t

is

IN THE ART OF

READING MUSIC AT SIGHT

R. PALM E R, Mus. Doc.

PUBLISHED BY

THE JOHN CHURCH COMPANY,

CINCINNATI. NEW YORK. CHICAGO.
LEIPSIC. LONDON.

Price, 60 Cents. )

V -imt
 Digitized by the Internet Archive
in 2016

https://archive.org/details/palmers
 PALMER’S
Graded Studies IN THE ART OF

READING MUSIC AT SIGHT:

A CAREFULLY PREPARED TEXT-BOOK FOR CLASSES CONSISTING OF : A
WELL-GRADED JUNIOR COURSE; A COMPLETE AND PRO-
GRESSIVE SENIOR COURSE; FOLLOWING THE PLAN
OF TEACHING THE NOTATION OF MUSIC
IN CLASSES, AS LAID DOWN IN
THE AUTHOR’S

CLASS METHOD SIGHT READING,

(WHICH IS TO BE ISSUED SIMULTANEOUSLY WITH THE
PRESENT VOLUME AND TO WHICH CONSTANT
REFERENCE IS MADE)
TOGETHER WITH

SPECIAL DEPARTMENTS F'OR DAY-SCHOOL INSTITUTES, TEMPER

ANCE, VOCAL CULTURE, ETC.,
TO WHICH IS ADDED A MISCELLANEOUS DEPARTMENT
COMPRISING A CHOICE COLLECTION OF

Sacred and Secular Choruses, Part-Songs, Glees, Anthems,

Sentences, Etc., well Adapted for Use in Concerts,
Closing Exercises, Etc.

By H . R. PALMER, Mlis. Doc.

AUTHOR OF “ THE SONG QUEEN" “ THE SONG KING" “ THE SONG HERALD" “ PALMEIUt
THEORT OF MUSIC" AND ABOUT FOR TT OTHER IMPORTANT MUSICAL WORKS.

