%HAiNA-ak s ^AHvaain^ v r ^Aavaan-^ <\t4JBRARY0/ ^t-UBRARY%. o & "- T //OTAINfl-3ft^' ^AHVHHIH^" ry tfAHVH8rR^ %TO RY^ ^HIBRARY^ ^EUN!WR% ^lOSANGEIix* ^HIBR, JOr %)JITO-JO^ <^HDNV-S0l^ %83AINfl-3tf^ 0% ^.OF-CALIFO^ ^UM% ^10S ANGEij> c^5 CD OS I i^ ^AavHan#- ^dnvsot^ ^bainiHV^ ^UJS-ANGELn> ^-UBRARY^ ^UlBRARYtf^ % %a3MN(HWV a^10SANGEL% c 0FCALIF0% ^OFCALIFO/j^ ov^ ^3AiNfHWv ^AavHan-^ ^Awaan-^ ^IJBRARYfl* ^\\EUNIVER% ^cLOSANGEIi^ ^OJITO-JO^ ^fJIWSO^ #e (Wlobern (Music Jkriee. A THIRD BOOK IN VOCAL MUSIC WHEREIN THE STUDY OF MUSICAL STRUCTURE IS PURSUED THROUGH THE CONSIDERATION OF COMPLETE MELODIC FORMS AND PRACTICE BASED ON EXERCISES RELATED TO THEM ELEANOR SMITH AUTHOR OF "SONGS FOR LITTLE CHILDREN," TEACHER OF MUSIC IN THE CHICAGO KINDERGARTEN COLLEGE AND FROEBEL'S KINDERGARTEN SCHOOL. FORMERLY IN CHARGE OF DEPARTMENT OF VOCAL MUSIC IN THE COOK COUNTY NORMAL SCHOOL C. E. RICHARD MUELLER, A.M. SILVER, BURDETT AND COMPANY NEW YORK BOSTON CHICAGO In addition to the songs and poems copyrighted separately, this volume con- tains much original material which is covered by the general copyright of the book and must not be used without special permission. Copyright, 1898, BY SCOTT, FORESMAN & COMPANY Copyright, 1901, Bv STLVER, BURDETT & COMPANY rrr THE MODERN MUSIC SERIES. "Knowledge has its beginning from the tnind ; its introduction from the senses." There are two essential things to be considered in the musical education of tht child : 1st. The cultivation of the musical sense the appreciation and love of music. 2d. The development of the understanding in the elements of music the ability to read at sight, etc. These two phases of growth are in no way autagonistic to each other ; on the contrary, the child can only grow properly in each through the influence of the other. Some teachers would emphasize the importance of sight reading and tech- nical training, as if the development of independent ability were the only essential thing in music training ; while others would emphasize song singing and musical expression at the expense of independent ability. The simple truth is, that neither is complete without the other; that one must grow from and relate to the other, and that their relation must be definitely established and continuously sustained. The distinguishing feature of The Modern Music Series is the relation between the songs and studies. By taking the student from the song to the study, and by relating the study centers to music of high character, the child gains power in the elements of music uuder the influence of the best musical thought, and thus attains the ideal of education, since the true spirit of the art of music dominates and influ- ences him at every stage of his progress. A THIRD BOOK IN VOCAL MUSIC. It is assumed that by the time the pupil is prepared to take up the study of the lessons presented in this book, he has mastered the elementary principles that are necessary for the reading and understanding of such songs of our most notable com- posers as are here given songs which are simple without being dull, and beautiful without being unduly intricate or difficult. It does not follow, however, that the pupil's ability to sing these more difficult songs creditably is a sign that he is ready for the study of the higher harmonic laws, except in so far as they are involved in the practical experience of singing. For these reasons, therefore, the material in this book is arranged with the object of making clearer the principles already learned, and of leading the pupil to the higher musical enjoyment incident to the exercises of more advanced and artistic part singing. Considered from this standpoint, the advance in difficulty of the Third Book over the preceding books of the series is very apparent ; and since, by this course, the student is brought to a practical facility in deciphering and singing the best 2440').! 4 THE MODERN MUSIC SERIES. compositions, the degree of technical thoroughness may be considered to be as great as can be justified by sound educational principles. While discipline is what might be called a by-product of the music work in school, there are other by-products of the music hour which are worth more to the individual, and to the school, than any possible discipline through the study of abstract musical principles. The object of The Modern Music Series is to furnish an incitement aud a facility to art experi- ence in music, rather than discipline purely as such. The principle of the inter-relation of musical forms is, in the main, the same in this book as in the lower ones of the series, being from (a) inelody, to (b) melody iu combination (the canonic form, the round, etc.), to (c) part work as such, in two, three and four parts. The essential difference between this book and the preceding books of the series is that the initiative of the musical idea is no longer through imitation. By the arrangement of material the pupil is constantly stimulated to an independent effort in sight reading, his maturing faculties and his changed attitude toward singing being thus recognized. The contests of the Third Book op Vocae Music may be divided into four groups : Group i. Pages 6 to 83. A presentation of the nine different keys in the order of their harmonic relations, each key being introduced with a graphic showing of the intervals of the major and minor scales. The nine sets of key pages may be made the foundation for interval study. Group 2. Pages 84 to hi. Begins with an illustration of Sharp 4 and Flat 7, as shown through modula- tion, contrasting these intervals with chromatics occurring as passing tones in the songs and studies following, and closes with an analytical view of the i** Nervals of the major and minor scales. Group 3. Pages 112 to 125. A review of the different keys in regular order, presenting the studies and songs in unrelated form in order that the pupil may be held to a strictly analytical consid- eration of the musical elements underlying the different musical forms. This group closes with studies in difficult intervals, which are simplified by being first shown with intermediate tones. Group 4. Page 125 to the close of the book. The introduction of the bass clef. This group begins with easy studies, and is calculated to awaken the interest of the boys through attractive melodies in the bass. Throughout, the work in the bass clef is related in many instances to the studies and songs of unchanged voices, sometimes taking up the same melody in combination ; sometimes by relating the bass unison songs to the same melody har- monized with soprano or alto, or both ; and sometimes by following a unison or part song with a three or four part study or song, bringing in the bass voices a climax to the interest of the entire class, by which the part that the boys are expected to take in the singing is dignified, thus enticing them into the musical work. In most instances the bass is optional, a duplicate part being written in the treble clef for lower alto voices ; but even where the optional bass is not written, the arrangement is such that the alto may sing the bass an octave higher, so that practically all the material contained in the book can be used if bass voices are not available. To the body of the book is added a table of keys, showing the relation of the major key to the tonic and relative minor key ; also a concise discussion of the rudiments of music to which reference is made throughout the book. TABLE OF CONTENTS. SONGS OF THE TITLE. March The Coming of Spring The First Grass Spring Song Spring Song Come, Happy Spring Springtime is Returning ... The Spring Journey April May May Song Stay So, Sweet Season The Summer Days are Com- ing Summer Days Spirit of the Summer Time. . A Summer School A Lament for the Summer . . Autumn Autumn Days October Sickle Song Old Winter The Four Seasons SEASONS. COMPOSER. PAGE. Wendt 163 Mozart 54 Schumann 121 Vogel...^ 104 Gade 83 Giordani 236 Welsh 206 Spohr 230 Oehme 10 Billeter 46 Mendelssohn 208 Seidel 77 Schalrn 180 Eleanor Smith 65 Irish Folksong 19 Liebe 205 Gilchrist 138 Gramm(Arr.) 39 Jlaumf elder 112 German Air 128 Old English 11 Eleanor Smith 136 Clay 20 SONGS OF NATURE. April Showers Hatton Ariel's Sontc Schartau A Snowy Day A'tenhofer A Storm Gilchrist Awake ! Awake 1 The Dawn is Here Galty Corn Song Klein Daffodils German Farewell to the Woods Esser Flower Dances Folksong Goodnight Taubert Gypsy Song Schubert How Merrily We Live: . ...Este Now the Sun is in the West .Margaret Casson. . O Hemlock Tree ! Folksong The Archer Old Melody The Bird's Farewell Liebe The Brooklet Graben- Hoffmann. The Chapel in the Wood Schletterer The Daisy Gilchrist The Happy Farmer Schumann The Meadow is a Battlefield. Eleanor Smith The Pleasures of the Coun- try Haydn 122 194 174 158 116 234 191 150 133 88 213 106 140 130 170 57 100 37 116 164 62 TITLE. COMPOSER. PAGE. The Rising of the Lark Welsh 204 The Snow Melts Fast Gilchrist 87 The Sweet Birds are Sing- ing Walker 172 The Way for Billy and Me. ..Gruenberger 12 Twilight at Sea Folksong 226 Wanderer's Song Gade 103 Wandering Gruenberger (Arr. ) 202 Welcome. Wild Northeaster. Jaspersen 212 OCCASIONAL. A Thanksgiving Ode English 162 Auld Lang Syne Scotch Air 193 Christmas Bells Mueller- Gilchrist .. 137 Christmas Bells 240 Christmas Day Rheinberger 224 Christmas Hymn Sullivan (Arr.) 155 Decoration Day Flemish Folksong. 185 Easter Ode Eleanor Smith 228 Good-by, Old Year Tyson- Wolff 156 Thanksgiving Day Canon Ainslee 152 The Old Year Schulz 78 ROUNDS AND CANONS. Arnold 97 Gilchrist 24 Byrd 53 Cocchi 120 All Nature Smiles In April Hey-Ho, to the Greenwood The Fly Thy Mercies Lord Tallit 18 We Merry Minstrels.. Purcell 15 Winter and Spring Gramm 69 LULLABIES. A Norse Lullaby Gilchrist 144 Hey Baloo Schumann 95 Peaceful Slumbering Storace 160 Sleep, Baby Sleep Brahms 92 Swingingthe Hammock Winter/eld 98 Hush-a-By-Baby Lorraine 25 SONGS OF ACTION. A Hunting Song Kreutzer 115 Archer's U lee Stafford Smith 70 A Sky Voyage French Melody. ... 32 Bugle Song Gilchrist 186 The Fox Hunt English 169 The Hunter's Song Voelckerling 222 The Wanderer Schneider 143 TABLE OF CONTENTS. 60NGS OF ACTION-Continued. TITLE. COMPOSER. PAGE. The Wild Huntsman German 132 Under the Greenwood Tree .Old English, 27 We March Away Stern 214 PATRIOTIC AND HEROIC SONGS. America .... Carey Battle Hymn of the Repub- lic 129 166 44 Battle Song Hartmann Come, Ever-Smiling Lib- erty Handel 231 Hail Columbia Phyla 96 I Lean Against the Mast Mendelssohn 72 Keller's American Hymn.... Keller 210 Land of Greatness, Home of Glory Haydn 220 My Heart's In the High- lands Courtney 192 Santa Lucia Italian Boat Song. 146 Sir Hugh de Bray Klein 218 Tenting on the Old Camp Ground Killredge 200 The Hardy Norseman Norse National Song 43 The King in Thule Zelter 127 The Watch on the Rhine Wilhelm 176 To His Country Klein 153 Why Lingers My Gaze Welsh .... 189 ETHICAL SONGS. After Many Roving Years... Horn ... A Happy Life Benedict. 198 86 TITLE. COMPOSER. PAGE. Blow, Blow, Thou Winter Wind Stevena 177 Friendship Mozart 34 Home, Sweet Home Irish Folksong 90 In the Tempest. Tyson-Wolff 182 Kelvin Grove Scotch 219 Lordy Gallants Callcoit 196 Mother Dear Oehine 118 Music Reichara* 61 The Child and the Year English 7 The Christmas Rose Hamma 51 The Falcon Conradi 239 Spinning Song Rheinberger 114 TheGlowworm Barnby 148 The Good Comrade Folksong 131 The Light of Stars Tyson-Wolff 119 OEVOTIONAL SONGS. Above the Clear Blue Sky ... Hopkins (Arr.) 188 A Song of Praise Gruenberger 23 Awake My Soul, and With the Sun Barthelemon 190 Evening Prayer Mueller 184 Morning Hymn English 134 Now Thank We All Our God , Rinkarl 227 O Lord, Another Day Is Flown Isaac Smith 216 O Lord. Our God, the Light and Truth Clark 168 Prayer. Schubert 123 The Lord My Pasture Shall Prepare Carty 207 When Night Comes. Reichardt 216 A THIRD BOOK IN VOCAL MUSIC. The Child and the Year. Celia Thaxter. By arrangement with Houghton, Mifflin A Co Andante. = d English* 1. Said the child to the youth -ful year: " What hast thou in store for 2. "My sea - sons four shall bring Their treas-ures: the win - ter's 3. All these and more shall be thine, Dear child but the last and 4. Would' st know this last, best gift? 'Tis a con - science clear and H -<- fcl me, O giv - er of beau - ti - ful gifts! what cheer, What snows, The au - tumn's store, and the flow'rs of spring, And the best Thy - self must earn by a strife di - vine, If bright, A peace of mind which the soul can lift To an joy dost thou bring with thee, sum - mer's per - feet rose, thou would'st be tru - ly blest, in - fl - nite de - light, What joy dost thou bring with thee?" And the sum - mer's per - feet rose. It thou would'st be tru - ly blest. To an in - fl - nite de - light." A Canon. P -* *- v >- -* r w i -* fn 1 a The Key of C Major. Signature E&r: no tT sharps nor flats. Keynote C on the first line below, and in the third space. Triads of C Major. Ep iu 1 1 1 1 , i jj a 1 A further treatment of Triads will be found on page 252, under Kudiments of Music. Studies. I. 1 721 II. 7 *-?-?-* ,, ! I 1 J- 3^ =3 1 4-f^ Tt t^5t3ttt3t -*-* III. 1 r f "" *2^* ~j "jf "tV" '^*" i5*" VSf The Key of C Major and its Relative Minor Contrasted. 9 The Scale of A Minor, Harmonic Form. The Scale of C Major. The har- monic form of the Minor scale is the same ascending and descending. Re 2 Do 1 Ti 7 La 6 comparison of the Major, Rela- Minor, and Tonic Minor scales in different keys is shown on page 241. The Scale of A Minor, Melodic Form, Ascending and Descending. La 6 Sol 5- La 6 I. Studies in A Minor. I m& T? "&-' & ' ty-- m 5=^? II *E* * f- tf^ ^ #- -* - -&-* te I m -Pi ^X & + -+ =t *=$=? 't r==i=: * Kt- 1 - s L -fi^ 1 TO The Beat-and-a-Half Note. (Developed by comparison with the divided beat.) g ^ P^E3 * 4 ~ H a. 1 h ^ 1 H * 4- ffe? 1 Doh o - me so. .ol -doh me. .e- rah doh oh -la so..ol-fah me.. e -ray do. Pi i ' Lydia Avery Coonley. Allegretto. April. Oehme. 3**: -I h -*-*-*- t=t= 2 ( The hills were play-ing with the clouds One hap - py day in spring; ) 'I I al - most heard their mer - ry laugh A - cross the val - leys ring; ) o (Then came the wind, o'er pink and blue He swept a dark gray fold; j * } Gay smiled the sun as light he touched The som - ber hue with gold; j i ^ -*r -4-r -- J They tossed them off in silk - en scarfs And would not set them free, The clouds re - belled, "It is not fair To join a - gainst us so." m : F=^ i i=f "*-T- But quick - ly drew them back a - gain In gay - est rev - el - ry. Then hur - r'ing fast they threw a - cross The hills a veil of snow. I* Studies. =F = $ -o- II. JSt 1= -* hd 4- BZ +-*- z v: ZZr 1 'r -* - -0 U fi>- T ' m Hoelty. Andante. Sic - kles sound; Sic - kles ring, Sickle Song. On the ground Maid-ens sing S N j Fast To 11 Old English. the ripe ears the sic - kles' : a=? rr- 7rrr*r-r w^X Sic-kles sound; Sic-kles ring, On the ground Fast the ripe ears Maid-ens sing To the sic - kles' m ^=f s- ^=5*=* fall; sound; Ev - *ry maid-en's bon - net Has blue flow-ers on it; Till the moon is beam-ing, And the stub-ble gleam-ing, I -J 4- -gj K ^ d f\ t^r Joy is o - ver all, Har - vest songs go round, Joy, joy is o - ver all. Har - vest songs go round. Intermediate Tones. This exercise ahould be memorized and sung in different keys. Pi 1~ *^ IF -XT 1K -73- = P ' n 41 " * 3T *=& '-&. =fc ^ Sharp Four. :v.. 7/2. ZSr Do, re, I Jt I -& &- Z&l #z jBL Do. Sol, fl, sol, fi > O * Syncopation is illustrated and explained on pages 94 and 278. Note. A study of key relationship and chromatic tones, as shown on pages 84 and 85, will be helprul in establishing the idea of modulation. The difference between *harp four and a chromatic passing tone should be made clear to the pupil. 12 The Way for Billy and Me. P James Hogg. Moderate. L. Gruenbergef. N-fK- *=t 1. Where the pools are bright and deep, Where the gray trout lies a - sleep, 2. Where the black-bird sings the latest. Where the hawthorn blooms the sweetest. Up the riv- er and o'er the lea, That's the way for Bil - ly and me. Where the nest - lings chirp and flee, That's the way for Bil - ly and me. n cresc. -#-^ *- ^ r i\ r -m * i * ? -4* h * l 1 -^-fa tr-^ ' L - / L &- V y -0 -* tf 2 ' 3. Where the mowers mow the cleanest, Where the hay lies thick and greenest, There to *B > -yy m s=# i -1 iL ' ^ r* CTT t fr= ? ' L[ trace the homeward bee,That's the way for Billy and me, That's the way for Billy and me. Studies. ff 1- *~ S I* t -^ U \* 0-0 \-0- II. EEEfct: W: rr g^pl^ :^z: _, *-# gt= i 1 pU-JI^ I JJI^ Jj ^ l JM IJj ^=tt ^ "jtt Six-eight Time. 13 By Contrast. Six-eight time is a compound of double and triple time with six eighth-notes (or their equivalent) to each measure. If we count six to a measure Avith a strong and medium accent on one and four respectively, an outer double and inner triple move- ment will be recognized. This idea is shown in the following exercise. Let the quarter notes in b coincide with the accented notes in a. I. a - -A i -**--* -K--*-* S^eB II 3E Ed: 3 The same idea is shown in Exercise II. II. i _ * * 4=3 = = 14 The Pleasures of the Country. I Tr. from the German, Allegro. Joseph Haydn. i I = it. -*y -# V- 1. In trth I can - not meas - ure The heart-felt joy and pleas 2. I'll laugh at care and sor - row So long as each to - mor Allegro. ure Which row But P 3E=jr 4 * f ~ ^ 1 * 7 *t ev - 'ry morning brings; Each day my glad heart sings, proves a joy - ous friend Whose hours I love to spend. -^T ' ' ^J =-^ s-m y J < f J ^- H^ * TTTT b f=f ^ -?- 3- $ & S: I s ==j T = *=*: * -J u- The brook's most heart- y greet - ing,The brook's most heart-y greet - ing Is Sweet flow - ers near me grow - ing,Sweet flow - ers near me grow - ing, Their M T f "C 3ZZJC * ^L- ^ -7 "4= -#- 3=5: 5- 7 - -7 5 i: "The Pleasures Country. 15 m SE *= -azjt St mine at ev -'ry meet-ing, As in the glade she hides, Or from her shel - ter wond'rous beauty show-ing,Each morn-ingseeni to say, "'Tis sweet to live to- j K , I v 1 m *= = ET ^S t v i =}=*= -?--*- ^S MX t=t glides, Or from her shelter glides, day, 'Tis sweet to live to-day. " -#-+- 3P>: +*-. 4 bat ^^ ""d jiUSt- 7 LI^# i=fi^ 5fc * gg * = fc -*-*-*- i iF** 1 Allegro. We Merry Minstrels. ROUND. H. Parcel!. e merry minstrels soft music en - joy, For mu-sic doth hatred and malice destroy. I I I i f- **- We sing so blithely, we drive a-way care, And with our soft harmony banish despair. *~M 2t: =F~ ~ Then hail! sweet science, bill, hail! heav'nly sound, No pleasure like ai'u>; iT d> 16 The Key of G Major. Signature F Zr " one sharp, Fjj. Keynote G, on the second line. Triads of G Major. 4e .^ UA*m = i -S* 5 2 3; m fP ^^ :|5E^^^:PEj &T&-T- r y I eg , u > 1 n K) ^ I. Studies. _ffi , a. *=3l ^ 2T JZ1 lit r-tiL & JSZ -g ^ -^g ^ -jy * # "= 2T ^* II. nfrf rf rfifc ^^ ^t T r rrfr in. J + i ^,1 J J J 1 j-J-U J J J i J_ 1 *i 1 a * ff -* .- ^pp^lpp The Key of E Minor, the Relative Minor of G. 17 The Minor Scale, Melodic Form. ffi^Z- La 6 Si $5 La La 6 La tr The Major Scale. The Minor Scale, Harmonic Form. i! >g (3 - 1 & <22- ZZZdi!* g ^ -,> <2- tS? <2_ Triads of E Minor. fe ftSTt ^z:i4=^3 =^=^ ^=^W- r=fe G^ 75t L^- (S?- 5 - fe^ :? ig-r ^-v- -P- 6^r- :s l z?z &-1T Studtes in E Minor* 1 r<5>- :zz: i 4: I W- -r~*- & r J "-%*- U. & s> & #* i i 1 i l - 1 g) -s* ^ ^^ -* #- & -y ta 22 ^ I g * III. 1ST 1 ^^^^^^^f^mu^j^iiyi^ Iny Mercies, Lord. CANON. Anon. Allegro. Tallin m iei t * 4 r a mf Thy mercies,Lord,shall be my song, My song on Thee shall ev - er dwell, To f J JU J BE * mf Thy mer - cies, Lord, shall be my song, My song on Thee shall t M . i J i SES f 3 ^ s * * *- #-*- * * a - ges yet uu orn my tongue Thy nev-er f ail-ing mer-cies tell. I i ll J J \ * ' - 1 r tz * >-+ ev er dwell, To a - ges yet un-born my tongue Thy never f ail-ing mercies tell. Studies. I. i fc i j m * , \ r g_ Uhlr frUh M U 1 l WZ ' * 4 1 -JBZ 4 & mj J J l| J ! J J J | i ! 4- < g j * 4 * * 4 Jlz p - i-imf rirr i r r i7i^HJUjui cresc. crc. ^ | ft jJ^l J j ' U = #=i? = r* SF- J * -* d l & 4 ^P^ II. )J | 4 J g~ ^ < ^T ^T^ftl : F r IEE?EE - s- S3SgE=fef ##- .4 _| s. 1 0. -1 #- X=^I >- L-J - 4^ e -0g- 3=Z -0 0-0 19- _, . r i l-^-^^ Erte- +3 # ft -^ ^^ 0-r-0 *- -U ~f f =Tl I ^=t= ^=^t= *-* 1 ' # - ^ n ' 4 1 11. Allegretto. 4|j < r i ^ ^^F :fi PM^P Qg *-*- 3. 1 : 4==t -4 5^ -* * *- 22 Tm Bea**nd-a-Half Note * K -J 1- 1 f 2 - M 1 * 9 * * * N - 1 f - m > h & U l| d I 1 N h-i 1 -P H ' ' J 4- -* * K-l H F~*1 H-H -0 *--^ H H ir b b If J L> # 4- F3 ^Ti" =t= * * * 1 J j" bp= ; *--= #- i- !=#= -*- -f- =4= * # ^-H The Beat-and-a-Half Note Shown by Contrast. l. e fe -# #-v FP * S ^=t; ^ :#=*: -j * i h: -* * * ^ * * u * II. 4 J J J . J'l J J - I r g f ' l U j r 4J . J J JUJ^M l FT^=R SEE p^a jif r r r i * * *-^-t4g -* j in. rft rr^ g *=- * * i ! : ?=y y^- g -7Tl ff^^** a * . * * . s j J * I '- * J I J J 4 l * J IJ J 1 Ifci IV. fe 1 -#-#-# * < * ^ r U4 U F^ I B-4-* 1 J^?j 3 > ' " ' 1 1 | 1 ""*"*" * I * "-TJ : I ' * r# F# ^=^^g * 4==^: -j-^-^-hg: i Sharp Four. 23 m=?i JSl i- jBL &: M -cr Do * :<: > g . fc Do 8* ^ fc Sol, fl, sol. A Song of Praise. Translated from the German Andante. Gruenberger. 4 J J .Q- 1 l ^i f 9 aj ' W-9 i-S- -jl >-0 5l B mf "* ^r ^ *nr 1. Thou hast built the glo-rious mountain, Shaped the riv - er's might-y bed, 2. Thou dost lead the flight of swal-lows, Thou dost show the stars their "way; 3. All Thy creat-ures, Lord most ho - ly, Praise Thy name for - ev - er - more; m mf m 5 3 -I 4^ J J J f- -I 4_* t. fflt- J ^s*^^^ B^ :* fc x- % II T" Kaised the hap - py leap- ing foun-tain, Made the flee - cy clouds o'er-head. Sea - son af - ter sea - son fol - lows; Thou didst or - der night and day. All Thy works, both high and low - ly, Tell Thy pow'r, Thy love a - dore. i 5 m * 4 I I 1- -4 #" *-%^* *- T t A Study. Si33 f -J- -*- -0- 4 3 --l^W 3 sg * * - * ' I 0- -00- 24 In April. EOUND IN THREE PART*. Geibel. Allegretto. W. V. Gikhrut. * O dew - y, sweet spring eve - ning, Thou art to me so dear, The $ z: m . 