.^ ^y^ ^. ^ IMAGE EVALUATrON TEST TARGET {MT-3) fe ^/ /A 4 /. K, V. 1.0 ^1^ I 123 I.I 2.2 IL25 i 1.4 1.6 V] ^> Hiotographic Sciences Corporation 23 WEST »-.Mi ^ STRKT WEBSTER, N.Y. MSSO (716) •72-4503 a>^ '^ V 4, ». o^ i/j CIHM/ICMH Microfiche Series. CIHM/ICMH Collection de microfiches. Canadian Institute for Historical Microreproductions / Institut Canadian de microreproductions historiques Technical and Bibliographic Notes/Notes techniques et biblicgraphiques The Institute has attempted to obtain the best original copy available for filming. Features of this copy which may be bibliographically unique, which may alter any of the images in the reproduction, or which may significantly change the usual method of filming, are checked below. n D D □ □ Coloured covers/ Couverture de couleur I I Covers damaged/ Couverture endommagee Covers restored and/or laminated/ Couverture restaur^e et/ou pellicul^e I I Cover title missing/ D Le titre de couverture manque I I Coloured maps/ Cartes g6ographiques en couleur Coloured ink (i.e. other than blue or black)/ Encre de couleur (i.e. autre que bleue ou noire) I I Coloured plates and/or illustrations/ Planches et/ou illustrations en couleur Bound with other material/ Reli6 avec d'autres documents Tight binding may cause shadows or distortion along interior margin/ La reliure serree peut causer de I'ombre ou de la distortion le long de la marge intdrieure Blank leaves added during restoration may appear within the text. Whenever possible, these have been omitted from filming/ II se peut que certaines pages blanches ajoutdes lors dune restauration apparaissent dans le texte, mais, lorsque cela dtait possible, ces pages n'ont pas 6t6 filmdes. Additional comments:/ Commentaires suppldmentaires; L'Institut a microfilm^ le meilleur jxemplaire qu'il lui a dt6 possible de se procurer. Les details de cet exemplaire qui sont peut-dtrs uniques du point de vue bibliographique, qui peuvent modifier une image reproduite, ou qui peuvent exiger une modification dans la mdthode normale de filmage sont indiqu6s ci-dessous. I I Coloured pages/ D D Pages de couleur Pages damaged/ Pages endommagdes Pages restored and/oi Pages restaur^es et/ou pellicul6es Pages discoloured, stained or foxe( Pages ddcolordes, tachet^es ou piqu^es Pages detached/ Pages d6tach6es Showthrough/ Transparence Quality of prir Quality indgale de I'impression Includes supplementary material/ Comprend du materiel supplementaire Only edition available/ Seule Edition disponible I I Pages damaged/ I I Pages restored and/or laminated/ r~2 Pages discoloured, stained or foxed/ I I Pages detached/ rV] Showthrough/ I I Quality of print varies/ Pages wholly or partially obscured by errata slips, tissues, etc., have been refilmed to ensure the best possible image/ Les pages totalement ou partiellement obscurcies par un feuiilet d'errata, une pelure, etc., ont 6t6 'ilmdes d nouveau de fapon d obtenir la meilleure image possible. This item is filmed at the reduction ratio checked below/ Ce document est film4 au taux de reduction indiquA ci-dessous. 10X 14X 18X 22X J 12X 16X 20X 26X 30X 24X 28X U 32X The copy fiimed h«r« hat ba«n reproduced thanks to the generosity of: University of British Columbia Library L'exemplaire filmA fut reproduit grAce A la gAnArosit* de: University of British Columbia Library The images appearing here are the best quality possible considering the condition and legibility of the original copy and in Iteeping with the filming contract specifications. Les images suivantes ont At6 reproduites avec le plus grand soin, compte tenu de la condition et de la nettetA de Texemplaire film*, et en conformity avec les conditions du contrat de filmage. Original copies in printed paper covers are filmed beginning with the front cover and ending on the last page with a printed or illustrated impres- sion, or the back cover when appropriate. All other original copies are filmed beginning on the first page with a printed or illustrated impres- sion, and ending on the last page with a printed or illustrated impression. Les exemplaires originaux dont la couverture en papier est imprimie sont filmte en commen^ant par le premier plat et en terminant soit par la derniire page qui comporte une empreinte d'impression ou d'lllustration, soit par le second plat, selon le cas. Tous les autres exemplaires ori(iinaux sont fiimis en commenqant par la pr'jmiAre page qui comporte une empreinte d'impression ou d'illustration et en terminant par la dernidre page qui comporte une telle empreinte. The last recorded frame on each microfiche shall contain the symbol — »> (meaning "CON- TINUED "), or the symbol y (meaning "END "/, whichever applies. Un des symboles suivants apparaitra sur la derniire image de cheque microfiche, selon ie cas: le symbols -^ signifie "A SUIVRE", le symbols V signifie "FSN". (Maps, plates, charts, etc., may be filmed at different reduction ratios. Those too large to be entirely included in one exposure are filmed beginning in the upper left hand corner, left to right and top to bottom, as many frames as required. The following diagrams illustrate the method: Les cartes, planches, tableaux, etc., peuvent dtre fiimts d des taux de reduction diff6rents. Lorsque le document est trop grand pour 4tre reproduit en un seul clich6, 11 est fiimA A partir de i'angle sup^rieur gauche, de gauche A droite, et de haut en bas, en prenant le nombre d'images nicessaire. Les diagrammes suivants illustrent la mdthode. 1 2 3 1 2 3 4 5 6 f^jfftmumwmm- . 'mm-^ ^■"■WWVW^WBWWWtfWW!?**" '^•""^'•^BPPPWP* THE LIBRARY THL UNIVI:KSH Y OF BRITISH COLUMBIA Cjift oj Oni'so/i /[. Ulliott ^fk^JltL^' THE \ \ \/ tiiiiiiiiiiiHmiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii:iiiiiiiiiiiiiiiiiiiiiiiiiiimiiii:iiiiiiini»iMiMiiiiiiiiiiuiii "^^^jT Y .Jt^. :fi-t>: BY JOHN W. TUFTS AND H. E. HOLT. .; ADAPTED FOR USE IN CANADIAN SCHOOLS — BY — ^V, ■^a S. H. PRESTOR TORONTO : CANADA PUBLISHING COMPANY (limited). 1885. Entered according to Act of the rarliament of Canada, in the year 1883, by S. H. Preston, in the Office of the Minister of Agriculture. ,-irt*fti *-. M> PREFACE. «<•«• The Manual of Instructions to teachers, accompanying the Public School Music Reader, has been specially prepared to meet the require- ments of the teachers in Canadian schools. In many of our schools music has not been taught av all ; in some, the theory only has been studied, in preparation for examinations ; in others, rote-singing has been practised for the purpose of adding to }>r()- grammes of closing exercises. No systematic instruction has been attempted. It is hoped that with the use of the books of this course the teachers will be enabled to place music, with its widespread refining influence, in its proper position as one of the most useful and interesting subjects of the public school course. This can only be done by careful and systematic teaching. It must not be treated as a storehouse of puzzling facts, or picked up and thrown aside as a child's toy. It is the aim to present here a carefully graded series of exercises and songs, and such clear directions to teachers that it v/ill be in the [)ower of every teacher, with a little study, to successfully teach the subject. Very little executive ability as a singer is required. In teaching the Rote-songs, one must be able to give an accurate rendering of each for imij^tion. Should this be beyond the power of anyone, by reason of possessing a poor voice, or not having had sufficient practice, the difii- culty may be easily overcome by exchanging places temporarily with another teacher. Apart from Rote-singing, any teacher who can sing the major scale correctly is competent to direct pupils as herein suggested. Toronto, January, 1885, S. H. PRESTON *'?*'*'l^^' PRELlMmARY TRAIXTNG. It is HO oufty to fall into scrioua errors in the use of the vociil organs that groat care should be exer- cised by tile teacher in the tiegiuning, that pupils are taught to tting nutnriiUy. The natural way is the easiest, and an entire absence of etl'urt should be insisted upon. Ah the air expelled from the lungs forms the motive power of vocal sound, llie first step to easy and natural singing is to gain control of the breath. To accomplish this some time should be spent in breathing exercises before the pupils arc allowed to sing. ^ Besides being of the utmost importance in stng> ing and speaking, the proper management of the breath will expand the chest, strengthen the lungs, and cxer ; e a beneficial iufiuencc on the system generally. The following exercises muut be practised first by the teacher, not only for illustration to the class, but that the practical application and benefit arising therefrom may be more thoroughly understood. BREATHIXG EXERCIHES. I. Stand upright, place hands over abdomen, palms turned inwav'., thumbs resting on hips; with the mouth in a whistling position, slowly and audibly expel the breath through the mouth, pressing abdo- men inward with hands. Without change of position, slowly and audibly inhale tlirough the mouth, press- ing hands outward with abdomen till lungs are filled. II. Place hands at the back, thumbs resting on hips. Expel, pressing with hands. Inhale, pressing hands outwards. At the same time exert will to move abdomen as in Xo. T. HI. Place hands high up under llie arms, palms flat against ribs. Expel, drawing abdomen in first, then pressing ribs in with hands. Inhale, moving abdomen out first, then pressing iiands out with ribs as lungs are filled. After control of the abdominal muscles is gained by practice of Exercises 1. and IT., but not before, No. III. may be practised. Th* n expel and inhale through the nontrils oultfun a regular daily exercise. 'JVaciu-rs will find It very easy to gain enough proficiency to enable them to direct their pupils. C'liildren will be mu«o interested in a well-conducted breathing lesson, and feel invigorated when ilisov^r. It will be found desirable to divide the class into sections; and, while one section is being drilled, liave he rest of the class count slowly, beginning with six while expelling breath, and nine while inhaling, in- creasing the number of counts as the ability increases to exjtel and inhale slowly. Five minutes is lom; eiujugh to drill each section at a time. A few min- utes spent in tlds way each day will be sullicieut to form good habits of breathing. The next point to be considered is the APPLK'ATIO.V TO VOC.M. SOl'ND. Let the teacher sing the scale very softly with the vowel (), tlius : :.± Drawing attention to the soft tone and round position of the mouth, repeat. Ask class to listen very care- fidly, so that ihey may imitate, and sing i^gain. .