THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES It is the duty of PupHs to assist the State by guarding and using this book with care, so that it may yield good service. Only one book can be given to a pupil. He should cover it with paper or other pro- tective material. If he loses, dam- ages, or destroys it, he should re- place it at his own expense. It if the duty of Teachers to encourage and enforce these provisions. , SOUTHERN BRA;sJCH . In County. _. TRAINING DFP.^PTMfNTl , 191.. Date of issue. ^ ;i^ a ^d. r> -^-\v ^x uo|3q padiUBis 3)ep )SB[ sqi uo ^flQ ^! 1<><)R ^!MX ^^-V044-'V\.-^' (:Z^ tigelag TEACHER'S MANUAL VOLUME III FOR SIXTH, SEVENTH AND EIGHTH GRADES WITH ACCOMPANIMENTS FOR BOOK THREE The Progressive Music Series BY HORATIO PARKER Dean of the Department o( Music, Yale University OSBOURNE McCONATHY Director of the Department of School Music, Northwestern University EDWARD BAILEY BIRGE Director of Music, Public Schools, Indianapolis, Indiana W. OTTO MIESSNER Director of the Department of Music, State Normal School, Milwaukee, Wiscoiuill e^lvaraity of Calif„„, ^^mm SCHOOL u;^°: ^s»i^= CALIFORNIA STATE SERIES 1)EP.\RTMEXT OK StaTK 1'RINTING KOBERT Tj. Tei.i'RH, Superintendent SACRA MKNTO This volume contains much original matter which is covered hy the copyright of the bool^ and must not he used without special permission CopYRrCHT 1918, BV THE PEOPLE OF THE STATE nF Ca1.IF0R.NIA Copyright, 1916, 1917, by Silver, Burdett and Company Library \J. PREFACE The Progressive Music Series aims to contribute to the progress of school music education through the reahzation of two ideals: first, the raising of the standard of music studied in the schools by jiresenting only material of the highest quality; and second, the organization of this material into a plan of instruction through which children shall learn not only to sing the songs with full appreciation of their nujsical and literary qualities but shall also develop a thorough mastery of all the problems of vocal sight reading. The music matei-ial of the series, assembled from all available sources, in- cludes folk songs of many nations, classic compositions, and original contri- butions from the foremost living composers. The songs were selected solely on the basis of inherent merit and direct appeal to children, and were then classified and assigned to theii* appropriate places in the coiirse. The pedagogical plan of the series is the result of many years of practical classroom experience. It takes into consideration every important forward step in nmsic education and is in thorough accord with the conclusions of the leading authorities on child study and educational psychology. Books Ouc, Two, and Three contain the songs as studied by the puijils. The aeeonipaniineuts for the lirst three books and the t)ut- lines for the technical work are given in the Teacher's Manuals. This exclusion from the pupils' books of the accompaniments and of all drills, exercises, and instructions to teachers makes it possible to include in these volumes a far greater number of songs than would otherwise have been jDossiblc, thus making the books less confusing and more attractive to children by including only material of inter- est to them. The Teacher's Manuals contain clear and detailed instructions for carrying on the music study. Manual Volume I accompanies Book One and covers the work of the first three grades. Manual Volume II accompanies Book Two and covers the work of grades four and five. Manual Volume III accompanies Book Three and covers the work of grades six and seven. Pupils using Book One of the Progressive Music Series are in the Sensory Period ' of development. The song material of Book One and the plan of study outlined in Teacher's Manual, Volume I, contribute specifically to thi; development of the characteristic attributes of that period. The children in the fourth to seventh grades inclusive are in the Associatii'e Period.^ Books Two and Three, with their respective Manuals, Volumes II and III, aim definitely to develop the essential characteristics of this period, and are similar in pedagogical plan. For this reason also the General Suggestions to the teacher are practically the same in Manuals II and III. On the other hand, the specific directions for carrying on the work are progressive in character, and refer '■ See page 3. 984454 iv PREFACE directly to tho toxt book that is being studied. In order, however, that the teacher may plan her woriv to the best advantage, topical outlines lor the whole period are included in each Manual. The Cha])tcr Outliiics of Manual Volunio ITT <'Oiitain specific directions for ample drill in connection with the .song.s of Book Three, also analy.ses and interpretations of the songs. The technical drills are based on the song material and are concrete, definite, and progressive. Drills upon Tone, Time, and Theory pi-oblems are treated separately for the sake of clear- ness and definiteness. Each chapter emphasizes one new problem, and the other problems in the chapter are comparatively simple. Although the monthly outlines, as well as the chapter outlines, are worked out in detail, it is not intended that the Manuals shall supplant the work of the Supervisor. They are designed to relieve him of the necessity of giving technical directions to teachers and of spending a large proportion of his time in planning the mechanical details of music instruction. Thus re- lieved, his time may be devoted to the inspirational and interpretative side of the work, and he will have a better opportunity to carry out the larger plan of elevating the musical tastes and standards of the community. ACKNOWLEDGMENTS The courtesy of tlio following authors and publishers in allowing the use of cop>Tighted poems is hereby ackiiovvlcdgetl : Anna M. Pratt for "A Morning Song." Alfred James Waterhouse for "When I Go Out on My Wheel "from "The Athlete's Garland." William S. Lord for " Dream and Snow fiake " from "The Rock-a-bye Book " (Fleming H. Revell Co.). Laurence Alma-Tadema for " The Owl " and " Near Autumn." Frank Walcott Hutt and Eaton & Maine for "October Song." .\nnic Willis McCul- lough and The Metro iKtliian for "The Green World." May Elizabeth White and The Admnri: for "My Bedtime." Euni<^e Ward and The Woman'x Home Companion for "So Ignorant." The YoiMh'a Companion for "Harvest Slumber Song" by William Wilfred Campbell and "The Listening Woods" by Ida Whipple Benham; and T)ie Youth's Companion and the authors for " \ Hymn for a Child" by Laura E. Richards, "Tree-top Mornings" by Ethelwyn Wetherald, " Daffydowndilly " by Mary Wilder Pease, and "X Child's Fancy" by Miriam S. Clark. The Century Company for "A Suggestion for a Happy New Year" by Mary Mapes Dodge. Houghton Mifflin Company for "At the Wintlow" by Mauiiee Thompson. "Friends," by .4bbie Farwell Brown, "The Dandelions" by Helen Gray Cone, and "Lullaby by Frank Dempster Sherman are also used by permission of and by special ari-angement with Houghton Mifflin Company, authorized publishers of their works. Thanks are also due for authority to us<^ the words and music of the following songs: "Brave of Heart and Warriors Bold" and "Bosnian Shepherd's Song" from "Airs of All Lands" by .lohn Philip Sousa, published by Carl Fischer. "Past Three O'clock" and "It Was a Lover and His Lass" from "Songs of the British Isles," pubhshed by J. Curwcn & Sons, Ltd. The music only of "In Ocean Cave" from "Songs of Sweden" and "Ye Olden ChrLstmas" from "Forty-four French Songs .and Variants," published by G. Schirmer. "The Seven Swan Ladies" is from a collection of ten ■songs for children by Walter Morse Rummel, published by Augener, Ltd., London, W. The songs by Catharina van Rennes are used by permission of the composer and of the publisher, Jac. van Rcnnes. The song by Hendrika van Tussenbroek is used by permission of the publisher, Firma J. .\. H. Wagenaar. TABLE OF CONTENTS INTRODUCTION paoe Modern Educational Ideals 3 Stages of Devpl(>|)mcnt 3 1. The Sensory Period 3 2. The Associative Period 4 3. The Adolescent Period 4 Pedagogical Conclusions 4 1. The Sensory Period 4 2. The Associative Period a 3. The Adolescent Period 6 Bibliography 7 PART ONE: GENERAL SUGGESTIONS FOR INTER MEDIATi: 0]?ADES 1. Ainis of School Music Instruction 9 II. Music Appreciation 9 1 . Choice of Material 10 2. The Development of a Finer Emotional Life 11 3. Development of Bases for Intelligent Judgment 11 4. Feeling for Tonality and for Harmonic Content 13 5. Judgment from the Standpoint of Style 14 6. Development of Discriminating Taste 15 III. ^jjice Cultui-e 10 1. Tone Quality 1(5 2. Breath Control 17 3. Vowels 17 4. Diphthongs 18 5. Development of Smooth, Even (Jualil.\- 18 6. Development of Flexibility 19 7. Consonants 20 S. Part Singing 21 9. Hygiene of the Voice 22 IV. -Sight Reading 22 1. The Reading Process 22 2. Previous Experience 23 3. Development of Fluent Sigiit Reading 24 4. -'The Three T's" of Sight Reading 25 5. Use of Tone Drills 25 6. Use of Time Drills 25 7. Use of Theory Drills 2(j 8. The Synthetic Application of "The Three T's" "2(5 V. Interpretation 28 VI. Special Training of Le.ss Musical Children 30 VII. The Conduct of the Music Recitation 32 V / / vi CONTENTS PART TWO: GRADED OUTLINES p»<,„ I. Monthly Outlines — Number One 35 Sixth Grade 35 Seventh Grade 38 II. Monthly Outhnes — Number Two 41 Sixth Grade 41 Seventh Grade 44 III. Monthly Outlines — Number Three 46 Sixth Grade 46 IV. Topiial OutUnes — Tone 49 Fourth Grade 49 Fifth Grade 49 Sixth and Seventh Grades 51 V. Topical Outlines — Time' 52 Fourth Grade 52 Fifth Grade 52 Sixth and Seventh Grades 53 VI. Topical Outlines — Theory 54 Fourth Grade 54 Fifth Grade 55 Sixth and Seventh Grades 59 PART THREE: CHAPTER OUTLINES Chapter I. Melodies Re\'iewing Topics of Book Two 61 Chapter II. Melodies in the Melodic Minor Scale 67 Chapter III. The Eighth-Note Beat 72 Chapter I\'. The Dotted Quarter-Note Beat; More Advanced Studies 76 Chapter V. Modulations to Nearly-related Keys 78 Chapter VI. The Half-Note Beat 84 Chapter VII. More Advanced Song Forms 86 Chapter VIII. The Introduction of Three-Part Singing 92 Chapter IX. Four Equal Notes to a Beat 96 Chapter X. Four Tones Ascending Chromatically 100 Chapter XI. Triplets: Three Notes in the Time of Two 102 Chapter XII. Four Tones Descending Chromatically 105 Chapter XIII. Syncopation ■. 107 Chapter XIV. Miscellaneous Songs in One, Two, and Three Parts 109 ( '( )X'rE\TS vii Paut Three — Ch apteu Outlines {Cnntinucd) pack Chapter XV. Complicate 1 I{li.Mlinis HI (haptin- X\'l. Mdilulations to HiMiiotc Kej's 114 ChapliT XVn. ('ulHru])Uiit:il Style 116 Cliaptrr XVIll. Till- DiittriU^iuirtcr-Xotc Heat; Advanced Studios 117 PAHT FOCR: AC'COMPAXIMKXTS FOR SONGS IN BOOK THREE 121 GLOSSARY 303 INDEX OF SONGS 309 THE PROGRESSIVE MUSIC SERIES TEACHER'S Manual VOLUME III INTRODUCTION MODERN EDUCATIONAL IDEALS The educational ideals of the present day, influenced by psychological research and child study, have brought about many changes in elementary school standards, aims of educators, and methods of teaching. In all branches educators are now agreed that the material used must be intrinsically inter- esting; that it must possess elements of permanent value; that it must jappeal to the minds and interests of the children for whom it is intended; and that the methods of presentation adopted in any given grade must apply to the stage of mental development characteristic of that grade. In other words, the subject matter and the pedagogical scheme must be adapted to the children, instead of adapting the children to an adult's comprehension of subject matter, or to a logical and empirical pedagogy.^ STAGES OF DEVELOPMENT Modern psychological and pedagogical investigators have established the fact that there are three well-defined stages in the physical and mental growth of children, extending through and beyond the Primary, Interme- diate, and Grammar grades. These are: first, the Sensory Period, begin- ning with infancy and continuing into the third grade, which is transitional; second, the Associative Period, extending through the fourth, fifth, and sixth grades, the seventh being another transitional grade; third, the Adolescent Period, usually beginning in the seventh grade and continuing tlirough the eighth grade and into the high school.- 1. The Sensory Period The Sensory Period is marked by extremely rapid physical growth, ac- companied by a lack of the finer muscular and mental coordinations. It is a time of physiological development and sensory activity, dealing with objects and concrete experiences. Interest is sporadic and is more concerned with the activity itself than with its product. Suggestion, fancy, imagina- tion, keen observation, and imitation play a large part in the child's life. Impressions and stores of experience are being gathered which later become the foundation stones of the child's educational structure.'' • See McMurry, "How to Study," page 53", Partridge, "Genetic Pliilosophy of Educ/ tion," pages 99-101. ' See Partridge, "Genetic Philosophy of Education," page 73. « See Tyler, "Growth and Education," pages 131-145. 3 TEACHER'S MANUAL 2. The Associative Period The Associative or Drill Period is distinguished by comparatively slow physical growth. Teething has been completed, and the brain has grown to nearly the adult size. The finer adjustments and coordinations of the body and of the mind arc now accomplished with greater ease; physical feats requiring dexterity and skill are easily performed. "There is great endur- ance, strong vitality, and excellent resistance to mental fatigue. Memory is quick, sure, and lasting. Never again will there be sueh susceptibility to drill and discipline. There is interest in the product of activity, and no longer entirely in the activity for its own sake." ' The child is associating the experiences gained through sense development, and is classifying and or- ganizing them into usable related groups. 3. The Adolescent Period The Adolescent Period is again characterized by rapid physical growth, described by Magnusson as an "enlargement of the jjlant" requiring so much energy that there is little left for "current expenses." The period marks the maturing of the child into young manhood or womanhood and is accompanied by changes in the mental life as radical as those manifested in the physical life. The emotions dominate the individual; in fact, the whole significance of adolescence is emotional; strong social, moral, and religious convictions are prominent characteristics. In these years the molding of character, the development of high ideals, and the forming of good taste and artistic discrimination are of great im- portance.^ PEDAGOGICAL CONCLUSIONS 1. The Sensory Period It is obvious that the child's sense experience with music, which he gains through the .sen,se activity of the ear, must be based upon real music, real songs; for these, and not the scale or technical exercises, represent the con- crete in music, in which the child is naturally interested. It is also appar- ent that the songs chosen must be intrinsically beautiful and not too long, if we would succeed in holding his sporadic attentive powers; that they must appeal to his interests, and arouse his imagination. Like language experience, the child's early musical experience must be acquired by imitation, for this power is his strongest faculty at this stage. Therefore these songs are designated as " rote songs," to be learned by imita- on. The child must be saturated with rote-song experience: he must be ' See Magnusson, "Psychology as Applied to Education," page 222. » See Hall, "Educational Problems," page 123. INTRODUCTION 5 taught to love music and to love to sing; to sing with light, mellow tone quality, and to express his feelings in an artistic manner thi-ough the songs he loves. This training of the voice and developing of the ability to sing artistically are in thorougli sympathy with the psychological characteristics of the period. The child learns by observing, by imitating, by doing the thing himself. He must be taught to hear accm-atelj' and to express accurately what he hears, just as in the language-learning process. He must be made con- scious not onlj' of the song-wholes which interest him, but also of the smaller tone groups of which the songs are composed. The first studies must be analytical in then- nature, beginning with familiar song-wholes, and working towai'd the smaller constituent elements. Later these elements are to be synthetically recombined by the child so as to give him a new and more intimate conception of the original song-whole. Still later, in reading new songs, the child will be called upon to make use of these familiar elements in grasping the musical ideas embodied in the new wholes. A definite tone vocabulary and a feeling for tonality and rhythm are thereby developed, which will later prove indi.spensablc in the analysis and intelligent reading of new songs from notation. The power to think in tones and in tone relationships corresponds to the ability to think in a language, to comprehend the meaning of words used to represent familiar ideas, and to express thoughts and feeling.^ in that language. It is a fundamental prin- ciple that experience with objects and facts must precede the study of the symbols which represent them.' 2. The Associative Period The Associative Period is the time for independent work in music, for formal drill in the various tonal and rhythmic combinations until automatic control of them is acquired. Here, if at all, independent power in sight reading and interpretation is to be realized. Psychologically considered, it is the proper time for this type of study. The children are ready and eager for hard work, for memorizing combinations, for drill, for solving prob- lems independently, in short, for technical mastery. Attention must become more voluntary, less sporadic. The continued use of beautiful songs, arranged in such sequence in the books that topically the problems to be mastered will follow in natural and logical order, will be the best means of securing voluntary attention. Through such topical arrangement the neWj in experience is related with the old and the development is logical, "fror 1 See Colvin, "The Learning Process," page 92; McMurry, "Elementary School Stau ardfi," page 102; Gilbert, "What Children Study and Why," page 2G4. 6 TEACHER'S MANUAL the known to the unknown." There is no excuse, in the light of present-day researches, for a haphazard and heterogeneous arrangement of song ma- terial, nor yet, on the other hand, for recourse to the use of mechanical exer- cises, or "study" songs without life or inspiration, merely for the sake of the problem involved. In this series tonal and rhythmic problems are classified and studied with absolute definiteness and attention to minute details. In Books Two and Three, which cover the work of the Associative Period, the songs embody- ing these problems are organized into chapters. A fundamental principle is that where the introduction of new tonal problems is involved the rhythmic ideas should be familiar, and, vice versa, where the introduction of a new rhythmic problem is involved the melodic ideas should be familiar. Gen- erally speaking, four steps are necessary for the logical unfolding of a musical problem in the Associative or Drill Period: (1) a review of a familiar song which embodies the problem; (2) a clear statement of the problem to the pupils; (3) definite and thorough drill on the problem, isolated from the context; (4) application of the mastered problem in reading new songs in which it occurs.^ The first step brings to mind the fact that the use of rote songs is con- tinued through the fourth and fifth grades, although in far less proportion than in the primary grades. The object is twofold: first, continually to bring the children into contact with beautiful and inspired music not limited to their immediate technical powers; second, to provide actual experience ^\-ith new musical effects, gained unconsciously by imitation, which later are to be consciously studied as problems and mastered. ' 3. The Adolescent Period The Adolescent Period reveals characteristics markedly similar to' cer- tain of those in the Sensory Period, e.g., a rapid physical growth accom- panied by somewhat lazy physical and mental habits. It is not a favorable period for exact attention to detail, nor for di-ill in mechanical precision. It is, as we have seen, an age of emotionalism, for the development of the finer sentiments and feeUngs. The child is becoming conscious of himself as a factor in the race, as an integral part of society. The "gang" spirit is in the air and should be recognized in the music work. "Team work" finds its expression in part singing. Music should be selected to make a strong appeal to the emotional side of the adolescent pupil. Here, if anywhere, music of sheer beauty of melody and of appealing harmonies must be used if it is to hold the interest of these young ' SeeBryan, "Basisof Practical Teaching," pages 176-178; McMurry, " Elementary School tandards," pages 104, 105. INTRODUCTION 7 people. Much singing, with constant play on the feelings, is the keynote to success here. It is not wise even to insist on too exact details in the inter- pretation, involving much rejx^tition and drill. Encouragement rather than criticism is needed; inspired leadership rather than critical authority. Time may profitably be devoted to the study of the great composers as the equals of other men of achievement; an interest in their works is enhanced by such study, and the pupils' viewpoints of life and of history are broadened. The graphophone and the player piano have here a great mission to perform in the development of musical taste. Study of the form- structure and of the thematic divisions of the larger works will prove both interesting and profitable. BIBLIOGRAPHY Briggs and C off man Reading in the Public Schools Row, Peterson & Companj', Chicago. Bryan, E. B. The Basis of Practical Teaching .... Silver, Burdett & ('om])any, Boston. Colvin, S. J. The Learning Process The Macmillan Company, New York. Cornell, J. H. Musical Form G. Schirnicr & Co., New York. Dawson, John J. The Voice of the Boy The A. S. Barnes Company, New York. Dewey, John How We Think D. C. Heath & Co., Boston. Famsworth, Charles H. Education Through Music American Book Company, New York. Fryberger, Agnes Moore Listening Lessons in Music Silver, Rurdctf & Company, Boston. Gilbert, Charles B. What Children Study and Why .... Silver, Burdett & Company, Bo.ston. Goetschius, Percy Lessons in Music Form Oliver Ditson Company, Boston. Hall, G. Stanley Educational Problems D. Appleton & Company, New York./ Youth. Its Education, Regimen and Hygiene D- Appleton & Company, New York 8 TEACHER'S MANUAL Huey, Edmund Burke Psycholog>' and Pedagogy of Reading . . The Maeinillan Company, Xcw York. James, William Psychology Ileiiry Holt and Company, New York. Talks to Teachers Henry Holt and Company, New York. Judd, C. H. Genetic Psychology D. Appleton & Company, Now York. Keith, J. A. H. Elementary Education Scott, I'oresman it Co., C'liicago. King, Walter Irving The Psychology of Child Development . University of Cliicago Press. MacDowell, Edward Historical and Critical Essays A. P. Schmidt, Boston. McMuny, Charles Special Method in Reading in the Grades The Macmillan Companj', New York. McMurry, Frank Elementary School Standards World Book Company, Yonkers, N. Y. How to Study and Teaching How to Study Houghton Mifflin Company, Boston. Magnusson, P. M. P.sychology as Applied to Education . . Silver, Burdett & Comjiany, Bo.stou. Parry, C. Hubert H. Evolution of the Art of Music D. Ai)pleton & Company, New York. Partridge, George Everett Genetic Philosophy of Education . . . Sturgi.s & Walton, New York. Seashore, C. E. Psychological Monographs Psychological Revii^w Coini)aiiy, Prince- ton, N. .1. Titchener, E. B. Primer of P.sychology 1 . . . The Macmillan Company, New York. Tyler, John M. Growth and Education Houghton Miliiiu Company, Boston. Winship, A. E. The Journal of Education Boston. PART ONE GENERAL SUGGESTIONS FOR INTERMEDIATE GRADES I. AIMS OF SCHOOL MUSIC INSTRUCTION The general aim of education is to train tiie child to become a capable, useful, and contented member of society. The development of a fine character and of the desire to be of service to humanity are results that lie uppermost in the minds of the leaders of educational thought. Every school subject is valued in proportion to its contribution to these desirable ends. Music, be- cause of its powerful influence upon the very innermost recesses of our sub- jective life, because of its wonderfully stimulating effect upon our physical, mental, and spiritual natures, and because of its well-nigh universalitj' of appeal, contributes directly to both of these fundamental purposes of edu- cation. By many of the advanced educators of the present day, therefore, music, next to the "three R's," is considered the most important subject in the public school curriculum. Although the beneficent influences of music study reach out in numberless directions, it is generally agreed that the primary aim of music instruction in the public schools should be the development of a lasting love for the best in music, and an intelligent appreciation of it. To achieve these desirable re- sults, the course in music may be organized under four separate though closely related lines of study, namely. Music Appreciation, Voice Culture, Sight Reading, and Interpretation. So interdependent are these several depart- ments of the subject that a lesson in any one of them almost inevitably nuist include something of the others. Nevertheless clarity of purpose on the part of the teacher will be greatly enhanced by having the various aspects of h(u- work distinctly differentiated in her mind as she conducts her class in its study of music. n. MUSIC APPRECIATION The development of an intelligent appreciation of good music is the com- posite result, first, of the development of a finer sul)jective life; second, of the de\elopment of bases for forming musical judgments; and third, of the development of a discriminating taste as to what constitutes good music. It is only through a wide acquaintance with the literature of music that any one or all of these elements of music appreciation can be acquired. T. M. Vol. in-2 'J 10 TEAC^HEirS MANUAL 1. Choice of Material The material used in the daily lesson will naturally influence most strongly the pupil's attitude towards nuisic. Although in the Aftsociativc Period ' a certain amount of abstract drill upon musical problems is essential, all appli- cation of this drill should be made through music of sterling merit, music that not only meets the child's present need for emotional expression l)ut which also will remain in his memory as one of the choicest treasures of his school years and the foundation upon which his futiu-e love for music may securely rest. The material of the Progressive Music Series is rich in beautiful and in- spired songs: folk songs of many lands, art songs of the masters of a bygone day, and songs expressive of modern thought and feeling, contributed by man^' of the foremost composers of our time. Folk songs, the songs of a people, have ever been the surest criterion of tlie musical life of the nation. These songs, indeed, in many cases have been not only the sources of inspira- tion, but have been used as the basic material as well, in the creation of larger art forms b}^ the masters. The songs of the great musicians of the past are a precious inheritance, bringing to us in compact form the same rich inspiration and perfection of workmanship that have caused then- larger art works to STU-Adve. It is, tlieTefore,/liislily iiuportant that in the develo]mieut of music appreciation the cliildren should come into contact with the best and most varied song literature available^ The love for these songs will lead surely to a love for the larger and more complex expressions of the art. The course, in addition to the folk songs and art songs, presents a number of themes from the larger forms, notably from symphonies and operas. The study of these themes will develop the desire to hear, and will help the chil- dren to follow with interest, the complete works from which they have been taken. In the development of an appreciation of other art forms, such as archi- tecture, sculpture, and painting, it has been found helpful to surround the ^children with the finest expressions of these forms. The walls of the school- rooms are hung with copies of masterpieces of paintings and of architecture, and vacant niches and corners are adorned with replicas of statuary. The purpose is to keep constantly before the children expressions of these art forms more complex than they are able to draw or to mould with their own hands. ' See Teacher's Manual, \'oluine III, page 5. GEMOKAJ. SrciCKSTlONS 11 The love of the beautiful is thus enhanced, even though the process may be quite unconscious in the minds of tiie pupils. In like manner children should be given the privilege of hearing music more complex than lies within their ahilitj^ to perform. Where it is possible, local artists should be invited to sing or to play for the school. -The children should also be given the opportunity to listen to music reproduced by a me- chanical player or by a phonograph. Such use of reproducing instruments is identical in character and purpose with the use of lithographed and engraved copies of pictorial art. (^The gaining of an acquaintance with musical literature through the study ^d the singing of the beautiful songs found in this cour.se^ together with the practice of listening to music as described, are the first steps in the development of nmsic appreciation. 2. The Development of a Finer Emotional Life The artistic environment created by the presence of pictures and statuary in the school, and the creation of a musical atmosphere through the choice of good songs and the study of their artistic interpretation, soon yield fruit in the enrichment that is apparent in the lives of the children. It is unques- tionable that the love for the beautiful as expressed in vari(jus art forms is a powerful influence in the refinement of taste and in the moulding of char- acter. It is, indeed, the mission of art, and especially of music, to develop the finer and nobler emotions. The habitual exercise of the finer feelings will stimulate the desire and the ability to think beautiful thoughts and will help one to reject baser thoughts and emotions. The nobler emotions of patriot- ism, of love for humanity, and of appreciation of nature find their highest expression in song. Moreover there are subjective emotional states which respond directly to the appeal of abstract music, that is, music which exists for its own beauty alone, without calling up definite thoughts or emotions that may be expressed in words. These exalted emotional states not only provide some of the choicest experiences of life, l)ut they may also react upon one's entire subjective existence, stimulating and enriching all its finest qualities. 3. Development of Bases for Intelligent Judgment In order, however, that a lasting love for good music and a sincere appre- ciation of it may be assured, it is essential that the attitude of the individual towards music should be more than merely emotional. All good music shows evidences of intellectual treatment by the composer, as well as emotional content. It becomes necessary, therefore, in order that the interest of the 12 TEACHER'S MANUAL music stsudent or of the music listonor may be sustained, to develop intel- lectual bases for realizing and appreciating the composer's skill in developing his ideas. Musical ideas have definite outlines and interrelations which produce eflfects in the mind of the trained listener that he can definitely classify.' The maimer in which the composer develops these ideas and weaves them into larger artistic wholes is determined by his temperament and his skill. In judging his workmanship we are obliged to arrive at our conclusions through an intellectual analysis of the structure and form in which his conceptions are embodied. The methods by which the composer elaborates his musical ideas are almost unlimited in their variety, as are the forms in which these ideas may be cast. The fundamental principles of musical development are as apparent in the small songs of childhood as in the largest masterpieces of musical art. By directing the attention of the children to the consideration of the elements of musical structure as found in the songs of the course, a foundation will be laid for the appreciation of the intellectual element in the works of the great masters of musical composition. This consideration of the structural elements of song was begun in the primary grades through the study of phrase repetition and tlirough the drill upon motives and figures. A brief musical idea may be expressed by a motive or by a figure. A motive is the smallest group of tones by which a particular song or composition may be identified. A figure is a group of tones which expresses a musical thought, although too brief to point to any particular composition. In the study of the songs of Book One the children have acquired an extensive vocabulary of motives and figures. In the tone drills for Book Two these figures are clas- sified according to their tonal characteristics. Further addition to this vocab- ulary is made in Books Two and Three by the study of chromatic figures, of figures peculiar to the minor mode, and of rhythmic types. This study in- cludes practically all the rhythmic motives and figures common to musical literature. Consequently the children who have completed Book Tliree will be in possession of an extensive vocabulary of the musical ideas used by composers to express their thought. ' "The famous old definition of a line as a 'succession of points' tallies so accurately with that of melody as a 'succession of tones,' that it is not only proper, but peculiarly forceful, to speak of melodies as tone lines. Our conception of a melody or tune, our ability to recognize or reproduce it, depends far more upon its undulations, its rising, falling, or resting level, than upon its rhythmic features. These movements trace a resonant hne before our mind's eye as surely, though perhaps not as distinctly, as the pencil of the artist traces the lines of an image upon the pai)er; and the process is going on constantly, from beginning to end, in everj' piece of music. In a portrait it describes the contours of the face and figure — in a word, a Form; in the musical eomiiosition it fulfills, to a great extent, the selfsame mission, that of defining the Form." — "Lessons in Music Form," Percy Goetschius. GENERAL SUGGESTIONS 13 Having command of such a vocahulary, which involves tlio ability to tliink and to express thought in tones, it will be interesting to the children to observe how the song is composed of these same tone-patterns woven into a complete artistic whole. The study of music form, begun in the lower grades through the observation of repetitions of figures, motives, and i)hrases, is continued and developed in the study of the songs of liook Two. The more common devices for the elaboration of figures, motives, and phrases are given in Manual, Volume III. (See page 87.) 4. Feeling for Tonality and for Harmonic Content. When music was in its infancy and was still a crude art, it was deficient in the elements of organization. The ideas themselves lacked the definite- ness and character necessary to make them easily recognizable; there were no traditional forms or established means and devices for weaving the ideas together; and, finally, tones lacked that coherence and interrclationsliip which we have come to call "mode" or "tonality." The grouping of tones in modes and in keys has been a process of gradual evolution. The modern ear demands that musical ideas be expressed in these established modes or it is offended. The untrained ear responds to tonality almost instinctively; the trained ear, however, is able to follow wdth definiteness variations in mode and in key. The training of the ear to discriminate between key-relations adds materially to the capacity of the individual for the intellectual enjoyment of music. Tonality is determined by the pitch relations and the grouping of the tones in the melody, and by the harmonic element that is expressed or implied. In modem music we have, for instance, two principal modes, the major and the minor. These may be concisely expressed by the major scale, consisting of eight tones from do to do in a definite relationship, and by its major tonic chord, do-mi-so; or by the minor scale of eight tones from la to la in other relationships, and by its minor tonic chord, la-do-mi. A- definite feeling for tonality is established in the nainds of the children early in the course tlirough the study of songs in which the major tonic chord, do-mi-so, is prominent. The study of a number of songs in the minor mode, which have been included in Book One, leads to an appreciation of the minor effect, as such, and to the ability to distinguish it from the major effect, as such. In Book Two this ability to distinguish major and minor effects is further developed by continued study of many songs in both modes, with chapters devoted specifically to the study of minor keys. In Book Three a more definite analysis of mode and key is presented. The progressions of the tones in the major scale are found, by analysis, to consist of whole and half steps in a fixed relationship; thus a definite 14 TEACHER'S MANUAL concept of the major key is established. All of the major scales are con- structed by the children following the given formula which they have been led to discover. The same analysis and constructive exercise is applied in the study of the minor scale and in the building of all of the minor scales after the given formula. In Chapters V and XVI of Book Three, the subject of modulating from one key into another is treated. Special drill in modulation is given in the tone drills of these chapters, and this drill is applied in the study of the songs wliich follow. The teacher will observe that where key changes occur in the songs they are indicated by letters above the staff, a capital letter being used to designate a major key and a small letter to designate a minor kej'. The feeling for tonality and harmonic content is also definitely developed through the study of part songs. Two-part singing is begun in Book Two (Chapter IX) and three-part singing in Book Three (Chapter VIII). When it is possible to have the children sing the songs with the accompaniments provided in the Manuals, there will be still further opportunity to develop the feeling for the elements of mode, tonality, and harmonic content as expressed by the piano part. The true appreciation of the intellectual elements of a great musical work involves the power to realize its contrasts in tonality and the ability to follow its harmonic development, as well as the capacity to grasp intelligently its architectural proportions. 