3HW-M * *- i The air so warm and balm - y Breathes like the breath of love, Each 9 P * m ** N- & I A song like this sweet eve - ning, I fain would sing; in vain The ]Last time only. -0 r h^ * 4 * ^ skies with clouds are cur-tained, A star but here and there. there. P ! N- \Last time only. 4:: -* h * *- I breeze a vio - let per-fume "Wafts up to me a - bove. K * bove. ]Last time only. \ -N P * ' t- ' -0-r- r tone so soft and gen - tie, I nev - er shall at - tain. - tain. A Study. Do Flat Seven. *-&= J2Z sr ~B *" Sol _>7_ 25 ~zr. 1BL :sc Do Te A study of key relationship as shown on page 84 "will be valuable at this point. H Allegro. A Study. :fc * r- *-=- A. C. Kern. -*-i N & N- w $ a PS- :& 35 H* se =2: -^w fc^J Andante. Hush-a-by, Baby. F. L Lorraine. Arranged. S :,: Hush - a by, -* ba by, On the tree - top, *s i : : # v When the wind blows the era - die will rock, When the bough bends the f ^ I s rj t j i -^-s- # I E*^ era m s y > die will fall, And down comes ba - by, era - die and all. -4 ^ -a r II * + 26 i. i Six-eight and Two-four Time Contrasted. H w 4 I < >-^ -4 - I i ^ II. m German Folksong. ^ -* r fe 4 ' I ' a } *r \m^r^ -*r~*h . -0 . -*-r dfc *. i f* * 1* m =JE 1 p l 1 fc- -*-^r-^ 1 S 1 * J * r- - i =p s 'CI' 1 -* * - L_ i i - 1 r j =f= __J 4 -a h~ '7 S 1 w- _j_ *_^ -A *L . J. Ur- 1 III. z r*fr-^-H 51 3 ; * : : # ! N 1 1 * KV-H h* * * * ' *- * ET- t_ f~T L, L, ' U V ' ' u 1 #i^ - --T- 1 h P ft m 1 ! V" ps q P^ r - ' !' ^ (-* . * -^ 1 ^ i _ i i i- -.-** 00- V > v j y- =4= # r - %=0~=t V V-V J-^r-ir ^ =^^ !i=fc==fc 5 Six-Eight Time. 27 -0r- -*.- 5 ^ * 5 I fc=fc s 1 # . -*-v- -*-. t-f-?- - i- I # . --T- Undcr the Greenwood Tree. UNISON SONG. Allegro. Solo. Old English. ; - 3? 1. In sum - mer time when flowers do spring And birds sit on each 2. Our mu - sic is a lit tie pipe That can bo sweet - ly 3. On meads and lawns we trip like fawns, Like fll - lies, kids, and Allegro. ig H; -0i tree. . play;, lambs Let lords and knights say what they will, There's We hire old Hal from Whit - sun - tide Till We have no twinge to make us cringe, As an *-* r~Tj. r-~\ \ -r^ m 1 -0- 1 1 ~0-^~ j 28 Under the Greenwood Tree. rA I =t none so mer-ry as we. . . lat - ter Lam - mas Day., old folks nn - der - stand. There's Will No time When day and Moll, and is spent with is spent with m - J c^ 1 Tii fc. K /CN 1 _s s v # * * * 4 9 i -0*- 1 '^ Har-ry and more con - one con - 4 Doll, tent sent, And In A - Tom camp, gain and bon - ny court, or we all Bet - cit - a - 1 tee; tee, gree ! Oh' So To 1 [ ( \ ^^^! ^*^^! -1 --4 p r- 9 -*H- f i fe Z J ) *> f m \2S f 8 r 9 m # r ' WA* - * - 1 !/ \2>* w / r / \j l - V V f T v- how they do skip it, ca- perand trip it, Un-der the green-wood tree! . . long as we skip it, ca- perand trip it, Un-der the green-wood tree. . . frisk it and skip it, ca - per and trip it, Un-der the green-wood tree . . . HH^r^ i Chords. Under the Greenwood Tree. ^ & i i- 29 E # P- ^g i *+ In sum - mer time when flowers do spring And birds sit on each I 3 &_ -* +- tree. Let lords and knights say what they will, There's -5 i- -3 i ^ * -7 . * -? # 0- y 3v. is r\ rs _ -l~l "fr-i- i ;+ rl 2 - * i -y ai y -# -^bat - w * # he- none so mer-ry as we.... none so rner-ry as we. -yy-s- V\A/ *J*=! _ip^5_ jj- -?-* ] ^^=^^&z5=gzz | A Study. The Key of E Minob. mm -#-"- -75) ^ q=zqppt -!<- ?E xszfe=P -TV ^fe^ I "-. \~KT.- m 30 The Key of D Major. Signat sharps, space below I. Keynote fourth Studies. A * K- -* s- II ! . * PS * 4 - 3: P-Trf - *- II. $ 3* II U ^ to^ Tf5|?^f^ ^ ^ ^^^^|g^ gE|J ^ A Canon. f -# s S w - - -# #- jr( *- ? *=r=^ -* - -* * I *=t T5H te=E SSI A Song. i States r *=P i I* 1 -* i=^=fc E5fe^3&^5=^ :^i=i :=e* ^^ w r- w -i #^ * 4 The Key of B Minor, the Relative Minor of D. 3' The Minor Scale, Melodic Form, Ascending and Descending. - saNfe =1 Si $5 Do 1 Ti 7 La 6 La 6 The Major Scale. The Minor Scale, Harmonic Form. *E==fl .Or a g - 3g fe - - I. Studies* ^J L^-,-^ 3TE :8_ t=s; *S * :t=t M 8 -#-? #-r- * .- -#- a - s^a fe^3=!^i] s -*-i- f= *^ 32 Flat Seven Key of D. t &- -/ ~ - & & -#*?- I IE! g> g Do sol BOl Ag ^ ^.^ i * , ^ > g ^ $ 31 IS! A Study. ftt .'t T- m m ^=T 4* P P- # P- f 3 * '; rffe ffca f--f g # 5^ * 0^B>f i -*!? (5- Sharp Four. rj & rs tClT^" 77- ^ g 1 g g a r ^ ig - 221 g g> Sol do ti do Sol fi eol A Study. eM m -0 ~ sh V ^ m _^_ Coleridge. Alley ro moderate. He Prayeth Best. gE i te *=* t * ; 3=**^ He pray - eth best, who lov - eth best All things both great and *=* -A *- ^ 1, 1, 1 l=F=b II z ft M=^F W fT< 1 B 1 *=v^ r r * h S' * v - 4 small; For the dear God who lov - eth m, He made and lov eth all. Studies. Edith M. Thomas. By permission of Houghton, Mifflin -L "ZX- -J5 * U- i i i-a-H h-si -i < vz&- 4- r ^ at^ h= h ^ II. tC5=^: z i*-tar -i^- -& -<9 \- -<5> i- -r* |- -i9 i- - (-He 1 r -t* i < g fc ^i zpqazg^^g^ i=gjfa > j^M=M H=dtefl in. =$^=:4 fc=i &SPI Sttstetizfcdizd PP t=W Z5* ^5*-* : &-<*-hJ?> IV. -W<- V. SE I Ju l 1] I i I t * ^-^J #-^ L ^J^ ^- L -*-^r #-#*=*=f_Slt pite FF3 = f g* r -+\-7? -Ji l l -'-## fe^El^EBEfc VI. 5E : ^ t=t =f=3=i 4=t 2E3ES #Eg!tfiEE^5 * P - i$zJf*Etkz * *- .^_i. ffl3=! *t=t -* %0 ; ~ 1 i 1 1n p=i F> I J j lH =i= & \ * . I *-. j BEj^BB grrr^rr^ ^ i ^ E fr^ T#^ &#.^ After G. Scherer. Andante. The Chapel in the Wood. 37 H. M. Schletterer. fe: 55 j*- -0i #- est, Grown round by loft - y ven With fig - ures rich and ing That wood - land path I've el Dwells deep and ho - ly 1. In still - est deeps of for 2. Its o - pen por - tal, car 3. In many an hour of griev 4. With - in the an - cient chap s . ^ t= trees, A chap - el gray and old - en, Light fleck'd with sun - beams rare, In - vites the pil - grim wea - ry Be - neath its roof to trod, To rid me of my sor - row; Sweet hope a - new to calm, And,while I'm low - ly kneel - ing, Comes peace a - bout me ^ F 3 i . 4 9 3 * . i gold-en, Stands wrapp'd in qui - et peace,Stands wrapp'd in qui - et peace, tar - ry A-while in rest and pray'r, A-whlle in rest and pray'r. bor - row, My heart has turn'd to God, My heart has turn'd to God. steal - ing, Blest com - fort, sweet-est balm, Blest com-fort,sweet-est balm. qs :q: m '*-' ' I f >=*? I J * ^* A Study. Jj i i m -jST. &7>7--<2< ~ K 3=q H -H pd^zW- <$ L (i? ff ' &- m T^F? -&" IJ Ji44(>i)ii 38 The Unequally Divided Beat. Note. The sixteenth note following a dotted eighth is naturally linked to the note following. I. i :#=: -j kJ n -S #-S 1 0- I b=4=zf: m -h *- -0 -. * #- . z**. * J I. Studies. 3 JH \~*-* ^ ]] ^ w r r* * ^ > n * 4 P N- -*-. # -#-T- r= r=^ =^ -* * # *_ SfcZUfc-^y. h -* p - fe -5 y- III. 5=:^= 530ZS -^_>v- s^ English. -t ^-F fer 1 -4 tr = F ;= T? = f -j ^- * ' J 4Jj -' j j=^rp Autumn. 39 i Frederick Manley. a Moderato. C. Gramm. Arranged. r^*~^ 1. If ev er in a shad - y 2. Step qui - et - ly in - to the 3. A gen - 'rous pi - per for his 4. Should you be fast e - nough to hoi - low, When sum - met bush - es, And if you blow - ing Loads all the ' fol - low As he goes Moderato. -# . . m I'!' " T ^p^ m r^t i i=s- -* *. esi - J - :#=zi5 3: t daylight shorter grows, watch you'll see him make barns with yellow sheaves pip-ing mer-ri - ly You come a-cross a jol - ly fel low With A flag -eo- let of riv-er rush es Where- And tells the birds they must be go - ing To "You'll see him blow.the kind-ly fel low. Rich 1E ifc: I it gold - en leaves a- bout his brows, And garmented in rus-set clothes on he blows till woodlands wake And of its joc-und notes par- take, southern lands where sun-ny eaves Are ly-ing 'mongst the summer leaves, fruits a - bout the fields and leas, And ap- pies from the or-chard trees. 40 The Key of A Major. te=fe=^~ Signature- oharps, Fjf, Cjf and GJ. Keynote A, in the second space. Studies* I. & i J J J 1 1 ~Zl d 1 - ^ j ~i . *->-3r rfist m -* # r t rr r ii. p ; ~i w- i , i i i . r i i* . . **-H** 77 77 :p &* p^i * #- ^ H* #- 1SL ~SA ^"0- ^=T-^ III. 'i 4 d *+ i_ _* - =P^ -*=zit 44- -* * -r 1 33^ ^ ==* ft* ^ v * v ^^i- -+ & -i [- ^ d $=1 J F ^=* ^= ^4- ;- *=S=*=i i -^ #- The Key of F Sharp Minor, the Relative Minor of A* 4I The Minor Scale, Melodic Form, Ascending and Descending. S 3 ~ 4t &... < g L 6|l* 6 ( 9 kg j,^, g) g^^V ^-^ '-^ ' ., 8ol 5 L4 6 L 6 ^ y.- The Major Scale. The Minor Scale, Harmonic Form. ^ s > a a * zsl Studies. rftt f*. I -A IS IK I ^ g - -4 \ 4 S H 1 ^ I m f f f- f -0 4 M V -0 a =r * ii. p -i pr- y y ^ ' =g a> ' 2zZZl y $3 * J TSr-^T^ 1 ! ? J g g * J -I 2^^ * ? p z III. u -"?- F^= * ^^: iS> i * -#-i 0- - f < s > r ) -&& t^f -m-0- IV, y^ -^v+v *=* K b4=*= L * ^ I* 3 iZ t*=s=j,=t*= tfc * fc=: I -# 0- -0-*- r* i i L-n* -g! *- 42 Studies. i. $fe -* * * -i^ - 2 F=F fg ^ -# W- =t English Este. i g . -* * -# *- -* *- -y *- II. rffc* English Bishop. * !S fl Pfc I P N- 22 - * - ? # r * m- F T"~4 ^ i i i=F 1 ^ !, -> y ^ y u ^ Rfa* -N s- -*, fW =t II - gi T -+5--Y ^-^~^ * J * zz:s2 III. -* K & ->, N PV- N V - -+- $ ^ -0 m*- -0t- -N N- 5t j : j - ^ ^ M: - s l a I * :Ez IV. 4& a aTiTp ^^^f ^=^ * i # l& ,.- ~t~ yt s a ^ . q> " 2 ~ j-h * ^=JzJ:^# 4^=f II Mirg=g=g- & g- jrzzMi P=P1 y * ^ L ^-* # ^ i VI. CJ ^-y E3E =PT2! :x*z>- II The Hardy Norseman, 43 u Risotuto. f Norse National Song. m= *--*. j*< y-*- to: -V-n -i \i P* . ^ C . M M ' M J; 1 * We n 1. The hardy Norseman's bouse of yore Was on the foaming wave! And there he gather'd 2. Whattho'ourpow'rbe weaker now Than it waswont to be, When boldly forth our Iiisoluto. U. HISOIUIC ^t es S -# L * ; * '-# ! 8 1 - I - S L - y - B u *#-* -# L ! ! > fe r^-p* -*~i te& * 1 r Si ^ *=n*=* U ' i M-i j*- P L-= U LJtl bright re-nown, The bravest of the brave. Oh! ne'er should we for-get our sires, Wher- fathers sail'd, And conquer'd Nor-man-die! We still may sing their deeds of fame In #*=? eg 5-fz & -*r fcfczt Tt=* -l=N I f^ feE - +- -*+- 7^1 i ev - er we may be; They bravely won a gallant name And rul'd the stormy sea. thrilling har-mo-ny; For they did win a gallant name And rul'd the stormy sea. ^ STt ^r*-* 1 L-d -I 1 0-^-0 #-^-# I r-r- S3E r 44 A Study. fe Allegro. S N- -t-Z- ff () -N V ^ x=z T-r *t- Hi ^m ?m -N N- Z=St J ' * f-*- ^ *- L * i fe -f d-* 3S5 *^ =P* *-tin 5^ f + j3t Adapted from Gerald Massay. Tempo di marcia. Battle Song. E. Hartmann. Sfe -tr- S 4: 1= ** 1. Sit stern in your sad - dies, grip tight - er each blade! We'll 2. Now cheer for the liv - ing, now cheer for the dead; Now Tempo di marcia. m ?^e S8ft -0 . *: * i is5^ -#-* charge thro* their guns, or thro' blood we shall wade; To cheer for that deed on the hill - side all red. The #fci mz m ~i i- W=t -* * * ' #=* & *^ Battle Song;. 45 i H t-pg - ~V i ^ day win glo - ry a glo - - ry that nev - er shall fade, To - is gath - er'd for our dear coun- try's head, The day win glo - ry glo - ry that gath- er'd for our nev - er shall fade. dear coun - try's head. # j= -# ! - m w JUL mf P3 Fed. Fed. Fed. * A Study. 00 ' - +.J T*-' ^ J..+ Nora Perry. From St. Nicholas, by per. of The Century Co. Andantino. May. .- ' * A. Billetcr. ^=7 all the A - pril wet? The wind was whist-ling loud and high A roist'ring,roist'ring, wind, and cloud, and show'r. And thus I knew the love-ly thing, And guessed, and guessed her V -7T roist - 'ring, guessed her r r f : \^-f-i-H =\ wild March air, While A - pril clouds went weeping by, As if in sheer de- name straightway, She was the dar-ling child T>f Spring, This lit - tie maid culled cresc. f A -*- . * - ** f cresc. #=g= ~ v : pSE May. ff , 47 rit. -I h-4- 5 :S=*i I -mi # 5^5 II spair; While A-pril clouds went weeping by, As if in sheer de-spair. May; She was the dar-ling child of Spring, This little maid called May. f cresc. ff rit. Z== E3 r f^ gHg spair; While A-pril clouds. . . . went weeping by, May; She was the dar - - ling child of Spring, ^^ Studies. A * i Mz \7ZL tl ^ZI =*=3 g r- - *- Sfe I*" d *--& Sz &z II. Si: .,4 llegretto. J. F. Reichardt. Hi l ) 4- - -N fS N ?V -*, * v -i p-q ^ jS .u^ g-i-i ^=5 S-L- =a: ; j -J M ^m -fs >> N *- ~K A- f ftcr _ i |j i i l -_i i j i i I p, * ^ i- --* v- m Ps *=*=& : ^V- 1 ! L J M 1 u 1 1 m ' 2> F 1 L_i ] III. u 4-e- f$ -7rTf -%-$%=% & f ter=f ft*; * 5* I*'- ^ = ^ = ^ : *'-' ; &Sf iq=f ::qzzq=?-|HH i. : Jl 48 The Key of E Major. The Major Scale Contrasted with the Chromatic Scale. $ =^w^^*T*TH i % fr fe T ^2 3 T&=P^=\ 7 8 = Signature Fjfci=f= four sharps, Fjf, Cjf, G#,and Djf. Keynote E, on the first line and in the fourth space. Triads of E Major, m X ta= p s 33= g_iLU_jZL^L_ =Lf=izg J -g - g g -^ .a fSte =? 3 -* 5^ "5^" ^ 7f "**" "25" "JS*" Studies. llES^=S5 3=J *s i- r^gptrs * * r-'-'g-^' U j. 4 ^rr * * t' J- ^ The Key of Cff Minor, the Relative Minor of E. 49 The Minor Scale, Harmonic Form, Contrasted with the Chromatic Scale. jp^^fl ^ - r -&- 3 =^ m &=#^ s & m a' P la c*ft* 1* ti do re mi fa The Minor Scale, Melodic Form. si la m *=fe ^ g~ fe^ 3 ^=2Z= g N~ * K i 1 N s -+ 9 -*4 ->- fj-f~* \ N ,- y-*- -* *- ' iflj2f-ff-f: 1^3 ** /->--j >-y v-v-v- A Study. I: 4 : ^t^m^ ^^ d .s *z '& rtzt i I S ^njry" ^, * * p , ] so Studies. 3 ?s \ >- it I s ! H ^^0 J?-* -Z-0. *- fS i V +-?-* f^=W- -'--' i i * I H , ' i , l . I -* # # 1 J- _I 1 1 M Z_ \ V * ' J IT. UU H: Z=S *-"0- ss aa*itffs pfctt=t ^^te^^SS III. w= :^gf=* *^=^ >- -* ?z=s: e^^ ^=^s , I IV. Sostenuto. m Old Church Tune. J. I I I- - m \ i = -<$< * - -f J *-& #- L * % ^Tr* *S^ -* #- 3pE vT ?* -f-T-t raH. j=^yj=y H fc-fi' : ^=^=^fe=g= g fc=fcgzj=S g g 1 * ^ raW. ' * ' V "ST T5C & 1-4 I I- =1=S= -#-^ *- UtJL 4 * * ' 4 --# VI. :4t1 t*=J V. \ ..-v x V-+-+- >" * I , | m + r*-J? * r ' 4 ' * . " > i ! i I i 0- & ^Ef -4 + + -* =*: 5 r ? r fe= I =F I -H-r-l 1 - - * ^ ? ini + * -:- ^P -#-!-* Old English. A llcyretto. A Canon. Byrd. 53 - g > i a 5 i5_ E C a ( & I ^ "27" Hey ho, to the greenwood now let us go, Sing heave and -i-G> &- T&l 32: &2: ~ Hey ho. to the green - wood now let us & -& &- + Hey ho to the i &- ? tf 5?: 32: ho. And there shall we find both buck and doe, Sing heave -& \ * s -- 2- - *" & < "icr go, Sing heave and ht And there shall we find both buck =2=^ green - wood now let us go, Sing heave and ho, And P f ? =gg=:^=^=g -g>- and ho, The hart and hind and the little pret - ty roe, Sing ^ =t * ^_ -KT 'Cr and doe, Sing heave and ho, The hart and hind and the -*-*-&- s> ^r there shall we find both buck and doe, Sing heave" and ho, .- 25: ll w -/SI &: ^J* * -*- heave and ho. Hey ho, to the greenwood now. I :#=zz: P < g /g r: >? and little pret - ty roe, Sing heave To. Hey m ho. ^=qr =*=? ^ 3?: & at ^ * The hart and hind and the little pret * ty roe, Sing heave and ho. Suggestive Studies. II. ]\ ^i r * Sky ** #r -* S H 15- V- K- -J^l "i " r i |fl) *ff y 1 * -0 * =P= "^ - 1 . -* - -0- # 0- . -#-^- i The Coming of Spring. From the German, m Moderato. Ufa r* J , . =^ V. A. Mozart. "' ^fc -Jv V2- ** ^=#== 1. All fresh, and bright, and glow-ing, In spring-time Na - ture stands, And 2. This earth a-dorned with beau- ty Its Mak - er's al - tar is, The 3. Sing praise to Him, my spir-it, To God who gives de - light, Sing Moderato. k=*=*=*^ T+ . m -9-*- *t=t2=tt= gen-tlo winds are blowing A - cross re - viv-ing lands; From out their buds come op'ning year an off- 'ring Of pure de- light supplies; It of-fers up the praise to Him, and tell thou The won-dersof His might; From earth in beau - ty **-* =p>: 3=g^ : ^H ; 6 I 1 t, .. -0 v, B The Coming of Spring. 55 ?3 ^=*=ftp A s- -0-jr I s ' '-3 burst-ing, The ten- der leaflets crowd, The woodlands glad are ringing fra-grance Of vio- lets in their prime; The lark, to heav'n up-soar-ing, cloth-ed, From star-enlightened skies, On wings of ad - o - ra - tion With Out- Let ^ 'zr^ = f =r l = & ^=M^t$ % ,S N # t=5s: ^^^f- * -i * *-* ^--1 V- *-^=#=^ -*-?-*- love-ly songs both sweet and loud, pours a thank-ful hymn, songs of praise a - rise. 1] ^ f p *~ T Studies. II. -Ft 5=5b^= -r 4 *- m ~# i f=p-^"5-- ! - F^=fl -P -^ :)i_p p * :_ t r^ f~ TIJ] K^fe^t X=jz ( 1 * 4 ; - -J-j=! .4 1_ 4_J 56 i 'A 1 I ^? 1 M U^ f*zrr The Twice-Divided Beat -#-*-# * . -| J ,^ ^^g3- ^ezzJ^: i f- - 0^rr- - 1 ==3 fci zfc* - * s X- ^5Q=t y-# an 1 IV 3TT=p: 5=t3=S==fe j^_q r f *- i3= IS^II^ * 9=-, ^- EEE^Eg -#i- -g , L # #- & fey I I ' I rm-gT^ E P -U-g^B 1 I -^ -=^g^=^rpq=: P- %T~ ZU * # *- VI. -* *- :$= -* N N P v- EES Suggestive Studies. 57 - m of 1 # 1 1 1 1 *- j 1 j ' 1 >i i 1 I ' h ^T IIL g 3P h -^ * s * From the German By Rebecca B. Foresman. Moderate. The Bird's Farewell. Ltidwig Liebe. 1. 'Twas au - tumn, and a lit 2. I glanced a - bout and ev tlo bird Was sing - ing, his sweet *ry - where I saw the har - vest ?>e - fore I knew, the bird had flown, And I was in the P K- :> -fc- ^ H song I heard; I feared to fields were bare. lit - tie fields a - lone. Al - though the wove, lest he should fly; I bird, you need not tell, I bird I could not see, His m -&-*>- P s -0 m some - how knew, 'twas know your song is fare - well song came his your back good - bye. fare - well. to me. Sing Ring Sing m on, sweet on, sweet on, sweet bird, bird, bird. sing on, The sum sing on, Though love sing on, Jiear t Tu- rner though is not sum mer's sum - mers gone. gone. oue. 58 The Key of F Major. & a- ffl Signature r (m ^~ one flats, Bi?, Keynote F in the first space and on the fifth line. Triads of F Major. Studies. m German Folksong, S3332 a> - I f^ I r * v 9 1 1 1 1 1 * * m 1 ' ' m T*=T m ii. gg m TJSr I gijgj i i \. ^t*i n 0-WT0- 35 III. jEfc f -M-* m 0-t b _OI-I_W J K 1 F 1 _(2_ t~i r~ n h *M f -pL~ / ** 1 1 1 1 1 i i i 1 1 i 1 i i |fo -j 1 h 1 -& -. =v=?=H I,; n i ii -J 1- ^FHR t5 ,2-i* 1 * -JU-^J b^_j_*_j <5> m -j_* p=t -5> - >_J_ , r y - : tP = V-f r '-<*? : ^ X-H 0] 1 y-y g * 4=Pi I ^-* The Key of D Minor, the Relative Minor of F. 59 The Minor Scale, Melodic Form, Ascending and Descending. La 6 Do 1 Ti 7 La (i The Major Scale. The Minor Scale, Harmonic Form. ^=1 -& fiL. f j & fj & -us &- u - I. Studies in D Minor. a= ~er E - ! - T^- F^zmts^^m^m^^ -4-i-jgr 1 II. m f r l=li - j J J L - 1 * - -IL^ ^ -r 1 := 60 Sharp Four. K, O - i JUL 'fr 3a =% 2ZZI2Z is: * Sor=-=~do, ti, do. Sol, fi, sol. #-*-#- mm T=X=X=j. m^^fi tt=-$ *-?-?-* & -*--*- <2--. *~i- EE* p ^g-gq z_ # jLi-^{- g }-_-g E^g^^p: & 4. 22: :s=^i t=5t 4^^ r t^" at * Flat Seven Key of F. Do Sol Sol m- -72 <>- rs"- ^*-zr^r- z " *, -a & - Do, to, la, ti, do. II -, N N Ps k \9-9 j- -N N N v 1 .OC -0 0- S 4 -0 0- 2=?-=2=t .0 0. bfo:#*, ? - :i? _-. 1 r *r ~fr# i n" * * f- \{C\y tT- i ; * .. i _| L^ ^ A 1^ -* flv>' * * " f Ttw: :ee ? r -U. ^ r-7-r ^^ ^ s is rv- * fc ^ Music. Old English. Moderato. -= d i 61 Louise Reichardt. If^E 1. Far from hence be noi - sy clam - or, Pale dis-gust and anx-ious 2. But with - In the charm-ed bos - om None but soft af - fee - tions Moderato E *=5 f fear; Pin-ing grief and wast-ing an - guish Nev-er keep their vig-ils here, play; Ev-'ry rud - er giist of pas - sion, Lulled by mu-sic, dies a - way. CS: # s ^# s i r-rj- Jes ^ tfc n dOH. I I I i -I xc ^ ^ _^=r^=n Tranquility. ^a_ ^.-.- ^= -^ > f =ps 7' A Study ; * Si * C. A. Kern. --I S^ -#-i 1 1- a { S X hS-i * -*-; g g ^ 1- *r. Ertzz . Efr_ s * ; . -J I f . * tt -rr 5t 62 The Meadow is a Battlefield. Frank Dempster Sherman. Bj permission of Houghton, Mifflin * Co. A lla marcia. Eleanor Smith. f\ " l > I 1. The mead - ow is a bat - tie-field "Where sum-mer's ar - my comes; Each 2. 'Tis on - ly when the breez - es blow A - cross the wood -y hills They 3. But when the day is grow - ing dim They gath - er in their camps And Alia marcia. ^ qir 9 -j ^ * sol - dierwith a clo- ver shield, The hon - ey - bees with drums, shoul-der arms and to and fro March in their full-dress drills, sing a good thanks-giv - ing hymn A - round the fire - fly lamps. =5=S f t^f=dk_ -0- -0- ' -0- s =*=F E ^ 5-T # - - - *? i j Boom, rat - ta! they march and pass The cap - taiu tree who stands Sa - Boom, rat - ta! they wheel in line And wave their gleaming spears; "Charge!" Eat - tat . ta! the bu - gle notes "Good-night" call to the sky; I _ _. ~^r ** + ^F^F ^ ^E -^' The Meadow is a Battlefield. 63 ii * L I -#- J: fi- lut - ing with a blade of grass And giv - ing them com - mands. cries the cap - tain, giv - ing sign, And ev - 'ry sol - dier cheers, hope they all have o - ver-coats To keep them warm and dry. S I , I ! =t=t ffi r r fe Andantino. Folksong. -J fc -f ^-p i J j - ^ E _* J I t * * i, -K K- I -* IT f ^. . ft. -> &" =g =^=^ = ,, ^J I E Studies. =r=# ^f=2= n=^ * 12* i^*- ^PS II. 3^ ^if^i ^ :=t -r * * a - ~ J 64 Studies. Folksong. W -S IV- 4- j I * #- E <~ 4 7 & ^H P^ ^ -^ I K (- 1 f~ * 4 3= g H~n f-i f h 9 V- * -*-~3 . ' __ L. ' 4 4 ~+ m * -f > 7 * f f f * U-i-Uat- n. rfe | 1 1 ~ "J 1 +- &^T= -1 -j 1 P M 4 4 P- H 1 * 4 #171 1 ^4^~ 7-* 1 1 4 1 1 tr-* 1 SE=E ! | i I | I I ' J J * ^- 1 ' J 11 =tn * : * :?* 4 4 + 4 -*4- III. iff r a=^= 41+ 4 4 4 4 =& W -4-L g= r-| r] # *-=- w - , *- W ^-* ^ 4 ' \ 5J I ^ pj i. . ! r^ i r ( = * d I M * EtFi nzziz^z 3 ^ZZE i i _ S J3 ^ w * A Study. Russian Folksong. 65 Moderato. Summer Days. Eleanor Smith. 1. Sum - mer's sun - ny days have come; Soft and sweet the wind is blow-ing, 2. Hear how sweet the riv - er sings, Ev - er rip-pling, ev - er flow- ing; 3. All the wood is filled with sound, Sweet the per-fumed air is riDg-ing, 5^ 4 d . 7* ^ Jl z* Z 3 T=Z % -y y * itf- Bees a - cross the mead-ows hum, Where the gold - en flow'rs are grow-ing; Tell -ing of a thousand things, Whence it comes and whith - er go - ing; Up and down and round and round, Blithesome songs the birds are sing -ing. V r -*-- $=* -L K " f -0- -# V f=n z Fields and trees are green and fair, Sun-shine's sleep - ing ev - 'ry-where. Sing- ing like the birds and bees Of the won- drous world it sees. Oh, the hap - py sum-mer hours, When the world's a world of flow'rs! N * to* ? =V a e 1=* EEt * - isl f fr4 O: n-J r-- -010- II. I Z7" s SE fe j -i #-f- - g- -*_ # _ J3. ^T -* - # * 1 -?% ; Allegretto. 1 te 1 * jJ Round. Ferrari. ^ d d *T When Spring re - turns a - gain and her flow'rs once more ap-pear 2 -0 4 0- 0>0- Her faith - ful her -aid's strain thro' the echo-ing groves we hear, m Cuck - oo, Cuck-oo, Cuck-oo. The Key of G Minor, the Relative Minor of B Flat. 67 The Minor Scale, Melodic Form, Ascending and Descending. ^^dfe?^ La 6 -Si J5 La 6 La 6 The Major Scale. The Minor Scale, Harmonic Form. i 5? - <*" JZ1 -v*-^ zr & A Study. ~zr & m w--*- &E &=$* I 22= *~t tesssa 4 -^* L g=fcg *r r * = -& s*- B Lento. A Songf. (NIGHT.) Arr. from Attenhofer. fe B m=*=t 2 JE=e - *- :<5l: ; Q> 4 J I g *-r ftd y z?- L # Ztifl^ :fls=l ^3 - i y *- e fcS^i # ^& r "25 =t z?-. * ^=i= - J L Z7- "S^i 1 -& *- -,? - g-* f ^ * t-^ -^ 0_ P T5T zfcsbrr*: "5T -rj - T2 *" 22=il -s>-=- 11] 25- Hl^i f ' -I. U 68 r*: ~&Z Sharp Four. ] Allegro moderate. Harder. -n c: n- te ^ * j -=* # ^ -^ * I V 5 * *= * K N - r ^ tsH j sj ^ P y g ' P- H >- : - S S -fa b( g i, H affair * E35E 5 b zdl ata p U * * R tr > 1^ ff g ^ P i? Chromatic Scale. _g_ ^ ,5, p *= sr t:-r * (Scale names) Z? J - \>r v | wr - is " Chromatic Studies. n ^ fF^^P 4 m* 4 # -& M j- g '^ - ' ^ Richtcr. p p j p p - y-JL. 4- 1 tfC , 4=s j-7TTz *=t r -r-r jg j ^^m ^^m fc EgjEEfc _ _*!#,_# *_ 13 -TZZ.ZZM* Z-ZZZZM Hinterding-Manley. Moderate. Winter. . Winter and Spring. CANON. 