Hi

THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
Mcsie

MO

SI
(a

1.3

Si

TECHNIC AND ART OF SINGING

^ ^1 1

THE BEGINNING
PART
THROUGH THE KEYS
PART
PART III. PROGRESSIVE MUSICIANSHIP
=-

I.

II.

A Method of Private and Class

Instruction in the First

and

Fundamental Requirements of Music

INCLUDING

THE SCIENCE OF MUSIC READING

Arranged According to a Plan by which Pupils can Practice Correctly Alone; thus
Designed for Use

in

Connection with Instrumental

Work

as well as with

LESSONS IN VOCAL CULTURE

BY

FREDERIC W. ROOT
OPUS

21

"WS^
THEODORE PRESSER
1712 Chestnut Street

CO.

Philadelphia

PROPERTY OF SOUTHERN

TECHNIC AND ART OF SINGING

introduction
The beginnmg of sight singing is like the beginning of language reading; one firbt leams
something of the language, then learns to read it; and one must become acquainted with musical
phraseology in order to sing melodic passages from symbols.
In this regard music reading for singing differs essentially from the mentality involved ir
reading instrumental music.
;N

early

all

adults and the majority of children have an acquaintance with

common

melod.

forms before taking up the study of music reading. This acquaintance they have acquired a
they have gained a knowledge of their language, through the sense of hearing unconsciously
Church music or popular song in some of its phases are familiar experiences of every
exerted.

day

But

life.

this

knowledge

is

at first exclusively associated with the sense of hearing.

When

the time comes to learn to read music, another sense must be trained to bring to the mind a
Then it is found that the mind turns so persistently to the suggestions
correct concept of music.

with concentration and

and independently in music. At
Reading music is
last, however, one learns **to hear with the eye," and the goal is attained.
no longer guess work, depending upon the ear, a precarious process giving occasion to the
unconsciously humorous statement,
some days I can read music quite well
Still there is much training to be done to the ear which must be taught to classify and
associate tones systematically.
The sense of
One must also learn to ''see with the ear."
key note, tonality or key-relationship, and intervals, must be established through the hearing.
Generally the beginner has a fair sense of rhythm at the outset; but unless this be specially
cultivated it is sure to become obscured by being made secondary to other considerations.
While
intent upon thinking out pitch problems, for instance, the learner usually neglects rhythm
of the ear, its first
effort, is

and habitual dependence, that a long course

of study,

often required before the eye leads the thought securely

'

' *

altogether.

To meet
itemized thus

the requirements of pupils in the department of music reading the cx)urse

may

be

1. To lay a strong foundation of tonality

elementary tone relationship through the tonic
chord and the major scale.
2. To become acquainted with staff, notes, rests, etc.
the symbols of music.
3. To associate pitches with their representation.
To train the thought through the eye.
4. To inculcate an acute sense of rhythmic accent.
5. To become familiarly acquainted with scales, modes and intervals in wider relationship.
6. To become familiarly acquainted with all standard rhythmic forms and their repre-

sentation.

To broaden
To sharpen

knowledge so as to include harmonies and modulation.

memory, concentration, indeed all the general mental attri
butes which other education aims at.
It must be borne in mind how new and strange to a beginner are the symbols for notation
and the musical concepts they stand for, ascending and descending pitch, longer and shorter
sounds, accents, silences, etc., how confusing it is at first to carry in the unaccustomed mind
simultaneous ideas of pitch, rhythm and performance.
This work aims to present all these ideas in so simple a form that the learner may make
the beginning with the least possible confusion of thought, and, before entering upon even the
common complications of the science may become accustomed, under favorable conditions, to
the association of ideas upon which successful music reading must depend.
Consciously or unconsciously, every one who reads vocal music well forms certain habits and
acquires mastery of certain things, items which are beguju upon in this work and will be fuUy
defined and developed in the others of this series.
These items may be grouped under seven headings
7.
8.

this

the faculties of

ji

Copyright 1931 by

_
Fannus

S.

Root

1.
2.
3.

The mental

pictnre of key-representation
position on the
certain intervalsprincipally the step and half
^thc

A mastery of
A familiarity with

music reading.

the

Memory

Thinking in musical phrase.

Grouping tones as one groups the
Rhythm and rhythmic forms.

7.

melodic progression in scale and chord forms

5.
6.

staff of key-note, etc.

-step.

4.

of pitch

iU

relative part of

music reading.

positive part of

Methodical sight singing designs

^the

letters

of the alphabet for words.

to take pupils

from the beginning through educational

grades to the accomplishment of the above habits and requirements.

While

this system

is

intended for use in classes

special feature of the system is that

with but

little

it is

equally available for private instruction.

may

be correctly pursued by the thoughtful learner

attention from the teacher; for this purpose an instrument is a necessity.
it

There are three departments in the study of singing which from the outset should receive
and pupil these are
1. Music reading and musicianship.
2. Voice culture.
3. Execution and style.
In some cases department three, will for a time receive attention in only the most
rudimentary aspects, (breathing at right places, taking a tone without sliding to it, etc. ); but
the plan proposed in " Technic and Art of Singing," is to start adult pupils at once with
text books in two departments, music reading, (Methodical Sight Singing), and voice culture
and the principles of execution ( Introductory Lessons), and as soon ap practicable thereafter to
introduce additional studies in the third department (Twenty-Four Elementary Song Studies).
Good singing is the co-operation of many habits in these three departments, the whole
being touched with the glow of imagination and sentiment.
The best educational work in the field of singing will see that the required habits of mind
and body are started as early as practicable and are patiently supervised until established.
attention from teacher

Requirementsu
In order to use
1.

The

staff

this

work the pupil must

with the

clef

upon

it;

learn

also the letter

names

of the lines

and spaces:

I
2.

Quarter, half and dotted half notes with their relative lengths:

-_=^=:

8.

Quarter, half and measure rests:

4.

Bars, double bars, repeat marks; also the light double bar that

of a piece

and may come

<g

^*

in the middle of a measure:

is

used to define a section

6. The definition of two-part and three-part measure, and the motions of the hand for
beating double and triple rhythms (down-up, downa up, etc.; down-left-up, down-left-up, etc,)

aitK)

the definition of " time-signature," with the meaning of each figure of the time signature,
ft.

The sharp

(J|)

and

flat (fe)

used to designate certain tones of the scale in keys other than

T7
/?\

The

7.

tie:

'^^^^^

(^

frj^Y"!"^^
la

la

Da Capo

8.

(D. C.) Dal Segno (D.

S.

or dal

^)

wmm$
For individual

9.

octave, of

practice,

Rovdaiy^

one should also leam to play upon an instrument the

name

Finally, to

is

scales,

one

required.

signatures, letter names, relative

play upon the instrument each of the following

?c

doh

mee

fah

soh

lah

tee

doh

{do

re

mi

sol

la

GF)(E
BCD51or87
4

ray

mee

fah

soh

doh

tee

re

mi

fa

sol

do

ti

doh

9-

^^
C

lah

5
soh

fah

mee

la

sol

fa

mi

^f^^^3^

do)

fe^
3

Bb

1
E

I GA
feEi

i^Uables,

2
ray

(do

names (numbers),

D.

C G B b F and D

(For a time, only the scale of C

10.

la

and Fine:

'

D. C.

Fine.

The pause:

and

to

9^(^n%s^

Methodical Sight Singing.

Part

Preparatory Practice of Rliythm.

I.

"

5.

Deck the

with boughs of holly, 'Tis

See the blazing yule beStrike the harp and join the chorus."
hall

the season to be jolly.

Speak the following

lines slowly

and

distinctly,

fore us.

accenting the proper syllables, and clapping the

hands smartly at each accent.

come

If

the accent

at every other syllable, repeat the lines,

beating down-up, down-up.

If

come

the accent

at every third syllable, repeat, beating down-left-

Always beat down on the accent.

up.

"Softly

1.

fall

can
3.

may sometimes
I

me

them

When

7.

fond recollection presents

to view."

"

Mine

eyes have seen the glory of the com-

8.

"

say, can

you

What

see,

we

by the dawn's

early

hailed at the twilight's

re-

how

9.

"Hark!

the vesper

hymn

is

stealing O'er

the waters soft and clear."

bum ?"

" Tell

dear to this heart are the scenes of

so proudly
last gleaming ?"

But the torch when once wasted, ah

it

How

childhood,

light,

still."

" Joys that we've tasted

2.

turn,

my

ing of the Lord."

the shades of evening, O'er the

valley hushed and

"

6.

not

in

mournful numbers, Life

is

Cannon to right of them. Cannon to left

Cannon in front of them Volleyed and
thundered When can their glory fade ? Honor
the charge they made, Honor the Light Brigade,
10.

"

of them,

but an empty dream."

4.

"Bird

of the

wilderness,

blithesome and

cumberless, 0, to abide in the desert with thee."

Noble

six

hundred."

-D-

-B-

When

the fingers,

it

done by holding the left hand,

thumb uppermost, the fingers horizontal, and
pointing with the right hand at the fingers and
the spaces between them as at the lines and

are not to be
one has been correctly sung
in all the ways prescribed, it need not be repeated. The next should be taken at once and
Later a review may
so on as rapidly as may be.

spaces of a

staff,

be in order.

the pupil

the space below

an added

line

is

directed to point notes

upon

is

the

little finger

representing E,

The "phrases" and "lessons"

dwelt upon.

D, and, slightly lower (where

would be), middle C.
it

1428399

When

Key of C.

for Practice?

Phrases

These sections have no connection with each other, and are to be learned separately.
them all so as to be able, upon hearing
It is expected that the pupil shall finally master
any one of them played or sung, to name the notes with absolute names (letters), relative
names,(numbers), to apply the syllables (dob, ray etc.) correctly, and to write the "notes upon
a staff, or point the notes on the hand (the fingers being held so as to represent the five Unes

and

their spaces).

tbis, many months of daily practice may be required.

During the practice of these phrases the Lessons in the same key may be begun upon.
Directions:- In individual practice, each phrase may be studied according to the following suggestions. Repeat as much as may be necessary.
1. Play it upon the instrument.
2. Sing it with syllables (dob ray etc.) playing loudly at the same time and listening care fully to see that each tone is correct in pitch.
3. Sing it with syllables, without the instrument.
4. Sing it without the instrument,usinglahlah lah(orloo loo loo) instead of dob, ray etc.
5. Sing it from memory, pointing on the fingers the position of the notes on the staft*.
Further practice may be had to advantage by singing the phrase with accent upon the second note instead of upon the first.

To accomplish

Also, by singing several phrases in succession without the instrument.

and avoid forcing the vocal register

Sing

softly

The

syllable loo is valuable in this connection.

The principal thin^

to

is

practice a g7'eat deal.

4.

1.

(Introductory Lessons,N9. 15).

about

at

6.

8.

7.

xjJ IJji jjj h^jlljjjJJI Jjjjjll;jJjjijjJjj

ll

9.

ff

10.

cl

s^

mf

13.

12.

11.

fm

dms fm d rms d

rd rm

"

18.

17.

dm r d s
20.

19.

^JJ^ Ii^JJjrjJ'^
I

fm

mm s

ll

dm r

d s ni r d

dm

15.

14.

i JiJj ;J^Jj IjjJ^ii jJji^ i^JJil jJJJj

ll

i.'iJ Jl ; .IJ
d s d r m d mm

jiJ^J^ ljJJJi
d d d r r m dm rm d
i

23.

Ji^^
r

m d

16.

22.

21.

mm

# *

m mf

J.

r s

24.

25.

$
d
31.

26.

m fad

d
32.

33.

mf m

28.

27.

34.

J.i
i

30.

fm

I s

fm

37

r'iJJir^JJji
d

r s

36.

35.

jJ.ijjiij. jj J ij. ijj jJihj jj

d f r md d r m f a d r nif s I d r m f a
i

29.

I s

rJiJi^
d

t I s

fm

38.

39.

P^

i
d

40.

fm

t I

Jinjjrir-'Ji
s

fm

42.

41.

irr

43.

44.

iiiijjiihjij

Reading Lessons, Key of C.

Each time before sinking
Take especial care

ing

may

to

at first occur,

a lesson play these passages:

:Mi

^^^ ^^

remember the pitch of the key- note; and whatever mistakes in singmake none upon the key- note. To remind the learner of this point,

printed by itself before each ksson.

Practice each lesson in ten* different ways, as follows:
l.Sing it with doh,ray,etc. playing the notes at the same time. Repeat as often as may
be necessary.
2. Sing it with the syllables (doh, ray,) without the instrument.
3. Sing it with lah, lah, lah (or. loo) without the instrument.
4. Sing it with either doh, ray, or lah, lah, clapping the hands or otherwise strongly markthe key -note

is at first

ing the first note of each measure.

5. Go through the lesson in correct rhythm, singing the key-note each time it appears and
playing the other notes. (Do not both play and sing a note. See that instrument and voice
are not for an instant sounding together.)
6. Repeat the lesson, playing the first measure and singing the second; - and so on in alternation.
7.

8.

Repeat, singing the first measure and playing the second. Alternate throughout.
Sing it, beating time \sith the hand. Make the note at each down beat louder than the

others.

Sing one measure and be silent in the next;- and so on in alternation. Think the tones
measures and give them exact time. The instrument is not to be used.
10. Point the lesson upon the fingers, (or write it upon a staff,) while singing it from memory or hearing it played or sung
9.

of the silent

Remember

1.

tlie

relative length of a half

and

-0-

Always keep the key-note

2.

in

Are you keeping

in

Make

the voice sound soft and musical.

The small note

at the

beginning

4t

is

0-

i i

^i=^

Rhythm must be steady

"

like the

-$r

not included in the rhythm.

W^^
6.

^m

^^
5.

good tune?

W^
4.

mind.

?^
3.

a quarter note.

marching

of soldi ers.

7.

How many

5
8.

What kind

^
10.

^
Keep

in

What

is

mind the key-note, C- where

it

is

placed and

how

it

0-

id

What does

the 2 at the beginning of this lesson stand for?

On which beat

13.

In

what key

i
14.

0-

is

What

the 4?

1^

Go over each lesson

in

lesson?

Ij

each of the ten ways prescribed.

:2z

4
15.

^
16.

Dont slur

18.

1^

from one note

to another.
zz:

Take a good breath before beginning

to sing.

Never forget the key-note while singing.

^^

"17

&

You may sometimes practice these, \diistling instead of singing.

19.

or slide

=f
17.

the tone louder and on which softer?

is this

-<9

^
i

sounds.

the time-signature of this lesson?

4 -t-^^^^
12.

W
11.

know thoroughly?

of notes are these?

^
9.

of the 50 phrases do you

IJ

Point at the character called a

"clef.'

3. Lah,lah.4.Claphands. 5. Sing key-note,

Beat. 9. Silent measure, 10. Point.
8.
Sing,play.
7.
second.
play others. 6. Play first, sing
great deal of practice.
but
a
theory
little
very
needs
learner
20. The

10 1 Doh ray and instrument. a.Without instrument.

S
21.

^m

w^

w
Save the voice but don't spare the mind.
J

^Ij^lj^lj

^2. What

is

the letter

name

jg^

^^

ir^
^

-0-

24.

What

mental training

27.

t
is

the time-signature of this lesson?

w
I

Remember

p^

J-

-^j,-

J^^^-^
Jj

What kind

=f

5=

beats are there in a measure?

'

-^^
c

and the sound

^=g
I

30.

How many

^
J ^

of the

* m

'-U

i^
What

J
I

the last one?

^^

and

don't shirk.

-^9-^

50 phrases can you write or point upon hearing

J^rnt

IJ

jl

h.h^

i.

it?

the voice slip or slide to or from a note. (Introductory Lessons,

* J. d

32.

of the key-note, C.

^
J. *

-tSl^

=^^^
let

of a note is the first one in this lesson?

3E

Never

the other two be lighter.

the place on the staff

Don't skip anything

31.

let

_^

29.

i^

How many

-t-^

iJi

3E

/
are the seven different characters used here?

,28.

any other study.

26. Accent the down beat and

like

i-^

25. WTiat

to sing is

Learning

Jjl^

second line of the staff?

of the

I m
23.

^.

N9 11.)

^p
^

a
33. The quarter

rest.

34. Half and quarter rests.

3E

iiJ N

OK rni
JO.
The measure

i i

^^T~^=J

i i^

"
.

rest,

"

-'

F=^

M^
m

^^ i M ^

The whole rest is used to indicate a

what the time signature may be.)

full

measure of restno matter

-^

36.

^m i

37.

1
38.

NQ.*

37 and 38 may be sung together.

^
i
r^^
39.

N9 39 may be sung together with N9

8.

40. N? 40 may be sung together with N9 39.

-ai'^-?l

/y^^

Kn

rr-.

m^

rr.

12

Readinff Lessons from Popular Melodies.

1.

S
2.

Repeat and

T)a

Capo.

N^ N

JJ

Begin with the up beat. The

JJ IJJ

SA

Do you know what these melodies

^J

J J

~a

wxnxn^j\

are?

^^J

^^

j I

^^x^i

pirH'nTi TTTT jjij

j

tie.

3.

D.C.

Fine.

lil^fl^lJf

^^

lij

4. This one should go pretty fast.

i iJ^ JJiijjUjiiJ^iJjiijjijjiiJ^t^jJif-rirrrNr^iJ
i

^n^

"iJJlJjJIrrlrrn^^^l^J^IJj^^lJjJl r

^.Slow.

iUiirr

^^

^M
i

m=m: -^^~f-

^JiJiijUjiiiirri^-'
pcp:

^^
i

-iJiJiU

aurrirJi^rNji^jUrUj

iii

Q.Modei'ate.

<<<

'^^

^^^
mP^i

jlJJ J^ '^^NjS

^5*-^

77

gi

I3g

l.Slow.
-*

jiNijjiri^j
rp

^k

jj

hJmp

^.Faat. Observe the repeat.

^^^

Ji^^i-^JU-U

#4^:j4^

If |JJ

JJu i '^'^JU U

m m

:zizz

JnTTTTij:

13
9. fast.

''Jri^Jj.uJJ Ijjj ij.l^^

\O.Fast. The sign.

6'^^// o.

'i^^uu^
Fi/ie

W.Fast.

ifi'JiJiLjUMiii^^

iJ^ri

iJiUj^

*^*

Fine.

i
rr^ i^r

\2.Slow. The pause.

?
^

n:

ijijiiji

F-^iJjijjijrnTrrirr

*jirrirrirri^JFjijji^^r^^^
13. Fast.

i^

^?

rrHJMJl g

f^^r ?^i^JijJi^p
i

^-#-

#--=rj

-i

"S7

'

#
Ji^JUU

^J

^
rij^ijJi^ X^.Moderate.

y ^H^i

f'irHr^-ir ij;ijJiJJi-i|fr

F-d

S^

-^-^

-ih-+-

14

Theme with Varied Accompaniment.

Sing

at first

with doh, ray,

mee

&c., but,

when

learned, use the other syllables. Beattime.

^^

Slow.
22:

t ^ may

nee

dah

po

too

lah

///

bay dah
t

may nee
s
d

po too

^
^^^ ^

lah

tn

i^

^W m

P J^
P

i^=t
-g~r^

-^

i:^

^s r^ fe
i
f^r

t,

iz:

f V

3:

jJT^

gp^

rJ;^ 5&

?
i

m m m ^^E3*
sm
^:
eS
^
p
SS ^
I

>):

JJT3

m m m

fff 4=4

W F=r
i=a

^ ^ ^^ ^

^<^

trt-i

15

Vocal Accompaniment to a Familiar Melody.

The Suanee River.
Sing with syllables

first,

Foster.

and, when learned, with the words. Beat time.

Slow.

S
4-^
s

Far

way

roam,
f:

^ 3:
^fc#

PW

si

Thinking

M-

ev

Itab

m m ^^

cLl^ cLir
i

er

^
Omit

^m
f

of

my

:y_-i:

tJiese notes)

the first time

m
home.

low
:

it

^m ^ ^

^
left,

L^^

Best

zm-.

wdm

ma
r

J * *

sore

sfe

tP^ XX^

>

^^

jj-

Long

^P

^
heart

home,The home whose

loved

go-

3:

^^
g

Tocal Accompaniment to a Familiar Melody.

The Last Hope.

i^^^^
$

d
The

shades

evening now

of

Gottschalk.

^^

Slow. Always beat time.

fall

m
-

round me,

gaze

W
4=

P=fP

ZS^

i
m

d
drea

on

ly

ness

With

ltd
mem-o

ry's

-#

bathed

xna

^
^^

the

=^

scenes

in

:2z

Ie^^

W--f

there

^^
-

muse

i^t

And

night

the

^T/^
F
f

dark

mi

in

light.

m
E

As in the study of a foreign language it is well to learn phrases, stories and dialogues
by ear before their construction and grammar are fully mastered, so in music-reading, progress
is made by singing songs even if they must be learned by rote.
Melodic phraseology must be made very familiar- this familiarity is acquired by both ex ercises and songs in the

same way as

sation or recitation from

memory

in

language study in which bothgrammer andconver

are used.

Let the pupil in music-reading sing much, sometimes giving principal thought to key. scale,
beat etc., and sometimes to melody, tone, and taste-

For the latter purpose songs are necessary. The songs given in this work may be read in the
the lessons; but when learned they should be sung with the thought of musical
effect uppermost,- exact rhythm, clear enunciation, free, unforced tone, with breath at proper
places, &c. (See Introductory Lessons, Op. 22.)

same manner as

17

Loving- Voices.

CW Glover, (adapted.)

Slow.

1.
Lov- ing
2.Wlien the

^^
In
gay
Lov - ing

voic

heart

fond ly
sad and

es
is

ming'-le

Like the

heav-y

Soft

childhood's
voic - es

mur-mur
as

ly

of

pray'r,

summer

the

rain.

n:

fair

^m ^W

fan-cies,

low and

In youth's

ten - der,

up

Tell

vis -ions, rich

on
the
spir -

zc

and

rare,

it's

pain.

^
/Cs

mel

There are
O'er

life's

i li j

dies of
path -way clouds may
-

j
na
ga

iiij

ture

ther,

Ris
But

ing
the

J
-

land and
ev - er

ver

shadows

22

"

sea.
flee.

2Z
v:^

But like

mu

Fbr

sun -light

like

our
our

in

sic

in

-d/ti

Lov - ing
Lov- ing

dwelling
dwelling

voic

es

are
are

voic-es

The Lark.

Mendelssohn.

^td

l.Wliat

How

joy
earth

and

rael

love

ly

dy,

hark

thy

lay,

m
'Tis

Sweet

!^P^

S
-

ous out
thou art

pour
spring

i
a

from a part-song by

Fast.

3.

le.

me.

to

HI

rj

to

way

soar from earth

f=^^

mer-ry

lark.

Thy

car

strel of

day

\Mien

up

thou

min

iU^i
w
ing;

ing;

In

list
-

spired

I'kr

off

in

the

skies

join

in

the

car

to

thy

by thy

lay

mirth

^^

=0

And

thou art
ol thouVt

f
-

ols

so

from the

while
I

up

too

?H

soar

ing.

sing-

ing.

The Landing* of the Pilgrims.

18

Hemans

Felicia

Browne.

Moderate

The

m
waves dashed
storm they

breaking
midst the

On
And

high
sang,

i
stern and
rock-bound
stars heard, and
the

a
the

coast,

sea

p
And
And

F^

the

an-them

woods a - gainst the storm -y

sky Their
sound-ing aisles of the dim wood rang To the

the

W^

gi

branches

ant

(
tossed

the

of

free

-^^L
I

i
And

J
hung

hea - vy night
ea - gle
o - cean

the

The

J
'

dark
soared

The
FVom

mm

his

i=f

^m

When a band of
And the rocking

shore.

home.

^PS

The Hermit.

Peter Parley.

o'er

foam.

3:

ex-iles moord their bark On the wild New England

for- est roared, This was their welcome

i
-

pines of the

^
wa

f=r

and

ters
nest by the white wave's
hills

Adapted.

Fast.

$ =t i
1.

a.

her

The

way
be

3.'Tis

^^

mit

there

was

to

be

hap

and

do

ing

be
would
I
pleasures and
as

to

and
py they
ing and

lived

in

say

you
ing

hav

a
have

grot;

The

got,

And

that

make

All

3Z

J.

