NEW YOI^ CaNCINNATI Imbm Southern Branch of the University of California Los Angeles Form L-1 V. 5 This book is DUE on the last date stamped below JAf^ 2 7 1943 Natural Music Course HARMONIC THIRD 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 47205 NEW YORK .-. CINCINNATI .-. CHICAGO AMERICAN BOOK COMPANY Copyright, 1903, bt FREDERIC H. RIPLEY and THOMAS TAPPER. Entered at Stationers'' Hall, London. Hashonic Thibd Readbk. E-P 4 f^ 53 6 PREFACE. What the ultimate aim and scope of music study in elementary schools will become, is by no means fully agreed upon, but the action recently taken by Harvard College, by which music is made an accredited study, ranking with language and mathematics in entrance examination, gives new life and purpose to elementary work. It is evident that, to the traditional singing for entertainment and for the cultivation of aesthetic and ethical sentiment, must be added an ear, eye, and voice training by means of which music as an art is revealed to the pupil, and that this work must be so done as to leave in the pupil's mind elements of knowledge and power which can be used in more ad- vanced study. This course aims 1. To arouse and cultivate the aesthetic nature of the child. 2. To give skill in aesthetic production. 3. To establish the power to express individual thought and feeling in musical language. The course never loses sight of these great aims. From the first lesson to the end of the course, the child is kept in an atmosphere of pure music ; from the beginning to the end, he is trained to enjoy pure music; from the first day to the last, he uses pure music as a means of self-expression. Not only does this make music the greatest humanizing influence in the course, but it cultivates taste, discrimination, and sentiments which en- dure ; so that through his musical education in school, the child gains a lifelong resource, a perpetual moral safeguard. In the Third Harmonic Reader of the Natural Course, the following, salient features should be noted : 1. The book reviews previous steps and presents new combinations. Har. Third Reader. ( 8 ) 4 PKEFACE. 2. It gives copious and specific suggestions in regard to the way of presenting every new point. 3. It offers ample and varied material for practice and drill. 4. It furnishes helpful and simply expressed suggestions on the ele- ments of musical theory involved, in numerous closely condensed foot- notes. 5. It contains graded dictation exercises, which serve both as a test of previous accomplishment and as a source of power in composition. 6. It presents one-voice exercises for the cultivation of individual power and part exercises for training in harmonic perception and independ- ence in reading. 7. There is a rich supply of song material in various forms and grades, illustrating the simplest as well as the more advanced tonal and rhythmic elements. 8. Carefully selected vocal drills for voice cultivation form a part of every lesson. 9. In common with the other Harmonic readers of the Natural Course, this volume contains a collection of meritorious patriotic and devotional songs, suitable for general assemblies and special occasions, and a few well selected folk songs which are familiar in American life. Har. Third R*Ir. DIRECTIONS. Every lesson should open with a vocal drill, with the children stand- ing. The vocal drill should secure (1) purity and beauty of tone and correct breathing, (2) perfect flexibility of the vocal organs and clear and rapid enunciation. The scale should be constantly used as a vocal drill. Sing with free, pure tone, down and up from different pitches. Note. Having sung the scale from C down and up, the teacher says, "Sing up one." f The pupils sing - 7fl^ " and holding the second tone change the syllable, calling it Do. From this tone as a starting point they then sing the scale down, and on returning to upper Do they again sing up one, and repeat the exercise. Written, the exercise begins as follows : g -^ zs- - ej G >- i lY-. zs^ fj^^^^^^^^^ Do, re - do. Note. Holding the tone and changing the syllable is an ear training device, not a means of securing a "new Do" merely, hence the chromatic pitch pipe should be used to test the new tone rather than to give it at the start. Enunciation. Sing with the syllables Do, Ti, La, Sol, Fa, Mi, Re, Do, with la, loo, ba, boo, a, and oo. Pronounce each syllable clearly with perfect articulation. Exercise the tongue and lips freely. Increase the rapidity of the enunciation until the vocal organs become entirely flexible. Har. Third Raadar. (6) DIRECTIONS. Slowly. Examples of vocal drill for flexibility. Quicker. Rapidly. fe^iaiiflfeaal^^^ls^: I Then from a higher pitch as below, and so on until the voice limit is reached. ^^^Pigi^igHlJi^SiB The various drills presented in the body of the book are intended to be treated in this manner. These vocal drills are useful as a means of reviewing rhythm the first requiring one tone to a beat, the second two tones, and the third four tones, as above. Marking the Meter. The accent should be strongly marked in these drills, and when they are used to enforce the rhythmic teaching the pupil should indicate the beat in some unobjectionable manner so that the teacher may be sure that the idea is grasped. Dictation Exercise. A brief dictation exercise should follow the vocal drill. By this means perception of tone relation, as developed in melody, is carried forward. The exercise should include (1) the scale, major and minor ; (2) inter- vals, diatonic and chromatic ; (3) meters and rhythms. Illustration. The teacher may sing with loo, and the pupils should respond with the syllables as shown below : Teacher. i Pupil. Teacher. M Pupil. W :^^=e: 1 Loo, loo, loo. Do, ti, do. Loo, loo, loo, loo. Do, ti, la, do. Har. Third Reader. DIRECTIONS. 7 Written Dictation. The oral work should be followed by a few written examples. For this purpose a staff may be drawn on the board, the first note placed in position, and then the exercise sung by the teacher should be written by the pupils. Measures, meter signatures, note values, and the use of rests may be taught in this way. Illustration. The teacher may say, "Write in the key of F the melody which I shall now sing." She may then sing this : ^^^^^^m To write this little exercise correctly, the key signature, the meter signature, the note values, and the pitch relations must be clearly in mind. No more complete test of musical knowledge and ability at this point can be given, and when the ease with which it may be examined is considered, it recommends itself strongly to all who are now inclined to call for defini- tions and long and laborious tests. Individual Singing. Written dictation will show the necessity for individual singing, and for a constant regard for the progress of those whose musical development has been retarded, either by neglect or by physical defect. In every class will be found those, too, who have come into the school from localities in which music is not taught at all. These pupils must receive individual instruction or fail altogether. The written dic- tation leads directly to the discovery of these pupils, and reveals to the teacher the course to be pursued. In conducting the individual singing, allow each pupil to select from a given page the exercise which he thinks he can sing. As soon as he has sung, place the number of the exercise against his name on a list prepared for the purpose. Require each pupil to sing a certain number of exercises alone each month, and use the record as a means of individual ranking in the subject. As confidence increases, assign exercises to be sung and 80 make the tests more definite. Har. Third Radr. 8 DIRECTIONS. Scale Successions. In assisting backward or neglected pupils, make sure first that they are familiar with the scale successions ; that is, that they instantly recognize the tone above and below any given tone. Thus: What is below Do ? What is above ? If this (pointing to a note on the staff ) represents Mi, what is this (pointing to one above or below) ? The response to these questions should be instant and accurate. The exercise should be individual and should be used as a means to an end, not an end. The Syllables. The syllables suggested in these directions are often used too long and too devotedly for the best results. From the very begin- ning the syllables should be used to establish scale relations, which should then be expressed without syllables. Many strive to avoid the evils arising from the too constant use of syllables by abandoning them, but we find the opposite course more efficient. That is : use the syllables so skilfully that their use becomes unnecessary. By this we mean that the syllables should be used to reveal the relation of little tone groups, and that if the syllables are so entirely at command as to suggest the relation instantly it will not be necessary to sing the syllables, but the tones may be given at once with a neutral syllable or with words. Words and Music. There will always be some difficulty connected with the rendering of words and music at sight, because no one can do two things at once so well as he could do either alone, but practice will enable pupils to gain a very creditable degree of power in this direction. Hence, words and music at sight should form a part of the regular work. Part Singing. When beginning part singing dwell upon each exercise until the harmony is pure. Sing lightly, and with rather a lively tempo, so avoiding the rough and heavy work which is apt to result when children are struggling to hold a part against other voices. Return to the sim- plest chord exercises before taking up advanced part work, and be sure that each child sings the tone assigned to him. Sing the part exercises with a neutral syllable as soon as possible, and use the Do, Re, Mi when neces- sary only. Her. Third Rader PART I. Study of the Scale. The scale may appear in as many different positions on the staff as there are staff degrees. The major scale is shown below in four different positions. Note. This exercise should be used for an oi)eiiiDg vocal drill. Sing with various vowel sounds. Chart Ser. F, page 1, Ex. 1, 2, and 3. Major Scale from C. ^^i^^^ =t=t i ^-s Major Scale from D. s^^^^^^tl la, ti, do Major Scale from F. Do, fa - IEEE ^JE5- 3 =#!: ^1 do, H Sharp, b Flat. g|fe [^^ ^ Key Signatures. The key signature shows the position of the first or key tone of the scale. The sharp farthest to the right is always on 7 or Ti. Tlie flat farthest to the right is always on 4 or Fa. The illustration above shows how to hnd the key tone in these exercises by means of a C pitch pipe. Har. Third Radr. 10 Review Exercises for Individual Reading. Vocal Drill. To be sutuffrom different pitchen. ^^ -^ *- -#- Chart Ser. F, page 1, Ex, 1, 2, 3, and 4. Ex. 1. i 3 =*: 3EE3; 3^ i ii -^ ^- Ez. 2. i B=St ^=F=P^ I ^-^ r ^ * ^ Ex. 3. i =^ -^ 0- t=t=F: 122: ^ ^" 3": "^ - Ex.4. i^ d=t I3;g^j-^i j 3^ ^=*=r ^=:^ES 11 Do, re Ex. 6. do, W^ 53EEfe^Eg ^0 a: ^^^EE^EEi. Ex.6. ^^^^^ P :^ -^- Ex. 7. Ex.8. Ex. 9. P^l^^^ f=f -^ -J- ^- i=r * g=5 ra - ^=^ f- -<^- I i^^P^i I :2; ^ L-ilz: :3^ H :^=zd: d=^: ^ ^ Har. Third Reader 11 A SUMMER SONG. Julia C. Dobb. i 2 :4: m^tz^z W- ^-It^ 1. Roll - y - po - ly hon - 2. Jaun-ty rob - in red - 8. Lit -tie yel-low but - 4. Ros - es iu the gar - ey - bee, Hum-ming in the clo - ver, breast, Sing - ing loud and cheer - ly, ter - cup, By the way - side smil - ing, den beds, Lil - ies cool and saint - ly. i i^: 0m 3=1- IZ^ With the green leaves un - From the pink- white ap Lift - ing up your hap Dar - ling blue-eyed vi - ^ -l^F der you. And the blue sky o - ver, pie tree. In the morn-ing ear - ly, py face. With such sweets be - guil - ing, o - lets, Pan-sies hood-ed quaint -ly, ^m Why are Tell me. Why are Sweet peas ^-^ :^ -^ =f=t= you so bus - is your mer - you so gay - that like but - y, pray, Nev - er still a min - lite, ry song Just for your own pleas - ure, ly clad, Cloth of gold your rai - ment? ter - flies Dance the bright skies un - der. g X- :fi :]^z*: ^e^^S^^i Hov - 'ring now a - bove a flower,Now half bur - ied in Poured from such a ti - ny throat, With- out stint or meas Do the sun - shine and the dew Look to jou for pay - Bloom j-e for your own de - light. Or for ours, I won - it? ure? ment? der? Ex. 10. Chart Ser. F, page 6, Ex. 5 i %:S==- s ra -- 15- :3^s 4y :?2: 4:^ m^^m- -y 1 ^ ^^m~^ n-^rrr a 3e^^ 3=^ t ~^W- -.4=^ :^-^- z^ m ^^^^ I <^ Whole Note. ^ Half Note. J Quarter Note. ^ Eighth Note. ^ Sixteenth Note. Whole Rest. -~ Half Rest. Jf Quarter Rest. ! Eighth Rest. ^ Sixteenth Rest. A dot placed after a note increases its value one half, thus : J. equals ^^ or J J J ; J. equals JJ" or J^J^J^i J"- equals j^ or *5^^^ Har. Third Reader. 12 Ex. 11. Ex. 12. i^^^SI#j^^^^^^i ^^iii^i^^ d: S ^1 atjd: ^^4J -^#-^ Ex. 18. Ex. 14. I tei 3^e::3 -S'-r- L^- ife^ liip^"^l^l^iiB Ex. 15. M^^^^^^^^ i=t 122: i-- ^rd-i w-jg i \s- iE^ipi^3^i^3^pi^j^^^l Ex. 16. Ex. 17. iSTt 0l:s2l -^ZUtL ^ll^^^^p^p ^i^i^SPIiil :=]: T3*-* ^^' '^^-A ill .^ ^ Tie. Two notes representing the same pitch, joined by a tie, axe sung as one note having their united value. Har. Third Rsadar. 13 THE BELL-MAN. Chart Ser. F, page 3. BOBEBT HKUKICK. From noise of scarefires rest ye f ree, From m urders, Ben -e - di - ci - te; From i ite= l^ j=j=S i ::j=:3 -J:=:itJ=d: -0 #-: -0 -^- ,^ J: all mis-chan-ces that may fright Your pleas-ing slum-bers in the night, '^^i 3^3^=d: :^:j: 5 -^ #- ^--^ *^^ P t- ^ 55 ^- i^. firi i :i :i=35: ^r=f ZT'-r^ r ^r Mer-cy se-cure ye all, and keep The gob - lin from ye while ye sleep. Past fe^x=/=J=J=pJ=>^J=-J -jhirj=-jbp=l= p_| I | H =-J_J_ H f"=iJ=r=r- one o -'clock and al - most two. My mas - ters all, "Good day to you." Pa^ ^^d^ :=1===1 ^3Sf3^^^ -* *- H*r. Third R>dr. 14 Chromatic Study ( Sharp Four from Above ). Ex. 18. Ex. 19. i ^M ife i ''-^=:\-- ^ i^ =1: zzUM=* -r. Third Radr. 19 i THE MILLER OF THE DEE. ( Minor.) Chart Ser. F, page 15, Ex. 1 (first line). Charles Kingslbt. Quickly. Old English Aib. :fi: p-zS: a^ 1. There was . . 