69 Gramm. & lf=t J 0- -4: ^ fat "I am the rul - er of the earth, The lord of might - y Winter. F* /': =t *r 1 "I am the rul - er of the earth, The 8S My power is death to wood-land mirth, To gar - den, field and pow-er; :fc =t EE -* *- -* *- *- 3- lord of might-y pow er; j> Spring. =f= My power is death to wood -land mirth, To E SJE -*0- *=*=l ta- ifc flow-er." "I am the lov - er of the earth; I hold death in my p Spring. : SSEE^? *= jHy gar - den, field and flow < er." -0 9 "I am the lov - er of the earthj J ft +*- W =t=3 m 0. Sz=3 ?# #- pow-er, My smile is life, my kiss is birth To gar-den, field and fcjz ^-J_J J. # y *-*: t= :^ ^ :tAZtei hold death in my pow - er, v y My smile is life, my kiss is birth To ^s s flow - er, :> BE To gar - den, to gar - den, field and flow gar - den, field and flow - er, To gar - den, field and flow er.' 70 Archer's Glee. Vivace ^F=?^^^=t-?=T J. Stafford SomBU N 1 - What shall he have who merits most, Who numbers and best shots can boast? What fc * - * . r # The Bugle Horn. *=pi fr*-W ^* jj + - ; r-J^ -# - -J-**- /" v cresc. T cresc. ~+ f "# "" gfeg -# - "^ pangs en - dur mg. * -ar 74 The Key of E Flat Major. Signature r( nk^~t? three flat8,Bk>E2 and AJz. Keynote El?, on the first line and in the fourth space. Studies. I. & I w &n ZE ^ . & | g pga^b^ a I #-*- ^?^ *-# +- d * y -#- * r -#--=- II. a H a: I 22T =fe *g 33 15^3 3 *-JU-J -* -*=e 3fct * " * \S ZS\ J * +-A.& gj 1 ^ III. I i: J I ^ m w*$ . m a *= rT^ V 1 *T - #- 1 >-* - - g s g = ^ ~--t *-= * ~t=- IV. Andante. m l=F=fc g zc ^ ^i^t ^=*p=2 < #- ^ ^^^^ z jj^^a^bjp The Key of C Minor, the Relative Minor of E Flat. ?5 The Scale of C Minor, Melodic Form, Ascending and Descending. Lft 6 La Sol 5 ZH 1 Do 1 Ti 7 La 6 The Major Scale. The Minor Scale, Harmonic Form. tefc 1 -J51 St. n & rj & - <- I. Studies. P & I l-L l 5 vt \&-~ :s & &- I tea fWf 1 -<*-# j 5SH ^=0: IS * #- jr+ * J + ; -*-aHH -'-Hi -#- * . II. I m : i ifcfc -(5 1 - -? S*-T 1*- . #- - P iPi i 1 H*S.*-f- -*-+ i F- -PB* 1 -^ feS Bfe S3 t 3 Arpeggio of Triads of C Minor. I. Tonic Triad. Subdominant Triad. m =t=f=P S Hs A Comparison. II. Dominant Triad. Submediant Triad. 1 HI ^ i i Hl-v m w gs ^ 76 I Eg S Studies. -# *- -* #- - 6 yzr 1 Efc Xj- i * - 1 - J "B>- II. 5- rfT ~ ~ ~^P = P p #- v * *-v * i 3h =35 -_N fs- 0-0 f -00- *^ ^ s -tt 1^ i - -0 * -A 1 *- _ w 1 1 -tit * III. 3=F=t S -# - : \:> ^ S ^> - o i I X * x e J ^r*- 1 -* IV. z 2--*-^ p:#g: =4 ^-0 i =r:e: U i t < g . i }&== - # a> 0- Jfe LH i JUj j \i-V-P-^mM Edith M. Thomas. By per. of Houghton, Mifflin & Co Allegro Stay So, Sweet Season. 77 Chr. Seidel. wish that the feet of the dan - cing child 2. Till the thrush calls twice, and the cro - cus looks up 3. And I wish that the May with her fair cool face 4. But the bios - soms a - round her un - heeded fall; 1 And in< Might She lis - X w **? 4 r rS p k \> Be* A - pril, that trips vites the bee to with lin tens, ger a - while in the her her wind hon - eyed na - tive wild Could be Sweet, she fol - lows some far off cup. place call. Till the Sweet, m -?r- 1 c-ft #- =FTf ? r I m M --f- :^T stayed from sweet, you've fruit and sweet, you've cresc. their mo - tion, and rest a no rea - son to hur - ry the thorn - tree reach her no rea - son to hur - ry while way; down way; /' Till the Stay A Stay Se :z FT *=^* -f * : * 4 rit. t: ^F?=^Bg show - 'ry so, sweet hand - ful'o'f so, sweet ff sky shall wear a Sea - son, stay, oh! blos-soms to weave her a Sea - son, stay, oh! smile, stay y crown, stay, rit. shall wear a smile, oh! stay, oh! stay, to weave her a crown, oh! stay, oh! stay. 78 The Old Year. From the German. Moderate. J. A. P. Schulz. -fi"- ^T mf -+ 1. The Old Year's knell is ring - ing With sad and sol - emn let not threat of sor - row O'er -cloud a bright to- hi h r< t r ?~> j f ~|r S & BE & F=3=fg (* =3 {=* : tone Then, brothers, be our sing - ing A dirge for him that's day, With God we'll leave the mor - row, And trust in Him al - : -0 m - I i |~ - - I . a -r 90 ^ l # # .| .m _, m. \Zt. Fr=T m- & ~&- -0^-t- *=k=i Jhrr '& 1 i r ^= 3 An - oth - er ghost is ban - ish'd To join the dim years While heart-felt songs up - swell - ing Of mirth and peace are M * * . tL The Old Year. 79 van tell IZ s- ish'd: Of joy and pain it brought its dole,' And ing; let us wish the com - ing year To H \ S 0\ r s - * Be # -?!T to leaves us near - er to our joy and peace may bring us goal, near, Of joy and pain it let us wish the = ^=^= ~& S Z3E B^ # ;fc=^ 3: =5=M= : brought its dole, And leaves us near - er to our goal, com - ing year To joy and peace may bring us near. -=& m -zr zzr & ^ ?=* : jCU -& 1 i 3T A Study. 4 #--< Jj i t tea H h-l 1 1 + *=? *----*- -# # * ii p .< i <^ i i r " i-i M J H 1 1- +-J 1 -I ' 1 1 I * 4 j H -t ^ M W -j 1 1 1 1 -I The Key of A Flat Major. The Major Scale Contrasted with the Chromatic Scale* w* &- " ^J* v*=L= \ 87 6 5 43 21 Signature ftm^2rE f ur fl ats i B ^ El? A>, an< * D>. Keynote Ai', in Studies* the second space. I. i fcf* gfca= BE -fi*- 1 - * * HB St ^^ ^=^ j /'.j g r ^ j)- l ^ -*-g?- :s: I 11. Se J: I ^ H BS * ' #- 3^: 1 1 f r 1 3 :ftfr- 3 V^'4 1 -d *-# * g^ fefe T g ^ IT If SS= . V 's> * . ^-j-j-i# j= g | j > J 1 J J 1 J F^ j J j 1 J 1 J '->/-# * f = -* J a -^ # Z d m * * * 5 sr *- m=t s a *-*-*- -*-*-*- *=m rn *=*: g<-T- 1*-^- ^z fcz^z j-nJ J /, J J |J zj= ^4J J J.|J 4-J-H- H 2=fr 1 -4- -** s- ^3 I ^z^jgj^LjJJJJ^ ^l The Key of F Minor, the Relative Minor of A Flat. 81 The Minor Scale, Harmonic Form, Contrasted with the Chromatic Scale. iteL 4* f " tf- * 1 ^ ~^=^ 1 3? *- f 3 - b l The Minor Scale, Melodic Form. Kg =^^ = g? g= ^=g=^^_^_^^= vs g- Triads of F Minor. sfe ^g-ift^ i-s- gr 2 ^- L ^ ^ y- 1 -/ > ^- s tttt^ J ^^-^- ^ L ^ZZ^[^_^ ^^ -^_>-L' ? -^ *_|I -0 -? > y ^-r* 2 PN i . 0-t gZ^ - 4^ ^ ^k^ z^ ^ ^j ^^^ ^ ^-^ : * A -0-0- ->-*- 1 Studies. feEB sy^F^ -j 3BE -*> IS fc N- - 0- *> ' 4 ^-^ , L-^ -j * #- fc=i=* EE -, N IS S Ps- # *= #- -(- 1 1 i i -/ /- ''0 -^^-* t? # __ U_^ >_ L_^ +_ II. ^^^^^S r #= ~g r -:^: IS ! I - 1 I I =T * * ' ? J * ^g^ _j_j -*-*- P ^ 1 -1 SL 1 Suggestive Studies* F 1 1 ** H * 1- Spring Song. Heine. Andante, dolce s S tpsHj*^- 1 Gade. 4 - &-' V #== t=*- 1. Ten - der, low, a dream - y strain In my heart is chi - ming; 2. Fly thou forth, dear song of spring, O'er green hills and val - leys, 3. Fly and seek her, song of spring, Till the rose-bud meet - ing, Andante. __^_ *"*^ g^=? taH L # . U P Comes and goes the glad re - train While sweet "words I'm rhym Near the bank of vio - lets sing Where the south-wind dal Tell her all I bade thee sing, Give her tune-ful greet mg. lies, ing. 84 Tetrachords. A tetrachord is a regular succession of four scale-tones. The major scale is composed of two tetrachords, the tonic and the dominant, which are exactly alike in melody except that the latter begins with the tone 5 and completes the ascending melody of the scale. Tonic tetrachord. Dominant tetrachord. Dominant. Tonic. $ * Related Keys. The following diagrams show how the tonic and dominant tetrachords are the basis of modulation to dominant and sub-dominant keys. Sharp Keys. Ke y of G. Key ofA. Key of C Key of D- Key of E. Flat Keys, Key of p K ey of pj, Key of c. Sharp Four. i I Do Do Sol fl sol Modulation by Sharps. . ! i i i 53^5 5: tm*- i l l -.- 4-. 1 4 -0g- *r SJ- ^=^4^ f ^ _ < Lj4-4=N=F | , I J j & $ J I J-i r I i I 1 ' i FR ^ I t --* ^ -g-'-f* 1 -? J] Flat Seven. 85 JmSC g fj ~_Z>1 -* - f^-^H Do Sol Sol fa ml Do to la Modulation by Flats* mm t=t & i \d t -* + s t * ,. J 4 =* 1 1 1 1 I I 5KE=f=r=r **-f # $-\ > m f~ m^-* s h*^#- 1 r ^^ :2?i * * r - s g ^ - ac Chromatic Passing Tones. Chromatic tones that do not disturb the key, but embellish the melody, are called Chromatic Passing Tones, as shown in the following studies : Allegro. fe^^^^^^^ l! I I* I s^** m -^*v- 4 - +1T " # A Study. # EEi^ * p =t=F t=s= *=%= ^ ^^^ ^ ^^ajz^ ^^^ 4=i a 3 -*-*- -*- j-# : j f * - , 4 - * ) *-< * # ^ f r ! [ =^g^ ^-Nf - *-f = E^f=f gi^^J 86 ^ Sir H.Votton. Moderate A Happy Life Benedict. 4=T it^t 3t i 1. How hap-py is he born and taught That serveth not an - oth - er's will, Whose 2. Who envies none that chance doth raise Nor vice,whonever un - der-stood How Moderato. A- = -4- g SHS zt^E I J: Z4~ *r r *= -ffefr- til 8 s =t=HI -*-* arm-our is his hon -est thought, And sim-ple truth his utmost skill! who deep-est wounds are giv'n by praise, Nor rules of state, but rules of good; This I W g ^ I 9 - -& . r ^E^ i ffrm. =r ^r r^ mf hath his life from rumors freed, Whose conscience is his strong re treat, Whoso man is freed from servile bands Of hope to rise, or fear to fall; Lord -I =t Zt 3* 3 s: dim. &: f^ #= p: -x g- $= ^F zzz: :^; ^: state can neither flatt'rers feed.Nor ru in make op - pres - sora great, of himself, tho' not of lands, And,hav-ing uoth - ing, yet, hath all. ;- 0- + & 4 pJ=a*=S=ti^=fS 2 L^ 1 1 1 &_t y. l l 5- The Snow Melts Fast. 87 HoeJty. 1. The snow melts fast, May comes. 2. Who can fore - tell The toll Allegro. _ -- --^ W. W. Gilchrist. at last, ing bell e'frr shoots each spray Forth blossoms gay, The war-blmg bird A-round is heard, A- we with May No more shall play? Canst thou fore-tell The com - ing knell, The . m Cot le, twine. . lie - joice, . . _ -p. ^T a wreath, And on . . . re-joice, So spake. the heath His voice round is heard. Come, twine com-ing knell? Re-joice,. re-joice, -P x x U . a wreath, Aud on. So spake. the heath His voice rtj The dance pre-pare, Ye maid-ens fair, The dance pre-pare, Ye maid- Who gave us birth For joy on earth, Who gave us birth For joy cresc. f ens fair; on earth; H fl H ~& 35 ^3t -*-0- ^* -#-*- m ?m Dance on the En - joy its JL t heath, prime. 1 m d a wreath, Da =F Come, twine a wreath, Dance on the heath, God gives us time, En - joy its prime, Dance on the En - joy its I heath, prime. /7\ fl g^= ?=? Suggestive Studies. h m l J . i u :*==* -*~ *t^^^y-^^ -' ^ ' f^^ n. in. -j^ ^h UAfef | J I I ! 1 M i ! hi J J * j * r^r^T^TT^ ^ Good Night. Taubert $ Andantino con moto. > f- t3I - i t 7 x - p I 1. "It is so dark, so cold the wind, No oth - er o - pen 2. Thebirdlings'nestiscold at night; "O mother! come, we Andantino con moto pp legato m -K)-r X' is^fei W^l E3EJE door I find, O rosebud! shelter me an hour." "You're welcome, beetle," per-ish quite, It is so late, you're lost. . . we fear." She flies and sings, "See, BE * L - *^ -^* *?' F? *? T 3 at '&-' - m- Good Night. 89 i w says I - i i -+*- \- f s * -fcv -* ai- rs f * ' r 5=f= * JS - theflow'r,"Come,restwith-in my blossomy bow'r, Best in mybow'r, am here, Bring food and -warmth to ba - bies dear, See, I am here, $ h s -= Good iv~i *=* = F^F Vt-r- iiS W v y- rest in mybow'r," Un-to the bee -tie says the flow'r. see, I am here, Bring food and warmth to ba - bies dear." m> b 4 7 7 H 7 7 "^7 7 *i 7 -7- 7 7 X -9 7 * 77- night! . f J ffggfl --*-*-* :- -* 7- i *-? r-r^rrr good night, good night! ^ J-3-S- pp I r ^ Goodnight! K-^ I I , ILL T ffjTI > n I LJ_- f ^5g53iail ^^s g^T lffl ^? m ^W ^gs? r f ' r f 90 Payne. Moderate dolce Home, Sweet Home. dim. Irish. cretc. CS: at V ^=^ g-i-# * ll* *=*: #-#- TV I P V V 1. 'Mid pleasures and pal - a - ces tho' we may roain, Be it ev - er so 2. An ex - ile from home, splendor daz-zles in vain; Oh! give me my 3. How sweet 'tis to sit 'neath a fond fa-ther's smile, And the cares of a 4. To thee I'll re-turn, o - ver bur-den'd with care; The heart's dear-eat dolce cresc. dim. cresc. P? & ^4=^ dim. P dim. P Q: E EE2 fc s-rt J9 4" 3^ -y- V p hum - ble, there's no place like home. A charm from the skies seems to low - ly thatch'd cot-tage a - gain; The birds sing-ing gai - ly, that moth - er to soothe and be - guile! Let oth - ers de - light 'mid new sol - ace will smile on me there; No more from that cot - tage a- dim. dim. -* N- mf dim. =& S^ t X 5 * m It^t r hal-low us there, Which, seek thro' the world, is not met with elsewhere; come at my call, Give me them with the peace of mind dear-er than all. pleasures to roam, But give me, oh! give me the pleasures of home, gain will I roam,- .Be it ev - er so hum-ble, there's no place like home. dim. -5=3- E pn =k ST- dim. |- i-m~z 1 P^-V -fg^ N- p "* -" mf ^^ ' ' p I Home, home, sweet, sweet, home! There'sno placelike home, There's no place like home. cresc. I I ' -14- 5 -0> TT ^f The After-Beat Note. 9\ i. m J=3=r-^ r- f 4 4 * ^0-0 -+++ -++ :S L-J-' l l i It; ?-*- *-*- x x- -X r -- -J . 1 4 * ' d * II. ^u^^ m p 5 hm-4- t~ 1- T-79Z zsrr -+0-+ ++' $^^^ mB S m ^ -+++ 3 J' ^ 4-H0-J-41MZ1. III. Moderate. v IS German. V 4 is i i 1 _^4 15 j J_ -* i I k- i * ** =: N *- --J 1 1 sr -&*, , 7 1 (l)4 * * ' "J _j ~_ * p 1 - 1 J N- ~d i ! H t3 # -# - * * * ' -# * d 4 -A >. s- g I I ) * * *- > !V -I" I M-r*_I- ^ f 00- . 4 -S S-r 3^E I i 4 -0 i r- i - ; 7 y # ? L= * f rf L j: -*- IV. *r-*- v is * Ji i \- N 1 f * #- * I ', -Jru d * F h S r-- 1 S-i r; S P*i r 1 Tl *^ * * f -*-b-^ * ^ j if ? * c ' *~ # b=^H Allegro. C. Schulz. L ^ 72) ' ' %** 4 4~. * * * * * * # + ^ 1 1 i 1 1 _ _> _ i 92 i 5=^ A Suggestive Study. f^ fe -fe- 1 X - is-*- Z V ' J. J. ' -1 Andante, do Ice Sleep, Baby, Sleep. CANON. Johannes Brahms. :& f 7 ^3E 1. Sleep, ba - by, sleep, Thy fa - ther minds his sheep; While 2. Sleep, ba - by, sleep, The skies are full of sheep; The 2 p dolce P : 1. Sleep, 2. Sleep, ba - by, sleep, Thy ba - by, sleep, The m i ^ moth - er rocks the slum - ber tree, To shake down pret - ty lit tie stars are lamb - kins white, The shep - herd moon keeps m ther minds his sheep; are full of sheep, While moth - er rocks the The lit - tie stars are t = j-4 *3 t=t= Sleep, Sleep, ba - by, sleep, ba - by, sleep, Thy fa - ther minds his The skies are full of L Sleep, Baby, Sleep. 93 V T W I '--. | iff * i 1 i 1 ^ frh j 1 *- 1 \s\) S J i dreams to thee, My ba - by, sleep! watch all night, My ba - by, sleep! # n r S y J r% * m m X * s i * E_ 1 m & _ 5 J fet" ^3 * ' y > w * v ^J b t slum - ber - tree, To shake down pret - ty dreams to thee, My lamb - kins white, n The shep herd moon keeps watch all night, My V 1% J * /T *f . n S t(\\ ' fs H4J J i L> J * J- sheep; sheep, While moth . er rocks the slum - ber - tree, To The lit - tie stars are lamb - kins white, The shake down pret - ty dreams to thee, My ba shep - herd moon keeps watch all night, My ba by, by, m ^ sleep! sleep! Thy fa - ther The skies are minds full his of sheep, sheep, While The S2 ba ba I by, by, sleep, sleep, ba ba 3^ by by sleep! sleep! Thy The sleep, sleep, sleep, bleep, . bit ba by. by. *4 Syncopation. 4* m ?=#: * -0 m 0- I i \ -x ti r ~T \ 0- tfM \P r=F=3 x=:zt f I * 1 * ' * * *~ -?r i i 0-0- 0- T0-0- ' I. -ig=FJ -v-*<- I 3=^: - u * * hzz^: Azfz f-^ H - ->->-V- i -, i u II. -> X -j *- - 1 $fe^g 3=KF -*-#- =tF= II III. ^^^n^ :fcg isp a^j j t - \j. ^ i r ^ --* 7 1 Hey Baloo. UNISON SONG. 95 Burns. Dolce. ^ =t=t ^i - s ' . # ^t 1. Hey, Ba - loo, my sweet wee Don - aid, Pic-ture of the great Clan Ron-aid. 2. Bide, my bon - ny ba - by, bide thee Till thy fa - ther brave can guide thee; 3. Well the Lowland churls thouTt har-ry, But a - mong them thou'ltnot tar-ry; Dolce. to= -l \-m I h - " -fi 1 ^ * ' 1 I m 1 1 ( 1 " I m 0- -0 0- ' -0- -0- -0- -0- ' -0- -0- -0 -0- ' 0-0- r u r p r w i jt i i zizzi: ft I ES=S: *=*=*: Ped.^ i r v i rr= -c r c- rit. a tempo E 5 -fs-#- ^vT F **- Well doth know our gal - lant Chief Whose is my young High-land Chief, Thou shalt range the coun - try through And bring home a Car - lisle coo', When the days of glo - ry come Ne'er for - get thy High-land home, 1 : ' w ~ i7~ ' m r * * V $ *~r -v * "jr. T V* fr S5 -4 r N 1 4T+ ' * (? tempo ->,-->-* :S -L-l >->- =F e --' f n rrr-r / 1 -i< 1 ^r N fc_#- "Whose is my young High-land Chief. And bring heme a Car - lisle coo'. Ne'er for -get thy High-land home. I -a-T^TT^f 96 Hopkinson. Alia tnarcia Hail, Columbia! Phyla. f I 1. Hail! Co-luin - bia, hap - py land, Hail' ye he-roes, heav'n-born band, 2. Im-mor - tal pa-triots, rise once more, De-fend your rights, defend your shore, 3. Sound, sound the trump of fame; Let our own Washington's great name 4. Ke-hold! the chief who now commands, Once more,to serve his country, stands, 4=4 m -* V -# - -0- ' A % % $ 1 Who fought and bled in Let no rude foe with King thro' the world with The rock on which the rt free-dom's cause, Who fought and bled in freedom's cause, im-pious hand, Let no rude foe with im - pious hand loud applause, King thro' the world with loud applause; storm will beat, The rock on which the storm will beat' ? ? ? fer-j^ **>- 3 == V And,when the storm of war was gone, En - joy'd the peace your val - or won. In-vade the shrine where sa-cred lies Of toil and blood the well-earn'd prize. Let ev - 'ry clime, to free-dom dear, Lis - ten with a joy - ful ear. But, sound in vir - tue, firm and true, His hopes are fix'd on heav'n and you. 1=111 # 3 ^- L ~* -^p- ^ 3=T ^ *= m Let in - de-pendence be our boast, Ev - er mind- ful what it cost, While off-'ring peace sin - cere and just, In heav'n we place a man- ly trust, With e - qual skill,with God-like pow'r He gov-erns in the fear- ful hour When hope was sink-ing in dis-may,When gloonasobscur'd Oo-luni-bia's day, f^ Hail, Columbia! 97 i m -3^v s 3BEE trtrr * That Of His ** Ev - er grate-ful for the prize; Let its al - tar reach the skies, truth and jus- tice will pre-vail, And ev - 'ry scheme of bond-age fail, hor - rid war, or guides with ease The hap- pier times of hon- est peace, stead-y mind, from chang-es free, Kesolv'd on death or lib - er - ty. fe H ti-l I J- *~^#- l V tf ^ s *^ MfifM 1 1 J 2^ # 0- #-*- i^ZHZEZZ jE tf& r r ; let us be, *J Firm, u - nit - ed Rally- ing round our lib- er - ty, f r^-fy - tt JS 5 ^ 3== U r ^J=i ^# i 1 1 1 -M TT 1 1 g "J" -! i ' (p J i J *~^ mg my -0g- 4 ' * f! -s- Swinging the Hammock. 99 I *>-M^-f 44- 3 to and fro, Cuck - oo sings in shad - ow, drow - sy dear Till cuck - oo in his bow - er H 1 h-^ i 1 1 1 \-0--rt -P \^ h h I 0U I * I - A S r P i i Sway'd by wil - low branch-es low. Cuck - oo! cuck - oo! Calls no more, and sleep is near. Cuck - oo! cuck - oo! oo! cuck oo! cuck ! I S oo! oo! -+ -0- -# #--* I! 1 V , ,-, +-# > iLJ> jrirjL. 1 JOO The Brooklet. Frederick Manley. p Andante. Grabeo-Hoffmaon* 1. Brooklet thro' the meadows dancing, Dimpling so fair and mer - ri - Iy, 2. Loft - y hills would be my dwelling, Mountains that man has nev - er trod, 3. Oh! to wind a-bout the shallows, Kiss - ing their peb - bly, gold - en sand; nik t. *- + m 'Tffh T t p L~ -#-*- -H # * - # * i * i t \T) R ' -^ ^ * *^ * i i i H J- ! i -f it i J ! -1 J i . Andante, p Wa r -j , i \ ~i- ! 1 *~ F=^ =3=1 s^ffi-j J - H * i 1 i * i 1 i * # T T tm -ir = Play - ing with the winds, and glan - cing, Far o'er the lea, Crags that tow'r and cloud dis - pel - ling, Reach up tow'rd God; Speed -ing swift - ly like the swal - lows, O'er dis - tant lands! r * f m - I =! m r r f- - i > f> r- "~fc n 15 ^ I s -t< h ^ fc" ~ S - * * s Koar-ing Sun, clouds Oft cir-c now and] ling t o - ver mos - sy falls,] nist and rain and snow, A yith the rip-pies light/ - s klurm'ring now ^ouldleadmef rouchingthefl low and qui - et - ly, rom the fro - zen sod ow'rs with gen - tie hands, \ "1=*= *= ^=U i 4 . R N s ;- s N- fc -f -*-* w) *fl i t # * , i r g - i s c P. 3 J* fr ~ N 1 * : & m * ' -fc ^ s r-i # lT : s: fc rcpffi P g # ' ** 4 s * 4 # * JV f 1 z 0- ' t &~* * *^ -fc "V ^ K- II *>~ -*< fr s - j -* - cz^: S - fr v *- m ^ *- * v *< > * * 5 W V I / ^ * /- ' ; h g g~~^ ii. m N N N - g S J*> P -* > * d ? ^ *< * * S-H-V -N K S r \ g I 1 1 1 I - -i 1 S ^ N *~m m w rm 4 4 ' S\J*T < ' I T f y " a: . i -< N K-| V S-- S- )V -N- * # -r **? V" * -H-V-K K N S -* t-#- ^ ~V ' , * -0 Hnr-g J 1 ^r I * * y-#-H 1 0^' L 4 ' J it T :#TTg 3tt =*=*: 2+r ^V ^g I &r -*r-r**- 1^ r_ ^ NT " S -? 1 N -f "'S^ ar^a: # y Wanderer's Songjb i03 Eichendorff. A llegretto. Gade. St ^-^ ^ 1. Thro' fields, by murmuring beech. -es, Now singing, now still, but glad, 2. I hear the ear - ly voic - es Of sky- larks that soaring sing, 3. Byzeph-yrs gen - tly driv -en, The flee- cy, soft cloudlets fly; A llegretto. O'er My Like tat lit* - i 1 m 0- +Sr 0-\ V-0 *- mf & m rn r :p=pt f^f if I *tt & i r r-* u 7 az*z breezy heights,thro' reaches Of springy grassy sod, Ere yet the rose of dawning Hath hap - py heart re-joic-es,My answ'ringsongdothring.From mountain summits gazing O'er birds and clondsin heav-en, My glad tho'tsseek the sky. The lark returns from soaring, The 1 fei ^: *u2I ^m^ -N~ if I w (gtjji dh= -**- 4 4 ^-^=4 - ts=t J?4 dolce -% dim. 33 S3 j_g_^ < L : S=2 ^=*=r T * ' * ; rgy -y- q r ^ y ^F blotted out the gray, In blossom-scented morning I take my blithesome way riv-er, wood, and vale, I see the red east blazing, Its coming lord to hail, va-pors find the sod, But tho'ts from hearts adoring They straight ascend to God, K= y J ! i ~ ~ N J^L *--T -*r 7KZXZ j 1 _ m w i -iK " rj0K. m s | h _= *_ --=_*- ^353. t= = ^F dim _ . -f-- [r - W 8 104 Spring Song. Transited from the German. 1st. Soprano. Andantino. RlVogeL nPi i- mz m ^w. a; h h tist Birds are singing,flow'rs are blooming, Spring's bright flags are all unfurl'd. Joy we'll meet in ev - 'ry pathway, She doth sing with ev - 'ry bird, 2nd. Soprano. w=^ Andantino 1. Birds are 2. Joy we'll Q=i j i- 4 at=C *=r ' * F- + ^^ :{r 3=^W^=3 = cresc. dim. * -# #- 1= E^S y- Spring's bright flags are all, are all un - furl'd. She doth sing with ev - 'ry, ev - 'ry bird, f X - ^feiSfeSES b :*^S sing-ing, flow'rs are bloom-ing, Spring's bright flags are all un - furl'd. meet in ev 'ry path - way, She doth sing with ev - 'ry bird. animate m m Spring Song. l i J j i f JOS ** m m Come, oh come then, let us wan-der, Thro* the sha - dy wood-land yon-der Soft in flow - er - heart she's bedded, Hid in grass with dew be - threaded * L 1 J 1 7T~ I H | | J5 * # * -# ani mato J71 1. m- J * * J rr? Ids Si B Ep^lf * P- P ^# I *ig .ja. * - T=^ ^ dim. m s^^^s^S SIS -*-# Far in God's wide sun - ny world, Far in God's wide sun - ny world. Murm-'ring where a stream-let's heard, Murm-'ring where a stream-let's heard. p cresc. ^ - ! XT # * # -# m m w live that shep-herds be. how mer-ri-ly we live that shep-herds - #- - f -j y ~ y ^ *. * * v * ' be, that shep-herds be; Round-e-lays, round-e - lays, round-e-lays, round-e - ^ -0 *- be, that shep-herds be Round-e-lays, round-e-lays, round-e- be, that shep-herds be;. How Merrily We Live. cmsc. mf 107 -n N ^ y < * re - lays, round-c-lays still we sing with mer - ry mf 1 - ? * 1 lays,round-e-lays, rouud-e - lays n cresc. still we sing with mer - ry mf 5 =jt roimd-e -lays,round-e-lays, round-e-lays still we sing with mer - ry f , fc _ \^^.f7^~ 1 s- ^-^^ -V iT *-5 (C-SH * ? I glee,round-e-lays still we singwithmer-ry glee, glee; On thepleasantdownsWhere, t # - ^ -N PS Ps N- # 0- glee,round-e-lays still we singwithmer-ry glee. glee;On thepleasantdownsWhere, -N v M^ 4 #- -ts- glee, still wo sing with mer-ry glee, glee; On thepleasantdownsWhere, f -j 1 I - i S K S S 1 t^-W :- # #- r._ir as our flocks we. see, OnT^ the pleas-ant downs Where, as our flocks we rj 1 ^ X~ as our flocks we see, On thepleas-aiitdownsWhere,asourflocks we X- -* ; #- \- * ^ ' -0- + as our flocks we see, On the pleasant downs Where, as our flocks we ;; cresc. f p =d -^ X- 3= tr st- see, We" ' feel no cares, we fear not for - time's frowns, We p cresc. f p 33 i see, We feel no cares, we fear not, fear not for -tune's frowns, We" p crcsr. f p see, we feel no cares, we fear not for tune's frowns, We toe p How Merrily Wc Live. f ~^>- -far cresc. careB, $i fear not for-tune's frowns; f P ^^ feel no cares, we fear not, fear not for-tune's frowns; We have no cresc. f p 72- cares, we fear not for feel tune's frowns;Wo have no We have no en - vy which sweet mirth.sweet mirth, 8weet # -\ y y 1 en - vy, we have no en - vy which sweet mirth, sweet mirth, sweet 1 w o- vy which sweet mirth. I t=^ : F=W- :st =t mirth con-founds, sweet mirth con - founds, . | < & - mirth con - founds, sweet mirth con-founds, we have no en-vy which sweet -o- rJ * te con - founds, sweet mirth con-founds, we have no en-vy which sweet cresc. f pit* lento. ^ D. C. S *?