mes - Sen - gers that preach llS, that preach us the gos - pel of | : : s d' : – ; t | 1 : – ; r" |dſ : – ; – |s : – ; f" |m| : r" ; d) |r! : 1 : t the mes - Sen - gers that preach US, that preach us the gos- pel, the f : - ; m | 1 : – ; s | f : – ; r s : – ; – | – : – ; – s : – ; – | – ; ; s gers, the mes. - Sen - gers that preach US, that dim. #9 f. G. s : – ; – |- : - ; f |m : - ; – |m : – ; f |m : – ; – | r , : – ; d. ds : – ; – ) they that preach tlS the gos jº pel of peace. m : - ; – : : r |r : - ; – |d : – ; d |d : – ; – |t| : – ; d ds : – ; – peace, - that preach l]S the gos º pel of peace. d' : s , : ta | 1 : - ; 1 |se : - ; – || 1 : – ; f | s : – ; – | f : – ; m, mtſ : – ; – goš-pel of peace, that preach llS the gos ſº pel of peace. s : f : T | f : d' : r |m : - ; – | 1 : – ; – s : – ; – |sſ : – ; s |ds : – ; – preach us the gos - pel of peace, the 80S ſº pel of peace. St. Co. (New). 60 , ADDITIONAL EXERCISES.-PART II. f. C. L. is A. | : : r s : – ; f |nt : - ; 1 |se: – : – To all thel na {-} | : : ; : | : : ; : | : : ; : | : :mt |m| : – ; – To all | : : , ; : : : G. t. L is E. d'f : – ; – | : : ; : | : : words. ; : | : : 1 | r : — |t| : – ; 1 To all the m"1 : – ; f | r : – ; – ; : : : Ila, tº tions,' ; : ; : ; : : t TO f f. C. | : : ; : : d's s! : – : — To all |t| : d : r |d : – ; – ) : :ds d! : – : — sound of their words; ; : ; : : :ds |m| : – ; – Tol all |ri : – ; – n : – ; d Il : – ; : the Ila, gº tions te G. t. * m! : m) : r" |dlf ; m : r t : — | : : s gone forth the sound of their words, is m : ba: se || r : m : f : – ; – : : m s : l ; t d'f : s : 1 |r : – ; – | : ; d gone forth the sound of their words, is : ; : f |S| : 11 : t |d : r : m | is gone forth the sound of their f | – : : s , s : – ; – | – : – ; m |m : – : — To all the na * } |- : : f |m : – ; – | – : – ; d |d : – ; – |- : : s] |s : – ; – ) – : – ; s : : — To all the na * * | f : m : r |d : – ; sº |d : – ; m s : – : — sound of their l words to all tho na tº |se : – ; 1 se : 1 : t , t : d! : ri tions is gone forth the sound of their |- : – ; – – : – ; – |m| : – ; – the | : : . . . ; ; C?'(2S. ; : | : : : : se: – ; – sei: – ; 11 |se : l ; t Ila, wº tions is gone forth the : | : ; : C}^{2S. m : – ; – | – : – ; – – : – ; – all, |- : – ; ml |m| : – ; – |r! : – ; s thel na ( : tions is |- : – ; d' d! : – ; – t : – ; s |- : – ; d' s! : – ; – s : – ; s - the na, gº tions is | : : ; : ; : d : d' : t | 1 : s : f |r! : – : – gone forth the sound of their words, d : r : m : s : 1 | r : – : — m : f : s | 1 : t : d! s : – ; – gone forth the sound of their words, m : – ; – ; ; 11 |t| : 11 : sſ words, is gone forth the |r : – ; d t| : d : r | r ; m : f tions is gone forth the sound of their |t| : – ; d s : l ; t |t| : d . r | s : – ; s | f : m : r | r : d : t tions is gone forth the sound of their | f : – ; m | r : d : tí |t| : l ; si tions is gone forth the sound of their St. Co. (New). ADIDITIONAL EXERCISES. –PART II. 61 : d tha m : – ; – | : d : d 1 : – ; – is : – ; – | f : – ; – |m : – ; r |r words, throughout all the lands their glad tid d : – ; – taſ: – ; tail li : – ; – |t| : – ; – : – ; – |d : – ; d d through - out all the lands their glad tid m : – ; – | : d : d | f : – ; – | r : – ; – : – ; – s : – ; 1 |s words, throughout all the lands their glad tid d : – ; – | : d : : – ; – s] : – ; – | 11 : – ; – |d : – ; fl. |s| |- : – ; – |d : – ; – | : : ; : : : ; : tº a º dings. #9 |t| : - : – d : – ; – ) : : s |d : – ; t | 11 : – ; sº | f : – ; m | r : | tº º dings. | How love - ly are the mes - son - gers – : – ; – S : – ; – – : – ; : : : : : : : * † ge dings. | – - “. m) : – ; – | – : – ; ; : | : : ; : : #9 ; : | : : ; : : : s , s : – ; – | f : – ; – – : – Bowl love tº ly t| : d : r |s|| : s : s is : – ; – | : : si | 1 : – ; tı |d : – ; r itſ : — preach us the gos - pel of peace, How| love - ly are the mes ; : ; : ; : | : : m : – ; – |- : – ; – s : — Howl love tº iº ly ; : : : : -; : ; d. | f : – ; – | – : – ; – s : — EIow] love tºº te gº ly % #9 |m : - ; r im : r : d | r : 1 : t |d : – ; – |s : – ; d : – ; – | – : – ; f they that preach us the gos - pel of peace, they that |d : – ; – – : – ; – |s : – ; si tiáiºlº m; : - ; ) l ; – : — SGDL gºe - - gers that preach us the gos - pel of peace, that |d : – ; 1 s : – ; – | f : – ; f |m : r ; d | r : T : t |d : – ; – | : ; tı they that preach, that preach us the gos - pel of peace, that |lſ : – ; fl. s : – ; – |- : – ; – |- : – ; – |- : – ; – |- : f : mſ | f : di : r they that preach us the gos - pel o m : - ; – m : – ; r id : – ; – |t| : – ; d d : – ; – | : preach TIS the gos tº pel of peace. JFour measures sei: – ; – ) l ; – : 1 |s : – ; – | f : – ; ml |m| : – ; – | : t| : - ; – |d : – ; f |m : – ; – | r : – ; d |d : – ; – | : preach llS the gos G pel of peace. - Pl, : - ; – |- : - ; f |s : – ; – |s|| : – ; si |dſ : – ; – | : peace, the gos tº pel or peace. Symphony. St. Co. (New). 62 Af)í)ITIONAI, EXERCISES.—PART ft. KEY D. M. 50. Largo e Sostenuto. J. Danby. C7'0S, /*N f - : s |m : – , s (d! : — — : — | – : — : d' | d' : d! t : — — ; t A - wake, a - wake, I- AE - O - lian lyre, 8, - |: t — — ; – | – : -, m|s *- : m |m : p1 | r : — — : r I- a - wake, : r |m : — — : , d"|m" : — — : — : s s : s s : — — ; s A - wake, . a-| Wake, AE - O - lian lyre, al, - : Sl : — — : — I — ; – ) — : — : d |d : d si : — — : — - Quicker. M. 100. jº ~ J | d! : ml |r! : t d' : — — ; d' t : — — : : | : wake, AE - O - lian lyre, a - wake, m : s | f : r |m : — — : m r : — — : º | : s : d! t : r1 d! : — — : s s : — — : s is : f |m , f : s , m wake, AE – o – lian lyre, a - wake, and give to rap - ture, — : — | – : si |d : — |— : d s| : — | – : .sſ: 11, tºld . r. pl.d a - wake, and give to rap -ture, f onf anf .1 : t , d' |rl ; d. t , d' : t , d' |t : : | : : dº and give to rap - ture all thy trembling strings; Erom .d : r .pl |f : m I , m : r , m | I' : r s ,s: s , f |m : S f : From | Hel-i - con’s harmo - nious springs, . l : – , s |f : S s , s : s , s |s : : s |d' ...,d': d', tall : d! give to rap - ture all thy trembling strings; From Hel-icon's har-mo - nious f : – ,m |r : m .d | St.d : s , d s! : : : f ,f : f .m. - Froml Helicon's har- dian. f |f| if'; fl.m'] r] : – , d' s : — — : — — ...t d! : ml | d! : — Helicon's har-mo - nious springs, A thou - sand rills | : , d s , f : f', m m . r ...t] | d .tſ : t.d d .tſ : ..r |m : s |m : – , m harl-mo - nious springs, har-mo - nious springs, |t : : , s , s , f : f'.m. |m. r , S | S : s |s : - , S springs, - harl-mo - nious springs, A thou - sand rills their mo - nious spyings, har-monious, harl-mo - nious springs, ** AWAKE ZEOLIAN LYR.E.22 St. Co. (New). ADDITIONAL EXERCISES.-PART II. 68 ..— : – ' | – : d'.s | 1 , s: f .m. |d' : , fl: m'. r" d! : t d! : — — : thou - sand rills their mazy pro-gress take, f .m.; f .ml f : m |f .m: r .d | 1 : . 1 : s , f |m : r |m : — | – : s] mazy progress take, - l , s: l , s ) l ; d! d'.m.; f.s | 1 .d': d', l s : s , s : — — : s mazy progress take, a thou - Sand , rills their mazy pro-gress take, The f ,d ; f,d | f : d |d : r .m. |f , f : d , f | s : si : — | – ; mf dim % wall. e : | : : | : m', d' |t : – ,r' d' : t , 1 || 1 : se | 1 *=e ** Drink| life and fragrance as they flow. d .m : - .r | r .d.; tı.d |r : T |f º º l, ugh - ing flow'rs that round them blow. m : s , s : – ,l t : d' |r! | : | laugh-ing flow'rs that round them blow. - : : e : d!. 1 |se : – , t | 1 : r |m : - .m. | 1 Drink] life and fragrance as they flow, Largo e soston uto. f M, 50. - - * s , : - .s |s — m : f | s : 1 s : — s : t , 1 : t d' : - .d Now the rich stream of Mu - Sic winds 8.- m : - , s s : – |s f l r – T |m r |d ; tı |d : r |m : fe d : – ,m' m) : — |m| : r" | d' : – ,d] | d' : t |m| : r" |d : t | 1 : - . 1 Now the rich stream of Mu - sic winds 8,- d : – , d d : — d : r |m : fe s : — |s| — | 1 — |— : 1 #9 f #9 f} t : — | – : — |s — — : t d' : — ||t : — t : 1 — ; 1. long Deep, ma - jes tºº tic, Smooth and s : — — : — |s : — | – : r |m : — | r : – , r : — | — ; r rl : — — : — |s — | – S — |s — s : fe — ; fe long ; Deep, ma - jes º tic, Smooth and s : — — : — s : — – : si ld : — |s : – l r : — – : r $ Spiritoso. M. 152. dolce. t amº i == | º | : m| |m| : – , f' m) : rº strong. And Ce - res’ gold-en r — | – || dolce. : | : º | : s s : – , 1 || s : f s : — | – ||s s : – , 1 s : f | f : m | e strong. Thro' ver - dant vales, s! : — | – || m m : – , f |m : r | r : d 0. : | : St, Co. (New). 64 ADDITIONAL EXERCISES.—PART II. reign. f : m G7°6’S. | d! : | o Now, | d] : d'.dll d'.t.: 1.s. Now rolling down the |d'.t : 1 s | 1 , s : fºr : |t : * * * * : t , t d! : dº In OW head - long impet - uous – : — |r : — |m : r ,r |m : m 1. s : f'.m. ||r : – ' d' : s , s |d ; s steep a - main, head - long impet - uous f.p. ; r.d s : — |— : — — : ſº d' : s |s : — — : — | 1 , d' : t , 1 |s : - || -- : — — : — SCG it. pour, º - - - -> - - j" - º ; F |m : — | – , s : f .m. |f – |- .m. ; f.r n : i.m. ||r : m .m - See it pour, seeit l : t d! : — |- .m. ; r.d! | 1 : f s : — | — ; d.d. |t : d', d' SQ6 it, pour, º - - - - - - See it pour, seeit f : S : — |— : — |– : — |— : r,t) |d : m.d |s : m .d #9 C7'6S. |- : , s |s : – ,s | 1 : ta.s | 1 : — | – : d' d' : rl |m| : t , The rocks and mod - ding groves re - || bel - low to the |r : – ,r |m : – m | f : m : l — ; f rl : r |d : r pour, - : – , t |d' : -.d' | d' : ta | 1 : d' | – : 1 s : f |m : r pour, The rocks and mod - ding groves re - || bel - low to the f ſº d! : — |— : — t : – ' d' : – , r" |m| : – ' d' : — t : — |— t roar, º º - - - - - º sº tºe se I'6 - m : — |– : — |r : — |m : – , f |s : — |m : — |r : – ; – ; s d. tſ: d . r m .r : m. f |s . 1 : s , f |m , f : m r |d ,tſ: d .r |m .r : m. f | s -- — ; r roar, º & a - - 4- - e- º º º - re - d. t1; d.r |m .r : m. f |s . 1 : s , f |m , f : m .r |d . t1: d .r m .r : m.f s — — ; s D.S d : — | – : d' d' : — |t : – ' d' : d',t |d : d!.,t d! : — | – bel - - low to the roar, to the roar, to the roar. s : — | 1 — s : — — : f r1 : s , f |m : s , f |m : — | – bel - low to the m! : — |f| : — |m| : — |r! : — |m| : m.,r'[m] : n' or dſ : — | – bel - low to the roar, to the roar, to the roar. d' : — | f : — s : — — : s d : s ,sld. : s ,s |d : – ' — St, Co. (New), ADDITIONAL EXERCISES, PART 3. Words by George Bennett. For style of singing see “Hints on the Tunes.” WEIERE THE KEY G. Moderato. (Copyright.) GAY DREAMS OF CHILDEIOOD P German Air. Harmonised by Kiicken. f) T- −. I- I- D. t. ; SI ., S|| St.,ſl aſl — , f | S : r : 1 .,m |f : 1 – , S m : – ; ml 1Where the gay dreams of child - hood, With the love - light of truth ? The : s ,s |S| ºd : - .d |t| : tº ; tı.,d |t| : tº : - , t : – ; d.f 2Where the bright dreams of man-hood, That would seem not likel dreams, But : m ...,m | r , s : S : - , t r : S f ,m |r : f : – , f |m : — : 8 d' 3. Let us! live for the re - al, There's no truth in our dreams, They : d ..,d d : d : - . 1 |S| : S : St.,s 8 : S : - , s| |d : – ; d.f --~ Anf dim. #9 f. G. l – , s : s , t , r) : d' : t ,l : – , s : r ,m |d : : ds |s|.,r : r : – ,m vi - sion of beau - ty. That daz - zled our youth P They pass'd like the f : – , f : f f : m : re |m : – ,m : t & : ds | St.,tſ; tı : - .t, pre - sent and cer - tain, The sur - est of schemes? We near the temp- t; : – , t : t t : d! : d! d! : – , d' : f ,s m : : ds sº.,f : f : - .s melt like the rain - bow, With fair - est of beams, In youth's morn of l' : - . T : S S : 1 : fe s : – , s : si : ds SI : s : – , s: ſº) f. C. poco accell. T- D. tºm. r : d : – , s sº.,f : f : - , s m – : .ds s : l ; t rl : d' : , 18 cloud-lets By morn -ing un-| roll’d, All touch'd with the glo - ries, All s] : s : – , sº | Sº,r : r : – , t) |d : – .ds s : fe : f s : s , : .ls. ta - tion, It fades at the touch, We grasp at the bub - ble, We f : m – .m. ||r.,s : s : – , s , s : — . . mt t : d' : r" | f : m' : , 1s beau - ty In man - hood Or age, The true and the last - ing, The f. G. ſº- > - > f T- s : 1 : t r' : d' : .d's s : l ; t rl ; d! : , s , t : 1 : – ,f touch'd with the glo - ries, All touch'd with the glo - ries Of crim - son and s : fe : f S : S .m tº tº ; d : r : : .d |t| : tº : - .t grasp at the bub - ble, We grasp at the bub - ble, It bursts at the t; ; d' : r" | f | : m) : .d's s : fe : f m : m : , m | r : r : - , 8 true and the last - ing, The true and the last - ing, Our thoughts should en- S : S : S : : .d sils : s , : S. s] ; SI : , Sí |S| : St - .81 / LoNLoN : Tonic SoL-FA AGENøy, 8, Warwick Lano, E.C. PRICE Four PENCE. - - 66 Ai) DITIONAL EXERCISES.–UAR. T. III. m gold, d sº clutch, * 8 : - gage, KEY B). d : SI Theme sub- d : S Theme sub - d : r praise, of l ; tı end - less t; : ..r' lime of l , s : s ,f end - left _-" T-- £) piu lento. T-- : m r : t : – , l l S : Sſ Sl : m : I' d : All | touch'd with the glo - ries Of crim - son and gold. : d t| : - .t : Sl : Sl r ; d : t S] . We grasp at the bub - ble, It, bursts at the clutch. : 8 fe : s : – , f |m. : m : m s : s : f m : The true and the last - ing Our thoughts should en- gage. : d r : s : – , s: | d : d : d t : Sl d : TEIFMIE SUBLIMIE OF ENDLESS PRAISE. M. 60. JHamdel. St : d t : ,r | r .d ; d. t1 |d : : Theme sub - | lime of | end - less praise, Pll . . 1 || 1 , s : St. f |m| : r |d .rſ : m. di | r : Q lime of | end - less praise, of end - less | praise, : - : : s] : d tº : ..r | r , d : d .t Theme sub - | limg of | end - less : d : Sl m : , li | 1 , s : S. f |m| : SI Theme sub - lime of | end - less praise, of t - IF. t. m : , 1 | 1 , s : s , f |m : , s , s , f : f .m. ||r ; m 1,t d' : lime of | end - less | praise, of | end - less, end - less | praise, Sl : d t .r | r .d ; d. t1 | 1 .d d . tº ; tım .r : Theme sub - | lime of | end - less praise, of | end - less praise, m : 1 m ; tı d : m g S : rs : d! end - less praise, of end - less, end - less | praise, Theme sub- : : : : Sl m : . 1 praise, Theme sub- lime of : d : f m . 1 || 1 , s : s , f |m : , s , s , f : f Theme sub - lime of | end - less praise, of | end - less : : st : d t| : ..r jr .d ; d. t1 | 1 , r : - .d e Theme sub - lime of | end - less | praise, - r! .d' : d!, t | 1 , s : 1 .t o r ; S s : - .m |d . 1 : 1 end - less, end - less praise, Theme sub - | limo of | end - less m .s | f .m : r & Sl ; tı : m f : – , f' praise, of | end - less praise, St. Co. (Nºw). ADDITIONAL EXERCISES.-PART III. 67 f : m r praise, of end sº of | end r : m , f | S praise, of end S| : Sl righteous are .nl : " , rid Just are thy thy ways; Tll , r1 : Sl righteous are Sl e ways; S| ; SI . SI ways; Just and IF. t. r s , 1,t : d! .d' right - €OllS t- : tim ... m. Just and sld – , d Just and f. B.W. M. 69. – , r d *- : : : - less praise. ; tı d * — : : : - less praise. : – , I | Fl * — : : ds : - .s. - less praise. f Just and Just and righteous are thy ways; W f : : d's : - , s | 1 ,sſ : d Just and righteous are : : : |U|| : - .d. - Just 8. It -- .d : t! l , ti,d: r .d t .d, r. d , tal l, .rlf: S| • 8| thy ways, ºright - - - gº eous are thy r "ºff st * : fi * : m fi riºri; m, .d. ways, right - - - €OllS al’O thy d : – , d | r , d : f — , f : Pl Just and righteous are thy ways; , S: : fi sº- : I'll , ſl l , SI l ...t , SI : d - thy ways, are thy ways, cº 4- - : – , S : – , S , m : r d : – Just and right - eous are thy ways; lſ , 1 : 1) sºft|d : — : : righteous are thy ways; t , d' : d! t , 1 : s , 1 |f : – , f | f .s,f : m r ,d are thy ways, right - eous 8.T0 thy ways, º f , m : l .s,fils ..lºtſ: d *- : t ,ti : - righteous are thy ways, are thy ways; : : : sld : — .d - Just and r , d : f — , f : m r : - ,r d : righteous are thy ways, l are thy ways; St. Co. (New). 68 ADDITIONAL EXERCISES, -PART III. f. B9. tl .d : li , r is : — : tº : : gº are thy ways, * : : - .d |rl , s : d – .d : tal *sº : li , li sº : - ..fºr Just and righteous are thy ways; Just and right - eou r , d : f — , f : m , lm : m .r,d] r .m,f: s , f |m .d : f – m : m r ,d righteous are thy ways; Just are thy ways, * - and right- || - eous; Just & & --- : : : : f,d : — .d. | Just and f. Ep. B ), t. : fd : – , d r 1. s : d! — , d' : t d! – , r) |m|l : r or Just and righteous are thy ways, are thy ways; Just & alſe thy ways; * Just and right - eous are thy ways; t .d : t .l SI : amº .d S : S .d. l : t S , - ...t d'f : S •,S righteous are thy ways; Just are thy ways, Just are thy ways; Just & ri di : fi - . 11 : Fl .l.m : m .r,d] r .m., f: s , f |m : m r |d f : f ºf righteous are thy ways; Just are thy ways, tº ſº aro thy ways; l s : – ,d f : – , f |m : — Pl : – ,p) m : m m : m m — \ right - eous are thy ways, And thyl mer - cies still en - dure, : - .d ; tı d : — m, - .se, 1 : r .d |t| : 1 sel : — § : - . 1 |f : – , f | s : — |d — , r ) m : m r : d t| : — right - eous are thy ways, And thy mer - cies | still en - dure, m : – , f | r : – , r l’d : – l l : - .tl. d : 1 sel ; li ſmſ : — f. E9. – : — I — : — : m i n) — r 1 : d! It : 1 t : d' still en - | dure, And thy mer - cies still en - : : : : pm : - . m m : m m : m : : : : r 1 : – , 1 |se : d' |t : 1 still , en - dure, And thy mer - cies still en - \ – : – ; – : — |m| : ml |m| : — |f|d : 1 |m : 1 se : 1 F. t. m. se : — |fem : 1 s : 1 f : r | p : — t : d' |t d! dure, And thy mer - cies still en - dure, And thy mer - cies m : — | r d : d m : m r : ll t — m : n, m : — " still en - | dure, : — r'd' : d) |d) : d" |t : 1 se : — se : 1 se : 1 dure, And thy mer - cies | still en - dure, And thy mer - cies m : - Ifem : f 'd : li | r : f |m — | – : — | – : — St. Co. (New). ADDITIONAL EXERCISES.-PART III. 69 f. B9. r: ; d. |t : — | 1 : - , t d' : t , 1 | 1 : se. l l : — : still en - dure, And thy mor - cies still en - dure, – : — – : - ſºl : – , r | d : f m : – , r) ſm — fd : 1, º Ev - er se : 1 t : — I d' : – , t | 1 : rſ, d' |t : – , t d' : — : still en - | dure, And thy mer - cies still en - dure, m : 1 se : — | 1 : f | d : r m : - .m l! : — : S| : f mirirlift: 3, .ta |d duri:ri,f.sºrill,Sr.l.,tſ:d,s.lt.s.lfps.T.,f :ri,s.f,s faith - ful, eV - - er | sure, Ev º º º º - e is F. t. d's : m r : d f r1,r n.f s ...t] | d .d, r :ri,f.s," |l s.l..t:d's l ,S Ey - er faith - ful, OV º - er | sure, Ev se º tº m .d, ; 8 .d |t| , s : "ill .ti |d it.d ºr m 's li : d .m. |f :m .d - er, ev - er faithful, ev-er, ev - - er | Sure, ev - er sure, Ev - er f ,s m,f : r,s.f,s m .d : m . fe |s,fe.s, l: t ,s.l.,t d! .t, l: s ,f.m.,r m : S ſºl - º - er, ev - er faith º º - ful, ev - er | sure, €W = €r r d : tº liſt||d : d .r |ti,ll .tl,d:r,tſ.d, r |S| stylſ: t ,r |s| :d .m faithful, ev - er Sure, Ev - er faith sº s - ful, ev - er | sure, ©W = €r : d! : 1 S :f |r1,rm,f :s t| |d d r ºr f.s," Ev - er faith - ful, eV. sº- er | sure, Ev f. Bº. d : f .r m ti : : : d :l Sure, €W = €1. Sure, }v - er f : l .f. Stri : t ,ti d tºll; Sufiºr ſh,r1,r1,fi: Si,ll.tl,s d ..] :d .f. Sure, €V - €r sure, Ev - er faith º -> sº º - ful, ev - er l,s fºr ; f.s.l..t|*'s ºf r ºr d tilist.fi.si.lºtur is is :Fl f," ..f, s : 1,8.f,s -> º º - er, ev - er faith º ful, lev - er faith - - f : r d S| : fi Flºr.T., f:s ...ta d .dorr:ri,f.s," losſ.fi."; fosſ.l.,t Ey - er faith - ful, GY * er sure, Ey * º <> Gr St, Co. (New), ADDITIONAL EXERCISES.—PART III. s : f m,r.m.,f : s , t d .d, r :m,f.s,n |l,s.f,m : f , s \m : - faith - ful, ev - - er sure, ev - - || - - er | sure, sure, ev - er sure, ev - er sure, ev - er sure, ev - er sure, m,f.s,m : 1 .s |s : – , m ſm : p1 m |i : d .r m : — |Tº ful, ev - - or sure, ev - er sure, ow - er sure, d, r .m. ,d : r st d,t).d , r : m . Sl |lisillºt d d fi."fusiº l ...t] : *º ev - - er, lev - - er faith -- ful, lev - " - er | suro, : e : : : d : ll st : fi Ev - er, 6V - 613 : : : : d : li |s : f |m| : d - Ev - er; faith - ful, ev - er : : d : 1 S : f m : f m : d : 1 And thy mer - cies still en - | dure, eV - €r d : d |d : – , d d : d : - } – : — — : — — : — And thy mor - cies still en - | dure, mſ : — s : m r : d S : m r : - || S : m r : — Sure, Ev - er faith - ful, lev - er Sure, OW - €r Sure, : - |d : Si |t| : Si |t| : d |t| : — |d : s |t| : — sure, k S : — |d : m S : m r : d S : — m d S : — sure, Ev - er faith - ful, ev - er Sure, GW = €r Sure, – : — |m| : d St Sl SI - Sl st : — — — - : — And thy mer - cies | still en - dure, 8 : m r : - : : – : €W = €r = Sure, t : d |t : - d : ll SI : fi |rºrirlift: s , ta Ev - er faith - ful, eV. * : GI’ r : d 8 : — f : d ...r |m , s : li ,ti |d,t.d, r : " ..s ©W = OT Sure, Ev - er faith - ful, eV. - er * ; ~~ * : - l : fi d : : eV - er Sure, St. Co. (New). AIDDITIONAL EXERCISES.-PART III 71 f. E9. - B2. t. | : l : f d! I’ : 8 S : ml] \ Ev s €I’ faith - ful, eV. º er. - d : dº,r)| : Flof . Sºm | 1,s) . filmſ : fid, r.m,f s , sſ, l ; tı,d r,t) |d ºr .m.,r ; m li ,f *-* -ºs -m amº-ººs Sure, ev cº- - - - - er, eV º tº - lſ . lotſ ; d, r .m.,d | f , s , 1,s : 1 m', r".d', r" |t,1 .t,d' : r",d' , t ,r' |s : 8 d sure, ev - tº- - - º -> = €r : f ; r 1 S : f m, r .d,tſ :d fºsſ.lt,t Ev - Ol' | faith - ful, faith - - - ©r S : f m : d t : — S : p1 I : d faith - ful, eV - €r Sure, And thy mer - cies ſh : d d : : SI S| : — Sl : d t : Sl d : S : m r : — t : d S : Sure, eV - er Sure, And thy mer - cies d , s : ll tº d .d. : m , fi Sl : — Sl : Sl S| : – , S| tº - ful, 'ev - er Sure, º Adagio /*N (740. f : m r : — : – , f |f : m r : – , r d : — still en - dure, Ev - er faith - ful, €V ºp €r Sure, t : d ... It : — d : - .d |s| : d d : t| d : — r : d S : — f : - .d |r : S S : f ,m |m : — still en - | dure, Ev - er faith - ful, GW - €r Sll I'8. S! : Sl Sl : — l : – , 11 t| : d Sl : – , sº I di : — TEIF, WOODS, KEY A. Andante con moto, M. 80. JMendelssohn. ~ſ , Si : Siºn d t|__: liº l ; lif ºr |t| : - - ºr ; f – 1 |s : – ;- m : r - m Be-hold the woods in ver-dure drest, The heav'ns al-gain 3.I'ê t (SI : SIt (S1 |S| ; flº li ; 11, ..] S : - - ,ti : tit- it |d : — ; tı , iſ : m (~ m m : f – f : f – if |f : - - if : r , f |m : - - ,s : f – is Be - hold the woods in ver-dure drest, " The heav ns al-gain &LIG ; , .d ; d – d d : - - d : d – d |d : - - d : d – d |d —it : Sl St. Co. (New). 72 ADDITIONAL, EXERCISES.-PART III. £). E. t. C}^28. d : - - , : m l ,-,s : 1 – S : 1 - s |s : — : S f :- m : f – f : 1 – if bright: Re - turn-ing Spring inspires the breast, Re - turn-ing Spring inspires the d :- is: sº- 8, : *d, *d |r : — : r s — d : d – d : d – d |d : — ; tı bright: Return-ing Spring in-spires the breast, Return -ing Spring in-spires the m = n : " - ſm : m 1,-,l |t : — : tº d'. - s : s ,- is ; S – is : — : f bright: Return-ing º in]-spires the breast, Return-ing Spring in-spires the di- d : d – d :d frº-f|f : — : f m - m : m - ſm : m – m r : — : r . f. D. L. is B. I- dim. fs : fe – ºr : d! - it 1 : t: : m d! : - - it : 1 - (s breast TT with hope and calm T de - || light, With hope and dr : - - if : m – if |m : — : r d : - - ,r : m – m lt : 1 – se : 1 – r" | d' : rſ : 86. l : - - ,se : 1 – d' breast T with hope and calm TTT de - light, With hope and dr : – ,— it : d - r | Fl : — : m | : - - it : d - d A. t <> er, Sd : m - ºr ; d – itſ |d : - : —- - (- it : f – ºr ; d - it d calm de - light, With hope and calm de-| light. Tsſ : – ; st st ºr SI: 1 – S : 1 - S1 |f : – : — T. calm de - light, With hope and calm de-l light. tm : — : f m – m : f – m : f – m |r : — : S dº calm de - light, With hope and calm de-| light. rs, -> : 8 d 4T d : d i- d : d ,- d d : — : — º is . Sir d |t| For-sake the bus 1St S11- 18 | | Sl , m : m - T | ". For-sake thel bus ; : d : d *T. d E. t. d : - - , :m 1 Care, Come, d i- (SI: 81- Sl : Bid-d care,Come, roam the shady m (T im : m i- im : m 1.-, care,Come, roam the shady ~ __: ll: l ; lif r |t| y : fl- l : lſ, l, Sl : f – f : f – f |f y : - - d : d - 4. 1 – S : 1 – S : 1 – is roam the shady woodland r , – : r wood - - land t i – : tº diº- d : d – d :d f-f f wood - - land : — : f haunts of men, haunts of men, : - - ºr : f – 1 S : – ;- m : r - iſ] Thou child of toil and : - - ,t) . t1,… it. d : — : t : - - ,f : r - if |m : - - ,s : f – is Thou child of toil and : - - d : d – d d : 8 : Sl C}'éS. S : — : S f :- m : f – f : 1 – if glen, Come, roam the shady woodland s — 'd : d – d : d – d |d * - ; tı glen,Come, roamthe shady wood - - land d',- s : 8 - s : s , ,s : — : f glen,Come, roam theshady wood - - land m = m : " - ſm : m - m r : — : I’ St. Co. (Newj. ADDITIONAL EXERCISES.--PART III. 73 d e d. f. D. L. is * dim. fs : fe- ºr : d' – it l : t : ſm d! . : - - ,t : 1 – is glen, T And breathethel balm - - - y air, And breathe the r : - - if : m – if |m : — : d : - - ,r : m (~ m lt, : 1 – ,se : 1 – r" | d' : r! : Se l : - - ,se : 1 – d' glen, * And breathethelbaim - e - y air, And breathe the dr : - - itſ ; d – ºr |ſ| : — : ſm l : - - it : d – d A. t. ~ fs : fe- ºr' : d', it 1 : t Way, TT And van - ish like TT dr : - - if : m – if |m : — lt : 1 – ,se : 1 – r" |d : ri g— And van - ish like dr : - - itſ ; d – ºr l m : — -> way y : S With way, With them thy griefs will d', s : s ,- is : s , ,s way, With them thy griefs will s — d : d – d : d – d |d m = n : p1 = n : p1 – ſm : m d 8, dream, : I' d : S6 l 8, dream, : m | (37°C.S. f :- n: f - if : 1 – if them thy grief will pass a- : — ‘t pass pass r : dim. … it : 1 – is And van - ish : - - ºr ; Pl - ſm : - - ,se : 1 – d' And van - ish : - - tº ; d – d St. Co. (New), 74 ADDITIONAL, EXERCISES.-PART III. A. t. : m d' : — — : 1 || 1 : — — : — — ; d' | — : t , 1 || 1 : | l ; se Hm. : m | 1 : — | — ; d | r : — |m : — | f : | f : m : | m : — 1 : - , t |d : r" | n :- f|n.c'; d. tº 1 : - , t d.d.; r." in! : — — : — Home, O where is thy blest hav-en! | Sever'd now from all I love, m : — |— : — — : — | – : — |— : — — : — – : — se : t Hm. d : — — : — |r : — |— : — |d : — – : — |t| : — |m : se 1 : — — : — |se : — | – : — 1 : — | – : — |se : — t : m' EIm. *May be sung in key Aſ), by A.T.B.B., and Baritone Solo. * St, Co. (New.) r * lf #950 s : — — Hm. r! S r! ; d. greet - ing, — : — — Hm. m : — — d : — — Hm. d : — | -- : — .n' q'', 7.1: s',f | All that with dearlife is Apf)ITIONAL EXERCISES.—PART III. wove, d! : S : m! tº m! s — — : — — s : m — |m : d — d! : s — .rſ r1, d': d', t — — : s gºsº | — : d! . — — : m }}} ſº gº , r" r), d!: d!, t fo - reign lands I am a j)}} s : — — : — m : — — : — d! * |— : — d : — |— : — – .m' m), fl: m'." m! : Words S6 r ſº t; : m ſº of welcome are re- *sº |— " — tº ºsmºs | — : — *º- | *º-º-º: tº-e º | — : — m! Far ;! # 75 : – , ;"| r", r"; pl. 2", r1 : d" | —- : * stran - ger, l r away Itoil with : — | – : — : — | – : — : — — : — : — — : — : | : : 1 || – : — : — | – : — : — — : — : — — : — : ! : ] No : — — : — *º | — : — : — | – : — : — — : — : di : - ing, : — |— : — : — — : — : — | – : — * - | — : - Spi tº - rit : — I — : — m : — | f : — s : – , 1 |t.,d': r",m) t : – , d' r".,d]; t s : — | – : — s : — — : — f : — | — : — t : — | – : — lov'doneshere with kindly s : — | – — : — — : — d : – , ; l , ! : t , ! Coldness haunts the unknown re : — – : — — : — – : t f : — | – : - St. Co. (New.) Aï) DITIONAL EXERCISES.–PART III. m! : — |— : — m! : — : : : T8D, * * gº tºº ger. − = > -> > se : t | – : se |m : f .,m |m : — — ; f.,n | n : f.,m , Hm. m : se – : n |t| : d.,ti | ti : r |d : — |r smº | : m' | — : t se : 1 .,sel se : t l — se : — Hm m : m — : — | n : — — : — I m : — — : — n' : - ..film'. r"; d. t ) l : – , t |d'.,d): r", r'n'..f: m' | – : — have to cheer me, | One sweet form I lov’d so well ? –T – : m | – : m — : m — : p1 |m : — se : t Hm. r : r |— : r |d : d – : d t| : — m : se se : se – : se | 1 : 1 | – : 1 se : — t : m' Hm. – : n | – : m — : m — : m l r : — — : — m! : — — : — |m| : – , r" r", r1: m'. r" 7" : d" | – : { tell, Point the home that Ilmay have her d' : — s : m | 1 : — — : — s : — | — : — Hm. * — : — | n : d |r : — — : — m — f •ºmº m! : — I d' : s 1 : — |— : — s : d' r" : — Hm. d — — : — I f — |— : — I s : — — : — l– 3– : . . ; | : ---T T= diºn. £) – : m' |-.r": d',t |r! : d' | – : t — : 1 || – : se 1 : Elm. s : — |se : — |m : — | f : — |m : — | r : — |d : m! : — r" : — d' : — |r! : — d' : — t : — 1 : Hm. & d : – ſm : — | 1 : — |r : — lm : — |– : — || : — |d | 1 > : – , t d' : - , r", Shall I ev - er I- m : m — ; m d : d |– : d 1 : 1 — : 1 M : m — : m f : - .n'ſ r',r'; s!..f. Tell me,heav'n,my spirit — — : — s : — | — : — r! — | fi : rſ S – — : — "r : — | d' : Clear IIl6. on f t — d' : s f — |m : m S — — : d' S — |d : d! : pf9% d : — | – 11 : — | – m : — — | – : — | 1 : — — 3t. Co. (New) ADDITIONAL EXERCISES.