HMDHHaaanMa NATURAL MUSIC COURSE FREDERIC H|l) f &? THOMAS iTAPPE; AMERICAN B0DK1" COMPANY NEW TO^JC CINCINNATI CHICAGO Southern Branch of the University of California Los Angeles Form L-l This book is DUE on the last date stamped below JUL * 191< Natural Music Course HARMONIC FOURTH READER BY FREDERIC H. RIPLEY PRINCIPAL OF THE PRINCE SCHOOL, BOSTON AND THOMAS TAPPER LECTURER ON MUSIC AT THE INSTITUTE OF MUSICAL ART OF THE CITY OF NEW YORK 47206 NEW YORK .-. CINCINNATI .-. CHICAGO AMERICAN BOOK COMPANY Copyright, 1903, by FREDERIC H. HIPLEY and THOMAS TAPPER. Entered at Stationers' Hall, London. Harmonic Fourth Reader. E-P 5 fy PI 3 5 v. 4 PREFACE. The books of the Natural Course in Music present the study of music as an art. If followed faithfully, they establish a love for music and at the same time cultivate the creative a'nd appreciative faculties. For while they stimulate the aesthetic sense by presenting the finest examples of music for the young, they arouse and cultivate the inventive power by a systematic course of ear and eye training. Music study thus conducted becomes active, stimulating, intellectual. The feelings which are aroused by the singing are not allowed to pass away un- fruitful, but affect the will, which in turn stimulates to action of a highly developing character. The pupil is regarded as an active responsible agent, capable not only of being influenced but also of influencing others ; not as an appreciative listener alone, but as a possible creator of art ; not merely as an instrument to be played upon and swayed by the leader's emotions, but as an independent thinker capable of expressing feelings peculiar to himself. The fact is sometimes forgotten that tonal combinations are as clearly ob- jects of thought as any of the material used in elementary perception develop- ment. It is readily conceded that the smallest children are capable of making designs of the colors and forms commonly used in the primary school, but it is not so generally believed that the same children are capable of making tonal designs or musical compositions. The fact is, however, that music is so nat- ural and universal that if tone combinations are distinctly presented as objects, the use of them for design becomes possible at a very early stage ; but a diffi- culty with music arises frequently from the fact that the period which should be spent in making the members of the tone family distinctly familiar is devoted to an effort to establish certain ethical and oesthetical principles which are thought to be established when the child has lapsed into a passive condition entirely subservient to the teacher's will. Thus not only is the educational value of elementary music as a means of cultivating sense perception by hear- Har. Fourth Reader. (3) 4 PREFACE. ing lost, but the foundation on which development is based is neglected and the artistic study of music in the upper grades is retarded. Training the ear in tone perception is never completed. It corresponds to drill on the number tables, which is never so perfect that it can not be improved. So in this fourth reader of the Harmonic Series the study of tone relation is continued and material for review is freely furnished, together with new and varied combinations for advanced study. The compositions presented for study are of larger form and display a more artistic development than was possible in an earlier book. Emphasis is placed on the necessity of establishing the symbols of music as the representatives of actual thought which the mind receives without the medium of instrument of voice, so that the pupil shall be able to study the composition in silence, and in silence to work out his own tone design. The Fourth Harmonic Header presents the following interesting subjects for study and practice : 1. Development of larger artistic wholes, by means of which the aesthetic nature may be cultivated. 2. Review material for the further development of tonal perception and the increase of the cause to study music silently. 3. Presentation of exercises in different modes (major and minor) for the study of harmonic relation. 4. The study of movement as expressed in more varied rhythmic form. 5. The study of advanced chromatic modification, with a consideration of resulting intervals. 6. The theory of music as expressed in the footnotes and applied in the dictation work. 7. Study for voice culture, with special reference to the change in boys' voices and the use of the bass clef. 8. An enlarged and carefully selected collection of songs in various forms. 9. A collection of patriotic and devotional songs for assemblies and special occasions. Har. Fourth Reader. DIRECTIONS. The Conditions. With each advancing grade the conditions change somewhat. The difficulties which beset the beginners have passed away, but new and quite as serious obstacles now await us. The character of the school has changed, new, untrained pupils have come in, much of the elementary knowledge and power seen in lower grades is wanting here. There is a great unevenness in ability. Self-consciousness has asserted itself, and a feeling of restraint limits the pupil's efforts. The voices are grow- ing thicker. The more vigorous boys' sports and habitual shouting on the playground and in the streets have roughened the tones There is a very general stiffness of the vocal organs. These conditions must influence us in our practice. The Voices. The voices must be made flexible and light by the constant use of vocal drills, and the control of the breath must be secured by intelligent phrasing and artistic performance. The range of tones is now probably greater than before, except with boys whose voices are beginning to change. Vocal Drills. The practice of beginning high and singing down the scale must now be combined with exercises moving in the opposite direc- tion, and exercises for flexibility must begin rather low and work up by degrees. Exercise for Flexibility. etc. The exercise should continue advancing upward, a step at a time, till the voices are pure and flexible. Holding the Tone and Changing the Syllable. Holding the tone and establishing a new hey tone or Do is a matter that should be fully reviewed and perfected. Each pupil's power should be ascertained by individual test. Her. Fourth Reader. <5> DIRECTIONS. Additional Vocal Drill for Flexibility and Correctness of Pitch. -&-\-r-0-x- ->-&- i^ssii Give the correct pitch at the beginning and test the pitch at the end. When this exercise is correctly sung, it may be extended upward one degree at a time. Many pupils in this grade will be found wanting in the power to rec- ognize either the tonality or the syllables at sight. For their benefit a little instruction and some practice should be given with the opening lessons. To ascertain the status of the class use the following exercises. Beginning at the left, sing instantly, calling the first tone Do. Then call the same tone Mi, then Sol, then Fa, then La. Do the same with each group of notes in turn. Let the recitation be individual. Assign similar exercises to slow pupils for home study. Continue the work until every pupil has the order of the scale tones, the syllables and the tonality, perfectly at command. When the first stage of development is fully accom- plished, require the pupils to give the tonality without giving the syllables, then require them to give the tonality with little word groups. g&>g I Exercise. c d J2 S g I -B-^-Z7 O -& - I ^ &> c ' & - II Cultivation of the Ear. Pupils will be found who are still unable to tell Do, Re, from Do, Ti, and whose perception of rhythms is equally bad. Do not relax the effort till every pupil in the class is able to perceive simple tone relations from hearing. Add to this the very simplest individual reading exercises, and make sure that every pupil can at least read scale successions correctly. Perception of rhythms and familiarity with simple rhythmic figures must be cultivated persistently. In this work make quick tests of each pupil's power by writing on the board a collection or succession of musical Har. Fourth Reader. DIRECTIONS. figures or phrases and call upon the pupil to tell what each says. Thus, The following being before the pupils, the teacher may say, "What does one say?" then jive, two, and so on, referring to the phrases on the board. The pupil should instantly respond with the movement, giving the measures as wholes. Exercise. 2 Note. The figures should be varied and increased in variety until every combination used in the book is entirely familiar. Dictation. The elementary steps should be reviewed and enforced by means of dictation. Rapid oral dictation first for tonality and then for rhythm should be given at the opening of each lesson. In this exercise Mie teacher should sing or play such simple combinations as Do, Ti, Do ; Do, Re, Do ; Do, Sol, Mi, Do, and the like, using the syllable loo, and the pupils respond with the tones and the syllables. For rhythms the teacher sings simple measures as 1 2 3 4 and calls upon the pupils to tell the kind of notes used in two-four meter, and how the same figure would be represented in two-two meter. Written Dictation. The work in dictation which is called written dic- tation is precisely like oral dictation except in the matter of recitation. In written dictation the pupil writes what before he gave orally. Written dicta- tion is necessarily slower and hence can hardly form a part of every exercise. The writing, too, may be done by a single pupil at the board, or it may be a class exercise written on ruled paper. In this case it becomes a general test and is very useful in estimating the individual ability of the pupils. Hmr. Fourth Readr. 8 DIRECTIONS. Summary. The various lines of work suggested here are carried forward in the book to the end. Additional exercises for vocalization and dictation will be found in the proper places. The theory of music, which now becomes a matter of some importance to the children, is provided for under the head of Dictation, while the terms used in music are explained in the footnotes. We do not require the definition of symbols when the definition is a statement of their use, as the correct use is sufficient evidence that it is understood. Teaching Chromatic Tones and Advanced Rhythms. Nearly every pos- sible combination of chromatic tones may be given as the natural scale tones in another key. This fact is illustrated again and again in the lessons in the book, and in chart drills. Similarly every rhythm, however com- plicated, will be found on analysis to be but a new combination of elements already made familiar by the analysis given in the chart. The intimate relation between rhythms and tonal groups makes the advanced study of either dependent in a measure on the other. Thus in- tervals which by themselves seem very difficult often appear to be but a necessary correlative of certain movements. Hence, the movement of the music should be fully in mind when the interval is attempted. For exam- ple, the following exercise contains two little phrases which are precisely alike, and when so considered it becomes entirely easy. If the exercise is taken note by note, an awkward interval occurs (#1 to 5) ; but this interval dis- appears altogether when we sing the first phrase by itself, stopping on $1, and then sing it again, going on to the end. W 3 ^H '< ;=* 5 f* w% The effect produced by such sudden key changes as this illustration affords are made familiar to our pupils by the continued practice of the chromatic studies given in the charts. This study when systematically taken as prescribed gives a taste for music which else could be acquired by instrumental study only. Hsr. Fourth Readtr, PAET I. Vocal Drill.* To be sung from different pitches. ^^ ^5 i= SJ S |E p Ch. Ser. G, pages 1 and 2. Ex. 1. g=K-^-^b II Lffi W -+^ Ch. Ser. G, page 2. Ex.2. I I 3 ^ Ex. 3. m s ^ * * i * * *~ Ex. 4. feii E fr = r = rng I ^ Ex. 5. << 3^^ II -* - r Staff, fe Clef. I Bar. H Double Bar. 2 j 3, 4 ? Meter Signatures . Sn I II 4-4-4 rjj: Repkat. * Vocal Drill, see Directions, page 5. Har. Fourth Reader. (9) 10 Ch. Ser. G, pages 4 and 3. Ex. 6. Study of Chromatics. Ex. 6. Ex. 7. Ex 8. Do.ti, do. Sol, fi, sol. Ex.9. fr jj jU|j jiyji^^ W j iffr^a * Ch. Ser. G, page 12, Ex. 1 and 2. Ex. 10. S ifcafc- 3 IN =t 3=5 II Ex. 11. See Ft "SIS i=2ii I BEGONE! DULL CARE. Ch. Ser. G, page 16, Ex. 2. ^ Allegretto. i mp ^ ^=^ English Air, 17th Centurt. TJ ^ fegiS =fc 1. Be -gone! dull care, . . I prith- ee, be- gone from me, ... Be - 2. O, too much care . . Will make a young man turn gray, . . And 5EBE mm / :fcgx=g: m 8 3SE? ^sa I Sharp. b Flat. & Natural. B-S Key Signature. A sharp, flat, or natural used as in Ex. 7, is called an accidental, and the tone which it indicates is called a chromatic tone. Allegretto, light and cheerful, but slower than Allegro; f, forte, strong; mp, mezzo piano, moderately soft; mf, mezzo forte, moderately strong. * See directions for Chromatic and Rhythmic teaching, page 8. Mar. Fourth Reader. 11 # mp :=fc=|t ^ gone ! dull care, You and I shall nev - er a - gree. . too much care AVill turu an old man to clay. . 3 Long My * / 5 WJB *r * m^ ^j^=g^ ^35 -*-* i- =3- W~0~V ^E5Et. j=^= time hast thou been tar-rying here, And fain thou wouldstme kill, . wife shall dance and I will sing, So mer-ri-ly pass the day,. But v For I ;-- f-fj ^j ft j-tfj jjj ^^jE^i^g^^ -4* E-* d d d f * n ^~^ =t= faith, dull care, . . . Thou nev-er shall have thy will. . . hold it one of the wis - est things To drive dull care a - way. . 3 r* fcsfe! =f=i 3S3 PH *"* *ee &3S =fc= II 3ip ~1 ^F H=t=l Har. Fourth Raadar. 12 Ch. Ser. G, page 4. Ex. 2. Ex. 12. Ex. 18. ^- g? r zj - Do, Fa, te, . te, Li, Ex.14. ,1 f^^Bpll^^ii^^E^i^^lJ Ex. 15. u -4 4 ji J1 B^S^ 3S II Ex. 16. 3=^ j-j- U _j^=j r p fSfEEfSfEEi J-JL fe^fe^ I 3T jg^^H g> -s> JSZZ3 MS Ex. 17. Ch. Ser. G, page 4. Ex. 6 fcfel fe^Ei 3fc=^ 333: * -^ 1 # r* d=^7e=s=q SEE 3 _^_^jrES_^|^.^_^__j. , i jm i^u j J j * 1^3J^jj!;J^'^^ I t+Tntfm p=^^^i( '^S Har. Fourth Rear)' SING NOT TO ME OF SUNNY SHORES. Ch. Ser. G, page 4. James Little. mf Con brio. 13 J. Sneddon. -r- =t * ^L ^ 1. Sing not to me of sun -ny shores, Or climes where ol - ives bloom, Where 2. Sing not of yon-der sun -ny isle, Where sum- mer ev - er reigns, Where 3. Sing not to me of sun -ny lands, If ty - rants there hold sway, These on -ward still the riv - er pours, 'Mid groves of sweet per-fume. Give or - ange groves se-rene - ly smile, And flow -'rets deck the plains; Give climb to pow'r with blood- y hands, And trem- bling slaves o -bey; Give' me the land where tor- rents flash, Where loud the an - gry me the lands of mountains steep, Where wild and free the me the laud un - con-quered still, Tho' oft - en tried in cat-"racts pour, As ea -gles soar. The days of yore, Where wild - ly on their course they dash ; We love our diz - zy crags where torn -q>ests sweep ; We love our free - dom reigns from plain to hill; We love our own dear shore, own dear shore. own dear shore. /TN /C\ Con brio, with life, spirit; = or rres., crescendo, gradually increase the power of tone- :r= or dim., diminuendo, gradually decrease the power of tone; rail., rallefUando, gradually slower and softer. /T\ Hold; this increases the value of a note at least one beat. Har. Fourth Reader. 14 MY BARK IS BOUNDING TO THE GALE. Felix Mendelssohn (1809-1847). ^ tH? ft=* -* P -* 1 ~P~~ Hg r 5E=3 My bark is bound-ing to the gale, . The sea is foam - ing :t?-E.- *i . d kt-| *. i I s l-I fr Nx I & I & #=* &-*w- w * ' m ~w ^= tl tes ^=t=g= j P33C fcafc - J^-^x- t=a round her, A - dieu to thee, . my na - tive vale, A - dieu to XIX ^P p dolce. -X-^X S=53 i=f: thee, my na - tive vale, And thee for whom I wan - der, and &E sisyi^ii 335^ sr S \*f* 5pS tfl thee for whom I wan - der, and thee for whom . I wan - der. k-t- _, _,__ _ , . ^-h ji. 3 ^tt^: -T< II ^ ^ Tie ; two notes representing the same pitch, joined by a tie, are sung as one note having their united value. p, piano, softly ; dolce, sweetly, softly, delicately ; %f, sforzando, one chord or tone to be sung with force; > Accent. Har. Fourth Reader. 