^^
way

he

^^-NH
hap

py

they

IVe
pains of which
learn

it

said

he

come

to

had

your
mor- tals par

got.

grot,

take:

To

to
want - ed
beg and en
what God
be
.1.

19

-J
learn

if

pleases,

to

cell,

And

a
plan, lb
a man's best, lb

there's such

do

was

Mviien I

write

there the old

me down just

it

have a good heart

is

as
the

N Jj|

^
la

Jij

la

la

^UiU

Tra

la

la

la

la

la

la

la

la

way

be

to

blest. Tra

la la

la

la la

la.

la

^B

TH
-G-^

SC

-^

^ ^

i
Tra

{j

her-mit said "Well," TVa

cani TVa
plain as you

went to his

so

it,

treat you,

jjJ i

-&-^

Music on the Waves.

C.W.

}
Slow.

S
fcf=t=f=f=f
1.

Tlie

winds

soft

2.

Can

this

be

1^
li

ly

the

^j

sigh in

their

song

of

the

n u^

N
mys
si

^
1
1

Glover, (adapted.)

ti -

cal

rens that

caves, Tlie

keep Their
22

i
moon
re

gilds the

vels

be

20

October's Parly.

Fast.

t
1.

3.

3. There

the

in

came

in

yel

rust

hoi

-low

W
yf^

par-ty,

pave a

Oc - to - ber
The Chestnuts

low,

in

At

hide and

hundreds
crimson

came,

dress,
seek they played,

i
Oaks and
Miss - es

Ma-ples,

Tl\e

par-ty

closed at

sundown.

Ash-es

^^

w=^
^

And

Ma - pie

trees of

Were

ra-diant
eve - ry -

But

like

=3

ry

name;

the

bod-y

^;

rest;

stayed;

The
All
-

And
And

sunshine spread a
car- pet
balanced
to
their partners
fes-sor Wind played lou-der,

^
^
^
W^

Miss Weather
The sight was

like

And when

par- ty

the

led the

danc

rain

end

ry

ly

flew a

"Diey

thing

was

grand

fluttered

by;

long the

ground,-

^ii^^^

eve

gai

^
^

bi/

by

love - ly

Words used

leaves

Oaks

^;

The
The

Pro

The
The

Alex. Lee.

-JO.

ing Pro - fes-sor Wmd the

bow, New fall -en
from the
ed,'Twas jol - ly 'hands all

f
^

PermtssinN of American Booh Co.

u u
band,
skj-.

round."

PI

f
3

21

The Lover and the Bird.

Guglielmo.
(adapted.)

Moderate.

s
sing,
sing,

1.

2.

sing on
sing on

sweet -ly

to

to

de

e'en

ceive

^3 I

wwm
3:

cheer

^T^

^'

^m ^ m

sol- ace

wiE

Thou

bringvain;

wilt

leave

not

me,

vain hopes,

Flat -tVing but

thy

mu

with

vis

^NS

ions

1^

WTiy should'st thou fear

do
not leave
0,

wm

-6-

=^

sic

3Z

glitt'ring but

me. Bird,
me, Bird,

-G-^

me?
me,

t*

i>

i
Sing
Sing

of
of

love,

-G
sing,
sing.

I*-

love

ly

ly

np

^*-^

cresc.

on
love on

of
of

love,

sing
sing

Sing,
Sing,

f=^

my

can

3^ t
p

^^. i
sing to
sing to

ah!

ahl

S
3:
-^i-^

Slow.

^m
Ahl.-o^
"

song,-^ ster^_^
o
S

pit

i i i i i i=?=

22

Jr^^-

nev

-9

song

sing

er

mgg

WW w

rap

of

ture

T2:

thee?

like

if

-6

The Strawberry

2:

Girl.
adapted from M. D. Sullivan.

/>?/.

^4^lji^ iili 3U

3E

sun was clear on the

ne-ver such

l.Th

*):i>

eye^

^
I

plav;

hi

way.

The

gip

cry

"0

buy

^m
U
ray,

1*-

lea,

The

summer

part,

As

sparkles

#-

i5*-

shadows

sy

hat

ber-ries, buy

its

breeze had ceased to

iS*-

my

^
'

rest her
thro' the

^p

'2

beam-ing

that

in

my

4/

'

i ^

on her lone-ly
town is heard her
6f>

*=*
flung O'er eyes that glistened with
ber-ries,

Buy my strawber - ries

1*

^+FiiJ

The while a
buy my

*^'

hope s glad
fresh

to

a:

pen
im -

^^^^^^

day,-

light

The strawber- ry
tree To
girl came near the
The throb of that glad, young hope -ful heart, As

Wr

wealth can

2.

[^

sim-ple

lay she

ber-ries,

buy

my

;J

sung Of
ber-ries,

0-

-0-

^^-U^-lU^-^i^

:q=b:

:n:

home and kindred now far aBuy mv strawberries fresh to -^

zrsi

is:

way.
day."

a3

Phrases for Practice,

Read the comments given withthe Phrases

for Practice,

Key of G.

Key

and follow the same di

of C;

rections here. The phrases must be learned.

1. Play the phrase upon the instrument.
2. Sing it with doh, ray, etc., playing loudly at the same time.

without the instrument.

without the instrument.
it from memory, pointing on the fingers the position of the notes on the staff.
Do not force the voice. Very soft tones will answer for this practice.

Sing
Sing
5. Sing

3.

it

4.

it

with doh, ray,

with lah.lah,

etc.,

(or loo)

6.

5.

1.

-#

Jl

tn

tn

10.

d r

20.

^
s I

s^

tn

tn r

16.

d r d

4^-9-

r s

/
34.

tn s

<*

tn

r d

tn

13.

37

fd

s tn

d d

tn

tn s

s s tn

s=*

tn

s s tn

^
d

in

t^

33.

s tn s

39.

^m

32.

.r.

d df

26.

# #

38.

d r

19.

25.

31.

dtrdtndtltd

JJ ^-^
IIIJJ^J
t

tn

ii

24.

30.

tn t

23.

36.

s tn

IJ

18.

JJllJ

35.

msf

29.

28.

27.

ni

-*-"

17.

22.

21.

r ni

12.

11.

i
t

=M.

15.

14.

lJJ JJ

^
d

JJjjJ

9.

8.

fe^
d

<*

40.

? -#
f

tn I

Supplementary Passages for Practice or Dictation.

42.

41.

V-*

46.

43.

fc

m "m

1^

4 ^ d

*=*

^m ^
49.

*-#
52.

51.

^^-*-#

9^2^

-#^

50.

^m

48.

47.

t=m

45.

44.

:ii^

53.

=ii *-^-*

=*

24

Eeading Lessons, Key of G.

Each time before singing a lesson play these passages.

Remember

^^m

the pitch and the representation of the key-note (printed by itself before the first

lessons.)

Practice each lesson as specified for the key of C.

1. Play and sing it using doh, ray, mee, etc.
2. Sing without the instrument, doh,ray, etc.

Sing without the instrument, lah,lah (or loo).

Clap the hands at the first note of each measure.
5. Sing the key-noteeachtimeandplay the others. Do not play and sing together. Keep time.
6. Play the first measure, sing the second, alternate.
7. Sing the first and play the second; alternate.
8. Beat time. Accent the first note in each measure.
9.Singone measure and be silent in the next; alternate.
10. Point the lesson on the fingers, or write it upon a staff.
Be sure you keep in tune.
3.

4.

On which line does

1.

is

in this key?

^m

the signature of the key of G?

^^

iztt

t?:
Give the half note

3.

its full

fe

Keep on with practice

4.

come

-9-

What

2.

doh, the key note,

17
time.

of the

-G-

-1

40 "Phrases"

if

0-

5.

Dont forget where the key note

is

and how

it

sounds.

s
6.

In

# a^

m
8.

is

->-

You must not use chest tones as high as Ff.

7.

9.

how many ways is each lesson to be practiced?

*

The small note

at the

ir

beginning

Accent the first count.

r
is

a"memory

^m

you cant sing these lessons.

z=mz

zo;

tone."

25
hands. 5. Sing key-note and
Doh, ray and instrument. 2. Without instrument. 3. Lah. 4. Clap
10. Point.
measures.
Silent
9.
Beat.
8.
playothers.6.Play-8ing. 7. Sing-play.
1.

10.

letter

names

of the lines

J
:E=

12.

4 ^

let

the lessons be class or private

You need not sing

^^

Singing

is

good

^^

sing.

you must practice.

16,

I
'

What

-*

is

-f

-I

for nothing

it

an instant befor singing.

32

if it is

the time-signature?

^m

17.

19.

Take the high notes

IS

4 ^

20.
=3=

Hf-^

^-^

73

22:

-^

21.

softly, don't force the voice

-d

18.

out of tune-

^^
^

Take a good breath and hold

-^-^

loudly.

15,

some count while the others

* 1
14.

^J

Whether

13.

In a class

^a

and spaces?

S:

11.

Do you know the

26

1.

8.
/

J?

With instrument.

Beat.

9. Silent. 10.

3. Without. 3.

Lah. 4. Hands.

5.

Key-note.

22.

h^A
4

23.

_-4
^

What

does the 3 at the beginning stand for?

^
^

What the 4?

24. Beat time in exact rhythm.

S
25.

What kind of a

*5F
4 *

note

is

^-^

the fourtli one of this lesson?

22

6.

Play- sing.

T^#-

^
^^
^

26.

"^
27.

7.

Point.

=^=^

Sing- play

^F=B

-^-

7
35. Forward and backward, singly and together as in No. 34.

^ ^^

<>'\rJ.

r-^

36. The quarter

37.

The half

^.1* ^

1
I

>

^-

rest.

rest.

38. The measure rest.

#g
39. The measure rest

i^^

^!

-^5^

40. In place of each rest sing some note that will go well with the others.

I ^z* ^^Efe^^
*:

41. Replace each quarter rest with

CANONS. Two divisions

IJ

some

^^

note.

of a class, two singers or voice

beg ins one measure later than the

and instrument. The second voice

first.

1.

fa
^ftr-^

d-f- r_ _ ^r

:^=ae

irlJJ JJ
I

^Mrrr

l
i

rrir^i^Jijjir

Jnmf
^^'j^ rrrUrlrfUJI
i

Mr

Jl

i^

JH-

3.
t5^

^*!i J

Jij Jir

j.

Mf

jJJ rr^ir
i

Jij J

rii

njjjirJr-4M

^irr^'j. r^'ijJ-^-'-'- jJ
i

^i'^ ^

2H

Reading Lessons from Popular Melodies.

' JJIJjIJJNJIJJ JjI

I

2. Ve?\^

Slow The

3.

4,

^ z

Nir

^-j?

'

^TJTTjJ JJIJJ
l

D.iSfOW.
S/ow
5.

ij'tt

p
^

-9-

I-

^1^

^
-/Oil ^=1=
ft

0 w f

^^-*

t-f- ^^

rr

^^

-g-

-^h

jr

^^

^m

iJ

i^t::^

^^
*

iJf
i

Moderate.

^^1-^
W

rs

J J Ir p |J
^^J
fHM^^irr

T*^

JJ JJIJJhMjJIJ

r\

Moderate.

4 ^ ^ d ^

lJ

Pause.

-#

^fr-

jj

=P
Fine.

-n

'

r^-=^=--;

^-^
i

ii

^ ^J
,

/>.

^.

29
9. Fast.

^^
^
10.

3 ^

9'

# 1

9=i=

Slow

11. /V?s^.

-#

^=

4-

"

If

r'r

ij

ej

30

Theme with Varied Accompaniment,

^

Slow.

i^ ^^

nee

po

^it
^

too

is:

fe

:m=i

^-^

*J

i]

-#-*^

^y

^
^

afc

rj^

^
i

fc^
I

^
^
W^^
d

^ m

#-

^1

fe

f^

po

i=*h
^

-1^

It

-*

may nee

bay dah

lah

///

m fl

^T II
dJJ^d
S'^'

^m

<*

itf

zm

tri

^
^^1^^^

Ws

i^

Vocal Accompaniments to Melodies.

31

Learn the lessons, then sing them always beating time.

"What Are

^,J

J-,^JJ
(is
d

the

^^

Wild Waves Saying?"

IJ

^
S m^ m" ^ m
^
with un

ceas

ing mo-tion

To

t h^

tn-mn w
m

'Tis

as

///

cean

f=r

///

't

HI

<y

-r^

mys
i

bring

ing some

word

#-

^
]

tic

deep
i

//<

fn

Wliere st range se-erets

-^

J_Li.

tlieyhave

The Last Idea of von Weber.''

:=t

la

they were

d
heard.

^ ^ ^ ^^^ ^^**^

Slow.

Tho'

///

if

m.

fe

d
As

ij

From the

shore come, waves of

'>^[_\^^

m ^^
m
^ ^ ^ m ^ ^ ^^
(is

Roll-ing

Glover

/^

Music Everywhere.
Geo.

F.

Root

Moderate.

-9

Mu
Mu

sic

sic

in

the
the

wood

school

s
7i

land,

Mu

sic

in

the

rill;

room,

Mu

sic

for

us

all;

1^

sic

in

the

air,

sic

in

our

care.

SIC

ev
ev

'ry

p
Mu
Mu

sic

on

the

moun

sic

in

our

sor

,^
Mu
Mu

Mu
Mu

tains,

row,

^E^
%

I
-

sic

the

isic

in

our

true
glad

Mu
Mu

heart,
-

ness,

sic

where,
where.

-6h

Used by permission of The John Church

What

Chas. Mackay.

Co.

Love and Hate.

(Adapted.

Fast.

f
]

9-

love the

son^ of

birds

And

the

2.

love

sim-ple

song

That

3.

But

when

hate.

ev

lov

the

sur

er

ing

wo -man's
hope that
world a

round

wakes

mv

seek

mo

tion

gar- den

low

and

sweet,

es

him who

faints,

me

and

bove,

voice,

rais

^
i

it
'i

r^
words,
strong,
gate,

world of
vey the
i

If

Vi
*

child-rens ear-ly

-6h

P^^
r

'^ ^ ^

1.

^^
And
And
And

11^
John
John
John

^
zzr

Brown,
Brown;
Brown;

33

Music

Moderate.

^r-

mu-sic

There's

in the

There's mu-sic

in the

ill

(When
(When
(When

air
air

There's mu-sic

in the

the Air.

air

When

^^

!wi!'".v,
V.'
When the l^%twilights

ig^=^

ir

w \n

faint

its

fleets

on

lost

-
-77-

blush

is

seen

gold

en

light

ev

'ning's

breast.
221

V' r

Many

When

be

Then,

0,

^^

then the

list

en

Swift

ly

to

gel

voi

the
ces

An
Faed

hi/

pernii anion of The

lov'd

spir - it
greet us

nigh

And

beam

Re

^^i'V,^^^
sigh
- tie

Is

On
On
On

the
laugh -ing sky.
the bright andi
the
moun-tain stream,the dis - tant j

As
As

its

its

pen

^m
J

beau

sive(

ties

die.

9-

II

i
-

the mu-sic
there To
there Comesthe mu-sic
the mu-sic
therein

John Church Co

Root.

gen

thrill of
sound, With its
ing
shade Sor - row's ach
pure ce gone Wake the

ones

cliant-ed

t
On

harps ec - sta - tic

neath some grate-ful

While we
-

-*

F.

t 9

the
m.orn is
the infant
morn is
the
noon-tide's|
the noontide's sul - try-

^>'*if

Geo.

in
In
of

ij

pro

joy

head
les

found,

is

laid,

tial

song,

the

air.

the
the

air.
air.

34

Dream

Faces.
arr. fr.

W. M. Hutchinson.

Fast.

-(5^

W==^

shad-ows

l.Deep
2.

Sweet

^^

lie

dream-landfac

cross the dim

- ing to

31^3

zn

-.9-^

s
-mm

to

fes=

glows

mem

mem
mur

'ry

^
>^
-

'ry

i
'

sails

ing gent

and

v'
-

Fond

Mur

light

back

ly

fades

in -to
of

the gloom,
a - go,

"Hope

long

3E

I
unf

mist

ed
on,

with dreams v^of

one,
dear lov'd

days

^ we

pain,

of

-^^
that are
shall

meet

tant shore,

^
-

ff

child-hood's dis
thro'

days

mm

g'

Freight

-#

m m

to

fro,

*==^

^
fire

and

*
While
Bring

old room,

y pass

5^ % ^rs^

a
es,

more.

no
a

m^

gain.'

f
--

fei

35

Daisy Song.
arr. fni.

fast.

t:

i
1.

Pet- als pluck'd and thrown a

2. Will

A.b.Gatty,

be

it

man

to

On the breeze are

E - ven - song and

way,

preach,

Wlio

is

Dai-sy, pray, her for -tune say,

Or p;oes she to school a - gain,

float

inp,;

mat

in?

on

her

ing?

dot

^ ^^ n
^
^

^^

Where

teach -es

lie

Lut

in?

^
^

*^*^

^^

^
^^

Will he
Will it

'

be
be

sol-dier

in

cot

ton,

smart,

silk,

Or

Who

storm will
she'll be

by

rags, that

her, Or

take

mar

ried?Well,

#=s

f=

sail- or

break her heart, His

will

come

the worst, she'll take the

W^^

^
^m

m
a
^^

first,

fig- ure

And none

shall

head to
say she

make
tar

her?
-

ried.

H6

The Heart That Knows No Sorrow.

P^ ^
*T m

from J.Gungl,

Fast.

3^

^5^

rl J
i>

l.The heart that knows no sor

2. The heart that trusts me on

i^^

9^^^?^

me, sad

-^^

izia

1
U

Yet

^
^-^

ness

to

est

Jl

word
~6^

Whose

*i

^
-61-*-

That

is

not

the heart

for

me,

is

not

the heart

for

me

That
That

That

V
That

^^

^^

^^
,

day

can bound with child-like glee,

oth - ers from me flee.
all

That
But

L^

de-vo-tion.

the near-est

When

then

15^

swells not with

^m

sus

pi

gay,
heard,

9-

'

mm

^^ ^
pi -cion's light

is

-^

--^

At

me

^f

and lone-ly,

;i |' ij

draws not

er light and

A\'hennodouht of

auizz?:

throbs not with e - mo-tion,

love
is
not sin-cer-est

hap

nn

'

ev

If there's

^^ ^
!g''

is

J.

the mor-row,

f^

9J

ly

-^^

cares not for

leaves

row,That

az~it

^
m
m

37

One Morning.
Jean Ingelow.
irr. fr.

Slow.
J

One morning,

1.

II

l|

my

ear-Iy,

so

^^

Fair is A-pril, fair the morn-ing,

2.

^^ f ^
*
P^ ^^

i#

sang"Give us
our

life's

5W

lov-ed,

^
lov

iw

gar- den,"Hear the

ask-eth,"Not

glo

ed,

- ry','

dear sto- ry.

And

for

the

Give us

my be-lov-ed, All the

my be lev -ed, Now for
-

*
J.J ^i

i^*^

on

the

year's

-r-r

in

ry,

fame and

not

for

dove sang'Give us
give us
love and

J
the

Let

my

crease.

^
hear the

cease. 'Twas

^^
sto

they would

er

thrush sang in the

voice be heard that

all

nev

if

^^

lark

^
r^
As

us doth Springs bright morning Wait up

be
be

my

birds were sing-ing blrthe-ly,

A.S.Gatty.

sto
glo

ry','

ry,

And

the

Give for

^
peace

peace."!

'-

PI

38

Dog Tray.

Old

Stephen C.Foster. ^adapted)

Moderate,

The morn of

* SE

-i

my

i?r

vil-lage green,
vain-ly
seek

m
^

ru -^

'

ItI $
i

%
^
i

dog
dog

ni nev-er, nev-er find

that

he

^
i
i

I'll

on the

vain-ly,

iJJ

dog Tray's ev-er

i ^ 1^
^f f W ^

^i
He's gen-tle,he

I I ?=3*:

f
iii
A bet-ter

Up

i^ i

i:

mmm

Old

JlQJj

Tray.

rc

ji'

me

know

Tray,

^ P

i
f

brings

^^^

Grief can-not drive him a -way

ful.

i l' i l'J I

:?'i-'

a=x

^:

Sporting with my old

bet-ter friend tlian old

-6^

It

S i

faith

cast,

IJ

*
*

me

Of mer-ry forms I've seen

Although he can-not speak,

day.

^
i

II =^

ev'ning comes at last;

sad heart would say;

m^
j

tw

hap-py

once

what

feels

And

^^
of

i=F^
^^^
*
I i i i i
3 ^ ^ f f

*:

dream

His eyes are on

the past,

call

^^

past,

is

life

2. WTien thoughts re

"cnzg
1

friend than old

is

I *^

kind,

--

dog Tray.

^a

Phrases for Practice,

Key of B

Flat.

Be thorough with this part of the work practicing as before directed.

Playthephrase. 3. Singandplay; doh,ray,etc. 3. Sing without playing; doh,ray,
etc.
4. Sing with lah(orloo). 5. Sing from memory, indicating the position of
the notes by pointpoii
1.

iiig

or writing.

Think intently; sing

d
.

1^'

IN

lightly.

10.

rn

mf

d d

mf

30.

15.

"
i

32.

31.

'-

J-^

s t

r-* :d

mf

d d d

m d

d^s

35.

34.

29.

w =d

28.

i'jjj^lI^JiiJ
^jj Jt^j
Hi

!^

33.

d
23.

22.

27.

JjJ | JjJj

^JJJ I^

* ^J J- ^jjs
m d I s f /n
26.

mf

16.

21.

jjj'^JJiJJ^JjjJ

ni

slid

dlstddmfaddlstns

2q.

: ^-^
t

14.

20.

"

24.

19.

mI

d m

ji|||M|M|| j^jJ|J

JJJl
*^
zt UiJlJllJ
-* =^
d

13.

'll'l

18.

17

12.

11.

JJjJjjlljJjJJ
d

jj
d

36.

jjJ'irrrJj rjJrn rrJjjMrrrrJiirrrjJiirrrJ

ii

d d

fn s

37.

s ni

in

m d w

md

r tn

f m

ltd

r //i^

f/^

tn

ni

f mf

!^

46.

45.

fn

52.

51.

44.

50.

md

^ES^

43.

md

ni

39.

^-y ^-m-

r d a

38.

42.

nt

mf m

40

Reading Lessons, Key of

j^"^

Get the key well in mind before practicing a lesson.

^ ^ f 1

Flat.
ll

jJ'JJ*

Think the key note clearly and practice as before.

l.Play and sing, doh,ray,etc. 2. Doh,ray,etc voice alone. 3. Lah; voice alone. 4. Clap the
hands for accent. 5. Sing the B-flat eachtirae and play all the other notes. 6. Play the first
measure, sinj; the second; alternate. 7. Sing the first and play the second. 8. Beattime. Accent.
9.Sing and be silent, alternate measures. 10- Point or write the lesson.
;

Keep

tune; do not accustom the ear to false intonation.

in

1.

^^=^
r

II

2.

How many

beats are there in a measure?

^
3.

m
4.

How many times

does the key note appear here?

Which beat

is

accetited?

e^

Which

5,

atzzzn

6, Practice slowly

m^
8.

at

-6i

the beginning

What

is

^^

#-

is

'

^ ^
a"memory

^
Take

^^

IJ

good breath and keep the throat

free.

:=

\
\

-^

^
?

tone."

the time signature here?

3^

^\}''i

"flat"?

55

10.

r.

m.

IJ

named with the word

^^
The small note

and keep the rhythm steady.

9.

notes in this lesson are

^m
7.

V-^

^---i

41

13.

14. Find eight differentfttenhi of notation here.

:df=M:

What does

15.

the 3 represent?

What

the 4?

fa

^^^
Remember the key

16.

17,

I.""

let

#-

^3=^

^=^

^
1

^A

-0

#-

d ^

afci:

^ *

m^ ^^-

-6^

25. Measure

JT^iff

high turn

27.Which way

:#=ff

it

upside

te ^

will you read

MIM

down and sing

g
it?

^tt

begin one measure after the

;^rfiJJ J'iJ^

first^

il^

2. The second voice to

begin two measures after the first.

3. The second voice one

measure after the

first.

4.The second voice two measures after the

first.

H-

rest.

^^
g

Forward, backward, upside down.

-(5-=

:i=*

it.

CANONS.
l.Tlie second voice to

# ^#
77^

a=i^:

rest.

d\^

w=g=m.

23. Half rest.

If this is too

j.ijjJ rr

rest.

