{■Hi 11 p Iff TEACHER'S MANUAL VOLUME I FOR FIRST. SECOND, AND THIRD GRADES WITH ACCOMPANIMENTS FOR BOOK ONE AND ADDITIONAL ROTE SONGS. FOLK DANCES AND SINGING GAMES. The Progressive Music Series BY HORATIO PARKER Dean of the Department of Music, Yale University OSBOURNE McCONATHY Director of the Department of School Music, Northwestern University EDWARD BAILEY BIRGE Director of Music. Public Schools, Indianapolis, Indiana W. OTTO MIESSNER Director of the Department of Music, State Normal School, Milwaukee, Wisconsin VOL. CALIFORNIA STATE SERIES California Statb Printing Department Prank j. smith. Superintendent NTO Th's W>lamc contains much original matter which is covered by the ht of the book and must not be used without special permission . by The People of the State of California. Copyright, 1915, 1916, by Silver, Buedett axd Company v9 .5 PREFACE The Progressive Music Series aims to realize two fundamental ideals: first, to assemble from all available sources the best music for school pur- poses; second, to organize this material into a plan of music instruction based upon approved principles of modern educational psychology. The editors and publishers have also taken advantage of all that present-day ;? science has contributed to the art of book making. The music material comprises the best that could be found in the libraries of America and Europe; original songs written by many of the foremost liv- ing composers; and characteristic folk songs, many of which were obtained from sources hitherto unavailable. In selecting the music for the series, the first concern of the editors was to assemble only songs of unquestioned merit from the standpoint of real musical worth. These approved songs, whether questioned cultural value. *" In the case of original contributions, the primary object was to obtain an unrestrained expression of the composer's individuality. Genuine interest in £= the series and complete cooperation on the part of the composer were se- cured through personal interviews. As a result the series is able to offer a large number of beautiful and original songs by eminent composers — songs which represent the composer at his best and give free expression to his indi- vidual style and manner. - The pedagogical plan of the course is the result of many years of practical q classroom experience. It takes into careful consideration every element which J- has contributed to the remarkable advance in public-school music inHhis Z country. Every step advocated is in thorough accord with the conclusions c- of the leading authorities on child study and educational psychology. 1 ~ Teacher's Manual, Volume I, offers a thoroughly organized plan of music - instruction with directions and outlines of the work in the first, second* and K third grades: it may therefore be called a manual for the Sensory Period* It also includes a large number of rote songs in addition to those which appear in Book One, a group of folk dances (with directions for teaching them), as well as accompaniments for most of the songs in Book One. A simple system of cross references facilitates the use of the Manual in con- nection with Book One, and the index of songs in the Manual gives the page references for both books. 1 See page 7, where a list of important works on educational psychology is given. 2 See Introduction, oaee 3. 244H^:> PREFACE fcOneand Teacher's Manual. Volume I. provide all that is necessary in material and method for the music instruction of children in the first les. Manual is in do sense intended to supplant the work oJ the .... but is designed to relieve him of the necessity of giving technical i of spending a large proportion of his time in plan- hanical details of music instruction. Thus relieved, he may de- ,rts to the artistic and inspirational side of music The study of the monthly out lines will show that there is provision for ample drill in each succi p- This drill is based upon the song ma- .. definite, and progressive. Each recurrence of a song; in the outline is for a difien nt purpose; new beauties are revealed, new ideas are , I, ,„• new viewpoints are disclosed. These repetitions are neces- if the child's s< naory contact with music is to be sufficiently definite and complete to insure him the basal concepts upon which to build his musical education. The material for the fourth, fifth, sixth, and seventh grades (the Associa- /'. iod 1 ) is given in Books Two and Three and Teacher's Manuals, Volumes II and III. The Manual- contain outlines and directions for these grades, as well as accompaniments for most of the songs in Books Two and Three: they may therefore be considered manuals for the Associative Period. :1 acknowledgment is due to Miss Grace Barr and Miss Mabelle Glenn for their aid in the preparation of the folk dances and singing games in tin- Manual. Sec Introduction, page 3. ACKNOWLEDGMENTS The courtesy of the following authors and publishers in allowing the use of copyrighted poems which they control is hereby acknowledged: Laurence Alma-Tadema for "King Baby," "Strange Lands," and "Dance, Dance, Baby;" Alice Carrick Skinner for "The Clock;" George Reiter Brill for "The Recipe," "Benediction," and "A Telephone Message" from "Rhymes of the Golden Age;" Charles Keeler for "Baby Life" from "Elfin Songs of Sunland;" Carolyn S. Bailey for "Little Miss Tulip," and Carolyn S. Bailey and Milton Bradley Company for "The Hall Clock" from "Songs of Happiness;" The Universalist Publishing House and the author for "The Mill Wheel" by Kate Louise Brown; Henry R. Patten- gill, publisher, and the author for "The Pink Pig" from "Farmerkin's Farm Rhymes" by Dora H. Stockman; The Century Company for "The Song Sparrow's Toilet" by H. H. Bennett; Dana Estes & Company and the author for "Summer Song," "Garden Song," and "The Windflower" from "The Piccolo" by Laura E. Richards; The Outlook and the author's family for "The Gingerbread Man" by Eva Rowland; F. A. Owen Publishing Company. for "A Frown and a Smile" by Mary Bailey, from Primary Plans; the publishers and the author's family for "Mud Pies" from "Little Knights and Ladies" by Margaret E. Sangster, copyright, 1895, by Harper & Brothers; The American Pri- mary Teacher for "Dandelion, Yellow as Gold;" Mrs. Lida B. McMurry and the Public School Pub- lishing Company for "Rock-a-bye, Hush-a-bye, Little Papoose" by Charles Myall; The Youth's Companion for "Winter Roses," "Hidden Treasures," and "Bedtime," and The Youth's Companion and the authors for "Icicles and Bicycles" by Anna M. Pratt and "Mathematics" by Thomas Tapper; the publishers for "The Five Toes," "Old Chang, the Crab" and "The Firefly" from "Chi- nese Mother Goose Rhymes" by Isaac Taylor Headland, copyright, 1900, by Fleming H. Revell Company; Rand, McNally & Company and the authors for "The Jolly Holly Farm" from "The Rhyming Ring" by Louise Ayres Garnett, and "Lady Bug" from "Little Rhymes for Little Readers" and "A Song Without Words," "What I Like," and "Frosting" from "Other Rhymes for Little Readers" by Wilhelmina Seegmiller; Charles Scribner's Sons for "Four Boys" from "Rhymes and Jingles" by Mary Mapes Dodge. "Dandelion" and "The Naughty Tulip" by Abbie Farwell Brown are used by permission of, and by special arrangement with, Houghton Mifflin Company, authorized publishers of her works. Thanks are also due for authority to use the words and music of the following songs : "Choo-choo-choo" from "Child Songs," published by Otis M. Carrington and "Three Little Heads " from " Action Songs," published by J. Curwen & Sons, Ltd. : also the music only of : "The May- pole Dance " used by permission f rom " Folk Dances and Games ' ' by Caroline Crawford, copyright, 1912 The A. S. Barnes Company, publishers; "The Eskimo Hunter," from "Airs of All Lands," by John Philip Sousa, published by Carl Fischer; "Dance of Greeting," arranged by Mari L. Hofer; "Windy Nights" by Margaret Peddle Bodde, published by The Ladies' Home Journal; and "Kris Kringle's Song," by Catharina van Rennea, used by permission of the composer and of the publisher, Jac. van Rennes. PEDAGOGICAL OUTLINE wing the successive steps in the pedagogical plan of this series, with the grade and month in which each topic is first presented 1. Teaching First Grade, First Month 2. Rhythrj opmenl Through rote folk dances, singing games) . . . First Grade, First Month Singing with "loo" or other First Grade, Sixth Month 1. , gnition of Phrase Repe- tu First Grade, Sixth Month Application of so-fa Sylla- bles First Grade, Sixth Month ining: Study of Motives and Fig- urea Second Grade, First Month 7. T. Training: Presentation of Notation Familiar | songs from blackboard and book) Second Grade, Sixth Month 8 i Training: Visualization Drills (Fig- ures) Second Grade, Sixth Month Reading of New Songs Teacher as- _ Second Grade, Ninth Month Sighl Reading [ndependenl reading of new Bongs) Third Grade, Sixth Month VI TABLE OF CONTENTS INTRODUCTION PAOE Modern Educational Ideals 3 Stages of Development 3 1. The Sensory Period 3 2. The Associative Period 4 3. The Adolescent Period 4 Pedagogical Conclusions 4 1. The Sensory Period 4 2. The Associative Period 5 3. The Adolescent Period 6 Bibliography 7 PART ONE: GENERAL SUGGESTIONS FOR THE PRIMARY GRADES I. Song Material 9 1. Quality 9 2. Organization 10 3. Development 11 II. Teaching Rote Songs 12 1. General Directions 12 2. First Presentation 12 3. Singing by Groups and Individuals 13 III. The Value of Artistic Singing 14 IV. The Child Voice 15 1. Preservation and Development 15 2. Special Training for Less Musical Children 16 3. Devices and Material Used in Treating Monotones 18 V. Rhythmic Development 19 PART TWO: GRADED OUTLINES First Grade — Syllabus 22 First Grade — Introduction 23 I. Teaching of Rote Songs 23 1. To Introduce Music to the Children 23 2. To Provide Musical Experience 23 3. To Develop the Ability to Sing 24 II. Rhythmic Development * . 24 1. Through Rote Songs 24 2. Through Action . . . . • 24 III. Specific Work in Ear Training 24 1. Singmg Songs with "loo" or Other Neutral Syllable 24 2. Recognition of Phrase Repetition 25 3. Application of so-fa Syllables 26 First Grade — Monthly Outlines 28 First Month 28 Second Month 28 vii VH1 CON i ENTS Monthly Outunb8 {Continued) page 29 29 29 29 nth Month 30 Month 31 32 32 - 3 ^ : noN 3 5 I 1 m lung 3 ^ 1. For Inspiration 35 For Development of Musical Feeling and Artistic Expression 35 isionof Children's Musical Experience and Vocabulary. ... 36 II. Elhythmic Development 36 III. Specific Work in Ear Training 36 I. S Song -iili Neutral Syllable 36 gnition of Phrase Repetition 37 m of so-fa Syllables 37 4. Recognition of Motives and Figures 37 IV. lion of Familiar Songs in Staff Notation 39 1. Observing Representation of an Entire Familiar Song 39 gnition of Familiar Phrases by Position in the Song 39 m of Motives and Figures by Position in the Song 39 4. Drills in Independent Recognition of Motives and Figures 40 V. Reading New Songs from Staff Notation 41 1. Preliminary Study 41 Study of the First Phrase 42 _ ad Singing Repetitions of the First Phrase, if Any 42 9imilar Study of Remaining Phrases and Their Repetitions, if Any ... 42 Entire Song with Words; Memorization 42 Monthly Outlines 43 • Month 43 Characteristic Motives and Figures in the Songs of Chapter I .... 44 Summary of Figures in Chapter I 45 :id Month 45 ( Jharacteristic Motives and Figures in the Songs of Chapter II ... 46 Summary of Figures in Chapter II 47 Third Month 48 ( 'haract.Ti-.tic Motives and Figures in the Songs of Chapter III . . . 48 Summary of Figures in Chapter III 49 Fourth Month 50 ( Jharacteristic Motives and Figures in the Songs of Chapter IV . . . 50 unary of Figures in Chapter rV 52 Fifth Month 53 Character^ ic Motives, Figures, and Intervals of the Songs of Chapter V 53 Summary of Intervals 56 CONTENTS ix Second Grade — Monthly Outlines {Continued) page Sixth Month 5G Table of Figures in Chapter I 57 Seventh Month 58 Table of Figures in Chapter II 58 Table of Figures in Chapter III 59 Eighth Month 60 Table of Figures in Chapter IV 60 Table of Figures in Chapter V 63 Ninth Month 66 Analysis of Songs of Chapter VI 66 Tenth Month 68 Analysis of Songs of Chapter VII 68 Summary of Figures Outlined for Study in the Second Grade .... 70 Third Grade — Syllabus 74 Third Grade — Introduction 75 I. Rote Songs 75 1. Development of Artistic Singing 75 2. Enlargement of the Musical Vocabulary 76 II. Rhythmic Development 76 1. Growth of the Rhythmic Sense 76 2. Study of Rhythmic Notation 76 III. Specific Work in Ear Training 77 1. Organization and Development of the Figure Vocabulary acquired in the Previous Grade 77 2. Further Enlargement of the Vocabulary 79 3. Development of the Ability to Sing Any Tone of the Scale by Relating it with the Tonic 80 4. Creative Work 81 IV. Specific Work in Eye Training 81 1. Visualization Drills for Figures made Familiar through Ear Training . . 81 2. Finding Staff Position of the Tonic Chord from the Key Signature ... SI 3. Written Work 82 V. Development of the Synthetic Process 82 1. Reversing Former Analytical Process 82 2. Re-reading Familiar Songs 82 3. Reading New Songs Classified with Regard to Figure Content 83 4. Reading Unclassified Songs 83 Third Grade — Monthly Outlines * 84 First Month 84 Second Month 84 Analysis of Songs of Chapter VIII 85 Third Month . 86 Analysis of Songs of Chapter IX 87 Fourth Month 89 Analysis of Songs of Chapter X 89 Fifth Month 93 Sixth Month 93 Seventh Month 94 , 'Mints T H1 ted) paqi '■" !)1 95 Grade 96 ,; Third ( }rade 98 FOLK DANCES AND SINGING GAMES 103 106 113 IKS 119 >UR: ADDITIONAL ROTE SONGS 129 OMPANIMENTS FOR SONGS IN BOOK ONE 187 ¥ OF ITALIAN MUSICAL TERMS 286 I M ) I : >NGS WD DANCES 287 THE PROGRESSIVE MUSIC SERIES Teacher's Manual VOLUME I INTRODUCTION MODERN EDUCATIONAL IDEALS The educational ideals of the present day, influenced by psychological research and child study, have brought about many changes in elementary school standards, aims of educators, and methods of teaching. In all branches educators are now agreed that the material used must be intrinsically inter- esting; that it must possess elements of permanent value; that it must appeal to the minds and interests of the children for whom it is intended; and that the methods of presentation adopted in any given grade must apply to the stage of mental development characteristic of that grade. In other words, the subject matter and the pedagogical scheme must be adapted to the children, instead of adapting the children to an adult's comprehension of subject matter, or to a logical and empirical pedagogy. 1 STAGES OF DEVELOPMENT Modern psychological and pedagogical investigators have established the fact that there are three well-defined stages in the physical and mental growth of children, extending through and beyond the Primary, Interme- diate, and Grammar grades. These are: first, the Sensory Period, begin- ning with infancy and continuing into the third grade, which is transitional; second, the Associative Period, extending through the fourth, fifth, and sixth grades, the seventh being another transitional grade; third, the Adolescent Period, usually beginning in the seventh grade and continuing through the eighth grade and into the high school. 2 1. The Sensory Period The Sensory Period is marked by extremely rapid physical growth, ac- companied by a lack of the finer muscular and mental coordinations. It is a time of physiological development and sensory activity, dealing with objects and concrete experiences. Interest is sporadic and is more concerned with the activity itself than with its product. Suggestion, fancy, imagina- tion, keen observation, and imitation play a large part in the child's life. Impressions and stores of experience are being gathered which later become the foundation stones of the child's educational structure. 3 1 See McMurry, "How to Study," page 53; Partridge, "Genetic Philosophy of Educa- tion," pages 99-101. 2 See Partridge, "Genetic Philosophy of Education," page 73. • See Tyler, "Growth and Education," pages 131-145. 3 4 \( lli:i:s MANUAL 2. The Associative Period r Drill Period is distinguished by comparatively slow been completed, and the brain has grown to The finer adjustments and coordinations of the body m accomplished with greater ease; physical feats :id skill an' easily performed. "There is great endur- and excellent resistance to mental fatigue. Memory is I lasting. Never again will there be such susceptibility to ere is interest in the product of activity, and no 1 ctivity for its own sake." ' The child is associating I 1 through sense development, and is classifying and or- • usable related groups. 3. The Adolescent Period 1 is again characterized by rapid physical growth, . by Magnusson as an "enlargement of the plant" requiring so that there is little left for "current expenses." The period mark attiring of the child into young manhood or womanhood and is by changes in the mental life as radical as those manifested 1 >tions dominate the individual; in fact, the whole notional; strong social, moral, and religious r ■ prominent characteristics. Id the molding of character, the development of high ideals, and ling of good taste and artistic discrimination are of great im- •. 2 PEDAGOGICAL CONCLUSIONS 1. The Sensory Period [t Id's sense experience with music, which he gains of the car, must be based upon real music, real and not the scale or technical exercises, represent the con- ic, in which the child is naturally interested. It is- also appar- n must be intrinsically beautiful and not too long, ed in holding his sporadic attentive powers; that they must and arouse his imagination. LA nee, the child's early musical experience must be by imitation, for this power is his strongest faculty at this stage, designated as " rote songs," to be learned by imita- tion. The child must be saturated with rote-song experience: he must be m, "Psychology as Applied to Education," page 222. 1 & e Hull, "Educational Problems," page 123. INTRODUCTION 5 taught to love music and to love to sing; to sing with light, mellow tone quality, and to express his feelings in an artistic manner through the songs he loves. This training of the voice and developing of the ability to sing artistically are in thorough sympathy with the psychological characteristics of the period. The child learns by observing, by imitating, by doing the thing himself. He must be taught to hear accurately and to express accurately what he hears, just as in the language-learning process. He must be made con- scious not only of the song-wholes which interest him, but also of the smaller tone groups of which the songs are composed. The first studies must be analytical in their nature, beginning with familiar song-wholes, and working toward the smaller constituent elements. Later these elements are to be synthetically recombined by the child so as to give him a new and more intimate conception of the original song-whole. Still later, in reading new songs, the child will be called upon to make use of these familiar elements in grasping the musical ideas embodied in the new wholes. A definite tone vocabulary and a feeling for tonality and rhythm are thereby developed, which will later prove indispensable in the analysis and intelligent reading of new songs from notation. The power to think in tones and in tone relationships corresponds to the ability to think in a language, to comprehend the meaning of words used to represent familiar ideas, and to express thoughts and feelings in that language. It is a fundamental prin- ciple that experience with objects and facts must precede the study of the symbols which represent them, 1 2. The Associative Period The Associative Period is the time for independent work in music, for formal drill in the various tonal and rhythmic combinations until automat i control of them is acquired. Here, if at all, independent power in sight reading and interpretation is to be realized. Psychologically considered, it is the proper time for this type of study. The children are ready and eager for hard work, for memorizing combinations, for drill, for solving prob- lems independently, in short, for technical mastery. Attention must become more voluntary, less sporadic. The continued use of beautiful songs, arranged in such sequence in the books that topically the problems to be mastered will follow in natural and logical order, will be the best means of securing voluntary attention. Through such topical arrangement the new in experience is related with the old and the development is logical, "from 1 See Colvin, "The Learning Process," page 92; McMurry, "Elementary School Stand- ards," page 102; Gilbert, "What Children Study and Why," page 264. 6 TEACHER'S MANUAL the known to the unknown." There is no excuse, in the light of present-day researches, for a haphazard and heterogeneous arrangement of song ma- terial, nor yet, on the other hand, for recourse to the use of mechanical exer- cises, or " study" songs without life or inspiration, merely for the sake of the problem involved. In this series tonal and rhythmic problems are classified and studied with absolute definiteness and attention to minute details. In Books Two and Three, which cover the work of the Associative Period, the songs embody- ing these problems are organized into chapters. A fundamental principle is that where the introduction of new tonal problems is involved the rhythmic ideas should be familiar, and, vice versa, where the introduction of a new rhythmic problem is involved the melodic ideas should be familiar. Gen- erally speaking, four steps are necessary for the logical unfolding of a musical problem in the Associative or Drill Period: (1) a review of a familiar song which embodies the problem; (2) a clear statement of tne problem to the pupils; (3) definite and thorough drill on the problem, isolated from the context; (4) application of the mastered problem in reading new songs in which it occurs. 1 The first step brings to mind the fact that the use of rote songs is con- tinued through the fourth and fifth grades, although in far less proportion than in the primary grades. The object is twofold: first, continually to bring the children into contact with beautiful and inspired music not limited to their immediate technical powers; second, to provide actual experience with new musical effects, gained unconsciously by imitation, which later are to be consciously studied as problems and mastered. 3. The Adolescent Period The Adolescent Period reveals characteristics markedly similar to cer- tain of those in the Sensory Period, e.g., a rapid physical growth accom- panied by somewhat lazy physical and mental habits. It is not a favorable period for exact attention to detail, nor for drill in mechanical precision. It is, as we have seen, an age of emotionalism, for the development of the finer sentiments and feelings. The child is becoming conscious of himself as a factor in the race, as an integral part of society. The "gang" spirit is in the air and should be recognized in the music work. "Team work" finds its expression in part singing. Music should be selected to make a strong appeal to the emotional side of the adolescent pupil. Here, if anywhere, music of sheer beauty of melody and of appealing harmonies must be used if it is to hold the interest of these young 1 See Bryan, "Basis of Practical Teaching," pages 176-178; McMurry, "Elementary School Standards," pages 104, 105. INTRODUCTION 7 people. Much singing, with constant play on the feelings, is the keynote to success here. It is not wise even to insist on too exact details in the inter- pretation, involving much repetition and drill. Encouragement rather than criticism is needed; inspired leadership rather than critical authority. Time may profitably be devoted to the study of the great composers as the equals of other men of achievement; an interest in their works is enhanced by such study, and the pupils' viewpoints of life and of history are broadened. The graphophone and the player piano have here a great mission to perform in the development of musical taste. Study of the form- structure and of the thematic divisions of the larger works will prove both interesting and profitable. BIBLIOGRAPHY Briggs and Cofifman Reading in the Public Schools Row, Peterson & Company, Chicago. Bryan, E. B. The Basis of Practical Teaching .... Silver, Burdett & Company, Boston. Colvin, S. J. The Learning Process The Macmillan Company, New York. Cornell, J. H. Musical Form G. Schirmer & Co., New York. Dawson, John J. The Voice of the Boy The A. S. Barnes Company, New York. Dewey, John How We Think D. C. Heath & Co., Boston. Farnsworth, Charles H. Education Through Music American Book Company, New York. Fryberger, Agnes Moore Listening Lessons in Music Silver, Burdett & Company, Boston. Gilbert, Charles B. What Children Study and Why .... Silver, Burdett & Company, Boston. Hall, G. Stanley Educational Problems D. Appleton & Company, New York. Youth. Its Education, Regimen and Hygiene D. Appleton & Company, New York. Huey, Edmund Burke Psychology and Pedagogy of Reading . . The Macmillan Company, New York. T. M. Vol. 1—2 8 TEACHER'S MANUAL James, William Psychology Henry Holt and Company, New York. Talks to Teachers Henry Holt and Company, New York. Judd, C. H. Genetic Psychology D. Applcton & Company, New York. Keith, J. A. H. Elementary Education Scott, Foresman & Co., Chicago. King, Walter Irving The Psychology of Child Development . University of Chicago Press. MacDowell, Edward Historical and Critical Essays A. P. Schmidt, Boston. McMurry, Charles Special Method in Reading in the Grades The Macmillan Company, New York. McMurry, Frank Elementary School Standards World Book Company, Yonkers, N. Y. How to Study and Teaching How to Study Houghton Mifflin Company, Boston. Magnusson, P. M. Psychology as Applied to Education . . Silver, Burdett & Company, Boston. Parry, C. Hubert H. Evolution of the Art of Music D. Appleton & Company, New York. Partridge, George Everett Genetic Philosophy of Education . . . Sturgis & Walton, New York. Seashore, C. E. Psychological Monographs Psychological Review Company, Prince- ton, N. J. Tichenor, E. B. Primer of Psychology The Macmillan Company, New York. Tyler, John M. Growth and Education ........ Houghton Mifflin Company, Boston. Winship, A. E. The Journal of Education Boston. PART ONE GENERAL SUGGESTIONS FOR THE PRIMARY GRADES I. SONG MATERIAL 1. Quality The songs chosen for the development of musical experience must pos- sess elements appealing to children; also, if the highest aims of modern educa- tion are to be realized, they must possess elements of distinct permanent value. It is contended that all literature is a development of the legends, myths, fairy tales, and folk rhymes which were handed down from mother to child, by word of mouth, for centuries before printed books were in common use. Many of these stories, differing only in details, are familiar to so many dif- ferent nationalities that this theory of the origin of literature in racial devel- opment has received general acceptance. Acquaintance with these tales is admittedly the child's natural heritage. They not only appeal to all chil- dren, but they possess those elements of permanent value which make of them the stepping-stones to an appreciation of universal literature. This is equally true of the development of the musical experience of the race. Folk songs and rhymes, folk dances and singing games, played a large part in the life of all peoples long before staff notation had been developed. Songs were learned by ear and passed on from generation to generation. This process is still going on in the musical life of European peasants and of primitive people of the present day. Since it is generally agreed that the growth of modern musical literature has been strongly influenced by folk music, he who would understand and appreciate the higher forms of musical art should become familiar with the beginnings of music as expressed in the folk-song literature of different na- tions. The early years of child life are the years when much of this folk music makes its strongest appeal. The authors of the Progressive Music Series, recognizing this fundamental principle, have included in Book One and Teacher's Manual, Volume I, a large number of folk songs, as well as singing games and folk dances, selected from the widest variety of sources. Art qualities, inherent interest, direct- ness of appeal, simplicity of form with repetition as a principle, have been the criterions upon which their selection has been based. 9 10 TEACHER'S MANUAL There are also many songs by the great composers of the past, as well as original contributions to these books by the best-known composers of the present day. Xo abstract phases of music such as scales, mechanical exercises, or so-called "studies," no meaningless melodies barren of individual charm or interest, have been given a place. The use of art material of the highest quality has been an ever-present ideal. 2. Organization The songs of Book One 1 have been grouped into chapters according to their most prominent i nelodic characteristics. As in the early folk tales the repetition of characteristic phrases is an essential, so the repetition of characteristic phrases is a fundamental principle in early folk music, and is a prominent feature in the songs of Book One. Part One of Book One consists of five chapters. In Chapter I, the melodies are based principally upon the tonic chord, or the do-mi-so-do 1 idea. The chord idea is elemental, or common to nature. The natural tones of trumpets, bugles, etc., are along the line of the tonic chord. The same is true of strings, a piano string giving out its fundamental tone and an ascend- ing series of overtones, the more prominent of which belong to the major chord. In tracing sources of musical ideas in primitive races, it is significant to note that they are based largely upon chord relations rather than upon any given scale, the scale being a later development in the evolution of music. As in colors or in space relations, children distinguish large differ- ences more easily than minute ones, so in music, larger differences in pitch are more easily distinguished than smaller differences. In Chapter II, the melodies are based principally upon the tones of the tonic chord with their active neighboring tones, as do-re-do, do-ti-do, mi-fa-mi, so-la-so, etc. In Chapter III, we find scale figures, such as do-re-mi, mi-fa-so, so-la-ti-do, etc., which recur frequently. In Chapter IV, greater variation is given to these scale figures through sequential repetitions higher or lower in the key. In Chapter V, the progression of melodies by skips, or intervals, is the prominent characteristic. The sequential repetition of these interval figures is noticeable. The chapter also includes songs with sequential chord figures. Part Two of Book One contains simple study songs which are composed mainly of musical ideas made familiar to the children through the study of the songs in Part One. These are to be read by the children with the help of the teacher through the unfamiliar passages. As may be noted by 1 A line above the syllable denotes the upper octave, a line below denotes the lower octave. GENERAL SUGGESTIONS 11 comparing chapter headings, the musical ideas in this part of the book are organized upon the same basis as those in Part One. For instance, in Chap- ter VI the songs are based principally on tonic-chord motives and figures, as was the case in Chapter I; Chapter VII corresponds to Chapter II, etc. Part Three contains a number of miscellaneous songs to be read at sight by the children without the assistance of the teacher. The teacher may, however, see fit to give suggestions which will direct the children in intelli- gently analyzing the new song into its smaller divisions or in reducing phrases to figures; these figures in most cases will be found to be already familiar. Part Four contains a number of art songs and rote songs for recreative singing and for developing musical feeling and artistic interpretation. When learned, they should be sung with piano accompaniments wherever possible. The accompaniments will develop a sense of harmony and will appeal to the imaginative nature of the children. Accompaniments to these songs and to many of the other songs throughout Book One will be found in this Manual. 3. Development In presenting music material to children, and in the development of their musical experience from the imitative rote-song stage to the point of intelli- gent sight reading of new songs from notation, the pedagogical steps will be very similar to those prescribed by modern approved methods of teaching language reading. Six Pedagogical Steps 1 First Step. Teaching rote and observation songs for musical experience and oral expression. Second Step. Concentrating attention upon the purely musical aspects of the songs by singing with "loo" or some other neutral syllable, with the observation of phrase repetition as a fundamental principle. Third Step. Application of the so-fa syllables to familiar songs; the sylla- bles to be learned by imitation, as a final stanza. , Fourth Step. Observation of motives and figures; definite ear training for the purpose of developing a vocabulary of musical ideas. Fifth Step. Presentation of familiar songs in staff notation; observation of familiar motives and figures as represented by staff pictures; drill in rapid visualization. Sixth Step. Beginning of the synthetic process. Recognition of familiar melodic figures in the notation of new songs which are read by the children with such assistance from the teacher as may be required. 1 See Gilbert, "What Children Study and Why"; Huey, "Psychology and Pedagogy of Reading"; Briggs and Coffman, "Reading in the Public Schools"; Charles McMurry, "Special Method in Reading"; Frank McMurry, "Elementary School Standards." 12 TEACHER'S MANUAL II. TEACHING ROTE SONGS 1. General Directions The first essential in the presentation of a rote song to children is to arouse their imagination and the undivided attention which comes from genuine interest. This the teacher may accomplish by singing the song at convenient times on several successive days. Her sin^in^ should he as spontaneous, enthusiastic, and expressive as she can possibly make it. Light quality of tone, distinct enunciation, and a feeling for dramatic values in expression are of the greatest importance. Appropriate gestures and an expressive countenance will add materially to the expressiveness of the voice, and will be reflected in the faces and in the singing of the children. While gestures will attract the interest of the children, they should never be exag- gerated to a degree which would interfere with the artistic use of the voice or which would divert the attention from the song. It is vital that the first impression which the children receive of a song be well-defined, clear, and distinct, if they are to be enabled correctly to imitate the teacher. Since it is important that the pitch of songs be kept within the natural high range of the children's voices, the teacher must refer constantly to an instrument or to a pitch pipe to make sure of the correct pitch. Furthermore, the pupils' singing at all times should be as beautifully ex- pressive as possible, always under the inspiring guidance of the teacher. 2. First Presentation After the children's interest in a song has been aroused through hearing it on several successive days, they will be eager to learn it. The teacher will first sing the song, and in a brief conversation will bring out the story and explain any unfamiliar words. Next, she will sing the first phrase clearly and distinctly, asking the children to repeat it. When the first phrase has been learned, the second may be taught in the same manner. This accom- plished, the teacher will join the first two phrases, and have the children do likewise. She will then present the third and fourth phrases in the same fashion, and join these. Other phrases should be taken similarly. The next step is again to sing for the class the entire stanza, which they will now be prepared to imitate as a whole. With one stanza of a song memorized, it is well to take up new songs, or to review familiar ones, rather than to weary the children by the many repetitions required to learn addi- tional stanzas, These may be memorized on succeeding days. If the children fail to imitate a whole phrase correctly, it may be neces- sary for the teacher to break the phrase into its natural melodic divisions, designated as motives and figures. She will sing each figure separately, GENERAL SUGGESTIONS 13 asking the children to imitate, then will join the figures, requiring the chil- dren to sing the phrase as a whole. The phrase must always be considered as the unit of musical thought. For instance, in the song "Lady Bug," on page 18 of Book One, 1 the first phrase is "Lady bug, lady bug, how do you do? " This phrase divides itself naturally into three melodic divisions called figures, which correspond to the words "Lady bug" of three tones, the following words "lady bug" of three more tones, and "how do you do?" consisting of four tones. The natural grouping of tones expressing musical ideas should guide the teacher's ear in breaking a phrase. If in doubt as to the proper division of the phrase, the teacher is advised to consult the song analyses in the outlines for the second grade. 3. Singing by Groups and Individuals In music as in other subjects, the teacher soon detects varying degrees of aptitude in the pupils of her class. She should train her ear to hear individual voices while the class is singing. Those pupils found to be singing out of tune, or singing on one tone, should be asked to keep quiet and to listen. It is a good plan to seat these children toward the front. Those who seem to imitate accurately after one or two hearings, and are found to be singing consistently in tune, should be seated in the rear; while those who seem dependent, or unreliable, or who require numerous hearings before they can imitate a given phrase correctly, should be placed in the middle seats of each row. There- after the class will be seated in three groups: the leaders or more musical children in the rear, the less musical in the middle, and the monotones or musically defective pupils in the front seats. In teaching a rote song, the teacher should ask all the children to listen, but permit only the first group to repeat after her; after several addi- tional hearings from the teacher and the most musical children, the second group will be ready to make the effort. The children of the third group require individual attention. Following this group plan of instruction, it is important that each child be given frequent opportunities to sing short songs or single phrases in- dividually. This enables the teacher to correct individual faulty impres- sions of the melodies and defects of intonation, tone quality, and articulation. Individual singing should be carried on consistently, probably one-half of the time being devoted to this phase of the work. In the observation of phrase repetition, in applying the so-fa syllables, and in the study of recur- ring motives and figures, individual recitations should frequently precede class recitations. In the observation of the staff notation of familiar songs, in the drills in rapid visualization of figures familiar through ear training, and 1 Teacher's Manual, page 198. 