2. I live by a jol my mill. she mil ler once to me Lived Like ^ ^ i on par 1*3:^ W the riv - er Dee ; ent, child, and wife; He worked and sang from I would not change my t :=^= morn till night, No sta - - tion For lark more blithe than he. a - ny oth - er in life. i n=t=: :t:: :g And this the bur - den of his song For No law yer, cur geon, or doo - tor E'er :^ ^i^^ ^^^=0^ =K= t=F: g no. not I, ^^^ ^m ev - er used to be: . . I had a groat from me ; And I care for no - bod - y. care for no - bod - y, z=^. ^ 1wF=|- ;i n bod - y cares for me. . * Key to above chromatics : P ^-^t-TP J J^ ^ fc'^ ^^^. *^ Do, do, ti, la, sol. ^ Hold ; this increases the value of a note at least one beat. Htr. Third Rtdr. La, la, si, fl, mL 20 Ex. 42. fe^^ '^^- ^EE^EEEE: ^^fe :t=: -1^ -f: IB ilsEEi --^ -d- :ct i^i^ =t Si Ex. 43. ife^s^ =a--f d=5= ^^^E^^E^^H ^ife E^3^ "^^^ ^ :=1: t=d: P0 Ex.44. !E^^3lS=j i^tz-jt S3^^ -*-^ i |E 32:: "cr -- 5=2: -JZ21 r 22 tS^ If- i5> G>- r - :: ;i=^ ^^ ^ I ^ < m Ex. 54. i E^-^ g*^ _L |_}-tg -[--(fc-^-^ 1 I I I J ^*=i=^ Ex. 55. S pi=* ^^ ^ 4 U U C ^ :-!==* g i *=?=^=E ^^=H=^ ^"=1^ :i*=iit Ex. 56. g^ ^ ^a 5^ 3=e=s: :V^at: ^ Har. Third Reader. 24 Ex. 87. igp-^^^Eg ^jgg ^^^zj^ ^^ ipife^gaf^ iS3EEEijiz=S i^if^::* ^^ii=jtt, sv B Ex. 58. d=to=t I S$Ef=^ S> . ^ \^=ii: ri ^^ at?: IS^ZZ^ EEtS ^^Trtg^,.j a -^:^r^ .cSiz^ Ex. 69. 3^^^^ d=d ^^i 'i^-^- -\^r- d2: zfc 4=3 -W-^- d=:=4: I^E^ ^_._^ :$. ^ ^^m-- F=^=i ^ life: 4== :t=: rferi i :=t i E-g Har. Third Reader. 25 Ex. 60. >^ .-4J-Jh- -^^ :c2:' ri I ' [ ^T-i Ex. 61. !=3=#===5^ S 3S^^: =|: =|: fE5=H#*|iBE^ 3^=^-:E3^H^i ^ 1 Ex. 62. 3 Ex. 63. Ex. 64. Chart Ser. F, page 15 (second line). ^^^ :g_^ ^^-- i^ j=-i j-i I I gpEp'EE^iP^^ i EB c^ -^-*- 3^^^^ 2^==Z3t J Q ^rt i J-J- <=-; ^ttL==Ssp=F^^F^^ip ig=3=3^^ 1 ^ # * *#-*-;;> '* r^zizzfqi: *:zit * Key to chromatic tone ; : i^= n-L.-J m^ii^^ j=3 d^i^^^ Har. Third Reader. Sol. la, ti, la, ti, do. T.a, tf, di, ti. dJ, re. 26 PRAYER. Chart Ser. F, page 15, Ex. 2 (first line). F. SlLCHEB (1789-1880). d \- i S 1. To 2. Free 3. Great 4. All 5. I : p=p=^. a from Cre things have dore er a earth found T Thee, ror, tor! ly Thee, / I Teach Make I Bid Lord, me, Lord, my soul am formed from me Thy light I with like de I ^- ^ ^=^ n pray ! in; Thee! part, see: Let Let Make Let All me me my Thy is walk feel joy ho fad be 'no the ly ing fore ter great spir round ^^g= Thee ror er, it me, 3Z ^ i=|: i J: ^ 3E^: =t I f 'f^^ r Hum - bly Though be Let me Dwell with Still art ev set ho - in Thou 'ry by ly my with day, sin, be, heart, me, bly be Hum - Though Let me Dwell with Still art ev - 'ry set by ho - ly - in my Thou with I day. sin. be. ^ heart.* i ^ w^^ xsz :i1=:: ^ Har. Third Rtadsr. 27 Rhythmic Study (Dotted Note). Vocal Drill. To be sung from different pitches. L I_-I Chart Ser. F, page 7, Ex. 1 and 2. Ex. 65. g B3S w=:i-- I- -Id ^^ ;?==F= i^zizfef^ r=?t Do, sol Ex. 66. do, ra^^s^^S^^^^^^a Ex. 67. ^^^^m^^^^^^^m Ex. 68. la" '- :" 32: 3--f:^r=<=2-Pp=r=s 3=2.3 :^E do, Ex. 69. ^^^^^^m '^^ t=F^ tEEE=t=:^& t=F ?3=^ ?=2- -rS>- ?=2=^: =I=- Ex. 70. I^e^^eSeS ^i^^i^^^a i5^lSSii^l= Har. Third Reader. WW 28 Ben Jonson. Con anima. GIVE ME A LOOK. (Canon in two parts.) J. Skbddok. :H3^' ^=i= ^Slli^ -ip- H: -^-^- ^ -1^ ^^ Give rue a look, give me a face, That makes sim - plic - i 5^ g 3 !=i=^: :d; 3 3^^ i^d ^^ W=^ --** ^ ^* -_^ ^ i ty a grace ; Robes loosely flow-ing, hair so free, Such sweet neglect more cres. 33=^ W -- ^ 3: t--- :4 Sli i tak - eth me Than all the sub - tie - ties of att ; These / dim. D.S. II: 0- ^- ^ :=1=:J: ^^^^=r^J^j=j^^^ charm mine eyes but not my heart. Give me a look, give i 5rf my heart. d: It: i S charm mine eyes. // :t: 2:2: 1 These charm mine eyes, but not // my heart. ^ ^ I d: ? -< -. * When the first voice or part reaches the asterisk, the second begins at the beginning. In going to the Coda, the first voice or part leaves out two measures, and the second, three measures, of the Canon. Con anima, with animation; f, forte, strong; ff, fortissimo, very strong; pp, pianissimo, very soft; dim., diminiu^dn, decrease the tone power; >- accent; T).S., dal segno, repeat from :g:. Hr. Third Reader. HAYMAKING SONG. 29 Chart Ser. F, page 6, Ex. 3 and 9. Alfred Scott Gattt. Qtiickli/. Ob 1 /)U^h-^ -1 *t ._, 1 ^ i- '^ zi^zz ^ ^ P ^^^^ J -^ r J w 1 ^ ^ I LI > w 1. Boys and girls. come out to - day. We must go a - 2. While the bright warm sun doth shine, Rake the new - mown 3. When the bright warm sun is out. Toss the new - mown 4. Now that it IS fair ly dry. Let us pile the 5. Load the wag - ons with the hay. Lead them to the 6. If you want hay sweet and fine, 1 Make it while 1 the / / 1 1^ r iw 1 " 1 ^ x^-i2:fe __S__j_ 1^ ^ =) ~ia^ ^ J ji ii=^ wt -> -J > 1^ d*^ t t^ t : ^ m mak - ing hay, Heigh - o ! hay in line. Heigh -o! hay a - bout. Heigh - o ! hay-cocks high, Heigh - o ! stack a - way. Heigh - o ! sun doth shine, Heigh - o ! Heigh - o ! Heigh - o ! Heigh - o ! Heigh - o ! Heiofh - o! out rake toss pile to a- mak - ing it in - to it well a - the hay- cocks the stack a - Heisrh - o ! while the sun doth hay. line, bout, high, way. shine. ^ t W ~0-^ iE^z Ex. 71. =}: 3 I ^: q^=P -x^ -kJs ^aa^ Ex. 72. il^fe^^^^^g m: -q-n-- :g=--a: ^E^ tJt ^-^ J fi Har. Third Reader. 30 Chart Ser. F, page 6, Ex. 2 and 5. Ex. 78. n f=^ Ex. 74, 4- w :2zi: ^-^p i^^ 1 J: -^- r J-.-J- j ^1 B==g^ i :::]= E5 P2-^=E3=#^^3^ i^E^: !==Jb^=d: ISt ^ :P ^221 T^::^1 :^ -p-"t =ii^ T r I W- ^s^ ^= g^ F=j 4 L__^ =^:1=S -^ Z^ -r^ y:^ ^^ -^ t 3: A ^ 1 12^ -S"- P T-=^=^ Many exercises begin in one key and pass into another. The change is brought about by introducing the notes of another key, shown usually by accidentals. Har. Third Reader. 31 LIFE. Chart Ser. F, page 5, Ex. 2. ^ '^ u T 1. O pre-cious gift ! O might mys-terious Which stirs within the throbbing breast ! 2. Then let us all with glad sub-mis-sion Still wait on Him in whom we live ; ^ u u I P > 5 I z>^ p te r- 1 "Z T T It' -tir -^ -tt ^ ' -^-S^ii: ^ 3i :iL ^ ;i n^ j^-jH- ^ -ji- -I- ^s =^^^ ^^^ ps With ear-nest tho't and pur-pose se-rious "Rie soul must view the boon possessed. To life on earth its full fru-i - tion In life im-mor-tal He will give. S3^ ^ ^ Ti^ -^ -1^ # ^ # V ^ WHEN LARKS ASCEND. vyip-^T J- 1 j^- 1 H^ i ST- 1 /..w vy ^^ >k k. J ^ 1 " />vP t? ^ 1 p * r " ' 1 J \sJ M - 1 1 ^ " 1. When 2. When 3. And 4. The war - bling larks shoals of fish when we on - depths of ev - as - in ly 'ry cend si - lift hu - on high With lence swim, To a thought Of p man heart To joy us raise Him - ous all or are : 1 i?=^i=^ 1 f =^ ^ =? ?= Ez \^ j ji 4 -^ -^ p lays. The Lord who rules dumb. To ears di - vine love, By it our full known ; And we our long f-- :(= in earth and sky Ac - cepts their praise, the voice - less hymn Will peal - ing come, de - sires are brought To God a - bove. ings can im - part To Him a - lone. ^ a^ t 5 nfcH: :Er m I Hv. Third Raadar. 32 Dictation Exercises. (1) Dictations may be either oral or written, that is, the pupils may either sing the tones which they hear, giving the name of each, or they may express the tones in notes on the staff. See pages 6, 7. (2) Oral dictation may be given at the opening of every lesson, while written dictation may be given less frequently as a general test. (3) The written dictations will impress the theoretic part of the course, and require the pupil to be familiar with the clef, key signatures, meter sig- natures, notes, rests, and bars, and will cause him to examine critically all of the different signs used in music. (4) In every class there are some whose perception of tone relation develops very slowly, hence it is well to begin each lesson with very simple exercises and repeat type exercises over and over. A majority of the class may regard the tests as very simple, but the exercises will nevertheless be good for all. Thus Do, Ti, Do, and Do, Re, Do, remain a mystery for a long time to pupils whose ears are dull or imperfect. They can not tell whether the progression is up or down, and it is by persistent and repeated effort only that the ear is at last made to detect the difference. "(5) The scale is always readily recognized and the progression down is easily distinguished from the upward progression. The arpeggio Do, Mi, Sol, Do in either direction is equally easy. It may be well therefore to begin with these combinations if the class lacks experience in this work. (6) For impressing note values and the different varieties of notation the same exercises may be written in different ways. Thus an exercise in I meter may be rewritten in ^ , or a part of the class may write the exer- cise in ^ and the others in | and the notations be compared. (7) The exercises in rhythmic dictation will be found most difficult to master. They require the most exact rendering by the teacher and perfect attention on the part of the pupil. Simple exercises should be repeated again and again, and the more advanced exercises should be reserved till the simple forms are entirely familiar. (8) Occasional practice should be given in writing complete melodies from memory. The Familiar Songs (pages 135-140) are good material for this work. HV' Third Radr. 33 Dictation. Note. These simple dictations should be repeated many times and used in connection with the more advanced ones. Major. i i w -^~7S ^g-^- -S>^^\\-^ ^^a^ 6 7 -&- -Gh- |^i|^=^^i^^|^^ "g~ n~g'~^ -;g r| g? ^r-g?-g gr I -<5^ -&- Minor. 10 11 12 13 W 1^^ :fcEj2=^^^: zy- g-p- -i5>-fi- tSi- "(5^ -i5>- -fi>- 14 16 16 ^?^ 17 1 j^=^H=^ ^^^^^~ ^=H -S'- -1- Chromalic. .18 19 f F^ ^ft p-g-fr 21 P ^-tf gi:gii l^_g^g :|^-g'-!;{g: 22 28 b: ^ i -g^- " t g 24 V^^^^3 i i i tS-+t^-'-^- -K^ ^-j^^-g>-^^=^T| -g' g -JI ^-gj ^gr ^sr Rhythmic. Write also in S. 25 26 27 28 itel^M^l^^g^l^:^!!! TFrtte aZso tV* and . *fl 80 81 14=: :: uti* t-d: J^I H lEJ^JI^Jggl H^ I Har. Third Raadar. 34 Rhythmic Study with Chromatics. Vocal Drill. 'p^E^^^^ Chart Ser. F, page 6, Ex. 5. Ex. 76. i^i^^^^EH^E^^^Ppi Do Ex. 76. ]3to la, ti, do. Ex. 77. S^=t=F Ex. 78. i^^Piig^igll g ^ i Do - re, do. Ex. 79. Sil^S :^ :q: :dt^S=b-S* B533 af^ ^#' Ex. 80. ^=^m=^i^E^^ ^: IjBZZ^ ^P=i: ^ ^ Ex. 81. Ex. 82. i s S^li^^ ii w 4- r ^rr r r Ifi^ I =1z=M.: ^=*: M.-z*=::f=bs^ ^^m^ 3^^ ScALB Ascending. l^^^^^m ScALB Descending. Har. Third Raadar. 35 TO THE EVENING STAR. (Study in Rhythm. Chart Ser. F, page 7, Ex. 2 and 3. Andantino. GABIj Beikecke (1827- ). g S=^-: iEME^.EE3^^EE? ^ iijv: d*5=^-=^: ^ In the sky at night - fall, Rise, thou lo^e - ly star! g 3^ w :^- =^ i 'Midst the star - ly splen - dor Gleam on us from far ! mf ^E3^ d^ i^ :^=: ^=^^^E^ When they rise in the heav - ens, Or when they de - cline. S=l=^= aEE=v S a None of all thy breth - ren Wears a robe like thine. ^E^. ^^. 5 In the sky at night - fall, Rise, thou love - ly star! i^i E 5li^3^^^g^| 'Midst the stax - ry splen - dor Gleam on us from far ! Andantino, somewhat slowly and moderately. Hr. Third Raadar 36 Vocal Drill. To be HmujfTom different pitches. TT^rrn Chart Ser.F, page 5, Ex. 2. Ex. 83. Ex. 84. ^; ?; :e^ ^: :2= q^: ^ *-^ Ex. 85. 1^2 ^ # : ^ ,* 1 ^ 1* hm = -A ~l- 1* -1 1 ^T +U- 1 . " f)^-r- =f=J -1 1 f=r j4=?5^-^ taE^ti^S^- Ex. 86. Ex. 87. =8 _A_ f _^ sii^ lez*; - ^ ^- :p=^ 2: 33=3- =B^j3E^ S^^ --r^ i P3^ ^t^E=^l The lines and the spaces of the staff are called staff degrees, The staff degrees are lettered, thus : i -0- A- ==3=5^^^ E 1>- Har. Third Readar. 87 IN THE GAY MONTH OF OCTOBER. Alfred Scott Gattt. ^ ^ 1. In the gay month of Oc - to - ber,Mer-rj chil-dren up and down, 2. In the gay month of Oc - to - ber,Rob- in hop- ping up and down, W ^ ^ ^ 1^^^ ^ rail. ^^ ^^=^ ^^ *=9: 1*=;^ ^-Ji Red cheeks shin - ing 'mid the dead leaves, Such a glow of red and brown! Red breast shin - ing 'mid the dead leaves. Such a glow of red and brown ! P^=f= ^ ^^^ I ^ =fE THE FATHERLAND. A. Methfessel. 5 :^: lo thee, our dear and na - tive land, With hearts and voi-ces blend - ing. We The land of frankness, faith, andfame.Of vir - tue, grace, and beau -ty, Whose Here fraud is fet-tered,home se-cure, And peace a safe pos - ses - sion ; Here 5 ^: i ^ I ^ i zs^ sing, a loy - al pa - triotband. In strains of love un - end - ing. chil - dren bear the fore-most name For cour- age, truth, and du - ty. jus - tice ev - er shall en-dure,And o - ver- come op - pres - sion. i I p^ 5 ^^ ^ ^33 =t=:t "Z=?- roll., rallentando, gradually slower and softer. Har. Third Reader. ^1 ^ '> f I "v 38 Minor Study. An examination of the close of many pieces of music reveals the fact that in the major mode most of them close on Do, the key tone, and that in the minor mode the close is on La the key tone of that mode. It will be seen also that the approach to this closing tone is in many cases step-wise, that is, with no skip occurring just before the close ; and that in the major the last two tones are either Ti, Do, or Re, Do, and that in the minor the close is either Ti, La, or Si ( ^5 ), La. Many times the three closing tones in the major are Re, Ti, Do, or Ti, Re, Do and in the minor Ti, Si ( ||5 ), La, or Si ( ^5 ), Ti, La. The singer must expect some one of these forms at the close, and must be pre- pared for it. In the case of the minor, the Si or j^o is a very necessary tone, because the ear demands it, and without the sharp, the close would be un- satisfactory ; hence this tone must not be regarded as a chromatic tone, but as a tone belonging to the minor scale. m Major. Examples. S I ^:?i=i: :fe={ s :2z:p ^^ 5^ i ?=^==1: I 2-f gzzt:^^^ (f=r Minor. sm^ m^ms^s ^j ^sin^^mm m t ::t=F:t I ^^ E^3: Har. Third Reader. Minor Study ( Sharp Five from Different Tones ). 39 Vocal Drill. To he aungfrmn different pitches. Chart Ser. F, page 4, Ex. 3. Ex. 88. Ex. 89. Ex. 90. Do, fa - - do, si. Do,fa Ex. 91. '^S^ --^^ ^ t id-^-F^ te^=^- Ex. 92. ill Ex. 93 'm =r*!=4: ^=t ^; i*:^ i=^ i^zzat Ex.94. i^^^gfe^E^^p^Eg Ex. 96. Ex. 96. i^^^^S^ -J^ ^ .^T- rr ^^ i i^^.^g=^i^ii^^3=^g^%5d5EiJ The clef is used to show how the staff degrees are lettered. The G clef (2b) , which is a modified Gothic G, shows the position of the letter G. From this the letters of the other staff degrees are easily fouud. Har. Third Radr. 40 SUMMER EVENING. Chaxt Ser. 5, page 6, Ex. 8 and 9. A. J. FOXWELL. / H. Hoffman ( 1842- ). ^^Efe *^qt=i: ny rays have been pour - ing Floods of heat on the Clad in gar - ment of 1. Sun 2. Cross the rich - ly dressed mead-ow, 3. Sweet the scent of the elo - ver. Waft - ed far on the ^. fi: S; ^=^_^. 3.=a.=g :=(==; -Jr The first note of the scale is called the key note, the key note occurs is also the name of the key. The name of the staff degree on which Hr. Third Reader. 