-6^

^m

24. Measure

JJijJr rr

jfi

nfMJHii^jij *:*^

21.

Pl

22. Quarter

26.

-0

IJ

19,

-Mmm.

18. Dont slur.

the thought be careless or lazy.

iP

note

Dont

:t=

l#

^^

42

Lessons from Popular Melodies.

Readiiii::
\.Modtr<ite.

Ml in

ijl

(fi'

Ml

^^

lr

r\

ISL

2. Mode rate

?2=#=

-*

"^.Moderate.

1^

f^

^^
Q^

^^S

I^^^^^

rP=^r

zz

-77^- d

^ 3

f'

If

"5^-

^
I

r.

If

M==^=:^

^-v

0-

-5^

^i^

If

*=f

1^ ^ K*

/J

Q.Sloiv.

S4 *

^-y-

2Z22

l/;>Moderat0.
xtosr:

f-^4f-F4f-^lJ

'

3^

^
^^

J IJ J Ij J

li

1)^

rrHi^JiJJ

J IJ J IJ J Ip

'!''

j'mI'iiIi

Mil

^^

rh
i=t

||

'jLli^

^f

S.Fasl.

^ji,i.hMnrrr >i^V-i-

^m
I

-6t-

m^

^ ^.Fast.

l^^'i

11

III

=n=^-a^^E^-^=F--U^^

43
1

1,

r^rn

44

Theme with Varied Accompaniment

$
d

may
/

dah

bay

lah

too

nee po

\^m m w ^p
^^^ rt^ p^ r

too lah bay

may

dah

^^
d

3=^=J ?
^-^-^ ^^^^ feE^

^
i

53

^^
r

'd

tt

^ ^
f

T"

Ni-^iffl

ihM-4
-=*^

^ ^ ^^

^^ ^
^
^

^CS3K

ts

f0._

^
w

#P
^

g
1

mfrf ^m

1?

^^

^-H-

F^
;^

^^ I

*:^

^s

m tM S

^^ ^ ^

rA''iJ rr

fe

^^ ^ ^
s
rff

-^>i''S J

^S ^ ^
pfffff

f^

f=

^^

45

Vocal Accompaniment to Melodies.

The Hazel Dell.
Moderate.

t^"i^

!'

I''
(I

Down

in

the

s
s
d
Green ha-zel

dell

PE
s

sleeps

Nel-

lov'd

lie

watch

keep

I'lti

i
zz

^pp

*=^^

^
^

inp;

the

in

.V

.<?

in g,

ring

ing,

Lone

where my

Nel-lie's

j
|

sleep

Wely.

f
Fro

ing.

i%

Bells.

ing rhymj^J^g,

JIK

3^3^

iE

%
a

dell

Now my

\y

w=*

^ t

tn

chim

The Monastery

Swi ng

lie

P^^
^^
d
Here

ly

^=t:

Lone

s
-

^ Mm m ^
s

so well

d
Nel

i-^-t-t^

d
There

dell

m the

ni

Sound the

tower.

-s

4-

a
bells

s
,

Joy

in

m m

tn

glad-ness Comfort in

sad

ness

tn

O^^^SLz

f m

votiontheirmo^^^

d
tells

46

Were

If I

a Sunbeam.

Moderate.

If

were

in

Steal-ing

2.

If

3.

^
4.

were

Sad hearts

seek the

Id

look

whit

sun- beam

a
a

mong them,
sun - beam

ing

up

est

would

light

est

know where

me

Would see

do;

shed,

I'd

would go;
shine,
shine and
I

wood-land through,
The rain-y
With glad-ness rais'd its head,
dark with want and woe.
All
Their own sweet home and mine.

y
els

en,

3 i

soft

ies

lil

each grace - ful lil

low - liest hov
the
heav
they thought of

Un-til
In -to
Un-til

The

ward

know what

S!

-&-

Maying.
arr.

^m

Fast.

^
ia

l.Wan

^
2.

^a

dring in the May-time,Sweet it

Spring she is a maid-en Wait- ing

hay-time Thro' the

la - den In
her

zt

in

the

sum-mer

is

to

rove;

Just be

to

be

wooed;

Hid- ing blos-som

fore the

t^tHj-i-'i

I'f'M

Stephen Glover.

i^

fr.

leaf-y
sol

j^^

grove,
-

tude;

Where

the

Coy

she

IJ

breeze,

And

rnm

grass
is

bend- ing Wave -like

is
and meek-er Than the

22

iJi
fair;

lij

ij

53

the white thorns send-ing

But for those who
seek her

^^m

Per-fumes from the treetT

She has gifts more rare.

Never Say

Chas. Swain,
Fast.

F.W.Root.
by per.of the John Church Co.

Keep pushing
2. With an eye ev
1.

3. In

m-1

47

Fail.

life's

ip

^^^^^m

^^^1
wis -er than

a-

And si^h-iili!; and wis h-ing and

tongue that's not dumb, A heart that wiU nev - er to
ro -sy morn-ing, in man-hood's fair pride,Let this be your
mot - to your
'tis

er

sit -ting

side,

o -pen, a

ip

^^m
^ ^^
^^

Vi^

TJ^y

wait -ing the tide. In

life's earnest bat- tle,they
on - ly pre - vail,Who dai - ly march
sor-rowsuc-cumb,You'll bat- tie and conquer tho' thousands as - sail; How stroi)(;and how
footsteps to guide: In stormand in
sun-sliine,what - ev - er as -sail, We'll
onward and

'>^'

^f

J j
J
onwardand
migh- ty who
conquer and

4t

i^i

j
nev- er say
nev- er say

nev-ersay
^-^
m

ij

ij

How

We'll

onwardand conquer and nev- er say

^m ^ *

r>

m
F

If

*f

i|"

lus

the

the

breez

es

the

sail.

now

by
onward

rock'd

-^^-h-W-^^

-^

they

in

E'e!i
-

*:

the
it

when the
ver

^r-

viewthem,and

^F

barque they glide, they glide,

waves that sink and rise.
lo:

^*

^m

f=

ti

fail.

wavesthey
they float, Two fai-ries are
winds from shore to shore, A
mo-ment ye
j2
m _*-

Fann'd by
Spreading

on

fail

r
float,

m
^

nau

fail.

Stephen Glover, (adapted

te

ver the
2. Cast by the

way

^^1

Over the Waves.

Moderate

fail,

J.E .Carpenter.

"VI

Who

fail,

1.0-

dai- ly march onward and nev -er say

strong and how mighty who nev- er say

fail,

the

tide. In
flies. Ear

p
wa

bil

ters are
lows
a-

48

tnrm
way, and a

There
way,
^ J

."

'
'

I
I

7.
t=*

,1

^r-^

11,'

llj

'

II I

deep, And

calm, they rest on the

and stemming the
gale

JlJ

Braving the

FpW^

F=f

,N

'

sail,

If

the

is

In the bright

they sail.
freedom that knows no de - cay.

sur-face they

o'er the

Safe

gale

lash'd by the

by the
safe -ty for

lull'd

tide. In

zeph-yrs,they sleep, they sleep,

ev - er, they glide, they glide.
-J-

^f

ip

'T

fe^tei

Hearts of Oak.

Moderate.

iS^

T"

^^r

arr.fr.

F.Campana.

T-

On for the right,

Bold be your stroke. Swift as the light, Brave hearts of oak,
2.Loy-al and brave True as the sim^eights that can save, Yet to be won;

1.

j.J
I

f^E
>

J.

field,
Soldiers are we.
a
Conscience on guard. Sloth in the rear,
Life is

'>^'

? Pis^

^ ^

Free from the chains

On'neath our flag,

J
All

^m

f
we most

Dare

to

i
be

God ev- er

^.

f"

Bold be your stroke, Swift as the

^'

Ef

free,

near.

i
^

^^
i

foes that kill

^^

dle-ness weaves, Free from the pains

Fighting the wrong, Hill-top and crag

^-

r
From

'':
I

Ne'er let us yield.

Faith as our ward,

I-

i^
7^

-^^J

iv^

i
leaves,

song

^^^H
r

=??

prize ,Free from fierce will

Brave hearts of oak

light.

Coward-ice
Ech-o our

Hat-red and

On

^^

for tlie

lies,

right.

-&^

49

Away Now Joyful

Riding.

Fast.

Kiicken.

^^'\\\\

A -way now

1.

2.

At length a

3.

Now by

steed

words be-guil

joy-ful

^
rid

cot-tage shin

the

now chid

homedi-vin

ingWith heart and hope

ing

warm hearth smil

ingThen cheering

so

light,

Mid floWrets comes to

sight;

ing,There's one the star

his quick flight.

ing;Springs cheer'ly on its

ing She bids me ne'er to

flight.

roam.

#pf n $ * $ m * *

m
i-

Y\

f>

-<9

.ojij

Now

of

My foam-ing
My steed its

home,

TMth gen -

tie

urge thee still more fleet

the door
I
see
can-not now say 'nay"

Now by
I

I%Ii

^ road

^
i

is free and wide,Trot, trot, trot,

a smile most sweet; Trot, glide, the
Trot, trot, trot trot, my own good steed,There?s home and
bright eyes flx'd on me,
Time seems to fleet a - way, Trot, trot, trot trot, a -far no more;With love and

Well have

^
^
Two

^
a

^ fm
*

fc

trot

wayl

ri^

A- wayiWe

P
^

must more

rest for thee; Trot, trot, trot,trot

home I'll stay; Trot, trot, trot, trot

^^

fleet-ly ride,Trot, trot, trot, trot a-

my own good steedjheres home and

a -far

way!

rest for thee

nomore^With love and home

ill

stay

50

Sweet Bird,

Sing,
L.M.Thornton.

Fust.

my

1.

Sing sweet bird and chase

2.

Morn and noon and dew-y

u
F^
m
1&W
^
'S

cho-ris

ter

sfe^

^^

|J

Jl

^f^

IJ

gain.

late.

4 ^:.l>

^u

lj^'^

Jir rir

Say who can be sad at heart.

Sing sweet
Yield its dul-cet notes a - gain.

to

thy

strain

Sing

s'veet bird

^
I

tale

harp

M,^

of
so

?;

love thou'rt tell- ing

long for - sa-ken

JH-M4^
^

-G-

3t

^y

Hov-er still a - round my

So shall time fond tho'ts a-

^
J

dwelling,There is pleas-ure where thou art; While thy

wak-en; Joy once more shall live and reign;
And the

^^\

^^

From thy
Come thou

t^

can bor-rowThat which bids me hope a

of hea -ven Cheer a soul dis- con-so

% f

k &

warbling

sor-row, Let me
lis -ten
to thy strain;
e - ven, Anx-ious -ly for thee I'll
wait;

^
y

W. Ganz. (adapted)

bird Sing sweet

Sing sweet bird Sing thy

M^ii^
bird Let

song

to

me

me

lis

-ten

gain

51

Phrases for Practice, Key of

F.

Play the phrase. 2. Sing and play, doh, ray, etc. 3. Sing without playing, doh, ray, etc.
Sing with lah (or loo). 5. Sing from memory pointing or writing the notes.

1.

4.

^ nr
2

9.

^-i

^^

tn

10.

J J

Jl

23.

r s

24

25.

md

d yS

15.

tl

20.

JJJII^JJ

-m-

14.

19.

tn

j^^jji j^ rrrli
d m f

8.

13.

18,

6.

12.

17.

did

5.

-0-

11.

16.

4.

3.

a
JJJ**

d r

ni

2''l.

26,

27.

i ^tat
drltddfmls

^^
a

For dictation practice, after the teacher has sung (lah lah) or played a phrase, let the puit by ear (lah lah) and then answer such of these questions as theteachermay choose
to ask:l.Howmany notes were there inthe passage? 2. What note (letter name and syllable) did
it begin with? 3. Point it. 4. What note did it end with? 5. Point it. 6. Did the passage go upor
down, or both? 7. Was the key note sounded more than once? 8. Where was the key note? (1st.,
2nd., 3rd. note etc.). 9. Were there any consecutive repetitions of a note? 10. Which note was
thus repeated? 11. Were there any skips? (Intervals larger than those of the scale).
pils sing

28.

30,

29.

32

31.

33.

^m

--r
39.

53.

54.

55

56.

57.

'h jjJ^iuhi^i^^^
61.

m m 4

62

^TjjP'CTji

35.

34.

40.

41.

58.

59.

*=?

^^

"

60,

*=^^

64,

63.
# # *
^

*=^

43.

42,

*=""i-^-^-^
^-^nr^

jj

I
I

65.
at=^ z^

-trzf

5Z

Reading Lessons, Key

Q,

Use the instrument free ly beforepracticing a lesson;

but while singing it throng2;h, play only as directed below.

of F.
m ytT P f m ^

|
|

(C>d^|

ll

I| p E

2. Doh,ray, etc. voice alone. 3. Lah, voice alone. 4, Clap the

and play all the other notes. Do not both play and
the
Feachtime
Sing
hands for accent.
singthe second; alternate throughout. 7. Sing
and
measure
first
the
Play
sing at once. 6.
time. 9. Sing and be silent; alternate measures.
Beat
8.
so
on.
and
second;
the
the first, play

Play andsing doh.ray, etc.

1.

5.

write the lesson.

10. Point or

^
^m

1.

^m
2.

^t

in the time of a rest

Do not sing

J^-l^lJ-l
3.

Name

.MIJ

!>''

4.

the letter

names

IJ

upon?

<

of this key,

5. Which line is the flat placed

m=d

^^ ^

Without looking, think the signature

MJ

of the scale,

I
9J

#-

-0

6.

m4-y
7,

w=-=^

Can you without looking think the representation

*=*

8.

17

of the scale?

=?==*

9.

^^

i =i
W
t\'Tm ^
hat

10.

11.

is

Eeeee^

the time signature?

ww

HzzM

"If you do not beat time, time will beat you?

^g
4 ^

MJ J ^-h^^

12. Sing a few notes of

^a
I

i
i

"America" pointing

^^
I

1-^

it

"

^
1

on the fingers,

ir->-+*

13. What do

we

call the figures at the

i w-^

Vi=w
14.

15. There

16. In

many

first beat

though

it

be

silent.

?=^=

music begins with the up

pieces, the

te *
t

^^

^^niu

out.

must be a mental accent on the

\ ^3

beat.

[J J J

32:

17.

<P

it

HJ

Sing the key note and point

53

beginning of this lesson?

^j

n^

"-i

^^ ^a

M M ^
|J

ij

18
I'is

If

"

1^

1^

ij

19. Nos. 19 and 20 may be practiced separately, but sound better sung together.

j^uJijn<
jun^Jun^ lUM^Ji'^n* =t^
jijm^
m
4

^"1

20.

^^

junNunnUM^jim^jUMN
r

^ ^

d-H

^ f

i
1

<-

A round for two or more voices. In a class each member may begin separately one measure after one another,- all singers excepting the last to start to sing it through three times.

^3

^"=?
m

feES

<^

^^

**

22. Sing a note in place of each rest.

^tJ
'

IJ

23. Change five notes

to

^li_i^j^^

this

more smoothly melodic

'
I

1^

-'

IJ

24. In place of each rest add a melodic note.

^^
'

>-

make

I
1

Hj^

-^

25. Change the position of a quarter note

^ ^Flt

in

each measure

ij

1^

54

Reading Lessons from Popular Melodies,

\.Sloiv.

..

z^,

1T

55

9. Fast,
"

-^ ^ ii j j

J J J

"^

^^

r^v^^^^

^^=^

X^.Fast
I

'j'/

UJiprrif^

'^

'

'I

W.Fast.

Jr tmJ

i>g

If

JUIJ

a=s

jj|j jj

^ J^rirr

rH'

JJ

Jl-'

J|'

jjij

[-lJ '

['

fi^

VI. Moderate.

^2 ^MJJjl.LI-Jlf-r
V^.Moderate.

22

i^^JJ|7MJ

ffpl'i-

-i |'p

^^

J J

plfr

,1

pr'

lJ

Jl[7M-

^.

j^Ti~r

#
tzt

JJLI.|g

f^j

*-nr-

JLM^

J|J

14./V?s^.

j.^y'j

^^

Jf

ip

\o.Fast.
iL^^

jJ

16.

JjIjjM

Moderate

^Jg

I-

T
J

JJ

=#==*

^
^^^

:2i]

^7-

^^
tzJ

56

The Water Mill.

Diehl.C adapted)

Fast

t'il
1.

IJ

List-en

to

2. Take

0-

4t

How
Gold

wheel

the

of

en years are fleet-ing

by,

^m

Wears

the hours a

Youth

is

Lan-guid
Strive to

From the
Time will

i^

PT^

*Hj

the

Leave no

most

of

fields the

nev

er

p
-

day,

py

i $

^tf?=Fi^

If

reap-ers

sing
back,

^^

bring you

r f

ten-der

hap

Lose no

TT i
mem-'ry

^^

too.

Stirs the green-wood leaves

life,

way

^m

Au - tumn wind

the

i
And

^m^ ^
^

make

1
t)a

ly

IJ

pass-ing

FPliJiJU^iJU^* i *

^m

All the live-long day

Lov- ing hearts and true,

mill

ter

your-selves,

to

click-ing

the

wa

the
les-son

o'er

word un

^ ^

mind As

ray
-

sheaves
-

way.

i
-I

Bind- ing
up
the
Chan-ces swept a

3t

J
a

said, Love,while

spell

is

love shall

cast;

last,

The
The

57

mill will

nev-er nev-er grind with the wa-ter that

nev-er nev-er grind with thewa-ter that

mill will

is

past,

is

past.

Gentle Zitella.

Cooke.

Fast.

^m

Gen - tie Zi-tel-la

2.Charm-ing Zi-tel -la
3. Sim pie Zi-tel-la
1.

W=t

while

thy

ra

grant ye

fr

No

hair;

And

no

prayer^

To

If

hF

li

Night

is

ad

Thou

art the

rob

'Tis

the bold

Bri- gand him

your light

is

la

dark-er than

ye no

List

^^t=%

dit

m-

and

ty

if

cap tive

self

who

nel

Love's ri

tor

nel

Love's ri

tor

nel

fear.

^P

broad!
he,

now

tor

fear,

is

thy

singsl

'I
'

>

>

Lone-ly

Zi

tel-la

GenGen-

tie

Zi

tel-la,

tie

Zi

tel-la,

may

not

hear,

and
and

hear,

la

she

la

tar

ry

la

tar

ry

Bri-gand's a

F
l

the
-

road,
long on
the
- gand should see,
wlngB,
ter - ror add

Bri

the

if

foot-steps let

*f

ban
ban

thy

not

lin-gerd too

have

Love's ri

ish

fiF

fear,

f"

those bright eyes,

to

ish

Night

nel

much has
-

tor

ware;

f"

the

1-

ber

Love's ri

way?

vanc-ing
-

*=i

play.

^vf-f-p

thou shouldst be

ven

j j

'

shouldst thou care?

.-,

t^

i
list

whith-er

why

'

,1

Mr

t
f

1=9iM

'

ij

221

^^
hear.

58

Phrases for Practice, Key of

D.

ray,
Play the phrase. 2. Sing and play, doh,ray, etc. 3. Sing without playing, doh,
writing.
or
pointing
Sing with lah (or loo). 5. Sing from memory,

etc.

1.

4.

1,

rn

(f

16.

10.

9.

8.

mf

"S^

iF*=*

mf

12.

11.

18.

17.

sfdmmrds

r s

15.

13.

14.

mfrs

mf

20.

19.

^'

*=#= J
J is f
m
d
s f

r d

22.

21.

"
JJ^JIIJ^JJ lJJjJ IJJJ^^jJllJJJiJl
^
-r ' * ^* " ^^JjJ
V* IJ'^J
l

r s fn

tn

23.

s r tn

d d r

mf

26.

jih^jj
d

25.

24.

I^S
I

28.

27.

HTJ^iur
s

p
I

30.

29.

rJ^J irrr

n^

d d

rr^
t

ii

Questions, (to be asked one or two at a time, after the pupil has heard and repeated the phrases)
How many notes were there inthe'passage? 2. What note (letter name) did it begin with?
3. Point it. 4. What note did it end with? 5. Point it. 6. Did the passage go up or down or
both? 7.Was the key-note used more than once? 8. Which was the key note? (1st, 2ndnoteetc)
1.

9.
11.

Were there any consecutive repetitions

Were there any skips?
32.

31.

34.

35.

J
^

42.

41.

"jJ

ii

50.

43.

52.

ii

59.

53.
i

39.

38.

^ ^

45.

54.

p^^

=A

46.

56.

55.

49.

48.

47.

" <*

IJJJ.^

61.

62.

jJJjjj

J ^

58.

57.

'J

60.
I

37.

*-^

iJ ^JJ i^iJ
if JJJJJJJ

44.

*=

51.

36.

Which note was thus repeated?

^m

^^
40.

33.

of a note? 10.

63.
i

j;:^

59

Reading Lessons, Key

Keep

^7

in tune.

J J

of D.

^ J .
f f p

Play and sing, doh,ray,etc. 2. Doh,ray, voice alone. 3. Lah, voice alone. 4.Clap the hands.
Sing the Deachtime; play the others. 6. Play the first measure, sing the second and soon.
7. Sing the first; play the second. 8. Beattime. 9. Sing and be silent; alternatemeasures.
10. Point or write the lesson.
1.

5.

1.

Fix the new key note well in mind

Have you done Ihe work carefully

3.

-*

m
4.

^m

^-0

What two

notes in this key are

in the

preceeding keys?

<

named with the word"sharp"?

^i

^^

5. Notice the rests.

6.

8.

The

letter

fc

'

^^m

jiameof the note in the

9.

^
*^

10.

-Mnr-.

first

space

is

MJ

not

F.

What
II

is it?

1.

8.

Play and sing,

Beat.

9.

2.

Voice alone.

3.

Lah.

4.

Hands.

5.

Key-note.

6.

Play-Sing.

Silent. lO.Point.

13.

tI:^ H

r-rr-rr-j

9r

14.

y":^j
15.

IJ

-^

*~

Sing a few measures of "Annie Laurie" and point the notes.

16.
'j

17.

Ir

IJ

ir

7.

Sing-Play.

61

Rhythmic Forms.

^^
ii

4'';

6.

*hi

\]i

Hj JmJ

^i

Mr

9.

II

8.

"^^j

^ ^^
^^ ^
nn
^ ^
^
^

5.

J
I

^i

>i^

Hj

>

r^^-f-u

St.

10.

3=

P^'^

'

"

''

j^"

J.

ir

3J*

12.

fe

'

'

'
'

Mf

62

Reading Lessons from Popular Melodies.

jijirrir-^Nj
2.

jh

J^^^

mzrm-

?>,Fast.

m m \m

>

'

ji^Ji^Jir^i^J Jj

j,^^

Moderate

^i jjJiJrJiJJJuJiJjjijjJiJJJiJJiJJJ
y^^UJJ Jjj jjJiriJJJi^'iJjJirJ
i

a:

JJIJJIJIJJ

^l
I

J^hl Jjl-l iJ
l

Jjj rrrirH

5 Modemte

%^A

^^

^W^jijJiJiJii^Jirririrri^'Hmte
^.Moderate.

hiJ ^
\

jJ
^

^^

JjJ

.LI-

Jlr^a

^ ^

1
I .Moderate.
j.uuaeraie.
.

hJ rirJi^JM
i

8.

Tt

Fast
f

Ai.

xS'/oe^;.

Fine.

jtmr^

i?.C.

JJ

JJ

Q.Fast.

m
A

J,

'!'

=^

r
^

Jjljl

iJ"'

rr f'J
i

10. Moderate.
wj.inoaeraze.

III

Ml

J J

J J

^
i?.^.

-fi^

63

The Old Familiar Place.

Moderate.
'

l.We may
2. We may

rove the wide world

sail o'er
ev - 'ry

^m
Of

home we

the

ny

spot

so

lov'd

of

dear

to

scenes may

be

as

Words

corn-fort

we

may

of

tr-Hf

'

j-

wel-come

and the

tones to

mem -'ry

home, of
home, the

is

All

the
to

is

And

be,

If
I

^FfTfJ

Home
Home

yore.