PUBLISHED BY
THE JOHN CHURCH COMPANY,
CINCINNATI. CHICAGO. NEW YORK.
LEIPSIC. LONDON.
Copyright, 1891, by The John Church Co.
 ——
PREFACE.
AN OPEN LETTER TO TE A OTTERS
First. — Those
who have never tried our method
seem to have an idea that the study of the C key
should not be continued to any great length, but
that skipping around, with Do here and there in-
creases the reading powers, and avoids “ anchoring
the pupils in the 0 key.” They place Do on differ-
ent degrees, giving all Dos the same pitch, or what
is as bad, giving each Do an indefinite pitch never
twice alike —
thereby harming the pupil’s natural
sense of absolute pitch. In our method the pupils
are held to the C key until they are familiar, not
only with reading in that key, but, which is far more
important, until they are so firmly grounded in the
absolute pitch of that key that they can sing Do
cii C at any time. Their sense of pitch is so accu-
rately cultivated that a note suggests to them not
only the length of the tone and its relationship to
its Tonic, but also the absolute pitch of the degree
indicated. When Do is changed from C they are
taught just how far it has gone, and they are made
to get the. pitch of the new Do from the old Do, thus
absolute pitch goes hand in hand with the para-
mount idea of key-relationships. Lest the pupils
should become “anchored in the C key,” they are
required, several times during each lesson, to read
with Do on different degrees, but are not allowed to
sing such exercises, thus their sense of pitch is kept
keenly alive, and as early as the third term, our
classes will sing a Tonic Chord solidly in any key
at request without hearing the pitch beforehand.
Teacher, try it and see what a surprise and pleas-
! distinct motions, and there is no way whereby the
ure it will be to hear your class sing a certain tone
solidly ^without guess-work, and unaided by an in-
strument.
—
Second. Many good teachers still follow the old,
effete, nonsensical plan of speaking of tones by their
numeral names, why? There is not one good reason
why tones should not be called by their syllable
names, both in speaking and singing, and many
reasons why they should be so called. I was taught
that way, and I squandered much valuable time in
trying to compel pupils to “ always speak of tones
by their numeral names.” I now throw the numeral
names over-board after the scale is first given and
the syllables are once learned. It is especially power-
ful in teacning harmony. 1 always failed to satisfy
myself in explaining the augmented 6th chords, until
I adopted the plan of calling tones by their syllable
names. Now when I tell a class that the tones Le-
double-do-fi always form the Italian 6th chord, and
that Le-do-ri-fi always form the American 6th chord,
and that Fa-la-do-ri always form the German 6th
chord (minor), they not only know the key these
chords are in but they also know their resolutions.
Third. To those teachers who, during the past
twenty years, have stood by my efforts to change
the name natural to the better name cancel, I wish to
express my appreciation of their aid, My list of teach-
ers who have promised to use the term cancel instead
of natural as the name of this character (jj|), is now
fast approaching 5,000. These, together with the
thoi«mnds who have used my Theory of Music and
other text-books, form an army of formidable pro-
portions.
Fourth. This brings me to an important change
which I propose to inaugurate in the present volume,
and for which I earnestly ask the aid of all thinking
teachers, viz the change of the name of sharp sol
: ceive a copy and be happy.
from Si to Sil (seel). It is an ugly fact that we have
permitted three different things to be called by the
same name, the letter name of a certain pitch (C),
seven of the major scale (Si), and sharp Sol (Si). By
almost universal consent Si, seven of the major key, metronomes, and only costs fifty .cents.
has been changed to Ti, which has done much to rid
us of the difficulty, but two different things are still to all who have contributed to the following pages.
called by the same name, an abomination in any
exact science. With the proposed change the diffi-
culty wholly disapoears, and teachers can speak of
——
sharp sol (seel) without fearing it will be confounded
with C. It was formerly most confusing when speak-
ing of the minor dominant 7th chord, for instance,
to call its tones Mi-si-si-re. Some may object that
the two 1 ’b coming together (sil-la) make it a little
difficult to pronounce, but this difficulty vanishes
under the rule for pronunciation which tells us that
when a word ends with a consonant, and the next
word begins with the same consonant, one utterance
of the mutual consonant suffices for both words,
so with sil-la one 1 only is required to be sounded.
Will all teachers who are willing to assist in making
this change, kindly drop me a postal-card ? Address
867 Broadway, New York City.
Fifth. It is manifestly the teacher’s business to
guide the thoughts of pupils in right channels to ;
do this, he should in some way, be able at all times
to know just how they are thinking, and to correct
any slip of the mind from right mental processes.
Now it is desirable in the extreme for pupils to
know exactly on which pulse of a measure they are
singing. The pulse as a ruler, is so tyrannical that
the least loss of mental grasp on it marks the en-
trance of guess-work. Howare teachers to know
that pupils are thinking correctly ? A
tap of their
finger on book or hand will not convey to him their
thought. They may be mentally w rong from first to
r
last without the possibility of his knowing it. No
way has ever been devised for indicating the individ-
ual pulses of a measure while singing, except by
teacher may absolutely know that pupils are men-
tally right or wrong unless they indicate their thought
in some visible manner, so that at a glance he can
ascertain their mental process. This can be done
by beating, and in no other way. The ta-te-fe sys-
tem of Chevet, cannot be used while singing. A bright
pupil will catch the general drift of a piece, and sing
it .correctly without knowing it, but no one can beat
correctly and not know it. The instant he loses his
mental grasp of the pulse, a wrong motion shows
the teacher his difficulty, but by the tap or pressure
system, the teacher is as ignorant of the pupil’s
mental slip as the pupil himself. The teacher who
usee- the tap or pressure plan would make sorry work
of leading a large body of singers, or especially an
orchestra by such means. Teacher, don’t give up
the old orthodox beating and singing by syllables,
their fruits make for the healing of the multitudes.
Sixth.— Verily the Modulator is the teacher’s best
friend. It is nine and a half feet high by seven wide,
and is intended to be hung in the class-room so that
all can see it. The miniature modulator on the inside
cover of this book will give an excellent idea of its
usefulness. Diatonic and chromatic tones the rela-
;
tionship of tones ;
keys and their relation to the
model, (C key), and to each other, together with in-
tervals of all kinds, are pictured to the eye of the
pupil in such a manner, that a clearer idea can be
gotten in a single lesson, by its aid, than from a
whole term of lessons without it.
Seventh. There is a best way to introduce eacn
new point, and teachers are referred with confidence,
to the author’s “ Class Method of Teaching the Rudi-
ments of Music,” for such best way. It is full and
explicit, and meets the teacher’s necessities perfectly.
Send one dollar to the publishers of this work, re-
—
Eighth. As the movements of most of the pieces
in this volume are indicated by metronome marks,
it is recommended that teachers procure a vest pocket
metronome, which is more accurate than machine
—
Ninth. Acknowledgments are hereby extended
*
H. R. Palmer. I
New \rork, Sept. 21st, 1894. I
 — ; — — — — —

SIGHT READING EXPLAINED

From a New Standpoint.*
By H- R. PALMER, JWus. Doe.