5. Judgment from the Standpoint of Style There is still another standpoint from which the composer's work may be judged, that is, the standpoint of style. The style of the composer is influenced by three considerations: first, by the epoch in which he lived; second, by his national and social environment; and third, by his own individuality or temperament. The style of a composer naturally is influenced by the works of those who preceded him. The art of Beethoven, for example, was the direct outgrowth of the works of his great predecessors, Bach, Haydn, and Mozart, although he extended infinitely the boundaries of musical expression as developed by them. Wagner's art was all-inclusive and shows the influence not only of the com- posers who preceded him but also of the masters of the other arts. A knowledge of the history of music and of the place occupied by the composer in its de- velopment, will enable the student to appreciate more fully the means for musical expression at the disposal of the composer, as well as his contribution to the evolution of the art. GENERAL SlCJGESTIOX.s • 15 6. Development of Discriminating Taste The devolopment of a discriniinatiiif-; taste for the best in music is the ultimate result of a wide acquaintance with nuisical literature, of the un- folding of the finer emotional life stinuilated thereby, and of the critical study of music for the purpose of establishing bases for exercising intelligent judg- ment. This taste will eiiable the student to discriminate between that which is worthy and that which is unworthy. The apijlication of the standards which have been discusscil will likewise help him to discover whether or not the treatment of the subject by the composer has been adequate. The songs of this course, studied according to the outlines given in this Manual, will pro- vide the children with a foundation for determining the worthiness of a theme and the adequacy or effectiveness of its treatment. The cultivation of a dis- criminating taste will assure a lasting love for and an intelligent appreciation of the best in music. 16 TEACHER'S MANUAL III. VOICE CULTURE 1. Tone Quality The study of music in the public schools, as conducted at present, consists in large part of singing by the children. It is important therefore that the teacher should have some knowledge of the child voice, its care and develop- ment. In introducing the subject of voice culture it is not intended that the term shall include all of the phases usually emphasized by trainers of boy choirs or by private teachers of singing. The object is to preserve rather than to exploit the child voice. The teacher should exercise constant vigilance in insisting that the tone shall be free from strain and that the quaUty shall al- ways be light and sweet. When misuse of the voice is discovered, the teacher should at once endeavor to find the cause and to correct the fault. The characteristic qualities of the unspoiled child voice are its lightness, sweetness, and flexibility. It is natural that this should be so. The vocal organs of the child are small and dehcate as compared with those of the adult. Any forcing of this delicate mechanism in order to obtain great volume or a piercing quality of tone, is sure to cause strain and will in many cases result in irreparable injury. Small, delicate instruments in their nature pro- duce tones of high pitch and of delicate quality. Consequently the child voice is best adapted for the production of tones in the soprano range, and these should always be sung lightly, with little breath pressure. The use of coarse, reedy tones is positively harmful to the voices of young cliildren.' In the realization of good tone quality the first appeal to the children should consist in bringing out the instinctive love for the beautiful by kindhng the imagination, and by having the children endeavor to express the poetical and musical mood of the song. The imaginative interpretation of the quiet, re- laxed mood of the lullaby, for instance, is more apt to bring about the desired result immediately, than is the use of mechanical devices. Joy and happiness expressed in the singing may serve to relax the muscles of the throat; carried to the extreme of boisterousness, however, contraction and strain are likely to result. On the other hand, the teacher should be care- ful not habitually to "hush" the children, as this practice is apt to suppress the expression of the emotional element of the song, and to deprive the singing of all vitality. So-called "soft singing" may be only a little less harmful than loud singing. A breathy, hushed, stifled tone is not pleasing to the listener, nor satisfying to the singer, and it is not at all an indication of good tone production. ' See Dawson, "The Voice of the Boj'," and Rix, "Voice Training in the Public Schools.'" GENERAL SUGGESTIONS 17 In the case of many children this appeal to tlie imagination will ix' all that is needed to secure a pleasing tone. The expressive interpretation of the text will involve a consideration for the proper rendition of a phrase upon a single breath. The necessity of thus connecting words which belong together in order to express meaning, or of sustaining groups of tones which obviously are parts of the same musical idea, will soon become apparent to a majority of the children. The nature of the text, too, will frequently suggest the idea of "legato," i. e., of the even and sustained flow of the words throughout the phrase, without the effect of "choppiness." In order to accomplish this in an artistic manner it may be necessary to have the children sing the phrase slowly, carefully sustaining and connecting the vowels of the entire phrase. (as if it were one long word) and articulating the consonants quickly and with a decisive action of the lips, tongue, or palate. The rapid articulation of the consonants must be effected without additional breath pressure, as this would result in an accent on the following vowel and a consequent unevenness in the phrase. 2. Breath Control The attempt to sing a long phrase sustained on a single breath will prob- ably disclose to the children the fact that sometimes the breath is exliausted before the end of the phrase has been reached. This is an excellent point at which to explain to them that the breathing muscles, like the other muscles of the body, may be trained, through exercise, to grow stronger and more ca- pable of performing the tasks assigned to them. The teacher should explain the necessity of sitting in an erect yet relaxed position, with the upper chest well elevated. When this is the case, the rib-raising muscles and the diaphragm will perform their functions naturally and easily, therefore nothing need be said to the children about the details of the breathing apparatus, or its me- chanical operation. All that is essential is that they be asked to .sit erect and occasionally to take a deep breath, as if smelling a sweet odor or perfume. Practice may also be given in the management of the slow emission of the breath, as in a prolonged "z" or a gentle "sh." 3. Vowels Many children, in learning the language, have not acquired habits of cor- rect vowel enunciation. In some cases this may be due to carelessness; in other cases it may be due to the influence of a foreign mother-tongue; in still other cases correct vowel enunciation may be impossible by reason of defects in the articulating mechanism. In the case of normal children with defective enunciation, it is necessary for the sake of the correct use of the singing voice, as well as of the speaking voice, that exercises be practiced in correct vowel enunciation. For purjioses 18 TEACHER'S MANUAL of drill the vowels should be classified aooordiiig; to the manner of execution. Beginning with the w^ord "me," which should be sung with slightly smiling expression, the children should practice singing the words "me," "may," "ma" (as in man), and "mah" (as in mamma). To effect these changes in the vowel sounds it is only necessary gradually to flatten the tongue and slightly to drop or relax the jaw. The tip of the tongue should rest gently against the lower teeth for all vowels. In a similar manner the children may practice singing the syllables "moo" (as in moon), "moh" (as in moan), and "maw" (as in maul). The change here is effected by the gradual rounding of the lips to an oval shape as expressed by the shape of the printed letter "0." 4. Diphthongs The singing of diphthongs as they occur in songs, especially when they fall upon tones of more than a beat in length, often occasions difficulty, and is fre- quently the cause of disagreeable effects. This is especially noticeable when a short vowel following a long one is unduly prolonged, as in "mine" when sung "ma-ee-n," or "joy" when sung "jaw-ee." Diphthongs belong to two classes: first, that of a long vowel followed by a short one, as in long "i" or "y," which is made up of a sustained "ah," succeeded by and blended with a very brief ee, as in "ice." Other examples are "oy" and "oi," consisting of a long "aw" succeeded by "ee," as in "oil"; and "ow," consisting of a long "ah" followed by "oo," as in "out." T^e second class is that in which a vowel of brief duration is succeeded by a longer vowel, as in "ew" in the word "new"; here the initial "ee" is very nhnrt^ succeeded by an "oo" which is sustained through the value of the note. The ' important thing to remember is that the short vowels must not be prolonged. 5. Development of Smooth, Even Quality The vowels are the musical elements in any language. Most of the con- sonants are mere noises of different character which, added to the vowels as prefixes or suffixes, serve to give them meaning. It is in the practice of the vowels, therefore, that tone quality must be cultivated. It is desirable that the voice should possess a smooth, even quality throughout its range. The sweet, limpid quality of tone which is peculiar to the child voice, when rightly used, is that which is sometimes designated as "the head voice." The term is correctly used because of the fact that a sensation of vibration may be felt in the head (more particularly in the bridge of the nose) when the tone is cor- rectly produced. This head quality should be present in all the tones through- out the voice compass. It is, in fact, the presence of these "over-tones" or sympathetic vibrations in the resonance cavities of the head which unifies the voice and makes it of smooth, even quality throughout. This lovely and GENERAL SUGGESTIONS 19 appealing tone quality may easily be attained if the teacher will follow direc- tions, and if she be constantly on the watch for manifestations of vocal faults. She should have the children sing the syllable "me" or "moo" with a very light breath pressure, beginning on upper E-flat, first down the tonic chord do-so-mi-do and then down the scale to the lower E-flat, E, or F. When begin- ning on the lower pitches, she should be careful that the projier ciuality is main- tained. With these two vowels well established, she may proceed to a similar practice with the other vowels in their order, being careful that the quality does not deteriorate with the changing j)osition of the vocal organs. Similar exercises may be applied to the songs sung by the children. The consonant "m" as a prefix to the vowels is particularly helpful in attaining a good tone and in keeping the throat muscles free and relaxed. 6. Development of Flexibility Flexibility of the voice is best accomi)lished through light, ((uick practice. The various tone drills outlined for study in connection with Books Two and Three offer excellent material for this exercise. The following examples illus- trate this point: p $^ ^ fPw m me - may ma - mah maw moh moo- moo- moh- maw- mah - ma - - jiiay - 7ne — ^F ^ mah- ma — may- me — moo - moh nioir Other figures outlined in the tone drills may he sung in a similar manner in a descending series of sequences. The order of the vowels should be changed frequently so as to add an element of novelty to the drill, and to prevent stereo- typed, mechanical repetition. 20 TEACHER'S MANUAL 7. Consonants T\Tiile the beauty of the tone quahty is dependent upon the proper emis- sion of the vowel sounds, the distinctness of the pronunciation of the words of a song is dependent upon the clear articulation of the consonants. For the same reasons that the practice of vowel sounds is sometimes advisable, it may occasionally be well to practice initial and final consonants. Likewise combinations of double consonants may be practiced, as, for example, "bl" in "blow." In the practice of the consonants, after "m" has been used, it will be wise to follow with tip-tongue consonants. Later the labials and then the palatal consonants may be studied. As remarked before, the purpose of this study is to secure a rapid and distinct yet smooth articulation of the consonant, so as to give all the time possible to the vowel, which embodies the musical element of song. Table of Consonants Labials, or Lip Consonants (a) Formed between the lips: p (pour), h (bore), m (more). (6) Formed between the lower lip and the upper teeth : v (vale),/ (fail). (c) Lips rounded and the back of the tongue raised: w (wear), wh (where). Dentals (a) The tip of the tongue extended between the edges of the front teeth : th (then), th (thin). (6) The tip of the tongue touching the back of the ujjper front teeth: t, d, n, I, r. (c) A narrow passage between the blade of the tongue and the back of the upper front teeth: z, s. (d) Similar to the foregoing but with the tip of the tongue raised : sh (shall), zh (pleasure), ch (chop), j (jet). Palatals (a) Formed by raising the middle of the tongue toward the hard palate: y (yet). (6) Similar to the foregoing, but with the tip of the tongue raised (sometimes rolled) : r. Gutturals (a) The back of the tongue raised toward the soft palate: g (go), k (kick), ng (sing). Aspirate (a) Formed near the glottis: h (hate). GENERAL SUGCiESTlUNS 21 8. Part Singing The practice of part singing sometimes tends to affect the tone quality of the children, as there is a temptation for one part to outcry the other — a tendency against which the careful teacher will be constantly on guard. Also in some schools the pupils are gi\en permanent assignments to the upper or lower part, and thereafter sing in a restricted voice compass, some- times to the detriment of their voices. In order that the range of the voice may be kept as elastic as possible, a number of unison songs have been in- cluded in the upper books of the course. These unison songs, through their melodic appeal, serve also to stinmlate and to sustain the interest of the chil- dren, especiallj' of the older boys. When part singing is introduced, the teacher will need to exercise considerable judgment in the division of the class and in the assignment of the parts. It is highly desirable that all the children be trained to carry both the upper and lower parts. Such training develops individual independence, strengthens the power of concentrated tone thinking, provides a foundation for the appreciation of the harmonic element in music, and serves to develop the child voice, which is frequently impaired by con- stant singing of the alto part, or becomes thin and piercing because of constant use of the upper tones only. In order that the singing of the lower part may not injuriously affect the soprano voices, the part songs in Progressive Music Series Books Two antl Three are arranged so that the lower parts have very few deep tones, and may properly be designated as second and third soprano parts rather than as alto. -Nevertheless there are voices which because of their extremely light texture or because of their depth and unwieldiness are not suited to such inter- change of parts. It is necessary that the teacher should test carefully the in- dividual voices to determine to which class each child should be assigned: those who may safely sing any part, those who should sing only the upper parts, and those who should be assigned permanently to the lower parts. In three-part songs some children may attempt two parts, but .should not un- dertake all three. These assignments should take into con.siderati()n the voice compass, the quality of tone, and the age or physical development of the pupil. Children who cannot easily sing the highc^r or lower tones should not be assigned to voice parts constantly beyond their range. A child with a light, delicate tone should seldom sing the lower part, and. conversely, a heavy voice should seldom attenii)t the upper part. An older boy, whose upper tones are thin and whose lower tones are growing in richness, should usually be assigned to the lower part.' Voice tests should begin with the in- troduction of two-part singing, and should be given thereafter not less than ' See Dawson, "The Voice of the Boy." 22 TEACHER'S MANUAL once a year for all children and twice a year or even oftener for children about whose voices the teacher is uncertain. 9. Hygiene of the Voice One cause of the raucous, disagreeable quality so often heard in children's singing is the habitual abuse of the vocal organs on the playground. Tlie teacher should frequently talk to the pupils on vocal hygiene as she does on the care of the other organs. The possession of an agreeable, well-modulated voice is in itself a desirable asset in the social and in the business world. The use of the voice in singing has a du"ect influence upon the speaking voice. The teacher should tell the children about the great singers, and suggest the possibility of there being future great artists in her class. The establish- ment of ideals and ambitions in this direction is as worthy as in other lines. The opportunity to hear local or visiting artists, and the use of the grapho- phone to present the voices of great vocal artists to the children, so as to in- culcate these ideals, will prove of lasting value, and may stimulate the pupils to exercise greater care in the use of their vocal organs and thus may help to preserve the voices of artists of the next generation. IV. SIGHT READING 1. The Reading Process What is reading? Music reading is the art of intelligently interpreting musical thought from its notation. The processes followed by the reader of vocal music are very similar to those employed by the reader of language. Intelligent reading is something more than mere word-calling or tone-sounding. It necessarily implies that the reader is familiar with the thought conveyed by the printed symbols, for one cannot express with intelligence that which one has never experienced, nor even that with which one is unfamiliar. This i< j ust as true in the realm of music thought as it is in the realm of language thought. In language, thought is expressed by words representing ideas, by groups of words, called phrases or sentences, and by the organization of these words and sentences into larger thought-wholes. In music, thought is expressed by motives and figures, representing musical ideas, by the combination of these into phrases (song sentences), and by the organization of these phrases into larger wholes. Before one can intelligently grasp and interpret the language thought from the printed page one must have become familiar with the voca- bulary, with its idioms, and with its common usage. In music the same premise holds true. To read music intelligently, which means to grasp and to appreciate the musical thought, one must be familiar with the common voca- bulary of music, with its idioms, and with its common tjrpes of expression. GENERAI. SlHHilCSTIONS 23 Music thought, when expressed in melody, is composed of two elements, the tonal and the rhj'tlniiic. The combination into groups of tones possessing familiar pitch-relations gives the melody outline, shape, character; the in- fusion of the rhythmic element into this group quickens it with life, action, vitality. In order to follow melody in its printed form, a knowledge of a third element is necessary, namely, the theoretical element. This concerns itself with the pitch relations expressed by the staff, and with the various charac- ters used to denote time values, rate of speed, volume of tone, and mood implied. Music reading, then, presupposes, first, the command of a music vocab- ulary composed of ideas represented by tonal and rhythmic motives and hg- ures, and, second, the habitual and fluent use of this vocabulary in music thinking. It presupposes, further, a knowledge of the theoretical elements of notation, the staff and the notes, commonly used to express musical thought. To perfect the command of the vocabulary and the familiarity with the vari- ous symbols used in its written form, considerable exi)ei-ieiico and drill are required. The result desired is fluent and intelligent sight reading, and the means for the accomplishment of this purpose find their analogy in the methods used to develop fluent language reading. 2. Previous Experience In the first three grades, through their familiarity with the songs of Book One and through the careful analyses of these songs, the children have come into possession of an extensive vocabulary of the more connnonly used musical figures. This experience, like early language experience, has been acquired largely through imitation. The children have passed through the Sensory Period, a period in wliich the powers of imitation and memory are the chief instrumentalities in the learning process. The children have been taught to sing their songs, words and music, by rote; later they have sung them with loo, and have become conscious of the element in song structure known as phrase repetition; next the.y have been taught by rote to sing the so-fa syllables to the melodies. Thi-ough the us(> of the syllables they have learned to recognize recurrences of the smaller groups called motives and figures, and definitely to distinguish these from each other. The figures have been organized in the minds of the children according to their tone functions, and this organization is expressed in the chapter headings of Book One. Following this imitative and analytical experience, the children were led gradually to synthetically recombine these familiar figures as they were found in new relations in the songs of Part Two and Part Three of Book One. 24 TEACHER'S MANUAL In the Art Songs of Part Four of Book One, and in the additional songs of Teacher's Manual, Volume I, the children gained unconscious experience with practically all of the musical elements outhned for study in the higher books of the course. 3. Development of Fluent Sight Reading In grade four the children have passed into a new stage of development, the Associative Period. In harmony with the fundamental characteristics of this period (see page 5) a new procedure is planned. The children must be taught in such a way as to become gradually independent of the teacher. They must be taught how to study, how to attack the problems involved in the new song, how to successfully grasp its content, and how to give it effec- tive expression. The fundamental tonal and rhythmic concepts gained in the first three school years are classified and organized in Book Two as definite musical prob- lems for formal drill. Through this drill the relationship of individual tones in the scale is established. The tonal element is given further consideration in the study of chromatic effects and of the minor moile. The rhythmic element ' is developed to a consideration of the single beat and its component parts. The logical development of the tonal and rhythmic problems is secured through the topical organization of the song material into progressive chapters, each chapter treating a definite problem, and so arranged that the children may proceed page by page. The experiences gained in the Sensory Period are related and associated through drill, and the vocabulary thus acquired is organized, extended, and thoroughly memorized until its use becomes auto- matic. Fluent, intelligent sight reading becomes possible through the ap- plication of this drill in new songs composed of famiUar elements in new relations. In de^'eloping a given musical problem in the songs of Book Two four steps are involved. (1) A familiar song embodying the problem is reviewed. (2) The problem is brought clearly to the children's attention. (3) The problem is isolated from its context and is drilled upon. (4) The mastered problem is applied in reading new songs in which it occurs. In Book Three this procedure may profitably be varied because of the expe- rience gained through the study of Book Two, and the four steps may be taken in the following order: (1) The children are led to discover the unfamiliar problem through the study of the notation of the unfamiliar song. (2) A familiar song embodying the problem is sung. This step may frequently be omitted. (.3) The problem is isolated from its context and the children are drilled upon it. (4) The mastered problem is appUed in reading new songs in which it occurs. GENERAL SUGGESTIONS 25 4. " The Three T's " of Sight Reading As already intimated, such musical problems will fall into three groups: first, tone problems; second, time problems; and third, theory problems. These may be termed "The Three T's" of music sight reading. While the expert in terminology might possibly object to the use of the word "time," for instance, to express rhythmic relations, the word is nevertheless commonly used by musicians in this sense; furthermore, the alliteration embodied in the expression may serve to emphasize the importance of an equal considera- tion for the three elements of music which they represent. 5. Use of Tone Drills Tone drills are necessary in order to enable the children to think and to express themselves readily in terms of tonal relationship. In the first three grades the children have become familiar with tonic-chord figures, with tones of the tonic chord and their active neighbors, with two-, three-, and four-tone scale figures, ascending and descending, and with intervals of thirds, fourths, and fifths, both ascending and descending.' Through Book Two these figures are extended by making new combinations of derivatives, by completing all the figures in sequence studies throughout the scale, and by the addition of chromatic figures and figures peculiar to the minor mode. These tone drills are presented in detail in connection with the chapters embodying new tonal problems. All tone drills should involve, first, the training of the ear, and.laier a correlation of the effect as distinguished by the ear wirtWhe printed effect as seen by the eye, through visualization drills, which should be conducted from the blackboard and from the book. Detailed directions for conducting these drills are given in the Chapter Outlines. (See page 49 for a summary of tone topics in Books Two and Three.) 6. Use of Time Drills The use of time drills, or the training of the ear to distinguish between rhythmic ideas, really begins with the work outlined for grade four. In the first three grades we have relied upon the instinctive rhythmic nature of the child, upon the power of imitation, and upon the rhythmic swing suggested by the lilt of the text. To arrive at the rhythm of a new song, the children, with the guidance and help of the teacher, have been accustomed to scan the poem before attempting to read the melody. The development of a feeling for the larger phrase rhythms has been the fundamental object here. Rhythmic appeal has been addressed chiefly to the senses and not to the intellect. In grade four a more detailed study of rhythmic effects is given. Phraije ' See Teacher's Manual, Vol. I, pages 70-73. T. M. Vol. iii-n 26 TEACHER'S MANUAL groups are found by analysis to be composed of measure groups, and these of accented and unaccented beat groups. (Certain rhythmic groups invoh'e a combination of two beats, as, for example, the dotted-quarter and eighth notes.) The child is led to study the beat rhythms, which are then combined into measure forms for drill and application in sight reading. Time drills, like the tone drills, should involve, first, the training of the ear, and later, a correlation of the effect as distinguished by the ear with the printed efTect as seen by the eye, through visualization drills. DetaUed directions for presenting and conducting these drills will be found in the Chapter Outlines. (See page 52 for a sumnaary of time topics given in Books Two and Three.) 7. Use of Theory Drills Theory drills are necessary in order to fix in the child's memory the forms and meanings of the various signs used in printed or written music. The object of these drills is to make the response to musical symbols as nearly automatic as possible. The drills are intended to familiarize the children with the staff, clef, key and time signatures, various shapes of notes and rests, etc. They should be conducted from the blackboard and from the book, by finding and explaining the signs and marks as they occur in the songs. Written practice may be given in making the different signs and characters of music notation, in copying music or writing from dictation, in making skeleton diagrams of the structure and form of the songs, and, in the sixth and seventh grades, in scale building. Drill in the use of the piano keyboard diagram, as found in the inside back cover of the book, is suggested in the Chapter Outlines. 8. The Synthetic Application of " The Three T's " Since the gathering of the thought from the printed page involves the si- multaneous combination of tone, time, and theory, the importance of thorough drill upon these three elements will be obvious to the experienced teacher. Such drills are also useful in training the child in logical habits of study. In developing fluent and accurate sight reading the use of the so-fa .s>lla- bles is helpful. At the same time care should be exercised that tliis use is not overdone, because it is possible so to accustom the children to dependence upon syllables that they are lost without them. It is important, therefore, that from the beginning of the work in Book Two the children should gradually learn to think tones in their relationship to each other, independent of syllables. To this end it is recommended that while studying Part One of Book Two, the songs should be read according to the following tliree steps: First Step: Singing with the syllables. Second Step: Singing with loo. Third Step: Singing with the words. GENERAL SUGGESTIONS 27 Occasionally the omission of the first step is advisable, although this shoulcl not be done unless the children are reasonably sure to sing correctly. There is no necessity for hastening the disuse of the syllables. Neither should the songs be sung so many times by syllables that when sung with loo the children will be merely recalling the oft-repeated melody. The children should be trained when singing with loo to be actually following the notes and not singing the melody from memory. The same is true of the words. While it is difficult to look at both words and music at the same time, the preferable practice is to read the words often enough to make it possible to give them less attention rather than to sing the melody so often that the childi-en need not follow the notes while reading the words. Beginning with Part Two of Book Two, it is advised that the sight reading should be according to the following three steps: First Step: Singing with loo. Second Step: Singing with the syllables. Third Step: Hinging with the words. Do not continue unavailmg efforts to get the right tones with loo: if the melody is not sufficiently clear for the children to sing with assurance, use the syllables and then try again with loo. A careful studj^ of the song should be made by the cliildren before attempting to sing it with a neutral syllable. The object desired is not a guessing at tones but a real training in tone think- ing, and the children must have the correct mental basis for judging the char- acter of the coming tone group before attacking the sight reading of the song with loo. The tone drills should provide such a basis and if the children are merely guessing while sight reading with loo, they thereby give evidence that more careful review of previous tone drills is necessary. Beginning with Book Thi'ee, the three steps should be taken in the fol- lowing order: First Step: Singing the song with the words. Second Step: Singing the song with loo. Third Step: Singing the song by syllables. Before singing with the words a careful analytical study of the song and its problems should be made, the words should be read, antl, if necessary, studied. In many cases it may be necessary to read the words several times so that when the song is sung the chief concentration may be placed upon the notes of the songs. If the sight reading with words is not done with comparative readiness, or if it seems that the children are lost in the difficulties of the song when attempting them with words, try the song with loo or try at least the dif- ficult phrases with loo. If this study does not accomplish the result of enabling the childi-eu to sing the song with the words then take the difficult places by syllables. 28 TEACHER'S MANUAL The point at which these studies are aiminp; Is to enable children to sing new music at sight with words. When the children show themselves able to do this with comparative readiness, the third step, namely, singing by sylla- bles, may be omitted. Eventually it may be found possible to omit the sec- oud step, tlioug'h in future sitiht vondiiiu' the knowledge of sylbiblcs will often be of aid in ovei-coniini;' (lifficulties. Having acquired an adequate vocabulary and a fluency in its use, it then remains for the children to develop ready power to analyze the printed page, so as to arrive at the ideas expressed in the song, and to grasp the structure or form in which these ideas are embodied. Such an analysis leads not only to fluent sight reading, but is an aid to easy memorization. The power to mem- orize is essential, because it transforms the fleeting impression into a lasting one. It is not so much what we learn that benefits us as what we remember. The more musical experiences established in the minds of the children, the more lasting will become their love for good music, which leads again to the fundamental aim of school music instruction, the lasting love for and the intelligent appreciation of the best in music. V. INTERPRETATION Music is sometimes called the "universal language" or the "language of the soul." This phrase truly states the great purpose of music, for, better than any other medium, music gives expression to the inner subjective life. Through music, great souls have given expression to the deepest universal emotions, and even the simplest songs may often touch an inner chord which responds to no other stimulus. The performer must bring to the interpretation of a musical work not only the technical ability to carry out in detail the ex- pressed wishes of the composer, but he must also bring to the performance a reahzation of the emotional state which brought the music into existence. It follows, therefore, that in the proper interpretation of a song, two ele- ments must be observed for guidance, namely, the mechanical and the emo- tional. The composer is enabled through the use of certain words and signs to indicate the mechanical elements of interpretation. These are of four kinds: first, marks affecting the volume of tone; second, marks affecting the rate of speed; third, marks affecting the mood expressed; and fourth, marks aifect- ing the style of performance. The more usual words and marks affecting the volume of tone are: piano (p) ; mezzo piano (mp) ; pianissimo (pp) ; forte (/) ; mezzo forte (mf) ; fortis- simo iff) ; crescendo {cres. or -== ) ; decrescendo {decresc. or = ) ; di- minuendo (dim. or :: ) ; sforzando (s/ or :^- ) . Among the marks indicating the rate of speed may be found the following Italian words: Largo; Lento; Adagio; Andantino; Andante; Moderate; GENERAL PTT.CKSTIOXS 29 Allegretto; Allegro; Presto. These terms are explained in the Glossary, on page 303. By the use of Metronome Marks also the composer is enabled to indicate definitely the rate of speed with which the beats follow each other. Marks indicating a gradual increase or decrease in the rate of speed, such as " allargando " and " ritardando," meaning gradually slower, and " accellerando," meaning gradually faster, and "a tempo," meaning to resume the original rate of speed, will also be found in frequent u.sc. There are many words and marks indicating the mood to be expressed. These frequently qualify the speed words, as, for instance, Allegro con spirito, which means "quickly, with spirit," or Allegretto can grazia, which means "somewhat quickly and gracefully." Italian w^ords and terms have generally been employed to indicate expression, though the use of words in the vernacular of the composer is met with quite frequently. The fact that music is such a universal language is ample justification, however, for the continued use of the Italian terms, since ihey are understood by musicians throughout the world. A list of terms indicathig expression, with their English e(iuivalents, will be found in the Glossary. Among the words affecting the style of performance are "legato," "stac- cato," "sostenuto," and such marks as slurs, dots, etc. WTiile the proper observ^ance of the mechanical signs and words is of great value in determining the style and manner of the interpretation, the teacher and the children should be cautioned against a too rigid or inflexible consid- eration in appljdng them. This is notably the case where two or more stanzas of the text, differing in mood, are sung to the same mu.sical setting. In the "New Year's Song," on page 60 of Book Three, for instance, the three stanzas are quite different in sentiment. The class should discuss the interpretation of the song, deciding where to follow the signs as given, and where to modify the expression in accordance with the text. This leads to a consideration of the emotional element as expressed, first, by the text, and, second, by the content and mood of the music itself. The teacher should lead the children to study each song text and to tell the story or give the content of the poem in their own words. An understanding of the text will lead, in most cases, to the correct feeling for proper volume of tone and to the approximate rate of speed. After such study of the poem the teacher should ask the children to suggest the interpretation. It may be noted that usually the song as a whole has an atmosphere peculiar to itself; that the separate stanzas may vary in the moods expressed ; that some phrases suggest moods all their own ; and, finally, that certain words are more pregnant with meaning and emotion than are others. It should be the constant endeavor to express these inner meanings with appropriate emotional emphasis. 