'

hear,

It

light

dear,

^
be

reft,

longs

those
old

we
home

find

shall

fail

old

fa

mil

one

we

still

left

songs,

1^

find

left

place,

be

hind

1^^

miss,'neath

a - lien
touch the

can- not

skies,

heart

^m
r

Mem-'ry
All

iai
lar

we

Of the
Of the

But they

forms of
hear the

ne'er shall

^r

bright, But

wand-'rer

this

.W. Glover

ij

J
we
we

Of the
As the

Both the
Like the

ft

But
sea, But
o'er,

'

y'jtj.
0th er

fm.

arr.

the

old kind

friends

If

loves

eyes.

part.

17

ing

whom we

lov

from

^
-

scenes of

gain
youth

to

trace

to

trace.

lar

place,
place.

In

the

old

fa

In

the

old

fa

mil
mil

iar

f>4

Gently Rest.
Kiicken

Slow.

AH

1.

a. Gent

is

still

ly

rest,

in

sweet

the

night

rest,

est

stars gleam,

Be

thy

Soft

thy

hW

SEE

i^
*

--^

se

sleep

slum

rene

ber,

^
-

bright

ly

blest

thy

dream;

o'er
I

the

wild

will

keep

are

moan

Fear

no

harm,

*-

fJ

la

sleep

by,

and ward,

-I

Watch

for

ISJ

I
-

ing

p
Lul

Winds

9-1.9

S f=f

^m
jm

my

on,

while thou'rt

child.

sleep,

*
m

^m,
^
i

_
Lul

Watch

on,

la

and

my

So

lul

la

^^
T

-T^

-ri

my

by,
sleep on,
ward, while thou'rt

child.

HI

0-

child.

So

lul

la

by,

sleep

sleep.

So

lul

la

by,

sleep

by,

sleep

on,

my

child.

Methods and Studies

Superior Vocal

MASTER VOCAL

THE BEGINNER'S
VOICE BOOK

EXERCISES
By

FRANTZ
PROSCHOWSKI
Every teacher

of

voice

and

students of singing should

all

know

this

remarkable

instruc-

tion book by the vocal advisor

many widely acclaimed
of
presupposes no
singers.
It
knowledge of -nusic and de-

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velops musicianship along with

The book is a
vocal ability.
splendid help in self-study as
everything is fully explained

The

and

te.xt

anatomical

In Four Grades

A fine volume of vocal exercises

adaptable for use by any skilled voice
teacher.
The compiler, a renowned
teacher and artist presents here a
of
the
practical
collection
sensible,
best and most useful vocal exercises
selected from the greatset masters of
singing from the old Italian school to

bound

^3.00, cloth

SINGING

HORATIO CONNELL
Price, $1.00

By

Price,

STANDARD
GRADED COURSE

present.

TECHNIC AND
ART OF

il-

lustrations covering the singer's

equipment are parphysical
ticularly helpful.

HERBERT WILBEi*
GREENE

By

Price, ^1.25 each grade

compilation

arrangement

and

of

selected and original etudes graded to

meet the needs of students in all
stages of advancement from the point
of correct tone production to finished
and artistic rendering.
The work is
graded for a four years' course for
use in
conservatories,
schools
and
vocal studios as a standard of equip-

and may be supplemented by

other material at the discretion of the
ment,

SINGING

teacher.

FREDERIC W. ROOT
METHODICAL SIGHTBy

SINGING.

VOCAL STUDIES

Part
ning
Part

High Voice, Medium Voice,

By

TURE,

EDMUND

J.

MYER

Price, ^1.25
60

Op.

22

1.00

THIRTY-TWO
SHORT
SONG STUDIES
For High Compass, Op.
24

75

For Medium
Op. 25
For
Lower
Op. 26

Compass,
75

In

practical guide to artistic

of singing
the writer has
the experience of a lifetime.
It not only contains practical
notation exercises, but also numerous
this

methods
embodied

cuts made from photographs taken

especially for this work.
These illustrations make the work of the pupil
much more simple and secure.

Compass,
75

SCALES AND VARIOUS

EXERCISES, Op. 27

SHORT MELODIC

For

High

Low

and

Voice, each

VOCALISES
And Consonant

By
60

Progressive

3.

L E SSONS IN VOICE CUL-

voli;.r,e,

TWELVE

75

ANALYTICAL

STUDIES,

Studies

Op. 20

1.00

SIXTY-EIGHT EXERCISES

THE SYNTHETIC
METHOD. Op. 28
IN

GATES

The General

50 ccnc

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Excellent
hrlp to student singers.
vocaii^es for style and finish, selected
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writ, "s, have been included in each

By W. FRANCIS

First

INTRODUCTORY

cents each

These successful volumes were prepared to aid those amateurs who

wished to become intelligt.it, acceptTeachers will find these
able singers.

75

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2.

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GEORGE W. WHELPTON
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INSTRUCTOR

Begin-

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Low Voice

VOCAL

Op. 21

The

1.

Principle of

Vocalization

An

introduction to the more advanced works of celebrated writers of

vocal studies adapted fur the singer's
daily practice.
A valuable feature,
and one not found in other vocal
works, is a series of consonant exercises preparatory to distinct enunciation, and clear pronunciation, based on
the Seller system.

75

GUIDE FOR THE MALE

VOICE,

STUDIES

SONG

For
Voice,

Op.

IN

High

SONG STUDIES
FOR THE
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23

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each

A.

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These studies present

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The purpose of the studies s
manifold, but in the rr. ni f
aim towards developi > -'
figures

LESSONS IN
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TEN
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ALFRED ARTHUR

By

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Price, 75 cents
This
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The pronouncing
Me,

the

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of

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to

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syllables, La, Be,

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Ni, Po, Tu, are

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VB--?

Da,

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1211

TECHNIC AND ART OF SINGING

%o
Mithahimi ^9l|t Ringing
THE BEGINNING
PART
a- PART IL THROUGH THE KEYS '
PART III. PROGRESSIVE MUSICIANSHIP
I.

A Method of Private and Class Instruction

in the First

and

Fundamental Requirements of Music

INCLUDING

THE SCIENCE OF MUSIC READING

Arranged According to a Plan by which Pupils can Practice Correctly Alone; thus
Designed for Use

in

Connection with Instrumental

Work

as well as with

LESSONS IN VOCAL CULTURE

BY

FREDERIC W.
OPUS

21

ROOT

THEODORE PRESSER

CO.

D
Pfll iCnPIVllA

MMCIP nnnior

TECHNIC AND ART OF SINGING

A COMPLETE SYSTEM OF EDUCATION

IN

ON SCIENTinC METHODS POD USE

PmVATE mSTDUCTION AND IN CLASSES

SINGING
IN

By FREDERIC W. ROOT
Methodical Sight Singing.

I.

PART
PART
Part
II.

III.

2.

The
The

3.

Progressive mu;icianship.

I.

Op.

21.

beginning.
first

$0.60

time through the keys.

.60
.50

Introductory Lessons in Voice Culture.

1.00
Op. 22

Thirty-two Short Song Studies

.75

For high compass. Op. 24.

For medium compass. Op. 25.
For lower compass. Op. 26.

IV.

Scales and Various Exercises.

Op. 27

.75

For high voice.

For low voice.

V.
VI.

Twelve Analytical

Studies. Op. 20

i.oo

Sixty-eight Exercises in the Synthetic

(The General
Method.
Op. 28.
Principle

VII.

VIII.

of Vocalization)

<75

Guide for the Male Voice.

Studies in Florid

Op. 23

Song

For high compass.

For medium compass.

1712

i^e^t^tr.

Printed in the U.S.A.

PROPERTY OF SOUTHERN
PAMCnDMIA MIICIP DDniCPT

1.25
1.25

fntroduction.
Many who

take up the study of singing imagine that voice culture

is

the principal considera-

tion.

and quite useless to one who has no proper conception of music,

rhythm, intervals, melodic phrases, etc.

It is secondary, however,

no adequate knowledge

of

Some who undertake to learn to sing begin with a sufficient knowledge of the rudiments;
but generally, with the youth and frequently with adults, the only proper step to take at first is
Methodical Sight Singing.
along the line indicated in
However good the voice may
be, singing has no value if the mind is hazy as to time and tune.
And the best way to master
these elements is to learn to read music.
'

'

'

'

who reads vocal music well has certain

may be grouped under seven headings:

Consciously or unconsciously, every one

the mastery of certain things; items which
1.

The mental

picture of key-representation

the

habits

and

position on the staff of key-note, tonic

chord, scale, signature, etc.

2.

3.

Familiarity with melodic progression in scale and chord forms

mastery of certain intervals principally the step and half-step.

the

relative part of

music reading.
4.

Memory

of pitch

the positive part of music reading.

(This does not

mean a knowledge

of absolute pitch.)

realizing pitches mentally without

5.

Thinking

6.

Grouping tones as one groups the

7.

Ehythm and rhythmic

in musical phrase,

hearing them.

letters of the alphabet for words.

forms.

Methodical Sight - Singing designs

tional grades

While

to the

this

to take pupils from the beginning through educaaccomplishment of the above habits and requirements.

system

is

intended for classes,

it

is

especially available

for

private instruction

may be correctly pursued by the thoughtful student with but little attention from the
teacher who can therefore include this department in the vocal training lessons.
This work,
therefore, may accompany that given in
Introductory Lessons in Voice Culture
and

because

it

'

**

'

Elementary Song-Studies," thus providing

singing

is

for the three

departments into which the study of

divided, viz:

1.

Music reading and musicianship.

2.

Voice culture.

3.

Style

and execution.

(rood singing is from the union or co-operation of many habits in all three of these departments; and the best educational work in this field will see that the required habits of mind and
boay are started as early as practicable and are patiently supervised until established.

Copyright

1904

by Thko Pbesseb.

Preliminary Examination
Upon

Work;

Points Essential to the Intelligent use of this

-S9-

Write & whole note,

1.

notes,

2.

a half note,

J^ J^

J^y, four sixteenth

Write the

rests corresponding to the five

What

3.

JS3

notes,
(

a quarter note,
fe

Write four eigLth

('"" S

kinds of notes,

(The note or

the effect of a dot after a note or rest?

is

J )

^ ^

rest is

made

half as long

again.)

G clef,/ j^

Write the treble or

4.

Write a sharp, (
Give the

6.

placed upon

JJ

letter

flat, (

names

is

the bass or

a natural,

C, D, &c. )

^I

when

also,

it;

1;

( il).

of the lines

placed upon

Ql

clef,

and spaces

of the staff

when tv^

it.

6.

What

is

rhythm ? (Accents or pulsations occurring with

7.

What

is

a measure in music ? (A group of these r^ular pulsations or beats.)

8.

What character

9.

What is

the

is

office of

the double bar ? (To divide music into sections.

Do

11.

Into what principal groups do pulsations or measures

and

12.

double bars necessarily come at the

Write a time signature

What

i or ^

14.

What

how many
16. If

17.

for double measure, /

What

kind of a note

a quarter note

in music ?

is

(They do

not.

(Into twos, threes,

Count

for triple measure,

one,

is

3l

for

(The number

of beats,

of each beat, count, part.)

most often used as a beat-note, expressing the value of each

What
fills

an eighth note

down

SI

(The value

the lower figure?

other

is

often used ?

one part of a measure,

eighth notes would be required to

dotted quarter note

hand,

fall

does the upper figure of a time signature represent?

(The quarter note.)

16. If

or end of measures ?

counts, parts in a measure.)

beat ?

banning

sixes.

quadruple measure,
13.

regularity.

used to divide written music into measures 9 (A bar.

10.

fours

is

the beat-note,

fill

(The eighth
^if

it

the part or beat?

how many

beats

note.

occupies one beat of the rhythm,

How many sixteenth notes?

wiU go

to

a quarter note? To a

two,

for one and

one, two,

up

for two.

four, beating down-left-right-up.

rhythmically a number of times, beating time with the

In like manner count three, beating down-left-up. Count

Count

six,

beating down-left-left-right-up-up.

common major

18.

What

are the relative (numeral)

19.

What

Byllables apply to the tones of the scale? (^Doh, ray, etc., or with another spellini

doy re, etc.

Initials d, r, m, f,

s, I, t,

names

of the

scale? (one, hoo, etc.)

d. )

20. What do the terms step and half-step define ? (The intervals or difterences of pitch
tween the tones of the scale.
21.
step. )

What is the interval between doh and rayf (A

Name the intervals between the other tones of

22.

When

scale intervals
23.

What

24.

When

(A

Between mee and fahf

half

the scale.

a scale starts from any other pitch than C, what

right ?
(Sharps or flats are used.

is

done

to the stafE to

make

th<

come

the effect of a sharp?

is

flat?

natural?

the scale starts from G, what of sharps or

From F? From BIz?

required to

flats is

make

the intervab

From D?

come right?
25.

step.)

b)

When

upon the
(The key-signature.

these sharps or flats appear

what do they constitute ?

26.

What is

27.

What

staff at

the b^gixming of a piece of mnsic,

(The key-note or key-tone.

doh or one of the scale called?

is

an accidental? (A tone foreign to the key, expressed with a sharp,

is

the chromatic scale ?

oi

flat

natural.)
28.

WhAl

29.

Give the numeral names of the chromatic scale Scscending.

(A

scale

composed entirely of half-steps.

two, three, four, sharp-four, five, aharp-five, six, ahcvrpygix, seven, eight.)
flat-seven, six, flat-six, five, flat-five, fowr^

30.

What are

fee, soh, see,

lah,

Descending? (Doh,

doh.)

One, $harp-one, two, thar^

Descending

(^Eight,

seven,

three, fiat-three, tiuo, fiat-two, one. )

the syllables for the chromatic scale ascending?

lee, tee,

tee,

toy,

(DoA,

dee. ray, ree,

mu,

fah,

mee, may, ray,

lay, soh, say, fah,

lah,

rah, doh.)

31.

Give an example in which a natural operates as a sharp.

(Sharp one in the key of

Bb

isBtl.
32.

Give an example in which a natural operates as a

33.

What

significance has

**

Da Capo Al

again at the beginning of the piece and end at

flat.

Fine," abbreviated D. C.
''

the key of G.)

(^Flat-seven in

(It

means: begin

Fine.")

Dal Segno al Fine " abbreviated D. 8. or dal Ji^? (It meuis

Repeat the section of the music between ^^ and Fine.)
significance has "

34.

What

35.

Explain the use of the repeat marks.

36.

Explain the use of this sign,

37.

When

name

Wnac

and soh, one three and five of a key are sounded together, what
(Tonic chord.

doh, mee,

of the chord ?

3S.

z'^.

is

the

significance of each of the

following terms?

Andante,

is

the

Andantino,

Allegro, Allegretto, Lento.

39.

What

is

Mayan eighth note

JV

in

one piece go as slowly as a qaarter note

in

ano^er?

the explanation?

(The papil should also learn to play upon an instrument the

to it.)

scale in eaeh

key as be comes

Preparatory Practice of Rhythm.

-<>-

1.

soldiers.
2.

1-2-3-4-1-2-3-4-1,

Count

8peak the

evenly and rhythmically, like the marching ot

each time louder, (but not longer), than the others.

Repeat these counts, at the same time tapping with finger or pencil at each

and

3l,

(The notes represent thd taps.)

123412341

3.

Repeat with the same exact regularity but twice as

fast.

1_2 3 4 12 3 41

i.

Again, twice as fast as the last time.

12 3 4 1 2 3 4
5.

1-2-3-4-1-2-3-4-1,

Count

each 1 and 4

The counts

march time as

at

first,

but this time tapping at

will be regular but the taps irregular.

J.
1

6.

in

-^ 2

J.

34 234

Double the timecount twice as

fast,

and tap at

n.

J.

and 4 as

before.

123412341

7.

Redouble the time.

I
r
3
123412341
j^

8.

Begin again with the slow counts this time tapping at each

J.

J.

1_2 3 412 34
9.

Double the time.

;j.
/J.
;
12- 3 4 12 3 41

and

2.

^.cceut the

1-

10.

Redouble the time.

12 3 4 12 3 4
11.

Count

1-2-3-4-1-2-3-4-1,

rapidly, tapping at every count, excepting

some

one:

Excepting

2.

Excepting

4.

j.^ N
1_2 3 4 12 3 41

Js

|^

rn
^
/
123412341
.^

Excepting

3.

J"

/
^ /T
3 /
123412341

i>

12.

Tap

five times,

dowly, like marching,

Then, while tapping in this

way, speak or intone the words:

-J
Twice as

-J
t

J^
-

dom

calls.

In like manner the following:

!.'.
Bay

light.

J^

Free

16.

i-

ing

Eedouble the time.

Mom

15.

star.

fast.
f

14.

i-

J
moon,

Sun,

13.

se

And the
t

Knowledge

rene.

following:
f

J
is

IJ
pow'r.

Gome

way.

fill?

JU
Sail

or

^^

be

ware.

Boat

hojl

!,
-^U^
Mer

ry

^-J^
to

day.

Methodical Sight-Singing, Part

The Key of

II.

C.

Play the scale one octave ascending and descending, and sing it.
Copy upon music paper the following ** picture of the key " several times daily in order to
If possible, sing, hum or whistle each note
learn thoroughly the sight and the sound of it.
while writing it. Syllables may be used. Practice doing this until it can be written from

memory

in forty seconds.

sr g

22;

-<s

-^

^^-

-iSh

121 -i^

-sr~^

-^-

-TSr

g;

-I2L -tS^

-^-

ISl

gy

"2?-

121

ISl

1^&- 22:

-<9-

-/5h

12L

ZSL -^h

-1^-

is:

r^

>

"2?-

--

Directions for Individual Practice of Phrases \ to 26

Play the phrase.
2. Sing it with syllables (doA, ray., etc. ) playing at the same time and listening to see that
each tone is correct in pitch.
3. Sing it with syllables without the instrument.
4. Sing it without instrument using lah lah, or loo loo, instead of dohy ray, etc.
5. Sing it from memory, pointing on the fingers the position of the notes on the stafiE, (the
fingers being held so as to represent the five lines and their spaces.
Note. ^The syllables are represented by their initial letters. The chromatic syllables are
represented thus, for sharps: d' r', etc., (for dee, ree, etc.,) thus, for flats: m, r, etc., (for
1.

fnay, rah.

<trf>/>

4-

3-

pTJm

'

r r

NJJi
m

i
r

m
^m

-^

fi

fi

lEZM.
f

s^V

^m
^
1

'

"

ff^.

26.

m m

f
8

'

22.

P-*
d

J.

z8.

dmstd

# b# M

^ w-m m

iatzi

/
10.

25.

4.

2Z.

y-?^

17-

13-

z6.

4 ^ S
1

24.

P^

f=

6P

^^

9-

20.

f<

*i

'm
mdtls

19.

12.

15-

r r d s

^;

8.

zz.

7-

-9-9
;N-JJi

JimJHf^i^l if^M^

II

6.

5-

f"

(Sing at same pitch as No.

4.

i;
f

It

As soon as practicable, steps and half-steps should be mastered so that any note being given
-F - G; G - Fn- G;
the student can sing the step and half-step both above and below it; as:

G-A-G; G-Alz-G

The following exercises in intervals, 27 to 41, may be practiced thns: Play the interval and
sing with syllables all the scale tones that the interval includes, three notes for a third, four
For example: No. 27 would
notes for a fourth, etc. Do this both ascending and descending.
be practiced thus:

i
^-^
mfsltd rmfs

n
t

333
m

Play.

-t5^

-O28.

29.

-5?^-Z7

^ 2Z

'SL ~S^

=^=22=^

-^

-t5^

gy

e^

'^^

g?

--

"^

<g-

I ^^

^-^-^

^Si

-i!5i

tS*

W^^y

'^

II

g?

^gj"^

^^
37-

-7^

g-thg-^ t^

40.

39-

22L

32.

36.

zz: t5>- -gr

!i

38.

are

-ry-

-^

31.

35

=^
^fei^ ^g

-^'

-&-Z7-

30.

34-

33-

-^

-i!9-

37.

12:
-^-

JSr

-^ZJSL &-

^^ zz:

i5?-25r

7SL t$H$^

Practice upon the following reading lessons

in daily practice.

g; -g

may

-i9-

'W^

41.

-0-

^^
s^

g& gg 2^^
g
/

be begun at the outset, while the foregoing

still

Reading Lessons*
Practice each lesson in twelve different ways using the instrument only when thus
Directions for the Practice of

Use

dohj ray, etc. ,only

where

specified.

1. Play and sing the memoiy tones,

^the tonic chord and whatever else may be indicated
a separate measure at the beginning of the lesson. Impress these upon the mind.
2. Go through the lesson, tapping with the hand and thinking every note, but singing only

*
in

indicated *

memory

tones as they occur.

Sing the lesson with the syllables (doh, ray, mee, 6tc.)
(In the following repetitions, use lab or loo.)
4. Sing it again with lah or loo at each note.
* 5. Sing the memory tones and play the others. Play the notes in a detached manner so
that voice and instrument shall not sound together.
* 6. Play the memory tones and sing the others. Always keep time.
* 7. Sing the first note in each measure and play the others.
8. Repeat the lesson (lah or loo) beating time With the hand and singing the first note in
each measure loudly, the others softly.
9. Sing the first measure, think the second, silently; and so on with alternate measures.
Beat time and give the silent notes their exact time. Also, in like manner, omit the first

the

3.

measure and sing the second.

Omit the second note in each measure thinking its pitch and giving it full time. Beat.
In like manner go through the lesson beating time, thinking but not singing the
memory tones three and five. Sing all the other notes. (In Nob. 16 to 18, instead of three and
10.
11.

five, all

the

12.

memory

tones indicated at the beginning of each lesson are silent.

fingers) the lesson from memory, or upon hearing

Write or point (on the

it

played

named

in the

or Bung.
Practice in these different
Introduction.

ways

is

necessary to the formation of the habits

Reading Lessons, Key

^^

is

II

the time signature, and

what does each figure stand

J^iJ

^~4^

If these exercises are

^^

1-^

beyond you, practice in Book

^^

for ?

irJ iJJ

^
Two

Learn the memory tones.

What

of C.

1 of this series.

IJJUJ N ^i
l

i ^

'

notes to a beat.

-~m
i

j'jj

i;:j^i^''|'j

ij'j'ji^iprii

Practice every exercise in the twelve forms given.

j,i;oN^JJ ipJ-:u-ij:ji
-9ir

r^ T

i-

Never force the tone; sing

i=*
8.

9.

=^==#^
10.

3s:

11.

fe

softly. Taker

JiJ

Keep

^9-^

?m

^-V

m ^
^^

breath enough.

^-

0-m-

Learn the chromatic tones. Use the instrument.

6.

;] j-JJ

strictly in tune. Play the chord as often.as is necessary.

^^

it-^^^

-5^-=-

Follow the twelve directions for practice, exactly.

Four beats

The

IJ

letter

<*

to the

1^

i^jjJJiJj

ru

as a time signature.

'^*

jj

li.

measure, each beat having the value of a quarter note

zii

'^

#-*-#

What

i^^^jiJ;j

figures does

it

fJ-l

stand for ?

UJjjIijp

to

Memory tones and taps. -3. Doh, ray.

* 6. Play memory tones; sing others.-* T.Sing"

*1. Learn memory tones.-

Directions: (see p. 8.)

2.

Lah-r^o. Sing memory tonesjplay others.play others. -8. Beat and accent. -9. Alternate measures
11. Omit memory tones.- 12. Write or point.
4.

silent .-10 .Omit second note,

first note;

Four beats

12.

2^^
M ^'%
3z=i4

t^
n

;j'^

name

3s^a

prr^'i^'^'^

^m

19.

tee,

^m

^^Uji

and one or doh.

zzs

or ray, and the key- note, doh.

# * #

^t*:

^m
5*

75

jiJ ^~^~W
jii
^

'^

key-note

or lah,with the

^=^ riJJj

JJ^^

i^

^P

r^TUin

Practice the beat, counting six, before trying to sing and beat.

II

^J
The bass

21

although

ts-

w^\i

#^ S
Come,

come

^^-

r-

i^<'j

ov

er.

>

rrr

ir

joy

Jj
it

is

a-sleep,Slum-ber-ingdeep

nrr

many timeb

vj'ir'

j-

^^

J-

Amongthe floNv'rs

to stray

j'T Lhp

Bright spark-ling wa-ter.

26.

jpj'^g

of May.

25.

h:r^
is

23. Beat and repeat

way
'-

Now the day

f!

The first note is sung at the pitch of the first note in No.20,
represents an octave lower.
^

Jfr^J-i

come,

jTjJ.

clef.
It

22, Exercises in rhythmic forms.