- i 1 We have no en - vy which sweet mirth con-founds. f piit lento. D.C. m w *_2 L- mirth, sweetmirth confounds, We have no en - vy which sweet mirth con-founds. m cresc. f piit lento. D.C. ^ 1 KT miith, Bweet mirth con-foundb,~ sweet mirth con-founds. Intervals of the Major Scale. 109 i -!*-__-- VSf Perfect Prime. Major Second. Major Third. Perfect Fourth. m V -^^ -i*^~~ -&^ & Perfect Fifth. Major Sixth. Major Seventh. Perfect Octave. Intervals of the Minor Scale. 1 m. Perfect Prime. Major Second. Minor Third. Perfect Fourth. m i. Perfect Fifth. Minor Sixth. Major Seventh. Perfect Octave. Studies of the Third and Fourth. Ejj^p^P^^lE^ig^^^g^p ii. in. gg ^ P S3 #-f-H-#- *H^ht- *f=fi . vj)4 l ^F -p-t-^i-t li IV. S= 5 -Vf- *-m- SB I-*-*- e p^ g i ^&- V. =? h-j I- -#-#-( -I -^ITXu EH :4 *?*^ #+-*- - i-j t- * * * -#- VI. p^^^gggg te^E frry i^J VII. ES5 4 | -> - - s ^31 i'?: no Intervals of the Major Scale. i -o -0-1 ^ Perfect Prime. Major Second. Major Third. Perfect Fourth. ^_ r _ _>z_ ^m Perfect Fifth. Major Sixth. Major Seventh. Perfect Octave. Intervals of the Minor Scale. -& - Perfect Prime. Major Second. Minor Third. Perfect Fourth. g 9 - 3fcE3 O ^^ Perfect Fifth. Minor Sixth. Major Seventh. Perfect Octave. Studies of the Fifth and Sixth. Ell 4 I * *-*-j - = bir=! g_g_ ' J -*<9 # * r --\m -& "-: km 1% m i a=t __# 1_ ttzf ii. teB=S ^? - : y J r-0- n 0r - -' - P^S= -& -* -^^J III. ijj-* \~---\-"- L.. fd. ^* 1* i IV. -fcr 3=f ^fe -*--# :^:_ >" Ttr -& it m ^^iifi^i -J- L > : I^P Studies in Sixths. tit ip J=tFl 5 4^ ^=5t *^r -fe- ll. n *pp*=* -*-# ^ ^4-i^ rs w - ->-**- SE -*-*- ? rv czfr=*=: \ \ m i - - - l ^ -*-f^-s#- --f-ar III. Hi ^Z^S ? s j i : f S^ *~ * 'i L J I ' * \ S i ! . ^"P *"** &^J-H- * i 1 t -zs- i 1 *t i I I I ! f-i i ^ ? - >-> * - * 8* :/5 ^5: J=5 K" l r-iF 1 s *-^-m-i H 1 - i . I 1 : \ S ! J I f \ 'ZL Studies in Sevenths. Z? I. m a- n 40 L -^ ^ L - ^z: -# -P i I P -#- S =tr-!: :p=e --2^ 5T -lit * p3 r* i i . |- if* I -^ I ! 1 - . 00- -^-{-T :*=*=^ H ^r L ^ -*-* r* i i -^-X-^-a-^a-^- ^^^gg^a \\2 Suggestive Studies* m E ^| , V -^j ; j J J ! J M -kM 1 J 58 PI ^S -* I- II. i J I J i * n fcfeM -U i*y HI =^i& at ^3= I S# J- **- U J Jl d ^ ULJ -* *- HI. 4- -i i- ^ j i * \- . J-J -1 - I J I ' l I I I ^ i *v -I rj . T i H ' N * * I * : iH^-H 1 XH S IV. I =1 ^ I s ?m * m- -f* 4- &- i =u-3 33* j=3. i=i jEf^Pf *=8 r4<-j J -* * Autumn Days* Translated from the German. Soli. Andantino. Baumfelder. dim. % i h 1 a- O hap-py, hap - py au-tumn days, How ma - ny The pur-ple grapes show ev - 'ry - where A film of The oaks are turn - ing red and brown, The wil-lows' Andantino. gor blue yel geous flags you like smo-ky low leaves float Autumn Days. H3 Where did you find And trees in hill And all the ma p i cresc. your col - ors side or-chards pies are a - s is rare old blaze _1 That all the Bear treas - ures Like flames a- mf " ' " 'V U L> b "Where did you find your col - ors And trees in hill - side or-chards And all the ma - pies are a - I S *= hills rus gainst and val - leys wear? set, green, and gold, the pur - pie haze. Chorus. $=^ E Tf E 3 EFVr' all the hills and val - ley wear? ) treas-ures, rus - set, green and gold. I flames a - gainst the pur - pie hazo. ) hap - py au-tumn, rich and 1 ^=$=&$=#=1**=% Q'-tj -# 1 I 1 -| n Sfcr P--P-5 p p p. 1 # I h- h qi I f 5 - f f 1 i u-f | u^ - ' l^J H g 1 1 jf s dim. : =7=? :fciz^=^ -^ > *-_i_ 7 X - *-?- Ff rare, Where did you find your col-ors fair? 3 F-4-F- j#-w ; i t r 1 r -t r ^ i s^r- ii U4 Spinning Song. M. Becker, Tr. by Helen Goodrich. Allegretto. tnf ). Rhemberger . -< *lJ m * F- -*-+- Allegretto. 1. Spin, spin, spin, spin ; Thread goes out and in, 2. Spin, spin, spin, spin, Thread goes out and in, -* jg- Turn-ing, turn-ing gai - ly, Lin - en fine we're mak - ing, a ff h 3* Learn-ing, learning dai - ly, Keep the thread from breaking, V*- ife i*- 1 r- p Make our wool so fine and strong, Wind it as it slips a - Ion.'?. Spin, spin, Spin it out so fine and white, Till itgrowsa heart's de-light, Spin, spin, f=r s^-i *r r f^ # 1 ' I* 1 w -| ** 1 ^ T" = T: # 1 1 1 1 1 h- 1 1 spin, spin, Thread goes out and in. spin, spin, Thread goes out and in. ##.3 Studies. US m T\- j \ >^^ m Wtw* g=#=^ * g T * ar I :f3 =fc *- S">-o . s 0- f * i * 1>J * * - !* E=e P TT ~ g r gr -jt 00- w W=0~ I i 5 #-T- ^^ fc *+&- -? 1 Q=^3 II. Pi ^^P r~> 0- * X- -0 W :^=B I,- i 2= : g^EgP tl I t: ^ff -# #- ^sS i i j i * -0 \0 '- \ S =3= EFT i i rtE rr Mr ^ fcr t^ J=f=iT 1 III. I s e P3 7~ * 4=3= gJ 0- j=H rE^fg^ifeg I 1 M-g-P ^ * ? p Z2C Efe __ # . -I* 0- -4-n iNiP *0- *L 4 f* ^H^fE^ j 116 Qxenford. n Allegro. Awake! Awake! The Dawn is Here. Am from A. S. Gattjr. I s v mf J J ' " 1. A - wake! a - wake! the dawn is liere, Ring, inoru-ing bells, ding, (long! 2. On ev - 'ry hill, in dale and dell, Ring, morn-ing bells, ding, dong! 3. The birds with - in the sha - dy wood, Ring, morn-ing bells, ding, dong! fee (V- 3S 1=^ mf N-T-- N- V i^ Shrill crows the warn- ing chan - ti - cleer, Ring, morn-ing The flow'rs o - bey the po - tent spell, Ring, morn-ing Chant mat - ins to their ti - ny brood, Ring, morn-ing bells, ding, dong! bells, ding, dong! bells, ding, dong! S rail. -#-T" i j !/ 1? 5r-*T^ The sun, ar- rayed in gold and red, Is ris - ing from And ope their sleep-ing cups a - new, A wel-come to And trill with joy a dul - cet lay, A wel-come to *=P= m his east - era bed. the in - fant dew. the in - fant day. rail. Thomas Moore. Not worlds Allegro moderate. The Daisy. "w\ W. Gilchrist, on worlds in phal- anx deep Need we to prove It q iPl^i^s Not worlds on worlds in phal-anx deep Need we to prove.. ^ q I 1 I 1 __ L. fcq=: 7 5 * 7 7 I The Daisy. 117 a God is here. The dais y, fresh from winter's sleep v Tells of His =t a God is here. cresc. The dais- y, fresh from winter's sleep, Tells of His cresc. * y. ' 4 ' -? 5 -~ "^ - ^v * hand in lines as clear; .... For who but He who arch'd the ?E 1: \- ^ *xzpx=*xxj: r &- -0- ft i i i i i hand in lines . . as clear; . . . . For who but He who arch'd the =t :X -o- 2=|t *- 5 f" skies And pours the day spring's living flood, who arch'd the skies, spring's liv - ing flood, spring's living * * *- e3E* W~ -# L ar -w #- Wond'rousa - like in all He tries,. .Could rear the # P- dim. x: % -d *- m ....Wond'rousa - like in all, in all He tries,, flood, dim. . Could rear the * -Kt. dais - y's purple head, Could rear the dais - y's pur - pie ?/jrJ? * J ~ H i , I Fi ! * M'l ^zxpxxfcgxuxi-bg^ti f-r ^ ^ , ^=X ! 35hr 1 f - -+==r -+ I dais -y's pur - pie head, Could rear the dais- y's pur -pie head? 5t 33 :Xx & is- - '- - , t CS i 118 Mother Dear. Tr . from the German of Strunu u Andante, p Oehme. ^ dear, And tho'ts of you they bring to me The thoughts of God more i ly ms rt= ^^ cresc.^ C fa * # -#-b-#- : way, The dear - est moth - er in the world;She grows more dear each day. Exercise* \\9 $fe^ g- - & & V * ~d I : - g -g) 0- -*-. i_a 1 L a. l_ /, J-&tr> 13 - m \- arr: m "T f ' rr? ie: * > ^ *5t "ST -ZT The Light Of Stars. W. H. Furness. Moderate. m cresc. I -*r- it 8 f r ' i 1. Slow - ly, by God's hand un- furled, Down a - round the wea - ry world 2. Might -y Spir -it, here am I, Work in me as si - lent - ly; 3. Ho - ly Truth, e - ter - nal Eight, Let them break up-on my sight; ps 3E -*> ^r ftfe E 4* 3E # _f 1 Falls the dark-ness: Oh! how still Is the work - ing of His will! Veil the days' dis-tract - ing sights, Show me heav'n's e - ter - nal lights, Let them shine se-rene and still, And with light my be- ing rill, 5 -# ft -*z-*- -' J J J i 4 mf 'II ^f * *~ ~~f Falls the dark-ness: Oh! how still Is the work - ing of His will! Veil the days' dis- tract-ing sights, Show me heav'n's e - ter - nal lights. Let them shine se - rene and still, And with light my bo - ing till. mf w ^ =F nt $** _^ 1 j ^j 1 120 The Fly. BOUND. * Andante. Cocch'u I $= Bus nous, thirst 2. P V-^jt- fly, i Drink with me, and drink 3EE Free iy wel to my I cup, -% -*- 1 4=at Couldst thou sip, and sip it up: I # Use your life C. while you may. 4 r- Quick' - ly life A Study. ^^ ^ 4^*, way. Folksong. jL^jLgLJ. #-- ; *- i^ 1 <=* r w * "j;::-^ T^-f J3: ^^5 ^ jl H '^ fe W *~* = ^ IB 14 L(LjL-_ ^ 2.Let the glanc-inglight'ning flash, Let the J2E *? -* * ^rr 3 Id raff IS -** i fe* ?E=t hill peal ' U [; P ^ m/ ^ y "-"ng thun-der TiB the Wel - Come ^ ril showT, Bring-ing 7 I feS -N-f- _j ^ I fc= ft 32* 1 forth the sweet May flow'r,bring - iug forth the sweet crcsc. May flow'r. hzzt ^r * -* Burn*. Andante. Prayer. 123 Schubert SE m :& O Thou, who kind - ly dost pro - vide For ev - 'ry crea - ture'a -1 *E3 = * want, We bless Thee, God of na - tare wide, For all Thy good-ness I^= mf crpsc. X I I -# -* p =c= ,__,_,_ m nfs^ ^^=zr- mf r e* r r lent. And if it please Thee, heav'nly Guide, May nev - er worse be /" P mf frt -+- J24 i. Studies in Difficult Intervals. E-H-T-^F* as ^=* 3 ztzsfc W #=g? ^f~ 4=X II. :fcfc in. _- zz x=t=3: ^g-^-tr 7 |--6, ^f^T^j^^^^ EJ ^^ I ggl lfl IV. v. fe tf&z4:= * ~^=*= ~^=jL O T -O *" ir^r tr^ bg; SEfe i=: ^EF*=^=^ t=^=*=t=#*d * #- 1 VI. PART II. The Introduction of the Bass Staff. Although the bass and treble staffs are separated in music as it is usually written, the above diagram shows their true relation. Three Views of the Same Chord. 1 - 2 3 I. Studies. illlli 125 =tt=t L *-- S ' d 5P m h: 70L &:. II. -*-*-P-4 r> -K-cr ^-s-h -\-K V -i -< i _ -*-N +*y- Tt^3 fj -0- - *- III. A J=^=rJ zz -*&- * &ZZZ .a. +* 33 rj I2T S S 321 # - ?=5 12 I. Tranquillo Songs. (INTKODUCING THE BASS CLEF.) -PS PS H Folksong. 5E 4 sa^ ^^ g -Ps Ps h -N N" 1 m^ -9 #" * 0- - - ^ * * # *- II. Moderate. Folksong. -A 1 TJ! J m i J ! J t? ^ Melody in the Bass. * r . - *- *-#* at- # -#- ifE-ZM^-^- -*-- SjE ^t^zrffE ^ -# #- ^E w -* K" -* ^ I S r z-jr=M=: *z -+* j= +Ai-L & ^p -# # #- -> ?- -# * - ^EEtEES *=rri:=s?r ^ III. J.ndo7ie marcato. F. L. Schubert. ^S ?r&r H ^^ -&-*- ~zr. A SL J . | J ! J | l -M 5 ? 3=rt H^l 128 C. H. Crandafl. By permission. Andante. October. German Alt. ^ A K- - 4 J? -*- Sr -#'-# mf 1. Oh!swift-ly forward flashed the train And rich the Au-tumn f o-liage caniedJn- 2. It was a joy to watch the gleam Of ten - der sky and tint - ed leaf; The rf* ~N m- * ^ til it seemed that past the pane Oc - to - ber flew on wings of flame, wind ca-ressed the pla-cid stream.It was a day of sweet be - lief. Andant K A Study. I * *i s jz -0- # -0- ti -0- i - .S - S - - 4 4 *- Ifi M f r - EP3 SE *-=*- # i -a s d t Studies. O- YJl ~&*-0- s -*\-0 m ~~|~ * =: h r r i - i P i tP-# -i 1 F - f -h 1 f | | -r* B T i r r i ^ ^ n. 3 feT " eg: s 3S --*- E ^WT-0Z -#_,_#_ _#_* W=t=t *--#- :t F ^ i Studies. 129 <4: r r r ri"^T J gi ^ 4=? *3E zc -F f- t=F a SI -# #- America. * Smith. mf Moderate). Carey. J 1. My 2. My 3. Let 4. Our mf coun - try 'tis of thee, Sweet land of lib - er - ty, na - tive coun - try, thee, Land of the no - ble free, mu - sic swell the breeze And ring from all the trees fa - tilers' God, to Thee, Au - thor of lib - er - ty, m 3^*=*: u 2 * Of thee I sing. Thy name I love; Sweet free-dom's song; To Thee we sing. Land where my fa - thers died, Land of the I love thy rocks and rills, Thy woods and Let mor - tal tongues a - wake, Let all that Long may our land be bright With free-dom's f F pil-grim's pride, From ev' - ry tern - pl'd hills; My heart with breathe par-take, Let rocks their ho - ly light, Pro - tect us :*=* 3CZ3 * e -* ^r moun-tain side Let free-dom ring, rap - ture thrills Like that a -rbove. si - lence break, The sound pro-long. by Thy might, Great God, our King. I 130 A Song. FOR BASS VOICES. Andante. SE =*=* n -J t- -ru &T ^ EEE #- 1 -X #- :* -4-r4 m * m i r > v w yr, T" sjyU-J- E* J=f4 ^ :t=t 3ZI 29" O Hemlock Tree. From the German. Moderate. rr Folksong. 1. O hem - lock tree, O 2. O hem - lock tree, O 3. O hem - lock tree, O mf . * * ; :v ^ *- hem-lock tree, How faith - f ul are thy branches! Thou'rt hem-lock tree, In truth I dear - ly love thee. How hem-lock tree, A les - son thou dost teach me, That . m i=d iEi nt^v ' " 1 "- * *. a- green when sum-mer breez-es blow, And green 'mid win-ter's drift- ing snow, O oft at mer - ry Christmas tide Hast filled my heart with joy and pride! O ev - er hope and con - stan - cy Will strength and comfort give to me; O t-* * m-i p s \ I [ O Hemlock Tree. J31 l *=* Vi N- # ; ItT ~* V "* -* * heru - lock tree, O hem - lock tree, How faith - ful are thy branch-es! hem - lock tree, O hem - lock tree, In truth 1 dear - ly love thee, hem - lock tree, O hem - lock tree, A lea - son thou dost teach me. \- The Good Comrade. Translated from the German. Alia mar da. t0-8 ?f t i N * 1 Hi _^n German Folksong 1 . |/f ff 4 t 1 2 2 2 ' 1 i T"^ - i p 1 * * s ^ I J # fill J ** ' l r 1 4 H ' ' L J 1. I once had a broth - er sol - dier, A com - rade true and 2. So swift a ball comes speed-ing; Is it for me . or 3. No more we'll march, O com - rade, To bat - tie side by 5= :~: tried ; We march'd at sig - nal giv - en thee? Low at my feet he's ly - ing, Bide; My hand shall clasp thee nev - er, With step so blithe and And as I watch him Yet thou re - main - est -*T-#- m ^=5 : ^=* i e - ven To bat - tie side by side, To bat - tie side by side. dy - ing He seems a part of me, He seems a part of me. v - er My com - rade true and tried, My com - rade true and tried. A Study* 132 The Wild Huntsman. From an old German Legend. Vivace. . ^ Adapted from the German. * -#-g g 1. Through many a bleak and haun-ted wood, O'er moor and val - ley deep, 2. The ant - lered stag in wild af -fright O'er splin-tered chasm doth leap; 3. Not oft a mor - tal eye hath seen Our swift train for-ward sweep Melody in the Bass. -- tr V l m -V- m :*-_ r % While hoi - lo ho! the hunts-men cry, My spec-tral train doth sweep; The no - ble prey we fol - low fast O'er vale and crag - gy steep; O'er blast - ed heath, o'er rag - ing flood, Thro' gloom-y for - est deep. -# i i i 1 K- -y- E S* 1 j? h ' Now hoi - lo ho! the hunts-men cry, The wood- Through midnight mirk or mid-night gray, In tem Ah! woe be - tide that luck -less wight; His mor ' V.. -* horn answers mild, pest, sleet and rain, tal race is run! : m , fr- r 4- g j- n And horse and hound and ri - der bold Dash on When hoi - lo ho! the hunts-men cry, Till day Who views our chase, he nev - er-more Shall look ~* F 0- 3= with tu - mult wild. light comes a - gain. up - on the sun. E -* 1 May be sung first as Bass Unison Song. A Study. For unchanged voices. Hoffman von Fallersleben. FloWCr Dances. Translated by Mrs. Anderson. Andante. 133 Folksong. 3^ I V % N-i i sa s >- -V- >\ r m% tnf * p 1. In May the val - ley lil - ies ring, Their bells chime clear and sweet; They 2. Then in a trice the lil - ies play, While all to dance be - gin; The 3. Yet Frost has scarce-ly left the vale, When lil - ies far and near Call mf j h d gfc j- -s- J m -. ( cry, "Come forth, ye flow - ers all, And dance with twinkling feet, And moon looks on with friend - ly smile, And takes great joy there - in, And quick - ly to the spring-time feast, Their bells ring dou - bly, clear, Their I =* TF=F= dance with twin-kling feet." The bios - soms, gold and blue and white, Come takes great joy there - in. Then sad - ly vexed is Mas - ter Frost, A - bells ring dou -bly, clear. I'll stay no Ion - ger in the house, The =;- v E i m 3&E fe^^ quick-ly, one and all; Dear speedwell, blue for -get - me-not, And vio-lets hear the down the vale comes he; May-lil - ies play gay tunes no more, Thepret-ty blossoms lil - ies call me, too; Sweet flow'rets, dancing out of doors, I come to dance with i call. Dear speedwell, blue for - get - me - not, And vio - lets hear the call, flee, May - lil - ies play gay tunes no more, The pret - ty blos-soms flee, you, Sweet flow'rets, dan-cing, out of doors, I come to dance with you. '?r m 13* Studies. THE BASS CLE*. f f ' || |>^-4i # r -* i * . ' i. i w i r -i ^- l - 1 -1 | 1| M> 4 * -. aLl S | 1 1 1 -H II. L=a:t l~n"T+ ' * W ' * =?=t m f9r -=: t 722: mf * -s?- -m fse _ Hfi m <2 *^-& e ) L ^b^ 4=t :? *- +- i _=t J-JL-Uj-J. -y <5>- g*-i come, sweet Sun of Right-eous - ness, And shine in - to my soul, up to heav'njand so at dawn I lift my thoughts to God know'stthe dan-ger and the strife; Lord, bless them both to me. \-y ^=j H M m " * * -0- zt- V :^E3 : =F n= *r 1SL (5t_ tz= 1 I Note. The above study is to be sung in three parts only, either the lower AJto or Baas being sung. A Hunting Song* 135 Translated from the German. C. Kreutzer. 1 i h s> | 1 * < r^?> J a J | 2 z ,W'*~i ' i i * * * - c ^-i- ! . ! ! *-i * 1 _p_i_ W~ i r r trr ' 1. There can 2. Oth - ers f be say, no sweet - er "The breez-es mu rust * sic - le To In t the mer - the for - &i .. ry est, huntsman's that is s *-(7rt * &- j 1 p Jr- i i N rM f m 3 m 1 > ear Than the all," But the f VOIC mer they - ry hunts-man an - swers, "Hark, the ^ m * 3" i -Hr-r :& -**i *- * ^ _ZT I fr t?- ! f ^ 1 al s %-* d ~4-i *-*} * Ting out sweet and clear, Than the voie-es of the for - est As they for - est voie - es call," But the mer-ry huntsman answers, "Hark, the f 3 S 3 n i i IS | ^*" v 3**r i I # i r^ 1-^5 ~ s ^ =- /5) m 1 J ffh^~ri g g m S -* * ^-# & %-* i *M' MS 1 fl # ring for - out est sweet and clear. "Hoi - voic - es call." "Hoi - 1 K P la la hoj ho! mf[ 3 hoi - la hoi - la mf ho! ho! 3 hol - la hoi - la [ p E% * S * S r x r ; -i -4 t=5= ! r " c Icfc Old Winter. FOR BASS VOICES. Frederick Majjfay. f Jfoderato. Eleanor Smith. e I ^-4-*- -y= V ' -#-*- 1. Old Win - ter is a rob - ber bold; He leads a band both fierce and cold; He 2. He comes with spears of smit-ing hail; He rides the tempest, clad in mail Of 3. But when his sis- ter Spring ap-pears With sunshine smiles and silver tears,He Moderatn. . rfc comes with frost-y blust'ring hordes, With piercing winds and chill-ing gales, To flash - ing ice, with plumes of snow; And o'er the earth his bands pre-vail; The leads his ruf-fiancrew a-way;Thenseeds re-joice in buds; the whir Of m l -3XL ^i -v plun - der all the fields and vales, And strike the woods with keen-edged swords, leaves and flow - ers, cold and pale, Where'er he rides are strick-en low. ma - ny wings stirs all the air, And babes and lambs come out to play. A Study. 137 ^ MS *=f *= =|i i ^ s f = E=S : = - J ^g fn ffi &T 15* H JJ H. W. Longfellow. By permission of Houghton, Mifflin ^ ^^-^-11 i j J40 Now the Sun is in the West. Margaret Casson. Andcut&imo. Margaret Casson. Arr. by John Hullah. &m s f y~ f . 1. Now the sun is in the west, Sink - ing now be-hind the trees, 2. Cheer -ful see yon shepherd boy Climb -ing up the crag - gy rocks; Andantino. it ife# -* f- *- ^ -#-*- -# i- jfc tatfc And thecuck-oo, wel- come guest, Gen-tlywoos the ev-'ning breeze, As he views the dap -pled sky, Fleas'd, the cuck-oo's note he mocks, -* -* 5- *g:Tr -r i= pp w/* ^i OF* -f X- #-*- -* - -* - P-i- Cuck - oo! cuck - oo! cuck - oo! cuck - oo! Gen - tly woos the Cuck - oo! cuck - oo! cuck - oo! cuck - oo! Pleas'd, the cuck-oo's PP , O- X& 7s- mf JO. -*-~ Now the Sun is in the West. 141 r? tV_n_Q ev - 'ning breeze, note he mocks. a? Fjr- 3^*" 1 1 F- U-l-te**- 7* * -w- 9-#-#- -0-%-s d 9-0 C _ # _|Z^ Sport - ive now the Now ad -vanc-ing J r> ?=F & -f- _i i L cj^-^y- -> h-?- -f *- -^ #- -# - #- swallows play, Light - ly skimming o'er the brook; Dart - ing swift they o'er the plain, Ev-'ning's dusk-y shades ap-pear, And the cuck-oo's pp -+ Ja- wing their way Homeward to the peace-ful nook, Whilst the cuck-oo, voice a -gain Soft- ly steals up - on mine ear, While re - tir - iug kk=S=M Tt + PP -I I i = W-\ *- 142 i =t Now the Sun is in the West. mf pp 5 h r-tf r-^Jt Yf-i. ^35 t= V f *: bird of spring, Still a-midst the trees doth sing, Cuck-oo! cuck-oo! from the view, Thus she bids the day a - dieu, Cuck-oo! cuck-oo! mf 7-7 y- -p * /- -* s- -# TT-ff -* - :d?=* cuck-oo! cuck-oo! cuck - oo! cuck - oo! Still a - midst the trees doth sing. Thus she bids the day a - dieu. its: T=^ :T^ 1 pz=sz: -?-r-r- i 1 iU- :H:zi?=* -# *- ^S^S A Study. ^nze: fc^zz: *~T-<- - - 4 , ! -ft m-T-a ^m-*-* d= i i 1 . | ' 1 ! ' r-r- 0- -0 a M L # m m L # m - -0- -f- ## -# ** *.- H- m 5=E >-. A ,,_ _^_ >"I :>- # -*_ 4- i The Wanderer. 143 Tr. from the German of Hagenbach by Helen Goodrich. Alia marcia. F. Schneider. :t- ^= 1. O'er all the coun-try round I go, hur - rah! 2. A -foot's the way for jol - ly folk, hur - rah! 3. A jol - ly comrade's ev - er strong,hur-rah! With feet that nev - er For him who loves a The short road to the Mil q=T 3 #_ =: f^ *=* wear mer y grow, hur ry joke, hur T* rah! rah! And Old he who can't keep up with me Must So - ber - sides can stay be - hind, An - weak is long, hur - rah! The sun is hot, the breeze is cold, And m- -js. f) J ! I 1 | 1 y m m d 1 1 I 1 1 /\ \ * J J J ' KB tt* * vd 0- - seek oth - soon an er he - oth com cries, - er - rade "E -r Jr- com - rade, he must tough now, he, find, hold,' We For 'But nev gay we 1 V - er, should push nev be on - er the more /m\' f * | 19 ) m 4 m i V- 7 i 1 i* 1 1 ~ H 1 1 1 1 1 could a - gree! We nev - er, nev - er could a - gree, Hur - rah, hur - rah! wand'rer's mind, For gay ehould be the wand'rer's mind, Hur - rah, hur - rahl stout and bold, But wo push on more stout and bold, Hur -rah, hur - rah! m 144 A Norse Lullaby. Eugene Field. By permission of Charles Scribner's Sons. Andante. W. W. Gilchrist. :fc $=2 w. -*-*" -? N ps- Melody in Bass. The sky is dark, The hills are white fcfc :2=i?=4: ->- f The sky is dark and the hills are white As the te ^=* **r -?