30 TEACHEKS MANUAL In addition to the understanding of the text, the feeling for tonality and implied harmonies, which is being cultivated in the children, will help them to grasp the significance of the nmsic itself. The change from a minor to a major key, for example, will usually suggest a brightening of the tone quahty, an acceleration of the speed, and an increase in volume. The change from major to minor is usually accompanied by a more somber tone quality and a modera- tion in the rate of speed and in the volume. In conversation or in dramatic recitation emotional excitement is uncon- sciously expressed by hurrying the declamation and by raising the pitch of the voice. In music this may be observed in the use of notes of shorter dura- tion and in the upward-climbing tendency of the phrases. Phrases of an as- cending character should generally be sung with increasing volume, sometimes with a slight acceleration of the tempo, especially in the case of repeated phrases on succeedingly higher degrees of the scale. Sequences of descend- ing phrases or phrases with descending characteristics should usually be sung with a slight decrease in the rate of speed and in the A'olume. The children should be taught early how to follow not only the mechanical signs, but how, through an appreciation of the poetry, and thi-ough an analy- sis of the nature and tendency of the music itself, they may arrive at the most effective interpretation of the thought of the poet and of the composer. In the Chapter Outlines of this Manual copious directions and suggestions are offered for the interpretation of the songs of the course. These are not intended for the children, nor even for the musically trained teacher. Too much emphasis cannot be placed upon the importance of leading the children to express their own interpretation of the songs. Indeed, this study is one of the most vital elements in their musical training. Neither will the professional musician require these aids. But as the music lesson must often be directed by the grade teacher who has not had nuisical training, the interpretative suggestions are added for her guidance and inspu-ation. VI. SPECIAL TRAINING OF LESS MUSICAL CHILDREN Children who have been found, through individual tests, to be singing out of tune, may be divided into four classes. The skillful teacher will exercise her ingenuity in diagnosing each individual case and in treating it according to its specific needs. First, there are children, by no means monotones, who, through lack of attention or concentration, are listless and sluggish in responding to musical impressions. It is only necessary to arouse the imagination, the interest, and the enthusia.sm of such children to secure that spontaneous attention which will soon yield fruitful results. Once genuinely interested, these children will learn to sing well through the mere doing of it. GENERAL SUGGESTIONS 31 Second, there are those who readily distinguish between songs and phrases but who lack skill in reproducing them. These pupils hear accurately but are deficient in the ability to reproduce what they hear. Through lack of prac- tice in the coordination of the vocal organs with the musical idea in the mind, through loud, harsh singing or abuse of the voice on the playground, the vocal organs fail to respond to the impulse of the will to sing. These children need practice in the voluntarj- control of the voice, skillfully directed and assisted by the teacher. Faults in breathing must be corrected, rigid throats must be relaxed, defective articulation must be remedied. Above all, the imagi- nation of the children and the desire to sing must be aroused. Light, sweet tones must be given as models for them to imitate. It is often the case that the singing of a musical child in the class will be more readily imitated than that of the teacher. The chUd who is receiving incU\idual help should be encouraged to concentrate his attention upon the face of the one acting as teacher. A ro^-ing eye is an indication of wandering attention. Third, there are pupils who fail, in varAing degrees, to disthiguish between musical idea;?, or who seem to lack what we have been accustomed to call a ''musical ear." Two general tj^ies may be included in this third class: first, children in whom the tonal sense is defective ; and second, those deficient in rhythmic sense. A thu'd group might include children lacking in both. Some chilch-en recognize certain songs and fail to recognize others. These children probably possess strong rhythmic sense, and recognize songs with strongly marked accents or characteristic rhji:hms, but fail to recognize tunes with a less accented melody. The.se children are defective in pitch recognition, and in extreme cases sometimes fail to recognize a single song familiar to the class, or even to distmgmsh between high and low tones. Children deficient m pitch recognition require oft-repeated, striking, and clear-cut impressions of bits of melody. Pitch memorj-, like memory in other lines, will depend upon the frequency and recency of these melody mipressions. An entire phrase will prove too long for their untrained ears and memories to retain. Each phrase must be broken up into motives, or into figures embodjdng ele- mental tonal relationships which are sharply defined and contrasted. Again, in other cases the rhj-thmic instinct has not yet been awakened. Some children have not learned to march in time to music or to keep step with their niates. Children rhj-thmically deficient must have this instinct aroused through marching, skipping, clapping, singing games, folk dancing, and the like. The feeling for rhythm, developed through muscular respon.xe from the larger muscles of the body and limbs, will, in time, enable the child to control the finer muscles -of the vocal organs. Children lacking the "musical ear" demand the utmost skill, patience, and persistence on the part of the teacher. ^\Tiere possible, time should be 32 TEACHER'S MANUAL taken outside of the regular music lesson in order that the interests of the class may not suffer. Permitting children to sing out of tune or time not only mars the class singing but tends to confirm vocal faults into fixed habits. Fourth, and finally, there is the class of children who are abnormal or physically defective in the organs of hearing or in the organs of speech or both. It is obvious that children with deficient or imperfect hearing should be permanently seated in the front seats near the teacher. In most cases these children, as well as those suffering from defective vocal organs, should be brought to the attention of a medical specialist. The teacher may often confer a lasting favor upon the child by calling the attention of his parents to such defects. It is of the greatest importance that the teacher should realize these facts concerning so-called "monotones," and that each case should have a careful diagnosis and be treated for its specific ailment. The fact that a child does not sing in no wise proves it to be unmusical. It is a well-kno\vn fact that many famous musicians have been unable to sing — probably for no other reason than that they never really attempted to sing. No one would think of terming such a musician "unmusical." A so-called monotone may be the most musical child in the class. Teaching such a child how to sing should be counted a privilege and a duty. While the correction of monotones should be emphasized in the first three grades, and while in the higher grades it is always more difficult to induce children to take an interest in music if they have not sung in the earlier years, the teacher should not relax her efforts to have every child take part in the music lesson. When a child does not sing, an effort should be made to de- termine the cause, which in the upper grades may frequently be other than an inability to sing or a distaste for music. Not infreriuently boys arrive at a stage of mental development where they are disposed to look upon singing as unmanly. This attitude may be removed by a tactful discourse upon the place of music in life or by inviting some male singer of the community to sing for the school. Talking machine records may also be used to ad\-antage in this connection. Boys who by reason of slow mental development are be- yond their classmates in years, and who have reached the changing-voice period, should be allowed to take theu- music lesson with the upper grades. VII. THE CONDUCT OF THE MUSIC RECITATION The efficient teacher will see to it that in the music lesson, as in other subjects, the time devoted to the various topics of the recitation is well bal- anced, and that the lesson moves with a swing. Enthusiasm and magnetism as well as .skill on the part of the teacher are essential in music more than in a,ny other subject. She must, however, control her enthusiasm, or the lesson (lENERAL SUr.(;ESTIONS 33 will become entirely emotional or recreational in character, to the sacrifice and detriment of th(> intellectual side of the suljject. While the love for <]jood music and the enjoyment of singing are fundamental aims of the lesson, these will develop in lasting degree only as children acquire intellectual power and independence. It is advisable that every music lesson begin with the hearty singing of a familiar song, preferably one of stirring character. This should be followed by the study of the technical topic chosen for the day and its application in the study of a song. Each music lesson should be built around a central thought or idea. Both teacher and pupils should clearly understand what this idea is, and if possible it should be mastered in the time allotted. The prac- tice of spending a few moments daily ujjon a great number and variety of topics is apt to degenerate into an exhibition of agility rather than to provide train- ing of lasting benefit to the children. Rather than this, it is advised that the teacher should apportion her woi-k through the week so that each subject shall have its due share of time, and so that each lesson shall clearly complete the points presented. The teacher should be cautioned against continuing too long upon one topic; this is especially true of abstract drills. The tech- nical work of the day should be brought to a conclusion in time to permit of the singing of one or more familiar songs. Individual singing and recitations should be prominent both in the drill work and in the study of songs. Written work may be conducted diu'ing the individual recitations. All drills should be brisk, brief, and snap]\v. The analysis of the songs should be made by the children under the skill- ful guidance of the teacher. The analysis should first concern itself with the technical elements of the song; with the tone, time, or theoretical problems involved. The teacher should avoid needless repetition of details which are already thoroughlj^ understood by the class; she should direct her attention to the less familiar elements involved, and proceed as quickly as possible to the reading of the song. As previously intimated, careful attention should be given to tlie artistic interpretation of the song. While the children are to be led to discover the interpretation for themselves, the teacher, nevertheless, remains the true in- tellectual and spu'itual leader of the class. The singing of every song should be conducted by the teacher, and the class should be inspired by lier leader- ship. She must indicate the precise moment for the attack of the first j^hrase, and through a graceful motion of the hand keep the song moving with e\'en rhythmic flow. The rote songs outlined for the Fourth and Fifth Grades are to be taught with books in the hands of the children. Portions of these songs will be within the reading ability of the children, while other portions will anticipate the 34 TEACHER'S MAXUAL technical problems of the following grades. The children should be encour- aged to gain as much as possible from the notation, reducing to a minimum their dependence upon the voice of the teacher. The teacher, however, should keep uppermost the idea of joy in learning these rote songs, rather than the thought of effort or of difficulties overcome. The voice-training exercises should take little time from tfie lesson itself. They should rather be correlated with every part of the lesson. Every tone drill, every sight singing exercise, every song interpretation, should at the same time become an exercise in voice training. This holds good especially after the fundamental principles have been made clear to the chikh-en. Monotones, cliildren with vocal defects, and children below grade should be given assistance outside of the regular music lesson. The time allotted to music is usually too short to justify the expenditure of a considerable part of it in behalf of an unmusical minority at the expense of the musical majority. It is important that these unfortunates be given help and encouragement, and the resourceful and interested teacher will find time for them without robbing the class as a whole of its opportunities. The same remarks might apply to preparations for special occasions. While special occasions and public performances have a legitimate place in the function of music in the school, care must be exercised that these prepara- tions do not consume time at the expense of the regular lesson. When possible, a special occasion should be treated as an "extra," and the preparation for it should be made outside of the regular music recitation. Public perform- ances are sometimes doubly interesting when they illustrate the regular music work of the classroom, and when the songs sung are those learned in the regu- lar routine. By anticipating the coming event and allowing ample time for preparation, a minimum of time will be taken from each lesson and the regu- lar music study will be only sUghtly affected. In this way little extra time is required for preparation. Every lesson should be a lesson in appreciation. In the section on "Music Appreciation," it is shown how this may be brought about in the study and analysis of the songs of the course. When possible, the "listening" lessons, whether the performance is by visiting artists or by a mechanical player, should be at times other than the regular music lesson. In larger buildings, several rooms of the same grade and possibly several grades might be assembled for this purpose. Once the broad educational value of this work is understood, there will be little diffi- culty in devising plans and in obtaining an additional allotment of time for this purpose. PAKT TWO GRADED OUTLINES !. MOXTIILY OlTMXES NUMBER OXE The following Moiithl}- Outline for Sixth and Seventh Grades is arranged according to the plan in which Book Three of the Progressive Music Series is used throvighout these two grades. An Outline for completing Book Three in the Sixth and first half of the Seventh Grade will he found on page 41 of this Manual. An Outline for com- pleting Book Tluee in Grade Six will be found on page 46.- SIXTH GRADE, FIRST MONTH I. DriU (a) Tone : Review of the topics of Book Two : Tone I'clations in the diatonic major scale ; sharp chromatics, diatonic half-step progressions ; flat chromatics, diatonic half-step progres- sions ; the introduction of the minor mode ; interval studies in the diatonic major scale ; two-part singing ; tone rela- tions in the harmonic minor scale ; sharp chromatics, ski]is to sharps, resolving upward, and the whole step ascend- ing; flat chromatics, skips to flats, resolving downward, and the whole step descending ; three tones ascending chromatically ; three tones descending chromatically. (b) Time : Review of the topics of Book Two : The quarter-note beat — quarter, half, dotted-half , and whole notes and the cor- responding rests ; eighth notes ; dotted-quarter and eighth notes ; phrases beginning on the eighth note before the beat ; dotted-eighth and sixteenth notes. The dotted quarter-note beat — the quarter and eighth note to a beat ; three eighth notes to a beat ; more advanced studies. ' See Manual, Vol. Ill, page iii. 2 Monthly Outlines for the work of Grades Four and Five are given in Teacher's Manual, A'^olume II, but for the guidance of teachers using Book Three, reviews of the technical prob- lems covered in Book Two, with the grade and month in whicli each problem is introduced, and with suggestions for drill on some of the topics, arc included in Tt^acher's Manual, Volume 111, preliminary to the Topic.al Outlines — Tone, Time, and Theory — for Gra (fe) Time : Complicated rhythms. (c) Theory : Modulations to remote keys. II. Sight Reading Book Three. Songs selected fronj Ch'apter XV, pages 15.3-168. Songs selected ffrom Chapter XVI, pages 169-175. SIXTH GRADE, TENTH MONTH I. Drill (a) Tone : As in previous months. (ft) Time: The dotted quarter-note beat, more advanced studies, i.e. nine-eighth and twelve-eighth measure, (c) Theory : Contrapuntal style. n. Sight Reading Book Three. Songs selected from Chapter XVII, pages 176-18.3. Songs selected from Chapter XVIII, pages 184-192. IV. Topical OrTi.iNEs — Tone FOURTH GRADE' 1. Tone Relations in the Diatonic JVIajor Scale. 1. Sequential Diatonic Successions. a. Two Tones. b. Three Tones. c. Four Tones. 2. Tones of the Tonic Chord. 3. Tones of the Tonic Chord with Active Neighboring Tones. 4. Active Tones, Resolved. 5. Chord Figures. Fourth Grade, first, second, third, and fourth months. 2. Sharp Chromatics ; Diatonic Half-Step Progressions. Fourth Grade, fifth month. 3 ^:^ 5~ * ^it* :s2= tit^ ^ 3. Flat Chromatics ; Diatonic Half-Step Progressions. Fourth Grade, eighth month. i m ^ s ^ SB: cJ 'Ji fw 4. Songs in the Natural Minor Scale Fourth Grade, tenth month. i fcilE^ m. ^^m FIFTH GRADE 5. Interval Drills. Fifth Grade, first month. (a) Thirds, sequen«e^lrill : (Key of E-flat) do-mi, re-fa, rpi-so, etc. do-la, 4i-^o, (a-fa, etc.^ ' See footnote, Manual, Volume TIT, page 35. ' A line above a syllable denotes the upper octave ; a line below denotes the lower octave. 49 50 TEACHER'S MANUAL 6. (6) Fourths, sequence drill : (Ke}' of ("j do-fa-mi. re so fa. etc. do-so-la, ti-fa-so, etc. (c) Fifths, secjuence drill ; (Key of C) do sofa mi. re la sofa, etc. do fa-so-la. ti mi fa-so, etc. (d) Sixths, sequence drill : (Key of E-flat) so-mi do. la-fa-re. etc. do mi- so. ti-re-Ja, etc. (e) Sevenths. The interval of a seventh occurs so rarely that sequential diill is not considered necessary. The Introduction of Two-Part Singing. Fifth Grade, second month. Melodies in the Harmonic Minor Scale. Fifth Grade, fourth month. fcr ^ ^^ l^Tp= ^ ^- 8. Sharp Chromatics; Skips to Sharps, Resohing Upward; the Whole Step Ascending. Fifth Grade, sixth month. Suggestion for Drill : The figm-es in the following chromatic drill may he sung in any order, associated with any tone of the diatonic scale and with each other. do ti-db do-ti ti li-ii tilt la si-la la si so fi-so so-fi fa mi-fa fa mi mi ri mi mi ri re dire re-di do do do Flat Chromatics ; Skips to Flats, Resolving Downward ; the Whole Step Descending. Fifth Grade, eighth month. GRADKO OITLIXKS 51 do do-ti ti-do ti tela la te la le-so so le so se-fa fa-se fa fa-mi mi-fa mi me re re me re ja-do do-ra do do do 10. Tlu'co Tones Ascendiu'^ C'hidiiiatically. P'ifth Grade, tenth month. ^^^i^g-g^ig^^^^ii^^^^^i S^jsa^^ im ^^---^-~ :=t:=^- :*=«*- "^j^EpE^g=^ 11. Three Tones Uescending ('hroinatically. Fifth Grade, tenth month. 4^^ ^^^ziL lig 22Z g? r- ^^^^^1 B SIXTH AND SEVENTH GRADES For the grade and montli in which these suceessivc problems are introduced, see the three alter- native Monthly Outlines, pages 35, 41. and 4(1. 12. Melodies in the Melodic Minor Scale. Manual, Vol. Ill, page 67. 13. Modulations to Nearly-related Keys. Manual, Vol. Ill, page 78. 14. The Intiodiu'tion of Three-Part Singmg. Manual, NOl. Ill, page 92. 15. Four Tones Ascending Chromaticalh'. Manual, Vol. Ill, page 100. 16. Four Tones Descending Chromatically. Manual, Vol. Ill, page 105. 17. Modulations to Remote Keys. Manual, \'()1. Ill, page 114. V. Topical Outlines — Time FOURTH GRADE 1 . The Quarter-Note Beat ; Quarter, Half, Dotted-Half , and Whole Notes and the Corresponding Rests. Fourth Grade, first and second months. r ^ r - 2. The Quarter-Note Beat ; Eighth Notes. Fourth Grade, third month. if C^ .3. The Quarter-Note Beat ; Dotted-Quarter and Eighth Notes. Fourth Grade, sixth month. ft 4. Phrases Beginning on the Eighth Note before the Beat. Fourth Grade, ninth month. FIFTH GRADE 5. The Dotted Quarter-Note Beat; the Quarter and Eighth Note to a Beat. Fifth Grade, third month. r 6. The Dotted Quarter-Note Beat ; Three Eighth Notes to a Beat. Fifth Grade, fifth month. LLf 52 GRADED OUTLINES . 53 7. The Dotted Quarter-Note Beat; JNIorc Advanced Studies. Fifth Grade, seventh month. ^ » m p m 8. The (iuai'ter-Xotc Beat ; Dotted-Eighth and Sixteenth Notes. Fifth Grade, ninth month. SIXTH AND SEVENTH GRADES For the grade and month in which thoso suepessive proliloms are introduced, see the three alternative Monthly Outlines, pages 35, 41, and 46. 9. The Eighth-Note Beat. Manual, Vol. Ill, page 72. 10. The Dotted Quarter-Note Beat ; More Advanced Studies. Manual, Vol. Ill, ]:)age 76. 11. The Half-Note Beat. Manual, Vol. Ill, page 84. 12. Four Equal Notes to a Beat. Manual, Vol. Ill, page 96. 13. Triplets; Three Notes in the Time of Two. Manual, Vol. Ill, page 102. 14. Sj'ncopation. Manual, Vol. Ill, page 107. l."). Complicated Rhythms. :Manual, Vol. Ill, page HI. 16. Tlie Dotted Quaiter-Note Beat ; Advanced Studies. Manual, Vol. Ill, page 117. VI. Topical Outlines — Theory For the guidance of teachers using Book Three, this oiithne of theory problems includes also those covered in Book Two (as studied in Grades Four and Five, witli the nioiifhin which eax-li problem was intro(hic(^d), also brief resumes of important facts developed and suggestions fur drill in some of the topics. FOURTH GRADE 1. Study of the Characters of Notation and Marks of E.xpression a-* they occur in the songs of the course. 2. The Place of do in all Keys with Flat Signatures. Fourth Grade, first month. When flats are in the signature, the flat farthest to the right is on tlie same staff degree as /a. Therefore so is on the next staff degree above. Locate so-mi-do on descending lines (or spaces, as the case may be). 3. The Place of do in all Keys with Sharp Signatures. Fourth Grade, second month. WTien sharps are in the signature, the sharp farthest to the right is on the same degree as ti. Therefore, if ti is on a line, so-mi-do will he found on the next three descending lines : if ti is on a space, so-mi-do will be found on the next three descending spaces. 4. The Place of do in the Key of C. Fourth Grade, second month. With no sharps or fiats in the signature, do-mi-so is on the first line below, the first and the second lines of the staff. This fact must be mem- orized by the children. 5. The Two-Part Round. Fourth Grade, fourth month. 6. Sharp Chromatics. Fourth Grade, fifth month. The term "sharp" is equivalent to the phrase, "one half-step higher than " ; thus "F-sharp" means "one half-step higher than F." The effect of the sharp (and of other chromatic signs) continues through- out the measure in which it occurs, unless canceled. The syllables for the sharp chromatic tones are : di, ri, fi, si, and li. 54 GRADED OITLLXKS 55 7. Tho Natural foi- Cancol) used a.s a Slimi) ("lifomatic. Fourth (Iradp, fifth month. In keys with flats in the signature, the sliarp chromatic is sometimes indicated hj- a natural. S. Flat Chromatics. Foui'th Grade, eightli month. The tenn "flat " is equivalent to the phrase, "one half-step lower than " ; thus "B-flat" means "one half-step lower than R." The syllahles for the flat chromatic tones are : ie. le, se. me, and ra. 9. Tlie Natural used as a Flat Chromatic. Fourth Grade, eighth month. In keys with sharps in the signature, the flat chromatic is sometimes indicated by a natural. 10. Tho Minor Mode. Fourth Grade, tentli inoiitli. Suggestion for Drill : The teacher sounds la from the i)itchpipe on different low pitches and the children sing the ascending minor scale (from la to la). She also sounds la on high pitches and the children sing the descending scale (from la to la). In songs in minor keys the teacher tells the children that the song is in iiiinoi-, and, in gi\-ing the key-note, sounds the pitch for the syllable la. The children find their first tone by singing ascending or descending tones of the tonic chord, la-do-mi, until tho proper pitch is sounded. As soon as possible this process should bo mental instead of audible. The children are not expected themselves to distinguish from the notation the fact that a song is in the minor mode. For the convenience of the teacher, the song analyses always give the key-note of the minor songs. FIFTH GRADE 11. Interval Studies. Fifth Grade, first month. An interval is the difference in jjitcli between two tones and is named according to t]i(> iHnnl)oi- of staff degrees included in tho written notation. In the study of intervals in Book Two, the emphasis is placed upon tlie recognition of intervals as they appear iipon the 56 TEACHER'S MANUAL staff, that is, as an cj'e stud}-. Therefore intervals are considereil from the numerical standpoint and not according to the specific names ; that is, they are considered as seconds, thirds, fourths, etc., but without the particular designation, major, minor, etc. Seconds. WTiere adjacent staff degrees are occupied, the inter\'al is called a second. Thirds. Where three staff degrees are occupied, the inter\al is called a third. Therefore notes on adjacent spaces or on adjacent lines are a third apart. Fourths. WTiere four staff degrees are occupied, the interval is called a fourth. Flflhs. ^Miere five staff degrees are occupied, the interval is called a fifth. In fifths, both notes occupy lines or both notes occupy spaces. Sixths. Where six staff degrees are occupied, the interval is called a sixth. Sevenths. Where seven staff degrees are occupied, the interval is called a seventh. Both notes of the interval are on lines, or both are on spaces. Octaves. Where eight degrees of the staff are occupied, the interval is called an octave. The same syllable is sung for Ijoth tones of an octave. Second Third Fourth Fifth Sixth Seventh Octave i^H^^^^i^i^iiEH i r r r r 12. The Notation of Two-Part Songs, from two stages and from one staff. Fifth Grade, second month. 13. The Time Signature in Six-Eighth Measure. Fifth Grade, third month. Although the time signature is indicated as six-eight, the children should be taught that there are two beats in a measure and that each beat may be repre-sented in two ways: first, by a dotted-quarter note; second, by the rhythmic group, a quarter and an eighth note. This idea is expressed in the parenthesis after the time signature as fol- lows : mm The meaning of this is two beats to a measure, each beat represented by notes the value of a dotted-quarter note. GRADED OUTLINES 57 14. The Key-Note in Alinur Keys. Fifth Grade, fourth month. The only conchisive i)l;ui for distinguishing between major and minor keys is in the tonal effect of the song oi' composition. Neverthe- less there are certain distinguishing points in the notation whicli will give a clew to determining the tonality as major or minor, '^llie following signs will assist the teacher in the recognition of minor melodies : First : \Mien the first accented tone of the melody is la, when the final tone is la, or when the melody fi'eciuently centers around this tone and the tones of the minor chord, la-do-mi ; and, Second : When, in addition, the chromatic tone si occurs more or less frequently during the course of the composition, the song is probably in minor. 15. The Harmonic Minor Scale. Fifth (rrade, fourth month. The Harmonic Minor Scale is the one most frequently used in building the chords of an accompaniment to a song in the minor mode. This scale differs from the Natural Minor Scale, or the minor scale which follows the signature of the composition, in that the seventh tone of the scale appears as a chromatic tone, si, and lies one half-step below the eighth, la. (See Manual, Vol. HI, page 50.) IG. Simple Song Forms. Fifth Cirade, fifth month. In the discussion of More Advanced Song Forms, Manual, ^'ol. HI, page 86, reference is made to the work covered in the study of .song forms in Book One and Book Two. 17. The Pitch Names of the Lines and Spaces of tlio Staff. Fifth Grade, sixth month. Method of Presentation: (a) Teach the childr(>n the names of the spaces on the staff, F, A, C, E. The fact that the.se spaces sj^ell the word "face" will help the children to remember them. The drill may be conducted by pointing to the spaces of the staff on the board, by asking the children to find in their books all the notes on a given space, or in a number of other ways. (b) Teach the lines of the staff, E, G, B, D, F. T. M. Vol, III -r 58 TEACHER'S MANUAL (c) Teach the name of the space below the staff, D ; the space above the staff, G ; and the first added hne below the staff, C. (d) Beginning on G, the second line, around which the G Clef curls, have the children name the lines and spaces up and down the staff to any given pitch. (e) Have the children spell words by writing notes on the staff, as for instance : f 32Z ~C?~ ZS3Z I ace egg aeaa 18. The Three-Part Round. Fifth Grade, eighth month. Method of Presentation : After the melody has been learned, the class is to be divided into three equal parts; the first part starts the song and when that part has arrived at the end of the first section, the second part begins at the beginning. When the second part has ar- rived at the end of the first section, the third part begins at the begin- ning. The three parts continue in this order, repeating the round again and again until the teacher indicates the close. 19. The Names of the Keys on the Piano Keyboard. Fifth Grade, eighth month. Method of Presentation : The children are to learn the names of the keys on the keyboard diagram found on the inside back cover of the book. This diagram represents the keys of the piano. In learn- ing to name the keys the following steps are advised : (a) Name the white keys. The teacher may indicate the key that is named C or the key that is named A. Teach the children to count up or down from the given key. (b) The names of the black keys should be learned through their associa- tion with the neighboring white keys. A black key may take its name from the white key to the left, in which case we use the same letter and add the word "sharp." The word "sharp" is equivalent to the term "one half-step higher than." A half-step is the distance from any key to its next neighbor, black or white, up or down the keyboard. The black key next to the right of C would, therefore, be named "C-sharp." (c) Black keys may also be named by their relation to the white keys to their right. A black key is called "flat" in connection with the name of the white key next to the right. GR.\DED Ol'TLIXES 59 ((/) 111 some instances there is no black key between the two white keys, in which case the same rule for the use of the tenn "sharp" or "flat," indicating a half-step, may be applied. For example, there is a white key one half-step higher than B. This key may be called either "C " or " B-sharp." The children are to Icaiii how to name the keys, giving two names to each black key, and also two names to the white keys which lie next to white keys. (e) Sunple melodies from the book may be "played" upon the diagram, first selecting songs in the key of C, then in keys of one, two, and three sharps and flats. The children should recite the pitch names as they point to the keys. They should also learn to observe the place of the sharps and flats in the key signatures, and to follow them carefully in "playing" upon the keyboard diagram. SIXTH AND SEVENTH GRADES For the grade and month in which these suceossive problems are introduced, see the three alternative Monthly Outlines, pages 35, 41, and 40. 20. Building Major Scales in the Key of C' and in Keys with Sharp Signa- tures, by the use of the Keyboard Diagram. Manual, Vol. Ill, page 67. 21. Building Major Scales in Keys with Flat Signatures. Manual, Vol. Ill, page 68. 22. Deriving the Key Signatures from all Major Scales. Manual, Vol. Ill, page 68. 2.3. Building Minor Scales : a, Natural ; h, Harmonic ; c. Melodic. Manual, Vol. Ill, page 73. 24. The Theory of Time Signatures ; Comparing the Quarter-Note Beat and the Eighth-Note Beat. Manual, Vol. Ill, page 73. 25. Modulations to Nearly-related Keys. Manual, Vol. Ill, page 80. 26. Continuation of the Theory of Time Signatures; Comparing the Quarter- Note and the Eighth-Note Beats with the Half-Note Beat. Manual, Vol. Ill, page 84. 27. Continuation of the Study of the Form (Structure) of Songs. Manual, Vol. Ill, page 86. 60 TEACHER'S MANUAL 2S. The Notation of Three-Part Songs. Manual, Vol. Ill, pii^o 93. 29. The Ascending (Chromatic Scale. Manual, Vol. Ill, page 100. 30. The Descending Chromatic Scale. Manual, Vol. Ill, page 105. 31. Modulations to Remote Keys. Manual, Vol. Ill, page 114. 32. Contrapuntal Style. Manual, Vol. Ill, page 116. PAKT TIIHEE CHAPTER OUTLINES CHAPTER I. MELODIES REVIEWING TOPICS OF BOOK TWO I. Tone Drill No tone prohleiiis occur in tlie songs of Chapter I wliich were not treated in Book Two. The .successive topics are nu'iilioncd in llie analyses of the songs. It should be observed that the succession of songs in this chapter follows the order of topics as presented in the successive chapters of Book Two.' n. Time Drill No new time problems appear in tliis chapter, although there are several new nieasui'e-fomis which occur in the songs. These are listed below and the individual forms are also listed in connection with the song analyses. As was the case with the tone topics, the order of re\'iew time topics in this chaj^tei- follows the order of their presentation in the chapters of Book Two.'- Three-quarter /3'' measure (1) r r (2) (3) (4) (5) (6) (7) Four-quarter measure ( . J f -^ P ^ • m » ^ I P P • . » C I '^ u -1 • 1 (9) (10) (11) (12) (i;-!) (14) Six-eighth measure i . ") : JC P U III. Theory Drill 1. No new theory problems occur in the songs of this chapter. The meaning of the characters of notation and marks of expression which occur in the songs should be explained to the pupils. The teacher is referred to the Glossary, page 303, for an explanation of the foreign expression marks. ' Sop Topical Outlino.s — Tone, page 40. where the successive topics are given, and where suggestions an; made for drill on topii-s of Book Two. 2 See Toi)ical Outlines — Time, page .52, for a list of successive topics and fur niatirial for drill on topics presented in Book Two. 61 62 TEACHER'S MANUAL 2. The successive steps in Theory, which have been covered in previous grades through the study of Book Two, will he found in the Theory Outline on page 54. The methods suggested in Manual, Vol. II. are briefly reviewed. 3. The class should review : (a) The study of the pitch names of the lines and spaces of the staff. (See page 57.) (6) The study of the names of the keys on the keyboard diagram. (See page 58.) IV. Sight Reading From this point the songs should be sight read in three steps as follows : First Step : Singing the song with the words. Second Step : Singing the song with loo. Third Step : Singing the song by syllables. Before singing the song with the words a careful analytical study of the song and its problems should be made, the words should be read and, if necessary, studied. In many cases it may be necessary to read the words several times so that the chief concentration may be placed upon the notes of the song. If the sight reading with words is not done with comparative readiness, or if it seems that the children are lost in the difficulties of the song when attempting them with words, try the song with loo or at least try the difficult phrases with loo. If this study does not accomplish the result of enabling the children to sing the song with words, then sing the difficult phrases with the syl- lables. The point at which these studies are aiming is to enable children to sing at sight new music with words. WTien the children show themselves able to do this with comparative readiness, the third step, namely singing by syllables, may be omitted. Eventually it may be found possible to omit the second step, though in future sight read- ing, the knowledge of syllables will often be helpful in over- coming difficulties. V. Song Analysis and Interpretation The Pearl; Book Three, page 5. Manual, Vol. Ill, page 121. TONE : Tones of the diatonic major scale. The skips are only such as have been thoroughly practiced in the work of Book Two. CHAPTER OUTLINES 03 time: One measure-form occurs which was not included in the study of Book Two, namely, inoasure-forni number 2, found in the Time Drill for this chapter. (See page 61.) The other measure-forms are familiar, but if desired may be written upon the board as time jjrob- lems for class drill. THEORY : Finding do from the last flat by counting down four staff de- grees. The song is in the key of B-flat major.' ixTERPRETATioN : Sing stcadily but gently. To the River;'' Book Three, page 6. Manual, Vol. Ill, page 122. i.\TERPKET.