15 Vocal Drill. Si, Ch. Ser. G, page 11, Ex. 3. Ex. 18. Ex. 19. Ex. 20. lE^=#figiJ^^gl I^Hee?^ *=t Ex. 22. Ex. 23. iij j 'nirij l Ex.24. Ex. 25. (a) Major. (b) Minor. # 33EB ^aSe^^ *=* t ri~ ' trtrrr (=*- m xzn II ^P^ =r II gg 3 ^ * - (faP r~p f* The key signature shows the Fa, mi, re, do. " TI, do, do. position of Do. The flat farthest to the right is always on Fa, and the sharp farthest to the right is always on Ti. => Whole Note. J Half Note. J Quarter Note. ^Eighth Note. ^Sixteenth Note. s Thirty-Second Note. Whole Rest. Half Rest. Quarter Rest. 1 Eighth Rest, q Sixteenth Rest. A dot placed after a note increases its value one half, thus: <=* equals & # or * J . equals J / or ///} J\ equals J* J* or J Hr. Fourth Readet. 16 4=1 Ifis^=S lip^^E^ ^=3^= .S^5 JJ g^pE^ SI -*~ * * -r^ 1 THE THREE RAVENS. Ch. Ser. G, page 13. English Air, 16th Century. Smoothly and with expression. 1. There were three rav - ens sat on a tree, 2. Be- hold, a -las! in yon green field, 3. His faith - ful hawks so near him fly, 4. She lift - ed up his ghast - ly head, -4- Down Down Down Down a down, hey - a down, hey - a down, hey - a down, hey - The common meter signatures are 2, ?, ^, , ^ , ^, ^, ^, '^, S and (. The figures show the note value in each full measure. The upper figure shows also the number of beats or pulses to a measure, and the lower figure indicates the note value of each beat. C indicates a four part measure and (j> a two part measure. poco, a little; rit., ritardando, retarding the speed gradually. Mar. Fourth Reader m 17 jmp_ JL-JL_ ^ *=i do\vn,hey-down ; They were down,hey-down ; There lies down,hey-down ; No bird down, hey -down ;And kissed black as they might be, With a knight, slain 'neath his shield, With a prey dare ven - ture nigh, With a were so red, With a of his wounds that And one of them said to his mate, "Where shall we our His hounds lie down be-side his feet, So well do they their But see ! there comes a fal-low doe, And to the knight she She bu -ried him be-fore the prime, And died her-self ere ~J2 r r = p poco rit. break - fast take ?"With a down, mas - ter keep, With a down, straight doth go, With a down, even -song time, Willi a down, ^S =*E der - ry, der - ry, der - ry down, down ! der - ry, der - ry, der - ry down, down ! der - ry, der - ry, der - ry down, down ! der - ry, der - ry, der - ry down, down ! Har. Fourth Reader. 18 Ch. Ser. G, page 11. Ex. 27. Andante. Studies in Major and Minor. Ssh Ex. 28. Andante. mf 1 m I! t ^_ . -W- 9 +- -^. =*3 "2^- 3^3 tt Ex. 29. Moderalo Ex. 30. Moderato. ^. rl ! i I a f**1 ""s p ^ p ' ' ^gg^^plB^p(i^p(i Ex. 31. Andantino. Ex. 32. =* fc*: P Q^ pp ^gp^^api^ s^3 d=3s * 1 w Accent. The first beat of every measure should be accented, and in T and g meters, a secondary accent, weaker than the first, falls on the third and fourth beats respectively. The effect of the secondary accent in 3j meter is illustrated by the word com' pro-mis' ing. Andante, moderate, but flowing; Moderato, moderately, as to speed; Andantino, a little faster than Andante; pp, pianissimo, very softlv. Har. Fourth Reader 19 WIND AND SEA. Bayard Taylor With spirit. J. Spencer Curwen. gbsl }L-:te3L-=: The sea _ 1 R5 ^ * ^ +. V +* 1 i *^rf=?r 1/ a jo - vial com - ratle, He laughs wher-ev - er he Yet \vel - come are both their voi - ces, I know not which is 4t SS ^ B, i> I s r> ? e E3E3S ,' goes, best, His mer - ri - ment shines in the dimp - ling lines That The laugh - ter that slips from the o - cean's lips Or the ^ W=0^ ha, ba, &M^?-+- =fe^- dS-dSi -f hr- ^r^~ wrin - kle his hale com - fort - less wind's h *- re - un - pose, rest. ~1 He There's a k k w r 5^s lays him - self down at the pang in all re - y i " /Lb*. u ^ i k *i *i Ifts" h is * i' r VMJ J r m Z) 9 ^. * L #i W >-J- m mm feet of the sun, joi - cing, r - 0w * 6S Shakes all o - ver with Joy in the heart of ; 3E 3 =*= vl Har. Fourth Readr, And shakes all o - ver with glee, A Joy in the heart . . of pain, with of 20 Shakes all . . . o - ver with glee, Joy in the heart . . of pain; =r glee, pain, & I P # '"l" k with glee, And the broad-back'd bil - lows fall of pain; And the wind that sad -dens, the =t 55 P f J J l^i ^^=ft:=^= s fsc J I ^. fa p >J -*-=!- -X- 2 *- r faint on the shore, In the mirth of the might - y sea, In the sea that glad-dens, Are. . sing - ing the self -same strain, Are . . . I ^ s=3* s -*-* 2i Fine. Mournfully and legato -3k p^p IX p L mirth of the mighty sea, the might - y sea. sing-ing the self-same strain, the self - same strain. ft r i But the wind is sad and But the wind is sad and M=al i fc=^ * r * rest- less, And cursed with an in - ward pain; You may hark as you will by ~ *-^-hj--=^P=] W ^ * ^ - ^ 4 s ==* =*= ? Fine. The end. Legato, smoothly. Har, Fourth Reader. 21 -f- < ^ n- X'y r i i | ^ = T H i r 1 ' val-ley or hill, But you hear him still complain, You hear him still com ^JJ M = ^P^ rallenlando. m == -, j i= -& F = rr F F^=f=Ft i plain, You hear him still com - plain. He wails on the bar - ren & P=t _J*- -i I | J fc=i # moun - tains, and shrieks on the win -try sea. He sobs in the ce - dar and h ^^3SEE5 EE **z?r cres pm - do. dn. />.<7- * M=^ fW^ moans in the pine, And shud-ders all o - ver the as - pen tree. II Sf. * *- :*=*=E3 *=*C '* * *" > D. C. , Da capo. From the beginning. Hr Tourth Reader 22 ENVY. Ch. Ser. G, page 12. Chakles ami Maky Lamb. 1. This rose - tree is not made to bear The vio - let blue, nor 2. And should it fret, you would sup - pose It ne'er had seen its 8. Like such a blind and sense- less tree As I've im - ag - ined P i= : H- ^ i p m ' lil - y fair, Nor the sweet mi-gnon - ette : And if this tree were own red rose, Nor aft - er gen - tie shower Had ev - er smelled its this to be, All en - vious per - sons are: With care and cul - ture W^- dis - con - tent, Or wished to change its nat - ural bent, It ros - e's scent, Or it could ne'er be dis - con - tent With all may find Some pret - ty flow'r in their own mind, Some ^3E FFH* V all in vain would fret, It all in vain would fret, its own pret - ty flower, With its own pret - ty flower, tal - ent that is rare, Some tal - ent that is rare. II Har. Fourth Reader. i 23 Dictation. The oral dictation is suggested for review. See directions, page 7. The teacher sings with loo; the pupils respond naming the tones as they sing. Illustration: Teacher. Pupils. Teacher. Pupils. *> D^^fl r -& _ 1 Qit & Loo,loo,loo,loo,loo,loo,loo,loo. Do, ti, la, sol, fa, mi, re, do. Loo.Ioo. Do, do. Keview Exercise. 3 4 5 -&-&-&. ]l2lfZ2Z -^2-.- -S 5-&G T II &&&- I The teacher should give the exercises quite rapidly and demand prompt responses. In addition to those suggested in the book the teacher should add every reasonable combination of tones she can think of. Written Dictation. The teacher should require the pupils to draw the staff and place the clef. After singing the scale to fix the tones in the pupils' minds, she calls attention to the position of Do upon the staff. She should then sing the exercise slowly, with the syllable loo ; and the children should write the notes upon the staff. Afterwards the correct representation should be placed before them, errors corrected, and new trials made. Rhythmic Dictation. 2 o ^m & TI LLUJ ^p^l^m Theory. Review the signs used In music, including staff, clef, key signature, meter signature, sharps, flats, notes, rests, and any other common characters. See that the use of these characters is fully understood, that they are correctly formed and placed on the staff. Teach the staff degrees, showing the use of the clef, and explain what is meant by pitch. (See footnotes. ) Har. Fourth Reader. 24 Vocal Drill To be sung from different pitches. Ch. Ser. G, page 4. Ex. 33. S^ * k v -U E Do, sol - o - do. it P <=Z- d E r? Ex.34. I 3ESI ^ 1^1 &k Ex. 35. f^l^gfe Wt^JZZjtt m J*Z* i Do, la -a"- o -do. ^^^^^ j gfe Nl Note. "When it is desired that the tones of a measure like (a) shall be short and detached, it may be indicated by placing dots under the notes, as at (6), or by using notes of a less value with rests after them, as at (c). The rests at c indicate the way in which the measure should be sung ; they do not cause a pause in the music. This is important, as children frequently suppose there must be a count or a beat for each rest ; but if they are once assured that in such cases the rests are not to be considered, except as affecting the notes, the difficulty is removed. (a) (6) (c) ^ Har. Fourth Reader. 25 RETURN OF SPRING. Ch. Ser. G, page 13. > Moderato. sites Robert Schumann (1810-1856). a -. 3 1. A joy - ful wel - come now we bring, Gen - tie, gen - tie 2. In glow - ing beau - ty all is seen, Gen - tie, gen - tie 3. We give thee wel - come with a song, Gen - tie, gen - tie *k= ii^ spring - time, spring - time, spring - time, Till Now In . -P '-^= hill and dale and val - ley ring, gay - ly clad in robes of green, our green val - ley tar - ry long, Gen - tie, gen - tie springtime ; For - est dell and fields a - mong, (ien - tie, gen - tie springtime; Sweet with -in our low - ly vale, Gen - tie, gen - tie springtime ; Joy - ful ev - 'ry heart and gay, Ev - 'rv-where we'll greet thee with a song, a mer - ry song. Greet the songs of lark and night - in - gale, and night - in - gale. Joins with us in our sweet round -e - lay, sweet round- e - lay! JT3- * * Triplets. Har. Fourth Reader. 26 Study of Rhythm To be sung first as four-part measure, an eighth note to a beat. Ex. 37. Ch. Ser. G, page 13. ?=^5 g^r [jE^ ^j^y ta --frf- ^L-^^3^ c== - *--* dy> * >* SB^E v _- J-1|J o=emM^ ^B -- f" Z2_ m =3= * ^pK p Ex. 41. * r I be, x - H S* ^ W 3f m m Mm ^^ II dgi 3 r-r-r wr^T ^^^i i =t ^ P^i The clef is used to show how the staff degrees are lettered. The G clef (2), which is a modified Gothic G, shows the position of the letter G. From this the letters of the other staff degrees are easily derived. The first tone of the scale (Do of the major scale) is called the key tone. The name of the staff degree on which the key note occurs is also the name of the key. Har Fourth Reader. 31 MEN OF WAR AT ANCHOR. James Smith. Gently. ? ^ i H r-i rt^J- -4-1 1-4- ^ P. SlLCHEB. H +-i iL fS . 1 _^ l =L_ _ SJ. J .U m *.jh < r f^ - a * m ffl* r \ 1. Lis - ten 2. State - ly 3. Sen - tries 4. Fit - ful j 5. Slum - ber n r to ships pace ^leam reigns r the are the the o'er foam - rid - si bea - gal - i ing ing lent con lant r waves there, deck, lights, hearts, O'er the Mon - archs Mid - night Dark - ness Famed in y <\ / ' s i i f(\ >\ I i * i ^ ) 4- 1 1 1 . -S- J- -4 S- 1 S 9 i J=^3=^ P ~^= P *=* * f^f bul of breez wide mar wark dash the o es sigh sur - round tial sto ing! cean; ing! ry; See, Mann'd Proud Hark! While mid hard a by ly in the might the Eye the y the y. that 1^ ^33^ % m *u=a j ^ 5fc II -* ^- r=^rT" r ' r^ r r r shades of night, sail - ors brave, murk - y gloom, roar - ing deep, nev - er sleeps r i Sig - nals faint - ly Fired with true de - Free - dom's col - ors Ev - er loud re - Guards our coun - try's flash - vo fly sound glo mg. tion. ing. ing! ry. II -*- ^m W 3 Mar. Fourth Reader. 32 Vocal Drill Study of Minor. ^^_=g3JjJES Ch. Ser. G, page 13. Ex. 42. *'4 4 #* S ^^^^ S? Ex. 43. & ^1 &5 = 3 S II Ex.44. =# ^ g^ ?= g ^H -* - Ex. 45. S ^ I Ex. 46. Triplets. tt fc ^^S mffl^^l ^fl Ex. 47. 2%e same groups in g. i^^^^^p^^s Ex. 48. It m^A tt T^= m- t * m =s P^E When we speak of the key of an exercise we simply mean that the tones of the exercise are to be found in the scale beginning on a certain pitch. Scales are either major or minor according to the effect which they produce on the ear. M. Fourth Raads' 33 THE FATHERLAND. Ch. Ser. G, page 11. Andante. Edvard Grieg. 9 m -t- ^L N ^ t= 1. O God 2. O King 8. Let all of Hosts, with Thy of kings, with Thy who toil just due strong hand pro - pure might de - re - ceive, let tect our homes and Fa - ther - land ! Be Thou our shield in fend us from all wrong and spite. When man with man shall him who hires true worth per - ceive ; Let strife and bit - ter S *=f 5E ^A W+ :=* *: ^ * 1 :S^=t^ ff rr. t W^ Ped. jsk^E^EJ: dim. II i =, war or peace, and guide our steps till life strive in vain, let all Thy peace, Thy mer mal - ice die with faith in Thee and hope shall cease, cy claim, on high. II i Q IT* s te=ds&==j= ^ i 7 I=^ "* *= ^ Hr, Fourth Reader. r ' > r r 34 Ex. 49. i PSfeB( Ex. 50. :& I ~C" Pf Ex. 51. f^ ife -^-tt-J- :=!= p^ fl i The key signature shows us where Do is. In the example below, the signature' being formed of sharps, we know that the one farthest to the right is on Ti, or seven of the scale. Going down from this we come to Do : Ti, doT The key tone being in this case represented by the staff degree indicating the pitch of E, we say this is in the key of E. By the key of E, we mean that the notes of the exercise are to be found in the scale begin- ning on the pitch called E, or as we say, beginning on E. Mar. Fourth Reader ONE BY ONE. Ch. Ser. G, page 11. Adelaide A. Proctor. Andante. . 35 i==i -r ^ 1. One by 2. Ev - 'ry one the sands are hour that fleets so flow - ing, slow - ly --EJ One by Has its *% W -*-- $ WP zf I one the mo - ments fall ; Some are com - ing, some are task to do or bear; Lu - mi - nous the crown and -.1 3EE^E -s*- 33 go - lllg ho - ly, Do When not strive to each gem is grasp them all. set with care. .[ I --- d ^"^ If there is no key signature we know that Do is on the third space, or C, and the exercise (if major) is in the key of C. If tones are used that are not in the scale indicated by the key signature, they are distin- guished by accidentals, and are called chromatic tones. Har. Fourth Reader. 36 NIGHT HYMN AT SEA. Felicia Hemans. Andante sostenuto. Introduction (to be hummed.) K. G. Thompson. ^ss^e wmmm. & *=*_ I I i i i ' Urn $+& =F=t ^t . T=t z -& &- -&*-? Hoi - low gusts Few and sad and d2: a ,c? 0- cres. , | s 1. Night sinks o 1 er the wave, Hol-low gusts are 2. Stars look o'er the sea Few and sad and m -- ~^r- + -*-** . cave .... Thro' the gloom are be When all else is J 4- w/ CT^3^ U. * m te^ * Sb.L^y-y^ g ; , gg^'-a r - - ^ ^= i sigh- ing, Sea-birds to their cave Thro' the gloom are fly - ing; shroud -ed; Faith our light must be When all else is cloud - ed. * ": fe str FJ==2 q :JZ*3%5 Sostenuto, simple, flowing, ores , crescendo, or .:_. gradually increase the tone power; dim., diminuendo, or , gradually decrease the tone power; moltorit., molto ritardando, much retarded ; a tempo, in same speed as at first. Har. Fourth Reader. 3? L? 3m$m$ cres. i <^PP 1 T PP O! should stormscome sweep - ing, Thou in heaven un - sleep - ing, Thou whose voice came thrill - ing, Wind and bil - low still - ing, tt 3S 3 11111111=! 4=^ i e 3 ^Ft r i t=t r r O'er Thy chil - dren vig - il keep - ing, Hear, hear, and save ; Speak once more, our prayer f ul - fill - ing, Power dwells with Thee ; / Efc SiPi =f* *- m ^ -^ O'er Thy Speak once jrrr O'er Thy chil-dren vig - il keep-ing, Hear, hear, and save. Hm Speak once more, our prayer f ul-fill-ing,Power dwells with Thee. ^^U=JJ=^ F^ I 1 ji ' tS> *-&> ^ chil - dren vig - 11 keep- Ing, Hear and save. Hm more, our prayerful - till - lug, Power dwells with Thee. . -J- II fS r^^Ti^P^^^^PF -s^- E^i^^ II ?'\>: s>- Htr. Fourth Reader. 47206 38 Lord Tennyson. Moderato. mf BLOW, BUGLE, BLOW. F. W. Jones. k k k u k lj 1. The splendor falls on cas -tie walls And snow-y sum-mits old in sto - 2. O hark, O hear! how thin and clear, And thinner, clear -er, far-ther go - 3. O love, they die in yon rich sky, They faint on hill or field or riv - ftf a=n 2=SJz==^i3^ *==&: 3^ cres. ip# Afefe^M ^=M^ki Ff=&=$ k k | k k k f U k ry ; The long light shakes across the lakes, And the wild cat'ract leaps in glo - ing; O sweetand far from cliff and scar, The horns of Elf-land faint-ly blow er; Our ech-oes roll from soul to soul, And grow for- ev - er and for- ev - i te=* W 3= -MHa ry. Blow, bugle,blow, Blow, bugle, blow, Set the wild ech-oes fly - ing. Blow .bugle, ry. Blow, bugle.blow, Blow, bugle, blow, Set the wild ech-oes fly - ing. Blow .bugle, ing! Blow, let us hear, Blow, let us hear The purple glens re-ply -ing. Blow, bugle, er. Blow, bugle, blow, Blow, bugle, blow, Set the wild ech-oes fly - ing. Blow, bugle, 3 m *-* 5> r mf 3=b : *=^i=F W=W- S i\* p hJ-J-x- r-r pp rail IsdEteEsk rrrr*w cres. ^ blow, Mow, bugle, blow, Answer, Answer, echoes, ^r^=5j=*==JH:3 r^zg-bzj^z^-Fjz=4z^H=q- | x-|l-r I echoes, dy - ing. II Har. Fourth Reader 39 l Dictation. Oral Review (Suggestive Exercises). 