–PART III. 77 REY D. THE STOUT-LIMIB2ID OAK. J. Danby. ! ſ ! : s , s : 1 |s : – , s d!.t : 1...s | f : — — : – , f |m.m : s , s d! : – , r"|t : — The stout - limb’d oak that long has borne Th’ unnumber'd shocks of win -- try skies, : In m : f |m : - .m. || 1 s : f.ml c : — |– : -.r d.d.; r. r |m : fe s : — : d' | d' : d' | d' : — — : -.m"|f|.m': r", d' t : – , s , s , s: s , s , s : 1 s : — The stout - limb'd oak that long has borne Thunnumber'd shocks of win - try skies, : d d : f * sº : -, d |r .d.; tı, 1 S| : -. Sºld, d: t ,t 11 : r |s| : — g A. t. d! : d', d' | d' , t, l: t , s d! . ; m' | 1 : – , r" |tm : m |r : – , I’ Lift - ing its head with dauntless scorn, The wind's tu -| mul - tuous rage de - : tº {} : Sd : d .d | d .tl,lſ: t , SI Lift - ing its head with dauntless : |r! : r" , El |m|| : dº |f| : I' Sd : - . m s : f Lift - ing its | head with daunt - less SCOrn, º wind's tu - f. D. d : - .d |d : f f : m | r pi,f : s , f |mt — , r) : r".rl fies, The wind's tu - || mul - tuous rage de - fies, The winds tu- d : m | 1 : – , r |t| : d : t d's * | , t : t , t scorn, The * tu -| mul - tuous rage de - | fies, m : f : I' S m=== * <--º : : mul - tuous rage de - fies, Lift - ing its head with dauntless : : : | S : s , s |s,f.s, l: 8,f.m, r t?” A. t. - m! : Fl |f| : I d : — | – r's : s , s |s,f.s, l: s,f.m.,r mul - tuous rage de - | fics, Lift --ing its head with dauntless d! : S |f — , f | s : — t m : m .m. |m, r,m,f : rſ,r,d,tſ fd' : d'.d! I d' , t, l: t , s d! : m | 1 : – , r) it m : d |s : - .S. Lift - ing its head with dauntless scorn, The wind's tu - mul - tuous rage de - d : |r : r , r m : d |f : I’ S d : — : SCOrn, Lift - ing its head with daunt - loss SCOTI), m : - .m. |f : – , f | p : — |f 4-º-º-º-º-> f : m |r : - .r Scorn, The wind's iu -| mul tº- tuous rage de - • Tº e |r : — , r d * → º : r r : d * : t| d : – ; : , S |l — , f | s : S |s : – , S fies, The wind's tu - || mul - tuous rage de- d : d .d |d .tl,11: t , s |d : m | 11 : - .r |t| : d | s : - .s Lift - ing its head with dauntless scorn, - St. Co. (New). 78 ADDITIONAL EXERCISES.–PART III. 1st time. D C.|| 2nd time. §§ t?" mt : — — ||mt — ||m", r": d", t , 1 : s | f : – , f |m : – , d' | t ,d] : r".d. fies fies. And shouldit fall, and should it fall, its buoyant, buoyant mt : — | – ||mt : — m", r": d!, t | 1 : s if : – , f |m : - . 1 |se.1 : t , l Srl : — | – ||sr| : — ||m", r": d'. t | 1 : s | f : – , f | p : — — : — fies. fios. And should it fall, and should it fall, ds : — | — ds : — m .r : d , t l : Sl | f | : – , f m) : — | — : — t : t | d' , t : d .ml |m|..r',d!: r | – d',t: d' , r) d'. t : 1 .se | 1 : - , course, its buoyant course It| guides a -long the roll - ing waves, se : se l l .se : 1 , se | 1 - . 1 | sem : – , f |m .r ; d. t1 |d : - . —- : : | , | : .d the — : m | 1 ,m : 1 .m. |f : – , f |f ,se : l r || : - .m. || 1 | - . 1 its buoyant course It! guides a - long the roll - ing waves, : | : , d'] r].m!; fl.m' r", d!: t , 1 s : | : .s | 1 , t : d', t | 1 , s : f.pl thel roll - º ing waves, the roll - º ing : : , s , t , d!: r".d' t , 1 : s , f |m : .m. | f , s : 1 , s | f .m. ; r. d 1 , t : d!, t | 1 , s : f.m. ||r : | , r |m , f : s , f |m r ; d.t| 11 : – , 1 || 1 : 1 roll - - ing waves, the roll - - ing waves, the roll - ing f , s: 1 .s |f .m. ; r.d t! ...t. d .r : m , r d , tſ: lis, f : – , f'ſ fi : fi £)" /N m : — |r * * d : d ..,d' d' : fl m! : d' |dſ : fi waves, And though assail'd with e - qual forco Tho : - |t : — d : d ..,d m : f S : f |d : I’ S : — | – : — Fl : l ;1 |s : t d : } |s : t waves, And though assail'd with e - qual force The Sl : — *- : — d : f ., f |m : I’ d : f | pl : I' S. d. f. F m) :- ml |r! : Tl d! : - 't,ll t : t d"l. s : f .pl |f,p) r,d:r,d.tl,l roar - ing tem - pest still it braves, The roar - ing tempest stiliit m .s : – ,d] |t : S S : fe |s : t |d 1, S .m. |fmr.d:r,d.tl,l d! :- .d' |s : l : – ,rl (r : I' d'], s .m. |f,"...r,d:r,d.tl,l roºr - ing tem - pest still it braves, The roar - ing tempest stiliit d,tt.d.r:r,rſ,fels ; S d : r | S. ; S d"l. s : f .m. |f,n.r,d:r,d.tl,l St. Co. (New). ADDITIONAL EXERCISES.—PART III. 79 D. t. m. 1. £)" D.S. m s : — |— : r" |m| : m' |m| | r |d — |t : — I d' : — || º, - braves, The roar - ing tem - pest still it. braves. setſ : — — : t d : d' d' : 1 S : — — : s S : — tºr : — | – : r" | d' : M! |s| : f |m| : — |r! : — |m| : — braves, The roar - ing tem - pest || still it; braves. misſ : — |— : s d : 1 |m : f s : — | – : si d : — Words by IMORNING IPRAYER, J. S. Stallybrass. Music by KEY C. Adagio. M. 69. Mendelssohn. f f) #9% : s m) : – m' r" : d' | f : - f|m| : r" | s : 1 ºf f : m | f : f |m : -m A | Sol - emn calm, a si - lence ho - ly, Now lies on all things far and nigh; The : m s : – ,s | f : m 1 : - . 1 s : s s : 1 ,f| f : m |m : r.,d tº : -, r : dº |m| : – m t : d! |d' : – d' d' : t , s : 1,f| f : m | 1 : t ,l |se :-se A | Sol - emn calm, a si - lence ho - ly, Now lies on all things far and nigh; The : d d' : - .d' s : 1 r : – ,r s : s s : l of f : m | r : r |m : —." ("?'6S. sf dim. 1 : 1 || 1 : se d' : d! I d' : t ,l r" : – , t , s : 1 s : – , s s : — woods a - lone are bend - ing low - ly,To greet their Ma - ker | pass - ing by, d , r : m , f |m : – , r |d .m : 1 , s |fe :fe.] |s |m : ma | r : f |m : — —- -*s *- -** < 1. t : d', ri d' : – , t | 1 , t : d'.m"|l :r'.fe s : – , s | s : d! d' : t d! : - .m. woods a - lone are bend - ing low - ly,To greet their Ma - ker | pass - ing by. TO º º o • * * * – , $fe s : s • — all 11 : 11 |m : - ,r | 1 , s: ferl. 1 :r .d |t| : – , tºld #. S| #: |d : – ,d T- /? _-T f /*N f |- : | : , d' d' : t ,l s : – , s s : s |s — — ||s f º To greet their Ma - ker pass - ing by. I : " , f | f : m.,r |d ; ta | 1 : ma | r : - . Tilf pi : — | – ||m To groet their Ma - kor, greet their Ma - ker pass -ing by. m! : r".,d] t : – , s|s : f', m' fl : d' d' : - .d' d' : t d! : — | – || d! greet their Ma - ker pass - ing by, their Ma - º pass - ing by. I o e , (S | S : S -s 1 =le d : t ,lls : – , f |m : rºdlf : fe s : §: #! d | d St. Co. (New), 80 ADDITIONAL EXERCISES.-PART III. H. #9%) m! : – ,m"|r! : d! |f| : – , f' n : r" | s : 1 of |f : m | f : f |m ; – m feel my be - ing new - cre-a - ted, Where is the care, the tor - ment gone? Tho s : – , s | f : m | 1 : - . 1 || s : S s : 1 ., f | f : m |m : r.,d |t| : - .r m! :-.m. t : d! d! : – , d' d' : t s : 1 of | f : m 1 : t , 1 |se : - .se feel my be - ing new - cre-a - ted, Where is the care, the tor - ment gone? Tho) , d' : – , d' s : 1 r : – ,r |s : s s : 1 , f | f : m | r : r |m : – ,p) C}^6S, . S dim. 1 : 1 || 1 : se d' : d' | d' : t ,l r" : – , t , s : 1 s : - .s s : — fears that late - ly o - ver - weighted, Re|-tire a - bash'd be -l fore the Dawn, d ,r : m , f |m : – , r d .m : 1. s |fe : fel s : f |m : ma | r : f |m : — 1 , t : d'. r" d' : – , t | 1 , t : d'.m.' I : r".fe s : – , s s : d' d' : t d' : - .m. fears that late - ly o - ver - weighted, Re|-tire * - fore the Dawn, Re- te • & ºt & , y16 || S : S tº 11 : 1 |m : - .m | 1 , s: fem|r : r .d |t| : – ,t, d #. S| #! |d : – , d' , , T= f' #9 ~ J. — : : : .d' d' : t ,l s : – , s s : s S — | – || 3 | f Re-tire a-l bash'd be-fore the Dawn. The : , f | f : m.,r |d ; ta | 1 : ma | r : – ,m | f : f |m — | – ||m f Re-tire a-| bash'd, re - tire a - bash'd be-fore the Dawn. m! : r",d' t : - .s' s : f', m| f | : d! |d' : – , d' d' : t d! : — | – || s tire a - bash'd bel-fore the Dawn,a - bash'd be-fore the Dawn The | - * - g º . ſs s : s ) * I smº d' O t ,l |s o ..f|r : rºdlf e fe S e §: : SI) d | d £) ſoft) m! :-.m'ſ r' : d! |f| : – , f |m| : r" | s : 1 of |f : m | f : f |m ; – m world, with all its joy and sor - row, Is . but a bridge o'er time's deep flood, That s : – , s , t , d' |l : - . 1 s : s |s ; d.,t|d : d .m. |m : r de : - .de d : - .d. f : ml |f| : - f' d' : t |d : d',s |s : s 1 : 1 || 1 : – ,l world, with all its joy and sor - row, Is but a bridge o'er time's deep flood, That : In s : l l r : – ,r |s : – , f l n : for | r : d f ; fl. s] 1 : – ,s C}^6S, - f C}^{2S. s f 1 : 1 || 1 : se d' : d' |d' : t .1 |r! : f |m| : – ,r)| d' : r".t s! : — I, a cheer-ful | pil - grim, bor - row,To bear me to my home and God. der : T f |m : - .r |d .m. ; l.s |fe : fefe s : - .s s : 1 s : – , s |s : -f 1 : 1.r.lt : – , t | 1 , t : d'.m. l ; r".rl |r! : – , r|m| : d!.rſ m' : t .rſ d' :- in I, 8, cheer - ful pil - grim, bor - row,To bear me to my | home and God. To f : m.r |m : - .m. || 1 , s: fem|r : r d! t : - , t d! : f s : f |m : – , d! St. Co. fºewy. AIDDITIONAL, EXERCISES.–PART III. 81 -- f — : | : d'I d' : t ,l f To bear me – : , f | f : m r |d ; ta | 1 : pla To bear mel to my home, my m! : r",d] t : – , s||s' : f', m' fl : d' bear me to my home and God, my d' : t ,l s : – ,f |m r odlf : fe *s s : – , s s : s s : — — to my home and | God. r : - .m. | f : f m — — home, my home and | God. d' : - .d' d' : t d' : — [- home, * and | God. S | S S * : " 'isſ's, # d : — — YE SPOTTED SNAKES. wº KEY A. Andante. M. 96. I. J. S. Stevens. mf d :tſ,d li,tſ; d ºr ; m f |f ... : ". |m : – ,m r1,r ; d.tilt : li |S| : | : Ye spotted snakes with dou- ble tongue, . Thor - ny hedge-hogs be not seen; | s : sis|f| : Si l l ; SI |S| : - |S| : s , s : lºsſ st : fel |s| ‘p | : m :r .d |d : d |d : tí |d : — |d : d |r : n | r : – ,d |t| : s — : f Ye spotted snakes with dou- ble tongue, Thor-ny hedge-hogs be not seen; Newts and ſp - v |dſ : riml fi: "I | r : s di : — |d :- d t| : d | r : ri is : | li : – ,r ſo E. t. (39°6&. : | : : r ( — :d f | f : m s : s , s : — | 1 : - . 1 #9 Newts and blind worms do no | Wrong; Come not : d – : tal | tal : 1 | tal : 1 ºr | r ; d | f : m |m : r : – , d Newts and blind worms, newts f : m | f : r S |s ºn 1 ||t : d' | r d' d' : t I d' : - .d. blind worms, newts and blind worms, newts and blind worms do no wrong ; Come not t| : d | r : – , st|m| : f |m| : lir s : l t : d! s : — : – , f s ,m : r , d | f : Pl m : r |s : r m fe; s | s : fe Ilê8.I’ OUII' fai - ry Queen, Come not Ilêa.I’ Oll].” fai - ry d : d |t : d d : tſ |r : I' d : r ld rim; r.d S : S |s : S S : — |s : – , S S' : S | l : 1 Il G8I' OUll." fai - ry queen, Come not near OUll’ fai - ry ſ") : m |r : d Sl — t! : – , tº d ; tı | li : r St. Co. (New). e 82 ADDITIONAL EXERCISES.—t’ART III. e” s : – | : : º : | : : : - queen, Con espres, ſo * º r ſo d : t , s : – , sillſ, tſ: d |r : " ..f f : m | : : |d .tº; d. 1 Phi - lo- mel with mel - lo - dy, f) . Sing in s : — | : : | : : |m , r ; pl.d |r : s — : fe queen, Sing in your sweet s] : — : : : : | : d – ; fl. l! : — Sing in your #9 - 67'0S, - : lf.m.; f.r |r1.fe: s , s : fe s : – |f .m.; f.r |Pl, f : s , 1 |ri : r Sing in your sweet lul - la - by, sing in your sweet lul - la - t| : d — ; tı |d : r |m : r f .r ; pl.d l ; SI |d : – , d d : t your sweet lul - la - by, sing,| sing in your, * - C7'6S. s , f : m | r : s — : — d'. t : d', 1 | t : d' | – : t d! : m .1 s : – , f lul - la - by, sing, sing in your sweet lul - la, lul - la- C?'0S. * st : — | – : — |d : t | 11 : — |s : — | r : — d .r : m , f | s : si sweet lul - la - by, sing in your sweet lul - la - t - p : f)}) As ºf d : m .m. |f ,f : r ,r |s ; d.d | r , r ; tı, tºld : | s : f ,m 1 : t , d' r ; pl. f by, lul-la, lul-la, lul-la-|by, lul-la, lul-la, lul-la-|by. Nev - er harm, nor spell, nor d : S. sill, li; tı, tild : on ; SI, S|| St |d : r .m. | f : d |d ; tı m : | |0: s , s s : m .m. |f , f : r ,r |m : | s , 1 : t , d' d' : t , 1 s : s by, lulla- by, lul-la, lul-la, lul-la-|by. Nev - er harm, nor spell, nor ſº | : S , S ſ] . | ſolº): s , sºld : |m : r .d | f : f | s : s - tº poco cres. dim. f : m s : f .m. || 1 : – , s |f .m.; r.d r : — |s : f.m. || 1 : — | r : s charm, Come our | love - ly la - dy nigh, So good night, So good d : — |d : r .m. | f : d |t|.d : sº.1 |d ; tı |d : d |d : — |d : t 1 : — |m s : t , d' d' : – , s s : - fels : — |m : f.s | f : — s : s , charm, Come our | love - ly la - dy| nigh; So good night, so good lſ : — |m : r .d | f : - .m. ||r .d.; tı.li |s : — |m : r , a | f : – ' s : s St. Co. (New, . ADDITIONAL EXERCISES.–PART III. 83 ſº f : m d'. : d', night, So good d : — d . ; d. l : *-º |s O : l 0. night, So good f. A. D.C. § d s : — - by. mf spri : — ||rſ : pl. fi Weav-ing m tº : — |t| : d .r by. Weav-ing d s : — ||st : - ..f. - f f : m t : here, Hence, r : d | f : d : — r! : here, Hence, : (ds : d. f. C. L. is A. m : — ſo S 1 : 1 hence Bee-tles — | r ſm : 1 s : — |tad' : d! hence! Bee-tles : — | S 1 : 1 1 : — |— : 1 In O of - pl : — m *m- d : — d' : — In O of -e 1 : — — : 1 #9%) dim. d' : - .m. f.r ; d. t|d : " .m. f. f : r.r |s ; d.d.) r.r ; tı, t night, with lulla, lulla- by, lul-la, lul-la, lul-la-|by, lul-la, lul-la, lul-la- d : - .d |d .r : Si |S| : St. Sil 11.11: t , t|d : : 81. Sl with lul - la - | by, #9/9 dim. s : – , s | 1 ,f : m. r m : | : s , s , s : m .m. | f , f : r , r night, with lulla, lulla- by, lulla- by, lul-la, lul-la, lul-la- m : – , d | f : s d : # ; S , S ſ] : : Si, S. with lul - la - by, f. D. m.f : | : | Sir : m , f | s , f : s ,m |f .m. ; r.s Weav-ing spi - ders , co e not s! : Pl, | f : ri |m| — |m|t| : d . r m r : m. d | r .d ; tı, r spi - ders come not here, - d : - .d |d : tí |d : — |d s : – , f |m : 1 ir S spi - ders come not here, Weav- ing] spi - ders come not ml. r1: m. dilr : s |d : — : : | : f d! : – , t | 1 : s 1 : s : s - || 1 : 1 || s : f hence, ye long-legg'd spin - ners, ye | long-legg'd spin - ners m : - .m. |d : d |d : : – , d |d : r |p) : r - hence, D d : - .s 1 : d! |d : d' : m f : f | d' : s hence, ye long-legg'd spin - ners, ye | long-legg'd spin - ners - .d | f : m | f : m : d | f : r s : si (37°63S. f : t : t |d : r" |m| : — t : t d' : — t : — black ap - proach not near ; Worm and snail do 1 : se l l ; 1 1 : se m : f m — | f : — t : ml |m| : r" | d' : t , s : s S — t : rſ black ap - proach not near ; Worm and | Shail do m . m | 1 : f ſm — m : r d : — s : — - C7'éS. - - 1 : se t : t , d' : rſ |m| : 1 , t d' : — t : —- fence, worm and snail do no of º- m — m : se | 1 : s , f |m : f |m — — : r t : — |se : m' |n' : r" | d'. t : 1 || 1 : — |se : — fence, worm and snail do no of - m : — |m : m 11 : tº |d : r |m : — – : M St. Co. (New), ~. 84 ADDITIONAL EXERCISES.—PART III. i A. t.Im.l. as Con espression l6. : – £9 s : – , s||11, tr: d |r : m , f | f : m º : | : fence. Phi - lo- mel with mel – o – dy, - dem : — : : º : | : : £) d , tſ: d. 1 Sing in ld : — : : | º : #9 m .r : m .d |r : s | – : fe fenco. Sing in your sweet ldſ : — : : | ſº | }}; d. — ; tı | 1 : — Sing 1n your 4. C7'0S. mf : . |f .m: f.r |m.fe: s , s : fe s : — | f .m. ; f.r |f .m. ; r.d |d : t Sing in your sweet lul - la - | by, sing in your sweet lul - la - t| : d — ; tı |d : r d. t1: d. 11 tº : d – : t |d : 1 |s|| : - ..f your sweet lul - la - by, in your sweet lul - la, lul - la- s , f : m | r : s — : — |m : r |f . r. m .d |r : – , s | 1 , s: f .m. |m : r lul - la - by, sing, sing in your sweet lul - la-| by, Sweet lul - la - s! : — |– : — |d , ; tı | 1 : — |s : — |– : si © | s : S. sweet lul - la - by, Slng IIl your sweet lul - la - £) #9% ºnf t d : s , sillſ. 11; tı, tºld : s , sillſ. 11; tı, tºld : — d. : r .m. ||r : r |s : – ,f by, lul-la, lul-la, lul-la-|by, lul-la, lul-la, lul-la- by. Nev - er harm, nor spell, nor m ºntº m : "...mil ſº m; : – , |s : s 11 : 1 |t| : t y, º, - | : r , r |d : | : r , r |d : — |m r .d | f : f |r : r by, lulla- by, lulla- by. Nov - cr harm, nor spell, nor | : : S1, Sld : | : s , sºld : — |d : d |d : d |t| : si - - #9 dian. /º f : m |d : d |d : r n | f : m |m : r |s : f in 1 : — |r : s | f : m charm, Como our love-ly la - dy nigh; So good night, So good night, d : — |s|| : 1 |sſ : tſ.d | r : d |d ; tı |d : d |d : — s! : tº d : — 1 : — |m : f |m : s s : s , s : — s : s | f : — s : r |d : — charm, Come our love-ly la - dy nigh; So good night, so good night, 11 : — |d : d |d.m: r.d |t| : d s : — | n : r.d | f : — |t| : s | 1 : — - ſºft) * - - D.S. |s. : 1 , || s : - .m. |f .r ; d. tº d : s , sſ 11.11: tſ, tºld : S. s. 11.11: t. tºld : — SO good night, with lulla, lulla- by, lul-la, lul-la, lul-la-| by, lul-la, lul-la, lul-la-|by. |d . ; d. |d : - , s, 11, ; SI sº : T.m. f. f.; Sl. 8, T : T.Tilfi, fr; SI. Silmſ : – lul - la - | by, p}9 dim. | s , : f. s : – ,d d . f : m .r m : | : r , r |d : | : rº, r |d : — SO good night, with lulla, lulla- by, lulla- by, - lulla- by. |m , ; f. m : - .d | f : sſ |d | : S1, S1 (II - | : s , sºldſ : — lul - la - | by, St. Co. (New). ADDITIONAL EXEROISES.—PART III. 85 O SAVIOUR OF TELE WORLD. KEY A5. Andantino. M. 60. (CoPYRIGHT.) John Goss. % : ſº – ºr : d |t| : l s] : — |sº — | f : m | r : d O Sa - viour of the world, O Sa - viour of the : ls : – |f| : f |f| : f |m| : - 'd : - .tl. : 1 || : 1 : | Sl — s : s , s : 11, tº d : — : — |d : s | f : m O Sa - viour of the world, O Sa - viour of the : |d, : — | r : r | r : r |m| : — |m| : — | f : f |f| : f sf s f t : — |d : d .d m — .d |d : d m — r : 1 world, Who by thy | Cross and pre - cious | Blood hast TG. - Sl * - | m, : m .ml |se : - ..sell set : sel l * – | 1 : 1 r — |d : d .d d – .d |d : d d — |f : f world, Who by thy | Cross and pre - cious | Blood hast I6 - \ Sl ; - | li : 11.1 ! Tl - .m. |m| : ſº | — |f : f |d : — — : tº d : — |m : m .m 1 : — m : : |m : m .m. deem - - ed us, Save us and help llS, T- Save us and st : — | f : — |m| : — © : | 11 : 11, lild — |t| : Save us and help uS, M : — | r : — |d : — : : |d : d.d |m : — | r : deem - ed llS, Save us and help llS, Sl — s : — I di : — : | 11 : 11, 11 se, ; – |se : C}^3S, 1 : — m : w | s : — | f : m | r : d t| : — is : — help uS, cres. - O Sa - viour of the world, O : | 11 : 11.1|d : — taſ : tal | 11 : s | f : " | r : - |t| * Save us and help us, O To- : |d ; d.d |m : — — : — | f : | 1 : — s : f |m : r Save us and help uS, O Sa - viour of the : | 11 : 11.1||s : — : — | f : – ; – : — s! : — — ; st Savo us and help UlS, help uS, O St. Co. (New). 86 ADDITIONAL EXERCISES.–PART fli. s, d. f. G9. L is E9. Ep. t. mf C7°6′S. d f : n | r : d tº : — t se : — | 1 : 1 || 1 : 1 , 1 || 1 – , 1 || 1 : 1 Sa - viour of the world, O Sa - viour, Who by thy Cross and pre - cious mill ; li | 11 : 1 st : — | r tº : — |d : 1 | 11 : 11.1|d : – , lſ 11 : 1 d f : s | f : m | r : — sm : — |m : m m : m .m. | f : – , f | f : f world, of the world, O Sa - viour, Who by thy Cross and pre - cious lºr ; r. | f : fi s : — | f r : — |d : d |d ; d.d |r : – ,r | r : r Sa - viour E.O. t. m. 1. o dim. £) I d' : — t : 1 1 : – , s s : f : — |m : " || 1 : — | r : r Blood hast re - || deem - ed us, Save UlS and help uS, WG d ma; — ma : ma | r : – ,r | r : r : — |d : d |d : — |d : d fel : — t : d' d' : – , t , t : se : — | 1 : 1 - | r : — | r : 1: Blood hast re - deem - ed us, Savo llS and help uS, W G refe: – 'fe : fe s : – , s , s : : | : f : — | f : fi f. Ab. S : f .m m : r .d |d s : — | : S S : m .d |t| ; 11 . S. hum - bly be - seech thee, O || Lord, W’O hum - bly be - secch thoo, O d : d .d |t ; tı .d d s : — |f| : — 1 m, : d •l |s : fel. S WG m : l .s |f : f , f |m t| : si |s ; SI . S1 |S| : s] .m. ||r : d .t hum - bly be - seech thee, O || Lord, we hum - bly be- scech Thee, be-seech theo, O SI : s , s S : s , si || 1 |m| : — |te : — d : d .d |r : II . TI - WG hum - bly be - seech thee, O - #9 sſ : — : : | : : |m : — | r : d |t| : 1 Lord, -> O Sa - viour of the s : — : : | : . : | si : — | f : m | r : ta I-> -- t! : — : : | : : | : : £)|f : — Lord, #9 O s : — |s|| : — |f| : ml | r : di | ta : — |dſ : — |ri : — | – : — Lord, O Sa - viour of the world, O SQ, VG St. Co. (New). AIDDITIONAL EXERCISES.—PART III. 87 C7°68. s! : — I s : — | f : m | r : d world, O Sa - viour of the d : — ls, : — l : Sl |f| : Pl m : r |d ; tı | 11 : — | 1 : — Sa - viour of the world, O m) : — |m| : — | f : — — : — llS and help - - do. al. ff. D5. f : – , f | f : f | f d' : — r! : rſ Cross and pre - cious Blood hast re lſ : – , li li : li | r l ; – | 1 : d : - .d |d : d r 1 : — | 1 : 1 Cross and pre - cious Blood hast ro f : – , f f : fſ |taf : — | f : f p T- dlf : — m : r |d — |t| : 1 Save us and help us, we — ; – | : l s] : — f | : f us and help llS, 1 r : — s : f |m : — | r : d Save us and help us, We lºrſ : — |m| : fi |S| : — |s|| : sº º ſºſ) > f : m |r : d t : la Sa - viour of the world, Save f : — - - f | : la S3, WG llS, : — | — *- r : la S&LVG uS, Save l - | la : — S| : la €7°623. M : r ,r | f : tr. tº d — — : — hum-bly beseech thee, O Lord, f ; fl. filf ; fl.f m) : — | li - - A. º t| : t , t)|t. : r ,r |d — |f - hum-bly beseech thee, O Lord, SI : S. Sils : S]. Sl d : — | — : — * sf t| : — m * — m : world, O Sa - r1 : — |t| : — d : s : f |m : r |d : Sa - viour of the world, s] : — seſ : — | 11 : llS, O Sa - pl. : — — : m' |m| deem tºº - od us, 1 : — |se : ba se : d' — t : 1 t; : deem sº - ed uS, m : — — ; m m : l : S. silt : lſ. S SI - hum-bly beseech thee, O Lord, f ; fl. filf : fi.f. ſli : t| : tr. tiltſ : t , tºld : hum-bly beseech thee, O Lord, SI : S.S. s : s , sºld Irather slower. | *s : la , lalla : Sſ us, and help llS, | — : lal, laſ|la : Sl | — : laſ, lalla : S. us, and help llS, | — : lal, latl la : S. dim. — : — |d — |d : A. º IſløIl. s] : — | f : — |m| : men, m : — | 11 : — s A tº 1I] CIl. — : — | f : — di : C?'68 - C62)2- l, m : m .m viour, Who by thy d | l : lſ. 1. *- — |d : d .d Who by thy l, |l : 11.1 viour, ** - 9 - ſh, : — Save - | : sf — s º O - |m| : — O — d : — O - | tal : — %) | : Sſ W6 | : 8 | : Sſ We | : Sl : St Co. (Newy, 88 ADDITIONAL EXERCISES.-PART III, • - THE SHEPHERD'S LAMIENT. ‘. KEY E5. Andante lento. M. 63. Benry Smart. T- .. ..," | S : – , f : r , l l l : 8 → m! : - .d' : t , 1 On the brow of yon-der moun - tain A thou - sand times I : d ...,d |d : - , t) : t , r r : In : S m : Pl : ſm .m : 8 , S | S : – , s : s , t t : d! : d! .s |s : d' .m! : r" .d' A m - On the brow of yon-der | moun - tain thou - sand times I : d ...,d m : – , r : f , f |f : m d : ll : li li T- S f ; : 1 |l : – , , f : r , s |f : r : d .t d'.m. ; s .,s : 8 , f | stand, And; on my crook re- |pos - ing, Gaze | down on the ver-dant r : – ; , f | f : - .r : de..de r : li : Sl 8| : 8 ,d : d .d l : -* t : 1 : , l .1 : s ,ta | 1 : f : r d : d ...,m : m , f * === stand, And on my crook re- |pos - ing, Gaze | down on the ver-dant r : – ; , r r : - , , ; I , I I’ : fi : fr Tll : Pl, ºr ; 1, .. 1 cres. B?. t. : r : , s | 8 d : – ,ti d : p1 .,r |d : – ; t ,ti | 1 | : – , d # land. The flocks as they graze I fol - - low, My dog he guardeth them d : tſ : , T | r S I - (SI (SI: S1 ., S| | Sl : – ; sel.sell : " .. l ; sell it |s : – ; ,t tr. :-ren: s ,f_|n : – ; r r |d F.m in ºn m land. The flocks as they graze I fol - - low, My dog he guardeth them Sl : — : : : ...timſ: minimi; "| -_.r.l. I'll . I'll : mi Pll Fl The flocks as they graze, My dog hé guardeth them f f. Ep I-> dim. ſo d : – ; d. s., 8 |r! : t , t : d' , l is : f : I'l . . If s : : T1 . well; From the moun - tain have I de- scend - ed, Yet how, yet lſ : — : 1 (m,m |f : f , f : m . m . r : I' : d . l! . . ! : a, n : – ; ºt,tlt : 1 r s d [t : – ; d.d li : á á : á á well; From the moun - tain have I de-l scend -> ed, Yet how, I can scarcely l : – : 1,r1.,r1|s : Sſ. , Sí Sſ - S1 |S| ; SI : li . fi : : ; S1 . well; From the moun - tain have I de-| scend - ed, Yet & *itard. f , : : fe S : d' . t : ] , s fe. s : f . : r d : — "I ſm I how, yet how, yet how can Scarcely, scarce - ly tell. The d : : d d : m : d .d |d .d : d . ; tı d : — d d : r : na n Tºs : m .n |re.m : 1 . . s |s : — S I 8 *mºmº | tell, - yet "how can scarcely, scarce - ly tell. The :}; | , Sí |S| St SI . |S| II . ; : la |s : — : how, emºs d St. Co. (New). ADDITIONAL EXERCISES.–PART III. 89 m : s , s : fºr 1 || 1 : S : s ,d' |m| : -, r" d!: d', 'I s : f : , f mea-dowsaresweetly en- am - ell'd With flow - ers so lovely and gay, I : d ...,d : tûtºr |r : m : 8 m : m ...,m ; m m,m r : — : , I' S : s , s : s ,s it t : d' : d' ,s |s : -se, l ; m'r', d' t : 1 : .1 mea-dows are sweetly en- am - ell'd With flow - ers so lovely and gay, I d : m ...,m : r if f |f : m : m d : d ..,d : 11,11,111 r : — : , I' f : – m if:l is m r : ll : t d .m : s , s : s ,f d m : r : , S ga - ther them but without know - ing TO whom Ishall give thema- way. In r : – der:de,de,del 1 : 1 : Sl Sl : Si .d : did d |d : t : , T l : -,1 1:r m 's f : r : r d : d .m. ; m if f | s : – ; , t ga - ther them but without know - ing To whom Ishall give thema- way. In r : – ,r ar:r ºr ºr r : fſ : f m : T , F : 11,11,11| S : — : B2. t. I- I-> rain, in rain, in storm, and in tem • - pest, I stand there be - neath the rs , s : s , s : laſ, laſ, lal Si : — : se, ,sell : " ,ll se! ..se tm : – ,m :f if f |m : — : r ,r |d : d ºr n : m ...,m rain, in storm, and in tem - gº - pest, I stand there be - neath the : : ... tſ" ; m, .m. ; m mi ſi |f|, baſise: li it d : r ſ ºr In rain, in storm, & inl tempest, I stand there beneath the T- %) f. Ep. T- º 'll : – ; 11.1 || 1 m.,r : r : d . l l s tº : ſ , ! If , ; : ſº . tree ; But yon door re-mains clos'd a-| gainst me, And all, And l : Pl, : m "It [.,tſ: t : d .d t! : tſ : d . lſ. : ; SI . m : d : d d's ºf : f : m .m. | r , : — ; d .d |d : d .d : d ..,d tree; But yon door re-mains clos'd a-| gainst me, And all is a dream to d : – ; d.d. | disſ.,s: s : S. S. s , , ; se : 11. th. : : tal. tree; But yoni door re-mains clos'd a-l gainst me, And all, And *itard. T-- f , : : fe s , 1 : t , r) : d' .m s : – , f : r ,m |d : - : — all, and all is a dream to me, a dream to me. d . ; : d .d d : : .d : t , : t d .s 11 li all, is a dream, a dream to D16, a dream to d ... r : T18, .m3, ſ] : . S : S , ; S .m : f .f me, is a dream, a dream to Ine, a dream to o : lal.lal Si : }: : r , ; f .d ; fl. ..f. , Sl : S. . ; St l S ! all is a dream, St, €9. (New). ADDITIONAL EXERCISES.--PART III. C}^6S. ^ G. t.nl.l.r. —-T - *sº : — m m : m ...,m : m did ºr m : m : - , m 'Tis true there ap -pear-eth a rain - bow, And ID18, - ſm : — S Se : l ., l ; t s is ºf im : d : m Iſle. 'Tis true there ap -pear-eth a rain - bow, And d : — t : 11 ., 11 : Seſhmiri ld : m : Sl f r.s.d.f. E2. L is C. /~ £2%) m : m ,ſm : f m ºr st : — º : : r O º ver yon cottage it stands: £2% Eut d : d ..,d : t it. it. dm – º , t t ot : t] : r , I' But | she, a - las ! is de - S : S .,s : r is if |mse : – , tº . Se se .., Se : Se : t , t O º ver yon cottage it stands: d : d ..,d : d d d l dri *- e : : * —T T-ſoft) f f : f :f , f |f : S : 1 l . S : f m : – , m : f , r she a - las! is de-| part - ed, de - part - ed TO SODOlG far land, and I : I , " : r , T | I’ : m : f f : " : r d : - .d : t ,t part - ed to distant, far dis - tant lands, TO SOD1G far land, and t : t , t : t , t |t : — : — t : di : S S ,S : S . S : S . S %)}) far dis gº tant land, Tosome farland, and : Set . Sél . Sei Sl : — : — — : 1 ; tı : – , d : r ,f She is de-| part º - -> - ed to SOD10 far land, and T- ~ _-T 1 : S tº -a; tı s : f : . 1 || 1 : – ,f : m .r |d : t , ; d. far - ther, E'en far beyond the sea. Pass on, ye sheep, pass on - wards! The r : m . S m : - .m. ; m .m. | r * – ' f | f ' - r : 1... l l s, ; SI, .d t : d' : d'. s s : d'.m': r' d' t : 1 : . 