14 TEACHER'S MANUAL in the early attempts at sight reading, the value of individual effort can hardly be overestimated. Singing, by its very nature, being peculiarly adapted to concert work, there is always the temptation to permit the few leaders to "carry" the class. The conscientious teacher will be alert to recognize such a condition and will direct her attention toward the development of the less musical children by giving them individual practice in singing. It is through the development of individual power t hat the standard of class efficiency can best be measured. III. THE VALUE OF ARTISTIC SINGING Teachers should never lose sight of the fact that music is a large subject, consisting of many branches. There is vocal music, with all its phases of solo work, opera, and oratorio; instrumental music, with all its branches, culminating in the grand orchestra; theoretical music, leading up to the art of composition; and history of music and biography of musicians. The time allotted to music in the public schools is obviously too short to cover all these branches, even in the most meager fashion. What we can do and must do is to develop the desire to sing, and to teach the children how to sing, how to express their feelings through music and the medium of their own voices. Sight reading, with all its mechanical details, is only a means, though an important one, to the larger end of being- able to sing and loving to sing. The desire to hear good music and the ability to appreciate it will be a natural outgrowth of this attitude toward school- music study. Xo theoretical details should be taught which do not bear directly on the problem of interpreting the printed music page in an artistic manner, even- tually by the child's own power. Contrary to many individual opinions, the music work of the school is not to teach theoretical facts with an aim to lessen the tasks of private teachers who may be teaching instrumental music to a small percentage of the class. On the contrary, the teaching of singing, of artistic interpretation with beautiful tone quality, should be the constant aim in public-school music. The development of the imagination, of inspiration and spontaneity in the expression of vivid, vitalized emotional declamation through song, is of the highest cultural importance. Singing games and dramatized songs should be acted by some of the class while the other children are singing, in order to infuse the interpretation with reality. Dramatizations, however, should not become so elaborate as to deflect the interest of the children from the musical essentials. Xo singing should ever be allowed to lapse into mere listless mechanical repetition of songs, to occupy time while the teacher is busy at her desk. GENERAL SUGGESTIONS 15 Every singing exercise should have the enthusiastic cooperation of the teacher, who is the leader of the children, intellectually and spiritually. Every phrase should be sung beautifully, and should express a real senti- ment or emotion felt by the children. It is the mission of music to express feeling; this must be emphasized if music is to come into full power in the school. The heights of music are reached only in the expression of feeling; its supreme significance is spiritual and its most glorious medium is the human voice. IV. THE CHILD VOICE 1. Preservation and Development Every child endowed with normal hearing and a normal speaking voice can be taught to sing. The characteristic qualities of the unspoiled child- voice are its lightness, sweetness, and flexibility. It is natural that this should be so. The vocal organs of the child are small and delicate as compared with those of the adult. Any forcing of this delicate mechanism for loud, harsh effects or deep tones is bound to cause strain and will in many cases result in permanent injury. Small, delicate instruments produce high and light tones. Consequently the child can produce high tones with perfect ease, when these tones are sung lightly with little breath pressure. 1 The singing of the children should at all times be light, sweet, and melo- dious, without strain or effort. The use of coarse, reedy tones is positively harmful to the voices of young children. Pupils should be required to sit in an erect yet relaxed position, and should be taught how to take a deep breath, as in smelling an imaginary rose. Encourage the sustaining of an en- tire phrase with a single breath. Defects in articulation and in the forming and sustaining of vowels should be corrected by imitation. Good tone quality should be the result of an endeavor to express the poetical and musical mood of the song. The teacher should appeal to the in- stinct for the beautiful by kindling the imagination. Infusing the spirit of reality into the child's singing of a lullaby, for instance, will accomplish more sure and lasting results in the child's artistic use of the voice than any mechanical device. This is in accord with well-established psychological and pedagogical principles. The children may express joy and happiness in their singing, but never boisterousness. The habitual and mechanical " hushing" by the teacher, however, only serves to suppress emotional expression, and devitalizes the singing without necessarily improving it. So-called "soft singing" may be only less harmful in degree than loud singing. A breathy, hushed, stifled tone is not pleasing to the listener, nor is it at all an indication of good vocal habits. 1 See Dawson, "The Voice of the Boy." 16 TEACHERS MANUAL Songs the children know and love may be used for vocal training. The syllables "loo," "koo," "no." •may." "me," "lah," etc., should occasionally be used in vocalizing the songs. The teacher should see that the vowels are pure and that the muscles of the neck and face, especially the jaw, lips, and tongue, are loose and relaxed. Merely telling the children "to relax," however, will not secure the result. The teacher should sing pure, sweet tones herself, vocalizing a familiar song. She should call attention to the free, light, sweet quality of her own voice, to her freedom and lack of strain in producing the tones, to her pleasant facial expression and shaping of the lips. It is of little use to demand that the children sing sweetly if the teacher's own singing is harsh, disagreeable, and full of impurities in articulation and enunciation. The power of imitation is the child's strongest mental asset. If good models are given constantly, the child will soon learn to imitate them. One cause of the raucous, disagreeable quality so often heard in children's singing is the habitual abuse of the vocal organs on the playground. Chil- dren should be cautioned against unnecessary yelling, screeching, and shouting. The teacher should frequently talk to them on vocal hygiene as she does on the care of the other" organs. We take time to talk to the chil- dren on cleanliness, on the care of the teeth, the eyes, etc.; why not also on the importance of taking care of the voice? The possession of an agree- able, well-modulated speaking voice is in itself a desirable asset in the social and in the business world. The use of the voice in singing has a direct influence upon the speaking voice. The teacher should talk to the children about great singers and the possi- bility of there being future great artists among her own little flock. The setting up of ideals and of ambitions along this line is as worthy as in other lines. The use of the graphophone to enable the children to hear the voices of great singers so as to inculcate these ideals will prove of lasting value and may preserve the voices of future artists of the next generation. 2. Special Training for Less Musical Children The children who have been found, through individual tests, to be sing- ing out of tune, may be divided into four classes. The skillful teacher will exercise her ingenuity in diagnosing each individual case and in treating it according to its specific needs. First, there are children, by no means monotones, who, through lack of attention or concentration, are listless and sluggish in responding to musical impressions. It is only necessary to arouse the imagination, the interest, and the entnusiasm of such children to secure that spontaneous attention which will soon yield fruitful results. Once genuinely interested, these children will learn to sing well through the mere doing of it. GENERAL SUGGESTIONS 17 Second, there are those who readily distinguish between songs and phrases but who lack skill in reproducing them. These pupils hear accurately but are deficient in the ability to reproduce what they hear. Through lack of practice in the coordination of the vocal organs with the musical idea in the mind, through loud, harsh singing or abuse of the voice on the play- ground, the vocal organs fail to respond to the impulse of the will to sing. These children need practice in the voluntary control of the voice, skillfully directed and assisted by the teacher. Faults in breathing must be corrected, rigid throats must be relaxed, defective articulation must be remedied. Above all, the imagination of the children and the desire to sing must be aroused. Light, sweet tones must be given as models for them to imitate. It is often the case that the singing of a musical child in the class will be more readily imitated than that of the teacher. The child who is receiving individual help should be encouraged to concentrate his attention upon the face of the one acting as teacher. A roving eye is an indication of wandering attention. Third, there are pupils who fail, in varying degrees, to distinguish between musical ideas, or who seem to lack what we have been accustomed to call a " musical ear." Two general types may be included in this third class: first, children in whom the tonal sense is defective; and second, those deficient in rhythmic sense. A third group might include children lacking in both. Some children recognize certain songs and fail to recognize others. These children probably possess strong rhythmic sense, and recognize songs with strongly marked accents or characteristic rhythms but fail to recognize tunes with a less accented melody. These children are defective in pitch recogni- tion, and in extreme cases sometimes fail to recognize a single song familiar to the class, or even to distinguish between high and low tones. Children deficient in pitch recognition require oft-repeated, striking, and clear-cut impressions of bits of melody. Pitch memory, like memory in other lines, will depend upon the frequency and recency of these melody impressions. An entire phrase will prove too long for their untrained ears and menfories to retain. Each phrase must be broken up into motives, or into figures embodying elemental tonal relationships which are sharply defined and contrasted. Again, in other cases, the rhythmic instinct has not yet been awakened. Some children have not learned to march in time to music or to keep step with their mates. Children rhythmically deficient must have this instinct aroused through marching, skipping, clapping, singing games, folk dancing, and the like. The feeling for rhythm, developed through muscular response from the larger muscles of the body and limbs, will, in time, enable the child to control the finer muscles of the vocal organs. 18 TEACHER'S MANUAL Children kicking the "musical ear" demand the utmost skill, patience, and persistence on the part of the teacher. Where possible, time should be taken outside of the regular music lesson in order that the interests of the class may not suffer. Permitting children to sing out of tune or time with the class not only mars the class singing hut tends to confirm vocal faults into fixed habits. Fourth) and finally, there is the class of children who are abnormal or physically defective in the organs of hearing or in the organs of speech or both. It is obvious that children with deficient or imperfect hearing should be permanently seated in the front seats near the teacher. In most cases, these children, as well as those suffering from defective vocal organs, should be brought to the attention of a medical specialist. The teacher may often confer a lasting favor upon the child by calling the attention of his parents to such defects. It is of the greatest importance that the teacher should realize these facts concerning so-called monotones, -and that each case should have a careful diagnosis and be treated for its specific ailment. The fact that a child, does not sing in no wise proves it to be unmusical. It is a well-known fact that many famous musicians have been unable to sing — probably for no other reason than that they never really attempted to sing. No one would think of terming such a musician "unmusical." A so-called monotone may be the most musical child in the class. Teaching such a child how to sing should be counted a privilege and a duty. 3. Devices and Material Used in Treating Monotones It is good pedagogy to assume that the less musical as well as the talented child will be more interested in learning to sing a beautiful song or a phrase of that song than to be set apart and required to imitate mechanical devices such as cuckoos or "choo-choo" trains, whistles, and the like, which are foreign to the musical material studied by the rest of the class. Parry, in his "Evolution of the Art of Music/' 1 shows that the savages, in their earliest attempts at melody making, hit upon the skip of a fourth or a fifth, corresponding to do-so or so-do either rising or falling from a starting tone. The tones of the tonic chord are elemental in nature, and fundamental in the musical experience of the race. They are more easily recognized by the untrained ear, because they consist of the larger pitch differences, just as the untrained eye recognizes the primary colors before the secondary shades. These tones of the tonic chord are also the most easily reproduced by the untrained vocal organs, because they require less delicate coordination of the vocal organs than tones lying closer together. 1 See Parry, "Evolution of the Art of Music," Chapter II. GENERAL SUGGESTIONS 19 After the less musical children have learned to sing several songs based upon the tonic chord, they may attempt songs containing figures consisting of tones of the chord associated with neighboring tones, as found in the songs of Book One, Chapter II, such as do-re-do, mi-fa-mi, so-la-so, do-ti-do. Still later, songs consisting largely of repeated diatonic figures (like do-re-mi or mi-fa-so), as found in Chapter III, may be studied. In the soni- of Chapter IV, these diatonic figures are more varied, the repetitions comiii 5 on different parts of the scale, as do-re-mi, re-mi-fa, mi-fa-so. By the time these songs have been studied the children will have gained considerable independence and will be found prepared for the songs in Chapter V, 1 which skips foreign to the tonic-chord skips are prominent. This grouping of songs into chapters according to melodic characterise < will be found immensely helpful in the treatment of musically defect i\ children as well as valuable for other purposes. It should be the constant aim of the first-grade teacher to have no normal child remaining at the close of the year who does not love to sing or who is unable to sing a number of simple songs unassisted. The second-grade teacher who finds some monotones still remaining in her class, or among those pupils newly entered, should make the development of these chil- dren her first concern. A child who is permitted to pass through the third grade without the ability to sing has little hope of ever acquiring this accomplishment. V. RHYTHMIC DEVELOPMENT Rhythmic feeling is a primitive instinct. Even young children can grasp and imitate complex rhythms. The study of music should serve to stimulate and develop these instinctive rhythmical feelings and to bring them into conscious organized relationships. In the receptive years of the Sensory Period, we find the child peculiarly responsive to rhythmic impressions. This is the time to store his miner* with a rich fund of varied rhythmic experiences. Through imitation he easily acquires the power to express himself in rhythms which form the basis of his conscious study during the remainder of his school life. In the rote songs of Book One, therefore, an effort has been made to present practically all the rhythms which are later developed in the songs of the upper books of the series. Beginning with the second grade, the rhythmic experiences of the child are brought into fuller consciousness and the first steps are taken toward their definite organization. Gradually the child is led to correlate his rhyth- mic experiences with their representation in music notation. 20 TEACHER'S MANUAL An important element in the development of the rhythmic sense is found in bodily action. These actions may be classified as rhythmic motions, singing games, dramatizations, and folk dances. By '•rhythmic motions" is meant such activities as marching, skipping, swaying, and clapping in time to the music. These motions should be prac- ticed so as to develop the feeling for regularly recurring pulses, but a me- chanical over-stressing of the measure accents should be avoided. From the beginning, emphasis should be placed upon the feeling for the phrase. The measure rhythm should be felt as one of the elements of the broad phrase- unit rather than as a unit in itself. In singing games the actions follow the suggestion of the text. Even the children with less highly developed rhythmic sense, who might find difficulty in keeping step to an instrumental march, will easily be able to act out the motions of a singing game. For example, in "Good Morning," Book One, page 5, 1 the children can bow a greeting to each other at each "Good morn- ing." In "Dolly's Lullaby," page 17, 2 the children can go through the form of rocking the child to sleep by swaying from side to side. In "The Farmer," page 55, 3 and in "London Bridge," page 95, 4 the words readily suggest the actions; while even the monotones can beat the drum in "My Big Bass Drum," page 110, in perfect time and with great gusto. A large number of the songs in Book One lend themselves admirably to dramatization. From a rhythmic standpoint, these may often be the only means of reaching the least musical children. A child who follows the dra- matic suggestion of the text is experiencing some relationship between the flow of the song and its expression in action. For example, in "Betty and Billy," Book One, page 26, 5 each stanza suggests a different action, and the child who follows the dramatic suggestion by acting it — no matter how simply — has his attention called to the periodic recurrence of a melody as divided by the stanzas. The folk dance combines in artistic forms all the several types of rhyth- mic action already mentioned. A period or a complete melody accompanies an entire cycle of dance figures. Each phrase of the melody is accompanied by a characteristic movement of the dance, and, as a rule, recurring phrases of the melody indicate a recurrence of the dance figure. The measure accent often indicates the character of the steps, which are usually timed with the beats. Gestures and movements of the hands, arms, head, or body are also in time with the measure accents or the beats, and not infrequently several different rhythms are expressed simultaneously. 1 Teacher's Manual, page l s 7. 3 Teacher's Manual, page 220. 2 Teacher's Manual, page 197. 4 Teacher's Manual, page 238. • Teacher's Manual, page 203. GENERAL SUGGESTIONS 21 The melodies of the folk dances have rhythmic characteristics in common with the songs which the children are studying. From the beginning the children should be led to observe in their song studies points of rhythmic similarity to their folk dances and singing games. This will bring about a recognition, not only of the larger rhythmic units of phrase and measure, but also of beats and divisions of beats. This experience may be applied first in ear training and later in the study of notation. Because of the educational value of folk dances and singing games in the development of the rhythmic instinct, Book One offers a number of singing games, and Part Three of this Manual is devoted to the subject of folk dances. In this section are given a number of widely-used folk dances with full direc- tions for teaching them. The section also includes directions for playing the singing games of Book One. First Grade — Syllabus I. TEACHING OF ROTE SONGS 1. To introduce music to the children 2. To provide musical experience (a) Through art songs (b) Through observation songs 3. To develop the ability to sing (a) Training of the ear (6) Use of the voice (c) Special training of monotones II. RHYTHMIC DEVELOPMENT 1 . Through rote songs 2. Through action (a) Rhythmic motions (6) Singing games (cj Dramatizations (d) Folk dances m. SPECIFIC WORK IN EAR TRAINING 1. Singing songs with "loo" or other neutral syllable 2. Recognition of phrase repetition 3. Application of so-fa syllables (a) To provide a definite mental association for ideas expressed in tonal relations (6) To establish feeling for tonality (c) As a test of discriminating between similar ideas (d) As an aid later in sight reading 22 PART TWO GRADED OUTLINES First Geade — Introduction 1. TEACHING OF ROTE SONGS 1. To Introduce Music to the Children The first aim in the development of music is to arouse the children's in- terest in music. To this end, on the first day, several songs should be sung for the children; if a phonograph is available, several suitable selections should be played for them. A few singing games should be introduced, the teacher singing the song and the children playing the game. During the first few days the children should not be urged to take part in the singing. Gradually they will come to feel that music is a delightful, a joyous thing, a recreation, an inspiration. After a day or two they will begin to sing with the teacher, with a natural desire to express themselves. This awakening of an interest in music, the developing of an intense love of it and a desire to take part in the singing, is a fundamental feature of any successful plan of music instruction. When interest in music has been aroused, the teacher may proceed to a more formal presentation of rote songs. She should carefully read the chapter of general suggestions for a detailed treatment of this topic. 2. To Provide Musical Experience The second aim in the teaching of rote songs is to provide the children with musical experience which shall serve as a basis for further development. The art songs are intended to serve as mediums for expressing feeling. T/he play instincts, the various human emotions — imagination, impersonation, or dramatization — all find a natural means of expression in these songs. The observation songs, of simpler character than the art songs, serve the same purpose. In addition they are intended to provide material through which the child's experience with musical ideas is to be gained — that is, a musical vocabulary which is to be used in the development of a definite knowledge of music. The presentation of the observation songs should in no wise differ from that of the art songs. The observation songs are quite as expressive of child thought and feeling, and serve equally well for their interpretation. 23 T. U. Vol. 1-3 24 TEACHER'S MANUAL 3. To Develop the Ability to Sing These rote songs furthermore provide the material necessary for the devel- opment of the ability to sing. In order to sing well, it is first necessary to hear- well. The ear is trained to distinguish between songs differing in rhyth- mic and melodic characteristics; it is trained to differentiate between phrases in the same sting. Closely associated with the training of the ear, in fact coordinating with it (as recent psychological researches have shown 1 ), is the training of the voice to reproduce accurately what the ear has heard. The stimulus, involving the appeal of a musical phrase to the ear, and the reaction or response, involving the use of the voice to reproduce the effect, complete the cycle of imitation, which we call "singing by rote." For more detailed suggestions concerning these topics and the treatment of monotones, the teacher is referred to the General Suggestions preceding this chapter. II. RHYTHMIC DEVELOPMENT 1. Through Rote Songs 2. Through Action (a) Rhythmic motions (b) Singing games (c) Dramatizations (d) Folk dances For a detailed discussion of this topic the teacher is referred to the General Suggestions, page 19, of this Manual. Material and directions for singing games and folk dances will be found in Part Three, page 103. III. SPECIFIC WORK IN EAR TRAINING The development of a vocabulary of musical thoughts or ideas, represented by phrases and by their constituent parts, motives and figures, and organized with regard to their characteristic use in good musical forms, is a basic and fundamental necessity in this scheme of music education. 1. Singing Songs with "loo" or Other Neutral Syllable Beginning with the sixth month, with a half-year's experience in singing songs with words, the attention of the children is directed to the purely musical aspects of the songs by singing them with loo or some other neutral 1 See "Psychological Monographs," Vol. XVI, No. 3. FIRST GRADE — INTRODUCTION 25 syllable. One purpose of this work is to develop the ability to sustain a melody without depending upon the word associations; another purpose is to develop a feeling for the phrase as a distinct and natural division of the song — as a unit more or less complete in itself, as the poetic line may be felt to be a unit within the stanza. 2. Recognition of Phrase Repetition In close connection with the ability to recognize a phrase as such, comes the power to recognize the literal repetition of a phrase within the song. The repetition of the phrase may or may not be accompanied with the repetition of the words used for the first appearance of the phrase. In fact, the singing with loo is intended to divert the minds of the children from the text, and to encourage the discriminating exercise of the ear in comparing musical phrases without the help of words. Five Pedagogical Steps The following steps in developing this recognition of phrase repetition are suggested : 1. Teacher sings first phrase, the children the second, alternating through to the end of the song. 2. Children sing phrases by rows, each row singing one phrase. 3. Individual children sing, each child singing one phrase. 4. In songs in which a phrase is repeated, the teacher first sings the phrase with loo; the children respond by singing the several lines of text which are set to the given melody. 5. Children tell number of phrases in the song, and which of them are alike, thus: "The first and second phrases sound alike," or "The first and third phrases sound alike," noting all the repetitions as they occur in the song. Note. As an aid to the children's memory, the device of placing upon the board a numbered curved line for each phrase is suggested, thus: 26 TEACHER'S MANUAL 3. Application of so-fa Syllables Beginning with the sixth month two familiar songs are assigned for each month to which the so-fa syllables are to be taught as a final stanza, by imita- tion. The purpose of this step is fourfold. (a) To provide a definite >u< ntal association for ideas expressed in tonal relations The association of a group of syllables, as do-do-mi-so-do with the melody "Good morning to you," Book One, page 5, 1 for instance, provides a definite name, or tone-word, for a distinct musical idea. Contrast this with la-so-fa-re-do for the phrase "To start a new day." That the child should' have a definite means of expressing tonal ideas seems as necessary as that he should have definite words to express the concept "horse" or "cow." The syllables help the mind to recall the phrase, and to distinguish it from other phrases. Especially is this true when phrases differ from each other by only a few tones, as in the second and fourth phrases of "Fido and His Master," Book One, page 7, 2 where we find so-do-so-mi-do-mi-re and so-do-so-mi-do-re-do. In "Lady Bug," Book One, page 18, 3 the first three figures are similar but not identical; mi-fa-mi helps to fix the idea "one half step up and back," while so-la-so or do-re-do helps to fix the idea "a whole step up and back." It is neither necessary nor advisable to explain this to the children. Nevertheless their response with the syllables mi-fa-mi absolutely determines the figure as the first, and clearly distinguishes it from the second or the third figure in the phrase. (6) To establish feeling for tonality The use of the syllables helps to establish a feeling for tonality. The major triads do-mi-so : so-ti-re, and fa-la-ao, when severed from their song relationship and sung with loo, are identical in effect. Nevertheless the con- tinuous use of the syllables do-do-mi-so-do, as in "Good Morning," tends to establish the feeling for the tonic chord which decides the tonality of the piece and on which our tonal bearing, or sense of melodic direction, depends. If the above melody occurred in the key of A flat the syllables for the same notes would read so-so-ti-re-so, and the ear would demand, sooner or later, the use of the tonic harmony. If sung with a neutral syllable this phrase might be conceived in either E flat or A flat. Singing it with the syllables df the key of E flat fixes the tonality of that key, which is the result desired. It is no more necessary to explain this theoretically when the child is developing a feeling for tonality than it is to explain that "cat" is a noun and 1 Teacher's Manual, page 187. 2 Teacher's Manual, page 188. 3 Teacher's Manual, page 198. FIRST GRADE — INTRODUCTION 27 "run" is a verb when the child is learning to express the thought, "The cat can run." It is the association that is set up»in the child's mind that is valuable. (c) As a test of discriminating between similar ideas The teacher must know definitely what the child is thinking. When the child applies the syllables the teacher may be positive that he appreciates the tonal relations which the syllables express. Take as an illustration "Valen- tine Song/' Book One, pages 46 and 47. l On page 47, we find three similar figures, each descending along a chord track. The first, so-mi-do, is a major triad; the second, fa-re-ti, is a diminished triad; the third, mi-do-la, is a minor triad. Each tone-word of three syllables is definitely associated with a distinct idea in melody or harmony. When the teacher sings the first figure with loo and the child responds accurately with the tone-word, so-mi-do, the teacher may be sure that the child is thinking of the first figure, and not possibly of the third. (d) As an aid later in sight reading What has been said regarding the use of syllables under the last three headings in connection with their value in ear training applies equally to their value later in the training of the eye to recognize familiar tone-words from the notation, and consequently in the developing of the power to read new songs at sight. Because syllables give a definite name to tone relationships their use will greatly facilitate the recording of musical thoughts in notation. Use of the Monthly Outlines The following Monthly Outlines provide definite song material for each school month with directions, where they are considered necessary, for the specific work at hand. These outlines are by no means intended to limit the work of the teacher or to be considered as inflexible. They are merely sugges- tive, and prescribe the minimum amount of work to be accomplished. The supervisor or the grade teacher may feel free to teach additional songs of acknowledged merit from other sources and to substitute songs, especially those pertaining to seasons, in place of any of the art songs here outlined. 1 Teacher's Manual, page 216. First Grade — Monthly Outlines FIRST MONTH I. Rote Songs. Teach by rote the following songs: (a) Good Morning; Book One, page 5. Teacher's Manual, page 187. (6) A Good-by Song; Book One, page 6. Teacher's Manual, page 188. (c) Fido and His Master; Book One, page 7. Teacher's Manual, page 188. (d) Polly's Bonnet; Book One, page 7. Teacher's Manual, page 189. (c) When Mother Sings; Teacher's Manual, page 129. (/) How Many Days has my Baby to Play; Teacher's Manual, page 130. For method of presenting rote songs, treatment of children's voices, monotones, and kindred matters, see Generd Suggestions. The following out- line of steps in teaching rote songs may be found helpful: 1. Presentation of song so as to arouse interest and create atmosphere. 2. Teacher sings entire song. 3. Teacher sings first phrase; children imitate. 4. Teacher sings second phrase; children imitate. 5. Teacher joins the two phrases; children imitate. 6. Remaining phrases learned in same manner. 7. Teacher sings entire stanza, to give new idea of the whole with its combined parts. 8. Children sing entire stanza. 9. Words of remaining stanzas taught. 10. Accompaniment added, if an instrument is available. Note. A musical phrase generally corresponds to a line of the song-poem. SECOND MONTH I. Rote Songs. Teach by rote the following songs: (a) The Postman; Book One, page 8. Teacher's Manual, page 190. (6) Bubbles; Book One, page 9. Teacher's Manual, page 189. (c) Cherries; Book One, page 10. Teacher's Manual, page 191. (d) Twinkling Fireflies; Book One, page 11. Teacher's Manual, page 192. (e) The Man in the Moon; Teacher's Manual, page 131. (/) Choo-choo-choo; Teacher's Manual, page 132. 28 FIRST GRADE — MONTHLY OUTLINES 29 THIRD MONTH I. Rote Songs. Teach by rote the following songs: (a) Ring a Ring o' Roses; Book One, page 12. Teacher's Manual, page 193. (6) Little Brook; Book One, page 12. Teacher's Manual, page 193. (c) A Little Lady; Book One, page 13. Teacher's Manual, page 194. (d) The Parade; Book One, page 14. Teacher's Manual, page 195. (e) The Little Seeds; Teacher's Manual, page 133. (/) Afternoon Tea; Teacher's Manual, page 139. FOURTH MONTH I. Rote Songs. Teach by rote the following songs: (a) The Holiday; Book One, page 15. Teacher's Manual, page 195. (6) Whippoorwill; Book One, page 16. Teacher's Manual, page 196. (c) Dolly's Lullaby; Book One, page 17. Teacher's Manual, page 197. (d) Lady Bug; Book One, page 18. Teacher's Manual, page 198. 0) The Hall Clock; Teacher's Manual, page 134. (/) A Telephone Message; Teacher's Manual, page 136. FIFTH MONTH I. Rote Songs. Teach by rote the following songs : (a) The Song Sparrow's Toilet; Book One, page 19. Teacher's Manual, page 197. (b) The Gypsy Peddler; Book One, page 20. Teacher's Manual, page 199. (c) The Mulberry Bush; Book One, page 21. Teacher's Manual, page 199. (d) Soldier Boys; Book One, page 22. Teacher's Manual, page 201. (e) Indian Song; Teacher's Manual, page 136. (/) Frosting; Teacher's Manual, page 137. SIXTH MONTH I. Rote Songs. Teach by rote the following songs : > (a) A Surprise; Book One, page 24. Teacher's Manual, page 200. (6) Upon a Morning Sunny; Book One, page 25. Teacher's Manual, page 202. (c) Betty and Billy; Book One, page 26. Teacher's Manual, page 203. (d) The Skipping Rope; Book One, page 27. Teacher's Manual, page 204. (e) Oh, What a Sweet Little White Mouse; Book One, page 28. Teach- er's Manual, page 204. (J) My Beautiful Doll; Teacher's Manual, page 138. (g) A February Song; Teacher's Manual, page 140. 30 TEACHER'S MANUAL II. Singing with Neutral Syllable. Sing the following songs with loo, or some other neutral syllable : All the songs in Book One, Chapter One. (See Introduction to First Grade, Step III, page 24.) III. Recognition of Phrase Repetition. The following songs, which have pre- viously been sung with some neutral syllable, should be reviewed for the study of phrase repetition: (a) Good Morning; Book One, page 5. Teacher's Manual, page 187. (6) A Good-by Song; Book One, page 6. Teacher's Manual, page 188. (c) Fido and His Master; Book One, page 7. Teacher's Manual, page 188. (d) Polly's Bonnet; Book One, page 7. Teacher's Manual, page 189. (e) The Postman; Book One, page 8. Teacher's Manual, page 190. (See Introduction to First Grade, Step III, section 2, page 25.) IV. Application of Syllables. Teach the so-fa syllables for the following songs : (a) Good Morning; Book One, page 5. Teacher's Manual, page 187. (b) A Good-by Song; Book One, page 6. Teacher's Manual, page 188. Note. The syllables for the songs outlined are to be taught by rote, as a final stanza; the children should be led to observe that recurring phrases are sung to the same syllables. In singing with the syllables the rate of speed required for the artistic performance of a song should be carefully maintained. See also Introduction to First Grade, Step III, section 3, page 26. SEVENTH MONTH I. Rote Songs. Teach by rote the following songs: (a) The Swallows; Book One, page 29. Teacher's Manual, page 205. (b) The Clown; Book One, page 30. Teacher's Manual, page 206. (c) Little Sister's Lullaby; Book One, page 31. Teacher's Manual, page 206. (d) Evening Lights; Book One, page 32. Teacher's Manual, page 207. (e) The Circus; Book One, page 33. Teacher's Manual, page 208. (/) Prince Finikin; Teacher's Manual, page 141. (g) Ride a Cock Horse; Teacher's Manual, page 142. II. Singing with Neutral Syllables. (See Sixth Month, Step II.) All the songs in Book One, Chapter II. FIRST GRADE — MONTHLY OUTLINES 31 HI. Recognition of Phrase Repetition. (See Sixth Month, Step III.) (a) Bubbles; Book One, page 9. Teacher's Manual, page 189. (b) Cherries; Book One, page 10. Teacher's Manual, page 191. (c) Twinkling Fireflies; Book One, page 11. Teacher's Manual, page 192. (d) Ring a Ring o' Roses; Book One, page 12. Teacher's Manual, page 193. (e) Little Brook; Book One, page 12. Teacher's Manual, page 193. IV. Application of Syllables. (See Sixth Month, Step IV.) (a) Fido and His Master; Book One, page 7. Teacher's Manual, page 188. (b) Polly's Bonnet; Book One, page 7. Teacher's Manual, page 189. EIGHTH MONTH I. Rote Songs. Teach by rote the following songs: (a) Dandelion; Book One, page 34. Teacher's Manual, page 208. (6) Kind Old Winter; Book One, page 35. Teacher's Manual, page 209. (c) Playing Soldier; Book One, page 36. Teacher's Manual, page 209. (d) Lady Moon; Book One, page 37. Teacher's Manual, page 210. (e) Garden Song; Teacher's Manual, page 143. (/) The Wild Geese; Teacher's Manual, page 144. II. Singing with Neutral Syllables. (See Sixth Month, Step II.) All the songs in Book One, Chapter III. III. Recognition of Phrase Repetition. (See Sixth Month, Step III.) (a) A Little Lady; Book One, page 13. Teacher's Manual, page 194. (6) The Parade; Book One, page 14. Teacher's Manual, page 195. (c) The Holiday; Book One, page 15. Teacher's Manual, page 195. (d) Whippoorwill ; Book One, page 16. Teacher's Manual, page 196. (e) Dolly's Lullaby; Book One, page 17. Teacher's Manual, page 197. IV. Application of Syllables. Teach syllables to these songs: (a) The Postman; Book One, page 8. Teacher's Manual, page 190. (6) Bubbles; Book One, page 9. Teacher's Manual, page 189. Note. The teacher sings the syllables at the first appearance of each phrase, the children learning the syllables by rote. Whenever a phrase is repeated later in the song, the children, recognizing the repetition and knowing that the recurrence of the phrase demands a repetition of the syllables, are themselves to apply the sylla- bles. From this point on, in studying the application of syllables, the teacher en- courages the children to greater independence in applying the syllable names. Indeed they will soon acquire the ability to apply the syllables to other familiar melodies on their own initiative. 