\sk class to hing Insist on a soft, clear tone, and easy utterance. Xext, practise the scale downwards in the same way, tlnis: vd ■is^ -J— 4- Then upwards, dwelling on the highest note, and down without taking breath. Use also the vowel a, as in the words far and /all. In o observe a round position of the mouth. In a the mouth should be well opened. Ilumndiig with mouth closed (m) should be prac- tised at the same time. liCt the vibration centre in (V) VI PRELIMINARY TltAlNlNU. the nasal pasBages, and make the Botind appar<>ntly In the noae — not in the throat. TIiIb will not only help lo «xtend the compatts of the voice, hut give reaonance and clearneBti to the tone. It will be found that the children can hum higher than they can sing. Begin scale practice with the pitch C ^ ^ as one of the scale; next take C sharp, then D, raising the pitch by semi-tones till the limit of sounds is reached which can be easily sung. As high sounds are added, precede the singing with vowels by humming. A better tone will then be produced than otherwise. The teacher may now sing the different sounds of the scale by the syllables. Do, Re, Mi, Fa, Sol, La, SI, Do, one at a time, giving each the proper relative pitch, and requiring the class to imitate, making the tone soft and articulating distinctly. It will be comparatively easy to induce the chil- dren to sing softly, but to teuch them to sing dis- tinctly will be quite another matter. The last will require the accurate and proper movements of the language-making organs, brought into action in a clear enunciation. Any process by which the teacher can incite the little children to speak with clear and distinct utter- ance will be of great value. Give them the idea that they should sing with their mouths. ThiB will direct their attention to the lang.iage-raaking movements, which is the artificial process in singing. The sounding or voice action is a natural process, and will take care of itself, if the language move- ments are properly managed, and the pupils are not permitted to sing loudly. Home teachers have produced excellent results in their classes by giving what might be called exer- cises in visible speech. The following may serve as a suggestion of the manner : — The teacher, standing before her class, requires all the children to carefully watch her mouth while she makes the motions and shapes necessary in forming the syllables, Do, lie, Mi, Fa, Sol, La, and Si, no sound being produced. Let her see how many of her class can tell from the motions what eyllable she has made. If she Bhould fail in making any of the children underatand what ehe has done, she may be pretty Bure that her illustrationH were not poHiiive enough, and that further practice on her pari ix neceHna,'y. When the children can correctly renilcr by Hpeakiiig what she intends to convey, she may rc;|iiire of tliein similar exercises for her judguu'iii, >he can t»{encrally found to lie nearly or quite an troiiblcnoiiic a^ tliofc in " tune," and pursiiini^ a train of r<'aMvnlni,' and practice with reference to the former as alrcadv applied to the lat- ter, it Ih believed a rcsull ciiii be allaiiicd as ccrlaiii and beneficial in its results. It is proved beyond doubt that relative sounds are quickly and dellnitely cstablishiMl in the miiuN of the youngest singerK, and it is eciualiy certain tliat questions of time may as (|uickly be learnetl and ox- plained without laborint; in the usual vatfiie way over units (whole notes) and their fractional parts, many of such probleinij beinn far lieyond the comprehen- sion of young children. It is the experience of Uioughtful teacheiH tliat. in a lari;e majority of cases, the singers have learned to " slnir in time." by imita- tion, rather than by an intclli«enl comprehension of tlie subject. Even with u fully developed imitative faculty, it is a very common thing to fuid older and, in other directions, experienced sintsers who have long strug- gled and who still labor, in vain, to even satisfy themselves in the ordinary subdivisions of the meas- ure, tQ say nothing of greater intricacies. Any means that can be useci to confiri . and insure tlie question of accents and fractional combinations must be enlisted, as in no way can we gain musical effects without a positive and |)ractical knowledge of its two greatest elements, Tune and Time. To asiiirtt in the last (Time) tJie French " I.angue des Muives," or Language of Time, invented by M. .Mine I'aris in 1S21), aHanadditi.m to the Oalin-l'aris- Clieve, or French Xit\ia system, has been introduced with siighl changes. 'I'luse 'I'ime-nameH were Intro- diiceil by .Mr. I>. W. Mason in his Xatloiml C'harU and Itooks, and we feel that they have not received the attention they deserved. If treated aceordin;,- to the »lireclions here given, It is believed that the dlfll- culties of " keei)liig time" will almost disappear, and that the enjoyment of music, in its rhytlmiicai and accented characteristics, will be very much en- hanced. In the ])ractical consideration of tills sul)ject, tlie first feeling to awaken in llie pupil is a conception of tlic i<'(fi(l(ir accents of the measure. This the teacher should al once proceed to do, wasting MO time in talking upon the subject, or try- iuu' to deinoiistrale the fact that "sounds may be long or short." No explanation or naming of char- acters i;sed in represei'.ing the relative length of souni's, such as whole, half, quarter, eighth notes, etc., is !it 'til necessary. At the outset this is of minor importance; it will be learned, unconsciously, as the work proceeds. When a conception of the dltTercnt accents in two, three, and four-part measure Is clearly estab- lished, the various representations of tlie one rhyth- mical idea as expressed In f, §, } measure is very quickly compreliended through practice in doing. The names of notes are not to bo considered mathematically, or to be taught and considered as fractions. C'hildron siiould become familiar with the names of those characters by talking about them In connection with their practice in music long be- fore tliey comprehend fractions. The following routine is suggested to teacliers, and will bo of practical value to those who consider this subject, ns hero presented, for the first time. The syllables tji, tfi, to, t5, etc., are arbitrary, without moaning except in their application. A slight value Is attached to the different voweiH and consonants in the variety of shape and action necessary in their use. TWO-PART MEASURE. Tet the teacher begin by repeating Ta, Til, in a very distinct manner, making the Tli strong and T& light. These names may bo accompanied by a light tap of a pencil upon a book, and should be given aa distinctly and regularly as the ticking of a clock. "Wlicn the class can give these syllables witli dl»- ■^m*y. nrtriiMJii •'#**V.'*'"- ritKMMINAKV TKAIMMJ. IX tinctiicHfi and rcKxIurity, obMorvliiH ttio accent, tlio ti'achcr Hhoiihl name cv (|uar- tcr notes." Teac'UEU. Oive me n two-part muaxuri! wjili two quarter iioteit. I'uriLs. Ta, Tft. Teacher. (Adding anotbermeatture.) IIi<(Mirft two measures of two quarter notcn. (Jivi* in<' two measures of two quarter notes. Pupils. Ta, Tfi, | Ta, Tfi. The accent must never be forgotten. In giving tbe idea of a sound, two beats long as a balf note in a two-part measure, tbe teacher will say Tii-A, omitting the T in 'I'a, and connecting tbe vowel sounds )i and u. The pupils should imitate this combination, the teacher marking the time with the jK'ncil. When this is fully learned, the teacher should name it by ndding it to the preceding written exercise, saying this is a two-part measure with a half note. Teachek. (Hve me a two-part measure with a half note. PfPiLS. Ta-a. A dictation exercise will now follow. Teacher. Tiive me a two-part measure of quar- ter notes. Pupils. Tii, Ta. TEAfiiEU. (live mc two two-part measures of quarter notes. Pupils. Tii, Ta, | Tii, IVi. Teacher, frive mc a two-part measure with a half note. Pupils. Tii-a. Teachek. Give me two tw opart nu.'surcs with half notes. Pupils. Tii-a, | Tii-a. Give me two measures with quarter notes and one measure with a half note. Pupils. Tii, Ta, | Ta, T.i, | Tii-a. The teacher must never accept these tin.u-namas as an answer, unless tbey are given at regular Inter vals and with the projier accent. Without this ob- servance tbey mean nothing and are useless. In giving; diitation exirciHcs in time, two meas ures should lie reipiired in onler to establish and sliow clearly the M'gularly-n'cuirini,' a<(ent. The teacher must be very particular thai IbeKe lime names are given softly and very dihtindly, liringiuK 'Mil tbe consonant '1' as dearly an posnible. It is not uecertHary thai the pupil nIiouIiI beat time. 'I'he pupils are gaining a coiueptii^i of regu- lar accents, and the relative length of sounds nu-as- ured by these aicenls. '•Tbe more time is beaten the less it is kept," until a clear conception of ac- cents is established. 