1 || 1 : - . 1 : s , f |m ; r. : s , far - ther, E'en far beyond the sea. Pass on, ye sheep, pass on - wards! The : m : m d : 11, 11 : 11.1||r : — .r | r : - , r : f .fi | St : fl. : m. C}^{2S, –– T-49%) d . ; d . ; d . d . ; : d . s : s , s : se sell Tºrſºd, ; ; "...f shop - herd, O Sad, The shep - herd, O sad is he, The shep - herd, O r - : r , I' : m , ſº o e : Iºla, e r * — : r © : : I' o | shep - herd, O sad is he, A. O Sad is he, O ... : 1 . : s , | f : f , f : fe ..fe s : t : t 1 : : ; 1 . shep - herd, the shep - herd, O Sad is he, is he, O Shep - , hērd, O i Sad, O sad is | he, O \ St. Co. (New) ADDITIONAL" EXERCISES.-PART III. 91. --~ T-> T- /*N m : S —- — : – , r : m , r d : — : — - : — sad, O Sad is he, pſ) S : , s : d' , d' |t - , S ; S , S | S : — : f , f |m : — Sad, O sad is he, O sad is he, Sad is he. - S º : , m : l ſº S S : * ſº f . : S ..f m e-º º : d e d d , - { | " ( , S| SI . S1 | Sl : - . S1 : St . Si (d – , ; fl. , f | di : — Words by SAVIOUR, BREATHE. Music by JEdmeston. “AVE VERUM.” Mozart. KEY D. Adagio—sotto voce. M. 72. +C T-- s : — d' : m s : fe | f : — | f : 1 T | s : f Two Meast&res 1.Sa - viour, breathe 8.D. eve - ning m — m — | r : — | r : — | r : f |m : r s : — s : — | 1 : — |l : — s : — s : — Symphony.” 2.Though the night be dark and d : — |d : — I d : — |d : — t! : — |t| : — f : m |m : — |r — | – : r |m : m | f : f f : — |m : m bless - ing, Ere re - | pose our spi - rits, spi tº e º rits r : d : — |t| : — | – ; tı |d : d | r : r | r : — |d : d s : — |s — s : — | – : s , s : s , s : s s : — — ; s drea - ry, Dark tº ness can - not hide from, hide from d : — |d : — s, : — | – : si d : d |t| : t d : — | — : d F. : — — : — rs : — — ; d d 3 tº |t — s : tº — ; r seal; Sin and I want W6 come COn - t! : — — : — | r s : — | – : s |s : — s : — s : — — ; tı s : — |— ; – tri : – |- : n | n : f | f : — |r : — |— ; f thee; Thou art he who, In 8 . • Wer s! : — — : — Sd : — | – : d |d : r | r : — |t| : — sº : — T-- C7'éS. - d |d : — : — | — : — — ; m | r : d |d :-. It : t fess tº ing; l.Thou canst Save, and thou canst - 2. Watch - ſº - || - est , where thy | peo - - ple t : d |d : — : |t ; tı d : — | l * —- st : — | – : si * 1.Thou camst save and thou Canst f : m m : — : | f : f s : — | f : m r —- — : r wea" - ry, 2. Watchest || where thy | peo - - ple sel : l l l ; – : |r : r |m| : — |f| : — s : — |— : si St. Co. (New). *These measures to be disregarded when the music is unaccompanied, ADDITIONAL EXERCISES.–PART III. r. s. d. f. F. L. is I). d : — | – : — º : — — ; d dm : f HE \ heal. Three Measures Though de - struc - tion st : — — : — s : — | – : si | SItſ : — |t| : — ; : — – : — In : – ||— : n |m se : — I se : s be. Interlude.* | Should swift| death this T d : — — : — : — — ; d dm : r | r : — T-- f : 1 is : f ºf Tºn In – ?, : — | – : r | r : f |m : r walk 8. - round T uS, Though the lar -> I'OWS |t| : - - ; tı |t| : d |d : - || : - - : li |t| : d |t| : — s : f |m : r | r : n | n : — |ba : — | – : ba |se : 1 t : se night o'er T. take T us, And our | couch be - s : – |- : B |s d [d : - 'd : - i- d [t_: l Ise : m %9 D. t. m. l. #9 - r : — |d .tl. : d tºr : — | : m . : — |— : m - past U18 fly, An tº º <- gel Uſ : — | li .se: 1 Beſt : — : d : — | — : d se : — | 1 : fe tºr : — : : | : COD16 OUlt tomb, May the f : — |m. : rel lms : — : : | : m : r | d : f f : — | – : f f : m |r : S guards from TT thee - sur - |round T us; For d : t| | li : r r : — |— : I' r : d |t : m IOOTIl - in heaven a - wake liS, All l : — | – : 1 l : s |f : t t * — |— : t 1. An º e, º gel guards from TT thee Sll] = f : — — ; f f : m |r : 8 S : — | – : S . 2.May the morn. T in heaven 8, - 8 : — |— : — — : f |s : 1 m * - |r : - , ſº We 8.T8 safe if thou : m : – — : — — : f |m : r d : — |t| : - , t clad C7'08, IIl bright and death º tº -> less t : 1 |s : di |d : — — : d' 8 : – ||— : S round us; We 8T6 safe if thou art 8 : f |m : 1 l : — |s : fe S : — |s| i – wake us, Clad in bright and death e- less St. Co. (New J, * See note on previous page, ADDITIONAL ExPRCISES.–PART III. * For T.T.B.B. by inverting the inner parts, f. G. C7'ſ S. - D. t. Jº f : — fi : — s : — |– : — |– : — se : — l r : 1 ||t : d' nigh, 1.For We - * sº tº tº ºp tº º 2.All clad gº - º gº •e tº e • * º d : — : : |m t| : — |d : — |t| : — lºr : — — : — bloom, 1. For We tºmºmºg : : taf : — s — | f : — m l ; d. t : 1 nigh, 2. All clad * > tº tº- sº tº lſ : — : : | s r. : — |ma : — | r : — defe: – ||— : — bloom, t?" t : 1 is d' : f |m — | r : – ,r |d : — | – : — are safe if thou art nigh. Three Measures in bright and death iº gº lessl bloom. — ; d. t|d : d |d : — |t| : – , t d : — | – : — are safe if I thou art nigh. - s : s , s : f s : — | f : – , f |m — |— : — in bright and death - - lessl bloom. Symphony. f : f |m : 1 |s : — |— : s |d : — | – : — LOUID THE STORM-WIND IDOTHI EIOWL. * Music by , Words for this work by J. S. C. Iſreutzer. KEY E). L is C. Allegro molto. (37°6S. –T f © º m : - .m. || m : m .m. || 1 : 1 , 1 || 1 : T. l l d' : — t : 1 se : t : Loud the storm wind doth howl,&the waves threaten death in their fu - ry; d : - .d |d ; d.d |d ; d.d |d ; d.d |d : — | r : m r : r : m : - .m. |m : m .m. |m : m .m. |m : m .m. |m : — |m : m | f : f | : Loud the storm wind doth|howl,&the waves threaten death in their fu - ry; lſ : - . 11||11 : 11, 1] 1 : 11.1|| 1 : 11, 11 li : - |t| ; d |t| : sel : £) * C}^6S, f S6. : - .se |se : se.se |t : t , t |t : t , t , r) : — d! : t Loud the storm wind doth howl, and the waves threaten death in their r — , r r : I , r I' : r ,r |r : r ,r |t| : — |d : I’ m : – ,m |m : m . m m : m .m. |m : m .m. |m : — |m : m Loud the storm wind doth howl, and the waves threaten death in their t| : - .tl. It : t ,ti | se : sel, sell se : sel, sell se : — li ; tı St, Co., (New). 94 ADDITIONAL EXERCISES.-PART III, f. A5. L is F. |l ; d) : dese : – , se se : se, sell : – ; : i ,1 \ fu - ry; Loud the storm wind doth] howl, And the m : m : s r : – , r |r : r ºr |d : — | **) : 1 | : 1 m : — | – : m m : m .m |m : m , m fu - ry; Loud the storm wind doth howl, And the d : 1 | : m tº : — ...t] |t : t , t l : — | : li li Loud the storm wind doth howl, tº G ſpp EV. t. L is C. C}'éS. t : t , t |t : r , r |d : 1 | : fet : – , t |t : t , t waves threaten death in their fu - ry; Loud the storm wind doth r : r ,r r : t , t | 1 : d | : d f : – , f |f : f ,f m : m .m. |m : m) . m m ; pl | : m 1 : - . 1 || 1 : 1 , | waves threaten death in their fu - ry; Loud the storm wind doth sel ; sel. Selse : sel, sell : li | : lºr : – ,r |r : I , I' t : — F--- t : – , t |t : t , t it : — | — : t , t howl, Loud the storm wind doth] howl, And the f : — | — : — fe : – , felfe : fe.fe fe : — | — : fe, fe l : — — : — l : – , 1 || 1 : 1 , | | 1 : — | — : 1 , l howl, Loud the storm wind doth howl, And the r : — |– : — re : – , re | re : re. re | re : — | – : re. re C7'éS. f T-zº d! : de'.de] r] : rel, re' m : — | — : — — : — m : — waves threaten death in their fu * tº gº º * tºº gº tº º ry, m : l , 1 || 1 : 1 . 1 | 1 : — |se : ba se : — |m : — •) | 1 : l , 1 || 1 : 1 , 1 |d : — |t : 1 t : — |m : — waves threaten death in their fu - - - - - - - - ry, m : s , s fe : f , f |m : — — : — | – : — m : — #2 C. t. IIl. l. O © O C. G © e O de'n' : — |– : r |d : r".t|d m! : — — ; r" | d' : r".t d! ) - |But the tem- pest is past, But - the tem - pest is past. m s : — — : s s : s , s s : s : — – : s s : s , s , s : ld': -- |— ; t d! : t , s s : d' : — — ; t d' : t , s |s |But the tem- pest is past, But, the tem - pest is past. ld : — | – : f |m ; f.r |m : d : — |—- : f l n : f ,r |m : St, Co. (New). ADDITIONAL EXERCISES, -PART III. 95 Soli. dolce. - - : f — s! : f |m| : s! | sl : f : — |s' : f #9 Soft comes the sun - shine, | still - , ing the s : — s : 8 s : — s : | s : — s : s s : — s : s Soft comes the sun shine, peace - ful - ly still - ing the d : — r" ; d. d' : — t : d : — r" ; d) |d : — t : t Soft, comes the sun - Shine, peace - ful - ly still - ing the m : — | f : n | r : — |s| — |d : n | f : in r — s : si –-T T=- CHORUS. ft)/9 C}^63. r : — – : — m! o | : m! : - .ml |m| : ml .ml storm º tº sº tº tº Loud the storm wind doth 8 : — — assº — : | : se : – , se |se : se. Se # : — — : — d | ſe t; : – , t t : t , t storm * - tº- {` & g- Loud the storm wind doth * : - - - - d : | : m – .m. ||r : r , I' m! : m .ml |m| : m .ml |m| : — |m| : – , ml |m| : m | ſº sº howl, and the waves threaten death in their fu - ry, l : 1 . 1 : 1 , 1 |se : — | 1 : - . 1 || 1 : se : d : d! .d) |d : d! .d' |r! : — I d' : - .d' d' : t : howl, and the waves threaten death in their fu - ry, - : d .d |d : d .d t| : — | 1 : – , d m : m | : £) C}^{2S, --~ T f m! – ,ml |m| . . m .ml re' : re'. re' rel : re'.re' r" : — |r! : – , r) Loud the storm wind doth howl, and the waves threaten death IIl their m — ,m m : m . m |fe : fe . fe |fe : fe ..fe se : — |se : - .se S 62 – , se se : se, se | 1 : 1 . 1 || 1 : 1 . 1 |t : — |t : – , t Loud the storm wind doth howl, and the waves threaten death in their p — .m. |m : In , ſm | I] : m .m. |m : m , m | I] : — |m : - , m •. f) f. F. L. is D. © Q r1 : d! : f'd' : — — : t , 1 : t ,sel 1 : d' : — — ; t fu - ry, But the tem- pest is past ! But the se : 1 e 1 m : — — ; f |m :m .m. || m : m : — |— : f t : 1 | : r"1 : — |— : se | 1 :se.m. |m : l — | – : se fu - ry, But the tem- pest is past ! But the In , : 1 || : r l) : — |– : r |d :r t| |d : lſ : — — : r St. Co. (New). 96 ADDITIONAL EXERCISES.—BART III. - £) C. t. Solſ. dolce. 1 : t ,se|l : d'fi : — |s : f tem- pest is past ! Soft comes the m :m n |m r s : — s : ,s 1 :se.m. |m : fe; : — | f : # tem- pest is past ! Soft comes the d :r .tſ |d : lºr : — si : S. As ff0CHORUS. 2.) : — |m| : fe' : — storm. But S — |— : l -> # * —- | g! : d! , — storm. But 8| : — |d : T * - ff0 /*N f : — |— ; fl. f : f', f' fi : — But the tem - pest is past ! t : — |— : d" | t : t , t , t : — r! : — — : r |r! : rſ. r"|r! : — But the tem - pest is past ! s : - || – : la s : s , s |s : – It- r! : s! |— ; fl.ºr'] r] : — |m| : still - ing the storm, s : t |– : s 8 : – ; – : # : r" | — : : f : — I d' : still - ing the storm, st : s | – : 81 si : — d : I- C?'60s r' : s! | – ; fl.rºm : — — : m sun - shine is here, The s : t ) – : s , s : – ' – : s t : r" | — : t d' : — " — ; d. sun - shine is here, The s! . : St |- : S. : s — ; pl.d m! : s! | sl : f : — |s' : f' sun - shine, still - ing the s : — s : — s : — s : 8 d : — | * : d" | f : — | f : # Sun - Shine, still - ing the d : " | f : * |r – | si : si — : sl fe' : fe', fe' fel : the tem - pest is past ! | — : 1 l : l . 1 || 1 : | — : d! d! : d' .d' |d : the tem - pest is past ! | – : ma |r : r .r |r : SoLI. dolce. . o º o e m! : s! s! : d! I d' : n! |m| : di Soft comes the sun - shine, 8 — s : s s : — s : — d : m' |m| : n | n : d" | d' : — Soft, comes the Sun - shine, d : — |d : d d : — |d : — CHORUs. º o © ſº). m! : &l s! ; d. d! : ml |m| : d' Soft comes the sun - shine, The 8 : — | 8 : s 8 : — s : s d : ml | pil : n | n : d! d! : d! Soft comes the Sun -> shine, The d : — |d ; d. |d : — |d : d –T E=- As r! : s! | — ; fl. r1|d — — : — sun - shine is here. s : t ) – : t s : — — : — t : rl | – : r", f"|m| : — | — : — sun - shine is here. SI : s! I — ‘s : — — : — St. Co. (New). HINTS ON THE TU NES IN ADDITION AT, EXERCISES. WITH REFERENCES TO INSTRUCTIONS IN “ STANDARD COURSE.” Crop splºd. THE RIGHT, page 1, is treated of in “Standard Course” under the following topics : —Normal force, page 98; Breathing-places, page 98; Treatment of unison, page 103; Ap- propriate force and speed, page 132; Melodic phrasing and subordination of parts, Ex. 212; Degree of force in a cadence, page 103. See analysis of sec- tional relation in “ FIow to Observe Barmony,” page 63. GoING EIoME, page 2.—Delivery of repeated tones, page 99; Marked en- trance of parts, page 100; Melodic Im- itation, page 99. In scores 2 and 3 develope S. and C., running in thirds and sixths. JAORson’s Even ING BYMN, page 2.— Pervading force, page 98; Treatment of melodies, page 100; Study of con- genial tones, page 102; Crescendo on single tones, page 103; Expression of joyful feeling, page 131 ; Contrition and supplication, page 132; Growing excitement, page 133. See analysis of Sectional relation in “EIow to Observe Harmony,” Study carefully the melo- dic phrasing of each part, pp. 69, 70. In harmony let S. and B. deliver well their tertiary dissonance in score 1, measure 3. They have the same in score 4, measure 4, where the Tenors also have to strike a primary disso- nance against the C., and secondary as against the B. This double dissonance should be carefully done. There is a strong primary dissonance between S. and C., at score 3, measure 5, and an- other in the next measure. See “Stan- dard Course,” page 21, and “ How to Observe Harmony,” page 90. SPRING LIFE, page 3.−Vigorous en- try and unanimity, page 100; Outbursts of enthusiasm page 131 ; Didactic style mingled with emotion, page 132. Aim at perfect unity and blending of S. and C. in score 1 and 2. THE ForTUNE HUNTER, page 4.—As- cending melodic imitations, page 99; Sympathetic singing in unison, page 103; Slyness and gaiety, page 133; Imitative sounds—laughter, page 101 ; Sad reflection, page 132. See analysis of sectional relation in “IHow to Ob- serve EIarmony,” page 63. The chang- ing expression suitable to every verse should be carefully attended to. In the last line deliver the word “not” staccato, and make a slight pause after it. Carefully attend to variations of both time and tune in verses 2, 4, 5, 6. TIIE MAY-TIME, page 5.-Firm entry of parts, page 100; Ascending and de- scending phrases, Ex. 211. Should not exceed the rate of time marked. Clear- ness must not be sacrificed to rapidity. Sweet concord in the two-part passages is the essential feature. THOU sha LT SITOW ME, page 7. -- This should frequently be used as a test of steadiness in time and for the practice of syncopation and marked en- try of parts. Let S., T., and B., hold firmly d against r in score 3, measure 4. TriB, WAITs, page 8. —Example of soft singing, page 98; Increasing force in rising phrases, page 8; Representa- tion of distance, page 101 ; The promin- ent and the subdued tones of a melody, Ex. 223. The highest part will prove very fatiguing if not sung in the upper thin register without straining. None but undoubted first sopranos should take this part. The piano singing of this piece will discover the presence of low and hard voices among the so- pranos. e THE CUC Roo, page 9,-Imitative sounds, page 98; Cumulative force on repeated tones, page 99; Unanimous delivery of the bass voices is required in scores 1 and 4; Unity and good blending in S. and C., page 10, Scores 1 and 2. The close dim. pp will require tenors to use their thin register gently. The word “ cuckoo’’ should have its first syllable pronounced exactly like its last, and thus aid the imitation of the bird’s cry. IBoN Accord, page 11. – Entry of parts, page 100. This piece should be sung firmly, at a brisk rate and with fine round tone. It is one of the pieces which should be sung from memory in all its parts. Eſope wiſ.L BANISH SORROW, page 12. —General character of a piece, and ap- propriate force, page 98; Rising excite- ment, page 131; Depressing thoughts, page 132. The rhythm should be well practised. It is nearly the same in all the parts. Emotion ebbs and fiows very • much in this piece, and its phrasing is an interesting study. Transition analy- sis, score 2, measure 1, “How to Observe EIarmony,” page 57. Eſow BEAUTIFUL THE SUNSHINE, page 12. —See analysis of sectional relation in “How to Observe Harmony,” page 63; Study the rhythm, which is varied and somewhat intricate; Three related phrases in-scores 2 and 3, require in- creasing force ; Transition analysis, score 1, measure 4, “EIow to Observe Harmony,” page 57. CoME, FREEDOM’s sons, p. 13.−Loud and bold delivery, page 98; Discourag- ing reflection, page 132; Poetic phrasing and expression, page 136. THE QUAIL CALL, page 14.—Normal force, page 98; Imitative phrases in a melody, page 100; Dramatic expression of words, page 131; Effect of different expression in contrary motion, page 99; Excited exclamation, Ex. 257; Verbal expression, page 132; Properrendering of cadences, page 103. The rhythm is uot likely to be made perfect unless each pulse is distinctly beaten in learning the piece. Transition analysis, score 2, measure 3, “Eſow to Observe Har- mony,” page 57. THE TIME FOR JOY, page 15.-Ap- propriate force and speed, page 98; Notice alternate periods of p and f, and this order reversed at page 16, score 3; Develope tenor in last score, page 15, and score 2, page 16. The second S. must not cover up and ob- scure the first S. in those places where the second is the higher of the two, for even there the notes in the top line form the principal melody. FIEAR ME WHEN I CALL, page 17.— Subdued and prayerful effect, page 98; Exultation, page 131 ; Vowel sounds, page 138; Melodic and harmonic imi- tation, page 100; Marked entry of bass, page 100; Various contrasts of expression, page 132; Pressure tone, page 133; Bold delivery of fugal pas- sage page 19; Triumphant affirmation, L 2 HINTS ON THE TUNES, page.98. Transition analysis, “Addi-mal force, page 98 ; Repose in nature, tional Exercises,” page 19, score 3, mea- sure 1, “How to Observe Barmony,” page 58. Ilet the bass, score 4, measure 4, hold its dwell against the t and r of C and S. * WE FLY BY NIGIIT, page 20.-Force- ful delivery, Ex. 217; "Accelleration of speed and force, page 131. Mark breathing places in the long run for S., Scores 3 and 4, or still better, practise it till it can be sung easily to one breath. Marked entry is very important, espe- cially in C. and T. For public perform- ance this chorus may be preceded by the bass-song in the Macbeth music, Reporters 520 and 521. Transition an- alysis, score 1, measure 3, “IIów to Ob- serve Harmony,” page 57. My LADY Is As FAIR AS FINE, page 21.-Subdued general effect, page 98; Pronunciation, page 140; Develope thé tenor in the 3rd score; Mark well the most effective part of the piece, which is at the beginning of 3rd score. Transi- tion analysis, score 1, measure 4, “How to Observe Harmony,” p. 57. NIGHT AROUND, page 22.-How to pro- duce humming accompaniment, page 100; Dramatic effect, page 132. Obe- dience to the baton is imperative here. The conductor has to keep the chorus in time with the soloist. Transition analysis, Score 2, measure 1, “FIow to Observe Harmony,” page 57. CoME, LET Us ALI, A MAYING Go, Dage 24.—Expression of light-hearted gaiety, page 133; Imitation of the Cuckoo and of bells, page 101. The piece must go freely and nimbly,– the quicker notes being struck neatly and somewhat st ºccato, especially in the downward runs imitating the sound of bells. Notice contrasted effect of fre- presenting drums and p representing fifes. Transition analysis, score 2, measure 1, “How to Observe Har- mony,” page 58. HALLELUJAII, AMEN, page 26.—Swell on prolonged tones, page 100. The rhythm of the principal subject must be perfect. Strongly marked accent is required at page 27, scores 1 to 3, be- ginning ‘‘O Judah.” Tenors must use thin register in the higher passages, and this part must be well developed in measures 6 to 8, where it assumes the importance of an ascending bass. In the same way the bass part must be brought out when it imitates the same kind of ascent a fourth lower. The long Silences are somewhat trying. The two “Amens,” must be very bold. SWIFTLY FROM THE MoUNTAIN's BRow, page 29.-Expression changing in a new Imovement, page98; Sunbeams and sha- dows, page 183; Warbling birds, Ex, 317; Prolonged tones, page 100; Nor- page 182; Expression rapidly changing, pp. 98, 99; Pronunciation, page 140. The two first movements of this glee represent the landscape, and the last one the music of nature at early morn. It abounds in melodial passages and fine effects. Transition analysis, “Ad- ditional Exercises,” page 32, score 4, measure 2, ‘‘How to Observe Har- mony,” page 57. LORD, IN THIS THY MERCY's DAY, p. 33.−See “Standard Course,” for proper expression of deepening emotion in v. 2, and increasing urgent supplication in v. 3, p. 132. Study of Verbal Expres- sion, Ex. 260. Vowel ai low in pitch, p. 139. IPreserve the subdued effect throughout, but study well the rise and fall of its three phrases. Tenors must use the thin register in the second phrase. RISE, MY SOUL, ADORE TIIY MAKER, p. 33.--Tones to be developed as heigh- tening the general effect, p. 102. De- liverery of Cadences, p. 103. Give due effect to Harmonic Sequence, m. 7. The Verbal Expression requires great variety of speed and force. The chord sellſ, Sc. 1, “IIow to Observe,” pp. 76, 77. FATHER, MY SPIRIT owns, p. 34.— Musical Expression, Ex. 215. Study of congenial tones, Ex. 224. Verbal Expression—Resignation, Ex. 260. The vowel a, p. 140. Ileep feeling ex- pressed by pressure tones, p. 133. Study the peculiarities of the rhythm in Sc. 1, and mark well the change of rhythm in sc. 2. Chord SE, sc. 3. See “How to Observe,” p. 78. Chord TAb, sc. 3, “How to Observe,” p. 114. The bass part contains some difficulties. Practice the first line well, especially the octaves l i, and r se. The S in Sc. 2, m. 1, 2, 3, must be drilled also. NEARER MY GoD, p. 34.—Tones to be emphasised, Ex. 225. Pure vowel sounds, p. 140. Melodic Imitations, p. 100. Get a pure quality of tone in the low passages for bass, Sc. 1 and 4. Contraltos have to hold d against r in chord 7Rb, sc. 1. See “Bow to Ob- serve,” p. 26. T also has a Secondary Dissonance, p. 35, sc. 2, m. 2, in the same chord, 7Rb. - THE GIPSY's TENT, p. 35.—Appro- priate speed and force, p. 133. The proper singing of subordinate “parts,” p. 100. When the S takes up the mel- ody previously sung by the soloist, it Should be done with great spirit, and be in strong contrast with the soft ac- Companiment which they were pre- viously doing. A primary dissonance for the solo part (if soprano), occurs in chord 9Db, m. 1. o a tertiary disso- nance in the same chord at p. 36, sc. 3, m. 3. See “How to Observe,” p. 96, and pp. 4, 5. Also a secondary disso- nance in the chord 6 DC. See “FIow to Observe,” p. 100. Also a secondary and tertiary dissonance in the chord 9.E., p. 38, sc. 3. HARVEST EIoME, p. 39.-Character- istics of the “Part-Song,” p. 146. Form of tones, p. 133. Sharp delivery of detached sounds, p. 103. Ascending and descending melody, and subordin- ate parts, p. 104. Study of unison, uni- form and equal emphasis, prolonged tones, “Vamping,” Ex. 213, and p. 103. See that the correct tones are sung by T. and B. in this vamping accompaniment. The vowel oa, p. 138. Delivery of cadences, p. 103. The fine melody for S, p. 40, sc. 2, should be well studied, and sung with perfect clear- Iness. A pure, bright tone must be got at the f" (g'), last Sc., which must not be attempted by any but first sopranos. Notice 47 9D, p. 39, sc. 3., m. 4. See “EIow to Observe,” p. 98. Tenors should use thin register in the three last tones. AWAY TO THE FOREST, p. 42.-Stac- Cato passages, p. 103. The lively, dancing effect of the rhythm, with al- terations of sforzando and staccato, re- quires much practice. The piece is full of expression. Notice the echo effect in sc. 4, “Tra la,” first f and then pp. Tenors must use thin register on S' at the close of the “Tra la.” SUNSHINE AFTER RAIN, p. 44.—Musi- cal Form, p. 146. Emotion quickly changing, p. 132. Vowel ai, p. 139. Sc. 4, 5 contain some difficult rhythm. Develope tenor and bass, moving in thirds, sc. 3, 4. In these two parts the octaves, sc. 4, m. 1, should be clear. The S, in its turn, must be developed, sc. 4, m. 2. Bring out the fat the close, which is intended to give great prominence to a repeated section. IF I HAD BUT Two LITTLE wiNGs, p. 45. — Melodic Expression, Ex. 215. Musical Form, p. 146. Reflection, p. 132. Vowels a and wº, p. 140. Melodic Imitation in Sc. 1, should be studied, See p. 100. Give emphasis to d' m. 3, and 1 m. 5. The bass part, m. 5, 6, has some serious difficulties. Chromatic fe, leaping up an octave and resolving on f in 7Sd. Tenors should use thin- register at p. 47, Sc. 4, m. 3, p. 3, to m, 4, p. 4. ANGEL of HoPE, p. 48.-How to pro- duce humming accompaniment, p. 100. To avoid the danger of flattening, get the accompanying voices to listen to the soloist. The long sustained chords are, of themselves, difficult to hold in good tune without this kind of sympathy With the leading voice. Tenors should friNTS ON THE TUNES. 3 use the thin register wherever possible, and the closed lips assist them to do so. The rising passage, p. 49, m. 3, to sc. 2, m, 4, should be delicately sung in the thin, so as not to obscure the solo. TIIE SPRING, p. 50.-Musical Form, p. 146. Excited emotion becoming subdued, p. 133. The rhythm is wa- ried and difficult. Much practising together is required for unanimous de- livery of tafa-AI which is of very fre- quent occurrence and is mingled with various other difficult forms. The piece abourids with melodial two-part passa- ges, such as S and B, p. 51, sc. 2, where care must be taken to get good blending of these two parts while the C and T, in unison, must be quite subordinate. Tenors should use thin register on the notes fl' r" m', p. 51, sc. 2, 3, 4. AT FIRST THE MOUNTAIN RILL, p. 53. —Growing impetuosity descriptive of the gathering force of a stream, p. 133. The descending melodies in S and T alternately, starting each time a step higher are very dramatic, and must be commenced each one louder than the last. Tenors require to use the thin register for the higher notes in Sc. 1, p. 54, and only first sopranos should at- tempt m' s' f &c., in sc. 3. The note se after f" is difficult. Other high passages will be found for sopranos and tenors in p. 54, sc. 5, and p. 55, SC. 1. Notice the dissonance 7 de L. See “EIow to Observe,” p. 115. Tenors should use thin register in m. 2, p. 3, 4. Page 54, m. 2, 4, 11, 12, 18, 19, 21, 22, and corres- ponding parts of v. 2. O TIE Joy of SPRING, p. 57.-De- velopment of a principal melody, p. 100. Gay and tripping style, p. 133. Musical Form, p. 146. Pressure tones, p. 103. Subordination of parts should be attended to, see p. 100. Notice the chromatic part-pulse dissonances, fe and re, p. 57, sc. 4, m. 2. See “How to Observe,” p. 119. The thin register should be employed by the tenors in m. 7, 8, 9, and on all following notes higher than S. ELOW. LOVELY ARE TIIE MESSENGERS, p. 58.—Musical Form, p. 146. Vowcl w, p. 140. Appropriate speed and force, p. 132. Bold and striking change of sentiment, Ex. 258. Tugal passages, p. 148. The proper rendering of “parts” in contrary motion, p. 99. Triumphant joy requiring the singer to dwell on the notes, p. 132. Changing emotion-tri- umph to repose—Ex. 219. Let each part study (in keys suited for each voice) the melody which opens this piece, and which becomes the subject. See “Melodic Phrasing,” p. 98. Qnly first sopranos should sing the highest part, which abounds in high notes, often requiring small register. In pp. 59, 60, the thin register is constantly demanded from the tenors. AWARE, ZEOLIAN LYRE, p. 62.-Mu- sical Form, p. 146. Smooth legato, p. 103. Downward rush of a stream, p. 99. The opening should have a well- sustained cres, the last chord being cut off sharply when the climax of force has been reached. The fin sc. 2 is very important. Notice a little Syncopation, p. 63, sc. 2. The last movement spirit- oso should have very marked adoent. Tenors should use thin register at the second ‘‘awake,” at p. 63, first, five measures of Largo, and in the f close, except the last note which may be in the thick for the sake of effect. WHERE THE GAY DREAMS, p. 65.