41 Ie mf While the There the What a _^__^ 1<~^^ ^~" sky still is burn - ing breeze shall re - new us, soul - fill - inff treas - ure ^j i ter s ^ :i=Jt ^3^ sky . breeze soul "T^ Where the Breath - ing Here in 5i / 1 V 1-. b^ 1-. 1 :-^ / V ^ 1/ ^ r"'"=^^" Where the west is a - glow, Breath- ing life as it blows ; Here in na - tare is found ! f^ \^ '^ ^ '" Wea - ry foot-steps are There the cool wa - ters Ev - 'ry sight is a :=l: ::]^:^=f*: i! 3 W^^^ :j^ #- :=^- west life, na Wea - ry foot There the cool Ev - 'ry sight K^- Where the rills . Snig - ing "Here Thrill - ing joy . P g f-= -T turn woo pleas ing. us, ure; Where the rills gen - tly flow. . Sing - ing, "Here lies re - pose." Thrill - ing joy, ev - 'ry sound. When we speak of the key of an exercise we simply mean that the tones of tlie exercise are to be found in the scale beginning on the key note. The unmodified scale beginning on Do (or any otlier succession of tones which gives the same effect) is the major scale. The scale beginning on La is tlie minor scale. Har. Third Reader. 42 Major. '^^^^m Dictation. ( See page 32.) 8 4 1 ^ ^tt:^ -G G- i 7 -iS-^^^G- 1 i :fl w- -jzi -&r3-& Minor. .9 10 -< 3?- 11 -(&- -<&- (5^ 12 ?=^Ei^i^^=il 16 . 14 ^ Chromatic. 16 17 :gzj| g ^ ]:}g -<5^ -S>- :^=^^Jez:^5i:^=tL=^if^^5=^: 18 I 19 20 21 SEEEEii* i fcl -<5^S>-<^ a^kz^-o-^ r ::Jte:S=5:|e:^ -fit- -(5<- va- -<5^ "%&- Rhythmic. Write also in 8. 22 23 24 m-ggS^ig^flggg^gEBijiJig^f^ggEH TFrtYe aZso in a a?j(Z 26 26 27 iliSSieiii^aiiigiisa Har. Third Reader. 43 Chromatic Study (Flat Seven). Vocal Drill. To be sung from different pitches. te i^^^l^^pl Ex. 97. Ex. 98. te tf=4= F=t 5 *F=*sdT=t i^ =>^-iaz|J Sol, sol, fa. Chart Ser. F, page 10, Ex. 1 and 2. Ex. 99. iS T^^m- t :g >-g^- :g=:^ Do, do, te. SfeSEE^: I W 4 ^- ?^^ ^ 'W=-% t=F Ex. 100. m^^^^^^-- =F=^ ^ :dt=: i m=^s=m^^^ -0 J- ^ a^5 9 ^ Ex. 101. i^e^ 9 -=^:d=* g F==* Do, re Ex. 102. do. w^m^^^^^^ :t=: -i fa fe^^4^^ ^ ^ r r P r F= =ft 1 ^^ -^-^ -7^- IZ^ :c2: By the key of E, we mean that the notes of the exercise are to be found in the scale beginning on the staff degree lettered E, or as we say, beginning on E. Hr. Third Render. 46 STAY, WEARY WANDERER. Chart Ser. F, page 6, Ex. 6 and 6. F. Schubert, (1797-1828). Stay, Rest, S^^ =1: wea - ry wea - ry wan wan d'rer, d'rer. :::lt :=j=^-=:: here with peace - ful us stay, rest. \^ =|: w^- i 1:^=:^ =|: ^ d^ 3: 1 "^ J-q-^ - Leave Here for with a - while re - i)ose all and the en toils' of the way."My joy - ment be blest." " No d^ ^EEEi^EE^ i l=? |eI^3^^ home is be - fore me, and rest or en - joy* - ment my --^ ^^^mm ff V- t=t=^^ thith - er I haste, For I spir - it can know K I'm feE^ rail. w :t: It: tr- long once a - gain all its \bless - ings to taste." kept from the home which the pliss must be - stow." i S lE^^. Har, Third Roadar. 47 ^ ^ / So pil - grims on earth should en - coun - ter its wiles, Not ^ 35^35 b :=^ rt^ :=1^ i ^ ^ ^ V =#F :t: heed - ing its call, nor se - ^uced by its smiles, Still i *: s f==l*= si i- W :=t ^ / ^==3^ press - ing thro' snares and al - lure - ments to rise From i :fc=1t m -9) ^ ^ a :^ i wan - drings be - low to a home in 'the skies. * ^:=^ =3: -EEE3t3z=3 -*- Har. Third Radr. 48 THE CHILD'S PRAYER. I Chart Ser. F, page 6. G. Campbell. Slowly. T. S. Gleadhill. ffi afe #^^#^ Fa- ther of all, whoreign'sta - bove, I kneel be- fore Thy throne, And a j^-i^ j jEi^^jfE^a ^ ^-[-^ - a=i ^ ^ fe^Ed^SE^: 3t^ f r r ^ f b2== glad to know that God is love, And claims me for His own. i w-^-=^- 3^ a s; ^^ -^.- s z^ J=.i f ^ i F= T 1 ' =n T^- i^&i^ :d=^ f T^r t *=*^= r And wilt Thou, Fa - ther,wilt Thou lend An ear to what I say ? Can i 3^5 iS 3^ W w ;i=ar -^ ^ ^ * a i j- j-jn- a?i^: r I r ; the great God of Heav'n at - tend When lit - tie chil - dren pray ? ^ i I ^3=^^ -^^ Har. Third Readr. 49 i Major. 1 Dictation. ("See page 32.) 2 3 1 1^:^; P -6> --22- -?g ig- -g z?- -^-HS- -g-z?- 7 i i 8 p -^-z?- -Z? Z^ iTi gr- -<9 6>- "zy -iS- - sr ^- Minor. 8 10 S i=i^^^=l^^^i^^^ r^~^: ^ s^ -95,- 11 12 13 > g: ;b p- -* g-ji ^ ^ g' H g-j|^ ^-^ 1^^^^ Chromatic. 14 15 16 1 ^,'E=e; -s.-^- _^_.2- iii^-z?- :i^=^l :^ ;-5 '2- i 17 18 19 ^ 'MzJ2^?Z -g- g . _ tg- Ea^=^^ii=E=l ' ^jto dr. 61 TO A BIRD, SINGING. Chart Ser. F, page 6, Ex. 5 and 6. F. Gabtz. fe ^ -=t ^=^ How sweet the notes of yon - der bird Now ring - ing loud and clear ! To fe 5 l^H ^^^ i :t: ^= sym - pa -thy the soul is stirred, While mu - sic charms the ear. Oh, g^ ^=^ 5-4-^ -* ^- had I such a voice as Ihine, So rich, so full, so pure. My $ S ^m i^ ^^ -ml ^ :#*: ^^^i^^^^p^^^^^ Mak - er's praise I would en-shrine, And ev - 'ry heart al - lure i 25 I ^ --^- -^-^- ;-^ * #- If there is no key signature we know that Do is on the third space, or C, and the exercise is in the key of C major or in the key of A minor. If tones are used that are not in the scale indicated by the key signature, they are'distinguished by accidentals, and are called chromatic tones. Har Third Reader. 52 Chromatic Study (Sharp Five from Different Tones), Vocal Drill. _____ ^nr- Ex. 122. Ex. 123. Ex. 124. Ex. 125. do! Sol, fi. do. Sol. fi. do. Sol, fi. Chart Ser. F, page 4, Ex. 1, 2, and 3. Ex. 126. ^^^^ -d=^= .^_^_ :^-*: -^S'-r- Ex. 127. ^^m^ m & m ^^i^ -t=; :J=jii^ ^ Ex. 128. gi^^^^^pipi^^^gi^ii Ex. 129. =1=^ :=rq=j-^ -,--i-,-^ ^^E^^^^E^ .d-H- ^^ teg: ggg^l^gEgE^gg P :zi_ .^ I 1 I ^ H4-^ *^-*-r^ Ex. 130. IS m^^ E^ :gi i ^'^^J^\ ^1 I 3^ !S :=1: -^- ^=^ ^ 1^- ^ H>r. Third Raadar. 53 PRAYER FOR OUR NAVY. Chart Ser. F, page 14, Ex. 2. W. Vkre Mingakd. rnf Moderately, i , F. W. Farkington. =3^^ i= J^J- S^^ 1 t g? . r-t -.^ a - low and 1. Thou didst make the sun to shine, Heav'n 2. For we know the seas do stand In 3. If Thou wilt. Thou canst, O Lord, Sue vif cres. and earth the hoi cor lend ig ^ -^ -^ :^ ^"TJ.- I^=d V-4^tJ ?l* i ^-- =^ r="r like are Thine ; Thou of Thy hand; AVeep help af - ford ; Let i didst form ing wives us not cres. the might and moth im - pi ore y ers in deep, dear vain. -fzr 5 ^l ^=S :*=:! 122: i^i dim. Solo. Slower. r i r r- Thou didst bid tiie Lisp a prayer in Stretch Thy might - y I , dim. -^ y^^ i^?: bil - trem arm lows sleep, bling fear, a - gain. Lord, ( Humming.) cry to I 3^ --S-T W- -c*- ^^ "#r i ^^^ i=f^ I s -(S*- ==^= Thee to save Our sail - ors on the storm irH: -^' Et^ ;^ Har. Third Reader. 64 THE FUTURE. Chart Ser. F, page 15 ( first line ). Moderato. F. H. HlMMUL (176R-1814). fe s i^ 1. Who can see 2. Fu - ture days what lies be - fore us, What of for us are hold - ins: What is m ^^m 5 m -^ >> tt joy, or what of. woe? Who cau tell what fate hangs o'er us ? Nay, 'tis best for us to gain. And each hour is on - ly mold-in g Link by '4-9 :^=^ zM - 4 * ^ . ^ * s I J -* Ml- rj . s ^ tt *-f s \^ -^^ well we do not know. Who could sing a song of glad-ness If he . link our be - ing's chain : Links of grief and links of glad-ness,Links of U % ^^^^ -^-^-d-' ^ * ^K -S^ Moderato, moderately. Har. Third Reader. 55 * ^^^ :* ^3* sS * J5=^ i knew what was to be, If he saw the sights of sad - ness That his love and links of loss ; Links of song, and links of sad - ness. Links of tt m * ^^^ ^ "27 .^_i_^ i y. rit =t P ^ eyes are sure to see. Bet - ter far to live un gold and links of dross. And the chain, what - e'er its m m m dti -IS- m t j*=it 5^ atz^ know - ing. And with - out . . a ques - tion bow ; Else the length be. Reach - es to . . the hid - den shore ; And what i tt m m :ts=:^ .^_^_ roll. n m ^^^^ ^^m fu - ture would be throw -ing All its shad- ows on us now. e'er may now its strength be, Will not break for - ev - er - more. ^ ^ ^S^ ^^^pl^ -(S>- 9 Har. Third Readar 56 GAY-ROBED SPRING. Chart Ser. F, page 12. John Guakd. Felix Mendklssohn C 1809-1847). 3%Ei F^: -t- :=t --t- d=:: :^t=:1: 3t=]it m ^ Gay-robed si)ring,a - gain re - turn- ing.Rofvms o'er ev - 'ry hill and ^^^^: :^: ="i d=i ixat / %-^: :1t::t -* ^ - ^^^^^ vale, Ga}"- robed spring, a- gain re - tum-ing,Roams o'er ev - 'ry hill and r - - =1= d=^ ::^=1=:=t ^^ ^If: sy =1: :=t 33t i tt^ i3| ^= :1=1= - ^ s I x^ ,W ^i ^ _J>L^ 4==1: jp(z=i*=at: vale. Her - aid birds, her reign pro - claiming. Her - aid birds, her reign pro - m ^=^=^==i 10 wt ^^^Fi3^ ^: ::1=:=1; 3 -w ^ -1- pro - / te^g^^^^g^ zsz: claim-ing, Chant a - loud their joy - ful tale. A ^^mm^ :d=i m w "P-- claim ing, Ctiaut a - loud their joy - ful Har. Third Radr. 57 m i^ / :i: -tisz: tt Chant a - loud their joy - f ul tale, Chant a - 3^ ^1 3^33 tale, Chant n %^ i=E d=|: loud . . their joy diin. ful tale. 3"= *l loud their joy - ful tale, Chant a - loud their joy - ful tale. ^^ ;0 THE LORD'S PRAYER. 22: J , J I Our Fa - ther r=t=p-*^*ir^-=r^r=p=^ which art in heav'n, Hal - low - ed be Thy EE33 *-*- ^- "-^ -* 1^ ^=4: i ^^3 rS- HEEi ^ -S" 1 &- w- -x.zs= t:S: Thy king - dom come. Thy will be done On =t=1: i=E^F^^E^=EEE^3:=^=E^E^ iE^ Slower. '^^^ =M^- -Gh- ^ earth as it is in heaven, =.t our Fa - ther, our Fa - ther. I w^^^- ^=^^^^^^ -=r Har. Third Reader. 58 Major. 1 Dictation. (See page 32.) 2 8 j^ <^ =;;^:=g=5?=|zs I -fi*-^ 1 i .,. g ^^ &> 4 5 6 7 ' f 11 II II / r? II 11 11 fr^tr? i-^ll it /n ^ II v> '^ ^ f^ ^ ^ II ^^11 ^- a ^ c li *J .^. ' fi?- _^_ '' o* _^_ &< ^ ^ ^ ^ Minor. 8 10 11 i fl ^g^g I ^2-5- -<5'-Z?- ^i^it,, ff- < g | ^ g > g ' g '^ "^I gr 13 IS 14 i -zHiis'- Y'.\^e2- I^^B I e: -?- - 1 ^ ^ ^ i t^ -- Chromatic. 15 16 17 i r -0^ I 18 19 i Di i=^^^^^ -!S>- :a=^iLg^^- ^ g =ll=pz^g_-_g-i^=g= Rhythmic. Write also in ^. 21 22 28 ^^^i^^^i^Sgi^^iD TTn^e afoo i 8 and 2 awtt g. .ft 26 ^^feH^^ ^ g S Sl^ i ^ Har. Third Reader, 59 OLD TIME, THAT OWNS NO PAUSE. Chaxt Ser. F, page 7. J. 8. S3^ ^^^^^=1^ -* rJ ^ Old Time, no pause or stop, Sweeps on with wings ol fleetness, And ^ S 3=* - K^--* y- r 1 X ^ ^^m -e=>- Old Time, that owns fe^S^ -^l *- tP=f love That gives life's cup its sweetness. If ^ '9^P^ ^=^E ^E^^^^ ^ ^^ - ^ # ej X - And love remains the cor* (^al drop i fc^-: =1*: It^Ei^BfeEEES tz- ^|iti=5=8: t^^ ^ homes. that homes. None but the bad would leave them, S3^ S=l*: SE3^3^ w ^ ^-^ tit g* ^ - If homes were all -* - that homes should be, While ^^ I ;i^==* 5^ ^ i^H While hearts that love to love would flee, And discord ne'er would grieve them. i n =1^ -, ^ hearts, Har. Third R>dr. ^i? =^ - -*=:J m m sz to love 60 Chromatic Study (Progression by Minor Seconds). Chart Ser. F, page 8, Ex. 1. Ex. 131. &Ja *^ ^^^^^ Ex. 132 i^^S Ex. 133. Ex. 134. ll|^^^ Ex. 135. :^P^^ ^^^i^^^H Ex. 136. ^i^^^^p^p :^d^ 1^ fr?|^:i# ^^ b^ b^ Ex. 138. =^^F ^asiiiSSSl^^^i^pii^ -^ ^^ ^^-i=^ ^g = ^^gi -j ^- ,:t_it= ^^-'-^t;^^-'^ , =1- 1 Har. Third Reader. ABIDE WITH ME. 61 Chaxt Ser. F, page 8, Ex. 1. Henry Francis Lyte. Moderately. ^ 1 ^ h =1= WuLLiiAM Henry Monk (1823-1889). r# -J .4 :s>:: -C2L 1. A 2. Swift bide with me! Fast to its close ebbs r falls the out life's e lit ven - tide; tie day ; g^ ^ 3^E3 ir *- ^- d=Fs!: t=Fd C I < I f=f f=f f ^r The dark - ness thick - ens, Lord, with me a - bide ; Earth's joys grow dim ; its glo - ries pass a - way ; :i 3^5^ :=i: -^^ -a- =3F -t ^=^^: i :^: r-^r ^ II Help of the help - less, O Thou who chan - gcst oh, not. IZS P=P "rsg: T a - bide with me ! a - bide with me ! i ^ ^ ^ -^^ ^>- 221 Har. Third Reader, 62 Vocal Drill. Rhythmic Study. Ex. 139. sg r-t lii^^^^^^^ Do mi, re, do. Chart Ser. F, page 6, Ex. 8 and 9. Ex. 140. -^H ^f^g^^ ^g=j^ S: Ex. 141. g & Sfe ^ESEa ^SpS^ r f -g=^^3==t!3 P=S^ i* ^ Ex. 142. ^^^P^^g^i^^^ Do, ti Ex. 143. do. ^^^^^g^^^^Sil Ex. 144. J..J^a=^=^Aj ^ i 'tt=*fff- li ?^ ^_^- f=^F iffi Ps* a> r ^3== 3^X^t^ -2=^ J J' J" J* J*' J , *^ Triplets. Har. Third Readar. 63 GOD OMNIPOTENT, Hbnbt Kirk White. i ^^ 5^i J L i ^ 3 S f W^^ ^ ^=t ^ f m fe r r le Lord our God is Lord of all ; His sta - tion who can 2. He smiles, we live ; He frowns, we die ; We hang up - on His 3. He bids His gales the fields to storm ;Then,when His thun - ders 1. The :=^- ^^r^ 3^r* w^ ^=r^=T - ^ i^3=ji^i =1: f ^^ f=f=r=r i r r T ^ rrr. find? I hear Him in the wa-ter-fall; I hear Him in the wind, word ; He rears His might-y arm on high, We fall be - fore His sword, cease, He paints His rain-bow on the storm, And lulls the winds to peace. i |=#^^^e^^^ ^ :jf^ ^^ -- p L^- Chart Ser. F, page 8, Ex. 1. Ex. 145. te^E^ JI3: ^ 1 ^3^S^E^ ^ # IfcJ^ m P^m ^^ I Q 2^r=F=^ u. ^m 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 is called pitch. Har. Third Reader. 64 Chromatic Study (Flat Six from Below). Vocal Drill. Ex. 146. Ex. 147. Ex. 148. gg^J^ fej^JEHfe Sol, le, izt -^-p** 11=^ s^ :c2 s :?- B Chart Ser. F, page 10. Ex. 149. i=F=fe=4 :i=q=i- h-lU-J^ F I :4: =?f=-';^ 3^J=^ ^=^ -* Ex. 150. -ff*t-f ^* 1^ t^t: ]==d--P :22: Ex. 151. ii-ifei 3^ -^ :::^- :J=t r^i Ex. 152 P^ii :: -=!=l^ Ex. 153 # ^^^Hii^^^^p^^l^^ Ex. 154. ffl^=^ > ^=S. =#r -^-=^ p 1 ^ T k ! ! I I ^-9- '-^ i ^1^ *- s ^- ^ =* I The pitch of tones is indicated by the staff. A note separated from the staff represents no particular pitch. In studying the representation of pitch, therefore, we must study the staff, rather than the notes, and remember that the note is placed upon the staff to indicate which pitch is to be sung and to show its relative duration. Har. Third Readar. 65 OHl SKYLARK, FOR THY WING. Chart Ser. F, page 3. Felicia Hemaks. J. S. l^ i=^ -J=3t 1. Oh! sky - lark, for thy wing! 2. Free, free from earth-born fear, 3. But oh ! the sil - ver cords Thou bird of joy and Then I would range the That round the heart are tt ^ i^=5^ w -* - ^ 1. Oh! sky 2. Free, free 3. But oh! lark, for thy wing! from earth -bora fear, the sil - ver cords Thou Then That H iS ^? :?E=^ =t ^-- light, skies. spun. -^=^-^ That I might soar, might soar ,and sing. At Thro' the blue, the blue, di - vine - ly fair, Where From tie tones and words. And bird of joy and 1 would range the round the heart are light. That I might soar and sing, At skies, Thro' the blue dl - vine - ly fair. Where spun, From gen - tie tones and words, And heav'n''8 em - pyr - e - al height! With the heath - Vy hills be - low mists can not . . rise. And a thou - sand joy - ous eyes that make our To some low, sweet nest re - ^^r dl ^^ -J Har. Third Reader. :^=^ --^FT. :&: =f TTKa neath me, Whence the streams in glo meas - ures From my chain - less heart turn - ing, How soon my love ry spring, And should spring. Like would bring. There, ^5 ^ -* -^- dim. S D.C. vs. 2, 3 i -0-F :e: EE=t iit pearl - y clouds to bright rain's ver - nal there the dews of wreathe me. Oh, sky - lark, for thy wing ! treas - ures. Oh, sky - lark, for thy wing ! morn - ing. Oh, sky - lark, for thy wing ! f^^: ^- 3^^ :b K l4=t -c^ THE ROSY-CHEEKED URCHIN. John Orton. Animato. J. 8. ai^pE^^^s 1. The ros - y - cheek'd ur - chin that swings on the gate 2. The ros - y - cheek 'd ur - chin that swings on the gate 3. The ros - y - cheek'd ur - chin that swings on the gate Is a Hath Waves i^^^^35 m :=^ 3'=?