3f5
act
^

Fast

iW'piJV-

The memory tones here include four or fah,and the key-note.

18.

~nr
33:

jrrrirr^ UJiiJ^i-^j uj

The memory tones here include six

&

^p ^

not slip or-slideto a note; attack neatly and accurately.

Y^

li^

of each note in this lesson.

The memory tones here include two

16.

*^

i^v'i^J-'ippriP^T

The memory tones here include seven or

J5

the beat-note ?

is

^^i^M'!^^ irpc:pippr
Do

14.

measure. What

S:
i

Give the letter

13.

to the

^^
Si

lence keep.

j^r i^p-ij^r-

Rip-pie, sun-nv riv

er

27.

/^ 4

ji| i^p-

Work, work with pur-pose steady.

\\

Reading- Lessons from Popular Melodies.

Moderate.

1.

i rprnrr^^

'j

i^

'

ji

'

fp'''i^rf^ ^jj..Mi.
i

2. Fas/.

3.

S.

;j

|>

?sm

4.

^rrt'cnr

:\^ju

/jjJj'J^'
i

i^j^ J''iJ!jyjjr'''^uyj'i.^

jjJ^^ J^i

Siow

J.Ji iJii''JiJ^ ij ij^jj^ iii

i

i i

*5^/o///

JJJ|JjJJ-1JjJlJ.?-'iJ.j_iJ'|j.iJ;'|j ,!.|p7' p-p-

j,!;

5.

^^

I'asf.

J-Jjijjjuippiruiiij

'Ui,in'jiijji|ii^ijnijijjiii
I

6.

Fast

s
i>

Ij^'j

riffi>-iv J- 'jjjj>j
i

7.

Moderate.

S
I

8.

9.

^^^

JJMJUU'JMJ

^^^
#

^^
=S=3t

^h0-

Moderate.

r-'"cr

pir-''-i-''

J^JI/iJi/iJ^ J p-i'lJ

-y/o?//.

l!;j.j]3ij^j-p

^1

^
^

pU-JjJJ J-JJi^a^J'J pU-J^Jj j^^

^-'J'J]^

EMp

<*

J^J-' iJ'j'

j,j,

^-:^

"

^g

j,^

wg

^
S*

j3j]jJicr^j^'jj

Jii:^r^ijjj:ij,JT^

^^ir^ccf

Ji^

^^^ ^

ji

r-r

1t>

The Brook.

Tennys^on

Dolores.
('Arranged.)

Moderate.

^IM

I-

a curve

l.Withmany
2.

:5

many
move

fair
a
the sweet

^l

slip,

lawns

steal by

r'

for

ti

j^i

slide,

mur-mur un

get

-me

>!

gleam

der

J-

J-'

fore-land

h
I,

'^

make

the

net

lin

ger

by

5
-

J'

chat -ter, chat

out
a -gain

With

tjt

ted

sun-beams dance

my

shin-gly bars,

ter
I

grow

\^

as
I
flow
curve and flow

and

haz

low,

weed

for

hap

and
py

A-gainst
loi

To
To

join
join

mal-low.

ers.

lov

wil- der

swal-lows,
ness - es,

^^^t^ttjt

And

low,

^ ^

balm- y

cov-ers,

^^==^

A-mong my skim-ming
In

fal

el

J>

stars

a field

slide by

l"

wil

That

^^

iw^^

Py many

ii_u

glance

moon and

J^

J'

set

nots

^% ^%

JMJ-^

^'-

i^ lj'^'
my banks I fret,
and gras-sy plots,

my sand
ter

^p ^p ^p ^^

round

the brimthe brim

I
I

^'

J-'

shal-lows.
cress- es.

my

J1
I

And

p
ming
ming

'

riv-er;|
riv

er;j

''"^

13

^i

men

/'-t^p

ji

j^

may come,

and men

may

^^
go

on

for

ev

go,

But

^
ev

er,

go

>

on

for

er.

go

on

ev

ev

ev

er,

/'

for

j^p-

iJ-y,-

^^^

:5:

j^

ifi

er,

'
II

er.

The Old Folks At Home.

S.C.

Slow.
:^

Way

2.

All

round the

All

i'

'When

lit

tie

r
nee

whole

was play-ing

Swa

down up - on the
up and down the

I
'

i y

riv

ere

farm

with

my

Still

long-ing for

There

man

0,

take

turn- ing

is

the

old

plan

y hap-py

days

my

kind

old

me

to

ev

dark -ies, how

way,

roam,

Hap

py

ta

tion,

moth-

And
Man
There

er,

drear

and

sad

Ev

y,

let

heart grows

wea

ry,

Far

young;
I:

^^

the

folks

stay.

folks at

home.

old
old

the songs

me

sung.

and

live

die.

i
-

ery

'

my

-^m

is

J'

for
-

was
was

There's where the

squan-dered,

j-iJ

ly

er,

far

the world

Far,

Sad
WTien

All

'j!'

my heart

er,

broth- er

K3

tion

wan - dered

^^m

There's where

P^oster.

where

roam;

^ ^

from the

old

folks

at

i
home.

li

Tis Lone on the Waters.

W. R.

F.

Modernfe.

aij
Tis

1.

2.And

sea-bird flies

the fleet

heart turns

note

set

winds as

he

\yhen

borne

best;

Tis

lone

on
on

the
the

voi

er's

shad - ows

and

wa

that

ters;

9-*

home

of

and

ces,

the

to

der

f *=^
memory

spell

wan

The

nest,

^
m

Sounds forth

bell

well,

sweep There comes a fond

bring back sweet
To

they

hour hath

mournful
home to her
eve's

fare
loves

of

all

to

when

ters

i
a i

sun

wa

the

on

lone
as

deep,

the

o'er

words of fare- well.

Sweet and Low.

Barnby

Tennyson.

Slow.

ir =ic

s^

1.

Sweet

2.

Sleep

and
and

k3l,j:

low,

sweet
sleep

Low,

low,

;ii^

y-

^=^
fwa
babe

teirs go,
the nest,

in

T:

J.

the
ver

dy

:^r:^

V-

me.
moon;

iiji

While
Sleep,

my
my

J
lit

tie

lit

tie

J
one.
one.

11

sea;
soon;

Ov-er the roll - ing

Fath-er will come to his

sea.

t ^ z ^
fr^h^^-^

jb

7
i

aiW blow, Blow him a -gain

to
the west,
Un-der the sil - ver

of

r^

r^

^^

my pret
Sleep, my pret

While

,;..^pS

rs

:iLi

^#

n -^^

out

'

tf

soon.

r^l

moon

ing

sails all

sy

^.

$L

:f:

"

wes - tern
come to thee

^^^

Sil

will

of the wes - tern

Fath-er will come to thee

Come from

the

of
er

Z^

^!u=

:iH,L,J' .^,!v
A ^

Wind

breathe and blow

Rest, rest on moth-er's breast,

^m^
r r

Fath

\\

Wind

and low,
and rest,

'.

Jt
#

rest,

^n^-f

iJ

J.

-N

?I

ty

one

.sleeps,

ty

one,

sleep.

15

The Key

of G.

Play the scale of G. Copy the followin^'picture of the key'many times (singing each note with
syllable,doh,ray,

possible, while writing

if

Persist in this until the looks and the sound of the

it.)

key are learned and the"picture"'can be witten from memory

o o

o "

seconds.

in thirty- five

<*

o-

-o

Tf

Directions for individual practice of phrases from 1 to 31. I. Play the phrase. 2. Sing it, doh,
same time. 3. Sing it, doh, ray,etc., without the instrument. 4. Sing it, lah,

ray, etc., playing at the

or loo,without the instrument. 5. Sing

(Syllables represented by

2.

1.

from memory, pointing or writing the notes.

etc. Chromatic syllables indicated, s; *.)

it

initials,//,/*,

/f/

3.

6.

7.

JrJjiiJJ
r^jj^jjhjjjj-i^jjujjij
d

m smd

8.

(f

fo

9,

s ni

ni

a s

s ni

12.

11.

ni

13,

J J

s o

-I

rJ

d /T"

rf

Seven.tee, in this
28.
27.

ni

r i-\d

s r ni d^

r i

19.

tt

iJ ^

J ^ JJ

j^ J

d d'r

26.

half-tone lower

is

ni

r s

r'

F natural.
31.

r'r^j^i^JiiJj

ni

dm

30.

29.

m f

d d
V'
key is F sharp? flat-seven, a
s

UJ jijd

ni

ti

25.

24.

20.

mvjY^^^^^
18.

y^-W
ff

=9l
t

r s

23.

22.

^^

s /n s

17.

J 1^ J

21.

16^

15.

md

^^m

14.

^*jjJrri Jjj;^JiijrrjJiii^j-^Jiirr^
m

I'liJi
f t d

t^^'Trrr"^
d

fm r

(Forconvenience,take exercises in bass clef in the same compass as those in the treble clef.)
should be practiced. (See p. 7.)
it can be done with sonje; accuracy, steps and half-steps

32. As soon as

Play these intervals and sing with syllables the scale tones included in each. (See

33.

34.

35.

36.

37.

p. 8.)

38.

Reading Lessons, Key of G.

Ift

Directions: Practice eath lesson in twelve ways, using the instrument only where indicated
thus ^ unless it be necessary to make further use of it to keep in tune. Use lah or loo unless
doh,ray are specified. -35^1. Impress upon the mind the memory tones, (the notes in the measure
at the beginning of each lesson.) 2. Go through the lesson singing only the memory tones.Think
the others. Tap for every note. 3, Sing the lesson with syllables doh, ray, etc. 4. Sing it with lah
or loo.^ 5. Sing the memory tones; play the others. (Do not both play and sing a note.)^6. Play
the memory toneS;sing the others. Keep time always. ^7. Sing the first note in each measure-,
play the others. 8. Sing the lesson, beating time with the hand;accent the fifst note in each measure. 9. Sing the first measure,think the second.Beat and give the omitted measure exact time.
Alternate throughout. Again, omit the first, Sing the second;and so on. 10. Omit the second note in
each measure. Beat. 11. Omit every three, mee and five,soh.(In Nos.lHto 20 omit all memory tones
indicated at the beginning of each.) 12. Write or point the lesson.

Learn the memory tones, the tonic chord.

One

m m

i
of the scale, doh, the

key-note on the second

fe^^

Two
0-0

(J

line.

^m

notes to a beat.

n\^^\n n

The memory tonas include

^m

00

^^

\^h

j-/^'^ij^^ \i'Jf

rw

i[;p
,
pp ippr
^
,^-1

pr-^

^^

five,soh, in two places.

#i4
-

1/

^m ^
'

Go through every lesson in the twelve ways prescribed.

6.

Never force the voice. Sing

in tune.

=*

Chromatic tones are never memory tones

-Hh^
What
J3ffi
\&.

w^ ^

ir

itf

r"^-

If

ir

in these lessons.
|ij

-^
i

does each figure of the time-signature indicate?

-'

^'^''JMJ'JM'lM^iiMjIj-jjIjjj Ijj

What

n
What

are the letter

t
-9-7;.

names

of the scale in this

key

g=te
--*

other character could be used in place of f ?

r^

Uyijjij^-

^m

IT
The memory tones include

E
'ml
*^

^jjj ifrrr

cT"

Each beat has the value

12.

'!

1^1

13.

If

II

m
^^

^^,

ur*i h

Two memory

16.
o^^

18.

HA
11

22.

Vi

iczz:*
==

^ *

J J

If
.

clef.

Sing the

Be exact as

When

u^rrir

Hj.i

4.

j.

[5

sun

at

mom a^

first note at the pitch of the first note in No. 19.

ir r

-^

*
r

fi

r
23.

to the length of notes.

j'H^jj n
the

^^

^^

Include seven, tee.

f li

Beat, accent, repeat.

uy^
Far

pears

ov-er the roll- ingr tide.

25.

24.

.f'j'j'

'^

l^'/
Trees

and one,doh.

^-^

The bass
;>'"

J^J^JmP^'J.

jjjijj'^ i^jj^i^jj ijjjjijjj irr^jijj^

JJ rr

20.

and the key-note as memory tones.

ni

ijjjjjiiM

'

tone with the key-note.

Six, lah,in another place.

19.

^o

memory

uvj

note

to

JpJlJJJ |J^J

Six,lah,

:^ ^

i^^

ltj

hhh
ir^
a^^-^

tones, two, or ray,

Four,fah, as a

17.

/^

foot.

iJTi

ii*

d d

"
o

i^^

Accurate attack; no sliding from note

i\

J^'^

" j|ii i|"l||rii||

i'''^nii

l'i

liii

iJ-J'j';iJ''J|

Never beat time with the

15.

'|JJ J

these lessons prove difficult, practice should be in Bk.l of this series.

''"

jjJJ

of an eighth note

liiii

;jj-j-i;j"J

,v
14.

three, mee, in two places.

,hij

tJuton their green ar

ray.

lllJ^

'

Come

'

1^^

gain

hap

py

I'
day.

II

18

Reading Lessons from Popular Melodies.

1.

SIOUK

^^Mj .;j

zHP^^

2.

JJ

J
|

J J

i;^'

^^^.

I'

J^

If.

-'^'irr

^hlJ

J=ii

/'as/'.

|i'i-j^|j-;j-

/3

ja
i

ip

ir

/'as/'.

g #

^h#

^^^^E^

4*^'
9.

J.^^i

J-

II

* 1^

p(,

P p

r.

|J

n n^-h^rJ.
I

^jllJ-l^

Moderate.

* 3:

8.

li

^^"^TKJ

^-^'ippp

O^

'^

JjJj|J-Jj.J-|J^_4a

^H'^'j' ;^jjjj

7.

IJ

^^^^^^^
6.

i# J

-'

jJi^r rr

p r

|J-

J"J

h
J J

^^j^

5.

J^

Ip^xf^^^'^Tn.^Mj

Moderate.

*TJ.
4 *
4.

r^r C;N-J3l^ J^J'JJXj.^'^'H^'>^''

Fasf.

^^_

v3.

' 'l
i'^l

ff, If

J^ Irr

J J

ir f r
ppir
rr
ft

ft

Jl

1^ J

Slow.

j':3|JJjji,]jj%rJjy.,)ji^JfYirrrrJ Jj^^
i

Moderate

jJJiJij^'JiJ

r<

ij

r^
J^ir^'3i;,t^.iijij;]igijj^ir
isi

rs
--^'~ -^

Moderate.

jg.'j'N-

Fine.

II.

I'

^^
^^j

D.

^
f p^j'i*

'^'

ir

10. Slow.

#Vfr^Tir^rtT

'

fir

'

i'

^^i

.V.

'u j,f4f^^^-4f^

19

Flow Gently, Sweet Afton.

Words by Burns.

Moderate.

1.

Flow gent-

2.

How

loft

Af-ton, a - mong the grreen braes, Flow g-ent-ly, 111

sing thee a
sweet Af-ton, thy neigh-bor-ing hills, Far markcl with the cours-es of
sw^eet

ly,
y,

=5
song in thy
clear wind- ing

My

praise,-

There

rills;

Ma-rys

dai

ly

^m
sleep by

the

wan-der

as

^^

gent

Af-ton,

ly sweet

flocks and'

Ma-

my

ry's

dis

mur-mur-ing
morn ris-es

turb not her

cot

in

my

dream.

Thou

stt>ck

eye.

How

pleas -ant thy

^^

lap^-^Hng, thy

scream-ing for
eve-ning creeps ov - er the

bear,

lea,

N:

'-

J'

The

Now spring

me

not the woods are fair,

wild waves thun-der on the shore.
tell

The

cur

is

lew's

know how bright -ly

jask
I

there

my watch -ing heart are more

n
back,

N--

J'i'i

on winds of morn or
my o - cean rov - er,

eve

come!

all

N:

My
My

lone
lone

i^^l'
ask
I

j^

me, woo me not

cangreet thy swift

i-14
to
sail

leave

home,

''

earth's

on

her

rest

mel

f
way;
cries

less

^
-

Well,

Un

leaves

play.

How

dies.

Come

1^^^

breath may
one place for

let's

be;

Yet

me

Till

i^tt^
rock
rock

by

the
the

by

l-l

Mv

^'r
-

the young

ij-

home,

sail

Than

j
The

leave

to

joy

vio
There's but

N\,li^rjr^
me, woo me not
cangreet thy sum ft

In

me,

^ ^^m s ^

sweet

s
fair.

C. C. Converse.

1.

to

beside the Sea.

i^i^iU-- J'J\|-JUMj

well

re

Slow.

2.

^-0

charge you,dis - turb not my

slum-ber-ing
The sweet scent-ed birch shades my Ma - ry and
I

The Rock

banks and green

den; Thou green crested

blow.There oft^as mild

-"

My

dove whose ech

wild whist-ling black-birds in your thorn - y

sounds from the glen, Ye
val-leys be - low "WTierewild in
the wood-lands the prim - ros - es

i^

Flow

high,

l-=t

sweet

stream;

f-

sea;

Yet

sea;

Till

llil^

20

The Three Sailor Boys.

Marzials.

^^^ ^

Fnsf.

1.

Oh! we're

three

jol

2. There were three fair

3.Then

we

up

J'

/'

jol

ly,

;^

J^-

spokp,we jol

And we're new - ly home from

And each one was like a
All
arm in arm so

sail or boys,
Ports -mouth town,
sail or boys,

ly

mer-ry

girls in

^^
;'

i'

South
pos

j^ J'

Am -er-

MM-

ir

-^

^ %
''

;'

i\

J'

tum-ble and the toss-ing of the

tie from theXorth so fair to
how to dance as mer - ri - ly as

Kit

sea.

Oh,

see.

No,

ye

So,

^^

^^^
hon-ey, we've our
- ey, tho'your
- ey,while our

hon
hon

pock-ets full of
pock-et's full of

pock

et's full

of

^^ ^^

^
tefe
P

mon-ey.Will you

trip,

trip,

trip, will

mon-ey,Wewont

trip,

trip,

trip,

mon-ey,Come and

trip,

trip,

trip,

sail and there is

singling, and the

you

trip

it

won't

trip

it

come and

trip

it

we

1^

7!'

^^

Know

^^

And the
And sweet

IT

^m
*

kee,With

our hearts still ting-ling with the

salt,
salt wind
- y
on the tree;There was great eyed Mar-g:a-ret, and trim
set
Sal,
jol - ly for
to
see;"Girls be - side
the wa - ter all
a - round the globe
i

thun-der in the gale.

wed-dingbells a-ringingAnd the
o-cean and the Chang- es and commotion And the

^'^'J

i'l

^^

on the quay? For the wind is

in the
on the quay Till you've set the clerk a on the quay? For we
sail-ors love the

^^^ ^
^^

r p
And our

J'J'J''^'

r
p p
good ship is plung ing to be
par - son has pock-et - ed the
good ship a-plung-ing on the
I

"e^

free,
fee.

sea."

-^

Um

The Key

21

of D.

Play and sin^ the scale of D. Make use of the following' picture" of the key as in the keys
it daily until it can be written from memory in forty- five seconds.

of C and G. Practice

^
;^^^

o^^

3s:

3il

r^ijc

Directions for individual practice.

1.

3$:

^iE

^O^i^

ac

'-e?^

sr^

Play the phrase. 2. Sing and play; doh,ray,etc.3. Sing

doh,ray, without the instrument, 4. Sing with lah or loo without the instrument. 5. Sing

it

from memory, pointing or writing.

3.

1.

'r^

9
d

s ni

d d

^^j^j
s

ms

d d

10,

11.

d d

'

r^if'^jj
^-0
'

'

md

r ni

19

18

^jjT

"10

f s m md f

f m

20.

1,1?

or

ni

retains

28.

w w

/'

J'Ji

ni

d
26.

s f

///

30.

wS-

s_

ni s

JS:i=t

fi'

r' ni

it.

1',

f
or

s
t|

32.

31.
\'0

27.

d' r

ji

df

throughout the measure or until cancelled by another

Steps and half- steps. (See

f'

"0^0

25.

Pi
/ m

it
^

its effect

29.

p^

24.

21.

'

23.

14.

:*=:

d d

13.

-^

s ni

"0

"

'

12.

"4

17.

jJ^
-rrjji
^ 9 "9
s

33.

ni s

MZI

'

7.

^rJ^JiJj^jjj-^^jjijjj^'ijj^-^
rii^jj^
-0
"^
* "
_^0 "0\^
IJT*
f>

fd m d
d

-^0

16.

d
22.
'^

'^'-0-^

ii

15.
'^

s ni

9.

8.

*_[ m 9rar

'

"

6.

#1

JjijJi'^^^"^-^^rr''

f m

t_

dt

ms

p. 7.)

Play these intervals and sing with doh,ray,etc., the scale tones included in each. (See p. 8.) Also,
sing the upper part of each phrase playing the lower,and then sing the lower part playing the upper.

ik

-^
*

>

^5

O-

B=

O tt
O

o
fc

^ -^

t*

t>

^=B=
TT <*

"cr

o
3S 3i:

o
'">

"o

cr

43.

42.

o *
oi:

- iuii^^u^^u
i

|
'

4fc

xy

^^>'

47.

46.

45.
33:

38.

37.

41

o o

44.

-xy

"Xjr-;

<^

o-

40.

39.

-^

36.

35.

34.

"
o -

TT is:

"

"

"

" -.^

22

Reading Lessons, Key

of D.

Directions. 35fl, Impress upon the mind the memory tones, (the notes in the measure at the befrinling of each lesson.) Review these at each repetition in practice. 2. Go through the lesson sing'inic
3nly the memory tones. Think the others.Tap for every note. 3. Sing- the lesson with syllables. doh,
ray',etc. Instrument not used. 4. Sing it with lah or loo. Instrument not used, (unless necessary to
keep in tune.) ^ 5. Sing the memory tones; play the others. 'Do not both play and sing- a note.)
^6. Play the memory tones-, sing i\\e others. Keep time always.^ 7. Sing the first note in each measure;play the others. 8. Sing the lesson, beating time with the hand; accent the first note in each
measure. 9. Sing the first measure, think the second. Beat and give the omitted measure exact
time. Alternate throughout. Again, omit the first, sing the second and so on. 10. Omit the second note
in each measure. Beat. 11. Omit every three, mee, and five,soh, (except in Nos.15 to 18.) 12. Write
or point the lesson.
^-

Sing softly and carefully.

g=fe

iJ

1^

iJ

Follow directions accurately. Omit nothing.

%^:pSE53

Accent

^^

u^

^^
^^

important to rhythm.

is

lk.h\t nj^L^JJ

^=qe

s ^m

I'jj

^zsu

Cj

''''^J

Persevere.lt takes a long time to form habits.

t
i

'

;Jt.i i J ^J4j,;jJ''ij'j^ji7^;'JMjJv ipri'ji^

#^
If

these lessons prove difficult, practice in Book

6.

^i^

^ ^

1-^

If

you wish

to

"

t
#

In

2iA

8th. notes

h^

Never use the instrument

r.j:j

/JTij

)r

more

if

^^^^^m
K J'

J'l

necessary

to

keep in tune

^^^^^P

IJ

to

registers, see "Introductory. Lessons'.

N J^ J^

Use the instrument where indicated

expressed?

iUu^^^

J' -y

M"

^w-

know about breathing and

what two ways are

0-

izfta:

10.

instead of this.

Take breath fully and include waist action.

ifc=

W^

^LJ

save you the trouble of thinking.

23
11.

Take the lesson as slowly as you

12.

Give the. letter

IH (n

yrtirr
J-

II

jJ'j iJJ'jii^ij ihJ'jjij

iJ''}'J'J'J^jjJ''J'j

o.

j^j'ja^ijjj''prrg

cij. irjjJ^iJTj

Ce

I^JHit^^f lTJC^'i ^'J

I

Two, ray, and the key-note as memory tones.

15.

jl

Jj

-j^f^

16.

17,

Six, iah,a

j ;|^

memory

Four,fah,a

I^ES
I!

ijJ-'J-j

jaa-j^.r ^ji'J-'J'j-

^Mt
^.
t

of the scale in this key.

Review the memory tones frequently during practice.

14..

^>^

r^iijj

rhythm

Each time before going through the lesson, be sure you are in tune.

13.

-P

names

like; but be accurate in

F;>

2?

<

tone.

memory
I

i #

J^^-^

^-^UJ-JI^

tone.

2ZIZ

1^

Seven, tee, added; two- places.

18.