\TioN I Sing rather quickly and gently. Observe carefully the effect of the hold. Past Three O'clock; Book Tliree, page 6. Manual, Vol. Ill, page 123. TIME : Observe the introduction of the eighth note. The song includes measure-form number 1, found in the Time Drill foi- this chaptpi-. (See page 61.) THEORY : Finding do from the last sharp, which appears on the staff de- gree representing seven of the scale. The song is in the key of Ci major. Observe also the repeat marks and the sign {pp), pianissimo, meaning, sing extremely softly. "Andante." See Glossary. INTERPRETATION: The soug should be sung rather slowly and (jiute sunply. Notice the pianissimo effect after the hokl. A slight ritard in the last phrase will be effective. Swallow, Swallow; Book Three, page 7. Manual, Vol. Ill, page 124. tone: Observe the introduction of the .sharp chromatic. time: There are no new time problems in the song, though it would he well to place the different measures on the board for drill. THEORY : The song is in the key of D major. interpretation: Sing slowly and gently, observing the marks of ex- pression. Autumn Holiday; Book Three, page 8. Manual, Vol. Ill, page 125. time: The song introduces the dotted-quarter and eighth notes. theory: The song is in the key of E-flat major. " Allegro." See Glossary. interpret.'Vtion : Sing briskly and with marked rhythm. ' Each major key is named at its first appearance in the song analyses of Book Three. The name of the key is given for ov(Ty analyzinl minor song. - There are no new tone, time, or theory problems in fliis song, so th(^ siiI>-lopics are omillerni "douijle sharp." 3. Building major scales jn the key of C and in keys with sharp signa- tures, (a) An explanation has already been given of the meaning of the tenn half-step. (See page 58.) A step is the sum df two half-steps. ' See Manual. Vol. III. page 49. -As in Cliaptcr I. ami also in subsequent chapters, the new measure-forms foun tonal progression of the uppei' tetrachord of the melodic minor scale. This new theoretical element is to be taken as a new tonal progression and compared with so-la-li-do of the inajor scale. At this point it is not necessarj' to study the inelodic minor scale from the theoretical standpoint.' interpretation: The independent movement in the two parts will re- quire that each be thoroughly mastered. The .song should bo sung rather slowly and with a spirit of mysterious awe. Cinderella ; Book Three, page 21. Manual, Vol. Ill, page 137. THEORY : The song is in the key of A minor. INTERPRETATION : Do not siug slowly, but express in the voice th(> sadness of the first stanza and the brighter ho]io of the second. The Maypole; Book Three, page 22. Manual, Vol. Ill, page 138. tone: The first measure offers a new tonal problem upon which some drill should be given, i.e., the three upper tones of the uppei' tetra- chord of the ascending melodic minor scale approached bj' a leap. theory: "Allegretto." See Glossary. The song is in the key of E minor. interpretation: Sing with animation, though not too (|uickly. The song should breathe the spirit of rural fun. The Frost: Book Three, page 23. Manual, Vol. III. page 139. time: The song includes the measure-form, found in the Time Drill of this chapter, number 2. (See page 67.) • See Manual, Vol. Ill, page 7:>. 2 In f'ounting measures, begin with tli<> first complete measure. 70 TEACHER'S MANUAL THEORY : The song is in the key of C-sharp minor. INTERPRETATION : Siug rather slowly, but with spirit. In Autumn; Book Three, page 23. Manual, Vol. Ill, page 140. TONE : The next to last measure presents a tonal succession which should be drilled upon before the song is read by the students. THEORY : " Adagio." See Glossary. The song is in the key of B minor. interpretation: Sing very slowly and sadly. This exquisite melodic gem is a portion of an ancient aria attributed to the ill-fated Init romantic Stradella. Summer's Done; Book Three, page 24. Manual, Vol. Ill, page 140. tone : Although there are no new tone problems in the song, the fifth measure ^ may require some drill before the song is read by the pupils. TIME : The song includes the measure-form, found in the Time Drill of this chapter, number 1. (See page 67.) THEORY : The song is in the key of F minor. interpretation : Sing with breadth and enthusiasm. The song is beautifully characteristic of the hills and valleys of Norway. My Bonny Pipes; Book Three, page 24. Manual, Vol. Ill, page 142. THEORY : The song is in the key of C minor. interpretation : Sing rather quickly, but with sentiment. The Maid and the Brook ; Book Three, page 25. Manual, Vol. Ill, page 142, theory: "Andantino." See Glossary. Beginning in the key of B-flat major, the song ends in G minoi'. interpretation : Sing gently and not too quickly, with a slight ritard in the last few measures. The song is a splendid example of the typical Russian folk song. At the Window; Book Three, page 26. Manual, Vol. Ill, page 144. TONE : Although no new problems occur, there are several places in the song which may require drill before accurate sight reading can be attempted. TIME : The song includes the measure-fonns, found in the Time Drill of this chapter, numbers 3 and 4. (See page 67.) INTERPRETATION : Sing gently, but not too slowly. Observe carefully the marks of expression, and at the words "It was spring," and later at the word "bloom," build effective climaxes. ' See second footnote, page 69. CHAPTER OUTLINES 71 Happy Autumn Days; Book Throe, pat^e 27. Manual, Vol. Ill, page 143. THEORY : Observe that this song illustrates the descending upper tetra- chord ' of the melodic minor scale. The song is in the key of G minor. iNTERPRET.\TioN : Sing ratlicr quietly, hul with enthusiasm, and witli a slight ritard in the final phrase. The Star; Book Three, page 27. TLME : The song includes the measure-fonns, found in the Time Drill of this chapter, numbers 5, G, and 7. (See page 67.) THEORY : The double sharp indicates a tone one half-step higher than the diatonic scale tone indicated by the signature. As suggested in the Theory Drill for the month, the children should study from the key- board diagram the relationships of the double sharps to the other pitches. The song is in the key of G-sharp minor. INTERPRETATION : Sing the first phrase rather smoothly, the second phrase with vigor, the third phrase like the first, and the foiu'th phrase with a slight ritard. The second and third stanzas should be interpreted according to the text. ' See Manual, Vol. Ill, pa^e 73. n. TEACHER'S MANUAL CHAPTER III. THE EIGHTH-NOTE BEAT Tone Drill There are no new tone problems in the songs of this chapter. Time Drill. The Eighth-Note Beat. The study of the following measure-forms should be taken in connec- tion with the study of the theory of the Eighth-Note Beat, as given in the section immediately following, on page 73. Two-eighth /2^ measure \ 8 ^ 1 Three-eighth ' measure (1) Six-eighth measure (^j /1^ m m m m (1) ^ ^ ^ ^ (5) t (25) m * p 1 1 > 1 (2) im (6) r C (26) r i^ > 1^ u* (3) J • 5 (7) ^ r (27) u< ^ ^ ^ ^ (4) C ^5 (8) m m T (28) p m m P m ■ • (9) » T (29) :ir J r (10) : ^ ^ (30) r- -'i-u' (11) : ^ T (31) r : r 55 (12) J (32) r ^^r li (13) 5?C c (33) f F p * • 1 1^ • *» -» (14) £s'r (34) r- (15) *m m 1 (35) ^ m m • 1 k 1 (16) ^ S 5 'f't (36) r c ' : (17) 1 Zi (37) r- r ^ (18) m m m m (19) • • * c (20) J 5 ?s (21) m m . m (22) k ^ g (23) f ^» "1 (24) C^ 5 P k III. Theory Drill 1. The meaning of the characters of notation and marks of expression, as they occur in the songs of the course, should be explained. CHAPTER OUTLINES 73 The Eighth-Note Beat. In this fonii of measure, the beat is repre- sented by an eighth-note. A sound two beats long would be represented by a quarter-note, two equal tones to a beat by sixteenth-notes, and other longer or shorter tones in proportion. The kind of note employed to represent a beat in nowise affects the quickness or .slowness of the beat successions, i.e. the tempo of the composition. Drills on the Eighth-Note Beat may be of two kinds : (a) Time drill with the measure-forms as given on page 72. (6) Written drill, in which the children transcribe given measures or portions of songs from the quarter-note beat into the eighth-note beat, or from the eighth-note beat into the quarter-note beat, making the corresponding changes in note values. Building Minor Scales. The minor scale appears in three different foiTOs, known as the natural fonn (sometimes called the primitive fomi), the harmonic fomi, and the melodic fomi. The first four tones of the three forms of the minor scale are the same and the difference occurs only in the upper four tones. These four-tone divisions of the scale are called tetrachords. (a) The natural minor scale is built according to the following formula : Lower tetrachord, la-ti-do-re. Upper tetrachord, mi-fa-so-la. The descending scale follows the same arrangement of inter- vals. (See page 49.) (6) The harmonic minor scale is built according to the following formula : Lower tetrachord, la-ti-do-re. Upper tetrachord, mi-fa-si-la. Note that the seventh tone of the scale is sharped, si instead of so, and forms a leading tone, one half-step lower than the key note. The descending scale follows the same ar- rangement of intervals. (See page 50.) (c) The melodic minor scale is built according to the following formula : Lower tetrachord, la-ti-do-re. Upper tetrachord, in ascending passages, mi-fi-si-la ; in descending passages, la-so-fa-mi. Observe that the upper tetrachord differs in ascending and descending progressions. (See page 67.) T. M. Viil. Ill 74 TEACHERS MAXUAL The upper tetrachonl of the ascending melodic minor scale may he written in four different ways : (1) By the use of two sharps, as in the minor keys of A, E, B, F*, and C*. (2) By the use of two naturals, as in the minor keys of (\ F, B'', E'', and A^. (3) By the use of a natural and a sliarp, as in the minor keys of D and G. (4) By the use of a sharp and a double sharp, as in the minoi- keys of G« and D». A fifth way also is possible ; namely, by the use of two double sharps, as in the key of A* minor, but this key is so rarely em- ployed that its study is hardly worth while at this point. Four forms of upper tetrachord in the (iscending melodic minor sfale. A minor C minor D minor G-sharp minor IV. Song Analysis and Interpretation The Remembrance Bouquet; Book Three, page 28. Manual, Yn]. Ill, page 14G. time: The song includes the measure-forms, found in the Time Drill af this chapter, numbers 5, 7, 8, 11, and 12. (See page 72.) THEORY : The theory of the eighth-note beat has been presented in the Theory Drill of the chapter. The song is in the key of F minoi-. INTERPRETATION : Sing with a well-marked and steady rhythmic swing. The Gypsy Dance; Book Three, page 28. Manual, XoX. Ill, page 147. TONE : Observe the rather unusual interval in the ninth and thirteenth measures, the skip from si to ja. This interval is characteristic of Gypsy music. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 6, 13, 16, and 18. (See page 72.J THEORY : The song is in the key of G minor. INTERPRETATION : Sing rather slowly and gracefully. Lovely Night; Book Three, page 29. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 9, 17, 19, 20, 21, and 23. (See page 72.) INTERPRETATION : Sing slowly and smoothly. CHAPTKR orTLTXES 75 So Ignorant; Book Three, page 30. Manual, Vol. Ill, page 148. time: The song includes the measure- forms, found in the Tune Drill for this chapter, numbers 1, 2, 3, and 4. (Spe page 72.) INTERPRETATION : Sing the words very distinctly. The tempo should be as rapid as possible, consistent with clear pronunciation of the words. Prince Baby; Book Three, page 30. Manual, \'ol. Ill, page 148. TIME ; The song includes the measure-forms, found in the Time Diill for this chapter, numbers 25, 26, 27, 28, 30, .33, 34, 35, 36, and 37. (See page 72.) ixTERPRETATioN : Sing slowly and gently. Dancing Sony in May; Book Three, page 31. Manual, Vol. Ill, page 150. time: The song includes the measure-forms, found in the Time Drill for this chapter, numbers 10 and 24. (See page 72.) iNTERPRET.vTioN : Sing brightly and buoyantly, with well-marked cli- maxes at the points indicated by the expression marks of the song. Well Met, Well Met; Book Three, page 32. Manual, Vol. Ill, page 152. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, nmnbers 29, 31, and 32. (See page 72.) theory: " Allegretto grazioso. " See Glossary. The song is in the key of E minor. interpretation: Sing rather slowly, hut witli graceful rhythm. Mandolin Song; Book Three, page 32. Manual, Vol. Ill, page 153. time: The song includes the measure-form, found in the Time Drill for this chapter, number 22. (See page 72.) interpretation: Sing gayly, with well-marked rhythm. The Passing of Suni/ner; Book Three, i)age 33. Manual, Vol. Ill, page 154. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 14 and 15. (See page 72.) theory: " Allegretto patetico." i " AUarg. con espress." } See Glossary, " Lento." ' The song is in the key of F minor. INTERPRETATION : Siiig sadly and not too quickly, observing the marks of expression. 76 TEACHER'S MAN'UAL CHAPTER IV. THE DOTTED QUARTER NOTE BEAT; MORE ADVANCED STUDIES I. Tone Drill There are no new tone problems in the songs of this chapter. II. Time Drill. The Dotted Quarter-Note Beat ; More Advanced Studies. Only two new divisions of the beat occur in the songs of this chapter ( k S * ^^^ r 5 5)' although in combination with the rhythms previously studied these offer a number of new measure-forms for drill. The new beat groups should be given as patterns by the teacher, and the patterns should be imitated by the children, singing the descend- ing scale, until the rhythm is mastered. The class and individuals should then drill upon the measure-forms outlined below. The children should be taught to separate into groups instantaneously the notes belonging to each beat in the measure. Good sight reading involves a proper relating of the three rhythmic elements, the beat, the measure, and the phrase. Six-eighth measure f ^ j (1) (2) (3) ^ • • • — y c g: r : U 1^ ^ (4) ^ 5^ (5) <' • 2 1* J"^ : (6) r • :. -•r (7) J r c :• (8) r gjr (9) : r 1. 5 (10) J r r m m m. Theory Drill The meaning of the characters of notation and marks of expression, as they occur in the songs of the course, should be explained to the pupils. IV. Song Analysis and Interpretation Halloween; Book Three, page .34. Manual, Vol. Ill, page 156. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 1, 5, and 7. INTERPRETATION I Do uot sing too quickly, but keep the swinging of the rhythm well defined. See Glossary. CHAPTER OUTLINES 77 The Huntsmen (Threo-part Round) ; Book Three, page 34. time: The .song include.s the measure-forms, found in the Time Drill for this chapter, numbers 8 and 10. (See page 70.) INTERPRETATION-: Siug gayly and with enthusiasm. Jingle, Jingle, Jinglely, Jing; Book Three, page 35. Manual, Vol. Ill, page 157. time: The song includes the measure-form, found in the Time Drill for this chapter, immber 3. (See page 76.) THEORY : " Allegro non troppo." "Accelerando." INTERPRET.4TIOX : Sing with joyous abandon. The Listening Woods; Book Three, page 36. Manual, Vol. Ill, page 158. TIME : The song includes the measure-forms, found in the Tune Drill for this chapter, numbers 2 and 4. (See page 76.) iNTERPRETATiox : Slug rather slowly and with sentiment. Theme; Book Three, page 36. TIME : The theme includes the measure-forms, found in the Time Drill for this chapter, numbers 6 and 9. (See page 76.) theory: "Vivace." See Glossary. The theme is in the key of A major. Come Lassies and Lads: Book Three, page 37. Manual, Vol. Ill, page 159. INTERPRETATION : This is OHC of the best examples of the old English folk song. It should be sung brightly and with well-marked rhythmic swing. 78 TEACIIEU'.S MAM'AL CHAPTER V. MODULATIONS TO NEARLY-RELATED KEYS I. Tone Drill 1. Studies in Modulation. (a) Sound various tones on the chromatic pitch-pipe ; hiiyc the students call the given tone ])y one of tlie syllal)les of the scale and sing the descending scale from the given tone to do. An exception should be made in the case of ti, when the succession ti-do is to be sung. (6) Sound any pitch on the chromatic pitchpipe ; call that sound do, and have the children sing up or down the scale of that tone to any other tone of the scale designated by the teacher. While sustaining this tone, change the syllable to some other scale syllable as directed by the teacher. The sustained tone is called the "bridge tone." From the new syllable sing the descending scale to do, as directed in drill No. 1, step a, thus : A do re mi fa so la (bridge tone) fa mi re do In the following four diagrams, the column to the left is the major or minor scale along which the students are to sing from a given pitch according to drill No. 1, step b. The column to the right is the scale of the new key to which the children modulate. The bridge-tone may be made from any tone of the first scale to any tone of the second in any one of the four given diagrams. While ■by means of these drills it may be possible to go from any key to almost every other key, the teacher is advised to practice only those modulations which occur in the songs of the book. (See letters above the staff indicating the changes of keys in the songs of Chapter V.) (a) do do ti ti-do la la-so-fa-mi-re-do so so-fa-mi-re-do fa fa-mi-re-do mi mi-re-do re re-do do do CHAPTER OUTLINES 79 (b) (.c) (d) do la t: si- la or so-fa-mi-re-do-ti-la la fi-si-la or fa-mi-re-do-ti-la so mi-re-do-ti-la fa re-do-ti-la mi do-ti-la re ti-la do la la do si or so ti-do fi ovfa la-so-fa-mi-re-do mi so-fa-mi-re-do re fa-mi-re-do do mi-re-do ti re-do la do la la si or so si-la or so-fa-mi-re-do-ti-la fi or fa fi-si-la or fa-mi-re-do-ti-la mi mi-re-do-ti-la re re-do-ti-la do do-ti-la ti ti-la la la II. Time Drill There are no new time problems in the songs of this chapter, although a nmnber of new measure-forms occur, as given l^elow. Three-quarter measure (1) (2) (3) (4) (5) (6) (7) (8) 1/ 1/ m m r (D ^ ^ Four m( -quarter /4\ 'asure \4/ (9) (lOj 1^ ''^ u u Three-eighth /3\ measure VS / (11) (12) ^ JJ^ ^^^:? j;^ 80 TEACHER'S MANUAL Four-eighth measure f o ) Six-eighth measure i r i (13) : J J J (18) ^ LTir 5 (14) : £a' : 5 (19) J -^ c cj* 5 (15) yyo 5 (16) t'i'J •' (17) r 5 5 J 55 m. Theory Drill 1. The meaning of the characters of notation and marks of expression, as they occur in the songs of the course, should be explained to the pupils. 2. The word "modulation" means a change of key occurring in the course of a composition. In some instances the passage in the new key is very brief, while in others it is longer. In some cases the modulation is indicated by a change of key signature, while in other cases the modulation is indicated by sharps or flats on the staff. It will be noted by this that the sharps or flats occurring in the course of a composition may produce two effects : (a) The introduction of chromatic tones for tonal variety. (6) The change of the key of the piece. This chapter includes songs illustrating both methods of modulation. Changes of key are indicated by letters, printed above the staff. A capital letter indicates a major key; a small letter indicates a minor key. In applying syllables, the children are to sing the syllables of the key indicated by the letter. To do this it will be necessary for them to be. able promptly to change the key according to the "bridge tone." A bridge tone is that tone of a composition which belongs to both keys, the one from which the composition is modulating, and the new key into which the piece is progressing. For example, in "Faithful Friends," page 38, the note G over the word "Bring," first measure of the second Une, is the bridge tone. We sing this tone as so in the key that we are leaving, and as do in the key to which we are going. The children must learn to pronounce the bridge tone properly. To do this the voices should glide from the so into the do, so-o-do. Practice in bridge tones is given under the tonal drills for this month. CHAPTER OUTLINES 81 Keys are said to be "nearly related" when most of the tono5 of the two scales are found in both keys. The smaller the ditTerence in the number of sharps or flats in the two scales, the more nearly the keys are related ; the larger the difference, the less nearly are the keys related. For example, the key of (J is nearlj^ related to the key of D, because G has one sharp and D has only two sharps. The scale of G and the scale of E are less nearly related, because E has four sharps. The modulations in this chapter are all to nearly-related keys. IV. Song Analysis and Interpretation Faithful Friends; Book Three, page 38. Manual, Vol. Ill, page 155. TONE : The modulation in the song has been explained in the Tone Drill of the chapter, which should be adequate preparation for the sight reading of the song. THEORY : Under the Theory Drill for the chapter an explanation is given of how to treat the song. INTERPRETATION : Siiig slowly and smoothly. Clang! Clang! Clang! Book Three, page .38. Manual, Vol. Ill, page 160. TIME : The song includes the measure-fonn, found in the Time Drill for this chapter, number 9. (See page 79.) theory: Observe the " Da capo " and " Fine." See Glossary. INTERPRETATION : Sing with strong accentuation. The second part of the song, in contrast to the first, should be sung more smoothly. On the Ling, Ho! Book Three, page 39. Manual, Vol. Ill, i)age 161. TIME : The song includes the measure-fonn, found in the Time Drill for this chapter, number 1. (See page 79.) THEORY : The song is in the key of E major. iNTERPRET.ATioN : Sing rather quickly and joyously. Naples; Book Three, page 40. Manual, Vol. Ill, page 162. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 11 and 12. (See page 79.) THEORY : Observe the " Da capo (D. C.) " and " Fine." interpretation: Sing in rather slow waltz time, brightly and with a well-marked rallentando just before the " Da capo." The SnowflaJies; Book Three, page 41. Manual, Vol. Ill, page 164. interpretation : Sing brightly, with well-marked rhythm. Near Autumn; Book Three, page 42. Manual, Vol. Ill, page 163. INTERPRETATION : Sing rather slowly, but rhythmically. 82 TEACHER'S MANUAL 'The Month of December : Book Three, page 4'2. time: The song includes the measure-fornis, louud in tlie Tunc Drill for this chapter, numbers 2, 3, 4, 5, (J, 7, and 8. (See page 79.) INTERPRETATION : Sing rather slowly, but steadily. Call the attention of the pupils to the fact that the phrase in B-flat imitates the first jiart of the previous phrase in F. Ye Olden Christmas; Book Three, page 43. ^Manual, ^'ol. III, page 105. theory: "Allegro leggiero." See Cllossar,y. The .song is in the key of A minor. interpretation: Sing rather quietly and not too .slowly. Tree-Top Mornings; Book Three, page 44. Manual, Vol. Ill, page IGG. theory: "Vivace." See Glos.sary. The song is in the key of A-flat major. interpretation : A strong contrast should be drawn between the first phrase with its repetition at the end of the song and the phrases that intervene. The children should be led into the spirit of the song .so that they will appreciate and sing with enthusiasm its contrasting portions. Robin Goodfellow; Book Three, page 45. Manual, Vol. Ill, jiage 167. interpretation: This fine example of the ancient English folk .song should be sung rather quickly and steadily throughout. Naughty Lisette; Book Three, page 46. Manual, Vol. Ill, page 170. interpretation : Follow the changing sentiment of the words and the expression marks. Sing Together (Three-part Round) ; Book Three, page 46. interpretation : Sing brightly and rather quickly. The Fisherman's Prayer; Book Three, page 47. Manual, Vol. Ill, page 168. theory: " Poco Allegretto." See Cdossary. interpretation : Sing quietly and rather slowly. A Hymn: Book Three, page 48. Manual, Vol. Ill, page 172. time : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 18 and 19. (See page 80.) THEORY : In the study of this song, care should be taken that the chil- dren do not become confused in reading the two parts. The song is in the key of G-flat major. CHAPTER OUTLINES S3 ixTERPRETATioN : Obsoi'vc carofully tho nile that ascoiKling passages should be sung witli a crescemlo aiitl descending passages should l)e sung with a decrescendo. Sing rather slowly and smoothly. The Dance of the Fairies : Jiook Thi'ee, i)age 4'J. Manual, \'ol. Ill, i)age 171. time: The song includes the measure-fonns, found in the Time ])i'ill for this chapter, nunil)ers 13, 14, 15, 16, and 17. (See page 80.) theory: Beginning in the key of B minor, a modulation to th<> key of B major is effecteil bj- a change of key signatures. " Tempo di Yalse." 1 „ _,, ,, ,^. ,, See Glossary. INTERPRETATION : The first part of the song should be sung witli a broad waltz rhythm and the second part very rapidly and delicately. The Seven Sivan Ladies ; BookThree, page 50. Manual, \'ol. Ill, i)age 174. theory: Observe that in this .song the modulations aie indicated by changes of key signatures. The song begins in the key of A minor, modulates to the key of A major, and later returns to the key of .V minor. Note that in this latter modulation the change of key is indi- cated by a signature of three naturals, which cancel the effect of the three sharps in the signature of the preceding portion of the song. INTERPRETATION : As indicated, the song should be sung sadly but not slowly. Lead the chikli-en to see the meaning of the text of this song and to sing accordingly. A Tree-Top Duet; Book Three, page 51. Manual, \'o\. Ill, page 176. time: The song includes the measure-form, found in the Time Drill of this chapter, number 10. (See page 79.) theory: "Animato." "Doloroso." "Poco piu lento." "Moltoritardando." interpretation: Follow the marks of interpretation and the meaning of the text. The song is an excellent drill in varying tone quaUty and expression. See Glossary. S4 TEACHER'S MANUAL CHAPTER VI. THE HALF-NOTE BEAT I. Tone Drill There are no new toiie problems in the songs of this chapter. II. Time Drill. The Half-Note Beat. The study of the following ineasure-fomis should be taken in connec- tion with the study of the theory of the Half-Note Beat, as given below. Two-half /2\ measure \2 / Three-half measure i^\ Four-half measure ( (1) -^ r (7) P 1 r r (15) P r r "^ (2) ^ (8) 1 o (16) a r r (3) r r r (9) ^ . (17) t=3 c (i) r r r r (10) r r r r r r (18) £? . \ (5) r- r (11) 1 r r r (19) li^ii (6) r r r (12j 1 r- r (20) f=' CZ' O \ 1 (13) 1 u* r r r r (21) (=> r- (14) r r nr- jr (1) r III. Theory DriU 1. The meaning of the characters of notation and marks of expression, as they occur in the songs of the course, should be explained. 2. The Half-Note Beat. In this fonn of measure the beat is repre- sented by a half-note. A sound two beats long would be repre- sented by a whole-note, two equal tones to a beat by quarter- notes, and other longer or shorter tones in proportion. The kind of note employed to represent a beat in nowise affects the quickness or slowness of the beat succession, i.e. the tempo of the composition. In music of a solemn character, such as hymns, the half-note beat is often employed. Drills on the Half-Note Beat may be of two kinds : (a) Time drill with the measure-forms, as given above. (6) Written drill, in which the children transcribe given measures or portions of songs from the quarter-note beat or the eighth-note beat into the half-note beat, or from the half- note beat into one of the other note units, making the cor- responding changes in note values. CHAPTER OUTLINES 85 IV. Song Analysis and Interpretation Nalional Hymn; Book Three, page 52. Manual, Vol. Ill, page 177. time: The song ineliuies the nieasure-foniis, found in the Time Drill for this chapter, numbers 15, l(j, 17, 18, 19, 20, and 21. (See page 84.) INTERPRETATION : Sing with broad, well-marked rhythm. Evening Hymn; Book Three, page 52. Manual, Vol. Ill, page 173. time: The song includes the measure-forms, found in the Time Drill for this chapter, numbci-s 7 and 9. INTERPRETATION : Sing slowly and steadily. Lead, Kindly Light; Book Three, page 53. Manual, Vol. Ill, page 17S. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 8, 10, 11, 12, 13, and 14. INTERPRETATION : This familiar hymn offers quite a few difficulties in interpretation. The different stanzas require breathing points at different places. The children should be le\ * ^ - • (3) ^ ^^ ^r (4) - : : r r (6) i^ r r J J (7) r- :::r CHAPTER OUTLINES 93 Four-eighth measure III. Theory DriU 1. The meaning of the characters of notation and marks of expression, as they occur in the songs of the course, should be explained to the pupils. 2. The children must learn to follow properly the three parts, first and second soprano and alto, as given on the two staves and, in some songs, on three staves. rV. Song Analysis and Interpretation Prayer ; Book Three, page 65. TLME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 1 and 2. INTERPRETATION : Sing rathcp slowly, with careful attention to the slight distinctions marked in the time of the several parts. By obser\-ing the rule that ascending passages should be sung with slight crescendo, and decrescendo given to descending passages, the children may be led to observe the places at which each of the parts should occasionally become more prominent. Song of the Brook ; Book Three, page 66. INTERPRETATION : Siiig in moderate tempo, very simply. Good Night; Book Three, page 67. INTERPRETATION : Sing slowly and quietly. The Dandelions; Book Three, page 68. Manual, Vol. Ill, page 190. INTERPRETATION : Siiig rather quickly and gently. Fair is the Summer: Book Three, page 69. INTERPRETATION : Sing with extreme simplicity and very cjuictly. 94 TEACHER'S MANUAL / Dream in Quiet Sadness ; Book Thi-oe, page 70. THEORY : The song is in the key of G minor. INTERPRETATION : Sing slowly and smoothly. Each part must be clearly maintained in order to give the chords their full effect. The Spring (Three-part Round) ; Book Three, page 71. INTERPRETATION : Sing joyously and rather quickly. To the Old Long Life (Three-part Round) ; Book Three, page 72. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 4, 5, and 6. (See page 93.) INTERPRETATION : Sing qulckly, with clearly defined rhythm. The Forest Concert; Book Three, page 74. INTERPRETATION : Sing with joyous buoyancy. Observe carefully the marks of expression. The Comet; Book Three, page 76. Manual, Vol. Ill, page 192. theory: " Sforzando, sfz, sf." See Glossary. INTERPRETATION : Give much attention to the dramatic emphasis upon the humorous element of the song. Chairs to Mend (Three-part Round) ; Book Three, page 77. INTERPRETATION : Sing in moderate tempo. Additional interest and effectiveness can be given to the round by introducing different qualities of tone for the different calls. The Evening Bells; Book Three, page 78. INTERPRETATION : This lovely song well deserves careful study. Note that in certain phrases the alto voice must become prominent. Ob- serve carefully the marks of expression. The Voice of Evening; Book Three, page 80. time: The song includes the measure-forms, found in the Time Drill for this chapter, numbers 8, 9, 10, 11, 12, 13, and 14. (See page 93.) INTERPRETATION : Sing vcry slowly and smoothly. Mother Dear; Book Three, Page 81. time: The song includes the measure-form, found in the Time Drill for this chapter, number 3. (See page 93.) THEORY : The song is in the key of C minor. INTERPRETATION : Sing with gentle motion. CHAPTER OUTLINES 95 Siny, Sing; Book Three, page 82. miE: The song includes the measure-form, found in the Time Drill for this chapter, number 7. (See page 93.) INTERPRETATION : Siiig gayly and rather quickly. Barcarolle; Book Three, page 84. INTERPRETATION I Siiig rathcF slowly but with well-felt swinging rhythm. Early to Bed (Three-part Round) ; Book Three, page 85. INTERPRETATION : Sing brightly and not too slowly. 96 TEACHER'S MANUAL CHAPTER IX. FOUR EQUAL NOTES TO A BEAT ' I. Tone Drill Thei-e are no new tone problems in the songs of this chapter. II. Time Drill Four Equal Notes to a Beat. The new beat groups (^^^^ ^^^B B^^^ should be given as patterns by the teacher, and the patterns imitated by the children, singing the descending scale, until the rhythm is mastered. The class and individuals should then drill upon the measure-forms out- lined below. The remarks on page 76 regarding the beat, measure, and phrase rhythmic elements apply with equal force to the problems of this and subsequent chapters. Two-quarter measure ( .t) (1) aTEsT ' (11) SS iii ^ (2) (12) r- 'i't (3) y y y y (13) y 1 ^ C £:' (4) JsS/JJ (14) 55 55 (5) ' S S f 1/ ^ ^ r (15) w . iiz' (6) r u^ c T (16) p m ^5 (7) : y: ^ (17) r ^5 (8) J 5?^ 5? (18) 1 1 f (9) 10) yz yy ^ ^ ^ y (19) C 5=1 C I- Three-quarter measure ( t j (20) r r yy (21) i^:-^r (22) ^£^r LJ' p p p ppp Four-quarter measure f t j (25) f^- (26) r- c CiT (27) J 5 ^^r r ^ k (23) (24) J- jr r CHAPTER OUTLINES 97 III. Theory Drill The meaning of the cliaiacters of notation and marks of expression, as they occur in the songs of the course, should be explained to tlie pupils. IV Song Analysis and Interpretation Love's Power; Book Three, page 86. time: The song includes the measure-form, found in the Time Drill foi- this chapter, number 22. (See page 96.) iNTEKPRETATioN : Sing rather slowly and quietly. Do not luu'ry the sixteenth notes. Cradle Sony; Book Three, page 87. Manual, Vol. Ill, page 194. time: The song includes the measure-forms, found in the Time Di'ill for this chapter, numbers 26 and 27. (See page 96.) interpretation: Sing quite slowly and with deep sentiment. This is one of the loveliest of Franz Schubert's many beautiful songs. The Minuet; Book Three, page 88. Manual, Vol. Ill, jiage 195. time: The song includes the measure-forms, found in the Time Drill for this chapter, numbers 21 and 24. (See page 96.) interpretation: Sing in the rhythm of the minuet, with slow and graceful movement. This melody is taken from Mozart's famous opera, "Don Juan." Brave of Heart and Warriors Bold; Book Three, page 88. Manual, ^'ul. III, page 196. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, mmibers 1 and 15. (See page 96.) THEORY : The song is in the key of E minor. INTERPRETATION : Sing not too quickly, but with great enthusiasm and strong emphasis. SIk iil/crd's Song; Book Throe, pai^c S9. Manual. Vol. TTI. pai>(' 197. TIME: The song includes the measure-form, found in the Time Drill for this chapter, number 20. (See page 96.) THEORY : The song is in the key of A minor. INTERPRETATION : This lovcly soHg, with its ever changing measures, should be sung gently and with (juiet emotion. In Ocean Cave; Book Three, page 90. Manual, Vol. Ill, page 198. time: The song includes the measure-form, found in the Time Drill for this chapter, number 23. (See page 96.) 98 TEACHER'S MANUAL THEORY : The song is in the key of D Minor. interpretation: Do not sing too (luickly. This is one of the loveUest of the many beautiful and characteristic folk songs of Scandinavia, and should be studied carefully and appreciatively. Dream and Snowjlake; Book Three, page 91. Manual, Vol. Ill, page 200. Ti.\iE : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 5, 16, and 17. (See page 96.) theory: " Molto tranquillo." See Glossary. INTERPRETATION' : Sing slowly, with tender emotion. Moszkovvski has written few melodies that are as appealing as is this lovely song. Theme; Book Three, page 91. theory: "Ma non troppo." See Glossarj'. Sleep, My Child; Book Three, page 92. Manual, Vol. Ill, page 202. TIME : The song includes the measure-form, found in the Time Drill for this chapter, number 7. (See page 96.) THEORY : The song is in the key of A minor. INTERPRETATION : Sing Very gently, quietly, and slowly. Marching Song; Book Three, page 92. TIME : The song includes . the measure-forms, found in the Time Drill for this chapter, numbers 2, 10, and 11. (See page 96.) INTERPRETATION : Siiig in the tempo of a well-marked quickstep. NiglUingale, Sweet Nightingale ; Book Three, page 93. Manual, \'ol. Ill, page 203. TIME : The song includes the measure-form, found in the Time Drill for this chapter, number 6. (See page 96.) THEORY : The song is in the key of B minor. INTERPRETATION : This lovely and well-known Russian folk song should be sung slowly and sweetly. At the Forge; Book Three, page 94. Manual, Vol. Ill, page 204. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 8, 14, 18, and 19. (See page 96.) THEORY : ^\'Tien singing this song with piano accompaniment, note that four measures of interlude occur between the close of the first division in F and the beginning of the second division in C. INTERPRETATION : Sing rather slowly, but with strongly marked emphasis. Observe the " Da capo " and " Fine." CHAPTER OUTLINES 99 The Bird Catcher; Book Three, page 95. Manual, \ 01. Ill, page 2(Jb. time: The song includes the measure-forms, found in the Time Drill for this chapter, numbers 3 and 13. (See page 96.) INTERPRETATION : Sing happily, but not too quickly. This selection is from Mozart's famous opera "The Magic Flute," and is one of Mozart's happiest ins])irations. Theme: Book Three, page 95. INTERPRETATION : Sing smoothlv, without dragging. Before I Open Drowsy Eyes; Book Three, page 96. time: The song includes the measure-form, found in the Time Drill for this chapter, number 4. (See page 96.) iNTERPRET.iTioN : Sing rather slowly and delicately. Theme: Book Three, page 97. INTERPRETATION : Sing quictly and rather (luickly, though without hurrjdng. It iro.s A Lover and His Lass; Book Three, page 98. Manual, \'ol. III. page 207. time: The song includes the measure-form, found in the Time Drill for this chapter, number 12. (See page 96.) INTERPRETATION: This adaptation of the well-known song by Thomas Alorley to Shakespeare's words should be sung gayly, though not too rapidly, with a well-marked rallentando at the close. Glassy Lake; Book Three, page 99. Manual, Vol. Ill, page 209. THEORY : The song is in the key of G minor. iNTERPRET.\TioN : Sing rather slowly, but not sadly. Theme; Book Three, page 99. TIME : The theme includes the measure-form, found in the Time Drill for this chapter, number 25. (See page 96.) theory: "Brio." See Glossary. When I Go Out on My Wheel; Book Three, page 100. Manual, \o\. III. page 210. interpretation: Sing gayly, rather quickly, and with well-marked rhythm. The Trout: Book Three, page 101. Manual, Vol. Ill, page 211. time: The song includes the measure-form, found in the Time Drill for this chapter, number 9. (See page 96.) interpretation : Sing with crisp, well-defined rhythm. 