Southern Branch of the University of California Los Angeles Form L-l This book is DUE on the last date stamped below iviOO hRII MAR 2 01944 NOV 3 1961 Natural Music Course HARMONIC SECOND READER BY FREDERIC H. RIPLEY PRINCIPAL OF THE PRINCE SCHOOL, BOSTON AND THOMAS TAPPER LECTURER ON MUSIC AT THE INSTITUTE OF MUSICAL ART OF THE CITY OF NEW YORK 47204 NEW YORK .-. CINCINNATI .-. CHICAGO AMERICAN BOOK COMPANY Copyright, 1903, bt FREDERIC II. RIPLEY and THOMAS TAPPER. Entered at Stationers' Hall, Loiidon. Harmonic Second Reader. E-p 5 PEEFACE. Each book of this course makes an addition to the child's available supply of art material which is actually definite in quality and in quantity. The things to be done are perfectly simple and entirely easy in them- selves, and yet the resulting possibilities are almost infinite. It is as if a new color were added to a child's paint box, which in itself were as simply and as easily managed as any of its fellows, but capable of being com- bined with them separately and in any grouping, so that the addition of this single one brings out a vast variety of new effects. The presentation of the new music elements is clearly explained in Chart Series E of the Natural Course in Music. The new developments which arise are treated, in this book, in exercises and in songs. The work is now so varied as to become not only a matter of intense interest and delight, but a means of mental discipline of the greatest value. The increased number of new combinations possible makes necessary some enlargement of the original plan, but the cycle idea is adhered to so that thoughts presented in simplest form at first appear again and again in new and varied aspects, until by the repeated impressions made upon the mind they become entirely familiar. Special care has been taken to provide for every department of the work, so that the aesthetic sense, the voice, the ear, the eye, and the hand, as well as the general intelligence, receive full exercise. The studies in vocalization and the control of the breath are selected from the works of the greatest authorities on these subjects. These exer- cises are invaluable for promoting clear and rapid enunciation and articula- tion, as well as for the cultivation of a pure and musical quality of tone. New Second Reader. (3) 4 PREFACE. The Dictation Exercises tend to cultivate acute and intelligent hear- ing. This is a department of work first introduced in the Natural Course in Music, but now recognized by all as an essential element in music training. The Sight Reading is founded upon a simple but efficient principle for training the eye to recognize rapidly and to interpret correctly music symbols. The written dictation trains the hand and perfects the pupil's power in the vise of music signs. The general development of the subject along artistic lines calls for the constant exercise of the pupil's understanding, in a highly interesting and profitable way. The influence of this form of music study is highly beneficial to the moral tone of the school, it opens the mind for the reception of general instruction, and aids in every department of education, but beyond this it gives the pupil a power of appreciation, and an ability to do, which will be influential for good throughout life. Nw Second Reader. DIRECTIONS. Vocal Culture. The compass of the child voice at the age when this book may be used includes fully an octave and a half of tones, represented thus : Most children can sing both higher and lower. All children in normal condition can sing these tones if properly trained. The music in this book is based on this tone range, with an occasional tone above or below. Proper Training secures (1) the right method of tone production and (2) a free, light, and flexible quality of tone. The Registers The terms head tones or register and chest tones or register refer to the way in which the tones are produced as well as to the quality of the tones. For our present purposes it is necessary for us to understand simply that the higher tones in a child's voice-compass must be given with the head quality, and that the lower tones must be given with the chest quality. At some point between these two extremes the child must change his method of producing the tones, but if he starts with low tones in the chest register, being inexperienced, he will try to render his entire compass without changing his method of tone production; he will strain for the high tones, and, failing to produce them, he will conclude that he can not sing so high. But if, on the other hand, he starts with a high tone well within the head register, he will descend easily, his vocal organs will relax naturally, and he will pass into the chest register without being conscious of any difficulty. Practice soon gives him confidence ; he realizes his capabilities for rendering high tones, and so becomes able to sing up as well as down, and soon enjoys a wide compass, and sings without injury. Therefore, train the voice downward. New Second Reader. '"/ 6 DIRECTIONS. The Exercise Begin with Eb, D, or C, and sing thus : iiEE II Be careful to start on the pitch, and to test the pitch at the close with a chromatic pitch pipe or instrument of some sort. The Position The pupil must sit erect, with feet squarely on the floor, the body well balanced, leaning neither forward nor backward, chin drawn back, hands at ease, chest well elevated. Breathing Exercise The scale from different pitches may be taken slowly, four counts to a tone, as a breathing exercise, thus : l^H -g* g- -cr -- -^ g- -& cr -g* gr m -- fi- 3f-8 g igr -g gr I Flexibility and Clear Enunciation Exercises for the cultivation of flexibility should be carried well up, changing one step at a time, as illus- trated below, until the top of the register is reached. Slowly at first ; then rapidly loith clear enunciation. ft-o Ff^-F?3-ff?3- I^ ^^^^ ^^^^ ^^g^^gj ^i The tones should be sung with the syllables Do, Ti, La, Sol, Fa, Mi, Re, Do, and the use of the lips, tongue, and teeth in securing clear and rapid enunciation should be cultivated. The Re, with the rolling r, will serve as a good test. When the pupils can roll the r easily the tongue is probably used properly. New Second Reader. DIRECTIONS. 7 Besides the syllables already given, vocalize on various vowel sounds, as a, e, oo, and with such combinations as loo, boo, bell. Open every lesson with a vocal drill selected from the book. Vocal drills are also to be used in introducing and in practicing new rhythmic and chromatic combinations. Additional Exercises. si^ppiiiiiigiigggiiii] Three time* each. The above is an example of the method which should be applied in using the vocal drills given at the head of lessons in the body of the book. Ear Training : Oral Dictation. The course in ear training should keep pace with the tone develop- ment in the songs and exercises of the book. Begin always with very simple examples and gradually advance to the material which forms the daily lesson. Thus the teacher should sing, first, the scale ; then the octave, down and up ; then the arpeggio, one, three, five, eight ; then eight, five, three, one ; then such examples as eight, six, four, two, one. Tbe teacher should give the tones with loo and the pupils should instantly sing the tones giving the names. Major and minor scales and chromatic combinations should be used in advanced dictation. Suggestive exercises will be found in connection with the lessons in the book. These should 1x3 supplemented by selections from the lesson of the day. New Second Reader. DIRECTIONS. Illustrative Dictation Exercises. Major. _.2_ ^ 3=^: js v II II I II > a P=3 -c? <2- --^5>- Minor. 10 11 12 tfe: fe ^jS- Chromatics. 13 14 15 ^^E=^fc^=i ^.^^#2=^1 &V<^&~-\\-& II -^-- 22 -*2-<* II Tims the ear training includes three distinct features at this stage : (1) major combinations; (2) minor combinations; (3) chromatic altera- tions. Written Dictation. Frequent practice in writing should be given. Each pupil should be provided with ruled paper, and at the teacher's command he should indicate the tones by notes upon the staff. The teacher may place the correct Representation on the board and allow the pupils to mark errors. Metric Dictation. The pupils should gain the power to distinguish the various meters from hearing. The teacher may sing such exercises as the following, and ask the New Second Reader. DIRECTIONS. pupils to tell whether the measures contain two parts or three parts. Later, four part and six part exercises may be added. i '- m^. 5 -i- m ii~ ^ :p: =1= -& 1 Written Metric Dictation A perfect understanding of the means used for indicating meters can best be cultivated by requiring the pupils to divide a series of notes into measures, and to place the proper meter mark at the beginning. Thus, the following may be placed upon the board : k t ^rr-T-f^ ^m^^^^ ^ The teacher may sing it carefully with well marked accents, and the pupils may decide whether the meter is two, three, four, or six part. An examination of this exercise shows that it may be either two, three, or six part measure, and the decision reached by the pupils must depend upon the way in which it is rendered. Thus, if it is rendered as an example of two-four meter the divisions would be these : ^=z^ zjv :*=* =1 3 ^^H If three-eight meter is chosen the representation would be this ^mzm^^ ^^mi In six-eight meter the representation would be as follows : fe = -fr~ r+-4- z* & fe^ . _ m^% Exercises of this character are calculated to quicken perception, and to induce care and precision. New Second Reader. 10 DIRECTIONS. Rhythmic Dictation. The various arrangements of tones within the measures which charac- terize the different movements or rhythms, can well be studied by means of dictation ; and this dictation, like the other, may be both oral and written. Thus the teacher may sing the following exercise and require the pupils to tell her the content of each measure, assuming of course that the pupils are aware that the meter is two-four. [ffiSlS^ Jzzwz PEig -- N- II Tests may be written, and the standing of the class recorded. The development of tone and of rhythmic perception may be greatly advanced by encouraging the children to write familiar melodies from memory. Original Composition. Pupils should be encouraged to write original melodies involving the forms and the tonal and the rhythmic elements contained in the lesson. Additional Dictation Exercises. The material of the daily lesson may be used for additional work in the various forms of dictation. Tests Dictation furnishes the most efficient means for testing the proficiency of the pupils, the test being personal, exact, and complete. Order of the Lesson. Dictation. 3. Chart Drill. 4. Reading from the 1. Vocal Drill. Book. Caution Avoid dwelling too long on a single item of the lesson. Do not insist on perfection at once, but note the error and call it up at another time. Make some point prominent in each exercise. The chart pages should be studied in regular order; the references at the head of the lessons refer to special exercises required before taking the sight work. New Second Reader. PART I. Vocal Drill.* S3=S Ch. Ser. E, pages 1 and 3. Ex. 1. Ex. 2. * - ^ II Ex. 3. Ex. 4. E3E3 II * * ^^ =t * *- -*- 3 Ex. 5. Ex.6. EF5F= ig^ ^1:1 j=> *=t= <^- Ex. 7. Ex. 8. II 2- b2t= * #- -4-h f 25 G Clef. Staff. Ear. || Double Bah. I Quarter Note. ^J Half Note. ^ Meter Signature; this means that each full measure contains the value of two quarter notes. * For directions for vocal drills see pages 5, 6, 7. New Second Reader. (H) l'J Ch. Ser. E, pages 1 and 3. Ex. 11. Ex. 12. Do, re - o - do, Ex. 13. ^pB^^ w$ m^mi fj;:2=J=d: EC 4 - * Ex. 14. te^H Si=4: i=p^i=^ I Ex. 15. i=p=fc i T fc J +=W- ee| Ex. 16. fe3 * r*- ^^Hi^Ii Ex. 17. I * * Ex. 18. g^i^g H 2-*=^ ^=F :=*=:* 1ft Quarter Rest. ^ Tie. Two notes representing the same pitch, joined by a tie, are sung as one note having their united value. Ntw Second Reader. 13 GOOD-BY TO THE FLOWERS. 