'I'he mind makes the band move, but the band does ikH make or help the mind to act; and tbe niakiuu of a set of movements with tlie band for the dillerent forms of measure called " beating time." is not oidy uteh'ss, but a great bin derance to tbe pupils at this Ntag<' of tbe work. The accomplishment of beatint; time is only necessary for the teacher or leader. For the singers the tinu- language gives and names distinctly the relative acicnt and length of every souiui. Practical aiiplication of what lias l)i'en learned in l.ine and time separately may now be made by lie- ginning tbe study of the thft exercises where both are combined. A'lV'/v/ li'i- The pupilB answer by singing the tone. Teacher. What ih the pitcli? Pupils. C. The teacher then makes a note upon the first added line below the stoff, saying, " This is its place, on ilm first added line below the staff." TBArMiSR. Bing one, two. The pupils do so. Teacher. What is the pitch? Pupils. D. The teacher then writes a note upon the first space below the staff, and says, «' This is its place, on \hfi first space below the staff." Teacher. Sing one, two, one, two, three. The pupils do bo. Teacher. What is the pitch ? ^ "TILS. E. The .,?acher-then writes a note upon the first line and says, "This is its place, on the^rs^ line of the staff." In a similar way each sound is made, its name given, and its place assigned, until there results a series of notei of which the following, called the scale of C, is j representation : — -&- -W S- -»- -«2 \ Iii all this it will be seen that, so far, the clef, letters upon the stuff, and its lines and spaces, are taiulit unconsciously, and this information has been given by the practical working out of the simple problems. When the scale has been properly taught, and represented in this manner, it will be found that, with a few minutes' practice, the class will sing as readily from the staff as by the earlier lessons in dic- tation; and that, in addition to all this, the singer, not being tramelled by ihe intricacies of whole, half tones, tetrachords, etc., is rejoicing in a result ac- complished he hardly knows how. He has gained tlie tlui'c important items of musical knowledge, — the bound itself, its name, and its representation, — as i^ivcn in our system of notation. The teacher can now prove the work by taking the pointer and mak- ing exorcises from the staff, stojiping occasionally and callinu; for the p'tch, which always means that the pupils Khali name that of the last note that was sung. The questions m.;y be somewhat as follows: — Binii the first added line below the staff. Ping the first space below the staff. Sing the first space on the stalT. Bing the third line. Bing the second space. F;Mg the third line. Bing the first space. Bing the first line, etc. Sing one; two; three i the first added line be- low; two; three; four; the second line; the first space; tliree; two; one; oue; two; three; four; the first added hnc below; the second line; first space; three; the first space below; first added line below. These are only given as illustrations ; many others will suggest themselves. DICTATION EXEUCI8E NO. II. Teacher. Bing the scale, sing the names of the sounds, sing the pitch of the sounds, sing 1. 2, 1 — 1,2,3,1-1,2, 3,4,1 — 1,2, 3, 4,5,1-1, 2, 2,1- 1, 2, 3, 3, 2, I -1, 2, 3, 2, 3, 2, 1- 1, 2, 3, 4, 3, 4, 3, 2, 1-1,2,3,4,:. \5,4, 3,2,1-1,2, 3,4,5,5,1,5,4, 3, 2, 1. The lowest sound of the scale, one, is the first objective point, and above it the others stand in their several relative positions. We must continually re- turn to one in practising these relative soimds. The second objective point to which skips can easily be made is the fifth. Next in order comes the third, and together they produce the most familiar triad or chord, 1, 3, 5. When these exercises can be sung by dictation the same or similar ones should be pointed out upon the modulator. The object of all dictation exercises is to train the ear to sounds as relative mental ob- jects. Pupils will naturally differ in their . .liiy to gain a knowledge ot these sounds, just in pioportion as tone perception is strong or weak in their natures. They must be trained to distinguish them by con- stant repetitions and comnarisons, and no one sliould be discouraged in r^ .empt to gain this knowl- edge. Ten presentations to the ear may do for one pupil what it may require himdreds to accomplmh for another. The teacher should know as much about the capacity of each pupil in music as in read- ing or arithmetic, and any system of instruction which does not reach each individual by personal training is certainly not perfect. The gathering of pupils in large numbers for Wv\ purpose of receiving instruction in sight singing lias forttinately b>^come a thing of the pant, and iill work where individual inntruction, gradation, and personal training are ignored sliould not be favored. This j)er8onal work should befin with the youngest PRELIMINARY TRAINING. XI puplla. It may be difficult to induce the older sing- ci'B to sing alui e before the class, but little children soon become accustomed to Bucb exercises and hesi- tate no more in singing than in reading. The teacher should introduce this individual work by ascertain- ing how many of the class can sing a scale alone. This will require a little tact on her part. She should always encourage the singers to make at- tempts in this way. Hhould a child fail, no discour- aging words should be spoken. Many children will sing the whole scale correctly at the first trial; oth- ers will sing the first five sounds and fail in the re- maining portion; others again will fail entirely. Some do not succeed at all because the first note is wrong, and some children have utterly failed in singing the scale correctly at first who have suc- ceeded when the pitch given by them (which was usually lower) was taken as a starting point. Should the teacher find that the singer fails in getting the first sound, she should always try from the pitch that the singer gives. They should not forget that the training of the ear is the first and most important thing to do, and that no real progress can be made in singing from notes until the pupil has gained command of the scale. This should first be taught by illustration, and then practised by dicta- tion and from the modulator. It will be noticed in the exorcises that only one new sound is added at a time. Noh. 7, 8, ft, 10, con- tain four sounds of the scale. Nos. 11 to 17 contain five sounds. Nos. 18 to 21 contain six. Nos. 22 and 23 contain seven. No. 24 contains all the sounds. Thus far the sounds used in the exercises follow each other consecutively, but from 25 to 43 they are arranged principally in Rkips, so that added to the daily dictation exercises, the pupils have the sounds presented in every conceivable order. The teacher may apply what has already been taught in time to the first twenty-seven exercises upon the charts prepared to accompany the First Header, and also to the first forty -three exercises of the book, in order. If the pupils have been properly exercised on the relative pitch of sounds, a few applications of the time-names will enable them to sing euch exercises correctly at pight. In giving the daily practice on the sounds of the scale, a child's love for variety and change should be considered. A new way of presenting them should to found, if powible, for every leesot. A few of many are here suggested : Vsc of the hand signs by teacher; the same by individuals of the class taking the place of teacher; raising or lowering pointer to represent the different sounds ; arranging articles on desk; using buttons on a boy's coat, etc, etc.; but not to the neglect of practice from the modulator and staff. Frequent changes by the use of these or other devices will keep the attention of young children in exercises which might otherwise be tedious. A few minutes' practice on the sounds of the scale, and a dictation exercise in time must form part of every lesson. RESTS. The practice for these is very simple, and easily learned with the time language. A rest occurring on any part of a measure receives the same time-name as a note in that place. Its name is printed in italics, and is given in a soft and distinct whisper to indicate silence. The teacher should illustrate this by giving two two-part measures, making the la strong as usual and Ta \a a. soft whisper in each measure. The class will then give an imitation repeating the same until they can do it with accu.acy. The teacher can then write the following upon the blackboard -^ ^m^ saying, " This represents tM'O measures in two-part measure, having in each a quarter note and a quarter note rest. The rest indicates that Td is to be whis- pered and not sung." A dictation exercise, review- ing the preceding examples, should now be given, followed by Ex. 44. Nos. 45 and 46 contain the first examples of } time, and may be practised after the following exer- cise in POUR-PART MEASURE. This form presents no greater diflUculties than those already treated, and should be considered in a similar manner. The teacher should give the sylla- bles TJi, Ta, To, Te, accenting the Tii, and To, the former a little stronger than thd latter. The first is the primary or chief, and the second the secondary accent of the measure. Let the ciass practise this carefully many times, until they fully appreciate the diftercnce. After this Tii, Til, T5, Tg, is named a four-part measure, and the class is exercised in w many combinations as possible. xu PRELIMINARY TRAINING. DICTATION EXERCISE. Teacuek. Give rae a four-part measure of four quarter notes. Pupils. Tii, Ta, To, T6. TEACHEn. Give nie two such measures. Pupils. Tii, Ta, To, Te, | Ta, Ta, To, T5. Writing it on tlie board the teacher says, " This in the way it looks: " — SEEJEEJ^ Tii Ta To Te Ta Ta To Te We will now have a measure with two sounds represented by two half notes, thus : Ta-a, Toe. This is a four-part measure, with two half notes, and is written or printed : — ^ Tfi-a To-E DKJTATION EXERCISE. Teacher. Give me a four-part measure of quar- ter notes. Pupils. Tii, Ta, To, Te. Teacher. A measure with two quarters and a half note. Pupils. Tii, Ta, To-S. Teacher. A measure with a half and two quar- ter notes. Pupils. Ta-a, To, Te. Teacher. A measure with a whole note. PutiLS. Ta-a-o-e. Teacher. A measure with u half and quartei note tied, and a quarter note. Pupils. Ta-a-o, Te. Teacher. Give me a measure with a quarter note and the rest in one soutul. Pupils. Tii, Ta-o-e. Tkacher. Give me a mensnre witli a quarter, a half, and a quarter note. Pupils. Tii, Ta-o, Te. Pupils should also be taught to begin with Ta, To, or Te, giving the rest of the measure after the bar, such as the following : — Rests should also be introduced for any note or noteo in the preceding exercises. Any teacher wil'. readily arrange other combinations, and will derive much pleasure and profit in their use, both to hersel/ and her pupils. These things must always be observed. I'he do- ing must always precede the naming and representa- tion. The accents indicated by Tii and To must never be forgotten, but carefully compared and pro- duced. The illustrations of these points are fully given in the Exercises of the First Reader, and they will suggest similar forms to the teacher, of great variety and much interest. Nos. 47 to 55 will be readily understood. Vos. 56 to 61 are written in | time, the time- ics being the same as in | time. The song following will be easily sung with the words after practice with syllables. THREE-PART MEASURE. What has been said about two-part measure may serve as an illustration of all the other forms. The following will show that any intelligent teacher will readily compreliend the way of presenting the sub- ject to her classes, inventing new combinations of notes and rests. The variety in these simple forms, such as are introduced in the First Reader, will be surprisingly large. In teaching three-part measure begin by giving an idea of the regular accent of the measure, saying, Tii, Ta, Te, the Tii „irong, the Ta and Te weak. Imitation by the class should follow, repeating the names until they sensibly understand and feel the apparent movement caused by the regular accent of the first beat. This will take a little more time than in two-part measure, but will soon give pleas- ure to the class. The teacher then gives the name, Baying Tii, Ta, Te is a three-part measure. DICTATION" EXERCISE. Teacher. Give me one three-part measure. Pupils. Tii, Ta, Te. Teacher. Give me two three-part measures. Pupils. Tii, Ta, Te | Tii, Ta, To. Teacher. Give one three-part measure with two quarter notes and a quarter note rest. Pupils. Til, Ta, 7V (the last whispered). Teacher. Give two such measures. Pupils. Tii, Ta, Te \ Tii, Ta, TP. Teacher. Give two measurep witli one quarter note and two niiartcr note jesta. I'rpiLS. Tii, Tn, TS \ T&fTH, 19. om- m.mmm"!