In a general way music may be said to be governed Sol-—-Super-dominant.

by two Rulers, viz the Tonic, which rules the tonal
:

realm, and the Pulse, which controls the rhyth- Ex. Tonic, Do
mical realm. These twin monarchs unite in the gov-
4.
y
i
ernance of everything musical should either be ;
r '

absent, confusion would enter immediately. So \Fa Sub-dominant.

fundamental are these two principles that a brief Note.— These syllable names (Do, Re, Mi, etc.) were origi-
used by Guido d’ Arezzo, taken from a Latin hymn
explanation of each is necessary before the first step nally
John, viz :
to St.

can be taken toward reading music intelligently. Ut queant laxis, Famuli tuorum,
Resonaire fibris, Solve polluti,
Mira gestorum, Labia reati,
THE TONIC. Sancte Johannes.
The Sa was added and changed to Si, (then to Ti), to mark the
The Tonic is to tones what gravitation is ma-
to half-step (like mi) ut became do, and all used as names of tone-
;

terial things gravitation be suspended all

;
if becomes relationships. Americans have always thus used them Euro- ;

chaotic, so without a tonic tones are incoherent.
As the sun is the center of the solar system
and holds the planets in perfect subjection, so the
Tonic controls all other tones, giving them charac-
teristics which vary according to the special rela-
tions which they sustain to this great central influ-
ence.
In all our bolder modes (major), this Tonic is
called Do. The tone next above the Tonic is the
Super-tonic called Re (pronounced ray), and the tone
next below the Tonic is the Sub-tonic, called Ti
(pronounced tee). If the Tonic, Do, be represented
pean nation*, having lost sight of this use, employ them as
names of pitches. As a protest against this narrow use of the
syllables, the American plan was introduced into England
some forty years ago, resulting in what is known as Tonic Sol
Fa, with "this difference, however, that Tonic Sol Faists do
away with the staff, using a letter notation. In all other
respects the Tonic Sol Fa system is our American plan of sol-
fa-ing from the Tonic.
The complete relationship of these tones to their
Tonic is shown in the following example:
Ex. 5.
Sol. Super-dominant, or 5th above the Tonic.
I

e.-ye
— Super-mediant, or 3d above the Tonic,
Super-tonic, or 2d above the Tonic.
by a line, the super-tonic Re and the sub-tonic Ti o.<fe Tonic or Ruler,
An
will be represented by the spaces above and below
the line respectively, thus :
i

— Sub-Tonic, or 2d below the Tonic.

Sub-mediant, or 3d below the Tonic. *

Re, Super-tonic.
— Sub-dominant or 5th below the Tonic.
Ex. 1. Tonic, Do- A family of tones related according to the above
Ti, Sub- tonic.
scheme, is called the Major Mode of a key, and it
should be particularly noticed that these syllables,
Such is the influence of the Tonic on these two Do, Re, Mi, etc., are used only because they are more
tones that they both tend towards the Tonic; i. e., singable than the names Tonic, Super-tonic, Mediant,
after singing either the most natural movement is to
etc., and that having been thus used so long, they
sing the Tonic, Do, thus :
have become the names of intervals, thus: Do-re
always indicates a major second up from the Tonic, or
Super-tonic Re'
a minor 7th down from the Tonic; Do-mi always
Ex. 2. Do, Tonic.
Sub-tonic denotes a major 3d up from the Tonic, or a minor
6th down from the Tonic; Do-sol always means a
When a voice or part moves according to its nat- perfect 5th up from the Tonic, or a perfect 4th down
ural tendency, it is said to resolve: hence the super- from the Tonic while singing Do the mental effect
;

tonic Re and the sub-tonic Ti resolve to the Tonic of the Tonic should be felt; and while singing lb*
Do, as shown in Example 2. one should be conscious that the Tonic is a major
The third tone from the Tonic, either above or second below, so that Re always means Super-tonic ;
below, is Mediant
above, it is Super-mediant, called
if Mi is only another name for Mediant, and should
Mi (pronounced mee) if below, it is Sub-mediant, always be sung with the consciousness that the Tonic
-called La. Thus: — ;

is a 3d below and a 6th above while singing Fa one ;