1. Good - by, dai - sy, pink, and rose, And snow-white lil - y too; 2. Good - by, mer- ry bird and bee; And take this ti - ny song, 3. Good - by, moss - y lit- tie rill, That shiv - ers in the cold; 4. A sweet good -by to birds that roam, And rills, and flow'rs, and bees; W i V b F P = =1=3: 5 =t Hi Ev - 'ry pret - ty ilow'r that grows, Here's a kiss for you. For the one you sang to me All the sum - mer long. Leaves that fall in vale and hill Gov - er you with gold. But when win - ter's gone, come home As ear - ly as you please. AUTUMN. F : r= : =r=f =1 EL^ ?=*= = bJ Sf F 1. Now the sum-mer days are gone, Chill - y winds are blow- ing; 2- All the leaves are fall - ing down, Hills and fields are brown - ing, 3. Na - ture now will take a nap, In her bed ne'er turn - ing, m EF F Trem-bling in the Ear - ly goes the Till from trop - ic 3 =t frost - y morn, Stand the cat - tie, low - ing. sun to bed, West with glo - ry crown - ing. land she hears Spring-time sweet re - turn - ing. N Eighth Note. 1 Eighth Rest. st\ Hold. The hold increases the value of a note at least one beat. 8 Sharp. \j Flat. The sharps or flats placed next to the clef are called the Key Signature. They tell where Do is. The last sharp in the key signature is always on Ti or seven of the major scale. The last flat in the key signature is always on Fa or four of the major scale. New Second Reader. 14 Vocal Drill. E ^jsgT^g jg; Ch. Ser. E, pages 1 and 3. Ex. 19. isgli Do,mi - o - do, Ex. 21. 3=^=3 :c II Ex. 22. Ex. 23. Ex. 24. -* * -0- II Ex. 25. ,4 ^ Metee Signature ; this means that each full measure contains the value of four quarter notes. -- Half Rest. ^ Whole Note. ^. Dotted Half Note. The dot in- creases the value of a note one half. <=* equals <=> J or J J J The scale beginning and ending on La is frequently used. This is called the minor scale. The key signature remains unchanged, however, so that it is by noticing the tone effect that we discover that La instead of Do is the keynote or fundamental of the scale. Which of the above are major and which minor exercises? New Second Reader. 15 ABIDE WITH ME. Henry Francis Lyte. William Henry Monk. 1. A - bide with me! fast falls the e - von -tide; The dark-ness 2. Swift to its close ebbs out life's lit - tie day ; Earth's joys grow 3. I need Thy pres -ence ev - 'ry pass-ing hour; What but Thy 4. I fear no foe, with Thee at hand to bless ; Ills have no =t thick - ens, Lord dim ; its glo grace can foil weight, and tears --#*- J I . with me a - bide; When oth - er help - ers rics pass a - way ; Change and de - cay in the tempt -er's power? Who like Thy - self my no bit - ler - ness. Where is death's sting: ? where. m A ff-ft-j 3 -s*- . -4=t 3^ ^rdr II fail and com -forts flee, all a - round I see ; guide and stay can be ? grave, thy vie - to - ry P Help of the help-less, oh, a - bide with me Thou who chan-gest not, a - bide with me Thro 1 cloud and sun-shine, oh, a - bide with me 1 tri- umph still, if Thou a - bide with me Lively. THE DREAM MAN. 1. Through the dark soft - ly 2. Up the stairs goes he steal - ing, Comes the Dream Man near, creep - ing With a dream for you ; Stops at ev - 'ry door and whis-pers," Live there chil - dren here?" All his dreams are mer - ry, And mer - ry dreams are true. B Meter Signature ; this means that there are four beats to a measure. New Second Reader. 16 Ch. Scr. E, pages 1 and 3. Ex. 26. ^^JUB Do, Ex. 27. sol - o - do, -w g- =i=t P^g^g^g^^fl Ex, 28. ft-J 1 :g=g=* 3E ^^^ ii Ex. 29. E#H -^2-M-i ^EJ | &=t P *==* is- *- =*I=j :st 7n major. 1 Oral Tonal Dictation. ( See pages 7, 8.) Jn minor. 2 3 4 5 ^^^^^=^E=SEE& 77& ? &- \ Dictation for Writing. ( See page 8.) 2 3 v-v- *9zr &B- -a-&- -g-zy- -s>- I ^zs: I Oral Metric Dictation. ( See pages 8, 9.) 2 3 h-4-a [ay ii alisisa^siia ^ Meter Signature; this means that each full measure contains the value of three quarter notes. New Second Raadar. 17 LULLABY. Clatts Groth. Softly and not too quickly Caroline Wincheen. peep eyes tight, Mous er's wing, sleeps well, babe, good - night. CALM ON THE LISTENING EAR OF NIGHT. E. H. Sears. J. B. Dykes. Calm on the lis - filing ear of Ce - les - tial choirs from courts a The answ'ring hills of Pal - es O'er the blue depths of Gal i night Come keavVs me-lo - dious strains, bove Shed sa - cred glo - ries there ; - tine Send back their glad re - ply ; lee There comes a ho - lier calm, Glo - ry to God !" the sound - ing skies Loud with their an - thems ring : Where wild Ju - de - a stretch -es far Her sil - ver - man - tied plains. And an -gels, with their spar - kling lyres, Make mu - sic on the air. And greet, from all their ho - ly heights, The Day-Spring from on high. And Shar - oil waves, in sol - emn praise, Her si - lent groves of palm. 'Peace to the earth, goodwill to men From heav'n's e - ter - nalKing!" \ Sldk. When one syllable is to be sung to more than one note the notes are slurred me -Si or tied together, thus : New Second Reader. Lit tie Lit - tie 18 Divided Beat. Vocal Drill. i?fe CSF Ch. Ser. E, pages 2 and 3. Ex. 30. -4 *=* * IP^^s -I* -- -t- 1^1 Ex. 31. TT * * - ggjgg^^iSi i Ex. 32 g ^iBjg^ l -^-^- F=t - V II Ex. 33. %^ Ex. 34 t=t= ^ii^g^lil II Ex. 35. =t ^=^: si^s Ex. 36. 4 p . : 4=t=F ~r*=^ "# t=E= #-- rj=h^ J Ex. 37. fcp t=l= -* - eeE 1^1 gngg s at*- 3=1 *= J^ Eighth Note. -\ Eighth Rest. E 3 Repeat Marks; the matter between the marks is to be simg a second time. In the absence of the first of these marks, repeat from the beginning. New Second Reader. WHEN THE WIND BLOWS. 19 P ^p iEg^feE / ^^ 1. Oh, the dan-cing of the leaves When the wind blows, Oh, the 2. Oh, the com - fort of the fire When the wind blows, Oh, the ate tr _a ^ i__^ = m -00 -00 &>- dancing of the leaves When the wind blows, And the rushing of the trees Shouting, corn-fort of the fire When the wind blows, While we hear the song and chat Of the t& H3^3 = S^ N N =*SE =: <&-. XT ^^ i= shriek-ing on the leas, Like the sound of seeth - ing seas, ket - tie and the cat, And the crick - et on the mat, fc& e 3*^ m n I- m / _F 1 *- * I When the wind blows, When the wind blows, When the wind blows. Hf-*- 35 d g^^g^ ^^ J 1 1 p, abbreviation of the Italian word piano, meaning soft. /, forte, strong, ff, fortissimo, very strong. Not only these, but nearly all abbreviations and words indicating the expression of music are from the Italian language, -== means increase the tone power. =- means decrease the tone power. New Second Reader. 20 Ch. Ser. E, pages 2 and 3. Ex. 38. Ex. 39. >m^g m ~p T 3=5 3 i ir =gE^ ~^= * t=: =j - Ex. 40* =t=q t= i SI Ex. 41 zzzzazi * h ^ * z^i-j-n 35 F m t=* I] Ex. 42 'm& ^n '* + ES Ex. 43. *= ?=*= fe0 M=3 * * Oral Tonal Dictation. ( See pages 7, 8.) 2 3 4 -jS2 : P= ti, te, " I . I fl, fa, =1 iiliji ?= ^ fa,' fi, " ti, te, "' fi, fa, te, ti, It will be seen that when the natural cancels a sharp it indicates a lower tone, and that when it cancels a flat it indicates a higher tone. New Second Reader. 22 Chromatic Alterations. Ch. Ser. E, page 4 ; page 5, Ex. 1, 2. Ex. 46. Ex. 47. Ex. 48. Ex. 49. iSSii^SI Do, ti, do. Mi, ri, mi. ^a^^^ M^-iHf-r ^a Do, ti, do, re, di, re, mi, ri, mi, fa, mi, fa, sol, fi, sol, la, si, la, sol, sol, do. Ex. 51. i=t SI :*-J=q Ex. 52. HH^l^i! **=3= :4zz*; ^-&S==P=fc Ex. 53. c*z=p3=S=J=J j^ js^g ^^a^^ ^^g SOW IN THE MORN THY SEED. Bound in two parts. * JL ^ J. s. :i L1= :*=t -^-*- * * i .Sow in the morn thy seed ; At eve hold not thy hand ; To u D.C ^EJa^EgEfcEEjEEg s^ P II doubt and fear give thou no heed, Broad-cast it o'er the land. * When the voices of the first part reach the point marked with the asterisk, the voices of the second part begin at the beginning. D.C, Da Capo, return to the beginning. New Second Reader. 23 WHERE THE BLUE HILLS RISE. Franz Mair. g= =j^3^ rf j- ^=^ -^ g 1. Where the blue hills rise 'Neath the sun - ny skies.Where the 2. Could I choose my lot In that pleas - ant spot, From the ^a- ^=* :3^S ^ g*~ J~fj=^^ ==*= lakes un - ruf- fled lie a - sleep, There, in calm re- pose From their cit - y I would turn and flee : There I'd pass my days, Sing - ing * *- :|= -S* 3 ^ ^=^ === =fc cares and woes, Wea - ry souls their sweet con - tent may keep, mer - ry lays ; Gyp - sy - like I*d roam at will and free. A SPINNING SONG. :2:=* 4-W $=M *=: ^ :fcc= Hark ! the wheel is whir - ring, With a drow - sy purr - ing -t* ' fr t^- -^ Turn it, turn with bus - y hand, Send its hum throughout the land ; i=H * =qv ^e^^H Turn the wheel, O maid - en, With its treas - ure lad - en. Oral Tonal Dictation. 3 4 II * ^^spEl^l^^Si3^EiiEH :J The Key Signature (see page 13) shows us where Do is. Do is here the key tone. New Second Reader. 24 Rhythm. The preceding exercises and songs contain the various common metric forms with slight rhythmic variations. That is, while the various kinds of measure are illustrated, the variety of note values within the measure is very limited. The following exercises are intended to refresh the pupil's memory of the rhythmic figures already studied, and to prepare for new developments. Development of a Rhythm. } 2 Loo, loo, loo, loo, loo, loo, loo, loo; loo - oo, loo -oo, loo - oo, loo-oo; P3=3ig^g g=g^| loo, loo, loo, loo; loo, loo, loo, loo, loo, loo, loo, loo; 5 6 inm ^pg^jg 4: II loo-oo -oo, loo, loo-oo - oo, loo; loo-oo-oo,loo, loo-oo-oo,loo ; loo. 1 and 2 lead to 3 ; 4 and 5, to 6. The three figures to be fixed by this exercise are 1, 3, and 6. These have been previously presented, but it is still necessary to call attention to the analysis, and to continue the daily drill. If the children are allowed to move one finger slightly for each beat, the teacher can tell whether the idea is gained or not. For this purpose the pupil should have the right hand on the desk, palm down. To show the beat he should press the finger down and hold it while the tones for one beat are sung, then raise it and press it down again quickly for the next beat. The beating should make no noise. Notice that in this method of beating we count down beats only. New Second Reader. 25 The ability to interpret rhythms quickly and accurately depends almost entirely upon the amount and kind of practice that is given. That is, rapidity of reading does not depend upon the reason or on slow processes of thought, but upon quickness of perception based upon a knowledge of the figures as wholes. The analysis of a rhythm, then, is merely an aid to its first interpretation, and incidentally a means of establishing a principle by which new rhythmic figures may be correctly interpreted, preparatory to memorizing. The rhythmic drill is best conducted from Chart Series E, where the various forms or figures are analyzed, and then arranged in order for drill. The study of the chart, therefore, is an all-important matter, and should form a part of each lesson. If the chart is wanting, the analysis and the various figures should be copied upon the board, either from this book or from the reduced edition of the charts. Having gained the power to interpret the rhythm at the sight of the representation, the next step should be to gain the power to recognize the rhythm when heard and to represent it correctly in notes on the staff. (Rhyth- mic dictation, page 10.) In this work ( 1 ) the teacher may sing the rhythms and ask the pupils to tell which of the forms they hear, or ( 2 ) she may place the figures on the blackboard and sing them in varying order and ask the children to tell which she sings, thus : 1 2 T m =1: A * As soon as two figures are easily distinguished, others may be added. The work should also progress from the writing of single figures, to the expression of little phrases which consist of a combination of several figures, thus: ^ m New Second Reader. 26 Unevenly Divided Measure. Vocal Drill. ^PJsEpipgi^^ Ch. Ser. E, page 7. Ex. 54. te^^^^g^i^i Ex. 55. r=& g ^^^=E*=m 2 fcfe Ex. 56. fa ^=3 = a ^= g = ^s e Ch. Ser. E, page 7, Ex. 2. Ex. 57. ^^0 3=fc :*=:&: *gE B=L=y =g=f Ch. Ser. E, page 1, Ex. 3a, 6, and Ex. 4. Ex. 58. ^^^^^y Bt 7 II =1 :s *-S^r Rhythmic Dictation. (See page 10.) 2 3 =2=d: :=; fl^ig^ggig3^^i^H New Second Reader. OLD TEMPEST. 