100 TEACHER'S MANUAL CHAPTER X. FOUR TONES ASCENDING CHROMATICALLY I. Tone Drill {a) Practice carefully the following tone drills : la-si-la la-li-ti la-si-la-li-ti so-fi-so so-si-la so-fi-so-si-la fa-mi-fa fa-fi-so fa-mi-fa-fi-so re-di-re re-ri-mi do-ti-do do-di-re re-di-re-ri-mi do-ti-do-di-re (h) Practice also the following exercise ; 1 y 4 r-^ — ; r — 1 r^ — i 1 \~^ — 1 — \ — 1 — t^ Ep=^^F^4;*35^=*yAi^^ (1) i ^@3 ^ m t EE *c lOG TEACHER'S MANUAL rV. Song Analysis and Interpretation The Hillside; Book Three, page 118. Manual, Vol. Ill, page 226. tone: The new tonal problem as outlined in the Tone Drill of the chapter occurs in the twelfth measure of the song. interpretation: Sing slowly and gently. Gypsy Maidens; Book Three, page 118. tone : The new tone problem, so-fe-fa-mi, occurs twice in the second section of the song, on page 119. It will be noted, however, that the so is understood instead of expressed, the alto part in reahty taking the tone mi. The passage should be practiced, however, by thinking so at this point. THEORY : The song is in the key of C-flat major. interpretation : Do not sing too quickly, but maintain a well-marked rhythm. Robin Redbreast ; Book Three, page 119. Manual, Vol. Ill, page 228. tone: The chromatic scale effects in this song are quite difficult and will require careful study. The song itself, when well sung, is beau- tiful and will repay the study. THEORY : The song is in the key of G minor. INTERPRETATION : Sing quite slowly and sadly. The descending chro- matic scale passages should be sung with a well-defined decrescendo. Rain in Summer; Book Three, page 120. INTERPRETATION : The first part of the song should be sung quickly and in sharp contrast to the second part of the song. Theme; Book Three, page 121. INTERPRETATION : Siug slowly, with much feeling. Good Night, Pretty Stars; Book Three, page 122. INTERPRETATION : Sing slowly and sweetly Theme; Book Three, page 12.3. theory: "Largo." See Glossary. INTERPRETATION : This theme, one of the loveliest melodies that has ever been written, should be sung very slowly and smoothly. Friends; Book Three, page 124. Manual, Vol. Ill, page 224. INTERPRETATION : Sing rather slowly and quietly. CHAPTER OUTLINES 107 CHAPTER XIII. SYNCOPATION I. Tone Drill There are no new tone problems in the songs of this chapter. II. Time Drill. Syncopation. Most of the new rhj^thms of this chapter involve more than one beat. It will be necessary for the teacher to give patterns of the new rhythms, which the children are to imitate, singing them to the descending scale until the rhythm is mastered. The class and in- dividuals should then drill upon the measure forms outlined below. Two-quarter measure f 7 j (1) • r k (4) 5 u 5 r (2) : r ^ (5) 5 : ? c : (3) Sf (ti) ^ 55C' III. Theory Drill 1. The meaning of the characters of notation and marks of expression, as they occur in the songs of the course, should be explained to the pupils. 2. Syncopation. A displacing of the accent, so that it occurs upon an unusual part of the measure. 3. Continue drill upon the descending chromatic scale. IV. Song Analysis and Interpretation The Squirrels; Book Three, page 125. Manual, Vol. Ill, page 227. TIME : The song includes the measure-fonn, found in the Time Drill for this chapter, number 1 . interpretation: Sing rather quickly, observing the staccato effects as marked. Themes; Book Three, page 125. TEviE : The themes include the measure-form, found in the Time Drill for this chapter, number 3. Theme I also includes measure-fonn number 1. THEORY : Theme I is in the key of E minor. 108 TEACHER'S MANUAL Fairy Revelry; Book Three, page 126. TIME : The song includes the measure-form, found in the Time Drill for this chapter, number 2. (See page 107.) theory: Observe that the second stanza closes with several additional measures. Such supplementary portions of a composition are called the "coda." INTERPRETATION : Sing brightly, marking sharply the syncopated meas- ures. The Exiles; Book Three, page 127. Manual, Vol. Ill, page 229. TIME : The song includes the measure-fonns, found in the Time Drill for this chapter, numbers 4, 5, and 6. (See page 107.) THEORY : The song is in the key of E minor. INTERPRETATION : Sing slowly, marking the accented tones heavily. The Sandman; Book Three, page 128. Manual, Vol. Ill, page 230. INTERPRETATION : Siug rather slowly and very simply. CHAPTER OUTLINES 109 CHAPTER XIV.' MISCELLANEOUS SONGS IN ONE, TWO, AND THREE PARTS I. Tone DriU There are no new tone problems in the songs of this t-iiapter. The chiss should review : (a) Interval Drills. (See Manual, Vol. II, page 87.) (6) The Harmonic Minor Scale. (See Manual, Vol. II, page 99.) (c) The Melodic Minor Scale. (See Manual, ^'ol. Ill, page 67.) n. Time Drill 1. The class should be drilled on selected measure-forms from the fol- lowing pages of Manual, Vol. Ill : 61, 67, 72, 76, 79, 80, 84, 93, 96, 102, and 107. 2. There are no new time problems in the songs of this chapter, though the follo\\"tng now measure-forms occur : Six-eighth measure a) (1) iTf W C' (2) ^"^ c r- p u* (3) zrs ^ ' (4) Sir : fiir : All of these measure-forms appear in the song "Morning," Book Three, pages 150 and 151, Manual, Vol. Ill, page 252. III. Theory DrUl 1. The meaning of the characters of notation and mai-ks of e.xpression, as thej' occur in the songs of the course, should be explained to the pupils. 2. Review the class on the following points of mvisical theorj^ : (a) Building Major Scales. (See Manual, Vol. Ill, i)age 67.) (6) Building Minor Scales, Natvu'al, Harmonic, and Melodic. (See Manual, Vol. Ill, page 73.) IV. Song Analysis and Interpretation In the songs of this chapter the pu])ils should be led to study the tone, time, and theory- problems as they find them in the notation of the 1 Book Three, pages 129-152. 110 TEACHER'S MANUAL song; where there are j)r()l)l(Mn.s which seem to offer such difficulties that the sight reading woukl not l)c effective, tlie ])roblein should be placed upon the board and the class drilled upon it until ready to at- tack the sight reading of the song. The class should also read the words of the song before singing it, and should discuss the interpretation which should be given to the song, deciding from the notation and from the text the character of tone quality and tempo, as well as other points of interpretation which will best express the sentiment of the composer. Because the material of this chapter is in the nature of a review, it is thought unnecessary to give a detailed analysis of the technical prob- lems or of the interpretation of each song. CHAPTER OUTLINES HI CHAPTER XV. COMPLICATED RHYTHMS I. Tone Drill There are no new tone problems in the songs of this chapter. The chiss slioulil I'eviow ; (a) Drill in Modulations. (See ])age 78.) (6) Four Tones Ascending Chromatically. (See page 100.) (c) Four Tones Descending Chromatically. (See page 105.) II. Time Drill. 1. Complicated Rh\-thnis. In each iiistauce (he new rliytlim is to he written upon the board and studi(>d from its relationshij) to the boat. The teacher then gives a pattern of the new rhythm, which the pupils practice to the descending scale until mastered. The class is then ready for the study of the measure-form in which the rhj^thm is found. Many of the rhythms involve a carrying over of the tone from one beat into another. AMioro tliis is the case it will be necessary for the rhythmic pattern to include the two or more beats involved in the complete rhythm. Furthermore, in the study of the.se rhj'-thms the measure-forms should be placed upon the board and the children should indicate by figures the point in the nota- tion at which each beat occurs. A similar analysis should be made of the difficult rhythmic pi-oblems as they occur in the songs, each difficult measure being analyzed according to the points at which the beats occur, before attem])ting to read the song. Two-quarter measure (I) Three-quarter measure (I) (1) 55 > (2) ^ P ^ ^ (3) » P 9 C -I (4) • P P » p p (5) (6) (7) p- (8) (0) (10) p » p m » p » • Four-quarter measure (-\ (11) r r- ; (12) r ^5^:::: ^ 112 TEACHER'S MANUAL Six-eighth measure [ - (13) f 2 2^- (14) f ^ ^ mm (15) : c -^ c c ^ (16) !-='£=' r c (17) • p ^ (18) : "^ ^ ^ =i55J (19) it ^^f (20) :• 5: : r (21) r :: >^ : (22) ^ : : 5 5 ^ : (23) r* - 5? (24) r- •■ c ^ III. Theory Drill 1. The meaning of the characters of notation and marks of expi'ession, as they occur in the songs of the course, should be explained. 2. Review the construction of the Chromatic Scale Ascending, and the Chromatic Scale Descending. (See pages 100 and 105.) IV. Song Analysis and Interpretation The interpretation of the songs should be carefully studied by the pupils with reference both to the musical content and to the text. Dragon Flies; Book Three, page 153. Manual, Vol. Ill, page 261. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 15, 17, and 18. The Fountain; Book Three, page 154. Manual, Vol. Ill, page 256. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 16 and 20. THEORY : The song is in the key of E minor. Themes; Book Three, page 155. TIME : The themes include the measure-forms, found in the Time Drill for this chapter, numbers 8 and 11 (see page 111) ; and 25 and 26. (See page 112.) theory: "Grazia." See Glossary. CHAPTER OUTLINES 113 Lullaby; Book Three, page 150. Mamuil, \ol. Ill, page 258. TIME : The song inchides the measure-forms, found in the Time Diill for this chapter, numbers 13 and 11). (See page 112.) Skating Song; Book Three, page 157. time: The song includes the measure-form, found in the Time Drill for this chapter, nuniljcr 12. (See page 111.) The Southland ; Book Three, page 158. Manual, \'ol. Ill, page 2()2. TIME : The song includes the measure-forms, found in the Time Drill for this' chapter, numbers 2 and 7. (See page 111.) The Low-backed Car; Book Tlu'ee, page IGO. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, luunbers 21, 22, 23, and 24. (See page 112.) Jack Frost; Book Three, Page 162. Manual, A'ol. Ill, page 264. TIME : The song includes the measure-forms, found in the Time Drill for this chapter, numbers 3 and 4. (See page 111.) theory: "Pochiso." 1 " Scherzando." ) See Glossary. "Dal Segno, D. S." j The song is in the key of A minor. Ladybird; Book Three, page 1G3. Manual, Vol. Ill, page 275. time: The song includes the measure-form, found in the Time Drill for this chapter, number 1. (See page 111.) The Boys' Song; Book Three, page 164. Manual, Vol. Ill, page 267. time: The song includes the measure-forms, found in the Time Drill for this chapter, numbers 5 and 6. (See page 111.) theory: Beginning in tlic key of D minor, the song closes in the key of D major. Choral Song of Illyrian Peasants; Book Three, page 166. time: The song includes the measure-form, found in the Time Drill for this chapter, number 14. (See page 112.) Come, Dance with Me ; Book Three, page 168. Manual, Vol. III. page 270. time: The song includes the measure-forms, found in the Time Drill for this chapter, numbers 9 and 10. (See page 111.) 114 TlCACliEH'rS MANUAL CHAPTER XVI.' MODULATIONS TO REMOTE KEYS I Tone Drill 1. No new tone drills are necessary as preparation for the study of this chapter. The students should review the drills of Chapter V, Manual, Vol. Ill, page 78. It will be observed, in the study of the songs of Chapter XVI, that frequently the observance of the "bridge tone" is unnecessary, and the student can proceed directly from the last tone in one key to the first tone in the new key. 2. Where it is desired, more advanced modulations may be studied by using any tone of the chromatic scale as bridge tone to an}' other tone of the major, minor, or chromatic scales. do t/o_ U ti-do li li-ti-do la la-so-fa-mi-re-do si si-la-so-fa-mi-re-do so so-fa-mi-re-do fi fi-so-fa-mi-re-do fa Ja-mi-re-do mi mi-re-do ri ri-mi-re-do re re-do di di-re-do do do do do ti ti-do te te-la-so-fa-mi-re-do la la-so-fa-mi-re-do le le-so-fa-mi-re-do so so-fa-mi-re-do se se-fa-mi-re-do fa fa-mi-re-do mi mi-re-do me me-re-do re re-do ra ra-do do do 1 Book Three, pages 16&-175. . CHAPTER OUTLINES 115 II. Time Drill There are no new time problems in the songs of this chapter. m. Theory Drill 1. The meaning of the characters of notation and marks of expression, as they occur in the songs of the course, should be explained to the pupils. 2. Modulations to Remote Keys. The modulations in this chapter are effected in the same manner as the modulations in Chapter V. A review of the tone studies of bridge tones for that chapter will be helpful here. Remote keys are those in which few tones are common to both keys. A large difTerence in tiie number of flats or sharps in the kej^ signature indicates a remote key relationship. IV. Song Analysis and Interpretation Each song of the chapter is to be carefully studied before the children attempt to read it. This study should take the form not only of a discussion of the technical points involved in the song, such, for in- stance, as the tone problems, including the modulations, the time problems, etc., but should also include a careful consideration of the interpretation of the song from the standpoint both of its musical content and the ideas in the text of the song. It has not seemed necessary to give details regarding technical problems or interpreta- tion of the songs of this chapter, because the pupils, under the guid- ance of the teacher, should be able to determine these matters for themselves. 116 TEACHER'S MANUAL CHAPTER XVII.' CONTRAPUNTAL STYLE I. Tone Drill There are no new tone problems in the songs of tliis chapter. II. Time Drill There are no new time problems in the songs of this chapter, although the following measure-form appears for the first time : Three-quarter /3\ See "In Life if Love We Know Not," Book measure \4) Three, page 181; Manual, Vol. Ill, page U u u ^ u 284. III. Theory DriU 1. Contrapuntal Style. The term "contrapuntal" means that the different voices or parts are of equal importance and are independ- ent. This, for example, is the case in rounds, all parts being equally important and independent of each other. One or two canons have already been studied. A canon is similar to a round with the exception that the singers do not go back and sing the same music over again, but one voice sings the melody through once, and the other voice follows a little later. Canons may be not only in the unison, in which case a second voice follows the first voice with the same tones, but may be at different intervals, the second voice following the first on different tones of the scale. "Apollo's Cows," page 176, is a canon in the unison, while "The Swing," page 178, begins as a canon in the unison but in the last measure of the second brace becomes a canon in the fourth below, the second part following the first part a fourth lower. On page 179 we find a three-part canon in the unison, and on page 181 another canon in two parts in the fourth below. 2. The key of C-sharp major appears for the first time in the three- part round, "Turn Again, Whittington," Book Three, page 177. IV. Song Analysis and Interpretation Before sight reading the songs of this chapter the students should give careful study to each song, both from the standpoint of the technical elements of the song and from the standpoint of the interpretation. J Book Three, pages 176-183. CHAPTER OUTLINES 117 CHAPTER XVIII. THE DOTTED QUARTER NOTE BEAT ; ADVANCED STUDIES I. Tone Drill There are no new tone problems in the songs of this chapter. II. Time Drill. The Dotted Quarter-Note Beat ; Advanced Studies. There are no new problems in the division of tones within the beat, but the measure-forms are new in that three and four beats to the measure are offered for study in the Dotted Quarter-Note Beat. Where there are tliree beats in a measure, the time signature is nine-eight ; where there are four beats in a measure, the time signa- ture is twelve-eight. Nine-eighth measure f ^ ) (1) 1 f > n (2) p r- (3) r m • 1 r p / A\ # J • • (4) i i \y Ml^ u (5) ^ • p ^ • (6) w i • J z . 1 (7) m w p ^ ^ r c r (8) (^ liK' (9) C m • • (10) ^^ ij P l*« (11) J • (12) (13) (14) • (15) p ■ 1 . m (16) :J^ U» / 1 "^X . P T 1 (10 ^bS ^ (18) 1 1 I 1^ ^ • • (19) 118 TEACHER'S MANUAL (20) (21) (22) (23) (24) (25) (26) (27) (28) (29) (30) (31) (32) (33) (34) 1 ^ : r i^ k ^ ^^ !^^ -1 1 ~V -I ^ » -1 * U Twelve-eighth measure ( "^ ) I r- : r r m ^ k y I r _• ^^ 1^ in. Theory Drill Theie are no new theory problems in this chapter, although the new time element introduces the new time signatures nine-eight and twelve-eight. These are explained under the Time Drill of this chapter. IV. Song Analysis and Interpretation The interpretation of the songs in this chapter should be carefully studied by the students, having reference both to the musical con- tent of the song and to the text. Winter Longing; Book Three, page 184. Manual, Vol. Ill, page 290. TIME : The song includes the measure-forms, found in the Time Drill of this chapter, numbers 1, 2, 3, 5, 6, 7, and 21. (See page 117.) THEORY : The song is in the key of C minor. The Joys of Summer ; Book Three, page 185. Manual, Vol. Ill, page 283. time: The song includes the measure-forms, found in the Time Drill for this chapter, numbers 18, 19, and 20. (See page 117.) CHAPTER OUTLINES 119 Sweet Repose is Reigning A'oiv; Book Tluee, page ISfi. time: The sons includes the nieasure-fornis, found in the Tunc Drill for this chapter, luniibers 8, 9, and 10. (See page 117.) Themes; Boole Tiirce, page 187. time: The themes include the measure-forms, found in the Time Drill for tliis chapter, numbers 15, 23, 28, and 30. (See pages 117 a)id 118.) The Cuckoo Clack; Book Three, page 188. TIME : The .song includes the measure-forms, found in the Time Drill for this chapter, numbers 16, 17, 22, and 24. (See pages 117 and 118.) In the Garden; Book Three, page 190. time: The song includes the measure-forms, found in the Time \hi\l for this chapter, numbers 4, 11, 12, 13, and 14. (See pages 117 and 118.) He Shall Feed His Flock; Book Three, page 192. ^Manual, \'..l. Ill, jiage 289. tlme: The song includes the measure-forms, found in the Time Drill for this chapter, numbers 25, 20, 27, 29, 31, 32, 33, and 34. (See page 118.) 120 TEACHER'S MANUAL PART FOUR — PATRIOTIC AND DEVOTIONAL SONGS These familiar selections are given in the form of four-part nmsic for soprano, alto, tenor, and bass. It is not expected that there will be bass voices in classes using Book Three. The songs are, however, presented in this four-part ar- rangement that tlie children may learn to follow their parts in such an arrangement. Occasionally in classes using Book Three some of the boys' voices may have lowered sufficiently to enable them to carry the tenor part. In such cases these pupils may be able to sing the tenor by following the voices of pupils who have learned to read from the bass staflf. PART FOUR ACCOMPANIMENTS FOR SONGS IN BOOK THREE M. Louise Baurn From the French A . Moderato J= leo it The Pearl (Book Three.p.S) Franz Joseph Haydn ^ * i M 0. m m i m m m M m. m ^ p^ mf ^^ u f. p ^^ ^ ^n ^ ^ cresc. ^ ■ ■ £3E ^m 1. ^^^ On a rose leaf fresh and fragprant, Lay a shi- ning drop of dew; Came a So the dew-drop reachcl the o-cean,'Neaththeblue to toss cind whirl ;Then white ^ ^FT'f d ^M m ¥ F rpT »H— *■ f cresc. ^^ ^^ ^^ ^^ ^ cresc. r r r ^ I f r r i^^ £ ^sp; a ■ bird and bent the pris- on walls en rose-bush,Sway'd and swung- there just to woo, Till the drop fell in the - fold it, All its rain-bow col- ors furl, Till at last the shell falls ^ ^^ ^ ^ ^ ' — ■ — * ■ ■ — ' f fTTT T cresc . ^ ^^ ^ M m. m ^p^ i >^f H- e r ^ r " 'r s brooklet, Seeking- o - penWithits aye the boundless fclue. pure and shi - ning- pearl. r~0 r-j % i ^ ^ •V ^^ ^ f nj^ Fine V'l.'' r t r J 5t ^ ^ ^ ^? D.S. T. M. Vol. Ill— 9 122 Susan Jewett A J= 144 nr To the River (Book Three, p. 6) Ludwig- van Beethoven P # ^N i."l r r ^^ r r r r ir r ' -• — -»■ Gen- tie riv- er, gfen-tle riv- er, Tell us whith-er do you glide Thro' the ^ 4^ ^hh^ ^^ ^=#^4 ^ ^ tHHTzt WUW mrzm ^ # «. « — » ^ ^^ ^^ ^ green and sun - ny mea- dows, With your sweet -ly mur-m'ringr tide? You for P ^i^M ^^ J J JJ i #* ^cJ'^i/ Ifi sU lJ tTtnnr r m M m. # # i ^ Oi ? * * r If r r r ^ ma-nya mile must wan-der, Ma - ny a love - ly pros-pect see; Gen - tie 'I'" LisistjUisii l iA ^ =it==ii ^ # — *- E ^m ^^ r f f f ^^=^ 1? — W r I F ' ^ ^ r riv - er, g-en - tie riv - er, Oh, how hap- py you must P m ^7 J r J ■ J ■ ^ i t/D/t:;^ J.J. j,J, bet Past Three O'clock (Book Three, p . 6) James Fortescue Andaiite J = 96 Past three o' clock. and a cold, froa - ty 123 Eng-li* Folk Song- morn lag: J n^ poco cresc. ^ ^ rT~T 1. While in your beds you're peace- ful - ly sleep - ing-, Un - der the 2. We g^o the round, you rest at your lei - sure; Safe is ycur breaks, and slum - ber is end - ed, I 3. When mom - ing ^ ^ PP IE i i I i i^ stairs our watch we are keep - ing . Past three o' house and safe is your treas - ure . Past three o' thanks, your homes who've de . fend - ed. Past three o' ^ clock, and a ctbck, and a clock, and a ^m m it ^ ^liiiiij. » cold, fros - ty morn ing: Past three o' - clock, good mor-row masters i J i i "cr- all. 124 Alice E.Sollitt Frwn the French . Andajite J = 60 Ji Swallow, Swallow (Book Three, p . 7) Franz Joseph Haydn ^' Ji Ji J' J' I J' J' . 1 I I' ^^ l.SwaJ-low, swaJ- low; far a - way, To the South- laiid wing - iiig ,■ 2 Swal - low, swaJ - low, fare thee weU, Till some bright to - mor - row. !" 'J i J i^ ^m ^m ^m ^ ^xi_i £L/f '' J' J' ' i' J' uJ' J' r I f r ^' ^> I r ^ Gray the sky and drear the day. When the spring; o'er field and fell. Wild the North Wind's sing - iiig. Ban - ish - es our sor . row. ) cresc. E ^ ? "j/" f' P F P If s Haste thee, friend, fly fasl and far. Haste thee, then, wher - e'er thou art. Flee - Lng win - ter's sad - iiess ; Spring's sweet prom - ise sing - iiig; ^^m s ^p i ^ i i* p i^ f m Haste thee, friend, fly fast and far. Seek - ing^ sum - mer's glad - ncss. Haste thee', thPii, wher - e'er thou art, Sum - raer's glad - ness bring - ing. ^ ^^^ 3-^ ^J i ^ l ^ ff" » — • Autumn Holiday (Book Three, p. 8) Abbie Farwell Brown AllecTo J = 144 125 Welsh Melody iejgro 4 ZL ^ _2_ ' >'-''J^'^' i^iil ±± Come, my comrades. Come, my comrjides, Up a - long- the Care and woe we hear the cho - nis. Fa la la la la taste your lei - sure. Fa la la la la coun - try high-ways. Fa la la la la leave be -hind us, Fk la la la la la la la la la la la la la la la la la la la la ^ 1. ^ , i pi J $ V t\ J- J J J m^^- j'uu Hap - py hours are spread be - fore us, Lo, this day was made for pleas - un;, Down the lit - tie lanes and by - ways. As the mer- ry strains re - mind us. w Fa la la la la la Fa la la la la la ¥a. la la la la la Fa la la la la la 1 J- r j J J la la la . la la la . la la la; la la la . T [iJ'lI'i I N J 1 1 =F= =1H 7 1 J> h J =^a= —•- •iC 1 ' Come Trees - Come, ■^ i> 1, d and trip it aie glow - ing-, ver hill and my comrades, p in Helds in - sing tJbe ra< are gc to va the ch • ;a - dow^, 1 - den, Ll - ley, o - rus, d « f — Ya. la la Fa la la Ri la U F^ la la "T~ — ■ — la la la la U la la la la la la la 1 — i- la la la la -4*- 1 fe la la la — •— ri la, la: ia. la, f \ t\ J: J J j JJ IJ'J . j lj-^-^ r 7 Fk la la la la la Fk la la la la la Fk la la la la la Fa La la la la la s Ere the evening- spreads her shad-ows, Sing- the song of a - ges ol - den, Here we race and there we daJ - ly, ^fIa - ny hearts have sung- be - fore us. ± ■I . J ^^ J ^ la la la . la la la . la la la . la la la . Pl 126 Martha Hanley Rattier fast J= 104 Where Go the Winds (Book Three, p. 9) s m •> V Adolf Weidigr Compcstfd for ihJs Sarirs ^ -»- ^ P V)' /■' 1. Wht're did the north wind go? 2. Where did the east wind go? ;{. Where did the sopth wind go? +. Where did the west wind go? Where did the north wind Where did the east wind Wtere did the south wind Where did the west wind ^: ^ ¥^ ?=* ./■ ^ ■^ 4 .i ^ -e- r i ''O'l r V' r ^'V' > I ^ ^' J' r 2i go ' ■ go? go? go? A . way and far a - way Li haste to daish the rain It sof - tly, gen. tly sped Tb gen - tly rock the nest To A To Of •J v>* ^S m toss the kites at play; guinst the window - pane ; kiss the ro - ses red ; lit - tie birds at rest; ^^ P5^ ^ r T ^ ( g :rr7^ 1/ m •SES^ iiz. P P P ^' ^' ^ That's where it went, O - hoi Thai's where it went, O - hoi O- ) m n J ^ ^=^ ^ i=* ^ ^ J)y ^ J J J. J. F ^' r- -^ Ov ^ ^ f^ ho, yeo-ho! O- ho, yeo-ho! That's where it went, O -# 0- ^ ^ l^^^^-^-t^JU^^ / ^ j^; ho! t^ Pauline Frances Camp Moderate J= 84 Welcome to Autumn (BookThree.p.lO) 127 Peter I . Tschaikowsky i F^ rnf' ^ m ^ m T7 J^vHl 1. The Summer's tale is ,-^'^^, I r~^i r^ I I '^ 2. But nev-erheed nor i ^ m ^^ ■ — t # — •• — 0- J_ i ^^ rr^ t> m m F^f ^ o - ver. And the rest - less ro mind him, Since he leaves be - hind ver Turns a- way to leave us, him Autumn m his g^lo - ry, i fe S ^ m f^=mt ^W^ f 'r\)\> Y^^ ^ f ^ £SE£ ^^^ r ^^ E f Careless if he grieve us . With his gt>l- den sto - ry. kk: m i m i HID jTun rnrnmiP m m ^ f # — ^ 1 fe «j Tn ^H> f r r ^ mT5 mrn rm ^ r rrirrf" i y" i p^ rfm . ^Si /'PP g isir 128 John Greenleaf Whittier A Andante lento J = 93 The River Path (Book Three, p. 11) Georg^e W. Chadwick Conposed for Ihis Series fj- +f i n m j'j' J'iJ j j B s ^T he hill, No bird song floa - ted down the hill. The tan-g^led bank be - low was dusk of twi- light round us grew, We felt the fall - ing- of the P^ i ^^ m ^ ^^ ¥ zc # J i .nJ rn p ^ -&^ still; dew; No rus - tie from the For, from us, ere the birch - en stem, No day was done. The i m ^m i>j i j i i i^ J ^ nrTrrn 3=^F "* — » — • ^p i ^ ^ p f V r r J i The sun. But rip - pie from the wood - ed hills shut wa out ter's the hem. !'"^TO ^^ ^ rz-r ^-^. 'n ? r r i -| j < i ^ ^^ ^ -^'-=- Mary Wilder Pease Larghetto J =84 Daffydowiidilly (Book Three, p 12) 129 Mareraret Ruthven Lajig" ^ t r; ih j;p- j- i j -j j I r j J m 1. Your prtt did- ty you gown . leave - of yel your win low ter '■^''i' a i m ^ m 5E ■4 « -5-^5r ^ -» mp ^ i ^ P 7 I I — ^ 7 . hue, furs? Dear lit - tie gar - den fair" You knew the winds were chil y. ly- I'm sure May Pus IS sy ^m 1 ^^ m ^^ ^ » much too thin for you, Wil - low lend you hers, § S ^ ^ ^ ^m i s ^ It's made so Dear lit - Ue light and air Daffy . down - dil ^ =1 ^ j- "^ — ^^ — i- i^ DOZ 130 Distant Sweden . ■ »T n (Book Three, p. 12) Louise M.Bray '^ From the STUcdish . Andantino con espressione J = 66 ^ ~^ Swedish Folk Songr i ^ ^ s O ^' ■ *' ^ w ^ JL f^n o Swe - den, far - off 1 I =^3 u ^ f I 'n/' dim. ^^^i^=T m ^ 4 S • ' d T ^ p p I J' j^' Ji I /; J J P eyes toward thy shores are ev - er turn - ing-. ^^ ^^ ^ t_J r. s ^ ^ pp ^ U ' |W |r-i(" ^T' I r- : r i'. ^ ^=^ see thy snow,capp'd moun - tains a - glow in the ligtit; a m i ^^ « # t»= i^ I ^ ^ r 131 ^ ^ ^ ^ /, ^^ cross bound -less seas for thee Fm yearn - ing- , Once i ^^ f r PE^ r_ P zat p/; V ^ T *-=- F W71 ^oco piu Tnosso ± j>oco rit._ ^ Tempo I 't I' I J'- ii ^-^ more the flocks I lead ua - to pcis -tures on the hills, Throujjh ^ w. w :jf un poco piu mosso »f =yF^ 5fe />oco rrt ;^^ ^^ S P3 r r ^-"tJ J i ^5 ^ m m ^ ? w/* ^ ^^ ^ ■■ ' p ^ J / '^ si - lent leaf-y for - ests where leap the foam- ing- rills; ^ ^ t 8 3 - 3 r-3 Once ^^ ^ ^ ^ V ^ ^ i i' I J' J' poco lit. ^-^ * d > ^ more smile thy peace -ful skies a - bove me. ) ^=^ M t t* I 1?^ ^ 132 Minnie Leona Upton Mernly J.= 104 The Meadow (BookThree.p. 13) Howard Brockway Coirpatfd tir tbjs Series Oh, mer - ry is J' I J Jm jM J J' J ;'i J. J' ^ mer- ry is the mea - dow in the sun- ny summer's prime; The hap - py are the chil - dren in the mea- dow fair at play, With ^ J ^J Ji J J' J I w J J l l > m "j f- ? r ^-=- T r 1 1^ ^^ ^^^ ?=9^ ^^ ^'' J t. J i' J J^J J' l J' ^^ r y^ ,^ dear- y, cheer- y daya___ When.Moth-er Na-ture plays. And the lit - tlebrooksare but- ter-cups all bright, _ And dai - eries left and right; Bees iind but- ter- flies and ^ ^ m^ i =i=± 5 ^ *? r ■/ S i P ^ ^ ^,> n ^ J^^ r? M -Zj ^-M -J^ ^^ ♦±:=zi singing,with the breez-es keep-ing- time! Oh, ^^ i i ^ i ^ x: r h>^^ r */ 19-^ ^ y 7 ^ ^ 7 r ^ rr A ^fct (2 J Jm. I S^^^a4l ^?^ ^'ir ' fi '-r' ^ ? bob -o -links, a- bove the flowers gay, A - bove the flowers gay' hi\)}\ i^ fe^p^ ^^^^ ^" t. ^ ^ -6- ^ 32x: r ' r ' ^^ r v^'n r V r ir ^ I ^=?^ F¥=^ Milking Time 133 Margaret Aliona Dole Pimn the Norwegian . Andante con moto J-=72 (BookThree.p.lS) Norwegfian Folk Song: Piano accompaniment by Edvard Grieg 1. The cows are way down in the pas- ture;The bells are tinkling" 2. Oh, here coine the bright ro-sy milkmaids! They place their stools and m i ^ » y ^# f- ^ 'F=T^ ^^ s ^7M p P "• N ^ P I [J ^ ^ =fc lie eyes gins a. - sleep And vil - lage lamps aie out , _ are keen , She needs ^ no star . ry light; to break, And glim-raring" hour is cnill. P The owl from out thn To her each tim - id She wings her way a - piu p ^^^ u u a m ^ ^p / 3 piu p # * J IJ IJJ ^ #« P r mJ J'lr pir P v)/' More lively vm m ^^ ^ Tu-Avhit,Tu - whoo! P_ dim. PP iT^ ^g ^ i Tli-'whit,Tu - whoo! M ^ m . .-?■ r^ H TT 'Piu m sost. dill i pp ^ 136 May Morgan Allegro Moderate J = 96 The Race (Book Three, p. 17) A. Danhauser J^ ' I' 3L i= P^ tei i 1. Liff is like a stream 2. Train - iiig- ev - 'ry day For In * « ^m ^ ■m/" N ^i ^ i ^^ ^ P fe ^ ^ * * r^ ^ #1 * ev - er on -ward flow - «!§■; Wheth - er we will or no, Dowii that stream we're bright or storm-y weath - er. All cheer- y, blithe, cind g^ay. On we row to - ^m ^ ^m i ^* t^ ^ ' ^ r u ± ± ^m r r I p- F p ^ • • d go - Lng-. Strong' aiid stea - dy hearts We're need- Lng- for the row - ing;; g-eth - er. Speed - ing- down the years Like birds on light- est feath - er ; ^ ^ ^^^ ^^ ^ =?^ I TTj/" ^ m w I J, J. J' ii I J^- ^r^^Hrf r I r ssg i We must win, so now be-gin The stroke to learn. Pans- ing- none, the race ia won, And rest we earn. Alice E . Sollitt From the French Cinderella (BookThjee,p.2l) 137 French Folk Song- u ^ i 1 &3a =z: f 1. Sad am I, sad and shy, Fkr a 2. Yet it seems in my dreams Fair - y way from friend -ly eye; Night and light a - round me gleams; And I f f I .r p ^ } ^^ ^ ^m ipH ^. — ^ — ^ \ — . — 1 a| * .^ 5 ■ day, here I stay In ray hear in my ear : "Cin - der . =13 3 ft^= cor . ner hid a el - la, have no ^ =4= way. fear. ' ^ r 1 Here sit Kitch - en — M 1 ^ 1 • r 1 i ' ' r. I n J J I n 'J J I i J J J I J r=^ V ' i I in ragB and joy in store for T I in dust and days will soon be ash - es, Here sit o - ver; I have J J ^ ^ I •! ^ J , ^ ^ J J tears ! Hence they thee . Feiir - y i I f r i ^ f =2 claim, friend « to my grief will ^^ shame, Cin - der end, And a el - la is my prince to you will S#^ ^^ -fU^ name; Hence they send; Fair - y claim, friend to my gnef will shame, end. Cm - der And a el - la is prince to you my will ^^ ^M^ ^ name, send ." I ;>i. Vol. 111—10 138 Traditional Allegrretto J =106 The Maypole (BookThree.p.22) English Folk Song^ iUih^'i \D j- ^ ^m m m F r r ' T r ^^^ T r^ ^ ^ ^^ ^^ 's t- ^ r I r r' ? r ' r r r r ' ^f^»^ ^ 1. Come, ye young' men, haste a - long- 2.'Tis Uie choice time of the year, 3.'When you thus have spent your time, With your mu - sic, dance, and song; For the vie - lets now ap - pear ; And the day is past its prime. ^ i N j J i W^ '!'/'"^^"^^;'h^^ | ^^^^ '^' . ^ Bring' your las - sies in your hands. Now the rose re - ceives its birth; To your beds re - pair at night. For 'tis that which spring com - mands . Pret-ty prim-rose decks the earth. There to dream of day's de - Light . ^ w i ' ^ 4^4 J M-j \ \ }^ PK^^ \ P^{ ^ ''f'r r T r r r'Vrt r ur T f Then to the May. pole haste a - way, For 'tis now a hoi - i . day; ^£ J J I J J J I J J J i ^ « •■ i* I I ' I ' J J I J i.n i-\^^^i ni I jji r I Then to the May -pole haste a - way, For 'tis now a. hoi - i - day. ^ ^m i ij J J i ^^ Nathan Haskell Dole From the Russian J =72 The Frost (Book Three,p.23) 139 Russian Folk Song- 1. Comes the Frost - 2. Comes the Frost. from the North, from the North, Steal - ing- forth by Steal - ing: forth by nigrht; night; rar ftS— ^'-J.'J I ^ .''J.^'lJ'- J'iij«3' % ^ 7 He hcus Andwher To the house . To the house. en - trance g-ains en - trance gains Thro' the win- dow - panes. Thro' the win - dow - panes. ^ p r^ in n k #s w th ni n I j '^\\^\\\\ keen spar - kliiig' eyes, And on ev - er he g'oes. By his ^^^de si - lent wings O'er the weird mag^-ic pow'rs, White as yW 1 ^ V» ^.r^ I: ^ ^^ i^ f^ earth fast he snow - flakes he flies. And the win - ter he strows Sil - ver ferns, sil - ver m ^ uu ' I j~^ fr^ bring:sl flow'rs. "SfF" m 140 M. Louise Baum Adagio J = 60 In Autumn (Book Three.p.23) Attributed to Stradella Sun - set is pa - ling- ; Winds g;o a — wail - ing ; Sum-mer is ^m i pp^ m fled. Nigtit cowers cold On wood and on wold. While o - ver - ^ ^ W==^ m , ^- d -^ ^ * m m I f 1=^ =?==^; ^^ i m^ head The stars are red. ^^ ^ m mm n' i m ' m ^^ uM TTT T- May Morgan Andante molto J = 66 Summer's Done CBookThree,p.24-) Norwegian Folk Song- Piano accompaniment by lEd/vard Grieg p':i '> ! " "iTvi i ji. j i i'j' i r ji.'pip-g ;■ J'l ^^ 1^ 1. The chestnut tree is flaming All golden like the sun, Its ■itd Ml fall - ing- burrs pro- claim- ing- That nut- tiiig' lime's be - gun. By signs like these we i H^ n m -J-H>i^ ^^ E^ ^ •n ■' 7 ^ ^r^ f-rt ff =?r^ ^ ^ i- ^ ?ee3h J I J'. J i J' J I p J', p B SEEE3 i know summer's done. I . In boughs where birds were sing - ing Now P ^^ S ^ ^ * » fT a ^m mL ^ % V V V V f V t^ ^ "Jii. p S^s ^ ^ ^p 1^? on - ly squirrels run, And emp - ty nests are swing- ing, Are swing- ing in the ^ ^ ->— g — ^ 9 a pf r^^ ?^*r^ I V n V V V ^g f «e;i 1^ * ^^'1> J ^plj). Ji ^ 3,.- >. ■- i sun. By signs like these we know sum - mer's done ^ ^^ f V ^ ^ ^3 ?^ 1 ■ -1 =1^ ^ ^ ^■q* 142 Alice C. D. Riley My Bonny Pipes (Book Three, p. 24) ^# Scotch Folk Song- P^^?^ 1. Giii the cold winds blow; Gin the sleci andsnow.'IheniDyHighlandplaidie'Ukeep me warm. Gin the 2. There's a lass o' raine.Brown her hair so fine, And the blue o' heaven's in her e'e. Whenthe P m J^ ii ^J I r i J ', fJ' I J ^ p^ fc^ broods white O'er the face o' night,Then my Highland heart wiU fear no harm. For a wind howls dour O'er the bar- ren moor, Thenmy Highland lass will think o' me. Oh, my ^^ ^ rr I i| ^ ^ s ^ » a JlJi^ J J ^^i^ i J j ^ i)i^ | J 3 3 ; 1 ? 3 3 ^ 1 = ^ ^ ^ rs High- land lad In his Highland plaid, With his bag-- pipe dear.Kiows no tho't To' fear. Then heart will pine For this lass o' mioe, .Till my love I hold In my plaidie's fold! Then ^ > f f I i jf f > ij rr m m ^ 3 ^ i ^ 5^ ^^ ^t^ m [and heait will fearTio haj r blow, then blow, my bon - ny pipes, then blow! My High - land heait will fearTio harm . blow; then blow, my bon - ny pipes, then blowl'My High - land lass will think o' me. The Maid and the Brook Frederick H. Martens ^Book Three.p. 25) * Andantino J— 132 Russian Folk Song- '^ J J ^^^^ w 1 . Where the 2. Sil - ver brook thro' green wold flows, Its brook, ah, when you roam, A 143 ^^ m p rip - pies rill - ing- whUe migh - ty riv - er past p I r it goes, my home, ^^ There each_ day ray Tell ail those whom ^^^^^^^ ^ m ^m i ^ ^m J =£ L F -^ ^3^ © ^ * ^ foot - steps stray; I think I hold dear That in of loved ones now far my thoughts they are ev a er. way. near. i r~r ^ ^m ^ •^^ * cresc. ^ f \ -e- i J ^ Virginia BaJter J = 126 Happy Autumn Days (Book Three.p. 27) '^'t J , | i'^ EiEEJ French Folk Song" ['^IJ- J' :* 7 r J ^^ l.Sing, let us sing of hap - py days! Days when the air is crisp and clear! 2. Sing, let us sing of for- est dales Where ripened chestnuts pat - ter do'wnl 3.Suig let us sing of si - lent nights When all the stars like jew - els gleam! ^ J . J 1 ii X ^ /If- I ^ i w w^ f t p S I ? * * m ^=r-Tj r-^ — -r • ■■ I ' I I r r ' When, from the wood-land, call the jays, Tt-ll - ing- that au-tumn now is here. Sing of the trees in glens and vales, Splen - did m crim-son, gold, and brown. Joined hand in hand the white frost sprites Dance neeith the pale moon's sil - ver beam. ^; fe i: f4i-+^r^ I \ F^M 4 r U4. Maurice Thompson J. 88 At the Window (Book Three. p. 26) i ""P K ^ ^ Frank van der Stucken m ^^ ^3E I heetrd the wood - per - ker tap - ping'. Con moto fr-q^ * ^ ^ ^ f f i^^ i mp ^ f ' P I f f I ^ H' S |i' q ^ J' The blue - bird ten - der - ly sing; ; I ^ ^^ ^ i^ ^• — ^ ^ turned aiid look'd out of my win - dow. ^^ it was spring- Tit a tempo Ajid lol 1^:^ -rW' ^ ^ 145 ,,^J-JhJ J ^^ n 'r r breath from trop - i . cal bor - ders. Just a rip - pie, i ^ W m f^f^ p 3 S m ii # H 'Ii;) #'£60 ♦ g^ n-; j'u t ^^^^t ^g And w-ashed my face clean of its ) flowid in - to my room. P ^ ^ .>'L j^ ^^ i; ^ ■^Ee;). *'2t5. * "Eti 'jSti. • # ^EW. ^ _^ ^P Jl s f r sad - ness. Blew my heart in - to bloom, ^^ ^ m f^-^ 1 ;^v"Jj- ^ ^ *- ^* ^3 ^^ ^ ^ fl^ ^/ S # i^t^ 3^ m 4ed. •5S.;>. - * •St;*. iQf ^'U * i ^=^ rit. Blew my heart ^^ P -/^^ S' ^ «.A. & m/' 1^ in - to bloom. . pih rit. a tempo h m M p ^ m pp 146 M. Louise Baum ^ , Allegretto J^= 152 The Remembrance Bouquet (Book Three, p. 28) Neapolitan Folk Song: f? Wtff -&- g ^ :^ ^ JJ p 1. I must choose me the 2. Then with fil - i - gree yel - low - est to - ses, pa - per I wreathe it. For the In a ^ tt M J' J J l J'-^ ff • ^ BE P P 11' P ^ ^ sweetest, com - pie -test of po - sies; I will hold- er of sil - ver I sheathe it. 'Tis what min-gle the fern and the g:al-lants of yore gave a ;i p \ J) J' J' l ^ B m I f ' F F ' ' ' P ^ -ette, li - ly. la - dy, Mi-gnon-eite, so - ber pan-sies and There it swung- at her waist on a g"ay; chain. ) ^^ ^ m Pur-ple Oh. but ^ ' Q! ' ' ^ f" =r=¥^ ">'i'\' L_r^ f: r 1^ ''tjLJr f= ?5 ?