=5^^it T^ -7^ ^^^ :^ i^=:fc J^^ ^^m ~^^ t^^- :^=^ right mer - ry mon-arch in all but es - tate ; But treasure brings trouble, what Na-ture's own pa - ges up- on "him to wait; His joy- ous com-pan-ions a proud-ly a - bove him his satch - el and slate ; The sky is all brightness, the i ^e^ ^^ :l^=:1t 3'=^^ =fE=:ts: --i^ D. C, da capo, repeat from the beginning. Animato, with animation. Har. Third Readar. 67 i d2: j^- eeS E^Hpi^i^ ti - tie is free? Thus bet-ler with-out one, thus hap-py is he ; . . For the cher - u - bim crew, With po-sies of dai-sies and but - ter-cups, too. . . He fields are all gay. Green branches are wav-ing,the lambs are at play ; And E^^ 3^^5 ^^=:J5: :it=3t ^ ^=^ ^^: i^ -=^^- 5^ ^S p--- :^ SS^^E^ I^^ZUgSZ ring of his laugh is a mirth-moving strain, Which achoir of youngcreaturesre- boastsnotof jewels on fore-head or breast, But his heart is all glad-ness,his where is the bosom that pines not to be Thusbath'din the sun-light as ^6^^ ^3^ s^-f^ -^^^. ^ rail. ^^ ^ ^ ^^ spond to a mind is at hap - py as gam. rest, he? The t)irds are all sing-ing, each heart is e - Oh! what are the hon - ors, the glo - ries of For the heart's pur-est pleas -ures (we find when too B ^-te ^^ -> r* -j^ ^ :tz=: D.G. vs. 2, 3. late With the ros state, To tlie ros late ) Dwell with-in y - clieek'd ur - chin that swings on the gate, y - cheek'd ur - chin that swings on the gate ? the bright ur - chin that swings on the gate. j^ K ^ t-^ 1 ^ i ^ =*: ^m ^-^ Hr. Third Raadtr. 68 Major. ZSl -t^- -- Dictation. ( See page 32.) -g ^ ^ a-& - II -s>- -&- < g _ f'''- g ' ^ '^s > i^^H^^i; '^-&- -g-g- g Minor. 10 11 12 I :pr i 3^^^;=^ :EI 13 14 15 :||5=^z^=^ &-WS&- fe=te=^^i^=J^-g * l^i^zzfef^zif^ ;b Chromatic. 16 17 18 19 20 M ^ ^ - |:j =^^=fe' z^|^| ^-z^^-g-^^-*g^^^- g ^1^-^ i ^>zis:| :^^^iusM:r^ 21 22 23 ^ - _^_^-^^_^^4^_ ^ -g , g- g g- :|^=^|^_^jg_^^_jg_g-|^ Bhythmic. Write also in 2" 24 25 :teggg^l gEfl rgg|g^lgiH3^ TTri^e aZso t?i 3 and 3. 27 ^^m^i^ 3^^mm^^^^mi ^t^ Har. Third Reader. 69 Chart Ser. F, page 12. .William Wordsworth TO THE CUCKOO. k 1^ cuck - oo ! shall I call thee bird, Or but a . wan-d'rins; voice ? hill to hill it seems to pass, At once far off and near, bird, but an in - vis - i - bio thing, A voice, a nij-s - ter - y. uu - sub - stjin - tial, fair - y place; That is fit home for tiiee. MI^^Z 1-:IJ Har.Third Reader. ^^' 70 LIGHT-BEARING STAR. C. H. FiSCHEB. Andantino. ^= 1. O light - bear 2. Like thee, be it I star, mine ^m Thou Un rid - est clond - ed zB- S S^iS: -* *- H= a to ^ 1. light bear - Ing star, Thou 2. Like thee, be it mine Un- m '^=0^ tax, shine. P ^^S^l^^i^ Re - splen-dent And gain for in beau - ty, m}"^ guer - don n r f P A queen in thy Ap - jjrov - al di - -^m rid - est cloud - ed a to C far, shine, Re And splen - dent in gain for my beau - ty, A guer - don Ap \-Ji wm^^^ car. Re - splen - dent in beau - ty, A queen in thy car. vine, And gain for my guer - don Ap - prov - al di - vine. n -^- rj: ^ 5t * a ^r^ queen in thy car, prov - al di - vine, A Ap queen, prov a queen in. thy car. Sill ap - prov - al di - vlue. Har. Third Reader. 71 ARIEL'S SONG. WiLIilAM SHAKESPBARE. s :^=t2 -fc> : Where the bee sucks, there suck I ; In a cow - slip's bell I lie ; :ft=^ =1t 4:=,b=iP=3i=i ^^^^==J 3t=3t ^3^ r^-b 1 A . ,^ r ^- -| if- ^ ^~ =U 1< -s 1 -^^ M There I couch when owls do cry. n Hi On ^ 1^ ti^-J the bat's back 1 f^ p. ^^^ 1 I do fly, ^'^fc'^ N 1^ 0. : ^ h- w 1^ j w ^^-=1^ > ^ P P 0- ^ ^ ha ?=* ii bI b-J^ ^ V^ ^ ;^ ^ 1 1^_ ^ im ^^ K 1 ^^^M^ Ait - er sum-mer, mer - ri - ly, Aft - er sum - mer, mer - ri - ly. i *==* P: 3tz-*=:*: z^:it=^^ Mer-ri - ly, mer-ri - ly, shall I live now, Under the blossom that hangs on the bough. ^^^i^^P^^^-3^3^^^^ Har. Third Rdr. 72 Rhythmic Study. Vocal Drill. Ex. 155. ^ 1-^ * ^i Do, sol Chart Ser. F, pages 6 and 7. z. 156. Ex. 157. SH^^igl^sa a rfirf: ^^^ Ex. 158. Ex. 159. p^gp ^^ga pi^gipg^^g^n Do, la Ex. 161. *- 2^ -7^ E^I ii 122: =^2= IS?: ]] Ex. 162. i.5^=J: 9 ;^- 3^ 12^ ^ Z5: 12^ - - 73- '^ r-=F=r- \ 'f^^=^- -jr:^ 12^ i -f=2: 1 :?2^ -t== :zs?^ ]] Each line and each space of the staff is called a degi-ee, and each degree represents a certain pitch. Many attempts have been made to s6ttle 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. Hr. Third Reader, 73 GOD BE OUR GUIDE. i Chart Ser. F, page 4, Ex. 4 and 6. Moderato. mf Fkanz Abt. -4- 3^3= ^=d==5 ^=^=?^ IS^J t:5?2: 1. God be 2. Work that 3. Might - y our Guide, His we pur - pose to bless from help ev day IS 'ry to sure ; In hour Can day, Till S ^ -=1 I ^=i=^ -z=>- I W ;i mf ---- ^- Him pros life's per brief hope on liffht shall shall rest . through pass . r se - cure. His power, a - way, His Our He i 5 w^m -^- cres. sue - cess can bring; This strength a - lone souls His gra - cious pres - ence seek ; With gives and takes, and . works His will. We prayer from ev joy - ful lips pray, and bid this ^ :3^=^ ^^^^ / 'rm^^m. p f t=hH=:^: lieart shall spring, God be prayer we speak, God be heart be still, God be T r- our Guide, God be our (iuide, God be our Guide, God be -jzatL -(^-r- our Guide, our Guide, our Guide. i ==t ^^^i ^ S'-r- i Moderato, moderately. =* accent. Hr. Third Rdr. 74 LORDLY GALLANTS. Chart Ser. F, page 3. Geokob Wither. Cheerfully . ^. Db. Callcott. =l=i ^ '^T\-^-\ 1. Lord-ly gal-lants, tell me this, Though my safe con - teat you weigh not, 2. Bound to none my for-tunes be, This or that man's fall I fear not ; ww-^-lf^^- i^^ ^ '^^- ^^'^53 -^a- wm WM \ J- ^__ d=i B f^- Z^ZI^J f=S^2=.]p In your great- ness what one bliss Have you gained Him I love that lov - eth me, For the rest :(SZ=sz::j.=J: r 33 that I en a pin I i P^=^=^=^ ^^1=s^ '-^- d=i -?=?- 'j^i ----* 1^^^= :?2: 5^ f=f=t?^^ s^^3^ f- joy not? You hare hon - or, you have wealth; I have peace, and care not. You are sad when oth - ers ch'aff. And grow mer - ry i r=i: :=1: ^ as they laugh; I that care not and . . am. . free, Laugh and 'weep as :|s==1 1^ J^-PL-J^ -*- -jLzuii ^ Har. Third Rad*r. 75 i care I take; All pleas-eth me ; I the day I mer-ry,mer-ry make, And at night no that care not and . . am . . free. Laugh and weep as :t :^^=1: Pcdti^ziltit:^ ^^^^- *- -i^^mr~ r ^-d S ^d- :X 1^ ir ^- ^^ -jzH a mam care I take, pleas - eth me, g= g ^T 122 m And at night no care I take. Laugh and weep as pleas - eth me. Ex. 163. (a) Major. 4^J j rJ-4 (6) Major. Minor. Major. II^P^^^^^eeI I The terms major and minor refer to the effect which certain tone combinations produce on the ear. Whenever we hear a major effect we think of the key tone or Tonic as Do, or one of the major scale. Wlien we hear a minor effect we think of the key tone or Tonic as La, or one of the minor scale. Major and minor effects are frequently combined in a single exercise. When this is done two principal methods are open to the writer. (1) He may adopt the La in the already estab- lished major scale for his key tone, or (2) By means of chromatics he may give the effect of La to the tone which was his Do in the beginning. The first method produces what is called the Relative minor. The second method produces what is called the Tonic minor. Ex. 163 (b) illustrates the use of the Tonic minor in a single measure (marked Mirior). Har, Third Raader. 76 Vocal Drill. Slowly. Rhythmic Study with Chromatics. Quicker. Rapidly. Chart Ser. F, page 16. Ex. 164. ^ii^^^s^^i^^si^sa Ex. 165. ^fe^g^^^^ 3^ 1^=^=3= Ex. 166. ^E!^^^S^^a^^^!^i^E^ ^3^^ Ex. 167. ^. S=^ te3^ iil: I Ex. 168. r#: W^ i=^ ii:: It: SSf I Ex. 169. -I^-J- f^^ ^ 3^ .--I- :^p^ m w=S^- s a^ - * *- ^m^^^ I ;0 Note. When It is desired that the tones of a measure like this F shall be short and detached, it may be indicated l^ placing dots under the notes, thus : Lfc?=*EB' or by using notes of a less value with rests after them, thus : ^ j m ^'m^' The rests in this case, then, simply indicate the way in which the measure should be rendered, and do not cause a pause in the music. Children frequently suppose there must be a count or a beat for the rests, but the rests should not be considered, except as affecting the notes. Har. Third Reader. GIVE THY HEART'S BEST TREASURES! Adelaide A. Proctok. 77 1. See the riv - ers flow - ing Down-ward to the sea, 2. Watch the prince -ly flow - ers Their rich fra - grance spread; 3. Give thy heart's best treas - ures ; From fair na - ture learn; Q- r N r-^ h H ^ 1 1 - >r 1 *' 1~1 is" -\ ^ 1- ~s P 1 N- _^__!q_ X_^_ * J -J -=1 -^ - W ;tJ _^^ -i^- ^=4^ =3^ ::^^=^ -J^. - ^-^w - :^f=tr- f t- 1=^^ :r== an - the-mum ; Gray, low-hung skies and wood - land sere, Chrysanthemum, What an - the-mum ; When hoi - ly-hocks droop low the head. Chrysanthemum, And an -the-mum; For fair blooms to the springtime known, Chrysanthemum, For ^^33 -!=^^ ^^ The difference in pitch represented by two staff degrees is called an interval. The inter- val from one staff degree to the next up or down is called a step. The interval from one staff degree to any other not the next is called a skip. Har. Third Reader. 8J 7 7 leaf -strewn ways with thee ap-pear! Chrysanthemum, Yet will I love to see thep dali - lias lit - ter path and bed, Chrysanthemum, Thou bloomest bright in all their bright hues to the snmmershown, Chrysanthemum, For memories dear of flow'rets ^^e^ fe g g^^ u r k k k here. Yes, will I love to see thee here, stead, And back re - calPst their beau - ty fled, flown, I love thee, bios - som - er a - lone. n-\ ^-J -^- m ^-^- Yes, will I love to see thee here, Chrysan-the-mum, Chrysan- the-mum. And back re-calTst their beau-ty fled, Chrysan-the-mum,Chrysan- tlie-mum. I love thee,blos-8om - er a - lone, Chrysan-the-mum, Chrysan - the-mum. a 3^^ ^^if^s^*^^^^^ Har. Third Reader. 82 Chromatic Study (Progression by Minor Seconds). Vocal Drill. T-i * t r-^ ! j | J = !-vl I Ex. 181. i- Ez. 182. Do, ti, li, ti, do. Sol, fi, fa, fi, sol. Do, ti, te, ti, do. Chart Ser. F, Ex. 1. Ex. 183. Ex. 184. Sol, fi, fa, mi. Do, ti, te, la. Sol, Ex. 185. m 'M pZ^k3: 3^ Do, Ex. 186. fiS^ ixat ^ :i IZS'T^ZIIZ s Mi, fa, Ex. 187. fi. ^^^^^tffe sol. Ex. 188. do. ?; La, li, ti, :^iij=pg=F^i. ^_4-^ I H Fa, fi, Do, di. ^^^^^^^^M Ex. 192. *t J=J: ^^E^^: ^11 & 22: f=P=^f=f4'-^ U -f ^ 'm^ *=& 5E3: ^ -* 152: Har, Third Readar. 83 Chart Ser. F, page 8, Ex. 1. Ex. 193. ^^^^ i=:t L^_ M ! = ' I I I 'tsr" -^-"l n~ (S-Cfs: bp"^^ H -*i ^1 rr\ lf^2 d L-^ 1 1 hJ i- L^_^_ .crli .. Ex. 194. fcp^: S^=^r= 122- /* isT- T-r-i :z5?: i^-1=^^:: -P- m- 7 ;0 ^^^^ iz=z1: -.^- -m- -0- -^ -^ ^=-^- 122: Ex. 195. 1 t- ^r r I* =^i r~^^f fc m - - -<5>-2- -Sr-fi'- -(5> & >- Minor. 8 i2; ^^ 10 - g? ^ ^ -gr-g' - g g - 1 -sr->ird Rsadat. 87 The Minor Scale. The scale upward from La sometimes takes two chromatic tones instead of the Fa and the Sol. Thus the scale is sung La, Ti, Do, Re, Mi, Fi (#4), Si (|:[5), La (6), but when descending the chromatic tones are omitted. The four upper tones when Fi and Si are included give the effect of Do, Re, Mi, Fa. Thus : t= ^l^i^iii^^ Do, re, mi, fa. Mi, fi, si, la. Minor Scale Ascending. mm -:^^ ^^ :t=t :t^ I* W Minor Scale Ascending and Descending. :t Z-E^^^^ I ? 4=t =1=^: =tii-5 :t =* ^ sol, fa. This form of the minor scale is presented for the first time in this book. Pages 1 and 2 of Chart Series F are prepared especially to impress this scale form on the mind. Intervals are named from the number of staff degrees which they include. Thus the interval from any staff degree to the next is called a second; the interval from any staff degree to the next but one is called a third, and so on, thus: ^^^^ '^S^ Seconds. Thirds. Fourths. Fifths. f B Har. Third Raadar. -i- Sixths. Sevenths. Octaves. 88 Minor Study (the Melodic Form). Vocal Drill. Ex. 207. :^: ^-4^-E: Ex. 208. Ex. 209. i2: Do, re, mi, fa. Chart Ser. F, page 2. Ex. 210. ^^Jiliiiilp^i^l^ip^ Mi, fi, si, la. La, ti, do, re, mi, fi, si, la. ^S^iiipii Ex. 211. ra^ Ex. 212. ^fei^ 5^^^ Ex. 213. :2=p=zS: :dt^: l=tl^t :e=s :t=: J^ 22- :b Ex. 214. i^^^^ fTj^J, ^ ^^ =*-"^ t.^ it^ III H^^ g33^ipi The octave is a very important interval. The name is derived from the Latin octo, mean- ing eight. Each sharp or flat in the key signature affects all the octaves of the degree on which it is placed : thus tfcfe is understood to mean ^ffi Har. Third Reader. 89 GRACE BEFORE MEAT. Chart Ser. F, page 8, Ex, 1 and 2. Robert Hekrick. \ ^ i ^^^^m-- i=E=i^=i='ii=^^Ei 1 I r- f^- T r r T" =F-- r Here, a lit - tie child, I stand, Heav - ing up my ei - ther hand ; IE^= ^ i^^^^^ 3EE -^ :Jr-::^ I - ^ -J J L J_ ^d_^ -i r- 1^^ 1 ^T r W=^F=^^ -\ r r Cold as pad-docks though they be, Here I lift them up to Thee, ^^ e^i^ d=^ -(S>- l7^ F ^ 1 J J J-jq . r-r-r=!^M^-^ ^"N=^ " For a ben - i - son to fall On our meat, and on us all. ^ipt-^- ,^_ 1 ip-i^-ti ^i^^F^ 1 1 4 1 u_^ ^ ^ ^ J y-^=F i=y Ex. 215. fi- ^ ^ -jg '^ 3 i-r~l ^ spi Hr. Third Raadtr. 90 Chromatic and Minor Study (Progression by Minor Seconds and Melodic Form) . Vocal Drill. * Ex. 216. Ex. 217. fe^ Sol, fi, fa, mi, fa, fi, sol. Ex. 218. Chart Ser, F, page 14, Ex. 2. EJ^^M^^j^jJ^ Do, ti, te, la, te, tl, do. : -r- 3E^: .^_^. Ex. 219. ^^P^^i :fi: ii=^ ^^^ i^zzat .Ex. 220. ii: 1 1 1^=^ t^BBV- 'x^ p^^^P^^^ Chart Ser. F, page 8, Ex. 4. Ex. 221. Ex. 222. Ex. 223. Do,re,mi,fa. Ex. 224. ^S Ex. 225. =^^^^^^^^^-3 Mi, fi, si, la. P"^^^^ ^4? Si^l^ ^g g^ l^^fl If we remember what we learned about the octave, we are able to understand why the natural is used in this case where we wish to make the staff degi-ee represent a higher pitch \t %} SolT^, sol. staff degree affected . The flat which is canceled by the natural appears on the octave of the Htr. Third Radr. 91 SOLDIERS, BRAVE AND GALLANT BE. Chart Ser. F, page 8, GlACOMO GASTOU)!. 1. Sol - diers, brave and gal - lant be. Bold - ly press on to 2. Bat - ties o'er, with joy and glee Dance we and sing right Ib: :^: -=^^o=X- --=t. ^^ J. j^ J , r r i^jL-j X i^ =^ -^zi=^=3t: la. ^ t=t=t- vie - to - ry mer - ri - ly. 5^^ :E Fa la la la la la la, fa la la. Fa la la la la la la, fa la la. ^^^^ 2^ > 4^ =:^z=:^ f I -^ fa la la, la la la la la. b 1 1 1 1 1 r* 1 J r, p 1 J ^ =?