#a

fei

i
Learn

19.

to

i=t=f

r=r^

f J

^^

'i

clef.

aaa ^2^

t&lii^-i-^Xjp
Master
no
22.
z^.

^^

'^

sing either part, playing the other on the instrument.

-o^-^

20. Bass

#=FF

r f

^ r

r r

!# =|f==^

J^

^
l

points with great accuracy. Accent

these rhythmical
^

^^^^^\\.\
Come, come a -way. No de

.9^
23

f\

1^

^11

'

J IjJ^

f-

'iU-

Mountains and val-leys bring^a

lay

T'j

I.

J'-

welcome

:|

li

to thesprng.

25.

^m

^
The laughiny^

little rill

Leaps

in ripples

down the hill

Wake,

1
a- wake,

wake.

^4

from Popular Melodies,

Readings, Lessons
SIoiv.

1.

jJ.i

Fine.

iijij
Moderale.

^l^^
3.

^^H|

^ J- .i J

J 7J^;0

J^-J

J''J''

JJ-N jjjjjj|JJJ|fmrr^'i'rr
i

\ j,j';ao J'> ppff^,j

4.

Moderate.

i:i-i's

u jj

J i"^

/J ii.iw^'i^ Ji
5.

^^ \^\^W^ T

\\\^

J^'J'-IJ'J'i'

i'jM;']^;7>^

JMpjq^^'J

IHytlJl J-J-UyJY^IJJ.

^
i

6. /Vz^/.

"J

i7^

^a

##

^J.^

'

'

'^ ^

-'jijji'i^jijj

jjjjiJJ'^^irpr r

Ji^-^j i^-jj:u

j\

>
I

J^

j'l

jjj^;

M ^

rH^jj

^-It

^ i'j'jj'iJi'

ca

"rj

j3

-^^

Moderate.

7.

*'

. *

rpT

f'

rint.

Jj ;.'

Moderate.

i.;^lj- i.^^i!!i^

^11

?^

j;ii^jjj]ic;rcrO

'i
i

8. Slow.

j .j

Mi^'"!

^
i

2=^

jj jjij^

n u: ;^^

/V?*A

w^]^j^-J ii j.j:JH-Jv|J-J-ii^J^TM J-j- i^j^^

%r

^^
to

'/jJJ^J^J'J

i'J'lJ'J

i^

^Mrprp

^ j'^^'ir

prf

^'^if

25

There neath the Trees.

Bucalossi.

Adapted.

Fast.

1.

There neath the

2. "Love,

trees
love

will

to

er,

In

ev

er,

Love,

you

W^^.

^m

i I

Two

er;

Ev

iL^-i
Song-sters a

^^
er

to

mer
you

iJr

me

of

Heart bound

to

Two

love-,

TT
*

ing,
er.

^
^
Joy - ous they

and

sing,
true

Love
Love

to

each
will

^.

oth
leave

er

you

ing,

plight

nev

er,

llZi

stroll -ing

ev

5 i

^
-

er

am

long,
I,

you

love

there

lives are
will
I

Love,

heart;

ev

War-ble

part.

nit

to

^^

^
bove
-<^

bright,
be.

is

ii rij

w^

zzt:

Faith-ful

Sun-shine
Pre-cious

light,

* *

iW

hearts are
- er
to

m
3s:

te

leave

i
er,

* *

sum

IS

Nev-

will

if if

1.

f.

weath
nev -

te

the bright

g-eth

?
Ev
-

?
er the

Nev - er

to

same

song.

old

say good

byeV

26

Darling- Nellie Gray.

Moderate.

i
tfii

J'

J'

i'

J'
val

lit - tie

whiled man - y hap-pyhoursa

take with me dar-lingNel-lie

want

^
lit

4*11

cot-tage door

p p
Where she

/-

J'

Nel

er see

lived,

ban

my

weep-ing

dar-ling an

the

all

on

the old Ken-tuck -y

am

gone

you

en

I'd
I

my

shore.

And

way

sit-ting by the riv- er

J^

r^

For you've

day,-

tak

more.

^^

J^'

Gray.

would play./

to Nel-l-ie

J^

I've

^^

dar-ling Nel-lie

jo

They have

Gray;

lie

stay

J^

my own

^ ^

J^

^^

E5
r

'

-tie

nev

My

sit-ting and a-sing-ing by the

float a-lon^ the riv- er in my
eyes will be cast downwardand my

And we'd

poor

y shore, There
Then
stars were shin-ing too,
ban -jo is un-strung. And
old Ken-tuck

way,

J-

ley

Gray,
more;

red ca-noe, While ray

song shall be un-sung, While I
lit

'

tie

an

live

to

on the
a-bove us and the
rose
un - der wa - ter and my

There's a
green
2.When the moon
3.
My ca - noe's

1.

don't

j>

B.R. Hanby.

J^

from the

old

'

Ken -tuck

1 11

and

Im

f
-

shore.

Doug'lass.
Miss Muloch.

Lady

Scott.

Moderate.

1.

J'
y
Could

2.

Nev

i'
-

3.

''

J'

ye

come

er

to

call

me

back
to
scorn
back

te

ful

Doug
word

the

days

lass,

s
Doug

lass;

should grieve
that
are

you,
not!

r
the
old
I'd
smile as
Mine eyes were
In

i^

'

like

ness

sweet

as

blind,

your

J-

ing,

Doug

that

an

knew,

Id

be

so

do,

Sweet

as

yx)ur

smile

on

Know

you

the

truth

now

gels

words were few:

faitlT^ful, so

f=W=f^

lev

me
up

shone

ev

in

Heav

lass,
er,

en,

Doug
Doug
Doug

lass,

lass,

lass,

Doug
Doug
Doug

iass,

lass,

lass,

ten
ten
ten

der
der
der

and
and
and

true.
true.
true.

21

The Key

of A.

Play and sin^the scale of A. Practice as before directed until the"picture"of the key can he
memory in thirty- five seconds.

written from

3s:

zxs:

fW

o o

3s:

35:

xe:

Directions for individual practice.l.Play the phrase.2. Sing and play; doh, ray, etc. S.Sing without

instrument doh,ray.4,Sing without instrument lah or

4.

1.

wsmd

Mfes

(f

8.

^^

6.

o.

m ri

ni

jj

iiJ

<''.

26.

d d'r

7.

/m

r d-

12

J r r r ^

ni

fm

rt'

</

23.

///

.<?

18.

./'

.v

19.

r d

u^
m

24.

.v

mdsms

J^^

.<?

mds

13.

J ^

'

17.

22.

25.

Three,mee.>nx,lah,and seven, tee in this key are sharp;

flatted thev are natural.
30.
31.
29.
28.

when

'

JJ'

mf

fs d

dm

rrpJ irJrr^ i^^jj^^ irr^

irr^'j

rn^ ijj

j^j^

16.

27.

^'

11.

21.

dm

15.

10.

20.

/s

///

ff

Xj+J-T ^jj iv'

14.

ms

9.

I:

or write the phrase.

^jjiJrrJjiJijJrirr^j^if^jjJi
r/

loo. 5. Point

i^ rr 'Trr^

rmmrsd

^^ J-h JJjJ iP^^^J^j iJ^^J^i*

y"ff^
i

dtl

l_sni!i

dt

ds

t_

t^l

32. Steps and half-steps;as: A-Gif-A; A-Gb-A; A-Bl'- A; A-Bc-A.

Span the following intervals using syllables as before directed. Also, practice each section as a
and singing the other.

duet, playing one part

i^

-^>-

ir

<>

"

"

-XT

IV

o XE

".

<>

t^

40.

39.
"cr

o o
o <% o

**

<^
<>

^- *p
-o

IE
W

8 H^
^=e= -C

O
^ 33u
v

"

"Tt

xr
U ^^=

43.

42.

IM

**

TV

38.

37.

36.

35.

34.

33.

ry

*
>

O
O

**
7Z

35:

^
O
<>
H " o
JTt

,
il

*^s

Reading Lessons, Key of A.

1. Impress upon the mind the memory tones/the notes in the measure at the be^ineach lesson.; 2.,Go through the lesson singing only the memory tones. Think the others.
T;ip for every note. 3. Sing the lesson with syllables, doh, ray, etc. 4. Sing it with lah or loo.
5. Sing the memory tones;play the others. (Do not both play and sing a note.) 6. Play tlie memory tones; sing the others. Keep time always. 7. Sing the first note in each measure; play the
others. 8. Sing the lesson beating time with the hand. Accent the first note in each measure.
9. Sing the first measure, think the second. Beat, and give the omitted measure exact time. Alternate throughout. Again omit the first,sing the second and so on. 10. Omit the second note of each
measure. Beat. 11. Omit certain memory tones. 12. Write or point the lesson.
Use the instrument in directions 1, 5,6, 7; also in reviewing memory tones.

Directions:

Tiiii^'

of

1.

Uf^

^
P

A new

Sing

3nd space.

picture of the key; doh in the

F==^^==r=^

softly.

i=

^ JtZZIZZJE
#
I

Learning

to read

music

^^ J J

JJ

Ic;

J =:g

^ J

'I

learning a language.

is like

^^

^^J;HJ^-

4a^4^

The memory tone,mee, in two places.

i^Hn

^^

j^jjj^

O iij^ i i ^ iS
:ffS:

pj

i^h^'if^^ iprrF

Guide the voice by the eye; don't depend upon the ear.
J

J.

rr

^!

Breathe fully but noiselessly. (See'lntroductory Lessons."^

6.

=Mfc
J

1^*^^

tfj

J|j^j

j 1^ji

J ^j J

r^

Give the letter names of the scale in this key.

f^^

*=t#
i

';t^

ilej

u.

ac=i:

^t^

8.

1^
!:

'M

'

'

.1

i
i

10.

Ufc^

|j..j,j',|

^Ui|^,

,_-

j'.j,|j^;,^

r*

No slipping or sliding from note

9.

'!'''

*"
^ j.^j, ^j,;,^j,

'^

to note.

jjjjijjj u.

'^

'
I

r r

i*^

*^

'

^^"^

^m

29

Keep

11.

it

^^

in tune.

i
Accent well the

12.

H^J

^JJ

first note of

|JIJ|JJ

IJJ^^

Cj''

each measure.

*i

'f-^f. pjJ^JiJ'JJ

Name (letters)

13.

IJ'J'J'j- Ji h
I

all

jo

;J-J'p

^'^''^
l

=3=

J;ii!WjjrJ"J jjji.

jjlji

JWJ'J'IN'^'f

15.

Memory

3^:

^^ ^^

memory

Six, lah,as a

Mj\U

Seven, tee, as a

^^

18.

i!

tone.

memory

^''^>^"'^^i'li'ij'|

v'

^^

<j

^ii^jj
g?
j
I

I,

rrr

j^JlJ^N ]J:]

Jilii'i

pr

I'M

one and sing the other.

ii

iJiJiJ
(for

convenience.)

23. Dotted notes and rests carefully observed.

22. Rhythmical accuracy. Strong accent.

J

tone.

separately,- then play

=S=Z2

^'^

Fifth line bass clef at the pitch of the second space treble clef

20.

i (

jj c;

^^

'

^^

four,fah in two places.

^l JJiUJJiJJ
^Mti'i

:J-^r'

pJJ-i ;JJii3Jlr-lpJ%JilJ,MJ.
Sing each part

19.

;^jji;^,i ijJjJii^-,!

u^

17.

ii^iJ^^iJ'

at the end.

tones, including two, ray.

Memory tones4ncluding

16.

jjjjj'i^f UJ^^iqi;

Sing either the higher or the lower notes

14.

Lhjtji^J/

the notes in No.l3.

*i
r

\\\Pi

hix-i^'-iui^M

March-ing

to

24.

^'^i^i'-.l.
Ah! nev -

'

er,

vic-to-ry and glo

"

-ry.

Withmus-ic

^^J^^S^^-to^^
I'

nev -er more.

II'

Sol -emn-ly,

and banners they come.

^^^^

mourn -fully,

tolls

the

bt-il

80

Reading Lessons from Popular Melodies.

*a

Fast.

2.

fast.

1.

Mei

feffU^^4lf

*^

4^.M^.^^^
itfjij:jjo
3.

g
'

4.

^
w
P'

5.

[>

'
I

ijju^ rr -M

i'J''^^^''^

'"^--

-^y^r-irnjrT^^^''^r

^5^^

^^
"

'

|i^

'

'#

S^

Fine.

Modei'afe.

f ^ f

.sVo//^.

iS:

j3ji

i,

'

Jij.

ri
Oil,
*
*

1^

pir

G*

f-

P'Mr

p
/?.c

Jfo(fe?'afe.

*i
g^=fr
it

ii

jjjjjjj''^ijjj;'ijj'Jvirpr^'i^pr-i^i'^:' J-J
i

^^

^^^ w^
6.

^^j^ >irpr

pNpf

^.Nj'ij.j^

Slow

rPPpp
^' ^

Fine.

41
7.

SIoio.

!''"
'iiii'iii

8.

'iiiiiiiii

i|i|ii|iiii

i
i

.i

-v

Jj'Ju. ji ii
|

SIOKK

>T':j'J:u.m

iJ' rrif

h^

"^-jjij.mjj rrr

4^^VrtHVrH^E^^^^^4^^
9.

i
i

Moderate

Fine.

^^^g^^^

-'

^?
S*

wr.

^^

Chime

31

Asrain.

Bishop.

ur^

J'jiJ

Chime
Chime

1.

2.

*:

J'j

be

ion

and thy sounds die a

iU'j

iJ

On

hp

from the heart ev - ry

the bark sails from the well

Call

j'j

j:

3:

ring

wa

in each
ters to

Voi

be-loved

Bid

J
1.

That

2.

neat
smil

#^

wel-come that chim, with

est;
ing;

words were

The

hands,

tho'

And

bless'd

the

clock

still

look'd

'-

"Tick.
"Tick,

the
be

sweet

they

As

it

gray o'er the

J)
tick"
tick"

ji
it
it

rrrr

i'"' quick-lyand

guil

strong warned

voice

dawn
J

lj

few, Yet

tire- some

j>

me

cheer

bells that shall

^^

on

left

tear.

no

more.

na
day

^
-

J'

'

mon

a
a

touch

mer

quick to bed.
out of bed,

S2

of

gold.

ry

chime

J^
m

tor

al

bold

and

For Five Ive

t:

its

All

the

E
its

voice

had

that

ry

giv
giv

And

its

When

the

fal- tered,

friend- ship

^
Ten Ive

And

tho'

CJ l;
ve

so

too,

ly;

i'
For

ri

tered;

tions

break

-^j.

pee-vish old

and youngWhen the voice of

ty Way, And the air blew
i\

the

a
a

J'

est.'Twas
But
ing.

at

call'd

'^'

said, "Quick,
said, "Quick

i'

lived though

old

mis

had

old,

time with

still

L. Molloy

J.

r
r
r
chimes sang still
win
ter hours

4^"

the

of
ly I'm

the house -hold 8tock,Was the bright-est thing

clock of
stood up there
it
old, old clock, As
voice was that

old,
old
friend- ly

U:

me

for

'^

The Old Clock.

Chas. Swain.

ding

Weep

a - round
the deep,

friend-ship

ces

Lone

shore;

=^

sound,
weep.

Ij

[;

*fc

Night with

j:

Leav - ing a
swells While the land
sails

An-swer-ing ech-oesthat gath-er

its cold lamp now sil-vers

hind,
way.

N:IJ:

ter-vals ov - er the
faint - er thy mel - o - dy
in

I
-

thy soft mel - o - dy

a while o'er the

Lin- ger

^tt^

Burst - ing at
Faint - er and

iii\i
of re -fleet

Now

bells;
bells;

ful
ful

floats on the wind,

deep, dusk-y
bay;

train
fades,

J
-

^^^

25

a-gain, chime a-gain,beau- ti

a-gain, chime a-gain, beau -ti

'V
i

cold
i^z:

en warn
en warn

hh^

rise soon in the morn

or sure- ly you know You'll nev-er
go
nev-er have health,you'll nev-er have wealth Un - less you're up soon in the morn

ly.

^^

ing;
ing;

Up

YouU

^m
-

ing."
ing.''

Fair as the Morning-.

:^^

Geo.

Root.

F.

by permission of the John Church Co.

^^

Moderate.

1.

2.
3.

Fair as the morn-ing,bright as the day, Vis -ion ofbeau-ty,

An -gel of slum-ber, bright as the day, Vis -ion of beau -ty,
I have known Dreaming and waking
Fain would I tell thee all

^
i ^s
u.

it.

fade not a \vay;

tar - ry for aye;

here

a-lone;

all

h
^-

.g^
A^^'^
Ov

I.
-

^^

er

^^

3t

the sea.
of care,
for

me

Come in my dreams to me.

Leave but thy pres-ence there.
Un - der the dream-land tree.

I
.'

MS rr^

Far and wide

't

ov

shad-ows
tar- ry

Chase from the spir - it

Vis - ion
of beau-ty,

Mj^

moun -tain,

the

er

the

J.

p^7 Hr

i'iW^
r-

^"^

ir

I'

But what

I'i
are

all

its

^^

J
^

-i

^^
la-bors

to

y^

ii

:
#

ech-oes roll a -long, While the day -world sings its bu-sy Song;

XE

me

^^

Un

* *

^
^^

der

the

dream-land tree.

(^

The Key

of E.

33

Practice the scale and the"picture" until this can be written from

^^

rt

i\

memory

**

^ Q

o o

in thirty-five seconds.

o o

IT

Directions: 1. Play the phrase .phrases ito 37. 2. Sing and play; syllables.S. Sing without the in
strument; syllables. 4. Sing without the instrument; lah or loo. 5. Point or write the notes.

5.

hh

ijj
^

"

fl/nsm d
8.

rTj

ij

dm

d d

9.

s s

14.

fm

20.

^b

m. 1

16.

r s

**

rf ///

27

fe

////

32.

-^h

frm

m w

24.

r ni

f rmd

Is

25.

I|J*

i-j
d

named F sharp; sharp-two ree

F double sharp,which has the same pitch as Gl^.
30.
31.
29.
is

mf

f's

;;3E

fi

is

J_

^ff jjJ ij

fi i^ ^JJiJ

dm

pom
d

^'X.d

37

36.

35.

r s

W'lltf'

^^^jM^^

i
^

d' r s

34.

33.

4h^Br9-

rm d

n
P#eS^3^^

4h^~9-

28,

it #-^

19.

Two, ray,in this key

26.

IJ_JJ** "**JJ

^rt

r r

dsmds
13.

18.

ma dms

*i/

23.

J- J *
dm
t

12.

17.

fm

sm

22.

ms

21.

dmds

11.

dm d

fm

dsm

15.

7.

rpJj iUjjj i^jj-j^iiJ^jj^:^

10.

^B^

m
-^

6.

t_

t^l

fm s

J.Stepsand half-Steps as:F^E-F^i;F^F-F*;Ft-G-Fl;F^G^F}J.

Span these

intervals with syllables, playing only the printed notes.

Also sing and play each

notion in duet form

40

39.

8 a "
--Ty

o
"

41.

42.

43.

3H

c^^^Hh8^Trg=^^ -O- B^

**

ft^n 8 H ^ ^

o~0 8 XV

xy

48^

47.

46.
^

44.

^4;^^-g--^<^^-8-^n^
-^-xy

fl

'^

Reading Lessons, Key

of E.

Directions:!. Impress upon the mind the memory tones. 2. Go through the lesson singing only
the memory tones. Think the others. Tap for every note. 3. Sing the lesson with syllables floh,ray,
etc. 4. Sing it with lah or loo. 5. Sing the memory tones. Play the others. (Do not both play and
ing a note.) 6. Play the memory tones sing the others. Keep time always. 7. Sing the first note
;

each measure-, p'ay the others. 8. Sing the lesson, beating time with the hand. Accent the first
note in each measure. 9. Sing the first measure, think the second. Beat and give the omitted measure exact time. Alternate throughout. Again, omit the first, sing the second, and so on. 10. Omit
the second note in each measure. Beat. ll.Omit certain memory tones. 12 Write or point the lesson.
in

^^

Key- note, doh, on

1.

^ #
If

'

Sing

n
Do

^*THi

1^

J'J'J^'

tli

^4

*:=*:

Jjj

ll.jJ .">-"-'l
l

J' J'J

"^

ir

^ m

Gk.

figure of the time-signature represent?

J'^J'JHn

^-^^

it

Name

9.

Uf^

all

'i

gj

i^'JV^ r'Ji'ij.
i

r-i/'J JHj'^'^-^'i^J J--^

the notes in this lesson.

^r

rfi^

''
1

10.

Follow directions. Persevere. Skip nothing.

#fe?

-*Ty

^S

0-i^

^^

^d

J.

8.

uP

full breath, deliberately.

*-*-

-5^

upon upper notes.

F double sharp, sharp -two, syllable ree;the same pitch as

It

nr^-mj]

#--

irJj^ rjJi/i
;]j
^ #

What does each

Mi

of this series.

'

^'J'JiitNlVJ

:St

not force the chest register. ("Introductory Lessons" No. 15.)

Take a

uS

^^

lightly, especially

#
4.

two places.

these lessons are too hard, review Book

|^&4lU4fr3^4g
3.

first line; five, soh, in

<^

^ ^ d J

^jjj

^j^^

iJ^j.i

M m

rr^^ 1^

11.

#4^

35

^m

i^p:7^^

^^^^^^^^^^^^
Keep

12.

4*"^^ jH

ii

Jj^iJJ
What

14.

in tune.

Review memory tones

iri ij.

^
^

I^H]

mxmi^^

^^^

^JJ

'*

<i

memory

Four,fah,a

it

^P

rr

tone.

J^lrN^r

Six,lah,in two places.

17.

fe

|^"Vj

.l t

j].rj

i-

l
i

rr

^^^^^ ^

-^*-

Seven, tee.

18.

O;i|.^"V

^^

yi ^^ll tJJjj N
i

The Bass

20.

21.

opp

>

||

I|

'

l|'

^^

many

^*-

#
-^-=-

times.

gems of youth.
beat up) on the 2nd note.

^'

23. The half note as beat -note.

^^^m

Be not slow,when for^\'ardyou must

Hon- or and truth Are the

O day

of

days!

Iglad-ly

^5

sing-

22:^

M=

^.y.

pin ^ih

-^-^

^^

22. Beat and sing each section

24.Bef!:in to

:f!^

Clef

\^^r^:^ \P

;>#^n.;

Iji."

'

O^^

First learn each part separately.

19.

IH^i

j^

Et

16.

One,doh,and two,ray, as memory tones.

15.

nh

.i-jj

i;j^

the beat -note here?

is

p^.
'

njj

frequently.

go.

25.

^^^^^^^m

thy praise.

Branches gent-Iy wav-ing.

:jr>

Read in g^ Lessons from Popular Melodies.

Fast.

1.

i^Miijmjji^^i

Nj^j^;jipp;jijjj^

^te

Moderate.

2.

Mn

-*>*.

.iiii.|.rj|. |r3
jJ^I-^-J^'^^lfP

M/ri, n.r
3.

*.

**fe

rj-j'jj

*
^Jijj^^r

# # #

ij.jJ r r-J'^
i

sp

;^^
njjijjj, rrr
r^^r

^,,.r

^a

5D

.y/oj*'.

ii

m^.

0^iP|J]h,.r]
J.^j]|rr.J^|J:ji
'^,J^IJ-J'/^lf
p

^i

J'^^

fc3

12^

J-i ijI^
'

4. Modetate.

*l

hj^

^I'i^lJ

IJ.K

'

^J

^J^J

H'JJ^

J -iJ.j^Jj^J

J -^'J -i^

ML-/gj^j|Jf4^^^J^^ij.jJ-J-ij r.aj]ijjj JU v|VT

5. Moderate.

if'HiJj'^

JM

JlJYp rri

^^

prp

^ p^Wrr^j-^if
6.

^^^^

^'

c:;r-

^^^

rir f i^ ^j J.J
I

if^H^^ij

ii

Mil

^\n

ii^-ij

j-i

rfir^ES

yfffxA

/'^^

/>?.?/

f\\r^u
^"'"

irpr^'^^

*i

7.

\n'] i f.\i^^.^.^\^].^
\

rmirrj

8. Moderate.

11
^

9. Fast.

iM

ih iin

-i'

;jj,

3ji .nj ji^i^

^-

The

37

Valley.

Nag-eli.