= i A± ^^^ j) JM J^ i' ^'' I ^M^H 5=5=z=r ^ ;.) li • vi - o - let, who'll grace my snow - y cair - na - tion, po - sy and wear it? AU the lov - li - est flow'rs in ere - None is left now with whom 1 may 14: ^m rail ' \< ; I J' Ji fe ^ a m - ') ^ V a - tion share it i i^ Go to make a re - mem-brance bou - quet . Aiid my flow'rs have but blossom d in vain. k col canto __^ a tempo ^ f » m 1 ^ J' J' i :^ ^ != ' -^J ' F Virginia Baker • = 132 The Gypsy Dance (Book Three, p. 28) Gypsy Melody ^^ i ^fe^^^ J^ f) ^ N ^ 1. The twinkling- stars are bright, The 2. Like nymphs and fauns at pl'"»y. In sil- ver moon is beam - ing; The mys-tic meas-ures twi - ning:, They i ^^ 2= camp -fire's fit - ful cir - cle, bend, and light sway. Glows Widle red in the gloom of loud swells the mus - ic ^^ ^ night . g^y- Wth Tho- ^j''„Jt i' J' , ^ I ^ I d \ i m foot- steps trip - ping in the arms of free, sleep And dark eyes wild - ly All oth - ers are re gleam - ing, The cli - ning, Till Gyp-sies mer - ri - ly dawn be - gins to peep Now dance 'neath the green-wood tree. The Gyp - sies their rev - els keep. 14-8 Eunice Ward •^= U2 So Ignorant (Book Three, p. 30) Horalio Parker Compo\ei lir (his Sfrlo 1. The ve - ry dull - est chil-dren in Jap - an speak Jap - a - nese; In 2. In Par- is lit - tie chil-dren do their les-sons all in French; In F"^ i ^ Spain they chat- ter Span-ish as they play. Ath- ens e - ven ba - by talk is Greek.. In Hol-land it is It makes me feel quite »Uu^ ^1^ f> P pi-jajr ' ^'^ P p | ju^^ ^^ much The cus-tom to speak Dutch, While Swedish young-sters talk the Swedish w;^. blue, And rath-er stu - pid too. For I'd like to understand them when they speak. Louise Stickney From the Swedish Ar.dante J^=100 Prince Baby (Book Three ,p. 30) G. C. Boivie 14.9 i ^h:¥=^ ^ * * ^ ^^ U P'r' 3z: Prince -ling mine.thd thou lack a throne, Hap- ly more sweet thy slum - berl ^m w TM i^ *(- Ti(-«^i^ 5i-- i|* >: * t* * a ^ i * ^ i s s sempre cresc. t\ J J' III. ^ r p r~p'i i ' ^' r'FFir~J p f King" thou art of this wood a - lone, Vaa - sals hast without nura - bar. i cresc. IJ'J'V I P 'y- ^^ & AVa - ters will woo thee, a tempo Breezes will sue thee. Larks will carol thy praise And peace bless thy days. dim '^i . r> 150 Hoffman von F.'illersleben Dancing Song in May (Book Three, p 3l) |^1i J I J'. Ji i m Robert Frariz ■if—^. ■ ■ ' ■ — ■ 1 ^ Come out to the gfreen, For . spring: it has come: Ttw r=r ^S p f f^=t t V ' p- J' J' I J' ^ J) 1^ ^ glad May is i ^"'jT j. j. roam - Lng'. The haw- thorn is bloom - ir.g:; Come ^m ^^ rr 1^ J. J J -^ — *-^ * r- cresc 151 ^ h * ^ • *' * daiic - iiig^ with joy, Li J'. Ji J' life's bap - py ^^ No ^^ ss^^ r= "i ^'» r- J i f tr clouds dim the heav - en. The earth is new - born, is new ) ^ m f ^ -#■ — # i»^ -)-'» r~3j ^ i cresc. ./• P P P born in the May ; . m «> ir- f^ ^ cresc . S V IT- 1. "4 W ±: 152 Well Met. Well Met Traditional ^^°^^ Three, p. 32) Allegretto gTa2ioso J^= 160 p Eng-lish Folk Song- i -^ i \[ - ;> ES ^ E ^ ^ ^^m 1. Well met weli met, my 2. I mjgfnt have had a 3. A way of gold hes M m ^ 33= 'Tf r- ^'li ■: I t J' J ^^ ^^^ ^ i cresc m ^^ ^ ?s^ ^^ ^' r p p ^ own . prin O'er _ I true love! Long; time am I seek cess fair, She fain would have wed ■ the sea, Where sets the great red sun ing' of thee. I am ded with me ; But I in the west, And a - m ^^ cresc. i p^ dim late did Long - ly come from the salt, salt wave, And • not hold for her crown of gold, And that way thou shalt sail with me. To the aU all land for the sake, for the sake, of ail lands, sweet sweet sweet 153 Mandolin Song (Book Three,p.32) Abbie FarwelJ Brown J^= 168 Spanish Folk Song- Pink - pink - a - pink - a - pink - pink - pink , gay notes are wing- - ing"; ^ P p I ^' '' } I j ) ;ip p «p p E Pink - pink - a - pink- a - pink- pink- pink, sweet mes - sag-e bring- - ing; ^ P' p p- P I p M' I ^' ^' J ^ Hark how the mer - ry man - do - lin sof - tly is sing - ing, § p p • ^'^-m : J i' ^fe^ Pink - pink - a - pink - a ■ pink - pink - pink , sil - ver - y sweet f T. M, v.. I. nr— 11 1_5+ The Passing of Suninier Alice C.D.Riley ^^'^"'^ '^^'^'^P- ^'^^ AUeyrelto patetico «* =i5re. ^^ / / i ^ S ^ p lento E m ^S i ^ d * m ¥^' Reeds all a - shiv - er, Blossoms must with - er, Summer must die! Soon 'twill be snow - ing, Summer is go - ing", Summer must die! I & ^^ 1 f f ^R T=^ T r p col canto • ^ w f =^=^ M 7 /: & Marg'aret Aliona Dole J = 96 ^ Faithful Friends (Book Three.p. 38) Joseph Gersbach LFaith-ful friends are life's best 2. Life IS full of stem de tiieas-ure;Wealth and ni - als; Oft we fame may pass a miss the joys we ^m ^ •> h r ii^' i ^i) j i jrt^ ■w'ay, Bring' no joy or las - ting pleasure; Faith -ful friends a - bide al crave. Fcuth - ful friends are near in tri - als;Their sup - port will make us P^ f i ^^ :^ w f=r :# r^ s^ way. Thro' the world 1 glad - ly brave . Thro' the world I glad - ly go go_ If If one one faith- ful heart faith- ful heart know, know. ¥ rjf p ^ 156 Ethel B.Howard Moderate J • = 80 Halloween (Book Three, p.34) Catharina van Rennes ^ S ' ''1,1 ii[ h &frjrTT 1. Tne sparks fly high in the chimney deepUhere the birch log- shadou'!, dim Of the gray twi i^i > jij-j^^h^t g>lT^' ii- V < elows; Tne popcorusoaipsaud the chestnuts leap While gay laugh- ter flows; And light, Go JacK.- rf-lanienis and witchmaids slini Li a mad - cap flight. Tne ^^ ^^ ^ ^ ^ ^ SsS M r r f P ^ ^ p ^ C' t^Xr, ^^ ^ - , y. |i t'l MY H I ^'i| -U ^ ap - pies red are luscious to eat When falJ the snows . full moon tops the wood - ed hill rim And laughs — out - right. Lee Burns Jingle, Jingle, Jing-lety, Jing (.Book Three, p. 35) H Allegro non troppo J • = 92 J. ^ ^ 157 arvey B. Gaul Composid (or (bis S«ri>\ 5 P Jin -gle, Jm - gle, Jin-gle - ty, Jing-I -r — r ^.ii r Jt J' I can't re-mem-ber the words to singr; w ^ 3 ^^ ii ^ g Ea ^ ^ ^ h J' h N S J' I J. Jl i' i r?r ^^ ^ ^ ^ ■* — • — ' — ' — *- But there comes in - to my head some-tunes A sau - cy young- tune that rip-pies and rhymes; i r ■0 — # s » ^g ^^ ^ ^ ^ « r^TpM nr ^^ f ;t ? a tempo ^ ^ P E ^ ^ # Climbs up hig"h and drops down low, Just as a mer - ry young: tune will g-o; Then J i J ^ J. ^ -^R- i ■ ■ Jfcii ^^ ^~r^ ^ ^ i r\ 9 accel. ^ J i > i^ J i J 7 1^ ^ ^^ ^ ai±=^ ^ F runs a -way laughing and foil of fun.Witn a heigh- oh - heigh! :r^ 1 1 ^p s s ^^ With a «.S f ( i:l ^m ^m ^^ ^ I t w ji J fe ^ P ^ * — ^ heigh - oh - heig-h ! __ i^ E^; ^ y » » fi Wth a heigh - oh-heigh!and the tune is donel Jk ^ ^ zcn 158 Ida Whipple Benham Not fast J ■ = 6i The Listening Woods (Book Three, p 36) Rudolph Geinz Composed for thu Seriet 1 I went to the leaf ■ y for - 2 I looked at the shad • owed mos 3 Aiid long did I wait in si 4- At last, like a gen ■ tie breath est ; Not a leaf, not a flow - er was ses, And I looked at the nests o - ver ■ lence, But I looked and I lis - tened in iDg, From the Southland a breeze sof - tly te j H g m 3 ^m i 4, i ^ ^ r P M^^' ^ p f^ ^^ «- m s stirred . head; _ Vcun ; . blew. . i Still I It And in its nook was the watched the brook as it seemed the for - est so said, "The lit - tie wood dream ing- brook. And swee - tly dreamed A - hushed and still Would peo pie all Are r-r t f n ^ « 1? m m i ^ i ^ ^m ?= ^ r" r' p ^ still the nes - ting bird, lone in saji dy bed, . nev • er wctke a ■ gain, list 'nuig, child, like you, ) And still the nes - ting bird A - lone in san - dy bed Would nev . er wake a - gain Are list - 'ning, child, like you" Come, Lassies and Lads From The Westminster IhvUery, 1672 ^^""'^ Ttr^^-P- 37) Allegretto J- = 84 159 English Folk Song^ m ^ ^Ij). Jj)P p p I C^ p p ^ p ^ s 1. Come, lassies and lads, g^et leaveofyDurdads,ArKla - way to the Maypole hie; For 2:' You're out," says Dick; "Not I," says NictllVas the fid- dler play'd it wrong:!' "Tis S'.'Good night,"saysHarry;"Good night,"says Mary;"Good night"says Poll to John "Good S i M g i F If Pf 1} Mf ff i ^^ ^ 3B r Tr ev - ry faiir has a sweet-heart there,Andthe fid - dler's standing- true," says Hugh, and so says Sue, And so says ev - 'ry night" says Sue to her sweet- heart Hugh;"Good night" says ev - 'ry m -■■ ) i!/. i '^ ; Nj.^j' I Mj 1 1 J- J I Wil - lie shall aance with Jane, . fid - dler then be - g^an ■walked and some did run. And Johnny has got his JoaS7 To play the tune a - gain. Some loi - tered on the way, To And And S 38 ^M m w W trip it, trip it, ev - 'ry girl did bound themselves by trip it, trip it, trip it, trip it, promi - ses twelve To Trip it up and dowhT" Trip it to the men; meet next hoi - i - day ; To And And =E^ ^ ^ ^m * p 3 trip it, trip it, ev - *ry girl did bound themselves by :t . l i t ■ ¥ trip it, trip it, trip it, trip it, promi - ses twelve To ^ Trip Trip meet ^ it up and it to the next hoi - i down, men. . day. ''' Clang-! Clang! Clang! Abbie Fain*-eU Brou-n ^^"""^ Tliree.p.SS) Frcym the French Allegro deciso J = ViO Allyre Bureau f r ^ P f ^ I ^ J' ^ ^ ^ I r '' p r r I ^ ' ^ r l.Claiig^Claiig-!Clang:!The an - vil sound - mg"; Clang-IClang-l Clang-IThe forg-e fire glows .Clang- !Clarjg^ 2.Clang1Clang1 Clang! Resounds the haxn-mer. Clang: I Clang-I Clang-IThe flame aa - cends.ClangtCkng-l )^ ^^m i m m^^ m J ^ J J ^^ ± ^ i ^^ ^ ^ss ^ Clang' The hamnier pounding, Clang' ClaiigfClanglWith shaping blows. Clang! A mig-h-ty clanior! Clang! Clang! Clai^ The met-al bends. J ' j»j m ^ s ^ ^ p pi P ^ ^m * o ^E id: ^ i i ^ Fine ^ ^ ^ i^ P m i ^ ^ ifc Fine m ^ ^ i»-H^ m fas - ler and m m Forge the met-al fas -ler and fas-terl Mak-ing man the migfa-ty Beat the sword to hap -pi - er us - es; Haste the end of war's a f J J N J J J N J J J N J 4 j (I '"■ F P I F P F F b ^ n 4 ^ :■ — c mas-ter; Round the bus-es; Forge the f ^ ^r r M J_ s ^, j j i ^"r f F r ^^^ f~Hf ^m ^W 161 i?.C. world to brace it the strong-- er, Pow'r of steel aiid i - ron goes, plow, the ship, aud the rail- road, Peace - ful bonds that make all fnends. ± Bjornstjerne Bjornson J =U6 On the Ling, Ho! (BookThree,p.39) Halfdan Kjerulf tJ P J- -rr. ^ P — ^ i :^^=^ W^ r T zf^ 1. Sly reynard lay by the dusky pme. On the ling:, ho! on the 2. Sly reynard leaped from the dusky pine, On the lingr, ho! on the Img', ho' And ling-, ho! And 1^ i ^s -6 d i-i- 5^ V > J' { J' J' }' m m :S i F ^ f ^ bun - ny sported in the sujnmer shine, On the ling, ho! on the snapped up bun-ny in the summer shine, On the ling, ho! on the ling', ho ! Aiid ling, ho ! And 2^ i ^ ^ ^ »^ I a^^ JU^ J'jl'i- ^^ w f^ r oh, 'tis mer - ry, when moon is oh, 'tis mer - ry, to feast at high, To frisk and ease. To spring and trip 'neath the scamper, when I I ''iHt r^^ f 3t^ ^ =F=?c: ^m i ^SE 'tr- m ^ r^ ' "^ I i i^ 1/ !a la! la U la' no - bo r er dy 1^^^^^ sky On the ling, ho! On the hng, hoi Tra, la sees. On the ling, ho! Ou the luig, ho! Tra, la S -* 162 Abbie Far we 11 Brown From the Italian InTvaltz time J • = 52 Naples (Book Three, p. 40) Italian Folk Song- .^- dolce ^,VJ. Ji.^Ji i J ^ ^ EE^ ^^ w l.Dome of az-ure sky O'er sea of az - ure! Land where momeuts fly In 2. Gar - dens near the sky With gleam - Lng; foun - tains; Vine- yards climbing^ high The 3. Here up-on a hill A fair - y pal - ace; There a sil - ver nil Di - dream - y pleas . ure! Ev - er dear to me migh - ty moun - tains; Treas - ure fair to see vides the val - leys; Cav - eras in the sea Your Your Of fra grant ners ure hours hold, blue. Land Fruit Fair of of to flow'rs, O guld, O view, O Na Na Na pies pies pies dear! dear! dear! ^ Sweet Pur There the summer pie grapes to a moun - tain m breeze eat stands That blows So rich _ With heart m so ajid ail ^ gren juic bum 163 . 1 Uy: ing. I D.S. ^ tSB F I L_r F D rail }\ j\ j\ i\ ji ]m Soft the hum of bees Figs and al-monds sweet, Gucir - dian of the lands, In or A store So bright angle bowrs.Tra la la la la' un ■ told Tra la la la la' of hue. Tra la la la la' Laurence Alma-Tadema ' = 63 Near Autumn (Book Three, p. 42) >P'U F pM^ J | J''J' I } J' J' ^i i Horatio Parker C'lmposed lor (hii SenfS 1. Red ap - pies in the leaves, Red Rob- in on the bough. The 2. White foam a - long the sea, White mist up - on the dawn, No .3. Black - bird is si - lent, lone, Black - ber - ry decks the spray; And .{. Black - bird is Si ^^ ^m p m ^ tt ^ ^ oats are all in flow • er for the du • tunm's breath has sheaves; Wnore's sum - mer . bee ; 'Tis sum • mer . blown Up on the _ now? gone, day. 164 Wilbur Weeks Allegretto J=s The Snowflakes (Book Three, p 41) Neapolitan Song When o'er the fields the snow - flakes Are fall o'er the fields the snow - flakes Are fall ing-, are fall ing:, are fall in?, I '>'M 1 IfiJ l 4 ^ •fi r i rrf^^rirrrtir i i fN^J'J niJ'J'M ^ m ^ f 53: ■vvatch Lhem slow-ly drif- ting'. The dis - tant lands re • call nev - er miss the springtime Or mer - ry birds a - call rng-, -Where spic - y breez - es ing:. The si - lent taowflakes -h^ i -jkntH^-uiJ-^i^i^t-ii^ iru''g. ^"; 'i/ ^ j i r; \'jr^ stray- ing: Thro' orchards flow-er . la - den, A-mong' the branches play - ing; Bring' blow - ing: R^ - call the dis -tant coun - tries, Where fragrant winds art strow - ing- The -^f ' \ I f U. F '' ^- ^^' ' ^- ^ ^ ^n M J J' J J' I J ^ m do-wn the flow-er snow. When earth -with bios - som snow. When o'er the fields the sno-w - flakes Are ^^ V ' II J_j •■ I lis ^ h h »^ ■F p P P ^'P IP ''F 'P ^ ^^' J'T- F r ^ branches and the curtains tuid of almost ev - 'ry- thing. Oh, I flapping and the slapping of the clothesline on the wing. Oh, I love the tree -top love the tree - top !" J J J p\ ^p} J jij: ^m ^ i j U 167 I ^ ^ k^ mom - 'uig3 ill Ahe ear- ly, ear - ly spring' ! morn - ing3 in the ear- ly, ear - ly ^ ^ III - ^^ i fjjm ^ spring'! In the ear-ly, ear- ly spring! i ^ S -©-^ ^ ^^ ^ ^^ Robin Goodfellow (Book Three.p.45) Ancient Engiish Song- A "i = 160 J I J n ^ P ^ 1=^ T From 0-ber-on in fair - y - land, The King of Ghosts and Shad - ows, there, r r r r I r r ^ s ^^ Mad Robin, I, at his command, Am sent to view the night sports here. r LT I r 3 'f ^ ^ ^ r I r ^ ^^ j} ;M' l i' i <,nr/ i.l,l|^,'-^iP nj;r| What rev - el roirt is ev.'ry cor- ner where I go? I 168 Louise M. Bray Fmm the- Sztedtsh Poco Allegretto J . = 60 Tlie P^ishernian's Prayer (BookThree,p.47) A.M. Myrbergr i ^ m/ m ;e ^^ 1. Si - lence o - ver all, while the moon her 2. Si - lence on the deep, where the fish - er's u g "? — «i~ 2^ f :^=5= ^ m ^ n ^ '^ 'T./ h=pF^ ^ N ^ ^1 ^? =g^f=^ f f f= * Bl. ^ i ^ ^ f P bright and clear lap her keel, =F course is keep - mg, Shi - ning boat is ly - ing ; Wa%'e - lets out of the midnight sky; ligh-tly they sink to rest . i* ;j f i' I ' J' .' fe: ^ ) I.j' J Jl m ^^ w I i t^ ^^ § ^=+-^ ^ v-£ El ^^ s ^ ? ^ Moth Sit er tin; Earth be - low, neath the heav'n-ly blue is sleep - ing; calm - ly there, gaz - ing in - to space cuid sigh - ing, i G — = J J' (^ if^ ^ ±=td ^ Count - less stars are Swee - tly sings the peep - ing from their home on high . boat - man, lulled on o - cean's breast. ^^^ ^ ^ m ^m m \-y- m nff m 169 El? Hear ray ray prayer f i Lf P' L-TP "P P" — ■ I — ' 1- U-J k' ^■ Hear. ho - ly Father, tny prayer! Ho - ly Fa ■ Iher, hear ray praypr' ( i t'^i. f ^ I ^ ^ ^ 1 ^^ Tf '-h'v I J' J J^ ^^ f=^=i ^^ ^^ ^ f I iplH^U^l I M JU ^ # a ! Fa - ther of fish- er- folk, keep , me neath thy shelt - 'ring- care. ^ 9m ^ w 1^ *V gs^^ » 3 31 S ^m f i: ^ 3:^ r ^ ^^ ^ H=3^ i J' r n ^ ^ ^ T. M. Vol. Ill— 12 170 Abbie Farwell Brown From the French Con moto J = 80 Naughty Lisette (Book Three.p. 46) French Folk Song- - fJ ^^ ^ ^ W m ^ 1. Lead- ing- my lambs thitf pastures wide, Skip-piiig- a - long: so 2. "Xit-tle Lis-ette has eyes of blue, Hair that is bright ajid i m ^ffffW m f •¥' ^ i. i i^m i J'f,lJr|J J m :^^ s * ^ ^ glad - Jy, One lone-ly shepherd boy I spied.Who told his sto - ry sad - ly: yel - low; K she were on-ly kind and true, But she tor-ments a fel - low! i ^fffl i Wcresc m ? ^ ^ dim. S ^ ^ m ^ P ! i t= r ppi r IZ2 ^^ "Fair is Lis - ette and good to Fair is Lis - ette they all a see, Sweet as the aea-dow po gree, Though she is ccld and haugh ^^M ^m f iy- m loi ffe^ T i r ^ jn j_ii. ^ ^M .J_4J. J ^ ?^ f ^ i V ^ jp. rit. ^ i ^ ^^m m i Ah! No, _Q Full of pains to me, Like thorn- y bri - ar nev - er fair to me. Lis - ette is cross and ^^ ^ :=« k M ^k t m rit. ^ ro naugh m ses. ty!" The Dance of Lhe Fairies Ella Broes van Heekern Tempo di Valse J = i3:i (Book Three,p 49) 171 E. R . Kroeg^r Composed for itbs Series 1. The nigti-tin-galesajig;"6 you fciir - y band,0)nie merrily dtuice o'er the flowery lajid.For the 2. The solenuig^ray owl in the old, old tree He-wink'dandheblmk'daiidsaid^WiiatdoI see! In this ( m P I m m m m EiS3 S m ^ m 5 f "/ ^ ^m ^ crt?cent moon hangs low to - night And the twinkling: stars will lend their liglit Tl:in twi- light dim my eyes are bright ;'Tis the fire- fly's ball that's here to - niglit."Th"n I ^ m m m m I tt m ^ m i ^^f. ^ ^ n t^ ^ ^ ^ 5^ 3 a ^ ^ s :*£? 2^ ^ Vivo «r= 152 t ^S ^^ ^ o i ^ i ^ m E :t=* *— •- • - * - • p ' [} hand in hand they gay - ly swing. Each elf- in pair with gauz - y win^^; A round they go in whirl - ing dance. Forward and back'^^ard and then ad\'ance. 172 Laura E. Richards J. Andantmo J=S4 4 A Hymn (Book Three, p. 48) g W^^5^ P^ ^ E p 1 1 t- r p I LP H»ratio Parker ^ tr • — •■ 1. For all the pleasant things I see, I must give thanks, dear Lord, to Thee! The 2. The rob - ui ui the leaf- y tree SLng:s','Praise!"and"FVai£e'''aud' Praise to Thee!" The '■ .t — ■ i i i j' l J i.i ' 1^ J'h L ^ ^Jl'^ ■!' ^m^ m ^W ^^ Lgj j ^ * w ^ ^ 1 ^ ^^'i,V y F r s , bt ^ ^^ ,g!> rr p i uf'H^ bend - ing sky, so blue, so bright, The sea gull on the waves a - float Still dais - y raea - dows ut - ters"Praise!"with recn and white. The arsh - er note. In t\K^' ^ ^ hi j^^ 5^ *=* ) ^ The sky so blue and bright, The The guU on waves a -float Still — V dais - y mea-dows ut - ters"Praise!"with freen and white, larsh - er note. ^^ B ± S ^ wm m fs m^ Ct ^ ^ sil ev ver moon voice and of gol - den beast or sun ; bird m^f-jrf^^n^^} H ^ n ^^ ^^ 'Tis Tlieir _J ^ The sil - ver moon . In ev - 'ry voice. ' " r> — ^^^^ i ' >\\^' f' T h — -J J. c-jLf r ^ and gol - den of beast or u ls~ sun; bird Tis Their 173 ^ ir'^r-lT" ^ -6M I J- 1 >- I I I Thou hast made them love and thanks may _ m^ ■ I hi'il i' \ r ^^ ev - ry one, ev-ry one._ still be heard, still be becird . m P ^^ Thou hast made, 'tis Thou hast made them ev - 'ry one, ev -'ry one. love and Lhanlu, their love and thanks may still be hccird, still be heard. "Nellie Poorman J =72 ^ Evening Hymn (Book Three,p.52) J. Neander W^ ? -«»-: yny — ^ — a — ' — a — :g. — ^— " — z) — ^^ — :^ — ^^jf — rj — z; 1 Fa-ther in Heav-en, our voic - es are joy-ful - ly For all Thy kind-ness our thanks we are grate- ful- ly 2 Give us, O Ri-ther, the will to do right on the Thoughtful and lov-ing', may we bring" our comrades no V5. row, row. ^m i zS:i :g=: ; az -»*- < a • i *^ i ¥ 3E <»• Un - der Thy Oh , may we ^^? ccire te saife shcili ev - er . -a- ^ we be ev - 'ry . where; more pleas - ing to Thee; m o; 9- ^ ^ ^ =p^ 7n~ -«-=- T5^ ing-. row. :5d Hear the glad Of Thy great ^^^^ ^m hymns we are strength may we i -9- T^ 174. The Seven Swan Ladies Richard Aldington * Sadly,but not too slowly J = 80 (Book Three.p. 50) Walter Morse Rummel Compascd for Itus Scriri ^ ^ m4 ?=^F5 ^ r I ^cj <^- ^ Last night the flow ring hay - fields lay thick and smooth and grt'en; But a ^m ^ -t -*»- ^ «i^=^ p ^ ^^ ^^ ^ IT B i r« fc« f^^ t > T r/ great ring now is bro kcnwherethe sil - ver wil - lows lean. For at ^ ^ ±: a V— 1» f g f^ ^ i 4^ ^ r r ^ M f 'LP ^ r r '' cj trts2=r dawn the Seven Swan Flew down to the flow'r-ing hay-fields and danced in the morning glow ^ ft^ ¥ ^ 1^ 175 ^U- ^^m ^ffii i^i^^^ 1 Their white feet broke the ^ PP ^^-S- espressivo M '-t — ^ 3S= V — "W w T T i fe«— p MCJ FP ^ i*i zee TT fj ii g gras ses and the red flowers ajid the g^old ; r nann ^w^M ^ ^ ^ s -«*- ^S^ i j4 ?iWZe slower ^ ^ ^ #^ ^ » i= But we slept, and the Sev - en Swan La - dies s s w^^ distcvnt ^ A little slander -»- fe ^ ^ IDC Flew fe )i home to the ice and the cold. •XT- -O- =^ ^ sustained m IT -»- subS 176 A Tree -Top Duet (Book Three, p. 61) ^ Aninrato J= 144 Marshall Bartholomew Composed i JT t.-^ii SerifJ a 1 J3L. ^^ f £ . A bob-o ■ link and a i^\ F } }i^ i ^ W J il *' J J ^ ♦li y ^'1.1 rjJ.flJ ii'J 5/' ^^ ^ [.n rr < K==at tr *^ p JiJ j'jiJ^hKhiJ^ poeo piu lentc i SES ^ S ^*3 ^ # #— ♦ chick- a- dte- dee Sang' a sweet du - et In an ap - pie tree!' When I'm in good voice" said the i^ ^m »-■*■•- ^ f ^ ^^ ^ g ^ pocopm lento ^ ^^ ^ J jt ^ S m r - 0- ^e\f dolorosa \>F I h h V], * * J # I " r p li i r M ' r rp [! i I B chick-a- dee-dee, "I can sing- like you to high Chigh C. But I've caught such a cold that for ) ^m M^n 5 ^ ^ ^ ^^ ^ • d d m. mf f i ''N < r < !^ ^ r> ^ E\} moUo fit. ^ animal o m T r r r p p r P''^ pp i i r w ■ ) love or for gold, I can on - ly sing'Chick-a - dee.Chicka-deel' I can on-ly sing'Chick-a- 177 ^ i dee - dee - dee!" ^ ^ S ^ J ii' i j hi' J J r-f p p ?/• ^ tr D.C.Roberts J= 120 » National Hymn (Book Three. p. 52) ^ Horatio Parker ^ in: f -»- Tl~ f 7 4 f <9«>- -t^ IBJF -»- -»- -^ -4- 1. God of our fa-thers, whose ai 2. Thy love di - vine hath led us 3. From war's a - larnis, Crom dead-ly 4- Re - (rrsh Thy peo - pie on their migh - ty in the pes - ti toil - some pyi ^PX- hand Leads forth in past ; In this free leiicp, Be Thy strong: way, Lead us from -cr- m ::tWP "vr 11^ V ■■ =4= — =^*=i ' «M — «— =8=J ?f^ ■=4=^ 14^ 1 — en , A — 1 I* =^=^ S.\ beau - ty all the star - ry band Of shi - mng- worlds in laind by Thee our lot is cast; Be Thou our ru - ler. arm our ev er sure de - fence; Thy true re ligr ion night to nev . er - end - ing day ; Pill all our lives with -ev- il v\ M n 1 n 1 — """ n — ^ 1 1 — ® -« 1 -^ ■ J — ^^ tzd kl • •2 V* 11 splendor thro' the guardian, guide, and in our hearts in love and grace di a * i slues, stay, crease, vine. Our grate -ful songs be ■ fore Thy Thy word our law, Thy paths our Thy boun - teous goodness nourish And glo - ry, laud, and praise be 00 n^u 1,1 throne cho - us ev - a sen in er nse. way. peace. Thme. I 178 Lead, Kindly Light (Book Three, p. 53) John Henry Newmarn J= 63 :' ' ' ? J J I J J J John B. Dykes ^T^ =3 V»A ^ 1. Lead, kind - ly Light, a - mid th encircling: 2. I was not ev - er thus, nor prayed that 3. So long- Thy pow'r has blest me, sure it ■>%'■!> ■! f f f ^ i Lead Thou me Shouldit lead me Will lead me T:i ^ i- V m m -6 — r ^^ Lead Thou me Lead Thou me The night is § on I on; on Tiie night is I loved to O'er moor and dark, and I cim far from home, choose and see my path; but now_ fen, o'er crag- and tor- rent , till — J^bt T I r r f f f f P * A- M ^ i ^ s TV §^ ~rr ^r r rr =7 ^ on!- on! _ gone ^^ Keep Thou my feet! I loved the gar And with the mom I do not ask to. ish day, and, spite of- those an - gel fac - es fears,, smile. ^=e --i . . ^-J * JP ^ P ho- ^ L I ii: i i i ^m r\ I tr The dis - tant Pride ruled my "Which I have scene; one step e - nough for me. — will : re - mem - ber not past years ! . loved long since, and lost a - while.- Sir John Bowring- J = 60 ^ irtea Father and P'riend (Book Three.p. 54) ■^-H- 179 Horatio Parker r^"^T ' f • f ■di 2=f^ s f^ r tlu-o' 1 . Fa - ther and 2. Thy voice we 3. We know not 4-- Thy chil - dreu Fnend , hear, in shall Thy Thy what not iJght, pres hal faint Thy ence lowed nor I $ L^^=J-J^ love, feel, part fear, Beam - ing- Wliilst Thou, too Of the wide Sus-tained by m ^T^ i^ i^^ ^""ly i ; 1 1, i 5 T all Thy works, we sea; pure for mor - tal sight, hcav'tis Tliy throne may bp; de - light - ful thought: this Thy g^lo - ry gilds the In-volved in clouds, in Biit this we know, that Since Thou, their God, art ^ ^^ ^ -hst -0- -P^ ^ ^ t. i ^^ l"^ ^ J I j^"-^ ijj. ^ -*-xp. -^m: r7"'"l7- ^f=^ T full of life and dwell with Thou art heav'ns a - vis - i where Thou ev - ry - bove, And all ble, Rcigii - est, art. Strength, wis where, They can 1 S^ the the dom, not ^1 earth is Lord of good - ncss be where f f i f ^ I F f \? ^ \ n ^ m Thee, light. Thee, not. ee r T (' Refrain for all Stanzas fcl^^4nJ^^;^j^^Ji^Jj_^-1 p I fV^ j.L^^|.^ J i ^^ P^ 3a: ^ Thy grlory gilds the heav'ns a bove, And all the earth is 1 f^=# full of Thee. 9 — 5^ -«- 180 Mrs. Crawford . Andante J = 76 Kathleen Areon (Book Three, p 55) ) ? P m ^ 1. Why should we par - ted be, Kath-leen A 2. Give me thy g'en - tie hand, Kath-leen A 3 Why should we par - ted be, Kat*i-leea A m mf S ^ FrajLZ Abt _L roon! roon! roon! •When thy fond heart's with me? Come to the hap ■ py Icind, W'hen thy fond heart's wnth me? ^ wm ^ -6t-=- I ^m MOlto legato t ^TT ^ :^=^ i J J 4-J-^ ^^ =i=J: . ^' J J r r 5<-=- i V" ? ^ er^Trtf ^ s^ th-leen A Kath-leen A Kath-leen A roon! roon! roon! Come to those gol - dea skies; Bright days for Come o'er the waves wnth me ; These hands shall Oh, leave thaee weep - ing' skies , Where man a ^^ i i ^m ZM»Z J ^ ^-.k^- V- ^-^-i- marc a to 4=^ ^ ^ r r =r pocorit.^^ ^^ p us may rise; Oh, dry those tear- ful eyes, Kath- leen A . roon' toil for thee; This heart will faith - ful be, Kath-leen A - roon' mar - tyr dies; Come, dry those weep - ing eyes, Kath - leen A - roonf Seymour Barnard Allegro moderate J = 132 Cossack Song (Book Three.p. 56) Russian Folk Song- i m ^^ i^ ^ 1. Trot! Trot! 2. Trot! Trot! Trot! Trot! Men and horse a lus - ty lotf Fly' FlyT Trot! Trot! Ev - er on-ward, pausing not! Beat! Beat' av :j 'r-f rJ i[ vf 181 ^ vr- ^ ^^ ^ /• s Fly'. Fly! Fight- ing- le-g:ioiis ri-ding by! Cos Beat! Beat! I - ron hoof on ci - ty streotl Cos sack, Cos sack. Cos sack, sack , :?l rf r f f ^ I i ^^ * U \ ^ "i ^ e^ ^ f Whither ride thy hordes a ■ ■way? Ev Naught thy ri-diii^ hosts can stay, Rush er on ingf on ^^ x iuAi;: ward, Ever onward.riigtit and day! ward, Ever onward, far a - way! m ^^ -? — p^ Seymour Barnard Maestoso J = VoZ In the Lists (Book Tkrecp. 60) Ancient Gaelic Song- m s J .1 I J jWiJ J ^ ? Kaight er - rant bold.v^nth a crest of gold; Young gallant gay, with a plume of gray; Or ^ ^m ^m 1=8 s -» ^ ^ ^ ^ ^ i H — N J J I J ; j) J^gJ^JI ^s f^ tJ ^ - ^ 1 ^ black kjii^tdread^^itha gui-don red; Who'll vie - tor be iii the lists to - day? 1^ ! r-i i i ^^ ' ^ j n S=f 'f * ;:< f^ p ^ ^ 3^ 182 Josephine Fbllard A J ^ 152 The Singers of the Sea (Book Three, p. 56) English Folk Song" n.f/n ^m m cjf ^^ir V — r- d ' d Oh, ma-ny voic-es hcis the sea! A cho-rus of rare mel - o - dy. The sol-enin bass.the i 1 ^^ « f ^5 SSI ^^ f r ^ P*f^ J^ ^ ^^ F D S ^^ ii^ g :^ m » m ligh- ter tone, Are blent in tine-ful u - ni-son.With-out a — dis-cord; soun-ding- higti A X ■ . — — ■ i • 1 ■ ' ' ^ \ ■ ^ ^ ^^ ^ ^ ^ ^ m * i a d f ^ ^^ ^=k* ^ jS= i ;? ^ ^ ;? 1 ^ ^m *.5 ^ f , G %/i^ l ri jJ|J^^ ^33g2^^ — *— * — r bo ve the lark that sweeps the sky, Or strik-mg"wifli tu - mul-tuous roar A-gainst the Crowning; rocky shore i W i: W ^ i m =^ ^^ S rr^ 9^ "=SS: :*=^ jj'jJI ^J 'ii-' H ij^^ The Lincolnshire Poacher (Book Three, p. 57) Traditional English Folk Song- Jonrially J - = 96 ± ^^ i i ^^ i ^ #--* *-nii- IWhen I ■was bound ap - pren-ticeboy Li fair- est Lin-coln - shire, Full well I served my 2. Suc-cess to ev - 'ry gen- tle-raaui That lives in Lin-coln- shire! Suc-cess to ev - Vy JIm m_ 183 ^''OJ'J i ff . ^i i d'J i| !Jl!i | !z^ mas - ttr For more than sev - en year; Till I took up to poach poach - er That ■wants to sell a hare 1 Bad luck to ev - Vy keep ing-, As er That ^ m ^ ■^ n h =*=K *-: W F:-'jy'^i r 7.'ijj/-M'iji^;:"iijji «-= — 4 • year! year! you shall quickly hear. 6hf 'tis my delist on a shi-niig'iii^t,Li the season of the will not sell his deer! OhI'tis my de- light on a shining: iiigJit.Li the season of the ^^-^ LA m± :&■: w ^ r ^9=i^ t^ ^ ^ May Morgan Moderate J = 84 P A Word (Book Three, p. 58) Peter Christian Lutkin Composed for this Series h'n\ \ i- J'JJ'lr 'fp'^i' ^^ w A word's agriev-ous thing- A- cross the world to go. To find a mer-ry A^^f+4 i i^ii nJi.-.J^^4^^ m ^ ^ r f- .V_ . j_ f 5^ J l j'i J J ! i J I f P ' P ^ ^ heart And leave it fuU of woe. A word's a glad-sorae thing- To trav- el swift as fe^ m m S S^E^ f f=T r — T 55? fc ^ J U-JI ^- PT ^ heart And leave .it gay and bright ^^ ligtit. To find a heav-y U ^ f- i ■ E 134 Nathan Haskell Dole Vivo J =92 The Old Apple Tree (Book Three, p. 58) Folk Song" i i ^ J[ j' J' J - ^ ^^^ ¥ ^*==9 1. Lone - ly by the 2. O - ver it the orchard side. Where the land sweeps free and wide, lus - ty Springy Fra - grant gar - lands used to fling- ; dt y ^ r U' p r ' ^ ^ Stands the old tree, gnarled and dried, Once the far- mer's joy and pride ; Still the rob - ins g^y-ly sing", The' no leaves to bran-ches cling-. ) 4=^5^ i^^ W ^ i i ^ ^^ *FW ■)'< I, lip ^ ^ • f ^ ^ ^'F I 'a P^ Now its g-lo - ry's crown has died. Why could not its joy a - bide? Now 'tis on - ly good to bring- To the fire-place, poor old thing;! Traditional A With sadness J = 84 The Nightingale (Book Three,?. 59) English Folk Song" 185 ^ with sadness ^ ^ '^ 1 . My love he was a 2. His fa - tier did con '■i. The four-teenth of No 4. The vc - ry night ray 5. "O love - ly Nan - cy, 6 . I raised my head with star - tied cry, hin , 7. My fa - ther's dwell - ing- I'll for- sake, hm, far - mer's son , hm , trive it so, hm, vera - ber last, hm, love was lost, hm, cease sur- prise, hm. hm, hm, hm,When hm, hm, hm, TTiat hm, hm, hm, The hm, hm, hm, Ap - hm, hm, hm; In hm, hm, hm; His hm, hm, hm. And 1^^ ^m ^^ ^ * — :? PP ^^^ ^ ^ ^ ^ ^ « #■ first ray ten - der heart be won, hm, this young- lad to sea should go, hm, wind it blew a bit- ter blast, hm, peared to me his dead - ly ghost, hm, Bis - cay's Bay my bo - dy lies, hm, pal - lid ghost from me did fly, hm, far a - way my way I'U take, hm, hm, km, hm; His hm, hm, hm; He hm, hm, hm; Viy hm, hm, hm. In hm, hm, hm, With hm, hm, hm; I hni, hm, hm; By love to me he told the press -gang- love was in the sail - or's dress amd all my mates who lit - tie tho't when lone -some wood or I i i i i ^ ^^ ^^ ^ ^ ^ P * ? a ^ ^^ ^ ^^ did re - veal, hm, hm, hm, hm, But not to fail, hm, hm, hm, hm, To dread-ful gale, hm, hm, hm, hm. And vis - ag^e pale, hm, hm, hm, hm, And once set sail, hm, hm, hm, hm. On he set sail, hm, hm, hm, hm, He'd dis-tant vale, hm, hm, hm, hm, I'll lit - tie tho't of the Nigh - tin - grale. press my love for the Nigh - tin - gale . he went down in the Nig^ - tin - gale . told his fate in the Nigh - tin - gale . board the ill - fa - ted Nigh - tin - gale ." end his dc^ in the Nigh - tin - gale, mourn his fate in the Nigh - tin - gale. T. M. Vnl. Ill— 13 186 May Morgcui With majesty J = 80 Patriotic Hynin (BookThree.p.61) W. Otto Miessner Composed (or (hit Sfries -i; i i ii i i /^w'i i itJ j ^ 1 . O land our fa - thers loved and served, And 2. With fer - vor deep and joy - ous praise, Dn 3. May jus - tice be thy con - slant guide. And 4. fVom foes with- out and foes with -in, From by their loy - aJ - to our fa - thers' pu - ri - ty with lust of pow'r and ^ iflJ JlJ] i I ^ ""^ ^J I j: ji'j pre-served, May we raise A a - bide; May cret sin, God we to thee as prayer that thou mayst peace and plen - ty keep thee safe fnan faith ev ■ ev year ful prove And er be A er - more On to year, W=^ ^ thee as tru - ly ref - uge for the thee their bless - ings Na - live - land most love, free, pour, dear. And A On O It- thee as tru - ly^ love, ref - uge for the free, thee their bless - Lngs pour. Na - five - land most dear. (Cs 3: Ethel B.Howard J = U2 The Fountain and the Birds CBookThree.p.62) :i= ^^ E ^^ ^^ , j See the crys-taJ,spar-kling foun-tain play, (See, a -cross the lawn, a rain -bow spray, 2 (See the flit -ting, chirp-ing- songsters gay, ■ I Birds will lin - ger here the live - long day. =^^ Swedish Folk Song" m High a - loft a veil of Trem - bling bright, on ev - 'ry Round the foun - tain brim in Swee - tly with the fall - ing 187 ^ 5 slI - ver fling: - u'g" ; cir-cles wmg- - ingf; F' F ^ ^ blade is cling - ing-. wa - ters sing' - iiig. Tin - Iding foun - tains, flash - ing, Feath - ry wings axe drip - ping, -^ -^ ^5 E^g 3t ^ f,<^ J'.-ii J' J' J, j'l J. ii J^ j» I, fi I j» J' C\ Fall in sil - ver splash-ing. Drops of dia-iaoiids dash -ing Dai n - ty breasts are dip - ping, Ti - ny bills are sip - ping ^ r r i j ^ ^ In thi; sun - light . Li the sun - ligtit . ^ 3t Back of the Bread (Book Three, p. 62) Peter Christian Lutkin = 72 PAii:^ h ^ J j. E^ f I' i' i' JMi N Cboip'tecd fi-r lh;s Scr.ti ^ U^W ^ " r- r r — r 7" ^^ Back of the bread is the snow - y flour; Back of the flour is the mill; ^ i r'-^'-i | :^, ^^ifvrfip i ;j-, ; 1, ^ n . ^ i; I J' I J' J" J J> 3 P P r - — -T r r r Bark of the nuU the grow - Lng -wheat Nods on the breez - y J ^ ■h\ f F' ^ ing- -w-hea hiU; £a i r- r- ' r f= J^J , I J , Mj , J | J_ M' | „M ^M t |i-l -^ ^^ r r 0- ver the wheat is the glow - ing sun, Rip'-iiing the heart of the grain; A ■h\ f p- ^i/Tfi-r ^ H n ^ N Ni f r.. P f- f d, * ^ i' j' J' J' r f bove the sun is the gra-cious God, Send -ing the sun -light and rain. IBS May MoiigBn Ihst J •= 120 Song of the Winds (Book Three.p. 63) W. Otto Miessner Composed for Ihis Series Jg^OHQ /^^^/jpTj m i jf-j- ^^ i ^j(ff^-^^ ^ ^ T^=y f^ ^=F^ ^ r i z. £ ^ 1. Blow, north wind, blowt 2. Blow, south wind, blow I Bring: Melt _ the the snow! snow; N ^^ J * J o J * ^ m m m #^ . ' g *^ y ^ ^ i i »ff I r p r X. E S ^F I r p r Bring- the bright and fros - ty days; Bring the ska - ting- and the sleighs; Bring a - gain the hum-ming bees ; Bring- the birds and bud - ding- trees ; I ^ M.-M m. i ^ »— • — » — p- 1^ A ^ ^ m ^ t ^ X. r\ fit. e dim. ^ m ^ i ^ ^^ ^ p Blow! Blow! Blow! Blow, north wind, 189 2 Slower blow! ^i^i ^ ^^ ir Blow, south wind, blow I Slcnoer ^m m m 'I ! 'I m ^ ? ^m m r r T $ -hj 1 1 1 r Winter Clouds (Book Three, p. 64) f^pi_^< Margaret Aliona Dole Tempo dl mzircia J = 96 ^eu> Folk Song- ^i J). }) J* J" I ^^^ > I ji A J' i' l.Clouds axe roll- ing' fast a-cross the win - ter sky, 2. How the sun-light fil-ters thro' the clouds of gold, Balls of film - y O - ver val-leys '■'Va/^r i r/J i LtJ ii JU' i ^ \ iA' > J' ; Ji I e t^ down.like swans, cire floa - ting by — deep and moun-tains high up - rolled! Birds, that glide a - long a riv- er. On the fields of snow the creep- ing m y= r f I "I'- ■'^p p I F p ■''' ^ ^ wild iind free, shad - ows fall — Or like gulls when res-ting on a great blue sea; Shadows blue of tree and cloud and motm-tain wall; ;ti'i> J, >', J) j> ^^ ^ t ill J f I I ^ Bright their soft white feathers gleam as forth they fly I Yet the cloud and sky and sun -light are too cold! ^ uJ JiuVJ J i ^^^- i "'^J ' 190 Helen Gray Cone ^ Allegretto J = S4 m ^^ The Dandelions (Book Three, p. 68) ,J^^ ^ Georgre W. Cha(^vick Compoaed fgr this Scries 1^^^^^ i^ { i l|; 1. up - on a shuw-'ry nigbt and still, With - 2. We care - less folk the deed for-got. Till 1 J Ij. i' J' i ' J) ii J ^ out one a sound of warn - ing:, A troop - er band sur day, i - dly walk - ingr. We marked up - on the i ^ « r^ — r- 5 i m ^ ^^ ^ i ^ ^ ^ ^ i=:ip ^ ^ And A r=f I ingr. prised the hill, self- same spot 3^ ^' i ^ J ^ ^^~~5^ eld crowd it in the mora of vet - 'rans talk w ^ m p r ^ ^ «*^^ ^ ^^ 191 i Ml f nW'.i' i' 1 1 i , , We were not wak'd by bu -gle notes; No cheer our drt-arns in . They shook their trem-bling'headsaiidgTay With pride and noise - less ^j - I ' J E^ J' I i ' . Ji .J. ' J"' J' ♦-= # ^ ^ *P Qig f t ^ P js=s^ :r, ' ,. i i ii . ^ ^ ^ ' /.M^^^ i ' v^r^jj va - ded; And yet laughter, ^Vhen well at dawn their yel- low coats On the green a - day, they blew a - way, And we ne'er slope pa - met them 4=^ ^F^ ^3 Yet their When they £ i J J' ♦ # m ^m »; I V'» f ? p ^ 1 ^ fr 'j ^ ' r ra - ded . af - ter . ^ I s ^ JjTT lijr F ^1" ^.1 rp i :a= ^ 192 Oliver "Wfendell Holmes A And^lntino J = 80 The Comet (Book Three, p. 76) Marg^aret Ruthven Lang CiicnpOi^^ tot this Srnti g ^m V f The ^ 3t. ( •> ^ t^ ^ ^ ^ ^ V flj/; ^ W f J' j' I J' ;■ I: jt I J' J j' j' I i'. M ^^ F^ FT com-etl He is |^^ J^ J^ on his way, And 8iiig--ing- as he flies ; The ( * ^ ^ W 9 S - J, J, I J ;' J ^ ^ -» »^ i ^ p i i ^ \¥' nil ^V' ^' ^ ^ ^ ■j ». p p • • ^' ^ 193 ^ ; m &^ f ^ T wm m 4 ^ ^ 'i J'' Jy^hj I J, J. J t Breasts for hon - or ev - er Wcirm, Youth- f ul blrength in he - ro arm! Pic - ture thou cf -wa - ters wild. Yet as tears of mouni-ing- mild. I fu^^ \u^% ^ s ^^ Blue eyes bright Dance with light, For tliy decir green val -leys old. To the rhyme Of past time, Blend all hearts and lists each tax. North! Guard thou g-j - ant the song's of limb of ecirth. With thy friend - ly, home - ly hearth! Swe-dish lore, Love and sing- them ev - er - more. Shepherds Song: (Book Three,p.89) i Moderate J = 72 E- 197 Folk Song^ ^ /T\ 1 P^^ ¥ ^^^m l.Moun - tains bathed in raoni - ing: 2. Maid, than sun - light brigh - ter ,I^W ^ d light ; Lark's sweet lays to fcir, Fair - er than the <^ I 1 >1 i# ^^4 ■ty r ^ r ^ r ^ ^ # ^ Cn 1 ^ ^ ^ work in mom - ing rt vite. star ; Come my flocks, to flow - 'ry mead Lips of hon - ey, cheeks of rose, ^P nn ! ^w 3 ^ P=y ?=^ P ^ i^g P g ^ P^ Shall your lov-ing shep Fkre ye well till day lead, close! I' Rtl' i! t Come my flocks ,to Lips of hon - ey, i^- fl jj ^ w. w. ^m p^ ^g i ps flow - 'ry mead cheeks of rose. ShaU your lev -ing shep Fare ye well till day herd light's |-Wijl^ i lead, close! ^ ^^ 'i ''jjAm g f ^ ^ iz: P ^ 198 Alice CD. Kiley From the Swedish Moderate J = 69 I In Ocean Cave (Book Three, p. 90) i^A'edlsh Folk Song- ^ ^ i ^^ w ^^ ^ ■W~r 1. Lo! the Sea - King- lies in splen-dor deep in 2. Lo! the Sea-King- sweeps his harp string-swiJd-ly 3. Lo! the Sun -King- rides in glo - ry thro' the m i 22& i ^m ^^li ^ '>'-^'i I ' i $ ^ T 7T ^ I'- Ji I k J _£_ Ji .' »r I ^ - cecin cave, to a tune, morn - ing- sky, crys - tal o - ceaii cave . wild - ly throb-bing- tune, gilds the mom - ing sky. Lo! Love Lo! the Moon the raer ly Fre maids ya pales, ) ^^5 EfP ^^ f ^ in: comb their floating,sea-gTeen locks and sing- heath the o-ceiinwave. Down and down the Moon her hears his call and an-swers with her rune, soft and ten-der rune. Hark! a-cross the wave the drops her Ian-tern deep where cor- als lie, deep where cor- als lie. Hushed are now the songs,the 199 at M * <- 1 jnf' £ =^ p -rrr-rtr^ sil - vtr laji- tern swing^s While a mys -tic rune my La- dy Fre - ya sing's. ech - o rolls a - long! There in o - ceau cave the Sea-King- hearsher song'. song's of nier-iiiaids fair.. Where is Fre - ya hid (o comb her gx)l-den hair? A J'- i' I J', ii nf-! 1 ^ g ^^ ^ Sln^s of pearls, -white in Song of pe£irls, -white in mil - ky ^ sheen. O mil - ky sheen. O Hark! ah hark! still her love - ly song- Floats La - dy Fre - ya, while your La - dy Fre - ya, while your o'er the -wa - ter, e - chocs r p'poco piu lento ' n Ji. ^ ^ £^ ^ W locks you preen. Sing-, h)cks you preen, Sing, faint and long! O sing- your song' of love - li - sing- your song of love - li - La - dy Fre - ya , sweet your ness un - seen! ness un - seen! love - ly song! 200 Dream and Snowf lake (Book Three, p. 91) William S. Lord Molto tranquiUo J = *8 ^ I I ' F PPf Maurice Moszkowski Compocsed for Ihjs Series p P J^ ? J ±, 1. Decir ht-tle boy, 2. Dear lit-tie boy, 3. Dear lit-Ue boy I N' iiJii my lit -tie boy, So my lit-Ue boy. So my lit-Ue boy, So i J' iiJiji ?ji ^ ttA ^m sempre legato ^^V^ f^^ff f ^^^P f^ r * ^Sei. * '£W. ^ ^ ^^ I P" PF ^^f^ sleep . y. So sleep - y I sleep - y. So sleep - y I sleep - y, So sleep - y ! See the soft de - seen - ding- snow Close thifle eyes ; Dost thou not see Dreams and snowflakes down-ward fly; t ^^ ^m ^ 201 ^ Glanc - • iiig", danc - ing- to aiid fro, Just Vis - ioiis fair ets fair cau be ? They Soon, too soon, they bid good - by, Kiss to pleas - ure thee, I cire dreaius come down to the earth and mount the g^^'^ J\ Ji j'. jii; ^ j' J E ^^ m) m i dolce tranquillo ^ P p r I p p p p £ know, thee, sky, Dear lit - tie boy. Dear lit -tie boy, Dear lit- tie boy, m ray lit- tie boy. So my lit -tie boy, So my lit -tie boy. So 1 li H H . S a II&2 irr I I "1 I -M (CN ^ * * * ■ sleep • sleep . sleep - y. y. y, so sleep so sleep so y' y' sleep I so sleep - y I JS^ ^ ^ ^5 ^r=i^ # — -#■ * r T. M. Vol. Ill— U %i). 202 Ann Underhill Sleep, My Child (BookThree,p.92) fe =.- 60 ^ ^ ^ ^ Now close your eyes, my lit - tie child; ^ ^^ -m V ^^ Sleep, sleep, i ^ p i r\ ^ J' .Ji J^ J ^ ■ ■ « ■ a c: P P ^ P I f) ^^ m m soft and Wcirm.The snow lies deep, the wind is wild, Lie stiU and dream ^^ i ^ s s a t il 8 o ^ it_^ fe^ ri<. ^ 'T^ ?