32 TEACHER'S MANUAL NINTH MONTH I. Rote Songs. Teach by rote the following songs: (a) The Little Huntsman; Book One, page 38. Teacher's Manual, page 210. (6) Kittens; Book One, page 39. Teacher's Manual, page 211. (c) False Alarm; Book One, page 40. Teacher's Manual, page 212. (d) Snowflakes; Book One, page 41. Teacher's Manual, page 212. (c) Sleep, Little Treasure; Book One, page 42. Teacher's Manual, page 213. (/) Dandelion, Yellow as Gold; Teacher's Manual, page 147. (g) Little Miss Patty and Master Paul; Teacher's Manual, page 145. II. Singing with Neutral Syllables. (See Sixth Month, Step II.) All the songs in Book One, Chapter IV. III. Recognition of Phrase Repetition. (See Sixth Month, Step III.) (a) Lady Bug; Book One, page 18. Teacher's Manual, page 198. (6) The Song Sparrow's Toilet; Book One, page 19. Teacher's Manual, page 197. (c) The Gypsy Peddler; Book One, page 20. Teacher's Manual, page 199. (d) The Mulberry Bush; Book One, page 21. Teacher's Manual, page 199. (e) Soldier Boys; Book One, page 22. Teacher's Manual, page 201. IV. Application of Syllables. (See Eighth Month, Step IV.) Apply syllables to these songs: (a) Cherries; Book One, page 10. Teacher's Manual, page 191. (6) The Holiday; Book One, page 15. Teacher's Manual, page 195. TENTH MONTH I. Rote Songs. Teach by rote the following songs : (a) Bylo, Baby Bunting ; Book One, page 43. Teacher's Manual, page 214. (b) In Wooden Shoes; Book One, page 44. Teacher's Manual, page 214. (c) Raindrops; Book One, page 45. Teacher's Manual, page 215. (d) Valentine Song; Book One, page 46. Teacher's Manual, page 216. (e) Will You Come with Me; Book One, page 48. Teacher's Manual, page 217. (/) The Greedy Mouse; Teacher's Manual, page 146. (g) Mathematics; Teacher's Manual, page 149. FIRST GRADE — MONTHLY OUTLINES 33 II. Singing with Neutral Syllables. (See Sixth Month, Step II.) All the songs in Book One, Chapter V. III. Recognition of Phrase Repetition. (See Sixth Month, Step III.) (a) A Surprise; Book One, page 24. Teacher's Manual, page 200. (6) Upon a Morning Sunny; Book One, page 25. Teacher's Manual, page 202. (c) Betty and Billy; Book One, page 26. Teacher's Manual, page 203. (d) The Skipping Rope; Book One, page 27. Teacher's Manual, page 204. (e) Oh, What a Sweet Little White Mouse; Book One, page 28. Teach- er's Manual, page 204. IV. Application of Syllables. (See Eighth Month, Step IV.) Apply syllables to these songs: . (a) Dolly's Lullaby; Book One, page 17. Teacher's Manual, page 197. (b) Lady Bug; Book One, page 18. Teacher's Manual, page 198. Second Grade — Syllabus I. TEACHING OF ROTE SONGS 1. For inspiration 2. For development of musical feeling and artistic expression 3. For expansion of children's musical experience and vocabulary II. RHYTHMIC DEVELOPMENT (a) Through rote songs (6) Through singing games (c) Through folk dances III. SPECIFIC WORK IN EAR TRAINING (Book One, Part One) 1. Singing songs with neutral syllable (Review) 2. Recognition of phrase repetition (Review) 3. Application of so-fa syllables (Part review) 4. Recognition of motives and figures (New work) rV. PRESENTATION OF FAMILIAR SONGS IN STAFF NOTATION (Book One, Part One) Specific Work in Eye Training 1. Observing representation of an entire familiar song 2. Recognition of familiar phrases by position in the song 3. Recognition of motives and figures by position in the song 4. Drills in independent recognition of motives and figures Signatures and Rhythmic Notation V. READING NEW SONGS FROM STAFF NOTATION (Book One, Part Two, Chapters VI and VII) 1. Preliminary study (a) Scansion of song-poem in concert to get the rhythmic flow of the phrases (6) Comparison of phrases with phrases rhythmically similar in familiar songs 2. Study of the first phrase (a) Recognition of familiar figures (6) Teaching unfamiliar figures by rote (c) Singing first phrase with syllables, with loo, and with words 3. Finding and singing repetitions of the first phrase, if any 4. Similar study of remaining phrases and their repetitions, if any 5. Singing of entire song with words; memorization 34 Second Grade — Introduction In many instances the second-grade teacher will find that her class is not the same as that which left the first grade at the close of the first year. Many of the songs, as well as correct habits in singing them, will have been forgotten during the summer vacation. Nevertheless the work of the previous year is not lost, but lies in the child's subconscious mind, ready to awaken at the proper stimulus. The teacher's first efforts should be to unify her class. The songs of the previous grade should be reviewed. Faults of speech and in singing should be corrected. Careful attention should be paid to monotones. No child who is in pos- session of normal hearing and of normal vocal organs should be left unable to sing at the close of the year. I. TEACHING OF ROTE SONGS 1. For Inspiration The teaching of many beautiful rote songs still constitutes a large part of the work. These art songs are meant to inspire and sustain interest, and to encourage free expression. The children must feel that new wonders and new joys in the musical world are constantly unfolding to them. They must look forward to the music lesson with delight. The art side of music, in brief, must not be sacrificed for the technical side. 2. For Development of Musical Feeling and Artistic Expression The teacher should constantly strive to secure more artistic expression and a more beautiful tone quality than was possible in the previous grade. In fact, no singing exercise should be allowed to lapse into listless or mechanical repetition merely to occupy time while the teacher works at her deskf On the contrary, the singing should always be spontaneous and alive with interest and dramatic expression. With each repetition a new ideal in artistic inter- pretation should be realized. Incorrect vocal habits, faults in articulation, inaccuracies in reproducing melodies should be remedied by substitution rather than by negation. Beau- tiful expression with agreeable tone quality should come as a result of feeling or sensing the mood or atmosphere of the song rather than by any mechanical suggestion of loudness or softness. Expression should come from the heart rather than from the head. 35 36 TEACHER'S MANUAL 3. For Expansion of Children's Musical Experience and Vocabulary Finally, the art songs, rich in content and variety, tend to broaden the children's musical experience and to add definitely to their vocabulary of musical ideas. These ideas will probably be gained only subconsciously, but they will nevertheless continue to exisl in the subconscious memory. Many of these ideas embody the problems to be studied in succeeding grades. They need but to be refreshed in the memory in order to become the foundation upon which further technical development may be based. In the development of language experience this same point is illustrated by the fact thai the child gains control of new r expressions, new forms, new idioms from the stories which are read to him by parents or teachers. The vocabulary of the stories is too involved to admit his reading them himself wdth fluency; but his interest in literature is sustained by them, his feelings are developed, and he gains new expressions for his ow r n vocabulary. II. RHYTHMIC DEVELOPMENT As in the first grade, the development of the rhythmic instinct is carried on during the first half of the second year through the imitation of the rhythms in the rote songs, through the actions of the singing games, and through the movements of the folk dances. Attention should be called to the fact that the important words and strong syllables receive greater stress in singing than the less important words and syllables. In the study of the notation of familiar songs, beginning with the sixth month of the second grade, attention should be called to the similar rhythmic notation of recurring phrases. The scanning of the poem by phrases or poetic lines should be associated with the rhythmic notation of the phrase. The grouping of accented and unaccented syllables should be associated with the division of the phrase, by bars, into measures. The longer and shorter tones should be associated with the various kinds of notes. In the ninth month, wdiere new songs are to be read, the children should be helped to relate the phrase rhythms of the new songs with similar phrase rhythms in familiar songs. III. SPECIFIC WORK IN EAR TRAINING 1. Singing Songs with Neutral Syllable The child's interest in the song should gradually be drawn to its more definite musical aspects. As in the first grade, the teacher should sing alter- nate phrases with the children, using loo or some other neutral syllable, later encouraging rows, groups, and individual children to sing alternate phrases, until each child is conscious of the phrase as a unit of thought in music. Each phrase must be sung wdth a single breath and sustained without interruption. SECOND GRADE — INTRODUCTION 37 2. Recognition of Phrase Repetition From the recognition of a phrase as such to the recognition of phrase rep- etition in the song is but a step which may be taken in the same lesson. These steps, however, are distinct, and each is vital to further progress. They are vital in the development of melodic discrimination, of musical memory, of artistic expression and use of the voice, and later in reading, where getting the thought from the printed page and giving it expression is all-important. 3. Application of so-fa Syllables This step has been treated in such detail in the Introduction to the First Grade that the teacher is referred to that part of the Manual for a full treat- ment. 1 The directions apply equally well to the work of the second grade. Only a beginning was made in the first grade, where the so-fa syllables of ten songs in Book One were taught. These songs must be thoroughly reviewed, and the application of syllables, as outlined for second grade, must be con- tinued intensively. In the case of repeated phrases, the teacher will teach the syllables by rote at the first appearance, encouraging the children to recognize that the recurrence of the phrase is to be accompanied by the use of the same syllables. If a phrase is so long that the children fail to remember or to reproduce the syllables at one or two hearings, the teacher will find it expedient to divide the phrase into its constituent motives or figures. For instance, in " Polly's Bonnet," Book One, page 7, 2 we find two long phrases. Here it is best to teach do-mi-so as the first tone-word; then do-mi-so-so; and finally mi-do-so-so. Then combine the three tone-words so as to form the entire phrase, or song- sentence. Once learned, the singing of familiar songs by so-fa syllables should become a regular practice. The use of the syllables will soon become as natural and facile as the singing with words. Gradually the children will come to antici- pate the syllables of new songs, by association with figures made familiar in other songs. This marks an important step in tone thinking. The moaning and significance of certain tonal relationships will have become clear to the children. The same process has frequently been observed in the development of language ideas. A child will acquire an expression by subconscious imita- tion, will later become conscious of its meaning, and will proceed thereafter to apply it with intelligence. 4. Recognition of Motives and Figures Most musical phrases may be divided into motives, or will be found to consist of figures, or a combination of motives and figures. 1 Teacher's Manual, page 26. 2 Teacher's Manual, page 189. 244 ; 38 TEACHER'S MANUAL A motive is the smallest group of tones by which a particular musical com- position may be identified. A figure is a group of tones which presents a distinct musical idea, though too meager in content to point to any particular composition. For instance, in "Good Morning," Book One, page 5 1 , the first four words, "Good morning to you," which may be considered a phrase, may likewise be considered a motive. When sung to a neutral syllable these tones easily identify the song as "Good Morning." Omitting the first tone and singing the following four tones to a neutral syllable, we have a figure which, while presenting a definite and readily recognized idea, is nevertheless in no way peculiar to " Good Morning," but may be found in many songs. In Book One, Chapter I, we find songs in which motives and figures consisting of tones of the tonic chord predominate. In the recognition of motives and figures by ear, the teacher sings the motive or figure (tone-word) with loo, and the children respond with the so-fa syllables. It may often be necessary first to sing the entire phrase and then the figure which the children are to recognize. This form of exercise, conducted in short, brisk drills, is one of the most important means for the development of a discriminating musical ear. The following diagrams will illustrate the meanings of the musical terms "phrase," "motive," and "figure." The Holiday (Book One, page 15. Teacher's Manual, page 195.) Phrase Motive I Motive II . P., 1 i 1 #4 • * f- — *- — * — r- *- r- —to — ^ — <^J Tr ^ _) j^L E J 1^_ K 1_ |__ 1 s Figure a 1 Figure a 2 Figure b Note. Figures a 2 and b may be said to be "spliced." Lady Moon (Book One, page 37. Teacher's Manual, page 210.) Phrase Motive I Motive II f) l-l I ll ! ]/\V <1 m m m m w F f* F IV ? 1 m i r m 1 \>\) H- 9 1 1 i 1 «J ^ .^' > — ^ ■Vw. Figure a Figure b Figure c Figure d Note. Figures b and c are sequential repetitions of Figure a. 1 Teacher's Manual, page 187. SECOND GRADE — INTRODUCTION 39 The monthly outlines state definitely just which figures are to be studied. This work will be found to be greatly simplified by the careful organization of the songs into chapters, each chapter illustrating a definite type of motive or figure. IV. PRESENTATION OF FAMILIAR SONGS IN STAFF NOTATION 1. Observing Representation of an Entire Familiar Song The teacher will copy on the blackboard a familiar song which has been sung by syllables. She should be careful to copy it neatly, one phrase to a line, just as it appears in the book. This familiar song, written upon the board, represents the very first step in the presentation of staff notation to the chil- dren. The teacher tells the name of the song and indicates each phrase with a sweep of the pointer. The children sing with the words, loo, and the syllables. 2. Recognition of Familiar Phrases by Position in the Song (a) The teacher points out phrases at random, individual children sing- ing them with correct so-fa syllables. (6) The teacher may sing a phrase at random, which individual children will locate on the blackboard. (c) Children point out phrases which look alike, singing each phrase and its recurrence with so-fa syllables. 3. Recognition of Motives and Figures by Position in the Song In locating a motive or a figure by its position in the song on the black- board, the teacher should sing it with loo or syllables; the child then desig- nates it with a sweep of the pointer or by inclosing it with the index ringers of both hands so that the notes between the two pointing fingers will stand out distinctly. This helps to impress upon the mind the staff-picture of the motive or figure, and increases its vividness. The motive or figure having been correctly located, it should be sung with so-fa syllables by individuals and by the class. Repeated association between the visual image and the aural concept is required in order to secure instant recognition. Attention should be called to the five lines and four spaces of the staff, counting from the bottom upward. The children should describe the staff appearance of certain figures, do-mi-so in "Good Morning" for instance, as being located on the first, second, and third lines; the same figure in "Fido and His Master" as being located in the first, second, and third spaces. They should observe that when a note is described as being on a line, the line passes through the middle of the head of the note; when in a space, the head of the note lies between two lines. T. M. Vol. 1—4 40 TEACHER'S MANUAL When the notation of the song has been thoroughly studied from the blackboard, the same steps should be repeated with the books in the hands of the children. After the first few songs of each chapter have been studied in these two ways, the teacher may find it wise to omit the blackboard presen- tation and study the subsequent songs of the chapters directly from the book. In locating motives and figures in the book, a good device is to ask the children to spread the index and middle fingers of the right hand upon the page so as to inclose the notes representing the motive or figure being sought. As in the blackboard work, this surrounding of the printed figure brings it out of its context and impresses the image upon the eye. 4. Drills in Independent Recognition of Motives and Figures Familiar motives and figures may now be written upon the blackboard or upon perception cards 1 for further drill in rapid visualization. The teacher will sing the first tone of the motive or figure with correct syllable and point to its notation on the board, or expose the perception card for a fraction of a second, calling upon the class and individuals to sing the entire motive or figure instantly. The following motives and figures from the first two songs will illustrate this point. Good Morning J A Good-by Song * ' All drills should be short and brisk, never exceeding five minutes in dura- tion. Individual work should be emphasized in eye training as well as in ear training. Signatures and Rhythmic Notation Nothing should be said about signatures or keys at this time. The chil- dren need only to observe that do does not have a fixed staff position, and that when do moves, the entire figure, like do-mi-so for instance, moves with it. They should note that do-mi-so is either on three consecutive lines or in 1 Printed motive and figure cards may be obtained from the publishers of the Progressive Music Series. SECOND GRADE — INTRODUCTION 41 three consecutive spaces. To the eye there are only two keys, line do and space do. Gradually the children may be led to notice that tones of different lengths are represented by different kinds of notes. This will take place when figure recognition has become more or less automatic, and the eye has a chance to take in other details. (See the section on Rhythmic Development, page 36.) The present aim is to enable the children to associate automatically the staff pictures of familiar motives and figures with their sounded effect in the singing of the song. This association of eye with ear will also help to confirm the work in ear training, especially with " eye-minded" children. 1 V. READING NEW SONGS FROM STAFF NOTATION The next step in the preliminary study of notation is the application of the child's ear and eye experience to the reading of the songs in Chapters VI and VII with such assistance from the teacher as may be required. The teacher will observe that the songs of Chapter VI may be compared with those of Chapter I, in that figures composed of tones of the tonic chord are prominent. The songs of Chapter VII are similar in figure content to those of Chapter II. 1. Preliminary Study (a) Scansion of Poem in Concert to get the Rhythmic Flow of the Phrases As the first step in studying a new song, the children, led by the teacher, should read the poem in concert in order to get the rhythmic flow of each phrase. It has been mentioned before that the rhythmic feeling should be developed from the standpoint of poetry rather than of mathematics, or counting beats. The rhythmic effect of the whole phrase should be felt, rather than that of single measures or beats. (6) Comparison of Phrases with Phrases Rhythmically Similar in Familiar Songs* The next step is to direct the children's attention to phrases in the familiar songs of Part One of Book One which are rhythmically similar to the phrases under consideration. The children scan the familiar phrase in the rhythm of its notation, compare the notation with the similar phrase in the new song, and then scan the phrase of the new song. By this process the children learn to associate notation with the rhythmic swing and flow of the melody and avoid the rigid counting process which is often so deadening in the child's early efforts at sight reading. 1 See "Psychological Monographs," Vol. XVI, No. 3. 42 TEACHER'S MANUAL 2. Study of the First Phrase To establish the key the teacher sounds the keynote on her pitch pipe, and sings the first tone of the song with its proper syllable. (a) The teacher then asks the children to find and sing the familiar figures in the first phrase. If the ear work and eye work in connection with the songs of Part One have been properly done, most of the figures will be familiar. (6) If the phrase contains unfamiliar figures, or if the figures are connected by unfamiliar intervals, these passages should be taught by rote. (c) The phrase as a whole should then be sung by individuals and by the class, with syllables, with loo, and with the words. The teacher may find it advisable to support the children's voices over the unfamiliar places in order that the phrase may flow evenly and smoothly. 3. Finding and Singing Repetitions of the First Phrase, if Any The next step is to look through the song to determine whether the phrase is repeated, and, if so, to sing the recurring phrases with syllables, w T ith loo, and with words. Frequently it may be w T ell to attempt the singing of the repeated phrases immediately with the words. 4. Similar Study of Remaining Phrases and their Repetitions, if Any The second phrase and its repetitions, if any, should be studied in the same manner as the first phrase. The other phrases should be similarly studied. 5. Singing of Entire Song with Words; Memorization The various phrases now being familiar as units, the song should be sung as a whole with so-fa syllables, with loo, and with w^ords, and added to the children's repertory. Many of the songs are folk songs of w^ell-established merit and are a genuine addition to the musical experience of the children. The others possess art qualities wdiich make them equally commendable. All these songs should be sung over and over during the year, with a con- stant effort toward finer artistic interpretation. Singing them with syllables (re-reading them) should likewise be continued. This will tend to facilitate the children's use of the syllables, will familiarize them with the symbols, and will habituate them to the process of seeing phrases as wholes or as composed of constituent motives or figures. This habit of visualizing groups instead of single unrelated notes is vital to smooth reading, is helpful in grasping the thought and in expressing it, and is of the utmost hygienic importance in relation to eye strain. 1 1 See Huey, " Psychology and Pedagogy of Reading." Second Grade — Monthly Outlines first month I. Rote Songs. Teach the following songs by rote: (a) Three Little Heads; Teacher's Manual, page 150. (b) The Grasshopper's Ball; Teacher's Manual, page 152. (c) Swing Song; Teacher's Manual, page 153. II. Review Study. Carefully review the songs in Book One, Chapter I, noting phrase repetitions and applying syllables. The teacher should encourage the children to increasing independence in the use of syllables. III. Study of Motives and Figures. Book One, Chapter I. Introductory Suggestions For suggestions regarding the teaching of rote songs, see General Sugges- tions, the Introduction to the First Grade, and Outline for First Grade, First Month. Review the syllables of all the songs in Chapter I of Book One, presenting them again by rote, if necessary, and encouraging the children to anticipate the syllables for recurring phrases. Each child should sing alone as often as possible during every week. The teacher should see that each child is able to sing all of the songs freely with syllables. The intensiveness of the ear training work in this grade and in the third grade will largely determine the degree of success in sight reading later on. See also Introduction to First Grade, Step III, page 24. » Before taking up the study of the motives and figures in Book One, Chapter I, the teacher should read the Introduction to Second Grade, Step III, page 36. The first figure which the children should recognize by ear in the several songs of Chapter I is the succession do-mi-so. This figure will be found in "Good Morning," "A Good-by Song" (with repeated mi), "Fido and His Master," "Polly's Bonnet," and "The Postman." These motives and figures should first be associated with the songs in which they occur. Later, for ear training, let the children respond to the teacher's loo with the syllables. 43 44 TEACHER'S MANUAL Characteristic Motives and Figures in the Songs of Chapter I To be used for Ear Training Good Mornina; Book One, page 5. Teacher's Manual, page 187. The motive do-do-mi-so-do The figures do-mi-so do-mi-so-do A Good-by Song; Book One, page 6. Teacher's Manual, page 188. The motives do-mi-mi-so so-mi-mi-do Fido and His Master; Book One, page 7. Teacher's Manual, page 188. The motive do-mi-so. ( Ma y here be considered as phrase, motive, or figure.) The figure do-so-mi-do Polly's Bonnet; Book One, page 7. Teacher's Manual, page 189. The motives do-mi-so do-mi-so-so mi-do-so-so The figure so-so-do The Postman; Book One, page 8. Teacher's Manual, page 190. The motives mi-so-do-mi so- so-so-do-mi- so The figures so-so-so-do do-mi-so mi-so-do so-do-mi-so Bubbles; Book One, page 9. Teacher's Manual, page 189. The motive (or figure) mi-so-do-mi Cherries; Book One, page 10. Teacher's Manual, page 191. The motive so-mi-do-re The figure so-mi-do SECOND GRADE — MONTHLY OUTLINES 45 Summary of Figures in Chapter I do-mi-so-do do-so-mi-do do-mi-so so-mi-do do-mi-so mi-so-do so-do-mi-so mi-so-do-mi SECOND MONTH I. Rote Songs. Teach the following songs by rote: (a) One Misty, Moisty Morning; Teacher's Manual, page 154. (6) Chrys Anthemum; Teacher's Manual, page 155. (c) Windy Nights; Teacher's Manual, page 156. II. Application of Syllables. Book One, Chapter II. (See Note under First Month, Step II, page 43.) In the case of three of the songs, "The Holiday," "Dolly's Lullaby," and "Lady Bug," the application of syllables will be review work, as they were outlined for this study in the first grade. In applying the syllables to the other songs, the teacher should follow the directions given in the Outline for First Grade, Step III under Ear Training, and Step III under Ear Training for Second Grade. III. Study of Motives and Figures. Book One, Chapter II. The characteristic figures of the songs in Chapter II are based upon the tones of the tonic chord with their active neighboring tones. In "Twinkling Fireflies," for example, the prominent figure is mi-fa-mi; the same figure is found in "Dolly's Lullaby" and in "Lady Bug." The figure fa-mi, a derivative of the mi-fa-mi fig- ure, is also found in "A Little Lady," "Little Brook," and "The Song Sparrow's Toilet." The figure do-ti-do is found in "A Little Lady," "The Parade," "The Holiday," and "The Song Spar- row's Toilet." The figure do-re-do occurs in "The Parade," "Whippoorwill," "Dolly's Lullaby," and "Lady Bug." The fig- ure so-la-so occurs in "A Little Lady," "The Holiday," "Whip- poorwill," "Lady Bug," and "The Song Sparrow's Toilet." 46 TEACHER'S MANUAL Characteristic Motives and Figures in the Songs of Chapter II To be used for Ear Training Twinkling Fireflies; Book One, page 11. Teacher's Manual, page 192. The motive mi-fa-mi-do The figure mi-fa-mi Ring a Ring o' Roses; Book One, page 12. Teacher's Manual, page 193. The figures do-so mi-do These intervals may, in some songs, so-so-do be treated as figures. In other songs they are plainly derivatives of figures. so-mi g ee Summary f Figures on page 70. Little Brook; Book One, page 12. Teacher's Manual, page 193. The figure so-mi-do The derivatives do-re re-do fa-mi A Little Lady; Book One, page 13. Teacher's Manual, page 194. The motive so-so-do-U-do The figures do-ti-do so-mi-do so-la-la-so (so-la-so) The derivative fa-mi The Parade; Book One, page 14. Teacher's Manual, page 195. The motive do-re-ti-do The figure do-re-do The Holiday; Book One, page 15. Teacher's Manual, page 195. The figures so-la-so so-so-mi do-ti-do SECOND GRADE — MONTHLY OUTLINES 47 Whippoorwill; Book One, page 16. Teacher's Manual, page 196. The figures so-la-so mi-so-do do-re-do Dolly's Lullaby; Book One, page 17. Teacher's Manual, page 197. The motive mi-re-mi-do The figures re-do (do-re-do) mi-fa-mi mi-re-mi Lady Bug; Book One, page 18. Teacher's Manual, page 198. The motive do-re-do-mi The figures mi-fa-mi so-la-so do-re-do The derivative ti-do The Song Sparrow's Toilet; Book One, page 19. Teacher's Manual, page 197. r™ a , ,. , * The figures do-h-do so-la-so The derivatives la-so fa-mi re-do Summary of Figures in Chapter II do-ti-do so-la-so mi-re-mi do-re-do mi-fa-mi Derivatives of these Figures do-ti ti-do la-so so-la fa-mi mi-fa re-do do-re Note. This summary of the derivatives shows that the pupils have studied all the tones of the major scale, ascending and descending, with regard to their melodic tendencies. 48 TEACHER'S MANUAL THIRD MONTH I. Rote Songs. Teach the following songs by rote : (a) Rock-a-bye, Hush-a-bye, Little Papoose; Teacher's Manual, page 157. (6) Eatings; Teacher's Manual, page 161. (c) Bedtime; Teacher's Manual, page 158. H. Application of Syllables. Book One, Chapter III. The children should be encouraged to an increasing independence in applying syllables to recurring phrases and to figures which they # have studied in earlier songs. (See Teacher's Manual, pages 26 and 37.) HI. Study of Motives and Figures. Book One, Chapter III. The characteristic motives and figures of the songs in Chapter III are based upon diatonic progressions A study of these songs will show many instances of "spliced" figures and of derivatives of the figures previously listed. Characteristic Motives and Figures in the Songs of Chapter III To be used for Ear Training The Gypsy Peddler; Book One, page 20. Teacher's Manual, page 199. The figures do-so-mi-do do-mi-so-do do-ti-la-so so-la-so mi-do so-fa-mi-re-do Note. It will be found simpler to study the syllables of the last phrase before taking the second phrase. The Mulberry Bush; Book One, page 21. Teacher's Manual, page 199. The motives mi-so-mi-do so-la-ti-do-do The figures do-mi-so so-mi-do do-ti-la-so so-la-ti-do SECOND GRADE — MONTHLY OUTLINES 49 Soldier Boys; Book One, page 22. Teacher's Manual, page 201. The figures do-mi-so do-ti-la-so so-la-ti-do so-mi-do A Surprise; Book One, page 24. Teacher's Manual, page 200. The figures mi-fa-so do-re-mi Upon a Morning Sunny; Book One, page 25. Teacher's Manual, page 202. The figures so-do do-re-mi-fa-so so-la-so fa-mi-re-do Betty and Billy; Book One, page 26. Teacher's Manual, page 203. The motive do-re-mi-re The figures so-fa-mi-re-do mi-fa-so The derivatives do-so do-re mi-do mi-re re-mi-fa-so The Skipping Rope; Book One, page 27. Teacher's Manual, page 204. The figures mi-re-do mi-fa-mi so-la-so so-fa-mi » Summary of Figures in Chapter III do-re-mi-fa-so so-fa-mi-re-do do-re-mi-fa fa-mi-re-do do-ti-la-so so-la-ti-do . do-re-mi mi-re-do mi-fa-so so-fa-mi Note. This summary of figures shows that the tetrachord relations of the tones of the scale have been studied. 50 TEACHER'S MANUAL FOURTH MONTH I. Rote Songs. Teach the following songs by rote: (a) Kris Rringle's Song; Teacher's Manual, page 1G0. (6) Sing a Song of Sixpence; Teacher's Manual, page 164. (c) The Jolly Holly Farm; Teacher's Manual, page 166. II. Application of Syllables. Book One, Chapter IV. (See Note for Third Month, Step II, page 48.) m. Study of Motives and Figures. Book One, Chapter IV. The characteristic motives and figures of the songs in Chapter IV are based upon sequential repetitions of diatonic progressions. In "Oh, What a Sweet Little White Mouse," the following figure- sequence will be found: do-re-mi; re-mi-fa; mi-fa-so; also the following: mi-re-do; fa-mi-re; so-fa-mi. In "The Swallows" we find mi-fa-so-la; do-re-mi-fa; re-mi-fa-so; fa-so-la-ti; also: so-fa-mi-re; la-so-fa-mi; do-ti-la-so. Similar diatonic progressions of a sequential nature will be found in the other songs of this chapter. Characteristic Motives and Figures in the Songs of Chapter IV To be used for Ear Training The sequential development of figures is indicated by the lists in braces. Oh, What a Sweet Little White Mouse; Book One, page 28. Teacher's Manual, page 204. The figures do-re-mi {do-re-mi {mi-re-do mi-re-do < re-mi-fa < fa-mi-re re-mi-fa [mi-fa-so [so-fa-mi fa-mi-re mi-fa-so so-fa-mi TJie Swallows; Book One, page 29. Teacher's Manual, page 205. The figures mi-fa-so-la so-fa-mi-re do-re-mi-fa re-mi-fa-so la-so-fa-mi fa-so-la-ti do-ti-la-so do-re-do ' do-re-mi-fa re-mi-fa-so mi-fa-so-la k fa-so-la-ti 'do-ti-la-so la-so-fa-mi I so-fa-mi-re SECOND GRADE — MONTHLY OUTLINES 51 The Clown; Book One, page 30. Teacher's Manual, page 206. The motives la-ti-do-so re-do-ti-do The figures do-re-mi J do-re-mi re-mi-fa \ re-mi-fa re-mi-fa-so do-ti-la so-fa-mi re-do-ti ' do-ti-la so-fa-mi , re-do-ti Little Sister's Lullaby; Book One, page 31. Teacher's Manual, page 206. The figures do-ti-do j so-fa-mi-re do-re-do "j mi-re-do-ti mi-re-mi mi-fa-mi The second phrase is a sequen- ce in rr,i ro tial repetition of the first; the so-ja-mi-re fourth phrase> of the third> mi-re-do-ti Evening Lights; Book One, page 32. Teacher's Manual, page 207. The figures do-re-mi ( la^so-fa-mi la-so-fa-mi \db-ti-la-so do-ti-la-so re-mi-fa j do-re-mi mi-re-mi [ re-mi-fa The Circus; Book One, page 33. Teacher's Manual, page 208. The motives so-do-mi-do so-la-so-fa-mi mi-so-fa-mi-re The figures do-mi-do r & _ Jla-ti-do so-la-ti-do S L ti-do-re la-so-fa-mi so-fa-mi-re (la-so-fa-mi mi-fa-so-la [so-fa-mi-re la-ti-do fa-so-la la-ti-do 52 TEACHER'S MANUAL Dandelion; Book One, page 34. Teacher's Manual, page 208. The motive so-mi-mi The figures do-re-do do-re-mi mi-so do-re-mi-fa-so so-do The fourth phrase is a sequential repe- tition of the third. Teacher's Manual, page 209. The third phrase is a sequential repeti- tion of the fhvt. Kind Old Winter; Book One, page 35. The figures la-ti-do-ti-la la-mi-mi la-ti-do-re-mi re-mi-fa-mi-re re-la-la la-fa-la Playing Soldier; Book One, page 36. Teacher's Manual, page 209. The motives mi-mi-mi-re-do fa-fa-fa-mi-re The figures do-re-mi-fa-so so-la-ti-do-re mi-re-do fa-mi-re so-fa-mi-re-do The second phrase is a sequential repe- tition of the first. The fourth also, is closely related to the first, though the tones flow in the opposite direction. The two motives of the third phrase are sequential. Summary of Figures in Chapter IV do-re-mi re-mi-fa mi-fa-so fa-so-la so-la-ti la-ti-do ti-do-re do-re-mi-fa re-mi-fa-so mi-fa-so-la fa-so-la-ti so-la-ti-do la-ti-do-re ti-do-re-ml mi-re-do fa-mi-re so-fa-mi la-so-fa ti-la-so do-ti-la re-do-ti fa-mi-re-do so-fa-mi-re la-so-fa-mi ti-la-so-fa do-ti-la-so re-do-ti-la mi-re-do-ti SECOND GRADE — MONTHLY OUTLINES 53 FIFTH MONTH I. Rote Songs. Teach the following songs by rote: (a) Icicles and Bicycles; Teacher's Manual, page 165. (b) The Song of the Wind; Teacher's Manual, page 163. (c) If; Teacher's Manual, page 168. II. Application of Syllables. Book One, Chapter V. (See Note for Third Month, Step II, page 48.) In addition to the work outlined above, the teacher should encour- age the children to apply syllables to all bits of melody which they may hear as, for example, themes from pieces played on the grapho- phone or on the piano, or selections by a passing band or a " hurdy- gurdy." Some birds sing melodic bits which may be syllabified and thus identified. Such work leads to tone thinking in definite terms. It helps to develop the tone vocabulary which the child needs in order later to read music from notation, and is an im- portant step in the development of the ability to write music. HI. Study of Motives and Figures. Book One, Chapter V. The figures in Chapter V are based on progressions by intervals. In some instances the repetitions are literal, in other cases they are sequential. For example, in "Lady Moon," 1 the first figure, mi-la-so, is succeeded by two recurrences of the same figure, each a step higher than the one before. In "The Little Huntsman," 2 the interval figures are repeated literally. The second staff of the song "Kittens," 3 is another example of sequential repetition. Characteristic Motives, Figures, and Intervals of the Songs of Chapter V To be used for Ear Training Lady Moon; Book One, page 37. Teacher's Manual, page 210. The motive mi-do-re-do * The figures mi-la-so fa-ti-la so-do-ti so-fa-mi-re la-so-fa-mi so-re-do do-re-do 1 Book One, page 37; Teacher's Manual, page 210. 2 Book One, page 38; Teacher's Manual, page 210. 3 Book One, page 39; Teacher's Manual, page 211. 54 TEACHER'S MANUAL The Little Huntsman; Book One, page 38. Teacher's Manual, page 210. The figures do-mi-so- so-la-so re-mi-do do The intervals mi-so fa-re re-so so-do Kittens; Book One, page 39. Teacher's Manual, page j 211. The chord figures do-mi-so fa-re-ti la-fa-re so-mi-do False Alarm; Book One, page 40. Teacher 's Manual, page 212. The intervals do-so la-fa so-mi fa-re do-so so-do Snowflakes; Book One, page 41. Teacher's Manual, page 212. The intervals mi-do re-ti do-la la-do Sleep, Little Treasure; Book One, page 42. Teacher's Manual, page 213. The intervals so-mi do-so do-mi re-fa fa-re mi-so so-re SECOND GRADE — MONTHLY OUTLINES 55 Bylo, Baby Bunting; Book One, page 43. Teacher's Manual, page 214. The intervals mi-so la-fa so-so The scale figures do-ti-la ti-do-re mi-re-do In Wooden Shoes; Book One, page 44. Teacher's Manual, page 214. The chord motives so-so-mi-do-mi-so fa-fa-re-ti-re-do do-mi-do-so The chord figures so-mi-do do-mi-so fa-re-ti mi-do-so The scale figures so-la-ti do-re-mi fa-mi-re mi-re-do Raindrops; Book One, page 45. Teacher's Manual, page 215. The interval figures la-do ti-re The figures la-so la-ti-do do-ti-do Valentine Song; Book One, page 46. Teacher's Manual, page 216. The motives do-do-mi-do ti-ti-re-ti so-fa-fa-mi-re-do The chord figures so-mi-do (page 47) fa-re-ti mi-do-la re-ti-so The intervals la-fa re-so T. M. Vol. 1—5 56 TEACHER'S MANUAL Will You Come With Me; Book One, page 48. Teacher's Manual, page 217. The motive do-re-do-la-so The figures so-fa-mi-re fa-mi-re-do The interval re-so Summary of Intervals Thirds do-mi mi-do re-fa fa-re mi-so so-mi fa-la la-fa do-fa fa-do re-so so-re mi-la la-mi fa-ti ti-fa so-ti ti-so la-do do-la ti-re re-ti Fourths so-do do-so la-re re-la ti-mi mi-ti Note. The singing of these intervals in sequence is sufficient drill for second-grade chil- dren. At this time it is not necessary to drill upon the other intervals. Fifths are inversions of Fourths, and Sixths are inversions of Thirds. SIXTH MONTH I. Rote Songs. Teach the following songs by rote: (a) Winter Jewels; Teacher's Manual, page 167. (6) Miss Rainy Day; Teacher's Manual, page 172. (c) The Goblin; Teacher's Manual, page 169. II. Presentation of Notation. Book One, Chapter I, is to be studied thus: (a) Write "Good Morning," 1 on the board, the phrases one above the other as in the book. Children sing the song, the teacher indicating the flow of the tones with a sweep of the pointer across the phrase. (6) Study phrases as such, making comparisons, noting repetitions, etc. (c) Locate the motives and figures by position in the song. (d) Sing the song from the book. (e) Take steps (6) and (c) with the song as it appears in the book. When the class has studied " Good Morning," as here outlined, take " A Good-by Song " 2 and " Fido and His Master " 3 in the same manner. The 1 Book One, page 5; Teacher's Manual, page 187. 2 Book One, page 6; Teacher's Manual, page 188. 8 Book One, page 7; Teacher's Manual, page 188. SECOND GRADE — MONTHLY OUTLINES 57 teacher can then judge whether or not it is wise to take the remaining songs of Chapter I from the book without preliminary work on the board. Some classes will do this readily, but it is not well to crowd the children too rapidly. (For detailed suggestions see Introduction to Second Grade, Teacher's Manual, page 39.) HI. Work in Eye Training. Visualization Drills. For these drills use the motives and figures of Chapter I. These may be summarized as follows: Table of Figures in Chapter I Ex. 1 *ft m^^^^^^^^ ^m Ex. 2 a m i t= Ex. 3 a f£§ 5 ^^J r *E$ Ex.4 i 3 m Ex. 5 a m^m £ F f= 3= Ex. 6 a EP^E ^m =F= — f i II Ex. 7 a =1 S^gg^ +— y 58 TEACHER'S MANUAL SEVENTH MONTH I. Rote Songs. Teach the following songs by rote: (a) The Umbrella Man; Teacher's Manual, page 170. (6) The Windflower; Teacher's Manual, page 173. (c) The Cats of Kilkenny; Teacher's Manual, page 179. II. Development of Notation. Book One, Chapters II and III. (a) The first few songs are presented first from the board, then from the book. (6) Study phrases, noting repetitions. (c) Locate motives and figures. When the topics of the chapter are clear to the children, the remain- ing songs of the chapter may be taken directly from the book. III. Work in Eye Training. Visualization Drills. Use the motives and figures of Chapters II and III. These may be summarized as follows: Table of Figures in Chapter II Ex. 1 Ex. 2 o A^ 1 1 flP^^l Ex. 3 a $ i 3^± =! m P r^i£=£^^ =g Ex. 4 a b te^Svzfzq-^r zzjz £& ) * •I • * w=mm » Ex. 5 a it m& £e 1=1=1^= » — '- SECOND GRADE — MONTHLY OUTLINES 59 Ex. 6 a m - # r 0- 333 $3^FT3% Ex. la ejpf§^j^e^ =1=^=1 * — * — d m Table of Figures in Chapter III Ex. 1 a i=t=i & =F=t « -* I iHi ****& S^^^^^^^S =#=3= Ex. 2 a iE5=j=^ 3 p^3^i ] ^S -* — «- » * =i=t= =t= i * — •- ::! 3=^ =1= =1=1 =pT-=^ t= Ex. 3 a I 1=k d « - *= P -t £S f^ J ' -•— *- ^ -*— * ^=£^ ■ \ 'W t- Ex.4 .* u g^^k^M=fegEfr=^ ^1 P3^= ^=pc I 60 Ex. 5 a ± i^s TEACHER'S MANUAL ft c d mm • » t= mmm ^ m • » * < t= E^igiii Ex. 6 a ft 6 : *=S : 'f *^F ^i P=P P ^ifefB Ex. 7 a =1=1=: =1 J r)=d; J"' « 8^E "•— *- ^ 3^_ :=P a EIGHTH MONTH I. Rote Songs. Teach the following songs by rote: (a) The Naughty Tulip; Teacher's Manual, page 178. (6) The Scissors Grinder; Teacher's Manual, page 174. (c) Little Robin Redbreast; Teacher's Manual, page 176. II. Development of Notation. Book One, Chapters IV and V. These songs are to be taken according to the directions for Grade II, outline for seventh month, Step II, page 58. IQ. Work in Eye Training. Visualization Drills. Use the motives and figures of Chapters IV and V. These may be summarized as follows: Table of Figures in Chapter IV Ex. 1 y ■ fl\ , -r . : 33 i^ 1^ -0—m- f j=t ' SECOND GRADE — MONTHLY OUTLINES 61 Ex. 2a b c d e f 9 h ^ Sfe m^ ? ■+-*■ k i m n 1T=* t- Se =1=4 ■+—* 4 ^ +=4 -*—+- =t ^ Ex. 3 a 3=; =t / g pe=iT— £EE^= & A; I m n *— » =1 s=i =t=* -»-*- * -«- =!=£ =1 T#— "•" J IP Ex.4 abc d e f g h mm fc^^fe^j j k I m n o p m m^m^m^^^^^ mmm^^m Ex. 5 a b it / <7 A * » ^^a£E£^±E=F=^I^^F-1^^ 1= F-5- 4= "1 ifc z m n =j=± 3t=i r: 3^ =i- -*-«- =i -»-*- ^m Ex. 6 a 6 / 9 ^ * * ^f=£= ^=^=^ ?