2 3 4 & I -<$<- -&- o; j2.\\ a 7 I bfe= s: ill z? ft^ ^? g> : g z ? "g" fy-g-f g II Written Dictation. The key is D. The signature is : 7u * = . Where is Do in this key? The meter is ?. What must each measure contain in ? meter? Where does the accent fall in ? meter? The teacher will call attention to the dotted note J. ^ J To familiarize the ear with this effect the teacher may have the children sing such examples of it as occur in "America." Flat seven, which is also introduced here, is represented by placing a natural (fl) on Ti, or seven of the scale : thus 1 > Te, ^ P^ppl P * ^ m &- 1 - ii ? Intervals. The difference in pitch between two tones is called an interval. Intervals are called seconds, thirds, fourths, fifths, and so on according to the number of staff degrees which are required to represent them. (See footnote, page 87.) Give practice in naming intervals from the staff. Illustration : Name these intervals : &"\ JZZ I V -s>- :^_ ^ S4- Note. In this exercise the pupils simply gain the power to distinguish intervals without reference to their character. The prime represented by two notes on the same staff degreo may be spoken of, and the fact that an actual interval may be represented by two notes on the same staff degree by means of an accidental, thus : Har. Fourth Readet i^Si 40 Vocal Drill Major. Minor. gPgj ^ ^l^ Ex. 52. * =, lti *-e=*t ^ II Ex. 53. Ch. Ser. G, page 9. Sifcrf *U* *3tt^ d=4: fc* ?* +~ ^a -v 22=2: x* tXWL Ex. 54. ^^ & -++ Ex. 55. '^ ^21 33 &l PSE3 'sa 3*: ^^^^^^1 Ex. 56. 3= ^EJ=feS "i 1 r* ^ v '~x f=r ** * =r - r- f ^r i i r - SlJlfcs ?#%# t3 ^ - * ^ When it is desired to indicate a higher pitch on a staff degree already hearing a sharp In the key signature, the double sharp is used (x). When it is desired to indicate a lower pitch on a staff degree already hearing a flat, the double flat is used (b(?). Hr. Fourth Reader. 41 NEW YEAR'S EVE. is Welsh Air, "Nos Galan." V i z i - m - 1 1 j^ I 1 s p P is k^-s I | &H: r J J 4J ^J* J- -* *b^ J=*^z ^jZ 1 1 _ 1. Hark! the sum-mons,come, my fel - lows, 2. Shep-herds,quit your cares for pleas - ure, 3. Toil and trou - ble lie be - hind us, 4. Quick.join hands, and foot it feat - ly, -0. f , Fa la la la la la Fa la la la la la Fa la la la la la Fa la la la la la la la la, la la la, la la la ; la la la, 7f-rn MB ' S N j N k 1 ' "1 1~ VT\ V * ' 1 d r j is J 1 J * \<.\) m m m m ' P * 1 * O fife = fs * J is 1 is 1 i h~cjr w "" ~0 * '-0 W ^y=^_ Crown your hats with hoi - Fish - ers, leave your nets Think no more of chan In the dance we ne'er f) IS ly ber - ry, and wher-ry, ces drea-ry, can wea - ry, Fa la la la la la la la la. Fa la la la la la la la la; Fa la la la la la la la la, Fa la la la la la la la la, y, ^ i i r"^ i r 1 1 1 is s p \ \ ~ W*f. * * J_| ~d m +-* J ^-r * J J. h -j f-j ^ 1 1 -0 * 9 J 1 L *-z w \r* J 4 V tef p t '0=^- Hark ! the peal - ing bells that tell us, Fa la la la la This must be a night of lei - sure, Fa la la la la While the well-known strains remind us, Fa la la la la To the harp that sounds so sweet-ly , Fa la la la la la la la la la la la la la la la la la la la la la la, la la, la la, la la. s=ft m 3"^ w ^ te^fe*! v- 'Tis the eve of new year mer-ry f Fa 'Tis the eve of new year mer-ry, Fa 'Tis the eve of new year mer-ry, Fa On the eve of new year mer-ry, Fa la la la la la la la la la la la la la la la la IS h la la la la la la la la la la la la la. la. la. la. ^ s ^ Mar. Fourth Rtader. 4 -0- -0- 42 ROAMING. Ch. Ser. G, page 13. Rev. Dr. Trodtbeck. Marziale, moderate. Franz Abt. -4--*- . \ 1. A- way 2. A- way 3. A- way let us roam, un - re-strain'd let us roam, a -way, a -way let us to the wood, to the storm-beat-en wood, a -way, a -way to the to the height.to the far loft - y height, a - way, a - way to the -0- -0- -0-. -* -J -5 *=:* 3=^ mf fe t roam ; wood ; height ; / i^^B h * Mi f g'l'f C g'r Pt::f l Where in vale and on height All is wondrous bright, Where with Where the tem-pest is high In the lu - rid sky, Where the Which by close-cling-ing mist We be- hold oft kissed, Where the mf i g W^^ ^=1 * =r let us roam ; Where In vale and where on height, All is to the wood; Where the tem - pest ris - es high In the to the height; Which by close - iy cling - ing mist We be- 31 S fX f i -* 0- dors sweet From the flow'rs we meet, Where the airs of Heaven o'er the meadows ech-oes sound Thro' the rocks a - round,Where the sun gleams down, showing red as lightnings flash, And the thunders crash.Where the sun shines out with a ros - y I W- : won-drous bright, is lu - rid sky, the hold oft kissed, be 31 p3 3g3=g ggg & ". ^* won - drous bright, lu - rid sky, - hold oft kissed. Two dots placed after a note increase its duration three fourths of Its original value. Marziale, martial, in the style of a march. Har. Fourth Reader. 43 come,A-way, a - way let us roam, let us roam, a-way, a- way let us roam, blood, A-way, a - way to the wood,to the wood, a-way, a-way to the wood, light, A-way, a - way to the height, to the height, a-way, a-way to the height. l^^j^pp^-EEi^iESS^i^^Ppil Harmonic Study. Ex. 57. BE^ ^P J 1 I ' J Hrt*t^ V t=p= P^ ES rt 3 < c?-. - SB rf*l Ex. 58. rt u s 5PjC tto-^- r : S^ - ^U" ^ E2 -C5f 3: d=d g^i te Har. Fourth Raadar. g L 3F E9 tz^^E^ =t -=JT I! 44 Vocal Drill. To be sung from higher pitclies. f^ 32 x- (fV^?"- Study of Flat Three (Contrasted with Three). Oh. Ser. G, page 18, Ex. 1, 2. Ex. 59. Ex. 60. igtl^ ^B Ex. 61. Ex. 62. ^^ W -^ ^rr^-Tj-i ii ii Ex. 63. ^ipil^3|^l^ a i^=^S^lH me, Ex. 64. 4fc g p%3 J J.J I I I I J jj l i *iHi W ' gg 1 F ffi^J.lj J JU d w U 1 J J j -^ 4^MI Ex. 65. ' (= i=f s ii Ex. 66. ^=-1 ftA a -< ^ bE3 II **: '^ Har. Fourth Reade- Ex. 67- Study of Minor. 45 !=jl=^=tii The scale beginning and ending on La is frequently used. This scale gives a minor effect and is called the minor scale. The key signature remains unchanged, however, so that every key signature may stand for two keys, one major and one minor, and it is by the tone effect alone that we can discover that La instead of Do is the key tone. If the La of a minor scale has the pitch called A, we say that the exercise is in A minor, but if B indicates the pitch we say the exercise is in B minor, if C, in C minor, etc. Hr. Fourth Reader. 46 THE LIFT IS HIGH AND BLUE. Ch. Ser. G, page 10. Dinah Makia Mulock. mp Affetuoso. J. Sneddon. gB3^JB^Eg=g=^^^=;fc^ 1. The lift is high and blue, And the new moon's shin -in' thro' The 2. Oh! the shearers that I see There's ne'er a ane kens me, Tho' I *W fi t- -q ft fc bon - nie corn aince kent them stooks a' o' at Strath _ air Strath - air iy; My An' this =&5 W- * fefe ^ gE^Ep j^ g=fe^^^E^EE^ ship's in Lar - go Bay, An' I ken it weel, the way Up the fish - er wife I pass, Can she be the bon - nie lass That I tdt : *= ^ *=fc -0- * *3f==& steep, steep brae met at the back ==3 i^^^^ Strath - air Strath - air =* * iy- ly? r-far-d When Oh, the -=1 # &=*=: Affetuoso, with tender feeling or emotion. Har. Fourth Reader. 47 I $F Q i^=i=i=^i S :=& I sail'd o'er the sea, land, the land is fine, A lad - die bold and free, The I could buy it a' for mine, My gowd 1 s I ^ i^P -w- i^ -*s>- p I p corn, the corn grew green yel - low as the stooks at Strath - air o' Strath - air i :&====&=: =t ly; When ly; But I -j. & _2 raW. r#d> ^ s: k r h ^- s ^ i /_ N _ * vj J J * s r >. - -in fc " * -f-^ ^-2 * - + - w d J I come back a - gain, fain yon lad wad be, 'Tis an auld man walks his lane, That sail'd a - cross the sea, Slow and When the / 1 i / b _ _ IS * s is ' s IS y~ P 1 -in 5 p J w * ^ r - ^ r I k * tr * J W * * " s * -0 V ^ ' f) h IS - ^ ^"^^^ - 9 - -r-' h* -pa ^ p m -Ul sad thro' corn, the corn the grew fields green o' Strath on Strath - air - air I- ly. B # * See Chart G. page 11, Ex. 3. Hr. Fourth Reader. 48 Harmonic Study; Ch. Ser. G, page 17, Ex. 1 and 2 Ex. 69. ^^ T&~- J^M II -0- -ar rat- Ex. 70. ) I- IT? rr y 4tf f f Tffl T f^ ^ /tfi I Wl i J ^ J I J ^ =*-F i t ) 4i -0 J -9-9-0-0 F- 8 h 1 i i L +* m -0 J -0-00~^- 1 -^ Jj rr^r H Ex. 71. a x :BET 2^: :sg :#*t==^ r r i- -*-* ^- r r -* ' i E * ^~ ^r|^. Hah *- g J , fi) 3S: fe ^ :*=>: m- e=p=r -a>-4-(* h: ^ * r*- =r=^= II --s *- II Many exercises begin in one key and pass into another. The change is brought about by introducing the tones of another key, shown usually by accidentals. We think of each succeeding tone of the ascending scale as higher than the one before it. The tones at the top of the scale we call high tones ; those at the bottom we call low tones. This property of tones which enables us to distinguish them by the words high and low, we have already spoken of as pitch. % Har, Fourth Reader. 49 IN THE ALPS. Ch. Ser. G, page 4. Cornelius Gurlitt. 1. Spar - kling gem of liq 2. Ver - dant slopes a - round 3. O'er the hill - side pas 4. Feel - ino-s born of beau ? uid bright -ness, de - light us, ture sound - ing, ty cheer us, Deep in While they Hear the Lift - ins: S :j^r -*- -r ~* * m^m^^m^: Al - pine of - fer dis - tant ev - 'ry 0^m m w moun - tains set, sweet re - pose; goat - herd's bell ; thought on high ; I- Lo! . their Wa - ters Hark ! Irom Heaven it & :- m ^ ? m t- sum - mits 1 fresh and rock to self seems w = a. *=i dim. m pure rock y in f^ r= tr=r white-ness Makes vite us, With bounding, Far near us, So thy the the waves more charm which dy - ing spir - its -iy ture love na - ech - oes up - ward 7" yet! knows. fell. fly! S^ w ^P^PPi =t =t ii The pitch of tones is indicated by the staff degrees as named by the clef. A note sep- arated from the staff represents no pitch. In studying the representation of pitch, therefore, we must study the staff, rather than the notes. Mr. Fourth Reader. 50 "W. HODGBTT. mf WHEN WILL SPRING RETURN? J. Frank Proudman. iiii^E C ' C ' r r f* ^ * ' rrfi * k U k U I LU T -f_i. When will Spring re-turn a -gain, The cold winds cease to blow? L -0 -0 * * ft:=S ;lte* S*S jh^/7 J te -&>- 'W=0- When will fer - tile show'rs de - scend, The flow 'rs be -gin to grow? u. m^m ^3^3 ^^=^F^^^^^^\ '! -*=$. fe^=i t M 1 0- i m J & m - - * ** f i k k k ' r . " U When will Win - ter's frost be gone, The snow all melt a - way ? *&= ? r d ? H :*z5zat i^EEE F^ P Hi =*Efe N S E E-T r ~ *~r ^-u t2=t ^ == := f ==z F fe I When will gen - tie, gen - tie Spring a - gain Her glo-rious seep - ter sway ? A ?' J J'J J-J*"?^ / J "^"" IP Har. Fourth Reader. 51 mf -a : * * Will the sun for- ev-er hide Be -hind the lead- en cloud, Will the *& ej r * ^^ sun for ev-er hide Behind the lead - en cloud ? Will the earth for-ev -er U pt ^3pi^l^SpS t=^r. I / r^M diminuendo. -V * fc* ' r" H 1 1- IPi := r^Er-p-t k u* k l | wear Her dark and dis - mal shrou.1, Her dark and dis - mal shroud, Her dark and !=i EEBE5E Zg Z^_ !feA Oh, how I long! Oh, how I long! dis I * *-' r~ p i * ' I 'w | mal shroud P Oh, how I long! How I long! =t & ^e$ee Har. Fourth Reader. 52 a4a -t* *- * N ^ t- How I long, I long to see . . That bright and hap - py day, -M ABE =t &* +=*! i*zM. T m ^^ =33 =**=i k k ^ ^ i* k How I long, I long to see . That bright and hap - py day u. P^EEf 3t=3t ^ f~** ^=^= * * 31 i*^=* *-- *-S ?P=? - ? * X- - 5-f =fc few. r J pj*>> When we can cull the flow'rs, the pret - ty, pret - ty flow'rs, == d^H ^ M: m f. fid z-rr- J- d^ F^dM^M ?c C fipP^pH When we can cull the flow'rs, the flow'rs that bloom in ear- ly May! SJi Bfe^^^ S :-/ *tirt~^ w g g * ten., lenuto, sustained ; give the note its full value. Har. fourth Reader. Dictation (Oral Review). 2 3 53 ffiy |u t^ M^^m^ K:^ I I >*-d ^p^B Written Dictation. The key is E. The signature is r^j frSr. Where is Do in this key ? The meter is % What must each measure contain in % meter ? Where does the accent fall in \ meter ? The features of this lesson are the divided beat and the introduction of the tone Si, or sharp five To familiarize the ear with the effect of the divided beat some exercises should be sung. Sharp five, or Si, is represented in this key by placing a sharp on five, or Sol, thus ih =* 1- rt:^ 1 Intervals ( Major and Minor Seconds). Ch. Ser. G, page 18. Compare Mi, Fa, Mi with Do, Re, Do sung from the same pitch, thus : I v m k m P=s=tf* I! Mi, fa, mi - l - o - do, re, do. Do, re, do. Mi, fi, mi. Compare similarly each second of the scale with Mi, Fa, Mi. Teach the children to sing a major second up and down from each tone of the scale. Sing major and minor seconds up and down in varying order from each tone of the scale and call upon the children to tell what, they hear. 1 2 3 4 5 i ii *5> sr I #*- II II ^fe=; 1 Minor seconds, up and down. Major second. Minor second. Each line and each space of a staff, with clef, is called a degree. Each degree represents a certain pitch. Many attempts have been made to settle upon a standard of pitch, which should be accepted by musicians in all countries, but the results are not entirely satisfactory as yet, though the variation from the standard proposed is but slight. Har. Fourth Read*'. 54 Ch. Ser. G, page 9. Ex. 72. -8 3 Study of Rhythm. WL Lf t^m & B^^ .. * II Ex. 73 I 3^==3 =* *+E M*j*zkL 311 3-- cs ' ' Ex. 74. J ^^ a a ^ ^ Ex. 75. fcdzz* *=* q=3=f J^e^e^: n-j-t 5=f S3:- * -^ 3^3EE5 -=l-*- = 1- I Ex. 76. 9 : fc =*=r Sfe ^ -3-*-^- *H-ah Ex. 77. ^ :l r rrr s *3=^ 4 .J! r-i 3^3 Let us suppose that the teacher, by blowing the pipe or striking the tuning fork, or piano key, gives the class the correct pitch for the staff degree called C _, and from this pitch as Do the class sing the descending scale; then each tone of the scale will be the normal or natural pitch of the staff degree on which its note stands. When no sharps or flats are placed on the staff degrees, the pitches which they represent are said to be natural, We speak of the key of C as the natural key for this reason. Har. Fourth Reader 55 yttt j n r r m -wt +- p *=d! S3 =^^r =1 i #3: J II Ch. Ser. G, page 15. Ex. 78. Study of Harmony. f Vi! r* tt=f E! J=^ mm at?: 2 F-^ ^ ^ ri=* ^ * fe* -++ sfc*: I * : ? BS ^=at fi C -*z ^^^&^=^0 Ex. 79. 3^3^; r* r IF ii 4 2 P 3td:3 s :3 ^i^^i ii@ ipzzzpc -! h ' = -*E*=^ pggllES&r=M^^ pgN*E=|: : l When sharps or flats occur on the staff degrees, they no longer represent the natural oi normal pitch, but a higher or a lower pitch, according to the characters used. Hr. Fourth Reader. 56 THE WHALE. (Ballad.) Allegretto. Db. Callcott. S B dte m ^ s^ *=* rr r r * f 1. 'Twas in the year of 2. Blow-hard it was our 3. And when we came to 1. Our mate up - on the 5. Our cap - tain on the 6. We struck that fish, and 7. 'Twas when the news to our 8. The los - ing of his- 7 r . ?-r eigh - ty - five, Of March the twen - tieth cap -tain's name, Our ship the Li - on that cold land, Where white snow al - ways top- mast stood, With a spy- in g glass in deck he ran, And a right smart man was off she went With a flour- ish of her cap - tain came, He call'd up all his 'pren - tice boy Did grieve our cap - tain 5 day, Our gal-lant ship her . an -chor weighed, And to sea we bore a - bold, And we were bound to the north-ern coast, To . face the frost and lies, Where the storms, and cold.andthe big whales blow, And the daylight nev - er hand "A whale! a whale! a. whale!" he cries, "And she spouts at ev - 'ry he "Ov'-er-haul, overhaul, let your main tackle fall, And launch your boats to tail; But ah and a -las! we lost one boy, And we did not catch that crew, And for los - ing of his 'pren - tice boy He . down his col - ors sore, But the los - ing of that great big whale Did grieve our cap - tain :' =t J=J^ mm i *=!