- J m cr X " -r- -^ V~ ^ -j^-p -^- :^ tf- m W ^^ -v- -\^ Lt ^- s^- k- 1 ^ \- 1 fa la la la la la la la la. Sol- diers, brave and n h fa la la la la la la la la. Bat , 1 - ties o'er. with Vi p 1 11 ^ n / ^j^--^ . \A - * * ' Trr -J "~~[ fa la la la. f^^t^ 1~ -> -^ l^_ -^ J gal joy #? lant and be, glee Bold - Dance t^ k* F ly press on we and sing to right -~-m^ Y vie - mer - 1 to - ri - -1 ' ry- ly- 1 ^'^ ^1t J - i -iL^.^ -J -\-^' _^ ni Har. Third Reader. 92 m^tf tm fa ? la la J H- -J \-^ -^ t^- fa la la la :F=P Fa la la la la la la, fa la la. m ^^ g r^^ :1t=1: la, n^n fa la la la la la la P ^ i :J-- 4- J -I- mm^^m 1^ ' ' 1^ 1^ la la la la la. There is the foe, u - ni - ted be. So la la la la la. With wife and maid, loud we will chant A ores. =1^ -S- zzt- :=1 1 m la. There Is the foe, u - ni - ted. So strike your With wife and maid, loud we will chant, we will --^ t 1 r strike your blow That they may long the glade, May heav'n long /j -J^_l> J -J:. ff- p g ^ g- q -up ^ tp* r r^=i see We are re-solved on grant Health to our Queen, and =^=zl>z=3^^ T-^t- :it 1221 blow, chant. m ^ 2^-^-^^U / ^-^ i:^^^ P VIC lib ^ r E T" re - solved r- to - ry. We are re - solved on er - ty. Health to our Queen, and -r vie lib -r to - ry. er - ty. i m 5^ Hsr. Third Radr. 93 PP ^M^ la. P T^ 6^ t** ^ m ^ t^- -^^ F :d^=^^=:?^: f=r u' i^ k^ i^ Fa la la la la la, fa la la la la la, fa la la la la la i w :^^=^=]^=^^c=t ^=: > h 1^=? r^ ^ *- .^_^_ la, I fa la la, cres. ^ ^ I W W^=W- T^ ^f fa la la, ^ m \ --J- :?e=w: k ^ 1^=^ fa la la u* 1/ I* -t^6^- la, fa la la, fa la la, fa la la, fa la la, fa la la, fa la la, fa la la. i ::^^=:fci: ::^d^ ^ :^=^- -* i#- ::1t:?'- TP^*- :J*i=1^ ^ i Ex. 226. (a) Jfo/or. (&) Minor. ^ W^ 2 ^t,^ ^=^ f^ :?^ -^-r^ ^ g^g ^=1 ^Ei ?3==1: :=1: S ^=d^ ^=E-: d=i Ex. 227. (o) Major. i :i=t { 6 ) Minor. X3 i P^ i m -7zi- Har. Thifd Rdr. ^ aE H n 94 WAKE I WAKE I Chart Ser. F, page 8 ; page 8, Ex. 1. Allegro moderato. P. vox FroTow. fr-^ ^ ^E^ ^ m -^ ? -q ^. 1. Wake! wake! Avake ! for this is sweet May mom - ing, All are 2. Wake! wake! wake! and pick the ear - ly vio - lets, Sol will K ^^ ^-^ P^E^^^=^|^ P^ id: ^E^^ :=^: :j ^q h-^- O- -^ i hap - py, all are hap - py, bright, and gay ; Wake ! wake ! wake ! the soon, will soon with - in your win - dow peep ; Each young leaf - let 1 ^ 1 N -q- ^E=|^5E^-f=^3^^E^ ^ ^E^E^^E^ ^3i i;-f-5^r^ => * Sf-f" * -^ * * J a rob-ins all are sing - ing, All but you are praising,prais-ing May. is a -wake and stir - ring, May morn shines too bright, too bright for sleep. 1 ^^^^E^^^SEEdH ^^ ^ ^ -^ ^ ^glg S *rdt :iS -^=^^g=q^^=^ I? 5?=* J f~5 > r J ^ Wake ! wake ! wake ! the trees are gay-ly wav - ing, Beck-'ning us with Wake I wake ! wake ! for this is sweet May morn - ing. All are hap - py. i ^^^^1^=^^^^^ ^^ Allegro moderato, moderately fast- Har. Third Reader. 96 ^ t?=t: -^ 1 ^ g~^ ^0p^m '^ ^i^S out-stretched arms of ev - er - green; Come, help, find young all are hap - py, blithe, and gay ; Wake ! wake ! wake ! the i W- nt :=d: 3 ^ ^Ei: :*: -* \- ^^ ^ ^^^^^^ r^-.KJL^- m- col - umbines and vio - lets, Sweet young flow'rs to crown our Maj' -day queen, rob - ins now are sing- ing. All but you are prais-ing,prais-ing May. i ^ ^^^SS^^^S^^ES^^^^: -Jt "-* ^ Ex. 228. { a ) Major. (6) Minor. to 4: ^5^ -=>-K=v f^p^^a^^ p:^^ Ex. 229. ( o ) Major { b ) Minor =1=^^ i=lFE3 P ^ iJi^^^^^^P =< Tjr i Hw. Third Rad*r. 96 Chaxt Ser. F, page 1. Ex. 230. m ! N I. . \ -i^ ^ ^' <^= ^ $^ ^^^ 4 ^ :^== PI ^=^= ~~i i >^-j \ 5EEEJ aiJ:~TB V- r E^i^ J J I -ft 1,^, I ^- c -^r ^ I i^ ^^^ ^** Ex. 231. =t :J=0- r ^^J= -j==d=pd^-=q p-^EE^f^^g^^EE^^Et^^^EE^f P^^E^E= e: =t^=F d^" :^-k IS *=F= .J. ? . i ^T-rQ^=e"r-f^r * B 33 ^ ^ * ' "^ ^-^^ ^ :^-^- Har. Third Reader * Major. 1 Dictation. (See page 32.) * i i 97 I :^=s=^=2iis: - < ^ n ^ ^'^-^-rS- ^ --- -- -<5>- i i ^ p^ ^ ^ ' gy ^^ ' g ' ^ H < ^ , j _ (5^ -.-^. ZSl Minor. 7 Si tr 27- 10 ( g g - ;^^s= te-^ -zg-'g- i^^^^i^ -27-^- 12 11 =s= l=^tf^=g=^=^i^^^fl ts -'g^-g'- (S^g- 1=^ 'S'-z? "g-ZT- &Tar Chromatic. 13 14 15 1 1 I i 16 17 g-# ^^ ^ g^- ^r -Z?5'5^ 1 ^ ->- -g-xa g' P=^^ " g^ ^i g /g^g ^iK lihythmic. Write also in j- 18 19 #^=^1^ -^^ST-g-ttzy f^ 20 iS^l^pl TTrt^e a/.?o m g and 21 22 i^& i^=^ ^^ ^^^ ^T ff^^^ :4 P=t^ Har. Third Reidar. 98 Rhythm. The study of triplets should lead to a better understanding of six- eight meter than was before possible. Thus the triplet in its various forms may stand for one half of a six-eight measure. The following exercises may be expressed in these ways. (&) ;0 2(a) ==*-<-*-? ^^-8 ' !=-- 3 T Esass ^m (6) I -v ^ \ 3 ^ ^ 1 ^ " 'i^ i=3 < 3- i^= (c) F:1: #8- ^ I A- & --^^ lizzMi .qznq 1 :p 3 (a) '^^i^S - ^ ti ^^=^^l?^-H !jf:g=:T^-i^i:fr=;:s=:::jvz:s: :N i- ^ Pv A- - m d . The various figures which occur in six-eight meter appear on- pages 62 and 90, and are sung freely with one beat to the half measure. These figures should be carefully reviewed, and the power gained should be immediately applied in singing all subsequent six-eight exer- cises and songs at sight, with two instead of six beats to a measure. Har. Third Readar. 99 Chart Ser. F, page 6, Ex, 8 and 9. Ex. 232. 3: *=? ^^- II^ZI i Ex. 233. ^M^^^^^^^m^m Ex. 234. i Ex. 236. rr^i =4 -^ y ^ii^S^^^^iS^^p^B Ex. 236. g z:#=^ Ex. 237. ^3^- ^.^^M^M^^m --=x m Rhythmic Dictation. 2 ^^N^ipppS^ll ^p^Si^^s^i^P:^! Har. Third Rdr. 100 p Chart Ser. F, page 8, Ex. 1. Ex. 238. a J- ^^^iEE:~^ E^ :=]: fr - -^ tm pi=3=g^^@^ c^*- ^^^w ^=^ m mi zjr=iti f r f=r-: :s5: ^ PEEI^E^ u*- 3 ^^^^5^ .^ ^. -=3g^ 3=g: -c^*- ^ !:t?:s=i^^ i^E^: ^^ B -'^-r- -* ^ 9-^M Z^ fc^ ^==:^: s>-i- -^ .._5 ^ Ex. 239. -* ^- T r- ij5 !_j___J_J_,^J_J_J_J_-j- i^i EEEtpEEfEj.iEf. ips^ m^t ^|Bi^=^^ ^ -s:^- 1=^=* -^ ^ # ail -9- ^ -t&' Wi tes - ^ 1 ^- J-, ^- :^g.^-^-^s=^=g: i2^: ^ ^ r r- -- ^ ?=i :!= 4=^ r r i fel: l"^g^ ^a^^ I m -^ 0- - p-^' Har. Third Reader, 101 H. W. LONGFBLLOW. Lento. 4L A PSALM OF LIFE. (Study of Triplets.) Fkanz Schubert. ^3 V 3 p -^ 1. Tell me not in mournful num-bers. Life is but an emp-ty dream! 2. Lives of great men all re-mind us We eanmake our lives sub-lime, 5i^ g^ ^ |gi^:^Mi^ "^- For the soul is dead that slum- bers, And things are not what they And, de - part-ing, leave be -hind us Foot-prints on the sands of i :^zi3t ^ seem, time. And things are Foot - prints on ~^ not what they seem, the sands of time; :^- ifi Life is re - al ! Life is ear - nest! And the grave is not its goal ; Footprints that . per- haps an- oth - er, Sail-ing o'er life's sol - emn main. g =a W -'-d i^ ai I^^E^^g^ 3: ^E^:^ :ii^ Dust thou art, to dust re- turn - est, AVas not spo-keu of the A for - lorn and ship-wreck'd broth - er. See - ing, shall take heart a - S^ :i^=^ *S^=I^^ soul, gain, 3^ EE= Was See not inff. spo shall ken take of heart the a soul, gain. Lenio, slowly. Hv. Third R>dr. 102 THE LITTLE FLOWERS ARE BENDING. (Study of Triplets.) AlB OF THE 17th CENTUBT. u. Moderate^ not dragging. ^ ^jZ 1. The lit - tie flowYs are bend 2. The shrubs tliat fringe the niead 3. The bird, with fold - ed pin T=^- ing Their wea- ry heads in ow Are nod - ding to the ion, And head up - on its ^ ^ ^1^^=*= '^m :^ g ? =): f- iii^ While guard - ian stars, at - tend - ing, Their watch in si - lence Be - neath whose friendly shad - ow They rest in drow - sy own - ills: niffht's do - mm - ion. And slum-bers in its W ^ ^ Each bud has closed its ten - der eyes, Se The rus - tling leaves a - bove theni seem To Pro - tect - ed by the watch - ful love Of i^ =^: ::^: --t cure mur Him in peace mur in who rules it lies. a dream, a - bove. Sleep, Sleep, Sleep, then ! sleep, then ! then ! sleep, then ! then! sleep, then! Sleep, tlieut -^5^^- Har. Third Readr. i : Rest, my dar - ling chjld, in slum - bers mild. 103 I 3^ ^ ^^ ^^^^ d^ -a- THE HAPPIEST HEART. John Vance Cheney, mf Geoegk HKNitr Howard. deed were done, And kept high his name Time will day - light sweet. And left the not to way. tear it down, heav'n the rest. 11 I -- Har. Third Raadar. 104 WOODLAND VOICES. Apousta Hancock. Not too loud. G. Francis Llotd- cres. ^=^ m 1. Oh ! wake, ye wood-land voi - ces,And wake, ye sleep - ing flow'rs ; The 2. Oh ! wake, ye wood-land voi - ces, Re-sound o'er hill and dale; While sum - mer sun - light glis - tens. To gild the morn - ing hours. The sweet -ly sings the stream - let That rip - pies down the vale. Oh! bd? fe^EE^ 3 ^ ^ ^@ msmsmm ^s$ mu- sic of the play-ers Is ring-ing far and near; Oh! wake, ye woodland wake,ye birds of sum-mer,Your slumber time is past; And with the dew - y S?= j=^ *j^^ ^ ^~^^- --:^ ^ =|: :J^=t EE f r=tT- voi - ces. For sum-mer's queen is here, dawn - ing. Your glad-ness comes at last. Oh ! wake, ye wood - land Oh ! wake, ye wood - land fa =3: ^3=5^ ^ :t5=t=1: Har, Third Raadar, 106 oh! wake, oh! wake, P -=^ g=S zsimo^i vol voi ces, For sum-mer's queen is here, ces, For glad-ness comes at last. -=!-* f For summer's queen is here, For Your gladness comes at last, Your :1=t: 5= ^w:^=:J* =1=1 -==^=> ^ ^-^-9- Oh,wake Oh, wake i / a iEESElEE^ ;i IdZ -^ F fzfct^: < c? . -^55- -'=>-^- sum-mer's queen is here, A - wake, glad - ness comes at last, A - wake, A - wake. A - wake. :J^F=^=p: ^ 1 X w - o . - -^-^ t Ex. 240. ^ ^=igTpd 1-}-, I I ^^_j+-j i=.p^ .__^. 35-^ U" :c2: ^-^- w^^m ri? r g ^bS i^S ;=fciH:3^^ J=:W -i-g^ t^'i rT i^^^^^#^? i a I p St i^^ 3EES ^ 3^=j.ity5^^|^ -^ Har. Third Reader. 106 SING UNTO GOD. Chart Ser. F, page 6. W -r^ 1 ffi George Oaket. ^=^: i J j-p-]^J-^ \-r4 i ? ^ ^ *=-^ ^ y p=f=-"^^ t- ^^ Sing un - to mf God with the voice of mel - o - dy, P^5^=*a ici: -# (S^ ^:^ -*-^^ (ftm tt - ew - c?o. a s -^ --^1 -M- r r- r G5^f"=5 Sing un - to God with the voice of mel - o - dy ; ^d? Efc ^^=g __^_.^ The H s .^/j_ It For the Lord is high, and great - ly to be fear - ed, r F- ZC^LZJtL '^-=:X 5^3 ^^^: a^^H :i =P :1=: Lord King i^^^^^^^^ The Lord is King o - ver all the earth. Ei2=^ fczd: -jzii ^; "C? Har. Third Reader. lOT i m ^ 1=^ :t=tfe^rf:=^ Not vm - to us, I I r ' but to Thy name be praise. I P EE :E3 A^=X -* -tt for Thou art faith - ful ^ Pg=^ In all Thy works. for fc's^ rW: d: =1: ^ "^- -x\-^x r 2=t r for Thou art faith ful in all Thy works, i i2=4 itisi 3^3E:r3 ^^ :5 Thou art falth ful in all Thy works, in all Thy J. g ^r'^ -J ^- -- ^- r r T "I r- J= It: s^e= r r all Thy works, art faith - ful and just in all Thy ways, art i sg=j^^ w Efc "* ^' EEEE2 '-^- =1: # ^ ^-^ V- ^ J : works. cre ce do. fei .J=p^ i:;7i [- p-h [- T faith 3S2: ^r szc ful and just in all . . Thy ways. ?ii2. -G>- -?=^ -S*^ -^ Hr. Third Read*' 108 So will we give thanks, P^EEgEE^^ A give thanks 'un to Thy name, 4 ^=^J=^ r^f^f^ /I So will we give thanks, / give thanks un - to Thy m G>-i -m- -w -w -w So will we give thanks, give and will J 1 I | J ^A-y rl .U. "^^^^^^^^m- -^0- I name, and will sing of Thy good - ness and mer - cy. So will we give a 1^ 32: ^^ t=^=Ml* ^^ ^ thanks un - to Thy uame,siug ot Thy fc=d=i=?rJ J-J-^ will sing, Will sing of Thy ir:^ mr ^ -- -^^ t^ W :?=*: ^-^- -* * thanks, give thanks un - to Thy name. will sing, will sing Thy ^: S=i=^ ^^^ * 5^ - m. -\r^ tar . dan do. ~gy ;0 i BEi^ ^' C?2= ^ good - ness and mer - cy, world with-out end. ^ men. /7\ -d -d -^^ 2=> ^- H*r. Third Raider. 109 Major. Dictation. (See page 32.) 2 3 m 1 1 1 i w- ^s> II &- -S,Cr - g> O H - -iS> H 15>' -^sr W #-^=^:=^H ^^i^ig^^g^-i -G>-\\-f?'-r^-^ ^ fi'-H-!S-2 i - ^ o ~ Minor. 9 10 11 I m -^ ^ a gr d?^ d2s ^i^*^ ~~'^~g^ 75~g^' I ~ 1K 19 20 21 22 S^^^^g^Pfe? aiEgg;=H fell Rhythmic. Write also in ^ as triplets. ^-g-^^^- ^-ST- I^^TT-T-N-rH^ 24 ^^^g^ ^S^^ -= TTWie t 5 t triplets. 25 *.: Jg^^^^^P^jjE^Higg^^^^B r^ rhythmic exercises should be sung till memorized, then written. Har, Third Raadar. 110 IN WOODS IS PEACE. Slowly and soflly Fbanz ABT (1819-1885). 1. In woods 2. In woods 3. In woods peace, peace, peace. and in woods re and in woods re and in woods re :*: ^ ^ =J^ -i?^- E3 =j==^z -> \- R >-r -J^si '^f^'^^f- > . -V= pose. . . The trees' light mur - mur the foun - tain knows, the pose. . . Come, mark what beau - ty the woods in - close, the pose. . . For thee the sun in his splen - dor glows, in ^ 0- W^^ 3 =3 a== Louder. ^r-j^-^-^^ e;^ ^' -=i- ~~^1 P-I- H*^ -V- -ip f^^ foun - tain . . woods in splen - dor . . ~0 m knows ; close : glows ; ^ The The And birds trees thou M keep their may'st =ii: sing shad rest ing on - ows a - thee with Ab\ 1 A y -^- 1^ -__|_ -h ^ k, ^Ji-^ W- :=1 ^ P t-# -^ -X- ^^^T^ Har. Third Reader. i mt. PH7 *: -^ ^ 5 i ev - er - y spray, round thee ex - tend, moss for thy bed. "-^ T The bees The flowYs And heaven's are their blue -H hum o arch 111 i^^^E^_^ ming the dors to =t ~^^^ -Jl=M whole of the ^ day; :z r In woods glad - den thee lend ; In woods roof o - ver - head ; In woods peace peace peace :: N and re and re and re *=^ ^"V slower to the end. I h N fe S -^ ^ b-- ; g >> pEE^EEp SJ: woods is peace and re - pose, is peace and re - pose. ^^==^4. i=a^ Hr. Third Raadar. 112 Minor Study (Melodic Form). Vocal Drill. Ex. 241. Ex. 242. Ex. 243. ^iit^^S^ I m-- =f Do,re,mi,fa. ^^ ^^-^ Mi,fi, si, la. Chart Ser. F, page 8, Ex. 3 and 4. Ex. 244. g ^ ^ r i^ ~* ^ ^^ ^ j it Ex. 245. m ^ i^^i^^pp^ ^it=#' Ex. 246. t ^g ^j^^^S^E^ ^1 P g^#=^ -^-^ b^, c=^4 ^^ ^^^ Ex. 247. ^ :^U m I 3 =t: P *t *-?* :#t i Ex. 248. ^- --1: i^ ^ P=^ ^m ^^ n =1: ^ ^^ :i=H- Har. Third Reader. 113 Ex. 249. ^^^^^m n a- =!!=== I*, 1^ n ^-^ I 1 a ^^ Chart Ser. Ex. 250. F, pages 8 an 1% >n a 12. J ^ rJ ^-n 1 1 1 r-> J^^ i^^i i i~ * * _ . :^ ^ f) J- c-^t h~ L^ 1 t^ ^ ' 1 ^ ' V, <^ fc_ " ' , /L b ' P r* 1 I ^ J S K irh" ) J ih. Ill \- , r r* s ^-^-^* __jj m L_^ ^ 1 ^ i 1 * L^J -J^~^ Ex. 251. m^^^^m^ t=J: s i fc 5=f =: ^=^ P3: -2=>- U ^_J _ J^ri =r^T J ^^ I^ 5 -- -(S>- n <:^ i IE ^^1 3^i^4d '^ ^ 3f Har. Third Rtadar. -^^n^ 114 Chart Ser. F, page 15, Ex, 1. Ex. 252. J 4- NlBLS W. GaDK (1817-1890). ^^4 r=^ K |:^==1: ^^^ iF4 *^ zj=g=3=t:^: :4==i s :3^ :=1: ^ 4 V . ^ ^^^^ U J-^ J= ?::SlS: gz-# :[=; i^E^^^feEEfe^i^ f^-=r=f^r=r=r=rr=T^n' i ::^: ^ -*->- ^^=^^3^^^ * *- ^- J- :i p ^ > !- ^3: 4 ' ^, K-J. I * ^JZt ^ Har. Third Iteadtr. 115 HOW THEY SO SOFTLY REST. Chart Ser. F, page 14. H. W. Longfellow. W. T. Deane. 