== & i m n ^=+ -+=x_ ffi =t =i Iplilip Ex. 7 a b att*: j I j J J I J J j k I e f m n r-4 =j=l m k^ = vz-* + » * ^ fTf?W fP FETE? Sl 62 TEACHER'S MANUAL Ex. 8 a b d ^m m * ££ g^i f^pg -g m- m • 4=t II I -at *- * — #■ Ex. 9 a ^E^fe l J • m ~ g *' g ^ ^r^^^ F t^ -g— ♦ 3i^^§ p^ p^^ ^pfl ^^ Ex. 10 a : ^—* m &m p^ -1 =t=t Ex. 11 a |^ r«L=^: 1= m 1= -*— *- «. ia£#yfcit3 '= I ^=*= * » ii^& *F*=t =J ^=h==t ^=M $3£! - J *Ej SECOND GRADE — MONTHLY OUTLINES Ex. 12 a b c d 63 i^ ^p^ P^I^ j m i ^ ^^^^3E£f=^=f=^^^^^^^£3 ^m ^=jt -^\=\ fe^E a ^m^ Ex. 13 a ^g^ ^=g^ p=i * » =i= J- i O-^- * =± ^=pcz=* =tq=|: ^ S: -=1 -* — «- *_—=*; a =1==t ^ * =d==f -« — *- Ex. 14 a L^X ^ ^ =1 A S =± ^ =1 ^ ^^^^^^ p^gpi f -* — » ip -* — f ?^^E: f=t= ^ : F =: i = ±=t= ^=^- *=t f= Tafr/e o/ Figures in Chapter V Ex. 1 / <7 Hfe^ ! * =tr=t t A; I m nfm^ £^ E TEACHER'S MANUAL Ex.4 ?=&m^^^^^^^ g^fe l in n ^^rn^rn ii SECOND GRADE — MONTHLY OUTLINES 65 Ex. 8 .. a b c d e f g m m^m u d =k pE^^EEm $0m^m m n f I :=i==4 J II Ex. 9 a f) 1 i c d e f o dk^f— J -1 -3= — 1 * X -J — ^ — — m~- — — — 1 -^- — »■— — m — h - * — ■# — -J _£ — ^_ — h 1= — 1 mm :t= F=^ R= ^ =t ^P Ex. 10 a b c d e f g h i j k I mmfn t=^ & ^\J j\ 2 j^ Ex. 11 ^i *=$ =j t t-- t - t Fzfcte^eM m n f PP -1 =t :1 I j=^l=*=j II Ex. 12 a 6 ,c Hz r^ i= :t== p r ~r f *=^ fe£ *==*: -1 d =t Ex. 13 a 6 ' r ' t -! 3=1=3 P=t -; 66 Ex. 14 a TEACHER'S MANUAL : d e 1 H =1 ^ 3fet=^ =t= 1 *=E *=F= NINTH MONTH I. Rote Songs. Teach the following songs by rote: (a) The Five Toes; Book One, page 120. Teacher's Manual, page 260. (b) Little Miss Tulip; Teacher's Manual, page 184. (c) Daisy Nurses; Teacher's Manual, page 180. The books should be in the hands of the children while learning "The Five Toes." (See Section 2, Enlargement of the Musical Vocabu- lary, page 76 of this Manual.) II. First Reading of New Songs. Part Two, Chapter VI. The new feature of this period of the year's work is the independent recognition by the children of previously studied figures, the teacher supporting their voices over unfamiliar connecting passages. The songs for this work have not previously been learned by rote, as in the case of all the songs used for notation study in the sixth, seventh, and eighth months. (For detailed suggestions see Introduction to Second Grade, Teach- er's Manual, page 41.) Analysis of Songs of Chapter VI Kitty Mine; Book One, page 49. Familiar figures are do-so-mi-do fa-mi-re mi-re-do la-ti-do (Review figures in "Gypsy Peddler," Book One, page 20. 1 ) 1 Teacher's Manual, page 199. SECOND GRADE — MONTHLY OUTLINES 67 Before and After Dark; Book One, page 50. Teacher's Manual, page 218. Familiar figures are so-mi-do mi-fa-so so-la-so so-so-do (Review figures in " Cherries," * " The Holiday," 2 and " A Surprise." 3 ) The Airship; Book One, page 51. Teacher's Manual, page 218. Familiar figures are do-mi-so so-la-so do-so-mi-do re-mi-fa-so-la so-do mi-re-do Happy Thought; Book One, page 52. Teacher's Manual, page 219. Familiar figures are so-mi so-mi-do mi-do fa-mi-re-do Blowing Bubbles; Book One, page 52. Familiar figures are so-mi-do do-ti-la-so so-mi do-so mi-re-do At Night When I Have Gone to Bed; Book One, page 53. Teacher's Manual, page 219. Figures are do-mi-so so-mi-do do-re-mi so-fa-mi-re fa-mi-re-do (Note the spliced and sequential mi-re-do figures.) 1 Book One, page 10; Teacher's Manual, page 191. 2 Book One, page 15; Teacher's Manual, page 195. 8 Book One, page 24; Teacher's Manual, page 200. 68 TEACHER'S MANUAL TENTH MONTH I. Rote Songs. Teach the following songs by rote: (a) The Pink Pig; Book One, page 128. Teacher's Manual, page 268. (6) The Ragman; Teacher's Manual, page 182. (c) The Happy Bee; Teacher's Manual, page 185. "The Pink Pig" is learned with books in the hands of the children. (See Section 2, Enlargement of the Musical Vocabulary, page 76.) II. Reading of New Songs. Take the songs in Book One, Chapter VII, according to the directions in the outline for ninth month, Step II, page 66. (See Teacher's Manual, page 41.) Analysis of Songs of Chapter VII Smiling Girls, Rosy Boys; Book One, page 54. Familiar figures are do-ti-do mi-re-mi do-mi-so so-re do-so so-fa-mi-re fa-mi fa-re The Farmer; Book One, page 55. Teacher's Manual, page 220. Familiar figures are do-mi-so so-la-so so-mi do-re-mi mi-fa-mi mi-do do-mi re-fa so-do mi-so ti-do SECOND GRADE — MONTHLY OUTLINES 69 The Eskimo Hunter; Book One, page 56. Teacher's Manual, page 220. Familiar figures are so-mi-do do-re-do la-so so-do mi-re-do The Golden Coach; Book One, page 56. Familiar figures are so-la-so so-mi-do so-fa-mi-re-do The tonic-chord feeling should suggest the tones for " Tra-la-lay." Busy Folks; Book One, page 57. Teacher's Manual, page 221. Familiar figures are do-mi-so la-so so-mi do-ti-la la-ti-do Teach do-do-ti-fa (a new figure) by rote, and have children find it in song. The Mooley Cow; Book One, page 58. Familiar figures are so-do do-ti-do mi-re-mi so-^do la-so so-mi-do Teach so-fa-so (third phrase) by rote. Baby Life; Book One, page 59. Teacher's Manual, page 221. Familiar figures are re-do-re fa-mi-re so-la-so mi-fa-so mi-re-do mi-so 70 TEACHER'S MANUAL Summary of Figures Outlined for Study in the Second Grade (With the pages of Book One where they may be found) It will be observed that practically all of these figures are found in the songs outlined for study in this grade. The exceptions are included in order to complete, throughout the scale, the sequential succession of diatonic and interval figures. A number of instances of " splicing" are included. (a) Tonic Chord Figures do-mi-so-do Pages 5, 20, 38 do-so-mi-do Pages 7, 20, 49, 51 do-mi-so Pages 5, 6, 7, 21, 22, 23, 39, 44, 51, 53, 54, 55, 57 so-mi-do Pages 7, 10, 12, 13, 21, 23, 39, 44, 47, 50, 52, 53, 55, 56, 57, 58, 59 do-mi-so Pages 7, 8 mi-so-do Page 8 mi-so-do Pages 16, 17 mi-do-so Page 44 so-do-mi-so Pages 7, 8 mi-so-do-mi Page 9 (b) Tones of the Tonic Chord with Neighboring Tones Pages 10, 13, 14, 15, 19, 30, 31, 45, 54, 58, 59 Pages 17, 31, 32, 42, 54, 58 Pages 11, 18, 27, 31, 52, 55, 59 Pages 6, 13, 15, 16, 17, 18, 19, 20, 25, 27, 33, 38, 45, 50, 51, 55, 56, 58, 59 Pages 7, 10, 14, 16, 17, 18, 24, 26, 29, 31, 33, 34, 37, 48, 56, 59 do-tii-do mi-re-mi mi-fa-mi so-la-so do-re-do do-ti la-so fa-mi re-do do-re-mi mi-re-do re-mi-fa fa-mi-re Derivatives of these Figures ti-do so-la No attempt is made to list the pages on which these deriv- atives occur, as nearly every melody in the course will in- mi-fa elude one or more of them. do-re (c) Diatonic Figures Pages 10, 13, 24, 26, 28, 30, 32, 34, 45, 52, 53, 55, 56, 58, 59 Pages 6, 8, 12, 19, 24, 26, 27, 28, 36, 40, 42, 45, 49, 51, 52, 53, 56, 59 Pages 17, 28, 30, 32, 35 Pages 6, 17, 19, 23, 24, 28, 29, 32, 34, 35, 36, 43, 45, 49, 59 SECOND GRADE — MONTHLY OUTLINES 71 mi-fa-so Pages 12, 14, 24, 27, 28, 38, 42, 50, 58, 59 so-fa-mi Pages 27, 28, 30, 34, 37, 42, 59 fa-so-la Page 33 la-so-fa Pages 33, 34, 37 so-la-ti Pages 16, 22, 23, 45 ti-la-so Pages 11, 13, 16, 19, 37 la-ti-dS Pages 13, 30, 33, 35, 43, 45, 49, 57 d3-ti-la Pages 19, 20, 22, 23, 30, 35, 37, 41, 43, 57 ti-do-Te Pages 13, 14, 33, 43, 47 re-do-ti Pages 15, 30, 37 do-re-mi-fa Pages 25, 29, 30, 35 fa-mi-re-do Pages 20, 25, 27, 30, 43, 46, 47, 48, 52, 53 re-mi-fa-so Pages 27, 29, 30, 51, 58 so-fa-mi-re Pages 6, 20, 24, 29, 31, 33, 34, 37, 48, 53, 54 mi-fa-so-la Pages 29, 33 la-so-fa-mi Pages 20, 27, 29, 32, 33, 34, 37 fa-so-la-ti Page 29 ti-la-so-fa (Occurs frequently as part of a larger progression) so-la-ti-do Pages 10, 12, 21, 22, 23, 33, 45 do-ti-la-so Pages 13, 20, 21, 22, 23, 29, 32, 52 la-ti-do-7e Pages 16, 33, 43, 47 re-do-ti-la Page 37 ti-do-re-mi Page 59 rru-re-do-ti Pages 13, 31 do-re-mi-fa-so Pages 12, 25, 35, 36 so-fa-mi-re-do Pages 20, 26, 36, 42, 46, 47, 48, 54, 56 la-ti-do-Te-mi Page 35 re-mi-fa-so-la Page 51 so-la-ti-do-Te Page 36 re^do-ti-la-so Pages 13, 21 \d) Intervals do-mi Pages 6, 7, 8, 16, 17, 18, 21, 25, 27, 31, 33, 37, 38, 42, 44, 46, 47, 50, 51, 52, 53, 54, 55, 58 mi-do Pages 5, 6, 11, 12, 17, 20, 24, 26, 29, 33, 37, 38, 41, 44, 46, 47, 52, 53, 54, 55, 56, 58, 59 T. M. Vol. 1—6 72 TEACHER'S MANUAL re-fa Pages 18, 42, 54, 55, 59 fa-re Pages 5, 15, 39, 40, 42, 44, 45, 46, 47, 54 mi-so Pages 6, 8, 11, 13, 15, 18, 24, 31, 33, 34, 37, 38, 42, 51, 52, 53, 54, 55, 56, 58, 59 so-mi Pages 6, 15, 18, 24, 27, 38, 40, 42, 50, 52, 55, 56, 57, 59 fa-la Pages 35, 57 la-fa Pages 35, 39, 40, 58, 59 so-ti Page 46 ti-so Pages 46, 47 la-do Pages 11, 41, 45 do'-la Pages 9, 11, 13, 16, 41, 45, 46, 47, 48, 56, 58 ti-re Pages 44, 45, 46 le-ti Pages 14, 39, 41, 44, 45, 46 do-fa Pages 13, 36, 39, 44, 47 fa-do re-so Pages 10, 15, 36, 39, 40, 46, 47, 48, 58, 59 so-re Pages 34, 38, 42, 54 mi-la Pages 32, 35, 37 la-mi Pages 35, 37 fa-ti Page 37 ti-fa Page 57 soJb~ Pages 7, 8, 10, 13, 19, 25, 26, 32, 33, 37, 41, 42, 47, 48, 50, 51, 55, 56, 57, 58 d3-so Pages 12, 16, 25, 26, 30, 33, 38, 40, 42, 44, 45, 52, 55, 56 la-re Page 11 re-la Page 35 ti-mi Page 47 mi-ti do-so Pages 5, 7, 12, 41, 47, 49, 50, 52, 54, 56 so-do Pages 12, 14, 22, 23, 35. 38. 39, 41 43, 55, 57, 58 re-la Page 37 fa-do Page 40 fa-ti Pages 18, 55 so-re Pages 9, 37 n-so Pages 9, 10, 14, 21, 25, 43, 56 SECOND GRADE — MONTHLY OUTLINES 73 la-mi Page 41 so-mi Pages 12, 16, 17, 34 mi-so Pages 7, 8, 13, 16, 43 so-ti Page 11 la-fa Pages 43, 46, 47 do-mi Page 51 mi-do Pages 52, 56 so-fa Pages 19, 48 do-do Page 5 do-do Pages 49, 52 so-so Pages 7, 8, 36 so-so Pages 42, 43 (e) Additional Chord Figures fa-re-ti Pages 39, 44, 45, 47 la-fa-re Page 39 re-ti-so Pages 46, 47 so-ti-re Page 46 mi-do-la Page 47 Third Grade — Syllabus I. ROTE SONGS. (Books in the hands of the children) 1. Development of artistic singing; use of the voice 2. Enlargement of the musical vocabulary II. RHYTHMIC DEVELOPMENT 1. Growth of the rhythmic sense (a) Through rote songs (6) Through singing games (c) Through folk dances 2. Study of rhythmic notation (a) Through scanning the poem (6) Through comparison and association of the phrases of new songs with those of familiar songs (c) Through study of comparative note values III. SPECIFIC WORK IN EAR TRAINING 1. Organization and development of the figure vocabulary acquired in the previous grade (a) Tonic-chord figures (b) Diatonic figures (c) Interval figures (d) Additional chord figures 2. Further enlargement of the vocabulary 3. Development of the ability to sing any tone of the scale by relating it with the tonic 4. Creative work IV. SPECIFIC WORK IN EYE TRAINING 1. Visualization drills for figures made familiar through ear training 2. Finding staff position of tonic chord from the key signature 3. Written work V. DEVELOPMENT OF THE SYNTHETIC PROCESS 1. Reversing former analytical process 2. Re-reading familiar songs 3. Reading new songs classified with regard to figure content 4. Reading unclassified songs 74 Thied Geade — Tnteobuctiok Genetic psychology and the observation of children engaged in learning have shown that in the primary grades the learning process is, in the main, one of sense activity. The children are storing their minds with sensory experiences; they are acquiring skill in doing by imitation. The introduction of music to the children during the first two years has, therefore, been ac- complished by appealing primarily to the sense of hearing. Their experience with music as a form of expression and their skill in singing have been acquired by imitation. The children of the third grade are in an intermediate stage of develop- ment, a stage of growth between that of the Sensory Period and the Associative Period, manifesting tendencies and characteristics peculiar to the former and foreshadowing those of the latter. The teaching of music should, therefore, still consist in part of imitative song singing and in the further training of the senses of hearing and visualization. The material for this definite training should still be concrete; that is, it should consist of the same motives and figures that were found in the songs of the previous grades. 1 On the other hand, with the aim in view of appealing to the growing power of association, the work should develop the synthetic process of applying this expanding vocabulary of musical ideas to the reading of new songs with growing independence. With the type of rote songs designated as observation songs as a working basis, and by a process of analysis, the children have become acquainted with the elements of song — the phrase, the motive, and the figure. This vocabulary of musical ideas they are now to apply in practice by synthetically combining these familiar elements into new and unfamiliar relations. I. ROTE SONGS 1. Development of Artistic Singing With the growing interest in music, with the development of the* powers of imagination, impersonation, and dramatization, with the gradual elimi- nation of monotones, and with the increasing facility on the part of the children in expressing feeling through the medium of the singing voice, we may expect and demand a finer quality of singing and a higher degree of artistic interpretation. Every song is a medium for the expression of an artistic ideal. More and more the children should be encouraged to suggest the appropriate interpretation of the songs they are studying. 1 See Summary ou page 70. 75 76 TEACHER'S MANUAL 2. Enlargement of the Musical Vocabulary The art songs of the course are not technically limited to the equipment of the pupils. Through familiarity with such songs the musical experience and vocabulary of the children will be enriched because of the many new and interesting rhythmic and melodic effects found in the songs. These effects, experienced subconsciously, will become the problems of the succeeding grades, to be consciously mastered. In the following years they will be re- called as past experience and will serve as a basis for further definite musical development by being subjected to conscious observation, study, and drill. Indeed, this process may be foreshadowed in the third grade, by teaching the rote songs with the books in the hands of the children. Many figures and combinations common to all musical literature are, by this time, a usable part of the children's sound and sight vocabulary. The children should, therefore, be encouraged, in learning these rote songs, to recognize the familiar figures, in order to gain as much as possible from the notation. They should be asked to follow the notation, phrase by phrase, while the teacher sings with loo. Ear and eye should be trained to coordinate in this work. II. RHYTHMIC DEVELOPMENT 1. Growth of the Rhythmic Sense (a) Through rote songs (6) Through singing games (c) Through folk dances These topics are treated in this Manual on pages 19 and 103. 2. Study of Rhythmic Notation (a) Through scanning the poem (6) Through comparison and association of the phrases of new songs with those of familiar songs (c) Through study of comparative note values The music work of the first five months of the third grade is a develop- ment and enlargement of similar work in the last two months of the second grade. The teacher is referred to the directions on pages 19, 36, and 41 of this Manual for guidance in her work during these months. Beginning with the outline for the sixth month of the third grade, a greater independence is required of the children. The whole of Book Ore, Part Two, is devoted to the development of a plan for training children to attack musical THIRD GRADE — INTRODUCTION 77 problems. Part Three offers material for the independent exercise of this power. The songs are no longer presented in consecutive order according to technical considerations, with ready reference to familiar songs embodying similar ideas. Neither are they invariably printed one or two phrases to a line, as in Parts One and Two, but frequently the phrase is broken. Here the child's experience in poetic scansion must guide him in determining the phrase analysis of the song. Here, too, the experience gained through frequent com- parison of phrase rhythms of familiar and unfamiliar songs must suggest to him the rhythmic flow of the new song. The great amount of detailed analy- sis of the notation of the songs of Part One and its application in the study of the songs of Part Two will have given the pupil a basis for determining the rhythm of the new songs from their notation. The songs of Part Three offer no new rhythmic problems; there is scarcely a phrase but has its rhythmic prototype in one or more earlier songs. Through the three steps outlined above, the children must determine the rhythm of the new song, and, with the least possible assistance from the teacher and in a large measure individu- ally, must apply their knowledge in reading the new song. III. SPECIFIC WORK IN EAR TRAINING 1. Organization and Development of the Figure Vocabulary acquired in the Previous Grade An examination of the summary of figures given at the end of the outline for the second grade 1 shows that the children have an acquaintance with a large number of figures commonly found in music. This vocabulary has been gained through experience with songs, which, by ear analysis, were reduced to their constituent elements — phrases, motives, and figures. The summary of figures quoted above indicates the various pages of Book One on which each figure occurs. The drill on figures as conducted in the second grade may, therefore, be said to be rational, or concrete, in that each figure has been associated with the songs of which it is a part. Although, in the second grade, the development of the children's vocabulary of figures was materially facilitated by the fact that the songs of Book One, Part One, were organized into successive chapters, no attempt was made at a formal organization of these figures in the minds of the children. This was because, in the Sensory Period, it is advisable to maintain a concrete relation- ship between figure and song. Further progress requires formal drill and repeated associations. The third grade, being a transitional 2 stage of de- velopment, foreshadows some of the traits of the Associative Period, notably the susceptibility to drill and the power of applying experience. In the third 1 See Teacher's Mauual, page 70. * Teacher's Manual, pages 3 and 75. 78 TEACHER'S MANUAL grade, therefore, we may profitably engage in drills more formal, or abstract, than has heretofore been advisable. (a) Tonic-Chord Figures Tonic-chord figures have been so constantly before the children in the lower grades that little formal drill will here be necessary. These figures and their interval derivatives should be dictated to the class without reference to particular songs in which they occur. The teacher sings the figure with loo and the class or individuals respond with the so-fa syllables. (6) Diatonic Figures Such figures as are conspicuous in the songs of Chapters II and VII may be organized for formal drill as follows: * do-re-do * do-ti-do re-mi-re re-do-re * mi-fa-mi * mi-re-mi fa-so-fa fa-mi-fa *so-la-so so-fa-so la-ti-la la-so-la ti-do-ti ti-la-ti This exercise will add nine new figures to the children's vocabulary, those marked with an asterisk being listed in the summary at the close of the second grade outline. Similar drills should be conducted with three tones ascending and descending as found in the summary of figures for second grade. 1 The following is a variation of this drill : do-mi-re mi-do-re re-fa-mi fa-re-mi mi-so-fa so-mi-fa fa-la-so la-fa-so so-ti-la ti-so-la la-do-ti do-la-ti ti-re-do re-ti-do Drills should also be given on figures of four and five tones of the scale, ascending and descending. 1 Far from being mechanical, these sequence studies 1 See Teacher's Manual, page 70. THIRD GRADE — INTRODUCTION 79 will be found in many of the best vocalises of the great singing masters and in the scores of such works as "The Messiah," "The Creation," etc. (c) Interval Figures The table of intervals of thirds and fourths will be found complete in the second-grade outline. 1 They should be sung sequentially, as was recommended for the diatonic figures. Intervals larger than a fourth are comparatively infrequent and therefore need not be given formal drill in this grade. (d) Additional Chord Figures With the tonic chord figure do-mi-so as a pattern, it will not be difficult for the children to work out the additional chord figures in the scale. Most of these have already occurred in the children's songs. For the teacher's convenience the entire list is given: The purpose of these drills is to give the children the same facility in tone thinking and singing that they exercise daily in language thinking and speaking. They must learn to make the tonal associations without effort, almost automatically. It is possible to accomplish this only by frequent repetition in drill. 2. Further Enlargement of the Vocabulary By making New Combinations of Derivatives of Familiar Figures In language reading, when the children have gained a vocabulary of sight words, these are subjected to analysis and drill. For instance, by analysis the word "make" is found to consist of the phonetic elements "m" and "ake"; the word "ran" of "r" and "an." By interchanging the consonant prefixes and the phonograms, the children build or blend them into the words "rake" and "man." By using other consonant prefixes, as found in other words, in 1 See Teacher's Manual, page 56. 80 TEACHER'S MANUAL connection with these phonograms, a list of "family words" is developed. The following are additional examples: bake ban cake can lake fan rake ran sake tan take van In the same way, by recombining the derivatives of familiar music figures, we may build figures new to the child's experience. For instance, the motives, do-mi-mi-so, found in "A Good-by Song," Book One, page 6, 1 and mi-so-do-mi, in "Bubbles," Book One, page 9, 2 are merely combinations of the tonic chord derivatives, do-mi and mi-so. In like manner, by blending re-do, a derivative of the figure do-re-do, with ti-do, a derivative of the figure do-ti-do, we may secure the new figures do-re-ti-do and do-ti-re-do, both of which are commonly found as phrase end- ings or cadences. See " Street Music," Book One, page 70, 3 and "The Rooster's Good Morning," Book One, page 74. 4 All familiar motives and figures should be reduced to these smaller ele- ments of two or three tones. It is the thorough appreciation of the fact that all musical ideas are spun or woven together out of these small melodic frag- ments that will enable the children to think logically and intelligently in music, and later, in reading, to grasp the thought of the composer. 3. Development of the Ability to Sing Any Tone of the Scale by Relating it with the Tonic The study of figures as outlined in the foregoing paragraphs has done more than simply fix a vocabulary of figures in the minds of the children. The scale has been thoroughly studied in all its tonal relations. A feeling for to- nality has been developed by constant reference to the tonic chord, and all the usual diatonic and interval progressions have been made familiar. The function and place of each tone in the scale has been made clear. It should now be comparatively easy for the children to think and sing any given tone from dictation by relating it with the tonic, or key tone, and to attack a phrase or a familiar figure beginning on any tone of the scale. Until the chil- dren can do this successfully they will be more or less dependent upon the help of the teacher. 1 Teacher's Manual, page 188. 3 Teacher's Manual, page 226. 2 Teacher's Manual, page 189. 4 Teacher's Manual, page 228. THIRD GRADE — INTRODUCTION 81 4. Creative Work With a little encouragement the children may be led to do interesting creative work in the invention of original phrases by rearranging the familiar figures of their vocabulary. This may be done with lines of poems or with Mother Goose jingles, which may serve as rhythmic patterns or suggestions. The object is not to develop would-be composers; its immediate purpose is to develop the ability to think and to express musical ideas by means of familiar tonal relations. IV. SPECIFIC WORK IN EYE TRAINING 1. Visualization Drills for Figures made Familiar through Ear Training Closely associated with the foregoing work in ear training, consistent drills in the visualization of familiar figures and their derivatives should be given. The picture of the note heads upon the staff expressing these relations should be made a vivid mental image by constant drill. The association of the tonal effect of a figure with its notation should become as instantaneous as the recognition of a word of three or four syllables or a group of three or four short words in language reading. 2. Finding Staff Position of the Tonic Chord from the Key Signature To further the children's independence of the teacher, they should now be taught how to find the staff position of the tonic chord by a glance at the key signature. On a corner of the blackboard the teacher may write upon a staff the signatures of the nine more commonly used keys, with do-mi-so-do in staff notation immediately following each signature. She may also teach the following rules for independently locating the tonic chord: (a) When flats are in the signature, the flat farthest to the right is on the same staff degree as fa. Therefore so is on the next staff degree above. Locate so-mi-do on descending lines (or spaces, as the case may be)„ (6) When sharps are in the signature, the sharp farthest to the right is on the same staff degree as ft". Therefore, if ti is on a line, so-mi-do will be found on the next three descending lines; if ft" is in a space, so-mi-do will be found in the next three descending spaces. (c) With no sharps or flats in the signature, do-mi-so is on the first line below, the first, and the second lines. The rules (a) and (6) are of lasting value when it is remembered that they apply equally to the bass clef and to various other clefs. The teacher, in assigning a song, should mention the page and the title, and sound do. The children should locate the tonic chord from the signature, 82 TEACHER'S MANUAL and think the pitch and name of the first tone by relating it with the tonic chord. Beginning with the first tone, the phrases and motives will consist of a joining, splicing, or interweaving of familiar figures. 3. Written Work Some teachers find a limited amount of written work of value in the fix- ing of staff pictures. This work should always deal with concrete ideas. The first step should consist of copying familiar phrases, motives, and figures. The second step should be the writing of these from memory. For the third step, the teacher may dictate an original phrase, consisting of familiar figures which the children will sing with syllables (as in ear training) and then write out in staff notation. Finally they may be encouraged to write out then- own musical inventions, which may consist of familiar figures rearranged and combined. V. DEVELOPMENT OF THE SYNTHETIC PROCESS 1. Reversing Former Analytical Process The new work is the process, already described, of reading new songs by synthetically blending familiar figures into new phrases. It is the reverse of the former analytical process. Song observation consisted of: 1. Learning words and melody by rote. 2. Singing with loo. 3. Recognition of phrase repetition. 4. Application of syllables. 5. Study of motives and figures. The new reading process consists of : 1. Scanning words of poem to get the rhythm. 2. Study of familiar figures. 3. Singing of familiar figures by syllables. 4. Study of separate phrases, observing phrase repetition. 5. Singing entire song with syllables, with loo, and with words. 2. Re-reading Familiar Songs It will be noted that the third-grade outline suggests that the first month's work should be a review of the songs of Chapters I and II, followed by read- ing the songs of Chapters VI and VII. In succeeding months Chapter VIII should be preceded by reviewing Chapter III, Chapter IX by Chapter IV, Chapter X by Chapter V. By this plan the study of each new chapter is preceded by the re-reading of a familiar chapter containing similar problems. THIRD GRADE — INTRODUCTION 83 The importance of this review in re-reading with syllables the familiar songs of Part One can hardly be overemphasized. In language reading the children gain facility in ready word recognition by frequently re-reading familiar stories. Just so, in the music work, they will acquire facility in tone thinking, in sensing rhythmic effects, and in the instant recognition of note groups representing musical ideas, by the frequent re-reading of familiar songs from the notation. The review of Part One of Book One is, therefore, of decided importance. 3. Reading New Songs Classified with Regard to Figure Content Because of the arrangement of the chapters of Part One and Part Two in pairs, Chapter I corresponding to Chapter VI, Chapter II to Chapter VII, etc., the type of prominent figures in the songs of each pair of chapters being the same, it is possible to establish a constant flow of associations between the familiar and the unfamiliar material. For those advanced schools where the assignments from Book One can be covered rapidly, additional material is provided in the Primary Song Book. It will be noted that the chapters in the Primary Song Book correspond in classification to those of Book One. 4. Reading Unclassified Songs By the time Part Three of Book One is reached the children will have had considerable experience in attacking an unfamiliar phrase, in getting at the musical thought represented by the symbols, and in giving it expression. Ready recognition of figures has been facilitated by independent ear and eye drills and by constant application in reading the songs of Part Two. In order to throw the child upon his own resources and initiative, the songs of Part Three, though chosen with regard to figure content, do not follow in organized succession. They are of the simplest character, as an analysis will readily show. For a more detailed discussion of the steps involved in learning to read a new song, the teacher is referred to the Introduction to trie Second Grade, page 41. By the close of the year every normal child should have learned to sing, and should be able to read the simple songs of Part Three of Book One at sight. The third-grade teacher should carefully study the outlines of the previous grades. Many valuable suggestions will be found which pertain to her work and which need not be repeated here. Third Grade — Monthly Outlines FIRST MONTH I. Rote Songs. Teach the following songs by rote: (a) The Firefly; Book One, page 136. Teacher's Manual, page 279. (6) Babyland; Book One, page 116. Teacher's Manual, page 252. (c) Our Friends the Shadows; Book One, page 130. Teacher's Manual, page 270. (d) Wee Willie Winkie; Book One, page 131. Teacher's Manual, page 272. The children should have books in hand while studying the rote songs of Book One, and should be encouraged to get as much from the notation as possible. 1 H. Sight Reading. The songs outlined under this heading are to be taken according to the directions given in the Outline for Second Grade, Ninth Month, Step II, page 66. (a) Book One, Chapters I and II. (Reviewed from Grade II.) (6) Book One, Chapters VI and VII. (Reviewed from Grade II.) (See Outline for Second Grade, Ninth and Tenth Months, for lists of familiar figures.) (c) For supplementary material, Primary Song Book, Chapter I. (New Work.) SECOND MONTH I. Rote Songs. Teach the following songs by rote as suggested in Outline for Third Grade, First Month. (a) The Lonely Wind; Book One, page 136. Teacher's Manual, page 278. (6) The Elves and the Shoemaker; Book One, page 116. Teacher's Manual, page 252. (c) Last Night; Book One, page 115. Teacher's Manual, page 250. (d) Benediction; Book One, page 132. Teacher's Manual, page 272. H. Sight Reading. See Outline for Second Grade, Ninth Month, Step II, page 66. (a) Book One, Chapter III. (Reviewed from Grade II.) (b) Book One, Chapter VIII. (New Work.) (c) For supplementary material, Primary Song Book, Chapter II. (New Work.) 1 See Teacher's Manual, page 76. 84 THIRD GRADE — MONTHLY OUTLINES 85 Analysis of Songs of Chapter VIII Sleepyhead; Book One, page 60. First phrase, the motive mi-re-mi-do (repeated) Second phrase, the familiar figures mi-so, so-la-so, and so-mi The familiar figures do-ti-la-so and fa-mi-re do-ti-do and do-re-mi-do Katydid; Book One, page 61. Teacher's Manual, page 222. The familiar figures mi-fa-so la-so so-fa-mi . so-fa-mi-re-do The Snail; Book One, page 61. Teacher's Manual, page 222. The familiar figures do-re-do do-so do-ti-do la_-ti-do-re-mi so-fa-mi-re mi-do so-fa-mi-re-do Air and Sunlight; Book One, page 62. Teacher's Manual, page 223. The first motive is made of spliced figures so-fa-mi mi-fa-so so-mi A new motive of ti-la-so so-ti (spliced) The familiar figures so-fa-mi-re-do do-so 86 TEACHER'S MANUAL To a River; Book One, page 62. Made of the familiar figures do-re-mi-fa so-mi so-fa-mi-re-do The Flowers' Friends; Book One, page 63. Teacher's Manual, page 223. The first motive so-so-mi-do is made of the familiar figure so-mi-do. The figure fa-la-so may require assistance; la-so is a derivative of so-la-so. The next phrase is a repetition. The next two phrases are made of the scale with repeated tones. Of Things You Can Buy; Book One, page 64. The familiar figures so-do do-re-do do-re-mi mi-fa-mi mi-so la-ti-do The other portions of the song are composed of derivatives in dia- tonic progressions. THIRD MONTH I. Rote Songs. As in previous months: (a) Thanksgiving Day; Book One, page 141. Teacher's Manual, page 284. (6) The Gingerbread Man; Book One, page 113. Teacher's Manual, page 248. (c) The Recipe; Book One, page 124. Teacher's Manual, page 264. (d) The Squirrel in the Snow; Book One, page 129. Teacher's Manual, page 269. II. Sight Reading. See Outline for Second Grade, Ninth Month, Step II, page 66. (a) Book One, Chapter IV. (Reviewed from Grade II.) (6) Book One, Chapter IX. (New Work.) (c) For supplementary materia], Primary Song Book, Chapter III. (New Work.) THIRD GRADE — MONTHLY OUTLINES 87 Analysis of Songs of Chapter IX Higgledy, Piggledy; Book One, page 65. Teacher's Manual, page 224. The familiar figures so-la-ti do-U-la so-la-ti-do The second phrase is a sequential repetition of the first. The third phrase is made of sequences mi-re-do fa-mi-re so-fa-mi The teacher may give help in joining these. The fourth phrase so-fa-mi-re do-ti-la so-la-ti-do consists of familiar figures. Signs; Book One, page 66. The first phrase consists of the familiar figures so-la-so so-fa-mi The second phrase is a sequential repetition, one step lower. The third phrase consists of the familiar figures so-mi fa-mi-re-do The Boat; Book One, page 66. Teacher's Manual, page 225. The familiar figures mi-fa-so fa-mi-re so-la-so do-re-mi re-mi-fa mi-re-d*<> T, M. Vol. 1—7 88 TEACHER'S MANUAL My Pony; Book One, page 67. Teacher's Manual, page 225. First phrase so-mi-re-mi mi-fa-so (spliced) Second phrase so-fa-mi (practically a sequential repetition of the first phrase) fa-so-la Third phrase ti-do-re-do la-so-fa-mi Fourth phrase mi-fa-so la-ti-do My Dolly's Name; Book One, page 68. All familiar figures so-fa-mi-re-do mi-re-do do-re-mi-fa mi-fa-so-la so-la-ii-do do-mi-re-do My Valentines; Book One, page 68. All familiar figures do-re-mi-fa so-la-so la-so-fa so-fa-mi mi-re-do Bee Song; Book One, page 69. Teacher's Manual, page 226. The figure re-so-do in the first phrase may require some study, although the intervals re-so and so-do are familiar. The other figures so-mi-do fa-mi-re so-fa-mi Note the recurring phrases. THIRD GRADE — MONTHLY OUTLINES 89 FOURTH MONTH I. Rote Songs. As in previous months: (a) The Clock; Book One, page 118. Teacher's Manual, page 255. (6) A Carriage to Ride In; Book One, page 123. Teacher's Manual, page 263. (c) O Christmas Tree; Book One, page 125. Teacher's Manual, page 265. (d) Strange Lands; Book One, page 120. Teacher's Manual, page 259. II. Sight Reading. See Outline for Second Grade, Ninth Month, Step II, page 66. (a) Book One, Chapter V. (Reviewed from Grade II.) (6) Book One, Chapter X. (New Work.) (c) For supplementary material, Primary Song Book, Chapter IV. (New Work.) Analysis of Songs of Chapter X Street Music; Book One, page 70. Teacher's Manual, page 226. The familiar figures mi-so fa-re mi-do so-mi re-so so-do do-re-ti-do At the Dance; Book One, page 71. Teacher's Manual, page 126. Note the repeated figures and the motives. mi-fa-so mi-re-do-mi re-ti-so do-ti-do-re-mi do-mi-re-ti-do 90 TEACHER'S MANUAL The Maypole Dance; Book One, page 72. Teacher's Manual, page 227. The familiar figures do-do-ti so-la-ti-do do-mi (last two are spliced) mi-do re-mi-fa re-ti do-mi-so re-ti-do Feeding the Flock; Book One, page 73. The familiar figures so-do do-mi-so so-mi-do fa-re-ti re-do-ti fa-mi-re Note that the last four tones of the first phrase, fa-re-ti-do, are identical with the last four tones of "The Maypole Dance," though differing rhythmically. The third phrase, though composed of familiar fig- ures and derivatives, may require some assistance from the teacher. The Rooster's Good Morning; Book One, page 74. Teacher's Manual, page 228. The first phrase consists of the following derivatives: mi-fa re-do do-so The intervals are familiar la-do ti-re Coasting; Book One, page 74. For the figure re-ti-so see Book One, pages 46 and 47. Third phrase la-do-fa-la, the subdominant-chord melody, should be taught by rote. Fourth phrase, the octave figure so-so (occurring four times). The other figures so-mi-do and do-re-do are familiar. THIRD GRADE — MONTHLY OUTLINES 91 Dancing Raindrops; Book One, page 75. Teacher's Manual, page 228. The familiar figures so-do do-so la-so ti-la-so fa-ti-do Teach by rote so-ti la-fa fa-la Teacher may help in connecting the two figures in the last phrase. Mistress Mary; Book One, page 76. Teacher's Manual, page 229. The familiar figures so-do do-so la-do do-la so-la-ti do-re-mi The motive Tni-re-do-la consists of the figures mi-re-do and do-la (spliced.) The next motive is do-la and so-mi (joined.) The fourth phrase may require the assistance of the teacher. The fifth is a repetition of the third. The sixth is made almost entirely of tonic chord intervals. Ant Tiny; Book One, page 77. A review of the succession of intervals of Fourths, found on page 56, will be helpful in the study of this song. Note that the motive, do-ti-fa-fa, is followed by its sequences, ti-la-mi-mi and la-so-re-re. December; Book One, page 78. The familiar figures do-re-mi mi-so fa-re mi-do Compare the succession of chord figures with those in "Kittens." 1 1 Book One, page 39; Teacher's Manual, page 211. 92 TEACHER'S MANUAL The Mill Wheel; Book One, page 78. Teacher's Manual, page 230. The familiar figures so-mi-do do-re-mi do-so do-mi ti-la-so re-do-ti mi-re-do Compare the dominant-chord figure re-ti-so with its appearance in the songs on pages 46, 47, and 74 of Book One, where it appears on lines instead of in spaces, as here. Song of Praise; Book One, page 79. The familiar figures so^do-mi mi-re-do do-so do-mi-so la-re fa-re do-re-do The third phrase is a sequential repetition of the first phrase, one step higher. Although the intervals of the opening figure of this phrase have occurred before, the reading of the phrase will be simplified by- considering its sequential relation with the first phrase. A Song Without Words; Book One, page 80. Teacher's Manual, page 231. Compare the figure mi-so-do-mi with "Bubbles," Book One, page 9. 1 The dominant chord figure, re-ti-so, should now be familiar. Other familiar figures are: do-so-do-mi mi-re-do-ti-la ti-so mi-do-re-mi re-do (or mi-re-do) 1 Teacher's Manual, page 189. THIRD GRADE — MONTHLY OUTLINES 93 FIFTH MONTH I. Rote Songs. As in previous months: (a) Happy New Year; Book One, page 129. Teacher's Manual, page 270. (6) The Birds' Breakfast; Book One, page 115. Teacher's Manual, page 250. (c) Winter Roses; Book One, page 133. Teacher's Manual, page 274. (d) A Frown and a Smile; Book One, page 135. Teacher's Manual, page 276. II. Sight Reading. (a) A general review of Book One, Parts One and Two. The distractions of the Thanksgiving and Christmas holidays, and the time con- sumed in the preparation of exercises and special songs for these occasions, will probably interfere with the satisfactory completion of the work outlined for the third and fourth months. By devoting the fifth month largely to review, not only will the children be better prepared to undertake the new type of technical study of the second half of the year, but they can also make up any work omitted during the holiday season. (b) For supplementary material, Primary Song Book, Chapter V. (New Work.) SIXTH MONTH I. Rote Songs. As in previous months: (a) Saint Valentine's Day; Book One, page 114. Teacher's Manual, page 249. (b) The New Soldiers; Book One, page 117. Teacher's Manual, page 254. (c) Hidden Treasures; Book One, page 137. Teacher's Manual, page 280. (d) America; Book One, page 142. Teacher's Manual, page 285. n. Sight Reading. From this time forward the class and individuals should read all the songs outlined without assistance from the teacher, except in scanning the poem to get the rhythmic movement. (a) Book One, pages 81-86. (6) Primary Song Book, Part Two, for supplementary material. Note. The teacher and children should, by this time, have become so thoroughly imbued with the idea of reading by figures, motives, and phrases, that it seems un- necessary to analyze the songs of Part Three in detail. 