27 is rfc 23 ^ =P=f fat 1. Old Tem-pest is a sur-lylord, He wields a huge and heavy sword, In 2. He rush-es in his cloudy car O'er trembling land and seas a -far, While 3. The ships that cross his ocean path Must bend be- fore his rising wrath, Or 4. He grim-ly shakes them there awhile, Then hur - ries on with careless smile, All f^=^9= $=F 3tft !*=*: :E ver - y reck - less fash - ion ; He lev na - tions gaze and won - der ; Fire flash feel his fa - tal pow - er ; Up - on time and dis - tance scorn-ing : The sun els for - ests at a blow, And es from his hors - es' heels, The the loft - y moun-tain brow The be - holds the com - ing storm, And I EeSe 22" lays their might-y mon-archs low, And rends them in his pas - sion. roll - ing of his char - iot wheels Af-frights the world in thun - der ! trees and plants be - fore him bow, And shrubs in ter - ror cow - er! hides with - in his cham-ber warm, And waits a calm-er morn -ing. THE MOON. EEEE ^S >~K' * *- *- S3^ 1. Ar-rayed in robes of sil-ver light, I move a- mid the orbs of night, A 2. In silence calm, ma-jes -tic, deep, A - long my starry course I sweep; The 3. The glow-ing sun, with lordly grace, De-lights to look up-on my face; He Eeb; f^^==f5=^-=H=-^==^ 3EE 5> 4 W^ -+**- * ^ >-N * *- ==tr- 3=* 5> -0 ' 4- : +- a queen with un - dis-put - ed sway, When dark-ness conquers fly - ing day. pass - ing years as - sail in vain, My beams a con-stant joy re - main, rules the day with gold-en light, With sil - ver beams I rule the night. H > IS m -* ^ : i X I Each line and space of the staff is called a degree. The scale occupies eight staff degrees. New Second Reader. 28 Ch. Ser. E, page 6. Ex. 59. i^ Study of Flat Seven. Vocal Drill. Ex. 60. -X2l 3 d Sol, fa, mi, fa, mi. 3E ^ hi b 1- II Do, te, la, te, la. Ex. 61. 1* LH" 4 bi s^ -&r :t= 5^5 Pf^ \jZ2l *-- Ex. 62. MORNING PRAYER. Slowly. Carl Reinecke (arr.). i^^^ =1 j J=t E*=d=i=*: =t=t 1. Great God in Heaven, Who by my bed Thy faith - ful watch did 2. I thank Thee, Lord and Fa - ther mild, And all Thine an - gels d: =t 3*3=^ * s^ 1- S^tt -- ^ i^H^fl keep; And night's best bless-ings o'er me shed, Sweet rest and balm -y sleep; too, And pray Thee still to help Thy child Thy ho - ly will to do. ^EgEmiE^mm ^^ ^s^ i -*-*- means accent. Now Second Reader. 29 Ex. 63. -m- W- W=^ | L- LL^ =t ipzz^z 25t ^ | 1 tsz: :-z*_- Il^gi Ex. o4. Ch. Ser. E, page 1. #^ EE -I P S hS: -s=^ i p^gE^ip^^g^S^Ei^l^ II Ex. 65. teg^ik^3=3fel^^l Hj-k # ^==P= t= Dar - ling ba -by, sweet - ly sleep, While a sis - ter's watch I keep; 4^~ 8: m l=pjr^ Q=tc .*=*: d=* i^e Safe - ly rest, no dan - ger fear ! Love a - lone is wait - ing here. ^^ S3 V S 35 i=fcr ==H =*! "^*" Whole Rest. Either sharps or flats may be used for the Key Signature. If flats are used, the one farthest to the right is on Ea or four of the scale. i IM E= Ea, do. New Second Reader, Ea, do. Ea,do Fa, do. 30 THE GOLDEN BOAT SONG. Ch. Ser. E, Page 9, Ex. 2. Mrs. Ormiston Chant. Mrs. Ormiston Chant. ite j j jt ^ ^ Here we float in our gold - en boat, Far a -way, far a - way fe^ J Here we float in our gold - en boat, Far a - way. ^P =1 =1- ^fE3Ei sy ps *=fcc See how we splash and wa - ter dash, While on the air the sun shines fair, ^ m =^ * F Sing - ing of birds and low - ing herds, Far a way. *=* 3=^ a i &i 3t=fr So we float in our gold - en boat, Far a -way, far a -way, fa^dEd ^3 Azfe Eg a So we float in our gold - en boat, Far way. Ex. 66. g ^&. 3=i* -I r i3F = ^ H S3 * * ^*: ^=J3t ^ New Second Reader. Minor. 31 From the beginning of the course the exercises and songs imply a knowledge of tone relation which enables the singer to go from tone to tone in any order, producing minor as well as major effects indifferently, for it is the effect which is produced upon the ear to which we call attention rather than to the scientific explanation of how the effect is produced. Hence we have referred to the major scale as the scale from Do, and to the minor scale as the scale from La. The pupil experiences no more difficulty with the minor than with the major scale, but certain chromatic tones enter- ing into minor formations must be studied not simply as chromatic tones, but as tones belonging in the minor scale. Thus, sharp five or Si must be- come so familiar as a scale tone that one can take it from any other tone of the scale as readily as one takes Do or Sol. Major Scale. _ Minor Scale. m ME* t= ^E* =t I 1 As these scales have the same key signature ( three flats ) the minor scale is said to be the relative minor of EJ7 major, and since La is on C we call it the scale of C minor. Ex. 67. Study of Sharp Five or Si. Ex. 68. Ex. 69. Ex. 70. ^^^fe^^^^m La, si, la. H-*-#t ^^^mm Do,re,ti, do. La.ti.si, la. 3i a m. e *= New Second Reader. 32 Minor. Vocal Drill. i^pdmiiM Ch. Ser. E, page 1. Ex. 73. u. Ex. 74. m =}: =t =t Do, re, ti, do. La, ti, si, la. II Ex. 75. a^i a ^ -R Ex. 76. ^ ~^ ~FS: ~T-1 ^pfe. -f- I fc- * =^=* ^^*P - \ Ex. 77, 4 L 4 r # W= t= SiblE^E^ -)M Ex. 78. iI H ^^F Sfc P=^=?c * * :Szg. SS 3q=fc ^pl^^^^H Oral Tonal Dictation. (See pages 7 and 8.) 2 3 4 l ^y^l^^j u ^2 S>- -^-jf gr-g- H Rhythmic Dictation. (See page 10.) 2 3 4 New Second Readen 33 Ex. 79. M: =fc tifcE II S p^g^r^ ^^^Sl Ex. 80. l^lpS^aS^^S^^ ^ ?3= I 0, WHY SHOULD LIFE? A. MUHLING. 3 -s* -*=* i 1. O, why. should life be stained with sor - row, When 2. O, why should we dis - trust the raor - row, When f^ A 3-=& 4^: d =t ^ =t -<=>- ^^ .< II God friend is ev ship lin er good gers yet and be kind? hind ? I -zs>" ~i 3 \ - ^p^i New Second Reader. 34 Ch. Ser. E, page 7. Ex. 81. The Unevenly Divided Measure. Ex. 82. ?-fe i =i =_ 3 Ex. 83. *fe^E? =HZZ=Z=pr d # ^-h- Ex. 84. S* E^ -^ * =i MORNING SONG. gffi ^fe i ^ -J t :t: tc 1. When the moon be - gins to steal On the new - born 2. Thou my heaven - ly Fa - ther, hear, From Thy throne on iSE^E^ 3 ^=Mt $ :- >.- ; -d zgr r g^J S "f S 0- EeeeE ?= t= = :i=2: day, In my cham - ber let me kneel, There in se - cret pray, high ; Thou wilt still my ev - 'ry fear, As the shad - ows fly. I II tE^^^m i=a <^>-r ^ -5> The first note in Ex. 84 is called a catch note. Exercises opening with the catch note should cause no difficulty. The tone represented by the catch note should be sung without counting ; beating should begin with the first tone in the first full measure. New Second Reader. FAREWELL TO THE BIRDS. 35 Ch. Ser. E, page 7. Franz Abt. p* 33 d =t . 1. The summer days are o - ver, And autumn swiftly flies ; Cold winter's drawing 2. The birds that sang so sweetly Prepare to take their way To climes where golden *& ft-# 1 - p: =t =i===d: - #- -s> ip=^ near us, And dark-er grow the skies. The fields are green no Ion - ger, All sun-shine Xow sheds its eheer-ing ray. Farewell, dear birds that leave us, Bright, h felSgi^ gaunt and bare the trees, Whilst thro 1 the drear-y for-est Loud moans the stormy hap-py days to you ! Come back with spring and give us Your dul - cet songs a - P* 3=ac 1=i -*-* II breeze, Whilst thro 1 the drear-y for - est Loud moans the stormy breeze. new, Come back with spring and give us Your dul-cet songs a-new. Ex. 85. u ," m. --: 3h: ^3^1 &% , 3t= ^ ^ 1 (S, IJ Ex. 86. X DoL'HI.E SSllAKl'. New Second Reader. 36 Chromatic Study. Vocal Drill. fes Ch. Ser. E, pages 5 and 7. Ex. 87. Ex. 88. Ex. 89. WM* t-f=FtE 0ii^iiiA^i^ii = i Do, ti, do. Ex. 90. Sol.fi, sol. fi, fa, Ex. 91. *=P :: :^=p: :B3 fa K^^S^S Do, Sol, Ex. 92. d g^j^Es =J=Fi :E #-=*-=%- 5t P ?=* SI Ex. 93. %j -gir> - fg i -f- ^ =&f II Ex. 94. * ^ s^Si^Si Ex. 95. lll^lil^li^i^ill^l^ppl Practice upon the type exercise at the top of the page should be continued until the effect of the chromatic is firmly fixed. The introduction of chromatic tones sometimes causes a loss of feeling for the original key. New Second Reader Vocal Drill. 37 Ex. 96. =& ^jz= 5=^ i n {= ^S s A WINTER SONG. B* ^ PS * -- =*= =*=<* PPI Oh, Win - ter is a stur-dy one! He takes de-light in wind and cold. lie * V V [ *r - :^ -# 1- gi^fe^ mi loves some rough and nois-y fun, And plays his tricks on young and old, He * - * 1 * ^ fr ~l-fc b* t +- w f w + H loves some rough and nois - y fun, And plays his tricks on young and old. Ex. 97. ^^ =5 II Ex. 99. 2 -$ E r^te p=Bpg^Mi 3= Ex. 100. Ex. 101. *_4-p : f^f-^^ H- J j =T -g^ mar 4 | * I Ex. 102. . 32: HiHH - 3 i The vocal drill should be taken from various pitches ; see page 7. Exercises 100, 101, 102 show how rhythms develop. The rest in Ex. 102 simply takes the y>lace of the dot. 1 >*v ) /i * New Second Reader. X i *W ' 38 Ch. Ser. E, page 1. Ex. 103. Minor. Ex. 104. m 3=3 & =JE -s*- m :2z=q: m Do, re, ti, do. La, ti, si, la. Ex. 105. ^feSF^^S t# w ^ :E pt= Ex. 106. 4=3= 4 ?d- HPi^lI S =t Ex. 107. ^=i^^^pi # B ^=S -* ^- Ex. 108. =1=F II $% s =t==r:fc:*: ,i * All the world seems still and white, "While the snow-flakes fall. r^ ft t a ^^t =* 3tZ=lt =^S P ^-#- g^ s^ S Ex. 109. : ge=g^^^ - gg X- ^^^i ii b^^^ - m :*=*= 5 *- New Second Reader. 39 PEACEFUL SLUMB'RING ON THE OCEAN. Stephen Storace. i^m. ? JZL 1 r w -=- 1 i 1. Peace - ful slum-bring on the o - cean, Sea - men fear no dan - ger 2. Is the wind tern - pes - tuous blow- ing ? Still no dan - ger they de- pp cres. nigh ; The winds and waves in gen - tie mo - tion Soothe them scry ; The guile - less heart, its boon be - stow - ing, Soothes them ^ P PP cres - pp, pianissimo, very softly. Cres., crescendo, increase the tone power, like =. Dim., diminuendo, decrease the tone power, like = . New Second Reader. 40 Ch. Ser. E, pages 1 and 7. Ex. 110. Rhythm. J + -d II Ex. 111. m 4: =t =t=at ^^S^^^p3^ Ex. 112. :iii=i zpziizp :==t ^S=?^i 'jti.- PS3 31 3=^: =c- * -*- m m - Ex. 113. t=(= ah* 5 H h* Ite ^^^P p^^ ^^^^^EJEJ gum Oral Tonal Dictation. ( See pages 7 and 8.) 2 3 4 5 -Q ^Q- -&-&&- ";*i/Tii ZT^ T^T A BIRD IS SWEETLY SINGING. Fkakz Von IToi-stein'. tr ^ A bird is sweetly sing - ingWith-in the leaf-y wood; I *fe ^-^W+^^g j i - F j -^-*- *H * =y -d- : -<& :z=p . ^M_ L -jy=t fcj/: ;=G: ^^=^g =- fefefei i=^:- hear the ear- ol ring - ing, With spring's de-light im - bued, . . With i 1 j m ;<= -0 lm - 9 m *- IJ -w * W ' m pring's de-light im - bued. O eome and dwell with nie Beneath the greenwood =P? ^-H-^L^^. i^ ^B gfcg^gj^E O come 3^ and dwell with me, Be-neath the 4fc& P ^---^% _r^2 P H^^ *- II tree, () conic and dwell with inc. ^ 2 $>* J * * ^r -TP: J WEi^! grcpn-wood tree ; New Second Reader. O como and dwell with me. 42 Ch. Ser. E, page 6. '? 5^=22: Study of Flat Seven. Ex. 114. 4^Jt -+-f=**- z * == JF| Do - e - re, do. Ex. 115. Ex. 116. Ex. 117. 4~* *f ssifilsiiii^H Mi, fa, mi. La,te, la. Ex. 118. 3: ^ZMt : *-*-- g: T=1=F f=t=F F=t j=3l^a^^a^^N^i Ex. 119. bfe Ex. 120. ^ z2: te=t H 1- :s? :&* <~T-=J J" H J=^: =t II 3S^& -*- P- -F Fp F"-^ * *- 3=^ - - *H Ex. 121. ffislS Ex. 122. ^^=ii^=lpiliil^ipip^ll Do, do, ti, la, ti, re, ti, do. Ex. 123. Ex. 124. Sol, sol, fi, mi, fi, la, fi, sol. gspss =t bs i=rt=3 s?---^-*- ssa Ex. 125. Bste= The staff degree on which the G Clef turns is always lettered g. g a f The next degree above is lettered a, the next above that b, and so on ; while the next below g is f, the next below that is e, and so on. New Second Reader. THE BOBOLINK. P ZZ&L \- :- $ =t 1. Sweet bird, 2. O could thy bower is ev I fly, I'd fly 43 er green, Thy with thee ; We'd 3=^ -* fc^r =t ^=^ =t tf note make , is ev on joy i^ . =t &i^ er clear, ful wins Thou hast Our an no sor - row nual vis - it w A =t -- # 0- Half-})ast two ! Al - most three ! Here's an - oth - er rhyme, you see. Half-past four ! Al - most five! Come, goodpeo - pie, look a - live. ^ ^P^0 1 Minor. Oral Tonal Dictation. 3 5>_ II II 1 :;^- 3 g-H ^ g- -g is r New Second Reader. 45 Ex. 131. zifcSE t# w * ^ - ~ 1 1 \-w -* ~*-*- Z=$L S^5 ^^^ ^^ ^^S^B THE WINTER SNOW. Alfred, Lord Tennyson. V L * * * * L * # * "*-' * * m J Full knee-deep lies the win - ter snow, And the win-ter winds are wea-ri - ly r=f= si< r h - ino Ch. Ser. E, page 1. Ex. 146. Minor. Ex. 147. 3* =t 2d: sa :^=3=g Do, ti, Ex. 148. do. La, si, la. fes mw^^^^ ^ Ex. 149. ^ 4 *- =t IJ Ex. 150. =^: -t -r* fef -o- ll Ex. 151. fegp ^3 ffiS=l3 =2= -&0- t=t= :cfc*: * # I Ex. 152. &. <& m . h "T~ j " {O^JZ^ G^ ~ p 4- -t ~4 1 k _j* *i_ J * Tt^^^-rhH 1 -4 ~j 1 | 1 -I - ^t> - B -4 ^ -s> - m + GS S -m - tJ-4pt 3-d = si * PC p^ ^H 3^* 3=i 3t II New Second Reader. 