—A. series of cres. passages, rising each time higher. Standard Course, p. 133. Attend closely to the marks for cres. and dim. as they are intended to give form to the melody. Study “Bow to Observe Har- mony,” pp. 97, 101, 412, 113, for the dissonant and chromatic chords 49D, 9 7S, 94 ſes, 7 ſer:E. Only first soprano voices should attempt the phrase com- mencing Sc. 4, m. 2. Tenors must use thin register on the notes r'f'm' in keys C and D, Sc. 3, 4. THEME SUBLIME, p. 66. — Study of fugal movements, subject, counter-sub- ject, &c., p. 147. Development of parts, p. 14S. Study of Syncopated passages, and emphasis in a melody, Bx. 227. Fugal entry, p. 148. Form of pro- longed tones, p. 100. Study of runs, and their accompaniment, Ex. 226, see also “Rapid Passages,” p. 102. The “subject” and its yariations, see p. 148. Delivery of cadences, p. 103. A very useful and invigorating practice piece, which ought to be often used. Study in “Eſow to Observe,” p. 103, the discord "L. Tenors mark their books for thin register in the following pas- sages: — First movement, m, 13-18. Second movement, m. 10-12, 1 s f m, Page 68, m. 11-15; Score 5, m. 2–5. Page 69, sc. 1, m. 3-6 ; Sc. 4, m. 2; sc, 5, m. 2, p. 1; m. 4 to p. 70, m. 1, 2; sc. 2, m. 3, p. 2. All the s's in Sc. 2, 3, 4; p. 71, m. 2, 3. All the s's in Sc. 2, 3, and the Whole of the last 2 meas. TIIE Woods, p. 71.-Diverging senti- ments in music and words. Gaiety in music and sober reflections in poetry, acting upon each other, p. 133. Strug- ture of a part-song, p. 146. Dramatic effect—the fading away of a dream, p. 132. The vowelee, p. 13. The normal force (see p. 98) of this piece should be p and the movement a gentle legato. The second verse may be mſ for the sake of a little contrast, but the third must resume the p, and the close should be very soft and soothing. Study in “How to Observe,” 7D, p. 103, 47D, p. EIOME, O WHERE IS THY BLEST IIAvex, p. 74.—The study of vocal accompani- mont, p. 100, and Ex. 218. Passionate utterañce, explosive tone, p. 134, and Ex. 257. ere the soloist is silent, let the accompanying parts sing out with fuller voice, see “Subordination of parts,” p. 100. Study in “Bow to Ob- serve,” 4R, p. 104, 41, p. 95, 91R, p. 106, 4E, p. 104, 9D, p. 96, 67R (ornamentals) p. 109, 4L, p. 95. Tenor’s to use thin register on ſm', p. 75, sc. 2, m. 2. TITE STOUT-LIMBED oak, p. 77.-Musi- cal form of a glee, p. 146. Delivery of cadences, p. 103. Delivery of bold passages, Ex. 258. Unison passages, p. 103. In the first movement of this glee all the “parts” claim in turn to be prominently heard. Notice in this way S, Sc. 2, m. 1; C, Sc. 2, m. 3; B, SC. 3, m. 3; T, sc. 4, m. 1. Then S and C to- gether, sc. 4, m. 3; B, sc. 5, m. 1. The two-part passages on p. 78 must have both the voices perfectly together. Tenors' should mark for thin register m. 3.; Sc. 2, m. 1, 2; the Inote ſm', Sc. 4, m. 2; Sc. 5, m. 2, to p. 78, m. 3, and all the last phrase. - MoRNING PRAYER, p. 79.-Piano sing- ing in unison, Ex. 230. See “piano passages,” p. 98, and “unison pas- sages,” p. 103. Structure of a part . song, p. 146. Solemn effect of ſma introducing or invoking p in all the parts, p. 133. A shout of thankfulness, Ex. 256. Notice in verse 3 an altera- tion of the air, m. 8, 9; and of the harmony throughout. The s' should be sung by first sopranos only, and they should be careful to give it in the small register. The forte outburst at begin- ning of each verse should be finely de- livered. Especially the bass, which in verses 1, 2, leaps an octave in the first two notes, thus d |d'. The expression is constantly varied, and should be carefully studied. See “How to Ob- berve,” ma}FE, p. 113, deL, p. 114, 7 deL p. 115. Thin register should be used by T in the phrase beginning at the end of m, 9; in corresponding part of verse 2; also in fourth line of v. 3, p. 80, Śc. 5. m. 2. - 'Ye spotted SNAREs, p. 81–Musical form—the glee, p. 146. Legato Singing, p. 103. Soft and light staccato, p. 103. Sforzando for sudden exclamation, p. 133. Drumatic representation of terror. Secure marked entry (although p) in the syncopated notes, m. 5, 6, 7. The two transitions, p. 83, sc. 2, need care- ful practice, and still more does the transitional modulation, p. 83, Sc. 4, and its return on the chord deſ. 4 FIINTS ON TEIB. TUNJ.S. (Picardy Third.) See “How to Ob- serve,” p. 114, and par. 98, p. 88. Tenors use thin register, m. 5, p. 2, to Sc. 8, m. 1. Page 82, Sc. 2, 1n. 1, p. 3 to 1. Page 83, sc. 4, Im. 2; Sc. 5, IIl. . 4 to m. 3, p. 3. Page 84, m. 4, p. 2 to Sc. 2, m. 4, p. 3. Beginning of SC, 4 to m. 4, p. 3; and beginning of Sc. 5 to m. 2, p. 2. O SAvroUR OF THE world, p. 85.— Musical form of the anthem, p. 145. Prayerful utterance, Ex. 228. Increas- ing force on repeated tones, p. 99. Im- portant words to be made prominent, p. 133. Humble supplication, Ex. 260. TJnison passages piano, pp. 98 and 103. The transition to third flat, p. 86, sc. 1, is difficult, as it commences with an upward leap of an octave in S, and of a seventh in B. In the chromatic unison, p. 87, Sc. 4, Inothing can help the singers but a strong sense of the note S, on which the repeated la, resolves. Study in “Bow to Observe,” 97F, p. 106, 7SE, p. 78, 974S, p. 103. Tenors should use thin register on the word “O,” p. 85, SČ. 5, and p. 87. sc. 1. THE SHEPHERD's LAMENT, p. 88.— Sforzando tones expressive of passionate REQUIREMENTS OF THE ADVANCED CERTIFICATE OF THE TONIC SOI-FA COLLEGE, 1. Bring proof of your having taken the Members' Certificate, and if the Examiner chooses, submit to the Mem- bers' Examination again. 2. TIME.—Vocalize without slurs one (taken by lot) from Nos. 18 to 42 of “Advanced ,” in correct time and tune, and at the rate marked by the metronome. 3. SIGHT-SINGING-(a) Sing to words at first sight a piece of music in the Tonic Sol-fa Notation sent from the Office, moving not faster than M. 96, and not slower than M. 72, and includº. ing transition to the second and third removes on the Extended Modulator, but not necessarily containing many minute divisions of the pulse. (b) Vo- calise at first sight and then sing to Words a piece in the Staff Notation sent from the Office, and equalin difficulty to the test in the Sol-fa. Notation for the Members’. 4. VoIgE CULTIVATION.—Sing, in any key Within the average compass of your class of voice, Ex. 307, “New Standard Course,” p. 154, with equality of tone, teadiness of voice, proper observancé of piano and forte, and taking only one breath on each word skaalaa at the rate of M. 50, and sing with similar obser- vances,Ex.302, “New Standard Course,” p. 152; at the rate of M. 120, keeping the pitch. 5. STAFF NoTATION. — Translate a brief passage, sent from the Office, from the Sol-fa into the Staff Notation, excitement, p. 133. Musical form of a part-song, p. 146. pp in detached notes expressive of deep sorrow, p. 132. The rhythm of sc. 3 should be well practised as a time-model of several passages following. The whole piece depends upon true intonation of chromatics. Study such chords as ſe mala, p. 89, sc. 5, in the light of “How to Observe,” p. 118. In the transitional modulations, p. 90, practise each part separately, then two or more parts combined, and finally altogether in slow time. Study in “How to Observe,” femalA, p. 118, male'Eb, p. 118. Tenors should use thin register on the four last notes, sc. 1, and on a similar passage, p. 90. sc. 4, m. 2; also on the triplet, p. 89, sc. 1, m. 3. SAVIOUR, BREATHE AN Evex ING BLESS- ING, p. 91,–Subordination of parts, Ex. 216. Solemn thoughts, Ex. 260. Melody transferred to different parts, p. 100. Expression of a sense of safety in God’s care, Ex. 257. Study the normal force of this piece. The time must be firmly kept, without drawling. In the transition to fourth flat minor, p. 92, m. 4, the first chord has been already sung, which lessens the diffi- culty. Watch all the distinguishing tones as they appear. Look to the tenor, Sg. 3. m. 1, 2. Study in “FIow to Observe,” 74R, p. 103, 7 felt, p. 58, 94D, p. 97, maT), p. 116. Loup THE STORM WIND, p. 93.--Sub- dued description changing to the ex- citement of terror, p 133. The repre- sentation of calm after storm, Ex. 260. Form of repeated tones, IEx. 214. See difficult intervals in S, p. 94, sc. 2, m. 1, 2, Sc. 5, p. 1 (the latter will be most easily got by making the transition on previous note, "S.) Practise well the p, cres., f, p. 93, SC. 1, 2; page 94, Sc. 3, 4. Try the parts separately at p. 95, Sc. 4. First Sopranos only should sing the highest part in this picce, using the “small register” for re m' p. 94, sc. 4. The continuous high passages, like that at page 95, sc. 2, 3, 4, are very trying, and good intonation is impossible # any but pure first sopranos take that part. Study the many discords and chromatic chords in the 12th and 13th steps of “EIow to Observe.” On p. 93 will be found 7SE. On p. 94 7T, 7 de L, feſ?, reſ', 4 ballſ. On p. 967 felt, 7 malic, 7 laſt.c. in the keys of E, B, A flat, or D flat, which shall contain transition of the second or third remove on the Extended Modulator in short score. 6. HARMONY EAR ExERCISE,-Write down from ear in correct time the air of a long, common, or short metre tune, sent from the Office, with the chords and their positions marked under each pulse. The tune must con- tain either modulation to the relative minor, or transition of one remove, and One or more of the following disson- ances, viz., "S, 3R, 4S, "T in the major or the corresponding chords in the minor—ſselſ, "T, 4M, "SE. If a quartet cannot be conveniently had, a piano- forte or harmonium may be used. The tune should be played or laad at the rate of about M. 60. There may be a pause (say four measures long) between each line, and the tune may be given three times. 7. EIARMONY ANALYSIs.—(a) Analyse the chords in an English Glee, a Modern Part-song, or an Oratorio Chorus, like those in “Additional Exercises,” sent from the Office. Eſonourable Mention in Eſarmony Analysis will be accepted instead of this requirement. (b) Also Write a similar analysis in the presence of the Examiner of a tune sent from the Office. 8. CHANTING.-Write out afresh and mark two verses from the Psalms sent from the Office, so as to show the Cadences, the Emphasis, and the Pauses of the Recitation. The Accents, Lengths of Sounds, and Pauses may be marked in any way. It will save the Examiner's time if they are marked as shown in “New Standard Course,” pp. 63, 94. If any other plan of marking is adopted, a key to it must be sent. See “Church Choralist,” preface and pages 13, 15, 19. 9. ExPRESSION.—Mark for Expres- sion and Breathing Places, in the presence of the Examiner, a Part-song or Glee, sent from the Office, like those in “Additional Exercises,” necessarily including some of the points described in the “Standard Course,” pp. 100 to 104. 10. MUSICAL ForM.—Analyse in the presence of the Examiner a Part-song, Glee, or Chorus, like those in “Addi. tional Exercises,” sent from the Office, in the manner described in “Standard Course,” pp. 70 and 104. Analyse any three Transitions or Modulations in these pieces which may be required, as in “How to Observe Harmony,” pp. 57 and 59. Note.—The requirements 3b and 5 are optional, but if complied with, the letters S.N. or the words, “Passed in Staff Notation also,” will be added to the Certificate. Certificates of Hon- ourable Mention in “Musical Form and Expression ” will be accepted in- stead of requirements 9 and 10. Tonic SoL-FA GoLLEGE, OFFICERs—JOHN CURWEN, President. - ROBERT GRIFFITHS, Secretary, Plaistow, London, E. *...* For fuller particulars consult the Calendar of the College, issued annually, price 6d., or apply to the Secretary. CERTIFICATES OF MIUSICAL SKILL. I.—THE JUNIOR SCHOOL CERTIFICATE. \ EXAMINERS : Teachers or their assist- ants who hold the “Elementary.” 1.—Bring on separate slips of paper the names of three tunes, and point and Sol-fa on the Modulator, from Hºnory, One of these tunes chosen by Olº. 2.—Sing on one tone to laa in per- fectly correct time, any one of Nos. 1 to 9 of the “IElementary Rhythms,” taken by lot. Two attempts allowed. 3.—Follow the examiner in a volun- tary by the Manual Signs, or on the Modulator, moving at the rate of M. 60, and consisting of at least sixteen two-pulse measures, including leaps to any of the tones of the scale, but neither transition nor the minor mode. 4.—Answer correctly any one which the teacher may choose of the exercises belonging to class A in the second and third steps of “ Hints for Ear Exer- cises,” (i.e., Nos. 76 to 121, and 160 to 175), or any corresponding exercise. II.--THE EIDEMENTARY y CERTIFICATE. ExAMINERs: Teachers or their assist- ants who hold the “Intermediate.” 1.—Bring on separate slips of paper the names of six tunes, and point and sing on the Modulator from memory one of these tunes chosen by lot. 2.—Sing on one tone to laa in per- fectly correct time any two of the “IElementary Rhythms,” taken by lot. Two attempts allowed. 3.—Follow the examiner's pointing in a voluntary On the Modulator, mov- ing at the rate of M. 60, containing transition into one of the side columns on the ‘‘ better method.” 4.—Pitch, by help of a tuning-fork, Sol-fa not more than three times, and afterwards sing to words or to the open syllable laa any “part ’’ in a psalm- tune in the Tonic Sol-fa notation not seen before, but not necessarily contain- ing any passages of transition, or of the minor mode, or any division of time less than a full pulse. 5.—Tellbyear the Sol-fa names of any three tones in stepwise succession (ex- cept m r d), the examiner may sound to the syllable “skaa,” the examiner having first given you the key-tone and TFIEORY BIONOURS. 1.—Answer correctly, verbally or in Writing, without book or other help, two questions on the CoMMON SCALE. 2.--Ditto, on the MENTAL EFFECTs OF TONEs. - 3.—Ditto, on MEASURE. 4.—Ditto, on the LENGTH of Tones. An adhesive stamp, certifying that the candidate has “passed in theory,” is affixed to the certificate. IExAMINERs : Those who hold the “In- termediate’’ with Theory Honours. The Adhesive Stamps, 2d. each, or 7 for 8d., may be obtained by the exam- iners, from the Secretary of the Tonic Sol-fa College, Plaistow, London, E. QUARTERLY ExAMINATIONS.—For the convenience of persons having no authorised examiners near them, quar- terly examinations are held by the College through the post. The names of those who obtain Theory EIonours should be sent by their examiners to the Secretary of the College for publication in the “Tonic Sol-fa Reporter. ITI.—TEDE DNTERMEDIATE CERTIEICATE. Founded 1859. Twenty-one thousand issued to May, 1875. Every member of a Tonic Sol-fa choir practising classical music should possess this certificate, and every one who has to teach, The examiners are those who hold the Members’ Certificate (except such as were appointed before January, 1872), and have been approved. By approval is meant, that the candidate has applied to the Secretary with a recommendation from a qualified examiner, that his name has been announced in the “Tonic Sol-fa Reporter ’’ as a “Proposed Ex- aminer,” and that no objection has been made. If the candidate does not hear to the contrary he may consider himself approved. No one can examine in the S.N. requirement who has not himself passed it. 1.—Bling proof of your having taken the Elementary Certificate, and if the examiner chooses, pass the elementary examination again. 2.—Bring on separate slips of paper the Inames of eighteen tunes, and point on the Modulator one of these chosen by lot. The six tunes of the Elementary Certificate may be included in these 3.—Sing on one tone to laain perfectly ſ correct time any two of the “Inter- mediate Rhythms” taken by lot. Two attempts allowed. - 4.—Sol-fa at first sight and afterwards sing to words any ordinary syllabic psalm-tune from the Staff Notation. The fourth requirement is optional, but if it is complied with, the letters S.N., or the Words “I’assed in the Staff Notation also,” will be added to the Certificate. , 5.—(a) Sol-fa at first sight, and after- wards vocalize from the Tonic Sol-fa. Notation any tunes or parts of tunes the examiner may select, containing transition of the first remove on the Extended Modulator. (b) Sol-fa in correct tune and time any one of the “Minor Mode Phrases,” chosen by lot. Two attempts allowed. [In the new edition of “Minor Mode Phrases '' this is—any two of Nos. 11 to 22.] 6.—Write down from ear, or tell the examiner how to write, the Sol-fa notes of any two simple phrases not heard before, the examiner giving you the key-tone and vocalising the tune, but not more than three times. [Examiners are furnished with Pass Forms, which are given to pupils who pass the examination. The pupil sends his “Pass,” with a registration fee of 1s., to the Secretary, and the Certificate is then forwarded. The names of those who pass the Theory honours should be sent to the Secretary for registration and publica- tion in the “Tonic Sol-fa Reporter.” TEIEORY HONOURS. 1.—Answer correctly, either verbally or in writing, and without book or other help, one question on Transitions of one remove. 2.—Ditto, on the Minor Mode. 3.—Ditto, on Transitionallyſodulation of one remove. 4.—Ditto, on more distant Transitions and Modulations. 5.—Write, without error in time or tune, and from memory, the air of one Major tune with extended transition, and of one Minor tune with or Without modulation or transition. ExAMINERs are those who hold the Members’ Certificate with Theory Eſonours. STAMPs and QUARTERLY ExAMINA- TIONS the same as for the Elementary chord. Two attempts allowed. Certificate. eighteen. CERTIFICATES. IV.--THE MEMBERS' CERTIFICATE. If a quartet of voices cannot be ob- tained, an instrument or instruments may be used. 6.—HARMONY ANALYSIs.—(a) Analyse in the presence of the examiner a psalm-tune, or other piece of a similar length, sent from the Office, containing nothing more difficult than has been described in “FIow to Observe '’ and ** Construction Exercises '' as far as Eighth Step, or in “Standard Course ’’ to p. 48. § Analyse another tune in the Staff notation. 7.—VoICE CULTIVATION.— (a) Sing “Standard Course ’’ Exercises 121 and 176 with good “klang” and without breathiness, at any rate of movement. (b) Sing in any key suitableto your voice the melody of Jackson's Evening EIymn, “Additional Exercises,” p. 2, with a true piano voice, without flattening. § If a man, laa Exercise 104 “Stan- ard Course,” in key C, with the thin register, but with at least moderately good quality and volume. If a woman or child, laa Exercise 164 “Standard Course,” in lºey B, using the thick register with some degree of volume and quality. (d) Sing the example, p. 149, first to the sombre and then to the clear resonance. S.–PRONUNCIATION.—(a) Take by lot one of the Exercises 140 to 152 in “Standard Course,” and sing it with correct consonants. , (b) In the same manner take one of the Exercises 274 to 280 and sing it with correct vowels. 9.—ExPRESSION.—(a) Produce from memory, and sing with expression a new and suitable illustration (one not pointed out as such in . Curwen's instruction books), of one out of the following paragraphs taken by lot :— Normal Force, Piano Passages, Forte Passages, “Standard Course,” p. 98: Ascending Passages, Descending Pass- ages, Repeated Tones, Prolonged Single Tones, p. 99. (b) Also find a new illustration to one taken by lot out of the following paragraphs of the “Stan- dard Course’’: Loud and Quick, 131 ; Iloud and Slow, Soft and Slow, p. 132; Soft and Quick, p. 133. 10,-(a) Select a suitable tune or chant for a prose psalm or a bymn sent from the Office, the tune being properly adapted for congregational use. See “Standard Course,” pp. 144, 145. (b). Sing with proper attention to recitation and cadence the two verses from the Psalms sent from the Office. See “Standard Course,” pp. 63, 93, 94. NoTE. —The requirements 2c, 4c, and 6b are optional, but if they are complied with the letters S.N., or the words, “Passed in the Staff notation also,” Will be added to the Certificate. 1.—Bring proof of your having taken the Intermediate. Certificate, and if the examiner chooses, pass the Intermediate Examination again. 2.—MEMORY OF TUNE AND TIME.--- § IPoint on the Modulator and Sol-fa. om memory some passage or passages containing transitions of second and third removes. º Bring eight psalm- tunes or tunes of similar length, each of which containstransition and divided pulses, and write correctly (both as to tune and time) from memory the air of any one the teacher may select. (c) Write another tune also in the Staff Notation. 3.—TIME.—Vocalize (without slurs) one taken by lot of Nos. 1 to 17 “Advanced Rhythms,” first as a time exercise to laa, and then as an exercise in time and tune. The exercise must be sung as nearly as possible at the rate marked. 4.—SIGHT-SINGING.—(a) Pitch C for men or Cl for women and boys (without a tuning-fork) not varying from the Tonic Sol-fa pitch (C–512 complete vibrations in a second) more than a single step, (b) Sol-fa at first sight, and afterwards vocalize any music, supplied from the Office of the Tonic Sol-fa College, containing transitions of the second and third removes, but not necessarily containing greater difficulties of time than half-pulse tones. (c) Sing [which is understood to mean Sol-fa and sing to words] at first sight from the Staff notation a piece sent from the Office, including a transition of first remove and a modulation using the tones ba and se. 5.—EAR ExERCISES IN MELODY AND HARMONY.—(a) Write upon hearing it laad in correct time the air of a chant of four phrases, sent from the Office, containing at least one cadence in the minor mode, or a transition of one remove, thereciting tone being reckoned as two pulses. The examiner may laa the chant three times, but must not tell the candidate either the key-tone or the first tone of the chant. (b) In the same manner copy by ear in correct time the air and bass (the four parts being heard together) of a piece not longer than a single chant, sent from the Office, and containing no divided pulses, and no chords but those which are explained in “BIow to Observe” or **Construction Exercises '' to Sixth Step, or in “Standard Course,” to p. 48, the key-tone being given and the exercise ladd not more than three times. Persons wishing to be examined for this Certificate, should apply to the Sec- retary of the College, giving the name and address of their proposed examiner, and enclosing 2s. 6d. as the first part of the examination fee. The necCssary tests will then be sent to the examiner, who will in due course return them with his report. If the oandidate passes, the remaining part of the fee, 1s., should be forwarded to the Secretary, who will send the Certificate Card (signed by President and Secretary, with the seal of the College) to the examiner for his signature. If the payment of the second part of the fee is not made within 'one month, the amount is increased to 2s. 6d. Candidates will be much assisted in preparing for this Certificate, by pass- ing through one of the Postal Classes of the College in EIarmony Analysis, and the Elements of Musical Form and Expression. A “IPass '' Certificate in Barmony Analysis will be accepted instead of requirement 6a, and Certi- ficates of Eſonourable Mention in the IElements of Musical Form and of Expression in place of requirements S and 9. All the writing in the report and the working of the Exerciscs must be in ink and not in pencil. The whole examination must be completed within six weeks from the date at which it is commenced. If a candidate fails in one or two points he may have a second trial on payment of an extra fee of 6d. for each new test required. THEORY EIONOURS. IHonourable Mention in the courses on Musical Form and on Expression will be accepted instead of this exam- ination, and these Bonourable Mentions are easier, more thorough, and better for the student. Requirements. 1.—Answer correctly, in writing, and without book or other help, and in the presence of the Local President, one question on the Analysis of Tunes in respect of their Internal, Rhythmic, and Melodic Relations. 2.—Ditto, on the Characteristics of Various Complete Musical Forms. 3.—Ditto, onlöxpression as Suggested by the Music. 4.—Ditto, on Expression as Suggested by the Words. 5.—Write, without error in Time or Tune, and from memory, the air and bass of a tune, with any one verse of the words, and with proper expression marks. A VOCABULARY OF MUSICAL TERMS. 4. - * NotE.—Mr. ALEXANDER. J. ELLIS, who has kindly added the pronunciations to the following words, states that they are more English imitations of Italian, but that a very near approach to the true Italian pronunciations will be made, if in those given ai is never allowed to vanish into ee, or oa into oo ; if ad be used always for a, and ee for i ; the broad ae (St. Co., p. 140) for e, and the broad ao (St. Co., p. 143) for o; if also the consonants which are here doubled, be really doubled in speech, as in “book-keeping,” “boot-tree,” “mis-sent,” “un-noticed”; and r’ be always very strongly trilled, Italians do not generally pronounce their vowels so short as English short vowels, or so long as English long vowels. The full stop turned upwards (') in the middle of a word, throws the accent on what precedes. If there are two such in one word, the first one has less weight than the Second. - - Abbandono, con (koan allandoanoa),with Self-aban- donment. - Accelerando (atchel-air’an:doa), more and more quickly. Accelerato (atchel-air’aa toa), increased in rapidity. Acciaccatura (at'chiak'katoo-r'a), a short appog- giatura. - Adagio (adaajioa), very slow and expressive. Adagio Assai or Molto (adaajioa assaari, moal toa), extremely slow and expressive. Adagio Cantabile e Sostenuto (adaajioakantabilai ai sostenootoa), slow, sustained, in a singing manner. Adagissimo (adaajis.simoa), extremely slow. Adlibitum (ad libritum), Latin, at will or discretion. Affettuoso (affet-too-oa'soa), with tenderness and pathos. Afflizione, con (koan affleetsioa'nai), in a manner ex- pressive of grief. . - Agilità, con (Koan Gjee'litaa), with lightness and agility. Agitato (aftitaa toa), with agitation. Alla Brewe (al-aa brev'ai), a quick species of com- mon time used in Church music. Alla Cappella (al-laa kapel-laa), in the Church style. Alla Stretta (al-Zaa str'ait-taa), increasing the time. Allargando (al-laar'gan'doa), with free, broad style. Allegretto (al-ſegr’aitºtoa), cheerful, Not so quick as Allegro. Allegro (allegºr'oa), quick, lively. Sometimes modi- fied by the addition of other words, as follows: Allegro Assai (alleg','oa assaari), very quick. Allegro con moto (alleg','oa koan motoa), with a -quick lively movement. - Allegro con Spirito (alleg','oa koan spee'r'itod) quick. With spirit. . - t f Allegro di Molto (allegºr'oa dee moal toa), exceed- ingly quick. Allegro veloce (alleg','oa velo'chai), quick, to abso- lute rapidity. - - - • Allegro vivace (alleg”oa weevaa-chai), with vivacity. Allegrissimo (allegr’ees'simoa),superlative of Allegro. Amabile (amaa’bilai), amiably. . . Amoroso (am-oar’oa'soa), lovingly, tenderly. Andante (andantai), slow and distinct. Andante Affettuoso (andan tai affettoo-oa'soa), slow, with much pathos. - - Andante Cantabile (andan' tai kantabilai), slow and in a singing style. Andante con Moto (andan'tai koan motoa), slow and with emotion. - - - Andante grazisoso (andantai gº"aatsioa'soa), slow and gracefully. Andante Maestoso (andantai maa’estoa'soa), slow and with majesty. - - Andante mon troppo (andanta; now tr'op'pod), slow but not in excess. Andantino (an'danteenoa), a little slower than Andante. - - Animato (anºmaa toa), with animation. Anima con (koan an imaa), with soul, with fervour, A plomb (aa ploan'), French,-n' indicating French nasality, in a decisive, firm, steady manner. Appassionato (appas'sioanaa toa), with fervid, im- passioned emotion. Appoggiatura(appodjiaatoo-r’aa), a forestroke. . 