'Abe=^=3^ -H- r ^-\^-^- -*r=t d: :=j=L-i = "r~ri 3^3 c:f "Mm 1. How they so soft - ly rest, All, all the ho - ly dead, 2. And they no Ion. - ger weep, Here, where com-plaint is still! ^=^^ d ^d=:1: ^ h^ I I ^^ I \- :r^: -23^ --:i=t d=:=l: 3 kk *-d J j^-r-J ^ -i^-J_/j J* IS J J f=r Q Un - to whose dwelling place Now doth my soul draw near ! And they no Ion -ger feel. Here where all glad-ness flies. W- =\^=^T= g^? =Hz=jJ3=d=3 ^^ ^^j=p:^E3j How they so soft - ly rest. All in their si - lent graves. And by the cy - press - es Soft - ly o'er - shad - ow - ed, #1=?^ inp "^^*" -(S>- rit. r -iS>- -tSh- '^^^=^n d= ^W: Deep Un in til cor - rup - tion the an - gel r rs" i Slow - ly down sink Calls them, they slum ing! ber. %% w p3^ ^- T^ :^ -^ =^ -^^-^ H mp, mezzo piano, moderately soft Hr. Third Raadc 116 Chromatic Study (Sharps and Flats). Vocal Drill. Ex. 263. Ex. 254. Ex. 255. i^^&^^^pl^ii^pii Do, re - o - do, ti, la. Chart Ser. F, page 15. Ex. 256. ' Sol, fi, mi. 1^^ ;2=i- P^: H -t^ f=-T=F ^=F^f=^^ Ex. 257. i :fr -1E=^ ^i^^^ p S: -M Ex. 258. ^^==gf=^-3pE 1=1= :^E^=pz=-^ :|=t: Ex. 259. Ex. 260 -^T r^r P==*= F=^=^^=g=* f -^-^1 I I rrr^ I :Sj^i:"SE Pi t=t -*-^ ^^S?- ?f- ^ * i cy - Har. Third R*adr. Rhythmic Study. 117 The advance work of succeeding lessons is carefully taught in the Drill Exercises of Chart Series F. The teacher should study these chart exercises in connection with the lessons as indicated. The success of this presentation in a measure depends upon the principle that the unit of thought may be made up of several smaller values. Thus, when in two-four meter we have quarter notes and eighth notes in the same exercise, every quarter note may be thought of as consisting of two eighth notes united. Thus this line will receive a perfect interpretation when each ii^Piii^^l^^^ii^^ quarter note is thought of as containing the value of two eighth notes. This is not saying that each measure should receive four beats, for teachers are warned not to allow four beats to a two-part measure ; but as the beat is given, the mind should bear along a consciousness of the content of the notes so that each one shall receive its full relative value and not be cut short. Similarly, when this advanced rhythm is studied no perfect result will be reached until each quarter note is fully, realized as containing four six- teenth notes, so that each quarter note will be sung squarely as 07ie tone, but the mind will conceive four subordinate units joining to form it. Thus : loo loo loo loo loo loo loo loo loo-oo-oo-oo ^ loo loo loo loo. In marking the meter the finger should be pressed down and held until the four tones are given, and then raised quickly and pressed down again for the second four. Thus the one, two, one, two of the meter is steadily sustained while the rhythm flows freely over it, as it were. Har. Third Reader. 11 Rhythmic Study (Four Tones to the Beat). * Chart Ser. F, page 9. Ex. 261. *B=: ^ nt=5l: - *- ^ ^E^ m 'i^^m. S^at ^^jij^^fl Ex. iffi^3 '^^^^ ^ '- ^n i^^^ ESE^ES3JE33 -^5 I [Z= Ege=^^2^^^^^ }^=F ^^^ Ex. 264. 4-r z =3t g P^ p=ft ^33: :?2:3 s Har. Third Reader. EVENING PRAYER. 119 Chart Ser. F, page 9. Moderato. F. SiLCHER (1789-1860). d^ Ci^T ^^ fzz*t 1. When I pray to my Fa - tlier, IIow sweet - ly I 2. With my Fa - ther be - fore me, Ko foe do I 3. While my Fa - ther is with me, The wick - ed shall 4. Then, Lord, in Thy keep - ing O let ^ ^^ -=t '-^^.z sleep ! fear; fly; bide, i A watch o'er For my For sin My Fa - low Bright an - gels sup - pli - ca - tion The Lord doth is con - found - ed When God is ther in heav - en. What - e'er '^q -^ ^^^ ^=a^-^ ^ Fi^ -0- b ] r 1 ^ r n J=^ _&. ...J . 1 W-f- "1 -?^ t =f= =^=H '-K- -^^h tJ= 1 1 ^ "H W V -V l|_ b^ -V ' cr^ -^ '^r- zS r _u keep, A watch o'er my pii- low Bright an - gels 1 ieep. hear. For my sup - pli - ca - tion The Lord doth liear. nigh. For sin is con found -ed When (iod is nigh. tide. zs My Fa - ther in ft fr heav - en, What- e'er be - 1 tide. y^-^ P .-^ It t^ P - ^=*^ -J * 1 * Efl Hr. Third Rd' A watch o'er my 120 Major. Dictation. (See page 32.) 2 8 1 i JZ- is: 121 1^-12: -^zr-<5>- -s' 'g- "25^- *-&- i -&- -G>- 5 -fS*- -(5>- 6 1 I -yrr-&-<^- w ^ 15>- -z? i^-'S^Z? -&- ^ . -&- ^ -&- -&- ^- -&- -&- Minor. i=FB^^^ 10 i ;i i 11 :^ -fS"- 12 vp t/ gy g ^ srv&sr 13 i 1 zsr. ;^l6=^=g|^^ ^ ^'-g ^g^^^^g^^J^^g---^ 1^ ^\'^^=a. Chromatic. 14 15 16 I 1 -^7^&: ;i;^ - SEZ^zHk. ::^-l s: 17 18 -Z? " zsr- 19 1^^ ^ f^^ ^==g^;)gz;g===B^-|g=grg|^=3^i: :^-^-=:i^=s Rhythmic. Write also in n. 20 21 22 i: ^-^piJi^^^^l^i^^i^aiH 28 24 EM3^ i^^^m^*^^^ ^^^ The rhythmic dictation should be supplemented by exercises from the chart. Hr. Third Reader* THE FLOWERY MONTH OF JUNE. 121 Quickly. mf William Jackson. 3E5l ^ ^ m trCi- ? t ^ 1. Oh ! the flow - 'ry month of June A - gain I hail as 2. Oh! the flow - 'ry month of June! My heart is bound- ing i ^ P*^^3^ gE^EEzEB g=^ sum - mer's queen ; The hills and val - leys sing with joy, And wild and free, As with a fond and long - ing look I i W=^ d: IS: .Lj:J- =^^=3= y-^ -4^- dim. i :S ^^: P ^g^ The stream-lets With all thy 1^ 17 flow in thou - sand all the woods are green; gaze once more on thee ! ^ '^ -^^^^ ^ J I- K> I q 4:: ^ I 1 1=^^ % 1 glad-some song. The spright-ly birds are all in tune, A\id na - ture span-gling gems, A love - ly, bright.and bless- ed boon, That come to r ^ -^ irz^z W^^- -M=ci. Har. Third Raader. 122 ^ J J- 22: ^3^5^ ^^Ei^m d^ s*=i ^^^ ? F f-^f smiles in sum - mer pride In the flow - 'ry month of June, cheer and wel - come in The flow - 'ly month of June. :^=j: :^~^? 32L: ^ =]: d^^S -^ -# - / T 5^ S" w ^1 f=^P^ :^ r J J- ^r^ tt T r There's mu - sic in the laugh - ing sky, And. balm up - on the The lark has sought an up - ward home, Far in the dew - y EE :^==1: 12^ i ^s^ ;j= i=l J-13 ^. 1=* :^ ^ =i^ ^^ r-^t air, . . The earth is stamped with love - li - ness, And all a - air, . . While low - ly by the ros - e's cheek. The black-bird's te aa ^ -^ -G^ -t -^ -^ -US'- =1=1: zz^ r 1^ -r f z^ =E IS^ fe^ t-r 3=S r :<=2: 5l^ t- :^=^ round is fair;. . There's glo - ry on the moun - tain top. And sing - ing there; On in its leaf - y bow'rs un - seen. The i W=^i- '^^- 5 -^^ ^ 3: =1: ^3^ ^3==i=: Har. Third Reader. i Si ^d^ glad - ness on the plain, . The flow - thrush bursts forth in song, . A low 1^ ers wake from their and pleas - ing :=1: 3%^^ -^z ^- -^- ^i ^J- Fi-J^ f. :z|s S^ 1^1 :^^- ^: J^Z Ti^-t r win - try bed, And blush and bloom a - gain. Oh! the mel - o - dy The woods and dells a - mong. Oh I the i p^ E5 : =|: '^ C J . ^\Ki-= -^- -^- ^r=^ i J- -4- 12^ ^^=g^ :g: fe flow - 'ry month of June ! Oh ! . the flow - 'ry month of June ! t^ is^ J: ri f^^^ML t^:. Haill Haill Hail the flow - 'ry mouth of June! // J ^= 5fcr*ih523i-:<2:i Jg^^^ ^F^E^E^^ ^ , I' - ]D.C.v.2 i Hail ! thou flow - 'ry month of June ! All hail ! Hail ! Hail ! a H Har. Third Rusdcr 124 Ex. 265. -^. ^ ZzTY r * ' ' "^^^ I If 1^ I Li s :f^ d2^^-- ^^3^ ri 1 1 I I r r ^ f=r-= 3^3^ rn*^' i^ feir m ^'^^ LI S ^^Fi=t Ex. 366. S3= J=c^^ i SiBE E=S^PE3^ :je=fc ^1*--^ r ^^^ -*=:. XTi-J r ^ ^B^i^ Har. Third Reader. 126 Animato. r=* THE FOREST HOME. Sir Julius Benedict. f i -* ^ 1. There stands a lit - tie low - ly cot 2. I see be-tween the wav - ins trees Deep The ^^^i =}t X There stands a lit - tie I see be - tweeu the low - ly wav - ing ,t=JV with - in a for - est dell ; - tic church with gleam - ing spire, - m- Ah! And :il^ 3^^ 5^="^^=* ^^^ ^ with - In a for - est dell, with - In tlie riis - tic church with gleam - ing, gleam - ing dell; spire, :i 1=?^^?^^ ^ 5 ^ would it were my hap - py lot hear up - on the eve - ning breeze f In The - =^ a^=^r=it Ah! would it were my And hear up - on the hap - py eve - ning =h: :^ ^ P that sweet for voi - ces of T^r -*- est home to dwell, the vil - lag:e choir. Up - Oh! r^^=^ -X -^ '-^- Har. lot In tliat sweet home breeze, I hear up - on Third Reader. to dwell. In that sweet the breeze. The voi - ces =^t ^ home to of the 126 :feJ^5^5l^fe^^i^^ f-i on leave -^- the the ? m roof cit y's gen bus tie y dove tlirong, In Its Wi==i? 3^^^ a^^^s :^=^ ^i y dwell, choir. Up - on the . roof . . a . gen . bus - tie Oh! leave the . . cit - y's . - y dolce. ^ 9- sunlight bathes her snow-y breast ; cares.its strife, its wea - rj noise, -t^-r She And tells a tale of come and dwell the ^^^^^^ tf=^ r==te -^-^ - dove throng. In sun - light bathes her breast ; And come and dwell the woods She tells a tale of a - moug, and dwell the '^^ i^EEi --^C- V peace woods and love, And woos the wea - ry heart to a - naong, 'Mid na - ture's pure and sim - pie tJ- 3^ 3^SE^ -J- ^* I*-' -^- - .h=A :<=2: fe^ ^=F*f^ -| ^1 -<&- rest. And woos the wea - ry heart to rest, And joys, 'Mid na - ture's pure and sim - pie joys, 'Mid 1^=^ ^ ^- EEi dolce, softly and with expression. * See note on Minor, p. 76. Har. Third ReMl*r. I a-J^^ j-jL-j F^ 127 =EJ=^ U woos the wea - ry heart to . na - ture's pure and sim - pie . rest, joys. =11= Ah! Oh! 11^=:^ ^ -^ Jl-J^ -fi-J ^ -jg;: Ah! would It were my hap - py Oh! leave the cit - ys bus - y mm would leave r^ T it the were cit my hap bus ^ r, ^ ^ py lot In that sweet y throng, And come and i^^ ::i^z>^ K ->-^ K : ^J=J lot In that sweet for- est home to dwell, Ah! would it were my hap- py throng, Its cares, its strife, its wea - ry noise.Aud come and dwell, and come and i cres. ^ > J^ > J ^ =(5): dim. ~-r for - est home dwell the woods to dwell, lu a - mong.'Mid that sweet for na-ture's pure est home to and sim - pie i n - ^ lot In that dwell the woods dwell, In that sweet Joys, Mid ua- tare's sweet for a - mong, for est home to dwell, 'Mid ua - ture's pure In that home to and . . sim - pie est home to dwell. Mid na - ture's joys. M 111 dwell, joys, In that sweet for 'Mid na-ture's joys, . p rail. est home to dwell. "Mid na-ture's joys. H :n=(5: -fS- ^ dwell, joys, rlar. Third Reader. In that sweet 'Mid ua - lure's --f^ ^ i^t_i- for - est home to dwell, pure aud sim - pie Joys. 128 BROOK'S SLUMBER SONG. M. C. GlLtlNOTON. Andante tranquiUo. 1. Sleep 2. Sleep 3. Sleep and dream, blos-soms bright, and dream, bird- ies dear, and dream, old and young. In your meadows dark - ling, In your leaf - y dwell - ing ; On your pil - lows ly - ing ; Sleep and dream. cres. 5^ Sleep mf and dream, . . -i- m-0^-0^ -^ V- Crowns of dew - drops all For a while your car - Night's gray cur - tains round the night On your heads are spark - ling, ols clear You may cease from tell - ing. you hung, Soothe a - way your sigh - ing. To To To your love - ly your lit - tie the chil - dren. pet - als all, nest - lings all, one and all. Soft - ly Soft - ly Soft - ly as as d2. S^3 ^ r z f w V zs^ r z AndarUe tranquiUo, somewhat slowly and quietly. War. Third Reader. I=B^ Fi P d*^ z:3l=^t 129 -=i pass, I call, Hush - a - by, lull - a - by, close your eye, 1^ 7-^ ^ =i^===Pt=:i^ l^'^lJ'p"''^'"?'' ^ -=i S5 iEE 35=fs ^is r*-J: Hush - a - by. f=9t^iat lull - a - by, ^ ^ close your I Efcz^ Hush - a - by. lull - a - by, close your P PP E3 riF= j^^^^ ;=1: .-f ^; f^^ atizfL eye. Sleep ! . Sleep! . P PP ^1^ L-d: -^- ^=^ tz:]: eye, Sleep! i2 I^V dim. Sleep! Hush -a -by, 1^ ^ lull - a - by ! . 3 'ir-=-^- Sleep ! ~^b-^- Hush- a -by, Har. Third Reader. lull - a - byl Sleep! 130 THE SHADES OF NIGHT. Quickly and with spirit, rnf u et ^^ES ( I 1^ U=J=f^ J^^z J. E. Pekeino. " i^ tic shad-ows r 1^ f ^ I r *^ Mys - tic shad-ows Suits the hap- py, 1. The shades of night are stealing o'er us, Mys-tic shad - ows round us beam, 2. Sunlight 'mid the halls of splendor Suits the hap - py, glads the free, The w ^ ^=Js=^ ^^ S ^ S sent fa - ces quil shades of Ab - sent fa - ces , ^ ^. . . a tran - quil shades of hJ I Kfe^Nl^KIII Ab-sent fa - ces tranquil shades of smile be -fore us,Like some half -forgotten dream,., eve -ning ren - der Feelings dear-er far to me, .... i :1t=1!5: 3?E3?E3E^EE^&^E3^^=e2E^ _^_^_^_ fe^5^ rail. u 5 Like some half-for-got-ten dream. . . Shades Feel-ings dear-er far to me Sun of night are steal-ing o'er us, light 'mid the halls of splen-dor 1 ^^ h h: 1^=fE Mj;s Suits tic shadows the hap-py, Ab tran i iri=J^ sent fa - ces quil shades of -> h , H*g ^J=i S^ ^F Mys-tic shad - ows round us beam, Absent fa - ces smile before us. Suits the hap - py, glads the free, The tranquil shades of evening ren -der i ^^^S ^ d # -> r* |: Har. Third Readai. 131 rail. F=^- =^=/=-^: Like some half- for - got - ten dream,. Like some half - for -got -ten dream. Feel - ings dear - er far to me, . . Feel- ings dear - er far to me. ;h '^ > m K zzis; d^^Ei ]^=d^ d^^=d^ -ii --ti - Ex. 267. ( a ) 3fa;cr. ( 6 ) Minor. f5=^-- ^n: I :p! ^3E3^-i5^3^3^JEH^E^tej3 Ex. 268. itfo/or. *? S^ r-=^r r^'^=-^-^?=C7>^ ^D raz;^=s:^: !- ^ =^ ^_j_^ Ex. 269. Minor. | t ^-r=E-=c^^^--^jT--=^-^ i m- 1 P^E3EEE3 12- ^ tempo, in the original speed. Har. Third Rdr. 132 SWEET CONVENT BELLS. Moderaio. J. L. Hatton. P?^fcp^:-^g==- t^^^=/. =5=n: ^ ^ <^ ^ 1. Sweet con - vent bells, sweet con - vent bells. How sil - v'ry soft their 2. Sweet con - vent bells, from tur - ret gray, At ear - ly dawn and fe^Ei :1^=^ Eg ^^ to=^-^-^t-j 1 r > W S f- N -^f^^=q - mu - sic swells In close of day, Still melt will - ing ca - dence your chimes ring on sweet the air. In - - ly on. When / . 1/ h - ^ 1^ ^ & ^ N r* ~i / . i7 h" r* N J 1- 1 1 ! iv k. i L i!ZJ2 s J P ii ' WWW * . j>i .s. . r 1 IS y. -^ c 1 -J--J-J fel^^rd^ ores. El2 ^ -^ ^ ^ i^ S ^ ^^M^ vit-iug high and low to prayer.Now ris - ing up with grad-ual swell, Now I am passed a - way and gone. Now ris - ing up with grad-ual swell.Now oing through the dis - tant dell. Calm - ing the care-worn Har, Third Raadar. 133 n k , ^ ^ N b fe _i^ _h I 1 1 P ^ V, I' b h J J P S R * ._. ' ^ /'bV gf f 4 - J 4 J * * J. (^ V^-J2 f^ ^ f -^ * 9 ^ ^- * ^ J-^ 0- pil - grim's breast, Sooth - ing each wea - ry soul b u ) to 1 rest. Sweet ^ -^^- 1^ N h* fe ^ -K sr- =\ ~^ ^ 1}'^ * ^ h-iH^ j^z:ji_g! J^ ^ 1 ' 0-^ l2^ J iB^-yV -^ ^ rfc 5EE^=J^=^ e ii it=^ con - vent bells, sweet convent bells,Howsil-v'ry sweet their mu -sic swells In I i? -^ h ft^ j^ ;i^ s^i^ W ^ ^- w fcr ^ P 1^ i^ 1> 1^ !^ 1^ I? i/ ^ - k l^ ^ '^ '^ melt - ing ca-denceon the air. In -vit- ing high and low to prayer, In m h ^^ ft =|!S=^ !=*: ^^^ 1^=d^=l^ te^=!=^ I ^ ^m JL ?^ ^ I dim. e ra?Z. f vit - ing high and low to prayer. 1 I Hr Third R**dr. ^ :=& ^= 134 STAR OF PEACE. Moderato, J. E. QtOViso. &=J^J=4 =|: =d: ^^is^di^ !