_ o tempo p p I P EJ^^ ^ safe from cold and storm. 203 Nightingale, Sweet Nightingale J. S.StaUybrass ^^""^ '^""'P- ^^^ Russian Folk Song: J= 63 g" ' P"''P'P''p 'V 'cxr ^' ^ ^ r 1. Nigh - tin - gale, sweet nigh - tin - gale, 2. Once you lov'd to sing to me, Wild - ly war - bling Once my heart was S .. -^^»^ -h^ , ;^., J | 7jTi i -J > | 7 J ^ j s f r 'TT f^^?3^ ^ J n , n # tcr nigh - tin - gaJe! Whith - er would you wing your fresh and free ; Now to me that cm - el flight, strain J J' . j/Tll, J l | 7j ^ | . J ^ 1 ^^ m ^m # r T i^rn nii.^ n itiii i ], I'l^^ ^ | j ' uu' =s^ a r What CaUs i_ ? young- heart make glad to those qui - et hours a i night? Nigh - tin gain. Nigh - tin ^^ gale, gale, r=^ in -cr n , I I I 'l H i J ^ i ^ U f j ' r r^ f nigh - tin nigh - tin gale, grale, A ■>-^rf r 1 ^ Swee - tly mourn- ful nigh Swee - tly mourn - ful nigh Lf- r ir r IP tin tin gale! gale! ^^ 204 Seymour Barnard From the French J=84 At the Forge (BookThree,p.94) V. Miry g^ ^^ ^^ m L • m ^^ ^ / ^^ mm ^ m - vj"v^3 ^^ ^/^ p J' p Jl l p iijiJi JMp- p J' p Ji | > JuUi ■,■ ^ 1. At the forgfe,fel-lcrws!Blow,blow ye bel- lows! Steel so stout, g'lowing-.Yields.yieldsto you. 2. Blow the forg'e.fel- lowslRoar, roar ye bel-Iows! Now the base met- al Glows like a star. ^ m f w s /> m L J'. J J , i < J) I J ji ji ji j'l J', jn J, ii J I J) ji J, j'p Fire, the old foe-man, Aideth thy blow, man; Tem-pests here prisoned, Man's woikshall do. Then Then ,your sledge plyLag',Stars,stars are fly - ing; Me - te- ore ti - ny Near and a - fer. Then 7 J 1 5 4 i ^m ^ ^ ^S^ 5 r Ji-7p i^-? i f p T' l p p ■''p ■^'''"■'' ^ ^ swing ye, ring ye. Sparks fling yel Haste ere tiie har - vest is pasi. Then swing ye, swing ye^ Sparks, wing ye! Joy giveth strength to the blow. Then 205 |/ p Jtyp i\:i\f f f ' l F p ''p ■!' S B swuig- ye, ruig" ye, swing ye, swing- ye, Steel bruig ye ! Friends are the fire and the blast . Stars fling: ye' Long as the met- al shall glow. ^^m ^ ^m ^^ f f !»=♦ t±f^ ^ — * — — * r i ^ ^ ^ ^S =^=^ Met - al rude, Shape -less and crude. On our forge is glow - ing ; h ^ ^^ f P /)/> V'kJ 4^^ g ^ 1 ^ ■p-^—9- ^^ •5S p p p p I r ^^i =1 Hcun-raers fly; Flames leap-mg hig^; Mig-h - ty bcl - lows blow ing. ^m ^ % ^ f D.S. 206 Virginia Baker AUeerretto J =92 The Bird Catcher (Book Three, p. 95) ( W. A . Mozart From The Magic Flute 1. A — ejay bird catch-er — here am I. I 2. Yes, I caii call them from the air, But lure the birds fmm bush and tree. I some-thing- elsr I loi^ to do ; I ^^ I rnrm i rm rm ^m n J]J=3JlJ3li' ^ J^ T#-pJ'. MJ'T^ swee-tly'»bis-tle','Tweet,tweet,tw«et!"Andon swift wiii£> they fly to me. wish I_ had a — mag'-ic net. So I could catdi sweet children, too. s # #p * # ^m « ^m m #•• -*. ^^ y ^ dJJ^d^ ^M =3 i « i ., / l l Ji J^ /^n i jM' J^ E i^JJ l J' i*^' ^Z ) ^ By young' and old thro'- out the land My name and fame a - like are known; The best and dear- est ones I'd choose. And. if theykind-ly smiled at me, ■0-r . r r r — x^ — Tp ^ p ,v — \ — r — 0- I r crrr ^ ^ ^^ ^^ ±=.rd. h m m$. ^m i i ' ''•^'r PC/^ I P f ^'^ ^^ ^ r *3« I'm al -ways hap- py, always gay. Be - cause the birds are I'd give them sugar, sweet, to eat. And oh, how hap-py 207 I' i'' J^^^ ail my own. we should be! It Was A Lover and His Lass William Shakespeare Allegretto J = 76 (Book Three, p. 98) Adapted from Thomas Morley f 'fjil i'-.p p p I M' I'iii' l F p^p p 1. It 2. This 3. And m was a lov - er car - ol they be there - fore take the and his lass gan that hour, jWittia pre - sent time, ' hey and a ho, And a ■ ,^ J' J I J' J' ;. f ^ • ^ P mf ^ ^^ i ^ ■njtj' j» ^^ ?^ Eg 1 hey,. ii non-ny no, And a hey_ at non-ny non-ny no, How . For ^^ ^ Ji i) I J' i^ J^ ^ ^ J- ^' '^^ n and a hey non-ny no. and a hey non- ny non - ny no. h ^^ ^ ^ * *j J m *" s m ^ m 208 ta o'er the green com - field did pass, that a life was but aflow'r, jln spring-time, love is crown - ed with the prime, ' ^ 1*— * E ^ £ In spring-time, The ^ In spring-time. In spring-time, The ^ ^m F p ^ I r ^5 ^ ^^ on - ly pret-ty ring time. When birds do sing, Hey ding a ding: a diii&. Hey ^^^ ^ h J' h •> m ^^ I on - ly pret-ty ring time, When birds do sing. ^ Hey ding- a ding a ¥ m ^ ^ poco raU. I'' P P F p P I F P p ^' ^' F I ^'' ^' >■ Jt I J- i ding a ding a ding, Hey ding a ding a ding. Sweet lov - ers love the spring. , ^poco rail. 'J' i' il ^ Ji jl Jl J) J J' : SEES ^ » ■ g ding, Hey ding a ding a ding ding ding, Sweet lov- ers love the spring. ^ pom m "Tr«- 209 Nathan Haskell Dole Andantino d =Ti Glassy Lake (Book Three, p. 99) Polk Soug ^ ^S ^ V P g ' I ^ ^^ ^ I.Lake, lake, g^las- sy lake! Paddles on the lake 2. Lake, lake, glas - sy lake ! On the ice o - paque Az-ure rip-pies make; Mer-ry ska-ters take ^ m ^ m f ^ rj^^^Y\ fHf ^ * m ^ ^ ^ # M f r EjJ'i p M p While the wood- ed shores re - flec-tions Dance a - way in all di - rec -tions. Wind- ing- ways that free - ly wan-der To the dis-tant shoreline yon - der, P ,.n m n m ^gf^^ r^ Ur s ^^ ^^m i^'i J I ^^m i ^ r^ f' r p g Laughing" ech-oes wake Where the ech - oes wake On thy shores, lake! All a - round the lake . lake! lake. ^' ^Jlui r m i£l5 i (: ^^t,'- ^ J m tt* -• •- ^ lilO A.J.Waterhouse **= 176 \Vlien I Go Out on My Wheel (Book Three.p.lOO) Q «<^ = ]76 wheel i — i^-n^ Peter Christian Lutkin Composed tor this Scrir; 1 p ^ — r~^ go out on my wheel, my wheel, The When I ) ^ J^rriirp rjj^^jjjjjjJ i ^ — « — # ^e ^ I .i i i u J! i' ^ I J' ; town fades a - way; Fades a - way in - to ^ Jj_j J^ J J I J J"^ * iji^ iji *-■-# ^ stretches of brown. And I hear the mur-mur of brooks that run, Thro' the i> JJJ^^^J ^ p m ifr iTi =*=i=* sha - dy nooks till they greet the sun, till they greet the sun. And it's 2U j r ^ J H ' p -M- ^ 3^ n ip ji n .1 ,ii ho, o - ho! for the joy I feel As I ride, as I glide on my iu ^ U- m ^ ^m M ^^ ^^ i i' i w^ ^' n 3b f r 'J steed of steel ; And the day and its mo - ments are U ^ all di- vine, As I ^ W * «■ i i ^=^ i ^ U i' ' U ^^ ride ou my wheel and the world mine. f f F ¥==*■ ■=? ^ A.J.Foxwcll Adapted by Seymour Barnard AUegretto J = 66 '^'"^- The Trout (Book Three,p. 101) Franz Schubert 212 ^^^^^^m 1 . A crys - ta) stream was gli watched the brook- let flow fish - er - man , de -fea _3, f dmg:, Andgay - ly did it run, Now ing, I watched the fish-es gleam; I ted, De-vised aii-oth-er plan; The i 3= si= Sr ^^ -0- ^^ m s ^ £ **^ i ^ s i ^ ^ f ^—7 deep in thic - kets hi saw an an-gler throw spec - kled trout he chea ^ ding, Now flash - ing in the sun. ing His bait up - on the stream. _ted' As clev - er an - glers can. A - The He P^ HJjJJ r. =T ^ ^^ W \>i i 1^ ^P r^ mid its li^ts and shad trout would dear - ly love dipped his rod and drew ows A spec - kled trout did it, But through the wa - ters it To foul the crys-tal play; And clear. He brook ; The |_ijj7 } i;^fl li\it^ c^ J a J* ^ * ^m s^ I ^ *^ * w ^m m t> ^h^ m m ^ f m rt res - ting saw the trout, be in the mea man a - bove fore he knew dows, I watched it, And kept it. Was fast it stctrt and a - way in up - on the stay; fear; hook; And He The ^^^ lj a ^m ^|# 213 ^ f res saw th Irout. b ting- P ^ in the man a fore he FT T ^^ ^ mea bovo kjiew ^ ^^^ dows, I watched it, And kept it, Was fast ^^ i it start and stay a -way in fear, up - on the hook ^ i 7 i J^ r^ ^ ^^FfE i * ^^ ^^ ^ T> George Cooper A Joy/My J = 104 The Bluebirds (Book Three.p. 102) Myles B.Foster Composed for this Series ""- .-FM" ^'Fp ^p ^ ^"Oi^iiiJ-^^^^^ ( 1. A mist of green . 2 . The snow-drop peeps . M i 1 }' ^ on the wil - low; A flash of blue mid the to the sun-light^herelast year's leaves — long- have ^m ^^ m r ? r=f^ r—r rri/- n^^t-r^ i rt 'Eei «e^ S 1 cresc. - I i 7 — r rain, lain; . And the brisk wind pipes, And the brook - let stripes With And the flu - ted song: Tells the heart, "Be strong", The m ^^ n J fij cresc. S BE E^^ ^ — ,' — ', ^ 214. rit. dim . s F ^' r r I r. r r ' r ^ V dolce ^^ sU - ver, hill, and plain. dark-es.t days will wane. rn . aJem f^ Oh. Be hark! _ strong: ! . ^'l. J' j' J \ v Hark! the And the ^^ ^=f ^^ ^^ ^ Be hark! strong-! :?''' n J j rf'm . P dolce ^ a tempo i ^ t^Krf-/ ^^ m ^ ^^ cresc. r ^ M I r blue - birds, the blue - birds, the blue - birds, blue - birds, cresc. ffi ^^ ? -#4= Hark! the And the blue blue birds, birds. the the ^ ~"j ^ i s ^^ I /oco a />oco *.'i, f f f NW ^ y i ^"y ^ >1> ^ i Have come to us a Will al - ways come a g-ain!- gain!. Hark! the And the ^¥\F=F ^m ^ ^^ ? blue - birds Have blue - birds Will come to us a aJ - ways come a gain!, grain!. m s ^ ^ f r ^ ^ * f Piuf i S ^ rU. ^ blue - birds, the blue - birds, the J' 1 > J^ bJ: blue - birds blue - birds Have Win aJL come to us, al - •ways come, rit. 215 Have Will' ^ ^ f Yes, the blue ■> birds Have come to us, Have Yes, the blue - birds Will aJ - ways come, Will ^" P P f EJS^ come to us al - ways come a a grain! . gain!". fZs S ^^m 'i==f «>-=- come to us — al - ways come gain! g-ain!' 216 Robert Louis Stevenson Travel (Book Three,?. 104) J Allegrett o viva ce J = 96 Daniel Protheroe CorDposed for this Series mm i: # J) i^ . J^ i> J W ^ m F P I F P C^ I P g n I P P L^ ^ tr — ■ V V y y v v ^~\ — v v y y — rr— C3 — y v i^p 1. I should like to rise and gro Where the gDl-den ap-ples grow; Where be -low an 2.Where a-niongfthe des-ert sands Some de-ser-ted ci - ty stands, All its children, 3.There I'llc ome -whe n Ira a man With a cam-el car- a -van; Light a fire — i ^ ^^ ^ ;t I J^ J J' J' LP J I J' J * t d ' . A u J^ ^ ^W ^ a ^ ^ j'v F ^ I mf nyj P ^ ^i ^^^ El- w, J. 11 . oresc. 1 L "I ■ "'■ oth - er sky Par - rot is - lands anchored Ue, an - oth - hi sky Par -rot sweep and prince, Grown to man-hood a - g'es since, in the g-loom Of some dus - ty di-ning room, di„-. - ° t cresc. •' > Tit. bJbn ^^m chored lie. g^es since . ning: room; ft^^ ^^ a tempo t^^rt t H H Where in sun-shine reach-ing- out Eds-tern ci- ties, miles a - liout. Are with mosque and Not a foot in street or house, Not a stir of child or mouse, And -wiien kind -ly See the pic-tures on the walls,' He-roes,f ights, and fes-ti- vals ; . In a cor-ner g tempo ? «/* . » ' ~ ' Q I , g tempo ? ./ ^ » r S^ '-V' j^ ; J' ;' I ;' j> J I J, j, j-i J I j-i j^ a tempo 217 min - a - ret Deep mid san - Bv car - den; ^m Dee^ mid san - By gar - dens Thro the town no spark of -.Of the old E - gyp - tian mm - a - ret falls the night, find the toys, ^ ^'^^ i^ i' set . light. boys. ^ !'■ JJ J, I J. j! ^ S w ,i i,'-i> g ^-Vs^ ^ m ^ ^ i f ^- S I y ^ i M.Louise Baum J = 92 The April Folk (Book Three, p. 106) Max Bruch v].ui ^ i}f\:!fh i!^n ^Ei ^ spring- is com - in iWmdto ihi ^ 1. South Wmd to tne elm tree calls"Lo\'E-ly spring-is com - ing, Love-ly spfing- is com- ing! 2.Wil - low doffs her fur-ry cap, Shows her yel-low tres - ses, Shows her yel- low tres - ses; 3. Peo - pie from their windows look .Eyes and hearts are ea - ger, Eyes and hearts are - ea - ger ; m s i: i'i' J ' U y w^ Troo.loo! Vio - let Sun- shine Troo, Blue Chil loo! bird dren ■^'J):)i , ;^> ^ ppP^P'F'-'rp i p>pp'/ -^p' ^ BuIl-frogB an-swer;'Glu,giu, g-lu!" Rob-in pipes it, "Too-tle,too-tle Vio - let whispers "Wait for me;" Scarlet decks the buddingmaple Out of doors they sly- ly slip, Toss the gladsome news frornhp to too!'Glu,gIu! tree; wai-ting, lip; glancing-, Glu, glu ! ma-ting-; dancing; o n '^rvr n T. M. Vol. Ill— 1 218 ^ j;,j; i'''U!P rs 1 A - pril! A - prUl A - prill Blue-birds join the Ma - pies blush - ing: Old folk did be cho- rus;Blue-birds. All the world is mad with o'er us; Ma -pies. All the world is mad with fore us; Old folk. AH the world is mad with fM J^ J^ J> i i' i i I .i ^ # -i- C\ (O 1^'- J~3 ^% ^ i ^ ^^ ^^^ 1^ ^ ^ Bl, ., A p Til. ; ^ J' I i'- a tempo m^M news a - far, g"ree - ting" are ; joy un - bar, Shout the hap - py Song: and col - or, Heart and hope to . nrit. "Love - ly spring" is Love - ly spring: is Love - ly spring: is a tempo com com com m ing-!" ing- 1 ing- 1 Ji j, J I J, i^ ^ ^W¥ ^ ^^ ^-J' Lf ^ ^ nY. ^ a tempo 3tt ^ ^ . rit . Shout the hap - py Song- and col - or. Heart and hope to y rit . news a - fer, g:ree-ting- are; joy un - bar, ' r\ Love - ly spring: is Love - ly spring- is Love - ly spring: is com com com ing-I" ing-I ing-t tT\ ^m ^ nt. ^p = £ S ^^ S P fe4 i i Alice C.D.Riley Quietly J = 88 Gay Liesel (Book Three, p. 108) 219 Karl Wahlstedt 1. When the May-beUs all are ring--mg-,U%eii tlie sky o'er-head is 2. When the fields of grain, are wav-ing:, When the lambs frisk on the 8. When the flocks go hit h - er, thith - er, Gra-zing %vide up - on the ^ f E f ^ £ J >f, i g p niJ'|'j>;i,jJtt s^^'^ blue, When the hap -py birds are sing-ijig And the cro-cusbuds are new, lea, When the waves the shores are lav-ing And the ships plow thro' the sea, wold, When the pods of milk-weed with- er And the trees rain floods of gold. '»^un' l ^ nr '^ ^ ^^'M^'j m ^m When the breez-es joy-ance bring, Then, ah, then 'tis mer - ry spring. When the rose is in its prime, Then 'tis love - ly sum - mer time. When the pur -pie grapes ap- pear. Then is m el - lo w au-tumn here. ^ ^ i m Then Liesel is happy, Tra - la, tra - la! Then Liesel is happy and dances with glee. Then mm . J I .. J fcJ: -i- j^fff r-' \^^ i cr.-' i pv i r ^B rit. | I^ J'J . ^ l j 'J>f, l f il J 'J I |J>^ | J4 W=i' M^ ^m ^^ Liesel is happy, Tra - la, tra -la! For Liesel is good as a maiden can be, J .^ J . . , J ,, J tP^ \ iS'^\h' I r ^ « i^' If ?S2t= : P 220 Abbie Farwell Brown From the Frerwh . Not too fast J = 100 Punchinello (Book Three, p. 109) French Folk Song- i jm Ji ji ;^ ^i i'^^JM h y J) ^^ ^ f ^^ r • r f~T Punch has ap- pies, cake, and can-dy At his, lit - tie cor-ner stall. See the '.M/'jT i f p i f | i ^ » ■ : dbt: Ji/'i^ | JUi\Ji| h J' ^i' l J '^ ^ ^ ^ W a f r — r T t 'f r ug--ly lit - tie dan -dy! Peanuts too, he sells them all. O NDs-ter Punch! Mis -■ter ^ ^ ^m if r * :hk f J ji Ji I J ^ Ji . ta^ -^ ,r M / ^ ^^ N ; II r — T-^ — ^~t I! O Mis-ter Nel! OMis-ter Lot Mis-ter Punch-i - nel - lo, Ho! •y¥t f I f ^^ Georg'e Cooper Semplice J = 92 Robin Redbreast Told Me (Book Three, p. 114) ^ IJ' > ^' ^ ^- F aniniato ^ Julius Rontgen Cooiposed for Lhis Serirs ^ z? — told me . told me. 1. How do robins build their nests? 2.\Miere do robins hide tteir nests? poco rit. Rob - in Red-breiist told me, Rob - in Red-brccist told me, 221 i a tempo cresc. ^ ^m -!_E J'. il JJ'J'J' p- p^^'^'pp l l p-f)K^'pp 1 First a -wisp of am-ber hay In a pret-ty round they lay; Then some shredsof downy floss, l^ among: the leaws so deep.WTiere the sunbeams rarely creep; Long" be-fore the winds are cold, ) cresc. i ' i'. V J' J' : 'dolce m^ F Feath-ers, too.and bits of moss, Wo - wn with a sweet, sweet song-. Long" before the leaves are gold, Bright -eyed stars wll peep and see A: n.n n [^ ^^ W ■oj- zrr \ cresc. ^ dolce P f cresc. e string * "i/^tii/. c filing w/' a mma to ^ ^ This way, that way, and a - cross: Ba - by rob-uis, one, tWT), three: That's what Rob -in told me. That's what Kob-Ln told me, r.J ^ .>'j- ■ J /ioco rit ^^ ^W ?^ cresc. e string W^ ^^ ammato "j/" g ^ ^^ vv rit. ^ told me told me a tempo ^ rit. r P C I f i /"/i ^en/o i =g * ■ * -- rr 77 pp rit. p ^ PP ^ r F^l-^T ^ f ^^ J22 Nellie Poorman J = U6 A Sailor's Life (Book Three, p. U5) Hendrika van Tussenbroek M ^ ^ ^ i' J' J' J J'- I 1. All an - gry tem-pest sweeps o'er the sea; Storm - beat- en, the wild waves are 2. The bleak wind shrieks and wails o'er the ship; Grim, ra - ven-ous waves high are a»a ife ^ j U' I ^ r.' p p E lash tow^ ^m ing; Un - leashed, tos-sing bil- lows go ra 'ring ; The drear, stor-raing sky wears a hos cing by With tile face, And ^^ i ^ ^ E / * TfV ^ gg^-"rr»p ^ ^ '^^ j ^ / J i'lr^Jy-U j^]i i VVjK'J J^'^' i rr r'F clam - or and roar - ing and crash - ing . But sailors axe fecirless.they never quail ;TheLr low scudding clouds black are low - 'ring. Un - daun-ted,the good vessel sails a-long;Her t.>^ I ^ 1 <1 r- ^ . I ^ %.h% ... I n I J J J- ^ ^ ■ ^ i^i ^ i s ^ i ^^ f f A- ^ f ^j^it'* f rj* # ^^^ ^ ^ #— 'S^ Iskt cres S cew -do . ? r — '- hearts are de - f i - ant.tho' threat-'ning the gale ;With songs on their lips.thro' the tenqjestthey s^lil . stout keel is stea-dy,her tira-bers are strong ;Her crew mock the storm witha rol- lie-king- song". ». « J J~J I r-1 . . 1 ^ I h , J W^ ^ ^ n J r- i i £ s =F ^15t^ cen is do 1 f ^^ 17 Hoffman von Fallersleben J=72 Springs Messenger (Book Three.p. 117) 223 Robert Schumann I fe i±j j\^ in' \-'i nil ^ ^ i 1. Hark! from the for - est calls 2. Hark! from the for . est calls 3. You are a he - ro, val e cuck- 00. the cuck- 00. iant cuck - oo. T ? Ligh 'Come Win tly he's swing: - ing", to my bow - ers, ter is fly - ing, 5' '* j) J' J ^ i ^m $ E ^^^^ .* ^ y i i i ^ Gay - ly he's sing - mg, Gay - ly Pluck all ray flow - ers, Game to Vexed by your cry - ing; Win - ter, he's swing -ing- and sing my blos-som - y bow old win - ter is flv ^5 1 N h Z. ing- . "Spring - time I ers. Spring'- time! ini,"-. Spring-time! ^m ^ 5 r — r spring - time! Spring- time, welcome to i ^ ^^ Spring- time! Spring-time cometh a Spring - time! Spring-time conquers a it P ' T^ you! Spring-time, Welcome to youl" new! Spring'-time cometh a - new!" new! Spring'-time conquers a - new! ^ 224. May Elizabeth White Andantino J^= 69 My Bedtime (Book Three.p.llti) < ^^\ l i\ Horatio Parker CuCDpoKd lor thii Serirj ^?i ^^ p I P- P ^ ^^ S r^^r^^ l.When the sun has gone to bed, Shi - ny clouds a- round its 2. I go slow - ly up the stairs, Kneel and say my sleep -y l^i[ j< ji I J'. Ji Ji. i 1 ^ m ^m "»*■ ^ |.^ii n 1 ^ ^ ^ ^ T ^^ 1. '^^rn rp- i ii ^^ E p l P' M head; When the clo - vers g-o to sleep. And the birds for- get to peep; prayers. From my bed a-gainstthe wall, I can heiir the crickets call. ) . ?_ IWi l iJ. JiJUil;-'j ^|j) l ii Pi5 m ^ ^w 1 " J r 3^ » ^ — ^JT ^ f ^ f F Abbie Farwell Brown Andantino J = 120 s ^m ^ pp z;: f IE Friends (Book Three,p.l24) Mrs H.H.A.Beach Composed for this Series I II I I ,1 I I I ^ 1. How good to lie a lit - tie wliile Am wind comes steal-ing o'er the grass To i ^ ^^N r J J ' j i fc«= (b * * ' m ~0^^ look up thro' the ■whis-per pret-ty ^^ ^F i^ 225 r «r rT~r r t t;r w tree! Tlie sky is like a things; And though I can- not kind, big smile Bent see him pass, I (i^ N ^m 16 r «r- SEfe« i ?^^^j=^ ^ ^ •^' ii - 1 i ) u ^ i cresc. ^ J J J I J i ^ i T r ^ r r r r The sun-shine flic - kers thrdugh the lace Of So ma - ny gen - tie friends are near. Whom s'vv'ee - tly - ver feel his care - ful me. wings . ^# M^ i I m F ^ ^=^ FT ^^Ff^ PP cresc. ^ V J J J J I ^1- j'l rj. , J I ji , ^^^ r f f V ' f — r ^ r ' r r r * r ' f -f-^-^ leaves a - bove my head, And kis - ses me up - on the face Like one can scarce -ly see, A child should nev - er feel a fear, Wher- P ' i J -J 4 i J. i' i. J J. JTi f^ f r p f s -»- ^ ^ ^^ i"j/j OCO 77'^ ^^ m i I - M l . T r Moth-er in my bed. ev - er he may be . 2. The r\ w f -6H- ^j-poco rit. PP a tempo ^ M M ^^^ 2'26 Ethel B. Howard Andante J = 72 The Hillside (BookThree.p.US) pelix Mendelssohn -Bartholdy r F r M p ^ ^-=- ^^5 ■ « 1. Dost thou know a fair - er place Made 2. Dost thou hceir the whis -p'riiig: trees To by spring- be tlie wind re i.*U: m t ^ ^ ^ gTji - Ung-? ply - ing"? M m '-m?- n I"* .2. :2= "^ ^ ^ ^ ^ ^^ E ^^ i r F P p I p p f s ^e s ± May-time here shows aj] her ^race, Batheil in sun-Iigiit ami - ling. Or.wlientwi-light Hawtliorn bow - era lure the breeze. Rus - tling soft and sigh- ing. Clear and cool the $ ^=i m ^ # 1 ^ ^ rr *>)! ^ J ^J e J hJ^J ^^ r r cresc. dm. raZi. [lIj f _ I J' j'^^ 2^ F • » . r' F F p'^'"pr ^ ^^ o'er the air Spreads her sa - ble pinions dreamy, Here theyoungnioon^slimaiidfeur , brooklets flow, With a soft, sweet sound of singing- ;Ikirhued flowers bud and blow; s i\Uii^ ^m ^ « *=3i f= p o tempo rail. "J- it r y r f f Jt m A i P i .(2. :2z 3s i ■ ■ E m f -I pp I J ^ ^ Sheds her sil - ver gleams, Tlius to greet the spring _ _ casts crystal beams . .smiles ev-'ry - thing:. ^=^=^ I ¥ r^ Ihf pp -#• ■»■••■ dim. ^m i ^ i 1-7 aS « — « — * r Nathan Haskell Dole Allegretto J= 112 The Squirrels (Book Three,p.l25) 'Folk' Song- fe i —m — has the 1 . Jack Frost thro' the woods 2. ChiJ - dren hun - ting- 'mid passed . leaves fe i # m i FS= r" s ^m m =k ^ ^ ^ * Bt ^^ Leaves are Squir - rels turn look up nuts on fall cl9 fast. . thieves! ^ i =p ^"T ^ ^^ ^ ^^ ^ ^ El. _z » f» ^ ^ As they Chestnuts g-o scat and wal t'ring-, nuts. i^ ^3^ Squir-rels A - corns are and chat all tring:, nuts. I i i f p r p s^ ^^ r^ 7 S i_i ^ ^ ^ ^ ir m s ^?^ Hap - py 'tis har - vest tirtie at last I Are theirs a - lone. so each be - lievesl last! lieves I 228 William Allingliaxn J =100 p Robin Redbreast (Book Three,p.ll9) Fr. Gernsheim CoinpO!ted for iIls Series '^'\r i'f f i .U ii jij. ii I I 1. Good - by, gX)od-by to sum - mer! For sum-raer s near- ly done; The ^ m ^m ?^ tfVfi^^i liJ;J ^/^JUnJ J j ^ i ^f=^^==i f gar- den smi- ling: fain - tly, Cool breez-es in the sun. 2. Our i f P ;eS :ia g^ *? ^ in: m ^ 1^'' f'^f r i »{J^ijU^^'F r 'f 'N"r"r^'^ | ^''^^'^^^'^ thrushes now are si- le nt.Our swallows flown a - way, But Rob-in'sherewithcoat ofbrown,And i ^ S ^ ^ ^ ^ ^ j'ViJJ f ^ l |. i ' I "Hf -^f f ^M rud-dy breast-knot gay. 3. The scan - ty pears and ap - pies Hang 229 P'' j: j'p r MP ' n^Vf i.'f f u'jJ^^j jM rus - set on the bough; Its. au - tumn, au - tuinn, au - tunin late/TVLU soon be win - ter, win-ter now. # t>'^ 1,1 J ^nT ^ ^ I m ss r rv p ' r be win - tor now. soon , m ^ ^ J. j'j^j ^ ^^^ s^ i ' - ': - -«d- Ethel B.Howard Poco lento J = 54 The Exiles (Book Three, p. 127) Hebrew Melody %^ ^ ^^ ^' j-'i i' j'^iij I p-fT p p p I p p »^^ r" For- ward and on-ward, Heavy with woe, Foot-sore and wea - ry, Mourn-ing" we go ^ ^ /l^. i.il >>'■ i). ^ P ^''^'■^'I4'jii:i'lj;j'4'i i ' * • ^ ft- ; ^ Far from homeland. Lone - ly, ex-iled band, Wan-der we on - ward, Heart- sick and slow. j-^g-+! E I ^^ ^ 230 Genevieve Fox Pmm the Dutch J =69 The Sandman (Book Three, p. 128) Catharina van Rennes ji I J'' I ji ^: I -p-^-pi^ 1. At can - die -light I sof - tly come.When 2. And when I find a child a - wake. His j l j'j'i'i M j~l ^^ f I ea iq i J' JU'J'v hii' tiJ' J' I r-n J' J' jN' J'J'^' I fP MIPF^- ^ lit - tie stars are peeping", To see if toys are laid a -way And wee folk are sleeping, eyes with sand I sprinkle, Then tuck a dream in his small hand ;Hb sleeps in a twinkle. 4^ jTJ^Tj i s r -I . = ^m ^E^ f^=^=^ i s a ^ i i *=& ■^=7" ^ S ^ ^ »■ "Chil - dren.g'ood night Chil - dren, good night!' )l"f f Sof - tly I S^ m f T i2_ J n 5: ^ ^ s 9- whis-per at ev - 'ry door. t^'\ i' "Chil - dren, good night!. i ' .1 / .i j' ^' I » M ' W ^7^ 231 (^ f P ' r f Chil - dren , good night ! ^ ^ Slum - ber gen - Oy till i^ r night is rit . rs m EZ ^ i S"- ^1 i ■TT" Jean Sibelius Conipoicd for Ihls bcriM Richard Watson Dixon Slowly J :^ 54 Autumn Song" (Book Three,p.l3l) The feath-ers of the wil - low Are half of them grown yel - low A SiTWothly ^ , I., I , , \in ^ {-fiii^iH' mm m bove the swell -ing strecim ; And rag:ged are the bush - es, And rus - ty now the :''''Li''iii.j^ E ^: S \-. ■J- -^ \>^ 4 k^M-BT jlj ;-^ ^ i ^^=T "F 1' 1' 'p','^//'M ^'^^' ;' ^dgi I a rush- es, And wild the clouded gleam, And wild the cloud -ed gleam' 232 Robert Browning- Con spirito J = 120 p Pippa's Song (Book Three,p.l29) WiUiam G. Hammond Composed for this Serin s M :e The year's at the spring' ^ Aiid , ! ■ ' I J J I ^ t t W ^ The year's at the M ^ cresc. ■&- f f day's at the morn ; Mom - ing's at sev'n; ^ J J IJ The S ^ -9 1^ spring' And day's at the morn; Mom - ing's at mmm §m ti-§ zm cresc. m i ^^ P hiU - side's dew- pearled ; The ^ ^^ seVn; The hill - side's dew - pearled ; . The 233 i ^m lark's on the wingf ; The snails ^^ on the # ^^ ^2 :*- ;*-_ -» - -f - ^1 ¥ ^ iii^ 4 . 4Tl£k i J -^^ ^ rj^ ^ t thorn; ^# God: in His heav'n— All's ^ rigftt with the rit. ^ ^^ i m m iLi |i ipi' n rit. ^ ^ i t4i "^1? d M it M d a tempo world! i S i 1 * i P f ^ ^ I ^ :J 1 i *1^ -•' -^ ■*- -4 ■* ■*■ * -m- ■*■ -« -^-^g -^ T. M. Vol. in— Ift 234 Laura E. Richards From In My Nursery Copyright, 1890, by Roberts Brothers Moderate con mote j = 132 A Song for Hal (Book Three,p.l3*) Daniel Protheroe Composed fof tbs SenM ^^m 1. Once I 2. All the 3. But just saw a lit - tie boat, such a pret - ty lit - tie boat, As the fish - es were a - sleep, in their caves so cool aiid deep, When the then up jumps the sun, and the fish - es ev - 'ry one For their ^ m ^ i J J 1 ^ J J J J ^ I' l l J'. l\, p f ^ h il I J'- Jl s mom - ing^ ligjit the hill was a - dorn - ing-;Quickly in - to it I jumped and a - rip - pie round my keel flaished a warn - ing-.Said the min-now to the skate, "We must la - zi - ness at once fell a - mourn - ing-.But I stayed to hear no more, for my ^ ^ f J J i J r=ff =3 3=* S ^ ^ i ^ ^ ' g)'" P' p p- p-^ P M f p J- p ^ way then I did float. Oh, so ve - ry, ve - ry ear - ly in the morn cer-tain-ly be late, Tho' I thoug-ht 'twas ve - ry ear - ly in the mom boat had reach'd the shore, Oh, so ve - ry, ve - ry ear- ly in the morn f^ M i i il J i J ing:. ing.' ing-. ^m D M fhr^ ^r^^ -7.''\ r J j/ji J J r p 235 > . And ev-'ry lit-tle\*ave had its night-cap on. Its night-cap.wtiite cap, night-cap on; And ^^}f-^ M= v ^ M 0. [• ^ t # (•■ ^ S ■ g rit. ' P'prpr F'P I r r ■*• J i ^'■■^'p ' PF ■''jj i jSl. i ev-'ry lit -tie wave had its night-cap on, So ve- ry, ve-ry ear-ly in the morn - ing. W F P -^ ^m nt ^ I k^^^ 4^ 2:e t T% George Jay Smith . Moderate J = 104 End of Summer (Book Three, p. 132) J J /,jN|J = h=M Max Bruch m m ^ r pPT r f p Sum-mer has de - par - ted; Gone are all her flow - ers; \ ^-^Hm\^m ¥ HmYt^ B T^^ { ^ J7 ff 7 ff V 3S ^^ 22 rtV;i;,^>'l/.,Ul/' -fMiLlVI,! Sum - mer, merry hear- ted. With bright sun - ny hours, With bright sun - ny hours. |J^ ^ | -'gW^phf^i i Jg i ggJjhj'^j^ ii^ ft '"J tffli 'rn^jN.. ^ P i ^ s^ff ^ ^^ ^ >36 C dolce ^ dolce . I >— I K Soon, ah, fast lafld & ^^ ■ 7 Gol - den- rod and as - ter Fill the fields sere and brown; Soon, ah, f I ^ ^ ^1 dolce if 4 ^ 3C=ffBr I P =P^ gSr i n fas - ter Must the leaves come down ! i^ J St the leaves comi ^E^ Summer, does your ^ J ;ii' i fast and fas - ter Must the leaves come down! E^^ Summer, does your ^ i i ^ i < g'S i " 1^ f,ir »"*- »■ ss ^ ^^ ^ ^ fe^^ n r ' p > ' f V Cf ' f ' f " ^ ing- Yield but leaves that mold? Nay, see o - ver - flow- ing- Harvests heap their ) M w k ' MM M ' I r ' f ' r r-V See o - ver - flow - ing^ Harvests heap . m their gold! Frank Walcott Hutt March-like J = 126 October Song (Book Three.p. 149) 1. A song', a song- of nut- ting' time And the brisk Oc - to - ber 2 . A song-, a song- of nut-ting- days And the fall skii'S o - ver 3. A song, a song- of nut-ting paths And the quest that lures us ^m ^m ^ 237 Rudolph Ganz Composed for this Sents A day ; head; on; The The And, ^^ y*f^ ^m i F- Jm i ^ S D i r ^' F ' r ^ M i pas-ture romp and the hill - top climb, And the a - com-sprin- kled — way. A bannered leaves and the marshalled haze^Vheie the autumn tents are spread. A oh, the thrill that the boy heart hath On the first Oc - to - ber dawn. Then, ^ 1 i J M ^^ 1 ^ IB -I ^ ft* ^ ti i ii m T m s ^^ ^ f song-, I say, And a roun - de - lay For the jol-ly nut -ting time; wood-land glee 'Neath an old oak tree For the sake of nut - ting time; free and far "Where the a - corns are.Downthe rare old nut - ting path; ^H t A A Then, ^ % 1 is^ F '.>-«< f— f ^ » — ^ ^ s p p ^ =P=f il ^^ ■ ■ song;, I say. And a roun -de -lay For the jol - ly nut - ting- time, woodland glee 'Neath an old oak tree, For the sake of nut - ting time free and far Where the a- corns are, Down the rare old nut - ting path ^ ^m E^ i f ^ -fJ^ M 4= T 298 Flowery Omens (Book Three, p. 137) Andantino J • = 50 Anton EWof^ M=rt P I I 1 !^ ) ( wish - es plant; "Watch wheth-er Heav'n ful - fill- ment grant. J'"i j i i ^ .j' j i pp "f f 'f I ^^ f'j I I I M ' 'J ^S5E E When I a gol - deD tu - lip spy, ) ^^ MM f Then shall I know that J ^ ^tt ^^ grief is nigt- And if a white rose o - pens sweet, 339 Come 111 the twi - light me to greet . ^ f Bloom -eth a vio - let \ on my way, Bloom -eth a vie . let on my way, ^ dim. i ^ p/>- • f ^eS ^^ Then I shall see thee ev - 'ry day, Then I shall see . V ^^ J tl ^ gj M /^ r "r [ r li+O The Sea Princess (Book Three,p.i;}8) Andante con moto J?= 144 Max Bruch Composed (or Ihji Series |M^j- l j■ ij p j- i J. j"^'i^ ^ zM=^, pal - ace of pearl and sea But be - low, m the qui - et wa weed, Set round with shin - ing- ters. She bet - ter loves to * m J ; rn i W ^ fr^ ^ T ^ JL ^ ■V P I ^ ^ CTFSC. ,, J, J ti I j- ;^^ =F=^ Un - fler tin shells, play. - Jn - der the deeps of the Mak- ing- a gay sea - weed o gar ceain The den, AU !'"i^i I j j i j < j- j' j j' cresc. S ^ ^ £/ ^' U^ ^ ^ li cresc . lit - tie sea prin - cess green and pur- pie and dwells gray; And when thro' the waves she Or string- ing with, pearls a O I 'M n ris neck es, Be - yond the break - ers* roar,- lace, Or learn - ing cu - rious 24.1 hears the shouts of the chil dren At play on the san - dy cresc . 'U:,— ,-J^ »— T-h poco rit. m i-j f f'—f shofe, At play on the san - dy shore! ^ r> j,^r r->-''f ;f ^ ¥ E feE? cresc. ^^: ^ ^oco r/^ r j^ ^7 ^i ^ ^ 5P ^^fff JJ'J^IJ' a spells From the wa-ter witch.g^ray and an - cient, And hear - ing the tales she teUs, And hear - ing- the tales she tells. , t rs ^ 242 Elsie Cobb Allegretto con senlimento J.^ 66 Summers Good-by (Book Three, p. 139) Reg^inaJd de Koven Conpoird for this Series 1 . The west 2 . The rob 3. Jhe chil 7y wind is cry - ing;, "A - ins axe sLiig- Lng-, "Good- dren are call - Lng-, "Hur - m i^i m ^^ my ^ i i TW^ i cresc. f— J f '^ I r^ ^' 1 1' ^' I ^' ^ i way, a - ■w'ayl" The by, gDod - by ! Too rah, Jiur - rah!" The south wind is sigfe - ing", "Oh long: we've been swing;- ing-, we nuts now are fall - ingf, a ^ cresc. stay, oh stay!" But fly, we fly!" O'er far, a - far! The ' E ^^ 3 fi ri-i f H iz ^ ^ 55=T cresc. ^ i i * J!f a i : « » sura - mer is flee hill and o'er mea mea - dows are still accil f\ u accd ^. r u" j^ J' i tingf, and au - tumn is gree - ting- The dow, thro' sun - shine and shad - ow, They ing:, the as - ter is fill - ing: The ^ E :« J' J' J' I < accel . ^ 24:} rail, e dim Tempo I world wTth her baui-ners so ^v. wing" to the w-arra southern sky. earth with her fair pur -pie star. raU. e dim. ^ The south wind is sigh - inf, "Oh "Too long we've been swiug-mg', wr The nuts now are fall - ine' a ■'^- - ■ — ^ ^ ^ v^ rail, e, dim . jr sa: r^i' r I m 4 a tempo fit. •Bi^J ^ 5 ^^ ♦ rail. ^ f^ f i ft: stay, oh stay!" The ny, we fly!" Th,- far, a - far! The west rob chil ran. wind is cry - tng, Lns aie sing - ing, dren are call - ing, "A 'Good "Hur ^ J' i J' ^ ' 77/. ^ =:=SP ^^ g^Fj-i ^ s f^ rit. "if rail. ^ ^ f sk fe i 'r ' f way. a - way!" by, good - by '" rah, hur - rah'" P r> ^ "J (^J J' J ^ ) ^ ^^=^ ? ^ ,rair mo/ofo r;Y. r\ ^=^ a T=f; P d • d wind, a - blow- ing- all day loiig! That sing's so loud a DSallhie 24.K Wiiliam Brigtity Rands f Moderate J - 138 The Lavender Beds (Book Three.p.US) Frank van der Stockerj Composed for tbts Series te f i I J I I : , 1 J J I J J ■ W » Moderate 1 The fair- ies stepped out of the lav- en . der watched them g^o through with a grave nun - u - ^ m m m i E^E E ^ E^ E^ y-jut ■>''iJ r i I i i i G B ;- ^ J I J J ^ * — ' — *■ beds., et ; _ I With mob-caps ot wig's on their quajnt Lit - tie heads ,_ My Wher - ev - er they foot- ed the dew was not wet. They :e \ ^ ^ ^ JS5E IS ■'•H ^ ^3^^ i i f ^*=i rrr ^^ lord had a sr«'ord ajid ray la - dy a fan, bowed and they curtsied, the brave and the fajr. The mu - sic struck up and the And laughter like L^Sli^ i ^ p ^ ^^ X * t-l i J i ^ i i^ ^ dajic - ing be - gaji chir-ping of eric - kets was there. _ Then 247 I j J J J I ^J' > m ' h "t y h aJl on a sud-den a church clock struck loud. ^^ ^ j^ rJ ^ ^ ""0 r — flut - ter, a shiv- er, was seen in the crowd The # Jli^ ^ g ^& iJ ^ J » U" t P ^ ^ ^j .J J ^Tj : i ^ ^ ^ ^s ^E^ cock crew. the wind woke the trees tossed their heads, And the m H ^M ^ 248 Harvest Slumber Song (Book Three, p. U7) William Wilfred Campbell Andantino J = 63 z fe E. Humperdinck Cotrpo^rd (or ibii ^erlet r r t r If ^ ?^ 1. Sleep, 2. Soft 3. Sleep, lit - tie in the lit - tie Ba lap Ba by, of by. sleep. Moth sleep, sleep, er sleep, ^^ sleep . . Nig-ht . sleep. . «!2= f -mrr r f'^'' r p M r J' J' 1 ^ r ' r^^P^ Red Wee Red is the ba - by is the moon stars, moon in the all a in the night's still g-Iow and night's still deep ; _ bright, deep ; _ ) I l'"v^ ' p White are the stars with their sil - ver Flut - ter their sil - ver - y wings and Wee ba - by stars all are hushed and wings _ crow — kissed,- 24S Vol - ded in dream - ing^s of boau - ti - ful thijig-s; And o - wr their Gen - tly to breez - es that kiss as they blow, A - round air - y Fbl - ded in era - dies of In mi - nous mist ; If ev . er tkey ^ ^^ ? P ^ ^ era - dk" the nig'ht wind sing's; era - dies that siA'ing so low, wa - ken the winds cry, "Whist!" Sleep, lit - tie Ba - by, Sleep, lit - tie Ba - by, Sleep, lit - tie Ba - by, ^ r F-Jr ^M[j[^ ^ 1 — bleep, sleep. s.leep; Sleep, ht-tle Ba - by, — sleep. sleep. Fa^=^ ^ ^ g=^=? ♦-V «^-# ^p i^ i cresc. dim . m ± ^ w—f- W T S#^ sleep! '/'jJ^l "^ O <#*- I ^ ^ PP 3: —6 M Vol. Ill— 17 250 What 1 Love (Book Three, p. 148) Con moto s'^ 133 j^ Hug^o Kaun The dai - sies white are dear to me ; ;^^ ^ ^ ^ T~^ ^^ ^ 7 7 •/ V / / 3 m ^f^^ ^^ but ter-fly And the blue ^ ^ ^ of the brooks aiid skies « ^ ^ ^ ^^ ^ ^ j 7 7 JJ^ V 7 7 7 7 lf=^ f "7 — : 251 fe ^f ^^m ^ wall. I say, "O rose. O dear lit -tic njsp, I li ^S^ ^•"JJJj^^ * ^ m ^ 7J '^ y ^^^# i ^^^^ i '' f 7 7 7 ^^=^ ^ / ti I 4: S i^X ^ m m '; ■ i=g ) love you best of all!" I say, "O rose, O i /■- m m ^m dear lit- tie rose, I love you best of ) i m ^B I 5=:^ 6^ 2 r ^ 1 7 7 ^ ^ S I ^^=F ^ aU. K i ^ P f ^ ^^ ^^ h «; ^==^F i ^#i= PP ^ f ^^^ Morning John Fletcher ^''^""^ Three.p.lSO) Lightly with motion »>= Mi Arthur Farweli Cooipcrsed for ihis Scrips ^^^ ^^ ) See the day be - gins to break, And the light shoots like a streak Of ^^^J'J j, l ; J,j j j l J J J j, I j J,JJ J, "''i^^^'^ }^nni 1 / in j sub - tie fire; The m ■winds blow cold, While the morn - ing- 5 i JW j ' J j' J. ' i i' J j' m ^w s 9=g= P i: ^^ J—JL !^ i. ^^ a '■j^'r-^ST ^ f U M ^ ' I'' 3=* P r r r I r T i doth un - fold . Now- 5 ^ the birds be . i^in to rouse, f f ^ g -» — ^" 238 V m And the squir-rel fro/n ihe boughs Leaps to get his nuts and fruit. The ritard ni r *' r i ' ^M^ ? m/' a tempo •JT"] i^ fe ^ 7~ ols to ear - Iv lark, that erst was mute, ntard % \s I J ^J'~T Car the s ^ ^ ' J i^ f ^ r f ^n ^ :S i se i r/Yci rd a tempo i J ;» f ritard ^^^^m a tempo a^ ^ »N=^ rit. r-F Tp ' p r'^'p-^Xc^ r ^ ri - sing day. rita rd H^ J J' J Ma - ny a note a tempo and ma - ny a rit. lay. i i' J' i J' ' ^^ ;54. Kate Greenaway Rather slow J = 92 Beneath the Lihes (Book Three, p. 152) * Mainersi, Horatio Parker T~r-^ s i ^m Be - neaUi the ^^ ^ • / 1 ■, i ^ ^-»f-f ! - S r J tj' n^-^ a ^^ li - lies, taJJ ,w^ite gar-deii li - lies, The Prin - cesssltpi, a chanmd ^ J=^ P m J " ^ <* J- ^T :i=J 1 ^ "O" I ;; p- ^f I f-:"^*^' "^ p ^' I {(J ^ sleep al - way; For - ev - er were the fair-y blue-bells ring- - ing;, For ) i i A-J I !|j^ j^jj J J m i •r ,. ^ J ^ 'i t f ^^ ^ "T3~ I ^ :? M ^^ p r p p ^^ ' ^' ^ ev- er thro' the nig-ht and thro' the day. Ere - long- a FViiice came ri- ding- ^^ fe: i l ^. i LI IJ ^ =^=^ p ^ 255 ^ ^m ^ r ^ ji 1' j'l J ^ the sun- shine; A wind just swayed the 35^> L- ^ -j j'J^^ ri li - lies to ajid fro ; Hi rjT} i .^i ^ ^ ^ i ^ y r • p F '' P [g ^ P woke the Prin- cess, the' the blue-bell mu - sic Kept ring--ing;-, ring--ing-, J' J J J ^ ^ ^ P T =EC f "TJ- ^^ l>' ^ ^ J^- i^J M ^ sleep - i - ly, sleep - i - ly, sleep - i - ly and low. ' n,i ^ f rjj ijj ^ 351 I J J ^^eH -»- low, low, . low, i^ ^ j^j j'j j ^^^^=£?? % »^ rfm. /^P ^^ ^ :n= 256 James Russell Lowell Andante J^= 152 The Fountain (Book Three,p.l54-) HugD Kaun Cempoied i»r Ibit Strin ^ II ' ^ i'i t ^ m ^ w 1. In - -to the sun - shine, 2. In - to the star-ligbt, s: FuU of the light, - Rush-ing in spray. \ l' i ,i j nJi i .Nj^ ji Y n^7 Leap - ing' and flash-ing' From morning- till night! Hap - py at mid- night. And hap-py by day' — In - to the moon-light, Glad of all -weathers, E i^=r=j < f f t i; p H^ f. ^ -Ir^ -^E A i *- J * -0 # ■ m i J: I j': j'j' J' J 1 1 J' J' ^' ^ _ i Whi - ter than snow, Still seem-ing best ; Wav - ing so flow'r-like, Wav - Lng so flow'r-like, Up - ward or down - Wcird, Up -ward or down - ward , ( f> r 'I'll , li^ ^' r '"J^r'r ^^ aJ^;' ^' J i When the winds Mo . tion thv 3. Full of a na - ture 1^ ^ --zzSi ^ » ^ 257 ^ *■ * -h — V "^r»f- m^ ■dl^M-i ^m Noth - ing- can time, Chang-ed ev - ryrao-menf, Ev - er the same; =#=*= ^— < ' ^^4 -J— r i 4^=^ J nj' i: j'J' ^ i ti J I * i I ' g Glo - ri-ous foun-taiu! Let my heart be Fresh.changeful.con -stant, f n $ ^$=$ u. I uUu ^M a a ^mz d d id d d- :*= I' I' i: ii i b S, K i ^ | : t -rr Fresh.chaiigrful.con- stant Up w.ird like thee,- ^H C C C C i S 3g » F ^ -# •- rrb'j J 258 Lullaby (Book Threp,p.l56) Frank Dempster Sherman Andantino J^= 160 Charles Villiers Stanford Composed for thu Srrin t II- f *f f^ ^ % i P ^ 1 IT ) I 1. Slum - ber, slum -ber, lit - tie one, noy.-; The bird is a-s!eep in his nest onthe bough; The 2. Slum - ber, slum- ber, lit - tie one; soon The fair- y will come in the ship of the moon; The ¥ t^-* * • • ^ ^ S F-. J-'J'^ r ^ rf=^^ r^ t h=k i^ h h ^ ^ a-=5 a±=ft %' ^- Ji 'l 4^ ^ * i ' * ■ d bird is a-sleep,he has fol-ded his wings fair - y will come with the pearls and the stars,. And o - ver him sof- tly the And dreams will come singing thro' ffs '' i^ ^TJTT ^ •?^l! P -. i^ J't ^ : i ^ ±±: zac i; ' . Nj.jJ fjif ^^ i^l i ^^^ drf-am fair-y sings : shad-ow-y b2Lrb : _ Lul-la -by! Lul-Ia-by ! lul-la-by' lul-la -by! lul-la-by' !ul-la-by! i 269 i Peairls in the deop, Stars in the sky, Drnamh in our sleep; ^ m ■y-rj- ff J^' f ^^ J I'ff J^P i • CIT '' W ,^=i> * r ^«lP f ^ f 'yrr' g'i'r I' 1 1 g f-r-^«^^ '{; Slum - bf-r. slum - ber, lit - tie one, so; The stars are the pearls that the ^ ^ ^ rs — c ^ ^ 'iT ( PP ^^ .Cr.f ^ dicam fairies know ; The stars are the pearls and the bird in the nest, 260 P' iJ V i \ ni ]zi: n r I ' ^ dear lit- tie fellow, the fairies love best. Lul-la-by! lul-la-by! ^ y ij J ^^ ^^ ^^ 9*= i ^ ^^ ^^ ^^^ -V— t^ lul-la-by! Pearls in the deep, Stars in the sky, r ji u- i^ ' Q i ^^ fe* ± m 1 4. J ^^ Dreams in our sleep; So lul - la-lul - la - lul - la-lul - la- j' - G " n ^ i i ^ '.^]' jjj i ) ^^ lul - la -lul - la -by! May Moi^gcin J-= fiO Dragon Flies ( Book Three.p. 153) 261 Peter Christian Lutkin Compo^d for this Scrks i JAii 'i^i ^ j', , ',j'- ^ 1 ,1,^ z;^^ h j i' i^m ■>\\\i M j^ -j bovp the brook the dra - j^on flies. With uiiij^. a- quiv-er, # . ^^ ^ ^ 'y \ ^ E i ^ ^ ;^V-HW ^ SJ^ ^ ^ play : A mo - merit here, a mo - ment there, Thoy ^ ^ ^=^ *, -f ^ V - •? ^ P 1 ^ E zsSriz pause, and then a - ■*'nv As blue as steel their ^ I 'l. J' ^ V J^' '; */ f^ \ ^ # 4. ^piS =^=^ ^ ^ J. ■ > J f I' !