^ . PRELIMINARY TRAINING. ziii TSACUKR. Oire a measure with a quarter note, ti quarter note rest, and a quarter note. Pupils. Ta, Ta, Te. Teacheu. Give a measure with i quarter note rest, a quarter note, and a quarter note rest. Pupils. Td, Ta, Tv. Teacher. Give a measure with tlu*ee quarter note rests. Pupils. Ta, Ta, 7V. In giving the time of a threc-jjart measure repre- tented by a half and a quarter note, the following ex- ercises will serve : — Tii-a, Te, or Tii, Ta-e. Tii-a, Te, or Tii, Tfi-r". The time of a full three-part measure may be represented by a half and quarter note united by a Tie. In this case the three vowels are connected as follows : — Ta-a-e. In the First Reader the tie only is used for this prolongation ; later on its equivalent is introduced by printing the same as a half note with an added dot. Tii - a - e -#- or -G>- Ta-ii-o A dictation exercise may now follow. Teacher. Give mc a three-part measure in quar- ter notes. Pupils. Tji, Ta,Te. Teacher. Give me two measures. Pupils. Ta, Ta, Te | Tii, Ta, Te. Teacher. Give me two three-part measures in quarter notes, and one measure with a half and a - r.i Til '/'■- Ta raa .1 Ta Ta Te Tii -I- -'-h-^h'-l T:i Ta-e Ta-a Te 'I'ii-ii-e Ta-a-e Nos. 62 to 71 are i- -&- No8. 122 to 156 are in the key of D, and may now be practised. Before proceeding to the next exercise (157) the scale of F must be learned. The scale represented with flats is quite as easily taught as with sharps. The pitch of all the key-notes in the four keys with sharps (G, D, A, E) may be found in the scale of C, while of those represented with flats, only one (F) is there. It will therefore be better, at first, to approach these keys in their order. The teacher should do this by taking/oMJ* (F) in the scale of C, establish it as otte, and then proceed as in the illustrations given in teaching the scale with sharps. The four scales, C, G, D, F, will serve as illus- trations to indicate the course to be pursued with each of the keys used in the First Reader. The scales must be taught in the order required by the change of key in the exercises. No new diGiculty will be met with, and the teacher will find that by following the directions already given, the remaining exercises will be sung by the children as easily as those in the first part of the book. The following formula, showing the keys with flats (F, Bl;^, E!;^, and A>), will show how they should be approached and practised: — -Z5 ^ -ir7Z--L-^-l??:S^E^i The importance of keeping these nine different positions of the scale clearly in the mind, by a short daily practice, suggested by the preceding formula, cannot be overestimated. In this way the pupils will ;asily realize that they are not practising nine distinct scales, but simply one scale in nine different positions, THE PUBLIC SCHOOL MUSIC READER. PART I. EXERCISES FOR STUDY AND PRACTICE. 8 2 -81- -7-- e- 6- 4- 7 -6- 6- Ex, 2. :2zz— 1 Tii Ex. 3. =i- -0- 1 Ta 2 Tii ^^ 1 Ta 2 Ta 2 Ta r2 Ef3E^^ 1 Ta Ex. 4. 2 Ta Tii ^ 1 Tii 1 2 Ta Ta ^"t -J — F 5 i 1 Ta Ex. 5. 1 Ta 2 2 2: 1 Tii ^ ? 2 Ta 2 :j 1 Tii-a :* ;^ 1 TJi-a ^ ^ 1 Ta-a I 1 T»-i Ex. 6. Ex. 7. Azi =|: 1 2 Tii Ta ::^: 2 3 -•■ 1 glpPi 4-:- ::t ^ 1 2 Tii Ta 1 Tii-il M. Ex. 8. Ex. ^=^=^^^E^H:::::::^|fc3H=rt=^=^^ ^: ^14=^ :::]: 12 2 3 4 3 Tii Ta Ex. 10. :d=J :2— 1 2 Tii Ta m 2 1 Ex. 11. 5i5Eil:^=EiipPi:il 1 m 12 3 4 4 3 2 Tii Ta Ex. 12. 12 3 Tii Ta 5 Tii-a 4 3 2 1 i= ::|=::-4 ri: :=t: :z4z =^ :^: i 3 3 i Tii Ta Ex. 13. 1 Tii-a z2 -&- 1 Tii-a Ex. 14. 1 2 Tii Ta -•- 3 ^i I ilEjE^-fe^^* 3 4 Ex. 15. lifea; 2 Tii Ta Tii-a -Gi- t ■G 1< 12 3 Tii Ta Tii-a 3 4 5 4 3 2 1 Ex. 16. o 4 3 2 Ex. 17. S ::1: 2 3 Tii-a Ta Ta :=]=ziz4 las* • i^si 12 3 3: :i — (©- i :r:i: T& T& 5 Ta-a d 3-^ I Ex. 18. ^^ 1 Ta Ta Ex. 19. ==i- ^^E^^ a ^ 1 Ta-a W-^~± % t -tr. ^ q^=l: il=;^i^i3^ 3 Tii Ta Ex. 20.. 5 G 3 lu-a :2: :f^ ;J g t M^ 1 2 Ta Ta e:x. 21. fi ^^1^ ■6<' 1 TJi-a ^ S^^J idizzd: =§=: «- -»<- 1 Tii Ta Kx. 22. 3 Ta-a 3 2 .it :^=t •— ^ fz=i: if^ —I 3L -H — h — I- 1 g 1 2 Tii Ta 3 2 ■iSi- 1 Ta-a :2 P^ ■X ::t q:iz=!=p.=irdTr=]-PJ==l=FH==j=Fj 1- — 4 tr-^^ -#-j-» 1212343456567 765432 1 ii Ta Ta Ex. 24. Ta-a ^= :± ii:1§§ 12 3 Ta Ta 7 8 8 7 3 =1: 6 5 P^l Ex. 25. Ex. 26. 1231321 3 2 13231 Ta Ta Tti-a Tu Tu Tii- I Ta Ta Ex. 27. Ex. 28. .2 P^ 12 3 4 Tii Ta Ex. 29. ii^-^E^p^iiEip 2 1 Tii-a Tii Tu Tii-a :;2:i= 12 3 1 =1: =t: =1: Tii Til Plx. 30. fe~^"PS 3 3 T Ex. 31. -m -6i- 1 Tii-ii t- 1 .T 3 5 3 1 6 3 1 Tii Tu Tii-u Ex. 32. :pp r 5 4 3 i: 4 3 2 1 Til Tu Tii-a Ex. 33. 15 4 3 Tii Tu Ex. 34. ^ Tu-a 15 3 125421 Tii Tu Tii-a Ex. 35. :2E:2: ^i 4 — jt 12 3 4 14 3 Tii Tu Ex. 36. 2 1 ;iip X H- ^ Tii-a 13 5 8 5 3 1 Tii Ta Tii-a t S f 3 5 Ta Ta Ex. 37. 8 t- ^ 1 Ta4l p^Pi 3^ 'm :i d: 13 5 Ta Ta -m — ji- 3 2 1 Ta-a S V, -»4ir"t--' ■•■- ■ ■"■ ' -■-♦> ^' ■*^-««*»*^^ mm^i.^^- 1 3 Tii T:i Ex. 40. 12 3 Tii Ta Kx. 41. C354G 4321 1 Tii-a E=3zLz3z:[:d:=:|4: -ii 2 zilzi: -Sf- 1 Ta-a IZT- -=^. =t.:_£.-r^:;:*-£=«-:;-| 7 8 7 ipifei ^^S t *-4 ^ 4 G 8 G8G5353543 2'f' Tii-a --r-Hz: It t J G 1 Tii-a Ex. 43. '^ fe3E^ t ■rX ■4 J g 1 3 Tii Tfi Ex. 44. 1 Tii-a 2: E^^ d: _^_.__j_ t=ii-: ._j._ :i 12 1 2 Tii Ta Ta Ta 3 ■^ I 3 2 3 1 Tard 10 r-G Kx. tr). 1 ;i r. 4 a 2 12 11 1 ;i Tii 'ra 'i'o n I Tii-a T.)-r ^li Kx. u; 4 jf~~~x: ^= H^ii^ •--L-^ 1 4 a ;? 1 7V« Ta 7V, Tr. Tfi 7Ve 'I'o Tr- Tii Tu To-r Kx. I 4£l- :q :l: gil -ill: i 1 2 ;{ 2 Tii Ta Tii-a Til Ta :5 4 * -(5' 5 4 2 1 4H. K 49. ii J^;r:J*^zi ^ -55 1 r T) Tii 7Vt Td Ta Tii-a .3 1 1 2 :5 2 3 4 Tii Ta Tii-a Ta Ta #- iX. ;> 0. E^ l©4 l^>- :i: M-^: ^ -^--H---1- ::::1- 11 ^ 4 2 1 Tii-a Ex. 51, rti*; ^i^j\ I i(t Tii Ta Tii-a Tii Ta :2z^ — =^ g -S- ^ :i -H- n 5 Ta Ta Tii Ta Tii-a iX. ,'>z ? Ej 3 ^ 1 Ta Tii-a Td-d Ex. 53. i= :J H 1 J T la Ta Ta Td TOrd Ta-a 11 Ex. M. Ifp^il '^^^^^ rdr 1 .t Tii Ta Til 5 H TJi-a ^^^■^1= Ex. 55. 4_ ■4: t ^m =*-= - i -■1 :::1.- ^ a ^ Ex. 5fJ. 1 Tii-a :£iiE^^=^=l 1 2 Tii Tfi (i Tii-a 4 ;< 1 Ex. 57. 2 2 3 3 3 3 1 ^i:i -(5*- 1 Tii Ta Ex. 58. :2: 3 1 Tii 7Te Ex. 59. Z\ZL (9 3 J9 6 ■A 1 Si: 2_- ^^ilEES::!^ 1 Tii Ta Ex. 60. Ta-a m 4 .'{ d r: 1 :2: 1 Tii-a Ex. Gl. r«-d 3 -«- 3 -s"- -«!5»- 1 Tii T« 2: 2: .a. sJ Tii -p~ -g ^Igj— - -«>- =5= Ta Ta-a Td-a -<5?- 12 7 Tii-a Te Tii Ta Te Tii Tu TG Tii Tfi-e 4^- 8 7 (\ 7 7 8 (i mead-ows a - sleep in the hay, mm 6 <) 5 *< () Pus - sy, you are a TT t hi 4 -:^- i 1 zy cat, Ex. 78. 4 If 3 ;{ 1 you have done no more than that. Ex. 79. EMiSd: ^=^^^-^: r. d 1 4 3 5 2 3 1 Tii-a Te Tii-a Te Til Ta Te Ex. 80. r-N--*- _-tzd i 3 5 7 8 Ta Ta Te -^— A' iltuL ^ r/. i- ""^^8=5^:^; N--— . — I- -0- -^-^• 5I£E^ 5 4 2 1 13 5 ^iM 6 7 8 Tii-a Te Tii Ta Te Tii-a Te Td Ta Te Ta-a Tc Ex. 81. ^0 i/ ■V /I'/ isS # iv— N- J. #^ 3 6 Tii Ttt 2 1 Ta I r« ■HBjiniia«JwjM-*i*i i Ex. 82. T 5 3 8 Ta Ta Te Ex. 83. :3: & --^- ;i 2 1 Tii-a Te Tii-a T r m 3 4 5 TJi-a Te Tii-a 2 1 -Et :j 7'e "is -H- 5 3 4 5 3 4 5 6 (J G 7 8 7 The mei-ry mice stay in their holes, x\ikI hide tlieni- 15 i ffi -=!— =4- :t ^^n :iN==:t 1 (5 7 5 selves by day ; 8 7 5 (5 i\ 5 But wlien the house is still 3 4 4 at night, Tlie is^ :i 3 4 5 () rogues come out Ex. 84. i; :U-tz ^—^ Iee^^ 7 8 to play— 2: zAz± i 2 3 8 2 7 8 The rogues come out to play. Ex. 85. 12 3 Ta Ta 1 Tii-a Ex. 80. U^t It ^ Ex. H7. -4 • — ^ - "^ 1 3 Ta Ta 1 Ta-a ■<9- I 13 2 3 4 2 1 Tii Ta Tii-a I 12 3 3 2 1 Tii Ta Tii Ta Tii-a t i j_ i 22: ?; 3 12 312 4 3 21231 Come a" ntiD! oooie a -gain I Sun-shine com - etb af - ter rain. 16 ■Rx. 8S. ^^ t=i EE* t s Ex. 89. •M-Iijizil: ^=:4=£ S^ -^ I 1 2 3 4 2 1 Tii-i'i Til Ta Til Td 11 3 2 1 Tii Til Trt Tfi Til-a Tii Ta fe XT :4if: :ti -^ :i ^? 1112 3 1 I am a lion-ey bee, 2 Buzz - ing a - way glpm^te :1: ?^ •^ i 4 O Ex. 90. 32 3 1555 421 ver the bios - soins The long sum-mer day. Hx. 91. m^w^^m^ :i^ s; 17 13 2 1 Tii Ta Tii-a Til Td 1 7 6 5 (} 7 1 Til Ta Til-a // \^ V F c-Qfa 3^:3: ::i: 1 r-tt 1 5 () 7 1 3 5 4 2-31271 Lis-ten to the A - pril rain ; Broth-er Robin's come a-gain. Ex. 92. Ex. 93. t i=^ iisgg at^ \ 1 2 7 16 7 1 Ta Ta To Te Til Ta To-e 15 3 16 7 1 Ta Ta To Te Tii Ta T6-e fk ^^^^^ 3L — •- EiE i -•— _l^ — •- ^^ ^'-^ -??-" 3 23 17 13532 3 217 23 In morning's light let youth be bright, Take in the sunshine tender; Then m t t t i=t 2 3 171355G4322 1 at the close shall life's de-clinc Be full of sunshine splon- dor. g 17 Ex. 94. '^ ^^ t i Ex. 95. ^ ^ ■Of '^~ ' 19- ±1^ 1^=:^. -&- 1 1 Tii Ta Ex. 96. 2 3 Tii-a 1 7 1 Tii Tfi 3 2 1 Tii-a t Ex. 97. I ^ :2=«:=-« -iS'- ^ m=2E^=5 \ 9- P -(5^ 112 3 Tii Tfi Tii Ta $ Ex. 98. ^ ^ 12 3 Ta Ta Ex. 99. 1 Tii-a m e ^i^ -<&- ■&- IS Ta Ta Ex. 100. Tii-a-ii Ta 15 4 Tii Tfi Tii Ta Ex. 101. ^2^ ^ 2: ■(S'- -25" -«'- -«5' 17 1 .5 Tii Ta Tii Ta 3 2 Tii-a 1 7 Tii Ta 1 Tii Ta \ ^\a iSt- ^^ t^^ zTZzq -g- 1316425332311 7^ 2 If wisdom's ways you'd wise - ly seek, Five things ob- serve with care ; Of i u — - gj fil— ^-f g < j -J il- I t -&■ -& — 54 3343231257 1 ^"^ whom you speak, to whom you speak, And how, and w^en, and to/tere. Ex. 102. . Ex. 103. [^^; i -5*- ^i-d -«»- 2zf^ -(22- -(©- 15 6 Ta Ta 5 Ex. 104. ^^^ 1 15 4 Tii-a Tii Ta Ex. 105. 1 Tii-a nt ii 3^ -4-!g F ^^ «5f 1 1112 3 6 4 Ta Ta Te Ta-a Te 2 1 Ta-a Te 1 234 6 4321 Ta-a Te Tii-a K 18 M^ Vfyf M "J Ex. 106. *i^ m^ ■-(5'- I 12 1 Tii Ta Te Tii-a Te Ex. 107. Ex. 108. bt W: Az^ m^ i E 5=t« ^^fg^i^ 13 1 Tii-a Te 3 5 7 1 I ^^ i?=i ±IZt Tii Tfi Te Tii-a Te Ex. 109. 13 5 6 4 Tii Ta Te Tii Ta Te -<& li 3 SO-^^^3 ^- s -5^ I 3 5 7 1 Tii-a Te a Ex. 110. 176 5 14321 Ta Ta Te Tii Ta Te Ta-a Te Ex. 111. S; E ^-i3 ^ 3=^ =1: -^-^ ifs -^-^- ab^z^j 14 3 2 Tii Ta Te Tii a Te 6 7 1 Til Td Tf' 1 2 Tii Ta Te Ex. 112. 4^^^j^^-^^pij-iM #=M^ 1 -x-^ 4 3 2 1 Tii Ta Te Tii-a Te Ex. 113. 12 3 25 5671 Tii Ta Te Tii Ta Te Ta TdTe f ^"f M = ^ t ] 5 4 3 2 Tii Tfi Te Tii 2 4 Ta Te Tii-a Te ^ 3: ^-^- -e*'- X m=± -Gi- 5 6 Why does 7 not 1 wa 1 2 ter flow 5 3 up - hill ? !i: :i ^: ^ vm. 234123712671 Be • cause to flow downward is ea • rt • er stilL 1^ :j 1 Ex. lU. fa E^^ ^ ^^^^m ir-^v »• ^ 1 1 1 Til Ta Te 3 Tii-a 2 1 Tu Tii-a ^^^^ Te V.x. 115. -q — — j/- :?