2 MUSICAT, TERMS. Ardito (aar'dee-toa), with ardour. A tempo (aa tempoa), after a change in Speed, to return to the orginal rate of movement. A tempo giusto (da tempoa foostoa), in strict and equal time. A tempo ordinario (aa tem'poa or'dinaa’r’īoa), in an ordinary rate of time. Audace (oudaa'chai), better (aaoo-daa'chai), bold, fearless, impudent. Al, All', Alla, Alle, Allo, Ai (al, all, alºlaa, alºlai, al-loa, adri), to the, or, in the style of. Basso Primo (bas'soa pree-moa), IFirst Bass. Basso Secondo (bas'soa saikoan:doa), Second Bass. Bene Placito (ben'ai plaa'chitoa), at will. Ben Marcato (ben maar’kaa toa), in a clear, distinct, strongly marked manner. Bis (bees), or (bis) as Latin; twice. A passage in- dicated by a stroke to be performed twice. Bravura (bravoo'r’aa), with vigour, with boldness. Brioso (bree-oa'soa) with spirit. Brillante (brillantai), in a showy, sparkling style. Burlesco (boor' lai•skoa), with comic humour. Cacophony (kakofºund), English. A discordant combination of sounds. - Cadence (kai-dens), English. A close in melody or harmony. Also an ornamental passage at the end of a piece of music. * Cadenza (kaden-tsaa), Italian. An ornamental series of notes at the close of a piece of music. Calando (kalandoa), becoming softer and slower by degrees. - Cantabile (kantabrilai), in a smooth, melodious, graceful, singing style. Canticle (kan'tikl), English, cantico, pl. cantici (kan'tikoa, kantichee), Italian. Devotional song. Canto (kan'toa), the highest part in a piece of vocal music. Cantor (kan'taur’), Latin, cantore (kantodºr’ai) Italian. A singer. - Cantoris (kantaorr'is), Latin. A term used in Cathedral music, to distinguish the singers on the left side, where the Cantor or Precentor sits. Canzonet (kanzoanet'), English, canzonetto (kan'- tsoanaitºtoa), Italian. A short song. Capriccio (kapr’eet-chiod), in a fanciful style. Celerità (cheler'étaa), with celerity, quick. Cavatina (kavateenaa), an air of one movement only, Sometimes preceded by recitative, of a dramatic character, and generally employed in Opera. Chorus (kaorºr’us), Latin, coro (ko','oa), Italian. A band or company of singers, Chiaroscuro (kyaa','oskoo','oo), light and shade in piano and forte, Comodo (ko'modoa), with composure, quietly. Con (koan), with. Con moto (koan motoa), with a somewhat agitated expression. * Con Spirito (koan Spee’?” itoa) with quickness and spirit. Coi, Col, Coll', Colla, Collo, (kca’i, koal, koal!, koal:7aa, koal-loa), with the. Corale (kor’aa‘lai), the plain chant. Crescendo (kr’aishen-doa), becoming louder. Some- times expressed thus ~ Da Capo, or D.C. (daa kaa'poa), from the beginning. Da (daa), from, dal (daal), from the. Decani (deekat-nei), Latin. A term used in Cathe- dral music, to distinguish those singers who are placed on the right side of the building, (entering the choir from the nave), where the Dean sits. i Decrescendo (dai'kr’aisher'doa), gradually decreas- ing in power of tone. Dell’, Della, Dello, (daill, dail-laa, dail-loa) of the. Detaché (daitaashai) French, make each syllable short and accent equally. French term for staccato. Deliberato (dailee'ler'aa"toa) adj., deliberatamente (daileeber'aa'tamaintai), adv., deliberately. Demi (demº), English, (du-mee), after a consonant, (d-mee) after a vowel, French. A half. Diluendo (deeloo-en-doa), a washing away, a dis- solving. Passages so marked to diminish in force, until they vanish into silence. Diminuendo (deemeenoo-en-doa), diminishing the force. Di Molto (dee moal toa), much or very. Dolce (doal-chai), in soft and Sweet style. Dolorosa (do-loar’oa'saa), #: (dolentai), with an expression of pain, —dolorously. MUSICAL TERMS. 3 Duett(deu-et), English, Duetto (doo-aitºtoa), Italian, A composition for two performers. E, Ed, (ai, aid), and. - Eco, Ecco, (ek'oa, ek'koa) Italian, echo (ek'oa, Inglish. A repetition or imitation of a previous passage, with some modification of tone. Elegante (el'aigan'tai), with elegance. Energico (ener'jikoa), con energia (koan en'er'fee'aa) emergicamente (ener'jikaamaintai), with energy. Enharmonic (en-haar’mon'ik), English, emarmonico (enaar'monºikoa), Italian, proceeding by quarter tones. -Espressivo (espr’essee'voa), or con espressione (kan espr’essioa'nai), with expression. Extempore (eks-tem:puri), Latin, unpremeditated. Facilmente (fach’ilmaintai), easily, with facility. Fermato (fair'maa’toa), with firmness and decision, Fine (fee'nai), the end. - Forte (for’‘tai), loud. Fortissimo (for’tees'simoa), very loud. Forzando (for'tsan-doa), forzato (for'tsaa toa), with peculiar emphasis or force. Forza for’‘tsaa), force, vehemence. Fugato (foogaa‘toa) in the fugue style. Furioso (foo’r’āoa'soa), with rage, furiously. Gajamenta (gaa’yaamaintai), Italian, Gaiement (gemon'), French, n' nasal, Gai, Gaio, Gajo, with gaity. - Giocoso (jokoa'soa), humorously, with sportiveness. Giustamente (joo'staamaintai), justly, with pre- cision. Giusto (joo'stoa), in just and exact time. Glissando (gleessan'doa), in a gliding manner. Grande (grandai), great. Grandioso (grandioa'soa), in grand and elevated style. p Gravamente (gr’aa'vamaintai), with gravity, digni- fied, and Solemn. Grave (gr’aa'vai), a very slow and Solemn move- ment. Grazia, con (koan gr’aa’tsiaa), {gr’aatsioa'saamaintai), grazioso (gr’aatstoa'soa), in a flowing, graceful style. . Gusto (goo'stoa), gustoso (goostoa'soa), com gusto, Impromptu (impr’omºtew), graziosamente, Il, (eel), the, as il violino the violin. Impeto (in petoa), con impetuositā, (koan impet- oo-oa'sitaa'), impetuoso (impet’oo-oa'soa), adj., impetuosamente (impet’oo-oa'samaintai), adv., withimpetuosity. Imponente (im:ponentai), with haughtiness, Latin, an extempo- raneous production. Improvvisamente (in pr’ovvee'samaintai), extempo- raneously. Innocentemente (in'noachen'taimaintai), innocente (in'noachen'tai), con innocenza, (koan in-noachen'- tsaa), in artless simple style. A. La (laa), the, as la voce (laa wo'chai), the voice. Lagrimoso (lag-r’imoa'soa), in a mournful dolorous style. - Lamentabile (laa'mentab'élai), lamentoso (laa'men- toa'soa), plaintively, mournfully. Languente (lan-gwen'tai), languido (langwidoſ/, with languor. Largamenta (laar'gamaintai), very slowly. Larghetto (laar'gaitºtoay, a slow andmeasured time; but less slow than Largo. Larghissimo (laar'gees'simoa), extremely slow. Largo (laar”goay, a very slow and solemn degree of movement. - - Le Clai), the, as le voci (lai vo'chee),fem.pl. the voices. Legatissimo (laigatees'simoa), very smoothly con- nected. ** Legato (laigadºtoa), in a close gliding manner. Leggiero (led jier’‘oa), with lightness. Leggierissimo (led jier'ees'simoa), with the utmost lightness and facility. Lentando (lentaan-doa), with increased slowness. Lento (len’toa), in slow time. - Ma (maa) but ; as allegro ma non troppo (allegºr'oa maa non tr'op'poa), quick, but not too much so. Maestā, com, (hoan matt-aistaa"), maestoso (maq'ais- toa'soa), with majesty and grandeur. Marcato (maar’kaa toa), in a marked and emphatic style. , Meno (mai 'noa), less, as meno forte, less loud. Mesto (mestoa), mestoso (mestoa'soa), mournfully, (koan goo'stoa), with taste, elegantly. sadly, pathetically, 4. - MUSICAL TERMS. Mezzavoce (ºned-dzaavoq'chai), observenot (nettság), in agentle, flute-like voice. Mezzo (med-dzoa), observe not (met’tsoſ.), half, as mezzo-piano, rather soft; mezzo-forte, rather loud. Moderato (mod air’aa-toa), adj., moderatamente (mod-air'awtaamaintai), con moderazione, (koan mod-air'aatsioo'nai), with a moderate degree of quickness. Moderatissimo (nodair’atees'simoa), in very mode- rate time. Molto (moal toa), very, extremely; as molto allegro, very quick. Molta voce, con (koan moalitaa woa'chai) with full” VOICE, Morendo (nor'en doa), gradually subsiding, dying away. • . Moto, or con moto (motoa, koan motoa, almost nau'toa), with agitation. Nobile (nobilai), nobilmente (nobºilmaintai), with nobleness, grandeur. Non (non) an adverb of negation, generally associ- ated with troppo as, Non troppo allegro (non tr'op'poa allegºr'oa), mon troppo presto (non tr'op'poa pr’es' toa), not too quick. Non molto (non moal toa), not very much; as won molto allegro, not very quick. Non tanto (mon tan’toa), not too much ; as allegro non tanto, not too quick. Nuovo, di (deenwo-voa), newly, again. 0 (0, nearly aw), or; as flauto o violino (flaq'ootoº o vee"oleenoa, nearly flowtºtoa aº v.), flute or violin. Obbligato (obºbligaa‘toa), a part to be performed by some particular instrument in conjunction with the principal part, and indispensable to the har- mony and proper effect. Obbligati (obºbligaa'tee), pl., two or more indispens- able parts to be performed by different instru- ments in conjunction with the principal part. Oppure (oppoo r'ai), or else. Ordinario (or’dinaa’r'īoa), usual; as a tempo ordi- nario, in the usual time. Parlando (paar'an'doa), in a speaking manner. Passionatamenteſpassioanaatamaintai), passionato (passionaa toa), in an impassioned manner. Pianissimo (pyaanees'simoa), extremely soft, Piano (pyaa.noa), soft. The opposite Öfforte. Piano piano or più piano (pyaſ' moſt py&a'noa, pyett pyaa'moa), more soft or very Soft. Più (pyew), almost like the English pew, an adverb of augmentation, as più forte louder, pi& lento slower. Piacereal (al pyaachač'r'ai), at pleasure in regard to time." Più mosso (pyew nos'soa), with increased action, Più tosto (pyew tos toa), or piuttosto (pyeuttos toa), rather; meaning “in preference,” as allegretto o piuttosto allegro (al‘legr’aitºtoa o pyelºttos' toa alleg','oa), rather quickly, or in preference, quickly. Placido (plaa chidoa), calm, quiet. Poco (po'koa, almost paw-koa), a little. Poco meno (po-koa mai‘noa), somewhat less. Poco più mosso (po-koa pyew mos’soa), a little faster. Poco a Poco (poºkoa aa poºkoa,) nearly (pauk aa paw'koa) by degrees, gradually, Poggiato (pod-jyaa toa), dwelt on, struck impres- sively. Poi (po’ee almost poi), then ; adagio, pot allegro, slow, then quick. Pomposo (poampoa'soa), in a grand and pompous ID all IlêT, Portamento (por'tamentoa), sustaining the voice, gliding from note to note. Precipitamente (pr’echee-pitamain-tai), precipitato (pr’echee-pitaa-toa), con precipitazione, (koan pr’echee-pitaatsioa'nai), precipitoso (pr’echee- pitoa'soa), in a hurried manner. - Prestamente (pr’estamaintai), hastily, rapidly. Prestezza (pr’estaitºtsaa), with haste and vivacity. Prestissimo (pr’estees'simoa), exceedingly quick, quicker than presto. Presto (pr’estoa), extremely quick. Primo (pr’ee moa), first ; as primo tempo, return to the original time. - Quasi (kooaa-zee, nearly kwaazee), in the manner or style of ; as quasi allegretto, (kooaa'zee al- Żegr’aitºtoa), like an allegretto. MUSICAI, TERMS. 5 Quieto (kooee-et-oa), nearly (kwee-et-06), usual form chelo (ketoa), with calmness and repose. Rabbia (r'ab'byaa), with rage, furiously. Raddolcendo (r’ad'dolchen'doa), raddolcente ('ad- dolchemºtai), with augmented softness. Rallentando ("al-lentan'doa), a gradual diminution in speed, and a corresponding decrease of force. Rapidamente (r'apee damaintai), con rapidità (koan r'apeeditaa'), rapido (r'aa pidod), rapidly with rapidity. Rattenendo ("attºenen-doa), restraining or holding back the time. - Ravvivando (r’avºvivan'doa), reviving, re-ani- mating, accelerating, as ravvivando iſ tempo, animating or quickening the time. - Recitando (r'ech'itan doa), declamatory, in the style, of recitation. Recitativo (r'echºitatee'voa), a species of musical recitation. - Religiosamente ('aileejioasamaintai), religioso (r’aileejioa'soa). in a Solemn style. Rinforzando (r'infortsan-doa), rimforzato ('in- for'tsaa toa) rinforzo (r’infor’tsoa), with addi- tional tone and emphasis. - Risolutamente (r'ee'soaloo tamaintai), risoluto (r'ee:- soaloo toa), risoluzione con (koan r'ee'soalootsioa'nai) in a bold decided style. Risolutissimo (r'eesoa'lootees'simoa), with extreme resolution. Ritardando (r'eetaardan'doa), ritardato (r'ee-taar- daa"toa), a gradual slackening of the time, with Gorresponding diminution in point of tone. Ritenendo ("eetenen'doa), holding back in the time, L-slackening. Ritemente (r'eetenentai), ritenuto (r'ee-tenootoa), Slackening the time. The effect differs from Ritardando, by being done at once, while the other is effected by degrees. . Scherzando, scherzante, scherzo, Scherzevolmente, Scherzosamente, scherzoso, (sker’tsan-doa, sker'- tsarºtat, sker’‘tsoa, Sker’tsai ºvoalmain-tai, sker’tsoa- samaśnºtat, sker’tsoa'soa), in a light, playful, and Sportive manner. w - Segno (sai'nyo.4), a sign; as dal segno, repeat from Segue, Seguito (seg'wai, seg'witoa), now follows; or as follows. As segue il coro (segrwai eel ko'roa), the chorus following. Sometimes means, in similar or like manner, to show that a passage is to be performed like that which precedes it. Semplice, semplicemente, semplicitā, con, (sain-- ſpleechał, saimplee chaimain-tai, koan sainplee- chitaa"), with simplicity, artlessly. Sempre (sem pr’ai), always; as sempre staccato (sem pr’ai stakkaa"toa), always staccato, or de- tached. - Serioso (ser' ioa'soa), in a grave and serious style. Senza (sain'tsaa), without. Siciliana (seechee-liaanaa), a movement of slow, Soothing, pastoral character, in six-pulse time, resembling a dance peculiar to the people of Sicily. Sforzando (sfor'tsan-don), sforzato (sfor'tsaa toa), imply that a particular note is to be performed with emphasis and force. Sincopato (sin'kopaa‘toa), to connect an unaccented note with the accented one which follows. Slegato (slaigaa-toa), separately or disconnectedly. Slentando (slentanºdoa), a gradual diminution in the time or speed of the movement. - Sminuendo (smeenoo-en-dog), gradually diminishing the sound. Smorzando (smor'tsan-doa), smorzato (smor"tsaa toa), diminishing the sound, dying away by degrees. Soave (soa-aa-vai), nearly (swaa'vai,) in soft, sweet, delicate style. Soavemente (soa-aa-waimaintai), with great sweet- Il GSS. Solemnemente (soalen'naimaintai), solemnly. > Solemnità con (koan soalen'nitaa), with solemnity. Soli (soa lee), pl., implies that two or more different principal parts play or sing together i.e., one voice or one instrument of each part only. Solo (soa loa), sing., a passage for a single voice or instrument, with or without accompaniments. Sonorammente (Sonor’‘amaintai), sonoritā con (£oan sonor’‘itaa), Sonorously; with a full vibrating kind of tone. Sostenuto (soastenootoa), Sostenendo (soastenen-doo), the sign, Sustained ; continuous in regard to tone, 6 .* MUSICAI, TERMS. t * Sotto (soat-toa), under; as sotto voce (soat-toa vo'chai), in a soft subdued manner, in an under tone. * - Spirito con (koan spee'r'itoa), spiritosamente (spee’r'itoa'samaintai), spiritoso (Spee’r'itoa'soa), with spirit, animation. Staccatissimo (stakºkatees’imoa), very detached. Staccato (stakkaa"toa), distinct, short, detached, The tones separated from each other by short rests. Stentando (stain-tan-doa), with difficulty or distress, Strepito con, Strepitoso (koan str'epitoa, str'ep- *toa'soa), in an impetuous boisterous style; noisy Iſla Llïle]". Suave, suavemente, suavitā con (soo-qavai, soo-aa-waimaintai, koan soo-aa'vitaa'), the usual form is soave, with Sweetness and delicacy of expression. Subitamente, Subito (soobee'tamaîn’tai, soo-bitod), quickly, as volti Subito, turn over quickly. Tace (taa'ohai), Tacet (tai set), Latin. Silent. Tacia si (see taa'chiaa), let it be silent. Tanto (tan toa), so much, as non tanto (non tan’toa) not so much. Tardo (tardoa), slowly, in a dragging manner. Tasto solo (tastoa soa loa), indicates that certain bass notes are not to be accompanied by chords. Tempo A, or In (aq, ºn tempoa), in time, an expression used after Some change in the time, to indicate a return to the original degree of movement. Tempo a piacere (tempoa aa pyaachaër’ai), the time at pleasure. Tempo commodo (tem'poa komodoa), in a convenient degree of quickness. Tempo frettoloso (tem:poa fr’aitºtoaloa'soa), acceler- ated time. Tempo guisto (tem poa foosºtoa), in exact or strict time. Tempo ordinario (tempoa or’‘dinaa’r’īoa), in usual time. Tempo perduto (tem:poa per'doo"toa), a gradual decrease of time. h Tempo primo (tem poa pr’ee'moa), return to the Tenuto (tenootoa), hold on, or sustain the tones for their full time. Timoroso (tee-moar’oa'soa), with timidity, awe. Tosto (tostoa), swift, soon. Tranquillo (tr'ankooeel-loa), nearly (tr'ankwiłłoa), tranquillamente (tr'ankooeel-Jamain-tai), tran- quillitā con (koan tr'ankooeel-litaa'), with tran- quillity. Tremando (tr'eman-doa), tremolando (tr'em-oalan-doa), tremolato (tr'em-oalaa toa), tremolo (tr'em-oaloa), a tremolous effect produced by rapid reiteration of a sound. Troppo (tr'op'poa), too much; generally preceded by the negative non; as, adagio non troppo (adaajioa non tr'op'poa), not too slow. Tutta, tutte, tutti, tutto (toot-taa,-ai, -ee, oa), all; as, con tutta forza (koan toot-taa for’‘tsaa), with all possible force. Tutti (toot-tee), the entrance of all the instruments after a solo. Tutta forza con (koan toot-taa for’‘tsaa), with the utmost vehemence; as loud as possible. Un, uno, una (007, 00'noa, oo'naa), a, as un poco (oon poºkoa), a little. Un pocoritenuto (oon poºkoa ree-tenoo-toa), gradually slower. Wa (vaa), goes on; as, va crescendo (vaa Kr’ai- shen-doa), continues to increase in loudness. Veloce, or con velocitā (velo-chai, koan velo'chitaa'), in a rapid time. Sometimes signifying as rapid as possible. Welocissimo (vai-loachees'simoa), with extreme rapid- ity. Wigoroso (vee'goar’oa'soa), vigorosamente (vee- goar’oa'samaintai), boldly, vigourously. Wivace; vivacemente (veevaa'chai, veevaa'chai- maintai), quick and lively. Vivamente, vivacitā con (vee-vaamain-tai, koºn weevaa'chitaa") with briskness and animation. Vivacissimo (vee-vaachees'simoa), with extreme vivacity. \ Voce (voa'chai), the voice. Wolti subito (vol. tee soo-bitoa), turn over quickly. Wolante (volan'tai), in a light and rapid manner. original time. * NoTE.—These Rhythms (the music only, without words) are published in large size type, as “The Elementary Thythm Charts” (size, 3ft. by 2.ft.), price, on roller, 2s. Nos. 1 to 9 of the Rhythms, used for the Junior School Certificate, form pages 23 & 24 of the “Blackbird Charts,” price 68. These Charts are suited for hanging on the wall of the class room, - & THESE Rhythms must be done at the rate indicated by the metronome mark. The pupil must laſt or taatai one complete measure and any portion of a measure which is required, as an introduction to the Exercise, the Exercise itself being taken up without pause or slackening of speed, at the right moment. The Exercise must be taataid on one tone. For amusement, it may be taataid in tune. For the TIME EXERCISE of THE ELEMENTARY CERTIFICATE (Requirement 2), any two of these Rhythms taken by lot must be laad on one tone at the rate named, and in perfectly correct time. Two attempts allowed. The pupil is also allowed to taatai the Exercise on one tone once before he commences laa-ing it. - &s **.” *… • sº-" *** * **. ** *. **. ~c. f & §. For the TIME EXERCISE of THE JUNIOR ScHool, CERTIFICATE and Optional Preliminary Examination for Adult Classes (Requirement 2), any one of Nos. 1 to 9 of these Rhythms, taken by lot, must be sung on one tone to Jaa, in perfectly correct time. Two attempts allowed. --- The Keys are fixed so as to bring the tones within the reach of all voices. The Rhythm may often be learnt slower than marked, and when familiar the pupils will take pleasure in largely increasing the speed. * - J. C. 1. Key F. M. 100. TAA-TAI. ~ Bugle Call, “Fall in.” fººd |...did | nº nada º |ººd | nº nada | - 2. REY F. M. 100. - Bugle Call “Close.” . }* | : s , pl. |d .d : s , m | : s ,m |d .d ; SI .T. | : — |m | 3. REY A. M. 100. - Bugle Call “Fatigue.” :* | :m . S1 |d nº ºn... d.º.º. :m , s |d nººn., a | 5. KEY A. M. 100. Bugle Call, “Advance.” }* |aaa...a dia.º.º.º.º. ada | :— |s|| :— s! :- — | 4. KEY F. M. 100. Bugle Call, “Guard.” s .m. ; d, s||d .m : si | nº a : — | naº anº s .m. ; d. , s |d :- | 6. KEY A. M. 144. * - Bugle Call, “Extend.” te }| :— |d :— In and |sſ : — | :— |d :— In and |s :- | ToNIC SOL-FA AGENCY, 8, Warwick Lane, E.C. Price ONE HALFPENNY. Where may also be had “Intermediate Rhythms” (#d.), and “Advanced Rhythms” (ld.). 7. KEY E. M. 100. Bayly, “In Happier Hours.” d :d , r :m , f | S : – ; 1 8 :f ,m :f , s pl :d :d | In hap - pier hours, My plea - sure all | day Was to d : d , r :m , f | S : S : 1 S :f .m. ;f , s m - : — | rove with the thoughtless OT | dance with the gay. | 8. KEY G. M. 100. -AATAI. IIymn Tune “Wainwright.” : Sl d :— ; tı |l :t : d r .m :f ,m :r .d |d : t : r Let ev - - 'ry heart pre - pare 8, throne, And S :— , f : m |ll ,r :d : t d :— :— |— : | ev - - 'ry voice 8, SOIng. 9. KEY E. M. 100. Bymn Tune, “Simeon.” s : s , f |m :— , f |m :r |d :- .d | f :- , m | 1 :-...s |t| :d Ir — , r Sweet is the work, my God, my King, To praise thy name give thanks and sing, To m :r .d |f in ºr |s :1 |s : – , s |s :- . 1 |s ,f :m ºf |m :r |d :— || show thy love by morn-ing light, And talk of all thy truth at night. 10. REY D. M. 100. (The pupils to take each part alternately.) J. R. Thomas, “Picnic.” m . f :r .m. |d :s m , f :r .m. |d ; s s , f :m , f is :d 1 , s:f . In ºr : — One good turn de - serves an - oth - er, Come and turn the skip - ping rope, | d :d |d :t) |d :d |d :t) l d :d |m :d t] : |s : — : S | : S : S | : S f , s : 1 , t |d' :m r : s |d : | Skip, skip, skip, skip, skip, skip, skip, skip, Come and turn the skip - ping rope. r : |m : r : |m : :r |m :d d :t : | 11. KEY C. M. 72. - Tafatefe, Bugle Call “Walk and Drive.” (Altered). |id .d.,d : d .d | .d : d nº .m.,m : m .m | , ſm : m | |a .d.,d' : d! .d! |* , S ;8 : 8 , ſl |ad .d,d : " ,s | .d : d ! | : d | .d : d | : ſ] | , ſ] : m ! | ;S , S S : S • S .d :d i | ,d), d!,d':d | ad ,d : Pl | [Elementary Rhythms.] key D. M. 72 |**ś d | , Si }| . S S : S \ , S | , S 13, KEY F. M. 100. }* . St |isºn :d,St.T. Is S, 3 : 8 14. KEY G. M. 100. | :d d|s *** : d ..,d | l 15. Key C. M. 100. - }* , ,S |a d KEY F. M. 100. |m *|| : Sl |iºn. |d is nºn-na jº | a dan is nº }* | a did nº nº 19. KEY F. M. 100. ..I'l :d , Si | | {!" :m : — |. is is is is | : S ,S S *|| 17. ICEY C. M. 100. d :m of |s : – , s | 1 :t Stand up my soul, shake off thy 18. KEY F. M. 100. Bugle Call “Hayup, or Litter down.” e d :d , s: n , m ,ſm :m .m m :m , d | : d! .s | .d ,d:d .d | : | tafa'TAI. Bugle Call, “Defaulters.” & , Si |iºn :d,St.T. Id | - TAA-efe, Bugle Call, “ Salute for the Guard.” |d : | in a nºna *** : | Iługle Call, “Officers.” ..S : S |a : S ..., S ; S *| : — ; - Dugle Call, “Orders,” ! — (m ** : Si,S1 || 1 : Si,Sld :– In : : m) | — | – in a :– , d [m | - - JHymn Tune, “Truro.' . |di : – , s d' :s |f .m :r .d | f :m |r fears, And gird the gos - pel ar - mour on. Bugle Call, “General Salute.” : d ..,d |d ** :d iſ is ºr ºd | S : St.,s |s, : :d ..,d |d an :d ºn is : Sl | : d ..,d d | -AA-efe, Bugle Call, “Assembly.” ,51:d , S| | ..si:d , S| |d “SI:d , S | - | :- - ,p) :d , s | :- [Elementary Rhythms." 2O, KEY F. M. 100. Byrºn Tune “Serenity.” 27 } d |t|..d:r is s :– :fe |s :– :d,t|l :- .t, d.r |m :— :r |d :— Let I all the hosts a - | bowe Givelthanks &dwellup|-on thy | love. 21. KEY C. M. 100. Eymn Tune, “Arlington.” :d m ...,m :m : r d ..,d :d : r m , s :f : p1 m . : r Je - |ru - sa-lem my hap-py home, Name ev-er dear to | me, - {{ m ...,m :m : 1 Ś , ,S : S : d' r , f : m :r |d *-*. When shall my la - bours have an end, In joy and peace and thee. 22. KEY F. M. 100. Barnett, “Hark! sweet echo.” S :— ,m :f . 1 |s ...,m :d .d :d l :- , s :f .m. | r ,t): S. , s : S. E[ark | sweet ec-ho, ec - ho o'er the hill, Breathes a -long, a - long in fan-cy still, 23. KEY F. M. 72. Mazzinghi, “Tom Starboard.” : S | m ,f :r ...,m :d , sſ |d : : r m .,f : s ,m : 1,s.f, m |r Tom Star-board was a lov-er true, As brave a tar as ev - er | Sail'd ; | S m .,f :r ,m :d , s | li : :t d .r :m .s.fºr , r |d The du - ties ab - lest seamen] do Tom | did, and nev-er yet had failed. 24, ICEY F. M. 72. . “Home, sweet home.” :d m of :f ., S | S ..,m : m f ..,m :f ,r m :- .d.,d 'Mid plea - sures and pal - a -ces, tho’ we may | roam, - Be it & - -' * º m of :f .,S | S : IM , S f ..,m :f . r d ev - er sol hum - ble, there's no place like | home. 25. Key C. M. 60. J. R. Thomas, “Picnic.” }# .m,f : s , 1 |s .nl :d' r! ..,d': t ,l , s ,f |m : In the wood-land | roam - ing, sang a lit - tie || bird, - " |s,f .m,f : s , l s .m. ; d. t .d',t : 1 , t ,l |s : | & Mer-ry notes he war - bled, sweet-est ev - er heard. - 26. Key F. M. 100. Bynn Tune, “ Prestwich.” | :s.fr :- :r.pl/f :- :m |m :r :d |d :t :t |d :-r:m |r1,r:d :t) |d :- :- | : | ſo - ru - Sa - lem my hap - py home, My Soul still pants for thee. d [Elementary Rhythms.] INTERMEDIATE RHYTHMS, $03 PUPILS PREPARING FOR THE INTERMEDIATE CERTIFICATE, A R For the TIME ExERCISE of THE INTERMEDIATE CERTIFICATE (Requirement 3), any one of these Åhythms taken by lot must be laad on one tone at the rate named, and in perfectly correct time. Two attempts allowed. The pupil is also allowed to taatai the Exercise on one tone once before he commences laa-ing it. - 1. KEY C. M. 100. taa tai tee. Bugle Call “Charge.” }|addin ºn Is... ; d. |aadºnna lººd |addinº lºw | - taa-ai-ee, saa-ai. - * ºr "º e 2. KEY A. M. 100, twice. Bugle Call “Quick Time.” # * :- -n is in a -ala - a -i- in a ºn d : – ; – : | - | 3. KEY F. M. 100, twice. Bugle Call “Men's Dinner.” }: m | : In : d [ s : m : d | : – ; d d : - : m | : – ; d id : – ; r. ; }| : P : d s : m : d | : – ; d |d : - ; m |d : – ; – – : — | 4. REY F. M. 100. Bishop “The land of my birth.” : d ...,d |d .m : s , s |s : d ...,d |d , f : 1 , 1 | 1 : d ...,d |d .m : s , s |s ‘. . . łº, the pil - grim returns from a l far dis-tant shrine To the home that he loves, As I s.f : 11, r |d...t] : 11. Sls.fi : r , d |d ; tı, lils : s ,l |s ºf º : | | | dearly lovemine, Then withl rapture he'll cry, “’Tis the land, 'tis the land of myl birth.” } 5. KEY D. M. 100. Bishop “Bid me discourse.” d : — |m : - ..f s : — |- : – ' d' : — **:::::::: : — ; | | Bid Iſlø disl-course, | I will en - I chant thine ear, d : — green; in : — mºrd: fºr s : — | 1 : - |r1 : - , f l r .d.; r." | | Or like a ſair - y trip up-on the | Tonro SoL-EA AGENCY, 8, Warwick Lane, E.C. Price ONE HALFPENNY. Where may also be had “Elementary Rhythms,” (#d.) and “Advanced Rhythms,” (ld.) [Intermediate Rhythms.] 