94 TEACHER'S MANUAL SEVENTH MONTH I. Rote Songs. As in previous months: (a) The Pussy Willows; Book One, page 126. Teacher's Manual, page 266. (6) See, Saw, Sacradown; Book One, page 121. Teacher's Manual, page 261. (c) Dance, Dance Baby; Book One, page 130. Teacher's Manual, page 271. (d) A Riddle; Book One, page 135. Teacher's Manual, page 277. II. Sight Reading (a) Book One, pages 87-93. (b) Primary Song Book, Part Two, for supplementary material. EIGHTH MONTH I. Rote Songs. As in previous months: (a) The Robin; Book One, page 138. Teacher's Manual, page 281. (b) I'll Tell You a Story; Book One, page 114. Teacher's Manual, page 249. (c) Creep, Mouse, Creep; Book One, page 124. Teacher's Manual, page 264. (d) Lullaby; Book One, page 122. Teacher's Manual, page 262. II. Sight Reading (a) Book One, pages 94-100. (b) Primary Song Book, Part Two, for supplementary material. NINTH MONTH I. Rote Songs. As in previous months: (a) Old Chang, the Crab; Book One, page 127. Teacher's Manual, page 268. (6) A Baby Sermon; Book One, page 118. Teacher's Manual, page 254. (c) The Caterpillar and the Bee; Book One, page 134. Teacher's Man- ual, page 275. (d) Farmyard Song; Book One, page 140. Teacher's Manual, page 283. II. Sight Reading (a) Book One, pages 101-107. (6) Primary Song Book, Part Two, for supplementary material. THIRD GRADE — MONTHLY OUTLINES 95 TENTH MONTH I. Rote Songs. As in previous months: (a) Summer Song; Book One, page 119. Teacher's Manual, page 258. (6) Making the Hay; Book One, page 132. Teacher's Manual, page 273. (c) What I Like; Book One, page 139. Teacher's Manual, page 282. (d) Wah-wah-tay-see; Book One, page 127. Teacher's Manual, page 267. II. Sight Reading (a) Book One, pages 108-112. (b) Primary Song Book, Part Two, for supplementary material. Special Introductory Outline for Second Grade The following outline is offered for schools which are introducing the Pro- gressive Music Series into the second grade. It covers in condensed form the most essential features of the first-grade work as well as those of the first half of the second grade. By following this Special Introductory Outline for the first five months of the second grade, the children should then be able to continue their work from the regular outline. It is, of course, expected that the teacher will read carefully the Introduction and the regular outlines for first and second grades. FIRST MONTH I. Rote Songs. Teach the following songs by rote: (a) Three Little Heads; Teacher's Manual, page 150. (6) The Grasshopper's Ball; Teacher's Manual, page 152. (c) Swing Song; Teacher's Manual, page 153. n. Observation Songs. The songs of Book One, Chapter I, are to be studied in the several ways outlined below. (a) Learning the songs by rote. See outline for First Grade, First Month, page 28. (6) Singing with neutral syllables. See outline for First Grade, Sixth Month, page 30. (c) Recognition of phrase repetition. See outline for First Grade, Sixth Month. (d) Application of syllables. See outline for First Grade, Sixth Month. Also see outline for First Grade, Eighth Month, page 31. (e) Study of motives and figures. See regular outline for Second Grade, First Month, page 43. SECOND MONTH I. Rote Songs. Teach the following songs by rote: (a) One Misty, Moisty Morning; Teacher's Manual, page 154. (6) Chrys Anthemum; Teacher's Manual, page 155. (c) Windy Nights; Teacher's Manual, page 156. n. Observation Songs. The songs of Book One, Chapter II, are to be studied in the several ways outlined under First Month, Step II. See regular outline for Second Grade, Second Month, page 45. 96 SECOND GRADE — SPECIAL INTRODUCTORY OUTLINE 97 THIRD MONTH I. Rote Songs. Teach the following songs by rote: (a) Rock-a-bye, Hush-a-bye, Little Papoose ; Teacher's Manual, page 157. (b) Eatings; Teacher's Manual, page 161. (c) Bedtime; Teacher's Manual, page 158. II. Observation Songs. The songs of Book One, Chapter III, are to be studied in the several ways outlined under First Month, Step II. See regular outline for Second Grade, Third Month, page 48. FOURTH MONTH I. Rote Songs. Teach the following songs by rote: (a) Kris Kringle's Song; Teacher's Manual, page 160. (b) Sing a Song of Sixpence; Teacher's Manual, page 164. (c) The Jolly Holly Farm; Teacher's Manual, page 166. II. Observation Songs. The songs of Book One, Chapter IV, are to be studied in the several ways outlined under First Month, Step II. See regular outline for Second Grade, Fourth Month, page 50. FIFTH MONTH I. Rote Songs. Teach the following songs by rote: (a) Icicles and Bicycles; Teacher's Manual, page 165. (6) The Song of the Wind; Teacher's Manual, page 163. (c) If; Teacher's Manual, page 168. II. Observation Songs. The songs of Book One, Chapter V, are to be studied in the several ways outlined under First Month, Step II. See regular outline for Second Grade, Fifth Month, page 53. SIXTH TO TENTH MONTHS (INCLUSIVE) Follow the regular Second Grade outlines for these months. Special Introductory Outline for Third Grade The following outline is offered for schools which are introducing the Pro- gressive Music Series into the third grade. It covers in condensed form the most essential features of the first- and second-grade work. By follow- ing this Special Introductory Outline for the first five months of the third grade, the children should then be able to continue their work from the regu- lar outline. It is, of course, expected that the teacher will read carefully the Introduction and the regular outlines for the first, second, and third grades, FIRST MONTH I. Rote Songs. Teach the following songs by rote: (a) The Firefly; Book One, page 136. Teacher's Manual, page 279. (6) Babyland; Book One, page 116. Teacher's Manual, page 252. (c) Our Friends the Shadows; Book One, page 130. Teacher's Manual, page 270. (d) Wee Willie Winkie; Book One, page 131. Teacher's Manual, page 272. The children should have books in hand while studying the rote songs of Book One, and should be encouraged to get as much from the notation as possible. 1 II. Observation Songs. The songs of Book One, Chapter I, are to be studied in the several ways outlined below. (a) Learning the songs by rote. Books should be in the hands of the children. See regular outline for Third Grade, First Month, page 84. (o) Singing with neutral syllables. See outline for First Grade, Sixth Month, page 30. (c) Recognition of phrase repetition. See regular outline for First Grade, Sixth Month, and for Second Grade, Sixth Month, page 56. Having learned the songs with books in hand, the presentation of notation from the board may be omitted. This does not refer to the eye-training drills in figure recognition, which should be as thorough as possible. (d) Application of syllables. See outline for First Grade, Sixth Month. (e) Study of motives and figures. See regular outline for Second Grade, First Month, page 43. Note. In introducing the Progressive Music Series into the third grade for the first time, it seems advisable to conduct the ear- and eye-training studies simultane- ously, thereby immediately relating the two. Each of the steps outlined above, therefore, should be conducted with the books in the hands of the children. 1 See Teacher's Manual, page 76. THIRD GRADE — SPECIAL INTRODUCTORY OUTLINE 99 In step (e), the figures are first discovered in the songs that the children are studying by rote. They are separated from their context for drill in ear training. They are then shown in notation for drill in eye training. An analysis of the songs by motives and figures will be found in the regular Monthly Outlines for the Second Grade. The summary of figures for ear-training drill is given at the close of the second-grade outline, page 70. Tables of figures in music notation for eye training drill will be found on pages 57, 58, and 60. By simultaneously drilling the children in these several ways, an immediate coordination between the ear and eye will be established. It is important that each figure should be shown in the notation of various keys, as given in the tables of figures in music notation. in. Song Studies. The songs of Book One, Chapter VI, are to be studied as outlined below. In case the class is not able to complete this chapter in the time specified, the teacher should nevertheless pro- ceed to the next month's outline. The omitted material may be made up some time during the second half of the year. First Reading of New Songs. See regular outline for Second Grade, Ninth Month, page 66. SECOND MONTH I. Rote Songs. Teach the following songs by rote as suggested in the out- line for Third Grade, First Month, page 84. (a) The Lonely Wind; Book One, page 136. Teacher's Manual, page 278. (6) The Elves and the Shoemaker; Book One, page 116. Teacher's Manual, page 252. (c) Last Night; Book One, page 115. Teacher's Manual, page 250. (d) Benediction; Book One, page 132. Teacher's Manual, page 272. II. Observation Songs. The songs of Book One, Chapter II, are to be studied in the several ways outlined under First Month, Step II.- See regular outline for Second Grade, Second Month, page 45; Sum- mary of Figures, page 70; and Table of Figures on page 58. Also see note under First Month of Special Introductory Outline for Third Grade. HI. Song Studies. The songs of Book One, Chapter VII, are to be studied as outlined below. See outline for First Month, Step III. First Reading of New Songs. See regular outline for Second Grade, Tenth Month, page 68. 100 TEACHER'S MANUAL THIRD MONTH I. Rote Songs. As in previous months: (a) Thanksgiving Day; Book One, page 141. Teacher's Manual, page 284. (o) The Gingerbread Man; Book One, page 113. Teacher's Manual, page 248. (c) The Recipe; Book One, page 124. Teacher's Manual, page 264. {d) The Squirrel in the Snow; Book One, page 129. Teacher's Manual, page 269. II. Observation Songs. The songs of Book One, Chapter III, are to be studied in the several ways outlined under First Month, Step II. See regular outline for Second Grade, Third Month, page 48; Sum- mary of Figures, page 70; and Table of Figures on page 59. Also see note under First Month of Special Introductory Outline for Third Grade. m. Song Studies. The songs of Book One, Chapter VIII, are to be studied as outlined below. See outline for First Month, Step III. First Reading of New Songs. See regular outline for Third Grade, Second Month, page 84. FOURTH MONTH I. Rote Songs. As in previous months: (a) The Clock; Book One, page 118. Teacher's Manual, page 255. (6) A Carriage to Ride in; Book One, page 123. Teacher's Manual, page 263. (c) Christmas Tree; Book One, page 125. Teacher's Manual, page 265. (d) Strange Lands; Book One, page 120. Teacher's Manual, page 259. II, Observation Songs. The songs of Book One, Chapter IV, are to be studied in the several ways outlined under First Month, Step II. See regular outline for Second Grade, Fourth Month, page 50; Sum- mary of Figures, page 70; and Table of Figures on page 60. Also see note under First Month of Special Introductory Outline for Third Grade. HI. Song Studies. The songs of Book One, Chapter IX, are to be studied as outlined below. See outline for First Month, Step III. First Reading of New Songs. See regular outline for Third Grade, Third Month, page 86. THIRD GRADE — SPECIAL INTRODUCTORY OUTLINE 101 FIFTH MONTH I. Rote Songs. As in previous months: (a) Happy New Year; Book One, page 129. Teacher's Manual, page 270. (6) The Birds' Breakfast; Book One, page 115. Teacher's Manual, page 250. (c) Winter Roses; Book One, page 133. Teacher's Manual, page 274. (d) A Frown and a Smile; Book One, page 135. Teacher's Manual, page 276. IT. Observation Songs. The songs of Book One, Chapter V, are to be studied in the several ways outlined under First Month, Step II. See regular outline for Second Grade, Fifth Month, page 53; Sum- mary of Figures, page 70; and Table of Figures on page 63. Also see note under First Month of Special Introductory Outline for Third Grade. III. Song Studies. The songs of Book One, Chapter X, are to be studied as outlined below. See outline for First Month, Step III. First Reading of New Songs. See regular outline for Third Grade, Fourth Month, page 89. SIXTH TO TENTH MONTHS (INCLUSIVE) Follow the regular Third Grade outlines for these months. PAET THREE FOLK DANCES AND SINGING GAMES General Suggestions The use of folk dances and singing games is increasing in favor in the schools of this country. It has been found that in addition to their recrea- tional value, they contribute directly to the child's rhythmic development. The inclusion of folk dances and singing games in this Manual is intended to aid the teacher in relating the physical experience of the dance with the mental experience of the singing lesson. It will be noted that in the directions for the dances the same emphasis is placed upon the phrase as a rhythmic unit as is done in the study of the songs of the course. The usual procedure in the development of rhythm in school music has been to treat the subject as an intellectual problem, or from the mathematical standpoint. This procedure has involved the counting of beats in an effort synthetically to build measures, and from measures to build phrases. While this plan is proper, and, indeed, essential in the Associative Period of the child's development, the Sensory Period is a time when he should be brought into contact with the physical sensation of rhythm. The Progressive Music Series aims, in every possible way, to lead the child to recognize the phrase as the first rhythmic unit. In the folk dance the child has an action to perform, and the phrases of the dance melody indicate the points at which the dance figures are to begin and end. The rhythm of the phrase is associated with the dance figure, while the rhythm of the measure suggests the steps to be used. The relation of the steps and gestures of the dance to the measure and its parts (the beats and their subdivisions) offers a concrete basis for the intel- lectual appreciation of the smaller rhythmic units. The children should be led to discover points of similarity between the rhythms of the folk dances and the rhythms of their song studies. Thereby rhythmic notation may be made more concrete. The teacher should read the section on Rhythmic Development, Part One of this Manual, page 19. See also Rhythmic Development in the Introduc- tion to the Outline for Second Grade, page 36, and Rhythmic Development, Introduction to Outline for Third Grade, page 76. T. M. Vol. 1—8 103 104 TEACHER'S MANUAL Fourteen folk dances, with directions, are given in this Manual. It is sug- gested that they be apportioned to the first three grades as shown below : First Grade The Chimes of Dunkirk Dance of Greeting Children's Polka Lassies' Dance Lottie is Dead Shoemakers' Dance Bleking I See You Second Grade The Water Sprite Gustave's Toast Third Grade The Ace of Diamonds Mountain March Clap Dance Tantoli The directions for the folk dances are given according to the phrases of the dance melody. The several phrases of the melody are indicated by letters. The first phrase is lettered a. If the same phrase occurs more than once, the several appearances are named a 1 , a 2 , etc. The second phrase is called b, the third c, etc., and the repetitions of these phrases are indicated by numbers. A modified repetition of a phrase is indicated by a small letter m, thus, a and a m . Book One offers a number of singing games. It is suggested that they be taken at suitable times in the grades specified below. It will be observed that this outline does not conform to the outlines for song- study purposes. The study of the notation of these songs must be outlined according to the musical problems involved. The difference in the two outlines need cause no difficulty. The fact that a singing game has been learned by rote before the time for the study of its notation merely changes the classification of the type of study to be given to its notation from Song Study or Sight Reading to Note Observation. For the information of the teacher the place of the song in the regular outline is noted in each case. First Grade Ring a Ring o i Roses; Book One, page 12. Teacher's Manual, page 193. (First Grade, Third Month.) The Holiday; Book One, page 15. Teacher's Manual, page 195. (First Grade, Fourth Month.) FOLK DANCES AND SINGING GAMES . 105 The Mulberry Bush; Book One, page 21. Teacher's Manual, page 199. (First Grade, Fifth Month.) The Farmer; Book One, page 55. Teacher's Manual, page 220. (Second Grade, Tenth Month.) Oats and Beans; Book One, page 91. Teacher's Manual, page 236. (Third Grade, Seventh Month.) Second Grade In Wooden Shoes; Book One, page 44. Teacher's Manual, page 214. (First Grade, Tenth Month.) Will You Come With Me; Book One, page 48. Teacher's Manual, page 217. (First Grade, Tenth Month.) Dancing Song; Book One, page 93. Teacher's Manual, page 127. (Third Grade, Seventh Month.) London Bridge; Book One, page 95. Teacher's Manual, page 238. (Third Grade, Eighth Month.) Third Grade At the Dance; Book One, page 71. Teacher's Manual, page 126. (Third Grade, Fourth Month.) The Maypole Dance; Book One, page 72. Teacher's Manual, page 227. (Third Grade, Fourth Month.) In the following directions, " Formation " means the position to be taken before beginning a dance. In forming a single circle, the dancers should face toward the center unless other directions are given. In forming a double circle, the direction for facing will always be given. A double circle, or two circles, means that one circle is inside the other, the same number of dancers in each circle. A boy's place is at the left of the girl. In most folk dances the boy's bow is made with feet together and knees straight, the bend coming at the waist. The girl's bow may be either the bob curtsey or the curtsey. In making the bob curtsey, the girl places one foot close behind the other, bending both knees, at the same time rising on the toes. In making the curtsey, the girl steps back with one foot and then draws the other back to it, making a deep bow. When not otherwise in use, the hands should be on the hips. 106 TEACHER'S MANUAL Directions for Folk Dances 1 THE CHIMES OF DUNKIRK (Scotch Folk Dance) Formation. In double circle, facing partner, hands on hips. (a) Stamp three times. (a m ) Clap three times. (6) Join hands with partner and take four running steps in place, begin- ning with the left foot. (c) Loosen partner's hands and each take four running steps to the left to meet new partner. It will be observed that this dance tune is the same melody as " The Fright- ened Pumpkin," Book One, page 83. Although written in a different meter, the dance tune may be used as an accompaniment to the song, or the children may sing the song as an accompaniment to the dance. DANCE OF GREETING (Danish Folk Dance) Formation. Form circle, partners standing side by side, facing toward the center of the circle, (a) Measure 1. Bow to your partner. Measure 2. Bow to your neighbor. (6) Clap, stamp, and turn around. During the repeat of a and b the dancers repeat the figures given, then all join hands around the circle, (c and c m ) Facing to the left and beginning with the left foot, all slide to the left. During the repeat of Phrases c and c m , without pausing, all face the other way and slide to the right. CHILDREN'S POLKA Folk Dance Formation. Form circle. Face partner, side to center, hands joined, shoulders high. (a) Measures 1 and 2. Two slides toward center and stamp three times. Measures 3 and 4. Two slides back to place and stamp three times. 1 The music for these folk dances will be found on pages 119-125 of this Manual. FOLK DANCES AND SINGING GAMES 107 (a m ) Repeat the figures given for phrase a. (b) Measures 9 and 10. Slap thighs, clap own hands once, clap partner's hands three times. Measures 11 and 12. Repeat slap and claps. (c) Measure 13. Right elbow in left hand, shake finger of right hand, right toe pointing outward. Measure 14. Same figure as for previous measure, but with left hand and foot. Measures 15 and 16. Snap fingers over head while turning in place , with three running steps to the left, then stamp three times with hands on hips. LASSIES' DANCE Kull-Dansen (Swedish Folk Dance) Formation. Single circle, partners facing each other, sides toward center of circle, hands on hips. (a 1 ) Measure 1. Place inside toe forward, turn and bow to neighbor. Measure 2. Without taking feet from the floor, turn and bow to partner. (b 1 ) Repeat figure for Phrase a 1 . (a 2 ) Repeat figure for Phrase a>. (6 2 ) Repeat figure for Phrase a 1 . Finish facing partner, (c and c m ) Dance twelve kicking steps in place, beginning with the left foot, three steps to each measure. (d) Clap own hands, join hands with partner and turn in place with three running steps. LOTTIE IS DEAD Ladita (Swedish Folk Dance) Formation. Form a circle with partners facing, sides toward center of circle, hands joined, shoulders high, (a) Four slow slides to center. (6) Seven quick jumps back to place. These two figures are repeated, (c and c m ) Partners place hands on hips and shoulders. Hop-waltz around circle. (Step and hop on one foot, raising the other.) 108 TEACHER'S MANUAL SHOEMAKERS' DANCE (Danish Folk Dance) Formation. Partners form double circle, facing each other. (a) Measure 1. Winding thread. With fists tightly clenched in front of chest, revolve them around each other as rapidly as possible. Measure 2. Without pausing, reverse movement. (6) Measure 3. Waxing thread. Jerk elbows back quickly and vigor- ously twice, at the same time lifting left knee and saying, "sss, sss." Measure 4. Pegging. With fists clenched, strike the left with the right three times, saying, "Rap, rap, rap." These figures are repeated, (c and d) Partners join hands and skip around circle; or, with inside hands joined and outside hands on hips, polka around circle. This figure is repeated. BLEKING (Swedish Folk Dance) (Bleking is the name of one of the most beautiful provinces of Sweden.) Formation. Double circle, partners facing each other. (a 1 ) Measure 1. Take partner's hands; hop on right foot and left heel. extending left foot and arm. Change feet and arms. Measure 2. Three hops, twice as quickly as in measure 1, finishing with a hop on right foot and left heel. (6) Repeat the figures for Phrase a 1 , reversing the feet, and ending with a hop on the left foot and the right heel. (a 2 ) Repeat figures for Phrase a 1 . (b m ) Repeat figures for Phrase b. (c\ d, c 2 , d m ) Place hands on hips and shoulders and hop- waltz around circle. I SEE YOU (Swedish Singing Game) Formation. Children form in two double lines, about six feet apart, the double lines facing each other. Children in the front row of each double line place hands on hips; those in the rear row of each double line place hands on the shoulders of the children in front of them. (a 1 ) Measure 1. Children of rear rows lean heads to the left, peeping across at the children opposite. Measure 2. The same figure reversed, peeping from the right. FOLK DANCES AND SINGING GAMES 109 (6) Repeat the figures of Phrase a 1 twice as quickly, peeping four times instead of two. (a 2 and b m ) Repeat the figures for a 1 and b. (c 1 and d) At the first note of c 1 , all clap hands sharply once. At the same time the children of the rear rows spring forward to the left of their partners and, each grasping the hands of the child advancing from the opposite side, swing vigorously around to the left. (c 2 and d m ) All clap hands again, then, grasping partners' hands, swing around to the left. At the end, the original formation is resumed, but the children who were in the front row are now in the rear, and vice versa. When given as a singing game, the following words are sung: I see you, I see you, Tra, la, la, la, la, la, la, la; I see you, I see you, Tra, la, la, la, la, la! You see me and I see you, Then you take me and I'll take you; You see me and I see you, Then you take me and I '11 take you. THE WATER SPRITE Nigarepolskan (Swedish Folk Dance) Formation. A single circle, arms akimbo. (a and a m ) One or more, according to the size of the circle, advance to lure partners, using a slide and hop. (Hop and slide one foot forward, then hop and slide the other foot.) As soon as the leader stops in front of a person, this person should begin the sliding step. (The leader begins the slide with the left foot, those in the oircle with the right foot, so that the sliding is all in the same direction.) (b and c) At first note of Phrase c the leader claps his hands and turns. The invited dancer places both hands on the leader's shoulders, and together they proceed to find another partner, using a running step. The same action is repeated for the repetition of Phrases b and c. As the line grows longer care should be taken that all jump and clap together. To finish, all lines join in one big circle and dance around the room. 110 TEACHER'S MANUAL GUSTAVE'S TOAST Gustafs Skal (Swedish Singing Game) Formation. Four couples stand in a square, as in a quadrille. There may be any number of sets. Partners join inside hands, outside hands on hips, (a) Beginning with the right foot, the head couples advance three steps toward each other and bow. (6) Beginning with the left foot, the dancers retire to their places with three walking steps, then bring heels together. (a m and c) Side-couples repeat the same figures as for Phrases a and b. This portion of the dance is then repeated. Up to this point the dance is conducted with great dignity. (d 1 and d m ) The head couples, skipping gayly, advance toward each other. Partners release hands and, taking the hands of the opposite dancer, separate, the boy going toward the left and the girl toward the right. The couples pass under the arches made by the side couples, who raise high their joined hands. Immediately after passing under the arch the dancers separate to right and left, returning to their partners in their original positions. (d 2 and e) Still skipping, the dancers clap their own hands once, then, joining hands with partners, lean away from each other and swing around vigorously. To the repetition of the music of Phrases d 1 , d m , d 2 , and e, the side couples repeat the figures danced by the first couples. Emphasis should be laid upon the stateliness of the first part of the dance, as contrasted with the lightness and jollity of the second part. THE ACE OF DIAMONDS (Danish Folk Dance) Formation. Double circle, partners facing, those inside with backs to center of circle, (a) All dancers clap hands sharply once. Immediately hook right elbow with partner's, and, starting with left foot, run to left, swinging into an exchange of positions with partner. (a m ) Repeat the figure for Phrase a, running in opposite direction and swinging back into original position. FOLK DANCES AND SINGING GAMES 111 (6) Arms folded, outside dancer follows partner to center with four hop- ping steps, the inside dancer moving backward. (b m ) Repeat the figure for Phrase b, moving from center of circle back into original position. (c and c m ) Partners turn so as to stand side by side. Polka around the circle. MOUNTAIN MARCH (Norwegian Folk Dance) Formation. Form in groups of three, one leading and two following. The leader holds a handkerchief in each hand, the followers each grasp a handkerchief with the outside hand, joining the inside hands. (a and b) Beginning with the right foot, all run forward, taking three run- ning steps to each measure, accenting the first count of each meas- ure with a stamp, (c) Measures 9 and 10. The leader, bending forward, runs backward three steps, passing under the arms of the other two, then continues running three steps in place. Measures 11 and 12. The dancer to the right of the leader, with six short running steps, crosses in front of the leader and turns inward once around in place under the leader's right arm. (b m ) Measures 13 and 14. The dancer to the left of the leader, with six short running steps, crosses in front of the leader and turns around once under the leader's right arm. Measures 15 and 16. The leader, with six short running steps, turns to right under his own right arm. CLAP DANCE Klappdans (Swedish Folk Dance) Formation. Double circle, boys inside; partners join hands. (a 1 , b, a 2 , and b m ) Beginning with the outside foot, take three running steps and a kick to each measure (polka step). The second measure starts with the inside foot. When starting with the outside foot, the dancers turn slightly toward each other and swing the joined hands backward. When starting with the inside foot, the dancers turn away from each other and swing the joined hands forward. Continue dancing and swinging, alternating the feet with each measure. This portion of the dance is repeated. 112 TEACHER'S MANUAL (c 1 ) Measure 9. Face partners, hands on hips. Girls bob curtsey, boys bow. Measure 10. Clap own hands three times. (c 2 ) Repeat bows and claps. (d) Measure 13. Clap own hands once, then partners clap right hands. Measure 14. Clap own hands once, then partners clap left hands. (e) Measure 15. Clap own hands, snap fingers, turn entirely around to left in place. Measure 16. Stamp three times. Repeat c 1 and c 2 . At the repetition of d, measure 13, instead of clapping, shake fore- finger of right hand at partner. At the repetition of d, measure 14, shake the forefinger of left hand at partner. In shaking the finger of the right hand, the right elbow should be supported by the left hand. In shaking the left forefinger, the left elbow should rest in the right hand. The repetition of Phrase e should be danced to the same figures as at the first appearance of the phrase. TANTOLI (Swedish Folk Dance) Formation. Double circle, boys inside, partners' inside hands joined, outside hands on hips. (a) Measure 1. Beginning with the outside foot, both place the heel forward, at the same time bending slightly backward. Then place the outside foot backward so that the toe touches the floor, at the same time bending slightly forward. Measure 2. Slide the outside foot forward, bring the other foot up to it, then again slide the outside foot forward. (b) Repeat the dance figures for Phrase a, beginning with the inside foot. Repeat Phrases a and b to the same dance figures. (c) Girls' hands on boys' shoulders; each boy takes his partner by the waist with both hands. Beginning with forward foot extended, toe straight, knee stiff, — Measure 5. Take four step-hops in place. Measure 6. Take four step-hops to left, reversing position of partners. (d) Measure 7. Take four step-hops in place. Measure 8. Return to original position by three step-hops to the left, bringing the feet together on the last beat. Repeat Phrases c and d to the same dance figures. FOLK DANCES AND SINGING GAMES 113 Directions for Singing Games RING A RING O' ROSES (Book One, page 12. Teacher's Manual, page 193) Formation. A single circle, hands joined. Circle moves to the right, with sliding step. At the word, "down," all fall to the floor. THE HOLIDAY (Book One, page 15. Teacher's Manual, page 195) First Stanza. Form a circle and skip around to the right. Hands joined. Second Stanza. Drop hands and pretend to skip the rope. Throw the rope high over head, bringing it down so as to jump on the first count of each measure. Repeat song and action of first stanza. Third Stanza. Pretend to be fishing. At the end of second and fourth phrases, jerk the rod out of the water as though a fish had been caught. Repeat song and action of first stanza. Fourth Stanza. Partners join hands, skating position, right hand in right and left hand in left. Beginning with left foot, glide forward in imitation of skating. Do not lift the feet from the floor. Repeat song and action of first stanza. Fifth Stanza. Seated at the desks, the children move their legs up and down in imitation of the motions of riding a bicycle. Repeat song and action of first stanza. The song may be continued indefinitely by the addition of other activities, with suitable words. Care should be taken that the movements are rhythmical. THE MULBERRY BUSH (Book One, page 21. Teacher's Manual, page 199) The players form a circle. While singing the first stanza the circle moves slowly to the right, the children stepping in time to the music. In all stanzas, at the words, "So early in the morning," the players spin around rapidly, each in his own place. The stanzas are all done in pantomime, the action being indicated by the lines. The first stanza of the song may be repeated after each of the other stanzas. 114 TEACHER'S MANUAL THE FARMER (Book One, page 55. Teacher's Manual, page 220) Form a single circle. During the singing of the first, third, and fifth stanzas of the song the children move slowly around the circle, both hands on hips. Second Stanza. Grain is taken with the right hand from the bag held under the left arm. The right arm is swung to the right, and, at the word, "sows," the grain is scattered with a strong swing of the arm from right to left. Fourth Stanza. The players lean slightly forward, swinging both arms to the right, then, with accented swing, cut to the left while singing the word " reaps." Sixth Stanza. Swing both hands from right to left, first upward and then downward, in imitation of flail. OATS AND BEANS (Book One, page 91. Teacher's Manual, page 236) When played as a game, the following stanzas should be added. 3. Waiting for a partner, Waiting for a partner, Open the ring and choose one in While all the others dance and sing. 4. Tra, la, la, la, la, la, la, Tra, la, la, etc. First Stanza. Children form a circle with hands joined, and dance to the left around one child in the center who has been chosen to represent the farmer. Second Stanza. First phrase. Drop hands. Sow the seed from a sack held under the left arm by a swinging motion of the right hand from right to left. Second phrase. Stand erect and fold arms. Third phrase. Stamp foot and clap hands. Fourth phrase. Place right hand to brow and turn entirely around in place, viewing the fields. Third Stanza. Join hands again and circle around, singing, "Waiting for a partner." At the words, "Open the ring and choose one in," the farmer in the center chooses a partner from the circle. FOLK DANCES AND SINGING GAMES 115 Fourth Stanza. The children in the circle stand still, clapping and singing as the two in the center dance around inside the circle. At the end of each stanza the child who took the part of the farmer at the begin- ning of the stanza retires to the circle, and the other child becomes the farmer. IN WOODEN SHOES (Book One, page 44. Teacher's Manual, page 214) Formation. A single circle, hands joined, children standing as far apart as possible. The fun of the dance lies largely in the clapping of the wooden shoes which the dancers must wear. First Stanza. Beginning with the left foot, the shoe is brought down on the floor with a sharp clap on the first count of each measure, the free foot swinging in front of the other, the feet alternating on each meas- ure through the first three phrases and the first measure of the fourth phrase. On the word, " tapping," second measure of the fourth phrase, the right and left feet are brought together with two sharp claps, bodies erect. Fifth phrase. Beginning with the left foot, the dancers run toward the center of the circle with six short steps. The third and fourth measures of the fifth phrase are danced to the same figure as the first phrase of the song. Sixth phrase. Beginning with the left foot, the dancers run backward to their original positions with six short steps. The last two measures of this phrase are danced to the same figure as the fourth phrase. Second Stanza. First phrase. Release hands and turn to partner. The boys bow, the girls bob curtsey. Second phrase. Partners facing each other, sides to center of circle, hands on hips. Stand erect until the words, "one, two, and three," when, beginning with the right foot, three sharp claps are made in time to the words. Third phrase. Again joining hands and beginning with the left foot, the remaining figures of the dance are a repetition of the same phrases of the first stanza. WILL YOU COME WITH ME (Book One, page 48. Teacher's Manual, page 217) Directions for this game, with additional stanzas, will be found on page 217 of this Manual. 116 TEACHER'S MANUAL DANCING SONG (Book One, page 93. Teacher's Manual, page 127) Formation. A single circle. First phrase. Clap hands three times. Second phrase. Devitalize wrist and shake loosely. Third and fourth phrases. All join hands and skip in a ring. If desired, this figure may be varied by couples joining hands and whirling in a circle. Fifth phrase. " Bending lightly." Take position for bowing; girls with skirts spread and boys with heels together. "Bow politely." Girls curtsey, boys bow. Sixth phrase. Resume upright position, ready to begin again. LONDON BRIDGE (Book One, page 95. Teacher's Manual, page 238) Choose two of the tallest players to represent the bridge. These face each other, clasping hands high over their heads to form an arch. The re- maining children form a line, one behind the other, each player hold- ing to the dress or with hands on the hips of the one in front. While singing, the line passes under the arch. At the words, "With a gay ladye," the two keepers of the bridge let their arms fall, catching which- ever player happens to be passing under. The keepers privately agree which is to represent gold and which silver. The child caught is questioned in a whisper, "Do you choose gold or silver?" After making the decision, the child stands behind the keeper he has chosen, and when all the children have been caught the game ends in a tug of war between the two sides. AT THE DANCE (Book One, page 71. Teacher's Manual, page 126) First Stanza. First phrase. The girls may be in their seats or standing upon the floor in a straight line. Each boy advances to his partner, singing the words of the first phrase and, with a bow, inviting her to dance. Second phrase. Girls sing the second phrase, accepting the invitation with a low curtsey. Third and fourth phrases. Both singing, the boy takes the girl's left hand in his right and leads her to the circle, where all drop hands. FOLK DANCES AND SINGING GAMES 117 Second Stanza. First phrase. All singing. Bow to partner. Second phrase. Bow to neighbor. Third phrase. First two measures. Slide right foot forward. Second two measures. Lift foot and point toe. Fourth phrase. First two measures. Slide left foot forward. Second two measures. Slide right foot, then left foot, then bring both feet together. Third Stanza. Face partner, the girls all facing in one direction, the boys in the other direction. Beginning by giving right hand to partner, walk around the circle, alternating right and left hands, until the part- ners meet. Should the circle be so large that partners do not meet by the end of the stanza, the music may be repeated to "Tra, la, la," etc. THE MAYPOLE DANCE (Book One, page 72. Teacher's Manual, page 227) Formation. A double circle, facing the left, boys inside, girls outside; the may- pole with long ribbons hanging from its top, one ribbon for each dancer. First Stanza. Join inside hands, outside hands on hips, and skip around the circle. At the "Tra-la," form a single circle, all hands joined, skip to the center of the circle, and then all skip back again to place. Second Stanza. One couple at a time advances to the pole to get ribbons. Inside hands are joined and the ribbons grasped in the outside hands. The second stanza is continued until all have taken ribbons. For the refrain, repeat the figure danced to the refrain of the first stanza, holding ribbons in the outside hands. When approaching the center of the circle the hands should be raised; in retiring, the hands should be lowered. Third Stanza. Face to left in single circle, ribbons in outside hands. For the first phrase, holding ribbons high, skip around to the left. For the second phrase, turn, change the ribbons to outside hands, and skip to the right. The refrain is danced as for the second stanza. " WHEN I WAS A SCHOOLGIRL (Teacher's Manual, page 128) Formation. A single circle. First Stanza. First and second lines. Players join hands and dance slowly around the circle. Third and fourth lines. Drop hands and sing the words with appropri- ate gestures. Players may walk around the circle holding the hands 118 TEACHER'S MANUAL together in front, as if studying from an imaginary book, or, remain- ing in place, may skip imaginary ropes, etc. Second Stanza. First and second lines. Again joining hands, dance around the circle. Third and fourth lines. As in first stanza, but with gestures appropri- ate for a schoolboy. This song may be used as an additional singing game in either the first, sec- ond, or third grade. It may be continued indefinitely by substituting other characters in place of schoolgirl and schoolboy, as, for example, cobbler, blacksmith, lady, soldier, tailor, reaper, etc., allowing the children to exercise their imagination in the selection of appropriate gestures. Care must be taken that all the motions are rhythmical and in time with the music. FOLK DANCES AND SINGING GAMES The Chimes of Dunkirk ("The Frig-htened Pumpkin," Book One, p. 83*) Allegro a Us* a m £ m m Scotch Folk Dance c g w rr?