*: f way, brave boys, With a cold, brave boys, With a dies, brave boys, With a span, brave boys, "With a sea, brave boys, "With a whale, brave boys, With a drew, brave boys, With a more, brave boys, With a rr^ 5 fa fa fa fa fa fa fa fa la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la, With a la, With a la, With a la, With a la, W T ith a la, With a la, With a la, With a Ballad, a story told to music. Har. Fourth Reader itm =x p i- m eM 57 r fa T I la la la la la la, With a fa ib=i J*. i la la, with * la I r la fa la la, With a fa la la la la. Study of Harmony. Ch. Ser. G. page 17, Ex. 1 to 5. Ex. 80. 4- i J i- (: I=t *=$ -&- 1K- B^H f=T^ m =t 5' <5 ^ J -4- P ^s: J- IS: & IZS2" II . =l II * -sp- -- Ex. 81. ' r f^EF^' II ^=1 |EEE^ES3=3= EEfeg The difference in pitch represented by two staff degrees is called an interval. The inter- val from one staff degree to the next np or down is called a step. The interval from one staff degree to any other not the next is called a skip. Har. Fourth Reader. 58 Psalm 146. / i?^^ J 4 I WILL EXTOL THEE. (Anthem.) RlNCK. .stzzpfc d *= i I will ex - tol Thee, O God my King, I will ex - tol . Thee, 5 m 3EE3E3 m- S> -0- wlll ex^ == w? U^J- j j-J i ^ * ^ -- &- I will ex - tol Thee.O God my King,and praise Thy name, and praise Thy i^EE^^^^z =t== j-L4- -h- 1 r-~1 3^=H=7 tol Thee, ex - tol Thee, for ev - er and ev - er, 4 P * *~w =a * * * -*=J -5* 1m-^- F * * - name for ev J -* *- =t er and ev - er, for ev - er and ev - er. 5 -m s>- 3 ._^_ for ev - er and ev - er, for ev s,. er and ev - er. / (9 0-&. 0. 0. ms 1 1 2_ f=P T tri r l i , I will ex - tol Thee, God my King, and praise Thy glorious name, and I s^ st ij -JZL iS=5 4=j Anthem, a vocal composition in the sacred style, set to words generally taken from the Bible. Har. Fourth Reader. J. y tp^=t 59 &= J=Je&3 =^ praise Thy glorious name for ev - er - more. All men shall speak of Thy might-y *=E 1 =1t < l * ^ * E^^ ^3 ==J=S e*- They J== i acts, They shall de-clare the great-ness of Thy mer - cy. The Lord is 1 ^ S ^=5 #-^r ^=S m The Lord is JE p jLr K |0 rs F 33 r-r. -2- r I? :p= g=i p2z; X=* nBtiat f= good un-to all that call . . up - on Him. I will ex - tol Thee, O I p -*-* ++*- *==^I ^3 t* good, im is good to all who call up - on Him. / 55fr F P iifeiibkii *-^-^ ra#. * 32: - ^ God my King! I will ex-tol Thee.O God my King! O God my King |^|Epi^^ ^Z^^ ||EJgg|p=l Har. Fourth Radr. 60 Oh. Ser. G, page 11. Ex. 82. Study of Minor. Ex. 83. Ex. 84. ^^S^Bii^^fe^SpB Ch. Ser. G, page 11, Ex. 2, and page 23. Ex. 85. Ex. 87. ^HEg ^fe^^ ^^E^ 3=*= -r Ex. 88. !rp:^Ei|3:te l^l^l *=^ -e^ Ex. 89. U *=: *=: =E=F sr BE i j-fej J r jlJ fJ_JJ-4^ ^ Pi s &jl^cz =* 35L 1221 SI II II *EE5^ -^ - d===T iN -j * *- Scale Ascending. t f < > * # Scale Descending. Hr. Fourth Readar 61 Ex. 90. Study of Minor. %^^M #* \2 m 4-- #* m &- 3^^i^ ?=m ^i^^E^EplE^ 22: II i 3E^E^^SI Ex. 91. /?\ * ^35 4zat ==t 3^pS323 x Eg^^g^ -t? 3: g^j^g^^gj^^^^tegfl &: s^^^^as The octave is a very important interval. The name is derived from the Latin ocio, mean- ing eight. Each sharp or flat in the key signature affects all the octaves of the degree on h. which it is placed, thus : Har Fourth Reader. - is understood to mean E 62 Study of Harmony in Minor. Ch. Ser. G, pages 11 and 23. Ex. 92. i K J^ J wf = F = Ff =s= ?r^*^ t> -q=^: ?* =j rnH : -0 ' 9- ES- S- EX. 93. v J m^ a EEEE E: ESS I I i m '-. * ^=P^~ ^Pf -- EE=JEEEEJ=EE ^ tJi SgSSB^ II & -9- *EEE 3= g^=Pl Are the exercises on this page founded on the major or the minor scale ? What chromatic tone occurs most frequently ? p, piano, softly; mp, mezzo piano, moderately softly; pp, pianissimo, very softly; /, forte, strong ; mf, mezzo forte, moderately strong ; ff, fortissimo, very strong. Hw. Fourth Reader 63 BLOW, BLOW, THOU WINTER WIND. William Shakespeare. E. J. S. Stevens. Andante. __ Blow, blow, thou win - ter wind, thou art thou art not so un 33EE5 -* ^ *N3^ ^2: =t=t -V* 1 hS -^- -s H I I I I I I kind . . As man's in - grat - i - tude, as man's in - grat i - tude. m -m- m pe^ees =t -SI- -K thou art not so un - kind as man's in - grat - i i&fe&i tude. s fe=F pp 1 T PF T F=pF I Thy tooth is not so keen be - cause thou art not =t ff*=5F g? . J ~9 *" Thy tooth is not /, ^ seen, Although thy breath be rude, al though thy breath be rude. t= ^S P^ttl gfe |p=3= = j ; keen be - cause tJiou art not seen, al - though Uiy breath be rude. Har. Fourth Reader. 64 SINCE FIRST I SAW. i Ch. Ser. G, page 4. P Thomas Ford. i mmti?mm m t - P : r" r S^ 1. Since first I saw your face, I re-solved To hon - or and re 2. The sun, whose beams most glo - ri - ous are, Re - ject - eth no be I f? BE . # # ' ^ * ^~0- jfar S =t ^ ^ (8JB a E* d=t g F f^rr *T-=rr nown you:If now I be disdained, I wish My heart had nev- er known you. hold - er.And your sweet beauty.past compare, Made my poor eyes the bold - er. i m jm^_ -3*=JL r What, I that loved.and you that liked, Shall ay -j0- ]cres. S atSTJfc j-^e ^m -4 ?=t= i you that liked,. "Mian we be -gin to Where beau - ty moves, and wit de-lights, And signs of kind - ness wran bind gle? me, I &=*= P * Jr >->-j-^ *# What, I thatloved,aml you that liked .Shall we be -gin to wran Where beau - ty moves, and wit de-lights,And signs of kind-ness bind gle? me, P f=F ^ t~t /J I rrrf * te* D.S. =F No, no, no, no, no, my heart is fast, And can not dis - en - tan- There, there, there, oh there, where'er I go, I leave my heart be - hind SB FT s:le. m i > * ^sfe=^ ^i=3 stir D.iS., DaZ segno, return to the point marked by the sign :g:, and repeat from there on. r/, rinforzando, increase the tone power. * A syncopation is an interruption of the regular flow of the music produced by causing the acceut to fall out of the regular order indicated by the meter signature. Har. Fourth Readr 65 Dictation (Oral Review). 2 II -& zg-hs?- "^ 2?-^' II -* 25T # -S< <2- -g g= II ^ <0 II II II * "*r Written Dictation. The key is F. The signature is E2y& Where is Do in this key ? The meter is ^ What must each measure contain in 3 meter ? Where does the accent fall in ^ meter ? The feature of this lesson is the following rhythm J/3, which is taught by the contrast with J"H The teacher should familiarize the ear with this rhythm by singing some exercises which rep- resent it. Intervals ( Major and Minor Thirds). Ch. Ser. G, page 19. Compare La, Do, with Do, Mi, from the same pitch, thus : 12 3 ^^m^^m^^^mm La, do, la, Do, mi, do, Do, me, do, La, do, la. Compare similarly each third in the scale with La, Do, and Do, Me, and tell which are major and which minor. Sing thirds, major and minor, in varying order and call upon the children to tell what they hear. Thus : .1 2 3 4 fv II % II -<5>- -& -&- -&- -<9- ~&- If major and minor thirds are sung from the same pitch, the difference is marked ; thus, sing: Har. Fourth Reader. r> *= !>* I! 66 Study of Rhythm. Vocal Drill. To be sung from, various pitches. Hfc*u I I | I | | I I i i i / #Va ! I I i i i i I , I S^gS _3 - f^i! =^z^ =ttrJ=*. -*r+ Ch. Ser. G, page 13. Ex.94. E|^l^^i^^-^|^^^^^^^|1 Ex. 95. <-h ^_ g^ _g ~g 1^1^^ l^j Ex. 96. 3E^3E ^p^ ^E ~N 1 Ex. 97. f3* 1 b. 3=3==i :4=^: -e^ ntz^z -gJ- 3tZzJ V Ex. 98 * fc^^l 3_ *=ft* i_ig - 1 X 1 j_. ru T . (~"3l3 5_i ^SEdE- -* =i- II The rhythmic and chromatic teachiig of this section is fully presented and explained in Chart Series G. T'.ie teacher should open each lesson with a study of the chart exercises which illustrate the difficulty about to be taken up. * Three beats to a measure. Har. Fourth Reader, 67 Et. 99. Study in Rhythm. H. r r * * -\- i* i ^P= $ n a- ^^^=^^S I - F- S^ ^=^1=^10 =t==t=f= i^s^ :jf*= ^ J J ^ i 1 X I! Ex. 100. 5 ==^ S ^^f ^^g zffi -s>- =t g^^^ I fi^^^^^^^^m *=p := - g? rJ IB tzfezz: :zis2: j^ jrjj-jgj^g^a HH When several notes are to be sung to one word or syllable, the notes are united by a slur, thus : Har. Fourth Reader. see . The 68 ROSE! WHAT DOST THOU HEAR? Ch. Ser. G, page 11. Felicia Hemans. ii^ *c . 1 . Rose ! what dost thou hear? Brid - al, roy - al 2. As an ea - gle soar-ing Through a sun - ny ffi 1 rose ? sky, > d ^ yt d: =1 .. How, midst grief and fear, Canst thou thus dis As a clar - ion pour-ing Notes of vie - to close t * -h. :zj: ?d2=3t :f=F t=- ~e^ F=t= : That fer-vid look of love Which to thy heart leaf glows, That So dost thou kin - die thoughts For earth - ly life too high, So y?: ^^^Hf *=4 ^ ^ EE t= ^ g^j fer - vid look of love Which to thy heart leaf dost thou kin - die thoughts For earth - ly life too glows ! high; 1^3S Fr^T^^gB s =E3 E 3 * ~ * =* -*-- Har. Fourth Reader 69 m * * i*=^r- Rose ! too much ar - ray'tl For tri - urn ph. - al hours, Thoughts of rap - ture flush - ing Youth - ful po - ef s cheek, =1 i =*- mm Fourth Rcaoat 70 THE SILVER SWAN. Orlando Gibbons. I (Si =t S3^ ' g I The sil - ver swan, who liv in had no I ffiE :< S^ ^ -33=^ ^=1 The sil - ver swan, who liv - ing, liv - ing had no a ffi^ =t zzfc: The sil - ver swan, who liv ing> had no i &=? V=t r -++ note, When death ap-proach'd un - lockMher si - lent I $=F v P^^^=^ 3 s?_ note.When death approach'd un lock'd her lent I m -=- F^P^E^F^ fa note, When death approach'd.When death approach'd unlock'd her si - lent 3 r P T& > . g p!EE? I* F throat, Leaning her breast, lean - ing her breast * ' a - l : *=*-=F=^=E r E a - gainst the reed - y f T r Lean - ing her breast a - gainst . . the reed - y shore, W=& throat, I r- *z=jL sn 3 h r *=*: throat, Leaning her breast a-srainstthe reed shore, Har. Fourth Reader 71 /.. 2=E -F 3=^^s^3=3 i shore, Thus sung her first and last, and sung no more: Farewell, all : =*=*=Ce3 Sung her first and last, her first and last, and sung no more : Fare- S : = ==|: 3=t -*- * w-r~ai - -+-9+- Thussung her first and last, and sung P. no more : Farewell, all / &=*=t : S? ^e^s joys, Fare -well, all joys, O death, come close my }} ^^ fe F ^m d= *=^ -- It=E well, all joys, O death come close my eyes, --'- 1 t=tzj* M joys O death , come close my eyes, 1*. 2= -# r*^ m- --t=& II eyes, More geese than 8 wans now live, more fools than wise. / q^J S3 More geese than swans live, more fools than wise, more fools than wise. & i * :s2_ uZM ^^-T More geese than swans now live, more fools Har. Fourth Reid*f. II than wise. 72 Study in Harmony. Ch. Ser. G, page 17. Ex. 101. 3^^5 3^S3E5 II s=p tru- =t o. The G clef indicates the position of the letter G, P% g The clef itself is a modified Gothic G. The letter above G is A, and the one below is F. The letters follow in alphabetical order, but only the first seven letters of the alphabet are used : jji It has been found that all objects which emit sound are in a state of motion. This motion is called vibration. As the rapidity of the vibration increases, the pitch of the tone rises. The scientist Helmholtz found by the use of fine instruments that fewer than sixteen vibra- tions a second produce no sound that the human ear can detect, and that from sixteen vibra- tions a second the tone steadily rises in pitch, until at thirty -eight thousand vibrations the tone is again inaudible to the average human ear, though certain animals have been found to hear sounds produced by a still higher number of vibrations per second. For the purposes of music the tones produced by not fewer than forty nor more than four thousand vibrations per second are employed. Har. Fourth Reader LADYBIRD. 73 Andante. cr ^0. ^. ^. ^0. 5? Come, Go, Fly, K. La La dy bird, bird, bird, and fly a i==*r=^ * sit home, cross you fly the down home, hedge, Up Tis To on my all on neigh - bors as: 1 3 J \+. + 35 i~l 5- > P f^T hand, up - on my hand, fire, your children cry there, to neighbors there, Be sure I will So sore-ly, oh, Be sure they will r5*T< r r ?? * not harm you ; I could not so sore-ly! The spi-der not harm you ! They could not I I^^^IF^-^ s E^iiJ ta: 3 ; =^ iEEfefe T f* * f. u r l u d*= u# ^ " - k U* ^u hurt such pret - ty things, I on - ly want to see your shin-ing spins them round a - bout, Go, La - dy- bird, and take them hurt such pret - ty things, They on - ly want to see your shin-ing # =*E =t pczzt 3 1* m <5 ?=3 =f 33=3 ;- Sl P^fT^ r wings, Your shin - ing, out, Your chil - dren, wings, And greet them, your your and shin - ing chil - dren greet them Wf r wings cry all so so so pret - ty ! sore - ly ! pret - t y ! Har. Fourth Reader si^fs^r^f 3= II 74 Minor Study. Vocal Drill. Minor. _ , i i I i. Ch. Ser. G, page 11 Ex. 102. '*! &S d= J m 3= Ex. 103. iEg^p^^^^sy^^ Ex. 104. Ex. 105. EfHiPii *a t^ P^3=33^ Ex. 106. -+ J.J** ^2 ^^"-n-i Ex. 107. 3 m||=S 59 fe Ex. 108. Chromatic Study. Ex. 109. Ex. 110. '-2 :j2 l= * gfe^^fe^a Ex. 111. Ex. 112. Ex. 113. |g^ g=Bj|^ ^ g=Hg| ^^3^i pp Har. Fourth Reader 75 Study in Harmony. Ch. Ser. G, page 16. Ex. 114. a ^S zz: * =?5 "'* II ^r-r+^P^^r^ r ^P^f i ii ^ si ^9=? S i s- Ex. 115. aggfe iie It has been ascertained by careful experiment just how many vibrations per second will produce each tone of the scale, and a rule has been found by which the vibrations for the other tones of the scale can be found from a given pitch. Thus if we say that cf is produced by a body vibrating at the rate of two hundred and fifty-six times a second, high C five hundred and twelve vibrations. Har. Fourth Reader. will be produced by just twice that number, or 76 ROCKABY, LULLABY. ( A Cradle Song.) J. G. Holland. pp ( Closed lips.) H. ERNE8T NlCHOL. 1. Rock - a - by, 2. Rock - a - by, 3. Rock - a - by, ( Closed lips.) I lull lull lull 4 i I J- i J 1 i a - by, bees in a - by, rain on a - by, clew on X the clo - ver! the clo - ver! the clo - ver ! r *== =* = 2E 3=3 - 9 m- m- Croon - ing so drow - si - ly, cry Tears on the eye - lids that wa Dew on the eyes that will spar ing so ver and kle at f T low ! weep ' dawn m j 2~ t & Kt -i=t Rock - a - by, Rock - a - by, Rock - a - by, V lull lull lull ^* dear by, by, bend by, dear -* E- lit - tie ing it lit - tie rov o rov v- er ! ver, er! =t r- 1 - Har Fourth Reader 77 :=&=^: if ^ If > f Down in - to won - der - land go ! . Down on the moth - er world sleep ! In - to the still - y world gone ! Ik jj," * if if ^ i* Down in - to won - der-land, Down on the moth - er world, In - to the still - y world, Down to the un Down on the oth In - to the lil * * y u der - land, Down in - to er world, Down* on the y world, In - to the If won moth still der - land, er world, - y world, i ? 3= ^ i * ^ :=* f Down to Down on f ^ ' If if if k the un . der - land, Down in - to the oth - er world, Down on the - to the If won moth still q 1 der - land, er world, y world, v r won - der - land, go, O oth - er world, sleep, O lil - y world, gone, O go! . sleep ! gone ! Har. Fourth Reader. 78 FAITH. F. StLCHER (1789-1860). kk d=* I I f f t =t=t r r What joy on earth is sweet - er, What hap - pi - ness so great, As un - to God our Fa - ther, Our lives to con - se - crate ? &3^ 3==t 3^^ ^ d _ -j .J! h=t 'mm^m^kB i We know that we are near Him Wher - ev - er we may rove, For fci5 -- 3=i=t=s^ ^ p s 55 Spa *^^ though no eye can see . . Him The heart can feel His love. s/ I3EET: i=3^^^3=j^=| mm If we remember what we learned about the octave, we are able to understand why the natural is used in this case when we wish to make the staff degree represent a higher pitch n ^ . The flat which is canceled by the natural appears on the octave of the Sol, fl, sol. staff degree affected. Har. Fourth Reader. 79 Dictation (Oral Review). 2 8 221 =feE^^|iE?J= ? 1K1}* II -** -^ I Written Dictation. r$% 3 The key is G. The signature is F gj- . Where is Do in this key ? The meter is q. What must each measure contain in ^ meter ? Where does the accent fall in ^ meter ? i A z&. sS ~ =MB ^^T^ g^^ ^^-^ : : feH i Intervals (Perfect and Augmented Fourths). Ch. Ser. G, page 20. Compare Do, Fa, with Fa, Ti, from the same pitch, thus : II II #* -&- -&- -&- -&- *= Compare similarly each fourth in the scale with Do, Fa, and find if possible the aug- mented fourth, and then sing the augmented fourth from each tone of the scale, and a perfect fourth, where the augumented fourth would naturally appear. See Chart G, page 20. Note the tendency of the voice to progress to Do from Ti (Fa, Ti Do ). Note also the tendency to progress to Mi from Fa ( Ti, Fa Mi ). This tendency to certain progressions or succession of tones in melodies is called voice leading. In good melodies the voice leading con- forms to the natural tendency of harmonic movement. Sing to the" pupils repeatedly until the interval is instantly recognized, such combinations as the following : 8 (Two voices.) ga3-jr Note that the effect produced by combining these tones as in 3 is one of finish or ending, hence we may look for this interval at the close of a phrase. The pitch of D will be found by multiplying the number of vibrations required for C by |. E will be found by multiplying the same number by f, F by f, G by g, A by , B by y, and C by 2, as previously given. Hr. Fourth Reidr. 