51 The Triplet. In the above exercise three eighth notes are given the time indicated for two. Triplets, as they are called, vary considerably from the simple form here given. Some of the more common variations of this figure are the f ollowiiiQ' : 1. The first two notes of the triplet occur on the same staff degree and are combined into one : : g -"=3=1=3: 3- :jzj^-*-3t=J: ft -^- -M- 2. This effect may also be represented thus : ads y= I - -N-r i ^ i -A-i- ^ rM =^r =t=t #- 3. The same figure differently arranged gives this: -^ 3 f * L ~> ^ 3 - #-- Lg 3 I f ' ^ * - 4. Still another common figure is produced by prolonging the first tone of the triplet (indicated by the dot) and making the second tone correspondingly short, thus : 3^-^e ; y^i--.: ^gp=^ New Second Reader. 52 Study of Triplets. Vocal Drill. -it 3 -1-taBtaHj t_.-L- Ch. Ser. E, page 11. Ex. 153. W^ 3=3=3 ~0 -Jl -0- mm -3 -i i V- a S Ex. 154. H^S -q=t * * I Ex. 155. fa 3=32 ac^- ^. 3 "W=* I Ex. 156. =3=3: tr m Ex. 157. S IE: -* *- a= gM-^F-g tr Ex. 158. -4 #- ^ -^ 9 I -^ *- :U^^^ S a e=* S :fEEEEg =R fE^^^ 1 Rhythmic Dictation. 2 ^. p^^ J^|^||gg^^=^^g^^J New Second Reader. 53 TO THE NIGHTINGALE. Allegretto. Carl Reineoke. W =t g^E == =i 1. Stay with 2. Hushed are ;i. Stay with us, sweet song - stress, Dar - ling night - in - gale! grove and mead - ow, Lis - ten - ing to thee ! us, sweet song - stress, Dar - ling night - in - gale ! Send Not thy a Send thy song re - sound-ing leaf - let rus - tleth sonjr re - sound-injj hill and dale ! for - est tree, hill and dale ! Ex. 159. =|: IS i-n^ m^m Allegretto, in a lively, cheerful manner. New Second Reader. 54 Minor with Sharp Five. Vocal Drill. Major. m Minor =*r S - Ex. 160. Ch. Ser. E, page 1. m ^?^iteEE^^t^^^-^^% La, si, la, mi, la, mi, si, mi, la, si, mi, si, la, si, la. Key to Ex. 160. *# i=f=r=E=* ^ H *- T =t= *=3 gBTQ I Do, ti, do, sol, do, sol, ti, sol, do, ti, sol, ti, do, ti, do. Ex. 161. Ex. 162. ^g =F & ?^m=m D Oral Tonal Dictation. 2 3 -_fit-CI_ffl"^_ llS * ^- g - r ^ II fc II The sharp five or Si of the minor scale is not strictly a chromatic tone, as it belongs in the scale. (See Ch. Ser. E, page 1, Ex. 3, 4, 5, and 6.) "When the ear is thoroughly familiar with the effect of the minor scale, this tone becomes a necessity to the ear, and it will be sung as freely by children as any other tone of the scale. Sing the above exercises till they are en- tirely familiar. New Second Reader. 55 Ex. 163. Sr -4-F s i^=*pg=*j l=-F=n -F- 5=3 =1F=J= 1 1^3=SiE3^iS 3 t=t==t=t = ijpifl Ex. 164. 2: 3^c d=t = f **= -j i II 5. LITTLE SNAIL. A. J. F0XWET,Ii. CI Pi^ 5 = f- =>- -> "pil 1. Lit - tie snail, come out to me, I should like thy form to see; 2. All ! thou now art creep-ing out, And thy horns be - gin to sprout; ^PPP^^ -* *- 3? "TJ e? ; -&p :=>=!= P t=- ^^ Rest not al - ways in tliy cell, Where thou dost de - light to dwell. This way, that way, how they bend ! Have they eyes up - on the end? i=E =1= ===et=? * 0?0 =* ^^m New Second Reader. 56 Minor with Sharp Five. Ch. Ser. E, page 1. Ex. 165. Ex. 166. Ex. 167. Do,ti, re, re, do. * La, si, ti,ti,la. fe^i ^Bte^a^^^ ^a Ex. 168. fc= =q= &EEi ^* n=i -d +-. -wt- -z\ II Ex. 169. ==tz=t #* Sl^^^iil Ex. 170. ^^^Ig^^^^^^ l Ex. 171. BEF^E^EgEg^E^ F: SES^3 =j=t= H I! Ex. 172. :^=^ feEEEEgE Ex. 173. ;e3to^= afe a ^HH e= 1 ~&~ "H: *_LeJ j gepflpjffl g j^l New Second Reader. 57 Ex. 174. ^=3= mi L_I^E WZZIjT -U= S^HB ^ :BE^ 5L +-$*-*-+ ^==5 T^T Ex. 175. -ff * *- =fc 1^1 EVENING HYMN. Franz Abt. MS 8 d -T m- T^-r- -0 9 - 1. Even-ing spreads her mantle O - ver lake and lea ; Now, while all is 2. When the night de - scend-eth O - ver all the land, Tran-quil is my %\ ^'-'^.mm mf d: S^gi^g si-lent, Let me tran-quil be ! Heed my childish sor-row, Fa-ther, hear my spir - it, Rest-ing in Thy hand. Thou wilt keep me, guarded, Thou wilt hear my p prayer; All my faith re - pos - es In thy heav'n-ly care! mf, mezzo forte, moderately strong. New Second Reader. 58 MAY. *m Franz Mair. S=^ --? =1 =fc= =1 1. Tra la, tra la, tra la! 2. Tra la, tra la, tra la ! The morn-ing pours its gold-en beams, Tra Come,wan-der in the meadows green, Tra m B=jv zd- 1 =*c =T*d :=]=^ d ^eh: tt5 fc^ =ft w * - ff -^ . # *i = 3 *=i *=g^ la, tra la, tra la! And ear-ly wakes us from our dreams, While balmy air in- la, tra la, tra la! Where flow'rs in rich ar-ray are seen ; There join then - ni- *& =1=1* >' * * vades our home, And woos us in the woods to roam ; The trees in fair - est ver - sal joy, Let pleasure ev - 'ry tongue em-ploy ; U - nite with birds and zt =): IfiEQ* =js; =f* ^fc -I t= hgiF-ta-F-- ^^ -*-+ - CT~1^t Z*=3t+-1r. HHI garb ap-pear, For love car - ol clear. For joy ly May, For love - ly May is here, ous May, For joy - ous May is here. v ft-* 3 3 =t=h S !*^=^ l^' w -0 L -0 -S v ^ L ^ n New Second Reader. Ch. Ser. E, page 9. Ex. 176. Study of Rhythm. 59 to^ pn g^gF^S^ fl Ex. 178. h :ftz =fc =N *= P gf 3 0- Ex. 179. glg^^S Lr. ^ 3 Ex. 180. #=* SS - 3 W--0- =F=I=F ^ ^^ B Ex. 181. 61 =*^ i^H ^SH Ex. 182. [fe^/i^S =^i *=f SS1CZM Ex. 183. i ^ eSp^^pp r- * i - -^rxi The above drill exercises should be sung at first, with three beats to a measure, but when the movement is mastered one beat to a measure should be given. When correctly sung in that manner they lead directly to six-eight miter and give the pupil power to sing six-eight meter readily, giving but two beats to each measure. New Second Reader. 60 THE STARS. Slowly. f ^ ^ fe sE=M* < W S^ 1. How pret-ty is each lit - tie star, Each ti - ny twin-kler, soft and meek ! Yet 2. Thev tell the glo - ry of the Lord, And of His fa-ther's love for all. He -0- -9- -- -9- tt -9- ^=jr < =fc S H ma - ny in this world there are Who do not know that stars can speak, made the star, the fiow'r, the child, And cares for them, the great and small. g E=fE3EE*a*EE^ p gE^E^E3^ Ex. 184. ^ ^ees=& =t= t 3^= ^ * =1: :: H ==Ee2-=^=S i=3^ 1 New Second Reader. 61 A CRADLE SONG. the waves are roll - ing in, White with foam, white with foam ; 2. Hush, the winds roar hoarse and deep! On they come, on they come; 3. Hush, the rain sweeps o'er the knowes, Where they roam, where they roam ; Fa - ther toils Broth - er seeks Sis - ter sroes a - mid the din, But the la - zy sheep, But to seek the cows, But ba - by sleeps ba - by sleeps ba - by sleeps at at at home, home, home. THE CARNATION. Edward Oxenford. Softly and evenly ClRO PlNSUTI. :^:4=^ 1. All fair to see, in garb of red, Thy love - ly bios - soms stand, As 2. Like in - cense on the balm-y air Thy won-drous scents up -rise, And ^S dd ? S =t ^Si iS *=* deck the smil - in^ ^ ii^i^^i^l] Ex. 205. ^^^s^m^^^i ==< ip^im Ex. 207. ffig^^ * *- 13 Ex. 208. Ex. 209. tt^nt^^siii r: M Ex. 210. =t 3rf g ^^^^ | ^=5=F3=B Ex. 211. -Azz^l ^^m =t =* ^ New Second Reader. Chromatic and Rhythmic Study. Vocal Drill. =j3fc 67 Ch. Ser. E, page 5. Ex. 212. Ex. 213. =4 ?^3 I 2=3 3 :=].- Do, re, ti, do. Sol, la, --P* Ex. 214. 2=3= 3pE =! m =* fi, sol. II II Ex. 215. 2 11^1113111111 ==]^ q=t Ex. 216. 2 m Ex. 217. Ex. 218. J 4 ,-Uk4- i-r-j- tr 3=S=p: r 1 ' i r ' r fe^fe p s 33 3-- * * ii ^w^ .22: II Ex. 219. 2==L_ z=tnt - ^ i-<^ Ex. 220. I I 'I II. apg^lp^gpfl 3 In beginning three-part work, first allow the parts to be sung separately. Theu combine them. Dwell upon the first exercised until the harmony is pure. New Sacond Reader. 68 OLD ENGLISH CAROL, Andante. JFF^ ^Eg =t 1. There came to pass as God's will was, E'en as the an - gei told ; A - 2. Good peo-ple all, both great and small, The which do hear our voice, With :BE5 i^=* EH 3 ^3^=j==t=iEE3 J* = g^F I Km h ^=f=1- t= :s2: 5 3^3S K bout mid -night an an - gel bright Came to the shepherd's fold, And one ac - cord let's praise the Lord, And in our hearts re - joice ; Let =t '3=$ -&~ 77- 3 *=i =t=t -^zzaL *=E told to them both where and when Born was the child our Lord, And us be bound in kin -dred love, "While we our lives do spend, Whilst zt : +-+ -* ' t= p\ 1 0. -m- H^S ist ^S : 3S^i=^l all a - long this was the song, "All glo - ry be giv'n to God." we have space let's pray for grace, And so let our car - ol end. = F=^ =i=:| J 1 j=j^ : F ^=1= -&- -& Andante, slowly, moderately. New Second Reader. 69 Chorus. # 1K E5 -* y- :=p* -* b E =^ *- d Then sing we all, both great and small, No - el! No - el ! No - el! We + 8 fc^ F ;f=. =t=t is: ^j^i^^pfl may re - joice To hear the voice Of the an - gel Ga - bri - el. II 3 ^^sa 3= ^ 3=^ =s= 1* Ex. 221. tf ft *^J=*-f- w-^=9 :?=*=*: & F -** -*- ^ 3 S3^s| at^S^ ^ l^^B P=p "<= ^c ^ ^- - L ^g A s [^ ^~* ^^ -**=* * :s_ o =1: c- II New Second Reader. 70 Ch. Ser. E, page 11, Ex. 1. Ex. 222. J Minor Study. Ex. 223. fe)^ife=^gs|| Do, re, re, ti, do. K c u z? m La, ti, ti, si, la. Ex. 224. t ^^^Sl m 3=*: Ex. 225. m -^^^m :;=: F=J= :s?z* I Ex. 226. **=5 *=ft=q= XT :*=h L# 1 *- L -S> 3= 3*=* :SzM: I Ex. 227. Sb4: == + w d=t II Ex. 228. tr id=t 122: II Ex. 229. =2=22= =b*f^: I I i I I i Ex. 230. gPI^^^S ^5 3=S3 --h * ^ I i=i PHE Meter Signature ; this means that there are two beats to a measure. New Second Reader. Ch. Ser. E, page 9. Ex. 231. Study of Rhythm. -*--*- *Z mz$ p =p=p= S=g^S5 Ex. 232. El . _!__*_ Si _^^ 35: 71 I Ex. 233. F- J X r P 1 i 1 srfl tp t Lj=L n ' J? -*-*-* -J * H NOW WITH THE RISING, GOLDEN DAWN. Lyra Catholica. ^ITfcH^ _EEE^E --- 1. Now with the ris-ing, golden dawn, Let us, the chil-dren of the day, 2. () may the morn so pure, so clear, Its own sweet calm in us in - still, A WIPS re =?. *-*- p=: -Q- 7 II Cast off the darkness which so long lias led our guilt-y souls a - stray, guile- less mind, a heart sin - cere, Sim-plic- i ty of word and will. New Second Reader YE HOURS. Felicia Hemans. vif ^^m *-> *- :=T*: S3 1. O ye hours! ye sun- ny hours ! Float - ing light- ly by, 2. O ye hours ! ye sun- ny hours! Are ye wast - ing song? 3. O ye hours ! ye sun - ny hours ! In your si - lent flow, = fe Are ye come with birds and flow'rs, O Doth wild urn - sic stream in show'rs All :=fed^ = 22=*= dors and blue sky? the groves a - mong ? Ye are might - y, might - y pow'rs ! Bring ye bliss or woe ? "Yes! we come, a -gain we come, Through the wood- paths free; "Yes! the night -in- gale is there While the star - light reigns, "Ask not this oh! seek not this! Yield your hearts a - while -#*-^- j =3t-tJ==3F dim. Bring - ing ma - ny a wan - d'rer home, With the bird and bee." Mak - ing young leaves and sweet air Trem - ble with her strains." To the soft wind's balm - y kiss, And the heav'n's bright smile." New Second Reader. 73 The Catch Note. Ch. Ser. E, page 9. Ex. 234. -b- m d2-^=^: 1= -n- * q- - i P n- 2S: Ex. 235. S ^ -=1 *- :=j=pr e=>- II Ex. 236. -d0-4 S : =t I Ex. 237. feffi :^^: -I?-"? ~ ! ^h- lM I =^-*- =^q ^Ssi p Ex. 238. =t - * - EE3EdEEEE!E^ SiE tea :#^=l " ,L^-a_ rfc ^1_* ' * (l_f * * # - # ! u=3: II 1 # * l^fj - . |=3=E^1 New Second Reader. 74 SONG OF THE WAVES. Ch. Ser. K, page 0, Ex. 2c. Y. C. Maker. ^_ r^ t =*c ^^ :3^fe3 1. Bright spir - its are we! Oh! who half so free As the 2. We flash clear and bright When sun's glad light From the 3. We sport with the breeze Of Arc - tic seas, By 4 S ^ =1* Z=pL =*: =1t ^ -x :==* = crest - ed waves of the o - cean!How loud- ly we roar On the ros - y east ad- van - ces. At night -tide se-rene, In the des - o - late shores up - leap - ing. We mir - ror the blue Of the 9 * * <# 9 l -^t -3. ^=^=*=3 = -k ^ *=^ 1 E ^=pi= rock-guard- ed shore, And moon - light sheen, We trop - ic"s hue, Round ;=*=E3S 1K SEEE3 turn - ble in rev - el in is - lands of wild com - mo - tion ! ghost - ly dan - ces. cor - al sweep - ing. z^^g= =1 () - lio ! o- ho! oh! who so free as the foam-ing waves of the rolling sea! Oh ! _ ir _ --3 Now Second Reader. 75 J ^^N ^ fe^^gE^^^ ^j who so free As the foam - inff waves of the ris - ing 1 sea ! hE* *=$=* *- ::*E^=fc:}s ^3 =l=t d. * Ex. 239. fc=q= Ex. 240. =.U-,: 4-j j-/h^^g : P^^fi r *TI#* : *=>v :::r F l- ^tv'Fs-'l * isfe^pi i Ex. 241. *=^ Fr "i=> <=^~ ~e>~ E^^teg^ t^hp; si 3-*-2= tp-=--i r# j^v4h-*-^h 533Fp *-; H^p^S^l Nw Second Raadtr. 7b' WINTER AND SPRING. mp ffi=*= J. Sneddon. Z1 ^ *-|: :e?_: EE Now Win-ter's rain and snow and storm larm - ing, As =pqp- TT =f , i pa==]=f 3 -^-fcjr- * * * B3 Now Win - ter's rain and snow and storm a - larm - ing, As XT S =fa^B *=ti =*=* -*- -- *- '^3=5^ search - ing wild winds.searching wild winds blow, ex- cite our fears; . 