* ¥ t=i ^ # M m •s • «: B F±=P *-^— » 7 7 * See Teacher's Manual, page 706 regarding difference in meter Dance of Greeting Danish Folk Dance ±n I 53 all g i %^5 *=* *» o gl^p pi » # ^ at « — l^i 7 M m % i r rv ± t Marcato a i sg Lottie is Dead b Swedish Folk Dance ^ra s^p mi B^f i PEE *■# P§ cm SS 1 P? ^Sj P^ T. M. Vol. 1—9 119 120 Children's Polka Folk Dance am Lassies Dance "Kull-Dansen" Swedish Folk Dance Shoemakers' Dance AllegTetto a &= M m ft Danish Folk Dance m - m m — wm %=* H ^ £e S # — * # — * ^ -0 k mi m Allegretto ai ia i Bleking cr ^^ ^ ^ Swedish Polk Dance a* if «= S -5?-- 4ee£ S L^ H f it C2 ^=M S m i !■'.' I :» i — #- ; 13 Mr *- Z" d m 14 *=£ *7±, r^ ^£5^ it- r 16 122 I See You Swedish Singing 1 Game Allegro (s=* =^F ^ ^ s « j a2 b m ^^^ ^ 6 iSS #1* i I 10 The Water Sprite "Nigarepolskan" a m Swedish Folk Dance 4t IX «J Gustave's Toast "Gustafs Skal" AllegTo am Swedish Singing" Game I * * _L_ ?^ c m ^^ pS r* *• r r r s^ :y p *- Clap Dance "Klappdans" Swedish Folk Dance 2 AllegTetto Tantoli Swedish Folk Dance 26 At the Dance (BookOne.p 71) Abbie Farwell Brown u Allegretto J =120 1- "Lit - tie maid, 2 - Rea - dy now, 3- In and out v Finnish ^Melody wm m p lit - tie maid, make a bow, round a - bout, Will you dance with me?" Bend - ing- with the knee ; Glide the mer - ry foct! **tn \ i & «=» p={ i r i t~^ m ^4=^ t m "Thank you, Sir, Up a - gain, Here we go, thank you, Sir! turn - ing- then, there we go, I ap - py I shall Ea - sy as can To the mu - sic -<9- be." be! sweet ! ^±4 1 • r _ ■ :--► : *—4 a , ■ ^ p -\ » "Let us join the Sli - ding" with the Ko - sy cheeks and oth - ers now, lit - tie foot, laugh -ing- eyes, Give to me your hand; Point -Log- out the toe, Col - ors g-ay and bright, i I H« ^ p jV J J> j> J [Jlj | T | j }=4=p ~j% r r *r — F Lis - ten to *m First a curt - sey Now the oth - er Like a flock of i then a bow ; for - ward put , but - ter - flies. ? I the There's the way to Flit - ting - in the P band!" g-o' light. 3 127 Alice C.D.Riley 5=e£ 1 F^ ^ Dancing Song (Book One, p 9;i) W. Otto Miessner Composed forlhis Series 1 Clap your hands, one, two, ihrre Then like f i i > j ^^ i this shake them free. Then » ring- - a - round pusi b / P I 4=^-4 ts ^ ^ ro - sy Makes a pot - ful o' r r po - sy. Bend - ing- 1 Y >f f Xs: tT? J ' i J 'i^ Nni ligh - tly f Bow po - lite - ly, For po - lite we must 23 be. 3 1 ^^^ £ P^i P^Pi When I Was a Schoolgirl English Folk Song- j j 1 1 f t i i ' j i i j-j i 1. Oh, when I was a school- girl, a school-girl, a school -girl , Oh, 2 Oh, when I was a school - boy, a school- boy, a school -boy, Oh, as i * * j 3~t r ' r r f I ^} \ { j j 4-j-^ - J -•- 1 o when when I was a I was a school- girl, oh school - boy, oh this way went this way went pa ^m 77 I. I. Oh Oh £ £ * j J J I j j I j ^ r f this way went I; Oh this way went this way went I; .Oh this way went y*=# ill 111 i I; I; -9— Oh, Oh. rrJif j j i #=g=j when when I was a I was a m ? school - girl, oh school - boy, oh i this way went this way went ±=± r ' r r i 77 I. I. i 3 PART FOUR ADDITIONAL ROTE SONGS When Mother Sings Margaret Thurston Quietly J = 66 W. Otto Miessner Composed lor this Series V 4- M r r if p r j i J J r r # F F * * "When mother sings my lul - la- by, I do not keep a - wake p nor cry ; She Mi iiJ j.iJ *E=± ^ 1 J J J fe fe b tczrazr W * — * £. 3§P -^ » L 1 ^ " ti' 4 < ffi ■TR^ -PP 3f T t r f=r i* 3 r r r r 19- ~rf fl ^ £53 rocks me to and fro; ^ r r r ' f ' f 255 BE TI^P f=r Her voice is sweet and low, When she trraxr JT3 J J * i -*- t-rr ^ a^ULL/ xn f=f TT2 r=r T#&* i yyfr (■ y ^^ i F=# P?^PP AY ^ m ^m i sings my lul -la - by, When she sings my lul -la - by = J J l I l -l L^^ i EC i .0 * =P I r r ' r t BflB • g ^=r I i- ;i- 129 How Many Days has my Baby to Play other Goose Brightly J- =,84 Kb* Arthur Whiting- Compiled ( ' / 7 V f — f- 7 7 ;2 = J ? — t- ^\f- r 7 i J l 1 i=£ i=^ Mon - day, Tues - day, Wednes - day, i Thurs - day, Fri - day, ■0- £ m 1 3£ ; / / (A J> J- > J I J » J "] T^ F 7 Sa - tur- day, Sun . day, Mon - day, Tues - day,Wednes - day, I ££ 1 t \ > V 1 ft—rJ 11 1 1 ih J 1^ — y\ I J> ;> J ^ Thurs - day, Fri - day, Sa- tur -day, Sun - day, Mon . day. ^m 7 7 -X 7 7 V m The Man in the Moon Virginia Baker Allegro moderato J =112 131 Bessie M.Whiteley Composed for this Series ££ * $±r- r r i r J r m * m FunnyManup in the Moon, Did you once come down too soon? Tellme,then, how and when £= f^i ^# ^ S ^^ W— r, ^r w^s 1T]f ^ J=i ^ J: «J=i i m $=2 * *" TrTT gVT T5~ TT "CT O ^ m % ^ ■ M * 1 f You went back a . gain. ^^ i J FunnyManup in the Moon, Did you once come down too soon? i ^ ^ ±e^ : ^ ±35* s JCE -<*- o ^ — J- *J^ jA J—^- ±A J— i X' p wrv as: w ^3- fe^ rrt. a tempo t d \ f MM * ^ f FunnyManup in the Moon, Tell, tell me! J- Jm . ■ 1 1 J ..„ i FunnyMan up in the Moon, fh 9 u z==. -X5 =fa£ ^ fH ^=fF §^f 1 «r f &=± Tit. ^ a tempo ±=k ^ ar777: wvr JES # ^— r ] ■* — i Did you once come down too soon? Tell me, then, how and when You went back a - gain £ V TT P^ S P§ H 1 j^^ &fe ^ P -t— T. e ^= ^-^ =^ -«v "vr ^^^ ft rrr I % ±±*± r 2 Choo-choo-choo tis M. Carring^ton Andante con moto J = SO Otig'M. Carring-ton ^ ^ ffi^ £=k ■■ ' J\ i\\ h J J ff g I f £ S * ' M * ■*— # 1. Choo- choo-choo is a great big - horse That is made of i - ron strong". 2.Choo-choo-choo has an i - ron nose And he wears an i - ron shoe. & n rn T^m m m t-^-t mf *=P )^X ^ ^ ^ ^ Hi m fF=^ SI ff F n i h /3 : ?=? a. z £ -K- Choo- choo-choo pulls hea - vy Choo-choo-choo eats wood and loads, And works the whole day long, coal, And seems to like it too. p. j, r ^ r-7^ ra r^ ■ i r^ r r l J =* ftJUi — J _ ^v_ ^ 9 f =f= —J ±-J-^ L ~*—f r — i — ^ — % r m- *-f — r-H KM, 1— ' ^^=; _L~± — ^A 1 ^ J > J ' r - > ] ' f ^ nf L A r c_ j +-p- / i j) & $ J ! j^ i 1 i j t Oo! Sings the mer-ry choo- choo - choo. h \ J n ^^ *E^ 5 Fq*=»F ^ */ F *? / n/" 7 f_7_p ^PW ^ f=« I P/> V J J 1 > J l > J> I £ S t Oo! Sings the mer-ry choo-choo - choo. ^EE^ i J * * t *=^ • d PP mf ^ -# *- I f » 133 The Little Seeds Alice C.D.Riley Not too quickly J- =76 English Folk Song- i * -i h E5 ^fc^ i & m 1. In spring- time the far- mer walks to and fro, Sow 2. In sum- mer the wheat stands so straight and tall, Wav 3. In au - tumnthe far- mer his sic - kle brings, Reap g gg >> 1 f> ing, in ST, in g", W^£ ^ £ sow wav reap ing. ing. The seeds snug-gle down in the and The *e!eeeIeI ing . The gol wind pas - ses o - ver den grain falls as the earth to grow, And they bends it all, And it sic - kle swings, And he 2 rir~£^ £ 5 ^5 M J^ J ^ J^ fc=^fc PP^^ grow- and grow, they grow far be - low, Do these trim lit - tie, slim lit - tit- grows and grows, it a grows for the fall, To make trim lit - tie, slim lit . tie shouts a song, yes, I joy- ful - ly sings Of the work of the slim lit - tie S r ' f Yes. in - deed! Trim lit - tie. slim lit - tie Y- seeds. seeds. seeds. 134 The Hall Clock Carolyn S.Bailey Briskly J — 92 William E.Haesche Composed for this Series ri IE -J^J^£ J' J I J* 1. He otar.da in the cor - ner from 2. His hands are quite ti - dy and 3. At nJght, "when I'm sleeping-, he 4. And when it comes morning- I i morning- till ni^ht, A grow on his face, And keeps wide a - wake To wish he would tell — I 3=i w m ^^ FT > jl *=* I P f p— " thing pa - tient old when I am big see what the lit ask him but nev tie t f- :?=¥=?- with no feet. His I shall Unnw Why mice a rin- He er trace Of ji* ?Ei ^m ¥=? m §=^ § i I M fM ^ face one is is as shi - ning and ^_ so long" and the watch - es the brownie creep — won - der- ful do - ings he ^ 3^3 round as a moon, And oth - er so short , And — in thro' the blind, His saw in the night Does he 135 W 1 L J: E (i PJ oh, so ex- ceed-ing-ly neat. one he moves fast and one slow. lit - tie red — shoes soaked with dew. show in his so-ber old — face. i fir h 't p ^P From break- fast to sup -per, Right From break- fast to sup-per, Right From sup . per to breakfast, From From break- fast to supper, Right i i i F ^j *W 3=» m a n a 4e # #- <• — *■ m 3t J' •> J' ^ 3 on through the day, on through the day, night - time to day ( on through the day, "Tick "Tick ''Tick "Tick tock! tock! tock! tock! tick tick tick tick tock! I'm tock! I'm tock! I'm tock! I'm 7 J 7 ^ ^ ± m « 2 see* zafiz ^ # — 0- * * 1 — T y^~T 1 T- S r^" 7 ^ 7 on - ly a clock, I'm on - ly a clock! Tick - tock! tick ~ tock! I'm • *ri — S * # 0- ?£i m ftf f f ^ S 19-^- 3 tf' *' * on - ly a clock, I'm * iT 5 _ i=t ___ 5 on - ly a clock," he'll say. iUrt a -«- T. M. Vol. I— 10 A Telephone Message HoratioPark er orge Reiter Brill =100 Composed for this Series 1. Thi- kle, tin - We, 2 . Sis - ter wants a 3 . Please be sure to tel e- phone, Can't you get him? ba " bv doll, Brother wants a bring a tree; Bring a big one ring off. Don't for.getjhe What's the cause? Give me coast- ing sled- Hel-lo like last year; Things to ba . by doll. You might North Pole.twen-ty - one,— San - ty, did you hear I fill the stockings, too. bring a gun and drum Hel - lo! Is that Coasting sled is Hel - lo San - ty, Thanks, dear San-ta San - ta what I did you Claus, that's Claus? said, hear? all! M.Edith Reynolds J = 96 Indian Song M.Edith Reynolds 5 yi - y We are In - dians in our war - paint. a *„«, a bawks We hunt the With our spears and torn- a- hawKs, tame and pale-faced peo-ple. r> Hi - yi - yi - y 1 !H i-yi-yii Hi-yi-yi-yi'Hi-y^-y^ WiHielmina Seegmillcr Not fast J =112 Frosting 137 W. Otto Miessner Composed for this Serie* ^^ M 3EEE r 1 1' p r J ' r ^ • d I j 1 The earth is full of frosting; And evry shrub and tree Is iS * T*- / s i M -& * -e- -& -& ^Tt ^ H j i j» j> j r p p 1 1' p p #fcf candy- frosting* covered. Whose birthday can it be? Has the cold north -wind 3. ES :5 ^E J* i J £ E =f ^ fT m m i m w birthday? Or has the moon or sun? Or does Jack Frost make frost -ing- Be- ) & i — u as : I* ?* 33 es E # — si •*9- -9- ft. * Q. ■if i^ !Z i g » — g MeEEE^ C\ U- 5^ cause he thinks it *jfe: ^S f fun? .# Q- £ :* a: *2&>. 1 JL 4Z • &- "T "5- i ^>- KJ ,38 Julia W. Bingham From the Spanish Slowly, dreamily My Beautiful Doll Josephine R. de Ellas Ltik rTJ J"^ m=h ± 3 EE £ E 3 p=? * t m i. h=^ ^m^ 1. This is my favorite dolly; 2. Dol-ly -wears beautiful dresses, 3. Whenev'ry evening- the shadows Is- n't she perfectly sweet? Dresses of pink,blue,or white; Thro 1 the wide windowpanes creep, V II: J fyfe^Ej ^ I J ^foU^-i^Ufe *S i ^ 6 ^ ± W \ w -? — ?• s=s * See her wee hands full of dimples, Dainty silk socks, ti - ny slippers, Bedtime and sleepy time bringing - , -tfr r V I V See her two dear lit- tie feet! Fastened -with buckles so brig-ht; Dol-ly-must gx> fast a - sleep- »i. ! - J h T-fr##^ te * £*=^» ^ Jl} } l * & +>- « r p r p '-frf ^ V I r See her real hair, long- and curly, Hats trimmed with flowers and ribbons , Gen-tly I hold her and rock her, * i, j> ; J ^ di ^ ^ , ^ - g Eyes just as blue as the sky,— Pret-ti - est hats I can buy, — Sing - - ing- a soft lul - la - by; ** _4te — # T i^ £ ^ * r^f r 'H 1 s s When we gx> walking- to - geth-er, Oh, how I love my dear dolly, "Close your blue eyes, dar- ling" dolly, i £e£ £ V ' l r p t *y E I r^J^ Dear lit- tie dol- ly and Sometimes quite sad - ly 1 Mother is near, do not H i, sigh, cry. I 1 ' J' J } J' J' J ? Children crowd round her ex - claim "What should I do ' if I lost Go to sleep, dear lit tie dol f> ing-, "Oh you? Just ly, Oh 139 1*2 ^= :z: :=C my, oh my, oh cry, and cry, and m J ^ j4 my!" cry!" hush. oh hush £ £^ ^ by!" o *a ^ ^ ^f Afternoon Tea Kate Forman Not without humor J =80 k ^ ^ fefe Horatio Parker Composed for thu Series £ s m F ■ 0- t 1. Two lit - tie chil- dren came to day. They both were sweet and neat and gay They 2. A cat came up my gar - den walk. The pretty pus-sy could not talk, But 3. A bluebird whistled for a crumb. I asked him if he would not come. But £=d>Vrj I ££ f^f ^$ ± said" We've come to call, you see, And if we're asked mewed as plainly as could be, "Oh, if I'm asked when he saw the oth - er three He said "No thanks, We'll stay to tea." I'll stay to tea." No tea for me!" >uise Ayres Garnett Sturdily J = 116 A February Song Louise Ayres Garnett ^ s m ¥ 1^- * ± =$ tumpuscd Jor Uai Series ■5 , f m f 1. In 2. And Feb - ev ru . 'ry t a me ^ve there eel ■were e m born brate Two The f • r r 1 f' 1 «- | I i * k~} J > £ h b > 1' ) ^ J> r~ r r ^ ~t 1_ he - roes brave and g-ood. birthdays of these men, 2-j r They loved our coun-try and they lived And We know by be - ins: brave and good 1 We sp 7 w—^ sii£ ** ^ 3=E J 1F=^ m £==k J> h .h J* f f died as he - roes should, help them live a - gain. Come £ let us sing - , Come let us bring- A $ §* v ^ ^ A- J» ; ' i) s k -> > i * J :■ # f Uxj f t r^ Feb - ru - a - ry song"; In - stead of flowrs and sum-mer shoVrs You f ^ f I s ± 1 i. j> J' j> ; ;■ ^ F^ P^ F^P r S give us he- roes strong"; You give us he --roes strong - ! -A I: t Up • ^=a g * » # Prince Finikin Kate Greenaway Moderato J -=88 Horatio Parker ^K I S ? * ' J' I J * j* m 1. PrinceFin- i - kin 2. "Most cer-tain-ly 3. But Dol-ly looked 4. Then Fin-i . kin's 5. So Fin- i - kin and his ma - ma sat it can - not be a and smiled at them; she ma - ma ob - served, "Dear poured out her tea and feEER m ?7 I V m ?m Pii r? s ^ ^ i^=£ & i^ f f f m N^f ^ s -fi^- ? sip - ping their Bo na - tive. of our did not speak a Prince,it seems to gave her cur . rant hea. "Good gracious," said His High- ness," Why, what town,— " He turned him round to his ma- ma, who word. "She has no voice," said Fin - i - kin; "It's me She looks as if she'd like to drink a pie; Then turnedand said, "My dear ma -ma, oh, \ igfe* S : f ^^ E ft 5 ? n pa $==£ £ T f h wmm ^m m ^ lto4> -• a - last m £E^ fej SI J girl is this. I set her tea - cup real . ly quite ab cup of my Bo pa iisf f see? down . surd." hea." -j- 1 - what a kind Prince am I! I |y .. ■: #p f 142 Vlother Goose J- = 72 Ride a Cock Horse Arthur Whiting - Composed .fur this Series. *=? 5 r* ♦ N^^^^ ^ Ride a cockhorse to Ban- bu - ry Cross, To see a fine la - dy up- 33 u-i-j j ^ psi ^ -z: *" £=*: i s=r i ^S ^r on a white horse '" T Ride a . cock horse to Ban - bu-ry Cross, To gE£ f^S TT A ^r > — ' — I f*3 £*=? pi g-e J^r e-Qb £ gVg-Tf fr-p ' r- p i ^g a — ?t r X=Jt. 9^ see a fine la - dy up - on a -white horse. Rings on her fingers and bells on her toes, For . f* — Z^ — * f- * ^P^ IE m^t^M ^* =? =&* ^^ ^ ^ ^^ ^ » . i V she shall have mu - sic wher - .ev . er she goes; Rings on her fin-gers and p£ fepife e* ^ e> J- R J 'jO^-U ;■ ^ti^H^^i bells on her toes, For she shall have mu - sic wher - ev - er she goes, &' J f tJ -^\ jjJ jJ . J I [ ±^J= J Garden Song Alfred G.Wathall Compose* Sir lh;s Series The Wild Geese ay Morg-an J =120 mm msm George B . Nevin Composed for this bcn« l.'Honk, 2. "Honk „ 3. "Honk, 4."Honk, honk, honk, honk, honk. ker ker ker ker honk! " honk! " honk!' honk!" m m t^=+ & ¥ 7=* f P^P^ 86 ^ i 3 f^ ^^ ^ m r — a" — * 2 £ P w m' a "Honk, honk, ker honk!" "Honk, honk, ker honk!" "Honk, honk, ker honk!" "Honk. honk, ker honk!" Oh, hark to our leader's No com- pass have we to Our course to the North we Oh. hark to our rinsr- ing: cry. By show The take , Our cry. Now Jbfc PP £fe feE « ftj i h $ ¥ ■^- ?&£& -h p m f=*s Pf M i m P P ' LfCJ S=F ? night we fly thro' the path to go but the nests to make by a low, now hig-h.thro' the win - dy sky, way we know, ree - dy lake, ni^ht we fly , Honk, honk, Honk, honk, Honk , honk , Honk , honk , honk! " honk!" honk!' : I honkl^J Little Miss Patty and Master Paul Ms Kate Greena^'ay Horatio Parker Deliberately J -=88 „ ^^ fe? =M= Lit- fie Miss Patty and Mas - ter Paul Have m n^m f 3EE2 m t r S r? ^ f f- ^=^ je3e£ wm -0 — P=F=? 1 CJ P ^ found two snails on the gar- den -wall. "These snails" said Paul," how slow they walk! A i 5: 1 s I £ ife 4 * 4 m r r f 5 ^ ^5 # £ £=£ ^ a little/aster i j p^p p i r j'p/j"i j> j^J i^ i ^jy ^ great deal slower than we can talk. Make haste. Mis -ter Snail, travel quicker I pray; In a S 5 ^ S Itt J.- i££i ^ i £ i «L-+^-r^frHl ^ race with our tongues, you 11 be bea - ten, be bea - ten to ^^^ m 4-' 1= -*. ■* w day" 33: =££ 4-6 lice CD. Riley rom thj? Spanish * Vivace J = 76 The Greedy Mouse Josephine JR. de Elias ¥ m « . a g^m- r. *—4?r 1. Mister 2. Mister a *=fe i F=fr £E± ^ "P^ r r i '^r -k iT ? * K s v 3^ ft • * itt S K=^ -v-N V r • ' r P 1 Rat and Mistress Mouse Went a - tip _ toe, tip - toe Rat, with right good will, Fell to work at once to y rr thro' the house; Found a eat his fill. Mistress ^? t j i r-M ^ l i ^ I * — * ten-der bit of ham And an Mo use .with wisdom rare, Scented o - pen dish of wind of bet- ter jam. fare. * lt ii. \tt=m =i ~ r . — v "What a " What a " fr iT L^J u^ :zfc m lucky find,' said she. "This is splendid banquet here! i Jra y en ftf- , #— * — i^f-t^g real- lv ve - rv good,'said he. "Please to joy it. — I'll re - turn, my dear. I wiU It ^ O '^ fri\b}:*\l i\ Kl Jl 13 s T^ Mistress Mis-ter ^ lis - ten,"begged the Rat, go the Cat to spy, "I'm a - fraid I hear the Cat. Then good-by, my dear, good- by!' P ^ r 147 Mouse , she cocked her Rat , with courtly m ^ V \> V P I P P d 7 J' J\ ■ ear; " Not a sin - gle thing - is stirring- near. All the care, Licked his chops and sat and waited there. Mistress P£^£ tt< i r t r f g=i £2 fs £ -*; — K j' / J' j I J ^ 1 v — # house lies dark and still. You may safe-ly eat your fill." Mousie, at her ease, Gobbled ev - 'ry bit of cheese. ^r^iEf^ \^S * " ;| * rl l Dandelion.Yellow as Gold YtomThe American Primary Teacher Moderato J- = 66 Frank van der Stucken Composed for tWs Scries frl J I J J- l J'J^r 'p l r ^n ^N-_ fe^ i "Dan-de-li - on, yellow as gold, What do you do all day?'! "I ^ 1 i 3 i ■±± S i v ■ p t f r eg g pi 3C r r j Mr p ^ just wait in the tall green grass Till the chil - dren come and play.' "0 i m i v mi ^ ^ r^p K T, T : v it'i i *J J'liJ - j,J V f'T nr^ S - > I dan.df- li - on, yellow as gold. What do you do all night?" "I p U Mr r^ wait and wait till the cool dew falls And ray hair grows long" and white ."- And i^^i^^ ^ r^r-tT-^^ t^—^^ what do you do when your hair is white And the children come and play?'.: "They take me up in their dim -pled hands And blow my hair a - way- ■ N | h c , ] —J ■ b — *►=-£; lj v , f ez =sz- 1- 1 y 4?3^ J p ^ 5EF p¥^ 3^i f=s=b: -• L P l •" \2^ w > — £f F^ ^ i jfr^re Mathematics Thomas Tapper J =80 I 149 Horatio Parker Composed for this Series £j^£ £ ^2 l> Four times two, or one plus one, These are ea - sy Ite^ H sums; The K mm SSi fH^-f- i £ is i ak fe^ ^ ^ • * ~w~j — thumbs . first means all my fin- gers, The sec - ond all my But W • ^ v 5 ?? # ft . E f £=^ § ten times two! Now there's a sum Not ev - 'ry per -son m knows . To y?i=r-^ i z=^=+ i ^ £ & ^^5=5 £^^ » • * find the an - swer, here's the rule: Count fin - gers, thumbs, and ) ik- j % « C7 toes. » i Se f 50 /lay Gillington Allegro J. = 84 £M^=^ Three Little Heads rn i . Annie E.Armstrong fc mf ft fi ^ ^ f^f Brightly *£ i= 3^ £ 1. Three lit - tie heads in a row 2 Three lit tie heads in a row- 3. Three lit ■ tie heads in a row # Looked Looked Looked T I t ?^=f ^ 35 3^E i i - ver the gar - den wall; - ver the gar - den wali; - ver the gar - den wall; They heard the black - bird They saw the crim. . son They saw the gol - den P^g; rriTi rf m Sf^ m *r i ^ p ^ r f M" f ^? whis - tie low, And -the ro . ses show, And the sun - f low'rs glow, And the mer - ry thros - tie call . mea - dow grass grow tall, red -• cheek 'd pip - pins fall.. lis "'Tis " 'Tis 151 It ^ £=g^ spring-, my dear, sum - mer, # my dear, au - tumn, my dear, £=4 the the the sweet of queen of crown of the year, the year, the year, Its Its Its £ £ know; know; know; a* And The The P^ i ^ ^4 f 1 raZ£. r cresc E -^ a tempo s F ^ l^r^r we'll air world have song- through the is sweet where the is bright for our ±=k whole day l° n g"," Said the warm winds meet," Said the heart's de light," Said the *• t- S cresc b=d£ rail § a tempo &: ft= » SI ^# * three lit three lit three lit tie tie tie heads in heads in heads in mm row row row T. M. Vol. I— 11 The Grasshopper s Ball Cate Louise Brown Adolf Weidig- Composed for this Series h N * fcf i M . f -frrm In the sky the sun is shi -ning", From the elms the rob-ins call; £ * * £ r *E * 1 -# # 3 p p '[) *^— #r— jr pa= Hur- ry, skur- ry, ant and cricket, Has - ten to the grass -hop-pers ball. jlm m- *=£ ^' r ru i m p^A U^u^n i, M , | ^ Little brown legs, so light and slen-der, Mer-ri-ly o-verthe grasses swing-; * M — r M M fcfcB } fi}> fj J> J1=f=f | .^A#-^ ±=±= r=^ i » — * p£ Hopping-, skipping all to geth-er, Light of foot and f# £ -^ k^- fleet of wing- =4 a c^~-t> ^ Nina B.Hartford J=nl52 Swing Song 153 Nina B . Hartford Composed for this Series m wm !*=¥=& f m m 1. Swing, swing, swing, swings, Under the ap , pie tree. 2 . Slow, • slow, slow, slow, Under the ap . pie tree. I tef w? *!¥ i ff ff T * -r ^^^ ± :a ^ -^ ^ I JlJ-rM-J ^^ IEZZ22 i ' - -G- V> 3E£ ~r 154. One Misty, Moisty Morning Mother Goose Slowcx * —80 Arthur Whiting - Composed for this Series w-*^ E=5 4 ' ' * £ 1 N J d 4 One misty, moisty morn- ing, When cloudy was the weather, mm? $ r r i f r pi r r r g fe^M^ i j> / H I r« ^ f f — w r chanced to meet an old man £ Clad all in leather. £ I <■ ^ br^ [ j - fc^^i V — r i J' J I I J,— ^ r r He . be - gan to com- pli- ment; T r f I be - g"an to grin; — ^ r 'r r ^r-r m ^^F &H^h^ J J 'J I I- l*-^^ p^ T^T How do you do? and how do you do? And how do' you do a L ' j •< j ^ I E , r r f gain? P^i Frank L. Laird J =72 s p « £ Chrys Anthemum 155 W. Otto Miessner Composed fur this Series ^^^H^=^ ^ ^^ You're a rare old fellow, Chrys An - the - mum, With your hair gold yellow, Chrys ff SS r=^ i ^=^ f^ 4^-^- K N ^T^ S An - the - mum. Some wear it white and oth - ers pink, But f ^. r 1 j- 3 H" i' f r • i r r ^y r h-t- ^fei^^g i I I like yours much morel think. You're a big- old jollv Chrys An - the- mum; Oh, s - & t- J' J' J^ !■ J' 1 J' J' J^ ■i -i t ¥ Why does he gal - lop and gal - lop a- bout? By he comes back at the gal - lop a - gain . ( te m • * d 4 ' £ 1 1 ?! ^j i a r p P #^£ S 3=^ -^ ^ . 3-^ *=££ I Rock-a-bye, Hush- a-bye, Little Papoose 157 Charles Myall * a Andante J.;=132 W.R.Cowles Composed for this S«ries m n^l }--^} I, M' l I J'^ is i' | 1. Oh, rock - a - bye, hush- a - bye, lit - tie pa-poose, The 2. The pine treesare slum-ber- ing, lit - tie pa-poose, The 3. The roe - buck is dreaming-, my lit - tie pa-poose, His 4. Then hush- a- bye, rock- a- bye, lit - tie pa-poose, You £^NP ^& w * l^^ 1 ¥ ( *V«li [^ w/' ^3=* ^^ ;z: ^^ ■£ '7- stars have come in - to the sky; squir-rel has gone to his nest; mate lies a - sleep at his side, sail on the riv. er of dreams; The whip -poor- will's cry- ing - , the The rob -ins are sleeping-, the The breez-es are pin - ing, the Dear Man- i . tou loves you and fe*. # £ £ & ^ ^m p^pg ^^ day. light is dy - ing, The riv- er runs mur- mur- ing- by. moth er bird's keep-ing The lit - tie ones warm with her- breast, mo on- beams are shi - ning- .All o - ver the prai - rie so wide, watch-es a - bove you Till time when the mora- ing light gleams k 58 Bedtime .H.T. rom The Youth's Companion J =76 Osbourne McConathy A -,; } >} , | i gEg^ iTT^ 1 1' J' Jo Dd you know why the snow Is hurrying" through th«' gar-den so? I \ « n J F 1 f=f J J I f ^ tt r f r K 1 -, « f 3 ^^ ^r ^ ■^ ^^ rrj 1 i- . i' j' j s j^ i r~J r ~t~*~i' s Do you know p , i > r — i =± 6 why the snow Is hurrying through the gar - den r t r i ):", l ; , ^f^ 1 — »— ==== f=— y U-U fete£ J' l j! SO? Just to spread a J a pfc#i nice soft bed 'Neath the a * — * £\>\ Q j • ^=£ 159 \. M i \ r a ^^ : F=F S ^^ ?£ sleepy lit- tie flow, er's heads; Just to spread a }• ? J' I J ft=s ') >, h ^^ i± f J « * nice soft bed 'Neath the sleepy lit - tie flow -er's heads; To s =fe i te ^ ^ ±± 9E fc=± i,h, .h > J>. ^it^ ^ m^ ^ cud- die up the ba - by ferns And smooth the lil - ies' sheet, And \ n j s s f F r~r T^f r r m^ L/ U* s^£ £ P^^3 M, K- ff « f m tuck a warm, -white blan-ket down Around the ro - ses' feet. s t§ w^- J — r Wtf f m ^^E Pi ^ L60 Alice C.D.Riley J-z=72 fe Kris Kringle's Song Catharina van Rennes ^ ? ^# 1 1. Come, Dan 2. We stop 3. Now fill cer, Pran be - side the stock cer, the ing-s !!==£ £ j a ; £ $ we • must go,_ The roofs are white, with snow, chim - ncy wide,— The folks a-sleep in - side, all com- ulete With toys and good - ies sweet. p* -rm » *~^ A - way, a - way with Heigh- 0! Heigh-0! What A - way, a - way! The ■i ' f J" 1 $ f ? f^ ■\ mm ~* r w n* ~H+- i f^m '^u 1 ^/ / ^m ^ m packs of toys For hap - py girls and boys! dreams are these Of shi - ning Christ - mas trees! chil - dren dear A - wait their Christ- mas cheer. i m 5 ^0- _mas Ho - la! Ho - la! Ho - la! T — Ho Ho Ho *¥^ *== s? ./' ? \ fjr f f g f±=p ^ N£ ^^^ J^ t=a a i 1&2 # & run;! J ^ la! la! For hap - py girls and boys! Of shi - ning Christ- mas trees! 161 / ^ ^£ J^ -J la! We'll bring- them Christ - mas cheerl i -#*- ^ ^ r r^ trf : « ? Eatings Louise Ayres Garnett Louise Ayres Garnett j. 84 ^ J' P P" H P J j 'l J> ^ delicately Cod-fish balls for luncheon, And prunes and milk for tea! l=l=i ^ * h ~^-9 t* r^f ^ 4^- P— ^=^ ^ y. m =i ^ delicately ¥ r- P^> That's the kind of eat - ings My par - ents' give to S jn *§ £=± ^ f=f Q *2 £2 ftV h rt V f ' E ^ J^E-E-P- Can-dy for my luncheon And jel - ly tarts for tea, &t yJ < ± 1*~ * IT^f 5? #" 1 ^ S^ £ Ijfi f i ! i in i' t' p '< \ r T= 1 s I would have for eat- ings If things were left to me; >afl *M a jtM *t* z H=f ism w *U r m m < r r \ S £3ee£ i g *: 't i r f i 4 Sing a Song of Sixpence lother Goose J=rl04 Arthur Whiting; Composed for Ihis Senea H=f=FJ< £=£ *=fc • ^E£ 3= m Sing- a song of six P^ pence, a poc - ket full of rye; • — ■ — \ mmm mi l m feSEEEi M fe^fe 'vmm F EE^t a • • -*- ! — 1+ £=* f :±=t * Four and twenty black - birds baked in a pie. When the pie was o - pened the * §E3E^ r* £ L h b&frhri rrH-Mrte =S=E m. ^ :^=3 r birds be-gan to sing; Was -n't that a dainty dish to set be- fore the King! is rj ¥ t=2 P^-n-H-rm &* Cs U: J'>.' S£ P a=# f a • * rr * \Vas -n't that a dainty dish to set be-fore the King! The King was in his counting- room, I J: f £ 1^ fcrfc i j. ji jg! j. j. j;.- ii i i'^;^' m-^ M' ^y^ ^T *=* J^3^^ ^yy=g? counting 1 out his money The queen wasin the par- lor, eating- bread and honey . — The 4 t— f r r i t f rr i 165 P maid -was in the gar- den, hanging- out the clothes;— A long came a black - bird and f _r £==£ ^L 9E P fc=t 3*4=?: J^: .flf^H J>J.| j *=£ 3 f :a nipped off her nose, A - long came a black- bird and - nipped off her nose! ;£p£; lJ U * Icicles and Bicycles Anna M. Pratt Rather fast J = 92 ^3 £-$ i J ' ' FT Horatio Parker Composed for this Series J f=* ^==f J 1. I - ci - cles and 2. Bi - cy- cles and — Y~ bi - cy - cles Make such a pret-ty i - ci - cles, They're al - most mer-ry 7T *- m rT^ i ^ s rhyme, Though mates; The f 9 : W ^ i £=§ tn si ^* 55 ^=£ 1 £ S P^ one be- longs to boy who rides a win - ter days, And wheel in June In one to sum- mer time. Jan - u - a - ry skates. I E 1 r i — f> pes* IT tj ' vj S ^ The Jolly Holly Farm Louise Ayres Garnett Louise Ayres Garnett J =92 . ten. ^ w h * b * J) J>- J) J' I J J' I've a Toy Farm where I raise On my farm the wool- ly sheep Once a lit - tie pig - got loose, We make most be - witch - ing dolls, ten. Things to fill you with a - maze; Graze by pa - per mountains steep, Ran a - bout and chased a goose, And their dain-ty fol - de - rols, ten. ZhtU ■G- 1 - -t fr ' fr 7 M lightly i im m *=£=*^ J' p J J- p l J' P ^. P f H~h-^ F Plaster fruits and rubber hams And tarl'ton bagsof sweets Guarded by a chi-nadog And waxen shepherdess. Which made Mistress El- e-phan-tess Madly frisk her trunk. Al - so books and merry games That cannot fail to charm. Can - dy canes and colored Woodendeer stray in the Pan- demo - ni- um en- When you have the time to egg's, park, sued! spare, f I- i- J' J^ j> ;j l i. J^T^ p' p r ■ \r ^ j' ^=^ Su - gar cows with choc- late legs, And the most de - li-cious things That a- ny- bo- dy eats. Meeting from the No-ah's Ark Al thekindsof an-i - ma-ls,- A thousand.moreorless. Li - ons fought and kittens mewed! And the most engaged of all Was acro-ba- tic monk. Come and sec us, we'll be there; Glad to bid you welcome to The Jol-ly Hol-ly Farm. 3 =3 ^W5rr = I Mrs. MI. Butts J=80 Winter Jewels 167 Mildred J. Hill Composed for this Series fr=ft gl^ ^ * * $a p p £ t Tti r ■ f » d - • s A rail -lion lit - tie diamonds Were twinkling- on the treeS, And m pnp mm^ m t=±=t ±=H^ m gfe i ^ in r ■ to m i i ! £ WE £ » ^kz* 1 r all the lit - tie maidens said, "A jew- el, if you . please!" But > n J7i s 9 imS ^^F tt * P s^ B r H / 3 r r J' gr-ff^i^ p r * i J^' J'j-p *? while they held their hands out -stretched To catch the diamonds gay, Apm p p rQ-J=q- t m * * f 4 * * f f r J Lf 4 5 =JS ¥ >» -n h «n ^ p^ # C\ £j" f* P i * « i mil - lion lit - tie sun - beams came And stole them all a W m m way! % *=r=* ^i <7S J~j .n ^ ^^ ~r T. M. Vol. 1—12 If Lee Burns Lightly J = 84 Horatio Parker Composed (or lbs Series 5 **¥ ; t r i J' f f g-^H=p f ' Jl P F U" i r- i. if 2. If ill all the lit - tie girls were boys How should we get a all the lit - tie boys were girls What - ev . er should we I ^ long-? do? For Where i t ^hx * it=t ¥* k bfnnfr ^ f^l"' I p" P p MP P £ * XI A* who would put the should we get our dolls to bed And sing their sleep-y song? Then sail - ors bold To fight the pi - rate crew? Then m — 0- 7' *h p I wm 7Z.J p* :. j> j jm } ^ Q i p- p p keep-ing - house And use the play-house toys? Tell cross the brook Down where the mill "wheel whirls? Tell who would play at who would wade a m i 3 $ r * *- v*Jk fT~^^ SgP ^E * ~£- f K" g ^^ me, haw should we me, what- ev - er get a - long If should we do If all the girls were all the boys were y*fi r t^e ^m m^ % ^1 boys? girls? i Florence C .Fox A Misterioso J =76 The Goblin 169 Bessie M . Whiteley Composed fortius Scries I - / ^.l J'. ^- Jryj^-;, ! J', pp- if ^ A gob - lin in the corner Was watching- me at play, I ^5 fe I ^m 11=3 ±+4L± £ * * I it > t ! L f- Si !33E fl > | M '[H ?f ^ [) h il J> p3E ^=_i=^ ^^ F ^ ' ^ f f F I saw him grin and wag his chin— I saw him grin! M IS -S— jl«: r r ._i* ^ i s p ft . ^ 9 a tempo £ r^~H^ accel. JLJ- J> J I^ E Ff=fF^=^ :£ saw him grin and wag his chin, And then I ran a - way. I f E £ * f — — 5 == 5 f S^ ^ T^T accel. Cn a tempo ^^-T ? U ? * ^ J 7 i 3=* ** •> r\ fl'H' frf^ 1 J l J. >(!• p EEEEEE ^ E ? saw him grin and wag his chin, And then I ran a way mm £ ^ B^FF? ^3* P T 1 ' r^ l g s 170 The Umbrella Man Bertha Remick Allegretto J =76 Bertha Remick Composed (or thjs Senfs o "if ^ When the sun is shi- ning- H< k m^?=^ bright and warm, What makes us think of h^^k^0 rain. a The old urn - brel - la f £=■ 4 » feS *—f m 5^=^ man. of course! To day he's come a - fei Wr i-Jj I Jl p $-4 ' Jl P 171 h b < gain. He mends a rib and sews a tear, And .£ g^-g i=i5^ ^ *pi * / 3EE3 *=} ^^ f— r— r-tr makes them look so neat, Then to the neigh - bor's I g ? 2 JTJ J J> > Z ^ V ^ house he goes. — 1 hear him down the street : "Um im * s ^zzg: p f m m r ^ xxx_ 1=1 mf £ o P fe^a P p- Jp -' rrp r J it brel - las to men-n- n-d! Um - brel . las to men-n-n-d!" * P S ^ CS ^ I k ipi ^=# PT 172 Pauline Frances Camp Miss Rainy Day i Gloomily J = 72 W. Otto Miessner Composed for tbu Series 5. e=j ^f=^==^ f j ^^ a' •* ' * Miss Rain - y Day has come a - gain, Tap, ^P i u *—+ i-^t " * m ^j— j J j - -j j J J r f ±=^2f=t rit. J joyfully m ^^ ^^ ** tap, tap, tap - ping- on the win - dow - pane. Come, ^f jr~Htt w rit. m f *£ P ^£ fe J- 112 r i Jm r r r ■? J } / ^^ 6^5 »==* Sun- ny Smile, with greeting; gay, And help her spend a hap- py, w s SE a. a« / « * 9 m P¥ i p g- i j* BF »» j > J' J ? j» j> j»- hap - py day, i: a hap - py day, iH ^ « ! J J !£=* o> - rr\ i The Windf lower Laura E.Richards Allegro giocoso 173 Harvey B.Gaul Compo&id (or this Series Wlnd-flowr.wind-flow'r.Dance.dancewith me This way, that way, Un - der the tree. <&*. L74. Bertha Remick Andante J.= 66 The Scissors Grinder pi a VP ^m cresc. i i mf 9 Bertha Remick Composed f,ir 'm<> Series / i Ding- dong! Ding dong! i mm * j J' -n j i , i . f r J -'ir i? L/jj What's that bell we hear?. Ding dong! Ding dong! Ring-ing loud and I_JL_ i . I T i =£i P Pg^ * p ^ r | J J'J.'lJ J^J I JJ j clear?. That's the scis - sors - grind- er- man, Coming down the road, #=##i m ^ ? 4 4 4 g Wf mm ^ s 5 />oco r2'£ £ i f r» ^ =y r p f ' r r^ * • "With his grind- stone on his back; What a hea - vy load! m k ^ ^^ £ ?^# -* m — 0l- ^oco r/£. ¥* i 7 7 ^ 7 : :■ ■=> e r -?- ff j ] [P H I a tempo mf 175 N^2* f — P C-T p I ' ^*s bs See him grind my dull old knife, While his wheel goes whirr- r-r-r! £ ^ * n J ■ r f ^ as 'atem£o 1 P f i t i N^£ jpoeo rrt. a tempo p i • i r f r P J^f <* J * 3 Till he makes it sharp and hright; "Watch and nev . er stir. E t i i^^^^ P^PP P s s p- ^oco rit. ■*)■■% r * ^=PH^ a tempo ^ / pn V m E =& #-^ — # i * ^N 3 < J ^ J ^ d E ^N Ding dongiDing* dong! Ring-ing' far a - way, f mf ^ r*-rf i=p m .*t f J I f £ ~ J J'^J j-lj ■' * Ding dong! Dingdongf Come an- oth - er day! SE M2 5C , F^ asi ra> p £E *t/ ^S SI 1 2EE P im i ;=?=? rrt. *-» 1 1 176 Mother Goose In sprightly manner J — 132 Little Robin Redbreast W. Otto Miesa&er Composed for this Series r\ !• J> > J» J f j 'iTffTf f , i J f 't r Lit -tie Rob- in Red - breast * •, :/ "\«: O ? r- * f fL+ j j. j. ^ ^^^ Ok ^^ Down went Pus -sy Cat, A - way Robin ran; Says lit -tie Rob- in Red -breast > * 9 yp f »|L-_ =p; i £ ? Ov pp^f ^3 1 " Catch me if yon can. *' dfc 177 7T ^ ^ ^E^^^^fe^^^ ^^^^ Little Robin Red- breast Hopped up-on a spade. Puss jumped af- ter him, And #^ then he was a - fraid Little Robin chirped and sang", ± ^^ ttf ^zi=g ^ " TI E ifc«=^ iT\. ^r And ^L-^^ -i-^ y ^ ^^^^ p-P P I - 3 1 J! =j what did Pus-sy say? Pus-syCat said," Mew Mew,' And rr\ & £ F^^P 178 Abbie Farwe 11 Brown Fast J = 126 The Naughty Tulip Horatio Parker Composed for this Series iHf\ jrn, j. > j> j, j- J 1 J', j J J J -^y £ l."I wish I were a vi - o - let," the naughty Tu - lip said. "I 2. She hung- her lit - tie head and sulked and shook in sil - ly grief; She 3. Just then > as she was whim- per- ing, a breeze came passing by; He fc I s PPPPPPPI £#^^ * i ^ 3=r* m f f S | » * JlJ> y ^=^ ^^ £ £ t F=* ^ £ want to wear a pret- ty pur- pie sought to hide her love - ly hat be heard the Tu - lip scolding with her hat up - on my head. I'm hind a pointed leaf; And pret-ty hat a - wry. So £ ^»fl> i h^^ * i T* ~w g ir 9 / f — »- m ^^ * P^ ^ t ti . red of the ug - ly one I al - ways have to wear; I when the kin- dly pleas -ant Sun beamed down on her and smiled, She then to pun - ish her he blew, and whisked the hat a - way; And nev - er chose a yel - low hat! pou-ted and she flou-ted him, now she stands and shiv-ers there, O dear, it the naugh- ty bare- head - ed =^ P 3==J= — j — 4 — * =• 1 s g y mm* is - n't fair!" Tu - lip child! all the day ! i k £ Faster f7\ Mother Goose J = 72 The Cats of Kilkenny 179 W .Otto Miessner Compiled for this Seric? P l> J) } £ j> J> f> h J' } J' J' fc ¥ * -* — There once were two cats of Kil - ken-ny. Each thought there was one cat too J * i ^^ § J J J *=g f- f f ^ > % ~T I i i p F r ; i-f-r-^-prtr"? ' f f T Cj g'E many. So they fought and they fit, they scratched and they bit, Till, ex # rU i± & ens v-f l^i +—+- sf ^ ?££ #— I */' >/ */ 3 # U ti^ ^ %> PE^ *■ 'iid. * c iio Cs •> (7\ 5 6 J&>. f-p-jLj— -jdM-4-f-J ) ; l J^M ^- p r c--P J^S cep -ting-their nails and the (ips of their tails, Li- stead of two cats of Kil - ken-ny, There **t ^ Pi— % o £ fts#i a LffN E! ^ ■ETl'JJJ ^"^ r<3 r^ / ; — ~ ^=£ fe^i <£*> <£&> ^ fe E were i not «£» * r> 3=2: tit I I g "^S <&*> * <£«*> * a-ny m -?«► m Wf: ipi PP ppp s ^EE 180 Kate Louise Brown A With swaying motion J =152 Daisy Nurses Florence Newell Barbor Composed for this Series ^M* * * !81 f^ fct ~&- > "Heigh soft ho," and while slow, the all wind in %m m sweeps low, The a row, All m f f f lTT §§§ ^f m $ — * w? 333 wind in sweeps low, a row. the all wind in sweeps low; a row, fcfc Sing: While m f 9 * »L^. f L 4 4 (. J J i_ J. rr\f -4- t ' L" | > , ' - £ i* cresc . te ** e^ £ "Heigh ho," while the wind soft and slow. all in sweeps low; a row, Both Both I** * w m s cresc. I S3=p f 3 & SEE ^^ nurs . es and nurs - es and ^ m^=4=4: ba - bies are ba - bies are M , T i TT^ nod - ding", — nod . ding" — just just -» » 1 — **c V~ i SO! soT -9- 182 Bertha Remick * Allegretto J^= 160 The Ragman * Bertha Remick Composed for this Series ii J i- 3 w 4* * 1= m/ m m WW^f. ^ IfXr^ S fun - ny old cart Rides a some say he's rich, And _ fun - ny old some say he's man, poor, Who has And » i> J' Jv r 1 I ' fun - ny old blink some say he's ve *T eyes, wise . £ We But XT *=& =F=^ ^ give him old I think at clothes least And he He is -^— -^ gives us tin kind — , and pans, good, P3e|e £ #=£ 183 And For he S ^^ / ^^ as he drives on he smiles at me when — he cries: cries: S "Old rag-s and " Old rags and 1 » • « F # f « # i / * Z in *=* m # — m- i bot. ties! -#- — #- S ^ Old rag-s and bot -ties!". 3 P =i * i -•'i f t l -j- ^m 2. Now fe N V *? :^=E3E h * ^ T. M. Vol. 1—13 184 Carolyn S.Bailey Brightly J = 152 Little Miss Tulip A Spring Lave Song Jessie L. Gaynor Composed iur Ihis Series i ^ r J> J* b r £ ^^ v V 1. Little Miss Tu - lip creeps out of her era - die, Green is the silk of her 2. Bold Mister Rob- in comes back from the South- land; Or - ange and green is his m 3"TJ^£ £ F=F^3 r m t * rf p ' i j ;■ t Jl J i > i J' J> r gown vest. Lit - tie Miss Tu - lip puts on her red bon - net, Bold Mis-ter Rob - in has bought a new long- coat; ±e=£ h=± ^ p=T see 7 r I i £ jUUl^l ^ r 1 e- 1 - m * # Pret-ti - est bon -net in Ah! he is jaun-ti - ly town, dressed. Lit-tle Miss Tu - lip is Bold Mis-ter Rob- in is ± ±=A i f W frl r JB Vj> J i P m$ r P (! pi pPp p£^ ^^ hap-py and gay; cocking - his head; £=J=i Whom is she smi-ling at Some - bo - dy sees from her o - ver the way? bon-net . of red. i f f j P* 7Z^ @ ifc £ "^ P^ 185 The Happy Bee Nina B.Hartford Nina B.Hartford J = 120 I rr ^^JJiJ 1 ^ 1 TOf l."Poor lit- tie Bee," said a But - ter- fly, "You work so hard all 2. "Dear Butter- fly, you are ve - ry wrong"The bu - sy Bee re $ day; plied . S &z- ■Mi J] m s You have no pret- ty "I love the sun, I £=£: % <5 — 9 ^T yel - low wings, And nev-er stop to play, love the flowVs, I love my work be - side . Ifc £c * !■ a . a r r r SaE j j'/.^^ij pJ-^u j^fln t?-^ r r~* r rr I "would not be a Tho' I — have no Hon-ey Bee, And have no time for shi- ning- wings, I'm hap-py all day j-£i l=T± fun j Fm long-; I ^ P f 9 0- m=ft m§ S 1 t* m rr s glad I have no love to gath - er T»- -•■ -#- ~ v zip »= ~'i ~czzzkz hard-er work Than dancing- in the sun." hon- ey sweet, And sing" my buzz-ing" song-." ^ mm PART FIVE ACCOMPANIMENTS FOR SONGS IN BOOK ONE Abbie Far well Brown A Brightly J =160 m J I J i Good Morning (Book One, page 5) Ernst Richter 1 ri p~ ? 