--- K, p^ c r-*r-i-T-T. i 1 + & The storm-king speeds from the North to-night, And this the song that the v *-i ^ ^ ^y=F t: -a r v- -s= storm-king speeds from the North to-night, And this is the song that the -P*=l - !=a=:: 2 r-z z t} '* -Stif ' his cloak he swings: storm - king sings As o - ver the world _# # rs X 23tzz -r-V- i= storm - king sings As ver the world his cloak he swings: "Sleep, sleep, sleep, lit-tle one, sleep," He dim. e rail. s S- 0= *=t=^ -* V- e=fc :=e =J= rus-tles his wings and =t * * a =-i 1 ' -j 1 :- 1 1 ' I #-> ^ * ^ -^ sleep, lit - tie one, lit - tie one, dim. e rail. lit - tie one, sleep. gruif - ly sings: "Sleep, sleep, lit - tie one, sleep.' Andante. 1. The sky A Norse Lullaby. is dark and the hills are white 145 As the g^ S -*- 3 ^ * ? are white, fl 1 V I The sky is dark, the hills t feBE=3S^E i=: -n > /" storm-king speeds from the North to - night, And this is the song that the 5 _, m - j 1_ k 0- -M- -# * =F The storm-king speeds to - night, ? n frj ipf And this -# 0- -T-f- the song storm - king sings As o - ver the world his cloak he flings: -J^t E i I = is-t I -n *- ^ :2: -fir 1 V he sings =P= A*- -*0- i= a-tr^&wf ver the world his cloak he flings: "Sleep, sleep, sleep, lit - tie one, sleep." He rus - ties his wings and fet i2: =& =1- =F 3= qr "Sleep, sleep, sleep, I sleep, sleep, sleep^ Srka: ffi -*-0- J| I ? 1 gruff -ly sings: 'Sleep, sleep, rfi'm. e raM. lit - tie one, sleep." /PcxP-rr 1 ' # i ! -^ r_^ 1. PS 1 fc_ ^-ti sleep, sleep, lit - tie one, (Ztm. e raW. > lit - tie one, sleep, sleep, 0- -0- sleep." +- -^- _#_ i Ft z ~ m <* 1 1 I l>-^ 7 (- -i i I 1 ^ 1 . , ^ ^> 1 ' 1 146 Suggestive Studies. Se3=3 ypj i l ^ i l ^'l ^ ip *&^ fc* ^=^ 3ffi in. m & *-&- Santa Lucia. Translated from the Italian. Moderate. =rT "~r Neapolitan Boat Song. pm h &=i= mf 1. Moon-light, so sweet and pale, From heaven falling; Wavelets that murmur low, 2. Soft winds that come and go, Coolness are bringing, Bearing on gen-tle wings 3. O joy! to lie at rest, Drifting and dreaming On ocean's peaceful breast, Moderato. fefc g g ^^^ jj r-i 1 ^=r* " 1 \-i * d d 1 -. m m b-f ^ ^ * ^ * b L> I ^=^ *=r J s ^ Sum-mer Float o'er Na - pies, > 5 I To us are call - ing. White is the sum-mer night; Ech-oes of sing - ing. Waits the light boat for thee, 'Neath moonlight gleaming! Bride of the sum-mer sea, the thy ^ 4f L^ J i 33 *=F i m * Santa Lucia. 14/ sil - ver bright, waves with me. child to be! San - ta San - ta San - ta Lu Lu Lu $ 2&E3SS tyf-i -0 1 ^^~ ci - a! San - ta Lu - ci ci - a! San - ta Lu - ci ci - a! San - ta Lu - ci := a! a! a! @@5 rail. ?m i },rn,> d "mj mm HeI Oh! what is this which shines so bright, And in the lone - ly place Hangs i :|i* ttJ *atii IN out S ^5 I $ his small green light at night, The clew -y bank to grace? ; m 2 1~ * *- It is - ' * ' *_-* " 4 jggj r3 tif *-| H - - t y ^J m ^ i IeSIIII S=fc ^r=i 7=^ glow- tm- worm ;still and pale It shines the whole night long, S 1 w P .^ When on - ly 1 * * I# I I t . nn .JXl r The Glow Worm. 149 J5 r *- =& -N V B 10 fr tfe * - stars, O night-in - gale, Seem list-'ning to thy song. And so, a - ^ r^r^Tr u IZZf -m r- - m w ~ A L # 8 #- r ac^; I ! -^ * - % ~1 N-r-t .* * -at niid the world's cold night, Thro' good report or ill, N" = Shines out the good man's *=*: j 1 1 : ^ ^^ 1 ^ p i i ^ f-p-d- -0 -A- : 3= I PS- - Hi i 1 rs - _l 1 I I 1 I I J I J I- J 1 -# -# -0-.^^-0- -0> -0- * W -0- -0-. huni-ble light, As lone - ly and as still, As lone - ly and as still. S3 m ifZMZiL -* * U TT+ F~ -0- V I ^z=tp t? T^t/- 150 Farewell to the Woods. From the German. Andante. ^ -pp Ester. P 33E : 5: E S^ r* tfi . - -cfi-T- r r 1. Now fare thee well, dear wood-land green,fare - well, fare - well; 2. Fare - well to ev - 'ry frown-ing height,fare - well, fare - well; 8. And should 1 al - ways part - ed be, fare - well, fare - well; P -< =-PP 3=* Long To O tPN^ -zr. m + p -pp - -< i p. p p pp _ jr . j may en-dure thy blossoms' sheen,fare-well, fare - well; May bal-sam fra-grance, tender green sward flush'd with light,fare-well,fare - well; My heart is sad, My wood,0 rock, O bird, from thee, fare-well, fare -well; The thought of you my -< =s- P PP P ^m 3=t pp m &-~ & *m , cresc. ** ( ^ffi^ birdling's voice Full many a wanderer's heart re-joice; Fare-well, fare - heart is sore; God knows if I shall see thee more;Fare-well, fare' pain will sootbe,Dear comrades of my hap-py youth,Fare-well, fare - cresc. well, well, well, dear if dear : i =r i: # cresc. s=afc== : =t ^. fr , f-* 3 s *=c^ S Farewell to the Woods. 151 i ZSl f frn * i' & - ^^ 35 3^ - g iff: - * . * ' T woodland green, fare - well, Fare-well, fare - well, dear woodland green,farewell. I shall see thee more, Fare-well, fare - well, if I shall see thee more. comrades of my youth, Fare-well, fare - well, dear com-rades of my youth. ' ff TSL E *=fc -L- -ri" I. Andantino. Studies. k ^_j m. fctE Reichardt. n n ^ Ha * + m 3* fct ^S -*-*- 4 ps-4- ** *- -N fc- h -*--*- -ft-N 3t=t r >s s - i=a --* * ^f ^ n. Andantino. *% t& ff -# ; rf- f*^-* * ijf-^ ^=n -#-#- #_ # _. -ta t- V i/ ;A I *=* -S P0 0- -**- F fr-A. ' ' . SE v t *- -*+ ^=5=P=5=t 4* # Yp -H i 3*=*: Qt* f =e -I F-#-i ' W 0~~* I i 152 A Melody. (For low voices.) Hoffman von Fallerslefeen. 5 m .4: m XZI -r-i r "* #" * ' V m -*-^2 A Study. gs <=EI . *# " fc*=t . to .-; * -v " ah -4 n ^=^^ F=t* I -#(- tJ-fr C. H. Crandall. By permission. ^4 llegretto Thanksgiving Day. Canon Ainslee. to/' ^~ * f- L -^ * # *=*= 1 1. Not once a year, but ev-'ry day, With hearts by gratitude grown tender, Would 2. When comes the harvest of the year We come, with hearts o'er full, confessing How 3. Then let us all sur-vey our past And note Thy guidance to our liv-ing, Till mf :* V H ,,_ =t * -~ s* wo thus pause up - on our way And praise and thanks un - to Theeren-der. all our land is filled with cheer And all our coasts bask in Thy blessing. each con - f ess - es he at last Has great -est cause for true thanksgiving. i i *-- * * m Translated from the German. Vivace, mf Our Country. J53 B. Klein. 3 w -r> KT- -4 + 1. Murm'ring sweet - ly flow the riv - era In the green vale at our feet, 2. On the heights and mountain gor- ges Kiss - es Spring all life a -wake; 3. Com-rades, let fair Spring, re - turn-ing To our hearts, with us a - bide, mf Wf P^ ^^ 9 cresc. J-, sM m^z -w+ -rr * Wl And the flow'rs no man can num - ber, Ev - er Fall - ing av - a - Ian - ches thun-der, And the Ev - 'ry -thing that bless-es mor-tals, Bless us cresc. f fresh the wa - ters greet, i - cy mountains break, still, and be our guide. #t T & it mf s -K- | L flp ' y Here are sound-ing songs of glad-ness, And the heart is joy - ous Now the noblest thoughts re-turn-ing, Felt be - fore our soul to Love and faith, let both re-main-ing Fas - ter bind our hearts to mf ggf= f= = i =: i s ifc i here; cheer, thee, S cresc. ff _/ r \U i 1 | ^ i i , 1 -,i% 1 ' " " 1 1 J 1 1 i i 1 2 .'II c J 1 J 1 * 1 *i ' " i rl \ ss & ! *J f V # * f " " May thy love be ev - er with me, Truo to thee, * * -& ' my conn -try dear. Full - er swell our hearts and voic - es All for thee, our couu-try dear. Let our cour - age have the pow - er To main-tain our coun - try free. cresc. ff m I', B9 r r t 1 r (ft 1 H i 1 ' - _1 L. _L 1 i _J p J *_ 4' #. _ TL I * ~ i 154 A Study. Andante reliQtoso. Arr . from H. W9d. H 1 #- ^ fl > - *=*Z f-T j # *- ^ -t- 1 H-# 0- S is - ^ -# ,1- * <-* j j- 3=*: ^ * rj f - g 3t=zfc: -y t- -y tr I 3^i -^_- p__J PS P j ! = s =*=-g:~ t:: g=f :^l- fcfl fcgg *~tt* ^K ^ * *-* *- &jT-i .fc-Sg * L j. J * 3*-# r 1 ^ * * #-J m ^H&gi^ d s 1 ' - & P g v * gzx-| r^; J Tpfl 3dzg= g U a i--4--g =fiS^ ^ -&- ! ' * * * V.&1 * L_^ mz L_ ; jj i i -+ t ^^ ^l A Study. 155 ;i4= a- s -w 1 m i ^ m m I *=q=i w *-*-* *-|J ir^-j) m T \ 3=t E= Lucy Larcom. Allegretto. Christmas Hymn. Sir Arthur Sullivan, arranged. J 1 L ^3 j- mf 1. Bring in the 2. It is His 3. He gives all 4. Made peaceful 5. We mf trail-ing for - est-moss, Bring ce - dar, fir and pine; dear mem - o - rial day, Who broke earth's frozen steep, lov - li - ness that grows, The strong and graceful trees; by His con-stant love, Let thought of Him a - bide; keep the bright home fes - ti - val, And, with a child-like cheer, g M ' JL I *- ZZ T i * * i i - :za m J= And green fes - toon, and wreath, and cross A - round the win.dows twine! And who for her hopes glad-'ning ray For - ev - er bright will keep. The win - ter moss, the fresh June rose, The dear Lord saves us these. To find us our last home a - bove, He home-less lived and died. His an - gel - ush - ered birth-day call The mer-riest of the year. fe 3=t 156 Good-bye, Uid Year. Lydia Avery Coonley. Vivace. IS G. Tyson-Volff. a- m m if ^ The Christmas Day came dressed in green ;The New Year,dressed in white;The Vivace. m P*r- ^ r-r- blue lake smiled up - on them both, To match the sun's de - light. The ?S^ ffi ? =3 3 -? *- -" i*- 1 - ^ 1 S* *~ -0 9 TO #- -HS , - . T -* : e i A N P --*- -*-P -p-v ->" cresc. K-l N N K N- birds flew swift acrossthe sky:"Come,New YearjOld Year,go; We say good-bye to fe * 5 r^- z*d+^ 5 t=t= F^ -- *: Good-bye, Old Year. 157 3=PX ^ -K N-r-*c T-* *~ - m .J 'J 17 "^ i "| r^- flush of green, And hail the drifts of snow. We greet you both with smile and sigh And J_ | -0 * up-wards to the tern - pest flee, Bar - ingtheir foreheads in the gleams; The ;A !M BF-- ., * * s s s H f ->- f H # -0 Be - hold ___*_ -0 trem-bling bil - * * * - lows head - long go, i* i- : v : t=t- " ' >H r s t ? 2. Be - hold, like mil - lions massed in bat-tie. The trem-bling bil - lows A Storm. 159 head - long go, M And dash, v and dash * In & 2: X- head - long go, Dash - ing the bar - ren deeps which rat - tie in U mist - y tern - pest till they grow, And burst, 8fe m^. t ~: ;E: mist - y tern - pest till they grow All fruit - ful in their U & -^ ps- ifc= and burst, and bun a- urst from fren -# #- zy #- in - to -0i 0- foam. -#-- 0- % :t=t t- t- rock - y home and burst from fren - zy in - to foam. Cradle Song. (FOE SOPRANO VOICES.) fe^zzj^ m ^- L k - y^ - tt=*|=f ^fr- fT^-*-*--*-* : f F- ) -#-# # j_i*. B ^#- f4= ^1 ^ frr h " A Canon. li # L| >_l 0.1 LI ^,,1 1 1 L b^ ' ,J '&* 2S 0-r : T =P^ 1 F=H 160 Peaceful Slumbering. English. rettc . Stephen Storace. 5S i5: ^r^ Allegretto. 1. Peaceful slumb'ring on the o - cean, Sea-men feel no 2. Calm and peace the soul controlling, Home and love in 3. Wak-ing hours once more are dawning, Storm and tempest 4. While the billows, wild-ly toss- ing, Drive the bark,now 5. Safe in port,the ship now riding, Home and love once - ! j * S dan -ger nigh The winds and waves in gen -tie mo-tion Soothe them with their dreams go by, The while the waves in plac-id roll -ing Soothe them with their till the sky, The trust-f ul sea-man, dan- ger scorning, Soothes his heart with low, now high, Still'd each fear the bos - om cross-ing, Sooth'd by hope's sweet more are nigh, Toil and trial no more be - tid - ing, Sooth'd all fear in ^=c= w~ w jz*z *=K *r-* N ^s- P M - -N -N- -N N- lul-la-by, lul-la-by, lul-la-by, lul-la-by, Soothe them with their zJjrn 3=* una corda I S_ 3Dt - I ' I 33 3pt 2^t a3S ^at i * #- Peaceful Slumbering. 161 m A Study. $ fe . t * j* -# #- ppff ft ' r -i- * #- I ^ L ^ #~T -0 p- -^ *- #--- ij@g= 19- ? - - ^~ &T r r J r i I i- g H J| | | J 1 " J l J ~ Studies. rj i 163 F. L. Schdbeit s c - ' i ' i - -<_. ,5*. p; j j j j j m ^ & - ' tzx * -' ~ & -e>- P IL pp ^=* s # 75T # * *-J-Lf * * r ?=*= *- $^l^ ^ss ' J- e fcfc ter - ri - ble swift sword; His truth dim and flar - ing lamps; His day ser - pent with His heel," Since God ju - bi - lant, my feet; Our God die, to make men free, While God 1S is is is is march - ing march - ing march - ing march - ing march - ing * -0- -= -*-*- f -.- -#-, \ mm m Glo - ry, glo - ry, hal - le - lu - jah! Glo - ry, glo - ry, hal - le - lu - jah! f J^ - _! >8_- * fL. 1-g , .4 | S | V ,. ^5= ^-# 0- Ip-^JK _> u r dz: 4 U : ? * * * *: * Glo - ry, glo - ry, hal - le - lu - jah! His truth is marching on. * * *- 42. Stt: 4===t -*-j *- t -?-v- -9 - -#-- # Key of G Minor. A Study. Zelter. m ^m S3 HH^B ^ =R If OXE. Tho above ia a three-part study, either the Bass or the Lower Alto may bu aung. 168 O Lord, Our God, Thy Light and Truth. Montgomery. Moderate. Jeremiah Clark. n -??- : e: a= = o wif s>- r yy- =f= 1. O Lord, our God, Thy light and truth To us, Thy chil-dren, send, 2. By na - ture sin - ful, weak, and blind, The down-ward path we trod; 3. But friends and guar-dians now thro' grace Our heed-less steps re - strain-, 4. Hence, to the hills we lift our eyes, From which sal - va-tion springs: 3 -2 '&' I^fc * & V H- % A II ??ZZt-5t t=& ztst f ^ u s>- That Ave may serve Thee in our youth, And love Thee to the end. Our wand-'ring heart and way-ward mind Were en - e - mies to God. They teach us, Lord, to seek Thy face, Which none shall seek in vain. O Sun of right-eous - ness, a - rise, With heal - ing in Thy wings & ss zp. & II r=^ *= A Study. German Patriotic Song. i i p^ i i i - w f -i f m 5- -m m ~ '--+- 1 r -M-U - i ^ 1 -. Note. The above is a three-part study; either the Buss or the lower Alto may be sung. The Fox Hunt. ! Gfcfe Allegro. m X English. >>-r MM* f fs fr m m rr ~j- Tan ta r V ra ra ta ra, Tan ta ra ta ra. 1. A - wake, all men, a - 2. The east is bright with 3. Be - hold the skies with 4. The hors - es snort to J & Effi 5 * -t 3= -=3- ^ 3^ fcf: * m-i-L-J-. wake, I say, Be mer - ry morn - ing light, And dark-ness gold - en dyes Is glow-ing be at the sport, The dogs are you is as it all a run - ning may; . . For fled;... The round;. The free;... With m W^- ^^^ . J-fl ll I s ^ S (_. _ |S_ IL k. } k. r? r* > FINE. 7, v J - r* ^ n .J j j # J r m p #flv-t?-# -* 4- i 4- ai~r^ X-J d If* f : -A H 3 (ffF-^-* S * -*-*- 8 * !? "T 1 ~T~f t) "* s^_ w 1 1/ [- this is the day a-hunt-ingwe go, To bring the fox to bay. mer ry horn wakes up the morn ,To leave his i - die bed. grass is green and so are the trees, All laugh-ing at the sound. mer ry voice the woods re- joice, Of tan ta ra ta ree. m m . m m FINE. h h T - - 1 tehy j h -+- 1 ^ i -i< > b * -* 1 fc- 1 . A - 7 \ *b->rr-0 1 i ~^= - 0i- =t=5H-J 9- 1> -4- N-, \d J), s. > rrn ' N- 1 N, N- T" 1 1 - -tt-? * f i_ f^r K V 1' s ( i # # S - 1 i * ?'?* -p p-i - * - 5' V J Tan ta i * -*-# Tan ta H J > i t* 1 V ra ta ra, ra ta ra, To bring the fox to bay. Tan ta ra ta ra, Tan ta ra ta ra, To leave his i - die bed. Tan ta ra ta ra, Tan ta ra ta ra, All laughing at the sound. Tan ta ra ta ra, Tan ta ra ta ra, Of tan ta ra ta -*; *- ree. D. S. ^e^ -F -V -4- h 1 -4 -* * i -* -1 t -4 p 1 1~ -+*' L, ^ 1 1 170 The Archer. Frank Dempster Sherman. By permission of Houghton, Mifflin & Co Allegretto. Old Melody. Arr. A llegretto. 1. His home is 2. And sit - ting 3. Strong is his 4. Come out, come 1. His home 2. And sit 3. Strong is 4. Come out, is yon-der in the sky; ting down he looks a - round his arm, he knows it well, come out! the hunt is done; There, The And No yon-der in the sky; down he looks a - round arm, he knows it well, out! the hunt is done; There, when the chase is The green fields wide and And sure his stead - y No dan - ger shall we * * > The Archer, 171 when the chase is green fields wide and .sure his stead - y dan-ger shall we o'er, He hangs his gor far, Where pros - trate ly aim; For him the miss know; For yon - der see geous bow on high ing on the ground ing ar-rowstell be-neath the sun o er, far, aim; know; He hangs Where pros - For him For yon his gor. trate ly the miss der see geous bow ing on ing ar on high A - the ground His rows tell The be - neath the sun His -0-0-0 0-0-0-^0-0-0 ---*---+ 9*~*-*-Yw\-rw-*--\ 0-0-0 0-0-0-^-0-0-0 0-0-0-1-0-0-0-00-0-0-1-*-*-*-* 1 &k hbztzj: tt=* A - bove,a - bove the o-pen door, His ma - ny, ma-ny victims are, The num-ber, number of the game, His promise, promise and his bow ! *#--'-# m ^ 0-^-0 - Above the o - pen door. His many vic-tims are. The number of the game. His promise and his bow! :fc i ' ^ES=[g r fe=1=H bove the ma - ny num-ber prom-ise o - pen vie - tims of the and his door, A-bove the are, His ma - ny game, The num - ber bow ! His prom - ise o - pen door, vie - tims are. of the game, and his bow 0-0-0-E-0-S- *-0- u -* -c- =n * ^tt St-^t^ " m The Sweet Birds Are Singing, m illegro. Walker. 7 f 7 f r - -*-7-P- f-fr-f-^-r* t= 1. The sweet birds are sing - ing From ar-bor to spray, From ar - bor to 2. All na-ture re - joic - es In spring-time and May, In spring-time and m -* r w +-*-+- --7-*-9- tnf 1. The sweet birds are sing - ing From ar - bor to spray, 2. All na-ture re - joic - es In spring-time and May, sa ; i ^ ^rf r r 7 ~? 5-f-T- ^ ! **--* X L 32=j 5 spray. May. . I Sing, shepherds, i > iO > X X t * F~T* w ' ' I L -x- -x-x- The sweet birds are singing From ar -bor to spray. All na-ture re- joic-es In spring- time and May. -0 P- -* P- -0 P- Sing, -X--X- -x x- cresc. $= r 0^ # ! sweet May, sing,shepherds, sweet May, mer - ry cresc. _ X- *S- B J -t * P -n=zL -#-* shepherds,sweet May, Sing, shepherds,sweet May, mer - ry ;^= cresc. ^=x= = ? The Sweet Birds Are Singing. 173 dim dim. $ May, sweet May,mer-ry May, mer -ry May, sweet May, mer-ry May dim. cresc . ^. dim. P?: ^ r * i i n ^ - A F-4- i i J J #--j * \ F d i 1 T* m -*-:* -*-* ^zs=i-:i May, mer - ry May, mer-ry May, dim. cresc. dim. -&-'- H^ 1 r^r z rf 2 *-^ mer ry May. -S-^- y u Studies. ^c 1 iS*- 1 - 2^ >g ^: i*- 5 - 4=1 # ^ -75T s^-^-iF? 22: Efcg 1 ^ *^ iJ II. Allegretto. m& 5J3 Graben-Hoffmann. 1 S i=t *-: rv- 0-0- *-3tr im i i t*=*ZJt=tj3Z 1 1 t=C * * ^ "ST ^^ * * #- # #" * *tr* S ^jM ==^h^ * 4 ~? -* S^P fe=j*F :? r- * * * ^ ^. **-. -5 q -+ -0- -0- + -*-. & g ^^f^H ^ ^T^ # a * *-. _#_*_i_^.._ d-'- # V + TJr-0- 4 W :ii St ^a $EE H .^ s: g g> J The Ehine, the Ehine, the German Khine! Who now will guard the riv - er's line? The Ger-man youth de - vot - ed stand To shield the ho - ly bor - der - land. One arm to bear a gun, no more Shall foot of foe-man tread thy shore! The Rhine, the Khine, the German Rhine! We all will guard the riv -er's line! % :\rJ ==* P ' l I * j-n j i^4 r=t . h l I 3i=^ ; t t * ig It* ^^^^ Dear Fa-ther-land,no fear be thine, Dear Fa-ther-land,no fear be thine, Firm stands the J- +-~ &. # E F^S^ r; ry rr m/" ! J 1 1 J 5hd: 75*-r JJ ^> W* jz*z <: guard a long, a - long the Rhine, Firm stands the guard along the Ger-man Rhine! -# #- i* L > & See it 3E I tm ? a m* F Shakespeare, Andante, mf Blow, Blow, Thou Winter Wind. 177 R. J. S, Stevens. dim. m & +w- TO g s~r j 1 , * ^.pg=g7?l f7T3 3= tt Blow,blow,thou winter wind, Thou art not so un-kind As man's in -grat- i m/" cre.tc;. __ dim. p ?st a 33= *- i3^^ x *=$t I *& Thou winter wind, Thou art not so un-kind As man's in-grat-i- mf _ - --_ /> Ml! ft 4= 75t F Thou winter wind, so un-kind As man's in-grat-i* *fc 3fcE r -r-H *fc- E = w : : ft* tude, as man's in - grat - i - tude. cresc. f Thy tooth is not so keen, Be- P s- PP '?- +^ -P-#- 3tE3t =3= tude, as man's in - grat u cresc. f cresc. i - tude. Thy tooth is not so keen, Be P =- PP tude, as man's in-grat tude. So keen, Be- . f . *.? TTZ^r x - ++ ~zL =5^ ist^s: cause thou art not seen, Although thy breath be rude,al- though thy breath be rude. cresc. f =t 4= S 5=*: '-S^r# ^- ^ cause thou art n ot seen, Although thy breath be rude,al- though thy breath be rude. cresc. f s w^ =t .4: *" *- B> ^^ 5: * T *" 3 VT 9 3t. cause thou artnot seen, Although thy breath be rude,al- though thy breach be rude. 178 Blow, Blow, Thou Winter Wind* Allegretto. P # r i , -5? r Heigh - ho! sing heigh-ho un-to the green holly ; Most friendship is f eigning,most p cresc. -*=e * m --^ N * -N i Heigh-ho! sing heigh-ho un-to the green holly; Most friendship is f eigning,most iU^ =s -* N- -N K ^ ^si^'- * ' Heigh-ho! heigh-ho! un-to the green holly; Most friendship is feigning,most =&&# 3 > 8 _f ^ * * = y- loving mere fol-ly. Then, heigh-ho! the hol-ly, the hoi- ly, This life is most f fct *t 1 rj- loving mere fol-ly. Then, heigh-ho! the hol-ly, the hol-ly, This life is most f P f 5nft -X-?- loviiig mere fol-ly. This life is most i 44- -v-p- FINE. S=S= * = 8* * ' ! * -# *- :* ^~ azt v-^- 7SZ ~^-*~ :>~ jolly,most jolly, this life is most jolly, most jolly, this life is mostjol-ly. h =r V this life is most jol-ly, jol-ly, this life is mostjol-ly. I -,+ ' * + -fs P -S-- A P -N ? + * + ' 4 jolly,most jolly, this life is most i^^most jolly,this life is mostjol-ly. Blow, Blow, Thou Winter Wind. 179 Andante. W + #- m -. - ? i =z =** *^ Freeze, freeze,thou bit - ter sky, Thou dost not bite so nigh Asben-e-fitsfor- *4 p =t S s 22: &ffe I* 7 ? rj \ zLj =>2. p=z -* F Freeze, freeze,thou bit ter sky, Thou dost not bite so nigh Asben-e-fitsfor- ft 5 x- 321 P=^* -&- . z> z*- & . Freeze, freeze, thou bit - ter sky, Thou dost not bite so nigh for- -? -**- -+-* p -**- -*+ got, as benefits forgot: Th'thouthewaterswarp,Thystingisnotsosharp As t f I 3 =t -*-*- =* -* # -al * ^t *- L * got, as benefits forgot: ThoUhouthe waters warp,Thystingisnotsosharp,isnotsu zfc T ^ tz a? -*- " - -*- ^ - got, as benefits forgot; Tho' thou the waters warp, Thy sting is not so dim. D. S. alFine. /T\ /TV 3C - *= 22 .rr ^-? ) - I friend . re - mem - ber'd not, ... as friend re - mem - ber'd not. dim. p /T , ^ P P I =t m ^tzsz: ^S I - ' \ eJ sharp As friend, as friend remember'd not,... as friend re- mem -ber'd not. di'.n. p ^ ^ 1 m Z5t c fc w # - oh*rp As friend re-iueniber'u not,... us friend, re - mum - ber'd not. 180 Studies. I. is ' 'J 7 ' # Si . * -*- J >, J| ! J l | S * . j *\ i ' . I . ^ J-J-^t-^-U^f^ fP=# IL Andante. mf 1 =t P Tschirch. P - - ^- *7-S-^--& *=*T* T^ L i r i u tj r *f c g t -*-* S3 -* *- * *- p . n'. e dim. =fc t=^*^^^0^d=f : ^^^==^^^^ I rit. e dim. '^^ f^^ ^^ : t= t ''i ' B>- I The Summer Days are Coming. Translated from the German. Allegro. R. Schalm. ^P ^S 5t ^EE3E = 5rl =fcz=j J = ni *= u ttif X. The sum - mer days are com - ing, For drows - y bees arc 2. When sum - mer days are com - ing, The time has come for a* r-rrte 3^ P =F 3^ 5 j?=S f=l=J -#-T- # . hum-ming, Spring's milder days, with sun and rain, Uave waked the fields of roam - ing. Then let us haste in field and lea To greet her, full of cresc. -_ F^ l II I - -* (K .):. 1 I i The Summer Days are Coming. 18) H E -*_ 4- 1 i r t g r # ri ~F~ g = i^-L< rr ^^ *Jt=*A B ten - der grain, And pret - ty flow'rs a - bloom-ing The gen - tie air per mirth and glee, Who brings the crim- son ro - ses, Who Nature's wealth dis f. ^ ^^PCTj^ 1= P *=f ^ -; y.x_iL _|_g-j *_| [ b^ fum-ing, And voice of bird pro-claim That sum-mer's com - - ing. clos - es, With bird and bee re-joice, For sum-mer's com - - ing. g| 1 1 M= -0 #- i - m -!?--- i Modcrato. A Study. EVENING HYMN. =C *4 C. Malan. 