3" _J 1 z\. J St =tF -s>- =1= Soon re - viv - ing Spring, our sens - es charm - ing, Will B J=3 J=g IZL Soon re - viv - ing Spring, sens - es charm - ing, Will -^ dim. rail. ! fc: :=rz: ^: qs-j =f -wt s- - m - * v~ bring back flow'rs.and will bring back birds to greet our eyes, and to charm our ears. i = j: =t ?=? ist bring back flow'rs, and birds to ?>- charm our ears. II Key to above Chromatics ^- * I I Mi, te, la Ti, fa, mi. La, si, fi, si - Bo, ti, la,ti. mp, inezzo piano, moderately soft. Ball., rallentando, softer and slower. New Second Reader 77 OLD KING COLE. Nursery Rhyme. :^=]=^=*: : g^ --T *ZJ*1 ^ 1. Old King Cole was a mer-ry old soul, And a mer-ry old soul was 2. Old King Cole was a mer-ry old soul, And a mer-ry old soul was =1 *E I .F. S :fc==4=*= he; He called for his pipe, and he called for his bowl, And he he; They brought him his pipe, and they brought him his bowl, Andthey :=jv==== tf E E called for his fid - dlers three, sent him his fid - dlers three. He called for his pipe, and he He smoked from his pipe, and he ^--^=z>=i = 1 =t II called for his bowl, And he called for his fid - dlers three, drank from his bowl, And he danced to his fid - dlers three. Ex. 242. rfcd: tefc tr m fe^E EI Ex. 243. Ex. 244. is: =I=F b*ESzR3 0>-4 r II II Ex. 245. ~l , - 7* ^ J:^33iBEE r r b r= ^* At night I see the stran-gest things, Courts anil thrones, and queens and kings. Nw Second Reader, 78 SINGING. Robert Louis Stevenson. jT3-_ =*=F 1. Of speo-kled eggs the bird-ie siugs, And nests a - raong the trees; The 2. Thechil-dren sing in far Ja - pan, The chil-dren sing in Spain; The cr L *-_Lit =t=t =1: =js a s =}=: c fcJ=_-J= = t t r =I=F : f=F J . J f=f=^ -i rJ; :=J: II sail - or sings of ropes and things, In ships up - on the seas. or - jran with the or - jran man Is sinjr - in: in the rain. Pi HYMN OF NATURE. John Austin. i r -s?- r r r r F^ =i=j= f 1. Hark! my soul, how ev - 'ry - thing Strives to serve our bounteous King ; 2. Wake, for shame, my slug-gish heart, Wake, and glad-ly sing thy part; E..zn==r ^^F^ =1=1: SSS S Each a dou - ble trib - ute pays, Sings its part and then o - beys. Learn of birds, and springs, and flow'rs, How to use thy no- bier powers. J i -i b = JV * l _tg - =t 3 S New Second Reader. 79 BUILDING. Henry W. Lonofellow. S*e3==*=3^3 =b m 3=& t r 1 . In the eld - er days of Art, Build - ers wrought with greatest care 2. Let us do our work as well, Both the uu - seen and the seen, -#t m * =t=t 3==3 = ^^=^^ an >_J- t -U~L_ J = ^= =fe4 r-r 2= r :f u r r i f i Each mi - nute and un - seen part ; For the gods see ev - 'ry- where Make the house where God may d\vell,Beau - ti - ful, en - tire, and clean. ^EE^^_ i"==3^~^ 3 H LORD, TO THEE I LIFT MY EYES. Ch. Ser. E, pages 5 and 6. G - Nakonz (arr.). m =& r, s- ' r r r 1. Lord, to Thee I lift my eyes, O my heart pre-pare; Bend-ing from the 2. All the e - vil of the day, By Thy grace for- give ; Help me bet - ter 3. Keep me safe - ly thro' the night, Shield me in Thy love; Cheer my spir- it ffi: "I 1- 3 star - ry skies, Hear my even - ing prayer, Hear my even - ing prayer. to o - bey, Teach me how to live, Teach me how to live, with a light From the realms a - bove, From the realms a - bove. Nw Second Reader. ~2 -i =====1 - :-t I for: 80 Minor Study. Ch. Ser. E, page 11, Ex. 1. Ex. 246. A ^ 3= '- 3 II Ex. 247. L# r "2 ' '-- =5 #*=* :z=|: ni Ex. 248. 4* 23 pj^ g^g glifl Ex. 249. lit fI^S g^l Ex. 250. ,:4: =t ^4== 3=; j-i^-r =^ r~it~~r ^=* *= =5 i** "G>- :sr :e2 B=S - *=)*?- z_ d B d J-^=fa ' ^ h^ s> " t^= #= EZEEEE't^E ^^: ^B d==^=^ ^=pj=j .=2 a sipp New Second Reader, 81 HOW PURE THE PEACEFUL PLEASURE. Gackstatteb. I&p-^l- " -i h -i f=^"3 ^ = *- 1 1 p 3 ^ i 1 -r 1 1 * =H i. iiow pure the peace - fui pleas - ure These 2. This calm, so sweet and ho - ly, Is 3. His name, foi - ev er gra - cious, Shall 4. bless ed boon to na - ture ! $^=3 1 1 S 1 H =i -i *- 1 -J h iO. 3= sa - cred hours af - ford, grant - ed to re - cord, one day be a - dored fflo - rv and re - ward ! =1: Which mark, in heav'n-taught In hearts sin - cere and Through - out the earth so When comes to ev - 'ry =5 rrf: T^^5 =f= M meas low spa crca ure, ly, cious, ture The The The The Sab - bath of the Lord ! 1 se cret " of the Lord ! tern pie of the Lord ! pres ence of the Lord ! F i T -*= Ntw Second Reader, 82 Vocal Drill. i53E Major and Minor. Ch. Ser. E, page 12. Ex. 251. > C -I -j hr- Ex. 252. g^^jjgj^p p^ 1 p^fej8 ^EEJ^^g f??^xfl Ex. 253. 3d2EEBaE tr ,te EES ,"- F=1= w :c ++- Ex. 255. . | is Ex. 254. 1 1= F 2-t : d--:3 -=* ^, feis ^ :s ^ si: II COME TO THE SUNSET TREE. Felicia Hemans. btfe Come to the sun - set tree, r -I * -J f- 1 The day is past and gone, . . The 4 h4 W3=3 J== Come to the sun - set tree, The day is past and New Second Reader. 83 Fine. &=e(^S t fe hard - y wood-man's ax is free, And the reap - er's work is done. 3=^3 Sq 3 d===q= 33= gone, The wood -man's ax is free, And the reap - er's work is done. *=: \ 3^: 1, Sweet is the hour, the hour of rest, 2. Sweet is the joy - ous wins - pered sound, fe =t* ^f =t 1 3 3 1. Sweet is the hour, the hour of rest, 2. Sweet is the joy - ous whis - pered sound, i; T- EE Sweet is the sigh, the wind's low sigh, And Heard 1 mong the leaf - y, leaf - y boughs, And ^* d W il ^ Sweet is the wind's low sigh, the Heard 'mong the leaf - y boughs, the *-- wind's low sigh, leaf - y boughs, =H And And d.c. T S^ * II -t 1= E : 2 -* sweet the gleam-ing of the west, And the turf where -on we lie. wel-come is the fresh- ness round, And the breeze that fans our brows. . m gE&= 5 -H" PI im 3=3 wri\ Fine, the end. D. C, da capt, return to the beginning. New Second Reader. 84 Progression by Minor Seconds and Augmented Primes. Ex. 256. Ch. Ser. E, page 11. n=q-Jz=i^^-q==l^iS^==1=^^p=l=^-f| m^ =i Ex. 257. tM^0m^3m^ =l^=? JdtdtJS tr : F= *= =#f= : *-#F EE^SE :s: II Ex. 258. a5i3 H tf* J q: > Ch. Ser. E, page 9, Ex. 2. Ex. 259. tetfe^ t=4-j= AJI -3- 3^= zzg: fe=E^ >==# =} s -^ #^zzz^ zsst ^ **=t= =te=* =& r~nr-^ =^ =fcfc -t E- -m -*^-*-*~^* 3E II y- fe -- *-J==* ^ fc=3=i= -* *- *- Now Second Reader. 85 A SONG OF BIRDS. ?' c d=d=d== ^^ - f=f I w rrf^ 1. Lis - ten to the 2. They are sing - ing 3. Im - i - tute tlie 13= r- mu - sic Com - ing with the breeze, ear - ly, Just at break of day ; song - sters, In their pleas - ant song, ^L QE tr -* ^r E=E5 i=2=p -g? j__ j i 'Tis the mer - ry song Let us, with our voi Sine: - ing ev - er clear sters 'Mong the wav - ing trees, ces, Join their tune - fui lay, ly, Free - ly, full and strong:. 4=1 F=t i 3: 3^1 =t J ^ := =i* =E=E^ r 'T is the mer - ry song - sters Let us, with our voi - ces, Sing - ing ev - er clear - ly, 'Mong the wav - ing trees. Join their tune - ful lay. Free - ly, full and strong. e . ?a: =fc M- ^ d II New Second Reader. 86 GOLDEN SLUMBERS KISS YOUR EYES. / =K==]: 1. Gold -en slum - bers kiss your eyes, Smiles a - wake you when you rise; 2. Care you know not, there-fore sleep, While I o'er you watch do keep; Sleep, pret-ty maiden, do not cry, And 1 will sing a lull - a - by. New Second Reader. 87 =t=ifc=ji fe -* 0r=w=m *: ^ 3 _,_, r* * h M :p*=jff= Lull - a - by, . . lull - a - by, . . I will sing a lull - a - by i ji j -f i -j *- -0^^ * -#'-* m j Ex. 261. M . II II :M: r t i2: r" tr lilt Ex. 262. 5i^ife^fei^4ifei^B f f u ^ ^ j 4 ^ HgE^E^ 53: 1 II Ex. 263. j_j i i J iJ J bsUfrd -i- 1 J rr - l-T^ ^EXf r=r I 1 II tes =1- *&s s o New Second Reader. ^^3^ - Notice that flat three produces the effect of the minor. New Second Reader. 89 WHITSUNTIDE. Robert Herrick. =):= J L tB^i^S^ r F * ^= f= at :J=4 1 rrr ^fe= When yew is out then birch is in, And ma - ny flow'rs be - side, Both ** c Ed=^: =1 ^=3=*=^ $=t d=* ^ 2 3S&: ^ =pp=d -I- *EE2EEE|EE =td=ft a i ^ r r ' " of a fresh and fra - grant kind, To hon - or Whit- sun -tide. .a J* 4si 3=Ei =t =t 1H :*i==3 F=J ==2 t=st* A CANDLEMAS SONG. Robert Herrick. r-ft- a a m- P- 1 1 1 1 1 h* r* * V V V V \ + ^ l* 1. Kin -die the Christ-mas brand, and then Till sun -set let it burn; Which, 2. Part must be kept, wherewith to tend The Christmas log next year; And ig=^=fe!3i quench'd.then lay it up a - gain, Till Christ-mas next re - turn, where 'tis safe- ly kept, the fiend Can do no mis -chief there. I :js New Second Reader. 2 EZ^^Z^l =1* :=r -> 3 : \ i " 90 Minor. Vocal Drill. La, Ch. Sor. E, page in Ex. 272. () Ml ; 1 (&) (c) II. Mi, fa, mi. Ex. 273. r -2 - - - 3TJ S 1 , 1 =^: Do, ra, do. fa Pi !=i Re, me, re. Ex. 274. SH #=P=* :=& *=J g^ l ,g g>- 1 T rf^J Ex. 275. Ex. 276. XT i I i T i ^^ l I ill l i Ba r. 1 ^ F"^ P^*-^-,^ E* feippippi Ex. 271 -i-r-L =1 t == F=^ J w 4 -J 4 rQ^ = F=EFT * * Si=C= -*-^fcs*- The vocal drill should be practiced as suggested on pages 5, 6, 7. New Second Reader. KOBEKT HERRICK. THE MAY POLE. -I- = 23 ^._ > > k U I The May - pole is up, r Now give me the cup; 91 ni zfi- d!i==fc: d =t 5fe zfe: ITl "FR * -A : 3S: S ^ j, | i x i x drink to tlie gar -lands a - round it; But first un -to those Whose f- =: ^=^: d" ^ wmiM s 3tZ J^-l : k k hands did com - pose The glo - ry of flow - ers that crown'd it. 5^^ ^S 3^ Ex. 278. Ex. 279. *-*7ri^=f*=l=rJ-\fi> - - 1 - see e^fslZH ir^f= EEte^pf S 11 4 - I. . 1'^* _M f= -*- ' m -& <*J -W- -m- -9- ~ Oral Tonal Dictation. 2 3 4 [ s ^ **" ^=zfr * thun-der When he shouts to the storm - y sings O'er the wild and most des-o-late sea. lea. sf * *^ *^ ^~ **- =t And the win - ter And the sum - mer pp molto espressivo. J qpzj: II * ^ ^jzm^ night Is all cold and white, And she sing- eth dole - ful - ly. night Is all warm and bright.And she sing - eth a song of glee. !- =!* =t i3t=3* i^ ; .. ^ip s/, Sforzando, loud and clear. Molto espressivo. with much expression. New Second Reader. 94 Study of Rhythm. Cli. Scr. K, page 9. Ex. 286. ~j-2 ^^* 0E=WZZ^Z ^gE^B ^=w^l^ | Ex. 287. S! ^ xg^s * -** *T^=* ^q: ^4^gpg L J > * ' J : Ex. 288. jgj ^fefc f-^ p i r c =F ^3: >: t^Ot tr =t ^^-jj^tjgn i Fj: Ex. 289. - JL^J-M t H ^ *Tfcgr*- ^3: lllllplllll^iill =S=F* =ta F ^m^m ?3^^^ -*-+-!-*- a^-fc^-^a^EEF 1 *^4- II := 2^ +*&* ^""* I H 3==3 New Second Reader. * 95 PICTURE BOOKS IN WINTER. Ch. Ser. E, page 5. Robert Louis Stevenson. *. L ^^m^m 1. Sum-rner fad - ing, win - ter comes, Frost - y morn-ings, tin-gling thumbs, 2. We may see how all things are, Seas and cit - ies, near and far, Win - dow rob - ins, win - ter rooks, And the pie - ture sto - ry books. And the fly - ing fair - ies' looks, In the pic - ture sto - ry books. :^5=^=^ :^=j* : -* * 9 ' 0- VK-A-fc i* fe n r*- * h i - ^_ feH**^ =J*-^ * w* Wa - ter now How am I is to turned to stone sing your praise, Nurse and I I lap - py chim can n ey walk up - on ; cor - ner days, F f -> -! q Still we find the flow - ing brooks In the pic - ture sto - ry hooks. Sit - ting safe in nur - s'ry nooks, head -ing pic - ture sto - ry books? ** v P 3t m s 0\ * .#._.!_* ; =JSr-^- II New Second Reader. 96 Chromatic Study. Ch. Scr. E, page 11, Ex. 2. Ex. 290. ^w 3L - *- Ex. 291. z f=3=r=fr=* S^^S=p=gE=E '* - 1. This neck 2. It is 3. "Twill soothe y let no thy take, gold heart J, J i^ k dear en in moth - er, neck - let, sor - row, "V On No iiow J this cord deep t- -i thy of I -r ii& ^^i|P =?- ^ ik day of fab - ric so - e*er the birth ; More firm than Mm 3di jt_j j^ oth - er, More r firm than ' n y rare; By God's own hand 'tis wov - en, By God's own hand 'tis wound; See, 'tis our arms, dear moth - er, See, 'tis our arms, dear W^ =1 3S=3 =*= *= 1 oth moth I r That man er, ^eS can k To clasp thy That fond - ly forge neck clasp earth fair ! 1 so thee round ! . . New Second Reader. 100 Study of Rhythm. Ch. Ser. E, page 9. Ex. 304. :i2 Ex. 305. 4 -i j ^-, 1 1 f 9^ ^*==i S=^=; ** d=p: ^=P=i=i S Ex. 306. i^f= =4: --ftc E jE*" -221 -Z2L -^e^^eM Ex. 307. 4 =1=1 =n : S=F : fi- &hM ?_.. =S 3 tr -* ^ ^: 3=i * *- : ^= =t=^ ~2I - ^. * ' * v Ex. 313. ** ' 2- ^ t =* ^ Ms 2: 4 i -* L e? :^===3= -jLL?z 3t Ex. 314. ^s: Ex. 315. f :s2: :fe ** ^5: 111 I 1:1 Ex. 316. afczrai J P= J <= - uj ; r^ =j J "2^- 3 ^ *~ II Oral Tonal Dictation. 3 4 2* ^ S2-| >^g fe^R2-,5^e II :*#s=^zE -^U&S- I New Second Reader. 