1. Good morn-ing to you! Good morn-ing to you! We're 2. Good morn-ing - to you! Good morn-ing to you! What 'hk i #T=4 a T sun - shi make it 5H all in our plac - es With ev - er the weath - er We'll CL. ny fac - es; Oh, to - geth - er, In i *s OL S*- 1 - i iH| a this is the work and in feptl way piay, To A start a beau - ti i new ful day! day! 3^ 90 \±>bie Far well Brown J =184 The Postman (Book One.p 8) i* ft^ Folk Song- • 1. Post 2. Post man! man! Post Post man! fe^ ^ Why is he late a - gain? Have la let - ter, Sir? I T=? £5 1 1 = » ^^ i TF "* £ ? ? fcE fi s 1* Post - man! Post - man! Where can he Post - man! Post - man! Hur - ry and « $- #- m^? U ^ be? see! j i i I fcfc s f Here he comes Why are you hur - ry - ing-, Here he comes lin - ger - ing? What are you H kt scur - ry - ing-. fin - ger - ing? vm W 5EE3E S ^ £e^ J < * ^^f ^m a pp Lis Yes, I ten! Sir! Lis Yes. £ ten! Sir! Yes, it That is ^ is for ~9 ■+ he! me! 2EE3E ^f Cheerily J = 168 Cherries (Book One,p.lO) i^m 191 W. Otto Miessner Composed for this Series l_ 1. "Cher - ries are 2. Cher - ries are ripe! ripe m Cher - ries are Cher - ries are ripe! ripe, The They're H^^ t J- ± Pj 5 ^ i j_ j. L J_JA_ *-^-U P f k£ ^ ^ piP :se rob soft ) fe* ins and sang- red one and day. _ sweet. i fei H 3 fe^ fc^ ^y p p i tt s £ H f £ f 'Cher - ries are ripe! Cher - ries are ripe, Cher - ries are Cher - ries are ripe!' ripe, The And 1* s IHi^ PPS J- i m m t j. J. * J ^ £ j=l £ Mp s 22 ^ s^3 boys we and shall. g-irls have all a say. _ treat . I tic 1T\ ffi Si S^S ^ T, wm a ^ J "z=£==p £ O Twinkling Fireflies (Book One, p. 11) .nna M. Pratt AllegTetto J =120 Alfred G. WathaU Composed for thu Sena the night, Twin - klingr ^3 like the stars so bright; Here and there, POCO Tit. Ring a Ring o' Roses (Book One, p. 12) Lively J = 104 193 Old English Game ^^ m j^'ppppt ?=? E Ring- -.a- ring- o' ro - ses, A pocket full of po-sies, One,two, three,fourAVell all tumble down. &tm i * — »* ^m w — w m m m Kate Forman »Q J^ 1 J Little Brook (Book One, p. 12) Folk Song- m % 1. Lit - tie 2. Lit - He brook, brook , how clear you and race; bright, How you I can *& m f scam hear per you and at chase; night Throw-ing- spark - lets of Sing" - ing- song-s, sweet and i ±£r £ 5 ¥ -o- spray low, ^¥F=fe g And As laugh on ingr ward all you day. flow. ¥ m ^auline Frances Camp J = 116 T2T E A Little Lady (Book One, p. 13) j i J J 'J , j ..-.; ♦ - «■ — # — > » — Edward B. Birgi' C/np.sfd forth ^ Srnc\ rrf^^r^w ^f { My dol-ly is la - dy, She al-ways is po . lite; When m ! i r £ f #- — — # J i i . j J 'Lt-i ff 1/ K J f^t r r oth- er folks are quar- rel - ing", She keeps her lips shut m ^ ts r c tight She § 1 i « i i ' i j * i ' f ~~f~ T F * T ' : nev- er speaks un - kind - ly, Or S cries to have her r r way; My 2 # P- £±=tri i \ J 4-to i i P^FF^ ^ dol - ly is a la - dy, And pleas -ant ail the w day. 3 Alice C.D.Riley In march time = 96 The Parade (Book One,p.l4) 5 195 French Folk Song^ T'Ui '? J r^ J t > \ t t m Rat - a - plan, sol-dier man! Bands a - play - ing, Trum-pets bray - ing, See them go, march -ing so f Wav - ing- ban - ner, Gal- lant man- ner, ^m r*3 £ P^P m ^ Fine s I _ $=* * Turn - te - turn , Rat - a - plan! hear the drum! If I can. See the march - ing- I shall be a col - umn come! sol - dier man . gps m W^t h J) J) j) h h h h z?.c 1 # # # # « # Rrrrum-te - um - a turn - er! Rolls the jol - ly drum mer. 9-« f f I "f I I f— ^ 1 % L The Holiday (Book One, p. 15) Brightly 4= 160 H J HU ^. h | J J J ' 1 j — * ■ n ~ \ fj ft n Old English Game ±Ei f f ' r =f r l.What shall we do when we 2. We will take our 3. We will take our — 4. We will take our 5. We will take our — all go out, skipping" ropes, fish- ing* rods, rol - ler skates, bi - cy - cles, All go out, Skipping-ropes, Fish- ing rods, Bol - ler skates", Bi - cy - cles, all go out? skipping- ropes, fish - ing rods , rol - ler skates, bi - cy - cles, ni f r t r -++- r r T\ ^ £ ^=^ J- .M J jrj^ =F= j^ i f I' ■ '(' all go out, skipping ropes, fish - ing rods, rol - ler skates, bi - cy-cles r What shall we do when we We will take our We will take our We will take our We will take our 7 r On our hoi - On our hel - On our hoi - On our hoi - On our hoi - i ^ p r -f-4^ r r r r , j J , J d r day? day. day- day, day. F^ 96 linton Scollard J= 132 f Whippoorwill (BookOr.e.p. 16) . Marshall Bartholomew Compoied /ortbu Series 7 r i r j r ±=± There's a cry be - hind the hill, "Whip-poor-will! Whip-poor-will!" h V-* ^ -ry f T • r) r — t £ fei ^^ -e -V- 9- ^ f d • 4 — -+ There's a cry be - hind the hill, '"Whip-poor-will! Whip-poor-will!" 2 t m t =a ? r=i i £ £E5 £ m -G ^^ 4 * r ) Why whip lit - tie Wil - lie so? That is what Id like to know! fefe t=t=^ XXL ^ ^=F r^T f — f i^E t> #P EE ^^ £ ^ -VV w i "Whip-poor-will! Whip-poor- will ? Whip - poor - will!'! feg^ ^^ >J S £ £=* v> £ -««v _«!.. 197 Virginia Baker Quietly J = 8S P Dolly's Lullaby (Book One, p. 17) French Folk Song- S ' ii ' i fin ^ ■'■3- + '■£. Go to sleep and do not fear; Ba - by birds are now at Dol - ly dear, in their nest do not cry, "While I sing- your lul - la - by ; watch I'll keep, Sleep, my dar - ling - Dol- ly, rest sleep i f7\ S T=^ T=T r H. H. Bennett Fast J = 104 i The Song Sparrow's Toilet (BookOne,p.l9) ^^ £ t-1^-} Horatio Parker Composed for this Series 5 i. A 2. A splash lit • ws 1 in tie to shake. sil lit ver tie brook ; tweak. A To ±=h i=i ■• m^ dain - ty stir up lit ev tie dip - ping-; feath - er ; A dart in - to a A pret - ty preen - ing- ^ P ± h 5c 3 m v — — all his feath lay them all qui with et his ^ ¥ nook, With beak To ers to drip - ping*, g-eth - er. P 3 198 Wilhelmina Seegmilier J = 1»S8 // % h- \\ I Lady Bug (Book One.p 18) r~r r ! ^ W. Otto Miessner Composed .'or ibis Stnci m 1. La - dy hug, 2. Your lit - tie la - dy bug, chil - dren are how do you do? sleep - ing so snug", |»^ i I ^ I P *& ^ ^ How do you do? Sleep - ing so snug-, How do you do? Sleep - ing so snug ; &*f» , f T I r f g I ^ ^e = jjj 3BE F^P i o- La - dy bug, Bet - ter go ^m I la - dy bug, home now, you JL fly a bad lit way, tie shoo! bug, m J f r i M ?E v Jn =& 5=^=# m m ^ 5 ** ^~ ti 1 Jf J m ^MN ^s ^ i- 1 j *n fl 1 j j ^^ gi=^ ^ 1. A lit- tie drop of rain fell down From cloud-land, far and steep, Up 2. And when he wak-ened up a- gain, Now what was his sur - prise To fe C ^ ^ ^f^ _-[ J> J J J *± r ip P FF^ ^=t ^=2 i iEm tr-r^-fr * * * W * ? ^ « I d a m on the mea-dows gras- sy nest, And there he fell a - sleep, find he was a vi - o - let With dew-drops in his eyes! ^fi r*-JM^ 2 jr_ ^^ J V — g i *>• 201 m ^m P^=& P5P £ 1 -«=< — *- 3C= ; — r H* # ^# i pp 1£ k >. fc. > IT \ \ i t $ r fefe * ' / ZS ^3^ EE S Wli i ii MM #### 1=33 1 i=J I I tf »~y kfc te^ '/> a ^ ^ r^ ^ ± ea-g-er feet Are skipping-* throughthe g-ar - den Or danc-ing- down the street; And all the while, And ev - 'ry time you meet him He greets you with a smile You M J ^J mm & T 3 m r~ ryr - ^ ^ as^ ■ * m m m m m . *=*=* i !* ' ./ g Mr p r p ^ £ E 3 ev - ry -where she g"oes know when he is g"ay,- She's trip -ping- on her toes; Be - cause, at work or play, When When tin m & i £ r p r r> i- pw^ fL^X j.- ^M ^ p te i Hsi a ? ^^ ± Bet - ty s heart is Bil - ly's heart is a m '• f f f I hap - py Then ev - 'ry - bo - dy hap - py He's whistling- all the i ft=i^ > — r. knows day. _ fcg 204 Florence C. Fox J = m The Skipping Rope (Book One, p. 27) Folk Song" ^ h X J' < h 1 J' h i ^ ^^ P P P I P P 5 One, two, three! Who 'will skip the rope with me? Swing- it high and swing: it low; Pm m j-4-i m i^ i — i pt-j « — v ^m ^ s PS ■J i IJ> J'J'JU J>J II p p p p 1 F 6 g » d O - ver, un - der, who will go? Skip with me Come and skip the rope with me! iyi ;=feH i i iff i=n 1B1 t» -«~ra * -» l|*l* §5= ^S s K ^ PP #=fc ^^ P^g Mother Goose J = 176 Oh, What A Sweet Little White Mouse (Book One, p. 28) Adolf Weidig- Composed for this Series :"i ' 'i i iu in \ j j \ j i» r u 9^ Oh, what a sweet lit- tie white mouse! Oh, what a dear lit-tle bright mouse I J - * i ' * ■ > ■ > ■ ■■ - t-L^ T I M 1 ULii! ) ^ u ^ teai j. ji r i f f j IZi I With his eyes of pink — Going: winky- wink Oh, what a sweet lit-tle white mouse! £=t^ r i rrf r.ih i ,f -4- J^i g=FR f & Alice C.D.Riley J = 132 The Swallows (Book One, p 29) W. Otto Miessner Composed for this Series fe gg ^^ ^m i. See See the the dar sleep tim y swal swal lows fly- lows cling- a -#* ^3 ^Pp S &3 -^- i ^ & Hith - er, thith - er, yon On the eaves and un der. derl Black a There in gainst the nests of a ipi TT jrr I ^3 ^S w* s T l, " -•-> *=£ ^ w=f P^P^ g P m eve - ning sky clay they swing, See them swif - tly Fol - ded ev - 'ry mount on high! flut - t'ring- wine: I 3 S * E pFrTp ^ 33 s 3E is: pr- ^ ft=f ^ SI 3E ^ Swif - tly fly! If they dream, Where do they fly I How does it see'm. I won won der? der? pluu sh ^-^JzJr m -&- -Vr 206 Nellie Poorman Gayly e)- = 72 The Clown (BookOne,p.30) French Folk Song- • — # 'J M jf ■ m 1 Jol - ly and gay is the fun- ny old sg -fit- clown, —(9 Mer- ri - est fel - low that 2^=^=?=? SE SE 3^ /' 1 -^ • ' » -#— Ev-'ry-one laughing- wher - ev- er he goes, Tumbling-" a - comes to our town; S|Efc3SE m p jE3EEE3=3 ^ r m li i I / j-i^M-tf 3 ? ■ — » a=¥ * — ZStr" — cr bout in his com-i-cal clothes. When I am old e-nough I'll be a clown. ¥ **£ - (-*+( - + t\T t y i ± m ^s r Kate Forman J =112 Little Sisters Lullaby (Book One, p. 31) Folk Song- -6 £ 1 ■ =0 Ti - ny ba-by broth- er Play that I am Moth - er; Sleep -y song-s are O- t=t * # I* S^: 2=* ±±4 ' iiii 'iitj: 'ii -s ev - 'ry -where; Sleep, my ba-by T^ in the air, Sleep-y dreams are broth - er 2* i» i»- r r i r r 'i i P 4^ r Clinton S collar d Gently J - J00 Evening Lights (Book One, p. 32) 20? Marshall Bartholomew Composed for tkj Sene* mm cheer - y haps the fire - flies- light the dark, When rea - son why they roam, Each m T cr f-M $ § £ a r r r r f all with *** but his pus lit sys tie j=^ eyes Ian are tern blind, light, Each Is i s p ^ -H — j with just his to lit guide tie the Ian fair tern ies_ spark home m i When £E m i=m p • s§ s ** ^=f^ I won they der what have wan they dered - J J J ] r t r r^ seek out P to at find! night 208 Alice C.D.Riley Rather fast J.= 96 i * The Circus (Book One, p.33) J ^ Horatio Parker Composed for this Series 5 J E ipgp *T 7 V 1. The trumpets blow, the bu-gles play, The cir-cus is com-ing- to town to-day! With 2. The tall g-i - raff e and ze - bra too,' Tis hard to believe they are real - ly true. The 3.* It must be fine to live that way To ride in a won-der-ful coach all day! But £d te! £ rx^-j S r^r ' ip^^ ^ p^f P K k IE3 /i^i^^ i .:: el- e-phant big, and jol-ly old clown, A real - ly live cir-cus has come to town. an- i-mals roar and chat- ter and scream; It seems like a won-der-ful mag- - ic dream, homes pret-ty nice, when ev-ry-thing ; ssaid,With Moth- er to tuck me to sleep in bed. £ 1^7 ^m w -n-^- #• The third stanza does not appear in Book One Abbie Far we 11 Brown J-=80 Dandelion (Book One, p. 34) ± J S ' J- 1 J J) Adolf Weidigr Composed for this Series J ■ J J J $ I f *-^rf W^f f ' r r T 1. Dan - de-lion, 2. Dan- de-lion, 3. Dan - de-lion. T tell me true, tell me true, tell me true. Does my mam - ma need me? Is my mam - ma griev - ing"? Does my mam - ma wor - ry ? If I blow your Oh, I long- to Blow, and blow, and «£ig fai ^ $* ni± ^ j i n }rn=m4^m fuz - zy hair stay and play blow a jrain; i: f=f 5BE Thrice and find your In the mea - dow Lit - tie fuz - zies fore -head bare, Home the charm shall lead me. if I may Say, must I — be leav-ing"? still re-main, So I need not hur-ry. f=^f m m Ann Underbill A Gently J=U Kind Old Winter (Book One, p. 35) i I i 209 W. Otto Miessner Composed for this Series 5 1 i * ~^- Z$L W m rf r * l.When the Sum-mer shuts her eyes, Wick - ed Au-tumn Breeze 2. Then they stand so bare and cold In the fros - ty air, 3. Kind old Win - ter pit - ies them, When the tern -pests blow J J - 1 - > 4 X± ± i J nJ , J j J =»L ^m u k ZEE 33C p^f P*P ^^ P ^ s zee fl 5 Steals a - way the pret - ty leaves From all the pa-tient Till old Win - ter comes a - long- And finds them shiv- 'ring- So he wraps them snug- and warm In cloaks of fur - ry ^j ^ , ^ ^ ± irri, ij i trees . there . snow. -© m ^ r=w Nellie Poorman Playing Soldier (Book One, p. 36) fc£=3 Jh march time J =104 m lefc* Nellie Poorman Composed for this Series g^ fetel 3 S £ fff 3E 1. Boom,boom, boom! Hear the stirring- drum. Boom,boom,boom! See the soldiers come. 2. Bang-, bang-, bang- ! Such a nois - y gun! Bang-, bang-, bang- ! Heroes do not run. ^ rtrXf | f,i r n f .| Lf rr i f 2 P 5 *A / i J^J> j> ^ * g r' nr'r f m ^ ' c Flags a - wav-ing-, Dan-ger brav- ing, Boom,boom,boom! How the bul-lets hum! Loud-ly cheer- ing-, Nev-er fear - ing, Bang-, bang, bang"! Now the bat-tie's won! m r r H ft § u r i J H * 210 Lord Houghton J - 128 Lady Moon (Book One, p. 37) W. Olio Miessner Composed for IBis Sfne» te m^ ± i J *-\{l J l JVi^ v — —7-7 ~~t- La dy Moon, La dy Moon, Where are you rov - ing? O - ver the m ^ ¥ 5 P P ^ J J 1 J J J 1 a i ET sea, O - ver the sea'. La - dy Moon, La - dy Moon, ^ S Sv ^ w ^ ^+^+J a=F=^ IW £ 9- *r All that love Whom are you lov - ing:? All that love me, me. 1TT7T7 I m m p w -6 The Little Huntsman (Book One.p. 38) From the French J = 176 French Folk Song- s=i ^^ * > tT 1. See the hun-ter ri - ding - by, On his dap -pled hob -by spry; He goes 2. On his arm he bears a g"un, Squir-rels scam-per, rab-bits run; Hid-den 3. He re - turns to Moth-er soon, . Comes a - ri - ding - home at noon. Hun-ter P r ? 4- p r j r 1 P r j r ■ » r j r , P r r ^ 211 £ 3 3^3=1 hun-ting" ev - 'ry day In the for- est far a - way. Trot, trot, trot, ev - 'ry feath-ered thing-, Not a note they dare to sing-. Trot, trot, trot, brave and po - ny fleet Stop a - while to rest and eat. Trot, trot, trot, c r j r i lX- j r i p r j r i f r j r 35E i V r r J J i r iff # ^ 22 trot ray po - ny trot my po - ny trot my po - ny gay; Trot, trot, trot, gay; Trot, trot, trot, gay; Trot, trot, trot, trot a - way, a trot a - way, a trot a - way, a way. way. way. h i* f ' r t^-m^-p £=£=£ I P Anna M . Pratt . \. J. = 60 mm £ Kittens (BookOne.p.39) ^ Adolf Weidig- Composed for this Stries * E ^ E 1. Six lit - tie kit - tens Are 2. Two have white no - ses, And 3. Now they are play - things, The ^te bu - sy at play, one has white paws; dear lit - tie cats;. 4 4* m £ Three of them black ones And All have long- whisk - ers, And When they grow big- - g-er They'll ?mS t three of them gray. all have sharp claws frigh - ten the rats. =£ V ^m 212 Florence C.Fox J = 88 False Alarm (Book On*, p. 40) Marshall Bartholomew ^ fg J' J' J'^J r I "* Composed (or this Series m =^ l.Hear the fire bells, "Ding-.ding-, dong"! 2. Hear the fire bells, "Ding", ding-, dong! Up the street there's some-thing wrong- All the peo - pie rush a - long- ; hi^n^n m -f^r-p* ^ s fa m $ £eS 5 ^ ^ J^: E Ajt Fire-men shout, "Look out, look out!" 'Clear the track, They're com- ing- back!" "Ding-, ding, ding-, ding-, ding-, ding-, dong"!" "Ding-, ding-, ding-, ding-, ding-, ding-, dong - !" -n.g — 1=^1 ^ ^ PI TT r3 r Si #^^ ^ SeJ^ P ? £ As ynn; SEE* ^S £ ^ ^5 E <3 "Num - ber nine!" the 'False a - larm!" the fire bells ring-, fire bells ring-, "Ding-, ding-, ding-, dong-, ding-, dong-, ding - !" "Ding-, ding-, ding-, dong-, ding-, dong-, ding-!" m ? wtzf~T? Margraret Aliona Dole From the Russian J = 100 Snowflakes (Book One, p. 41) Russian Folk Song* inp M ± $ i ^3^ 4 Snowflakes. snowflakes, Dane - ing-, danc - ing- ev - 'ry -where, Gay as laugh -ing sun - beams! in the air; Turn - ing - in - to tear - drops! m & * F^=i i Sleep, Little Treasure m Quietly J = 66 (Book One, p. 42) 213 Lithuanian Folk Song" E^5 i m m ^ ¥ 1. Sleep, my 2. * May the m bon - ny an - g-els blue-eyed lit - tie hov - er ev - er treas - ure, near thee. S E t i ±1 3 p ^^ r s ^ ^s£ It Co ft Perci. £^ ^ Sleep till the Watch and ro - sy ward for dawn - ing- of the day _ ev - er o'er thee keep »f A fczfc: SS3 9g£gJi E S f S * i i=£ ^^ fe£ Brings the Fair - est hap - py vi - sions hours of pleas - ure; come to cheer thee; $ Dream the star Sleep, my lit m tie W ^m- cresc. m ¥ x? ~6h ^ = ^ poco rit. ^^5 ^ 3 V:- night a - way. treas - ure, sleep; Sleep, Sleep, lit lit tie tie * Second stanza does not appear in Book One treas treas -» — ure, ure. 214 Mother Goose Bylo, Baby Bunting (BookOne,p.43) W. Otto Miessrit i Composed for this S«nes > * s i' j Pif t~' ' 'r J |J nr^ ^ By - lo, Ba - by Bun . ting-, Dad- dys gone a - hun - ting- To & ±* H4j-^ i t *. r i *=* ^ S^ - ^ P i i* S=E ^ ^ £ B s s p^ *=* d' I * get a lit - tie rab - bit skin To wrap the Ba - by Bun - ting- in; to CD -i i^i 1 J ' d ¥ f — ' , + J J> J J j. w f- . P P $^ f j'j Mr- r i j v / v I I By - lo, Ba - by Bun - ting-, Bye! k i± V%=+ w ^F m 9 «r ¥ ^ J- |- i ^ ^ T M.Louise Baum J » 152 In Wooden Shoes (Book One, p. 44) Swedish Folk Song- I £ rtrr^ j> j i j ^ #■ — 0- f r» ^^ ^ 1. Come join our dance and swing- to our rhyme; Now all advance and tap to the time; 2. Bob, then.and bow and curt -sey with me, Stamping it now with one, two, and three; nn t- ii f f i f r m £ Margaret Aliona Dole Quite fast J = 138 Air and Sunlight (Book One,p.62) 223 Russian Folk Song- frvj^n-^u tt? ni0 m O-pen wide the win- dows! Let the wind come blow- ing! Wel-come in the sun - light, A- ps^ I 9 j a- f f f ^^ p^p^*^ ^ j i -«v TT Health and cheer be -stow- ing. Air and sun-ny skies Give us sparkling eyes! m a w 6± t=y= p^^ i 9" ? Anna M. Pratt Moderately J • = 92 The Flowers' Friends (Book One, p. 63) Old English Song* 'u. J }' -H-T-r^-i 1 £^ * fe§ r^ r F r S 1. Lit - tie snowf lakes ligh - tij fall, 2. Lit - tie rain-drops fall- ing fast Form a blan - ket o - ver nil; They Wake the flowrs when win- ter's past; And j. ;± * A m N^' N/^ I ^J^ HJ.J.P I I cov - er up the sleep-ing^ flowrs And keep them warm through win- ter hours, lit - tie sun -beams shine to show The ba - by buds 'tis time to grow. +*r r r- i P- p : H 224 Higgledy, Piggledy (Book Oiie,p.65) Kate Greenaway Fust J.= 92 Horatio Parker i ^ ■ j> j J> J Fvi r h * feEES .*! 1 . Hig - £ le - d Y. Pi §T - gte - dy, 2. Hig - gle - dy, Pig - gle - dy, see how they run I how can I tell? i - >i ^ rm n i i i a s / IS i ^hn* J> ^ 1 1 1 J' J* r ' p i p p n ^ Hop -per - ty, Pop -per -ty, what is the fun? Has Hop -per - ty, Pop -per - ty, hark to the bell! The sun or has moon tumbled, rats and the mice ev - en £ ■ U r 1 H fefc *=? T*- * »■ * — w ^ # — m ¥ rr-g < > 4 4 4 £ D J> J > 1 S^E ^^ 5=* p= • * in - to the sea? Oh, scam -per a - way; Oh, what is the mat - ter? Pray tell it to me! who can say what may not hap -pen to -day! t r\ ?m f > \ m ^ ^ Abbie Farwell Brown J=H4 The Boat CBookOne.p.66) 225 Adolf Wei dig- composed (or thjj Sencj m & UO- 'J^ i r. i . i =fe S9 With the wind, and the tide, O'er the danc-ing- waves we glide; Like a 1- gf< i / tit t 1 1 <■ f f ut^ttrnfh Li Hi i J xm m M i -6 — f bird on the wing- We sail and we sing-, With the wind, and the tide. i »» / Lrf f i f t rf t i/ ^i ^ Anna M.Pratt J. = 88 My Pony (BookOne,p.67) fjr^5 I J-- J JM J 10 O G. A . Grant - Schaefer Composed for this Scries 5 «- 4 P? My po - ny's name is Bill « tf * ¥ It's Hii 7 if I ride him to tfie mill J> r-J> ■1-J>.r-J>..k-J ) k-J > ^y i prff J J' J JM J /J ■ r- ' r # * r jol - ly fun to have him run And g-al - lop up the hill. ^ £ J> ,,^ rr n 1 ,i J 1 1 "'- r ii 226 Clinton Scollard J = Hi Bee Song (Book One, p. 69) p£i^ i H=i=i Folk Song- f m 7 7 ^^ What sound comes drifting; in :£- A - cross the crim-son clo - ver seas?"Tis I- . . J- £^=TT# E f £ i ^ j j j J J j i ■) .* i ^ f mu - sic of the dron - ing- bees On drum and vi - o I- *v r r r , ^ : 9- lin! SI Nellie Poorman . . J = 152 Street Music (Book0ne,p.70) r-> r r r r ' r * r J «'J | J J J J I T eJ Folk Song- i v r — \7 4 1. The or- g-an grinder plays a tune, No mu-sic so en - tranc - ing- ; Tra, la, 2. A mer - ry waltz or two-step gay Will set thechil-dren danc - ing-; Tra, la, -&- ~e- -ft -&- «* 4: m -± 2L *£ J J I J J J ^ * * r r — ^r K=E si la, la, la, Tra, la, ^i _ la, la, la, Tra, la, la, la, la, la, la! P £^f I =5^z 22 Alice C.D.Riley Brightly J = 104 The Maypole Dance (Book Onp,p.72) Swedish Folk Dance K, [Foot ( Come Brave Ev (As I As m it are iy we we i in all deck lad dance kneel a the the his up to £ May- joys May lass on crown day of pole to the our ring-; spring-. high, spy. green; Queen. % £ ^ $ m Tra la! i tra - la - la! . i Tra - la! Tra - la - la! t .** *=k 1 -6*- Mav - dav ^^E roun - do - lay ± i Gay - Iy P j M.Louise Baum From the Russia 71 L, K h The Rooster's Good Morning- (Book One, p. 74) Russian Folk Song- i^ S K $ m ■ * ■ 4 * # # 1 . Rooster ev - ry 2. H-' is strut -ting; morn - ing- Sounds an ear - ly warn - ing proud - ly, Call - ing: to us loud - ly mm 0. + + ^ m Pm^f fe^ "See the day is May - be he is break - ing"! Time is come for wak - ing"! shout - ing", "Come and take an out - ing - ! m^m Clinton Scollard Rather quickly J = 152 I fc Dancing- Raindrops. (BookOne,p.75) G. A . Grant - Schaefer Composed for thjs Series JL * p- f w — r * Have you not watch 'd the rain -drops As you went home from school? They Hi* \t r t r =0=0 t=p£ r ' r " r ■ n ' r r r 1 ' r « — •- ^^ -Q-*- ate the wa - ter fair - ies A - danc - ing- on the pool! *ni *-t^H I ia r ' r r r r " p 229 Mistress Mary (Book One, p. 7 6) Mother Goose Slowly and Gracefully J • - 72 Arthur Whiting- Composed for this Series dl&miy ana irractjuuy m • — Mis - tress Ma - ry, \ quite con - tra - ry, How does your g-ar - den ^mi 6^^- grow With sil - ver bells and coc - kle - shells And gfegi fn fT?- , { m ^ ^5 P # fair maids all in a row; With sil - ver bells and 3 6=5 m coc - kle - shells And fair maids all in a row. btf i ~zw==t 230 Kate Louise Brown J- Mi The Mill Wheel (Book One, p. 78) i i s j Edward B.Birg-e Composed for this Series ^^ J Round ^ ^ r r and round g-oes the mer -42 , T Y wheel, jO-1 ^d J j i J , j ? *T Down g-ol - den meal; and down falls the ?s£ 1 ^ 6M- rw~r^ry^ Ba V ■p- 7 f 7 -f- y by's break - fast will soon be 3S ^ here 7 ^iTn f # tesfci -y~^ 7 Nice, sweet bread for' my lad die dear ; O 3E£ A 7 ^ i t4 £ p r r r mill wheel, keep on gaE P^P i* grind ^ ing\ 215 i f r p r J ^i r r r J, ir r j £E ^ E Sing - , swing^and glance.our voic - es a -chime, While wood-en shoes are Yes, that is how we're foot - ing- it free, While wood-en shoes are tap - ping: tap - ping-. 3E£ i=§ fir f f i -M Jl f* i=i J 1 J i' J> ^ % m Click, clack, clack, click, clack, clack! Hear ev - Vy shoe tap loud and true; m f=£ f iyM tJ J i-^4— p p J' J» Jlu^ ^ :l- Click, clack, clack, click, clack, clack! Hear how the shoes are tap- ping! m iff f £=£=m Vr r r Virginia Baker A J =96 Raindrops CBookOne,p.45) S=fc=fc|=i I J.B.T. Weckerlin S ^ £ # # £ Hark! I hear the ■ ti - ny tap -ping- Of the mer-ry drops of rain; Pit! I £ s SEEEE35 "j T ^ ■ ■ » 3 ^ ^ i ^ f i i , k-UU> P^P pat! pit! pat! On the win - dow pane. i p^ i E 1 J >J T. M. Vol. 1—15 >16 "lorence C.Fox J = 168 Valentine Song (Book One, p. 46) English Folk Song- Wj J J 1. "Mis - ter Post-man, have you a - ny Val - en -tine a - mong- so ma - ny 2. "Here's a dain - ty lit -tie son -net; See, your name is writ - ten on it; ^ t &- B: n: ¥ V 4 r \ i ± B2 Esss That you think was sent to me? Post- man, look in your bag- and see! "While in let- ters g-old and blue Are these words that are meant for you; * f f f r i r r e EC m M= i ^ s £ Val - en - tine, 4 Val - en - tine, Val - en - tine r Is there one that you know is mine? Val - en - tine, Be my own lit - tie val - en - tine!' SS ft X£- ^ dffi m $ m ^^ ^ i -^ ^ 3Z ^T Post-man,please to This I know was look and see sent to you m x~ ¥ — 9- If there's one in your From a friend who is PF^¥ bag- for me." tried and true." Alice C.D.Riley . u J = 144 *=* ^^ Will You Come With Me ACTION SONG (Book One, p. 48) 217 Old English Song- (Hosts) 1. If I build you (Guests) 2. Thoyou build me a ^ r rp |r r/^ miii bowr of ro - ses, Garden walks all set round with posies, bow'r of ro - ses, Garden walks all set round with posies' J- J J , -ft p _«L- J j F^ ^P V i> ^' ^ j> j H JJ> J*h I H fe^ £ 'j j j / 1 1 Will you come and play Will you come to - day, I'll not come to - day, I'll not come and play, s« i Will you come to -day and play with me? I'll not come to-day and play with you . 9- i ^PP^ If t=» ( Directions) (Hosts) * 3. Sunny beach and the tide outflowing-, Cunning oars and a boat for rowing, Will you come and play, etc . (Guests ) 4 . Leave the beach and the tide outflowing, Leave the oars and the boat for rowing, I'll not come to-day, etc . ( Hosts)' 5. Forest trees with their green leaves shading Silver pools,clean and cool for wading, Will you come and play, etc . (Guests) 6. Leave the trees with their green leaves shading; Leave the pools, clean and cool for wading, Til not come to-day, etc. (Hosts) 7. Tip -top boughs in the wind a- swinging, Nests may sway but the birds keep singing, Will you.come and sing, Will you come and swing, ' v Will you come and sing and swing with me? (Guests) 8. When on tip -top bough a- swinging, Nests will sway and the birds keep singing, I will come and sing, I will come and swing, I will come and sing and swing with you . Divide the children evenly as Hosts and Guests . Place them in parallel lines facing- each other and let the Hosts advance toward the Guests with a g-esture of invitation as they sing When the Guests reply, let them turn away with a gesture of refusal, while the Hosts withdraw, step by step in time with the music, during- the refusal. At the last, when the invitation is accepted by the Guests, let each couple take hands,raise them and U t the whole company dance through under the uplifed arms to the repeat- ed music i the song. If desired, this could be followed by a "Swing Song "or a "See- Saw Song ith appropriate action. * Stanzas 3 to 8 are in addition to those which appear in Book One 218 Alice C.D.Riley J = 160 Before and After Dark (Book One, p. 50) tt ^ Laure Collin J I , J J J i -i-ii ^ Z£ r 1. Pussy cat, pus-sy cat, 2. Park comes down o'er the town By the fire sof - tly sleep -ing-, Snug- and On the roofs you g-o howl -ing", Thro the krr- l^Tp M C r f 1 f P IF = E3Li=rI I ' I I ' — L- I ! ' ' I I J J I J J J J J | J j J s: I *= rZZI 7=^ r warm you are keep-ing-. Do you dream curds and cream Make you fat, pus-sy cat? house you go prowling-; Quick as scat catch a rat! Think of that, pus-sy cat! ft m £ UL Virginia Baker J =116 £ The Airship (Book One, p. 51) j j J i j J J i ? ^m Adolf Weidig- Ccmposrd fortius Series a f r-&r V 1. I saw a fair - y air - ship Go floa- ting- down the lane; ^* - The 2. The sau - cy lit - tie bird - man Looked like an elf, in - deed; I 3. And then, a -cross the mea-dow. He steered his air-ship, light, And mx -u S i i I m i a g > i ra / 3. » -6M- breez - es bore it asked^What is your soon, a - mong" the ^^ £ up - ward, Then name, sir?" He ses, It gras in: ■1* 1 | : , let it down a . gain. answered"Thistle Seed" dis - ap-peared from sight. i I Robert Louis Stevenson J = 152 Happy Thought (Book One, p 52) 219 Old English Song- *=£=£ & The world is so full of a num - ber of things I'm &* = * i r ^T r £ ^ ^ ^m sure we should all be as hap - py as 5 £ £ £ king-s. £ I At Night When I Have Gone to Bed Harriet Fairchild Blodgrett Slowly J = 116 (Book One, p. 53) A Slowly Paul Bliss Composed (or this Series 5 r i ' r i J r m' f r i r r ' " j 1. At nig-ht when I have gone to bed, All fol - ded close and safe from harm, My 2. And there,with - in the sha- ded light, She always smiles and seems to say, When imm M E* w m P ^4 -tJ&- s — g 9 ¥ ^ g# -|9- #_i: -9 U 1 I i % P ^£ a r ' J r ' r r j r ' r r i J ) t dol - ly lies with cur - ly head Up - on the pil - low of my arm. I have kissed her for good night"We've had a ve - ry hap - py day. " m m ^2 *L -9 9- ZZL p 8H * ^ -9- § 1 c zr >20 The Farmer (Book One.p 55) Old English Game J- 132 m ± e ^ *=■ ^ $=s ^ — w 1 Shall I tell how the fax- raer Sows his wheat and his 2 Look 'tis thus that the far- mer Sows his wheat and his bar- ley? Shall I bar -ley; Look, 'tis %=z J I f if ■ ■ ^^ J i i ^ T tell how the thus that the far - mer Sows his far - raer Sows his bar - ley and bar - ley and 93^ pmg j. wheat? wheat & 3. Shall I tell how the farmer Reaps his wheat and his barley? etc. 4. Look 'tis thus that the farmer Reaps his wheat and his barley. 5. Shall I tell how the farmer Threshes wheat, threshes barley? 6. Look, 'tis thus that the farmer Threshes wheat,threshes barley. Clinton Scollard Rather fast J =104 The Eskimo Hunter (Book One, p. 56) Eskimo Folk Song ^SFFpJ | J J N JjiN I N JJN j 1 9 Funny, furry fel - low; Who's that a - g-o - ing- Through sleet and snow- ing", ^ifcf i ttr.f i ujj i jL l LUj lUlj i fffi- J* J> J' J K 1 J' J' j— r4-i fc± tr S ^^ PP? Pack o - ver - flow - ing - ? Just a lit -tie furry yel-low Es ki UjLf ■ ILLr fe£ fcl Busy Folks (Book One, p. 57) Folk Song- J = 132 m ^ ±^r-i mm X r 1. Will you 2. Will you tell me, Will you tell me, Will you tell me, Lit - tie tell me, Lit - tie maid, what you are lad, what you are f>- Si^ 9- rz. i j ' j>; l J-J j> j> I J 4^ 1 I j i I i m f do - ing - ? Rocking- dol - ly, rocking- do - ing? Playing- sol-dier, play- ing- dol - ly With a sweet lul - la - by. sol-dier With a flag- wav- ing- high m &-*- m 3E 9- 9- 9- ¥*- n: Charles Keeler Brightly J — 160 Baby Life (Book One, p. 59) I Adolf Weidig* Composed for Ihis Series * I ? Z. m as: tie ba - by do? Clap his hands and coo and coo; What can lit IS §fi £ 1 J I J- | J J fff^ P ^ "f — T f r Kick and roll and smile and grow, That is why we love him so. ^=H v. 1 m 32 Katydid (Book One, p. 61) Virg-inia Baker J =U6 p^f i- ^i- i Folk Song ^3jtfff 1. Ka • ty 2. Ka - ty did, did. Ka - ty - did, Ka - ty - did, 1 How hear you f I r f f you. tease! P r. Hi j j j ■ j ' ■ i Wont Who you was tell? What did Ka - ty do? Kate? Won't you tell me, please? ^ m m p^« e Nellie Poorman .From £&? Spanish J =S0 The Snail (Book One, p. 61) Domingro Mas y Serracanl fr^ J J i B^f^ ^ r Slow - ly creep - ing-, Snail,you must be sleep - ing-. Will you please to r tell r m m m. ^m J \y ^ ff. ST 1 fvM J'lll ^l ' I K It I J II How you made your dwell - ing-? Pret-ty spi - ral shell Serves you ve - ry well . ^3=? •i-" f r i-f- ** ^ ^ f A Song Without Words -^1 Wilhelmina Seegmiller Allegretto J.= 84 (Book One, p. 80) lepr w^m Robert Just Composed for this Series i M ^~~ 1. Oh, 2. First 3. Then 4. Oh. a song- you see a breeze a song- with a g;oes with out patch play out the words of blue ing- by the words % S v i mm *=■ *•: Is like sing- - ing Sail - ing- through a And you see a Is like sing - ing- W of the . birds, tree at you, but . ter - fly-, of the birds. mm For you sing-, And you shig- ; A great bee For you sing", fell $ f *\ t 1,2 3 fe^ f p -s 'Tra - la - la "Tra - la - la buz - zes a "Tra - la - la le!" lei" long-, le! " And put in the things you And put in the sky and So you put them in the And see._ tree, sonir. fcpsi P I 4 a little slower i you =±= put in W the things *mi see T. M. Vol. 1—16 9Q9 •hum Pauline Frances Camp Not fast J = 138 Peek-a-Boo (Book One,p . 81) Horatio Parker Composed fortius Series -6- 1. Moth - er Cro - cus woke her babes; Washed their fac - es clean; 2. Out theypoppedin - to the sun; "Peek - a - booP'they cried. |),','i | Tri i rrnrr44rr i f rr i hrr i r r=*fr f 6 — -6 — Tied their caps be - neath their chins With bows of rib - bon green Gave old Win - ter such a fright He ran a - way to hide! . ftzzm 3*3? m ^ I N M N'P P Alice CD. Riley Moderately J = U6 A Recipe for a Valentine (Book One, p. 83) £m j> I J 1 J' i p J* ^ Old English Song- L_ ¥ 1. (Take a las - sie's win- some face, (Write a verse o' po - e - sy: 2. (Quick! The post- man's go - ing by! ( Let - ters sealed. with hearts I see, All "My Go, Dain framed in heart is pret - ty ty and £ 3£ ^m hearts ; thine, thing- f fine; r 3 r=r ^m ^ a= i m a t £ bz ^m tT (Shad - ow it with ( All my life to (How the lov - ing (Oh! I hope he t £ T pa - per lace, thee I'd be mis - sives fly ! brings to me ^ f Cu Val Love's Val £ pid's en a en =E darts; tine!" wing - , tine 1 1 The Thunder (Book One, p. 84) Minnie Leona Upton J— 104 233 Marshall Bartholomew Composed for thii Series i. i y p j. j 1 1 1 j }'\ f * f ±m Rum-ble, rum-ble, Hear him gTum-ble, All a - long- the sky! ^ ^n , j j S f ^ F ^^ > j jh j M^t^ * * i — a r — r Peo - pie scur - ry, Homeward hur - ry, When he blus - ters. by. ^m CT^O 1 T j* P $ f f h h J) i 1 l J * * K .\ ppf ^ Bur - ly thun-der, Much I won-der If you laugh to know 5EE3 1 k TT1 i fe^ i' J' t,. | \ S )> i: K| J'-JU^ Y n7 r *r What a sha - king- And a qua - king- You can cause be low. 2*E* ^^ i — p—TT ^ 234 Autumn Leaves (Book One. p. 86) Nina B.Hartford Slvwly and Gracefully J = 160 Nina B.Hartford Abbie Far well Brown J — 132 P The River (Book One, p. 87) S 235 Adolf Weidig- Composed for this Series 1. O - ver the peb 2. Now with a rip 3. On with a leap bles fall pie g-lanc and turn •>,:irrrrrrirr y jjfi — j 1 — ^ j — i — | — ffi lag - , ble. liHiii ^ cresc. ± i Un - der the gras Mer - ri - ly on In - to the roar ses crawl ward danc and rum "iff, ble. mf ^^— 1 I fei Slow - ly Out of Deep - er the the and 5E fe^j riv mea strong- er Wi - den - ing- dow In - to the er Riv - er no ■v ev shad long- er, ow, er. -^M# i dim . mm 1 Wan - dors a Mak - ing- a Now it is 236 Abbie Far we 11 Brown Quietly J =126 The Oriole's Nest (Book One, p. 90) Norweg-ian Game n-^At-yi , i ) I I I hi E s p^ ^^ * I ^ 1. The o - ri - ole, gold, is at home at rest, Swing- - ing, 2. The lit - tie nest looks like a bas - ket small, Sway - ing, 3. The shadows grow deep round the wee brown nest, Creep - ing S fct i 1 1 1 1 1 I J 1 $ High in the High ' o - ver Out of the nest, While lit - tie 'birds are a - sing - ing. all, While lit - tie birds are a - play - ing. west, While lit - tie birds are a - sleep - ing . v -** m s sz English Rhyme Brightly J- =92 ** mm Oats and Beans (Book One, p. 9l) \t Old English Game f i^ W ~m- 1. Oats and beans and bar - ley grow; Oats and beans and bar - ley grow; Do 2. First the farm - er sows his seed Then he stands and takes his ease; He s ] — w *m b -.*■ X ± p3~i f ~rrt i{m *3 you, or I, or any- one know How oats and beans and stamps his foot and claps his hand, And turns him round to I m. f^P f £ ^^ bar - ley grow? view the land . # Mary Mapes Dodg-e . In conversational style J = 132 dfc Four Boys (Book One, p. 92) m m 237 Mildred J. Hill Composed for this. Series 3 i ^ 9 W Dum - py Dick - y said, "I can't; Joe said, "By and by;" fa # ^Pj 4 * _g * v T~T K l b»tf £ ii i £ r J r ?i r r Grum-py Jack- y said, "I shan't; •7N Tom -my said, "I'll try." Q * J* 9 # 6 f * f t f f 1^ $2 £ Now the Sun is Sinking (Book One, p. 94) Hi Moderately J = 112 ¥ i French Folk Song- ^ eee J J IJ J J W=F Now the sun is sink-ing In theg-olden west ; Birds and bees and children All have goneto rest; i fc ^W 3E Td^ Q g-ar j N J J J I J. ' r ~ra~*l J •» H " U ** * * 1 i- HI -A nd the merry streamlet ( As it runs a - long-, With a voice of sweetness Sings its evening* song- , • "-*■ i | Uh.J - r i i i rT Ti^frnr rf , i ffft if , Eftf^ 38 London Bridge (Book One, p. 95) Old Eng-lish Game Brightly J- = H V i H M i 1 f 1 ' ' J , tM| f' ',' 1. Lon- don bridge is bro - ken down, Dance o - ver my La - dye Lea! ^Hf^ f r=? if p f i £-4-*- $kk^ I I P P '■' ^ 1 P !SI i • i: r- Lon - don bridge is bro - ken down With a gay la dye!. »M T ? «l - j 2. How shall we build it up again? Dance over my Ladye Lea, etc. 3. Silver and gold will be stol'n away. etc. 4. Iron and steel will bend and bow ; 5. Wood and clay will wash away. 6. Build it up with stone so strong-. Soap Bubbles Mabel L. Harris Animato J. =96 (Book One, p. 97) i IP *ife H V V :t ' Ligh - ter than air r • >: V» si i and J- > j- I Irene R. Brickner Composed for this Series J round as a ball. Ail 239 ±A £ ,j ' p i p p rj^ ^ pink and blue and green; is - n't much trou -ble to i £ * m ^ r=* TTT/T" J. ^ Mi h *P t> J» h h Ji J' }i h 4 * 4 J' J J' P I T *==? blow a soap bub - ble, It's gone as soon as its 3 i ^^ ^^ i ^ JL f =M f Abbie Farwell Brown Sadly J =96 fei Lingering Leaves (Book One, p. 98) Adolf Weidig- Composed for this Series ^m p ' p ' r y * ' r s 1. Still there lin - ger two or three Yel - low leaves up - on the tree. 2. All their broth - er leaves have flown ; They are left here tjuite a - lone, 3- Poor old leaves, you can - not stay! Winds will sweep you all a - way. J *4 m a :el_ * fc * ^ f-^' ' r P r ^ 2 1) 3 « 8 f ^ How they qui v - er, Shake and shiv - er Fear- ing au - tumn's cru - el - ty! Fee-bly cling- - ing-, Wild - ly swing -ing-, Rough -ly now by breez-es blown, Down-ward whirl-ing, Mad - ly twirl - ing, Till you sleep and dream of May. ^MiiiiiA&irfAfci 3 T 40 Skating Song (Book One, p. 98) Anna M.Pratt Briskly J = 126 z 241 On Christmas Day in the Morning (Book One, p. 99) Alice C.D.Riley . J = 160 *4 i Edward B.Birg-e Composed for this Serifs m I ' t f f ' * f ~ f f f * f 1. Oh, 2. Oh. tell ful the car j°y ols ful let news us a sing: gain On On m?m ~£L i=4 1=^ sfc T r day in .day in Christ Christ mas mas r the the mom morn ^ £e§ ing! ing-! Let Of isN s Christ peace mas on r~f ^ A } ^ f ~y belis earth. glad g"ood ti will T dirig-s to r~r nng men, On On ^E^ £ it J I j J £ 3 fTl Christ Christ W - ^ mas mas day day r~^r^^ — r — r in in the the morn morn r ing-! ing-l £ Humming Bird* ( Book One, p 101) an Bassett ' - 132 Adolf Weidig- Composed for this Series 1 . Humming- bird in 2. Humming- bird, so air - y flight, light and g-ay, Flash - ing in the Like a liv - ing sun - shine; sun - beam, Ligh - Uy dip - ping. Swif - tly glanc - ing Hon-ey sip - pin^ From the ftow-e« bright Ev- er danc-ing; Then you dart a - way. ^Maxg-aret E.Sangrster Allegro # = 176 Mud Pies (Book One, p. 102) Marshall Bartholomew Composed (or I his series Sweetened with sug ar and sprinkled with spice, Ap - P^ turn - o - vers real • ly are nice ; But make - be - lieve pies are a Abbie Farwell Brown Briskly J= U6 Rain (Book One, p. 103) 243 Folk Song - ft » _p s — hr~ — *— < — K- =5= 1 -fe — J — : ^- if — T - * 1 . Drip ■ 2. Drop ping - , - P in g", drop drip - ping". - Ping:. j i — T nov - er ev - or i r — J— sfop slip - J ■ ■ Pingr. ping - . Rain. Rain. [ f rain, rain, -4f 1 — 1 rain! rain! Run - ning- down the Who has bid you win come dow a pane, gain? rrMi fe* fe*i /> Lit - He chil - dren Don't you- hear the want to play ; chil - dren say, ttS: % r :!• 5 h J* J ! Slip - ping; sli - ding", Drop - ping; drip - ping-, m ^5 h i' > J f r r ev - er gli - ding-, Won't you please to ev - er slip -ping; "Come a - gain an ^EJ s ^ g-° oth f a er way ? day!' inns 44 late For man J = 144 The Friendly Star (Book One, p. 104) >i Charles L. Mint urn 5 i j J 1 i j 2 -i -* — 9 rr — — # — w *=& r^f 1. Sun - ny day 2. Shi - ning star fades a - way, Dark-ness fails a - # round high and far, Look - ing- down a - bove rae; me. 5H^ F=f= • 1 , • m f rj ■f~ (9 1 rj ■ l ~-^L 1 m r l \ 1 4 1 3 i # With its light has Tell me, do you high and far, all the night, While a star, Clear and bright XL SE M XI- found love me. me? * .*&. f Vlother Goose J. = 84 Hickory, Dickory Dock (Book One, p. 104) English Folk Song- %T~> J 1 J' r p I p > w j» i j 3 J' f3 p i p ^ ^ Hick-o - ry, dick-o - ry dock! The mouse ran up the clock! The I ii^E % ^ £ f^^r m a p ' T gj§^ £ r p r p i r r J - ' jl J,J ' ilJr - [ -' ' J 1 ' 1 ' " > ' clock struck one, the mouse ran down, Hick-o -ry dick-o- ry dock! ± %. g=N^ wmm r ^^ r L^ p r r Virginia Baker J =132 Honey Bee (Book One, p. 105) 245 Folk Song rn~H i l j f I J M fe £ 1 . "Hon. - ey bee, now tell me, pray, 2. "All day long: the hon - ey sweet, "Why you fly a - bout all day; That the chil- dren love to eat, m m £ee£ £ *■ — # i r ' 7 f ^ * 22- 'Mid the bios - soms stray From the flow'rsl K*ath 1 er. ~2 ~# Are you on - ly play - ing-?' In the sum-mer weath - er." P ±4 * F Virginia Baker Rather fast J *4 = 96 My Shadow (Book One, p.106) £ English Folk Song- «_. ^ ^r -#• Shad - ow, fun-ny and black, Far a - head or el'se at my back y'ii P : p: I p~ — fr-r- I f^Lf q=5E US k f w if^Pnj ^ ? You can jump and skip and walk •, I wish you could sing- and laugh and talk ■■' i m m i im p ^m 24.6 Virg-inia Baker Moderately J- = 84 Teddy Bear (Book One, p. 109) 3^6 H G. A . Grant - Schaefer Composed for this Series f' J 7 I J TT~}- ^P 5 Ted - dy Beau- Has his lair Un - der John-nies rock- ing- chair. X si ±± m hM U ^. *7 ' r » *£*). £ Jpi hj -J'j J' i f p p irn Pray take care, Don't gt> there, You will have an aw-ful scare. & fT\ , i ^, | f% U F^F 1 < £ri. This Morning (Book One, p. 110) Clinton Scollard J = 138 "A M Jlr J J J j Ji r J ^ Marshall Bartholomew Composed for this Series 5 im * — # To - day when I g-ot out of bed,"Good morn- ing-," to the sun I said. "I'm ^m i i * — w s=^=* v — * w 33 ^ PPi£ # * i pp a — ■ £ i^^ I p£ £ g^lad to see you up," said he, And blink'dhis great red eye at me! I'" J J J ' y i. f f p = "» »■ ^ ~»r~ i t g 1 PI Laurence Alma -Tadema Rather fast J- = 92 King Baby (Book One, p. 112) ^^ 247 Horatio Barker Composed for this Series ^^ f 1. King 2. His 3- His 4. King Ba throne ^rown Ba by on is Moth it is by on his ers of his j >J * throne knee, , gold, . throne. I i Sits So So Sits L I te UMi t > a p ' r p r f f reign - ing- O, ten - der O, cur - ly O, reign - ing O f I =E sits so so sits J) reign - ing OT King- ten - der O! His cur - ry 0! His reign - ing 0! King Ba - by on his throne is Moth - ers crown it is of Ba - by on his gpl It i *l i- BE § Wi , r p J I pupi j i a ^^ throne knee, . gold, throne Sits Where In Sits h reign - ing all a none may sit but shi - ning ten - drils reign - ing all a lone. he. rolled . lone. $ ^ BE 1 ¥ 1 T. M. Vol. 1—17 248 Eva Rowland Allegretto con moto J • = 8 The Gingerbread Man (Book One, p. 113) Maurice Mo»zkowski Composed for this Series ftifl- J J J *' ■ J' ,'■ ' ' f 'f HH' r h ,h J 1. Sing- hump - ty dump - ty, dick-er- y dan! Sing: hey, and sing- ho, for the eyes are cur - rants shi-ning- and black; He's baked in a pan.ly-ing - s mm J j-j > E i ^ ^ P J'i l j J- l ^p^p p- p p l J'^'J ^ £ gin - ger-bread man! His smile is so sweet and his form is so neat, He has flat on his back; He comes from the ov - en so glos-sy and brown, He's the s s 7=4 P \ :>-h f f j f -^tp Tn r r I lee at o I legato T 3^ F^ ^^ t £ E i ^5 1 *=? 