=fce W^ r-n^ '-f=f^f S-lE ^ 1. Star of peace ! to wand'rers wea-ry, Bright thy beams that smile on me; 2. Star of hope ! gleam on the bil - low.Biess the soul that sighs for thee ; 8. Star di-viue! oh, safe- ly guide him, Bring the wand'rer home to thee; yi-B: ^^ :=i =1: t:^: ^^^ J-4 ^ a: ^r ^^rp :Ji^ /-^ jOjO Adagio. =J=i r Cheer the pi - lot's vi - sion drear -y, Far Bless the sail - or's lone - ly pil - low, Far Sore temp-ta - tions long have tried him, Far at sea, at sea, ai\i sea. Kar at sea :b ar Far Far at sea. at sea. at sea. fti: ^^i^F^ ^IB MY GOD, HOW ENDLESS IS THY LOVE I Andante. , . /^^ 1. My God, how end- less is Thy love ! Thy gifts are ev - 'ry evening new, And 2. Thou spread'st the curtain of tlie night,Great Guardian of my sleeping hours ;Thy 3. I yield my pow'rs to Thy command, To Thee 1 con-se - crate my days ;And i w IESE3 '-^^^^^^^^^ X=^- -lt--. mt j=j rH: 4 J'^J- :: ^ I ^=^ T r ti^ f=F=F=f^r 7 dev morn - ing mer - cies from a - bove Gen - tly dis - til like ear - ly aew. sov- 'reign word re - stores the light. And quick-ens all my drow - sy pow'rs. dai - ly bless- ings from Thy hands De - mand my dai - ly songs of praise. i ^-=3z^_^^:^^jz=z:EJE^z^3^zzEJ 3 j__ H : Adagio, slowly and grax;etully . Har. Third Reader, PART II. FAMILIAR SOISTOS. The songs which are, here presented have entered fully into American life and thought. Not to know these songs is to be ignorant of the thought and sentiment of the passing generation. Hence they should become a part of the life and thought of every American child. This part of the child's education we have before assumed to be pro- vided for in the home, but the rapid changes in the character of our people make dependence on home instruction unwise. The school, therefore, is more and more relied upon as a means of establishing those sentiments regarding home and country upon which the purity of life and the perma- nence of our government in a measure depend. The songs in the collection fonn a part of a series which is distributed throughout the course. They are graded as to sentiment and also with reference to the difficulty of notation, and hence are always available for reading purposes ; but as these songs are to be learned, they become valuable to the teacher as material for dictation and for memory writing. When a song is familiar, the intonation and the rhythm should be so clear in the child's mind that he can write the melody from memory. The first attempts in this line, however, will be somewhat unfruitful, but a little thought bestowed upon the matter and frequent practice will bring an excel- lent result, and will soon establish a habit of attention to musical forms that will be not only extremely entertaining, but ever useful. The combination of familiar tone groups with new and varied rhythms produces a most interesting problem when presented to children. For example, if the tones which enter into the first phrase of America are given as at (a) they will be instantly recognized, but if they are given as at (i) many pupils will be confused by the rhythm. Hence at this stage in the pupil's development practice in such combinations of tonality and rhythm should be given. ^g, g , r, , ^ ^_ , nyF i= ^ Har. Third Radar. (136) 136 YESPER HYMN. Moderato. BUSSIAK Mbloot. d=z^: ^3^1 -Jt-- ^=^ i^^ 1. Hark! the ves- per hymn is steal -ing O'er the wa-ters, soft and clear; 2. Now, like moonlight waves retreat - ing To the shore, it dies a - long ; i: ^^m d: m^ ::t :q: >i X m Near-er yet, and near - er peal - ing, And now bursts up -on the ear; Now, like an-gry sur-ges meet -ing, Breaks the min-gled tide of song; mf dim. -* 0- r- :X- : r=|==:i= ^ m Ju - bi - la - te, far - ther steal-ing. Soft it fades up - on the ear ; Ju - bi - la - te, waves re - treat-ing To the shore, it dies a - long ; P dim. P^^^^ 1=1t 1: 1 :^5: fc^^3 Far -ther now, now far- ther steal-ing. Soft it fades up - on the ear. Hark ! a - gain, like waves re - treat-ing To the shore, it dies a - long. SOFTLY NOW THE LIGHT OF DAY. G. "W. DOANE. C. M. voN Weber (1786-1826). a s ^=\- ffl: =i i^znd 1. Soft - ly now the light 2. Thou, whose all - per - vad 3. Soon, for me, the light ^ d=4: 1^ * of day Fades up - on my sight a - way ; ing eye Naught es - capes, with-out, with -in, of day Sliall for - ev - er jiass a - way ; ^-- :=P =q: =1: nl: is^ ;a Free from care, from la - bor free. Lord, I would cora-mune with Thee. Par - don each in - firm - i - ty, O - pen fault, and se - cret sin. Then,from sin and sor - row free. Take me. Lord, to dwell with Thee. Har. Third Reader. 137 Caroline Keppbu Expressively. ROBIN ADAIR. :^=^^ Scotch Melody. ^^^^^^^^ ^ ~d^ ^F=^- t=t^-= 1. What's this dull town to me? Rob-in's not near.Whatwas't I wished to see, 2. What made th'assem-bly shine? Rob- ia A - dair.What made the ball so fine? 3. But novv thourt cold to me, Rob -in A - dair; But nowthou'rteoldtome, -#iJ'-fg=^=j -1 =^1^ S^ What wished to hear ? Where's all the joy and mirth That made this town a Rob - in was there. What, when the play was o'er, What made my Rob - in A - dair. "Yet him I loved so well, Still in my m heav'n on earth ? Oh ! they're all fled with thee, Rob- in A - dair. heart so sore ? Oh ! it was part - ing with Rob - in A - dair. heart shall dwell ; Oh ! I can ne'er for - get Rob - in A - dair. GAYLY THE TROUBADOUR. T. H. Batly. ^ ^.^35 1. Gay - ly 2. She for 3. Hark! 'twas the the the m trou trou trou 3^ = ba - dour ba - dour ba - dour touched hope - breath - his less ing ^- -G>- gni - tar, ly wept; her name ; ^^^E3^3- S When he was has - ten-ing home from the war ; Sing- ing, "From Pal-es-tine, Sad - ly she thought of him when oth - ers slept ; Sing - ing, "In search of thee Un - der the bat - tle-ment soft - ly he came ; Sing - ing, "From ral-es-tine. g S3" M d: ^ ^ hith - er I come; La - dy love, la - dy love, wel -come me home." would I might roam ; Trou-ba-dour, trou - ba-dour,conie to thy home." hith - er 1 come ; La - dy love, la - dy love, wel - come me home." Hr. Third Reader. 138 THE HEART BOWED DOWN. From "The BoHEBiiAir Gikl.' Michael. William Balfe (1808-1870). fe aSEE d= ^ :=|: s-r^-^=E T- a 5 1. The heart bow 'd down by weight of woe, To weak-est hopes av ill cling, To 2. The mind will in its worst de-spair Still pon-der o'er the past, On i*^^ zzt- =^=: # ij^ f^=^:^| i^ thought and im - pulse while they flow. That can no com - fort mo - ments of de - li ^^dE3: mem-'ry is the on - ly friend That grief can call its own, That ;^^^= ^^gg|^ii^.i^i^^^H grief can call its own. That grief can call its own. Har. Third Reader. 139 THEN YOU'LL REMEMBER ME. i Andante cantabile. Michael William Balfe (1808-1870). ^- ^^=4 t=.-=tr. S^^ =Ml --t i 1. When oth - er lips and oth - er hearts Their tales of love shall 2. When cold - ness or de - ceit shall slight The beau-ty now the^' J^. i=d: tS ^S=t: :i==t= S^ ^00- -^^ tell. In language whose ex - cess im - parts The pow'r they feel so prize. And deem it but a fad - ed light Which beams within your i ifc=t 5fe3: =|: i;^^ .^}ZJ^ well, There may, per- haps, in such a scene Some rec - ol - lee - tion eyes ; When hoi - low hearts shall wear a mask 'Twill break your own to ^m i g^^^ 5=]: *= ^Si 3=S= --t^: be. Of days that have as hap - py been. And you'll re - mem - ber see ; In such a mo-raent I but ask That you'll re - mem - ber me,. . And you'll re - mem - ber, you'll re - mem - ber me. me, . . That you'll re - mem - ber, you'll re - mem - ber me. Andavte cantabile, somewhat slowly, and in melodious, flowing style. Har. Third R*adr. 140 THE LAST ROSE OF SUMMER. Thomas Moore Irish Melody. 1. 'Tis the last rose of sum - mer. Left bloom - ing a - 2. ril not leave thee, thou lone one, To pine on the 3. So soon may I fol - low, When friend-ships de - lone; All her love - ly stem; Since the love - ly cay, And from love's shin com are ing pan - ions Are sleep - ing, Go, cir - cle The ^^ '^ fad - ed and gone; sleep thou with them; gems drop a way; No flow - er of Thus kind - ly I . When true hearts lie her ,i=d: ess- Si ;E=E 3332 kin - dred, No rose - bud scat - ter Thy leaves o'er with - ered, And fond ones is nigh . the bed . are flown, t: ^ -- 1 To re Where thy Oh, who fleet back mates of would . . her blush - es, the gar - den in - hab - it Or give . Lie scent This bleak siffh for sigh. less and dead. world a - lone! Har. Third Reader. PATRIOTIC A'ND DEVOTIONAL SOl^GS. AMERICA. S. F. Smith. Henbt Caret ( ?). i 3^ m w^ =F 1. My coun-try! 'tis of thee, Sweet land of lib - er - ty, 2. My na - tive coun - try, thee Land of the no - ble free 3. Let mu - sic swell the breeze, And ring from all the trees, 4. Our fa- thers' God! to Thee, Au - thor of lib - er - ty. - -m 0- Of thee I sing; Thy name I love; Sweet free - dom's song ; To Thee we sing; : U U- d Land where my fa - thers died ! Land of the I love thy rocks and rills, Thy woods and Let mor - tal tongues a - wake ; Let all that Long may our land be bright With free-do m's i l^ r unr '^ ^-F-|#- I Pil-grim's pride ! From ev - 'ly moun-tain side Let free - dom ring. tem - pled hills ; My heart with rap - ture thrills Like that a - bove. breathe par- take ; Let rocks their si- lence break, The sound pro - long. ho- ly light; Pro - tect us by Thy might. Great God, our King. Har. Third Raider. (141) 142 BLESSED ARE THE MERCIFUL. Matthew, v : 7. -I- &E^ --It ^^^^ Bless - ed are the mer - ci - ful for they shall ob - tain P fe^ i=J^=d=J=i=^3; i=i==t -* * Bless - ed are the mer - ci - f ul ior they shall ob - tain rgtegEgEEE^EEfes SffiB ^ 1251 lEjeEE^E^ -*- ^- ^^ X ^--^ ]=^=drri ii^^^^^^il mer - cy.Bless-ed are the mer-ci-ful for they shall obtain mer-cy. J- m ^^^^^%=^= It ^ *- :=4: -^-:f. ^i- mer - cy.Bless-ed are the mer-ci-ful for they shall obtain mer-cy. ^-d. m^ -.^>-u- C^i:g=^= ta c:p f=t fsr^ :^~|yi^ ^ 4= p Har. Third Readr. 143 ONWARD, CHRISTIAN SOLDIERS. Eev. 8. Baking-Goitld. Sir Akthttb S. Sullivan. 1. Onward, Christian sol - diers, Marching as to war. With the cross of Je - sus 2. At the sign of tri - umph Satan's host dOth flee; On, then, Christian soldiers, 3. Like a might-y ar - my Moves the Church of God ; Brothers, we are treading ^i J_ J. ^ '^^^ AAA J. ^ ^Aj AS^J. CT-r-r-r~r i :J. I^= w i d^ 221 r=rT=r -Gf- -^- ff^TT V / Go - ing on be - fore ! Christ the roy-al Mas - ter Leads a-gainst the foe ; On to vie - to - ry ! Hell's founda-tions quiv - er At the shout of praise ; Where the saints have trod; We are not di - vid - ed, All one Bod - y we. ^ J J A A ^ AAAA -^ *- E i i r?m :s2: V- I r- ^F ^^^ J^-H^-I^J- Chorus. fr ^mWrMff^^ ^ Forward in r to bat - tie. See, His banners go. Onward, Christian sol - diers, Brothers, lift your vol - ces, Loud j-our anthems raise I One in hope and doc - trine. One in char- i - ty. ^S^^d^t^^E^E^^! ^a J. J ^ Jj- ^^ '0^^ T TTT Marchmg as to war, With the cross of J J J J r=r 'ZS2L Je - sus Go - ing on be - fore I ^^ ^AaA 4 J. A- A! J. N^ i ir-W P=f=f=r 1 -isr Har. Third Rex^ 144 Joseph Hopkinson. HAIL, COLUMBIA! Prof. PHTIiA. ^ -^ -r- Im Hail, Co-lum - bia! hap- py land! Hail, ye he - roes, mor - tal pa - triota, rise once more! De - fend your rights, de - Sound, sound ^ th6 trump of fame. Let Wash - ing - Be - hold the chief, who now com-mands,Once more to serve his 1^ 3 -^ 1- 5 ^= heav'n-bom band ! Who fought and bled in Freedom's cause,Who fought and bled in fend your shore ; Let no rude foe with im - pious hand, Let no rude foe with ton's great name Ring thro' the world with loud applause! Ring thro' the world with coun-try stands ; The rock on which the storm will beat ! The rock on which the i h^ *^ Free - dom's cause, And, when the im pious hand, In - vade the loud ap - plause ! Let ev - 'ry storm will beat! But armed in storm of war was gone, En shrine where sa - cred lies Of clime, to Free - dom dear, vir - tue, firm and true. His ^m ~^-- =^=F=t ^^ r joyed the peace your val - or won. Let in - de-pend-ence be our boast, toil and blood the well-earn'd prize. While of -f 'ring peace, sincere and just, In Lis - ten with a joy-ful ear; With e - qual skill, with steady power,He hopes are fixed on heav'n and you. When hope was sink-ing in dis-may ,When i ^- i :J^ W Ev - er mind - ful what it cost; Ev Heav'n we place a man - ly trust, That truth gov - ems in the fear - ful hour Of hor gloom ob - scured Co - lum - bia's day. His stead er grate - ful and jus - tice - rid war, or - y mind, from wwm. =:3; :^3 for the prize. Let its al - tar shall pre - vail. And ev - 'ry scheme of guides with ease The hap - pier time of chan - ges free, Re - solved on death or reach the skies, bond - age fail. hon - est peace. lib - er - ty. Har. Third Readef. 146 Chorus II: -tt --^-- T- -U-U= i Firm, u - nit - ed let us be, Ral-ljing round our lib - er - ty ! 33^ :=f5:: =1;-^-^^ ^- :S ggi5g=^^^ j As a band of broth-ers joined, Peace and safe - ty we shall find. FLAG OF THE FREE. M ElCHARD 'WaGITBR. m ^-z :zi r 4^ 3t=3tl=* ^ g 1. Flag of the free, fair - est 2. Flag of the brave, long may to see ! Borne thro' the it wave, Cho - sen of =t 5^"^ ^ --f strife and the than - der of war; God while His might we a - dore; Ban - ner made bright In Lib - er - ty's van, D.s. While thro' the sky ^S^ -=\-- =t ?^f =^ with star - ry light, Float ev - er proud man - hood of man, Sym - bol of right loud rings the cry, Un - ion and Lib ly from moun - tain to shore, thro' the years pass - ing o'er. er - ty ! one ev - er - more ! Spread thy fair folds but to Scat - ter the cloud that would to the slave, ored a - far. shield a^d to save, dark - en a star. ("ar. Third Readar. 146 AMERICA THE BEAUTIFUL. m Katharine Lee Bates, Maestoso. -f- WiLi. C. Macfarlaitb. 5^^ * ^* 1 . O beau - ti - ful for spa - cious skies, For am - ber waves of grain, 2. beau- ti -ful for pil-grim feet, Whose stem, im-pas- sionM stress 3. O beau- ti -ful for he - roes i^roved. In lib - er - at - ing strife, 4. O beau- ti -ful for pa - triot dream That sees be-yond the years gS ^ i^ ^ :g=ar Bdss wUh octaves throughout. i For pur - pie moun-tain ma-jes-ties A-bove tlie fruit -ed plain! A thor-ough-fare for f ree-dom beat A - cross tlie wil - der - ness ! A\Tio more than self their coun- try loved. And mer - cy more than life ! Thine al - a - bas - ter cit - ies gleam Un-dimm'd by hu - man tears ! m ^ ^ i w^ -2=t- =^ ^ i e=? mer - - ca ! mer - - ca! mer - ] - ca! mer - I - ca! A - mer - i - ca ! God shed His grace on tlief, A - mer - i - ca ! God mend thine ev - 'ry flaw, A - mer - i - ca ! May God thy gold re - fine, A - mer - i - ca ! God shed His grace on thee. And Con- Till And ^^ ? By permission of the author. Copyright, 1913, by WiiiL C. Macfaelan e. Har. Third Reader, 147 =fc tcrt -CJ- rr>- crown thy good with broth - 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 with broth - er - hood. From sea to shin - ing sea ! 