80 Chromatic Study. Ch. Ser. G, page 17 Vocal Drill. Ex. 116. Ex. 117. g . J , I Lfefe^ * *- ? h li^^Ui II Ex. 118. =& t=f Ex. 119. ?2I P^=E b ^ -+P~ II Ex. 120. Ex. 121. ;^sii Ex. 122. ^Ip^p^^S =J=ta Mi, fa, mi. Sol, la, sol. Ex. 123. spig^i^ri The first note of any scale is called the key note. The staff degree on which it occurs gives it its name. Thus a scale having its first note on the second line would be the key of G. o ^ 1 If the staff degree on which the first, or key note, of the scale occurs bears a sharp or flat in the key signature, the fact is indicated by adding the word sharp or flat in giving the name of the key. Thus a scale beginning on B (third line ) in this case p yftjk-gg => ^--^ '-^Y - f> - J^ J w- EEEE II trou - ble free, Oh, what joy to be out on the sea! t^S ~ == H :i: I s II Htr. Fourth Reader. 84 Con molo. mf -em FORM OF PUREST SPLENDOR. Felix Mendelssohn. t: 3 *= * 1. O form of pur -est splen-dor To mor-tal sight re-vealed; "Whose 2. To thee shall ev - 'ry na - tion One day their serv - ice bring, While ^^^EEJJEE^ 3^ ac-eents soft and ten- der Tlie sweetest charm can yield, The sweetest charm can dark dis- sim - u - la - tion And er - ror far they fling, And er - ror far they yield ; Thy love-ly face we see, fling. Then peace, and rest, and joy O Truth, and bow to thee. Shall hap-py hours em-ploy, S \^8-. :*=: m = m -4>- N^ ! ^ R :* 1- - * * > -*** O Truth, O Truth, and bow to thee, and bow to Shall hap- py hours em-ploy .Shall hap-py hours em / :*: 5t 2rf :*=: To thee we ev - er ren-der Our hom-age full and free, Our hom-age And storm-y ag - i - ta-tion No more the world an -noy, No more the Our horn - age full No more the world and free, Our an - noy, No Con moto, with motion, not dragging. Har. Fourth Reader 85 ? SS ~\ i F- dim. pp N ^ g^^Pa full and free, Our homage full and free, Our hom-age full and free, world an-noy, No more the world an - noy, No more the world annoy. i^^ l=E d ^ ^=s ^% m hom world age free, an - noy, Study of Rhythm. Ex. 126. Ch. Ser. G, pages 15 and 16. m & -_ \-rn- 33 i i PfS&- S:3: K -n Wj jLQ J ifl f=X; zzins: r*-h :jfc*: tr sjH" Sill r rr r- F Ex. 127. Iii^i^^^^^^pn =t ^ 3h* I ?|*^iEg~ Hr. Fourth Reader. 86 BY THE BROOK. 1. On ward gen - tlv still be flow 'i. In the shades with flow'rs A - houl, 3. May thy niur - mar low be bring Andanlino. ing, us, ing Franz Abt. Brook, that Brook, we Friend - ly f>& 1. On - ward gen - tly still be 2. In the shade with flow'rs a 3. May thy mux - mur low be =fc =te x dost be - side . lay us down sleep our eyes . P me by to wind, thee ; close ; -fri -1 is * N * - *= - 1 t- F ^"~ =jy- in flow - bout bring f- -V ing. us, -ing Brook, Brook, Friend - 0~r that we dost lay sleep i be - us our side down eyes me by to h - -f wind, thee ; close ; 1 ^5= Through the Have not And the = 1 - -0 J 0~ -m- ==* -J HZ^ 1 fS- * mead 'ry thy Joy be - side Through the flow . Have not thou .May the birds ores. ^^ ows go with - out thee sing ing. Bend thy us, Glad as ing Give the m flow . thou . birds =s=* r flow - xy mead - - ows go thou thy joy with - out birds be - side thee sing d ing, Bend thy us, Glad as ins: Give the 3? ifc^E 'ry thy be mead side ows go with - out tbee sing ing, Bend thy us, Glad as ing Give the Har. Fourth Reader. 87 it course thou . wea the wood to find, art let us be, . ry heart re - pose, 3* =t course the thou art wea - ry wood . let . , heart , =Jt to find, the wood to find, us be, yea, let us be, . re - pose, the heart re - pose, Thro' the flow - 'ry mead - ows go Have not thou thy joy with - out May the birds be - side thee sing =T ing, Bend thy us, Glad as ing Give the i ~ r TT<> * JL g^ ^ I H r $ t i i <9- -1 mm course thou . wea the art wood to find, let . us be. . heart re - pose. 3 I 3=* 3^5 course the wood thou art let . wea - ry heart 3=3F to find, the wood to find, us " be, yea, let us be. re - pose, the heart re - pose. Hr Fourth Reader. 88 Vocal Drill. To be sung from higher pitches. |j^ ^ |gE~^* ^-HN l Ch. Ser. G, pages 11 and 13. Ex. 128. Ex. 129. =* ^^ ^m Ex. 130. Azitzt pgg^^g ^^eJ==3 *- 3 a*--*-* a II Ex. }31. 3ES^3 3^ ^g^E -8 S z^jt >- f mi The interval from any tone of the scale to the next above or below is called a second; but if we examine this exercise we shall find that seconds are not all alike, I :jt=^ ?o =*== for no chromatic tone can be placed between three and four or seven and eight of the scale, or in other words, the staff degrees lettered E and F, and B and C, represent pitches nearer to- gether than the others do. If 256, the vibrations required for C, be multiplied by f we have 288, the vibrations re- quired for D. 288 256 = 32. If we m lltiply 256 by f- we have 320, the vibrations required for E, or 32 vibrations more than D. But multiplying 256 by f we have 341^, or the vibrations required to produce F, a difference of 21 1 vibrations, showing a lesser difference between E and F than is found between the other tones. Fowth Reader- Study in Rhythm. 89 Ex. 132. Ch. Ser. G, page 15 ^E^-t**- Ee3=PeJ Se 3=q ^ S>- :^z 1 1 ^ -j-i-*- 3=S ii==ZZ ll S "* #" Ex. 133. Ch. Ser. G, page 18. 8 fi II 2 ^=* -*-* 3E r- M= ^= s* *^=W- ^ 5 ^ ^EJEEEE^i^^g q: fT * 3 P fep=T5- E^I^p^3=2=I ^ -j # Hr. Fourth Reader. 90 Vocal Drill. Ch. Ser. G,.page 7. Ex. 134. S^ m d J^-r-i ll II ^=E=F f T I P 2 WW* i?-*- Ex. 135. -a =Z&1 =k 3^ H"j- *fe m s ^ iHU Ex. 136. I P* SES^^EE* r^ 3fc fcfi: =l==l -i *=3=^: d^5 H3 r ~4 asT 1 fl r I II p :5= as ir* *-*- ^k i ni ~ -A- -^- ir + *> ' %- The seconds between C and D, and D and E, are called major or large seconds, while the seconds between E and F, and B and C, are called minor seconds. Har. Fourth Reader 91 EARLY SPRING. Ch. Ser. G, page 11. Andante. Robert Schumann. -j* a, = ^t -i* ^ i* *i-i ' * 1. O ten - der green of ear - ly spring, On trees and hedge - rows 2. O sweet - est hue of Na - ture's dress ! O prom - ise bright of 3. And when a robe of liv - ing green On long - hid fields a 4. When life is sad and drear to me, And friend - ship fails in =|t rfic ==ft r* =* =* mf ^ I* ^ :?=* -* + p*-- 5 w 2 2 s s bios -som-ing:Wel-come to me thy beau-ty rare, Wea-ry of win - tei-, fruit- fulness ! How ma- ny hearts will gain from thee Hope of a fu - ture, gain is seen, Then from the ice - im - pris-on'd soul Oft will its chill - y sym - pa - thy, Na - ture a se - cret balm can give, Help - ing her wounded ^f^^P^-^*%te?=S :|S=fc: P bleak and bare, fair and free, bur - den roll, child to live, ^ k ry of win Hope of a fu . Oft will its chill ter, bleak ture, fair y bur Help - ing her wound - ed child and and den to bare, free! roll, live. When we begin onr scale on Do we place the minor seconds between three and four ( Mi, Fa) and seven and eight (Ti, Do) without any thought about it whatever, and the scale which we thus give is called the major scale on account of the arrangement of the seconds in it. Hsr. Fourth Reader. 92 Allegretto, SOLDIER, REST ! James Thomson. >ol - dier, rest ! thy war - fare o'er, [unts-man, rest ! thy chase is done : llW j-i r thy thy Sleep While tlie 5P* j, jJJ^j a'J.'J' J-U j, m -* aF = -h- ate :^c 71 *=* r~T* sleep that knows not break - ing. Dream of bat - tied slum - brous spells as - sail ye. Dream not with the f-4 sr FIf^ w ' -L. * 1*1 Jfc=fe f5? , r-r ^W =t fields . no more, ris - ing sun Days of dan - ger, Bu - gles here shall 3= * *. d. W =1 =i=d=fEgB Days Bu of dan glesliere ger, shall nighte, . . sound, . . yyfee^ #? 1 r nights sound 1 r =3= 1 J.gn ->-=-> of wak-ing, of wak - ing. re-veil - 16, re -veil - le. d 1 J In our isle's en - chant-ed hall, Sleep ! the deer is in his den ; a ~ J -^ * - * W Y d nights of 3ound re Har. Fourth Reader. 93 1 p p H~W~ Hands un - seen thy Sleep ! thy hounds are -T3-J* i -f^-4 -j~ f f 4 4 ! ^E t ^ i i couch are strew - ing, Fair - y strains of by thee ly - ing ; Sleep ! nor dream in rau - sic fall, von - der crlen =f Ev' How- ry sense in slum thy gal - lant steed ber dew - ing, lay dy - ing, ^=5=^: fv 3- m i=& l^=JF dfe &>. ' <5>-r jj Ev' - ry sense in slum How thy gal - lant steed ber lay dew ing. ing. 3==3=^m **= Ev' - ry sense in slum How thy gal - lant steed PP ber lay thy thy Gh-r dew dy war chase -S^- ing, ing, fare is S * 3? fe^S^ Sol - dier, rest! Hunts - man, rest! thy thy war - fare chase is 1X1 3-3 g- -3-3- =i* 3-3- -33- = -3-3- dew - dy - Har. Fourth Reader. ing. ing. **- 94 *$EJEi J^i ?m?m o'er, Dream of fight - ing fields done, Think not of the ris no more ; ing sun, *t *: * as ^S 3 la If*- SEE* see > J- -^ H*E * *: r Sleep the sleep that knows not break - ing, For at dawn - ing to as - sail ye 3^^ w -=r =t S ^3== Solo ad lib. *fcfe toe A XT Morn Here -i a hp * * of r I d^F*- 3^- toil bu *fc nor night gles sound f tr- of wak - ing, re - veil - le, -=( =- ==r= g^3Eg . 355^f 1 1 pp 3?3 ^H Morn of toil, nor night of wak Here no bu - gles sound re - veil ing. 16. . ^Sfe^^3^^ d^g^g -x * Har. Fourth Reader. 95 Dictation (Oral Review). Pupils name the intervals which the teacher sings, after the tones are named. 12 3 4 5 6 7 i=lpi=[]i^i|sll^| m II s 10 -& a- \?$EEk- p^Ks-^r iks. II 11 12 jza ^g^ l 13 14 15 16 II II II II : T- 1*- srll-s=- iH^ 2Z? =22- Written Dictation. The character called the natural or cancel ( jj ) is used to remove the effect of a sharp or flat that precedes it. If, for instance, we wish to remove the effect of a sharp, which causes the staff degree to represent a higher pitch, we apply a natural ; thus restoring the degree to its natural condition. If we wish to represent a still higher pitch than a sharped staff degree indicates, a character known as a double sharp ( x ) is used. The following dictation exercises are intended to illustrate the principle. The key is E. The signature is The meter is ?. Te, or flat seven, is produced by placing a ton the staff degree which stands for Ti, or seven of the scale, thus : p y ( |JLQ g i The natural Te. thus removes the effect of the % in the signature. Ri or sharp two is indicated by the double sharp x as this staff degree already bears a sharp in the key signature. F^Mta <* 4 x# U Pipilii^isliH B B| ^g^=3^ .(,*- ffe gife^i J&1 -' & tt: II Kar Fourth Raider. 96 Intervals (Perfect and Diminished Fifths ) , Compare Do, Sol, with Ti, Fa, ( see chart G, page 21 ). 1 Compare similarly each fifth of the scale with Do, Sol. But one diminished fifth will be found. Its effect is so marked as to be unmistakable. Note the tendency of the voice to fall back on to Mi ( Ti, Fa, Mi ). Sing the interval in the opposite order and note the tendency of the voice to move from Ti to Do, ( Fa, Ti, Do ). This tendency of the melody to progress in certain directions must be regarded in original writing. When melodies conform well to these leadings, as they are called, the effect is very satisfactory to the trained ear. Sing to the pupils repeatedly until the effect is entirely familiar and can be quickly named. 1 2 3 ( Two voices.) *> S|ti#pi The effect of close or ending produced by such combinations of tones as the above is called cadaence. Variations in the minor scale are made by means of accidentals, and major scales may be modified by accidentals so that while Do continues to be the key tone, the effect of the minor scale is perfectly evident. Rhythmic Study. Ch. Ser G, page 15. Ex. 137. 1- EifM; ~(S=ZM *st 1:22=5=: Ex. 138. ign^s I 8= -4 *^* zt m m d _ J ft =4 igppiigiigSS Taking the scale beginning on C, and considering C to be Do, descend to La, and taking that for the first note of the scale, sing to La, and note the effect. m m ^s> a g=gE Z2S>Z -**-*= a-cr &1=L :=>-*- ~i"P c~ g-p - The difference in these scales is due to the arrangement of the minor seconds in them. The second or La scale is called minor. Whenever the position of the minor seconds of a scale is changed, the effect is felt at once; and we usually recognize the change as being from major to minor, or minor to major, as the case may be. Har. Fourth Reader. 97 WANDERING. (Rhythmic Study.) Joyfully. Franz Schubert (1797-1828). i==^^^^i^^^i^ To wan - der is the mill - er's joy, To a little louder. softly. :fc -*-*- J * - * f :f=*=J: der, to wan - der. He must a wretch-ed fe=g=P^f^ q^Mh * :fe *--*=^=^==^Hk - * *- ^ ^^^ jEE mill - er be, Who nev - er cares the world to see, To sq/%. -0- m -+- :^^ =B ^t wan - der, to wan - der, to wan - der, to wan - der. Ex. 139. =a=t ^33^ = 4- 1 i -* % * =1- r^trr^f- ett 5 * si * =1- ^F^F 3^* vfe- R ^ ^ -^ ulj r fr r- i II =t M ssi*" =?: Har. Fourth Reader. 98 Vocal Drill. UgJzJlJ^JJijJI Ch. Ser. G, pages 11 and 17. Ex. 140. Dl, rl, me, ra. Antonio Caldaba. ^ f= t= E33^i 2SZZZI tJN t=*3 3= M=r- =&=t gffi * m Ambhozio Minoja. ^fe^S^l ^ =t =F -*-^ E j pjY r-^^^ -* -- 1 ^-o- e>" II II c - # i=4 it* ^ g=^ f-- ^ | -*- Hpi -js^- E2 -e>- ** m We found that in the normal minor scale a minor second occurs between two and three and between five and six (counting La as one of this scale). This arrangement of minor' seconds is varied frequently, and another minor second produced. Thus the seventh tone of this scale is frequently indicated by an accidental so that a third minor second occurs between seven and eight. Employing this tone increases still more the interval between Fa and the next tone above. This interval was already a major second. Now it is more than that. It is called an aug- mented second. This form of the scale is called the Harmonic Minor. It contains three minor seconds. n f 3^ Har. Fourth Readti 99 Study in Harmony. Ch. Ser. G, page 13. Ex. 144. ,-tt &=*: "^ r >" 3Ea3=g=i L - u &^=|= ^-^^^ -4 -=**- * vTl Ex. 145. i feSaai m - *+- J=r^J ' J_i_J II I! -* iiJ i + ^-i- S2 4 r, r r p i . -r^ 1. Heav'n-ly Fa - ther, hear our cry As we bow be -fore Thee; 2. Keep us through the com - ing day With its work and pleas - ure, ate ! .w. .m -j- J- 1- W # 3=5: mf =t d2==-*=i=d I J K -=5- sfe* .U^ J' J. F Thou didst bid Thy chil - dren come, And we would a May we learn to love Thee more, And Thy word to - dore Thee, treas - ure. < fe* 5 s> =t 5 3=3 ^=^=* **- /j. J* J i J- Z>j i j. > J J r -| i c r E r-r f g f z==^= r Through the watches of the night Thou didst guard and keep us, =Jfc=t ^^P^. w- -* d :gf < * i ces. , i I - i ' T i ^rT-r cfo'm. Xow we sing our morning hymn, So loud and clear, O Fa-ther,lend Thine ear. rg-b" did d I J = t^t-^- d- 3=*! H 5 ==:: F ' t f : I! Har. Fourth Rtadtr 101 Vocal Drill. To be sung from different -pitches. Ch. Ser. G, page 14. Ex. 147. ^m^Tfffr^ r rrir j r_gg Ex. 148. ^^S!Hp^lpiS^rf3 i-j^r I I :^zzjfc gl^^^I Ex. 149. ffiBE =R ^ fa rjr jju J=g ^ g 3E^ a 63ESfc* ^g Ex. 150 ^pg^^^^pg^l The effect of the melodic minor scale, page 102, can be easily produced by a slight change in the major. Thus, if we consider the note which is La of the key of C to r -pi 4- n be Do, we have the key of A. . -|p p _ ^zegn By using a lower third tone we have precisely what was represented before without any key signature. Thus : k* Both representations should be familiar to the pupil. Har. Fourth Rader. J gives the same effect as :ffi _ ^^ ^ 102 Ch. Ser. G, page 13. Ex. 151. Study in Harmony. item& = T&- :=T lie m & --i=* m 1^^E= -pa. *2 ^Pl ;* J- ^? i ~ !zzaL -mj- w m Ex. 152. fen ^fe^^^^El gggEjg -* - ^HH^^t^^ Ex. 153. lN : * X- 3fc31! :;;*- |i^^^|-=^^S^^^P I ^szjfe This scale is called the melodic minor. It will be noticed that the sharps are not used in the descending scale ; so that the melodic minor scale is really a combination of two scales. The method for teaching this scale is fully illustrated elsewhere. Har. Fourth Reader 103 THE DEWDROPS GLEAM. John Guard. Vivace e legyiero. Felix Mendelssohn. fe^ a=*- = ^ 1. The dew-drops gleam In aum-nier's gay beam ; A pearl - y show'r, On 2. O come with me Where la - bors the bee, And banks of bloom The -ir-n }t===fa=d *=* * ==% > ^5= greensward and flow'r. Soft zeph - yrs rove Thro' thick - et and grove, Thro' breez - es per-fume. There, by the spring, A - while will we sing; A - = -*-+ ^ S rit. =*C a tempo. ~ :*- *= thick - et and grove, Thro' thick - et and grove. In sun - - shine while will we sing, A - while will Ave sing. The slum - ber - ing 3&fc=t =f =* -*-F bright, a joy - ous throng Fill all . grove and rock - y height Shall hear J0 !!'