6. KEY C. M. 100. Bisenhofer. “Now the moonbeam's lustre.” m : – ,r |d : d $ : – , f |m : |s fe: s fels fe: s ,se! Songs and cheer - ful voi - - Ces, | Songs and cheer - ful ) lse, l ; d", l if |d : | 1 ,se: 1 ..sell d' : t , 1 |s : — | : | voi º - CeS, | Ec - ho here shall call. 7. KEY C. M. 72, twice. taa-efe tee. Sir J. Stevenson. “Fisherman's Glce.” | : – ; – ) – : – ; – s : – : s , s : l ; t d' : – ,rl: m) s : – ; S Kind na - ture's boon with joy we re - ceive, Sing s :-.fe: s d! : – ,t ; d. | :-.re': ml | d' : – : s s :-.fe: s d' : – ,t : d' : } mer - ri - ly, mer - ri - ly, I mer - ri - ly Singl mer - ri - ly, mer - ri- ly, }|. :-.rel: ml |dſ : – ; d.d' r" : – ; rl | t : – ; t d' : : | : : | mer - ri - ly O, With a] mer - ry pull W6 rC) W. * 8. KEY C. M. 72, twice. taa-aitee taataisee. Bishop. “When wearied wretches.” | s : – ; – s : – ; : : : – ; m : : ſm m : – ; r : } A - - las ! the days have pass'd | 2 : r | r : – ; d 3 : d |d : – ; m s : – : — |: : 1 : ! a - | long, The days W6 InêV- er, |d : 1 : S : F1 : | r : – : s | f : – ; – m : | ! nev - er, In 9W - €r D101.6 shall see. .9. KEY A. M. 72, thrice. taatefetifi. Fºreutzer. “Land of Light.” |||s : m : s |d : – ; – |s : – ; – |r1 : r |. : – ; — | | Rich - est in trea - º Suro, Bright-est in plea e- º |||s : – ; – s : l ; tı |d : – ; d | 1 : – ; SI l ; tı : d ! suro, is the l land I claim as mine, O r : f .m. ; r.d d : – ; d |t| : 11 : tº d : – ; – | – : — : — | praise to Him who gave it. birth, | 10. KEY D. M. 72, twice. -aa tai tee. Auber. “Fisherman's Morning Song.” : s , s : – ; – | – : s : d! I m' : - : – ; : m' m) : – ; – | – : m' ...; | Take heed, whis-per low, takel heed, whis-per s : – ; – l ; : m | r : — : n.f s : – ; l.s is : – ; – I d' : - ; – ; |- The we seek we'll] soon, we'll prey [Intermediate Rhythms.] |. : t : l l l ; s : f | n : – ; – - 3 - : m r : – ; pl.f s : – ; l.s SOOIn, we'll soon en - I Snare, the prey we seek, we’ll |s : – : – | d' : – ; – I d' : – : s s : f : r id : – ; – | – : – | | | Soon, we'll SOOIn, we'll soon €Il- I SIl{UT&. 11. KEY D. M. 144, six times Braham. “Rest, weary traveller.” |. : - ; – 1 - ; d : r |T| : - ; – |d : - ; – 1 r.,m:f ,s : l ;s It...] : s ,f :ri ºr ) Wan - - der no l more, W8 Il e º - § | : s : d' | 1 : f : r d : – : - | r : – ; m d : – ; : 3 - -> {- der, I wan - - der Il O | IſlC)16. | 12. KEY E. M. 120. TAA TAI-AA -AI. “Men of Harlech.” d : – ,t|| 1 : – ,t|d : r m : 1 s .m : — | r : – ,m d : — | – | : For the li - berl-ty of Gwa - lia, Onward Har - lech men. 13. KEY A. M. 144. Parry. “Adieu to the cottage.” : Sº I d : – ; r .m. | r .d : – ; si l : – ; t .d d : — A - I dieu to the l vil-lage, a - I dieu to the cot, : r m : – , r : d r , s : – ; d t : - .d : 1 s] : – And shall I then I nev-er re - | vis tº- it the spot? | 14, KEY G. M. 72, ta fa -AI. Haigh. “Spare my love.” l .,r : " .d |ld , - : SI d ..,d : r .d m .d : s | Spare my love, ye winds that blow, Plash - y sheets and beat - ing rain, ; r ..,ti : s , s, Id," - : S m .,r : T , Fl r ..,d : d | | Spare my love, thou! feathery Snow, Drift - ing o'er the fro - zen plain. | 15. KEY F. M. 60. “She never blamed him.” pl : m, r .- m , f : fe, s ,- |. .,r : r .d r .m : r .d ; } She In eVer blåm'd him, never, But re - ceiv'd him when he Calme, m . f : fe,s.- r or : r .d kind as ev-er, ſº she tried to m ...,m : p1 .r r . m : r .d }| With a wel - come | look the same. [Intermediate Rhythms.] 4 16. KEYO. M. 96. Saa. Shield. “The heaving of the lead.” 4 : d ..,I Pl : m |r : f ,r d : t |d : .S. d . r : In ..f |s } ( Now I to her berth the ship draws nigh— we short - en sail— }: .s | 1 , t : d! . 1 |s : .s d! : – , t | 1 : – , s s , f : m .r |d | Shel feels the tido— “Standl clear the ca - ble''' is tho cry. 17. KEY F. M. 60. Bishop. “Ono, we never mention her.” ſ • Si | ..,tſ ; d, r.- |r. ..,n] : S . Pl r ..d : r,t) .- d ; O no, We never | men - tion her, Her | name is never heard. º • S 8 ..,tſ : tº .r r,d.- : d ol |º .- : d .r,m |d | } Tromſ sport to sport they hurry Ime, To banish my re - I gret. : 18. KEY A. M. 80. I3raham. “Beneath the willow tree.” : , S: | d ..,d : d : - .r m ...,d : d : , 11 s] ..T.: d : . I'll ri : ; : 1 t ; O !] take me, to your arms my love, She will not list to me, Be- : neath the wil • - low tree, ! willow, willow, m,d.- : : , l ; S. ...,d : m : - . t1 | d : — : : | | Willow, Be . Ineath the wil º tº low tree. {} 19. ICEY C. M. 80. sai. J. R. Thomas. “Eſomeward Bound.” d! : s m : S • S | S : - ..f m . s : r|. s : s , f |m : ; } Home - ward, homeward, The sun is | dropping, dropping in the sea. | .d' : 1 . .il : s , s , s , t : r".f ſº : .d. l l . . .d |. : . S ; | Goodnight, goodnight, hel says to you and me; Good' night, g Dod' night, he s d! ; d. , t I d' : .d. lta : - .ta | 1 : - . 1 it : – , t id : | says to you and me. We'rel home - wardſ bcund, we're home - ward bound. | 20. KEY C. M. 88. J. R. Thomas. “Lily bells and roses. ' : .n: m .f s : – , s : 1 .s |d : – ; d. t; ,f : 1 : f m 'aº; W. lily-l bells in beautyl grow My home, my home shall be, Go search the il. : S : l .s d! : — : d! t .d' : 1 - *|| : - . wild - wood, high and low, What sight so fair to- | see F - [Intermediate Rhythms.] ADWANCED RHYTHMS, For pupils preparing for the Member's and Advanced Certificates. ‘For the Time Exercise of the MEMBER's CERTIFICATE (requirement 3) any one of Nos. 1 to 17 taken by lot, must be sung, first as a Time Exercise to “la, la,” and then in correct time and tune. It must be sung at the rate marked. Two attempts allowed. The key may be changed when necessary. For the Time Exercise of the ADVANCED CERTIFICATE (requirement 2) any one of Nos. 18 to 42 taken by lot, must be sung, first as a Time Exercise to “la, la,” and then in correct time and tune. It must be sung at the rate marked. Two attempts allowed. The key may be changed when necessary. 1. KEY A. M. 88. IBishop. i : m ..f. SI : — ..,d : r ot t!,d.- : : d ºf m : - , ſºl : f •, I, | Na - tivel land, I'll love theel ever, Let mel raise the wel-come | ; tı : t ,d r : – ,ti : T1 .,r r,d.- : : d ºr ſº |m SI.SI: t : 1 | strain, Mine were ban - ish’d feet that never Hop'd to press thy turf a - | : - ; SI sti | r : - . Flºr ; tı SI SL ..,d : d : T1 .,r | | gain! Now thesel eyes il - lum'd with] glad - neSS, As they } d : - . 1 : thm. - || 1 : - : s ,f |f|| : - , f : s , li | SC3, Cl thy beauties o'er, Ne'er a- gain shall melt in } t! ...,d : d : d ..,ti | toll.f, r : d : t ,d | : - : d ...,d | sad - neSS, Part - ing' to re - turn D.O | COLOI’6, O Bri- d : – , s : lºd.- |s| : — : Pll ...fils : - .d : t ,r r,d.- : — ill. g- nial native 'land, na-tive land, I'll love thee! ever. | Tonic SoL-FA AGENCY, 8, Warwick Lane, E.C. Price One Penny. Where also may be had Elementary Rhythms (#d.) and Intermediate Rhythms (#d.) º |." }| {{.. .m : f,1 , s : 1,d'.t : - .r,d : r,d .t Aw 2. ICEY D. M. 80. SAAte-ene, TAAsefe. JBishop. } .m,-f|s ...,m : f ,r | P: ...,d : .d, r. m .d' : 1 , f |m : r . ,r m .,f : f : 1 ! There’s an Tsle | clasp'd by waves in an em. - - erald! Zone, that peers forth from || ". . il . s : – , f, r |d : – , s |m| : m "... : – , f |m , d! : 1 º O - Ce3D SC, pear]-like and i fair. The breeze oft inl mur-murs a plaintbringsfrom a- S : – , s, sj s , p: : r .d' t , l ; s .,f m : r ..,d | : — | } far, From my own na - tive' isle and my lov - er's guil-tar. º 3. KEY G. M. 60. ta-ana-te-ene, tafanatºſene. IZossini. | ..,p) : m .,ſ' |++’. - |††n: ; , s , f |m .r : d ! { | Here we meet, too soon to part, Here to leave will raise a Smart. - 3 3 3 3 m ..,pj : m ..,m r1,– r. m., f : s f s f, m f m : r , s , f |m| f m.r m r : d . } Here we meet, too l soon to part, Here to leave will l raise a Smart, § 3 3 3 | ..,m : m ..m. |m,-r.m.– f : s ,d'.dris ºf S f.m f m : r .,s |m ,d.- : | | Here I'll press theel to my heart, Where none has place a -l bove thee. - 4. ICEY D. M. 72. TAAte-ene, ta-anatefe. JBishop. , s ,—t |r! ..,d] : t .d' S . 1,– S : S ., Se se . 1 . . 1 } Thy I love, thy fate, dear youth to share, Must nev - er, Il GV - €l' } s , f : m .r d : t , m, f | s , s : s , d' |r',d'. t , 1 : 1 ol ; | be my hap - py lot. But I thou may’st grant this hum-ble pray’r, For- t , t : d' ..,d' |rl ,rſ : m) . flir', d' : t, d!.m', r" d' : | get me not, for- get me not, For get me not. | KEY A. M. 96. From Handel's “Samson,” p. 5. : d : m : - .d,tſ; d,t|. 1 |f ,l is ; f, s , r) : r,m .d | }. ! | |d | : – ,t , 1,s |d | |s it .1 : sil f : rif ºr – .m.,r ; m, r , d | *mº |d | [Advanced Rhythms.] 3 6. KEY F. M. 58. : d .r m }| }| intº s, 1.s, m| d' tºl; s .f "— : -,f.m,f s : : r ,d 7. REY F. M. 66. afatefe. . It | .r : m .f s From Handel’s “Samson,” p. 95. : -,é't,l}s : -, f.p., f | s : -d'º'; | | in : r .ml | f .pl | d TAA-efene. : r , n) |: .m : r .m. |f - | From Handel's “Samson,” p. 21. : -,s.f, r ! y ;: . S | : - .ta,1; ta , 1,s | 1 | : – , s ,f : s ,f," |f ºr'; d'Ar' t : 1 it is , | § | ...t : 1 it is : f is rill { | 8. KEY D. M. 84. #| : In ºr : m r d|l : t : d' | : - .s.l: t ,lt|d' f : m : r | | all - | From Handel's “Samson,” p. 35. : r 2d : r d it T : f .,mf: s | : : - . ſºl |nds infº : I it d' }| : r adr: T. | i-dºdgated ºf il : t : 1 .,t |s : - . 1 : f is ||P. f.s : m : r .d | : - " " : d ºr Ji ? l | y }|: : – ,f m : r m if n — : — | 9. KEY F. M. 88. From Handel’s “Messiah,” p. 65. { .d : d .d |f ..f | .nl : m .m. ||r .m,f : s |= : f | — : m º }|| : - .t,l |s : — Jºf n f |m | 1O. KEY F. M. 88. From Handel’s “Messiah,” pp. 64, 65. ;: .s |s . 1,t : d' *|| . S : | .m : 1 • I : S |- . s : f ! - y |= : m |r : — | . s : s , s d' : *|| ...t : t , t | 1 ,t,d': r * } | — : t: |- . 1,5 : 1 , t life : S : fe |s | #|: .1,t : d! | |= [Advanced Rhythms.] 4 11. Irzy F. M. 96. TâI-AA. From Handel's “Jephtha,” p. 1. }| .s : f .m.; r auſe: - S : - nºn : – , f : -.r |* : - .m : -.d s : as tº | 12. KEY C. M. 104. From Mozart's “Twelfth Mass,” p. 36. }| q := |* - f|" : | * - f|" : . s : – , f |m ; d.d d : 13. KEY B2. M. 72. From Handel’s “Acis and Galatea,” p. 11. ;In - f|...:-ºf dº-ºn-tº-dº lº-tº : r .m. |f - || : | 14. KEY D. M. 116. From Handel’s “Samson,” p. 9. | : 1 : 1 | 1.t ; d.t: 1 –t : d't : 1 –,t ; d.t: 1 | : t , t \t, d!: r".d': t ; | -**-* *-msm- |-drait -dºt | * : * In ºrd; tı" :- 11 : - ; s ; | ºf infl: : – : & |… if : m | r : – : — | 15. REY A. M. 60. - From Handel's “Samson,” pp. 33, 34. }: • SI |l ..l. : — . Sº, lilt ...t] : — ..li,tild .d : — ...tl,d |r,d.tl,11: SI ..f. | | | | 16. KEY G. M. 126. From Graun's “Te Deum,” p. 9. } *|: : f .ml s tº ind anº-a-tº-a-...-a, : f |m | | 17. REY D. M. 80. From Graun's “Te Deum,” p. 21. #!" : rl |- , del : rl .m. |* : – ,d] | – .t : d' .rl º : – , t | 1 | 18. KEY E. M. 60. From Graun's “Te Deum.” p. 27. }| :-r'.T.,d]:r",d'.d',t) d! : - : – |- .de': – , r) : m) .f) t : – , t : di | 10. KEY A. M. 80. F. From Graun's “Te Deum,” p. 29. # * *** - 4 ºn - - - †: |ºlº - -º }|" .8,1 : S |- . f : — *|| .f, s : f .s,l s , 1,t : d'.f | : - |r | [Advanced Rhythms.] 2O. KEY G. M. 80. From Handel’s “Acis and Galatea,” p. 39. }: ** : – ,t : d' r|. : - , f : In ºr |m,f.s : m : r ...,d d : – , ſm : r º | }| : - , r = - ** * : - .d : — *|| • S : - , r = - ** .r : d | 21. KEY E. M. 66. From Handel’s “Messiah,” p. 3. }| : 1 |t .,r!: r" |-dºt a : s , f |m, r .d : d! : E. t. - }|{n. : di |s,f .m :dlf |-, i.r : s ,f |m .,r : d | I 22. Key G. M. 72. From Mozart's “Twelfth Mass,” p. 2. }| : .m : f ºf:-n: 1...fºr : |t, in : |ria, a : t | | 23. KEY D. M. 84. A. t. From Handel’s “Samson,” p. 34. | : d' : t , 1 |s : – ; – |- ºf : mºr:m,rd |: : - ; – |- ..d.; tı,11; tı, lis ; T | | }|f : - ºr : rºdr|r - d - d.otidr - .tl stol, tildr" | rind ; tıd,lls : - ; t | | | > 24. KEY G. M. 80. Fae, From Graun's “Te Deum,” p. 35. #1. : - |- .d! : t , 1 |s . 1 : - .s |ºt ºf |m .,fs: f .m | , I | 25. KEY F. M. 120. From Haydn’s “Creation,” p. 12. ; : d' : — : – || – : 1 : f m : f : r |d .m : – , s -º-; }| .d.) : – , t : 1 .s |f : ~sinf: rºd.r|t : ..r,m : s,f.m.,rld .m : – , s : – ,t * | y |= .d' : — m/, r": d',t.1,s |f : , 1,s : firl, r,d |t| : ..r,m : f,s.f, s |f : m | | | 26. Rex G. M. 50. te-ene. From Weber’s “Mass in G,” p. 32. }| .m,-f: fe .s .1,t : d! |– : -,1 fr .d, m: s d : | * Rhythms.] 6 27. Key Bº. M. 60. ta-ene. From Handel’s “Messiah,” p. 37. ; : * Id fin ºrds : – ,l , s ,l | f,-m.f,-s: f,s ſºng a : f : - | I- - jºr .d : - . 1 s,f .rſ : .s | 11,t.d : • S f .m.,r : r ..,d] d | 28. KEY B). M. 80. -aataitee. From Handel's “Jephtha,” pp. 17, 18. ; : : ſ ,r : ['i |-arras in |-farna |-air tº: : ſ-nºirº |- : – , r" : – ,f ºf... : S |-nººn: tº | taralaterele, ene-fe. a-ana-terele. 29. KEY A. M. 60. From IIandel's “Samson,” p. 33. #d |d : — |= : — | — : — itles: 3 3 3 - } m : -,-r.d tills, lit.d r m : f . It | t : - .d |d : - | -> I- 3O. KEY G. M. 80. tana-a, tene-e. From Graun's “Te Deum,” p. 35. { .lf-: sm-fr;-|d : r ,mf|m . lf,- : sm, ..fr, | : If |d | > Tanafa-AI. 31. KEY A. M. 72. From Handel's “Samson,” p. 56. }: • S |º-ind- |t| : .s |º- :rld.- || 1 : d | : d |d irr.d.- : {!" :Indº- iſ : - ,t |l . s : f .m. ||rd,tſ.- : d .f | : r ,d d • | [Advanced Rhythms.] 7 TAAtefene. TAAte-ene. SAAte-ene. 32. KEY EY. M. 30. From Handel's “Samson,” p. 42. } . Sl | : - .r,d] s : - 'fºr : d ..,ti | ti : | : } -ms- sºmew-mº i -ºº-ºº-em-mºs y } ... l ; S fºr os : 1 is ºf Tilr : , ſº | : ..f |r : . S ; .f,-m|m : , T }| .d.-tſ; d ºls |s : 33. KEY G. M. 80. | a t d ºr From Graun's “Te Deum,” p. 35 } S : S |s . 1,-ta: 1 .s º .s.l.,td!: r" |- d. , t ,l : s ,f in, ; }|" .fs,lt: d' | 3 | 34. KEY D. M. 66. SAAtene-fe. From Handel's “Jephtha,” p. 70. }| : d' : — tºll : — .d' : m ,s : fe ; |” : tº, •yſ'] | : .rifs: f , ſº | 3. 3 | | as REY E. | M. 100. | * d º º; º 105. }| : S S : – , m : – , S " .0 : Fl ,71, r,ſ); f, 1. r,m) r , : — } ,f.m,f: s,f.m,f|m , s : — | ,s.f, s: 1,s.f, s|f . 1 : – , r) | alia t |d : — | TāI-AAte-ene. 36. REY D. M. 80. From Graun's “Te Deum,” p. 35. |. : — |- .d',-r': d! .ml | – , t ,-d': t , r) |- .d.-r]: d! .m. ; .,r'm!: ri | |- ...t,-d': t ,rl | d' 37. KEY G. M. 80. ; :- - : |r .sr, : ts – rt-ſº SAAte-ene. TAAtene-e, From Graun's “Te Deum,” p. 36. .d',-r": d! . t . 1,–t : 1 . S | ..f,-s: f .m ; ..,tl : S | [Advanced Rhythms.] 38. KEY D. M. 80. From Graun's “Te Deum,” p. 35. { .fr, : mid', .rlt, | : r" .,m'f''| ml .fr, mid', firl,- d! | 39, KEY D. M. 84. AA-efene. From Handel's “Samson,” p. 97. ; : * | .,rm: m ,rm|f .,mf: f grif|s ºfs: s ,fs|l f : s , 1 |t| : - ,ti |d : | mºsºmº- | - To be sung in two parts, the Examiner or some other person taking one part. 40. KEY G. M. 120. From Handel’s “Dettingen Te Deum,” p. 16. : S | — , f, m : f |f_.", r ; T ! – r ,d : f sº- S| : - . 1,till : - .tl,d |t : – , iſ,s |d : - .tl,l }: .s : " , r_{r, , , r__ºd |d | | . SI : d |— ; tı ld In two parts, as above. 41. KEY G. M. 120. From Handel's “Dettingen Te Deum,” p. 17. m : - ..fe,s |fe : - .se,1 |se : - . 1,t |m : 1 .s | : m |- .r ,d : r |- .d,tl : m .r |d .tl. : 1 | | f . m : r |- .m. ; d ...t] | : tí oli ll : — - I : – , t ,l se .m : 1 - : Se | 1 : — | In two parts, as above. 42. KEY By. M. 120. From Handel's “Dettingen Te Deum,” p. 28. }. : di | : - .si i li fi |r : SI : - ..ft |m| : l : - , tal : m : Sl lſ .d : r :- 1. It , r m : – , t) |d .m : f Hº! IF. 5. s! ." § 11 : - .rl |S| : - .d. d ####| : - , m : r .d m : – ,d : f |- ºr ºn : - .d | r s : — : — t| : tí Í - .m. ; f : - , m | r : r | [Advanced Rhythms.] Öſtmentary Wransitions. 1. r F. } S : I' • !" I : S 3. {* * f “ f } 1. 5. a |t S } ." m 7. }* | S } ". f : m gº' : m S 10. KEY D. | ". |d These Exercises are intended for students or classes preparing for the Intermediate Certificate, Requirement 5a. *~~ Cadence Transitions to First Sharp Key. [ſ] :S |. :fe |s If :r |r is |m : 8 |d S | 1 :d | 1 :m |m : 1 | :fe | :fe |t. : 1 |te : r | tº | :fe | :fe d :l |t :fe |s : S | : m |: : I' | m | S | r | S | 8 | : r : 8 ; S : 1 : 1 ſm :d |f :r |m :d |s :d |S m | 8 !") |f r |S d - |f :r Passing Transitions to First Flat Key. :d n : S | :f s : — | :ta | 1 : 1 |s :- | :ta | 1 : 8 | :t d! |- it | | “. | | | |a ; tı r r |n ; tı : t d! :rl |d Price ONE HALFPENNY, Tonic SoL-FA AGENCY, 8, Warwick Lane, London, E.O. #" :m |f º | : d' It :— | :ta | 1 :s |: :f ſm :— | }| :r | f :m | :fe |s : — | :f ta : 1 | it id – | a"t 1 s : in r = |* tº n is ; ; ; – }| | | 15. [With imitation.] I ;: | :f |m :f | :ta | 1 :t |a :f |m :r | :r id | 16. [Oscillation.] | - • val | | }| :f |f| : 1 | :fe |s : — | :ta | 1 :r | : t |d! :- | Extended Transitions—Better Method. 17. I&EY D. A.t. f.ID.* º e | :f [ s : — | Sd : m |s :d | :r |ds : — | | S Ipſ d **t |m : 1 || s :d! It :— # ºr |m :d d :t º * — I {| | | | * * – 19. - A.t. f.ID. {!" :f |s :m | : l s : — | :m |f *** ; tı |ds : — | ..”. |f w : I’ m : 1 |S : — * :d | f :r d :t #. : — }| | | | 21. A.t. f.ID. }| :r |m :f | :d s : — rs! :d |m # dº :r |ds : — | A.t. f.ID. **, | l ; s f :f |m :— ml] ;t |d :m | r :r |ds : — }| | | 23. A.t. f.ID. }| :d |r :s | :m |r :— feti : s |lſ :r | :t ds : — ...* The return transition is made on the last note so that the Exercise can be repeated or the next one taken Without pause. - ſ Elementary Transitions.] 3 ( :d : d } 24. First Sharp Transitions, shewing Cadential forms of Bass, REY E. : S :f S.B. * - |d! :] S :fe |s :f |m| :d s : m r : r |m :d T : r |s ; tı d : ll |t :d f : S |d :rl |m :fe |s :rl | f :s l ; d. | : r |m :d l : r |s| :d l : Sl |f| :l ! Sl : Sl |r! : s | 1 :fe |s :m | f : 1 |s :m | f :r |d ; tı |l : li |s|| :d lſ :f |m :d r is |r n.fels :fe Is if |m :d. It :l s] f :f |r :d t ; 1 |s ; Sl l :fe |S : 1 t : Sl First Flat Key, Imitation, and 0.scillation, |m :fe s — — : m | : S | 1 : t: d |d : 1 |s : — |— :d 1 :s |f d | 1 : 1 r! :d! ||t : s , f :m |m :r | -* if :f |fe :r |s :m | r :d |s : s |d -* Extended Transitions, withºut Distinguishing Toner |d :r m — | – is a f : ml |m} :r als --> |m :r |d — — . tºm | r :d |s :sſ |d s : — C.t. f.F. |m :d |t| :d |r : tim s : d! |m| :r" |d's : — |d :Tl r :d |t| : Sid | p , d is :sſ |d s : — With Distinguishing Tone. C.t. f.F. |p) :r |d – |- :n1 |s :d' |d :t |d's :— |li ; tı |d :— |— : df |m : 1 |s :s |ds : – C.t. f.F. |t| :d | 1 | f |m :r s | 1 :r) (d :t |d's : — |r :d |t| : s 13 ; tım | f :r |l :s |d s! :- | | | | [Elementary Transitions.] 4 33. {. | f :d d r 34. {. m :d d 35. }. :d ſ] 36. KEY D. }| : t | 1 {|d :m |f f.ID. |. : s |m Iſm : m |d 37. KEY D }: s : d! {:d m :d |s :m |m :d |d :m |m :d |m :d |d : : S |f .m. ||r :ta | 1 : Pl f |t :ta |r :m f l : r : t| ; S : m) Sudden Passing Transition, l f :s |l : S if :f Im • Sl |d :r |d : Sl |l |m :d |d : Pl |f :r |f :s :d! |s :f |s C.t. : t ml | f | , m) : Sid |t| :d C.t. : I' S 1.t :d. : tſm | f : m C.t. : r s m! :rl ; tım |d :r A.t. df :r |t| fet) ; r |s| s :f |m m : 1 |s A.t. : Só |t| :d : tn | r :d f.IF. |r! :t |d's |f : S d SI f.F. (d :t |d's }r :s . Sl f.F. |d :t |d's lm ºf : s |d s] : r :f :fe |m |S S ſh Sudden Extended Transition and Chromatic fe in Bass, :f : Sl : si f.ID — , r :- . S. is d's * - tº |m |d |d |d **- | Chromatic fe and ta (in Air), and Cadence Transition to First Flat Key in Better Method, A.t. fêt :d |r r s :m ||f| 38. KEY T). } s :fe if d : r |s f.ID. } lim : f |s fid :r |rº : m r : 1 f f.G. :lm |f : fá |l. :f : tº |s : — |s : — |m :-- |d :-- D.t. ml :ta |t df :m |r m : r SI Sl m : r S : Sl |d |d |d 'd [Elementary Transitions.] 3Ilfrtilitiate (ſtillºiting fruit tº ſluggiri. Selected from the works of Bach, Handel, Graun, Haydn, Mozart, &c. These sclections are intended to give exercise to classes which are preparing for the study of difficult music, and especially to aid pupils in obtaining the Members’ or the Advanced Certificates. The keys may be changed to suit the voice. - J. C. Two Removes. 1. KEY A5. B2. t.m. Bach’s “Blessing and Glory,” p. 11, 12. S : r : f m .r ; d. , t : d |'' : I’ : f m , r ; d ... tº ; d. | His name is cx - cel - lent. | His Iname is ex - cel - lent, 2. REY C d.f. By. “Samson,” p. 95. : .ml |m| .m! : r , d! |f| : |º : t , r |f : ..r |t| , s : s ,r m . | | Je- ho-vah's glo-ry known; Their i - dol gods shall from his presence fly. 3. ICEY F. - G. t.nl. “Jephtha,” p. 4. : s , s : – ; f |m : – ; r |d : – ; t | 1 : – ; 1 || 1s: – ; f |m : – ; r |d : – ; tº 1 : No more to I Am - mon's God and King, fierce Mo - loch, shall our cym - bals | ring. 4. REY D. E. t. m. - “Jephtha,” p. 4, 5. : rl | r : – ; d. It : – ; 1 s : – ; f | M. : – ; m' |m|r': – ; d! - * t : – ; 1 s : – ; f |m | shall our cym - bals' ring. No more to I Am - mon's God and Ring, fierce Mo - loch, 5. KEY C. T). t. m. “Jephtha,” p. 92. t :-rl , t : 1 , s d' , t , d! : º : r" , t : 1 , s I d' , t : d' : | | And their tri - bute, And their tri - bute. 6. IREY D. “Samson,” p. 83, 84. . t.n. - : I’l : m' d! . t d', 1 ; t a , d' : rſ , m' ºr dº , l ; tı , t : d! | Tules the World ... - - || t : t: : rſ world, rules the S : — : S World in state. |- : r : di rules the Price ONE PENNY. To NIC SoL-FA AGENCY, 8, Warwick Lane, London F.C., 7. KEY G. * “Samson,” p. 94. - - d.f. F. |m in : .m. |d : | .d : d .r |t| . t1: |t| ,d : r .d |lſ : | dr º Brethren,fare-lwell your kind at-l tendance now I pray for-1 bear, Lest it of- G. t.m. l : , ls | f ,f : f .m me you'll nothing hearim- f : , f |f , f : f .m. |d : .d m : .pl fend to see me girt withſ friends, Ex-pect of º : | | 8. REY Ep. f. Ab. “Acis and Galatea.”p. 52. r : – , r m : f |m r : s ,r |d : — |'ſ : – , r |m : f #. | Mur - m'ring still his gen - the love, Mur-m'ring still his gen - tie) B.V. t. m. - | d : - mr : – , r |m : f |m .r : s , m |d : — — : — | love, Mur - m'ring still his gen - the love. - “Come let us sing,” p. 20. 9. REY B9. d.f. Aſ). i : : m lſ : — t| : — d : 1 |fs : f And his hands form - ed and pre - : - B}. t.n. m : — In : – , ſº | S : - |s , ; Sl mr : — |d : tí } } par e º ed the dry land. For E[is is the § \ f. E). n] : – ; : m f • — , f |m : I’ tafl : — — : — } Sea, and he hath fash - ion’d it. | 1O. KEY F. - “Israel,” p. 26. | : m , r : m — , T : "I : m r | f |m| : r .d : t , l l s : } Mingled with the hail, ran a- long up - on the ground, ; - G. f. m. } : m .d : ºr . I — , r : r :rd .d |d ,tſ : li , s : fl.d ºr : m .t] : d ; ( mingled with the hail, ran a-' long up - on the ground, mingled with #| || || : m , r d : - .d : t ,d |t| : — § the hail, ran a- long up - on the ground. | -- [Intermediate Transitions.] 11. KEY E. - “Jephtha,” p. 15. s : f : – ; 1 : – ; s 1 : r : - |s.f: m, r : d d' : rſ : ml |I.r'; t : – ! Take tho heart you! fond-ly gave ; lodged in your breast with • d. f. D. d : - ; – |- : – ; – ) fs : f : – m : – ; s im! : rid': t.d.] r] : – : — | : mine; Take the heart you! fond-ly gave. 12. KEY B2. d. f. A2. “Song of the Bell,” p. 34. #: m; ; di | ta : Sa |d : Sa | r : Sola |f| : r | r : d t| : m "...] But I woeſ when burst - ing un - con - troll’d, The glow -ing me - tals | fierce ex - pand. 13. KEY Bºy. d. f. Ay. “Blessing and Glory,” p. 10, 11. d t] .d : r , t , 1.d r , II : t .d : r .tl, dr : – ; s d : — ; T | His won * , drous frame to raise, Whose glo tº rious ; IE2. t. df : – ; f s : – ; d! d' , s : 1 , t , d' , l is : – ; f m : — Il{LIIl G a - lone de - I serves Ollr end º less I praise. | 14. KEY E9. Three Removes. IIaydn’s “First Mass,” p. 52. S. d. f. G. 7. 'ill' : s | : 1 s : s ] : S S :- - - - - |fr ; d ; He isl bless -ed. that com - eth, O Tord, in thy tº : — | r : d t| : – ,d | r : d [tſ : — : | : | : ; } Ho * º | gºe º - ly | Ila, Iſl O. " E7. t. m. 1. ms : d' t : ri d' : — s : 1 r : — | r ,m : f ,s | f : — m | He is bless - cd, is bloss - ed that I com - eth. | 15. KEY C. A. t. m. l. “Samson,” p. 1. i .m. ; t , t |t : , t , t , t : t , d' r" . : º : . . .d : d .r t TJn-will-ing-ly theirl super - sti - tion yields this rest; To breathe he was m : .m. |f .r : r .d | i | air ; , fresh blowing, pure and : : | sweet. [Intermediate Transitions.] 16. KEY D. d. f. C. {{ Jºhº" p. 4. ; : |s : – : s 11 : – ; – | : It rl : – ; r" |rſ : - .d!: r In dis - mall dance a - round the fur - nace f. F. * s. d. f. A5. m! :- : – ; ; ; | ; : Sr | f : – ; r m : – ; – | – : - ; Sri blue, dance 8,- } } In dis - mal f : – ; – m : – : — | : – ; – |d : - ; r round the e I'l — blue. | fur º º Il{UCO 17. KEY A2. “Song of the Bell,” p. 36. f, D.) | : S |s : d t : t |f : f m : – , mt |r! : r" ! De - signed for joy and peace, is made, The toc - sin wºn 1 r|f : m |r : r |d : — | to re - volt and I crime. } 18. KEY C. Macfarren’s “May-day,” p. 30.31. A. t.m.l. t : — d' : — r : — — : msſ ! |. : — s' : —- | f : — |m| : — Sport up - OLl GI1 © chant - ed ground; A. m : d s : m throng now comes a - - - m : — — º : — — ; d. r joy tº • OuS, *—- |s : | | joy • - OllS long. 19. KEY B7. “Judas Maccabaeus,” pp. 98, 99. | : | d : d , r m .m : |m .tp: t ,d r : ! .r : m , f | r , r : º R daughters, choicestart bel-stow, To weave a chaplet for the victor's Come,then, my G. t. m.1. E. t. m. 1. (Il : | . 11d; d . rim : .m. |ms. s : s , 1 | | brow, And in your songs for ever be con- t : , t r". t : 1 , s d : | : fess'd The valour that pre | -serv’d. 20. KEY F. Two Removes. More difficult rhythms. G. t “Jephtha,” p. 40. IIl. : f if , f : s ,r |m .m : .tl,t EIe made a bloody slaughter, and pur m .r : m .tſ |d : , mr -sued the fly - ing foe till tº .t : 1 . Sí night badesheatheth º *- [Intermediate Transitions.] } |d 3. | .d : m .d if : .d | f of : f . m |d | sword, And taste the joys of vic - to-ry and peace. 21. I; Ex A “Jephtha,” p. 33. d. f. G. | , s : s , s : s , s 1 : m : f ,s : f ,m : f or i in f is ºn In vain they roll their foam - ing tide, | f ..] : S .,f : S ºf |m : - , m : m , r) m 3 8 | | | their foam-ing | tide. 22, KEY EV. “Jephtha,” p. 61. } e .d |m : .m. It : '..tſ | r .r : r .d | 1 , 1 : | | Be - gone, my l child ! Thou hast un - done thyl fa - ther. F. t.m. | : . S1 | Fl : , s | f | r : .1,1] r , r : r .d |l : | Fly be -l gone, And leave me to the rack of wild des-pair. 23. I&EY B). “Judas Maccabaeus,” p. 56. C. t. m. m .d : , s |d : m | : ,m |d .d : .d : d - .r |m : º Saying, Tho Sword of “God and Gideon.” | It was the Lord that t , t : r" . t |s * : .d' : m' .d' | 1,1.1 : ,d'.t,d' s : | 3 | } for his Is - rael fought, And this their wonderful salvation! wrought. 24. REY C. “Samson, ' p. 68. {|r : , s,s t ...,t : r" . s d' ...,d' : d! | . s : s , 1 | t , t : t,d'.r',d' & Ha! dost thou,' then, al - rea - dy sin - gle me? I thought thatlabour and thy chains had D. t. m. tl .1 : " .m," | 15 , s : s,s , s ,l t; ..,] : 1 , t , s , S º { | tam'd thee. Hadfortunebrought metothatfield of death,where thou wrought'st wonders with an ass's m : ,s, d', sl 1 . 1 : 1,1,t,d' s g } jaw, I'd left thy carcase where the asslay dead. | 25. ICEY C. D. t. m. “Israel,” p. 133. s , s : s , s d' .d' : , d' |d : d , r" |m|r1,r)| : ,r'd', r" t , t : t , d', r' s | } horsemen in - to the Sea. in with his chariots and with his For the horse of Pharoah went [Intermediate Transitions.] 6. 26. KEY G). Three Remove. More difficult Rhythms. “Samson,” p. 44, 45. } ...t] : " .t| |d , t . . t1 |d .tſ : m .tl. ||r : – , r |. : – ,r |r : — ( Be - hold thy servant, Thyl servant in dis-tress, O | God | be - hold, ; E2. t.nl. .dem : r .d |t| lºsſ; d tºll|r .d,tſ; Pl -r,d]f r1,r: s , firl |r : . 1,s ; To dust his glo-ry they would tread,To dust his glo-ry they would tread, i. |s : f .,m m : ..r,d |t| : – , t) |d : – | 3 | : Ill] DOl tºº berl him a - mongst the dead. 27. KEY B). “Samson,” p. 74. d : d .d | 1 : , Pl 11.1 : 1 ...t |d 3 .d : d . r |t ...tſ : } Here lies the proof: If | Da-gon be thy God, With high devo - tion . ! f. Ey. º C. t. m. 1. t| .d : r , s |d : , r1 |f , f : f . m id : .d : d .r |m ,ms: s , 1 } in-vo - cate his aid, His glo-ry is con-cern'd. Tiet him dis-solve thosemagic | : , t , t , t : 1 , s d' : , s d! : | .m. ; f. ,s |d : | spells that gave our hero strength, Then know whose God is God. 28. KEY B9. G. t.m.l. “Jephtha,” p. 31. | : S |r .m : f .m. |d : | .d : d .r |ms ,r : r .m. |f , f : | ; Sound then the last a -l larm! And to the ficlá ye sons of Is - rael! D. t. m .m. ; r.df | t ,t : t , d! |. : s ,r m : .d S : | 3 | within-trepid hearts; Del-pendent on the might of Israel's God. 29. KEY E. Macfarren’s “Christmas,” p. 21. | : |m ,r : m r : d s ,m : r .d f : – , f | s : 1 l : r ) | Taught by great Al - fred, never from your door, will you re - | lont - less ) S. d. f. G. (lf : r1 .,r |d ; tı | : Sm t] ...,tſ: t , t |f : – , r) | r ,d ; d.d |d : | | thrust the poor. No | tale can to the time morel fitt - ing be than one 30. KEY B7. • “Samson,” p. 43. } : , 1 || 1 : - . 