=g 1 Tii-a Ex. 116. 1 Te 2 Tii-a Te 5 4 Tii Ta 2 T6 -A-H»r-^ atr^: -^F-^- -N-: :i^Ti__# 1^ Ex. 117. :i -•-•- 1 1 2 3 2 1 7 () 7 1 Tii Ta Te Tii-a Te 1 1 Tii Ta-e 2 3 h^~± u ^ Ex. 118. -n— 51- 3 4 2 1 Tii Ta Te Tii-a Te Ex. 119. 1 2 Tii Td Te m^im^^^ 3 5 7 1 Tii Ta Te Ta-a Te Ex. 120. a:±:z^:3 -^ — L 13 5 4 3 2 17 1 Tii Ta Te Tii Ttl Te Ta-a Te 1 7 « 5 6 7 Tii Ta Te 1 \.", \-«l !< ^ '% * fem • V- T i— . ;eses ggjg^ 3 4 Tii-a Te i f^^ --■^- — I— 6 5 4 3 2 -A- 2 7 1 it- 5 1 Old Win 5 ter 1 is 3 com 1 ing 3 5 a - gain, 1 a i t: t^EE^ ^ 3 3 4 3 2 1 7 6 lack! Bovr i - - cy and cold is hel 20 Ex. 121. B: iizA tp: " ) '■' It iZll 1 2 3 4325 4 Tii-ri-e Ta-a Te Tii Ta Te Tii-a Te Ex. 122. 3 2 12 7 1 I 't^- X c-£i 1 2 Tii Ta Ex. 123. 3 4 t=i t It H ■«#: i "F ^^^^H i 6 Ex. 124. 1 Tii-a -H- i 3 4 Tii Tu Ex. 125. 3 1 Tii-a 4= 3 5 4 3 ra Ta Ta Ta Ex. 127. iElEp^llg 1 7 Tii Ta Ex. 126. ^- -i- 2 1 Tii-a V^ Tii 2'a 13 5 8 5 Tii Ta Ex. 128. -5*- 1 Tii-a 6 5 4 3 2 1 Tii Ta Ta-a 13 4 6 5 TiiTa \ I 3 1 Tti-a I l:S,z5i± tf ^§ ^ :i. :i ^■ a :± 5 5 6 3 4 5 07827675 8 1. The day is gono, the night is come.TIie night for qui-et rest; And 2. The bee is liusliect with - in the Iiive; Shut is the dai - sy's eye ; Tlie I -t ^ '-t 7 (5 5 6 543543221 ev - ery lit - tie bird has flown Home to its down- y nest. stars a - lone are peep - ing forth From out the dark- ened sky. Ex. 129. Ex- 130. '^^ T -ast- -■a- 3 5 4 T* Tft (5- -^m ■&■ 1 Ta ra "O — • 1 ? 3 4 Ta Ta Ta To, 75*- 1 "fmmmmmi^ Ex. 131. .2=£:: Ex. 132. — I — i-^- 1 Tii Ta 1 li 3 Tii Ta ^1 Ex. 1.3. t^ ;« ^ i 3 r*- -/S*- ^^§= 2 1 T« Tfi Til Ta 13 5 Tii Til 8 G H Tii-ii Ex. 134. 3; Ex. 135. --«> 3 5 3 Tii Tsi Tii Ta 5 <5 4 T(7 Til Tii 'Vii ^iizm: :3i 3 Ex. 137. ^l Ex. 13G. -^ EE2 ^5=^: "25 I^ fSL —^- tt=":t: 1 Tii Ta 14 3 Tii Ta 8 Tii-fi :^' -a 17 1 Tii Ta ^i^ 6'- z? 11 3 5 5 4 Tii-a Tii Ta 3 4 (i 5 \^ 21 I f if z-M. :^is ^ ^ iztT.: 5 It 3 was 4 a 5 5 5 8 5 3 bless - ed sum - iner day, Tlie i --/■,! t= :f^ It =^- __L__l_=p:tr|:: 8 7 6 3 8 7 6 (5 ()« 5 5 flow - ersbloomed, the air was mild, Tlie lit - tie birds pouiod fe i 5z^d_d 4 6 3 3 5 3 14 forth their lay, And ev - ery thing in —-4- 3 2 1 na - tare smiled. I 22 Ex. 138. m^^^m^-f^'m^'^m :i 1 7 1 2 :i 4 5 Tii Ta To Ti^ Til Ta To-e Ex. lai). 4 5 7 Ex. 140. *j lfBEE^igEg=:^i^E|p|^gg£^^ 1 1 1 Tii T;i Tr () 7 8 Tii-a Te Ex. 141. 8 8 8 7 Tii Ta Te t '-^^ ;itEi Ex. 142. c::i:|jj;g=i---ir 2 1 J? I a- a Ye Z5i 4--^^ 1 1 2 Tii-fi 'IT; S=3i^i^^^il :.=i: ^^ii^zzilzriiziz^ij 1 :i r. s -) 4 Tii IM Tr- Til Tn Tr- 3 4 3 2 1 Tii Ta Te Tii-a Tv Ex. 143. 1 Tii-a Te :^j 12 3 3 2 Tii Ta T«' Ta Ta Te cz^i — ^ • 1 2 Ex. 145. -.1- 7 1 -^ i^l Ex. 144. -(© -X ii^l 1 () 3 Tii-a Ti' 4 2 1 Tii Ta Te Tii-a Te Tii-a 7e Ex. 146. 4 I 3 Tii T((-e z:i±-z. ± 9 r. •-z^ liliiii Ij^ZZ Tii Tii Te Tii-a Te 5 G 5 8 Tii Ta Te Tii-a Te Str-ri^^iz lit::::: --^- P:x. 147 ^::r.4-ii^ Tii - a - e 4 3 2 Tii Ta Te ts -^ pdz- /5> ii^ 2 -•- 4 7 ■s^ I Tii-a Te \ f -» ,..,^a^«-w»'*!siw«W£Wv, 23 1 I ^S 1 — r- ir^-z*; -U-lJ -1 a:p=r:ir-C ^ r> , Ct^/ r«^4, ^ ::4^: ^-^1 1 Jack 1 2 and Jill 2 3 went up 3 4 the hill, 4 5 To fetch ^^^ pail G of 7 wa ter ; 8 Jack 8 7 fell down, a 7 and m fe:*3 J=*_±« G G 5 3 5 4 ; 2 1 broke his crown. And Jill came tum-bling af Ex. 156. i^^^^ifc^ 1 - ter. :8 zU-t-^ _-) — 5 () 7 8 Tii Ta Te 5 3 5 3 Tii - a - e Tii-a Te m -it 6 V- 7 6 1 ^ Ba>i«giM»aKa»«»«n»a'w*"«Wj - wBSKffTKiipW'WPiSlByjIfB^ i 25 Ex. 157. Ex. 158. ^ 4:=i t ±ztr^ i 1 2 Tii Ta Ex. 159. 1 Tii-a :^ =]: :i± g^i 1 7 Ta Tft Ex. 160. Tii-a ''"''v;^ #^ ]/mv\^ i^^ 9 mB:^ ^-.;^Btm^gC§^ •^^^^^^^H^^^HH^^vtsjI^^'v^ 1^ ^^M ^H ^SSfK9tf\ 4=p=E r^ 5 3 13 Ta Tii Ta mm Ex. 161, ^^ ■■i: ^m 1 Ta 3 5 3 4 Ta Tii Ta i^ Ex. 162. #J^ :J J 1 Ta 1 Ta-a 2 Tii 4 Ta i ^ 4:: -p |: ? f^i :• --d I 345 3 465 654 3 321 Why should you be dull and sad? Noth - ing can be half so bad. Ex. 163. Ex. 164. -^- ^* 5=4: iS ** 1 3 2 1 Ta-a Td-a Tii Ta Tii Ta Ex. 165. ^^ ^ 17 6 7 1 Ta Ta Ta Ex. 166. Id r#= 17 6 5 6 7 1 Ta Ta Tq Te Ta Ta To-e m ii ^m] 13 5 4 3 2 1 Ta Ta To Te Tii Ta To Te 26 ^g^ m :[: JE ^JEEEJE EE^Eg:^ t=:t i :j May is com - ing, bright and fair; Flow - ers bloom - ing ev - ery- where. Ex. 167. . Ex. 168. 4~4 4— zs^ -p— - -c- 1 2 Ta Ta ^ -Z5< ig :^ ;i •iC'- 'ZP- Ex. 169. ^^iiil^ i5»- ^Ife 12 3 4 Ta Ta Ex. 170. Til-a ^5^^ Til Tfi Tii Ta Ex. 171. 1 Tii-a 5 ^ -g)— g — ;»?- S=r^= :? 12 3 5 Tii Ta Tii Ta Tii-a 3 1 — 5)- 17 Ta Tii Tii 'S>- ■jO -IS — «- J 7 1 1 Tii-ii, Tii Til 1 Tii Ex. 172. ^ 2: -- \ 12 3 (5 7 1 wor - thy praise, Glo - i-ious In 3 2 2 1 His works and ways. 27 Ex. 173. ^:__2^___-q_ -a Ex. 174. -Sh -^ m 12 3 4 3 2 1 TJi Ta Te Tii-a Te Tii-a Te Kx. 175. 1 7 () f) (J 7 Ta Ta Te ■^ ISl^ 7 1 Tii-a Te 1 2 Tii Ta-e - - :H- 3 2 1 m TJi-a re Ex. 176. Ex. 177. m 13 4 3 2 3 2 1 Tii Ta-T; Tii-a T«! Tii Ta TO Tii-a Te P:x. 178. :i te^ -X— #- — — 'jj :sE3-:^rq.rf4 t 4 2 7 1 'J'ii Ta Te Tii-a Te Kx. 170. 4_4L 'JSL 2 7 1 ^ ii Tii Ta Te Tii Ta Te Ta Ta Te Tii-a Te Kx. u:o. 17 12 3 4 2 3 1 Ta TO Tii Ta Te Tii Ex. 181. 5 4 3 (5 5 Tii Tii 'J\-' Tii-a Te i£iE^fe^^#i^;^iE#=j.gpii£gi 3 2 1 Ta Tii Te Tii-ii Te Ex. 182. 1 3 5 fi Tii Ta Te 2 1 Tii-ii -e Tii-ii 7e Ie^^ Hi^jz^ -^ 1 Te Ex. 183. Tii-a 2 Te Tii 4 Tii 5 Te 6 1 Tii-a P^sfl- a=i ^^g 1 3 T& S Te 1 Tti-a ^ Te ■HH 28 i I^Ei t ? ^ 3 1 2 3 4 5 4 .5 4 3 Come, pret - ty Vi - - o - - let, V^in - ter's a - way ^ ? 0- 6 5 4 Come, for with Ex. 184. 3 - out 1 you 2 May -w G is 'St 7 1 n't May. S^ 8 i^ |: Ta Ex. 185. Ta Ta-a pii 3 -A" — :ii=i 3 * Tii Ex. 186. Td Te TJi-a Te Ta- a i? :4s; !i ::|^ g 6 Ta-a Te Tii Ta Te Tii-a Te ^ I Te ^ Te ■^ ^ W r M J ^ Ex. 187. -€ >^ 7 — t — -^ — ^— 1 2 1 Tii Ta Te i i^ s ^^ i^^i f >i HUa r« Ta-a Te Ex. 188. — ^ ^- ii ^^ ? 2 Ta Tfi Tu Tii - d - e ^ 29 ^ m :*: ^ :a=^z=^ I 4 TJi-a 4 Te 6 1 Ta-a Te f i fg ^E3 -?1- fciE^ 1^: tzi :|^ •_z* :tzi; i 1 Rain! Ex. 189. 2 rain 3 2 15 A - pril rain ! ■I5>- 4323212171 Bring the flow - ers back a-gain. Ex. 190. -5^ m 117 Ta Ta Tii-a 17 15 Tii Ta Tii Ta 1 Tii Td Ex. 191. tt: -s? (S* Ex. 192. ^E^;^^ ■4: -s*"- -(&- iu 1 2 7 Tii-a Tii Td Ex. 193. 17 6 Ta Ta Ta 1 Ta m^sE^ -<9- JS- -rii 1— I 1 -2^- z-j^ -s^ 6'—- — I Tii 1% :i ■&- -G 2 17 Tii-a Ex. 194 Tii 'iVt E3. F^d^ iS? — 5 5 6 7 Tii Ta 2 1 7 Tii-a r« Ta -«- -TC"- ^: ?^: — «>- -^- I e 1 :^ Ta To, 80 _/9 ^5^i -lit E=J :* (&■■ 1 A 7 inong 5 the (i trees 7 at 1 morn- ±- -\L- :=:p: 2 =F :± gl3 1 3 ing, there sang Ex. 195. 1 a 1 lit 7 tie 1 bird. ±:3j 3ee^ :p t G>- 1 Tii Ex 196. 2 Ta 3 1 Tji-a t2rj=^ A i^y E^ ^ 1 7 Tii Ta 6 1 TJi-a Ex. 197 ^1=^^ 5^ ? izz^ ^E^^ i- ;^ 1 2 .*i 2 Tii Ta Tii Td 1 7 Ex. 198. Az±=± i=i: :f=zt: ^ 12 3 15 7 1 Ex. 199. W-^-fe>- 5 6 5 17 1 Tii Ta Tti Ta P^: Fi-q t -^ — 1 2 3 2 1 Ta-a Tii Ta S ^H£ Ex. 200 S^^^^^i 2 G Tii Ta Ex. 201. 1 2 3 2 7 1 Ta-a To Te Tii Ta To Te AE^ ZST- ^ -isl- :X \ 1 2 7 1 6 7 1 Te Ta-ft Jo Te Tii-a T6-e Ta-a To n J 5 6 5 15 See the riv - ers flow =F= 2 ing i 6 ys)- Down-ward to the sea, -isp t —Q V- -^ ^ M^Ji^E J M 5 6 5 15 Pour - ing all their treas i:x. 202. 2 3 12 7 1 ures, Boun - ti - ful and free. £4 iEj i=S S _-«,_ -^ I 1 Ta Ex. 203. 7 Ta 6 Te 6 1 Ta-a 2 Te 1 Tii-a Te r--^ EpE4Ep ^ :± ^^ ^ i 1 Tji-a Ex. 204. 2 Te ^*i ;^i 7 12 7 1 Ta To Te Tii Tfi Te Tii-a Ex. 205. Te *=F t=F- ^^^^^^i ^ 11 217671 Td Ta Te Ta Ta Te Ta-a Te Ex. 206. 1 2 3 2 1 Ta-a Te Tii Ta Te te^ ^ -G>- 1 ^ 5 6 7 1 Ta-a Te E>. 207. « 1 7 (J 7 1 2 3 2 1 Tii Til Te Tii-a Tc Tii-a Te Ex. 208. 11 5 1 Te Ta-a Te i J V7^^v=\ 6 7 12 3 Ta Ta Te Tii Ta Ex. 209. i^ii^^:^^ 17 6 Ta Ta-e :^: 55 — 315 t-«^ i TiiHi T« 17 6 Ta Ta Te 6 7 1 Td Ta Te Ta-a Tfl oL> ''//^.-^ Ex. 210. Ex ^ ■s-rzL ts: W !^S 7 6 7 5 Te Ta-a Te 1 4 G Tii-a-e-a Td s t —6^ =J 3 1 G 'Tis the sum - luer time, When leaves grow piitfc i d: ^^ ^ 5 1 () 4 2 7 1 green, And flowers are fresh and gay. Ex. 211. ^^^^^^^ ii t I 1117 Ta Ta Te 6 Ta-a 7 1 Te Ta-a Te 0- Ex. 212. S ;S S 1 1 Ta-a 1 7 Te 1 Ta-a Te i p ^^ t -^=^ 1 7 12 7 5 1 Dick - o - ry, dick - o - ry, dock ! 3 2 2 The mouse ran ^m 1 G up _i^_- the clock ; ^ — ^ E m 5 4 3 2 1 The clock struck one, The C=&A: ^^J^fe^J^?^ ;i mouse 65 1712751 ran down ; Dick - o - ry, dick - o - ry, dock I 88 E: Ex. 213. ^P=:f^= tk: ^ H — J Ta Te Tii Tfi Te Tii-fi Te Ex. 214. E»^^ 8i- i m 5 6 Ex. 215. 6 7 12 -I — 3 1 Tii % ^-=^t- tt: p=4i=S-- ^^f=i 1 Til-a Te 7 1 Til-a Te Ex. 216. :8: ^jli^^. g^i 1 1 2 Ta Ta Te Ex. 217. 3 4 6 7 1 Tii Ta Te Tii-a Te tor m^t^^-E:^^ t=::^Ft iJ 17 6 5 4 3 5 6 7 1 Tii Ta Ts Tii-a Te 56713 21 T' Tii Ta Te Tii-a Te Tii-a Te Ex. 218. i^^S l^#^ -h piJ 1 7 6 Tii-a-e Tii Ta Te Ta-a Te 7 12 3 2 1 Tii-a Te i^ii :* :^^ i ::|v f- 115 6 5 11 Lit - tie Jack Hor - net Sat in 5 6 5 1 5 1 2 a cor - ner, Eat - ing Christ -mas fe=2^= m 5 -—I — — V- H — ■ i :f=i t pie! 34 4 32 177 6 He put in his thumb, and took out a i ^p^=i=Sfe m 5 plum, Ex. 219. 43345671 And said, " What a good boy am I!" i ij Ex. 220. ■^ ^m •&- 22; ./U^ 12^ ?; 112 6 Ta Ta Tii-a ^ 12 3 Ta Ta 7 1 Tii To, < ^-'=»-^=F- f=F=^ :^~^ mm 1 17 r. 1 3 2 Til 7 a Te Tii-fi Te Ta Ta Te Ex. 235. 3 4 3 2 1 7 1 m 23 ^^ m li=T p^^iSrlJ T) 1 ;{ 2 5 7 2 1 5 4 3 2 2 3 2 1 TiiTaTe- ii Ta 7'e Tii Ta Te Tii-a Te Tii Td Te - a TaTc i ^i.3? :1: iijrz: -«- d=iF=: l=£ l=t= :3 1 1 5 One tiling at () 5 a time, 5 1 2 3 2 3 And tliat done well, Is a =1= =t: :=lz-: 1 4 ver 2 3 good rule, A8 man 5 y 7 1 can tell. ^Ex. 23G •=Mi Jt=± i ^Ex. 237. fe^E§E^ -N-f- t^-M: 1 7 ('. 5 Tii Ta Te 13 2 1 Ta-a Te I 2 5 () 7 Tii-a Te Tii Ta Te i ftlS-N »Ex. 238. 'S=ff ^ t WES 1 2 1 Tii Ta Te Tii-a Te Tii-a 7 6 Te Tii Td Te i ii -?1 — ^ :::|=: I 5 1 2 5 6 7 1 Ta Td Te Ta Ta Te Ta-a Tc 87 ^Ex. 239. 1 1 2 Tii Tfi To ^Ml 7 Tii Si? 1 'Yd Ta Ex. 240. ^S^^^fe^i^ ^fzipz::^: 3 11 ,Ex. 241 7 1 Tii-a Te 12 17 Ta Ta Te 1 2 1 Tii Tfi Te Tii-a Te 1 5 4 (i T) () 7 1 Tii-a Te Tii ^i'a Te Tii-a Te ^Ex. 242. 3 2 3 1 Tii-a-r- Tii Ta Ti' *=^l 2 5 1 Tii Ta Te Tii-a Ex. 243. a 2 Te 8: ^; -jL-. ^ -=i— ^- iis^J 1 2 Tii-a Te 1 2 3 Tii Tfi Te 4 .S Tii T<« T. 3 2 1 wm -P---^ — N — ^ Lit -tie Bo-Peep lias lost her sheer And can't tell whereto find them; s^ S i fz^ ::?-=::n=1^ ^-g=:t 3 3 3 2 2 117 () 5 6 5 1 2 1 T-et tlieiii a - lone and they'll come home, Wagging their tails be- hind them. w II m Ex. 244. m± ^: -<©- 1 Tii-a 3 -«&- ^3E| -(5>- Ei 5 4 3 Tii Til TJi Td P Ex. 245. 5: ^: 1 '. Tii-il Tii Td n. I , I I I 'f-yrgzyz , Ex. 246. ce: -(5'— (S*- ^i 2 3 1 'i'ii Ta 112 3 3 4 Tii Tfi Tii-a D Ex. 247. l7 /kb-i>- 4 Tii Ta Ex. 252. p; ^ 1 Ta-fi V^^- ^tnz^idz^z ^Si 1 13 4 3 Tti-u Tii 2'o J« Tu Now the sun de - part - iiig. Leaves us fc zfc ±=t 39 ■€ — • 3 -X- ■r^- ^I^I^eI ^1 2 1 r. in the night; Ex. 258. () 3 2 4 3 2 1 One still watches o'er us, Who can give us light. ^i :±i^i 3^^^ ^ — # — -^ 1 7 1 2 3 4 T) Ta Ta To Te Tii Ta T6-e t ^m -Gt :=1z=-: s^ 3 2 Tii-a Toe :j: 3! :i * :a: 7 L_^ 13 ^§ i Tii-a To-e t: ^ 3 Beau 3 ti 2 ful 3 and 6 still 3 and 6 ho 4 ly, 4 4 Like the ^ ? =): 3 spir it I ^ 7 6 6 5 .5 4 3 2 1 Of the low ■ • ly Comes the qui ■ et rain. 40 Ex. 255. 