5E gin- ger-bread shoes on his gin- ger-bread feet, lov- li - est gin -g"er- bread man in the town, He has gin- g-er- bread He's the lov - li - est *'■ run r J J i » U si"* f — — ' — \ t 1 1 r •• m shoes on his gin- ger- bread feet, gin- ger-bread man in the town. 2.HLs / m -WT k £nm ZiSUJ'lZJ ^yjj-. ? i i *_J 1*11 Tell You a Story (Book One, p. 114) Mother Goose A Lively J = 81 249 Arthur Whitings Composed for llui Series 8-J -l J"J J- J J' > l J 1 . i- -h j' j^'-M J [t7^i J. . * w ? - i y p y y~w y y I'll tell you a sto - ry a-bout Ma-ry Mo-rey;And now my sto-ry's be - gun. Ill m r r ' d' f 'i ' ' ' — — e j- j' j' j' J* i tj p J 1 j' * i j ^^ i «* — «► tell you an-oth-er a - bout her brother; And now my sto - ry's done. jrjM u rr L rri r ^,n ,i William Shakespeare Simply J • = 72 *4 Saint Valentine's Day (Book One, p. 114) Old English Song- ii Ji ii.rm J> i i'ij4'i i i »;ffi'i T Tt^ £ Good mor - row, 'tis Saint Val- en-tines day, All in the morn-* ingf time; And 2giMftJ£r^u p j pirrrc^i^rB Hz rm jii^'i inNj i j~.j -j I — a maid at your win-dow, To be your Val-en - tine, 250 Clinton Scollard J •= 60 Last Night (Book One, p. 115) ■'■'■ ii""' i J .in hi i^i i i Marshall Bartholomew Composed for llm Series £ I i — a r T 5=5=J=f?==9 m Last night, as winds grew col - der, And play ct amourn-ful tune, — Some I ■' WMf-t lf: i F FT M . J f J ;J>h , j >j i> p r^FF i i£ ^ mz j l j.-j: I J: J II *=■ i — « f * m T one -peeped o'er my shoul - der ; Who was it but the moon! . gg *s^ m i g g f i*Jr QE ^- ^P rw p'r 4 Kate Forman » With spiritjmt not too fast J =* 84 The Birds' Breakfast (Book One, p. 115) James H. Rogers Composed for this Series f i*f SEE* * II : J> J' a # ^ Wfc« accented l.When the win - ter's i - cy winds 2. Here's a black -bird, here's a wren, h 7 i . * i PI 1^1 E=3t 1^3 V ^ I ^ ^3 £ ^S f P P P ■ * Hun - gry bird - ies Lit - tie chick - a Freeze, freeze, freeze, Oh, oh, oh! s h s f 53 ^ i 7 i 3E ±=C i eat to - g-eth - er, dees and spar - rows m p p r How they tease, And a crow £= )inp>~ E g ff » ±=± W 251 3 cry- ing; '"Please!" Here's your break - fest, lit - tie friends, in the snow. When the win - ter's i - oy winds _ &■ P^i :?=2 ± ^=2 : S P Come, Cry, come, cry, come, cry, Do not scuf - fie, sau - cy blue - jay; Hun - gry bird - ies eat to - g-eth - er, P^ i M cresc. ^4 P p ,f * ^ 3S For a crumb; Then g-ood - by, Jiere are some, Here are see them fly, See them I m i*l »j some. P5 Si m -y- p-yf ta m flyl / 2^3 t fe^j 3 S|: i f 2: 252 George Cooper Baby land (Book One, p. 116) i fcrf-Trrnr-ir l > I I 'l | i H m 1 . How ma - ny miles to 2. What can you see in 3. What do they do in 4. What do they say in dS m g^g i Ba - by - land? A - ny one can Ba - by - land? Lit - tie folks in Ba - by - land? Dream and wake and Ba - by - land? Why, the od d - est ^ s mm i Gabriel Pierne Composed (or this Series tell i white; thing's; Jpi Pfl I P p r 3 r t p cj , ! _ P Up one flight, Down - y heads, Laugh and crow, Might as well flj> ^ r 31 ^ To your right ; Cra - die beds, Shout and grow; Try to tell Please to Fac - es Jol - ly What a ring the pure and times have bird - ie i ben. bright . they, sings . * f p f P % The Elves and the Shoemaker Florence C. Fox Lightly J =88 ±* (Book One, p.D16) V W. Otto Miessner Composed for (his Series m ==f R F I p P 5c 1. Ti - ny tap -ping- 2. Ti - ny stitch- ing ^ f: £ £ £ :£ £ £ g in the night-time, in the fire - light, ZZZ9Z & H i j;>.f £&=* J, J. j^-j. J^ 1TJ fcJ 1 i Ti _ ny tap ping", tl ny rap- pug*! While th<- cob bleri Ti - ny ititch iii^, tioure i"' writch - in^ ; Ev - Vy olgW bit kt r_ f H T, > '•;. P^l ^ W .1 « •- ft J^ p TT^p^ p i~p - p ^ j> 'i ■tore (ly nap - ping en rich ixig > , Ti . ny elvee bii Ti - ny elvei hie shops an- t.ip plug hIiops .up . slid h in^ i'V r r r &" i- V r; 2 Tit. iM-j) ji j> j, ^ i= ft j j^ g-7ir^3r3F= ^ Rap .i tap tap) U.i|» .i tap tap! lv.ip .1 - i,\\> l.ip, I | ,,V ' J 2 A> f P^i /' r . y :• *\ ^ j) ;> i\.ip ,i tap tap! o> iV I&Lp t rit. />;> ^ P f f-rJ f 25+ Kate Forman . In march time J = 11 ft The New Soldiers (Book One, p. 117) fe *• Ji h i) E=& i Edward B.Birge Composed for this Series 5 jf—' 1. Oh, who will march with me; And my 2. Oh march and work, a - way, As we 3. Oh, who will work with me In the drum, drum, drum? Be should, should, should; To sun, sun, sun? To *&m «— e t=t f ff^j,j. J - J-j. J i r.f ' r'UfV^ j rea - dy and be stea - dy, And make our ci - ty pret - ty Is — keep the green things growing- Is — 2 come, come, come There's work _ to do For good, good, good. With bu - sy feet We'll fun, fun, fun. We'll sow_ and_ hoe, We' 11 $ P ^ I k?'- P,P i sol - diers true, Oh tramp the street, Till weed and mow; Our £ ^F=5 iUU,J^ — d> *> m — hear our coun - try call- ing boys, For me and you. ev - ry -where we march a - long Is clean and neat coun - try needs such sol-dier boys, So go, go, go. * a m p ■9-r — m ? Florence Newell Barbour Composed for "this Series poco George Macdonald J =60 With thought and much feeling A Baby Sermon (Book One, p. 118) PP rit. £ i ^i J *'* '* ' f -f- r P T = 3f The light -ning and thun-der They go and they come; But the poco accel. ' ,: Vif \ f p f p is frpf^ a />c«> r/t. espress. r.' i n , j. »jo#o wY. e d/m. W> f^5 1 stars and the »' ' f ' ^t^ r 77^* still ness Are al ways at home. nj~i} i r^r I * £ i f Hi f.^ i 255 Alice V. L.Carrick Allegro J = 88 *dtaS SS The Clock (Book One,p. 118) Ermaano Wolf -Ferrari Composed for this Series fc 5=^5 J' J' J^ J £ #— ! 0->- a ....a fcfct A m t-j — g^ i I used to be a - fraid at night, I t y.u % 1 f- v=^ a a — — ~s / »¥»t£ l # * v p'kr i K *A » > J> J> J> F=S K-4r4-Ji=i f ' P * * * nev - er slept a wink; But now I'm brave as a - ny - thing-, Be &k f a a tf a a ■$ ill ^ i> n r-] ri 3E M ££=5=5 ^-J) I J>. .h Jl J> J) J Jl J) ^ cause, what do you think? Last Christ - mas brought a clock to me; It m -m m- -0 0- § ^£ y'Aj' • ^^^r^ I i j J ? I < I 1 56 fiUfe ^ £ p f r ' f ^ ^ ticks as loud as loud can be. "Tick - tock } " says my clock; ±S k f P^ } J, ^ jr- j « 1 1 fT~% cresc. *v* f .r'Lr^ stacc. ±A S 5=5 7' v J> y J *' * ZH "Go to sleep; watch 111 keep, Tick. Tick. Tock!" *! PE S e==5 aefe CT P * J' * p ip ^& p ■ > ?=5 dbS *£ f'- J'J> J^ J> jr-^ J s ^ 4=1 ££= It seems sogtiod to see it there, Just *— m -i—f-r t — » 7 ? =» i a Ezzzezzzg: 5^ f J) J~3 J-? r-3 £E P P z*i SSI Ph h ir-r-ji h 1> J i i^ s T aczzzat :g' * * hang - - ing- in its place ; Tt keeps me com -pa- ny and smiles With m ^ .,0 * ■ c -*-^ •- -0 0- :p c 3 II -# #- -f» 1»- : »• — c j"1 J~3 J^] J^ j, nnri 351 257 C ' ' I I ' ' I I '' ' ' I ' M I such a pleas -ant face. Why, think, I some -times used to cry, But 4-t, * 0L ^ Vfl p *n Jr: ^ jn B • E r-f-p-f f f t j t* I r p f p p f r '- m p feEi * • — -m. now I hear this lul - la - by; "Tick - tock, ,r says my clock; $k g_! % ** *m » r i » » 1 cresc. f m £*: — r» p » f " gj=i J> !•' » J> » — h- stacc. ^ *& »'» 1' h 4 I y * -T ; £=£ ^ Go to sleep; watch Hi. .keep, % % % > m f «> Tick, Tick, Tock!" f V P i K tf- ^ •> T ^=E PIP *& 77fett im ^^-^^ ZEE J^jt^ji 3a: / dim. & ' J^]j ^BS 258 ^aura E.Richards . Joyfully J = 100 Summer Song* (Book One p. 119) W.R.Cowles Composed lor I his Series M"^ m m - 1. Brook, brook, come a - long", 2. Brook, brook, come a - long-, 3. Brook, brouk. come a - long, Run a - long - with me! Run a - long with me! Run a - long- with me! %m m f^Pi Such a play- mate, Jew-%1 weed and Dear - y me, I've gay and bright, jim - son weed, turn-bled in,_ You are sure to Pret - ty things to What a sight to be. see! see! m s &=? m m K m e^- m s S g *a * * i p t—\ p z=z P P If N N You can dance, You can splash, I You are wet, I can dance, Both of us can sing; can splash, Both of us can sing-; am wet, Still we both can sing-; P m PS /. I i= f m m <&*. ±=s Ti - ri - li. ^ I Ti - ri - li, Ting, ting, tins"! ^ / m * IF" 31 Laurence Alma-Tadema Gracefully J = 120 Strange Lands (Book One,p. 120) 259 W. Otto Miessner Composed for this Series r^ r-J -Jt= J J ^ ^ P-t — 1. Where 2. Where 3. Where J do do do J you come you come you come =j from, from, from, n Mis - ter Jay? Mis . tress Dove? Ba . by Miss? — J- * ■ "From the "From the "From the n r^i r __i! ^M = — E ■ _ 4 ~l—L H^ m f ± Land Land Land of of of Play Love, Bii'ss, from the from the from the Land Land Land of of of Play." And Lpve." And Bliss." And J h N j ■f B — & — J i - 4fa — ^ i 4 — * • < i a- a ir f where how what can do is that you the — » be, gret way .1 there, there, n p 1 lis - lis - 3a - g- 1 ter J :ress I by a 1 9 ay? )ove? Iiss? 9- "Far a - "Look a - "Moth - er's 1 ^y — " *~ i S V> t . 2 .'* , £...... i rit. ± i I ^T n i s^ s* ^ way, bove, kiss, TTT Far a Look a Moth -er's way. bove." kiss." ¥ 9=1 1 The Five Toes (Book One, p. 120) From ChiTiese Mother Goose Rhymes J = 144 ' "-■'j J J. J J Adolf Weidig- Composed for this Series I ' | J til I ^ This lit -tie cow eats grass; This lit- tie cow eats hay; t t r t & *T^T i — r ^ 35= r~r t* J ^ j Yj Mj-fo s r r r 5-=f This lit - tie cow drinks wa *& -v- =£ A. ter; This lit- tie cow runs a - way; 1 i £ #=£ -«>- cresc. r ' i" i i J J iM N y* a j < r This lit- tie cow does noth - ing- But just lies down all day; We'll ^§ jQl lb ««-: fe^ ^ l»,j J j J j j J 'j | / £ a akc her, . r, wake her, Be - cause she's a - sleep all day. +tJ-^ -L a 9= * r 5 £ ^ f^ 9- Mother Goose See, Saw, Sacradown (Book One, p.121) Heavily marked 4 = 138 j. TS 261 Arthur Whiting Compost J fur ibis Sf fit's ^ ^— T. ■• 4- % M» M* ¥ ^ S: See. saw, Sac- ra-down, Which is the way to Bos- ton town? s iii'U ' M ' i j -«■ & -G &h=£z See, saw, Sa® -ra-down, Which is the way io Bos - ton town? -6 2^ IS5- f zn i & a t * J * -o- r One foot up, the oth - er foot down, That is the way to Bos -ton town; NMrf t * P S £ C p J J J =fai S tf » n'ij J'd J ^^3 One foot up, the oth - er foot down, That is the way to Bos -ton town. ^il f t t [ I f F o J J ^ 262 Lullaby Christina Rossett i ( Rook One, p . 122) Andante tranquillo J-= 60 9 Adam Geibel Composed for this Series p^$ Lul-la-by, oh, lul - la -by! Flow'rs are clos'd and lambs are sleep -ing-; Lul-la-by oh, ? F^ 7 p#^# #^M£ 5^- i 263 A Carriage to Ride In (Book One, p. 123) Carl Reinecke Allegretto J =112 w^mm m :^=5 ^f^ V 9 P A car - riagre to ride in, A horse for be - stri - ding-, A i J iJi i j ff i j Jlj, ij. TTfT=m pot full of hon - ey, A box for my mon - ey, A doll's house and g£ 1 fflJ'OU m? jsas j J^lj y^ l ^ M i J'J'lj e kitch - en ,What things we'll be rich in! A book, too, to read, What else can we ^ s &l O^ ' ^i^ ' LLi^ ^ J'iJ» J^N ii m i p P need? Oh. a flute and a fid - die, Hey did- die, did - die! A ^m U±J i lLLt "LiLr ' "LLlJ r# (CN P _h I E^ t |> > 3 3: m bell, too, for ring - ing, -Jf w w 9 Kind Christ- mas is bring r P f M y I I T. M. Vol. I— 18 Old Eng-lish Rhyme . Not too slowly J- 126 Creep, Mouse, Creep (Book One.p. 124) m slowly «J = 126 , W. Otto Miessner Composed for this Series FTP**ff ^^ J. 333? y? f ?7 ' i — * The dog's a - way, The The cat's a -wake, For 1. Creep, Mouse, creep! The old cat lies a - sleep; 2. Run, Mouse, run! For sleep-y time' is done; J p *p I p J i n p *p "T^ m m I rt-i-i-? r^f 3 7 f- " r ' V^ f kit- tens play; pi - tys sake Creep! Run ! Creep! Run! . Creep, Mouse, Run, Mouse, ^ , iJ^ , ij J J- teE c reep ! run ! 5& 1 -ta- ns: A\ Georg-e Reiter Brill -, Briskly J - 160 The Recipe (Book One, p ,124) Mary Turner Salter Composed for this Series S ■ T J J I J ^J J I ^ vf , r ,'F r Round an' round an' round we go, P^ r Round the pan o' bak - ing dough; ^ ^^ 1/ J J J J 1 J J wm ** Put a pinch o' gin - gfer in; Pour mo - las - ses sweet and thin, ?£? ■a- m ? v f i ^=^ # £ -•"■ But - ter it an' roll. it, an' Put it in an f oth - er pan; »r L l, J I J | i dEEEEJ; i i 265 t&=k=£d ^^m Bake it crisp and brown, and then JL Out jump twen - I J' P f J Ji ^ Alfred G.Wathall Composed for this Series ? 5=* ^^5 i «J Mp "Wah-wah- tay - see, lit- tie fire - fly, Lit- tie flit - ting ,white- fire in - sect, I m m ^m m ±=t ^=f poco rit. r^^r * }; J >'■ * Ji J '' * * Ji :^e? Lit - tie danc - ing,white-fire crea - ture; Light me with your lit - tie can - die poco rit. a tempo ntp ritard e dim. a v *^ Ere up - on my bed I lay me, Ere in sleep I close my eye -lids!. \ # = 132 -* ±^[ Old Chang, the Crab t-m. - (Boo! 68 , (Book One, p. 127) torn Chinese Mother Goose Rhymes ^ W. Otto Miossner Composed for this Senes 2* t- t i [' Old Mis-ter Chang-, I have oft heard it said, J ^ J i J J- mm fJ n^h^^ ljlllimjj'J g You wear a bas-ket on your head .You've two pairs of scissors to cut your meat, And DEC I f— f i r ? . f p^m 4, • — * £± % % « gi£=£ ^H i ! r^=j m. two pairs of chop-sticks with which you eat, with which you eat Has ■'•' ; r r r ^j^j ' jjj Dora H. Stockman The Pink Pig (Book One, p.128) J =144 W V Marshall Bartholomew Composed fcr this Series t^ ; J i r u- n^ ^=^ p «T=* e ^ Pig'-gy^ig'gy, pig-gy^ig-,Twistyour tail; Piggy wiggy, curl it up On a rail. IS ^jYTfirr^m m P p« J prr n- pi pr-rp, i ^^ *=|5^— fc You're so pink and pret-ty now, I wonder, whenyou're big, If you will wallow in the mud Like a* r f f f -^r f 'f r i 'f ^ f >r i 269 eresc. 9 y ^^ TN^^t I' * 1 ; M u | f I 'iTTHI ^ a - ny oth - er pig-gy wig- gy, pig-* gy wig- gy, wig; Like a - ny oth - er pig ! f f f Hi Kate Forman Grayty J - = 92 The Squirrel in the Snow (Book One, p. 129) Jessie L.Gaynof Composed for this Series toj'U-J' J J, p g ff=* :i ni'LfM 1. A squirrel a- woke with the first day -light; He found the world all 2. He ran to his home in the hoi - low tree; He brought his break - fast ' r *p r hJ'-^Jt I ; * ^ i p- g P r r . 1 soft and white; What did he do? out, you- see; How do I know? J «^ t m i — i b- fi He frisked in the snow- drifts His dear lit- tie foot -prints £ s^ i=£ s* fT' -j... E£ .if pr w — ~ g t=e EZZI z ^ r' P" fl i- S dV ^ :r — c IE i -# 0- m just like you, So ear - ly there in the morn - ing. tracked the snow With nut - shells there in the morn - ing. ifeNE 270 Clinton Scollard J = 76 Happy New Year (Book One, p.129) French Folk Song "J J i I Mil V u>_h h i b b $ fe=3 3 I 1. Hark! Hark! Hark, thro' the dark 2. Hear! Hear! Hear, far and near, Sounds are steal - ing, Bells are peal - irig! Chimes are ring - -ing-, Bells are fling- ing i i A i J h= mm £ J^ Swing as they ring Cheer thro' the year; Swing! Swing! Cheer, Cheer, New Year greetings un - to all! Hap - py New Year un- to all! m c r i f r r^j rj i [., ; Our Friends the Shadows Alice CD. Riley Quietly J = 138 M (Book One,p.l30) French Folk Song- 9 mf ^m i E 5S Ij2 1. When at eve the 2. "When I go to set -ting sun Paints the bed at night Then I west, All the lit. - tie see, While mam-ma puts k m h ;z g - ,,, CN *^= ^ -CC 30C 3Dl PP 9 ™f i**a ^i re^- ♦=1 shad- ows run Home to out the light, Si - len XT rest; tiy. Off a - cross the grass go danc - ing, How the shad- ows come a- creep - ing £ m ^. * — * I I rail. ten. pa rr *=3 r r. In - to nooks and crannies glanc - ing. Scam- per lit - tie shad- ows home to rest! To the cham -ber where I'm sleep - ing, Creep in - to my bed and com- fort me. m IE *E f ^ Laurence Alma-Tadema J =80 *i i i I rj Dance, Dance Baby (Book One, p. 130) k 271 Horatio Parker Composed for this Series J', -h h I U r ' ' Dance, dance, ba by, All the world is ours! gfrs i J 1 J S ©^ f f s £ E3EE5 A J J 1 J * / ' I * J' ' i . f T We mayg-aze- at all the stars, Smile at all the flowers: Ff r r -r e ■j. ^ ^ j' i j j; J i /■■ ^ j^ if r All the birds are ours to feed, The sun's be -hind the showers- m m j - ■ s~~rn i # r r j ^ i ^ Dance, dance, ba 2. ■-, t=r- w *>y, 5= r All the world is ours! r 172 L Miller Lively J - 152 Wee Willie Winkie (Book One, p. 131) Arthur Whitings Composed for this Series S=S J i I r M' J $ es f f ^m i m Wee Wil-lie WLnk-ie runs thro' the town, Up-stairs and downstairs in his night-gown. I 4 * 4 t rtir^— r4 IM^ P F hhMn l J i J 1 J* ^ i' J -■ « «- 2=2 ^^ # # Tap-ping- at the win-dow, cry-ing at the lock, "Are the babes in their beds, for it's ■if j r ji r— j r ff i %=u ## ritard very slowly I '* PMr pf g a J ^ i=i id -'£>- now ten o'- clock? Are the babes in their beds, for it's now fff f f ff| £=S=j=g ten o' - clock?" a. Q I ft I eorg-e Reiter Brill Quietly J- - 60 P Benediction (Book One, p. 132) Mary Turner Salter Composed for this Series § P P^ fef^ 1. Good night, Sleep tight, Dream a- way thy troub-les. . 2. Good night, Star - bright, Rest ye from thy sor-row. f '4 j- j; i t/i J'f J' » m £ p* ^ ^^ m=t 273 *=£± ^ +*-+^ r — Good night, Dream light, Un - con-cerned as bub-bles. Good night, Wee mite, Wake ye on the rcor- row. 4 SE ft ^ «3 £ a v • ±=£ £ S 2S f^P iJ T^- Clifton Bingham A Brightly J =152 Making the Hay (Book One,p. 132) Bruno Huhn Composes far ihis Series ^W I l \~ 1 i i ^ 1. Three lit - tie peo - pie 2. Three lit - ile peo - pie, Out .in the Oh, how they Hf F I i ! F hay Turn - bling and keep Bur - y - ing- K 1 ^ iM^ - toss - ing it, each oth - er T Bu - sy and Ev - er so r r — Work -ing so mer-*ri - ly In the bright But if the far-mer boys All were to deep! » f • H ' ' J_J, ^t^ e± J*J=J: = ill£ ±e4 3 r-n-^i ^^ sun, play J- Help - ing the When would the J. 1 "r r r if r hay- mak - ers hay - mak - ers Is - rit it Get in their J=i 4 i fun? hay? I 74* om The Youth's Companion Merrily J. = 84 Winter Roses (Book One, p. 133) / I 7, 'cm4 P^^ ^ ^e£ g^^g Mrs. Crosby Adams Composes for this Series cresc. B ^^ r r F^ f ' r ' ' T Take a deep snowdrift and three lit - tie boys, as a; ' ' J: Mix them to - g"eth - er with >^- V ! M b N— K V j^-fr4H^^ }> J» J ^ ? fr"* * W : iU «g ; s f tcfck tL ^ J' l> J> J' S ./' g: h « - s F^ P^se ^3 *^ r T ve - ry well heat- ed with wool- en and fur; Then six lit - tie cheeks and EEG 1 m hk t :. J l^, J J' 1 J j' J ] (J J' J 1 I «r » r -g. " 3 r=^ ■05* r - r three lit - tie no - ses "Will bloom in the snowdrift like mid- sum-mer ro -ses JgFf f 7 | j -p- j ? - q The Caterpillar and the Bee Bertha Remick Allegretto ma non troppo J = 108 (Book One, p. 134) 275 Bertha Remick Composed (or this Scries ^S uH\^i-^ m ^5 * — # 5EEE -g m . ~_ _ w m . g. 1. Said the stri-ped cat - er - pil -lar to the black andyel-low bee, "Our stri-ped cat- er - pil -lar said the black arid yel- low bee, "In -j P-ft-rE 3: ^^ * * ¥ i~4~> mf *=5 w i 2=^= Ei^ f r fe^=^ = ff J' ^ I J> Jri*^ ¥ f t col - ors are al - most the same, And yet I do not see When deed our col - ors- are the same, You look a lot like me. If a ^M— * m $ -m 3 — a * - »* = * = f ** ^ ^^ f^f i i?;w£ stanza a little slower ? r/f. rTTTT £ /?* » * ^ -f- f-F+f-f 3S3 * W — ■ — r ~r p f — ■ — y p w " W both our coats are made of fuzz, You are the on - ly one to buzz! To bzzzz, to you'll gro w wings as well as fuzz, So you can fly, why thenyoullbuzz!You'll bzzzz, you'll fcfc # ■ ~» t m f * f #r pf ^ P sj_f f f f- m ££^ ^bl /r — — 3 ^ — 3- "p ^ ^ J H t ~* " * 9 to bzzzz you'll bzzzz » bzzzz, bzzzz, bzz!" i ft? 4 <* & s v?; # ^-J i* ^ • * — To the ~# — r bzz!" S //,— i //' M J^ :r— T ary Bailey Fast J = 160 hzr-r^ m r A Frown and a Smile (Book One, p.135) k=i mm W. Otto Miessner Composed fur this .Srne» :^ T = Z Who comes m ^p ./■ Li >=i 4 ° here? -(9-= J- If a frown I m -bfr "A 1 -**- say, 19- " There ■ j ' » 7P- -(9- £ ^ 4 • 4 4*4 If 4 • w is no room fur you ] to stay; No room for . two up - - on one face; A ^^1 £ 1 t \i t ^fc ^ P^^ F P^ H smile al - rea - dy has * the place." ^f S / -*y- $ ^^E J && : 4====± J-- 277 Maud Wilder Goodwin From the German J = 88 A Riddle (Book One,p.l.35) i i m German Folk Song- 1: PP f V 7 1 S stone, wood; A wee man in the Up - on one leg- he wood Stands as stands In the still as deep dark HI J=F=E A He t ^ i P? f cloak of pur - pie hue wears up - on his head O'er his Such a shoul - ders queer black m I thrown, hood. Ms m ^s ^ Tell me now if Tell me now if you' can see Who this lit - tie man may be, you • can see Who this lit - tie man may be, ^ 1 iAA fcfHH^ £ i f ± ± ¥ In his pur - pie With his hood and 53^ § £ cloak Stand -ing- all a - lone, cloak In the deep dark wood. 3^1 1* f * Answer, A Mushroom 278 Alice C.D.Riley Andantino J =80 The Lonely Wind (BookOne,p.l;*6) Joseph RheinbergBr < ^e#ee4e^ f=* -JT W 1. Oft whci) night is 2. South the birds go A Down the chim - ney ) £ fall fly creep PP ing", ing, ±5: Au - tumn night is South to sum - nier While the folk are J J* S #g ^rr: fall ing-, hy . ing; sleep - ing-, Mis - ter Wind g-oes call Mis - ter Wind keeps sigh Mourn - ful - ly he's weep ing, ing". Call Whith Sad ing er and * i ± to v ri Ife )V U-M-U-^ 4 ^5 £e£ r^f ? 7 low. blow? low. Seems so sad and friend - less, Friends of bloom and feath - er While the rain is fall - ing Com - fort - less and Past and gone for Hear him sof- tly m?^. j w '• J J 7 J' Ezj i m less On his quest so end er, I shall see them nev ing, Down the world go call friend ev call -T ^^ 3E 2 b less, er, ing-. O! 0!" 0! V <&«>. The Firefly (BookOne,p.l36) From Chinese Mother Goose Rhymes Vivace J = 132 279 Jessie L.Gaynor Composed for this Series ± i m T Fire - fly, fire - fly, Come from the hill; Your wtt^ r$ ja j'fl i j^ \^ 1^1=^ r — r — r r — r — r — r s K Si J 1 J' I J ^ £ f r r r J r r fa - ther and moth - er Are wait - ing- here still; They've ?» r^ i-g f53— t33 fU f^3 rU r^r^^ r r — r — r ifeJLJ J J J=-fe=T=f ^ ^ r r r r brought you some sug - - ar, Some can - dy and meat: Come i n j^ | -fl | *fl ffl i j^fl ffl i"fl ffl M #s=S M> J n ;> j, 1-^1 JJ J *=i Hr r r r - r quick - ly or Til give it To ba r by to eat , r — -f r m \tl rfl rfl i i ^ rfl =gg f^ r f — r T. M. Vol. 1-19 80 rom The Youth's Companion Hidden Treasures (Book One, p. 137) 2=^ Moderate grazioso J -=66 James H. Rog-ers Composed Ur tb;j Scries ^^ m p f jdb, i Lit - tie peo - ple> Do you know what Lit - tie peo - plei do you know se - crets deep tie peo - ple» do you know *HK pgp= >, *. i t 7 ss i i £ » J P ' P F^F f a S J h r p r s> r p '-t f =F What is un - der-neathtne snow? All the woods of win - ter keep? Feb - ru - ar y soon will go ? m Flow - ers pink and blue and white; Ah, the dar - ling- lit - He thing's Then will come the sun - ny spring, E ^WJ 1 m i i £ pg§ F=£ ^ ^Pf cresc. K £ PP 1 £ PPP E Crim - son tu - lips all a -glow Down be - low the snowbank's heap! When the snows will melt, and oh, M: Ev * *P^ In their roots are fol - ded tight,. Fern leaves curl'd in ti - ny rings,. How themea-dow brooks will sine-- h — r~ v b -»■ ft*- * ** fr 3 > fcrq # * « » f HF cresc m 9l * ' e r p s f I «/* dim. V ^ H zr— at E J W * £ Till the mer - ry south winds blow. Vio-let ba-bies fast a - sleep. And the daf- fo - dil - lies blow! Nil!* s dim. >» f fr l31 ■»" j p p Last time -€ • — «- a SE^^ IS Not fast J = 144 tL 'JL The Robin (Book One, p. 138) 281 Horatio Parker Composed for this Scries 1 - 1 f - 1. There came to my win - dow one morn - ing- in spring- ' A 2. Her wings she was spread - ing- to soar far a - way ; Then *w r i r r pp f M m * * -i rob - in, she came there to mo - ment, seemed swee - tly to sweet lit - tie rest - ing - a sing, say, ^ £ She Seemed P ^ M *i#^ "i -i J: f r r tr came there to swee - tly to 22 came there to swee - tly to sing, say, she seemed ^&=? £ m sing, say, The "Oh, % £ J> J | j J J n nan sang, hap pret - ti - .^er world seems to f tune that she hap - py ? how it was py this NiV r r r-^ far be! jUEU p f f mm i i=i * T ev - er was wake, lit - tie heard on the girl, and be flute or gui hap - py with &m tar. me!" k '■rh p r y i i p lhelmina Seeg-miHer With animation J =S0 What I Like (Book One, p. 139) George V. Chadwick Composed for this Series ?£=£ !• r* £=£ ^^ S ^ f ¥ I like to ride on a load of hay, To tramp in puddles on a rain - y day; To tn 1 «• ^ J * ^ n - i I : 1 H=n H i -£-J — H „ Ji J J J p fj - JH ^4_j — , i — «i 1 • i — i_^ «i — - J ' J i i *=* i m p^~P J ' i p E f E ¥f p=? £ * swing- and swing - on the garden gate, And when there's company to sit up late. I m 5 3=^ m s tfc J 1 p p p. p i F . J-^mi' ^jmj i jj .jj.'fl i hke high up in the trees to climb, To eat sug--ar cookie s,six or sevn at a time. But s^ *^P s* — * r^n:^ • — »• ^ r p p p cr i p pP p P p i p P c j J ^i J ' t-^ some thing-s I like its best not to do, So I can't do all_thatl like,— can you? £ SE ^ C\ r?\ f ziizz: rail. ^ ^ # p Allegro legg-iero J =144 Farmyard Song (Book On.-, p. 140) 283 Edvard Grieg- S w ^m w ■+ -^ tf |J J [!^ J iS i Comeout,snow -while lamh kin, Come out, calf and cow, Come.Pusswith your kitten. The sun's shining - Mm +=* i * * — w m m. -*—* m * m ■m- — # ^m o^- s A ,/->/> tett. i ten. rit. si ^ W~r W m — d d i d d a d m m now! Come out, yellow duckling>Come out, downy chickling/That scarcely can sprawl, Come out at my -Jk s p 3e ^r^4 ^m w ~w pp rit. ~"—fr m m 2*E=z i ^ ^ a tempo JuJJn'JujJ # Pf 5 call! Come, pigeons a- coo -ing, Fly out foryourwooing!Thedewsonthegrass,Comeout ere it PP i s^ ^ ? a tempo- w? 9 ^2 £* /T\ S i=U ^ 1 -« r r r f rit. mm P J Jirr ru jj i r fir r p a # i ± pass! For soon, too soon, the sum-mer it passes, And call but autamnpBe - hold him! m P -6- &- 2? ^ f^F ^ J=4 O 3 ^ — J- F f -i5- ^^ :84- ?an Bassett Brightly J-=9S Thanksgiving Day (Book One, p. 141) French Folk Song- H 2=%^ ^m i ^ * — * crisp and clear, The au - tumn crops are The air with frost is •f •> \ r- -r ffv= I K ^ t # #■ d — *-*—* — * gath - ered . And all a - round is # • joy and cheer For sum - mer's work is pg=£ to* fcdfc £ ^5 ^ ^-^>- P ' J> J> J> W f "=f r o'er. The ap - pies are red, Pump -kins are gold, Tur - keys are *-t— k ■ ^_! 1 f" 1 V • r J t 0-1 V j 1 J' -M \ b h J > j> I J: J> ; J k *—{ fat - ter than e'er be - fore. The feast has been spread Just as of m P^P U-i- ' * * 1 f #^ old; r Thanks - giv - ing- r=3 day has come once more, Hur - rahf ».* r" ^ j p r i Samuel F. Smith j =88 i America (Book One, p.142) 285 Henry Carey h' i i j i 1. % 2. Hfy 3. Let 4. Our m coun - try! na - tive mu - sic fa - thers 'tis coun swell God, of thee, try, thee, the breeze, to Thee , Sweet Land And Au land of ring- thor of the from of mm i rr^N— *= * f= > = —% fe — * i i i JU ib - to - 1 Lll 1 ib - er - Die 1 he t er - 1 f ' ty, ree, rees ty, # ( 1 Sa* 1 5=^ Of tl ?hy n. eet Fi ro t 8 i ' iee I ime I ee - dom's tiee we 1 g- — o * sing-; love ; song - ; sing-; ' Land where I love Let mor - Long- may 4=^ my thy tal our I *vtt 'j • ■ i •#•* V ' 1 -^ ■ 1 s itO* J > K- J < \f n f P — 5 — 1 — e 1 =#= ,■ < 1 ■§— r i r< to 1 a - tl )Ck6 i ngues and ■-• -| r • \> — iers < md l i - "\ be b «. V 9 iied , ■ills, vake, right ] 1 I 1 Lrand rhy .vet mth -F — of woods all Free - -f ' the and that dom's 1 t bn ] 1 D il - em :athe ho - fLT ■ grims' pled par iy 1 i hiJ • ta 1 i ide, Is; ke, t ^* r^ 1 1 9 i m f Lt-t free - dom Like_ that a The_ sound pro Great God, our ring-. bove. long-. King-. I GLOSSAKY OF ITALIAN MUSICAL TERMS With their English Equivalents A tempo. In time. Accelerando, accel. Accelerating the tempo. Allegretto. Diminutive of allegro. With animation, but not so fast as allegro. Allegretto grazioso. Somewhat animatedly, gracefully. Allegro. Joyously, gayly, cheerfully. Allegro moderato. Moderately fast. Andante. Literally, to walk. A leisurely tempo. Andante con moto. Rather slowly, but with animation. Andantino. Diminutive of andante. Strictly speaking, faster than andante, although sometimes employed to indicate a slower movement. Animato. Animatedly. Ben moderato. Very moderately. Colla voce. With the voice. Con moto. With motion, animatedly. Crescendo, cres., cresc. Increasing in loudness. Da capo, D. C. Repeat from the beginning. Diminuendo, dim. Diminishing in loudness. E. And. Before a vowel, ed. . Espressivo, espress. With expression. Fine. The end. Forte, /. Loud. Fortissimo, //. Superlative of forte, very loud. Giocoso. Jocosely. Legato. Sustained, smoothly. Leggiero, legg. Lightly, nimbly. Lento. Slowly. Ma non troppo. But not too much. Marcato, marc. Marked, accentuated. Mezzo forte, mf. Half loud. Misterioso. Mysteriously. Moderato. Moderately. Molto. Much. Pianissimo, pp. Superlative of piano. Very softly. Piano, p. Softly. Piu lento. More slowly. Poco. Somewhat, a little. Poco a poco. Little by little. Presto. Very quickly. Rallentando, rail. Gradually becoming slower. Ritardando, ritard., rit. Gradually becoming slower. Ritenuto, riten. Held back. Sforzando, sfz., sf. Accented. Simile. Similarly. Staccato, stacc. Detached. Stringendo, string. Hastening or crowding the tempo. Tempo. Rate of speed. Tenuto, ten. Held, sustained. Tranquillo. Tranquilly. Vivace. Vivaciously. 286 INDEX OF SONGS Title Author or Source Composer or Source Ace of Diamonds, The Danish Folk Dance Afternoon Tea Kate Forman Horatio Parker . Air and Sunlight .... Margaret Aliona Dole Russian Folk Song Airship, The Virginia Baker Adolf Weidig . . . America Samuel F. Smith Henry Carey . *At Night When I Have Gone to Bed Harriet Fairchild Blodgett Paul Bliss .... At the Dance Abbie Farwell Brown Finnish Melody Autumn Leaves .... Nina B. Hartford Nina B. Hartford T. M.i Bk.l Page Page 124 139 223 62 218 51 285 142 219 126 234 53 71 86 *Baby Life Charles Keeler Adolf Weidig ♦Baby Sermon, A . . . . George Macdonald Florence Newell Barbour *Babyland George Cooper Gabriel Pierne . . . Bedtime From The Youth's Companion . . . Osbourne McConathy Bee Song Clinton Scollard Folk Song .... Before and After Dark . Alice C. D. Riley Laure Collin ...''. ♦Benediction George Reiter Brill Mary Turner Salter . Betty and Billy May Morgan J. B. T. Weckerlin ♦Birds' Breakfast, The . . Kate Forman James H. Rogers Bleking Swedish Folk Dance ♦Boat, The Abbie Farwell Brown Adolf Weidig ♦Bubbles ........ Clinton Scollard Alfred G. Wathall . Busy Folks Polk Song .... ♦Bylo, Baby Bunting . . . Mother Goose W. Otto Miessner . . 221 254 252 1 58 226 218 979 203 250 121 225 189 221 214 59 118 116 69 50 132 26 115 6g 9 57 ^Carriage to Ride In, A Carl Reinecke . . . Caterpillar and the Bee, The Bertha Remick Bertha Remick . . . *Cats of Kilkenny, The . Mother Goose W. Otto Miessner Cherries W. Otto Miessner Children's Polka Folk Song . . . Chimes of Dunkirk, The Scotch Folk Dance . Choo-choo-choo .... Otis M. Carrington Otis M. Carrington Chrys Anthemum . . . Frank L. Laird W. Otto Miessner . *Circus, The Alice C. D. Riley Horatio Parker . . . Clap Dance Swedish Folk Dance *Clock, The Alice V. L. Carrick Ermanno Wolf-Ferrari Clown, The Nellie Poorman French Folk Song ♦Creep, Mouse, Creep . . Old English Rhyme W. Otto Miessner 263 275 179 191 120 119 132 155 208 125 255 206 264 123 134 10 83 33 118 30 124 ♦Daisy Nurses ♦Dance, Dance Baby . . Dance of Greeting . . . ♦Dancing Raindrops . . . ♦Dancing Song ♦Dandelion ♦Dandelion, Yellow as Gold Dolly's Lullaby Kate Louise Brown Florence Newell Barbour Laurence Alma-Tadema Horatio Parker Danish Folk Dance . . Clinton Scollard G. A. Grant-Schaefer . Alice C. D. Riley W. Otto Miessner . . . Abbie Farwell Brown Adolf Weidig From The American Primary Teacher . Frank van der Stucken' , Virginia Baker French Folk Song . . 180 271 119 228 127 208 147 197 130 75 93 34 17' Eatings Louise Ayres Garnett Louise Ayres Garnett . *Elves and the Shoemaker, ^ The Florence C. Fox W. Otto Miessner . . Eskimo Hunter, The . . Clinton Scollard Eskimo Folk Song ♦Evening Lights Clinton Scollard Marshall Bartholomew 161 ♦False Alarm armer, The Farmyard Song .... ♦February Song, A ... ♦Fido and His Master . . ♦Fireflv, The ♦Five Toes, The Flowers' Friends, The . . ♦Four Boys Friendly Star, The . . . Frightened Pumpkin, The ♦Frosting ♦Frown and a Smile, A . . Florence C. Fox Marshall Bartholomew Old English Game Edvard Grieg . . Louise Ayres Garnett Louise Ayres Garnett Anna G. Whitmore Edward B. Birge From Chinese Mother Goose Rhymes . Jessie L. Gayricr From Chinese Mother Goose Rhymes . Adolf Weidig Anna M. Pratt Old English Song Mary Mapes Dodge Mildred J. Hill . Kate Forman Charles L. Minturn Virginia Baker Scotch Folk Dance Wilhelmina Seegmiller W. Otto Miessner Mary Bailey W. Otto Miessner 1 " T. M." refers to the Teacher's Manual, " Bk. I " to Book One. 287 252 116 22(1 56 207 32 212 40 220 55 283 140 140 188 7 279 136 260 120 223 63 237 92" 244 104 119 83 137 276 135 288 INDEX OF SONGS Title Author or Source Composer or Source ♦Garden Song Laura E. Richards Alfred G. Wat hall . rbread Man, The . I- i Rowland Maurice Moszkowslri •Goblin, The Florence C. Fox Bessie M. \\ hitelcy . Good Morning Abbie Farwell Brown Ernst Richter . . . *Good-by Song, A inn Underhill W. Otto Miessner . . ♦Grasshopper's Ball, The . Kate Louise Brown Adolf \\cidig . . . [ouse, The. . . Alice C. D. Riley Josephine R. de Elias Swedish Singing Game Gypsj Peddler, The . . N.-llie Poorman French Folk Song . *Hall Clock, The . . . . Happy Bee, The . . . . Happy New \ ear . . . Happy Thought . . . . Hickory, Dickory Dock . •Hidden Treasures . . . • " -lliiTL'Irdy. Piggledy . . . 1 1« iuday, The Hones Bee ♦How Many Days has my Baby to Play . . . . ♦Humming Bird Carolvn S. Bailev William E. Haesche Nina B. Hartford Nina B. Hartford . Clinton Scollard French Folk Song Robert Louis Stevenson Old English Song . Mother Goose ..." English Folk Song From '/'/" Youth' 8 Companion . . . James H. Rogers . Kate Greenaway Horatio Parker . . Old English Game Virginia Baker Folk Song . . . Mother Goose Arthur Whiting . Jean Bassett Adolf Weidig . . I See You Swedish Singing Game ♦Icicles and Bicycles ♦If ♦1 11 Tell You a Story In Wooden Shoes . . Indian Song . . . • Anna M. Pratt Horatio Parker Lee Burns Horatio Parker . . Mother Goose Arthur Whiting M. Louise Baum Swedish Folk Song M. Edith Reynolds M. Edith Reynolds T. M. Bk. I Page Page L43 248 113 169 L87 5 l.SS 6 152 146 123 199 20 134 185 270 129 219 52 244 104 280 137 224 65 195 15 245 105 130 242 101 122 165 168 249 114 214 44 136 Jolly Holly Farm, The . Louise Ayres Garnett Louise Ayres Garnett 166 Katydid Virginia Baker Bohemian Folk Song ♦Kind Old Winter .... Ann Underbill W. Otto Miessner ♦King Baby Laurence Alma-Tadema Horatio Parker . . . *-*Kittens Anna M. Pratt Adolf Weidig .... Kris Kringle's Song . . . Alice C. D. Riley Catharina van Rennes ♦Lady Bug ♦Lady Moon Lassies' Dance ♦Last Night ♦Lingering Leaves .... Little Brook Little Huntsman, The . . ♦Little Lady, A Little Miss Patty and Master Paul ♦Little Miss Tulip . . . . -♦Little Robin Redbreast . Little Seeds, The . . . . Little Sister's Lullaby . . London Bridge Lonely Wind, The . . . Lottie is Dead ♦Lullaby Wilhelmina Seegmiller W. Otto Miessner Lord Houghton W. Otto Miessner Swedish Folk Dance Clinton Scollard Marshall Bartholomew Abbie Farwell Brown Adolf Weidig . . Kate Forman Folk Song- . . . From the French French Folk Song Pauline Frances Camp Edward B. Birge . Kate Greenaway Horatio Parker . . Carolyn S. Bailey Jessie L. Gaynor . Mother Goose W. Otto Miessner Alice CD. Riley English Folk Song Kate Forman Folk Song . . . , Old English Game Alice CD. Riley Joseph Rheinberger Swedish Folk Dance Christina Rossetti Adam Geibel . . . ♦Making the Hay . . ♦Man in the Moon, The ♦Mathematics .... Mavpole Dance, The ♦Mill Wheel, The . . ♦Miss Rainy Day . . ♦Mistress Mary Clifton Bingham Bruno Huhn . . . Virginia Baker Bessie M. Whiteley . Thomas Tapper Horatio Parker . . . Alice CD. Riley Swedish Folk Dance Kate Louise Brown Edward B. Birge . . Pauline Frances Camp W. Otto Miessner Mother Goose Arthur Whiting . . Mountain March Norwegian Folk Dance ♦Mud Pies Margaret E. Sangster Marshall Bartholomew Mulberry Bush, The Old English Game . . My Beautiful Doll . . . Julia W. Bingham . . .... Josephine R. de Elias ♦My Pony Anna M. Pratt G. A. Grant-Schaefer My Shadow' Virginia Baker English Folk Song . ♦Naughty Tulip, The . ♦New Soldiers, The . . Now the Sun is Sinking Abbie Farwell Brown Horatio Parker . Kate Forman Edward B. Birge French Folk Song 222 61 209 35 247 112 211 39 160 198 18 210 37 120 250 115 239 98 193 12 210 38 194 13 145 184 176 133 206 31 238 95 278 136 119 262 122 273 132 131 149 227 72 230 78 172 229 76 123 242 102 199 21 138 225 67 245 106 178 254 117 237 94 Title O Christmas Tree . . . *Oh, What a Sweet Little White Mouse . . . . Oats and Beans .... *01d Chang, the Crab . . *On Christmas Day in the Morning *One Misty, Moisty Morn- ing Oriole's Nest, The . . . Our Friends the Shadows INDEX OF SONGS Author or Source Composer or Source Nina B. Hartford Nina B. Hartford . . Mother Goose Adolf Weidig . . . English Rhyme Old English Game . From Chinese Mother Goose Rhymes . W. Otto Miessner Alice C. D. Riley Edward B. Birge . . Mother Goose Arthur Whiting . . Abbie Farwell Brown Norwegian Game . . Alice CD. Riley French Folk Song . T. M. Page 265 204 268 241 289 Bk.I Page 125 28 91 127 99 154 230 90 270 130 Parade, The Alice C. D. Riley French Folk Song . . *Peek-a-Boo Pauline Frances Camp Horatio Parker . . . . ^fcPink Pig, The Dora H. Stockman Marshall Bartholomew *Playing Soldier Nellie Poorman Nellie Poorman . . . Polly's Bonnet From the French French Folk Song . . i/" Postman, The Abbie Farwell Brown Folk Song Prince Finikin Kate Greenaway Horatio Parker . . . . ♦Pussy Willows, The . . . Alice CD. Riley Adolf Weidig . . . . 195 232 2GS 209 189 190 141 266 14 81 128 36 7 126 *Ragman, The Rain Raindrops *Recipe, The Recipe for a Valentine, A . Riddle, A *Ride a Cock Horse . . . Ring a Ring o' Roses . . *River, The ♦Robin, The *Rock-a-bye, Hush-a-bye, Little Papoose .... Rooster's Good Morning, The Bertha Remick Bertha Remick . . . Abbie Farwell Brown Bohemian Folk Song Virginia Baker J. B. T. Weckerlin . George Reiter Brill ........ Mary Turner Salter . Alice CD. Riley Old English Song . . Maud Wilder Goodwin Folk Song . . . . Mother Goose Arthur Whiting . . Old English Game . Abbie Farwell Brown Adolf Weidig . . . . Horatio Parker . . . Charles Myall W. R. Cowles . . M. Louise Baum Russian Folk Song 182 243 215 264 232 277 142 193 235 281 157 228 103 45 124 83 135 12 87 138 74 Saint Valentine's Day . . ♦Scissors Grinder, The . . *See, Saw, Sacradown . . Shoemakers' Dance . . . *Sing a Song of Sixpence . Skating Song Skipping Rope, The . . Sleep, Little Treasure . . Snail, The Snowflakes *Soap Bubbles ♦Soldier Boys Song of the Wind, The . ♦Song Sparrow's Toilet, The ♦Song Without Words, A . ♦Squirrel in the Snow, The . ♦Strange Lands Street Music ♦Summer Song ♦Surprise, A ♦Swallows, The ♦Swing Song William Shakespeare Old English Song . Bertha Remick Bertha Remick . . Mother Goose Arthur W'hiting Danish Folk Dance Mother Goose Arthur Whiting Anna M. Pratt Bohemian Folk Song Florence C. Fox Bohemian Folk Song Lithuanian Folk Song Nellie Poorman Domingo Mas y Serracant Margaret Aliona Dole Russian Folk Song . Mabel L. Harris Irene R. Brickner May Morgan Osbourne McConathy Nina B. Hartford Nina B. Hartford . . H. H. Bennett Horatio Parker . Wilhelmina Seegmiller Robert Just . . Kate Forman Jessie L. Gaynor Laurence Alma-Tadema W. Otto Miessner Nellie Poorman Folk Song . . Laura E. Richards W. R. Cowles Harriet Fairchild Blodgett .... Friedrich Hegar^ Alice CD. Riley W. Otto Miessner Nina B. Hartford Nina B. Hartford 249 174 261 121 164 240 204 213 222 212 238 201 163 197 231 269 259 226 258 200 205 153 114 121 98 27 42 61 41 97 22 19 80 129 120 70 119 24 29 Tantoli Swedish Folk Dance . ♦Teddy Bear Virginia Baker G. A. Grant-Schaefer . ♦Telephone Message, A . . George Reiter Brill Horatio Parker . . . . Thanksgiving Day . . . Jean Bassett French Folk Song . . . ♦This Morning Clinton Scollard Marshall Bartholomew Three Little Heads . . . May Gillington Annie E. Armstrong ♦Thunder, The Minnie Leona Upton Marshall Bartholomew ♦Twinkling Fireflies . . . Anna M. Pratt Alfred G. Wathall . . 125 246 136 284 246 150 233 192 109 141 110 84 11 ♦Umbrella Man, The . . ♦Upon a Morning Sunny Bertha Remick Bertha Remick . . . , Clinton Scollard Marshall Bartholomew . 170 202 25 Valentine Song Florence C. Fox English Folk Song 216 46 *Wah-wah-tay-see .... Henry W. Longfellow Alfred G. Wathall Water Sprite, The , Swedish Folk Dance 267 127 122 990 INDEX OF SONGS \ „ i tor or Source Composer or Source Title \rthur Whiting • • •Wee Willie Winkie . . ■ W- Miller ..-.^ . ;;;;;; George W. Chadwick ♦What [1 • • :, • Wuhelmina beegmuier . English Folk Song . When I Was a Schoolgirl ■ • ■ ; '„i* I ' ' ... . W. Otto Miessner . ♦When Mother Sings . . Mwgaret Thurston ' ' ' .... Marshall Bartholomew ♦Whippourwill 9^^™^. '''.... George B. Nevin . . ♦Wild Geese, The . May Morgan . . • • Old English Song . . Will you Come with Me . Alice C.D.KW ■ ■ • • Harvey B. Gaul . . ♦Windflower, The ..■■ Laura E.. EUc "gf— . . . . Margaret Peddle Bodd Windy Nights ''"'u L r ,^ . . . . Mildred J. Hill . . . IwrnSSeJ •. '. '. "• '■ Sa^Frf/te^ • • • Mrs. Crosby Adams ♦Composed for the Progressive Music Series. T.M. Bk. I Page Page 272 131 282 139 128 129 196 16 144 217 4* 173 156 167 274 133

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