103 MOTHER TONGUE. John Guard. E. S. Engelsberg. mf M = =t BE3 =^: * ::==*= i3 --$* 3^^ =3= 1. O moth - er tongue, thine ev - 'ry tone Is dear and sweet to 2. A - gain I seem to be a child: All care is lull'd to mf 3 i =i zc * -p=jT- r v E^ z> =#* ^=E :t=^d me. My throb - bing heart must turn to stone Ere it is cold to rest ; Life's spring-time breathes her whis-pers mild Once more with - in my #*= :=hc =fc 3 / * * f 5=P= ^=^ #-s # *- 9 ^=r thee. Thou hold - estthralTdmy will - ing mind, As though my moth-er's breast. The vis - ion of my fa - ther's face Comes back a - gain to d2: / *=t =1 ^ J I -*- + -m =T =** :i Ffe P J fe ;fe^ F :z a^E PH arm A -round my neck a- gain en-twined Its soft per- sua -si v charm, me, As when at home in old - en days I stood be -side his knee. New Second Reader. 104 Study of Flat Three. Vocal Drill. ^EBEE 1 w^3 r^l=a^ Ch. Ser. E, page 10. Ex. 317. -* u -c* La, do, mi, la, mi, do, re, ti, la. =i i= 3^=^ II Ex. 318. S*BS "* L ^_ i^E3EEE3 *t E^=E II Ex. 319. 3^4 E3=H=zi g^^F fl Ch. Ser. E, page 10, Ex. 1, 2, 3. Ex. 320. ... *r^ =1: : ffl * H* * L ^ - me, me, ^B mi, Ex. 321. SHiE ::- fe=iE|3^ 1EE II Ex. 322. <> - -0*- > "- 4 Pgpmg Ex. 323. acq*: #*=* II Do, re, ti, do. Ex. 324. La, ti, Ex. 325. si, la. New Second Reader. 105 THE BEES. * i* i* u 1* I k I* i* U i* f I* For months of win -try lei- sure, The bees re - quit - al make, And & S-2 _N 1 g4~*= ^ 1* h ^ ^s=^ := -A ?m cr * P - ^3 E * N i J J J J ^ K _ m- 9 w F S ^ k u w * i* I* ^ u loads of sum - mer treas - ure From na - ture's store they take. ^a **= PS * I * E =t :^=^ -f h h =t II THOU WHO KINDLY DOST PROVIDE. Robert Burns. F - L r f t- i L F i i r- -h i F F ==tz F *-f=^ 1. Oh Thou Who kind-ly dost pro -vide For ev - 'ry creature's want ! We 2. And if it please Thee.heav'nly guide, May nev-er Avorse be sent; But Jftk- m= ^^: -^ -^ w -m *z> * -m- = =i= bless Thee, God of na - ture wide, lor all Thy good-ness lent. wheth-er grant-ed or de - nied, Lord, bless us with con- tent. I '5 ^S^3 Jlj * New Second Reader. 106 Amiinilino. n 3m Hush - a HUSH-A-BY BABY. C. H. Lewis. =*C 3# B - :p . ^, Ba by, up the tree top, =J^ =# ^E 3=i=t= Hush - a by, the tree top, . jZTftZ^ ^fcg: T- F ==^ *={:: -st F S=& = When the bough bends, the era - die will rock, hush- a -by, . . hush- a- by, =&=*= ^-^ ki^^gl=gD==J^ When the bough bends.it will rock, . . hush - a - by, hush - a - by, :t=: - When the bough bends, the era -die will rock, hush - a - by, =-F* h=^ ^fefa Bp *= When the bough bends, the era - die will rock, #*=t?* bush - a by. 3^i :*=3: "When the bough bends, . it will rock. =t When will rock. ^lndantuio, somewhat slowly or moderately. New Second Reader. 107 *5E ^ U U- *e=e* p: Hush -a - by, Ba - by, up - on the tree top, When the bough bends, the p _^_ ^_ S^E - - Hush - a - by, on the tree top, . . . ==gg "When the bough I g=* :*= :*=:: :fc=t ^tz=*: i*=i* W- cra - die will rock, Hush - a - by, Ba - by, up - on the tree top, JEE^E^ Ei =JC TTjlJ^ ^^^^ bends, it will rock, ., . Hush - a - by, Ba by, up - ou the tree top, $+ - * *==S * * F-nr= ^ : &= When the bough bends, the era - die will rock. Hush - ^ * ' *> ^ 1 -j -^ 1 9 ^ -J- -J -0 EJ $=x When the bough bends, the era - die will rock. Hush - a - by, Ba - by, up - -: rit. e dim. E5=dz3 by, Hush, on the tree top. 5 s > # p > top, =S^ II II the tree the tree top. rit. e dim., ritardando e diminuendo, slower and softer. New Second Reader. 108 NOW WINTER HAS RESUMED. J. s. -tf- W- j ^=^ 3=^ = Now AVin - ter has re - sumed his pow - ers, JL eE^ ** 3=2 J Now Wia - ter has re - d2: - : 3=*= =3= :I^3EE=t Chill - ing north winds blast the flow'rs, Each :d2: = 22 sumed his pow'rs, ^=^==^==^ i =t=j North winds blast the flow'rs, Each vio - let drops its with - er'd head, The ros - es all are dead. B=^ i =^^=^^^M :^- fc=~3 * .y. Ex. 326. J= :feL pS = :p: II 2 d=dd= ^=^3_g=j3^ =t =F3E ^=q=-l S5 --^ L 22 1 New Second Reader. 109 Vecal Drill. ^^^ 5^> Ch. Ser. E, page 10. Ex. 327. Ex. 328. Ex. 329. tt 3 ^Mh^M^II^ ^^^^ La,ti,do. Ex. 330. Do, re, me. Ex. 331. tF^^^^g^^^j^^fci Ex. 332. #=t *= ^S ^H Ex. 333. ^= pp^e* s Ex. 334. ^ T ~= 4 t r 5=?= =t#=* II i F=3=^5E^ i=PgppPPI=H Ex. 335. 1 I I II e JZg^^^jjil^^ j . ^jj New Second Reader. 110 Vocal Drill. Ex. 336. 4 ^^=^=3^1^-42%- -X =1 Ie=1 :3=.. l4= ^ 3=3= 3: iS .' s i*- -r- ^ :d==j : 3= Ot\ =!=* 31 New Second Reader. r-r fe^^feb ^^g 111 4-, F ^ 1^1 i i i rv r i pearled ; Smile, tran - quil star - ry night, On the si - lent star; Lord, is this a glance of Thine, Dark - ness seat - t'ring :H2: : cr W ^_ L& _ 4= 3=2 -e*- :& / ^^-pvte==F=^ *~ * SEES: r r sleep - ing "world ! Sick -ness and sor - row, hush them to rest; near and far ? I lea v - en - ly splen - dor light us to rest; d2 *3 ^2 Bless us, and rock Fa - tlier - hand ten us in dreams on thy breast. Sick-ness and sor - row, I - J r L L r r- =t= FF = i r * F T i* 1 ? 1 ^ ~ u r~r t " r ~r -^ i-r-; i *j> t ir-pr hush them to rest ; Bless us, and rock . . us in dreams on thy breast, light us to rest ; I'a - ther - hand ten - der keep us still blest. BE New Second Reader. 112 FRIENDSHIP. W. A. Mozart. hand all faith we the and join de - light powers of na truth re - pay ed, Raised tnre, Praise Him For by Him His love and for His grace and thought sub - lime ; wise de - cree, irood - ness shown T=r The natural removes the effect of the sharp or flat. Here the staff degree on which Fa comes has been affected by a flat in the key signature. The natural removes the effect of the flat and the tone is raised from Fa to Fi. When a natural is applied to a staff degree which is affected by aflat, the natural indicates a higher pitch. New Second Reader. -h itfc 3 Vir - tue's Of our In each bond earth kind ZZt t=t will lv ly last joy act =t S^ tor and ex ^--z: ev pleas tend 113 er, ure, ed ; E Stead Lead These I fast ing He ' through us . . . ev -c*- i c -r- * the from er storms ill . deisrns =t r of time, to flee, to own, =g=*: i^^fc= S3: I R=^ Stead Lead These fast through the storms ing us . . from ill . . He ev - er deisms r of time, to ilee. to own. HO Oral Tonal Dictation. 3 4 II ^_<=2- -t^- -O- :fc_T II * ^fc * II -> fc ^ II Rhythmic Dictation. 4 3 ta^S^ffl^SS^H New Second Readar. Ill SUMMER. Ik VNK IlKyiUKTTA. Joseph Haydn (adapted.) Slowly. bowers With yield In seen, The gems, with wealth, in young, the gems wealth young, both of the rich rip old and 'ning and f r t rees All earth, all earth looks bright and sea. Wide o'er, wide o'er the cheek - ered there Be - neath, be - neath the haw - thorn :j= d L & New Second Reader. 115 field and in the all hearts so -9- -*- S- =2- fell, beams dear, Sweet Of Oh! songs, Pho3 tar sweet songs bus', Phoa rv, tar of bus' rv praise rays yet we so a hear, Whose va bright ; Like threads while, To bless ried of the notes, gold, wea - rv, from by with ti wood looks or so m feri throats, Make glad, make glad wold, They speed, they speed chtcr -y, And lion - nie, bon the lis their on nie, win r t'ning ear. ward flight, some smile. I : 1 & hrf } - t- II New Second Reader. 110 OUR LIFE IS LIKE A RIVER. Fki,ix Mendelssohn. E^fiE er, Our life is lows, Some-times in ows, Some-times in ward, But ev - er curves and creep - ing on - ward, "9 seek the might-y o-cean, As on -ward light - ly times in rush-ing rap -ids, Where waves the dan- ger pro non by sun - ny land-scape, A - flame with quiv - er - ing car-ried to the o-cean, We lind our home on its float, claim, light, breast, As Where A- We tztzz ^=$* =^^=1^ s^=fi m Ssfe pp :"EB: II light iy dan ger quiv er home . on we pro ing its float. claim, light, breast. as light-ly the danger with quiv-er - our home ou pro ing its float, claim, light, breast. New Second Reader. PART II. FAMILIAR SO^GS, SWEET AND LOW. Alfred, Lord Tennyson. Joseph Baknbt. , Q g: 3^ =t cr * S33^ R-H^tzj 1. Sweet and low, Sweet and low, Wind oi the west - ern sea. 2. Sleep and rest, Sleep and rest, Fa-ther will come to thee soon; Low, low, breathe and blow, Wind of the west - ern sea ! Rest, rest, on moth-er's breast, Fa - tlier will come to thee soon : v=: > v 3S j (J - ver the roll - ing wa - ters go, Conn; from the dy - ing Fa-ther will come to his babe in the nest, Sil - ver sails all out :qv-3 ; - u 1= =i i :t>* moon, and blow, Blow him a - gain to me ; . of the west Un - der the sil - ver moon : i ^ h ift: A^fe II While my lit - tie one, While my pret - ty one, sleeps. Sleep, my lit - tie one, Sleep, my pret - ty one, sleep. New Scond Readr. (117) lis CRADLE HYMN. Isaac Watts. J. J. Kousseatt. 4 ' ^L 1. Hush, my 2. Soft ami ;>. Hush, my :: babe, lie still and slum-ber, IIo - ly an - gels eas - y is thy era - die, Coarse and hard thy child, I did not chide thee, Though my song may 3 guard thy Sav - ior seem so afccj: bed, Heav'n - ly lay, When His hard ; 'Tis thy 3 3^3 53== * bless - ings with - out num - ber birth - place was a sta - ble, moth - er sits be - side thee, -P* (ien th- fall - ing on tin- And ins soft - est bed Mas And her arms shall be. thy head. How much bet - ter hay. Oh, to tell the sruard. May'st thou learn to s -r 4= SezH V thourt at - tend - ed Than the Son of God could be, When from won-drous sto - ry, How His foes a - bused their King, How they know and fear Him, Love and serve Him all thy days ; Then to ill^lii heav - en He de killed the Lord of dwell for - ev - er scend-ed, And be - came a glo - ry, Makes me an - gry near Him, Tell His love, and child like thee ! while I sing, sing His j 51 *^ 86 - New Second Reader. MASSA'S IN DE COLD, COLD GROUND. 119 Stephen Collins Foster. Stephen Collins Foster. 1. Round de raead-ows am a ring -ing De dark - ies' mourn-f ul song, 2. When de au-tunin leaves were fall-ing, When de days were cold, 'Twas 3. Mas- sa make de dark - ies love him Cayse he was so kind; =f F :^=^= =Jt =fE =t While de mocking bird am sing -ing, Hap-py as de day am long, hard to hear old mas - sa call - ing, Cayse he was so weak and old. Now, dey sad - ly weep a- bove him,Mourn-ing cayse he leave dem he-hind. I % I =: * * * r Where de i - vy am a creep - ing, O'er de grass-}- mound, Now de or-angetree am bloom -ing On de sand-y shore; can - not work be - fore to - mor - row, Cayse de tear-drop How ; I / ^il^gE2^^=iip 1 1 Dare old Mas -sa am a sleep-ing, Sleep-ing in de cold, cold ground. Now de s u in- mer days am com - ing, Mas - sa neb-ber calls no more, try to drive a - way my sor - row, Pick - in on de old ban - jo. Chorus. - J : -I f ' I = m * r ' Down All de dark-ies de corn field, t am a wecp-ing Hear dat mourn -fill sound: Mas-sa's in round. New Second Reader. 120 OFT IN THE STILLY NIGHT. Thomas Moore. V Irish Mklodt. ^ = F 3-T-* = ^=^= 1. Oft in the still -y night, Ere slum-ber's chain has bound me, 2. When I re - mem-ber all The friends, so linked to - geth - er, m = s=* *=^ ^^ "6* Fond mem -*ry brings the light Of oth - er days a - round me ; The I*ve seen a - round me fall, Like leaves in win- try weath-er, I 1ST ==fc *-==? -^= ?* * ^ r smiles, the tears, Of boyhood's years, The words of love then spo -ken;The feel like one Who treads a - lone Some ban - quet hall de - sert - ed, Whose -in *e= -*^ +_ **! eves that shone, Xowdimm'd and gone, The cheer -ful hearts now bro - ken! lights are fled, Whose gar -lands dead, And all but he de - part - ed ! * ^m =*=*-j :^ V 1 Thus in the still - y night, Ere slum-ber's chain has bound hfa h JL =fc * *- -b H Sad mem -"ry brings the light Of oth - er days a - round me. New Second Reader. AULD LANG SYNE. 121 Robert Burns. g=S-J * : = ^^ Should auld We twa We twa And here's : ac- quaint-ance hae run a hae paid - l't a hand, my be bout i 1 trust for - got, And the braes, And the burn From y frien'.And nev - er brought to pu'd the gow - ans morn- in sun till gie's a hand o' min' ? Should auld ae - quaint-ance be for - got, And days o' fine ; But we've "wandered mon-y a wea- ry foot Sin auld. . dine ; But seas be - tween us braid hae roar*d Sin auld . . thine ; We'll tak a cup o 1 kind-ness yet For auld . . Chorus. -ft. fe H fr lang lang lang lane: syne syne, syne, syne. auld lang *: syne, my dear, For We'll P^S^i=^i^si tak cup kind - ness yet For auld lang syne. THE HARP THAT ONCE THROUGH TARA'S HALLS. Thomas Moore. -+ =t that once through Ta - ra's halls The to chiefs and la - dies bright The soul harp of of mu - Ta - sic ra shed, Now hangs as mute swells; The chord a - lone (hat breaks at night, Its fled, tells. So sleeps the pride of Thus Free - dom now so for sel- mer days, So dom wakes, The glo on rv's thrill is throb she o'er ; And hearts (hat once beat high for praise Now f fe Si "r*-* r*- day ; The young folks roll on the lit - tie cab - in floor, All door ; The day goes by like a shad - ow o'er the heart, With grow ; A few more days for to tote the wea - ry load, No Published by permission of William A. Pond & Co., owners of the copyright. New Second Reader. _ M^ :zzz 123 mer - ry, all hap - py and bright, ByV - by Hard Times comes a - sor - row where all was de - light ; The time has come when the mat - ter, 'twill nev - er be light; A few more days till we tot ^ 3 I f -G> * ^ I* knock -ing at the door, Then, my old Ken-tuck - y home, good night! dark - ies have to part, Then, my old Ken-tuck - y home, good night! tot - ter on the road, Then, my old Ken-tuck - y home, good night! Chorus. Weep no more, my la - dy, Oh ! weep no more to - F# *= 5 g u *=p =d e? day ! We will sing one song for the old Ken-tuck - y home, For the old Ken - tuck - y home far a - way. New Second Reader. 