12 3 3 4 Ta T.'i Te 14 3 6 6 3 Ta Ta Te Ex. 256. j =JEEjE i=:fc^|j ^zg=^ Efc:JE^:g=^==fcj ^ 9 1 Ta-a Te Ex. 257. 1 3 5 Tii Ttt Te Ex. 258. 3 1 7 1 Tii-a Te ^^l=f=^ - 1 Tii-a Te Ex. 261. ^ a^1=-5F ■Ari ±SEi *E?LE;^i3£^ y _ ir _ 1532 4 71 2 4 3 052 3 Tii Ta Te Tii-a-e Ta-a Te Ta-a Te Ta, Ta Te-ii Ta Te Ex. 262. PS V- i Sri l^-^Si I 1 Ta 2 Ttt 3 Te 1 Tii-a Te U 41 I I ] \ ^^ ■'4 m m EESEs ■-^P •lltllt ^M 3 3655432 Hereprim-ros-es,cowslips ar^ out, 2 4 3 4 5 And the fields are with i^^iPil -^--x "E^mm^ :_-r!:. -J 8 7 H 5 dai- sies all gay ; 5 2 3 4 2 3 4 While but- ter-tlies flit-ting a zfcz t^- lEME^^S^iEpE^ -^-j^ 3 bout, P:x. 263. 4 3 4 5 5 (5 7 8 Are glad in tlie sunshine to play. m Id2-S=i 6 ;') -H— - :1^- ^!^?=^^ii^l Te Tii Tu Te. 3 2 1 Tii-a TG Tii-a i Ex. 2(>4. %&•; :i=: 3 2 Tii-a Te 7 12 1 Ta Ta Te 3 P:x. 265. -7- E ErH-si — ^_•!^ — --8zi i: 1 1 :f-- ^=1^^^^:^^=^ 3 Tii Ta Te Tii Ta Te Tii 'la T'c 1 Tii-a Te Ex. 266. ' o .:_ — H zir: ^l^^i= -N-r ^^^^^ :i 1"^=^- 13 1 2 5 3 2 Tii Ta Te Td Ta Te t^ ->-^ 5 Ta-a 6 To -1 V- 6 ^K ■I — 5 ZZlf^ZZ^ Ta Ta Te 2 Tii-a 1 Te 42 Ex. 267. rfc Sz3 -N-S1— =1- ^i^g^^^ i^ -H~ --T 2 5 4 4 3 (> 425317321 Tii 7'a Te Tii Ta Te Tii-a Te Tii-a Tc Ex. 268. ^Ie'^^ A :p-H* I -^-^- H 1- N^ JtZ± i^m^i 1 — ^ 87 (5 5421 2 3456 231 Ta - a - e Ta Ta Te Tii-a Te Td Ta Te czfc^: Bz±H-i m^ :g ^E^gS=ggg =t :?_-: 3 5 4 3 3 4 2 1 3 () 1. There's not a yel - low but - ter - cup, Re-turn - ing with the spring; 2. The red rose and the 11 - ly fair, That charm our suni-nier's day, gS 3 1 V ki njr. But it can boast a gold -en crown, As bright as an There's not a la - dy in the land So fine- ly dressed as they. ^Ex. 269. ^ ^Ex. 270. :§A,^__^_z:c=3=iz:pjr=j=:p:== r:^^ 0M ^ (5-- 1 7 Ta Ta 3 -^ ^ 1 Tti-a w wm a -s?- (9 L. 12 3 Tii-ii Tii Ta -Z5" =g — h^ 1-^'- 4 3 Tii Ta m S3^ jQ.- ,Ex. 271. ^^m^mM 5 Til Ta 1 Ex. 272. ^ - '9- 1 -1 i 43 J£.x. 214. s>- jZ- 3 iS- -25^ 1 2 4 Ta Ta 6 5 2 4 Ta-a le ^Ex. 275. ri=: -(2- ^■ -sf- ^2_ (^'--z?- ISf &- I 13 2 6 5 Ta Ta 12 4 Ta Ta 3 () Tii-a ^ '& t -^- .^- '-/5'- w ^Ex. 276. ^P:^ 4=g=i p 12 2 3 3 4 2 1 Tii Ta Siii i'fiifta ■s^ fci ^i^l :t ^ ifziz^ 3 3 3 1 i Soft and qui - et, soft and slow, Down it falls, the feath-ery snow. ^Ex. 277. j:x. 278 ^^ii^Si^siii^i ■§4^z::1=[4z:pib|zzi:b 133 355 654 Til Tfi Tii-a 1 -14 6 5 3 1 Ta Ta Tii-a ^Ex. 279 ^EE^ Hz=:^r^=: ab -^- ^Ex. 280. *^ ie 1 3 5 Tii Ta Tii Ta .Ex. 281. 1 (551743 Tii Ta Tii-a r:S:4 4z:i ^^^^ 4- ? --t 1 3 Tii Ta Tb-e 3 8 5 3 12 1 Ta Ta To Te Tii-a To Te Ex. 282. at I I- 4:-J:-:3: •- r m -«- ^ 1713542346 5 243 Tii Ta To Te Ta Ta To Tc 5-JtzrJ=d 7 2 1 Tii Ta To-e 44 rf^fr^ - -H XTi -HH -r-^-r- :^r,.4_._^_..^^_._JlH__,___ ^:-iM=5— ^ 12 3 4 5 3 3 2 1 (J 7 1 O - ver in the meadow, In a liole in a tree, Sqt=^z=qi: t:; ipzzzp ^ (J () 7 8 5 --=^ -:t Itiz^ ^S^ 5 4 2 ^-^T; Lived a nioth-er blue-bird, And her lit -tie bir- dies three. . 288. t :i S' XT i:^: 1 5 3 Tii Ta Te Tii-a re .Ex. 284. I 't^-^- =t :=]: Tii-a ,Ex. 285. 3 4 Til Te Tu-a 7Vj .'^-'' ::#- ii^ici It 3^1^: -^- ::1: :i Til Ta-e .Ex. 280. iii: H- -it rei Ta T Tii-a Te F==1- PI tii T:i 'I\> T i Ta Te .Ex. 287 Tii Ta Tv &-^- -^- -«?- t Tii-a Tii-a Tij Tii Ta Ti cM. 'E^ t I 45 i ^^^ 4=J d-=q= t^; 1 1 () r, 3 1 4 Te Tii-a Te la Td Te 4 3 5 3 12 Tii-a Te e^^izJ 3 2 G 7 1 Tii-u ^^s# ^Kx. 289. I«3 =1: ->*_ is^ ^ Tii-a-e 3 4 2 3 n 4 Tii Ta TO Tii Ta Te -i> 3 5 1 2 1 Ta Ta-O Ta-a 7e a i;4 SBI-JE^ ?; ^■. t?:: J--* ^gilie 5 5 3 4 5 () 5 A lit - tie tree there stood, ^Ex. 290. S 5 3 2 3 5 4 2 1 In aploasaiil and sha - tly wood. ,Ex. 291. ^fe^^ip^^g^^^i^^i 12 345G5421 Tii Ta Te Tii-a Te 13 5 2 4 T ii-ci TO Tii-a Te ^feig ^Ex. 292. 5 4 3 2 6 7 1 Tii Ta Te '^^^^m^ :n=i^ itiit 1^—1 — ^:- I 17671234 2 1 Tii Ta Te Tii-a Te * Jix. 293, 'sSftfl fc* £^ :i ^^Ie^ 12 3 5 Tii Ta-e 2 4 3 Tii-a Te 7 3 2 1 Tii Ta TO Ex. 294. Me^e^ -is^ N i t -^ 1 M=:fc i^ 112 2 2 3 4 3 6 Ta-a Te Tii Ta Te Tii Ta Te Tii-a Te 6 5 3 12 3 1 i ^Ex. 295. "&. -A--^ i^ atzSii!^ -N — 1-5 — I- 3tZ± ^— =!-(•- ^7-*-zg»=iLLj II 5 5 1 14271236 Ta-a Te Ta Ta Te Ta Ta Te 6 2 3 ^ 3 2 1 Ta-a ra i"^ 46 -_^ ffi =Ei5i=p5B^ S i^ S=*: il fr=5F it jEiiEi^JEEEt^EiEg T i 4 3 5 3 4 5 (5 5 5 4 3 2 S=5 it:i: Hey, my kit - ten, my kit-ten. And hey, my kitten.my dear; Sure r-^- Aiqff dizz-z:^^ mm 112 3 2 10 6 5 4 3 3 2 1 such a sweet kit - ten as this. Was never seen far nor near. ^Ex. 296. '«-s H=i t :^:^ :^=Mlz =}: ir=fz H*^TT *-^-£=S£d 1 12 3 4 5 Tti-a Te Tii Ta Te f^^ Ex. 297. gy^f .5 ^-(S- 1 5 4 3 2 3 1 Tii-ii re 13 2 1 6 7 1 Tii Ta Tii-a Ex. 298. '^^- Ex. 299. 13 2 Ta Ta 7 1 Tii-a -v :2: -c^- 1 7 Tii 7'a m ti .j22- ^C is Ex. 300. 5 4 3 Tii-a Tii Ta P:x. 301. E?3 75;-<5' -z^-fi^ -ffl- Wi 1^ EES -z;;'-'^ -^ — ^ 3 15 6 7 12 3 Tii Til Tii-a 12 4 3 5 7 1 Tii Ta Tii-ii Ex. 302. ^- :2: =)::— «9 -<2- "O^ —&- -' <5>--. IS) ti:t=:B I 16 5 3 2 1 Ta Ta TM 7 14 3 2 1 Tii Jo H 47 '^ ± -^- S 3 i^ii 3 12^ I 1 3 1 5 1 3 15351231 There are twelve months in all the year, As I hear man - y say. Ex. 303. Ex. 304. ^^^m 1^^ I 3 17 6 Ta Ta 1 Tii-a 12 3 Ta Ta 1 Tii-a Ex. 305. Ex. 306. i^i^&i^iii :i I 112 5 Ta Ta Ta-a 13 2 7 2 Ta Ta Ta Ta Ex. 307. :£S :2=2ui^ -*- :± m 1 2 3 4 Tii-a Tii Ta 3 5 Tii Ta Ta-a ^m :± ^ g W- f^^ 511721 5143215323 We come in childhood's glad - ness, To bryathe our songs of praise;.. Nor — •- SESEEE^EE^ ^ 1^ 1^ ^ 4 3 2 let one note Ex. 308. 1765124721 of sad - - ness, Be min - gled in our lays. ^ tEit:^ i 1217 6 67123 Ta Ta To Te Tii-a To-e 4 3 2 1 17 6 Ta Ta To-e i Ex. 309. '^ -^ ^ i 1 Ta. 3 Ttt Te 1 r»-a Te id SSE ^^ 3 1117 13 5 Wilis - per, wins - per through the grove, 7 14 3 'Tis the eve-ning breeze, ^^ III: — h =P=P -s^- ;i 1117135 64321 Tell - ing all its tale of love, To the as - pen trees. Ex. 310. ::i: ^Mm |e3 -g 1 7 Tii Ta 6 5 Te 2 1 Tii-a Te Ex. 311. gE^llEES t Fz :=}: I :*=;: P -«- 5 1 23215432 4 Te Ta-a Te Tii Ta Te Tii-a Te Ex. 312. 6 ^- zfe ^^1 :=1: -t- t ?= -P^ -^ I 7 1 Tii-a 1 6 5 Ta-a Te Ex. 313. m^^^m^^ m 13 4 2 3 Tii-a Te Ex. 314. fel3E3 t 1316427321 Ta Ta Te Tii-a Te 1113 1 Tii Ta Te Tii-a Te I t^- ti^zzn^ ? -(& tiii: 4 3 2 6 6 7 1 Ta Ta Te Ta-a Te Ex. 315. ^ ^ BE* *-tt ^ ^ ^= 5 6 7:2 31 5 Ta-a-e Tii Ta'ie Ta-a Te Ta-a Te I: m^ t ? 35437321 i i .■-4;v*-^;-*',^,;^^J.J*tt 4d i Ex. 31G. E?ESEE-; -I »— .A-#- -_Uz:tj: ^iTpK 3215 17433 Ta Ta Te Ta-a Te Ex. 317. 2 2 3 4 5 2 1 Tii-fi Te I Sa:3: :8: -=. 1 r-N-A- A--^- 3^:^^=^N t^-#— ' 1 5 3 Tii-a Te 15 3 15 217123247 Tii Ta Te Ta-a Te 1 s^i Ft^* t ig^^^zi^ 1 2 1712 3 4321765671 Slide, slide, the ice is strong ; Mer-ri - ly, mer-ri - ly, slide a -long. Ex. 318. Ex. 319. M 55 '-^^ ^E^^^ ippK i—v-'^- 17 15 5 3 2 Tii TaTeTa-a'/e :8: ! — ^ u— *- 1351 2471 Tii TaTe Tii-a Te Ex. 320. te IJ— i*< L!?^ ^ 1 1 y^ Ulf ^ — ^.. ^ *3z-$ — N- J=i: :^--* S 3154272555314323 Ta Ta Te Ex. 321. N 16 5 6 7 1 Ta-a Te gffl E i==P: ^E&L^^ 1 7 Ta- a- e 12 3 5 Ta Ta Te 3 3 2 1 T>-a Te Ta-aTg m ^m g Tick, lock 1 1115 3 What says the clock ? One, 1 2 3 2 1 two, There's work to do. 60 m Ex. 322. t-J± i —.s: _,2.. -6>- I 8 3 4 5 6 5 B Ex. 323. 3 2 5 -l©- —(5' : + gz:Eig=: i=S^ — fi) &i Ex. 324. ;4==:-±-r K4EJ^ ^m b«-«i i ^"^1 13 5 8 7 6 5 Ex. 325. 4 3 6 6 5 8 2 3 1 p^=^Ete^ ^- E=-EEEf S; :jtt* la ^ 12 5 Ex. 326. 3 4 2 5 msEi K—t- ■t^- h=» :SP: 4t^: 4 6 7 1 ^^^1 15 4 3 Ex. 327. 2 5 3 4 2 ^^ i=^ S iii t i 12 3 4 5 3 Ex. 328. ^ :4: atz:^ 1 5 6 Ex. 329. —7!7 5 4 3 ^^^^^m iat d w — *- ^i^ 3 5 4 3 2 Ex. 330. 4 3 2 5 6 4 2 3 1 ^^ ^ ±it ^ 18 1ft li ?3 S 4 . - ''n'^?^fl??^,'*^f,'V'«?tf ^l?*''**^ Part Tl. KOrE-SONGS. a No. i. Morning Hymn. 1r 4z=JL 1. The morn 2. All through 3. Oh, make d: ^EEE^ :i ^: ill ing bright. With ro - - sy light. Has the tlay, I hum - - biy pray, B(! thy rest With - in my breast, Great ■,-t>- =Iay pleas - ant lot ; Must- be ! not :r=p: -I'- ^- may may be! be! 2. Lit - tie broth - er 3. With a rat - tie m i _-H- :i ^ d: — J/- ^ in a nap, Ba - - by. ba - - by! Blefs his ti - ny in his hand, Ba - - by. ba - - by! Dreain-ing— who can ^^ ^ 1 ^ ^ lit - tie cap ! Noise far a - way be I un ■ ■ der - stand Dreams like this. what they be? LiiiLiPUT Levee. , 58 No. 3. SONG OF THE FIVE FINGERS. -Jhi—p s — 1< |r \ N 1 - # . N ■■> " ~ -#-4--f^-^i^- -i~^~ g= « ? p ,_ ig-zjL - This lit - tie bird lived in u tree, This lit - tie i^^i^ -N — ^- g=r^ i< -^ A P :i=t bird sang, full of glee, This lit - tie bird slept in her i N N W j=-^ d-=j: ^ -^— isrzrijvzi:^ -ig: — •(- nest. This lit - tie bird loved cher - ries best, This lit - tie i 1 S3 * i*=y :t! :^ bird sang chick - a - dee. Chick - a - dee - dee • - dee ! Mbs. Anderson. 54 NO. 4. I SAW Three Ships. , m 1. I saw 2. And what 3. Tlnee pret tliree ships do you think ty aiaids come Sii i 1 vvcie in were in mg ^=^1 — N- ■■X=i: 1- #- -0- ■i I- _| l3 by, come sail •• " iiig by, come sail - - ing by, I' th.em, were in tlieni, were in them. And them, were in them, were in them. Tln-ee Efe i^ -^— "^. saw tliree sliii)s come sail •• - iiig by, what do you thiiik were in them ? pret - - - ty maids N^ere iii them. m New Year's day in the morn ing. New Year's day to the morn ing. New Year's day In the morn ing. NURSEBY SONft. f iliiiil^Mrffiir'""""*^''^ 55 NO. 5. My Little Doll Rose. 1 — N- 1, I luive a 2. JSlie has i>ret - ty — -fv ::1^ ._!- lit - blue tie (loll, eyes, I ^ And a take oar<; ver - y of her clothes, small nose, K-T-t^z: ^ W- ^- —I — .She has soft flax - en And a ciin - ning lit - tie -- u ^^:^ hair; mouth ; III 4. _J-, 3- And her nauekson. (/ /. i; •■-"•— ttfll''- wumimmmMHiiamwmmja. w i NO. 20. TRIFLES. :. r <.-- c ^ f.^^ -A.- ^.---x:. q ^ j ^ ^ — -k — llJ -;- ''^ ,^' V .--,.., , , 1^ =1: . — gs*- ^£^ A rum ray drop is of light '«■ lit - - tie thing, But may seem to be Lost ' '. " , =:]:: fcrt: ■JzzzitzJ* :-f^=: ^±_t I f I! i v m :?^« thirst - y ground, It helps to make i$Sgt blaze of day ; But its sweet mis the si on hi. II v:;^":-^ -jB^ic^ 1-. -■p tlovi.ers God -(- ■4 -r- of spring, And beau can see, Who sends 1^^ ty spread a - round, it on its way. COLESWOUTHY. i 1 1 NO. 21 STOP, STOP, PRETTY V/ATER. -^ t~ 1. "Stop, 2. "You 3. "But 4. So -F stop, pret - ty run on so 1 will run Ma • ry ran E^ =t wu - ter I " Sai'^^' fast : I af ter ; Moth - er Ma ry one wish you would says that I I have heard ^,^: -si' w 41: -:^e£ B day, stay ; may , say, To a fiol - ic - some l)rook That was run - ning My boat and my flowers You will ear - ry For I would know where You are run - ning That she nev - er could find Where the '>rook ran a - way. a ■ way. a - way." a - wayr Mb8. Follen IMHI eg No. 22. A LITTLE GIRL'S FANCIES. 