Slow.

1
1.

Charm

2.

Skies

3.

May

ing
are
our

lit

Call

Twin
Of
nif

Like an
Tran-quil

ley,

Trar-quil

ing
us
to
ing wreaths of
the vales
of

ley,

thee,
ly

thee,

dai

its

bove

'

ly,

val

tie

bri]^ht

spir

I'

^
an

^el's

lit

tie

and

pleas

se

J'

Smil - ing
Peace and

Be
i'

like

J'

J^

brow; Spread- ing out thy

thy fra-grant
In
Em-blem to
us
renc;

dell-,
-

^^

J'

all
so
qui et
tnee, sweet

J
I

treas-ures,

bowgiv

ers,

en

38

Mary

of Argyle.
S. Nelson.

Maderafp.

j^'j^^

Pi;-i^i^I

ma -vis
may lose its

have heard the

^W
^

The' thy voice

'}%%

hue,

?^=f

a su'eet-er song has

me thou- U'i It be

? * J *

i.

XE

III

:=^
me
-

eve-nings gen -tie close,

all
theworld shall own;

At.

Than

=^^

^^

i^m

*f*

And
I

p^'j;-

=p^

detv-drop on
not for that

^^4

Mm
##

j'>
ib^t

Tn

\ii ^ j

the
a

rose,
lone;

^'

Tis thy voice, my gen -tie

Ma - ry,
I have watched thy heart, dear Ma- ry,

=?=

-:^

That has made this world an

That has made thee mine for

?lF^=4

And thy art-less,WTni\lng

Andifs good-nesswasthe

:::^

^ ^^

<<

smile
wile

|J

-^

P^

h j

I've seen
an eye still bright-er Than the
have loved thee for thy beau-ty, But 'twas

On

havp

to

Still

is=t

dear er

:|

hair its sun-ny

Tho' thy

To the rose just new-ly born. But

And thy

-# -9

cheered

1^e

^?^

the dew-drops cling -ing

lack its
fleet-ness,

^M
^

^Ms
PE

2i:

:#^

^^

may

love sopg to
the morn;
sing- ing His
sweet-ness, Thine eye its bright -ness too;

seen
step

ps

E
-

ev

den,
-

er,

Bon-ny Ma -ry of
Bon-ny Ma- ry of

SI
Ar
Ar

gyle,
gyle.
a=!

39

The Key of
memory

Practice as before. Learn to write the"picture" from

S^

^ o

351

<\

F.
in thirty-two seconds.

3s:

o "

/^

"cr

(I to 38) 2. Sing and play; syllables. 3. Sing without instrument;

Sing without instrument; lah or loo. 5. Point or write the lesson.

Dir^ctions:!. Play the phrase.

syllables. 4.

6.

1.

Jj ijjjJjifJjJ
m s m d d s d m d s m d m.

9.

8.

^
m

15.

14.

s r

22.

21,

ni

A^

d
13.

injTT7

s r

^^i"''i
d s
d

///

20.

dm Ids

m d

dm

nt

s' I

fm d

35

34.

33.

f J^

jjTr^

/-'///

rt'

^rJ^
ft d

ii

36.

Id m

40.

32.

46.

-O-

O
TT

<\

II

-tp^^

d' r

>/i

s'

ltd

38,

37.

m m

ft d

D-E -D;

r s

t_

dt

t_d

D-El>-D.

<V

-^ o Q
*V

44.

43.

42.

-^

///

also practice in duet form each section.

41.

45.

r"rrJ^i*'''^i'^i>Jj^J^iJiUJJji
s

39.Steps and ha]f-steps,as:I>-C^D;D-C-D;

Span these intervals;

jj^r

ii

31.

md

26.

ii^^^j

30.

29.

25.

J J J

d r

^^^^^^^P^^^^
I

19.

24.

s ni

r^
s md s

jjj ijjjjjijjjjj ijJr

m
d

I I
II

12.

ff f

ab*
d m

28.

27.

18.

23.

^jjjiijj
ni

ft

ffi

\i

11.

17.

fm

16.

fe^^
w
fm

m mdm

rrf

ll

^ #

dm

10.

^
w
^
d m

frJj*

i^^j^^ *=Z*

48.

47.
5^

<

<*
<>

<

O O
Xir

41

-yy

<v

O O 4
X3 XS

T5

1(1

Reading Lessons, Key

Directions:!. Impress upon the

the

memory

of F.

mind the memory tones. 2. Go throuf^h the lesson

Tap for every note. 3. Sing the lesson with the

sing'inpf

tones. Think the others.

only

syllables doh,

it with lah or loo.5.^ing the memory tones. Play the others. (Do not both play and
sing a note.) 6. Play the memory tones;sin^ the others. Keep time always. 7. Sing the first note in
eacli measure; play the others. 8. Sing the lesson beating time with the hand. Accent the first note
in each measure. 9. Sing the first measure, think the second. Beat and give the omitted measure
exact time. Alternate throughout. Again, omit the first, sing the second and so on. 10. Omit the second note in each measure. Beat. 11. Omit certain memory tones. 12. Write or point the lesson.

ray, etc. 4. Sing:

^^ ^^

Can you 8ee,mentally,the new key picture?

1.

Work with

2.

Ml

INJ

the mind, not with the voice.

IJ

J l^^4f^ \^^

Eighth notes written in two different forms

-af

tig

.1

"

IJ

IJ

I'JI^ j
.

IJ

41
Be accurate with stp8 and half -steps.

11.

i'',brr Tl

'"P'l>i
l

fa-it.

Prrippr

fe3

!!

J?1 JT3

14.

Name

W:\1

^:

?.

1^

r-

music -reading, on page 2

m i.^J.

IJ^

'^

=^

!i

What

a J
UJ

J-

_
i

iJi^f^g

^'^'J^i^'J^J
for

jOlji

r^

IT33

the notes in this lesson, (letter names.)

* ^

j''^

16,

>

all

15.

^^

Read the seven requirements

13.

i'

it

%iJ iJ^^

'^'
ir

-^^'

pp

figures would represent this

i^,jjj-j^pg

r%^'

rhythm?

^^^

17.

18.

^^^.

^m

jQI

J^J^.&^

;^j j^p'''i^jj iljJ' ciT

i

21

1^.^

First learn each part separately.

19.
I.

jij.j

^
i

Jjjj

?^rr

iJIJjJ lJiN^

f[P

20.

<^^^^^^% 'ISIiT

21.

jJJ^

Uf

^^

^^1

J7]

JUa

rrf'iifr^'

22. Accent, accuracy, repetition. Always beat as directed.

What's theword you bring here? Bring naught of pain or

.

23.

fear.

Come and

brinjgrus

good cheer.

24.

ti'j> >i-iU)^-r
All

a-round,belovv',a-bove,

teems with

life

With cour-age and faith press

on.

'

^^

Reading- Lessons from Popular Melodies.

1.

Fast.

tj" r r" 'i'

Tn

'

1^1

m
2.

i.l

ii'

ij

i
i

^
lU

#-

J'J

J.

i'i

''

'-

pr

U- r,r

liJ

Moderate.

^4^-1 J'

4^-lr^^^^^W:^ 5

JMJ^

* I*

-9

f';j^jj i'ij.j

'P-iM

pry

li/'

^i^~*"
/j.i-.

i;

Mode /-ate.

iU'i';'i;>j^>^

22:

a ^ m

^t^

d*

'

Fine.

4.

"

:'^Q-'''

r^'"f

Fast

g"-at
3.

i'

^^

>.

'^^

Fine.

RC.

^^

i^

-t^

J'i^g'.M.^.Tll'J'J'J^lJ tiiUJ'J-J-j^rr;

K K

N,

J^4-^

-ZIL

5. Mo(ie7'ate.

P^

* *

=j=i-J

^j-

<>

rJjJLT/J
*kj^f^ir
4^^'i4^4^
'AA[' ^J

I*

f^f

?2=^

6. Slo2v.

'

IJ.

7.

jjr^Ti

i'

pr

i^"/'i-l.

J.

/J

U'-

-#-^

jj

J\i^

Fast

j,ij,j'j'jJ.hJjJ'j

piJ

^ ^ ^i

'^vi.Tifp p'

,^

^^Jj,

^x]^

8. 3fode?'ate.

ife

%^^iiiij^i:^'^'

l
,

,lT||,

"-|(;^.ft^

gSE^:^=ppt^

9. S!hu>.

i^^^^^^M^M^^U^ff^mnM^m^

zc

Not

Sparrow

43

Falleth.

Arr. from Franz Abt.

Modei'afe.

1.

Not
Not

spar

^P
2.

leaf

row
let

fall

wav

But
But

eth
eth

i
^ know,

God doth
God doth see;

its
its

WP

^
^

when His man

trem

then,

Lays a mon-arch
God for get-teth

date
bier,

P
m

*:

Than

m p p^y

^^^

fe3E

full

and

5"

Fath
care

er's

W^-

p m
5

^
-

Nev

bier,

er

be;
soul

wm

^^

1^

^
-

less

faith

breast

In thy

ed

feE

^^

And He' 11

m ^^W P ^
for

To

age

Him

trem
Cheer thine heart,
that plant
For the God

eye,
thee

*=

Is
a Fath-ers
im
Cast thy care be - fore

:**

^^

free,

m^

the birds that fly

Trust Him

Far more pre-cious sure

E'en thine hairs are
num

low.
thee.

ly

w,Wip

-TT-'^r-iS-

bered,

Just as

Think not

%
J

He that marks the spar

tab
sa-cred
On His

re-mem-ber

row

Will

lets

Doth thy name en

w
^

I.I

iJH

thee.
-

roll.

*4

^^

Far Away.

Miss Lindsay

iSlow.

l.WTiere

Some have

8.

now

the

gone

to

is

fe^

^ ^
j^
mer

par

ry

la mis far

ty
tant

(lis

:5^5

1]

re

dis-pers'd

reach'd

fair

er

re

-9

all

er,

wdn-dered

and

reach'd

ev

^^

J'l^|j _^

'-^u
all

for

gion

J^

-^

-g

re

f,

far
far

a
a

V-^i-\\

V.

Wholl

i)uy cal

h
her

ler

way,
way.

far

^:

1.

2.

cal

her

ler

E
-

nie

fl

pil

tel

as they face
a word
be aye

Who'll

buy

h
cal

h
ler

the bil

buy

cal

ler

your deal

j
her

drawn

A
Truth

j^

iJ'

rin

to

New

fill

will stand

frae

;,

wov

our

when

all

J^

bon-nie

s
her

in'.

Forth?

the

J,

J,

^^

y i^_A^^^,_yJ,

in'

rin?Thev're

F^= ^

lows,
-

T-

J-^-^^^R^=^
Who'll

way
way

lows Dreamt ye aught o' our poor fel -lows

When the bon-nie fish ye 're sel - lin'

Dark -ling

lin'

and hale-some far

fish

New

rin.

WTien ye were sleep-ing on your

Now,neigh-bors,wives,cometentmy

At

^^ ^

fe

^^^..^^^..^S^^^^g^^p

^^l-^i^^Mfe

a
a

far

fr=^
buy

j'
They have
They have

way,
way,

-9'

rin?They're bon

m
Who'll

Scotch.

V.

ip

Caller Herrinl
Moderate.

Theyha^
They
have
They have

hay?
stay;

J'

way,
way,

a
a

glow?
roam;

their rud-dy
are forcd to

by
lives

Far
Far

dered
gion

wan

dis-pers'd and
fair - er
a

Far
Far

ber long a gers made their

.^

the
In the field up - on
Long-er here they might not

eve-nings

sum-mer's balm-y

in

are gone from us

stran

III'

fires, Brightened
go Laugh-ing round the Christmas
wa-ters All their
the world of
home; Some up - on

Or
Of
Some

mem

And with

fish

drawn

ajid

en

the

wil

hale-some

J"

frae

things

fail

Forth?

s?

in'.

J^

i'

far-

lo
-

--

ll

in;

The Key
Write the"picture"several times every day,until

45

of

Flat.

can be done correctly from

it

memory

in 32 seconds.

^ -^
1. Play the phrase. 2.Sin^ and play; syllables. 3. Sing- without Instrument,syllables.
without instrument; lah or loo. 5. Write or point the notes.

Directions:
4. Sing

.1.

2.

3.

rffJ
d

d ni d

irr^fM^rn

dm

15.

s oi

dm

10.

9.

8.

ft

5.

4.

dm

d d

12.

11.

16.

"jj^^^i^^^f^ftff^

r
d

6.

r s

ff

md

f mf

r r

'

'

28.

fi

r r
t
d r

'

hM^^
m
m

r'

d rf

md

JJ
d

26.

f_

>

in

32.

f f

^
m m

IUt|J|,JJjUtf

r s

the intervals,(doh, ray.etc.) and practice in duet form,(la}i or

37.

38. Steps and half-steps.as:Bl>-Al>-BhBl>-A-B(>; Bb-C-Bl>; Bb-B-Bk

Span

31.

36.

d d

in

\i^i
a

"-'^^''^^
d

il

25.

30.

/' s d

md

XJXxX^
^^
'^t^* irr~p-^4

35.

r^rrJ^r

24.

J.jJjJlLU^
*
34.

d' r

29.

33.

23.

li tii

*
t

uj ^ ^

27.

22.

21.

p
d

20.

JjJJ
d

14.

19.

18.

17.

13.

loo.^

t_

tad

4(>

Reading Lessons, Key

B -Flat.

of

Impress upon the mind the memory tones. 2. Go through the lesson singing only the
memory tones. Tap for every note. 3. Sing the lesson with syllables doh,ray etc. 4. Sing it with lah
or loo. 7). Sing the memory tones; play the others. 'Do not both play and sing a note.; 6.Play the memory toneS; sing the others. Keep time always. 7. Sing the first note in each measure; play the others.
8. Sing the lesson beating time with the hand. Accent the first note in each measure. 9.Sing the first
measure.think the second. Beat and give the omitted mea.sure exact time. Alternate throughout.
Again, omit the first, sing the second and so on. 10. Omit the second note in each measure. Beat.
Directions:

11.

1.

Omit certain memory

Write or point the lesson.

notes constitute the tonic chord in this key ?

What

1.

tones. 12.

i
Nothing helps

to

w
-Ar^

=*==E

mastery more than writing the notes as directed.

^^

Can you distinguish the steps and

^l==?

^m

acut^

half- steps?

ri^'C/icj

Music, like language, is learned by repeating

i^MM'^}

^^^
6.

-th-^

Keeping

in

-jt^n J^

may be

it

-'^pp

^^

L^' ^

^
f

better to review before going on

;j'j Mi J'JiJ^

''T|^

M' ir^

i|>

9.

What

is

J
J

J
I

;ji'
fi
pp r [:rippp
i

'

^^

^gdt

'

Don't force the voice.

K,8JUl

pi^J

-4

'

10.

ippp

tune and keeping time are the two most important things.

^.i^ri J.

'

i^

phraseology often enough.

its

=#=

^^S&
^m
Sometimes

8.

U'J'J'^'icr

^m

^^
*

h.hJ-J' h

*==i=

tP

pipr-

f=r=r

rrf

sharp- one in this key ?

'

iJlJ
^*
J
1

J
f

'
i

r ^r

I'

If

.'

^J

47
Give the letter names of the notes.

11.

#:j=ir-^'i'J-'>iJ:j [JjjOjij jJj-^i-^

i

What

12.

iJJ4i^>4cf

iQjJ rji IjlJI

r^ppp

^^
^ ^
15

^f^^

does each figure of the time-signature indicate?

^j"3jJ

Do you begin

14.

to "hear

IJ

^j.

^^m^i^

with the eye"?

iJ

w w

iJ

1^

r-^f

JK==::^
r

IJ

i^r

16.

fe^^
iiij^ ^i[i;iricrjicri' ^jii
i

Do you recognize

17.

:^ 14

J
--#

I^ IM

the characteristic sound of six,- Jah ?

18.
n''

.^.-10

.p>J

rrr^^^

19.
'

^
'-

^
5

^
.

20.

:^^!^:

"*=

v-^^^

P#^

'J ^ "

CJtj JlJ

^=

ij-jrr-rsts
T ?

J ^

4 ^ J J

l-j
tf

frr

EJij^

* <

^i i i

#=t

i5-^

21

%}' 1
22.

ih-

J ^

ir

if

if

i^

r-f-t^-^

Comparatively few students are careful enough in rhythm.

23.
A
,

^iTj Ml

Rightwill tri-umph at

-Jj
J'

111^ ^'N'
Tho'

last.

it

be

work

or play,

III

N'll

'

Be hap-py

all

II

day

25.

24.

Ui''!i jj
Hap-py birdling onthewav-ingbough.

j'i^p

Fly,bird

ling gay,

J^=Hyrw
Fly, far

way.

'S

Readings Lessons from Popular Melodies.

1

Moderate.

ii''\'ij,jj' j>pr-.M,!.'-piipir

^i'-

li^p'T'ir ^P

j'j ij'^i [;j

^i> j^J-j

ij^j

i'Ppp

if^

f,

Pc;

PPIPP^- pi^J

ic>j

J-^'J

3.

Fast.
i

r^TT-pf
* ^^5
4.

^'^

#^

it

*'

Mj ^r-f

?-/ j

[;;;j,h
^ d' ^.
r^

ModPrate.
^^'^-

Fine.

II

'

^D^Cr

^-

iM

p^^^lf-'r

^^

Moderate.

^^JMJ. 0.
J.J.

h
^ S

l]

'

m
#

^
i?.(7.

f^

^ ^^

7.

j^jiprni r
i j Mac
1^=3^
6.

Pr

Moderate.

4^''!s JJ^J *
5.

i'

time.

r j^ij \i\'^ ^l1Ui\\ ^f/c

a^'/IC/^M/^jilJ i'-L^J^f

jjj Jrrcf J^'^JiJrrcrirjjijrrcri^^^^^

i

^P

2d

'

^Ist time.

g Q-STlCri^'L'-J^IJ ^'Ip

1^ --m-

iJ^J ii'rr.p

2. Fast.

M:

rirrr^ip^rf

^a

*=?

5
.^- ipj'j
J:J> dJ.J7|r-0;'IJ.^
f=

JMp-

/Vj.?/".

4^g^/JIJJJjjj i^r
I

[^ip pprf

t^s?

G;r< frrr[r crrrrJ rrrrcr

i

rJjn^-J3j^

iljU^

JJ.J'Ji-JMJJ^j

%fru^jJ J3;^

8. S'tON'.

*V

"^

J. J

iji

^^^

JUr
rc/ir

CJ'

^r^

-^

pirrr

jjiJjJj

p'p

^rr^

^*

j.j

Jj;J'^-^>Abr;|-jjij:rr

;irrij jQ'Jj u rjr J

jJ

iS^

9. Fast.

-^^'

ii

49

No, Sir!

Wakefield.

Moderate.

t'll\h\^

Tell roe one thing, tell

1.
2.
3.

II

me

tru

me why

Tell

ly,

^H

J J J
ycou scorn me

'

so;

Fath-er was
a Span-iSh mer-chant, And be -fore "he
e went
_ sea,
to

If when walk -ing

in the
gar -den Pluck-ingflowVs all wet with dew,
If when walk -ing
in the gar -den
I should ask
you
to
be mine,
,

=at

^^
^-

-&

-9-

Jj'lj

HjiJ^j

J'f j
I

me

He

said

H^

-9-

^'^'JMJ

Tell

Tell me,
And should

m m m

i^
4.

4^''

l;

'vhy, when ask'd

'Al

will

^
tell

a ques-tioD, You will al-ways an-swer*'No!

ways an-swer No. Sir! "To what e'er you said to me.
you be of - fend - ed
If
I walk and talk Avith you?
you that I love youWould you,then, my heart de - cline?

n^

No, Sir!

n ^ a

"

-9^

^^

No, Sir

i?

9-^

I^kIj^

fe
i

No,

No, Sir!

Sir!

J?

IjU'^

\l^h

Softly Fall

No.

No. Sir!

No. Sir!

No, Sir!

\^-li \

The Shades.

Geo.

Root.

F.

Model Organ Method"

by per. of John Church Co.

from'' The

Slow.

l^-i\J

^
1.

Soft

3.

Balm

3.

Far

ly

y
on

hushed and

still,

the

tree;

of

peace

^'

dis

on
on

ful

J
tant
a
a

|J,J

the
mists have
high the
fall

As

Stars

^J

the
in

west

ern

hill.

wave

less
of

dreams,

world

of

lulled

to

^^

beams; From her

shades

sea,

moon

as

sun's last

bright
sil

and
very

^
From
Spar

Smil

eve -n ing
slum-ber
cend - ing

\L^

O'er

the

Wea

Sheds

ry
on

the
kle
eth

dis

on
on

tant
a
a

f
val
ten

ants
her

From
Spar
Smil

the

kle

eth

^
west

ern

wave

less
of

world

ley

all

fad -ing
are
rays
glor - ious num-ber
throne she smil - eth,

hill,

sea.

dreams.

50

Summer.
Modernfe.

U'^--

1.

f
Sum-mer now hath come

2.

Sum-mer

l'

a-mon^

the time, when

is

-^
With
Woos

us

o-cean

^^^P^rt

the
Gokl - en sun -light tints
^lien all hearts to glad - some

Hap

Slow

t^^

mea'd-ows,
beau - ty,

How

dear

The
The

moss

Joy
Hail

this heart

to

cov-ered buck
ak - en buck

itld

^'

fond

rec

of

ol

ten

moss

cov

lect

hap

the

et

et,

ev

ery

of
as

hail

et

^-^

3
.

i
The

How

the white peb- bled

J.
ov

er

it,

flow- ing,

ite

>~^

hung

in

pleas-ure.

When
For

The

et

Fine.

The

view;

to
the
the

field,

well.

And

tit

i 1
3-^if

cat

bot-tom

i
y house nigh

treas-ure.

them
from

^.
deentan-e-Ied
wild-wood
deep
tan-gled wild-wood.

ex-quis

turned

child -hood

-g-

ervlov'd
mv
ery
lov'd snot
spot which my
pur- est and sweet -est that

ev

>

*
J
I
s
I
j.
wide spread-ing stream and the mill that stood by it, The
ar - dent
I siezed
hands that were glow- ing, And
it with
\

and the rock where the

to

-m

my

sents

re
that

time.

fe^

pre

time.

ron bound buck

K
K

where.

Kiallmark.

scenes

sum-mer

glad

when

gl
orch-ard.themead-ow. the
orch-ard,themead-ow,
found it the source of an

air,

chime-.

sum-mer

4^-

the

t=^

the

dence

is

py

hail,

fe:

are

ion

noon
buck

ered

fan-cy knew;
ture can yield

truth

ous mirth
the

Hail,

at

dair

guile.
face,

h=k

rj

^
es scent

re-spon-sive ca

Tlie

y breez

N^

#r#^

D. C.

The Old Oaken Bucket.

S.Woodworth.

2.

In

ic

summer time

bright

hail.
hail,

^-^

I'

this

1.

em

wm

5^:

fc

1^^'

Balm

ther,

^^

:^

Hail,

mus

py chil-dren roam the

joy-ous time of

Hail

smile;
brace;

tie

That will all

our care
be
Looks a -broad with smil - ing

M-.JU^=^-

;-

J^iJPf

and gen
the shore with soft
its bright

sum-mer,
na-ture

Laugh-ing,pleas-ant, gen-ial
the time when boun-teous
"Tis

Pinsuti.

J'

If

And
And

drip

ract

f^l,

it

fell;

.'M

e'en
-

'

E ^ .M'
V
The
Then

^'

i'

cot
of m}' fath - er,
soon with the em-blem

the

h!

the rude buck- et

that
ping with cool -ness it

hung
rose

J
in

:^

^r

J
w

the well

from the well

of
D.

r.

The Key

of

51

E -Flat.

Directions: Play and sing the scale of E-f lat and name the tones. Write the"picture'"of the key as
found on page 3a, but with three flats in the signature (B\>, E\>, A\>) instead of four sharps. Review
phrases 1 to 28. page 33, playing and singing them in the key of E-flat. Practice the following as

heretofore directed.

i^

j^jjiiJj ijj^ ii|'iij{ijJJiiiiii Jj

i

(/

f)'

/'

6.

8.

^ =^

'.s'

ltd

^^ ^^

n>

9.