124 LONG, LONG AGO. T. H. Bayly. ==i=> ^5?3 -I-*- 1. Tell me the tales that to me were so dear, Long, long a - go, 2. Do you re-mem-ber the path where we met, Long, long a -go, 3. Though by your kind - ness my fond hopes were rais'd, Long, long a - go, Long, long a - go; Long, long a - go? Long, long a - go ; Sing me the songs I de - light - ed to hear, Ah, yes, you told me you ne'er would for - get, You by more el - o - quent lips have been praised, Long, long a - go, long a - go. Long, long a - go, long a - go. Long, long a - go, long a - go. Xow you are come, all my Then, to all o'th - ers my But by long ab - sence your i :=* W=+ ==!= 1 jt^zj ^E^S *=J grief is re - moved, Let me for - get that smile you pre-ferred ; Love, when you spoke, gave truth has been tried ; Still to your ac - cents so long you have roved, a charm to each word ; I lis - ten with pride ; Let me be - lieve that you love as you loved, Long, long a - go, long a - go. Still my heart treas-ures the praises I heard, Long, long a - go, long a - go. Blest as I was when I sat by your side, Long, long a - go, long a - go. New Second Reader. PATRIOTIC AND DEVOTIONAL SONGS. AMERICA. S. F. Smith. Henry Carey ( ?). 1. My conn - try ! 'tis 2. My na - tive coun 3. Let mu - sic swell i. Our fa - tilers' God! of thee, Sweet land of try, thee Land of the the breeze, And ring from to Thee, Au - thor of lib - er - ty, no - ble free- all the trees lib - er - ty, Of thee I sing; Thy name I love ; Sweet free - dom's song ; To Thee we sin- + -J- -***- -J- i&- & ^=* T=x ZZZL W=9Z r r t F== t H^ m Chorus. 'i^r ~l ) L-_U4_i^-LJ__|_i . Forward in - to bat - tie, See, His banners go. Onward, Christian sol - diers, Brothers, lift your voi - ces, Loud your anthems raise ! One in hope and doc - trine, One in char- i - ty. ^J-J-'Lj J-'Jti J_j_j_ j rrrr pmm I I Marching as to war, With the cross of Jc - sus Go -ing on be- fore! -J- A I I ) I J. J* J? 4 4 . Hj-J. t t= -: E ^ L'iUi Naw Second Readar. i 128 Joseph Hopkinson. HAIL, COLUMBIA! Prof. Phyla. r 4= Hail, Co-lum - bia! hap- py land! ' Hail, ye he - roes, lm - rnor - tal pa - triots, rise once more ! De - fend your rights, de Sound, sound the trump of fame, Let Wash - ing Be - hold the chief, who now com-mands,Once more to serve his heav'n-born band ! Who fought and bled in Freedom's cause, Who fought and bled in fend your shore ; Let no rude foe with im - pious hand, Let no rude foe with ton*s great name Ring thro' the world with loud applause! King thro 1 the Avorld with coun-try stands ; The rock on which the storm will beat ! The rock on which the fcS ^ =fei Free - dom's cause, And, when the im pious hand, In - vade the loud ap - plause ! Let ev - 'ry storm will beat! But armed in storm of war shrine where sa - clime, to Free vir - tue, firm was gone, Fn - cred lies Of dom dear, and true, His *-3 3 * -0 4=t joyed the peace your val - or won. Let in - de-pend-ence be our boast, toil and blood the well-earn"d prize. While of -f ring peace, sincere and just, In Lis - ten with a joy-ful ear; With e - qual skill, with steady power, He hopes are fixed on hcav'n and you. When hope was sink-ing in dis-may,When Ev - Ileav'n gov - gloom er mind we place erns in ob - scured ful a the Co what man fear lum it iy ful bia's cost ; Ev trust, That truth hour Of hor day, His stead er grate - ful and jus - tice rid war, or y mind, from Let its ev - 'ry hap - pier solved on tar of of or reach the skies bond -age fail. hon - est peace. lib - er - ty. New Second Reader. 129 Chorus. S3: Firm, u - nit - ed let be, Ral-lying round our lib - er - ty ! d=^= :=H5 t: 3fed: m iCSL ^^H As a band of broth-ers joined, Peace and safe - ty we shall find. FLAG OF THE FREE. Richard "Wagner. strife and the thun - der God while His niiofht we of a war ; Ban - ner made bright uore ; Tn Lib - er - ty's van, d.s. While thrtf the sky i=&|i 3 =hc 1 l=z * ^ Fixe. Si with star - ry li rlit, Float ev - er proud - ly from nioun - lain to shore. man -hood of man, Sym - bol of right thro' the years pass-ing o'er. loud rings the cry, Un - ion and Lib - er - ly ! one ev - cr - more ! Spread thy Seat - ter fair the folds cloud but that to would shield UarK and to a save, star, New Second Reader, 130 AMERICA THE BEAUTIFUL. Katharine Lee Bates. Maestoso. Will, C. Macfarlane. n# f 5 > I ! 1 v< J 1 , W&~n- P 1 * -m -A ^ 4-, 0} . M 1 d"i r^H W J- 1. 1 2. 1 3. 1 4. 1 )eau )eau >eau >eau m- * - ti - ful - ti - ful ti - ful - ti - ful =} F 9~ for for for for spa pil he- pa- J & 0- - cious skies, For am - grim feet, Whose stern roes proved, In lib - triot dream That sees ! 1 i r * 2 * ber waves of , im-pas- sion'd er - at - ing be-yond the > ] trr grain, stress strife, years -i 1 HI ss^r! * ~\= -4 -a * t L -0 - --O ^ ^0-z * 1 hj-^-J-l Bass with octaves throughout. 04 h * /# 1 1 * 1 -J V J ca 1 " | P ! 1 J . ^J * * -A + & L sh- * - ^ -4- Oit 1 N l fc i ytt m J k_ S | ! 1 r EW p fi m (J) 1 J . 8 - m ^ 1 1 1 M 5i' 1 *tf- !-- ' * --*- God shed * u - # J mer - i - CJ ! A - mer - i - ca! His grace on thee, And mer - i - ca ! A - mer - i - ca! God mend thine ev - 'ry flaw, Con- mer - i - ca ! A - mer - i - ca! May God thy gold re - fine, Till 1 mer - l - ca ! A - mer - i - ca! God shed His grace on thee, And -0 i * r- h" -0 * P~ -0 * * i 1 1 ' T ,-0i- 4 * ^ -\ V l - "4 H -| 1 _^_ f-l By permission of the author. Copyright, 1913, by Will C. Macfarlane. New Second Reader. 131 04 is IS ! I \ /T y Pi / P _m\ 1 m .11 t } #U~ ~9\ * s ^j m '. m m\ i o tr .g.; ^ * % { m ir- & % m m * J. r r r crown thy good with broth -er - hood, From sea to shin ing sea! firm thy soul in self - con trol, Thr lib - er ty in law ! all sue -cess be no - ble - ness, And ev - ,r y gain di - vine! crown thy good i with broth -er - hood, From sea to shin ! ing sea! fpY" i* J 1 i "V j >- ! i ' 1 (c^-^T -| -m i 1 1*- ^J, L 1 tt- -J M * ' v J ! m.. r Refrain. Hollo maestoso. i^fr^ =* ritard. 15r A - mer - i - ca ! A - mer - i - ca ! God shed His grace on thee ! 3 H P + ^ HEAVENLY FATHER, SOVEREIGN LORD. SONGS FOR THE SANCTUARY. FELIX MENDELSSOHN. Ileav'n-ly Fa - ther, sov'reign Lord, Be Thy glo-riousname a - dored ! Though un-wor - thy, Lord, Thine ear Deij^n our hum- ble sougs to hear; While on earth or-dained to stay, Guide our foot-steps in Thy way, Then with an - gel harps a - gain We will wake a no- bier strain; ^^M n IEEE m- =t= Lord, Thy mer-cies nev-er fail; Hail, co Pur - er praise we hope to bring When a Till we come to dwell with Thee, Till we There, in joy- ful songa of praise, Our tri Nw Second Roader. =t i II les - tial good-ness,hail. round Tliy throne we sing. all Thy glo - ry see. um - phaut voi - ces raise. 132 GOD EVER GLORIOUS. S. F. Smith. Alexis T. Lwoff. 1. Cod ev - er glo 2. Still may Thy bless ri - ous 1 ing rest, Sov Fa 'reign of ther most na - tions, Ho - ly, <=; ner of Peace o'er tain, rock, riv - er, 3^3 the land ; and shore ; =t =1 # :s2: the sal - va - tion, in ho - san - nas ! 1 we Thy hand, ev - er - more. THE STAR-SPANGLED BANNER. Francis Scott Key. Dr. Samuel Arnold. 1. Oh! say, can 2. On the shore, dim 3. And where is 4. Oh! thus be you see, iy seen that band it ev by the dawn's ear - ly thro' the mist of the who so vaunt-ing - ly er when free - men shall light, What so deep, Where the swore . "Mid the stand Be - proud - ly we hailed at the twilight's last gleam-ing? Whose stripes and bright foe's haughty host in dread si -lence re - pos - es, What's that which the hav - oc of war and the bat - tie's con - f u - sion, A home and a tween their lov'd home and the war's des -o - la - tion.Blest with vie - fry and New Second Reader. =1 =1=q= T ?^m. p s 133 =1= stars thro* the per - il - ous fight, O'er the ram-parts we watched, were so breeze, o'er the tow- er - ing steep, As it fit - ful - ly blows, half con - coun - try they'd leave us no more? Their blood has washed out their foul peace, may the Ileav'n-rescued land Praise the Pow'r that hath made and pre- fc==J: LS-: H :zj: gal - lant - ly stream -ing. ceals, half dis - clos - es ? foot - steps' pol - lu - tion. served us a na - tion. f= SE ^p=*= *= And the rock - ets' red glare, the bombs Now it catch - es the gleam of the No ref - uge could save . . the Then con - quer we must, when our j^ fc= pd= l burst-ing in air, Gave proof thro' the night that our flag was still there, morning's first beam, In full glo - ry re - fleet - ed, now shines in the stream, hire-ling and slave From the ter - ror of flight or the gloom of the grave. cause it is just, And this be our mot - to, "In God is our trust." Chorus. O . . say, does that star - span - gled ban - ner yet 'Tis the star - span - gled ban - ner, oh long may it And the star - span - gled ban - ner in tri - umph shall And the star - span - gled ban - ner in tri - umph shall wave O'er the land of the wave O'er the land of the wave O'er the land of the wave O'er the land of the New Second Reader. free and the home of the brave? free and the home of 1 he brave free and the home of the brave free and the home of the brave I'M COME, THOU ALMIGHTY KING. Charles Wesley. 1. Come, Thou 2. Come, Thou al in Felice Giardini. -:1 - < s > . J might car y King. nate Word, Help Gird us on =3=1 Thy Thy to sing, Help us to praise. Fa - ther all glo - ri - ous, y sword, Our prayer at - tend. Come and thy peo - pie bless, O'er all vie- to - ri-ous, Come and reign o - ver us, An-cientof days. And give Thy word sue-cess ; Spir - it of ho - li - ness, On us de - scend. BATTLE HYMN OF THE REPUBLIC. Jclia "Ward Howe. 1. Mine . eyes have seen l 2. I have seen Him in 3. I have read a fier the the y glo watch gos 4. lie has sound - ed forth the trump r y fires pel et of of writ that In the beau - ty of the lil the a in shall ies Christ was com - ing of the Lord ; He is tramp-ling out hun - dred cir-cling camps ;They have build - ed Him burnished rows of steel: "As ye deal with My nev - er call re- treat; He is sift - ing out born a - cross the sea, With a glo - ry in the vint - age Avhere the an al - tar in the con- tem-ners, so with the hearts of men be- His bos - om that trans- New Second Reader. ^=$=3*: =fc =t 135 -fee- grapes of wrath are stored ; lie hath loosed the fate - ful light - ning of His even - ing dews and damps ; I can read His right- eons sen - tence by the you My grace shall deal : Let the He - ro born of worn - an crush the fore His judg-ment seat : Oh, be swift, my soul, to an- swer Him ! be fig - ures you and me ; As He died to make men ho - ly, let us fe==: 2 P- -ii J ter - ri - ble swift sword ; His truth dim and flar - ing lamps: His day ser - pent with his heel, Sinee God jn - hi - hint, my feet ! Our God die to make men free, While God Chorus. is march is march is march is march is march ing ing ing ing ins: on. on. on. on. on. (Jlo- ry, glo -ry,Hal-le - In - jah ! Glo - ry,glo - ry.IIal- le - lu jLj_U_^fl Glo - ry, glo - ry,IIal-le- lu - jah! His truth is march -ing on. New Second Reader. 