1 ii :*=*= B H^b S ) ^ i 1 .M-HH car r ' i ^ * *r i- ?--&- . y -000 -- S=fc =t=: i A Study. 183 1 tit & ' ^ iS*-*- m nm e i - 1 f ' I f . 1 ! n fcE ?=? PE T^-*- *=#= Songs. i Moderato. German Folksong 1 . " i&. 33=E * J * * -* - ?* o= j * -^ a *- ** **- ii. a F^P azi: :*=* S it* ist* -fS fS y Rhenish Folksong. . rrvS n ,- r ** * *** -0 0- -0 1- -0" ! >- -N *- *=a* :fcofc -* * #-*-# L #-r-# ?*- *-- ' ' a ) "* T^. V 1 * jfe : L5t=*: III. ^4 llegretto Russian Folksong. ft" -* J =3 q I J -1 || | -k-4 , | | 1- ; | \ -L - _s=E #-=-# - E=s=t -* * t- H 1 1 1- H 1 1 h iiEtt fl: *_! *.,. ! J I I gE ^ -Mfc* S=^5^ : -S'- * #-T 0. L # - #- &t :E -* #-; #- -# *- lUl ^ : ' ^ ? '" * fc #" --Ml* 0- - 1 1 - %0-0-0-0-0-- i -0~ & '* 1 C- 1 1- 1 1 m l ff- J 1 1 1 m - I J 0- . # . Tf * -** ^ ' <* * * I* ^ M fc V--+ #-# 0---0-T0 F=F=F .# C *-!-*- ^ 1 1 1 - 184 Evening Prayer. Lento. #=* Richard Mueller. Si ? 1. When the night-fall round us clos - es, When the bu - sy day is done, 2. While we sleep, Thy flock de - fend-ing. Keen us in se - cu - ri - ty, L*nto. , . ,s I p legato IP 8 =( _ t H^Hs P Lord/Thy good-ness ne'er re - pos When we wake, fresh vig - or lend =*=* es, But in dark - ness watching on; ing, Help us more to hon - or Thee; =t Zt E: f- ^ ^l a^: I^r i EEE > i 3^ J; =E tit: Ho - ly Shep-herd, still Thine eye Day and night, un - til the end Guards us all un - tir - ing - ly, Lord, Thy child-ren thus be-friend. Ho - ly Shep-herd,still Thine Day and night, un - til the eye end. Guards us all, un-tir - iug - ly. Lord, Thy chil-dren thus be - friend. [pH * Jtf~*at JT~J. J -& A ^ J^iJ = ' t Ll m George Howland. Andantino. p do Ice Decoration Day. =s J85 Flemish Folksong. azizip l ' } Free 2. ^ der - ly bring-ing our ly their lives for the ( Scorning their coun-try's true I Wor - thi - er shrine than the \ Where o'er their dust nev - er \ Leav - ing be - hind them a p dolce I N *' flo - ral ob life of the birth-right to grave of the foe - man shall death-less ex - la - tion, Strew we the na - tion, Gal - lant - ly bar - ter, Life in the mar - tyr, Free-dom seeks tri - umph, Safe in earth's am - pie; Peace-ful - ly es r-fi H** ^ * - -H 58 * mf -0 as -- V-jf-^ 1 1 fc P I i i r< ~ ~\~ if hf; i * VAY * ' * * * # 1 i ! S *-|-^ # 1 t P P i graves of the dy - ing the bal - ance they not where her bo - som en 6leep they the v-v. s- ^ : * 1 dear ones death of Tudg'd not hom-age - fold-ed sleep of i s K who the to to they tho S i gave brave lay. pay. rest, blest. I Hal - lowed the ground where tho V Faith in the right, at uo r Let us, then, true to their rnf f m . &=r <==\ * -\ r !- ~ =f=SF -0 f- , 1 j V i + >- !/ 1 Urn. loved ones are sleep-ing, Sacred the hour when a - bove them we tread, While in our dan-ger to f al - ter, Precious in-her - it-ance thus to bequeath; Where findsre' mem-o -ries meet-ing, Rich in the free-dom they died to make ours, O - ver their dim. p ?-*-* a, r0 S>a LIU img hearts their sweet mem-o-ries keepiug, Come we to hon - or the glo - ri - ous dead. li-gion a ho-li-er altar Than the green graves, with her garlands to wreathe? graves while their virtues re-peat-ing, Ten-der - ly, lov-ing-ly strew them with flow 'rs! 186 PP ^ -4- A Study. *$-* -' 2^ I a0- 3 Tennyson. A lle.gr etto. 23E Bugle Song. W. W. Gilchrist. -M :# g- 1. The splen-dor falls 2. Oh! hark, Oh! hear, 2. O love, they die - -0 M- on cas - tie walls how thin and clear, in yon rich sky, And snow - y summits,old in And thin-ner, clearer, farther They faint on hill or field or sto - ry; The long light shakes a - cross the lakes, And the wild go - ing, Oh! sweet and far, from cliff and scar, The horns of riv - er; Our ech - oes roll from soul to soul, And grow for cat - a-ractleaps in glo - ry. Elf - land faint-ly blow -ing! '.v - cr and for ev - er. Blow, bu - gle, blow, Blow, let us hear Blow, bu - gle, blow. m m feE Blow, bu - gle, blow, Blow, let us hear , Blow, bu - gle, blow, Bugle Song. f 187 Z?L -=A- Blow, bu - gle, Blow, let us Blow, bu - gle, blow, . bear . . blow, the set the wild ech - oes pur . - - pie glens re - set the wild ech - oes S bu let bu gle, blow, us hear gle, blow, 1-3. Blow, bu-gle,blow, FF=*== fly - ing, ply - ing; the fly - ing; tp :#uzzz:^=itz=z : set the wild ech - oes fly - ing, Blow, pur - pie glens re - ply - ing, Blow, set the wild ech - oes fly - ing, Blow, ~t s *- "" t Blow, bu-gle blow, Blow! ffi feMF an - swer, ech-oes, dy - ing, 4 T_ f -<- mg. zt: -0 *h W= pp dy-ing, dy - ing dy ing. l^S dy - ing, dy - ing, A Study. g8* BF^fe fE^itt^ A Study. Mary Bourdillon. A llegroUo. \k k_ __L fc_ Above the Clear Blue Sky. Am from E. J. Hopkins. r^-*=g-u; * -- 1. A - bove the clear blue sky, In lieav - en's bright a 2. But God from tongues of men, On earth re - ceiv - eth 3. O bless - ed Lord, Thy truth To all Thy flock im mf ^x bode, The praise, And part, And m & $z 1 I* an - gel hosts on high Sing prais - es to their God; we our cheer- ful songs In sweet ac - cord will raise; teach us in our youth To know Thee as Thou art; Al - le - Al - le - Al - le - g fMi S=t= -.-?- ff 0- 1 - ' lT cM j i i r T"*- --I ... - 1 \ F** = i Jf ff j - J h- -j .- W 4 . i i * i - \ ! H * J * * * mm 1 H* J i * i 'I - # i 1 -{? -) r? *-v-f#* r f -j 1__. L_J *L_ 1 _ ^ 1 *r U \- Why Lingers My Gaze} 189 Hemans. Andante, dolce Welsh. m I 1 M % 0- . -0- -0- m tt "* " - kT#- "^- P ( H 1. Why lin-gers my gaze when the last hues of day On the hills of my 2. Why rise on my thoughts, ye free songs of the land, Where the harp's loft-y 3. 'Tis not for the land of my sires to give birth Un - to hearts that may dolce *-r-# m * te ft s p V V ^r coun-try in love- li-ness sleep? Too fair is the sight of awand'rer whose way soul on each wild wind is borne? Behush'd,befor-got-ten, for ne'er shall the hand shrink when their tri-al is nigh; A - way! we will bear o - ver o - cean and earth .ZL- dim. Lies far o'er the measureless worlds of the deep. Fall,shadows of twilight, and Of the minstrel with mel-o-dy greetmy re - turn. No! no! let your eeh-oes still A name and a spir - it that nev - er shall die. My course to the winds, to the cresc. dim. _ r: s -^* * t i dim. 1 -0- . -0- -0- * W- *r -* veil the green shore, That the heart of tho wand-'rer may wa-ver no float on tho breeze, And my heart shall be strong for the eonquestof stars I re-sign, Butmy soul's quenchless lire, oh! my coun-try, is dim. more. seas, thine. EEf n . * jlfc 190 Studies. Eg! Allegro. : Folksong. V >- i^ * *= * * T- - i r^ f^ : j i-}m L. ^ # , i i I * * * #- ^=W *wh 3^ S -^ * J * * "- tf-3 S 3J * #- ii. sug^^giiiiiliips I I I Awake, My Soul, and With the Sun. Bishop Ken. Barthelemon. Andante. -I Ur-l-rWr-l k-r 1 >. . U. . L_^ J, ,/>*- - - | I ' I l ' I - - H- | 1. A - \vake,rcy soul, and with the sun Thy dai - ly stage of du - ty run, 2. Re-deem thy misspent moments past And live this day as if the last, 3. Let all thy con-verse be sin-cere, Thy conscience as the noon-day clear, 4. Wake and lift up thy-self, my heart, And with the an - gels bear thy part, mf fc$= -g-r4-g^ ^=fc= p- * r -# * -* -^- yet the ear - ly - ris - ing Sun Has not at - tained his Noon. hav - ing prayed to - geth - er, we Will go with you a - long. quick a growth to meet De - cay As you or a - ny - thing. as the pearls of Morn-ing's dew, Ne'er to be found a - gain. m fc-r S--N N S V -* *- ^ 192 My Heart's in the Highlands, Burns. Vivace. J. M. Courtney* g : m B i> f * 1. My heart's in the Highlands,my heart is not here; My heart's in the 2. Fare-well to the Highlands, fare well to the North, The birthplace of 3. Fare-well to the mountains, high-covered with snow;Farewell to the 4. My heart's in the Highlands,my heart is not here; My heart's in the t7 Vivace. B^CTt ^fc rH*=i m r#n=*=r=* _i ,-0- Ufa K EHS zj|Ez -?-*- SS m 0- ^ bH 2= v ->- High - lands a-chas-ing the deer, A-chas-ing the wild deer and f oll'wing the val - or, the country of worth; Wher-ev - er I wan-der,wher-ev - er I straths and green val-leys be-low; Fare- well to the for - ests and wild-hanging High - lands a-chas-ing the deer, A-chas-ing the wild deer and f oll'wing the BS2S 3C v- -f f-r m roe, My heart' s in the Highlands wherever I go. rove, The hills of the Highlands for-ev-er I love, woods; Farewell to the tor-rents and loud-pouring floods. roe, My heart's in the Highlands wherever I go. My Heart's in the Highlands. 193 Vivace. ;-* * Ti=*=f=f I -*f-+ S^P fe!pE . 35 . 1 :Jfca: jp^F!=N=l z_ * # ^ l IIS B ^EE=3EEE -p i* +4-1 CT it^ W= g 4 d 'f I s, 00^. 5 4^,-k SI * * * ?* Sp SI Auld Lang Sync* Burns. h Ni- ^ Scotch Air. rlffa . is ^- r T ft- - ft * 1 _#_ m Efe4-~i^ : - rs # * * ' v -1 1? - 1. Should auld ac-quaint-ance be for - got, And nev-er brought to mind?Should 2. We twa' ha'e run a - boot the braes, And pu'd the gowans flne;But we've 3. We twa* ha'e sport - ed i' the burn Frae morn-in' sun till dine, But 4. And here's a hand, my trust - y frien', And gie's a hand o' thine; We'll auld ac-quaint-ance be wan - der'd mo - ny a wea seas be-tween us tak' a cup o' kind Chorus. ^__ 'mi for - got, And days of ry foot Sin' auld braid ha'e roared Sin' auld ness yet For auld 4=5- auld lang syne? lang syne, lang syne, syne. *=& e=^ ^ For auld lang syne, my dear. For auld lang syne We'll Repeat Chorus. ff fmspim tak" cup kind - ness yet For auld lang syne. 194 Ariel's Song. Shakespeare. m Allegro. Adapted from Herbert W. Schartau. -4. rf-i t $=*=& - - rV Where the bee sucks there lurk I, In a cow-slip's bell I lie. $ fe 4 * mf -* f 4- t& i EEB ^^ t; I ' * *J " ml I There I couch when owls do cry, there I couch when owls do cry, ! T * *" ^T __ ^_ * 5 v -r*- m & -* * > .s I J * i * ' 1 r # Z r * ! w I I I [ K 5 [J On a bat's back I do fly Aft - er sum - mer mer - ri - ly, m -ts PV 1 1 1 ' f 1 H I -m fcr J h- + -* 5 3 5 * !* t* * :p3f: f-t^-yi **h=g *ar -N p * 3= ^ n * -*-*- Mer- ri - ly, mer-ri - ly shall I live now TJn - der the blos-som that . * d . m -d- 4 _1 S -* 1 -S K- *"** s # # # ' Ariel's Song. m *f N * ' g i h -0 i *- =5: 3 s- hangs ou the bough, Mer - ri - ly, mer - ri - ly shall I live now I mf- *3t V, der the bios - som that hangs on the bough, 3^^ "*~~t* '"^ i- * * ^H f 513: --* 3^ -+-T- Mer - ri - ly, mer - ri - ly shall I live now Un - der the blos-som that -s *- fe *E 1 -s a !>s ^ -\ _ *f - * c f+- v * -mf * . >, , 1 -9- rail. j--0 I |- C g 1 D I I shall I live now Un - der the blos-som that hangs on the bough. 196 Lordly Gallants. George Withers Cheerfully. Dr. Callcott. i fc -?-0 -#-*- 1. Lord-ly Gal-lants, tell me this, Tho' my safe con -tent you weigh not, 2. Bound to none my for-tunes be, This or that man's fall I fear not, -;- ^-0- M- -0-r m 1. Lord-ly Gal-lants, tell me this, Tho' my safe con -tent you weigh not, 2. Bound to none my for-tunes be, This or that man's fall I fear not, mf -t*~- 4=f= t= _r: 1. Lord-ly Gal-lants, tell me this, Tho' my safe con - tent you weigh not, 2. Bound to none my for-tunes be, This or that man's fall I fear not, 3=3 --- *-f- In your great-ness what one bliss Have you gained Him I love that lov-eth me. For the rest that I en - joy not? a pin I care not. i ?=y= : fg -?--* In your great-ness what one bliss Have you gained Him I love that lov - eth me, For the rest -*--_&- lH that I en - joy not? a pin I care not. In your great-ness what one bliss Have you gained Him I lovo that lov-eth me, For the rest ! -' that I en - joy not? a pin I care not. *=t You have hon - or, you have wealth, You are sad when oth - ers chafe, Jv You have hon - or, you have wealth, You are sad when oth - ers chafe, X~ t P\ have peace, and I have health, And grow mer - ry as they hi ugh. Lordly Gallants. 197 1*=T - ' r t y All the day I that hate cresc. I mer - ry, mer - ry make, it and am free, And at night no Laugh and weep as ^ --- All the day I that hate mer - ry, mer - ry make, and am free, ^ And at night no Laugh and weep as v =t All the day I that hate I it mer - ry, mer - ry make, And at night no and am free, Laugh and weep as 1* - mf _,Zj* " 2 a * N* r m r v. i f \ \ m * * ' 1 1 >L ) m m \ 1 |/ J ^ - care I take, pleas - eth me, 24 i \11 I mf the that ik day hate ~! - T it mer - ry, and r -* * w mer - ry V- make, free, 4 / ** =-i r*i r~^- H 1 P FS ,- 1 - ( t * * L * # *v, # k V 7 ' J * # C r # * care I take, pleas - eth me, c-Ji Ul I mf the that day hate I it mer - ry, and mer - am ry make, free, P>J.> N* * * 1 i ~T r -* j \j i * L_ (_ 1 1 '- 1 ' care I take, All the day I pleas - eth me, I that hate it mer - ry, and mer - ry am make, free, m -0-*- i=t -Kh~ And at night no care I take, And at night no care I take. Laugh and weep as pleas-eth me, Laugh and weep as pleas - eth me. cresc. _ f And at night no care I take, And at night no care I take. Laugh and weep as pleas-eth me, Laugh and weep as pleas - eth me. cresc. f a - --> P=P take And at night no care I take, And at night no care I Laugh and weep as pleas - eth me, Laugh and weep as pleas - eth me. J9S After Many Roving Years. T. H. Bayly. Andante. Chas. E. Horn. Pi E -> ^- 1. Oh, aft - er ma - ny rov-ing years, How sweet it is to come To the 2. Ah! nought is chang'd since last I gazed On yon-der tran-quil scene, And m-*t-~- '9A- &- $ =t ^=R= dwell - ing-place of ear - ly youth, Our first, our dear- est home; To sat beneath the old wych elm That shades the vil - lage green, And TSf -0-r- -=F ^EE# f - Sa- turn a -way our wea - ry eyes From proud am-bi-tion's tow-ers, watch'd my boat up - on the brook As 'twere a re -gal gal- ley, And And zt 3. After Many Roving Years. 199 iM -* K" j * \ ' \j v- gS^ -* *~ -* K- __+- -+_ wan-der in the sum-mer - fields, A-moug the trees and flowers! Ohl sigh'd not for a joy on earth Be-yond the hap - py val-ley. Oh! rfc ' >r- 1 ST fcm r~i * 1 rr f-r Jr- " > *. . i f&-^ * -~i - j ^ * h F y H *-& -5-H w v r5 U !j A e af t - er ma - ny rov-ing years How sweet it is to come To the 1 ^ i .1- i 1 1' ; i ! ^-E^-Er^i '-; i - ' /S^ <5i - -ii? -\ s B-* 3 ~l L -^ "-a # piacere. -# F, f ^ __Z^ = fzz=^_g-_U -#-T- dweli-ing place of ear - ly youth, Out' first, our dearest home' f^r r r r-^s -* =f=^-J I I L=* bMf=* -^ j .,, jfr i j j j ^ j 200 Tenting on the Old Camp Ground. Csed by arrangement with Oliver Ditson Company. Andante. owners , of the copyright. Walter Kittredge. 3 -# *w- * * -*-; : :*- 1. WeTre tent-ing to-night on the old campground, Give us a song to 2. We've been tent-ing to-night on the old campground, Thinking of days gone 3. We are tired of war on the old campground; Ma-ny are dead and 4. We've been fightingto-night on the old campground; Ma-ny are ly - ing m f ^ ^ *-W l> I $= :*^fc=^: *=*=*=* Our wea - ry hearts, a song of home Of the loved ones at home that gave us the hand, Of the brave and true who've left their homes; Rome are dead, and some are dy - ing, And And the I * i \> U I \s :-=* t t Chorus. J *M i t t "* friends we love so dear. tear that said "good-bye!" , Oth - ers been wounded long. Ma - ny are in tears. m f "" "" "" u Ma - ny are the hearts that are wea-ry to-night, H E ! i mf -fc -0 m 1 *= #-}H u ^ u u N N N F* 1 S-i ( l r (-= ^ 1- Wish-ing for the war to cease, Ma -ny are the hearts looking for the right, _-ii 1 1 r (2 v-0 - c-0-- n Tenting on the Old Camp Ground, Last time ppp 20; -n rs p- 0- *- - sj "- U l> U l> \j Tent-ing on the old camp ground bit U (Omit. gjy =j==*=*^=^: 3 a: -v * / *- .) Dy - ing on the old camp ground, -y-i-jg g 3q ?_ |_ i -V^E-j {-3 r jg U cMJt Studies. fe JJ=^ 4=^ ^. if^Egj ^ #-*-r #- a=t # _^i_ # . * m I F -r-?5 ^ - I ; |-t II. The Key of F Sharp Minok. Maestoso. Arr. from Th. Hauptner. =fe =t 3tZ5t E ft 4 \ l0 F f *dhg=fel==33E V 15: f*S=J= fcz *& m * # 3=* - * * A 3=t 33= E #= -* *- t=t fli ! . J K ! ! -,-4 l-i-J- r J-4 h- ft- r * 3r =*^j=2=Ep]J pgp=^N=s^ * - * -^- 22 4= S*-* !1 202 Wandering. G. Lang. Andante con moto. Arranged from Gruenberger. =4: y *=r ^ mf \j \j 1. Now comes the time for wan - der - ing, The whole world wan-ders, too; 2. Ere long the cloudlets fall in rain Up - on the mead-ow's breast, m m e mf feg^=g =nt y m =*=P=M4p=pd The birds come fly - ing from the South, The bee seeks hon - ey dew, And, glad to be once more at home, Would fain lie still and rest. -f ?- fs Ps IS fV- * is * ps_ cresc. ii*-H The I So jrook - I, let hur-ries my pleas-ant ^1 1 -*- ^y-* 1 H b to iour - , K :K* * (j^ U %' the stream, Th< ney done, Sha ^m 1 -a- ' . - f *:S tr i stream to-ward the llrest, no more to cresc. =fs . 5V- -i3ar- > r *^ -tr- 1 / i . sea, roam, w --N. ^ cresc. erall. -f: *- And gen - tie va-pors leave the earth, White wandering clouds to be. When I have found you, mother dear, And you, my hap - py home mf cresc. e rail. -' ^s - -0*- v 1 Wandering 203 A tempo. $ Now comes the time for wan - der a s-, * ^,- I ing O'er mouu-tain, field, and lea, k N , N s c m -, U TT V With bird and bee and rov - ing stream I'll wan- der blithe and free SE -)- m Studies. 204 The Rising* of the Lark. i Con spirito. mf , cresc. Welsh. K f 2=c l^; *^F j Rise, rise, thou mer - ry lark, Whose up-ward flight I love to mark At / Leave, leave the moss - y lair, With light "wing cleave the yield-ing air, And ( Night's ling-'ring shades are fled, And Phoe - bus, from his o-cean bed, Thro' ) Oh! let thy mu - sic sweet His pres - ence with glad wel-come greet In mf cresc f ;!2 - N J 5?: car - ol forth thy lav \ Sweet ' oh! sweet thehoneyed noteThat swells within thy ll^es^T 'de-hlht: Hi ^ h - r ^t, yet high - er fly, Still soar -ing up-ward flit- P-0- ' -0- -0- # *E crpsc. fe^ 3=^ V ? W war-bling throat! 'Tis a stream of niel - o - dy That steals the rap - tured to the sky, As when in fair E - den's grove Un -to the new ere - : cresc. 5JES 5i== ? ? -fcf soul n - way. Do - light-f ul har-bin - ger of day, My bless-ing go with thee! a - ted pair You first did tune, to mu- sic rare, A mer -ry song of love. mf cresc. f 3P 5T. A Summer School. 205 Rebecca B. Foresman. Allegretto. Ludwig Liebe. V ~ g B g 5- i -*-- J: -v 1 y 1 - 1. "lis suna-mer, glad summer, Come, lay your books a-side, And haste to na-ture's 2. 'Tis sum-mer, glad summer, In yon-der clo-ver field A buzz-ing u - ni- 3. 'Tis sum-mer, glad summer, And na - ture o - pens -wide Her books, and if you f . . =E 5 i ^B= F #= :i=fi :i H* T * * sum-mer school In mead- ow green and for - est cool Where hap - py birds teach ver - si - ty Whose teach-er is a big brown bee, Is dai ly giv - ing wish to know How flow -ers bloom and wil- lows grow, While happy birds are SI =Q s sing-ing, In-deed none can surpass This glo-rious sing ing class. les - sons To those who wish to know How clo - ver bios - soms grow, sing-ing, Then come to nature's school In shad-owy for - ests cool. Ti-ro- Hnnis - fr K -fr -fr- fr - s - 5 V yi r Ti -ro-li, 2=1 bjBsr 2=-^^ N N- # -# * N -^--? ti-ro-la, B -i ti - ro-li, ti-ro la F^ ti-ro- li,.... ti-ro- # e -X-ft- -f g~*~^ -N-*- -* ^- ti - ro - h, ti - ro-la, ti-ro - li, ti-ro - li, ti-ro la. li. ti-ro - la,.. ti-ro ti-ro -li, ti-ro-la. 206 Spring Time is Returning. Mayxurd* Moderate. Welsh. f t - ' 1 J ( Spring-time is re - turn-ing, The win-ter cold and gray, With snow and nipping \ Birds sing in the branches Where budding leaves are seen, And ev 'ry dus -ky SSof t - ly blows the south-wind a - long the hills and dales While mer-ri-ly brooks Flocks now leave the moun-tains, to browse a-round the fields, And crop the daint-y ^-(L i= ^ #* tnf I * dim. * i 1 - ~h S \m 0- I 4 0- =n ' v.v -^*- frastwillsoonhavepass'daway; ) Nownomor e afar is heard the hunter's winding horn, hedge is tinted o'er with green, i hedge is tinted o'er with green. flow thro* all the sun-ny vales; ) herbage coming spring-tide yields. J Soon wiU ^aidensin the bowers seekthe violets pale, --_ dim. ^. **. & lh mb=* 5E *i i i P 3t=it And with care the farmerguards his fields at ear- ly morn; ) g^rin^-timeis Soon thehawthorn white withblossom will perfume thegale; ) -y m cresc. cresc. dim. -_J j - , q n q 0- -0- r^-4- ' m -4- m n TF=l m V -V turning; the winter cold and gray, With snow and nipping frost will soon have pass'd away. cresc. cresc. _. dim. m m *^fc n p? -V w $?*+ 1 Addison. Sostenuto. The Lord My Pasture Shall Prepare. 207 Henry Carey. I % 4=^ d=t 5i J5- 3?: 1 The Lord 2. Though in 3. Though in s 111 1 f i i 1 i 1 bfo i r f- ^ri==i j= O ' 1 r- J - \. | i =\ v f ? r r Hail! three timet Hail! three time Hail! three time! frfc | 1 1 i hail to ) hail to i hail to ^ our our our 1 1 coun coun coun < ~~1 #- : # TT It - try and - try and try and 1 * F flag! flag! lag! U -** =- ijg s i 1 mf Bui - ers as Still as of Fling from thy ^ t -\ 1 j ^J __ -%~f\ . L 4-^ H 1 1 . Keller's American Hymn. 2\\ $ j j i S- Q 0~ j V - # *=r well as the ruled, one and all, yore -when George Wash-ing - ton led beak our dear ban - ner of old! 7 t Gir die with vir tue, the Thun-ders our war cry, we Show that it still is for m * rwz:^. :g ^ -# . 1 f d =t e fa: s: pc :*^ ZSfc = #1 I I ar - mor of might! Hail! three times hail to our coun - try and flag! con quer or fall! Hail! three times hail to our coun try and flag! Free-dom un-furled! Hail! three times hail to our coun - try and flag! 14 I \ \ = ff ^ K '-9=^ & is: I Zenfo espressivo. ;g3i Stud? ics. r r ' ; 4 P Harder. ^t 212 Welcome, Wild Northeaster! Charles Kingsley. Allegro. George Jaspersen, .U: #_*_ 3 s: * s ^ ' ' V 1. Welcome, -wild North-east - er! Shame it is to see Odes to ev - *ry 2. Tired we are of sum - mer. Tired of gaud-y glare, Showers soft and T- fe =t 3 3=* zeph yr, Ne'er a verse to thee. Wel-come,black North-east - er, stream- ing, Hot and breathless air. Tired of list - less dream - ing :-? ^-M-J-J-13 r-t i I ' * =t 3 T5T O'er the German foam, O'er the Danish moorlands, From thy froz - en home. Thro' the la-zy day: Jov-ialwindof win-ter Turn us out to play. Studies. P =W=fc r- -* #- .-I , rf __J_-j- r | |-|_ r t-r-U r jg^^ ^g^^Eg^ -# #- Jt0- *- -<5>jr 1 II. Key of G Minor. &r 4 Reicha^dt. Note. The above study ia for three voices, either the base or lower alto may be A Study. m A-#- ** 213 w &&==?=&= B 0t- *z From the German. A ndan te.marcato Gypsy Song. ^^S w=?^m zgr r ^F=l F. L. Schubert. ft *T^ -ti~-^ 1. 'NoathSpring'sgladheav'n, thro* Autumn rain, In Summer's pleasure, in Win-ter'spain, 2. Where still in sunshine the greenwoods lie, 'Mid trees higk-tow'ring to reach the sky, 3. A - f ar in God's wide world to rove, As free as flies each fleet-winged dove, 4. They wander gai-ly till comes the night, Then dance and sing in the moon'a soft light; Gyp-siesroam ev'ry where, Blithesome and free from care. Like deer, in bosk- y dell Gyp-sies delight to dwell ifcj * * La. la. la, la, =j%F3Ej This is the gyp-sies* joy, Pleasure without al -loy Then in a grass-y nest Each happy soul doth rest. ' ' ' m 3=fe ^ la, la, la, > t > 7 l &tl-sZS- 214 A Call to Battle. 