■ 'T ' r' — I S r^ F r ^ g^au - zy -wnng-s, As swift as thoug-ht their fligiit ; Now ^ ^ ri 7 ^ e ^^ 7 7 ^-''S ' ,J' ^ j\^ J ^ i\,;hii'^ i PI I i F=r here, now there, then who knows where? They dart likeg-lecims of ligti' ■ 3E ^ 1-' 'V •/ '/ I' •? c ^ ^m 262 Margciret Aliona Dole Andante J = 60 ^^'>ys dolce The Southland (Eonk Three,?. 158) W. A. Mozart Duet/mm. Don Juan f»-;5;J'^'JM;,J ';iJ'. JiJi' j'' Jii'J^ J' Down by the South Sea is - lands The winds blowwarm all day; There in the sparkling- waters The fly-ing fish-es play. Oft of the South Ira dreaming;! rock in a pearl-lined »« JU Jit ^^^ dim. boat; Over the ripples gleaming-.Like mermaid there I float, — Like mermaid gen-tly 2'>3 Girls ^^^^^^^^^^^^^m Swift o'er the clear shiuiili;^ wa - ters, Swift to li.o Soulh Irt us flylTo the bnuth let us i S ^m ^ ^ r "^' ^^ ^ ^^ Gr/rfs cresc Girls i fly ! To the South let us fly! To find the is - lands! Greeii.bluc.and silver waters. Oh, ^ I \ I rn^ — ^ ^^ S^ S s te^ ^^ ii S TT cresc. 5/' ^ ^ fe=;=^ :^=E=ii:ri: i^^ t- ^" 1 ^^ ^ ^ F f' ^ ^ ' ^ Come, let us fol - low a star' n I M-^; 'I' ^1 To the South - land a - far! ) 264. Kate Louise Brown Con moto ed animato 4 = Ti P Jack Frost (Book Three, p. 162) H. Clough-Leighter i •"•" ii ^^^ i ^ 1^ ^U ■' p ' P f P FT' F p' -c — e^ Now who comes steal uig- thro' the nig^t,With ti - ay fin -grrs cold and light ; Who pin - ches flow-ers on the sly, And makes the tre;nbling- gras - si-s die? Allegro scherzando J=92 ivvno^N ' ^ru bp^O '?'gj r P'»r p it is Jack, the Fros- ty Elf, Who smiles so sly - ly to himself, And says. Ill have a ^^ m i ^i ^fe m^4u ■''' i f ■ P ./• i P gH •/ ^-f^ J D t 'tA r'-J . \ J Fhie lot of fun; My work, my work Is just be-gun! Who is it, in (ho mid nig-ht hush.Makes alljht' maple fin-gere blush? UTio i- clothes the brook in i - cy mail, Aiid powdrrs o - ver fence and rail? .- „ Oh ' '^ -. i>iu rail. ^ ' o ^- m p i ^^ Ai- ^ F 22z: Id -.Nlj JIl i 1' ^ up tp J', ^H- fh J' J' M l ip \p J'-^t f> p I P t f ^^^-J H Eyes to ngfht; Peaceward.warward, March in might; Stout, stur-dy, Steady we comp; ) ^^ ^ ^ ^^ ^ ^ ^ t ^ t ^ I ■ ^3 ^^ ^ J J^ n I nrlr^ ^ ^ ^^m !^^^? ^2 Ra - ta.Lhe trumpet,B-r-r-unithednim!Heads e - rec - tly; Arras held down ; Now cor-rec -tly 'S'' \^i' ^' I ^ W W / ^ ^ ^^^ ^ Jt ^ •j^ <|p fap J'- 7-r-'fT P p^-H M ^p- ? i J'^ p"?' I ^ Thro' the town. Guide rigiit.here! Look to the line! Hie! soldiers.TTiat was fine! 268 B!> li:::^'jiji 'ujj - i >I' ' ■> < ! ' > ■ • ■ I ^ Now o-blique-ly, Now to rear ; How the weak-ly Stum-ble here! Fours, right' thf-n, it ^^ » ^^ 3=i=t=3 ti I J» J« S j^^T^ ^^ ^^ ^ ^ ; L -fit p ppfi- -TH^ fp J' l '^'F .'t'^ i ^'J'J^'N'i'J'. .M^'J^J"^ i Company, wheel! Now for skirniishJFkintrank,kneel!ForwcLrd,singing- Aswe go! Cymbals ringing-, i ^^^^ ^ w f ^3 f J " ^ 1^ T=f= W g I ^ «; §s ^ ^ ^ ^ ^ W ^ cresc. mo/^o ^ ■ ■ "I'P f rP' ?|J' Jiitp F I J' J J' s -»- ^ Bugles blow! Shrill , shrill - er, Fifershave come ; Brum - ta- da-boom-boom Beats the drum! ( j^ J> JJJ' JiJi4^Jitj} | j>jj;ij^p|j '^p^'' | p 7 '.- p f'j Brum-ta-da-boom-ta- da-br-r-r-um! Oh.the boys' own brigade has come! We have come, We have 2H9 come, Oh, the boys' o'wn brig-ade has come! Brum-ta-da-boom-ta- da-br-r-r-um! Un-dis- ^ ^ J-' V J^ ; ppiP- V p piP^ ^ ppiP J^i^p T'lrr^MF ;e ^3 ^ may 'd.the brigade has come! Who's a-fraid? Who's a - fraid? Who's a-£raid?llie brigade has come ' i £ f YM-' ' *;~ I ^ f^? ^f^ SI '1- ' CI :r—f- i D !^=fc ^ ; t f, ^^ J p I p p J'. ■;, I p ^ feE ¥ ^ Taps have sounded, Night has come ; Still the trumpet, Still the drum; Si-lent the fi - fer. Jf ^^m ^ # — p — p- p — •■ ^^ #^ ^5=^: . r\ p-JJJ | p-i 1^ ^ ^ »! #■ Silent he; Sleep. fi-fer,Sleep,druminer,Sleeptill the re-veil -le. Ra-ta-ta - tee! 270 Come, Dance witli Me (Book Three,p.l68) Alice C.D.Riley m = 92 Neapolitain Folk Song- m IK :e M [iSt ^ I f ^ Dance wth me, £Lh! come and dance with me! ^ )■ ^^ « H ^ W '^ j^ ^ F ■ ^ \\ '- f '' T .g^r^ ^ P P ^'' ^' I ^' ^ I MP tlf Fg t=it Light, ah, light and fleet of foot are we. Trip it, come, ah, come and ( ^ U ^TTi p wfp ^ ^ ?^^ ^ ^ =^^=^ ^ ^^ T- >J i r f p P J'J' I J ' ^ | J'J^.i^^F p trip it fleet, Danc-ing light on will- ing- feet. Up on your tiptoes now and .' i IJ 1 I pir- ou - ette Sway like a bird a - bout to fly! in i^ i' jijiJ' B p JM J' jij'^ i h } J' ji W^ DcrwTl'withyrJur curtsey now, a gay co - quette; Smile de -mure and down -cast frnn ^^ f 3 J 3fe; ^ C- ": " » ~«r- ^^ f j ,P ^ F ■ 1 i /'f Jm c Ji J ^ i^=T fcjK i eye! Dance with me, ali, come and dance with me /?■ I ^^^^^= > r- "f ^ f=r=± ^ ^^ L »: X==r: ol - Iv ruw' Up aiui down the line we gv. 272 Miriam S. Clark Andamte con moto J = S8 A Child's Fancy (Book Three, p. 170) John E.West Composed Idr tb'is ScrK* day is near-Iy o - ver aiid the shad - ows all are gray, Theresa niolh - er - ly old wil - low stow ing- close a- gainst the wall, And I ) k is near - ly o - ver aiid the shad er - ly old wil - low growing- close ows all are gray, There's a a -gainst the wall. And I ■ Ht m # W* ^ ^ i ^ 2^ f cresc . I :• ! n!'Oi'': ^ dim . X ^H-=f^ % 3 f P P ^ , ■ ■ -— ... p f- place in fa-ther's gar - den where I dear - ly love to stay; For I'm climb up iu her branches, know- ing weU I can - not fall; For she tired of all my les-sons, ajid I'm wea rocks me ve - ry sof - tly in her gvn ry of my play, tie lev - ing ■»-ay, When the When the ^^ 273 poco riten . V * ^ ic=!s a tempo ^ l -J i I T fr all all are gray • are There's a i gray ^ ^ * • m a tempo mp mp a tempo ^ i i i ^ ^^=T * * ■ » r i -.^ ^ P^ ^ ■-*' "pp- ^ p p p p ' r r F' p'C iji'^^^ Sof - tly to her leaves auid bran - chrs come me breez - es of the night, Aiidthey ^m s "^j * ^i r i i|J# J# — > > JlF ^ t^3»> >^ ^§ ^ l^/i' J. j^^^;^ ! J J ^i'. iwl J' J^ Jm '' ^^ sing- me songs of dreeun - land in the dim and rest -ful ''g^'- i u-^y^ 274 cresc. I mp •J Hii J '■^, i f I »r' F 1^ E^3^ dim . poco liten n m I ! T p ' r F-^^g sleep and slum - ber, For the daj' is near-ly o - ver, aiid the i .^.1 J- ^ sksS ^^ fe /oco Titen. ^m Si f -.IJ,^ i-^ =tP=t dim. f Ladybird (Book Thrr,j,p.l(;;{ Allegretto grazioso J 60 275 Robert Schuma/ui i'^^l'Hl^ l-^-^T^ M^ / ;n;j M -i^-H - -N — s ^ K^=^ T~7~? l.Come, la - dy-bird, and ' sit youdown Up - on my hand, up - on my hand ; Be 2. Go, la- dy-bird. fly home, fly home ; 'Tis alJ on fire;y(iiir rhil-dren rrj' So ^i^ f f ^^ ^ — ^ Jp ^^ ^ ^ t- ji K ^ ^^ ^ ^^ //' M ^ sure I will not sore - ly, oh, so harm you , sore - ly; No! Cry, I'll nut harm you . 1 crv so sore - Iv . T)ir <<'» - J' -,- w :*=? ^ ^ itn ten . M > m m^ ^ * ^ ^^^ Is S i=:ifc J' i^ ^' ■ r s= r T- will not harm you, prot - ty dear; Show your- li - ny wing-s, and nev - er fear; cunning" spi - dtr spins them in; Fly, O la - dy - bird, fly home, fly honit- ^ '^- ^^—^-^ =^ -j. J^ \±ja ^ ^^-ifr-^ # ! Ti-ny wings to me are pleasing. To vour chil-dren.cry -ir.g sore-ly. p m ■Tj- " -W— ' r M * n ^ 7 * * . ^ 5& ^t^--^^4- ^ 276 Maud Wilder Goodwin ^ Andante J = 63 Greeting (Book Three,p.l7l) Felix Mendelssohn-Bartholdy (I P=tfcfc l.Cric-kets chirp the whole nightlong-; Reap -ers'scjrthes are swing- - ing; ; 2. From a cot - tag« can -dies shine; Hap - py friends are mee - ting-; ^ m ^ w O ^ '^ p wu m legato ^ ffifc ^^ ^^^^ kf>'''^ F J' s . dK ^^ In my heart cui En - ter, lit - tie (^ }' J J J ^ ^ ffi J J J J J°TB = f f au - tumn song- soag- of mine, r r Mer - ri - ly is Bear them love and ^ Pouts and Smiles Nathan Haskell Dole Paraphrased f mm a Dutch Song Game Cheerfully hut calmly J = 108 (Book Thrce.p.lT^) Catharina van Rennes ^^ ^^ J^ 1. Ma - ry, what aijs you, dear? 2. Ma- ry, how cross you are! '^ 3. Ma - ry, come dance and siiig-. ^ ^ m 5 ^=^ zr- ^— r ^ 5^ ^ ^ 3^ 3 ^eE; aE3E f ril f^ f ^ ■Be;). ^Ee;) , mf'' tempo s s F Why are you pou - tiiie? An - ger is fear - full Join our g-ay meas - ure! Frowns on your face ap-pear, Tan - trums like these will mar Whirl with the mer - ry ring:, All sun- shine' Hours bright ajid Laugh and give f^iH m i ^ ^ w ^ ^ ^: 9^^* rit. a tempo s €*-^ Tit pp r\ 5 ^ ^ ^ ^ ^ rou - ting"! cheer - ful ; pleas - ure ! Wipe off that naugh-ty tear, Ma - ry, They leave an an-gry scar. Ma - ry, Pique is a fooi-ish thing:, Ma ry, Ma - ry Ma - ry Ma ry 2i ij. ^ m J# gg ^ 1 PP i # ^ ^ rf 21 ^Merrily J=152 tiui Tra, la, la, la, la, la, la, la, la, la, la. la! Tra, la, la, la,la,laja,la, la, la, la, la! m^^ m. m/ T $ S i r # A.J. ^ i ?;£ ^= 178 A Suggestion for a Happy New Year Mary Mapes Dodge Allegretto moderato J- = 69 (Book Three,?. 175) Homer N. Barilett Cimposfi for this Stncs P ^ _3^ rT"j' J' ; Sup - pose we think lit - tie a ^ ^^^ ^ n i J n J ^s « m/- i' J j^ ^ ^ ^ J I , > boutnura-ber one; Sup - pose we all help some - one else to have fun; Sup- 'f ' J a J i i' Ji J. J' i J J. j j r TT •JH'' ; n ^ ; ^ f ^^ f "^ n ^ P ^ P F ^ p I P P p ^ ^ P f pose we ne'er speak of the faults of a friend ; Sup - pose we are read - y our own to a - mend ; Sup pose we laugh with and not 279 # ?^ ^ .g- cresc. U •! j'., i ji r * i< . ^^ at oth - er folk; And uev - er hurt a - ny- one just lor a joke; Sup -It — ^ ./ -= ^" i'- J J' F F :~T[' F J' r p ii 'i r r r like - ly we'll have quite a Hap - py New Year; 'Tis l'''ii,ri I'm L^J J like - ly we'll ^ w Fi^-- ./ ^^ 1 5E I' f P ^^ I have quite a Hap - py New Year! cresc. ^ ^^ « ^''-^ ^ ^ •- i80 The Swing (Book Three, p. 178) Robert Louis Stevenson . Animate J ■ = 60 Julius RontgBn Cornpoted Ur tbt- Sen'- i ^ i?^ ?=J^ ^A-glU^ ::?==: in u 1 . How do you Like to go 2. Up in the air and '3 Till I look down on the up in a swing- ? - ver the wall, g-ar - den green, i s^ s SsnP^ i =*^ ^ =?^ ^ How do you like to go up in a Up in the air and o - rer the Till 1 look down on the gar - den ) tt ^^^^ ^? ES V-g / ! Jj r J ^ ^ ^ a'lJJ F ' F ^ i \\ .^ j^ r F I r- n r r ^ ^ -K r up in the air so blue? Till I can see so wide, Down on the roofs so brown , i $A N t. f y r Oh, 1 do think it the Riv . ers ajid trees and Up ill the air I go «* • • ) —4- ^ m ^ swing? Up in the wall , Till I can green, Down on the air so blue? see so wide, roofs so brown , ^ i ■/ i\ ^ ^ Oh, I do Riv . ers and Up ui the f '.HI 4db?= ^ ^ cresc. I i' i' f r pTT g- B p 4 pleas cat fly ant- est thing-, tie and all, ing- a . g'a'in, Oh, I do think it the Riv - ers and trees and Up in the air I go r pleas -ant - est thing cat - tie and all, fly - ing" a - gain, iA, ^m i^ ^'' I J', i' i'' ^^^ ^ ^^ ^ think it the pleas - ant - est thing, trees and cat - tie and all, air I go fly - ing a - gam. =r Oh, I do think it the pleas- ant- est Riv - ers and trees and cat - tie and Up in the air I go fly - mg a - J. J^J J- f t» j 55^^ fe^^a ^m M cresc ^ S 33C Ji ^^ r- Ev - er a child, Riv- ers cind trees Up in the air, 1 p . cresc I fc^ ^^ ev - er a child - ver the co««i up in the air < can try and zzz m E f thing Ev • er a child, adl, Riv - ers and trees gain, Up in the air. ev - er a child can o - ver the coun - try up in the air aad T. M. Vol. Ill— 10 :82 Annie Willis McCuUough J-= 60 The Green World (Book Three, p. 174) E^ Vincent d Indy 1. It's such a green and sun- ny world 2. The sun -shine plates the world with g'old ; f4 i' l i ^i =?=F Out where the spring" things grow, Blossoms pour out their sci nt : ) i P^^ ^ TZ r ^ rT2 ^ ^^ ^ ^ s ?^ 'i,i'it,fuhirhi ^ Out where the blossom bran- ches sway, And where wild ro ■ ses Breezes play tunes that make you dance As if a waltz were blow! meajit ^.', , « j J A. 1 ^ < i m r «^ ^ i V The The ^ r=r T — rr^ ^ ^ ^ ^ b!> D » J u- i ^'^ \ } M l ' I s i birds are sui^ - ing- cho - ru - ses In ev - Vy way - side tree, brook flings out ca - res-singf arms Where ferns and nios* - ses thrive; .\nd Its ^^^M k=i^ E^fe E i ;'i J. ^ ■it TF" ? ^ ^ i. r X m !^ J- J7 3 i i.. "JW m ^4 ^P r P. ' 7 p ^ ^ sorauchlhats won - der- ful To ^ H ^ ^ there s such a green cJid sun - ny world >^* ^^ To smell I'm g"lad and hear, to be P, and see! . live! 5 ' ^ j ^ V 1' ■, ^ j : ^ p^^ 1^^ ^^=H 28.7 The Joys of Summer (Book Three, p. 185) Miriam Clark Potter From the Dutch Catheirina van Rennes lM~ffJJ\Tl~i /TriTj ; i ^ ^ 1 . I love the warm 2. The flow rs ill the -"Aii w pi^'^^r p r j-'iLX f F M P ^ ^a^ sum- nier,With beau-ti-ful days, mea - dow That sway as I pass, Fur then I may wan - der In out - of- door The fish in the riv . er, The sheep in the ^ ^ J^ J J- J . j\ J^J i t==m ^m ^r r f i^ plays. The sun is so gol - den. The gar- den so grass, The bird as ii car - ols, The bee as it fai r ; The breeze comes to hums; They wel-come the R rrn j fs^^ meet me. And blows in my hair. _ bum-mer As soon as it comes!. i- S p F p i ^^f^ii-^ r'^'^^' ^^ F i ^ ^ s f 284 In Life if Love We Know Not ^ . ^ . ^ „ „ , , CANON IN THE FOUTH BELOW Fnednch V. Bodenstedt (Book Three.p. 181) A Allegretto J = 66 Carl Reinecke ^^ ) >^!>;j ^ ^ ^ ^ f ^ ^■r — "T ^ g ^ l -£jLi±J' I i ' "^ ^ i ^ ^"-^J* '^ ^ J^^^-CJI^ ^Jtw ■iw * "E.^. ^EeO * ( P ^S ^ know not, 'Tis as vines where ten-drils grow not , fi^''' , ^ }■ } J' , h J' ^ life if love we know not. 'Tis as vines where ten-drils d^ - J J »- If t r r n n n « m *-» T ■aw M A ^' '^ ^m tiir: ^r f T r ■sEeJ * 285 ^^^ ^ ^^ -TT- found hot . i^ ' J' J' J' i As vines where grapes are found not. \ "^^^ r r r r r r<3 "Til i^ ^ lio ^^ f "jJ^ f - r TAt%J^ ^3s * "EW. 286 i i Sp^ ^^ m m ^ r\^ / ? reave thee. TJiese two be ■ w; i ^ $ r r r 1 ? r *y all fatt be - reave thee, r r These two be i S fc^ v.. J.,.. ; ^^^^^ gJgljLli ^ ■ea^ ^ 3iztq iinm m r '/id * -lu:) 'jij ♦ i ^ I I i iz=d leave thee, These two be i m nsi ^^ i — M * ■ware it leave thee, dim. m ^toti/ ^ft "Et^ -^ * V •2^ 2fi: i^ ^ Tnese two it leave thre. rnli In caluttdo T^ be - Wore. it leave thee. !>- ^ 'fffff^^f i I dotce ^^^tii i calando ^ m rj_z± ■2^ - a tempo -»■ T? 1U.) * ^ ;' J' W- ^5=3; =^=^ ? * W t ^ / 'Tis as vineswhtTf t«jii-drils Jife ^ if luve we kiiow not, ^^ In life ,* a tempo if love we know not , d ' ^ * m ^^^t ^ ryiiruj =^ ">/ ^ fe i_JZW_ ^= 5f^^ s * " L- ^^^ -EpJ * "E^ * ^ _z. ^ not ; In life if faith a ^^ J' J' ; ^' ^ Tis I as vines where ten - drils g^row not ; ^S£ i ! J J ^ ^ r L.r j -^ ^^ , , -^- =»? "St^ %A ■^0 S8 i dim. ^ ^ p r I'P F T ^^ ^ buuud not, 'Tis . as vines vsiicre grapes are found not, arc ^=?v: ^ ^ ^3 ^ =(^ In life if faith a - bound not, 'Tis as vines wheiv grapes are ^ 3 J. ^ # i-fj tp f. ^^ fflr^fn £^ ffl ^^ ^ ^ •Er-I ^t '^tW. * ^iieJ ♦ 'iW '&> ^W1 ^I2e^. * 'tcb not. d5 ^ found not . FroiH The Messiah He Shall Feed Mis Flock (nook Thr.T.p. r.)2) 289 1^ ! r , I r ^ Georg¥ Frederick Handel ^^ « ) H — F ■ • .i' M M S ^ *-• # *— #r i^ Hi' __ shall feed His flock like a shep herd, and Hc— shall ^aih-trthc ^ #W ^^ ^ ^ rfr *=?^ M"^ ^^ SI ^P 1 I y ^ -«y-^ i ?F=F^ IE 4s== T^ J^JJ' j. y H-f^-^n^ V I ^ " u lambs —Willi His arm, @ fm with .His axn. ; and car - ry them. ^ ^^* ^Uji^ g K ! ! ^3 ^ ' t ^g < ^r:! ^ A J J' ^^ i> * * * * »• *^ S ■■ ' '- N .' I ' .V r r • r B b r f! r F ^^=f ^ S ' s ^^ir r^ ^ ^ m Hib bos - cm. aiid gfii-tly lead — those that are with young-; and ^ J N I — ^-^- i^i J^ 4 i ^S ^ ^ ^ ^>i^-.[-> ^ 31 a=* r-^r pr pmr * * -^ '» fy ^t^^^p I ^! p ^£ - i._j j'r»^ r ^ # 3 gi^^ ^s ^ r p ^ =Fqs= *=^ g ^ W J ^ gen . tlv lead, -t 1-- :i^ and gen — tlv lead _ those that are 'Aith young-. ■^^ :J=^ J: J J'J-J tCt c te ^ 1 r- f^ -#-= — •- 290 Abbie Farweil Brown From the SzL-edish Semplice J • = 69 Winter Longing- (Book Three, p. lb-}-) Wilhclm I'eterson-Rerj^er g ,/■ J- J '■ B ire Leaf - y wood -land ways, Now lor you my hfart is sigti - ing-!- i ^ f iat fnf fj ^:t- TT f ^ =i^=^ ^ ^ ^ 7 W %^- ' fa '- i- ^-^• t P i w r ?^ y r- T: j'JJj'j - [J .h I ;J [;^^#^ =^=P ^ .■Vh.the flee -ting- hours Spent a- m'ong- the flow rs, Ail too soon tlieir beauty dy - ii.g-' 2. In the ap-ple tree S\\Tng^iig-hJgtj and free, 3. Yes,thespringis near ;Soon she will be here, 191 * / ^ ^ 'I* F r P * ^ Sway-iiig- to ai.d fru so lig-h - tly. La -den witii her ver - daiit trea^ - ure. Like_a birduas 1 ■ Floating- thro the sky, Sun-anddtnv and rain Soon wiLl bring- a-gain =^^ = 4= ^Ek i ^^ s £a f=P i5~Tr 3^^j: f :?i= i ' ir 'r ^ -^ nY. .££- ^ ^ a ^ J ^' * ^ :t:J=e And my heart was singing- brigh - tly. All the rat-r- ry suni-mer pleas - ure Then good- b\; good ■ by, Drear - y win-ter sky, Then good -by, good -by, Drear - y ■winter sky, ^ ^^^ i 4? ^ ^ d » -- f i ' W I!LJLJ\ w pp^ )^ Ui «-: ^ ^ t^E^ -T»-»-- i ".'/• e ^ ^ I 2^ ^= IT ^ * • ^ Prost and cold and wic - ked weath - f r. Sunbeams kjnd and wnnii * i j==r^-^^ ^ r^rg^ 1.5 ■• m/- S 5E ^ ^^ -f -nr- t5- /*; ' * ^ zizit --• — -!- K I Soon will work a charm; Snow ai.d grief will melt to - gelh - er! i ^ ^ p r, r : •i ^ ^1 ^f NV-^7-jr-^ I T _lX' 292 Come, Thou Almighty King (Book Three. p 19:?) [ ^ ; J J I J-^^ F. d'> Giardini ^ ^ f mig-h - ty TT 1. Coiin', Thou AJ 2. Come, Thou All - gra - cious .3. Ncv . er from us de Kin<,-! Lord, part ; Help us Tliy By heav'n and Rule TTiou m i J: ^i-J J ^ 1 A ^ namt- earth i 1 to a r ' M r ' ^- i i * ^ r^ f praise' Fa ■ ther ad\ glo tend' Come, aiid Thy chil more. Thy sov'- reign maj 1 A A 1. ^ sing; dored! heart, 1. Help us to Our prayer at Hence ev . er ia 1 ri . ous, dr^n bless; es - ty M ^ ^^ m $ J I J. ^ J m r g r ' r rf f O'er edl vie - fo - ri - ous. Come and reign o - ver us, An-cient of Give Thy g-ood word sue -cess; Make Thine own ho - li- ness On us de May we in g:lo - ry see. And to e - ter - ni - ty I-ove and a J} 1 1 1 days! scend . dore. 1 ^ r Mrs.M. L.Duncan ^.i Children's Hymn (Book Three, p. 195) Horatio Parker g ^ 1 f=^ ri f' r rjr0 -\xy- 1. Fa-ther, ten - der 2. All this day Thy 3 Let my sins be shepherd, hear me; hand has led me; all for - g-iv - en : Bless Thy lit -tie lamb to - night; And I thank Thee for Thy care; Bless the friends I love so well; T^r \ t f \(' (' f • ^ ,! J J-J , ,1 J^J-J f^^ s ZLC T =§= 293 i J=^ f^M i^^ '^ ^ .1 \ ^^ J II I. I r** ^'"'J I j ^ '- T i ' I ( I I T .1 I r 'I r r ^ Through thf> dark-ness be Tliou near me; Kcfji me sale till morn - in^ ligtit. Thou hast •warm'd me, cloth'd and fed mr; Lis - ten to my eve- nin^ pray'r, TaJte us ail at last to heav-en; Hap • py there with Thee to dwell. S ^y^ . j j^ J , j , .1 J ^ -^^-^ — " I ;- * ^ ^ f I fj " '- rj \ » S J r f r I r (^ r^i r r f r ^ -»- Arthur Tozer Russell i wt -J J Integer Vitae (Book Three,p.l96) Friedrich Ferdinand Flemming" J J I J f i ^ .1 J J f , r r r r ' r t f r ' r f 1. Niglits shadows fall - ing-, men to rest are call - ing ; 2. Thou ev - er Hv . est; end - less life Tliou giv - est; 3. Lord of Glo - rv praise we and a - dore Thee! -"V 'i > \r r r I [ - r I r r f r r Rest we, pos Thou watch art Thee for us . J i ^ * t ^^ ^^^^W^ J I J^J> J r r ' r sess keep giv ing heavh- ty peace ajid bless - ing ; ing o'er Thy faith -ful, sleep -ing; en, our true rest from heav - en! i J. i i J J i This wc im In Tliy clear Rest, peace, and plore shi ■ bless •H\y r r I r' c f r I ,^ r < I ^ r r T Thee, "ing ing", L F^ i ': ^', J J I J-.J \ \ • I J" J I J, r P ^ r r Mr ^ f r r ' r-f r J I .J -J I j: f H S f fall - ing down be they are now re we are now pos ^ i u. ^ fore Thee, Great King of cli - ning, All care re sess - ing Thy name con J-J J , j" J ^ glo sign fess ryt iiig^. ing. i- (' ^T 294. Jaint's Montgomery Portuguese Hymn (ADESTE FIDELES) (Book Three, p. 194) John Reading (?) di 1 J J I J - J #: -rr 1 . Tlie Lord is my shep ■ herd . no 2 Let g^ood - ness and mer ■ cy, my i r r r shall I kiiow; ti - ful God. want boun r I SlilJ sm la i j-i J J ^ (9 g , J feed in green pas fol - low my steps turcs, safe till I ded I T r rest ; He hove . I r fol meet Thee ?qi=f? J J . J i J J, i * mm^ r T=f i^ i 3=3^ nrj K" * eth my by the J i ^ r ' f' • va - ters 1 low ; 7^ lead seek. soul where the still, path which my fore hro' the fa - thers trod, . ^ I H . ^-J J ^ , J^ i [^ ^ ^ J I J J J J :fei ^ p ■■ r r stores me when land of their wan - dnng-, re so - journ, Thy 7 T^ deems when op King- - dom of y^ pressed ; love ; Re - Thro' the ^ J- J J ^ , J J J , J^J J J ^ Henry Alford The Joy of Harvest (Book Three, p.198) 295 Georg-e J. Elvey ^ ^J J I J J J I J. >J J r^ T-p r r f r «r ' f- p TT f ? r r . . ■ . r . , ... 1. Come, ye thankful peo-ple, come; Raise the song: of har-vest home: All is safe - ly 2. All tiiewdrld is God's own field, Fruit un-to His praise to yield; Wheat and tares to ^1. =^' >f'i^i^Mii'i^ /V:^rf-f I t J- J'j I j'j j jl J J J IJ. J'j JIJ j i ^ rr r ^r r r r r j^ f ' ^ p/ r ' ^ ^ y 'J' P ^ > gathered in Ere the win -ter storms be -gin. God, our Mak-er, doth pro-vide For our^v'allts to geth - er sovni, Un - to joy or sor-row grown.Firsttheblade and then the ear, Tlien the full corn J - .^J ,J - ^J J. J. .V l.J .^ J J ,'i';ii'i'.^^ i m r f I r p r r ' r T T J. j^j I J J j r i=^ j=^ f ' If f ' f T r T^ Be sup-plied; Come to God's own tem - p; n i r r r r ' f ^ be sup -plied ; Cdme to God's own t^m - pie, come, Raise the song of har-vest home, shall ap- pear; Lord of har-vest, grant that we "Whole-some grain amd pure may be. A^JA t k i r ^ n rjnzu-^ r r ' r r I ^^ Godfrey Thring- All That's Good and Great (Book Three, p. 199) ^m f m ^ r ff rT=^ Be it Not an All in TiU with 1. 2. 3. 4 All that s good and Not a bird that Tas and near, o'er May we ail wth great and does not land and songs of true, All that sing Swee-test sea, Moun-tain praise.Whilst on rrr ? IS and is prais-es to Thy top and wooded earth, Thy name a be, name; dell, dore. ^ !-hilSP^f ''-hlim ^ ^M ^ ff m old or be it in - sect on the sing-iiig, sing of an - gel choirs we .. J J J JJ Comes, But Songs Songs r new, wing Thee, raise 2 Thy of of J i r r r f Fa- ther, comes from Thee, won-ders doth pro - claim, love in - of - fa - ble. prciise for - ev . er - "more. J J J J g r^^ ^ r=rr 296 Now with Creation's Morning Song Aurelius Clemens Prudentius (Book Three, p. 197) (5th Century) Ludwig- van Beethoven 1. Nowwithcre - a - tions morn - ing^ song* Let us, as chil-dren of the day,Wi( morn - ing- song- Let us, as chil-drpn of L the day.With pure, so clear, Its own sweet ralm in us in -still! A day g-lides by. May we the bu - sy sens - es rein; Keep love to Thee, Cleaxeves to meas - ure things be-low;Faith i J I ii Nowwithcre - a - tions Oh, may the mom. so 3. And ev-er, as the 4. Grant us, God, in -'^^"'rr fir ^M m ^ t j-j j , j J r -rr' i r ^ J i J-JJ ii ^ i ^^ !| J .' i ^N i J-Jj i i f '( r ' r f ' l' r ' f ;Mr rrr"~rT r ' r wak-ened heart and pur- pose strong, The works of dark-ness cast a - way. guile -less mind, a heart sin - cere, Sim - plic - i - ty of word and will. guard up - on tlie hand and eye, Nor let the co«-science suf - fer stain . the in - vis - i - ble to see, And wis - dom, Thee in all to know ^ r r I f r I r r I r V i r T M r i r r i ^J Oh, Worship the King Robert Grant (Book Three, p.200) J J J I J ^^ n^ Franz Joseph Haydn ^^ 1^ f r r ' I' r ' r r r ■ r cj ' r r=r Oh, wor-ship the King, all glo-rious a - bove; And grate-ful-ly Oh, tell of His might, and sing of His greice, Whose robe is the Thy boun-ti - ful care what tongue can re - cite? It breathes in the 1. 2, 3. ,^ J J J j J ,^ ^ / ^ ^ 1^ L^4 r^ J J I ri J ^ i e ^ ^^ i * 'S r f ' u f r ' r r f r r fen - der, the wrath the deep hills, it de - sing His won - der - ful light, Whose can - o - py, air. it shines in the love; Our Shield eind De space; His char- iots of light; It streeinis from the ^ 1 i J J. ^^ i J i i J r7^f~i ^ 297 l. Ill 298 Matthias Keller Maestoso The American Hymn (Book Three, p.202) Matthias Keller ^^^hl^4 i ^^-J-J "TTt^TT^ 3E 1. Speed 2. Fore 3. Faith 4. Rise J T==r our Re most in ful and up, proud ^ I i i pub - lie, bat - tie hon - est ea - g-le, i J. M f r f- for to rise i Fa - ther on frcp - dom to friend and to up to the i=J= high I stand, foe, clouds ! i ^-M ^-^4J r=*=^^ ^ W ,j J I J r=f ^ T=r Lead We WiU us in rush to ing: to Spread thy broad ^ i path - ways of arms — w-hen a die in hu wins-s o'er this jus - tice and roused by its man - i - (y's fair wes - tern i 'i r right! caJJ; cause, world ! J J . . 1 I I r r I i-f ^w^ $ n f r^ well — as the ruled yore — when George Wash fy alJ ty - ran beaJt— our detir baji ^cresc. ^ J. ^ one ing ni - ner and ton cal of aU, led, pow'r, old! i J- A \i' iL, 1, 1 ; I r 299 ^ 3^ ^■^ Haul' three times Hail' three times Hail' three times Hail' three times hail ^ hail, hail- hail. to to to to Our our our our coun coun coun cOun try diid try and try and try ajid n''t' f r I ^~^ m ^i 4 J . ^ -LJ- r nag' flag:! flag! flaff! ^ r r p JS^ ^^ JL ^ f=f T^rf Rul - ers as StiU, as of Thus we de Fling from thy well— as the ruled. one and yore when George Wash - ing - ton fy — aJl ty - ran - ni - cal beak our dear ban - nor of all, led. powr. old! ^ 3^ M i— i i i TT A '' r ri r-r r ^' if f ;af ^ :^ ^ ^ r 7 r ' r r r f r ^ i Gir - die with Thun - ders our While we con Show that it i i J VI r war tend still tue the cry, "Wo for our is for mor of quer or ar con Un - ion and free - dom un might! fall!" laws ! furlJi! S ^^ J J J . J i- ^ , 4i m «=♦ =FT f^ • ■*- jd I I hn ! m s r=^ -pr Hail! three times Hail! three times Hail' three times Hail' three times hail hail hail hail ^ m4 to to to to i our our our our coun coun coun coun r try «ry try try J . J J. and and and and S flag:' fla^! flag! fla?' 300 The Star-Spangled Banner Francis Scott Key m ^ (Book Three, p. 204) >=-h- John Stafford Smith i ^ Tt.~-T ; ^ r=Psr^=TT 1. 2. 3. 4.. Oh, On the And Oh r say, can you shore, dim - ly where is that thus be it see, seen band , e'er by the thro' the who so when dawn's ear - ly lig-ht.What so mists of the deep, Where the vaun - ting--ly swore That the free - men shaJJ stand Be - J ^ i J -'n'''/ F-p I r L^ tt J J J , J ii^A- m ^^ ^,^'' j j J i' "P ^ r r' ^ ' ff ^^ ^ r=f r gleaim - ing?Whose broad pos - es. What is fu - sion A la - tion! Blest with 1 J ^^^ proud - ly we foe'6 haug-h - ty hav - oc of tween their loved hailed host war homes J J J . i at the in dread and the and the twi - light's last si - lence re bat - tie's con war's des - o jLj =J= ^ ^F^ ^ f= -/^ =^i=^ 1 ^ \— - f f stripes a: that whi home aji i vie - t'r d ch d y r brigtit the a and ■J stars, breeze, coun peace, P P through the o'er the try should may the r r per - il tow - e leave u heav'n-r r - s es - 01 in n CL S S ed H r tight, steep, more" land O'er the As It Their Praise the P^ . ' r I I 5 P I > r p I r s^^ f= P^^^ nh^ J J J 1 K j) 1 =^h p= -" • ^ ^ r ^ rcim - parts we fit - ful - ly blood has washed Pow'r that has J J J watched, blows, out made 1 (9 ^i i — '^ P were so half con - their foul and pre - f f ' ■ g-al - Ian ceals, half foot - steps' served us ^ pi tiy dis pol a — J stre£im clos - lu - na - 1 .0 - ing-?And the es? Now it tion. No tion! Then ^ r^ P ^ m 1 —m— — t *: 1 ^ / n \ I h' If I h I ^4 .?01 rock - ets' red catch - es the ref - uge could con - quer we 1 i ■)■■<> c r i the bombs burs - ting in of the morn ■ ingr's first the hire - ling- and when our cause it is >V i 1 i air, Gave beam , In full slave From the just; And fc£ m J J I j-j i ^j I J CHORUS ^ r r r-r '^^ ' ^ ^ ^f ' f ^^' ^ pro0f thro' the glo - ry re ter - ror of this be our night that our flag- »i'as still flee - ted now shines on the flight or the gloom of the mot - to: "'In God is our there. Oh strecun . 'Tis the grave . And the trust!" And the ^^ ^ 4 J , 4-4 ^-\ J j J ^ b-h m r '-^ I r ' ^ ^ l^' J J n J On \ J J ii ji ? r r r ' f r t ' r r r Ff S say, does that star- span - gled star - span - gled star - span - gled star ■ span - gled ban - ner, oh , ban - ner in ban - ner in ban - ner yet wave Oer the long may it — wave O'er the tri - umph doth wave O'er the tri - umph shall wave O'er the r r r ' r r r ' r is^^T ^ ^ ^^ 4- h J I J. i* J i r p p ^ r ^p p ' r- P r ^ land land . land . land . of the of the of the of the free free free free and the and the and the and the home home home home of the of the of the of the J.-- P > X i ^ M J. ii brave? brave .' brave 1 brave! i ^ ^ f 302 Samuel F. Smith America (Book Three.p. 206) Henry Carey r^ -H ^ — i — =fi= =t=] F=#= =t= J ^j,L^ w » r W^ -t~ -f-^ ^—h- P -^ 1. My coun ■ IT. 'tis of thee. Sweet land of •} Mv na tive coun • try. thee. Land of the 3. Let mu SIC swell the breeze, And ring- from 4. Our fa - thers' God, to Thee, Au - thor of O! 8 ■■{ -f- ~f- i 1 ^ ^. ^; J - 4 -1 \ p \h- ■ ^ ^* ( t f Of thee I Thy name I Sweet Free - dom's To Thee we ^ lib no aU T er - ty, ble free, the trees er - ty, ^ J i J j sing-; love ; song: •" sing-: LcLnd where my I love thy Let may Long: tal our I 1 ^^ r r r i'/ ■ M / / / ^^^ fa - thers died, rocks and rills, tongues a ■ Wcike, lajid be bright X i 1 gaE^ Land Thy Let ith I of woods all Free 1 the and that dom's i m pii - tem - broathe ho I grims' pride, pled hills ; par - take, ly light ; Ji 1 ^ tfc f p r i' i^P'i' ^^ i# f=f From My Let Pro ev - ry heart with— rocks their- tect us. moun - tain side Let free - dom rap - ture thrills Like that a si - lence break The — sound pro by Thy mig^ht. Great- God, our ring-, bove . long. Kinff. GLOSSARY Accelerando, accel. (It.) (iit-slu'l-or-cri/i-do). Acicicnitin;; the tempo. Adagio (It.) (a-(/a-jio). Slow. Allargando (It.) (ji-liir-jdn-do). (irowiiij; liroader, i.e., slower and loiulei-. Allegretto (It.) (al-luy-c/n'f-to). Diiniiui- tive of allegro, .slower than allegro. Allegro (It.) (aWa;y-g;ro) . Quick, lively. Andante (It.) (aii-£/a/i-te). Literally, " walk- iiifi;." In leisurely tempo. Andante con moto. Soniewliat slowly, Imt with animation. Andantino (It.) (an-dan-y a chronnitic sign. Double Sharp (Xl- A character which, placed (jn a >itaff degree, indicates a pitch two half-steps higher thaji the ' Frank van der .Stucken Welsh Melody . . . Jean Sibelius .... Peter Christian Lutkin Horatio Parker . . . W. A. Mozart . . . M.vles B. Foster . . Folk Song 797 Georges Bizet 267 Ancient Dalccarlian March . 196 Pane 2'.)f> :jo2 29H 217 204 144 125 •231 . 1.S7 . 2.54 . 206 213 Margaret Kuthven Lang . .120 E. R. Kroeger 171 Robert Franz 1 50 George W. Chadwick .... 190 Swedish Folk Song . . . .130 Peter Christian Lutkin . . . 2(11 Maurice Moszkowski .... 200 Rk. Ill 199 206 202 106 94 26 s 181 62 152 95 102 89 164 88 195 170 21 38 168 37 193 76 56 87 12 49 31 68 12 153 91 MaxBruch 235 132 J. Neander 173 52 Hebrew Melody 229 127 Joseph Gersbach 155 38 Horatio Parker 179 54 A. M. Myrberg 168 47 Anton Dvorak 238 137 Hugo Kaun 25(> 154 Swedish Folk Song .... 186 62 Mrs. H. H. A. Beach .... 224 124 Russian Folk Song 139 23 Karl WahKstedt 219 108 Folk Sons 20!) 39 Vincent d'Indy 282 174 Felix Mendelssohn-Bartholdy. 276 171 Gypsy Melody 147 28 Catharina van Renues . . . 156 French Folk Song 143 E. Humperdinck 248 George Frederick Handel . . 289 Felix Mendelssohn-Barthf)ldy 226 Horatio Parker 172 Attributed to Stradella . . .140 Carl Reineckc 284 Swedish Folk Song .... 198 .\ncicnt Gaelic Song .... ISl Friedrich Ferdinanfl Flemming 293 Thomas Morley 207 to Book Three. 34 27 147 192 118 48 23 181 90 60 196 98 300 Title *.I:uk I''rost .... *JinKlt*, .lingle . . . ^oy of Harvest. The Joys of Summer. The Kathleen .\roon Lad.vbird ♦Lavenfloi' Ht'ds, The . . 1x^:1(1. Kindly Lii^ht . . . Lincohisliire Poacher. The ♦Listi'iiiiit^ Woods. The . . *Lull:il>y Maid and the Brook. The Mandolin Song . . , .Maypole, The .... *Mcadow. Tho .... Milking Time .... Minuet. The .... *MorninK *Morning .Song, .\ . . . *M.v Betltime . . . , My Boini.v Pipes . . . Naples National H.\'nin Naught.v Lisettp . . , *Near .\utiinin ... Nightingale. The . Nightingale. Sweet .Nightingale Now with Creation's Morning Song Oh. Worship the King ♦October Song . Old .\pple Tree. The On the Ling, Ho ! *Owl, The . . . Passing of Summer, Past Three O'clock' ♦Patriotic Hvinn . Pearl. The . . . *Pippa's Song . . Portuguese H.vmn Pouts and Smiles Praise to God . . Prince Baby . . / Punchinello . . . Race, The . . Remembrance Boucpiet ♦River Path, The . Robin Cioodfellow ♦Robin Redbreast ♦Robin Redbreast Told Me The ^'he / Sailor's Life, A , , . Sandman. The . . . ♦Sea Princess, The . . ♦.Seven Swan Ladies, The Singers of the Sea. The Sleep, My Child . . SnowJBakes, The . . ♦So Ignorant . . . ♦Song for Hal, A . . ♦Song of the Winds . Southland, The . . Spring's Messenger . Squirrels, The . . . Star-Spangled Banner, ♦Suggestion, A . . . Summer's Done . . ♦.Summer's Good-by . Swallow. Swallow . ♦Swing, The .... The INDEX OF SONGS .■\utiior or Source Kate Louise Brown Lee Burns ... Henry .\lford . . . Miriam Clark Potter Mrs. Crawford . . William Brighty Rands .John Henr.N' Newman Tratlitinfuil .... Ida Whipple Benham Fraitk Dempster Shenn Frederick H. Martens .\bbie Farwell Brown Tradifionat .... Minnie Leona ITpton Margaret .\liona Dole John Fletcher . . . .A.nna M. Pratt . . . May Elizabeth White Alice C. D. Riley . . .\bbie Farwell Brown D. C. Roberts . . . .\bbie Farwell Bnjwn L.aurence Alma-Tadema Traditi/iual .... J. S. Stallybrass . , Ilk. T. M, Ill Composer or Source Pilgc PHIfl^ H. Clough-Leighter . . . . 264 Kil' Harvev B. Gaul . . . . . 157 AH George .1. 101 ve v. . . . . . 295 lils ('atharina van Reiines . . 2f<:j 1«5 Franz .Vl)t 18U Robert Schumann 275 Frank van der Stucken . . . 246 John B. Dykes 178 English Folk Song 182 Rudolph Ganz 158 Charles Villiers .Stanford . . 25S Russian Folk Song 1 12 Spanish Folk .Song 15S English Folk Song 1.3S Howard Brock way 132 Norwegian Folk Song . . . I'S'.i W. A. Mozart 195 Arthur Farwell 252 Ermanno Wolf-Ferrari . . . 265 Horatio Parker 224 Scotch Folk Song 142 Italian Folk Song 162 Horatio Parker 1 77 French Folk Song 17(1 Horatio Parker 163 English Folk Song 184 Russian Folk Song 203 Aurelius Clemens Prudentius Ludwig van Beethoven Robert Grant .... Frank Walcott Hutt . . Nathan Haskell Dole Bjornstjerne Bjornson . Laurence Alma-Tadema Alice C, D. Riley . . James Fortescue . . May Morgan . . . M. Louise Baum . Robert Browning . James Montgomery . Nathan Haskell Dole Anna L. Barbauld Louise Stickne.v . . Abbie Farwell Brown May Morgan . . . M . Louise Baum . , John Greenleaf Whittier William Allingham George Cooper . . Nellie Poorman Genevieve Fo.\ . Richard .Aldington Josephine Pollard . . Ann Underbill . . . Wilbur Weeks . . . Eunice Ward . . . Laura E. Richards May Morgan . . . Margaret Aliona Dole Hoffman von Fallersleben Nathan Haskell Dole Francis Scott Key Mary Mapes Dodge . May Morgan ... Elsie Cobb .... Alice E. Sollitt ... Robert Louis Stevenson Neapolitan Folk Song . . . 154 English Folk Song 123 W. Otto Miessner 186 Franz Joseph Haydn . . . .121 William G. Hammond . . .232 John Reading ( '? ) 294 Catharina van Rennes . . . 277 Conrad Kbcher 297 aC. Boivie 14s French Folk Song 22(1 A. Danhau.ser 136 Neapolitan Folk Song . . . 146 George W. Chadwick . . . .128 .\ncient English Song . . . 167 Fr. Gernsheim 228 Julius Rontgea 220 Hendrika van Tussenbroek Catharina van Rennes Max Bruch .... Walter Morse Ruminel English Folk Song . . Neapolitan Song . Horatio Parker . . Daniel Protheroe . W. Otto Miessner . W. A. Mozart . . Robert Schumann . Folk Song John Stafford .Smitli Homer N. Bartlett Norwegian Folk Song Reginald de Koven Franz Joseph Haydn Julius Rontgen . . 222 '. 230 . 240 . 174 . 182 203 . 164 . 148 . 234 . 188 . 262 . 223 227 . 300 . 278 . 140 . 242 . 124 . 280 1G3 145 53 57 36 156 25 32 22 13 15 88 150 169 116 24 40 52 46 42 59 93 29(1 197 Franz Joseph Havdn .... 296 200 Rudolph Ganz 237 149 Folk Song 1S1 58 Halfdan Kjerulf 101 39 Granville Bantock 134 16 33 6 61 5 129 194 173 201 30 109 17 28 11 45 119 114 115 128 138 50 56 S2 41 30 134 63 158 117 125 204 175 24 139 7 178 INDEX OP SON(;s Title To the River . . . ♦Travel *Tro<>-Toi> Duet, A . *lVee-Top M<)rniiij»s. Trout, The . . . , Welcome to Atitumn Well Met, Well Met *Wliat I Love . . . *\Vhen I Co Out on My *W1rt(> Co the Winds *Wi.i(l, The .... A\"inter Clouils . . Winter Longins; . . ♦Word. A heel .\utlior or .Source 8u.san Jewett .... Robert Louis Stevenson Ethchvvn Wetherald A. J. Foxwell . . . Pauline Frances ( 'ami Traditional . . . A. .1. Waterhousc , Martha Hanlej- Robert Louis Stevenson Mar*;aret Aliona Dole .\bl)ie FarwcU Brown May Morgan . . . Ye Olden Christmas f'ompo.scr or Sdurec LudwiK van Ucethoven . Daniel Protheroe . . . Marshall Hartholomew . Peter Christian Lot kin . Fran/. Schubert . . . . T. .M. Page . 1122 . 210 . 176 . UiC, . -211 Peter L TschaikowsLy . . .127 Knglish Folk Song 152 Hugo Kauti 250 Peter Christian Lutkin . . .210 Adolf Weidie 126 Victor Herbert 244 Folk .Sons- 18!) Wilhclm Pctcrson-HerRer . . 290 Peter Christian Lutkin . . . 1S3 . Seymour Barnard French Christmas Carol * Comi)Osed for The Prooressim Musi^ Scries. lf.5 307 Hk III I'UKC (> 104 51 44 101 10 ;i2 148 100 9 144 Gi 184 5S 43 NOTE For the convenience of teachens, the variation.s as lietween this new previous editions, also as between the new and previous editions of B(k> Manual, New Ed. Page All That's Good and Great 29.5 America 302 American Hymn: The 298 Beneath the Lilies . 254 Boys' Song. The 267 Children's Hymn 292 Child's Fanc.\-, .\ 272 Come. Dance with Me 270 C«me, Thou Almighty King 292 Dragon Flies 261' End of Summer 235 Flowery Omens 238 Fountain, The 25(> Green World, The 282 Greeting 276 Harvest Slumber Song 24S He Shall Feed His Flock 289 In Life if Love We Know Not 284 Integer Yitac 292 Jack Frost 264 Joy of Harvest. Tlic 295 Joys of Summer, The 283 Ladybird 275 Lavender Beds, The 240 Lullaby 258 Morning 252 Morning Song. .\ 265 Now with Creation's Morning Song 296 Oh, Worship the King 296 (_')ctober Song 237 Portuguese H>-mn 294 Pouts and Smiles 277 Praise to God 297 Sea Princess. The 240 Skating Song Song for Hal, A 234 Southland, The 262 Star-Spangled Hanner, The .'JOO Suggestion, A 278 Summer's Good-b,\- 242 Swing, The 280 What I Lo\-e 250 Wind. The 244 Winter Longing 290 Omitted By the Rain Daybreak Roses Scotch Piper, The Yea and Nay edition of Manual. Volume 111, and k Thri'c, are given below. VoLUMF, III Book THro;K FormcT Ed. New Ed. Former E Pugi- Page I'agu 303 199 199 310 206 •206 30(1 202 202 25N 152 152 271 164 164 300 195 195 278 170 170 274 168 168 300 ]93 193 243 153 153 234 132 132 2.54 137 148 264 154 156 290 174 174 •282 171 171 •236 147 134 ■297 192 192 292 181 181 301 196 196 26.S 162 162 303 19.S 198 291 185 18S 270 163 159 252 145 146 260 156 154 256 150 150 27(1 169 169 304 197 197 304 200 200 251 149 149 302 194 194 2!S3 173 173 305 201 201 244 138 13.S 1.57 158 •240 134 136 2(!6 1.5S 160 .30,S 204 204 286 175 175 24(1 139 139 28S 178 178 23S 148 135 •248 144 144 298 184 184 250 145 284 172 241 137 263 155 281 161 h U"'''eraf«y of California Jsma^^J^^ REGIONAL LIBRARY FACILITY W5 Hllgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which It was borrowed '— \ LIBRARY amped below. MUSIC LIBRARY MT 9% P22p mar.ual V.3 D 000 075 674 2 IIVER: JL ^ S OUTHERN BRANCH ^TRAINING DEPARTMENT ■ California at Los kxm.^^ *i^BJIi^© SCHOOL hJHUkY,