. i 3 ^ ~* A the air wifli joe - "und our cho - rus of de - Vivace e leggiero. quickly and delicately ; rit., ritardando, retarding the tempo gradually ; a tempo, in the original speed, as in the beginning. Har. Fourth Reader. 104 Chords. / ^m t * p t= =t= > r In sun lisrht. shine bright a joy - ous throng Fill all the =1* =1 *= Fill ./' =E^ yqc E -*-F 1 t*- t= air . . with joe - - und song, In sun - shine bright a joy - ous 4 =\ 5=*^: =P ^P all . . . the air with joe - uud song, fr=F 3= F rtJ- throng Fill all the air Avith joe und =^^^p^^ -* *- Fill all the air . . with joe und /> m t=: t=fc r 1 SI song, Fill all i P > the air with joe und song. *=i *- +- ' II =p: song, Fill all the air with joe - und song. Har. Fourth Reader 105 Ch. Ser. G, page 9. Ex. 154 Study in Harmony. fe -1-1 gfei 9- -9- -9-~ II Ex. 155. SEE 5E 4=* f- 1 ^r-^^ f^^r=^ t ! ^F=rf ^^ &ffl e - I i h 3 ^=T= -*- ^S* -^--a-^l-l-S, #> zt^t^- L ^ L c Ex. 156. &s^ -* -9- n+ -*r 9 -=. H Ex. 157. ^ ' F-^r J: (=-t^s=|== t- 3 - t ^ T^ i " 55^ gm^ip ICfc Ur. Fourth Reader. 106 PRAISE THE LORD. W. Verb Mingabd. mf Andante. F. W. Farrington. ?BEJ r r= "d: r =i Him! || I I I V ' ' I 1 1. Praise the Lord for all His lov-ing-kind-ness, Praise Him, O praise 2. Praise the Lord! the ev - er - ten-der Shepherd, Praise Him, O chil-dren, 3. Praise the Lord! O praise Him.all ye na-tions, Praise Him, ye peo - pie! E: s 5 X o 3F =1=1 dim. mf i cres. Jx^ =3: T^fT r?- -*=Z3SL -&- -f*- m >*^ i rte: r~ r~r~z Praise the heav'n-born King ! Fields, in your glo - ry, Tell out the sto - ry, for His watch-ful care. He gen-tly leads you, He ev - er feeds you, . Praise the Prince of Peace ! Bow down be - fore Him, Come and a - dore Him, ft: e 3 i i^i Jt V - U^Tfel* cres. SU: J. mf -&r -& Kt 3 d=f E^i = f=rf o- r l^ 3 ?^^^ i Earth is the Lord's, He giv - eth all. He shields His loved ones in His arms. His strength a - lone can keep you all. r Then sing of His might-y love, Then sing of His might-y love, Then sing of His might-y love, spP 3 =+= -- T* f TZ? dim ^? '*=&& B -fc- g? 3 Sing of His might-y love, Sing of His might-y love, Praise the Lord. ^^m^mm^= 3=^^ m f f-0^ rrrrr Har. Fourth Reader Dictation ( Oral Review ). 107 The pupils should not only give the names of the tones, but state whether the effect is major or minor, and name any interval which the teacher calls for; thus, in the first exam- ple the pupils should say not only " Do, Ti, Do," but also, " Minor second down and up." 1 2 3 4 5 II II II II fe II II II ^ Written Dictation. If we wish to represent a higher pitch by a staff degree that bears a flat, the natural would be used, because it removes the effect of the flat and causes the degree to represent its natural or usual pitch ; but if we wish to represent a lower pitch by a staff degree that already bears a flat, we use another flat. This sign is called the double flat ( bb ). The following exercises are intended to illustrate this principle. The key is F. The signature is The meter is ?. What must each measure contain in 9 meter? The 9 on Fa removes the effect of the flat (b) in the signature, and produces Fi. Intervals (the Remaining Intervals). The interval of the sixth with chromatic modification is shown on Chart Ser. G, page 22. The third and sixth occur so frequently in two part exercises and songs that the children become very familiar with the effect produced on the ear, and it is only necessary to direct their attention to the matter to secure the result we desire. Let two pupils sing very slowly and distinctly such an exercise as the following. ( 1 ) Call upon the pupils to name each interval as it occurs. ( 2 ) Sing the melody alone, and require the pupils to write it. When it is correctly written, ( 3 ) Sing as a duet again, and add the lower part naming the interval. ( 4 ) Select similar exercises from the book and continue the practice. i o J- $ J f =c r = r I L r2 & L|__ II I I r M II Unison, third, sixth, fifth, third. Unison, third, third, sixth, third. third, unison. After the interval is named, state whether it is major or minor, and compare it with the models previously given. Hr. Fourth Reidtr. 108 Vocal Drill. j^^fc Ch. Ser. G, page 17. Ex. 158. 2 t=T 3.= 3^^gQ^=g^ ij^'ijBagrapi Ex. 159. ^^ll*feS * Ex. 160. lS^p.gisp Note. The arrangement of minor seconds on the plain staff is shown as in (a) below ; and if Do be on C these minor seconds are in the right place. But if Do be placed on G, for instance, we find that one of the minor seconds is out of place, as in ( b ) below. That is, it oc- curs between six and seven instead of between seven and eight. A sharp is therefore placed in the key signature, upon seven of this scale, or upon the staff degree lettered F. This sharp shows that that staff degree no longer represents its natural pitch but that it represents a pitch higher than before. This removes the minor second between six and seven, and at the same time makes one between seven and eight, thus giving a correct major scale beginning on G. .<> _ II Do, re, mi, fa, sol, la, ti, do. All major scales beginning on G will have the F sharped, and if the music is written on this scale the sharp will be placed as a key signature. When, therefore, one sharp appears in the key signature we expect to find the scale begin- ning on G. A careful study of scales beginning on different staff degrees will show how many and what characters must be used in any key signature. Har, Fourth Reader Study in Rhythm. 109 Ex. 162. ^ jM \ nrn^rn-^M i i i r i 3pIii|pBlS Ex. 163. jM?u j j J i ^p^ c r J P J *rP^ P^ Wm^ =t s x ^ <^ ; +*-&- ^ F d== P = II d: -1-J- i=t 3=3=^ U* *'-^ It sometimes occurs that in order to bring the minor seconds in the right places the staff degrees must be made to represent a lower than their natural pitch. This gives rise to the use of flats in the key signatures. If we begin the scale on F, first space, we find that the minor seconds come thus: The first one is between four and five, instead of being between three and four. By making the third line of the staff represent a lower pitch we bring the minor second between three and four, and at the same time produce a major second between four and five. This restores the proper succession of tones for the major scale. The obange is shown by placing a flat on the third line, thus : Har. Fourth Rader. * =^? 110 THE LITTLE SCREECH OWL. Quickly $^^$m^m Robebt Schumann (1810-1866). I -G>- Ah nie ! poor tim - id owl - et, O whith-er shall I fly ? By 2 woodlands are so fragrant, Then off on down-y wing I'll 3. cry forbodes them e - vil, The lit -tie children say; And 4. branch is sawn a - sun-der On which I sat a - lone, Its !f=jZ. =P =fc * : m i. night I feel so lone - ly, I cannot choose but cry. soar in - to the for - est, To hear the sweet birds sing, so from out the woodlands They'd drive me fain a-way. leaves are sere and yel-low, The night-in-gale is gone. My cry, it The nightin - I would not Now tell me, +- 1- 1r +" ** * r /p H 1 1- hi" r*j|J j ji j*r i ffi :*:t>i=i S yp, forte piano, strong, softly ; this indicates that the tone is to be taken strong at first, then diminished in power to piano. Hr. Fourth Rescfer. Ill n^ ^B -* -- f fP :gt= :*** J Z ^ d sounds so wild and clear gale to me is dear; scare them with my cry ; is it not too bad? -i r" The children hide their heads for fear. Ah, I love her note so sweet and clear. Ah, They need not think it gives me joy, Ah, I've noth-ing now to make me glad. Ah, g J :*=* := S3 fczsfc q L 3r# /*> /A> -?=^^ m i ; H *==^ #- inm me ! poor lit me ! poor lit me ! poor lit me ! poor lit 3=* 3EB5 tie owl! 2. The tie owl! 3. My tie owl! 4. The tie owl ! | The F clef, so called because it shows the place of F. The sign is a modihed Gothic F. The letters on the F clef are shown here : Q B G Hr Fourth Reader. 112 A SONG OF SUMMER. ^ =t m ' 22: t Sum-mernow un- folds to view, un - folds M^^S P==3=- :zz2i A song of sum mer, Sum - mer now un - r=*= * ^- F=F=^ H* . -:[=: to view, un - folds to view Buds, blooms, and . i= -f I 1 3t=* r- U :=: *z m folds to view, Sum-mernow un- folds to view Buds, blooms, and flow'rs in '. & FEgrJ-^F EF * y= =fc & flow'rs in va - ried col - ors bright, A song of sum 6 B S3 W=^ Zjf, 0- col - ors bright, . in col - ors bright, Woods and fields in sS I J ^^H* 1 mer, Woods and fields in ver - nal hue, Zj= ^ ver - nai -r- hue, . = nal hue. In Har. Fourth Reader. 113 ^=*=^ '=F f 3ee&&fj=& s Woods and fields in ver - nal hue, Sights and sounds . . of <5 * nal hue, Sights and P3=b * * 3 ^-i*-f=p ^: dear de - light, Sights of dear de - light. . =t ^t sounds, Sights and sounds of dear de light, de - light. m F^=^ ' * ^ A 1* P * 1 1 IF -t j |_ j o Sum - mer now un - folds to view Woods and fields in y 1 /: b - I 1 ! J 1 ' 1? V # cJ P ^ * Sum - mer now un folds to view Woods and ^=^= :feS3 = ^21 -2- (=2 r ver - nal hue, Sights and sounds of dear de - light. ^^s $- ^fe^ ^ i ^ tfc i * * fields iit ver - nal hue. Sights and sounds of dear de - light, of dear de - light. Har. Fourth Reader 114 Study in Rhythm. Vocal Drill. Sing also in F major, contrasting the minor and major effects. fa gt^ m^k f!^^^ Ch. Ser. G, page 15. Ex. 164. M E4: ^M^p^ f^p^g sgpp^ ^^ppl^^P^&l^^B Ex. 165. mm "- T. I r i j I J rri *==*=* ^^ * e * ts *- :ie=rr-n: =i= g=^^ ^^ * ^ =1=^3 -d ltd V F=* : f=a ^ i It must be remembered that all major scales contain two minor seconds, and that these occur between three and four (Mi, Fa) and seven and eight (Ti, Do). We should also remem- ber that the staff degrees represent pitches which can be varied only by accidentals or by the key signature. Har. Fourth Reader. Ex. 166. 0=^ *E^E^. Study in Harmony* - * * F *- 115 - h =r jftts V&? ^sfefea 4 = I *&==: 3=W-1 =ra ^ ^ zSt Ex. 167. gzEj 1 :4 * + -+ * X <=> $=? -v-* 'H -=j. :j r -& *- V: w X 3 3=*: -c*- d ^ :izzEfr= =t L e> II ;v= i I I =t J J I j J 3E^EJg=^H Hr. Fourth Rader. 116 Study in Rhythm. Ch. Ser. G, page 13. Ex. 168. m$^0^M^m4 =r ^ w^&^=^ - .j J3 I J~3~.i-^g3- f 1 ! gg ^ g #fl j fg l ^ -J ^p g. * J7nfr~3~i Ex. 169. SSEf 3=5 3=*=l te3E3 ^ -* * !>* * 1 ~^r J2_fei: s .Mf^T E F 3 ^ E t!Ff II _i> 3- Har. Fourth Reader. 117 AUGUST. Celia Thaxter Allegretto. Clo - ver Each crick ft dai - sy went off chirps like a rare to - geth good fel & - er, low, 1 1 But the And the =: s _^ m ^ =Jt I*- =*: i$=^^E= = f "' fra as grant ters wa twin ter kle lil clus ies tered lie bright, Yet While 3E 1K * H =^===fc =fc *fe the corn fast grows moored in gold ripe en and Au ap gust weath pies mel er. low. F^j ^^^fe e ^ eeB Har. Fourth Reader. 118 BATTLE PRAYER. F. H. HiMMEL (1765-1814). 1. Fa - ther, I call on Thee ! Round me the smoke of 2. Fa - ther, O lead Thou me ! Be Thou my guide, wheth 3. God, I ac - kn owl - edge Thee! In the low voice of the er the Hi ^ W- =te f^Sll u p * L> 1* Sfc r=F=9-r- a^M^ ^ bat - tie is glooming, O'er me the roll of the can - non is boom-ing, vie - tor or dy - ing, O - ver me still let Thy ban - ner be fly - ing, night wind I hear Thee, In the wildtem-pest of bat -tie Thou'rtnear me, =fc W^ 3=*=* 3=^=^ -*-^L-^L- -#7-** i 2 P =*=t W- t\ t I * M ^ =PE iiH Cap - tain of Bat - ties, Lord, where Thou will-est, Foun-tain of grace, I 7^ r ^ r c I call on Thee, Fa - ther, O lead Thou me ! O lead Thou me, God, I ac-knowl-edgeThee ! ac-knowl-edge Thee, Fa - ther, O bless Thou me ! -w- * -0. -v.- -0- -0.. -+ f.^..--. 5=f ^ I *-. -* * *^. -= Lento, slow. In the representation of intervals upon the staff the name of the interval corresponds to the number of staff degrees embraced by the notes, counting the degrees upon which the notes are placed. Thus from Do to Mi is a third, and Mi is represented on the third staff degree from Do. Or if we consider the notes in reverse order, Do is on the third staff degree from Mi. Har. Fourth Reader. Dictation (Oral. Review). Pupils name the tones and also all intervals called for. 119 --$^=* II Written Dictation ; Review of Seconds. (Analysis of the Scale.) 'i W & -g,- * e ^sr-&-^-p. ^=^=^=^ |g: II If we examine this exercise carefully, and sing it many times, we learn that no chromatic tone can be placed between Mi and Fa or between Ti and Do, but that such tones may occur between all of the other tones. This teaches us that while the seconds of the scale all look alike upon the staff, in reality two of them differ from the rest, in sound. _ o II These smaller seconds are called Minor Seconds. (Minor means smaller.) The other seconds are called Major Seconds. (Major means larger.) We see that each major second may be divided ; that is, it admits a tone not so high as one and higher than the other of the two tones that constitute it tween Sol and Fa comes Fi. and Do, Ti F4=?- Th us be- But Sol, Fi sound alike, and as Do, Ti is a minor second, so Sol, Fi must be. The following dictation exercises are intended to illustrate major and minor seconds. The key is C. The signature is The meter is ?. 4- i^ipr^feip^y Give similar exercises from different scaje degrees. Note the difference in representation when ascending by minor seconds and when descending by the same intervals. Triads. Sing each triad in the following exercise. Note what a triad is, and discover to the pupils by actual ear test that there are three varieties of triads possible in the scale. Unison. 1 2 3 4 Htr. Fourth Reader ! i^iliSip^i SI 120 Study of Rhythm. Vocal Drill. a i l i j . Ch. Ser. G, page 9 Ex 170. B^J5^*iT ^rJJi5*3 E5J= | i=|l ^ Be.dl, rl, me, ra. te er ^=^-r^ r ^^fe^sl Ex 171. nnm^^g g Ex. 172. X-^21 ^^^ a ^> rShzjfd 1*=0 *Zj&Z g ^ *= ^ J !B 2 Ex. 173. m^=$ 1 1 *- c* * ^r -c* *- i s=s II w * P Two notes occupying the same staff degree are said to represent a prime, though in reality there is no interval. We have already studied seconds, and we found that they are of two kinds, major and minor, and that the diatonic major scale contains five major and two minor seconds. By a careful study of Chart Series G, page 18, the difference in effect between major and minor seconds can be clearly established. Hv Fourth Reader Study in Chromatic Alterations. 121 Ch. Ser. G, page 11, Ex. 3. Ex. 174. Ex. 175. *g|^g B3 Z2: Sfe2 bfct -* g 2^ *: Mi, Ex. 176. Do, se, le, Ex. 177. le. i 3==: QZtzTEP^^ -e* ^L ^=d= ?#= Mi, Do, ra, "iJO- ra, i i Ex. 178. E -j 4=3 e T=t zfeatzq ite^zz*: II H i?o- W 3 ^ Ex. 179. 2 llf^^gz^^S^J^^f^-^ =tq s s =r 3^ P" *A ^ ^- ^-3=LU= j^fl fejj^i ^z? 3^ SI Har. Fourth Readar. 122 Ex. 180. &- S Study in Harmony. ^=S ? i = r = fa 3 e HE :=L !:d2:S=E2: * =t= s-i? --v 32: ^Si .-A F ^M -c? &E b^=; tfe=: r r == ^>^^.-^= L ^ ^3" p s Ex. 181. *5 =t 3 3=g e* Si S _1_ u^_C r * f" %r~ f kdz=* r r =t IS 52: 3 3t=Z* Ex. 182. ?^=Iei^^^3 ^ Isy t i P^E^: -T-*: 3^E T^ P" = I &"#: I iEEES =t=t ft- ^ Seconds continued. We find, however, that a major second may become augmented by raising or lowering the pitches of one or both of the staff degrees which represent it. Thus Sol, Fa represents a major second ; but if Sol be raised, as shown below, we have an augmented second. This is the characteristic interval of the harmonic minor scale and is considered on pages 11 and 18 of Chart Series G. 3^ :*P_ H*r. Fourth 123 i Caroline B. Southey. Allegretto. LADYBIRD. ta f 1 *= 1. La 2. La I dy - bird, dy - bird, La La dy - bird ! dy - bird ! fly 9 0- f a - way a - way Ki 2 i s c iome ! home! ier V i -> To your house The . . fair in the y bells old tin wil kle low : 5 = nr = ^r tI s^ r t^r tree, the wil -low tree, Where your chil - dren so dear have in - far! tin - kle a - far! Make haste or they'll catch you and 6 r fe > ' E?=*= ^ .