7^5 h- , N* #-J H -0- -# : =^F^ -+r fe^ ' 1 r -i*>- -Jit -- X | -*- X 1 + t=i= *H m From the German, k^kt We March Away. Julius Stern. ^ -s "- 1-3. Ere yet the dawn is gray we march, we march, we march a - way --*< i I -r-r i i i m -**--* *- 1-3. Ere yet the dawn is gray we march, we march a- way, we march a - way Yes -*r- yet the dawn is gray, we march, we march a way. 1 *= Ere =C Ere yet the dawn is gray, we march a - way, we march a - way, a - way. :~ it c *=r , r r r 1. How sweet-ly sang the night - in - gale Be - fore my fa - ther's door. All 2. Each knapsack's bound, each bundle tied, Each keep-sake hid a - way O'er 3. Now, roll-ing drum and shrill-ing fife, The part-ing sig - nal give Fare- -# #- farewell, riHH- We March Away. 215 * -U- *m n , i =i=r * : ^ [ * -* ^^^^g^Sppp silent now is wood anddale,Her songl'llhear nomore,Her song I'll hear no more, wea-ry land and ocean wide Our journey leads to-day, Our journey leads to-day. Fare- well,dear home and fatherland I'll love ye while I live, I'll love ye while I live. c W=sl S 4 P 3tt# -J =S=f3 Fare-well, Fare-well, well, Farewell, -* + We r r -r -*- -#-*- seek the stran-ger's shore; g -* *- -t5>- Fare-well, Fare-well, A 4 4 <=.*. I j ffi: fPf * Fare-well, Fare-well, The part - ing pang is sore. Fare-well, Fare-well, m 1 2i -*-* *- Suggestive Studies. 5 -r *# -# ~i i 12 r? . i m . * #-r r^ r^z m m - . " m 4-T-ifM *-- F-T-ti 1 M~r ' 0-T-, a==j=x^L iH Jiqi-p^ - .-, ; ^ i^_ --I 1- pr-*->- m 2\b O Lord, Another Day is Flown. Henry Kirke White, Moderate. Isaac Smith. ^fe^ r 75- f^ a?" Be W i ^ 4^_i 1. O Lord, an - oth - er day is flown, And we, a lone - ly band, 2. Oh! let Thy grace per - form its part, And let con - ten - tion cease, 3. And Thou wilt turn our wand'ring feet, And Thou wilt bless our way mf P- Sg *~f -&-* 0-rO. m Are met once more bo - fore Thy throne, To bless Thy fost-'ring hand. And shed a - broad in ev - 'ry heart Thine ev - er - last - ing peace. Till worlds shall fade, and faith shall greet The dawn of last - ing day. m E U- *s T&= ac '&E*z &- *-0 w -.zz. 1 The Key of C Minor. A Study. ft* 151 -5*- ZZZL 1 E :??=H^_. 3 F - >5> When Night Comes. UNISON SONG. Louise Reichardt. 1. When night has clos'd a - round us, When earth and ua - tuie ry By yn - der sky coli* A. J. Foxwell. Moderate* When Night Comes. 217 sleep The stars in shin - ing or - der Their si - lent vi - gil ceal'd, And dream of com - ing splen - dor When all shall be re- i 9 ^ a =M^ =c ^=X tz - mKhf^-i= m mt. i IS? B I keep. And while we gaze in won - der We feel that heav'n is veal'd. Our faith that God will has - ten That long ex - pect - ed fei= S rr ^S n ^~i s -0 #- near, And through the shrouding darkness His sig - nal lights ap-pear. hour, Re - vives as there we wit - uess The ti - dings of His power. i i rn ,-J ^ ^ U-t k fc N-, I 1 1 1 r * m 1 ^3 r [ |^- -j |- i I n i^ m ^n r J7/il~T f HP ^gj? 218 Sir Hugh de Bray. E. Oxnf ord. ! Andante. E B. Klein, S I N i: ^ * ? *- mf 1. A va-lor - ous knight of the good old-en times, Whose courage all Bri-tons in - 2. He sail'd with his king to the far Ho -ly Land Where in-fi-delsscoff'd at strange 3. The bat -tie -was won, and the vic-torstookrest,When,woundedtodeath,andnear m <*t t 1-tri 0- t 3=3^? 1 #-*-# her-it;Hisdeedsarewellknown,e'enin far distant climes, And naught can be brcath'd in de- legions;Full stalwart and brave was the wes-ter-ly band That sail'd to the Sar - a-cen dy -ing, A foe-man drewarrow,and smote in the breast Sir Hugh who in slumber was 5*?: -* N- * t rffc -*>-*- r^ ^ h \ N :*= mt TrH+ m w fr Xt mer-it. He sought for his master a death on the field, And cried to the Paynim,"Ye re-gions. Yet,none were so skillful with axe or with spear As one whose pure boast was de- ]y - ing. He sprang from the earth with a heartrending cry, "I fear not,"he8aid,"tho' I p _ cresc. fe^l m %^. Mz i _N_> U-U-l dim. t~ m f 122 =g* w frF* U .-&- &. st die or ye yield! I fight for the faith of my fa void of all fear: He fought for the faith of his fa know I mustdie,I foughtfor the faith of my fa dim. thers!" And none knew bo thers. The fore-most and thers!" He sank to the mf E$Et ^y-'t- 1 f Sir Hugh de Bray. 2J9 P 3= at P3EH 5?: V %= y * well dar - ing skill to dis-play As he who was known as Sir Hugh de Bray, strong-est in joust or in fray Was he who was known as Sir Hugh de Bray . ground,and his soul pass'd a- way , So died, full of glo - ry, Sir Hugh de Bray. cresc. f Kelvin Grove, Scotch. yCon S ^ N 1 * t N f^ 1 \- s ?s . ifflr 4- ? m # * 1 * * s 1 d 3~ -f ^ fa * 4- i v h 1 H i # M al * : 9 1. Let us haste 2. We will wan 3. Ah! I soon 4. And when on it w jg to Kel der by must bid a dis m r vin Grove, the mill, a - dieu, tant shore, i bon bon bon bon 4~ ny -ny ny ny las las las las - sie, - sie, - sie, - sie, O; 0; o; o; #-* ' Thro' its To the To this Should I jjajLiU-f p 1 , * 6^trf-v * a # f- -f 1 -i v w~ it. s i < ^_ / \~ i p i t* cresc. n s rN JU HE ^=3t r tf ma-zes let us rove, bon-ny las -sie, O; Where the rose in all its pride Paints the cot be-sidethe rill, bon-ny las -sie, O; Where the glens rebound the call Of the fair -y scene and you, bon-ny las -sie, 0; To the streamlet winding clear, To the fall 'midst battle's roar, bon-ny las -sie, O; Wiltthou,fairest,whenyouhear Of thy -A *r -J -J- 3EE^ mf Aim. tfefe -^ =t ^ i^- i j- i -+- * r hol-low dingle side, Wherethe niid-night fairies glide, bon - ny las - sie, loft - y wa - ter fall, Thro'the mountain'srocky hall, bon - ny las - sie, fra-grant scented brier, And to thee of all most dear, bon-ny las - sie, lo - ver on his bier, To his mem'ry drop a tear, bon - ny las - sie, dim. i o. o. o. 0? m j j : r . U u. ^ 220 AncU.nte. A Study. (Melody in the Tenor.) 4-L i --=-1 #- f=F il tenore marcato _v2 W. l 1 J J5. HI S # - E^= J -4- 22= pJ-^-j: J I J i gj 3 , . n -* t J. j-,-; I s j. :g * i>- : p * (g: fi^ Et ^ n j* n :rpj fn+ i. ^ #~ #- 4^- ^-i *-s: 1 iH] 1 f Land of Greatness, Home of Glory. (Austrian National Hymn.) A. J. Fox well. 1st and 2d Soprano. Andante. - Haydn. M P=c 1. Land of great-ness, Home of glo - ry, Might - y birth-place of the free, 2. No - ble deeds of old in spir - ing Ev - 'ry heart with lof ty aim, 3. Homes by safe de -fence sur -round-ed, Rights which make our free- dom sure, Alto Tenor. ^H r : 4^ ?1 4 <* ^ ~ ' f + .Tenor and Bas3. r n.*L^. +-+.*- 4_ 1 1 1 rtr-r- (S- Land of Greatness, Home of Glory. i r H 1 -t^b , -J J 1 r K 1 221 ^*-~ i , 1 1 -ri W^ 1 -*0 =*= # * t~ J J J _ # JB i > j \T j u '** TJ 1 i Famed a - like in song and sto - ry, All thy sons shall hon or thee. Now our em - u - la - tion fir - ing, Lead us on to great - er fame. Laws on e - qual jus - tice found - ed, These will loy 1 -al - ty se - cure. (nr P s- i r | ___]_ n Ml 1 * *L s^n ? -J* - 1 } ' 4-J 4 * i 0- *- f r fer-r # - i \- - * i * "I .. m I i i *^p y H F " | 1 # [ 1 -fe* p 1 1 1 i i - creso. il North and South are firm So shall love and truth While with love and zeal mf I ly band - ed, East and West as one u - nite; un - shak - en, Stur - dy cour - age, hon - est worth, un - ceas ing, We are join - ing heart and band, cvsc. s s H F-r i^ r "* J r^ T "T ** i i - tRE 1 r : =F ^J J fe r^ n 9 zftr*: a=i=i=& All by hon - or well Might - y ech-oes still Shine, in bright-ness yet S J=It ^ -0- -0rt- com-mand-ed, Strong in striv - ing for the right. a - wak - en To the far-thest bounds of earth. in - creas-ing, Shine, O dear-est Fa - ther-land. i i \ i- _i 1 ,. -0-tt -* f -0-j- - * W -0- * -&- XT f-0- . ** ^ * . * * * * ** H H3E h- #-^ 0- m F r 1 L t r 1-0 222 Lead, Kindly Light. i Newman. Andante. Dykes. m IS : 3=? & V r ead, kind -ly Light, a - mid th' en-cir-cling I was not ev - er thus, nor pray' d that So long Thy pow'r has blest me, sure it V +- -0- - <$> & gloom, . . Lead Thou me Thou . . . Shouldstlead me still..... Will lead me ?M ^M m P^E ^ fc^ *i #- on; The night is dark, and I am far from home, on; I loved to choose and see my path but now on * O'er moor and fen, o'er crag and tor-rent .till \-+\+- +- + + . <9 V I T7 B r-* i * * rW- t* pps -7?- > . for me. past years, a - while. -The Sunrise Never Failed Us Yet" 223 CeHaThaxter. n Lento- Arranged from Wilhelm. cresc. "yTp \t9 .ft h r /kbvz J _ -Ps , s- ' ' y (er " 4 i PS i - i ^ i Ps t *- -* 5 * S i. Up- 2. So 8. And 4. The! - u on out up blush V the of the of 4 sad - life east dawn J- -0- V ness of the splen an - oth may yet the - dor - er re - - sea dies, day store The sun - set broods re - So dark- en all the Shall chase the bit - ter Our light and hope and cresc. IS z N : ISsMhM*- P> -^- * 'tit * f ^ v \> 4 * 1 -v *i ^ L_u_ y ~~V l^z y u 1 f) li I fs h s. V i v h r\ _ \im h 2 ~ m /T \t w i P IS u T J P VJ\ V P J rs ^ L 5 s m *M* S i.fl r m J # tj* K > k< - ly; From the V gret - ful far lone - ly spa - ces slow With - hap - py skies, So gath - ers twi - light cold and stern, But dark a - way; What though our eyes with tears be wet? The joy once more. Sad soul, take com - fort, nor for - get That :== S P-v'7 rr * p ! m m 1 ^-'h i,!' r m P 1 2j2 [t 1 / 1 * ... ,. . -y 1 * __> j, 1 r-Q-b-U m 1 ft S S pv_^ - 1 J J Ui \ I 1 I 1 /W^t * f ' 0-^0* i %jr~ "1 *- ^~# lt~ \~r 1 ft \\V 7 * + L \ ?# 1 ^M' r r i * ij # J 1 ' i Lj draws the wistful aft - er-glow, Withdraws the wist-ful aft - ter - o - ver-headthe plan-ets burn, But o - ver - head the plan -ets sun-rise nev-er failed us yet, The sun -rise nev-er failed us sun-rise nev-er failed us yet, That sun - rise nev - er failed us -0- glow, burn. yet. yet. m ' f II 7"V~7 \j J J f\, , , ft f ' * * i J ' # r 1 II [Vj'rj '/ 9 S , J J 1 * l i 1 i ' II ti,? ? ._.*.* b_L 2 U ^- I , > II An Exercise. W?l J ' i r fs^rfjj JZ. 224 Christmas Day. Susan Coolidge. By permission of "The Independent" and the Author. Josef Rhcinberger. Maestoso. $ S ^ S -#-#- ^ -**- mf ' ' T^ ' 1. The Christ-mas chimes are peal - ing high Be - neath the sol - emn 2. In low - ly hut and pal - ace hall Peasant and king keep Maestoso. --tefc h n j =E rr^-y pp ^3E TT TJr * f w :fc^ - *-u fc )- **- s - Christ-mas sky, And blowing winds their notes prolong Like ech-oes from an f es - ti - val, And childhood wears a fair - er guise, And tend-'rer shine all ^=L & -S>z\pi -j?-^ n rf=^= r^^f^^f=f a -rt* * =?=* ^ .>- -*?*- ^=* an - gel's song; Good-will and peace, peace and good-will, Ring motli - er - eyes; The a - ged man for - gets his years, The zm -** -. J- *,## ?: 7=9= Christmas Day, 225 out the car - ols mirth - ful heart is glad dou and gay, Wy gay, & *r V Tell - ing the heaven-ly The sad are cheat - ed felt **=* Ml g^t5 3=* $*-* =55=2: mf *-& m > -j t ^ *$ 3=5: ^ &. mes - sage still of their tears, That Christ the Child was born For Christ the Lord was born & W=^=j 11 r g- to- to- " B U r r J*-L B^ -J # -C5^ day. day. ^^^^- 1 1 ^^~| 1 *; * i t J * ~^=j=^=^i r ?^* t u i -= u ; * 226 Twilight at Sea. Amelia B. "Welby. By permission of l"ordsLioward & Hulbrt. p Andante. Folksong. fEEE ^F Ten The twi-light hours like birds flew by, As light -ly and as free, P 3^ m i mf P E Vt^ thous-and stars were ^r f v v in M the sky, Ten thous-and on the sea; For if fJ?B n jr Kn 1 K M I F< l =n r [^ 0- n *~n m i f *- * - ft r * # * t D- t 1 m * - f % : 1 5- -+ - W. h- vj; j , * ##-. * * J. g* * * ,' "-" 15 ev-'ry wave with dim-pled face That leap'd n pon th e air Had caught a star in dim. p u. h h eSVf ii p r* r r m f * * T "^ f^J J J iij p r Uj F* ' H * ' .. s* v 1/ 'j i !j /j "j * u _, - ,. . .A., , *. d . m # # <,..,. V |/ 4 ^ ^ = ' rail. A -v B': v ^ ^#-^r its embrace, And held it trembling there, And held it trem-bling there. rail. &. f i ^^ -ST- A Study. zm IF =P 3?= -ffg- -JZ. -&- * d 3] Now Thank We All Our God. 227 Crager-Winkworth. Martin Rinkart. S^ % wzn r ^j 1. Now thank we all our God, With heart and hands and 2. Oh! may this bounteous God, Thro' all our life be 8. All praise and thanks to God, The Fa - ther, now be f 1 M3 VOIC near giv - 1 v P I es, us, en. m ^R= f=m n 1 1 1 | i i I | >T>\ y, J j i | | 1 I A \* * 1 4 j | ! | 1 f(T\P 0\ 4 J 1 Xs\) # * * - * 0^ J J t) * Li l^| 1 Who won-drous things hath done In whom His earth re joic - es; With ev - er joy - ful hearts And bless - ed peace to cheer us, The Son, and Him who reigns With them in high - est Heav - en, m f m m T _i_,- J * * TV SV 3 I [[J. I* f 1 r -* -,a " i r i ^9_J P \ m I 1 w f~ * 0- f M- 1 | 1 1 ^F i # ' T CJ 1 L -r i F Who from our moth - ers' arms Hath blessed us on And keep us in His grace And guide us when The one e - ter - nal God Whom earth and Heav'n f- . f- . 0- -0- -0- -0- A- 1 our per - a - ^ way plexed, dore, /7\ SE =F== - &. ~T -Q. I i .. i r 4 1 1 i h- 1 s &- * -N-N- har-mo-ny; It ris-es and falls with a thousand trills, And all the field with a glad-ness lifeless snow, With radiant lips and hath given birth To souls of streams and their gurgling now awake; The spirit hath kissed the anemones And scattered the light and the bells of the m ( S K- m fills, mirth, peas And fountains and rivers and brooks and rills, Are Her wings have hung o-vertbe plac-es of dearth Till they And the chick-weed's stars a - mong the trees And the 5* =t X =t -& ** * 3* ^Fr?e-r -0-i~ Easter Ode. 129 crese = S- laugh-ing a -loud, ye are free, ye are free! A - rise!... bud-ded and blossomed with life in the glow; The light,., vi - o - let blows in the brake, in the brake; The spring, A- The The ~Wx m 3E Fit ^ at .^_i_s_ i rit. =t 3 ?- -\=3T- -r ? J - rise from your darksome bed and see That winter and death have passed and ye Are light of her eyes hath pierced below The cells of the ice, and bud - lets grow, And spring has come and in her wake She hath brought the heav'ns to pond and lake A- i w r f^=r rit. m >* $ Sfe 0r ' . ]a tempo 1st and 2nd v. Va tempo 3rd v. -+K-0 . N -g---X-r 2- T-^-T---^-^ -*-: W * free^ Oflow'rs, are free! sap to heav'n doth flow, wake, flow'rs, a ^f.-i-,T*-- wakel TWffi*. r 4- a tempo a tempo ;g^ ^gggi^g^Si 230 Tfee Spring Journey. R. Heber. Moderate. L. Spohr. $EEiEE}. 3 U 1/ green was the corn as I rode on my way, And bright were the thrush from his hoi - ly, the lark from his cloud, Their cho - rus of mild southern breeze brought a show'r from the hill, And yet tho' it such be life's jour-ney, and such be our skill, To lose in its t-i 3- w-4 i rA S -N I I s l^ Ps- N 1 1 N 1 S N- _| P \1 -0 j ~* T *- g 1 [- ...Ui m -*r 2 J^~ -=j * =j 1 -* 9 -#-: fj * -* Jt H* of May, And dark was the syc - a-more's dews on the bios -soms rap - ture sang jov - ial and loud From the soft ver - nal sky to the left me all drip -Ping and chill, I felt a new pleas-ure as bless ings a sense of its ills; Thro' sun - shine and show'r may our fiV l-i * -N K ^ ^ ^ 1 T* r " m \r J '\ 7 i i n* I i * ^p 1 n *i Y i \ J J ^ i> b -& s Z^I fc " > v v y i leaf to be - hold And the oaks ten - der leaf was of ern - 'raid and soft grass - y ground, There was beau-ty be - neath me, a - bove, and a- on - ward I sped, To gaze where the rain-bow gleamed broad o - ver pro - gress be e-ven And our tears lend a charm to the pros - pect of -0- n h I ^ - -^ J r> :^ m jj n k ^^i=i= 1 H ^ * -f= ~h=ii gold, And the round, There was head, To heav'n, And our 1 J i * 1 oaks ten - der beau - ty be - gaze where the tears lend a c leaf was neath me, rain-bow harm to b - of a - gleamec the * *= em - 'raid bove, and L broad o pros-pect # ' and a - r ver - of gold, ound. head, heav'n. - -i 1 -r H? -f j-v J fr H Wp. . ' : y b l^j " v r B ~U Come, Ever-Smiling Liberty. DUET FKOM "JUDAS MACCABEUS. 231 dt& Andante. HandeL -fr- >" m W" Eg ==3 ev er - smil - ing Li - ber-ty, come, -V-A- , W~ IE 5SS -++ it smil - ing Li - ber-ty, And with thee bring thy joc-und train, -* *- F - - g- smil ing Li ber-ty, And with thee bring thy joc-r -0 B 1 1 i- -i F #-i S #- -# F- a f- 52 -F i with thee bring thy joe und train; f^ * g- -* #- und train; train, with thee bring thy joe -* J * S=z F F * = p = ^: p - # :=S=: 3EE *-# S -! F-# J *f -0 * S 232 p a Come, Ever-Smiting Liberty. i --* p r p i i s^2S Come, e v - ver - smil - ing Li-ber-ty, m &i f >*j 5 & .1+ Li Come, ev - er - smil-ing Li-ber-ty, y- * N- *< - 7 d X * - t- For thee we pant and sigh, for thee, and **-r->- -* P-t-4 ; ' q* f *= For thee we pant and sigh, for thee, For thee we pant and M _, # -#- i - ^ V ?- 3 fc* sigh, for thee, v 1 With whom e ter - na! pleas - ures reign, S= S -^ #- -*-T- sigh, for thee, With whom e - ter nal pleas - ures reign, ** Come, Ever-Smiling Liberty* 233 K -* 0- #-# p 0P Come, ev - er *^^ *=& smil - ing Li-ber-ty, -V-sr-ac -+ v- 1=33: fe-T^h Come, ev - er - smil-ing Li-ber-ty, J . m thr r- jtl T i u r ! * . Ir * . I 1 y ^=f=f=p=zp: r^P- P-P-P? V /^A7- -y- EH # #- With whom e - ter nal, with whom e - ter-nal pleas - ures a . A 3tbE * - V- With whom e - ter nal, with whom e - ter-nal pleas - ures -=^ ! ! ! ' Ti ! 1 ! ! F l ! 1 1 ! ! I I 4 \J - 234 K Study. Andante. ' N t i-t-t m r ' t f T ; ^ + *- JZZ fflr* S-i f- m- fv- *- =tsz -* -N -fr =*= =5 =rf-frj fi3f p- # N A 1 1 u PS - -0 h- i * * S Q I 1^ 1 ^^- -*=t- - y =5= y # "* -fy ^ *~0 -fe l^^iE^ S g -P =a ^* 0- '^j 3yfc *t Si J. G. Whittier, Allegretto. Corn Song. Bernhard Klein. 1. Heap high the far - mer's win - ter hoard, Heap high the gold -en 2. Thro' vales of grass and meads of flowers Our ploughs their fur -rows 3. All thro' the long, bright days of June Its leaves grew green and g fr-a-r I mf Corn Song. 235 i=3= li ^ m cbrn. No rich - er gift has au - tumn poured From out her lav - ish made While on the hills the sun and showers Of change - f ul A - pril fair, And waved in hot mid - sum-mer's noon Its soft and yel - low "N Z I m . Z 1"** 1 3. S ~ -^1 Z^. I > t. * I s >, P 1 s s N ^-fc m = m b s * m P b N- N J * J (L^ -&-*-*!-* . p 1 V-^4 9 t _* 1 * ^ \' M i * * * horn. So played. We dr hair. And i (jjO:, ~ * -^ # w let the good old crop a - dorn The hills app'dthe seed o'er hill and plain Be-neath now with au-tumn's moon-lit eves Its liar i = r-# - P- i-, * -f h -f J R ' 7s ^ ! y ' our fa - the sun vest time r J m y thers of has l-=5- s ^ ' ' 1, -f 1 V _> ^-0^ ' * ! / * - Still let us for His gold - en corn, His And fright-ened from our sprout-ing grain, our We pluck a - way the frost - ed leaves, the < N ^ ^ ^ * ' ^' M W M i- > ^ 5 I> -* a^r m trod; Still let us for His gold - en corn, His gold - en corn, His May, And frightened from our sprout-ing grain, our sprout-ing grain, our come; We pluck a - way the frost - ed leaves,the frost - ed leaves, the nr- V Sim Still let us for His gold - en corn, Hip And frightened from our sprout-ing grain, our We pluck a - way the frost - ed leaves, the P^ cresn. -0 ^r -i !^3- f Send gold - en corn, gold - en corn, Send up our thanks to God. sprout- ing grain, sprout-ing grain, The rob - ber crows a - way. frost - ed leaves, frost - ed leaves, And bear our treas-ure home. CTfiSC. m dft II 236 Larghetto. Come, Happy Spring. UNISON SONG. Giordani. ife Larghetto. (r MtA m -*TTT g T^t g-f^ l d t ^ : 3*e* r 4~# ? *=*= -f-r + felJJ^ -#- -v- v *- i ^ r y i i. 5 - ! part. ( 3=^3 S3 ^=&=Q: :=* ^t < ^ H-tr m ^v- ^ : ** i i + i j Y-P*-* =k * - T-r * p- [ rrir r r r b e &fe i S W =t z= 5^ trr Exercise. 239 -t t p*T- &E #-#- 2=C J. R. Lowell. Pfc The Falcon. > J 1 ! 1 A. Conradi. ^^F=^^^t d: 1. I know a fal - con swift and peer - less As e'er was era -died 2. No harm - less dove, no bird that sing - eth Shud - ders to see him 3. Let fraud and wrong and base - ness shiv - er, For still be - tween them f M :E -& ffi fet -5T :*-**: in the pine; No bird had ev - er eye so fear - less Or o - ver - head; The rush of his fierce swooping bring - eth To and the sky The fal - con Truth hangs poised for - ev - er And -N s * PV * r* 1 1 1-| 1 1 1 1 ^"" f^ 1 1- -1 1 1 1 I n wing so strong as this of mine, Or wing so strong as this of mine, in - no-cent hearts no thrill of dread, To innocent hearts no thrill of dread, marks them with his venge-ful eye, And marks them with his vengeful eye. mx. =5 3* ^ -w- =N= s fc l=T- 240 Christmas Bells. From S. S. Hymnal by kind permission of Rev. C. L. Hutchins. Andante. \ *=*- # r ttT crtJ f - - u f t u 1. King tha bells, the Christmas bells; Chime out the wondrous 8to-ry; First in song on 2. Wise men hast-ened from the East,To bring theirrichest treasures; Gold, and myrrh, and f r* J* J* j* h h k . > . ^ J3J- f / f- f S *=* pJl ^=pt 4^: -i h fc , * h 1 m m *i #^ *- ' h *> m 1- angel tongues It came from realms of glo-ry; Peace on earth, good will to men, An- frank-in-cense, And jew-els without measure; Himthey sought, although a King, They fJ r* , , * h ' * p ^ s ^e. -^ h V V I rail. gel - ic voic-es ring-ing Christ the Lord to earth has come, His glorious message found in birthplace low - ly, There with-in a mang-er lay The Babe so pure and ^m .n s % % r r r r Chorus. 3=P: -y ' % 1 f- bringing. . e y^* ', Ring the mer- ry Christmas bells, Chime out the wondrous sto ry; * 'fS J h * s ^ J S: I 'uio ft*. m ry be to God on high, For ev :?, V J f er - more be *- *- -* glo - ry. %J. t r A Table of Keys. Tonic Minor. Major. 341 Relative Minor* A I E ~er -l- ^ -o-&- ^~3L -QT pfe 3C ,-zr-fSh la do la *dfe-rf 3Z --- ^sA s? i* :3c -*-<&- 22: la do la D D B i2 la 3C ^^ ft^r^^ ^js&Egj do la F ^J^^%^^ft=^H* I la do la 1 E^ 1 2jll cS gfe^SEsfl --- -&- G la ^ ^ ->g- E> fcfc^==53: aid 3Z d2 EE - < c g - -*. ^=s: Z9" 5SSSfl do la AKrGJ((5Jj) A> - 2p5- lE^E 22 fe=^^fl do 242 The Rudiments of Music A Tone is a musical sound produced by rapid vibrations and having the essential properties of length and pitch. The Pitch of a tone i9 its highness or lowness. An Interval is the difference in pitch between any two tones. An Octave is an interval whose higher tone is produced by twice the number of vibrations per second required for the lower tone. Owing to the frequent coincidence of these vibrations, as shown in the following diagram, the two tones of an octave are very similar, and cannot be easily distinguished when sounded together. When men and women sing the same tune together their voices are an octave apart. As every tone has its octave above or below (within a certain limit), we may take either tone of a given octave as 1 and sing another octave higher or lower. Octaves may be thus extended until the highest or lowest limit is reached. A Scale is a succession of eight tones, progressing by intervals called steps and half-steps, with the eighth tone an octave higher than the first. The most familiar scale is known as the major scale, the half-steps of which occur between 3 and 4, and 7 and 8 The scale names of the major scale are 1, 2, 3, 4, 5, 6, 7, 8. The syllables, do, re, mi, fa, sol, la, ti, do, are the singing names. Tone 1 of the scale is called the key-note, because it governs the relative pitch of all the other tones of the scale, and is the point toward which all melody seeks repose. The tones of the scale and their octaves compose what is called a Key. It is not necessary, however, to sing these tones in regular order so long ae the effect is pleasing. Other kinds of scales will be treated later on. The scale names do not indicate absolute pitch, for the scale may be sung high or low ; but every tone has a pitch name as well as a scale name. The pitch names are C, D, E, F, G, A, B, which are repeated in every octave. marram i rji^g 8ca i e ma y begin with any pitch, that is, any tone may ' b -? * be * a ^ en as 1 f ^ ne scale. Tone 1 is called the Key-note, or tonic. A _ 6 When 1 of the scale is G, the key is G; when 1 is Eb, the key i ^_ 5 E?, and so on. If we sing the tones C, D, E, F, G, A, B, C, in v the order named, we si'ig f he major scale, because the tone- 3 . represented by these pilch names are arranged (with reference to O a steps and half-steps) to correspond with the tones of the scale. See diagram 1. 