'M^. SSEEEI^ ±zlz o :::fr: ^^^^ lit - tie flowers, you love ine so, You could not "^ ^: ^ liUzizi: —\- ^ with - out me ; O lit - tie birds, dv: that come and :gv?- ^£4;: m :P=P: ^ i^ \ N- -0 |i — — I- — -h M — You sing sweet songs a - bout me; O lit - tie t^:z3tz: ^ is— N- £=i= 4= -N — N — ^- lizizizziiziiiL moss, observed by few, That round the tree is creep - ing, You like my ^i^^-' »-#-T- *J :^t ~-A-- J=S; :trr:.t 4- ::d=::-_zzA ;:Mirzi:r head to rest on you. When I am i - - dly sleep - ing. WlUTTlKR's ClIIM) LiFK. 70 NO. 23. The robin. i: f^ ^ 1. Pret 2. Pret 3. And -l-= ty ty Rob bird, when, one de not not light - ful -<6>- know morn, T=tr- T-- For How First V' t EEgE I love to have you near; eacli morn - iiiji in the si)ring, I (.auglit youi- cheer - ful .strain. -H ^=i stay a - niong the To my win - dow Like some long - lost S^ -«"- ^" sha - dy leaves, I v.ould go, friend vou seemed, Sing To ^E^E^i H your songs so sweet and clear, ing I might hear you sing ; our home come back a - gain. Susan Jewett. NO. 24. Busy Little Husbandman. ^il 4 N N- j-^ ? 1. I'm a lit - tie hus ■ ■ band - man, ■J. When to work I go a - long, Work and Sing - ing |: :1=irqz: =P ^ -d # (Si la - bor hard T »loud my mom - ing -Xz can ; song. I'm a« hap With my wal py 1^ t all on the my Busy Little Husbandman, M 71 :f^ day back, At my work as if 'twere play. And my wag - on - whip to crack, Though I've Oh : I'm m)th - ing thrice as lino hap to wear, py then Yet for that 1 do not care. As the i - die gen - tie - man. NO. 25. Cradle Song. ir= dzit: i^— :^: :^EEEf -iSt- 1. Lul . ■ la - by, lul - la - by. Ba - by must sleep ; 2. Lul - - la - by, lul - la - by, Ba - i)y nuist sleep ; 3. Lul - - la - by, lul - la - by. Ba - l)V nuist sleep ; 4. Lul - la - by. lul - la - by. Ba - by nuist sleep ; -3^ ..|_- Now when the day ■ Moth - er will watch, Forms that we can God iw - siWQis from — I — :±==t=i: light dies. Closed be and pray Dan - gcr not see, Lov - ing, the skies; Moth - er's iX the lit - tie eyes ; may keep a - way, are watch - ing thee ; fond prayers that rise ; Rest till the sun a - rise ; Sleep, Ba - by. sleep. ITn ■ ■ til the dawn of day; Sleep, Ba - by. sleep. Thr, may it ev er be; Sleej>, Ba - by. sleep. Ba by must el«te his eyes ; Sleep, Ba - by. sleep. Samuel Burn ham, amm I 72 No. 26. SUPPOSE A LITTLE COWSLIP. ^ \ r8 M: i^^==^- 1: ^=^: :±:a 1. Sup-pose a lit - tie cow - slip Should hang 2. Sup-pose a glist'ning dew - drop, Up - on 3. Sup-pose the lit - tie breez - es Up -on — K — ^^ s— its gold - en the grass, should a sum - mer's i i. i s^± cup, say, day, -H- ^ii^l "^ :d: --N— And say I'm such a ti - ny flower, I'd What can a lit - tie dew-drop do? I'd Should think them-selves too small to cool The ==1: -ZJ S -I — I ^ -^- bet - ter not grow up. bet - ter roll a - way. trav-eller on his way. -i- ■H- jL How ma - ny a \vea - ry The blade on which it Who would not miss the :i :^i =:]: :7"3 trav - 'ler Would miss its fra - gram smell, rest - ed. Be - fore the day was done, small - est, The soft - est ones thitt blow, How WMl^- Ai>d f i:i 1-1^ t:^^^^i ^^_ ^*fefiE^ nia-nya lit - tie child would grieve To lose it from iN dell, out a drop to moisten it Would with-er in tiir sun. think they made a great mis-take, If they were talk-ing so 73 la No. 27. $-1 Nell and her Bird, i ^ ^ :i 5. And he felt just as i f± ^ ^ sky, tren ; gol' say, shout ^ 1 1. Good - - by. lit - tie bir - die ! Fly to the 2. Tell how I found you, Hurt in a 3. Why, why. lit - He bir - die. Why don't you 4. I know, for he real - - ly Seemed try - ing to do When girls come and Sing - ing and sing - ing A mer - ry good Then, when they're wound - ed, They'll come right to You sit on my fin - ger, And shake your head " My dear lit - tie Nel - ly, I can't go a - Right un der my win - dow, "Come, Nel - ly, come 1 I! ? -r ~^^^ by; Tell all me. m like "No!" He's off! way!" But just out ! " It's wrong i iJ: the bir - - dies Fly - ing a- to go with you, If I could oh, how quick - ly And glad - ly he then some bir - dies Came fly - ing a - to be sor - ry; I ought to be * — U T ^ip ma bove, Nell in fly , It must rose ! I know he long. And sang as ^lad ; liut lie's the the gar - den, Sends them her love. be beau - ti - ful Up In the sky. will love me Wher - ev - er he goes, thoy neared us A chir - rup - ing song, best bir - die That ev - er I had. Mbs. DopoK, :^.iM' -I U-CJWLMI UU.4WW« 991 ' 74 111 w V H i . iVV No. 28. COCK-A-DOODLE-DO! fc^d *^= -tt ?=^ t ^ # — -# :W: S 1. A lit - tie boy got out of bed, 'Twas on - ly six o g g^-» -^ — ^— # - f —f — J — J^ t=t^ :±=H: §^fc= z-tzl-rtr clock, And out of win-dow poked his head. And out of wiii-dow :t *— -•- ^H=^:=f^ z|V- | I ^-* — • -- — ^ i poked his head. And spied a crow-ing cock. Ht cr $ i=::± -• •- ^E^M:-^^i 2. The lit -tie boy said,"Mis-ter Bird, Pray tell me who are 3. "What would you think, if you were me," He said, "and I were 4. " IIow man - y times, you stu- pid head, Goes three in twen- ty m Efc ^,4 lf=^f you?" And all the answer that he heard. And all the an-swer you ? " But still that bird provok- ing-ly, But still that bird pro - two ? " That old bird wink'd one eye,and said.Tliat old bird wink'd one #i --J— 1-#- tr-|=:t=-|:=t:: -5?—-- I that heheard Was,"Cocka-doo-dle-do ! " vok-lng- ly Cried," Cocka-doo die- do I" eye, and said, Just"Cocka doo-dle-do I" COCK-A-DOODLE-DO 75 ^ !■ |t :l=iti=iii: ^^^ ^i *=4r ii=:J- t^-TJt: :-^ jg— » 5. Heslamm'dthe vvin-dow down a- gain, Wlien up tliat old bird flew; And -/Ki'-b r^ *- — J — -i —M — N -=1:7 -1 - N 1— \^-^ 9 # -•-•- "i?- _ # J -J- IL. — •— • i peck- ing at the win -dow-pane, And peck- ing at the win-dow-pane, Cried, -S-- i •' Cock - a- doo- dle-doo-dle-doo- die - do ! " Nursery Nonsense. NO. 29. My Pussy. ^ —A ^ ^ 1. Oh, here is Miss Pus - sy, She's 2. She sips it all up With her 3. My kit - tie is gen - tie. She drink - ing her lit - tie lap • loves me right «fe milk ; lap ; well; ^ s:~* - • * #- 9- ller coat is as soft And as glos - sy as si),k. Then wip-ing h(>r whiskers, Lies down for a nap. And how fun - uy her pluy Is I'm sure 1 can't tell. f ■ «PWW^"^»f= 76 No. 30. The Little Dreamer. 'fmm^^^i t^ lap, i=3: — ^- 1]il^*-^ .^ \- ^^^m -^- K— %• lit - tie boy was dream - ing Up - ou his nur - se's b=g 1 That the pins fell out of all the stars, And the ^^ =^ :::t^:^T^- ^^ ;£EJ stars fell in - to his cap. So when his dream was \m m ^ U -^ P w — V 21=/=* ^ — 5v- :J^=# o - - ver, What should that lit - tie boy do ? Why, he ^ ^ *=^ I ^^^^ --t^ went and looked in - side his cap, And found it was n't true ! Nursery Nonsense. 77 NO. 31. The Busy bee. -^: "1 — 4E£ 1. How doth the lit - tie bus :t=:ip m y bee Im - prove each shin - ing 2. In works of la - bor or of skill, I would be bus - y ^ ^ hour, too ; zt :1=: ■^^sm- f And gath - er hon - ey all the day From For Sa - tan finds some mis - chief still For m i =gi H-7g^ ev - ery open - ing flower! i - die hands to do. How skil In books. m ful ly she or work, or 3- ^ --1: 1^ builds her cell ! How neat she spreads the wax ! health -ful play. Let my first years be past; And That i M -i5>- i la - bors hard to store it well With the sweet food she makes. I may give for ev - ery day Some good ac - count at last. Isaac Watts. ^i 78 NO. 32. COME HERE, LITTLE ROBIN. 1 1 fe 1. Come here, lit - tie Rob - in, and don't be a - fraid, I 2. 1 don't mean to hurt yoii, you poor lit - tie thing ! And 3. Cold win - ter is come, but it will not last long, And ii mmi f^^ would not hurt e Pus - sy - oat is sum - mer we soon ven a feath - not be - hind shall be greet - st- g^^jigEP er; Come here, lit-tle Rob -in, and me ; So hop a-bout pret - ty, and ingi Then re-member, sweet Robin, to :5t :^-^ ^^ pick up some bread. To feed you this ver - y cold weath ■ - er. put down your wing. And pick up the crumbs, and don't mind me. Bing me a song, In re -turn for the break - fast you're eat - - ing. Easy Pot^try. 1 79 NO. 33. SWING, CRADLE, SWING. DUKT. N-H— ]^- I. Ba-by is a sail - or boy, Swing, era - die, swing; '2. Snow- y sails and precious freight, Swing, era -die, swing; 3. Lit- tie eyelids downward ereep. Sleep, ba-by, sleep; » :j=:tv-:1:iz M- t-1=^ --A- — I— t -■x^ .-;_- Sail-ing is the sail-oi's joy. Swing, era -die, swing. Ha-by's eap- tain, niani-ina 's mate, Swing, era -die, swing. Now he's in the eove of sleep, Sleep, ba - by, sleep. Chorus. I'^'^ H 1 N-| — 1 /^— J - ^ ^= --=1: r I t^A -51..__ Swing, era - die, swing, era - dle,Swing,cra-dle, swing. Swing, era - die, swing, era - dle,Svving,cra -die, swing, Sleep, ba - by, sleep, ba - by. Sleep, ba - by, sleep. ^.^ 1 f^f Swing,cra - die, swing, era - die, Swing, era - die, swing. Swing,cra - die, swing, era - die. Swing, era - die, swing. Sleep, ba - by, sleep, ba - by. Sleep, ba - by, sleep. ^ IMAGE EVALUATION TEST TARGET (MT-3) k A {./ ^ :/. ^tf « <° 1.0 II I.I 11.25 150 ^^™ lie |25 1^ 12.2 HI' Bi u^ il_ 1.4 I 1.6 m vl J: // ^ ^ > '^ .^ y Hiotographic Sciences Corporation 23 WIST MAIN STC.ili;. WnSTIR.N.Y. 14SS0 (716) S73-4503 4^ l/j 80 NO. 34, TIME. I I p^^^-.^ i ^ ±=± 1. "Six - ty sec-onds make a min-ute, Six-ty min-utes make an hour;' ^ fe^^=t ^ ^iS3^ ftizM- U I were a lit - tie lin - uet, Hopping in lier leaf - y bower, fcr=t I?— #- t m ^m Then I should not have to sing it: "Six-ty seconds make a min-ute." fe^4=F^T^^^^= S 2. " Twen - ty - four hours make one day, Sev- en days will make a week;" And m Ml 'I' I I n rm while we all at mar-bles play, Or run at cunning "hide and seek, "Or . r ^^^ ^ ^ ¥=^ R^^^^Mr^^ in the gar- den gath - er flowers,WeMl tell the time that makes the hourft Time. 81 ^^ii^^^ig^ p=i =^--^-* ::^;i£^ 1 .'{. In t!V - ery month the weeks aio four. And twelvfMvholc months wi I -^-U tiSS^^- ^ — — — — — ■... _--._. , , . . ^ I make a year; Now 1 must say it o'er and o'er, Or -Arsr> • # --ID: E"F=h: i^ else it nev - er will be clear; So once a - gain 1 # • iti:zrz±-3iztzd-it:-:.:rz-p: :p=-i7---. fpr^=3=3=3^ will be - gin it: "Six ty sec - onds make a min - ute." NO. 35. The Wind Blows Sweetly. zfcS^J ^^^^^^^^^^^M The wind blows sweet - ly, The riv - er runs tleet - ly, The ^J^l^^^f^^ M^N^.^ ^ lark is .s''ig - iny, 'I'he l)ells aro iiutf - ing. LlLLIPUT ^{KVKLS, 8iJ s , NO. 36. The Wave's Gift. S :=^ E^ ^S 1. "Wave, pret - - ty wave, Come o - ver the sea, And bring a 2. *'0r peb - - bles dyed, And streak - ed and pied, I'll fling at your i ±=i 5 '^ -& 5 -^. r beau - ti - ful gift to me." "O, is it a shell. Like a feet in the com - - ing tide?" "No, none of these, But, h... 