1 | | r : - , ri |f| ,f : t ,filmſ : | .m. ; m .m. His migh - ty griefs, Eſis mighty griefs rel-dress, His mighty [Intermediate Transitions." - - s. d. f. D5. lſ : | , 11 : 1 .t : d : — — — , d1 t ,r : f .m. |d : ; } griefs, His mightyl griefs, His mighty griefs re-dress, E2. t. m. F. f. m. , { . 1s : r .m. |f , f : f .m. |d o | , 1 s : r , p1 |f ,f : f . m de : - Norby the hea-then be they told, Nor by the heathen be they told. | Two and Three Removes. Advanced Rhythms, 31, ICEY G. A. t.n. “Jephtha,” p. 102. r : r ſm f : r ſm f |m ºr d : r d itſ: d mr : r m f : r m if m ºr d : r d itſ: d | | Still I’m of thee pos - sess'd Such is kind heav'ns de - cree. 32. KEY G. Macfarren’s “Christmas,” p. 26. s.d.f. B2. ; Blood of Dan - ish l war - riors Is red up - on the f 3 * 3 , 11 || 1 | : – ,r : d ,1| |d ..,tſ : d 3. | Snow, A - mid the conqu'ring | Sax - ons. 33. KEY Gb. “Samson,” p. 42, 43. | : . t1 |d .t] : " ,tſ d .tſ : . t1 |d .tſ : " ,ti |r : — | — : — | * } Be-hold, be-hold Thy ser-vant, Thy ser-vant in dis-l tress, Ep. t. m. 1. - - , dem : r .d |till,SI. : - .d r d ...t : , m |f , m , I' : S ..f ,m | | Re - turn, re - turn, O God | Re - turn, O God of | *N arº) ( ! I' : , 1,s |s : – , f, m m : ,r | Sl : – , f |m : r ,d |d : — | | hosts | be - hold, be - hold Thy ser - vant in distress. * 34. KEY B). Ilſacfarren's “Christmas,” p. 22. - G. t.m.l. ( ; 1 lſ : – , r : d . 1 |d ,tſ: d : 1 lſ : – ,r :d,lſ.- |p) : – ; Rºsſ,f | And breath - ing forth his sor - rows, Lifts up his witheredl hands : €6 # { |m| : – ; S. d : – ; d. s] : d : - . 1 m : — : — | heav'n - ly | Ring who reigns on high, ; l : I’ : m l : S : – , f : m : I’ : — d , - o ! Bless him who hears - the poºr man's cry.” | [Intermediate Transitions.] 8 }| ſe : .t] | ri My tears have been myl meat C. |d 3 mr. Ime, 36. KEY F. L. is D. | lſ : — | 11 : — Fount of --- s.d.f. Ab. |". — 11 : — ſº - less 37. KEY B). |s : – ; sº I se : – Night comes] on #! : S : f | With - out dread, } | 3 3 | : ; r d : al KEY Bºx. L. is G. t.Im. ..,t : t , 1,1 |se 3. m dai - ly say unto me, Watch Minor Mode, “As the Hart,” p. 8. day and night, While they dai - ly say unto ..,ti : tí .d r ..,d' : 1 ,selt : — | Whereis now thy God? & Rossini's “Stabat Mater,” p. 16. 11 : – ,lſ seſ : mi d : — — : — tº : — | : l mer - cy free - ly flow - - - ing, ) lſ : – old set : ['ll d : — | — : — t! : — | : | streams of love be - || stow tº- & sº ing. . . More than Three Removes, “Song of the Bell,” p. 27. : sell li : – ; d |t| : – ; ml | : : | : : } with sa, sº ble man - tie, - G. t. m. 1. - : |ms : – ; s 1 : – ; 1 t : 1 : s d! : s : m Soft - ly | sleeps the burgh - er peace - ful, ! r. s. d. f. E7. : – | r : – ; r |d : – ; dpi | f : – ; r m : – ; d. soft - ly l sleeps the pea - Sant peace - ful, | B?. t. G. t. m. 1. - : |mli : – ; t | : – ; de | r : – : re |ms : – : — Guard - ed by the law, and care Yº ; : d | 1 : – ; 1 s : d' : m s : f : r d : – ; | - ing e - ver o'er his lone - ly bed. ºr [Intermediate Transitions.] 3ºmrº. Úransitions from the Ölašić. More than Three Removes. } 38. KEY E. - ris.d.f. G. “Jephtha,” p. 42. }| , s : s , s : 1 , t ( di .d : d'm , r) :d' , t d! : ; Of swift-er flight, of swift-er flight and sub - tier frame, d.f.Bb. - º : : º: : r : m | : ..r :r .r |d : : | Of swift - er flight and subtlerſ frame. 39. KEY C. Beethoven’s “Mass in C,” p. 23. - S. d.f. Ep. | : . 1 | .s :d' .ml |d .t,dl:r' .s |- , d! :dl d! : :rlt ! ! A tº tº - - gº gº - " - men, A - men, | A - } dif.I)}. C. t.m.l.i.s. - d] : : lt d! ; d. |= :– der! — | : — | : — I d' . } • Imen, A - I men, A gºe * - gº Inen, ! A gº IOleIl, | 40. ICEY Ap. Rossini's “Stabat Mater,” p. 9. : d ..,d d : t | ,f :f of |f :rl . . : d ..,d |d : t , :f of łve shel saw Him, - the Lord of glo - ry, All his vis - age marr'd and r.s.d. f. Fº. *-*. f] : s . It — , t |d :- .d' de' :— , de'] r] :- .r" |rel *- º go - ry, all His vis - age marr'd and go - ry, Smart - ing Ap. t.Im.l.r. m :– f'_:— — ind I- , s :fe.s | 1 :- .t] | 1 :- .s d : | |from - | the Fa - ther's rod. 41. KEY G. “Creation,” p. 42. }| : : | 1 s , f : p1, r s : — |m : f : — I :f m : ; And in his eyes with bright - ness shines The soul, 1.r.s.d.f. A p. ! :r |lse — I– :se 1 :- 1– :f .rld — Dr. :d |d :- | : the breath and im - - age of his God. Price ONE PENNY, ToNIC Soº-FA AGENCY, 8, Warwick Lane, E.C. 42. KEY D. Graun's “Te Deum,” p. 9. : S S : f .ml |s : f .m. | 1.1 : 1 . 1 || 1 ,s : s ,d } The good - ly fel - lowship of the prophets praise Thee, praise s, d. f. F. | : f,”,f |m : | : |dl1 : 1ſ.In } Thee, praise Thee, The G. t. m. - | Bf .m | 1 , s : d : t, 1.s,f |m : — praise Thee, praise Thee, praise Thee, praise 43. KEY G. Transitional Modulation. Two Removes. – , t : - . 1 |- .s : - . 1 ! * * f ,f : f .f,f |f .m no-ble army of martyrs | r Thee. “Israel,” p. 100, 101. A. t. m. f. D. L. is B. - | , S I ſºl : d.d. lts : s , s |m : d.d |l ſm. . m .ml d! : l , 1 |se : m | The depths were congeal - ed, the depths were con-geal-ed, the depths were congeal - ed. 44. KEY A. “Samson,” p. 49. : s : — — ; f.p., | r : — | : r n : + | – : r.d |t| : — : r : } Likel me, a - Yerse to each de - light, She 1 r : — |— : r | se : — |– : t | r : — |– : m |d : — | : 1 } } Weal'S the te º gº dious wid - tº ow'd night, She d. f. : G. •, - }|". : — — : r |se : — | – : t r : — — : m |d : — | | W63.I'S the te & tº- diousl wid - º ow’d night. 45. KEY B'). “Acis and Galatea,” p. 15. m : d : 1 | r : – ; – ) — ; T : f |r1 : r ; d tº, r ; d tº. Iſ | |º º ing Dºllll’ - | - me tº- | º murS, last tº- ing C. t. m. L is A. - lſ : — : — det : – ; t d' : s : d' r" : t : s m! : — : — ; love. Melt - ing I mur - murs| fill the grove, & 1 f : 1 : fl m! : 1 : d' t : d : 1 Se : - : — | { Melt tº a ing XYıllıº gº murs, last tº- ing love. * [Advanced Transitions.] 46. KEY “Samson,” p. 14. F. G. t. m. L is E. |m : m , m In the warm 1 . 1 : Sunshine |m .m : m .ba : mr of our prosp’rous Se days, d head. .r : f .m draw in their r . I : r | ver-si - ty, } 47. KEY C, L is A. friends swarm | But in the winter of ad- |s : “Israel,” p. 152. : m .ba |se , 1 : t , d! I r" : – | — : r" d! : t , 1 * } till Thy peo-ple pass O = tº tº - ver, which Thou ind I). t. m. *g |m : - .m. |list. 11 : tí .d | r .m : f .s | 1 , t : d! .rl |t : — | } pur tº chasl ed, till Thy peo-ple pass o - ver, O Lord. 48. IEY A. “Israel,” p. 128. 129. d. f. G. L. is E. }| : r .d |t|, r ; d. t1 | 11 : rſ, r |m| : – ,r1| | 11 : 1ſ | 11 : s feſseſ: sel.l. : Thy peo - ple which Thouhast pur - chas-led, they shall be still, till Thy |tſ.d : r .m. | f : — | f : m | : — — : — |- : — | – : — people pass lo - - ver, O Tuord. | 49. REY D. “Israel,” p 103. S : d' , r" : m d' : — ; s! : m' : d! S : – ; | The en - e - my said, - I will pur - | Sue, | d. f. C. L. is A. d : s : " , r dr.m : ba.se : 1 .t | .rl : m r - d. , t d : : | } | I will OV-er - take, | 50. KEY Ab. Transitional Modulation, Three Removes, “St. Paul,” p. 21. |s : f m : - .m. |m ; r. 11 tº : : S f : m | : 1 | Lord! lay | not this sin to their charge. Lord Je - sus! TO = pp s d.f. Cº. L is A9. .dl: 1, 1 || 1 , t : d!.d! And when he had said this he : r -my spi - rit ! 1 : s , f |m t — : t , 1 |se : - . 1 1 : sleep. - | ceive 8, - fell [Advanced Transitions.] 4. 51. KEY B2. L is G. | } C. t. m. L is A. “Creation,” p. 40, 41. } : tí : t , t |d : - ,tſ : d ..sell li : det; : t , t d! : – , t : ...} But, all the Work was notcom!-plete, . But all the work was notcom- f. F. L. is D. | : 3 | 3 : lm l : — : m d : – ,d : t| , lſ plete, There want tº- ed yet that wondrous D. t. m. 1. }|. : — : m ld : m : s 1 : — : f t; : – ; t d! : — : | be º ing, | That grate - ful ' should God's] pow'r ad - mire. 52. KEY Ab. L. is F. Haydn's “First Mass,” p. 4. - F. t.m.l. #. d : n : se | 1 : 1 : tí |d : 1 : — |t| : – ; rf : — : m ; The Works of thinel own hands. EHide not }|. : : r s : — : f m : d' : t d! : – ; d. d! | | thou thy face from us, Hide not thou thy face. | 53. KEY F. Peethoven’s “Mass in C,” p. 40, 41. ; tı d : — — : d r : — r : r m : - . m m : In | } Re - | joice, re - I joice in the I Lord and mag - ni - C. t. * fet : t , t , t : t , t d! : – , d' d' : : d' d! ; d.d'ſ t : — |r! : rº } fy him all ye seed of Is - ra-el, How plen -ti-ful, Lord, is thy s. d. f. EW. L. is C. ma'd : — It : — 1 : 1 |s : s | f : M |re : – , relre : m | } good - neSS which thou hast laid up for them that fear thee. 54. Key Eb. Itomberg’s “Bell,” p. 41. | ; F | S -- : li | f : - - ; SI (n :- |- r |r Its voice to SOr º cº- row it shall F. t. m. - d : t | : f | f : m :rd |d ; tı | f : — — ; tı |m -: , r | lend, it - self not feel - ing joy or pain, And [Advanced Transitions.] # : t , 1 |m : p1..n] I r : d |t| : 1 seſ : | .m : selm 1 : 1ſ : with its va - ry-ingl notes at º tend, On life's el-vent - ful, - I). t. m. l. | :reſ, reſ|m| : — — : — | : | : : |m|sſ : d .m va - ry-ing scene; | And as i. r .d : .d s : - .m clear, Soon fade, and I : - , slf.s : 1..t. OI). the ear de - d' : — — : — | Cay. Transitional Modulation. More difficult Rhythms. 55. REY E2. “Acis and Galatea,” p. 24. BO. t. d.f. Ab. Lis F. ...t : d! |- .rſ : t ºt d' , s : .r's 1 . f : r , s m ...,d : sl | No show’rs to larks Sol pleasing, Not Sunshine to the bee, Not sleep } E). t. - |- .t : se ..sell .1 : . tri' |f| r" : t .ml | d! : | : | } to toil so eas - ing, As these dear Smiles to me. 56. KEY F. “Israel,” p. 16. : S fe : f .f |m , f : s , 1 |r : S | — : f f : In , s | 1 º ; They loa - theid, they loa-thod to drink of the ri - ver: He turn-ed their d. f. E5. L is G. d' , s : d'r |- .d,t : d! |. ...ta : 1 .se | 1 | ter in - to blood. : W8, gº º º tº- 57. Rey B2. L is G. “Judas Maccabaeus,” p. 9. : r : t ,ti | sel : ºlº lſ .tl. d . : , 11 |f|...fi : .mpril sel, sei: sel. 1 wº -ed in - deed! But let not Ju - dah’s race Theirl ru-in with desponding arms em- C. t. m. L is A. | : | lis : s , s d' : | , s : s , 1 It , t : | t , r) : f : brace. Dis - tractfull doubt, and desper-la - tion "Ill be - come D ... t. m. L is B. | , f : 1 , s |m .m : m .nl : M .ba |se : .m. | 1 : .1s |t : . S the cho-sen na - tion, Chosen by the Great I AM 1 The Lord of | |. : |m : m .ba se : , m | 1 : , 1 d'.1 : 1 .m. |f 3. Hosts Who still the same, . We trust, will! give at- ten-tive ear. | [Advanced Transitions.] 6 58. KEY Ey. f. Ab. L. is F. Haydn’s “First Mass,” p. 59, 60. }| : – ; d t| ,r : S : ta,f : – ; fi I'll sel; tı : Eſal º le - lu - jah. A. - men, | A - men, : - - B2. t. m. L is A. - l : – ; 1 Se] ...,tſ: T1 : siſ : — : fi M! .,seſ: tº : } Eſal t- le - lu - jah. A. º men, | A - men. 59. Key A. L is F#, Beating thrice to the measure. “Jephtha,” p. 49. ilº : In 1 : – , s |f n : r .d |t| : 1 |se - it lit is Singing great Jeho - vah's praise, The ho - ly choir em - ploy, ) f. ID. L. is B. e |r1.se: 1..t |seba: º : t , d'] r].t : ml. r" d!.t : d'.r' pil : 1 | t : 1,sel 1 : — } | º º tº- tº- ſº The ho - ly choir em - ploy. } IE. t. m. - - | : º : f |m : Such as on our so-lemn days, s ºf: norld : ta | 1 : | Singing great Jehovah's praise. | 60. KEY G. “Israel,” p. 100, 101. - .* A. t. m. }| The wa - ters were gath - er-ed, the Wa - ters were f. TX. L is B. d ..,d : d .m dese.ba : se .m l ..,] : 1 .d |t| . t1 = | } gath - er - ed, the wa - ters were gath - er - ed to - geth-er. 61. KEY E). “Acis and Galatea," p. 42. B?. t. d. f. A 2. : .s | 1 ,f : r . S | .r,d: Sd |- ,r , : t ,d |d : ..rm | f | r : t ,m | } No show'rs to larks so pleasing,Notsun - shine to the bee, Not sleep to toil so IE). t. L is C. d .tl,lſ: ml | – ,t : se ,,1 | 1 | }| eas - ing As these dear Smilesto' me. [Advanced Transitions.] 62. KEY D). L is B 5. Haydn’s “First Mass,” p. 21, 22. }|. : – ' d' : 1 se.,1: t . I : 1 se : t , t |d : 1 |se : t |d : 1 } Thou, Lord, art | God a-lone, al - I migh - ty and e - ver - I last - ing. A - men. B}. t. m. l. |. : – ; ; – : — I m : | : | : | : m's : — |m "..." A - tº- men, O praiseye the ll. t. : d ...rm f : — |r1 : s ,frilr : - ,r |m : r__ld ºr ; m feſs : Lord for € - Ver. A - tº , men, A. º- gºs º º | men. | 63. KEY E. L. is D. “Israel in Egypt,” p, 112. | .r : d . tº ; d,tſ. lf f .m : f : – , I\l |: .de : r : — | Thou in thy IOleI’ tº a - - - cy G. t. m. - sdf. B2, L is G. r , r : m , f : mr .d t : - .r : s , t| |d .tſ : d : – *: | hast led forth thy peo ple, which thou! hast I'e - | fi .m. ; r. . . . ; sel. t1 | 1 : — : Seſ lſ : — 3 | deem º iſ a - | - sº º -> ed. Transitional Modulation. More than three Removes. 64. KEY A2. “As the hart,” p. 28. f. D9. #: T : 1 |s : f |m : – |- : — "t : f |m| : r } From hence - forth and for lev gº tº- tº- | - me tº e tºº § A9. t. L is F. |d : — | – : t |l : — — : ml] |se : m | 1 : — }|*—H–F–4–H–4–4–5– C. t. m. 1. r. |t : r" | t : s d' : — | : d! It : |fl : — m! : — I } — er - more. for ev « » €I' * , IClOTO, | 65. REY C. r.s.d.f. Ab. L. is F. “Song of the Bell,” p. 22. #: .s I d' : m |f : r d : |dril, sel; tı, sellſ : | Pl, l ; d. 1 : ( All ourl art and toil re - pay. Should the mould be wrong, Or the “gush” too F. t. m. l. m : | 3 : |ms : – , f : m : – , r |d : r , m } strong. | Ah! perl-haps, while joy We } s, d.f. A9. s .fe : f | :rtſ, ti | 1 : d | li : - .d !. *. | 3. | } cher - ish, All our hopes and wish - es [Advanced Transitions." 8 66. KEY I). L is B. “Israel,” p. 121. d' : - .d'. d! ...,d!: d! .d' d! ...,t : 1 | : , t d'. 1 : , se | 1 : .t : { All th’ inhab-i - tants of Ca - naan shall melt a - Way, shall # : .se | 1 : | .r' : m', de' |r! : - , d' It : - . 1 || 1 : — melt a - Way, shall melta - way, shall melt a - Way ; f. G. s, d. f. Bb. D. t. m. 1. r. B. t. Im. 1. - }| : d's — : s d'l : — | 1 : — |fer! : – , r"|r! : — Ir'f : – , f |m :- | by the great - ness of. Thy arm, Of Thy arm. 67. KEY C. L. is A. - Possini’s “Stabat Mater,” p. 14. 1 .,t : d' ...,t : 1 fl. ..,d : 1 : ld ºr ; m ºf : s ºf |m ºr ; d : } For His peo - ple's | sin He | suf - fer'd, 1. r. s. d. f. D9. ll it d' at ; 1 ºf |m ºre; " : - ºr ºf : s ,l : s ºf |m ºr ; d tºº | } His own pre - cious life He of - fer'd. 68. KEY B2. - “Come, let us sing,” p. 23. - r. S. d. f. G.D. L. is E). |" : d : d d : - .d : r m : - : m : – ; m mse : - . 1 : se. 1 |A. at Mer -li - bah they did, and . at Mas - sa, *: A9. t. m. }| : — : ;detſ : r f : – ; f m : f : – , f |f *::::::: des º ert, | Af - ter | for - ty years grief at I this diso-bedient d : : 1 r : – ; d. t|m : d ... t. 1 |r : d ; tı, f |m : - .d: 1 } race, I said: 'Tis a peo - ple that dol err, and in their hearts re-bel, : Bb. t. m. L is G. .. f. E). I, is C. : m : m s : — : Sf m : f : – , f | f : m .tp: der dese : : m : } Af - ter | for tº- ty | years grief at this dis-obedient race, I * f. Ab. L. is F. B5. t. m. L is G. - l : : In n |f : f : m .r de : — ; Sf — ; f , f : p1 .I. : | said: 'Tis a peo - ple that do | err, and in their hearts re.” de : s , s : f .r. |. : r : m . m . : - . 1 | f : 1 : | { bel, and that of my sta - tutes al’6 still un Í-mind - ful. | [Advanced Transitions.] NEW EDITION * MINOR M0DE PHRASEs, SELECTED FROM well-KNOWN COMPOSERs. l - For the latter half of the 5th requirement of the Intermediate Certificate, any two of Nos. If to 22, taken by lot must be Sol-faad in correct tune and time. Two attempts allowed. The key may be changed when necessary. No. 1. KEY G. L is E. SIR. EI. BISHOP. Trom “Tis when to sleep.” ( ) l ; li. t1 |d :r m :f |t| :m 1 . 1 :d r : m lſ : — : I } Still as un-daunt-ed on we stray, Thro' many a tan - gled brake, We { | m :-.r |d .r :d , tº l ; d [t] :m li : tº [d :r m :– |— :— | ( pause to mark the ' si - lent way The cau - tious trav’l-lers I take. • wº. No. 2. KEY Bb. L. is G. - MENDELssoRN. From the “Turkish Drinking Song.” 1 r mil :r |t| :ri. It marild :ll...t]d :li,d m :— |d : | } Bump not the flask, thou! churl-ish clown, On the board as tho' you would] break it 1 No. 3. Key A. Lis F. W. Boy D. From a Part-Song. ... : " , r |d : li It :m) | 1 :-. t1 |d :d |r :r | f :f |m :— 1– } { At Christmas - time, when frost is out, The year is grow-ing old, | :ril l! :- , t) |d :r | :f Im :r |d ; tr. 11 |t| : se li :- — | ( But | Sure - ly, soon as A - pril comes, 'Twill wake and bloom a - gain. No. 4. KEY C. L. is A. WELSH: Aur. From “The Dawn of Day.” } : 1 1 :m |m :d! I d' :— It :t 1 :d! ||t : 1 1 : — I se } Sweet Spring a - gain re - turn - ing, Makes ev - 'ry bo - Som 'glad, } : 1 | :f |r in d ºr |t| :- d :1 (d.t :1.sell - H | { The birds are sing - ing from each spray, 'Tis' I a - lone am | Sad. | PRICE ONE HALFPENNY. LONDON : Toxic Soº-FA AGENCY, 8, Warwick Lane, E.C. No. 5. KEY A. L is F#. J. R. THOMAs. I'rom “There are good fish in the sea.” #n *| :d |t|. 1 it.dll, :— | actitiºn : Sel || :— ; #n | tint |m : 1 | — | : m | :r .d |t| :m | : — | | No. 6. KEY D5. Lis Bb. WELSH AIR. From “Of noble race was Shenkin.” :l .t I d' : t , 1 |se. 1: t ,se 1 : 11 | :li, t|d , li:r .tl|m :m d : li From his cave in Snow-don's' moun-tains, Hath the pro - phet min - strell spo - ken; § :l .t d!.m!:r".d! It , r":d'.t | 1 , d': t , 1 |se :- , m ºf .m.; f.r |m :se | 1 : 1 | | } It o - mens great suc - cess in war, Of con - quest the sure to - ken. | No. 7. REY C. Lis A. H. LAHEE. From a Part-Song. : m 1 :m | f :m .r 1 :11 | f :m .r || 1 : 1 , sell : 1 , t d! :- — & } We all must work, it is our lot, Each one must take his part, § :ril.r' d' :d! I d' :d', t | 1 : 1 || 1 : 1. sei 1 : 1. se] 1 : 1. se 1 :- — | There's no - thing done, There's no - thing won, With- out the earn - est heart. No. 8. KEY A. Lis Fº. C. G., ALLEN. From a Part-Song, :m d :- |t| : li |t| : — |m| :ml |m :— |r :d t! :- — } The sad leaves are dy - ing, the sweet birds have flown, : :r" | 1. :- [t] :d t| :se [m] : " I d – |r :d t| :— 1– } | O'er'ev - , 'ry fair blos - 50m once bloom - ing and bright, ~ - :ti m :-- |r :d |r :— I'd : 11 in :- | 11 : sei lj :- — | The I frost spi - rit lays her cold fin a gers to - night. - No. 9 KEY Bb. - HANDEI. - - - From “Judas.” :d.r IT :se |ll it.d Ir ; d. t|d :r.m. If m .r |m ºr, d [t] :l | :— |—- } Where warlike Ju - - das I wields his right - - eous sword, (Minor Mode Phrases.) 3 No. 10. KEY F. L. is D. J. R. THoMAs. From “The Owl.” }. 1 :m ,mid : p1...,m t| :m III : ,tſ d :d ,r ſm :m lſ : | } Mourn! not for the owl, nor his gloomy plight; The owl hath his share of good; ** }. M : t ,d | 11 :m.,m m : t ,d l l ; t |d :m ,m 1 :-.r m :— } Nor lone -ly the bird, nor his ghast-ly mate, They're each un-to each a pride, 3. 1 : S S f :m .m. ||r :d | f :- .m. || 1 :f .r |m :m li : — | Third fond-er, perhaps, since a strange dark fate Has' rent them from all be -l side, No. 11. KEY Bb. L. is G. IHENRY SMART. From “Good night, thou glorious sun.” :rl | :- .ml [bal :se | 11 : 1 |t| :t |d :m |r : 11 |d :- [t] | Weil'd by thy cloak of crim-son gold, Thy day's high du - ty done. No. 12. TEY C. Zis A. P. LA TROBE. From the Tune “Hereford.” #. |. : 1 |se :m | :re |m :m |ba :se | 1 :t d' : t | 1 | On thee a - lone our spi - rits stay, While held in life's un - e - ven way. No. 13. KEY D. L. is B. ELANDEL. From “Jephtha.” !" l : m |ba :se l :— : t: d! :se | 1 : t } Or heav'n, earth, seas and sky In OCl6 con - fu - Sion 7 }|. * : — | :f |n :r id ; tı l : — |— . | lie, Ere in 8, daugh - ter's 'blood No. 14. KEY D. L. is B. EIENRY SMART. Erom “The Lady of the Lea.” m :m Iba :se | 1 :t |d! :- |d :d |r :- .d |d :– |– :- | : Cold with - in the gravelies she, Sleep-ing peace - ful-l ly. t{}. No. 15. KEY D. L. is B. LEVERIDGE. From “Black-eyed Susan.” {". : l , t I d' : t , 1 :se , 1 I m : – ,f :m ,r d : t , 11 :d ,r m : — '; All in the downs the fleet was moor'd, The streamers wav - ing in the wind, {.." :m .ba Ise :m .m : 1 , t I d' :m : m ., l ; d. , t : 1 .se | 1 :- ‘. Does my sweet William, Does my sweet Wil - liam Sail a mong your crew P (Minor Mode Phrases.) 4 . g No. 16. KEY C. L. is A. HENRY Swant. From “Now May is here.” {{las|| : t: related :se In lºft :se, "t in * :— — | t — — — . * * | No. 17. KEY A. Lis F#, From the same. {{l |n :- It :se ſº : — — :m |a :se I li :t |a :— 1– | l - - No. 18. KEY C. L. is A. ILAYDN. From “Achieved is the glorious work.” }| :m Iba :m |a :se |l | :se l l ; s | :— |m : ; #|| :t d! :d! | t |Se : |* :se | 1 : 1 n :— I'm : No. 19. KEY C. L. is A. HANDEL. From “Esther.” m se :r | 1 :- |se :m ba :se 1 :- Ise : 1 It :se d! :- |t | { For lev - er bless - led, For lev - er l bless - |. For ev - er l bless - ed. No. 20. KEY Bb. Lis G. J. L. HATToN. From “Jack Frost.” !" :ti ||Sel :Tl baſ : se l l ; tı | :r |t| : sel | ; tı se! :- {!" : se l l ; li | :ti |t| : 1 | :se llſ :d | :sel l – | No. 21. It EY C. L. is A. G. A. MACFARREN. From “The Three Fishers.” }| :ba |m ** a |se : 1 | : d' It : dº | :d' |r! :t | :— — :— | No. 22. KEY Ep. L is C. HANDEL. Phrases from “Israel in Egypt.” ſite | : In Iba :se | :f [m :– | :— — ; se |a : se | 1 } º {* | :d'. 1 |se :- || :- | :d | : Se n : m |a :ba |se } }* | :— : m |* :ba |m * |* :l .t d! : 1 * – • (Minor Mode Phrases.) t! FEBRUARY, 1879. PUBLIGATIONS BY MESSRS, J. BURWEN & SONS, At the TONIC SOL-FA AGENCY, 8, WARWICK LANE, LONDON, E.C. TERMs—Cash with order. No allowance can be made for cost of transmitting money. Amounts over 3s. cannot be received in stanps. - & Post Office Orders should be made payable to Messrs. J. CURWEN & SoNs, at the Chief Office. - The “REPORTER,” LIST, giving the contents of all the numbers of the “Tonic Sol-fa Reporter,” may be had gratis at this Agency. Particulars of the Harmoniums, Pianofortes, Stringed, and Brass instruments sold,_are given in the INSTRUMENTAL CATALQGUE, gratis. ... A full List of. School Music may be had gratis, in the SCHQOL LIST... The #ºn LIST of 3,000 pieces in the “lkeporter,” li. The CLASSIFIED LIST of Anthems, Glees, &c., in the “Reporter,” li. - T H E T O N | C S O L – F A L | B R A R Y. EDITED BY JOHN CURWEN. - *** The figures in brackets give the postage. ORATORIOS. - ROMBERGS CANTATAS. Hamdel's Messiah [Postage 13d.] * - I () Song of the Bell [ld.] 0 8 : , 2 3 in cloth, gilt [2%d.].. 2 () jº ºll" r ières f; ... on " " © tº ; Israeli º ði. ſ % IIarmony of the Spheres [3d. for 2] () 4 • ? Slºa Cºl 111 lºgy]]t L2CI. J . . º - s & ,, Judas Maccabaeus.[2d,), ..., , , ; 1 () LAHEE'S CANTATAS. 3 * . in cloth, gilt [3d.] 2 0 - ** • 2 Sannson º - © & 6 - & © tº e | 6 Thc Building of the Ship [ld.] ... 6 º' tº e. • * tº e 0. 3 3 Jephtha [2d.] I ($ Q.N., pianofortc score, Čs. Single voice parts, O.N., 3 3 Solomon [2d.] .. & - tº º 2 0 Sopranio and Contralto, 1s. ; Tenor, 1s. ; Bass, 1s. x 3 Theodora, Choruses of [ld.] () 8 The Blessing of the Children [3d.] . & Gº - - 0 6 3 x Belshazzar, Choruses of [ld.] I 0 O.N., pianoforte Score [ld.]. .. I 0 3 y §º. º 1. * * § § 3 y Saul, Choruses o º tº º ... Joshua, Choruses of [ld] . . . 0 8 MIACFARREN'S CANTATAS. 3 3 Hercules, Choruses of [ld.] .. () 6 3 y Susanna, Choruses of [ld.] .. 0 6 May-day º & e º - - * - e e e e - tº 0 6 ... Athaliah, Choruses of [ld..] ..... ...: Q 9 Christmas [ld.] . . ; * e º is e º 0 e º 0 8 - 3 3 #."é Balus, º of [ld.] } § 3 * Semele, Choruses of Lld. J . . e g * Mºśtº . # MISCELLANEOUS CANTATAS. THaydn's §j ; : 3 Ö i Country Life. By Rimbault [ld.] - e º e 33 Hanbei's CANTATAs & ODEs Eğ"Hºdjº The Forester’s Roundelay. ... By Wassúd. for 2] .. Dottingen Te Deum (ld.] .. ! } | Rºbin Hºà ºf w - . . By J. L. Hattoli [ld. * - #. º º #, - - - § 1. Harvest Home. By G. B. Allen [#d.] º e - e. e. e. #}º.ºrld e ! | Sound the Trumpet. By Brinley Richards [Åd. for 2) .. 5 §§ § § § The Year. By W. Jackson (ld.) tº e º 'º e - © e ‘. . .';. Fºj • The Wreck of the Hesperus. By Anderton (#d.) Zadock the Priest.[3d. tº 4!... sº. . . . . fijºurning ship. iśāker (jaj The King shall rejoice [Aq. for 2] . 0 4 N. edition (§d.) : vs. eZ * * - e. - - iMy heart is inditing [äd. for 2] .. () 4 Théºicnic. By j ñ. Thomas (id.) . - O.N. edition (ld.) . . . . . . . 3. - MASSES. The Haymakers. By Root (ld.) Hº S . § C #. Third) [id] ... . . O.N. edition. Haydn’s Imperial Mass (the Thir {- £sther, the º ll s 31' © e © e Haydn's First Mass in B flat [ld.] .. Esther, the Beautiful Queen. By Bradbury (ld }. e () O.N. edition, new (2d.) . . . . . . Mozart's Twelfth Mass lld.] .. 9 aniel. Fičot and Bradbur º Mozart's First Mass [ld.] .. e Daniel. By Root and Bradbury (ld.) • e O.N. edition (2d.) .. tº - e - tº o Weber’s Mass in G [ld...] . . . .3. The Pilgrim Fathers. By Root (ld.) .. S. Webbe's Mass in A. §: fol: } .N. edition, new (1}d.) tº - S. Webbe's Mass in G [3d. for 2 T}elshazzar’s š. by Root (ld.) MENDELSSOHN'S PSALMS. O.N. edition (2d.) .. - As the hart pants, Psalm 42 [#d.] .. tº e - - tº e CANTATAS FOR SCHOOLS. ; I () ; º § Come, let us sing, Psalm 95 [#d.] BACH'S CANTATAS. The Indian Summº (Ad). () 6 #: King §§§ • 2] tº o e G e & Q - . . . | ; lºlora’s Festival (#d.) tº a o e is - © • tº ... 0 8 CSSlng an Ory 13Cl. 101: • * tº º tº e - - tº - MISCELLANEOUS CANTATAS FOR LADIES' WOICES. Rossini’s Stabat Mater [ld. e- g e o 'o e e 0 | The Picnic (d) ... — . . . . . . . . . . . . . 9 % §. º [3d. [ º º e tº º tº e - - ... 0 6 The Flower Queen. By Root (#d.) .. © e © & ... 0 6 Haydn’s Seven last Words [ld.] tº e tº gº © & ... 0 8 O.N. edition, new (13d.) e tº e • e e e ... 2 6 2 OATALOG UE OF MIR. GUR WEN'S PUBLICATIONS. ON THE 1ST OF EVERY MONTH. THE TONIC SOL-FA REPORTER, THE * ORGAN OF THE TONIC SOL-FA MOVEMENT. EDITED BY JOHN CURWEN &. J. SPENCER CURWEN. Should bo read by every intelligent Tomic Sol-faist. Jºecords the Progress of the Tonic Sol-fa Movement ; IReports Meetings and Certificated, Concerts in all parts of the country ; contains Intelligence from the Colonies, the Continent, America, Mission Sta- tions, &c.; notices events which affect the Progress of Music ; advocates Congregational Psalmody and tts Improvement. - HOW TO SUBSCRIBE FOR THE “ REPORTER,” 1. Any bookseller, in town or country, will obtain it for you. * 2. You can have it sent by post to your address, for one year (commencing at any time), at the rate of 1s. 6d. per annum for each copy, by sending Stamps or Post Office Order to Messrs. J. CURWEN & SoNs, Plaistow, London, E. Post Office Orders should be made payable at Plaistow. Only in this one case are letters to be sent to Plaistow ; all other communications should be sent to fle publishing office. Only a sufficient quantity of the Letterpress IPortion of the Reporter is printed to meet the current demand. Those who wish to preserve the essays and articles which it contains, can only do so by taking them in at the time. The Music Portion is always kept in print, and can be obtained. The Music Portion is issued in volumes, as follows:— In numbers. Over 800 now issued (postage 1d. per dozen) e - tº tº e º & © e 1d. Wols. 1 to 31, and 33, 34, containing each 24 numbers, in cloth, each (postage 3d.) ... 2s. Double Wols. 1-2, 3-4, 5-6, 7-8, 9-10, 11-12, 13-14, 15-16, 17-18, 19-20, 21-22, 23-24, 25-26, 27-28, 29-30, and 33-34, in cloth, each (postage 5d.) ... 0 0 e tº e s s a 3S. MODULATORS & CHARTS (Postuge in square brackets.) SIZE IN INCRES. 60 by 25 The Shilling Modulator [1d.] Ditto, on cloth, with rollers 72 by 28 The Calico Modulator [2d.] • * g. Ditto, mounted, with rollers ... 