243 Dta ram * Now if we take G for our key-note and sing G, A, B, C, D, E, ( prf ) F, G, we do not sing the major scale, because F-G, being a whole F step, does not correspond with the half-step 7-8 in the scale. E 6 But if we substitute Ffl for F, the correct order of intervals (steps D ""~ 5 and half-steps) would be preserved. See diagram 2. The key ( BZ3 ) f G therefore, has one sharp (F sharp). By studying the dia- A 2 g^ 1118 on tne key pages, it will be readily seen how the different G 1 keys are made, and why the sharps and flats are used. Names of Notes, Staff, Clefs. Notes are written signs for tones. They are written on or between horizontal lines called the staff. The great staff has eleven lines. The mid- dle line represents the pitch G and is called middle C. The part of the staff above middle C is called the treble staff, and the part below middle C is called the bass staff. As these divisions of the great staff are usually printed some distance apart, the middle line (middle C) is dropped and signs called Clefs are used to designate them. The Great Staff. Treble Staff: i ^= e: E -F-< m Bass Staff. -C- -Middle C gES= ^=g^== ^=l "Letters connected thus: e f, denote half steps. The first line below the treble staff and the first line above the bass staff represent the same tone middle C. Treble Sign or Clef. Bass Sign or Clef. *U r Sometimes called the G Clef. Sometimes called the F Clef. Added or Leger lines above or below are used when the staff is not sufficient. lime Values of the Notes. The relative length of tones is indicated by the shape of the notes. Whole. Half. Quarter. Eighth. Sixteenth. Thirty-Second. r f C 5 g 244 Time. Every piece of music is divided into small sections of equal time-value, called Measures. This division is made audible by Accentuation (stress) ; visible, by Bars, which are perpendicular lines drawn through the staff (or staves) at the end of each measure. A double bar indicates the end of a part or movement. Measure. Measure. e (I He The repetition of a part is indicated by dots, thus I 1 With reference to the different note-values and accentuation of the measures, different kinds of time are formed. The time is indicated at the beginning of every piece in the form of a fraction. FJtjTZ indicates that there are three quarters-notes (or their equivalent) EE^fizr to be counted in every measure. The numerator expresses the number of counts to each measure ; the denominator, the kind (note-value) of counts. Until recently 4 was represented by (g ; 2 by g. Simple measures are those of two and of three counts, all the others are Compound (4 2x2, 6 = 2x3, etc.). A piece of music may begin with any part of a measure, this incomplete measure being called the Initial Arsis. Accent is the stress or emphasis laid on special counts. Simple meas- ures have but one accent, namely, on the first count : r 4 * f etc. Compound measures are formed of 2 or 3 simple measures, and thus have two accents, the first being the stronger. A A A n A A ir r r r i Ills r r Rhythm is the regular recurrence of equal measures, and may be expressed in motion as well * *mintL Table of Note-Values. 9 245 J 1 [ J 4 * - # # # * 4 m 00000000 040404 This division of every note into two of the next lower denomination is the normal one. The most common of the abnormal or irregular divisions of notes arises when a note is divided into three equal ones, called a Triplet, Triplets are marked with a slanting 3. .-j j j. j= j j j. j=ni -a; /J*- 3 3 3 3 3 The Tie, Slor, Hold. The Tie (- -) combines notes of the same pitch (height) in such a man- ner that they are held as one note of the value of all the notes so joined. # I I U A Slur ( *0 connects notes that are to be sung to the same syllable. song. .. . A Hold (/rs), when placed either over or under a note or rest, adds to its value usually one measure, less the length of the note. A Dot after a note prolongs its value by half. *.=> j.-jj. j.=j> /.-.>* A second dot adds to the total tone value half the value of the first dot. 246 Rests. The signs of silence corresponding to the various notes are called Rett*. Double Whole Kest. Whole Rest. Half Rest. Quarter Rest. 8th Rest. 16th Rest. 32d Rest. | , - S 1 * -~ -- U1 -^- t s t l l Eests may be dotted like notes. . Chromatics. Besides the regular tones of the major and minor scales, there are inter- mediate tones called Chromatics. These are between the regular tones of the scale, except where the half-steps occur. For instance : sharp 4 is a tone half way between 4 and 5 ; flat 7 is a tone between 6 and 7. A half-step is also called a semi-tone, and a whole step a whole tone. A Sharp ($) signifies that the line or space on which it is used represents a tone a half-step higher than the original tone. Likewise, a Flat (2) means a half- step lower. A Natural flj) annuls the effect of a sharp or flat. A Double Sharp (*) signifies that the line or space on which it is used represents a tone a whole step higher than the original tone. Likewise, a Double Flat (W) means a whole step lower. A Double Natural annuls the effect of a * or W. The #, %, t?, and W- are called chromatic signs, and affect only the measure in which they occur. Tones sounding alike, but differently named and written, like B and Qfy t C# and DJ?, are Enharmonic Changes, one for the other. The Chromatic Scale. A scale progressing by half-tone steps is termed a chromatic scale. The ascending chromatic scale is usually written with sharps, the descending chromatic scale with flats. fal ll^E^^^^^pfe^^^^l 1 Minor Scales. There are two kinds of minor scales, the harmonic and melodic. In the harmonic minor scale the tones succeed each other at the following \ntervals : Scale of A Minor (harmonic). iim -*t :n = T^ : i 1 i i * *^F m 247 Half-steps are found here from 2-3, 5-6, 7-8 ; whole-steps from 1-2, 8-4, 4-5 ; the progression 6-7 is a step and a half. The melodic minor scales differ from the harmonic in that they do not, like the latter, raise merely the seventh degree both in ascending and descending, but raise in ascending the sixth and the seventh degrees, while in descending neither of these is raised. Scale of A Minor (melodic). On each of the twelve tones of the chromatic scale is found a major scale, as well as the two minor scales. The construction of all the other scales after the model of C Major and A Minor necessitates the introduction of sharps and flats which, when placed after the clef, are called signatures; when otherwise placed they are called accidentals. Signatures of the Most Common Scales. (Sharp Keys.) Major: C G D A E B Fjf Minor: A E B D ff g E f [tjyyisiiii Major: Minor: G (Flat Keys.) E|2 Ajz C F B Gfe EJ? ^^mmm ^m^m^ m w We say of a composition bearing the signature of any of these scales that it is written in the key similarly named. By the term Key we under- stand the relation of the tones to an individual tone as key-note. The term Scale applies only to tones connected in stepwise succession ; the term Key is applied to every species of tone-connection. K :v/s (scales) of the same signature nre called relative. Ttit signature leaves undecided whether a piece is written in major or in the relative minor. But this can usually be determined by the character of the melody. 248 Tones beginning on un-accented counts ana held over accented ones are called Syncopations. sss sssss Ij frfTT I C X The degree of rapidity or slowness of a piece is called its Tempo, and is indicated by Italian terms. Terms relating to expression, degree of tone- power, delivery, etc., are also taken from the Italian. The Appoggiatura (grace note) is a short note without accent, and its value is taken from that of the preceding note or rest. The Human Voice. Human voices are in general classified as Bass and Tenor (male) ; Alto and Soprano (female). The average compass of the mature voice is : Bass. Tenor. Alto. Soprano. i 5 II When the tenor part is written in the G clef the tones sound an octave lower than they are written. Intervals. An Interval is the difference in pitch between two tones, measured by the number of staff degrees used. Intervals are called primes, seconds, thirds, fourths, fifths, sixths, sevenths, and octaves.* $ :er=P: fe & vo:.z==Sb=i E I Primes. Seconds. Thirds. Fourths. g &: :sr .er_ t* Or tzjsn iter a:. m=m Fifths. Sixths. Sevenths. Octave. *An octave is called 3 plus a second F3 a ninth. An octave is called ~~ plus a third a tenth. 249 The prime, octave, fourth, and fifth, found between 1 and 1, 1 and 8, 1 and 4, and 1 and 5 respectively, of the major scale, are called Perfect intervals. * :^\ 22= i Perfect. Perfect. Perfect. Perfect. The second, third, sixth, and seventh, found between 1 and 2, 1 and 8, 1 and 6, and 1 and 7 respectfully, of the major scale, are called Major intervals. Eg 5^ "C e>- ?_ I Major. Major. Major. Major. "When a perfect or a major interval is extended by a half-step, as: Ee _<- #*= ' &: it is called Augmented. When a major second, third, sixth, or seventh is made a half-step smaller, it becomes a Minor second, third, sixth, or seventh. Minor Minor. Minor. Minor. When a minor or a perfect interval is made a half-tone smaller it becomes a Diminished interval. i ZZBZ m=^ :tez: Diminished seventh. Diminished fifth. Inversion of Intervals. If the lower tone of an interval is put an octave higher, or the higher tone an octave lower, we obtain the Inversion of this interval. Octave. Seventh. Sixth. Fifth. Fourth. Third. Prime. W - - 7i S~ 1 -*-*- t=c r^6i=s: -* (2. :?*=l^ Se^^^H Intervals Compared in the Major and the Minor. P # *- -g # -, #- =t=t= * * ?M^1 ^^ ^EEgs H ^3EE* -a- I ;4 -f ft. f 41 T ^ - #- I 251 -*jr r- The intervals found between 1 of the major scale and the other scale tones are Major intervals, excepting the fourth, fifth, and octave. t7 : ^R= r-21 Major Major Perfect Perfect Major Major Perfect second. third. fourth. fifth. sixth. seventh. octave. Comparing with these intervals those between 2 of the scale and the other scale tones in order, we find a minor third and minor seventh. 11 Major second. Minor third. Perfect fourth. Perfect Major fifth. sixth. Minor seventh. Perfect octave. Between 3 of the major scale and the other scale tones in their order we find minor second, minor third, perfect fourth, perfect fifth, minor sixth, and minor seventh, and perfect octave. F=fc &- -&- ~&L 1 Minor second. Minor third. Perfect fourth. Perfect fifth. Minor sixth. Minor Perfect seventh. octave. Reckoning with 4, 5, and G as starting points, we find no new intervals excepting the augmented fourth - r 1 ?^- and the diminished fifth. mm Intervals of the Harmonic Minor Scale. ^m Prime. -&~^0^^ ~&~^^^^ ^^^^^^ Major Second. Minor Third. Perfect Fourth. Perfect Fifth. Minor Sixth. Major Seventh. Perfect Octave. 252 Triads. A triad is a combination of a scale tone, its third and fifth, as : i Triads are named from their bass note or lowest tone. A triad may be found on each tone of the major and the minor scale, as: g H2=g: :S=z2: w=& 2 t% M M II m d M ^ m d a m M M . d m m Triads are of four kinds : Major, minor, diminished, and augmented. The major triad, consisting of a tone, its major third and perfect fifth is found on the 1st, 4th, and 5th degrees of the major scale, and on the 5th and 6th degrees of the minor scale. The minor triad consisting of a tone, its minor third and perfect fifth is found on the 2nd, third, and sixth degrees of the major, and on the 1st and 4th degrees of the minor scale. The diminished triad consists of a tone, its minor third and diminished fifth, and is found on the 7th degree of the major and on the 2d and 7th degrees of the minor scale. The augmented triad consists of a tone, its major third and augmented fifth, and is found on the third degree of the minor scale. Each triad has three positions and two inversions. 1st position. 1st inversion. 2d position. 2d inversion. 3d position. t 5? ::<-?:: ^=E i Triads With Their Inversions. Major Triads. In C Major. In A Minor. On C or Do. On F or Fa. On G or Sol. On E or Mi. On F or Fa. -a Sl __|g_ r & ,-gL Minor Triads. In G Major. On D or Re. On E or Mi. On A or La. In A Minor. On A or La. On D or Re. Diminished Triads* 253 la C Major. On B or Ti. == * -g a In A Minor. On B or Ti. On G$ or Si. Augmented Triads. In A Minor. In C or Do. mESsi Chords of the Seventh. A chord of the Seventh consists of a scale-tone, its third, fifth, and seventh. A chord of the Seventh is found on each tone of the major and the minor scales. The most important of these are : 1. The chord of the Dominant Seventh on the fifth step, or dominant, of major and minor. The chord consists of the dominant, its major third, perfect fifth, and minor seventh. 2d position. 3d position. 4tii position. Major. Minor, let position. 1st inversion. 2d inversion. 3d inversion. i S -9-rrfy ^ ^ ^^ II 2. The chord of the Diminished Seventh, found on the seventh degree in minor. It consists of the seventh tone, its minor third, diminished fifth, and diminished seventh. C minor. 1st position. 2d position, let inversion. 3d position. 2d inversion. 4th position. 3d invereion. Prfc w 3 P iE^S Him 254 Common Italian Terms Used in Music A in, at, to, according to, for. Accelerando accelerating the motion. Adagio slow. Ad libitum (Latin) at pleasure. Agitato agitated. Alia like, in the style of. Allegretto somewhat quick. Allegro quick, lively. Andante walking, moderately quick. Andantino a little slower than Andante; sometimes, more rapid. Anima soul expression. Animate with spirit. Assai very. Brio fire. Calando diminishing in tone- volume. Cantabile singing, melodious. Con with. Crescendo ( =zZZ. ) increasing in tone- volume. Da capo (D.C.) from the beginning. Dal segno (D.S.) or (jf?) from the sign. Decrescendo ( ~^== ) diminishing in tone- volume. Diminuendo ( ^rr= > diminishing in tone-volume, Dolce sweet, with expression. Energico with energy. Espressivo with expression. Fine end. Forte (f) loud. Fortissimo (ff) very loud. Forza power, force. Fuoco fire. Grazia grace. Qraz ioso graceful. Grave serious, very slow. Larghetto somewhat broad and slow. Largo broad, very slow. Legato connected . Lento slow. Ma but. Marcato accented. Marcia march; alia marcia marchlike. Marziale martial. Meno mosso slower. Mezzo (a) half. Moderato moderate. Motto much, very. Morendo dying, diminishing in motion and tone-volume. .Jfoto motion. Non not. Pesante heavy, emphatic. Pianissimo (pp) very soft. Piano (p) soft. Pitt more, Pitt forte louder, Piu, mosso-* more rapid. Presto very quick. Prima (a) first, Tempo primo in the orig- inal time (after an acceleration or retard.) Poco little, Poco a poco little by little, gradually. Quasi as it were, almost. Ballentando (rail.) retarding motion. Eisoluto resolute. Bitardando (rit.) retarding motion. Bitenuto (riten) holding back. Secondo (a) second. Sforzando (>) Sforzato (s/ Smorzando dying, diminishing in motion and tone-volume. Solo (pi. soli.) alone, to be sung or played by one voice or instrument. Sostenuto sustained . Staccato detached, disconnected. Stringendo accelerating the motion. Tempo time, movement. Tenuto (ten.) held, sustained. Tranquillo tranquil . Tutti- all, in contrast with solo % or $oH* Tin poco a little. Vivace, j lively> Vivo. ) Voce voice. ( ) sf, sfz.) ) louder, accented. INDEX. TITLE. COMPOSER. PAGE. Above the C'.ear Blue Sky . . .Hopkins (Arr ) .... 188 After Many Roving Years ...Horn 198 A Happy Life Benedict 86 A Hunting Sons Kreu'zer 135 A L :mcnt for the Summer . . Gilchrist 138 All Nature Smiles (Round).. Arnold 97 America Carey 129 A Norse Lullaby Gilchrist 141 April Oehme 10 April Shov/ers Ilatton 12J Archer's C lee J. Stafford Smith . . 70 Archer, The Old Melody 170 Ariel's Song Schartau 194 A Sky Voyage French Melody.. . 33 A Snowy Day Attenhofer 174 A Storm Gilchrist 158 A Summer School Liebe 205 A Thanksgiving Ode English 162 Auld Ling Syne Scotch Air. 193 Autumn GrammiArr.) 39 Autumn Days Baumf elder 112 Aw ke ! Awake I The Dawn islle:-e Gatty.. 116 Awake My Soul, and With the Sun Barlhelemon 190 Battle Hymn of the Republic 166 Battle Song Ilartmann 44 Bird's Farewell, The Liebe 57 Blow Blow, T.iou Winter 'ind Stevens 177 jroou. t. The Graben- Hoffmann. 100 Bu le fJong Gilchrist 186 Chappl in the Wood, The Schletterer 37 Child ,.nd the Year. The English 7 Christmas Bells Mueller Gilchrist. 137 Christmas Bells 240 Christmas Day Rheinberger 224 Christmas Hymn Sullivan (Arr.) 155 Christmas Rose, The Hamma 51 Corn*;, Ever-Smiling Liberty . Handel 231 Com". Happy Spring Giordani 236 Com ij of Spring, The Mozart 51 Con iong Klein 234 D ff 1.1s German 191 Dai; , The Gilchrist 116 Dec ration Day Flemish Folksong. 185 Eas erOde Eleanor Smith . .. 228 Ev< ning Praver Mueller 184 Farewell to the Woods Esser 150 TITLE. COMPOSER. PAGE Falcon, The Conradi 23S PirstGrass, The Schumann 12! Flower Dances... Folksong 133 Fly, The Cocchi 120 Fox Hunt, The English 169 Four Seasons, The Clay 2fc Friendship Mozart 84 Glowworm, The Barnby 14fc Goodby, Old Year Tyson-Wolff 156 Good Comrade, The Folksong 131 Goodnight Taubert 88 Gypsy Song Schubert 213 Hail Columbia! Phyla 86 Happy Life, A Benedict 86 Happy Farmer, The Schumann 164 Hardy Norseman, The Norse Na tional Song 43 Hey Baloo Schumann 95 Hey Ho, to the Greenwood (Canon) Byrd 53 Home, Sweet Home Irish Folksong 90 How Merrily We Live Este 108 Hunting Song, A Kreutzer 135 Hush-a-By-Baby Lorraine 25 I Lean Against the Mast Mendelssohn 72 In April Gilchrist 24 In the Tempest Tyson-Woiff 182 Keller's American Hymn Keller 210 Kelvin Grove Scotch 219 King in Thule, The Zelter . 127 L iment for the Summer. A.. Gilchrist 13fe Land of Greatness, Home of Glory Haydn 22C Lead, Kindly Light Dy/ces 222 Light of Stars, The Tyson-Wolff HI Lordly Gallants Callcott 19. Lord My Pasture Shall Pre- pare, The Welsh 207 March ..Wendt 163 May Billeter 46 M iy Song Mendelssohn 208 Meadow Is a Battlefield. The. Eleanor Smith o2 Morning Hymn English 134 Mother Dear Othme 118 Mu.-,ic Reichardt 61 My Heart's in the Highlands . Courtney 192 Norse Lulliby, A. Guchrist 144 NowThanU We All Our God. Rinkart 227 Now the Sun is in the West. .Margaret Casson.. 140 256 256 INDEX. TITLE. COMPOSER. PAGE. October German Air 128 O Hemlock Tree Folksong 130 Old Winter Eleanor Smith 136 Old Year, The Sciiulz 78 O Lord, Another Day is Flown Isaac Smith 216 O Lord Our God, Thy Light and Truth Clark 168 Peaceful Slumbering Storace 160 Pleasures of the Country, The Haydn 14 Prayer Schubert ... 123 Rising of the Lark, The Welsh 204 1 Santa Lucia Italian Boat Song. 146 Sickle Song Old English 11 Sir Hugh de Bray Klein 218 Sky Voyage, A French Melody .... 32 Sleep, Baby, Sleep Brahms 92 Snowy Day, A A/tenhofer 174 Snow Melts Fast, The Gilchrist 87 Song of Praise, A Gruenberger ,. 23 SpinningSong Rheinberger 114 Spirit of the Summer Time. . Irish Folksong 19 Spring Journey, The Spohr 230 Spring Song Gade ^3 Spring Song Vogel 104 Springtime Is Returning Welsh 206 Stay So, Sweet Season Seidel 77 Storm, A Gilchrist 158 Summer Days Eleanor Smith 65 Summer Days Are Coming, The Schalm.... 180 Summer School, A Liebe 205 Sweet Birds AreSinging.The. Walker 172 Swinging the Hammock Winter/eld 98 Tenting on the Old Camp Ground Kittredge 200 Thanksgiving Day Canon Ainsiee .... 152 Thanksgiving Ode, A English 162- The Archer Old Melody 170 The Bird's Farewell Liebe 57 The Brooklet Graben- Hoffmann. 100 The Chapel in the Wood Schletterer 37 The Child and the Year English 7 The Christmas Rose ITamma 51 The Coming of Spring Mozart 54 The Daisy Gilchrist ? !8 TITLE. COMPOSEh. PAGE. The Falcon Conradi 239 The First Grass Schumann 121 The Four Seasons Clay '... 20 The Fox Hunt English 169 The Fly (Round) Cocchi 120 The G low Worm Barnby .... 148 The Good Comrade Folksong 13i The Happy Farmer Schumann . 164 The Hardy Norseman Norse Na t onal Song 43 The King in Thule ...Zeller 127 The Light of Stars Tyson- Wol 119 The Lord My Pasture Shall Prepare Carey 207 The Meadow Is a Battle Field Eleanor S-nith .... 62 The Old Year Schulz 78 The Pleasures of the Country Haydn... 14 The Rising of the Lark Welsh ... 204 The Snow Melts Fast ..Gilchrist ... 87 The Spring Journey Spohr 230 The Summer Days Are Com- ing Schalm 180 The Sunrise Never Failed Us Yet Wilhelm (Arr.).... 223 The Sweet Birdsare Singing. Walker 172 The Wanderer Schneider 143 S-The Watch on the Rhine .... Wilhelm 176 The Way for Bi Uy and Me . . . Gruenberger 12 The Wild Huntsman German 132 Tby Mercies Lord (Canon)... Tallis 18 To Kis Country Klein .... . . 15T Twilightat Sea Folksong 22 Under the Greenwood Tree.. Old English 27 Wanderer, The Schneider 143 Wanderer's Song Gade 103 Wandering Gruenberger (Arr.) 202 Watch on the Rhine, The.... Wilhelm 176 Welcome, Wild Northeaster '. ..Taspersen 212 We Merry Minstrels Purcell 15 We March Away Stern 214 When Night Comes Reichardt 216 Why Lingers My Gaze Welsh 189 Wild Huntsman, The German 132 Winter and Spring (Canon).. Gramrn 69 'tffflROT UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. Jan 15 '60 .\WBNIVER, May2 6 #133NV-S01 ^IJBRARYi %HITO-J< .-OFCAIIFOJ y omm\u Mmwzn Form L9-100m-9,'52(A3105)444 i \v] 1K <^3!)NVS{Jl^ %HMNA-3ft> %MITCH0^ ^OJITO-JO^ s AtiBNIW/^ ^U)SANGEL% ^0FCALIF0% A 0F CALIF0*U> 561-r MT 935 S64c y ^AHVHani^ UC SOUTHERN REGIONAL LIBRARY FACILITY 5SE-UNI 7fc ^UNIVER% ^lOSANGElfj^ ^ mm *BNIVER% ^10SANGEL% ^ l ; L1B ^^ .^ UBRARY