<>

>

ijjj,j^^^^
m

%
Any

-^
XE

-<St-

o o 8 U 8

XT XT

exercise that is too hard

:E

all

the notes in this lesson.

m^
S^5^ n *^^
Except

fe

B
^

double-flat

is

I'

^ ij

^ =^

a half- step below B-flat,viz.A

.v

=
3CSII>

*=#:

-^

and accidentals, the keys of E and Ep look

for signature

j^

5.

be omitted until the review.

J^i^Ji^cJ

^=it^
Name

may

^fe^

-0-

10.

Practice the reading lessons in twelve ways as before.

#
m
i

///

7.

8 o ^

m'-

ni

alike.

^' J'
J'

^m

10.

11

^>friHi^f^^F^-^lfl^ r rrJEfe#

:#3c

3f:i=t

Eff^

52

Reading Lessons from Popular Melodies.

Moderate.

1.

Fine.

m^

^p iri^'ppipp7^.Mi^'j-;';'ij

>.

m^\i^r^\n^'^'\^

cr

-i

\^^>\^'^m^^

2. Fast.

i^ ^l JiJprf Jte'lJ

iJ^iJ JJJ IJJ /IIJJJ JIJ

!,i

j^''i'i

i'

J.

Jffl

rriJjjQiJjJLnjJJLfjj^J

^^Mj'nJi^

fp rrr pi^^

^ ^

^'Ic;^ jj

ii

f r

=S=

f^^ rrni
i

Moderate.

5.

^^

Fine.

HJ^

ip

\J

SIOUK

* I

J-

1.

Now

2.

So

>""

i^

In

the

And

an

S ^^^

^M'^'

.1

az - ure
ira-aged

ff

a calm and
the earth shall

'y-K i P

^Sf

.^

The Mirrored

-#

j^

4. /b*/.

dz

Moderate.

3.

'. ,^J .n

peacefind

iiJ

lake
heav'n

'HiJ

fJ

Imaere.
"Seymour".

i,i

sleep Spreads o'er all

the
From op -press- ion

glas

^>'F

pjJ

iiJ

se

rene

Like

an

ap

pear

On

our

oth

world

er
of

sy deep;

and from woes,

pose

^
re

w.

ful

^r

heavn

is

seen.

dark-ness here.

53

The Ivy Green.

Chas. Dickens.

H. Russell.

Fast

A dain- ty plant is the

i
S.Whole agieshave fled and their works

1.

ri^tdkoicefeodarehis meals
stout (4d

-vy shall

nev

lone-lydaysShallfai-tenup- on

i-.vy's

food

vy green,

for

him.

at

last.

Creep-ing:

And

creepetho'er

ty whim ;
the past,

life

is

ins

old;

c<4d.

'

Of
But

been;

ThewallsmnstbecmiiAMt^

green. The hard -y oldplant in it^

And the mould-er-in^ dust that years have madels a

Forthe stat-li-estbuild-ingman canraisels

Creep-ing- where no

where no

ru

na-tionshav-e scat-tered

I ween lit his

cell so
kme and
er fade From its hale and hear-ty

stones decagr'd To pleasure his dain

mer-ry meal

vy green That
de-cay'd,

seen,

J_JJ_Jli,U

life

is

seen,

rare

rare oldplantisthe

old plant

is

vy green.

tiie

the

54

The Key

A- Flat.

of

Directions: Play and sing the scale of A-flat and name the tones. Write the 'picture'of the
key as found on page 27, but with four flats (BIj El> Al> Dl>) instead of three sharps. Review
phrases
to 22 on page 27, playinff jmd singin/?- them in the key of A-flat.
l

Practice the following as heretofore directed.

:>

m r^^^V^xr^^

d
d

d' r

fefe
ftfe^g

If

w^

r'

n
I" o

mf

f' s

..

"-^

2i

a' I

OC

i W=3S

did

r s d

i
Is

Q 8

..

II

|ff

m^iiAMm
5^

m m

" " " "

m
M^j^^-^^

1.

m y

ff

w at

r^n^Tf

s=

3.

^if.

i^^E ^
itfe^
^^3^

f>

^ M:
^

jy^' c^f ^'jxis

t5t

01:1:

I"

'j

i>V, f
I

f^4J^

-i-^^*
fete

^^^^^^^

E5

y^^^

^'-T^

6.

i^y^ji=4-^ijj

at*

t^ ^

tf

1.

!
1

('i

iFp

^
^m
m gn^m^rr^^^-i^

J .

^'
i

^
I

r . J

8.

fefe

si^

^rJJJlJJjJ

9.

;J' Ji;^, j

1.

^4^^:^

Reading: Lessons from Popular Melodies.

^^m
Jfoderfifp.

1.

te

Frne.

^^^^^m

55

d*-

^^ ^
S^
^ S
$
=* ^T-r^
^^
^
r^B
#^i~JE^rnnT[7cj'c?^^^
g
^
D.C.

pi-'^-iT-^^-\$=i=i=^^^

E^

ZZZZI^

Moderate.

2.

w^-

:!i:

m '

^*

==*

Fa^f.

3.

Af.

a*:

^^?^

rrifPrr

4. AYo//'.

ij*

n^r-tr
^ '^

7 J r^JJi^

t/r

c^'

SIOUK

5.

F=^4=f=^

1.

How

2-

Were

r^^ jj.

can

In
I

fowl

ers

Blue
Tell

heart
snare

ing

s i

J^
thee

5^

ev
thee

ly

rd

dwell. See

be;

to

But

MMf

lov-ers prize, Sym

life were spent, Fall

bol

ing

of
at

%
\

love so well?
fly to thee,

Thou

"on

Brav

ly

ing the

S^
1^

4i-4i-U

er

^
Can
With

_*

i'

^^m

l|

my

go from thee Leave

Quick
bird of air

f low'r that
-

JO

a V V

^W
f^^
my

j^rr^

(German.

..^

in

?3

#-

xy/o?^/.

^h>a

:^

*-#-<-

Folk Sons:.

F.W.R

sw

i^-^r^t^

[:jc^cjCi'i[;^^E^i'"jj.7^

^^m

my

this

for

if

the

1'

get - me - not,
shot were heard

^
f*

V9

true heart WTiere love ne'er dies

die con - tent.
I'd
thy dear feet,

^^

56

Peacefully Slumber.
Randegger.
S/oiv.

te

^m

1.

Peace

2.

An

ful

slum

ly

gels of

3. Peace

ful

heav

slum

ly

ber,

my

en

as

love

ber,

my

own

own

dar-ling
ly as
dar-ling

Ia

l.''l

>

'J

w'~".

eye
era

mfe

thee

sweet
smile

one,

^te

dark

till

^^

sleep

on.

All

on

thee

night

is

now.
gone,

Lat
Care

Uiings

lence pro - found

thee shall stray,

late

^^P
P
P
^^ ^^
&^

iz*

^^m

Love nev-er
2S

-^

{'

JDEl

What

^ Jiiim

Fairy-like Music.

Fast.

What fair-y

The winds are

."

De

mus

like

I
floats o'er
out their

l 'i

ov

steals

ic

and the

er

I
I

dy? Tis

\j

the
at

sea,
rest;

ii

i^i

'

r\
the
the

Pinna.

\^

En-tranc-ing the
They sleep like the

nil

As she min-gles her

song with
dark cave, And shall break the re - pose of
the main,

\^i^

the voice of
the storm shall

breast; Till

wa-ters

ij

'

hush'd

all

HiJ
i

tete*

iM.n

sen - ses with charm'd mel - o

pas-sions in
in-fan-cy's

!'"*(

3x:

2.

how

ly,

scare e'en the gnats float - ing round.

wipe all thv tear-drops a - way.
wea-ries of watch -ing o'er thee.

will
Twill be to

be;

ear

in

JXL

^
Sleep,

may

it

f*
$ ^^m

1.

=-

bur - ied
an > gels

lie

when
less how
er

ste

'M>

xe:
3x:

ly

round

thy^dear
o'er thy
Love watch-es

'\

Close
Float

thou

J7>J7J|UT'JV?^rJ^^'^l^^

si
81

i
and
die and

lids

o'er

one;

#^

^>'i''i>

Arrangea.

~i

the

mer-maid

that

un

chain them

from

^!\^m
gon-do-liers

shore and the

strain,

wave.

57

The Key

of D-Flat.

Directions Play and sing the scale of IMlat.and name the tones. Write "picture ''as found on p.2l
but with five flats in the signature (Bt Et A\> DI GI) instead of two sharps. Review phrases
1 to Z2 on page 21, playing and singing them in the key of D flat.
:

4.

1.

te

w^j^mm f fjj
^0 ^

i^

d r

t\h
te

y\h

"^ ^

^ ~

XJl

=SFS^

xx:

.ji^

s'

8.

7.

"'o

jJijj

-i
i

m
i

t^j
j

ii

J
J

jj

Is

JjJJi'^ j'i ^ji

Up
# It

JJ

ii

ir

txc

^
1

m m

g oo

^""8ti 8o l

zt

^;3i;]; j^ r^ii^
i

J J

L^
I

^;i?i

^jyj^'ij7^f

^^^
#^

Si-:

r ri r r ''I^mj. j^j>i^j;ij:j^ijJ
i

J i,J J

Ltrpi^' ^J^j.
i

^J^j'i'j'i^f

^a

8.

*T*

^\ \ ^\ '^'^'\ '

J 'g' * Jj
*

J'J'J

J'^'JU'lJJ'a

/J

^i>,

^^

fete

5=i

J #JIj

6.

^'-'-^^

r s d

loT

J i*JJ J

<yl

'

rr

\\i jj/j j,|j j^cji^^i'^

j]:iii.J

9.

l^ sff

IJ

-
jiJjw
ir'Tr^r^
rrr

jJ^J

9
j
d

^'T

r'

6.

fe

i'

5.

Mrp frr-U^J

ir

'rr

I^

IJJj

Reading Lessons from Popular Melodies.

^*^

rate.
J/or/e/a/e.
Mode

1.

|J

i*
ffip
m m m
>cy/6?/

3.

3Iode7'ate.

jjJJ

jj

^^

ffiS
000
4

^ht'

^rr

-^-'

i'^-^^^

"

i?.C.

rr^ij^ffli'^-^

Slow.

4.

r. ii j jj,i

Fine.

2.

^^ \ i

J'i-^

'

r^

1^^^^^^

S=^.

MMM.

^^

J1[.^ JJjl ^nQ-PHt^^'t^

;Air.:

-^

Fine.

J ^0

0'

'

|rJ

J <g3C

"cr:

^J-^
i

rrfr

^^^

T^-^vT^a

^^
w

r^

300

Moderate

5.

4^1>UJ->^^^^l^:|ffl^rJ^J^I^-J

jM^-i';j>

6. <S7o/

^ pip

S*F5
S^

4 J

'^-

thi
m^

r3 j

^^i^^rfrrri^ ^-^^177^

^^ ^P

J J -U-J

^
jy

tf*

-#

,0

JiJMJ

p'

^^

^^

The Messag^e of the

^^

^S

IIW]

* 1^

<*

:*=*

Bell.

Moderate

^^^^?^?4^+Hr
1.

Now

as

S.Heard ye

the zeph-yr
the voi-ces

4u^^4^jj^

of
of

night -fall

na -ture

7
are

chim
twi

ing.

light,

H^^n^'m
is

'

j!

Bells from the vil - lage

Vol - ces that sing at
the

Dear
Dear

I7T

i' i^i'
Balm- i - ly wan-ders
From the green meadows

Sweet

ly,

Pleas -ant

^'

J'

/'

how sweet ly

call

\trn

^
they
us

ly

ing

a that

round,

come?

Ikound.
home.

^^:

your mus-ic each clear ring-ing bell; Dear is yourmus-ic each clear ring- ing bell;
mus-ic from moun-tain and dell; Dear istheir mus-ic from moun-tain and dell;

is their

Striv - ing is
IS changed]
changed in - to
Hearts that are rest- less -Iv

qui

yearn

et

ing

Un
Yield

der your
to their

sooth

mag-

ii^

fepefll

ic^

spell.

59

0,Ye Tears.

Franz Abt.
Slow.

ye
ye

tears,

tears,

tears,

ye

tears,

^^
tea

i
i*f

^^

P
ye

That

flow,

am

run,

^
I

re-fused to
thank -ful that ye

^m

4=

wel-come
come from

^
^^1
i V

^
^
my

to

cold

and

^a'

F=iJ-^'^H^

Thaw -ing, thaw- ing

heart,

Ye

dark

shall spar-kle

^m

^5

snow.
the sun.

like the

in

rn h

p^

The
The

yield-edAndthe ear- ly snowdrops spring,And the heal

And

y^ w

g
^^
i ^j

^-^

jMvte

X=^

^^t

-^

W^

weep

f,

And

the
the

Are

FPt^f^

5p

IIZZ

^3
^^a

^
ye
ye

wil-der-ness shall sing,

all.
saddest eyes of

t=^

JO^i-j-i^

^iM,

ing fountains gush

that can not

br''

I'

the eyes

Sabizz^:^:5

Sis

bound clod has

cheer us If the showrs re-fuse to faU,

ice

rain -bow can not

KTj

te^=.S.L^^=^#=jyjzjv^:^=-f^^-rr-p-i^i

^EEEi:

are
Tho' ye

-i9-^

Ye

wm:

J v*^

* *

P
kfe

have long

^#

g J JJ*

^?

tears,
tears,

^
^ ^^
yj JJ#

ye tears.
ye tears.

m 1

fi

The Key

60

of B.

Directions: Play and sing the scale and name the tones. Write the "picture" as found on page
but with five sharps in the signature (Fi Ci Gi Di Aii) instead of two flats.

Review phrases

page

to 28,

the key of B.

2.

1.

$i

45, in

4.

3.

^^

U^r^^
d

^^

(J

m m

tJj

jijj

IJ)(J^J

hiJ

JmJ

J' J

^'

4^

wrought and sang from

my

could

heart

the bur

meal

i%

y cap

night,

No

as

thine

I'd

i'
his

of

en

men

my

vy

no

as

thou

one,
art

no

not

Eng-

For

J
ev

land's boast.

Dee;

He

be;

For

Oh

er used

my

king

^'

no
mil

one

en

ler

of

to
-

And

he.
thee.

Thy

ir--i-^

And

I,

the riv - er
as wrong can

^'r
-

mill,

J^

lark more blithe than

glad - ly change with

crown, Thy

J'

'

^^
^^ E5

^
song

'

J^

till

worth

is

light

den

_K

J
1

mom

be

j^
this

jJIjJ^

There dwelt a mil - ler, hale and bold Be - side

1.
2."Thourt wrong,my friend"said old KingHal, As wrong

Hh

IJ

The Miller of the Dee.

Cha Mackay.

*t tf>

JTM'TT

^^

5.

jca
tl o
nn XF *w
oTTc?
^

1.

ft:

45,

"I

be-.

dom's

Such

fee;

j.
vies
the

r'

rae.

Dee.

OCome,Coine Avray.

Hickson.

Fast.

ij:

come

way,

From

Phil

mel,

The

J'
come,
sweet

1.

2. While

^sLj
pos
cheer

P^

J'

U'

ingjJLet

bus

ing,With

J'

i:

way.
way.

j'

*! ^-Mj^ _ CVi-*. 4-^A

T -4.
friend-ship
too Let

so

Of

J.

while for -bear,

notes pro - long

lil'J
joys

of

sym

true hearts
hope, joy,

re
-

pa

wel- come you,

lib

la

wea

^^5

i
-

now

bor
ry

trav

re eler

*=*

cial

ans-w'ring song

har-mon

a
y care
eve -ning song her

^ ^m ^m

j'^

Come, come, our

In

J'

er

ty,

J
-

come,
come,

come
come

^^^^^^

new And

therewith trust and

thy Well

sing

j^

in

^^

come,
come,

come a
come a

tune

r
way.
wav.

ful

The Key

of

61

sharp.

Directions: Play and sing the scale and name the tones. Write the'picture"a8 found on
paire 39
but with SIX sharps in the signature (F| C^ GJ Di Ai Ef) instead of one flat.
Review phrases i to 22, page 39, in the key of F sharp:
(To restore a double sharp to a single sharp, this form is used i)|)

^A ^

'dm

E. Sargent.

'

'
J J J

'

3t=f;

II

8"

'

hi

I" y

Life on the Ocean Wave.

Russell.

Fast

1.

2.
3.

te
deep

Where the
Set

frown, But

we

cean

wave,

stand

er

view.

scat-tered wa - ters
to
sail, fare well
have
a stur - dy

J,

;.

down. 'Tis our

J^J J^J^

J^ J^

Like an

Now we

shore,

J^

|J_J

0,giveme the flash -ing

^
^^ ^

brine,

^
^^
*fc^ ^
on the

wave,

cean

the

roll

ing

ly

glid
grun

ing

clouds have

be

rave,

And

the winds

their

rev

land
crew.

As the gale comes

fair

And

care

pine

On

this

foam

Like an

deep,

Ours

J^U^

J'

>

home on

And

the

the roll

J> J

:b

cean bird
up - on

life

J^

The spray and the tem

els

un-chang

dull,

^^
ti>

\^^en storms come

not

J._JM^ >i

ing
set

the

r^^ft

roar,
sea.
rave.

pest's

home We'll find on the storm - y

deep Where bois4er-ous wa - ters

And like thewild bird, our

wave, A home on the roll - ing
free,

life

A
home on
my own swift

Of

The

ea - gle caged
I
shoot thro' spark -ling
the
home up - on

keep.

\%

the

j>j^;,

j.
baft.

te

the

E5
craft;

on

life

Once more on the deck

The land we no long

deep! WTiere the

ing

scat

tered

wa

rave

ters

V^
winds their

rev

Home and Country.

F.W. R.

Moderate

1
1.

Of home andcoun-try
The bards may sing or
Come for- ward all, let

mj H
2

3!

clear
cheer with voice-es
ours are rough and hon
loves
ev
ry man who

raise the song, And all must join the

oth - er times In fine and diil-cet

no

one lag, Let's stand by one

and strongThe flagthatswav-ing

estrhj-mes.To sound our coun-trys
glad-ly call him
theflag,Well

keep.

els

an-

A. Methfessel.

\\

chor

phras
oth

o'er

us. And
es, but
er,

And

The Key

6J>

of G-flat.

Directions: Play and sing the scale and name the tones. (The scales of FJtand Gfare the same on the
instrument, but the naming is different )"Picture"on. p. 15,with six flats(Bl>El)Al?Dt>Gt>C!?)Phrasesito^2,p.i5.
(To restore a double flat to a single flat, this form is used k;l>)

^J

^
1

^^^^

^^ W

J ^^^ J
m d

II

-O-

tl <>

^rr-^ xe:

xr
TS

-^

o o

-o-

^m

^r^ij.AuUiff^rr ri

ij^''^^J-i

I cannot sin^ the Old Song^s.

Sloio.

^''^jj^'J'J'1.

2. I

^
'^''

J'

^'

J'

J'

J'

each fa -mil - lar

sad-ly sweet they

my

set

te
im

spir

V~r

gain,

me,

strain;

^^

voice

1.

^^^
wear

truth

y day

his

passed In

at

some fu-tureday

Ji|j
the
the
the

i'

ten still. And

ters shall Have

Ip

songs, Or dream those dreams a songs,They are too dear

to
songs For
all
e - ter - ni -

old
old
old

For

all

ter

>

love,

^
And
He'd

fie

ni

tears

gain,

me.
-

ty.

Diir ringer.

^^
r^

with

|v|

i'lJ

'

passed in
tri

^l

;^

Weary Day.

a-wav,

shall be far

songs

would

my

old

is

tears

with

fet

myheart^^th

o'er

got

songs, Or dream those dreams a

songs. They are too dear
to

||

rfr^ J'J'

Per-haps when earth- ly

is

for

old
old

Long"

When from my -windows height I lo(

r>OKouton
Wlien

by-gone hours come

un

IP-

tho' all

:?

to prove,

to prove, would tri- fie

ip

y day

truth

i-i

For

J!

^1 n
I,

^p

?^^#^

And

may know

the
the
the

The

The long,long wear

2. When

may know

Jfofferafe.

voice

can - not sing

can - not sing

My

!'''!'

My

free

can-not sing
can-not sing

be,

it

1^' J'

JTij,

Mj

;'ii

>

fool -ish tears would flovs';

sor-rows from their
sleep;
years of wear - y
pain.

part- ed,And

'''i>||'

i:^

me. And
en Old

fail

wak

i'p

old songs I
sunglongyears a -go
For heart and voice would
old songS;Theircharmis sad and deep. Their mel- o-dies would
old songs; For vis -ions come a-gain
Of gold-en dreams de-

can-not sing the

can-not sing the
can-not sing the

3.

JMJ

a -way;

my

love,

The

long-,

When

I.

long
his

Jr^iy^^^fe

still

sa}',

at

'For

eve-ning

me

am

weep-ing,

thoushaltbe weep-ing,

I still am weep-ing,
My lonewatdi keepini;.
a-way, Thou sh alt be weeping,' Thy lonewatch keeping."

the right

63

Dollar or Two.

Arranged.

Fast.

K
1.

With

tious

home.
times
then

a
are

At
3.WTien

cau

3.

And

^
4.

/'

in

ev

tax

when

/)

-cate world,

as

er
es

we roam,

what
and

in -crease
this fact,

steps
broad,

as

we

in

hard

and

a
our

er

you're

ev

|h

j^

tri

lem-ber
mem

they

oth
ev

J'

ble

to

view

me,

'tis

true,
lieu

in
giv - en
bus-iness to

do

bills

say

The be - nev
Than the mus
Of the

i'

R==5
our
ace

way

forts

are

ing

tread
pal -

com
wish

i'

er
er

folks do,

we

do,

May

be-come due.
true,

is

it

C,

lent face

ca]
tie
ful

neat

As the beau-

lit -

ti

on

sound

is

Re

/'

>

/'

our jour-ney

Oh, what would,

noth - ing

j>

sum
face

of

J'
a

j'
|

be

more charm -ing, be

There's

of
of
of

ring

we

No

;r

When

few,
woo,

to
J''

Wh

pew,

or

J'

i'

t^
This

thro'

^i=^^J^il^|p
lieve

E^

pray you, be

so

J^

like

Iv

the

||

',gf

M
Thore ure three kinds of

The next book

of this senes will

This book oseB only

((M,

ray,

MM,

scalee, major,

tiie

indnde the minor and the chromatic

major scale which

whole

scale uses all the staff letters

Therefore

In the key of F,

and

3.

and

4.

But

A to B

(A

to

G)

If the scale begins

to bring the intervals right.

names a tone only a

whole

half

to

6 and G to A,

Constroct scales from A, B|^

6
whole

in their order

whole

half.

and sharps and

a whole

flats

are osed

letter in order

step is required between

1,

(doh),

and

so <m through the scale.

give the whole steps required between 1 and

being a whole step, 67^

Thus we have the signatures

fiollows:

with , for instance, F, the next

half-step removed; whereas,

we have F^ next; and

scaleB.

of eight t(mee, 1, 2, 3, 4, 6, 6, 7, 8,

2. Tray).

made up

is

arnuu^ed as to intervals, whole and half steps, as

ete.,)

whoie

Each

minor and chromatia

is

2,

and 2

used to secure the half-step required between 3

of (me, two, three, four, five or six flats or sharps.

etc.,

writing

them on a

staff

without signature.

In the " Beading Lessons " of this work are no skips (intervals larger than a st^) except
to tones of the tonic chord or other

The reading

lessons

To

printed at the b^inning of

may

tiie

Of course, the syllables

melody by repeating them

doh, ray, mee, etc.,

read mosiCy certain habits of the

mind are

may

^e lesson.

be read with the syllables

which have no connection with pitch as have

applied to the notes of

necessary.

'*

from popular melodies and the songs

doA, may, nee, po, too, laky bay,

may be

" Memory Tones

doh, ray, etc,

also be used.

indispensable; these habits are best formed

by practice upon lessons that are not hard enough to involve guesswork.

No book

in this series

should be undertak^i until the previous one has been mastered according to directions.
evo* long it takes, the work must be th<oughly done if it is to be suooe^ul.

Mbthodioal Sight Sikgikg represents the most important part

A
erally

do

in

fine musical

make a good

and

in that order as often as is

sensethe cultivated apprehension

of

of

How-

a singer's education.

rhythm and musical phrase,

will gen-

singer without voice culture; but voice culture without the other will never

University of California

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