^_^_ ^^ r^Tr rT" 5 r-5 f vit - ed the ant And a few co - sy neigh-bors to tea. har- ness you fast With a cob-web to Ob - er - orfs car. t II ^riw^ -frj Hr. Fourth Reader. 124 Study of Chromatics. Vocal Drill. q &-t*=2^&t3^=Bi Ch. Ser. G, pages 4 and 17. Ex. 183. m -~ *t r f , r ^bfej K=^ F=t d=tezi==q < g d ^E=^- ^F I! !! Ex. 184. --#; H 4 Ex. 185. h-H I ! q ; J-ii I 1 g^ 4u-ta-f=4 sggg^ Jig^ *=5^ =*=$ ^=t *=i S J, ]* I zzt :i +-+ m m Ex. 186. = W J J / t^ E^J-jW-^ :5f 4=*: l*=Jt ^ = & SEEEEE5! ^ E :"S 3==1: :s2: 1 The diatonic scale, as we have already learned, presents two kinds of thirds, the major and the minor. If, however, one of these tones composing a minor third should be brought still nearer the other by an accidental, we have a still smaller third, known as a diminished third. The diminished third will evidently occur in those places only in the scale where the minor thirds regularly exist. Re, Fa; Mi, Sol; La, Do; and Ti, Re, represent the minor thirds. P Diminished thirds, therefore, are most likely to be represented thus: -fw ^ -Jj=!2=2 Har. Fouith Readti 125 THE KINDLY STARS ARE PEEPING. Thoughtfully PP tfJ r* r 00 *\ ^ % = |t . m 9 F : =s^ 4 "J -*1- -- == =3 J | i- t W r smil - plaint on fore o -y ing ive our the eyes of night - in - way we con - qu'ring - 1 1 gold: gale roam ; day; ^ 0- And Her But The night wealth love orb o'er of will of earth song soon light b- 1 is now dis - shall y . (fe b i - ~d sr 1 Si -*- Is t , r- 1 v/ 9 -m- -P -m- \ m- _T J 4-: J of home, a - way. ppS ^^ I Har. Fourth Reader.. 126 Ex. 187. t#=3 Study in Harmony. i i i I =*=* p4 -e^- 5 - rr-r^ ^ tI7^2 !==!= ^ ^T -&>- Ex. 188. *^=? ^ =J=jz=^ r=4=*r=^ S# "r r -S*-*- r" II =4: Ex 189 ^J - |- S S d .^=F B js ^r SS 'MID THIS EVENING'S SPLENDOR. _! *_> * *= M= 1. 'Mid this eve-ning's qui - et splen - dor, Lord, to Thee my thanks I 2. Fa -ther, gen-'rous was Thy giv - ing, Peace of spir - it, joy in 3. Have I, from my du - ty stray -ing.Erred, Thy pre-ceptsdis - o ssaa 5E^ES =t *=3* * S=3: ^ I Har. Fourth Reader. $=* m= T & 127 d* i r r ren - der, liv - ing, bey - ing, x x ' With a love sin- cere and strong, With a Firm re - solve my task to do, Firm re Lord, for - give the fault to - day, Lord, for S ^S te JI With a love Firm re - solve Lord, for - give sin - cere my task the fault and strong, to do, to - day, *> n feS -3Z21 I/ ^^ dfc2: r t* love sin solve my give the cere and strong ; For the day's task to do, All that glads fault to - day ; May each eve =g-g-g P P * past hours of me in pos ning's dy - ing =3F ^r^^t^z^ ^^^ For the day's past hours of All that glads me in pos May each eve-ning r s dy - Ing S=gE^ fe P glad - ness, sess - ing, beau - ty For all sor - row, Lord, Were not mine, save for Find ac - com-plish'd ev and sad - ness, Let me thy bless - ing, Watch - ful 'ry du - ty, Find me =*: ^ EE^ *-r ^L n> IS f i2^*: praise Thee Fa - ther, far - ther f p pi r p in my song, Let me tire - less, true, Watch - ful on my way, Find me .-H J J r 32: 1 praise Thee in my song. Fa - ther, tire - less, true, far - ther on my way. ^^ w=^m- Hr. Fourth Readtr. .128 Vocal Drill. Di, ri, fl. Ch. Ser. G, pages 9 and 17 Ex. 190. -3 _ i a- -H F rra I J ^ i-*--^ * ^-3 N 1 t i^"^ II Ex. 191. f^ ^i ta =3 II =s^=p= :=^ i=3* s * - 3*1 Ex. 192 Eg S E B :*= fbt i F^fl Ex. 193. PlppipilgiP^^^i^^i Ex. 194. m ^MMe^ =a=d= ?=*** 3tEl-Jt -3-*-- Fourths embrace four staff degrees, but they vary somewhat in the number of minor seconds which they contain. The fourth from Do to Fa contains one minor second and two major seconds. (Do, Re, major, Re, Mi, major, Mi, Fa, minor.) This is called a perfect fourth. But the fourth from Fa to Ti contains three major seconds, and is larger than the perfect fourth. It is therefore called the augmented fourth. The effect of the augmented fourth on the ear is so striking that very little practice en- ables us to distinguish it whenever given, and it is so important in modulation, that it should be very carefully learned. See Ch. Ser. G, page 21. Har. Fourth Reader Vocal Study. 129 Ex. 195. Luigi Rossi. 1 -2 *-*- r i r w=^ m^ ^EfcE z{f=EEEEE==t: * X , *-S 1 r" J J7jTT77^ E iH 3E *a J!zwzj. p-f- H>-T-^ J ^T T i^-. P=u - H j- (- F F f- i ^=#-^ 5=ffi? s e^tce ^ ^ -*-- Pr^i , - tti SS^^S - f I Li - & f Cf fff K -f ^t=F - ^F^z I Ex. 197. glp^^g^ is?: #-#-#- ==: --f ^ i HI *5SEB: &-T&- te^Ete fepsS S sz 22: II Ex. 198. feig^igii^^g^ ^^^ gi^ip * * <& P- << =P=*~-^-^-P = *: : <=2I ^L^L. 2 ^* :*=: II II Har Fourth Rad*r. 132 With spirit. COME, BROTHERS, TUNE THE LAY. IGNAZ Musi IIKI.KS I E i :^=l 1. Come, broth - ers, tune 2. Now we with Pri 3. So far there's noth . * the lay, Come, brothers, tune the lay, For mo start, Well take the Al - to part, The ing wrong, So far there's nothing wrong, For g 3t=J ^3 ^ ^5 =q all who can rest will* try ev - er live sons must sing to - day; Ye jo - vial sons of their cho - ral art ; Now you, sir, mind what you're a- the soul of song; Let all the bur - den =t * -at -+ P=i=l 3 E ( l F m F i song ! Ye jo - vial sons of song ! Here at pleas - ure's sum - mons bout ! Mind, mind what you're a - bout ! Now keep time or else you'll all be share, Let all the bur - den share, And Mu - sic's glo - rious praise de- p cres .... cen A throng. Now, pray, let all be har-mo - ny, Be-ware, out. Now, pray, let all be har-mo - ny, Be-ware, clare ! Bra- vis - si - mo ! What har-mo - ny ! A - ha ! IeH be - ware ! Now, be - ware ! Now, a - ha ! Sweet 5 ; e-^f c-c-c-sH Now, pray, let all be har-mo - ny, Be - Now, pray, let all be har-mo -ny, Be- Bra - vis - si - mo! What har-mo -ny! A - Har. Fourth Reader. 133 do. : pray, let all be har-mo-ny, Take care, pray, let all be har-mo-ny, Take care, har-mo-ny, brave harmony ! A - ha ! take care, take care, a - ha! That all who hear may That all who hear may Vic - to - ri - a, a =* =3* m -**- m m JtZL * * I*-V- ware, be- ware! ware, be- ware! ha! a - ha! Now, pray, let all be har-mo-ny, Now, pray, let all be har-mo-ny, Sweet har - mo-ny.brave har - mo - ny ! - 3SEE^ #: PP E-* * -F > - 1F- 1^ praise the strain, A-gain, and yet a - gain. praise the strain, A-gain, and yet a-gain. no - ble strainlWe'll have it yet a - gain. i: Tra la la, tra la la, Tra la la, tra la la, Tra la la, tra la la, =*=ffc . if _ r r-r A - gain and yet a - gain. A - gain and yet a - gain. We'll nave It yet a - gain. PP f D.S. ad ^^^^ m^^^^m ^m^ w=&- tra la la la la la la, Tra la la, tra la la, tra la la la la. ffi=3-/ j^j^fcEifflB Ad lib., ad libitum, at one's pleasure, as one wishes. Har. Fourth Reader. 134 YE WHO SHUN THE HAUNTS OF CARE. David Thomson. u Andante. W. A Mozart. SE^J m^mm. f E Tf? 3EE^gEEEj f " pa 3 i i r 1. Ye who shun the haunts of care, To our f or - est wilds re - pair, 2. Naught is heard the gale to swell, Save the wood-man in the dell, He ' * i= - U itf fm C3=&=i Where thro' clear,ee - ru - lean air Phoe-bus ris - es bright - ly ; And the sol-emn Sab - bath bell, Far a -long the nioun - tain. Z m = ' i= j=j=j $ f j ' *=* rr-r r-t-r-r-rrr Here thro' nev - er - end -in g shades, You may rove till eve - ning fades, Here no noise at dawn of day Drives your dream of bliss a - way, E = r you drives i Here thro' nev - er - end - ing shades You may rove till Here no noise at dawn of day Drives your dream of may rove, your dream, t^FF* fefea^3 Tr ~r eve -ning fades, may rove, may rove till eve - ning bliss a - way, your dream, your dream of bliss a a =E=t eve - ning fades, You mav rove till eve - ning fades. bliss a - way, Drives your dream of bliss a way. Har. Fourth Reader 135 F~i r && *EgE m r~r rvrrr~ Nev - er ' has the po - et's rhyme Feigned a sweet - er, soft - er clime, Yet the wood-lark hov - 'ring nigh Sings as morn -ing opes her eye, i =i=t J t ; * # ~r # I ad K6. 3 ^ ^7-? =^ D /= ! I I Where the rest - less foot of time Moves a - long more light - ly. And at eve a lull - a - by Near yon mur-nVring foun - tain. P P F* =t i }= 2Stz=: I I DREAM OF ALL THINGS FREE. Felicia Hemans. mp Allegro. =ftF zt =!*=: J =fc -* * E 1. I dream of all things free, . 2. I dream of some proud bird, . 3. I dream of for - est child, . Of a gal -lant, gal -lant Of a bright-eyed moun-tain With the fawns and flow'rs at Kft tt fl d d ^$E m 1. I dream of all things free, . 2. I dream of some proud bird, 3. I dream of for - est child, =r=fcc t= ' Of a gal - lant, gal - lant bark, . . . That Of a bright-eyed moun - tain king, ... In With the fawns and flow'rs at play; ... Of Allegro, lightly and quickly. Har. Fourth Reader. 13b" fe *=m 5p2*Ete ? / =t=* iz bark, . . That sweeps thro 1 storm Like ar - row to its mark ! Of a king ! . . In rap - ture hear The rush - ing of his wing, Then I play ; . . Of In - dian wild With stars to guide his way, Of a n ^3^ f^ SgpE^ggE B E -5g^ =fr jfcd sweeps thro' storm.thro' storm and sea, Like ar - row to its mark ! rap - ture I still hear, still hear The rush ing of his wing, In - dian, In - dian, 'midst the wild.With stars to guide his way, cres. stag that o'er the moun - tain Goes bound-ing in his glee, Of a fol - low some wild riv - er Where no trim sail may be, Dark chief his war - riors lead - ing, Of arch - er's greenwood tree, While :t=: iN^ i^^^E^S / Tl thou - sand flash- ing foun - tains ; woods a - round us shiv - er; lone - ly heart lies bleed - ing ; I dream of all things free. I dream of all things free. I dream of all things free. m= ?,- 0- E g^E m Har. Fourth Reader HOLY, HOLY, HOLY! 137 *te 1 r _U ^4 1- f , 1 J d d d u . ~< d h BB3 a 1. Ho - ly, Ho 2. Ho - ,y, Ho 3. Ho - ly, Ho -- =F^=iT =H - ly, Ho - lv, Ho - ly, Ho iy! ly! Lorn r Lorn God Al - might - y ! all the saints a - (lore Thee, though the dark-ness hide Thee, ft S^^^ffEffl ^ *fc=JE^EE^ X- ^ f=T fefe^ "ST Ear - ly in Cast - ing down Though the eye fe the morn - ing our song shall rise to Thee; their gold - en crowns a - round the glass - y sea, of sin - ful man Thy glo - ry may not see, ja !-"-^.-tt=3.- Sejeee f=r m tS3t= ^=fa=d prrrf ::g: Ho - ly, Ho - ly, Ho - ly ! mer - ci - ful and might - y ! Cher -u - bim and ser - a - phim fall -ing down be - fore Thee, On - ly Thou art Ho - ly, there is none be - side Thee, &E ^t ^d- -*+ ^4- ^4- -wf =t 3^3 ? 4= =t" __h # eJ=^e^^^ I te =t =t=t All Thy works Which wert Per - feet r r r. P tt f^f i n^t r r r * shall praise Thy name in earth and sky and sea ! and art, and ev - er more shalt be. in pow'r, in love and pu - ri - ty. Hr. c ourth Reader jPTTg H~ d ' u 138 OXFORDSHIRE MAY SONG. Allegretto. Spring is com ores. . . ing, spring :=t ^TJl Ing. f ?-n & r 1. Spring is com - ing, is com - ing, Bird - ies, 2. Spring is com - ing, is com - ing, Flow'rs are 3. Spring is com - ing, is com - ing, All a - *1^ Spring nest; . . . too; . . . fair; . . . build your nest, build your nest ; Weave to - geth - er, weave com - ing too, com - ing too ; Pan - sies, lil - ies, and round is fair, all is fair ; Shim - mer, quiv - er on S3 ~-^ W^^ *3f fc :* d*=3- -* * zjr Weave to-geth - er.weave Pan - sies, lil - ies, and Shim-mer, quiv - er on Q= #F=F %^- u^_ II straw and feath - er, Do - ing each your best, daf - fo - dil - lies, Now are com - ing through, qui - et riv - er, Joy is ev - 'ry - where. 33: :* 2 3^ 23^5^ i 3* ll Har. Fourth Reader. 139 THE WORLD'S MUSIC. Gabriel Setown. George Henry Howard. T f 1. The world's a ver 2. The twigs that shake, 3. The coals be - neath 4. The Avorld is such y the the a r * hap - py place, Where ev - 'ry boughs that sway, And tall old ket - tie croon, And clap their hap - py place, That chil - dren, -=t =4- child should trees you hands and wheth - er dance and could not dance in sing, climb, glee; And al - ways have a And winds that come but And ev'n the ket - tie big or small, Should al - ways have 3= ^c W . ~* r r smil - ing face, And nev - er sulk for an - y - thing, can not stay, Are gay - ly sing - ing all the time, hums a tune, To tell you when it's time for tea. smil - ing face, And nev - er, nev - er sulk at all. i " 3T =i H 1 -> 1^1 ^ ^L E -<=<. f=f *=*- Hr. Fourth RetJai. 144 Joseph Hopkinson. 3e2 HAIL, COLUMBIA! Prof. Phyla. i I Hail, Co-lum - bia ! hap - py land ! Hail, ye he - roes, raor - tal pa - triots, rise once more ! De - fend your rights, de Sound, sound the trump of fame, Let Wash - ing hold the chief, who now com-mands,Once more to serve his s r i 3=}^ B 4 heav'n-born band ! Who fought and bled in Freedom's cause, Who fought and bled in feud your shore ; Let no rude foe with im - pious hand, Let no rude foe with ton's great name Ring thro' the world with loud applause! Ring thro 1 the world with coun-try stands ; The rock on which the storm will beat ! The rock on which the S : Free im loud storm 3 m cause, And, when the hand, In - vade the plause!Let ev - 'ry beat! But armed in storm of war was gone, En shrine where sa - cred lies Of clime, to Free - dom dear, vir - tue, firm and true, His joyed the peace your val -or won. Let in - de-pend-ence be our boast, toil and blood the well-earn'd prize. While of-fring peace, sincere and just, In Lis - ten with a joy-ful ear; With e - qual skill, with steady power, He hopes are fixed on heav'n and you.When hope wassink-ing in dis-may,When Ev - er Heav'n we mind - ful place a gov - ems in the gloom ob - scured Co what it man - ly fear - ful lum - bia's cost ; Ev - er grate - ful trust, That truth and jus - tice hour Of hor - rid war, or day, His stead - y mind, from for the prize, Let its al shall pre - vail, And ev - 'ry scheme guides with ease The hap - pier time chan - ges free, Re - solved on death tar reach the skies. of bond - age fail. of hon - est peace. or lib - er - ty. Ha r. Feu rth Reader 145 I Chorus. * ^g P 3=* 3= Firm, u - nit - ed let be, Bal-hing round our lib - er - ty ! I l"^ 1 i f j j r ft\&$fT$w&X3^ ^ As a band of broth-ers joined, Peace and safe - ty we shall find. FLAG OF THE FREE. Richard "Wagxeh. * ^s: V 55 the tree, fair - est to see ! Borne thro' the the brave, long may it wave, Cho - sen of EE3 3 strife and the thun - der of war ; Ban - ner made bright God while His might we a - dore ; Tn Lib - er - ty's van, D.s. While thro' the sky Finb. V ^Ff -~ I* with star - ry light, Float ev - er proud - ly from moun - tain to shore, man -hood of man, Sym - bol of right thro' the years pass-ing o'er. loud rings the cry, Un - ion and Lib - er - ty ! one ev - er - more J 3 dfcd: S- of Em - blem Pride of Free - dom, hope coun - try, hon fe 6c_ to the slave, ored a - far, J).S. ! Spread thy fair folds but to shield Scat - ter the cloud that would dark and to save, en a star, har. Fourth Reader 146 AMERICA THE BEAUTIFUL. Katharine Lee Bates. Maestoso. Will 0. Macfarlane. i *i~JrS J l v V\-~m ^S=l * fff ~C7~ 1. O beau- ti - ful for spa - eious skies, For am - ber waves of grain, 2. O beau- ti - f ul for pil-grim feet, Whose stern, im-pas- sion'd stress 3. O beau - ti - ful for he -roes proved, In lib - er - at - ing strife, 4. O beau - ti - ful for pa - triot dream That sees be -yond the years 3 I! Bass with octaves throughout. . =fc 11 ST--5-=3rsr *r^* V c- ^ For pur - pie moun-tain ma - jes - ties A - bove the fruit - ed plain ! A thor-ough-fare for free-dom beat A - cross the wil - der - ness ! Who more than self their eoun- try loved, And mer - cy more than life ! Thine al - a - has ter cit - ies gleam Un-dininVd by hu - man tears ! J + i=t :.^= ^* m as^^d^ W^i ^ -+$ ajr mer m oa mer - l - ca mer - i - ca raer - i - ca A - mer - i - ca ! God shed His grace on thee, And A - mer - i - ca ! God mend thine ev - 'ry flaw, Con - A - mer - i - ca ! May God thy gold re - fine, Till A -mer -i - ca! God shed His grace on thee, And + * * By permission of the author. Copyright, 1913, by Will C. Macfabiane. Har. Fourth Reader 147 fl# k. N I 1 1 V" l . 1 P 1 1 1 /l 1 * J m. m m < > 1 5 *, m w m # ^ U -: J. *. V * cJ W * + * r r ? crown thy good with brotli -er - hood, From sea to shin - ing sea! firm thy soul in self - con trol, Thy lib - er - ty in law! all sue -cess be no - ble - ness, And ev - 'ry gain di - vine ! crown thy good witli broth -er - hood, From sea to shin - [* f- ing sea ! 