136 PARADISE. Frederick W. Faber. Joseph Barnbt. Ji^ Par Par Par a - dise ! a - dise ! a - dise ! O Par - a - dise ! Who doth not crave for O Par - a - dise ! The world is grow - ing O Par - a - dise ! Where - fore doth death de Par - a - dise ! O Par a dise ! I want to sin no z=t=: 1^5 *t r&EEr rest ? Who would not seek the hap old ; Who would not be at rest lay ? Bright death, that is the wel more ; I want to be as pure py land, Where they that loved are and free, Where love is nev - er come dawn Of our e - ter - nal on earth As on thy spot - less :=t =r= *= -- W t= PH blest ? cold? day. shore. Where Where Where Where loy - loy- loy - loy - hearts, hearts, hearts, hearts, and and and and true, true, true, true, Stand Stand Stand Stand ev ev ev ev er er er er in in in in the the the the light, All rap - ture thro' and thro', In God's most ho - ly sight. A - men. JERUSALEM THE GOLDEN. Bernard of Ciatny. Alexander Ewing. -T- 1 . Je - ru - sa - lem the 2. They stand, those halls of 3. There is the throne of gold Zi Da Z a en, With milk and hon - ey blest : on, All ju - bi - lant with song, vid, And there, from care re - leased, 3=EE j-=:jE^t 3^J IP ^ I m- E^t=J=* lie - neath thy And bright with The song of w con - tern - pla - tion, Sink heart and voice op -pressed. many an an - gel And all the mar - tyr throng, them that tri - uinph, The shout of them that feast. New Second Reader. 137 I know not, oh, I know not, What joys a - Avait me there ; The Prince is ev - er in them, The day - light is se - rene ; And they who with their Lead - er Have con - quered in the light, What ra - dian - vy of glo - T The pas - tures of the bless - ed Tor - ev - er and for - ev - er What light be Are decked in yond corn-pare, do - rious sheen. Are clad in robes of white. PORTUGUESE HYMN. James Montgomery. J. Reading. t-H-H ^L H -?=*- 3=1 : m m :t= B 1. The Lord is my shep - herd, no want shall I know; I 2. Let good - ness and mer - cy, my bonn - ti - ful God, Still feed in green pas - hires ; safe fold - ed I rest; lie lead - eth my fol - low my steps till I meet Thee a - bove ; I seek by the soul where the still wa-ters flow, . path which my fore - fa-thers trod, . Re - stores me when wand'ring,ro - Thro 1 the land of their so-joum, Thy tefeE deems when op-press'd, lie - stores me when wandVing, redeems when oppressed, kingdom of love, Thro 1 the land of their so - journ, Thy kingdom of love. New Second Reader. 138 COLUMBIA, THE GEM OF THE OCEAN, 1). T. SITAW. Spirited. D. T. Shaw. ee^ej: -i n-jt -- #->-* ===!* : 1. Oh ! Co-lum - bin, the gem of the o-cean, The home of the brave and the 2. When war wing'd its wide des-o - la - tion, And threaten'd the land to de - 8. 'Die star-span-gled ban-ner bring hith-er, O'er Co-lum- bia's true sons let it :^^H=^=^==j: :=* *=*- free, Tlie shrine of each pa - triot's de - vo - tion, form, The ark then of free-dom's foun-da - tion, wave ; May the wreaths they have won nev - er with - er, A . . Co - Nor its :T =$= m world of - fers horn - age to thee. lura - bia,rode safe thro 1 the storm; stars cease to shine on the brave. Thy man- dates make he - roes as - With gar-lands of vie - fry a - May the serv - ice u - nit - ed ne'er *= g- ai -*- *^ ---* sem-ble, round her, sev - er, \k # i _ >> When Lib - er - ty's form stands in view ; Thy When so proud-ly she bore her brave crew ; With her But hold to their col - ors so true ; The % jE5to3EggigE Jjj ]>J[ U*& ban-ners make tyr-an-ny tremble, When borne by the red, white, and blue, When flag proud-ly float-ing be-fore her, The boast of the red, white, and blue, The ar - my and na - vy for- ev-er, Three cheers for the red, white, and blue, Three ttjziHH^ borne by the red,white, and blue, When borne by the red.white, and blue; Thy boast of the red,white,and blue, The boast of the red,white, and blue; With her cheers for the red.white.and blue.Three cheers for the red,white,and blue ; The ># ft _ j N_> t=U=E: Si^ dt* ban-ners make tyr - an-ny tremble, flag proud-ly float-ing be-fore her, ar - my and na - vy for - ev - er, When borne by the red, white, and blue. The boast of the red, white, and blue. Three cheers for the red, white, and blue. New Second Reader. MARCH OF THE MEN OF HARLECH. 139 William Duthie. ; feg^E^g^ Welsh National Song. f=E 1. Men of liar- lech ! In the hoi - low, Do ye hear, like rush-ing bil -low, 2. Hock - y steeps and pass-es nar - row Flash with spear and flight of ar -row ; t S :b $ : Wave on wave that sur - ging fol - low Bat- tie's dis - tant sonnd ? Who would think of death or sor - rowPDeath is glo - ry now ! y- _^^ : J : EEE^ -4=^-f 3 1 Tis the tramp of Sax- on foe- men, Sax- on spear -men, Sax - on bow-men, Hurl the reel- ing horse -man o - ver, Let the earth dead foe- men cov- er ! 3 iEEEEJEE* f TZt Be they knights, or hinds, or yeo- men, They shall bite the ground! Fate of friend, of wife, of lov - er, Trem - bles on a blow ! Ito?=fefe * Loose the folds a - sun -der, Flag we con - quer un-der ! The plac-id sky now Strands of life are riv - en ; Blow for blow is giv- en, In dead-ly lock, or bright on high Shall launch its bolts in thun-der! On - ward ! 'tis our bat- tie shock, And mer - cy shrieks to heav - en ! Men of liar -lech ! L P=^ =t coun - try needs us, He is brav - est, lie who leads us ! young or hoar - y, Would you win a name in sto - ry ? S^fi^? * II New Hon - or's self now proud-ly heads us! Free-dom! God, and Right ! Strike for home, for life, for glo - ry ! Free-dom ! God, and Right ! Second Reader, 140 PRAISE THE LORD. Bishop Richard Mant. Joseph Haydn. ^=J- ^S :=P +- 1. Praise the Lord! ye heav'ns, a - dore Him, Praise Him, an-gels in the 2. Praise the Lord, for He is glo - rious ; Nev-er shall His prom-ise [ ftrfr- =1= =t height; Sun and moon, re - joice be - fore Him ; Praise Ilim, all ye stars of fail ; God hath made His saints vie - to - rious, Sin and death shall not pre- M$E0E^^m *3 i~- =i -= - j i [p r light ! Praisethe Lord, for He hath spo-ken ; Worlds his mighty voice o-beyed. vail. Praise the God of our sal - va -tion, Hosts on high, His pow'r pro-claim ; -fe- lt i S^ feia^fe^i^ll Laws which nev - er shall be bro - ken, For their guid - ance He hath made. Heav'n and earth, and all ere - a - tion, Laud and mag - ni - f y His name. New Second Reader. HOLY NIGHT. 141 . PP frit Michael Haydn. #=% h=zMz^-w= r: =i= =t . atat =* ta i * 1. Si - lent night, IIo - ly night, All is calm, all is bright 2. Si - lent night, Ilo - ly night, Shep - herds quake at the sight, 8. Si - lent night, IIo - ly night, Son of God, love's pure light Hzfcti o: J , A. v=f W^^z * L^ ^ ^ ** ~ -5- i^ > ^rf> ^ uj ~ -- ^ ^ ^ U* ^ ' i/^^^^^^p Round yon Vir - gin Moth-er and Child. Ho - ly In - fant so ten-der and mild, Glo-ries stream from Heav-en a - far, Heav'n-ly hosts sing Al - le-lu-ia; Radiant beams from Thy ho- ly face, With the dawn of re - deem - ing grace, -1 U- _ T * k f= ^=p: jzzzU '-y -k- *^_* ^F=f Sleep in heav- en - ly peace, Christ, the Sav-ior, is born! .Ie - sus, Lord, at Thy birth ! Sleep in heav - en - ly peace. Christ, the Sav - ior, is born ! Je - sus, Lord, at Thy birth! New Second Reader 142 GUIDE ME, THOU GREAT JEHOVAH! Rev. W. Williams. m %*=& -r r 1. Guide me, 2. O - pen 3. When I J T o now tread r d o- _*_d_ f= F. HAROLD. Thou great the crys the versre t J=J, t= Je - ho - tal foun of Jor ' vah ! Pil - grim tain, Whence the dan, Bid my - J , J J? 1 I ? ; - _^t*j n 1 J"3 i j J_ rT=^f f \ r r t*- f r 7 through this bar - ren land ; I am weak, but Thou art might-y, heal - ing stream doth flow ; Let the fier - y, cloud - y pil - lar anx - ious fears sub - side ; Death of deaths, and all de - struction ! te i ^3 a J-^Oj -J d* -: XT L-l r r Hold me with Thy Lead me all my Land me safe on =fc -~- r = f ISrt > d T -9-p - -J3 r pow'r - ful hand. Bread of Ileav - en, jour-ney through. Strong De - liv - 'rer, Ca - naan's side. Songs of prais - es, aa_j l_j i 1 J~l at* =F t -P F ^ >V t3 - PP T" m =t *-*- 4- d=F zs Bread of Ileav - en, Feed me till I Strong De - liv - 'rer, Be Thou still my Songs of prais - es, I will ev - er want no more. strength and shield. give to Thee. 10 2 9 *" H>--t-- r tt= j- =?= I New Second Reader. mDEX. Fagb. Poet or Source. Composer or Sottrce. 15 Abide with Me ! Henry Francis Lyte . . William Henry Monk 125 America S. F. Smith Henry Carey (?) 130 A morica the Beautiful Katharine Lee Bates . . . Will C. Macfar lane 121 Auld Lang Syne Robert Burns 13 Autumn 134 Battle Hvmn of the Republic . . . Julia Ward Howe 105 Bees, The 41 Bird is Sweetly Singing, A Franz Von Holstein 126 Blessed are the Merciful .... Matthew, v : 7 43 Bobolink, The 79 Building Henry W. Longfellow 17 Calm on the Listening Ear of Night E. H. Sears J. B. Dykes 89 Candlemas Song, A Robert Herrick 61 Carnation, The Edward Oxenford Ciro Pinsuti 99 Children's Birthday Gift, The F. Silcher 138 Columbia, the Gem of the Ocean . D. T. Shaw D. T. Shaw 134 Come, Thou Almighty King . . . Charles Wesley Felice Giardini 82 Come to the Sunset Tree .... Felicia Hemans 118 Cradle Hymn Isaac Watts J. J. Rousseau 61 Cradle Song, A 15 Dream Man, The 57 Evening Hymn Franz Abt 97 Evening Song F. bilcher 35 Farewell to the Birds Franz Abt 129 Flag of the Free Richard Wagner 112 Friendship W. A. Mozart 132 God Ever Glorious S. F. Smith Alexis T. Livoff 30 Colden Boat Song, The Mrs. Ormiston Chant . Mrs. Urmiston Chant 86 Golden Slumbers Kiss Your Eyes 13 Good-by to the Flowers 142 Guide Me, O Thou Great Jehovah 1 . Rev. W. Williams F. Harold 128 Hail, Columbia! Joseph Hopkinson Prof. Phyla 121 Harp that Once through Tara's Halls, The Thomas Moore 131 Heavenly Father, Sovereign Lord . Songs for the Sanctuary . Felix Mendelssohn 141 Holy Night Michael Haydn 81 How Pure the Peacef ul Pleasure Gackstatter 106 Hush-a-by Baby C. 11. Lewis 78 Hymn of Nature John Austin 136 Jerusalem the Golden Bernard of Cluny .... Alexander Ewiny 101 Little Clouds Mary Chater 55 Little Snail A. J. Fox well 124 Long, Long Ago T. II. Bayly 79 Lord, to Thee I Lift My Eyes G. Nakonz (arr.) 17 Lullaby Claus Groth Caroline Winchern N*w Second Readar. 143 144 INDEX. Page. Poet or Source. Composer or Sottrce. 139 March of the Men of Harlech . . . William Duthie . . . Welsh National Song 119 Massa's in de Cold, Cold Ground . . Stephen C. Foster . . . Stephen C. Foster 58 May Franz Mair 91 May Pole, The Robert Herrick 27 Moon, The 28 Morning Prayer Carl Reinecke (arr.) 34 Morning Song 63 Morning Star, The Carl Reinecke 122 My Old Kentucky Home, Good Night Stephen C. Foster . . . . Stephen C. Foster 93 Night, The 108 Now Winter has Resumed J. S. 71 Now with the Rising, Golden Dawn . Lyra Catholica 120 Oft in the Stilly Night Thomas Moore Irish Melody 68 Old English Carol . . 77 Old King Cole Nursery Rhyme 27 Old Tempest 103 O Mother Tongue John Guard E. S. Engelsberg 127 Onward, Christian Soldiers . . . Rev. S. Baring-Gould . Sir Arthur S. Sullivan 136 O Paradise ! Frederick W. Faber . . . Joseph Barnby 105 O Thou Who Kindly Dost Provide . Robert Burns 116 Our Life is like a River Felix Mendelssohn 33 0, Why Should Life ? A. Muhling 72 O Ye Hours Felicia Hemans 39 Peaceful Slumb'ring on the Ocean Stephen Storace 95 Picture Books in Winter .... Robert Louis Stevenson 137 Portuguese Hymn James Montgomery J. Reading 140 Praise the Lord Bishop Richard Mant .... Joseph Haydn 49 Prayer, A Robert Burns 78 Singing Robert Louis Stevenson 110 Softly Glide, Gentle Night Franz Abt 64 Song Harmonious 85 Song of Birds, A 74 Song of the Waves F. C. Maker 22 Sow in the Morn Thy Seed J. S. 23 Spinning Song, A 60 Stars, The 132 Star-Spangled Banner, The . . . Francis Scott Key '. . Dr. Samuel Arnold 114 Summer Frank Henrietta Joseph Haydn 117 Sweet and Low Alfred, Lord Tennyson . . Joseph Barnby 53 To the Nightingale Carl Reinecke 62 Up Yonder on the Mountain Carl Reinecke 44 Watchman, The 19 When the Wind Blows 23 Where the Blue Hills Rise Franz Mair 89 Whitsuntide Robert Herrick 49 Wind The Christina Rossetti . . Mary Carmichael (arr.) 76 Winter and Spring J- Sneddon 45 Winter Snow, The Alfred, Lord Tennyson 37 Winter Song, A New Second Reader. UC SOUTHERN REGIONAL LIBRARY FACILITY AA 000 041771 7 SOUTHERN BRm, ~ UN1VERWTY of CALIF. LIBRARY LOS ANT- : - Al IF