'ii i; ^^-^ "m -X. — r ti - ny pink bell, Or a flow - er that grew in a mer - maid's cell? if you will please, A boat with white sails to catch the breeze." I i ±=q 3. "Round the world ^— ijv lEE^lk I'll go, 't Wliile you ebb and 5 ' F:± S^ flow, A;i.l r.nie back be - foic I'm found out, you know." ^rTTLK-F"r.K Sovoft, Mrs. A. B. White. as No. 37. I HAD TWO PIGEONS. i p^ gt.-a-i=j: KEIE li SEEiEE* i^^ ^ — IB 1 had two pig eons bright and gay, They flew from i i^- 5 :^=* me the otli - er day; Wliat was the ^ g^ :tzd :^=i: reas - • on they did go? What was the m m lit reas - • on they did go? can - not m hz=± ~h- ^ __-}_. 1 tell- for I do not know. NuBSEKY Song. 84 NO. 38. Rain, Rain. r| J -I: Rain, ^0" ^^:^%p^E^E^L^.33El 1. Kain, rain, 2. Here we stay, Here a - gain, All the day Kat • tling on the win-dow pane. In the house, and try to play. ii :=]: KJ ^^&m^mi^i Please to stop; Ev - cry drop Helps to make more inu As it fell out, they Ten thous - and pounds to ti you would have tliem i ri ^EEZ^^^4 all fell In— The rest they ran a - way. one pen - ny. They had not all been drown'd. safe a - broad, Pray keep them safe at home. Mother Goose* b:> NO. 40. The bee is a Rover. ^ m -f=^ 1. Tho bee is a rov - er; 2. Tlie mar - tens liave rest - ed, P^^^;^ The brown bee is gay; All uu - der the eaves; To The E5^" feed field --:^- on the clov mice have jest er, He pas - ed, And played ;^ T 1/ ^ ses this way. in the sheav(*s : We liave t *.j tiirzg: ^-^E^ 1/ 1/ Brown bee. hum-ming o - ver, What is that you say ? played too and jest - - ed, And none of us grieves, The All i: I world o IS so ver the ^^^^. hap wide py, So hap - py to - day!" world. Who is it that grieves? LiLLiPUT Revbls. n 86 No. 41. •%. The swallow is come. i §^^ »# ?^a£3^3E3:E^ ^^z=:^=z=^^ i g- Tlie swal low is come I The i i^ ^ if=S: -^ — N i^mM *^fe*lEfc ._ !q_ ifzzzii: •-- ^ swal low is come ! Oh, faU* are the 5t=i: :#■- N— N- ^i sea - - sons, and light Are the days that she ^j^^s=fefeb ^ ^gigi rd brings, With her dusk wings, And her ^^EE^^EE^^E^m ^m=^ bos - - om so snow - y and white ! Child*s Play. 87 No. 42. COME, MY CHILDREN, COME AWAY, ^ 9 ^ ^ I l:i t^ 1; ? ;^^^ 1. Come, my chil - dren. come a • way I For the sun sliincs 2. Ev - ery thing is laugh - ing, sing - ing. All the pret - ty 3. Bring the hoop and bring the ball, Come with hap - py m t f: bright 'a - day. flowers are spring - ■ ing lac - es all. Lit - tie chil • dren, come with me. See the kit - ten full of fun. Let us make u mer - ry rihg, i ^ ^ -:^ Birds and brooks and po - sies see; Sport - ing with the rays of sun I Talk and laugh and dance and sing. Get y(»ur hats and Chil - dren, too, may Quick - ly, quick - ly, i i=t ^^^^ f- m^ come a - way, For it is a pleas - ant day. sport and play, For it is a pleas - ant day. QOQie ^ - way. For it is a pleas - ant day. CaiLD's Play. I 88 No. 43. The north Wind doth blow. m t «"* '^- i ^ir^^^ The north wind doth blow, And we shall huvu ^g^^^g dz:zzz^z=z=M snow, And what will poor Rob - in do tlieu? l*oor i m ^=3^l::2* thing ! --i- He'll sit in :i-: ziM: a barn, And ^^. pzi=zg =::|-d==M= zjL=: ^-"-^-izz:g keep liim - self warm, -.±3^-1 mmm And hide his head un - der Jiis ■^ ; tr -$ wmg. Pool tiling ! 1 ! Child's Play. no. 44. if all the world was Apple-pie. 89 ^eT^ '^ ::t ^F mm:'^ If all tlie world was ap - pie - pie, And U^^m^m :q^EIuli,__::f=l-I^:: : -3-:R -::#^-i«::i_jL_:: all the sea was ink ! And all the trees wen^ /L. if— -i — H— -a ^ • ^ 4j^- -•- • d . J- --■^ ^ - p p bread and cheese, What should ve have for f-t: .J.. »-< drink ? Slower and slower. ¥ c:^^ ^m It's e-nough to make an r,*t it i — =J: i^-ii^E^i i?^ 5f- B old man Scratch liis head and think. MoTHEii Goose. 90 NO. 45. LITTLE ROBIN REDBREAST. M' [\''l hi^r4 i- ^ =^= .. — P ! 1 — Sq H 1. Two 2. One 3. I fit* , • Rob - - day know -# • in (the a w_ Red sun child - breasts was , and -m 4 built their nest warm and briglit, who she is _! 4-^ _ With - And I'll V**j* " -^ 1 . , ■■ . I-- n 1 -(ft-^-J — \ 45- * 4—^ -1 1 gi -rit::- *-> in shin - tell a ing you hoi in by 4 - low the - and- tree; sky,) •by, iP f The he Cock- Rol When Ma P - 9 9 n sat qui b - in said, m - lua says. ■ et- •*My "Do ly lit - 1 at « tie home, dears, The 'Tis 9 cock time sang mer - ri - you learn to ly. fly." 3:._iLi And And this,' or "that," She says "What for?" and "Why?" She'd ■^ ;fl i — <5> ^ % ^i: all the lit - tie young ones said, "Wee- wee, wee -wee, wee -wee!" all the lit - tie young ones said, "I'll try, I'll try, I'll try." be a bet - ter child by far, If she would say "I'll try." Aunt Effie's RHYikfRa. 91 NO. 46. The cherry-tree. I — h- d i: fi^-V=: :M 1. :-i?± lioes ^^^=^^M in llio phcr - ry- tioe Hum in thn spring 2. The frost comes in au - t, rnn, To gath - er his gold; ^^ The The c It -f — f- 0= ^^ =^ :? old hive is emp ■ ty, Fresli hon - ey we bring." In Cher - ry - tree gives him More than lie can Iiold. The m wm. sum chil mer the dren on bird win IS :P^ lings Sing all the day, . ter Mom - fngs look out; "The ^^E^ Js- i m ^. w "Hie Cher to the cher-ry feast, Fly thith ry - tree's, turn - ing To sil er a - way!" verl" they shout. Mrs. Anderson. 8 $ (If \i. i 02 NO. 47. Calling the Tides. 3zr d 1- rziE^^ES-^S ■j^. 1- «.-/ -s- 1. Ev - or 2. From so liifili. tlu'ir sleon Up in the sky. The wee waves Icnp, Broad and Rip - pling m •o --•—'-- • - "^ -s*- — « ^^e briglit. . rim . Hoiiinl ;in(l white, Tlie full moon rides, The liy the winds spun, Tlieir foam caps wear, Tlieir !! hy :fe-z» ;EEEf-5 -^ — — «- U- IS :rr :rTl:: full moon lides. O'er her car . . TIanjis many a foam eaps weai-. In a row, . On they -i^ =:± HE -^ ^'^ i star ; flow, Cold and fair, Witii lauKh - ter reach Sits she there, Tlie shin - ing beach, fe- :t~^t--- t fcii:- E^^ 1 Call - ing the tides, . Call • • ing the tides I And toss them there, . And toss them there ! Little-Folk Sono"^, Mrs. A. B. White. Iio leir i i 93 V-J^i^ ^ivj^/rw i^ j^ "^ L ** J^v; ^^ i^ 14 r> No. 48. THERE'S A MERRY BROWN THRUSH. -H - :t:«t^ H^- :3^-; I. TlHM'e'sii mer-ry brown thrush Sit- ting np in a tree, He is sin^' - in^? to 'J. And the hrowntlirusli keeps singing, A nest do you see? And five tgjis laid by :{. So the iner-ry brown tlu'ush Sings a - way in tlu; tree 'I'o \ ou and to i P=; H: you, me me. He m -^4.:-^ i , I :»t H •^ -■A-— I -f-i- 1 J 'ini:?; is sin?; - ing to me; And what does i>e say, lit-tie In tlie big dicr-ry tree: Don't nied - die, don't toticli, lit-tie To you and to nie; Andhe sings all tlie day. lit-tle girl. lit - tie girl, lit - tie girl, lit - tie • - s boyl Oh I the world's run-ning o - verwith joy: boy, Or uiy world will lose some of its joy: boy I Oil! tlieworld's run-ning o - verwith joy; Don't you hear ".' Now Tin gl;id. Don't vou hear".' don't you now I'm don't you see '.' free ; see? Husii'loolv liere, And 1 • slmll Hush! lo >k liere. in my tree ; a I - ways be, in my tree For I'm as hap - py as If you ne'er will bring an-y For I'm as hnp - jiy as fe ^^ ^ -3;^^ hap - py can sor - row to hap - py ean be. me. be. ft.r I'm If you ne'er I'or I'm &=^!^Ei=E?=l=l^ as wil as luip bring hap ■ py as a - ny py av. -V- liap - py can sor - row to hap - py pan w be. me. l)e. 194 NO. 49. WELCOME SWALLOW. 1. Wel ■ come, wel - come, swal 2. We had grown so wea 3. Out they came, some leap 4. Now my dar - ling swal - low, - ry, - ing, - low, Flit - ting, twit - tcriiij; Of the win - ter Some more slow - ly Flit - ting, twit - teiing m low, y, Ing low. Have When From You you the be have ^ come blue - neath come ^i=E to stay ? birds came ! the grouncl ; witti spring ; &B = ^M Where have you been stray ing, They brought back the show ers. Then, one gold • • en morn ing. In the chim ■ - neys hid - - ing, What have you been And these called the Just be - fore tlie Through the twi - light i play flow dawn glid mg, ers ing, ing, S i Since you flew a - way? Ev - ery one by name. Birds sang all a - round. On your tire - less wing. Mbs. Andeksox. 1 No. 50. Thank you, pretty Cow. 96 i fe* j^=3:E-^£=gEg ^zul: 'P ^ jis ^ 1. Thank you, pret - ty cow, that made Pleas- ant milk to soak my bread, 2. Do not chew the hem - lock rank, Grow - ing on the weed - y bank ; 3. Where the bub -bling wa - ter flows. Where the pur - pie vio - let grows, 5^«: 5l^?=^S - e -N- Z^ZZJt -I — -I— 1 Ev - ery day and ev - ery night, Warm and sweet, and fresh and white. But the yel - low cow - slips eat ; They will make it ver - y sweet. Where the grass is fresh and fine, Pret - ty cow, go there and dine. Jake Taylor. NO. 51. Dash and rover. i s tqd EEIEI -?- ^ ^ — I 1. Hur - ra, boys, hur - ra! . . School -time is o 3. This way and that way. All the field o ver. Now for a ver, In and out, m N~r =1: K-r 1^ frol - ie, boys. With Dash and Rov round a - bout, With Dash and Rov er. Where shall we go then? er. Fresh breeze and sun - light, m ^ t^m t=*i P ^^^^ES Down through the clo - ver, Chas-ing the but -ter -flies With Dash and Rov- er. Boya in the clo - ver. Glad are we thus to be With Dash and Rov- er. W. W. Caldwell. 96 NO. 52. Little white lily. 1. Lit - tie white Li 2. Lit - tie white Li 3. Lit - tie white Li 4. Lit - tie white Li 5. Lit - tie white Li ly sat by a stone, ly said, "It is good, ly droop - eth with pain, ly said "Good a - gain, ly smells ver - y sweet; P ^ I Droop - ing and wait Lit - tie white Li Wait - ing and wait When I am thirst On hei- head sun ing till the sun shone. ly's cloth - ing and food." ing for the wet rain I y to have fresh rain ; shine, rain at her feet. mm ::^- m -^ w=zz=w V — I Lit - tie white Li - ly sun - shine has fed; Lit - tie white Li - ly dressed like a bride ! Lit - tie white Li - ly hold - eth her cup; Now I am strong - - er; now I am cool; " Thanks to the sun - - shine, thanks to the rain ! 5^ ^ t± :{l: d" Lit - tie white Li - ly is lift - ing lier head. Shin - ing with white - ness, and crown - ed b^ - side. Rain is fast fall - ing, and fill - ing it up. Heat can - not bum me. my veins are so full." Lit - tie white Li - ly is hap - py a - gain." Gkouge Macdonald. I 97 NO. 53. Little Things. *^f :4=::f: 1. Lit - tie drops of 2. So our lit - tie ^EE^l -H- dL —€,- wa - - ter, Lit - tlo grains of sand, er - - rors Lead the soul a - way m ^ ^ f f- --t 3^ Make the might - y o - - cean, And the sol - Id land, From the path of vir - - tue, Oft in sin to stray. i w r- t=^- And the lit - tie Lit - tie deeds of ^- ^- mo - - ments, Hum - ble though they be, kind - - uess, Lit - tie words of love, ^^gE Eg=.pE^^E^E ^gEE^;3EEE FEE^ I Make the niijj;ht - y a ■ - ges, Make our earth an E - - den, -&- Of e - ter - ni - ty. Like the heaven a - bove. Bbewkb. ■■■ii NO. 54. Daisy Buds. ^* 1 ^ ^\fll 2^^ m b Vv^^^^^H