1 1 698 ! * ~^- =* -J- -1 i-- F. 1 * 2 \ 1 * --J- Refrain. Molto maestoso. S^: fc: 5 *" "* ritard. II - T - #- ^ A - mer - i - ca ! A - mer - i - ca ! God shed His grace on thee ! . II ^ iS4 m HEAVENLY FATHER, SOVEREIGN LORD. SONOS FOR THE SaNCTOARY. Ff.LIX MENDELSSOHN. eassE s t= ?2= tzEEEE d^^-T t 1. Heav'n-ly Fa - ther, sov'reign Lord, Be Thy glo-rious name a - dored ! 2. Though un-wor - thy, Lord, Thine ear Deign our hum- ble songs to hear; 3. While on earth or-dained to stay, Guide our foot-steps in Thy way, 4. Then with an - gel harps a - gain We will wake a no- bier strain; ft-. 3 m 1 !EE^E:EEE Lord, Thy mer-cies nev - er fail; Hail, ce Pur-er praise we hope to bring When a Till we come to dwell with Thee, Till we There, in joy- ful songs of praise, Our tri Har. Fourth Reader. ^g iggj ^^fl les - tial good-ness.hail. round Thy throne we sing, all Thy glo - ry see. urn - phant voi - ces raise. 148 GOD EVER GLORIOUS. 8. F. Smith. Alexis T. Lwoff. m i=m =t # & =t l. * j^ ' 1. God ev - er glo - ri - oust Sov 2. Still may Thy bless - ing rest, Fa *=F s -- 'reign of na - tions, ther most Ho - ly, & g # =t I2SI Wav - ing the ban - ner of Peace O - ver each moun - tain, rock, riv o'er the land ; er, and shore ; J JlJ ^ 1=3 =t ** Thine is the Sing Hal - le vie - to - ry, Thine the sal - va - tion, lu - jah! Shout in ho - san - nasi ^S I ttE^EE -z2i --$==$ Strong to tie - liv - er God keep our coun - try T?-. Own we Thy hand. Free ev - er - more. THE STAR-SPANGLED BANNER. m Francis Scott Kev. fc Dr. Samuel Arnold. i t P 4= 1. Oh ! say, can 2. On the shore, dim 3 And where is 4. Oh! thus be it you see, by the dawn's ear iy light, What so iy seen thro' the mist of the deep.Where the that band who so vaunt-ing iy swore, 'Mid the er when free - men shall stand Be - I m W = =t proud - ly we hailed at the twilight's last gleam-ing? Whose stripes and bright foe's haughty host in dread si -lence re - pos - es, What's that which the hav - oc of war and the bat- tie's con - fu - sion, A home and a tween their lov'd home and the war's des -o - la - tion, Blest with vie - fry and Hit. Fourth Reader. 149 t =fc=feq ?^m d^E3 ? stars thro' the per - il - ous fight, O'er the ram-parts we watched, were so breeze, o'er the tow- er - ing steep, As it fit - f ul - ly blows, half con - coun - try they'd leave us no more ? Their blood has washed out their foul peace, may the Heav'n-rescued land Praise the Pow'r that hath made and pre- fefc =t E E P gal - lant - ly stream -ing. And the rock - ets' red glare, the bombs ceals, half dis - clos - es ? Now it catch - es the gleam of the foot - steps' poi - lu - tion. No ref - u^e could save . . the served us a na - tion. Then con-quer we must, when our =t 5C -&=U- I *=F m burst-ing in air, Gave proof thro' the night that our flag was still there. morning's first beam, In full glo - ry re - fleet - ed, now shines in the stream. hire-ling and slave From the ter - ror of flight or the gloom of the grave. cause it is just, And this be our mot - to, "In God is our trust." Chorcs. F=t V = ^m V- mm O . . say, does that star - span - gled ban - ner yet Tis the star - span - gled ban - ner, oh long may it And the star - span - gled ban - ner in tri - umph shall And the star - span - gled ban - ner in tri - umph shall wave O'er the land of wave O'er the land of wave O'er the land of wave O'er the land of Hr. Fourth Rdr. the free and the home of the brave? the free and the home of the brave ! the free and the home of the brave ! the free and the home of the brave! 150 COME, THOU ALMIGHTY KING. Charles Wesley. Felice Giakdinl -J =2 J I J =1 =fc 1. Come, Thou al - might y King, Help us Thy 2. Come, Thou in car nate Word, Gird on Thy 2=3 x i V- name mirht =*c *=* ^ sing, Help us to praise. Fa - ther all glo - ri - ous, sword, Our prayer at - tend. Come and thy peo - pie bless, d i *=? O'er all vie- to - ri-ous, Come and reign o And give Thy word suc-cess ; Spir - it of ho *E=EB i ver us, An - cient of days. li - ness, On us de - scend. BATTLE HYMN OF THE REPUBLIC. Julia Ward Howe. 1. Mine . eyes have seen the = glo -*- - r y * of - the 2. I have seen Him in the watch - fires of a 3. I have read a fier y gos pel writ in 4. He has sound - ed forth the trump - et that shall 5. In the beau - ty of the lil ies Christ was =2 tgL-et> r- * ** -- m- 4 zfcz s ft -\* m ^ft ^ com - ing of the Lord ; He is 1 0-i -m m^- ,ramp-ling out the vint - age where the hun - dred cir-cling camps ;They have build - ed Him an al - tar in the burnished rows of steel : ' 'As ye deal with My con- tem -ners, so with nev - er call re- treat ; He is sift - ing out the hearts of men be - born a -cross the sea, With a glo - ry in His bos - om that trans- Ha r. -ourth Reader. 151 5=d*=zfc:zz ft f a: e grapes of wrath are stored ; He hath loosed the fate - ful light - ning of His even - ing dews and damps ; I can read His right - eous sen - tence by the you My grace shall deal : Let the He - ro born of worn - an crush the fore His judg-ment seat : Oh, be swift, my soul, to an- swerHim!,be fig - ures yon and me ; As He died to make men ho - ly, let us . Zt i r P 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 Chorus. is march is march is march is march is march - ins: ing ing ing ins on. on. on. on. on. Glo - ry, glo-ry,IIal-le - lu - jah ! Glo - ry,glo- ry.Hal- le - lu - jah ! m m < E t=fc ^ i Glo - ry, glo - ry.Hal - le - lu - jah! His truth is march -ing on. Hr. Fourth Reader 152 PARADISE. Frederick W. Faber. Joseph Barnby. m =t 1.0 Par - a-dise! Par - a - dise ! Who doth not crave for 2. Par - a - disc ! O Par - a - dise ! The world is grow - ing 3.0 Par - a-dise! O Par - a - dise ! Where - fore doth death de 4. O Par - a - dise ! O Par - a - dise ! I want to sin no rest ? Who would not seek the hap - py land, Where they that loved are old ; Who would not be at rest and free, Where love is nev - er lay ? Bright death, that is the wel - come dawn Of our e - ter - nal more ; I want to be as pure on earth As on thy spot - less A, bfe: r EEEB p M *=E blest? Where loy - al hearts, and true, cold? Where loy - al hearts, and true, day. Where loy - al hearts, and true, shore. Where loy - al hearts, and true, Stand ev - er in the Stand ev - er in the Stand ev - er in the Stand ev - er in the i fc e F 4 3 :<^z 3 light, All rap - ture thro' and thro', In God's most ho - ly sight. A-mex. JERUSALEM THE GOLDEN. Bernard of Cluny. . Alexander Ewing. =t J jl "J r , [ M :4=H .J. ' * 5 ^=z=V 3===4 ^t 1. Je - ru - sa - 1cm the gold - en, With milk and hon - ey blest: 2. They stand, those halls of Zi - on, All ju - bi - lant Avith song, 3. There is the throne of Da - vid, And there, from care re - leased, I *= =f~| A 14 =q ^ ^ 1 ^ -I ^_J m- i=3 3=p -&- Be - neath thy con - tem - pla - tion, Sink heart and voice op -pressed. And bright with many an an - gel And all the mar - t}r throng. The song of them that tri - umph, The shout of them that feast. Har. Fourth Reader. 153 fe m = 3^ dlgE=E=l I know not, The Prince is oh, I know not, What joys a - wait me there ; ev - er in them, The day - light is se - renc ; And they who with their Lead - er Have con - quered in the fight, |^g ^s I i=$ y 5 What ra - dian - cy of glo - ry, What light be - yond com-pare. The pas - tures of the bless - ed Are decked in glo - rious sheen. For - ev - er and for - ev - er Are clad in robes of white. PORTUGUESE HYMN. James Montgomery. J. Beading. H |--j -t H ^t =t=t p- ^ 1. The Lord is my shep - herd, no want shall I know; I 2. Let good - ness and mer - cy, my boun - ti - ful God, Still 3t=3t SL =1: V =d feed in green pas - tures ; safe fold - ed I rest-, lie lead - eth my fol - low my steps till I meet Thee a - bove ; I seek by the fc J =5: ^M soul where the still path which my fore wa-ters flow, fa-thers trod, . Re - stores me when wand'ring.re - . Thro 1 the land of their so-journ, Thy deems when op- press'd, Re - stores me when wand'ring.redeems when oppressed, kingdom of love, Thro' the land of their so - journ, Thy kingdom of love. Htr. Fourth Reads'. 154 COLUMBIA, THE GEM OF THE OCEAN. D. T. Shaw. Spirited D. T. Shaw. 1. Oh ! Co-lum - bia, the gem of the o-cean, The home of the brave and the 2. When war wing'd its wide des-o - la - tion, And threaten'd the land to de - 3. The star-span-gled ban-ner bring hith-er, O'er Co-lum-bia 1 s true sons let it $z=fc ^0 0- : r- -zr*-*- The shrine of each pa - triot's de - vo - tion, A . . The ark then of free-dom's foun-da - tion, Co - May the wreaths they have won nev - er with - er, Nor its =& * 4~*-^ ^ -* 3= V ** world of - fers horn - age to thee, lum - bia,rode safe* thro' the storm ; stars cease to shine on the brave. Thy man- dates make he - roes as - With gar-lands of vie - t'ry a - May the serv - ice u - nit - ed ne'er m *=& T- m - y *-*-w bj -*-*- m sem-ble, round her, sev - er, When Lib - er - ty's When so proud-ly she But hold to their b-t form stands in view ; Thy bore her brave crew ; With her col - ors so true; The -anr *cf W^0~ W=: g^ ^ ^^^i^ ban-ners make tyr - an-ny tremble, When borne by the red, white, and blue, When flag proud-ly float-ing be-fore her, The boast of the red, white, and blue, The ar - my and na - vy for- ev-er, Three cheers for the red, white, and blue, Three toaEg=g^^^=gj=^ EE borne by the red, white, and blue, When borne by the red,white,and blue ; Thy boast of the red,white,and blue, The boast of the red, white, and blue ;With her cheers for the red, white, and blue, Three cheers for the red, white, and blue ; The mmm^s -*-*- ^s gfcdfc II ban-ners make tyr - an-ny tremble, flag proud-ly float-ing be-fore her, ar - my and na - vy for - ev - er, When borne by the red, white, and blue. The boast of the red, white, and blue. Three cheers for the red,white,and blue. Har. Fourth Reader. MARCH OF THE MEN OF HARLECH. 155 William Duthie. Welsh National Song. 1. Men of Har- lech ! In the hoi - low, Do ye hear, like rush-in g bil -low, 2. Rock - y steeps and pass-es nar - row Flash with spear and flight of ar-row; m F=t 1 Wave on wave that sur - ging fol - low Bat- tie's dis Who would think of death or sor - rowPDeath is glo i tant sound ? ry now ! 'Tis the tramp of Sax- on foe -men, Sax- on spear -men, Sax - on bow -men, Hurl the reel- ing horse -man o - ver, Let the earth dead foe- men cov- er ! S3=i I F- -I b# F=t rzt 1 they knights, or hinds, or yeo - men, They shall bite the ground ! of friend, of wife, of lov - er, Trem - bles on a blow ! W-d * r fefe *^f: -*- m Loose the folds a - sun -der, Flag we con - quer un-der ! The plac-id sky now Strands of life are riv - en ; Blow for blow is giv-en, In dead-ly lock, or m & ^ig SEfcgpSE 1=E bright on high Shall launch its bolts in thun - dcr ! On - ward ! 'tis our bat- tie shock, And mer - cy shrieks to heav - en ! Men of liar -lech! \ ^ 2 J needs us, He is brav hoar - y, Would you win est, . he who leads us ! a name in sto - ry ? Hon - or 1 s self now proud-ly heads us ! Free-dom ! God, and Right ! Strike for home, for life, for glo - ry ! Free-dom ! God, and Right ! Har. Fourth Reader. 156 PRAISE THE LORD. Bishop Richard Makt. Joseph Hatdw. jis =t * ^ 3= -* * =t SI 1. Praise the Lord! ye heav 1 ns, a - dore Him, Praise Him, an-gels in the 2. Praise the Lord, for He is glo - rious ; Nev-er shall His prom-ise ^m >^>-^s> *=* :pa PS f height; Sun and moon, re - joice be - fore Him ; Praise Ilim, all ye stars of fail ; God hath made His saints vie - to - rious, Sin and death shall not pre- Ej&fc=? - * + A =fc g ^^g^ Si light ! Praisethe Lord, for He hath spo-ken ; Worlds his mighty voice o-beyed. vail. Praisethe God of our sal - va-tion, Hosts on high, His pow'r pro-claim : fe^=te^gfe=3i^; *=F Laws which nev - cr shall he hro - ken, For their guid - ance He hath made. Ileav'n and earth, and all ere - a - tion, Laud and mag - ni - fy His name. Hr. Fourth Reader. 157 HOLY NIGHT. Michael Haydn. f^H N- p^= =^r F^ r ^n i 1 is ^ : r r 5 r 1. Si - lent night, Ho - ly night, All is calm, all is bright 2. Si - lent night, Ho - ly night, Shep - herds quake at the sight. 3. Si - lent night, Ho - ly night, Son of God, love's pure light J * =Jh J S m- 1 4 f ,J- 1 J ^ ^^Ff -~0-. r e ' r H -t 1 L f~ =e=H Wm^mmm$mmm *a f lis? I ^=sc Round yon Vir- gin Moth-er and Child. Ho - ly In - fant so ten-der and mild, Glo-riesstreamfromlleav-en a - far, Heav'n-ly hosts sing Al - le- lu-ia; Radiant beams from Thy ho- ly face, With the dawn of re - deem - ing grace, J I i * s * s . J J J J J -~ * > >~- * ?T=S = r g% g=g=f h^. ft * * - * P=: i* :fc=s=&i: FTFf I I Sleep in heav- en - ly peace, Christ, the Sav-ior, is born! Je - sus, Lord, at Thy birth ! Sleep in heav - en - ly peace. Christ, the Sav - ior, is born ! Je - sus, Lord, at Thy birth ! i?-=? 1= I* ! r=^ P^l Hw Fourth Padr, F^ 158 GUIDE ME, Rev. W. Williams. O THOU GREAT i i n JEHOVAH! F. IIerold. J t r t 1. Guide me, 2. - pen now 8. When I tread J J? J T Thou the the 1 0- i great crys verge J Je - - tal of r ho - foun Jor - J -r 3 vali ! - tain, dan, J r r Pil - grim Whence the Bid my r J /* ferj f (I =f * ~f ft W: 9=t>-4 -m f- l L r- =t= ~i= =fc= =T=i J r l > t 1 _ + V - ~_i^=aE:pt> ^ I r^T p through this bar - ren land ; I am weak, but Thou art might-y, heal - ing stream doth flow ; Let the fier - y, cloud - y pil - lar anx - ious fears sub - side ; Death of deaths, and all de - struction ! i_j32 I I J J O . J J ige ?z P fe*=l=^f r r f i Hold me with Thy Lead me all my Land me safe on * J ^ ^ pow'r - ful hand. Bread of Heav - en, jour-ney through. Strong De - liv - 'rer, Ca - naan's side. Songs of prais - es, &r &J=&A z^5=: J ^,j Jl * = g=-f: r- t= r=r =t= -r T r ' r ; c 4 ==i Bread of Heav - en, Feed me till I Strong De - liv - 'rer, Be Thou still my Songs of prais - es, I will ev - er r ~ t*- want no more. strength and shield. give to Thee. II e Q r^ W JF=F- J J .4 r : : F: I 1= II Har. Fourth Reader. INDEX. Page Poet or Source Composer or Source 141 America S. F. Smith Henry Carey (?) 146 America the Beautiful .... Katharine Lee Bates .... Will C. Macfarlane 117 August Celia Thaxter 150 Battle Hymn of the Republic . Julia Ward Howe 118 Battle Prayer ' p. H. ilimmel 10 Begone! Dull Care English Air, 17th Century 142 Blessed are the Merciful . . Matthew, v : 7 63 Blow, Blow, Thou Winter Wind William Shakespeare R. J. S.Stevens 38 Blow, Bugle, Blow .... Lord Tenuyson F. W^ Jones 86 By the Brook Franz Abt 154 Columbia, the Gem of the Ocean D. T. Shaw D. T. Shaw 132 Come, Brothers, Tune the Lay Ignaz Moscheles 150 Come, Thou Almighty King . Charles Wesley Felice Giardini 103 Dewdrops Gleam, The . . . John Guard Felix Mendelssohn 91 Early Spring Robert Schumann 22 Envy Charles and Mary Lamb 78 Faith p. Silcher 33 Fatherland, The Edvard Griey 145 Flag of the Free Richard Wagner 148 God Ever Glorious . . . . S. F. Smith Alexis T. Lwoff 158 Guide Me, O Thou Great { ,, , T .. _.. ., Jehovah! ( liev - W * Wllliams F - Uerold 144 Hail, Columbia! Joseph Hopkinson Prof. Phyla 100 Heavenly Father, Hear Our ) Cry [ 147 Heavenly Father, Sovereign ) Songs for the Sancfcuary .... Yelix, Mendelssohn 137 Holy, Holy, Holy! . . . . . Bishop R. Heber T. B. Dykes 157 Holy Night ... Michael Haydn 135 1 Dream of All Things Free . F'elicia Hemans 58 I will Fxtol Thee Psalm 145 liinck 49 In the Alps Cornelius Gurlitt 152 Jerusalem the Golden . . . . Bernard of Cluny Alecander Ewing 125 Kindly Stars are Peeping, | Franz Liszt 73 Ladybird 123 Ladybird Caroline B. Southey 140 Lead. Kindly Light .... John Henry Newman J. I>. Dykes 46 Lift is High and Blue, The . . Dinah Maria Mulock ,/. Sneddon 110 Little Screech Owl, The Robert Schumann 155 .March of the Men of Harlech William Duthie Welsh National Song 31 Men of War at Anchor . . . James Smith F. Silcher 126 Mid This Evening's Splendor Har. Fourth Reader. 159 1G0 INDEX. Page Pokt or Source Composer or Source 14 My Bark is Bounding to the Gale Felix Mendelssohn 41 New Year's Eve Welsh A ir, " Nos Galam " 36 Night Hymn at Sea .... Felicia Hemans H. G. Tkompton 84 O Form of Purest Splendor Felix Mendel **rge Henry Howard 134 Ye Who Shun the Haunts of | r. i rn. tit- a w t > David Thomson W.A.Mozart Hsr. Fourth Reader. UC SOUTHERN REGIONAL LIBRARY FACILITY A A 000 041 773 3 SOUTHERN BRANCH UNIVERSITY of CALIFORNIA LIBRARY LOS ANGELES CAL