45 by 18 36 by 24 RI §C The Sixpenny Modulator [#d.] ... Ditto, on cloth, with rollers ... • e e The Threepenny Modulator [ºd. for 2]... The Step Modulator [1d.]... s a 6. • * The Home Modulator [#d. for 6] 3 by 4: The Pocket Modulator [ºd. for 50] w Or 25 for ... 0 0 & * * * & 9 º' MODULATORS, TIME NAMES, AND MANUAL SIGNS. The Eſand Modulator, on card... tº $ tº O 3 EXTENDED MODULATORS, 7 by 4 The Card Modulator ſºd. for 18]... C 1 32 by 20 The Drawing-room Modulator ... 1 0 13 by 7 The Student’s Modulator ... & tº g * @ 9 0 2 87 by 5S The Large Extended Modulator [4d.] ... 2 6 Ditto, on cloth, with rollers ... ... 18 0 * THE TIME NAMES. 45 by 35 The Time Chart (enlarged) [1d.]... 1 0 Ditto, on cloth, with rollers ... * - - 6 6 The Step Time Chart ... . ... * - e. 1 0 TIME NAMES AND MANUAL SIGNS. 7 by 6 The Pupil's Card [šćl. for 12] ... ... 0 1 THE MINOR MODE. 49% by 14%. Minor Mode Modulator [Åd.] ... ... O 6 VOICE TRAINING. 72 by 29 The Voice Modulator [16.] 1 O Ditto, on cloth, with rollers 5 0 HARMONY. 66 by 36 The Harmony Chart * tº e tº ſº tº tº tº e 6 Ditto, mounted, with rollers ... * * tº 6 O 36 by 34 The Chord-singing Charts, set of 12 ... 12 6 STANDARD COURSE. 36 by 34 The Standard Charts, set of 24 ... ... 17 6 Easel and Cross ... • * * tº t a ^ - e. 9 O WALL SHEETS. 25 by 29 Nos. 1 to 6, each tº e & tº 6 e O 3 50 by 29 Nos. 7 to 23, each tº e - O 6 The Exercises in a book... 0 1 COLOURED SHEETS. Coloured Modulator, Steps 1 to 3 ... tº tº º 1 4 33 33 Fourth Step ... • e e O 8 Coloured Chord Charts, Nos. 1 and 2, eac O 8 SCHOOL CHARTS. The School Charts, set of 12... tº º e ... 12 6 The Blackbird Charts, set of 12 ... e e-e 5 O oATALOGUE OF MIR. CURIVEN'S PUBLICATIONS. 3 COURSES OF LESSONS ON THE TONIC SQL-FA METHOD By JOHN CURWEN. [The postage of all the Sixpenny Courses is-1d. for 1, 4d. for 6, Šd. for 12. The figures between brackets show the postage of the others. Those preceded by an asterisk may also be had in penny numbers.] THE NEW STANDARD COURSE. See separate advt. THE OLD STANDARD COURSE, cloth, 1s. 6d ; Additional Exercises, No. 1, 4d. ; Old Standard Course Exercises, No. 1, 1d. 1. ELEMENTARY COURSES for Mixed Woices, With Instructions and Tunes. *The Sunday School Singer, 6d. * I he Elementary Secular Course, 6d. ; cloth, 1s. *The Elementary Sacred Course, 6d. ; cloth, 1s. The Church Choralist, 6d. 2, ELEMENTARY COURSES for Mixed Woices, With Exercises and Tunes only. Choir-Training, 6d. *Hours of Song, 4d. *The Singing Class, 6d. *The Choral Singer, Gd. *The Elementary Standard, 6d. *Arranged Reporters, No. 3, 6d. The Templars' Course, 6d. e *The Temperance Course (new edition), 6d. 3. INTRODUCTORY EXERCISES. Introductory Exercises, No. 1 (new edition), #d. (#d. for 8.) - Introductory Exercises, No. 2 (new edition), i. (#d. for 8.) Short Course (new edition), 2d. (#d. for 3d). . 4. ELEMENTARY COURSES FOR SCHOOLS, With Exercises and Tunes only. Jſor Junior Schools. Ifor Senior Schools. *** - The First Nightingale. #. . º .d The Second Nightingale. The Second Blackbird. The Third Nightingale. The Third Blackbird. For Infant Schools. The Fourth Blackbird, The Linnet. The above are each published in wrapper, at 3d. each, or in #d. Inumbers. *Songs and Tunes for Education, 1s. (24.); in cloth, 1s. 4d. (2d.) First Course, 3d. (16. for 3d.) Second Course, 4d. (1d. for 3). *The First High School Vocalist, 6d. *The Second High School Vocalist, 4d. (1d. for 3). *The Third Eigh School Vocalist. 6d. ' *The Fourth High School Vocalist, 8d. *Arranged Reporters, No. 1, 6d. *- 5. INTERMEDIATE COURSES, The first two with Instructions, the third and fourth Without. *The Intermediate Secular Course, 6d. *The Intermediate Sacred Course, 6d. *The Intermediate Standard, 6d. *The '61 Intermediate Course, 6d. 6. ADVANCED COURSES, The first three with Instructions, the fourth without. *The Advanced Standard, 6d. *The Advanced Secular Course, 6d. These are only to be had in penny numbers: The Advanced Sacred Course, 1s. (2d.) MISOELLANEOUS APPARATUS LOOP-BINDER FOLIOS. — The new “Loop folio allows the pages to lie fully open, and does not tear the papers. The following are the prices with postage (elastir bands can be had at #d. per pair):—Loop folios, “Reporter” size (2d.), 1s; Ditto, for Plaistow Part-Music (3d.), 1s. 6d. ; Ditto, for Instrumental Music (4d.), 3s. Loops for ditto, in boxes of one gross (2d.), 4d. Ditto, stronger made, 5d. Ditto, Stronger still, 6d. SPRING-BINDER FOLIOS. The steel springs are so fixed in the back of the folio, that by simply bending back the covers they are opened to receive the paper, which they will then hold just the same as if bound. “Reporter ’’ Size, price is. - READING CASE.-A new Reading Case is now ready. “Peporter” size. The back holds 24 strings for attaching odd numbers, price 1s. - - TONIC SOL-FA MUSIC PAPER.—“Reporter” size, in sections of six sheets, 2d. A larger size, in sections of six sheets, 3d. TONIC SOL-FA MS. MUSIC BOOKS.–1. A book containing 72 pages of the larger size of Sol-fa music paper, bound in marbled cover, price 1s. 2. A book contain- ing 48 pages of music paper (“Reporter” size), bound in marbled cover, price 6d. TONIC SOL-FA TUNING-FORKS.—These are tuned, under Mr. Curwen's direction, to the pitch (512 com- plete vibrations per second for the middle C) recommended by Sir John Herschel:—The Teacher's Fork, 1s. The Pupil’s Fork (smaller), 1s. The Ladies' Fork (smaller still), silver- plated, 2s. ; Ditto, gilt, 2s. 6d. The A. Fork, for Instrument- alists, 1s. - CONDUCTOR'S BATONS.–Plain, price 2s. In darker woods, price 3s. 6d. and 5s. Silver-mounted, with in- scription, for presentation, from 25s. upwards. Apply for fuller particulars. TONIC SOL-FA METRONOME, Is. (1}d.) CLOCKWORK METRONOME, mahogany, 16s.; or with bell, 24s. Rosewood, 17s. ; or with bell, 25s. CHROMATIC PITCH-PIPE, EARDLEY's. Sounds all the tones of the chromatic scale. Price 5s. (2d.) GREAVES' PATENT PORTABLE METRONOMIES. Brass, 5s. ; German silver, 6s. ; Electro-plated, 8s. ; Gilt, 10s. STORIES with SONG, for Sunday Schools. Compiled, adapted, and written by T. K. LONGBoTTOM, JBible Series. JOSEPEI. DANIEL. IDAVID. ISRAEL. SAMUEL. MOSES. ST. PAUL. ELIJAEI. TELE DESIRE OF ALL NATIONS. TEIE GREAT TEACETER. TEIE.WORLD'S REDEEMER. Ełistorical Series. LUTEDER. JOBIN ENOX ALFRED THE GREAT. ROBERT THE BRUCf. In Sol-fa, 3d. ; the whole of the Series, except “Alfred,” and ‘Bruce,” may also be had in Staff Notation, 3d. The wonds only, for the audience, 1d. each, or 25 for 1S. 3'hese Services are being sung in all parts of the country to large audiences The '61 Advanced Course, 4d. (1d. for 3), 4 OA. TALOG UE OF DIR. GUR WEN’S PUBLICATIONS. MODERN PART-SONGS. IN THE TONIC SOL-FA NOTATION. Vol. I (Nos. 1 to 24), Vol. II (Nos. 25 to 48), Vol. III (Nos. 49 to 72), and Vol. IV (Nos. 73 to 96), - in cloth, 3s. each. The Numbers, 1}d. each. T VOL. I. No. 1.-Sullivan's O hush thee, my babie – Barnby's Phoebus shines in splendour. No. 2.-S. Reay's Dawn of day—Sul- livan's Joy to the victors. No. 3.--Eſenry Smart’s EIow sweet is summer—Henry Smart's Good night thou glorious sun. No. 4.—Ciro Pinsuti’s A spring song —J. L. Hatton’s When evening’s twilight. No. 5.—Jackson’s valse, O the flowery month of June—Walter Macfarren’s The Warrior. No.6.—Sir Julius Benedict's Old May- day—Walter Macfarren’s Summer. No. 7.—Miss Macirone’s Sir knight, O whither away—Henry Smart's Sweet Vesper hymn. - No. 8.-G. A. Macfarren's Orpheu with his lute—Henry Smart’s The Cur- few. No. 9,-Hatton’s The belfry tower. No. 10.—Macfarren’s Three fishers— Henry Smart’s Dream, baby, dream. No. 11.—Hatton’s The Indian maid— Smart’s Ave Maria. No. 12.-Miss Stirling's All among the barley–Barnby's A wife’s song. No. 13.−W. Macfarren’s Swallow, swallow, hither wing—Henry Smart's Stars of the summer night. No. 14.—W. Macfarren’s You stole my love—Henry Smart’s Crocuses and snowdrops. No. 15.-E[enry Smart’s Behold, where laughing spring—Rimbault’s O he sweet contentment. No. 16.-Henry Smart’s Wake to the aunting—Hatton's Softly fall the shades of evening. No. 17.-Henry Smart’s Spring song (Long has been the winter) Pinsuti’s The Crusaders. No. 18.—Barnby’s Sweet and low— Hatton’s Stars of the summer night. No. 19.-Hatton’s Jack Frost—W. Macfarren's Gradle song. No. 20.--Hénry Smart's The sea king —Arthur Sullivan's Echoes. No. 21.-E[enry Smart's Hunting song (Waken, lords and ladies gay). No. 22.-Calkin’s The chivalry of labour. No. 23.-J. L. Hatton's April showers —Henry Smart’s Now May is here. No. 24.—Franceso Berger's Night, 2Ovely night—Eſatton's England. vol. II. VOL. III. No. 25.-Henry Smart's Sabbath bells G. A. Macfarren’s County Guy. No.26.-Henry Leslie's Awake, awake the flowers unfold, and The pilgrims. No. 27.-B Congreve's The fisherman —F. A. Jarvis's Roses of the sea. No. 28.—J. L. Hatton’s Wandering Minstrels—Westlake's They whom we loved on earth. No. 29.—EIatton’s Zephyrs soft their fragrance— C. Gardiner's Go lovely TOSé. No. 30. — Eſatton’s Ballad of the weaver—W. Maynard’s Violet. No. 31.-G. W. Martin’s All hail : thou queen of night. - No. 32 —Henry Smart's The shep- herd's farewell—C, Gardiner’s Still the angel stars. No. 33.—Westbrook’s Fall on us, O Night—Macirone's Old Daddy Longlegs. No. 34.—Pinsuti's Think of me— Coward's Take thy banner. No. 35.-Martin's Haste, ye soft gales —Alice M. Smith’s Rock them. No. 36.-E[atton's Ripe Strawberries R. Prentice's A matin song. No. 37.-Martin's The hemlock tree —Miss Prescott's The Cryer. No. 38.—Hatton's Vesper bells are softly pealing—Alice M. Smith's The dream. No. 39.-Martin’s Sweet minstrel of the woods. No. 40.-E[atton’s Of a the airts the wind can blaw—Maynard’s Lo, the peaceful shades. No. 41.-Mrs. Bartholomew's The lark now leaves—Berger's Summer rain. No. 42.-F. Leslie's The merry spring- time—Martin’s The merry month of June. No. 43. — Thomas’s The Corsair's home—Hatton’s Ah could I with fancy stray. No. 44.—Eſile's Spring (Hark, how the birds.) No.45.—Hatton's Ever true—Berger's Rock me to sleep. No. 46.-Randegger's Joyous life. No 47.-M. Dowling's O the merry - May–Cumming's Golden slumbers— Westbrook's The glad New Year is coming. - No. 48.-Martin's The evening hour —J. G. Callcott's Resignation—Bur- rington’s The hour of prayer. No. 49.-Sullivan's Hymn of the homeland–Smart's Old Church Song. No. 50.—Hatton's Shepherd’s Sāb- bath day—Smart's Cold Autumn wind. No. 51. Smart’s Look in mine eyes— Westlake’s Arise, my love. - No. 52.-Macfarren's Zephyr taking thy repose—Reay's Wake love, day is breaking. No. 53.3Sullivan's Ising the birth— Hatton's We are waiting by the river. No. 54.—Hamilton Clarke's Love you for beauty ?—G. W. Martin's The memory of the past. No. 55.—Hatton's Goodnight beloved —Reay's See the rivers flowing. No. 56. – Reay's. The pilgrims — Smart's We are waiting by the river. No. 57.--Smart's The skies are blue— Whitaker's Sitting 'neath the hawthorn. No. 58. – Reay's O springtime — Barnby's The wind. No. 59. – Reay's Ye little birds– Smart's Sweet lady mine. No. 60.-E[iller's Sabbath bells—Hat- ton’s Now the grass with dew is wet. No. 61,–Hatton’s In vain you tell— Fowles' Come fairy elves. No. 62.-G. W. Martin's The evening star—Hatton's Fairy whispers. No. 63.—Hatton’s In summer time— Mori’s Welcome, heavenly peace. No. 64.—G. W. Martin’s The farewell —Henry Smart’s Autumn song. No. 65.-Hatton’s Arise, my love— W. S. Smith's Corne, let's be gay. No. 66.--Smart's O come unto the Woods—G. B. Allen’s Morning song. No. 67.—Hatton’s The stars are with the voyager—Sterndale Bennett's Of all the arts—Smart's Days of darkness. No. 68.—Berger’s Echoes—Bianchi Taylor's The minstrels. No. 69.—EIatton's Raising the May- ºs-Cummingº On a day, alack the ay. No. 70.—Sullivan’s Lead, kindly light —Smart’s Father,We are weary-hearted Tilleard’s See, the leaves around us fall- ling. No. 71. — Martin’s Busy, curious, thirsty fly—Hatton’s Welcome, day of joy and gladness–Smart's Pale autumn flowers. - No. 72.-Martin’s Sweet day so cool— Hatton’s EIie thee to the forest—Reay's The joys of spring. - OATALOGUE OF ME. OUR FVENPS PUBLICATIONS. 5 VOL. IV. No. 73.-Eaton Fåning's Song of the Vikings. - No. 74.—Pinsuti’s The sea hath its pearls—Henry Smart’s Byegone days. No. 75. —Pinsuti's In this hour of softened splendour — J. L. Hatton’s The primrose. No. 76. — Sir Sterndale Bennett’s 'Come, live with me — Benry Smart’s The day hath spun its busy round. No. 77. — Arthur Sullivan’s Say, watchman, what of the night — S. IReay's Fly night away. No. 78.—G. B. Allen’s Slumber song —S. Reay's Wedding bells. No. 79. — Oliveria, Prescott's Ballad of young John and his true sweetheart —Hatton’s Sweet lady-bird awake. No. 80.—Gadsby's Summer winds— Hatton's Driving before the gale. No. 81.-Frederick Clay's The Rose — Smart's My love I see in all the flowers. No. 82–M. H. Bell's Song of the Zetland fishermen. No. 83. — Smart's Pipe, red-lip’d autumn—EIatton’s Ye merry birds. No. 84. — Soderman’s Peasant wed- ding march–Eſatton's May morning. No. 85,--Smart's Softly come, thou evening gale–Smart's Twilight. No. 86.—Marcellus Higgs' Queen of #ance — H. Smart’s The Curfew €ll. No. 87.-E[atton’s Outward hound— Limpus's O stranger, lend thy gentle bark. No. 88. — S. Reay's In an arbour green — Smart’s Bring the fairest flowers. * No. 89. — EI. Parker's Who knows No. 90. – EIatton’s The stars in beauty beam—Cellier's Wake, then, O darling—Smart’s Spring's advancing. No. 91. – Professor Macfarren’s Eſome and friends—EIatton’s O well I ove the Spring. No. 92.--Smart's Say in that land of beauty—Smart's Forget not the dead —C. A. Barry’s God of Israel. No. 93.-W. EI. Harper's Hunter's Chorus—Smart’s For love’s sweet sake — W. F. Taylor’s The wandering Savoyards. No. 94.—Smart's What care I, an’ if all the world—G. B. Allen’s Evening song—Hatton’s Peace (Come peace of mind). - No. 95. – Henry Parker’s Peace to the hero’s sleep – ETamilton Clarke's Gently blows the Western gale—EI. A. Rudall’s Daybreak. No. 96. — Schumann’s Gipsy life — night. *— †- WELSH TONIC SOL-FA PUBLICATIONS, (For further particulars consult the Welsh Catalogue.) Y GYPFEs SAFONoL (Welsh translation of the new “Standard Course,”) by Mr. E. RoberTs, Liverpool. Price 3s.6d. Y MoDULATop TEULUAIDD. Price #d. PA Food I sylwi AR GYNGHANEDD. Price 2s. Y Gyfrits ELFENOL, the Elementary Sacred Course in Welsh, translated by Mr. E. RobH.RTs, Tiverpool, 6d. ANTHEMAU CYNULLEIDFOAL, No. 1 to 6, 2d. each. ANTIEMAU CyNULLEIDFoal, Parts I and II, 6d. each. The first, second, and third numbers of WELSH AIRS, the words by Ceiriog Hughes, the harmonies by R. E. Jonês, 1d. each. CERDDoRIAETII CURWEN, Nos. 1 to 18, 1d. each, containing favourite music from the “Tonic Sol-fa Reporter.” CERDDoRIAETH CURWEN, Parts I to III, 6d, each. MANUALs for Teachers & Students. Studies in Mental Effects....................................... 3d. Minor Mode Phrases ............................................. §d. Hints for Ear Exercises........................................., 3d. Modulator Voluntaries ...................................... ... 2d. Elementary Rhythms............................................. #d. Intermediate Rhythms .......................................... £d. Advanced Rhythms................................................ 1d. Elementary Transitions.......................................... #d. Intermediate Traisitions ....................................... 1d. Advanced Transitions .......................................... 1d. Specimens of Sight Tests....................................... 2d. Chromatic Phrases ................................................ #d. Harmony Ear Exercises........................................ ... 4d. Intermediate Staff Notation Exercises .................. 1d. Advanced Staff Notation Exercises ........................ 1d. Bymn-tunes and Hymns, for studying expression ... 6d. THE CHORAL HAND-BOOK. Popular choruses, Sacred and Secular, in the Staff Notation. , 13 numbers now ready. Price 1; d., or 3d., according to size. List on application. what the bells say?—S. Reay's Good Smart's The northern star. TRIOS FOR EQUAL WOICES. A collection of pieces for S.S.C., suitable for advanced classes in schools or for ladies colleges. In cloth, 1s., or in nine numbers, 1d. each * THE NEW ÉHILD'S OWN HYMNBOOK, ED ITED BY JOHN CUR WEN. The Hymn Book, containing 160 Hymns, price { . : Or in cloth, 2d.; Large Type Edition, 6d. y TEIE NEW - ÉHILD'S OWN TUNE BOOK, Staff Notation, in cloth, 1s. ; Tonic Sol-fa, in cloth, 1s. ; Paper, 6d - In Three Volumes, cloth, extra gilt, price, 3s, each. STANDARD SONGS. A Collection of Popular Melodies IN THE TONIC SOL-FA. NOTATION. Vol. I contains Two Hundred and Sixty-two Songs. Vol. II contains Two Hundred and Forty-three Songs. Vol. III contains Two Hundred and Eighty-seven Songs and Duets. The work may also be had in Eighteen Parts, Sixpence each. [3° Full list of contents and specimen page on application. OATALOGUE OF JIR. CURRVEN’S PUBLICATIONS. C O N G REGATIONAL ANT H E M S. EDITED BY JOHN CURWEN. A DOPTED BY SEVERAL FIUND RED CONGREGA TIONS AND CHOIRS. Please to specify whether you require Staff Notation or Tonic Sol-fa editions. - PRICES:—First Series (Nos. 1 to 12), in cloth, 2s. 6d., containing one hundred anthems. Second Series (Nos. 13 to 24), in cloth, 2s. 6d., containing eighty-seven anthems. The numbers separately, 2d. each. Parts, containing 3 numbers each, in paper covers, 6d. Words of First Series, large type, 2d. Words of Second Series, large type, 2d. CONTIENTS. No. 1.-Mason's Prayfortherſeace of Jerusalem—Chapple's EIoliness becometh thine house—Kent's Sing, O heavens— Mason’s Now unto him that is able—Mason’s Benediction— Stanley's The Lord is merciful—Callcott's I was glad when they said unto me—Cecil’s I will arise–Camidge's Sanctus— Moreton’s Come unto me—Kent's Thine, O Lord—R. A. Smith’s Lord, bless us still. No. 2.-Mason’s Our soul waiteth for the Lord—EIayes's I will magnify thee—Hogarth’s Now unto the King—Mason’s The earth is the Lord’s—Bradbury's I will extol thee— Hogarth’s O praise the Lord—Greene's O Lord my God— Weldon’s O praise God in his holiness—Gibbons's Sanctus. No. 3.-Jackson's Te Deum (for four voices)—Macfarren’s Hear me when I call—Silcher's Glory to God on high—Tye's Come, let us join–Farrant's Lord, for thy tendër—R. A. Smith's How beautiful upon the-Hayes's Gloria. Patri. No. 4.—Congreve's I will greatly rejoice—Great is the Lord–Bradbury's He that goeth forth—Root's O love the Lord—Root's O praise the Lord—Boyce's Blessing and glory—Tenney’s As the hart panteth. No. 5.—Croft's He loveth righteousness —Clarke Whit- feld’s Enter not into judgment—Merz's It is a good thing to give thanks—Greene's Glory and worship— Woodbury’s How beautiful upon the mountains—Bradbury’s God will arise and have mercy—Cimaroso’s Glory to God in the highest. No. 6. —Crotch's Comfort the soul of thy servant—Root's Bless the Lord–French’s Praise ye the Lord—Seward’s ‘Praise him — Kriessmann’s Sing, O heavens—Bradbury’s Blessed are the people—Root's Cast thy burden on the Lord Thou wilt shew me—Mason’s Blessed be the Lord. No. 7.-Tenney's Sacred peace, celestial treasure—Mur- ray's Thou wilt keep him—Seward’s O love the Lord— Roster's Come unto me—EIodges's Sing unto God—Tenney’s Glory be to God—Tucker’s Rest in the Lord—Tenney's I will extol thee–Lowry’s Glory, honour, praise. No. 8.-Cook's Cry out and shout—Abbey's Sing, O hea- vens—Tenney’s Salvation belongeth—Tenney’s We will rejoice--ELodges's I will praise thee—Lowry's I was glad— Tenney’s How amiable—Tenney’s Deal gently, O my Father Tenney's Remember now. No. 9.-Bliss's All they who in the Lord confide—Mason’s Cry out and shout–Harding's Let all those that put their trust—Tenney’s Holiness becometh thine house—Tenney's When, as returns this solemn day—Seward’s If I regard iniquity—Main’s Bow down thine ear—Abbey's God of Israel–Bradbury's Cast thy burden. - No. 10.-Tenney’s 'Tis night on the silent mountains— Bliss's cry out and shout—Bradbury’s Bless the Lord— Cook’s Not unto us—Sherwin’s Praise ye the Lord—Wood- bury’s I have set watchmen—Eastings's Holiness becometh. No. 11.-Seward's Sing ye Jehovah’s praises — Lowry's Give unto the Lord — Tenney's Thou wilt keep him — Towry’s O that I had wings — Tenney's Hear my cry— Bradbury’s Exalt him—Hodge's I heard a voice. No. 12.--Towne’s Teach me, O Lord—Bradbury's Wel- come, sweet day of rest—Sherwin's The Lord reigneth— Cook's Now let the gates—Seward’s With thankfulness— Hodgé's Awake, put on thy strength—Main’s Pray for the peace-Tenney's Throughly wash me. No. 13.−Courtnay’s Hark the notes—Smith’s Praise ye the Lord—EIarper's EIow they so softly rest—Horner's O come, let us–Mason’s The Lord is in his holy temple— IPerkins' Sing unto the Lord. No. 14–Robert's O come, let us sing – Tenney's Holy Iord God—Perkins' Thou wilt keep him — Open ye the gates — Seward’s God is our refuge — Smith's The Lord reigneth—Tenney’s Blessed are the dead—Emerson's How lovely is Zion. . No. 15.-Tenney's The Lord is my portion—Blessed are the dead — Perkins' Arise, shine–Hewitt's O praise the Lord — Perkins' Happy and blest — Doane's Shout, all ye lands—Tenney’s They that trust in the Lord — Seward’s Why art thou cast down–Doane's The Master hath need. No. 16.-Clarke's Daughter of Zion—Lowry’s Lead me to the rock—Seward’s Salvation belongeth unto the Lord— Seward’s Come unto me—Rink's Honour and glory—Brad- bury's Thou art my hiding-place. No. 17.-Vogler's Holy is the Lord our God—Tenney’s The path of the just — Webb’s How beautiful upon the mountains — R. A. Smith’s Holy, holy Lord — Cook’s Bosanna— R. A. Smith’s Hallelujah, praise the Lord- Clarke-Whitfeld’s I will lift up mine eyes—Stadler's Praise ye the Lord—EIimmell’s Bow down thine ear. No. 18.-Clarke's My song shall be—Wilson’s Save us, O Lord—Naomi's Glory be to God—Dr. L. Mason’s I love them that love me – Tenney’s EIeavenly Father—R. A. Smith’s Make a joyful noise—Main’s O Father, hear us— Cook's Let every heart rejoice—Sanctus, from Mozart. No. 19.-G. B. Allen's Praise the Lord–Father, We thank thee–Tenney’s Awake, put on thy strength—Thomas’ O sing unto the Lord — Tenney’s Grant, we beseech thee— Bradbury’s Awake, put on thy strength. No. 20.-G. B. Allen’s The Lord is King—Kriessmann’s O love the Lord–Bradbury’s I waited patiently for the Lord— Dhomas' It is a good thing—Hastings' Blessed are they that dwell—Naumann’s Sons of Zion, come before him—Cook’s Cast thy burden on the Lord. No. 21. — Cook’s EIow beautiful upon the mountains— Thomas' God, be merciful—Seward’s Although the fig-tree —Müller's All ye nations, praise the Lord-Bradbury's Come unto me—Lowry's Blessed is he that considereth- Warren’s He that hath pity upon the poor. - No. 22. –S. P. Warren's I will give thanks—H. P. Danks' The Lord is in His holy temple—T. J. Cook's Not unto us- Nathan Barker's Praise ye the Lord Seward's He was des- pised—Seward’s The path of the just—Marshall's O praise God in EIis holiness—Tanner's Awake, put on Thy strength —Wesley Martin’s EIear our prayer. No. 23.−Awake, put on Thy strength—Butterfield's God be merciful—Stillman’s How beautiful upon the mountains —I will love Thee, O Lord—Stillman’s I will extol Thee. No. 24.—T. J. Cook's Blessed are the people—Sewards’ Thou wilt keep him—Haydn's Hear my prayer, O Lord- Zingarelli's Hide not Thou Thy face–Perkin's The Lord is my strength—C. W. Green’s Praise the Lord. London : TONIC SOL-FA AGENCY, 8, Warwick Lane, E.G. OATALOG UE OF DIR. GUR WEN’S PUBLICATIONS. • 7 MR. CURWEN'S LATEST WORK. USICAL THEORY, by Jon N CURWEN. Book I, “The Common Scale and Time,” 4d. Book II, “The Minor Mode and Transition,” 4d. Book III, “Musical Form,” 1s. 4d. Book IV, “IExpression,” 4d. Book V, “Harmony” (In the press). HE COMMON PLACES OF MUSIC, 'A STUDENT'S HANDBOOK, by JoHN CURWEN. The following portions of the Work are now published:– Part A., Musical Statics: an attempt to show the bearing of the recent discoveries in Acoustics on Chords, Discords, Tran- sitions, Modulations, and Tuning, as used by Modern Musi- cians, price 4s. 6d. - • * - Part B, Construction Exercises in Elementary Composition, price 1s. 6d. * Part C, Ditto, continued, 2s. |Part D, Ditto, continued, 1s. 6d. - Part F, Text Book of Eſarmony and Musical Form, 2s. Part G, ditto, continued, 6s. 6d. Part H, ditto, Čontinued, 2s. Part K, Histórical Specimens, showing the Development of Musical Composition, 5s. 4d. Part L, Ditto, continued, 6s. Part M, Ditto, continued, 4s. PºW PART MUSIC IN THE STAFF NOTATION. Containing Anthems and Part-songs by living composers:—Dr. G. A. Macfarren, Mr. Henry Smart Mr. Lahee, &c. Thirty-two numbers are published, pric 1}d., 3d., 4%d., or 6d., according to the number of pages. Contents on application. EIE TEACEIER'S MANUAL OF THE TONIC SOL-FA METHOD, by John CURWEN. taining Model Lessons, and chapters on the Art of Teaching, 400 pages, price 5s. - âlat; it for ſugf f w * .AM y M ,\ , ** -- Štútáit for Šuštratuteuf;. The Harmony-player. price 1s. 6d. The Harmonium Companion, First Part, price 1s. Second Part, price 1s. Third Part, price 1s. 3 y 5 * Fourth Part price 1s. The E[armonium and Organ Book, price 2s. 6d. sº . Harmonium. Accompaniment, Nos. 1 to 7, price 3d. each. Harmonium Music, Nos. 1 to 5, price 3d. each. The First Pianoforte Book, price 2s. 6d. Songs with Pianoforte Accompaniment, Nos. 1 to 5, price 3d. each. Bianoforte Music, Nos. 1 to 4, price 3d, each. 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No. 7.-Hatton's Let us now go even unto Bethlehem— Barnby's Thy mercy, O Lord, reacheth unto the heavens. No. 8.-J. L. Hatton’s Te Deum and responses in E flat. No. 9.—J. L. Hatton’s Jubilate and Nicene Creed in IE flat. No. 10.-J. L. Hatton's Magnificat and Nunc Dimittis in E flat (completing the service.) No. 11.-Henry Smart's Nunc Dimittis in G–EIatton’s anthem, Pastor Holy. - No. 12.—W. Macfarren's Praiseye the Lord—Henry Smart’s Jubilate in G. No. 13.-W. EI. Birch’s Te Deum in G. No. 14.—W. EI. Birch’s Magnificat and Nunc Dimittis in G. No. 15.-W. EI. Birch’s Jubilate Deo and Deus Misereatur in G.-Tilleard's Though Nature’s strength decay. . No. 16.-W. H. Birch's Cantate Domino and Jubilate Deo in A. º No. 17.—W. H. Birch's Te Deum Laudamus in A. No. 18.-J. L. Hatton's The Lord waked as one out of sleep —Tilleard's Church bells softly pealing. No. 19.—J. L. Hatton’s In the beginning was the Word—-J. Barnby’s Let thy merciful kindness, O Lord. f à 20.-Randegger's Praise the Lord—Tilleard's Lost and OUlDCI. No. 21.-W. H. Birch's Ponder my words, O Lord— Tilleard’s Star of Morn and Even. No. 22.-Thomas Scarisbrick's Sing and rejoice. No. 23.-W. H. Birch's. If ye then be risen with Christ—G. W. Martin’s Teach me, O Lord. No. 24.—J. Waughan's O Lord, our Governour—G. W. Martin's O sing unto God. Vol. I., in cloth, 3s. *** Cheap O.N editions, with accompaniment, may be had. CHURCH MUSIC, THE SABBA'ſ EI HYMN & TUNE BOOK,In various editions. Prices on application. THE PEOPLE'S SERVICE OF SONG, in various editions, Brices on application. BIBLE CHANTS, 2d., in either notation. CBORAL SERVICE OF WESTMINSTER, Sol-fa, td. CEIANTS, RESPONSES, &c., both notations, 2d. TALLIS’ RESPONSES, Sol-fa, id: BIBLE CIASS EIYMN BOOK, 6d. PATRIOTIC SONGs FoR SCHOOLs. and bass, Sold separately, 6d, each. IN WIRAPPER THREEPENCE. CATALOG UE OF IMR. CURWEN’S PUBLIOATIONS. MISCELLANEOUS. 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