3=?c i BsFSAnr. Molto maestoso. ^ ritard. =ii!=Fii" i^ 3l=^ -'^==^"=Fif=P :t^ EE 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 - uge could save . , the served us a na - tion. Then con - quer we must, when our g qs=t: ^ i^=t :?2: t- -0-- 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." Choros. ^^^- 3 =P=^ 5^ :t :^^ 4= 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 ^^^^^^ 1 wave O'er the land of wave O'er the land of wave O'er the land of wave O'er the land of Har. Third Raadar. the free and tlie 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 bravo I 150 COME, THOU ALMIGHTY KING. Chables Wbslby. Felice Giabdini. Ei 3^ id: :=1: :=J: Az ::^: m 1. Come, Thou 2. Come, Thou al in might cai' y King, nate Word, Help us Gird on Thy Thy name miorht to sing, Help us to jiraise. Fa - ther all glo - ri - ous, y sword, Our prayer at - tend. Come and thy peo - pie bless, ^^- w^^ w F^==^-= jtrj &^: tr. ^; 5 I O'er all vie- to - ri-ous, Come and reign o - A'er us, An-cientof days. And give Thy word suc-cess ; Spir - it of ho - li - ness, On us de - scend. BATTLE HYMN OF THE REPUBLIC. Julia Tf abd Howe, 12. 4=^: -T> IH z> N -=i h |iV ^ ^ -= -J5 # 1^ 5i : ^W=- 1. Mine . eyes have seen the glo 2. I have seen Him in the watch - 3. I have read a fier - y gos 4. He has sound - ed forth the trump - ry fires of of pel writ that et 6. In the beau ty of the lil m ffi 3*^^ ^=^ the a in shall ies Christ was com - ing of the Lord ; He is tramp-ling out hun - dred cir-cling camps ;They have build - ed Him burnished rows of steel: ''As ye deal with My nev - er call re- treat; He is sift - ing out bom a -cross the sea, With a glo - ry in the vint - age Avhere the an al - tar in the con-tem-ners, so with the hearts of men be - His bos - om that trans- Har. Third Reader. 151 1^^^ 3^=:^: _J^ ft zzzh: ^ grapes of wrath are stored ; He hath loosed the fate - f ul light - ning of His even - ing dews and damps ; I can read His right - ecus sen - tence by the you My .^ace shall deal:" Let the He - ro born of worn - an crush the fore His judg-ment seat : Oh, be swift, my soul, to an- swerHimtbe fig - ures you and me ; As He died to make men ho - ly, let us -^ izt: m -^ ter - ri - ble swift sword ; His truth is march - ing on. dim and flar - ing lamps : His day is march - ing on. ser - pent with his heel, Since God is march - ing on. ju - bi - lant, my feet ! Our God is march - ing on. die to make men free. While God is march - ing on. Chorus. 0^^^^^^ i>=^i=^ft- Glo - ry, glo-ry,Hal-le - lu - jah ! Glo - ry,glo- ry,Hal- le - lu - jah! i E# =tc *. # ^ d < !^ , ^ a Glo - ry, glo - ry.Hal - le - lu - jah! His truth is march -ing on. Har. Third R*adr. 152 PARADISE. Frederick W. Fabbb. r f) h Joseph Babnbt. LJt-^ -> P 1 1 "t^T^t^~S- -w- iP i ^- ^-r- d -- ~ m - \!sL> " "4 ^ " l-d J d 1 1.0 Par - a - dise ! O 2. O Par - a - dise ! O 3.0 Par - a - dise ! O 4.0 Par - a - dise ! O Par - a - dise ! Who doth not crave for Par - a - dise ! The world 4fi grow-ing Par - a - dise ! Where -fore doth death de Par - a - dise ! I want to sin no ^m S3^ ^ ^t :!;* 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 g Elt It: -fSJ- X =t=F 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 m the Stand ev - er in the Stand ev - er in the g s: =i: ^iiit^ : light, All rap - ture thro' and thro', In God's most ho - ly sight. A -men. JERUSALEM THE GOLDEN. Bernard of Cluny. Alexander Ewino. i :ii: P3 ^ 5 =s ?^ jL ^ ^ ::g: 1. Je - ru - sa - lem the gold - en. With milk and hon - ey blest: 2. They stand, those halls of Zi - on. All ju - bi - lant with song, 3. There is the throne of Da - vid. And there, from care re - leased. aUIJ^ jEEgJEgEd ^ Be - neath thy con - tem - pla - tion, Sink heart and voice op -pressed. And bright with many an an - gel And all the mar - tyr throng. The song of them that tri - imiph, The shout of them that feast. Har. Third Reader i I know not. The Prince is oh, I know not. What jojs ev - er in them. The day 163 ^= a - wait me there ; liglit is se - rene ; And they who with their Lead - er Have con - quered in the fight. i^ ^B i=:J: What ra - dian - cy of glo - The pas - tures of the bless - For - ev - er and for - ev - ~i^-' zg: ry, AVhat light be - yond com-pare. ed Are decked in glo - nous sheen. er Are clad in robes of white. PORTUGUESE HYMN. James Montgomery. J. READrNQ. i ^ s w- :X -j^z. ::]=:1= 1. The Lord is my shop - herd, no want shall I know; I 2. Let good - ness and mer - cy, my boun - ti - ful God, Still i^ ^l=3t E feed in green pas - tures ; safe fold - ed I rest ; He lead - eth my fol - low my steps till I meet Thee a - bove ; I seek by the fc ^ ^ 1 ^ w fct ^ -*-*- soul where the still path which my f ^re wa-ters flow, fa-thers trod, ^ N-X lie - stores me when wand'ring.re - Thro' the land of their so-joum, Thy i I S=Jfe ^^ deems when op-press'd. Re - stores me when wandering, redeems when oppressed, king dom of love, Thro' the land of their so - journ.Thy kingdom of love. H*r. Third Raadar. 164 COLUMBIA, THE GEf OF THE OCEAN. D. T. Shaw, Spirited. D. T. Shaw. r=f ^ jiJ^^^ -j^^ -^j^-jv- ^^e^^^ :ti;F 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 - 8. The star-span-gled ban-ner bring hith-er. O'er Co-lum-bia's true sons let it :S=^ S^ -^ ^^ free, The shrine of each pa - triot's de - vo - tion, A . . form. The ark then of free-dora's foun-da - tion, Co - wave ; May the wreaths they have won nev - er with - er. Nor its ^^SS :i=fc:r ILZ it iMn^za^^"* 3^ fcfc world of - fers hom - age ^lo 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 - fry a - May the serv - ice u - nit - ed ne'er -*-!i-d ^^=^ ?? ^- -^-^ ^ sem-ble, round her, sev - er, When Lib - er - ty's When so proud-ly she But hold to their form stands in view ; Thy bore her brave crew ; With her col - ors so true; The :tp:^=*- ^-^5iEiE|^^^^^3S 3= ws w-^ ^ 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 'i^m^^^^m^^E^^^E^E^^ i - jg-^-^ ^- bome by the red, white, and blue, When borne by the red, white, and blue ; Thy boast of the red,white,and blue, Tlie 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 ban-ners make tyr - an-ny tremble, flag proud-ly float-ing be-fore her, ar - my aad 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. Third Reader. 155 MARCH OF THE MEN OF HARLECH. William Dtjthie. Welsh National Song. 1. Men of liar- lech ! In the hoi - low, Do ye hear, like rush-in g bil -low, 2. liock - y steeps and pass-es nar - row Flash with spear and flight of ar -row ; ^^ :t== =F^ :c2: Wave on wave that sur - ging fol - low Bat- tie's dis - tant sound ? Who would think of death or sor - rowPDeath is glo - ry now ! E3 'Tis the tramp of Sax - on foe -men, Sax- on spear -men. Sax - on bow -men. Hurl the reel- ing horse -ma*n o - ver, Let the earth dead foe- men gov- er ! F^t*-^- ^ 1 "^"d 1* ^r^ ^ '^~if~^' s ' _^_^_^_W 1 ^_? ^__cJ. ^^ Be they knights, or hinds, or yeo - men, They shall bite the ground ! Fate of friend, of wife, of lov - er, Trem - bles on a blow ! :fe^i^^ ^-^'-^ -^^^: :e^t==-^=l 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 ^^l^i^^S^si i^ bright on high Shall launch its bolts in thun-der! On -ward ! 'tis our bat- tie shock, And mer - cy shrieks to heav - en ! Men of Har-lech! i M: ^=^- ^^ i d== coun - try needs us, He is brav - est, he who leads us ! young or hoar - y. Would you win a name in sto - ry? g ^=^^1^ l^z lion - or's self now proud-ly heads us ! Free-dom ! God, and Right ! Strike for home, for life, for glo - ry ! Free-dom ! God, and Right I Hr. Third RaadM 156 PRAISE THE LORD. i Bishop BiCHARD Manx i2 Joseph Hatdn. W Ete; i ^ii^^ -^ m 1. Praise the Lord! ye heav'ns, a - dore Him, Praise Him, an-gels in the 2. Praise the Lord, for He is glo - rious ; Nev-er shall His prom-ise M i==t m w 2zl2: :f=^ 3 diz :t:=t :*== height; Sun and moon, re - joice be - fore Him ; Praise Ilim, all ye stars of fail ; God hath made His saints vie - to - rious, Sin and death shall not pre- ^fe==J= ^= ^^^m 1 :J^: i^zz^ --=^- --^ =t light ! Praisethe Lord, for He hath spo-ken ; Worlds his mighty voice o-beyed. vail. Praise the God of our sal - va -tion.Hosts on high, His pow'r pro-claim ; a :g=p^g^&^^ip^^ipi Efci Laws which nev - er shall be bro-ken, For their guid-anceHe hath made. Heav'n and earth, and all ere - a - tion, Laud and mag - ni - f y His name. Har. Third Reader. 157 HOLY NIGHT. I#i^^-^- FTn is- pj- Michael Hatdk. L-= k 1. Si - lent 2. Si - lent 8. Si - lent .. J -^ 1 night, night, night, J-= Ho - Ho - Ho - J ly ly night, night, night, h All Shep Son & is calm, all - herds quake at of God, love's 1/ r is bright the sight, pure light ^ J. -0 1 u j 1 1 W I T 1 -t 1 h-^ e-H Round yon Vir - gin Moth-er and Child. Ho - ly In - f ant so ten-der and mild, Glo-ries stream from Heav-en a - far, Heav'n-ly hosts sing Al - le - lu - ia ; Radiant beams from Thy ho- ly face. With the dawn of re - deem - ing grace. -_ ^ q _ - - j_ _. S K^ fc IS i i^^ r t=Jti-. k ^ 3e=:#^=PB=ii: :tiz=t2^St=:iiz: i^ k i Sleep in heav- en - ly peace, Christ, the Sav-ior, is bom! Je - BUS, Lord, at Thy birth ! ^ ft ^=^ n R N 1^ Sleep in heav - en - ly peace. Christ, the Sav - ior, is bom ! Je - sus, Lord, at Thy birth! J^-J^ ^ ^ >!d2z=l? Har. Third Rsadar. T~l 168 GUIDE Rev. W. Williams. Oh, 1 1^^ ME, THOU GREAT _ 1 r-1 JEHOVAHI J F. HiBOU). bM,^:^ &=d- -0 -W -f- N ^ 1. Guide me, 2. - pen 8. When I J r: now tread r Thou the the great Je - crj'S - tal verge of ' * 1 ho - foun Jor - r vah ! - tain, dan. 9. .0_ r r Pil - grim Whence the Bid my H ^1 PA^ -^ r^ w- 1 t\ P ^ |- P= L. p r ' r through this bar - ren heal - ing stream doth anx - ious fears sub land ; I flow ; Let side; Death am weak, but Thou art might-y, the fier - y, cloud - y pil - lar of deaths, and all de - struction ! tSESEE* u?: ^ W.=^^J., ?^ P ~ :S: 1.-J- ^-^n ^ =1: 32 ^ f-=f 1= Hold me with Thy pow'r - ful Lead me all my jour - ney Land me safe on Ca - naan' hand. Bread of Hcav through. Strong De - liv s side. Songs of prais - en, - 'rer. es, '^S f tj-^ r Bread of Ileav - en. Strong De - liv - 'rer. Songs of prais - es. ifiS Feed me Be Thou I will till I still my ev - er W I want no strength and give to more, shield. Ihee. ^ I :?= Har. Third Reader. Il^DEX. Paob Poet or Source Cobtposeb oh Soitbcb 61 Abide with Me Henry Francis Lyte . . WilUwii Henry Monk 141 America S. F. Smith Henry Carey (f) 146 America the Beautiful Katharine Lee Bates .* . . Will C. Macfarlane 71 Ariel's Song William Shakespeare 150 Battle Hymn of the Republic . . . Julia Ward Howe 13 Bell-man, The Robert Herrick 142 Blessed are the Merciful .... Matthew, v : 7 128 Brook's Slumber Song M. C. Gillington A. L. Cowley 48 Child's Prayer, The G. Campbell T. S. Gleadhill 154 Columbia, the Gem of the Ocean . . D. T. Shaw D. T. Shaw 160 Come, Thou Almighty King . . . Charles Wesley Felice Giardini 79 Death of the Old Year Alfred, Lord Tennyson 119 Evening Prayer F. Silcher 83 Fairies' Dance, The F. W. Farrington 22 Faith Rejoices ; H. F Miiller 37 Fatherland, The A. Melhfessel 145 Flag of the Free Bichard Wagner 121 Flowery Month of June, The William Jackson 125 Forest Home, The Sir Julius Benedict 64 Future, The F. H. Himmel 137 Gayly the Troubadour T. H. Bayly 66 Gay-robed Spring John Guard Felix, Mendelssohn 28 Give Me a Look Ben Jonson J. Sneddon 77 Give thy Heart's Best Treasures ! . Adelaide A. Proctor 73 God Be Our Guide Franz Abt 148 God Ever Glorious S. F. Smith Alexis T. Lwqff 63 God Omnipotent Henry Kirk White 89 Grace before Meat Robert Herrick 168 Guide Me, O Thou Great Jehovah : . Rev. W. Williams F. Herald 144 Hail, Columbia ! Joseph Hopkinson Prof. Phyla 103 Happiest Heart, The John Vance Cheney . . George Henry Howard 29 Haymaknig Song Alfred Scott Gatty 138 Heart Bowed Down, The .... "The Bohemian Girl" . Michael William lialfe 147 Heavenly Father, Sovereign Lord Songs for the Sanctuary . Felix Mendelssohn 157 Holy Night Michael Haydn 115 How They so Softly Rest . . . . H. W. Longfellow IF. '/. Deane 87 In the Gay Month of October Alfred Scott Gatty 110 In Woods is Peace Franz Abt 152 Jerusalem the Golden , Bernard of Cluny .... Alexander Kwing 140 Last Rose of Summer, The ... Thomas Moore Irish Melody 81 Life 102 Little Flowers are Bending, The , ...,,,,,. Air of the 17th Century Har. Third R>dr 159 160 INDEX. Page Poet or Source Composer or Socrcb 74 Lordly Gallants George Wither Dr. CaUcott 67 Lord's Prayer, The 155 March of the Men of Harlech . . . William Duthie . . . Welsh National Sang 17 Mighty God 19 Miller of the Dee, The Charles Kingsley Old English Air 134 My God, how Endless is Thy Love 1 German 15 Night Elizabeth Lindner Robert Franz 70 O Light-bearing Star C //. Fischer 152 O Paradise Frederick W. Faber .... .Joseph Bamhy 65 Oh ! Skylark, for thy Wing . . . Felicia Hemans J. Sneddon 69 Old Time, that Owns fso Pause J. Sneddon 143 Onward, Christian Soldiers . . . Rev. S. Baring-Gould . Sir Arthur S. Sullivan 153 Portuguese Hymn James Montgomery J. Heading 156 Praise the Lord Bishop Richard Mant .... Joseph Haydn 26 Prayer * F. Silcher 63 Prayer for our Navy W. Vere Mingard ... F. W. Farrington 101 Psalm of Life, A H. W. Longfellow .... Franz Schubert 187 Robin Adair Caroline Keppel Scotch Melody 66 Rosy-cheeked Urchin, The .... John Orton J. Sneddon 130 Shades of Night, The J. E. Perring 106 Sing unto God George Oakey 136 Softly Now the Light of Day . . . G. W. Doane C. M. von Weber 91 Soldiers, Brave and Gallant Be ... Giacomo Gastoldi 44 Song of the Year, A Ellis Walton 134 Star of Peace J. E. Gould 148 Star-Spangled Banner, The . . Francis Scott Key . . . Dr. Samuel Arnold 46 Stay, Weary Wanderer F. Schubert 40 Summer Evening A. J. Foxwell H. Hoffman 11 Summer Song, A Julia C. Dorr 132 Sweet Convent Bells J. L. Hatton 139 Then You'll Remember Me Michael William Balfe 51 To a Bird, Singing F. Gartz 80 To the Chrysanthemum . . . . W. C. Bennett A. R. Gaul 69 To the Cuckoo William Wordsworth 35 To the Evening Star Carl Reinecke 136 Vesper Hymn Russian Melody 94 Wake ! Wake ! F. von Flotow 31 When Larks Ascend 104 Woodland Voices Augusta Hancock . . . . G. Francis Lloyd Har. Third Raader. UC SOUTHERN REGIONAL LIBRARY FACILITY A A 000 041 772 5 SOUTHERN BRANUM UNIVERSITY OF CALIFGRNU, LIBRARY LOS ANGELA'S. CALIF.