* /Mi-
should always be impressed with the feeling that it
-Super-mediant.
Ex. 3. Tonic, Do^ — is a 5th below the upper Tonic (hence its name, sub-
dominant) and a 4th above the lower Tonic (it will be
« \La» -Sub-mediant. remembered that we reckon both up and down from
our Tonic) Sol is always Dominant, La is always
These tones Mi and La are not restless like Re ;

Sub-mediant, and Ti is always Sub-tonic.

and Ti, consequently do not require resolution nev- :
This family of tones, if represented in scale form,
ertheless their relations to the tonic are as inflexibly
fixed, for Mi is always at the distance of a major (or
would appear thus:
large) third above Do, and La is always at the dis- Ex. 6. The Scale.
tance of a minor (or small) third below Do.
The fifth tone from the Tonic, either above Or
Tonic.
Sub-tonic,
- — <2? Do.
Ti.—
below, is Dominant; if above, it is Super-dominant, Sub-mediant. * & La.
Super-dominant. Sol.
called Sol if below, it is Sub-dominant, called Fa.
; Sub-dominant.- & Fa.
Thus: Super-mediant* Mi.
Super-tonic. & Re.
Copyright, 1890, by H. R. Palmer. Tonic. Do.
(3)
 : —
— — —— ;

4 SIGHT READING EXPLAINED-

This scheme of relationships being thoroughly pulses, and consequently the beats, should follow
understood, it only becomes necessary to ascertain each other with unvarying frequency and regularity.
where the ruling tone (Tonic or Do) is represented, If a group consists of one strong pulse and two
when all the other tones will be found to follow the weak pulses, it is called three-pulse measure, or
unchanging order of kinship, as indicated above, Ex. 11. Triple Measure.
e. g.:
S. w. w. S. w. w. S. w
T
w. S. w. w. .

Ex. 7. Boylston. S. M.
JJJ JJJ JJJ JJJ I
m M
w _
^ M «
I

123 |

123 |

12? |

12?
( The figure
* 3 at the beginning is the sign of Three-
-Do. . pulse Measure or Triple Measure.)
Sol, mi, fa, sol, la, sol, Do, do, ti, la, la, sol,
The beats in triple measure are Down, left, up.
The pi - ty of the Lord, To those that fear His name,
Example 11, with the beats indicated, would appear
thus :

* m * *
"
£2
G m M Ex. 12.
S. w. w. S. w. w. S. w. w. S. w. w.
Sol, mi, fa, sol, sol, la, ti, do, Ti, do, la, sol, sol, sol.
Is such as ten-der parents feel He knows our feeble frame. ;
JJJ I
In the following example Do is represented by the D.L u. D. 1. u. D. 1. u. D. T.u.
second line, Re will be on the second space, and Ti ( D stands for down, l for left, and u for up.)
on first space in fact, all the tones fall into their
;
Pulses group themselves only into twos and threes,
regular relationships to the Tonic:
so Double and Triple are the only true measures
Ex. 8* Old Hundred. L. M. but, for convenience in reading, two or more groups
are sometimes combined into larger measures thus, ;

— — dS — two double measures united form a

1

Do. iS a &^ w P
- — Ex. 13. Quadruple Measure.
Do, do,ti, la, sol, do, re, mi, Mi, mi, mi, re, do, fa, mi, re, s. w. S. w.
Praise God, from whom all hies sing flow. Praise Him, etc.

—
G v m ^ m
12 3
beginning indicates Four-pulse
4

^ m Ot
at . . ( The figure
or Quadruple Measure.)
4- at the

Do, re, mi, re, do,la,ti, do, Sol, mi, do, re, fa, mi, re, do. The beats in quadruple measure are down, left,
Praise Him above, ye heav’nly host; Praise Father, etc; right, up thus, Example 13 with the beats indicated
;

THE PULSE. would appear as follows :

While the Tonic with its relationships is of great Ex. 14.

importance, the Pulse is not less so in fact, they go ; s. w. s. w.
hand in hand, for, unless accent and duration are
i
i i

m
I
1 1 I

expressed, tones are meaningless. Pulse is the name

given to the mental pulsation of which all are con-
1 f 3 4
D. 1. r. u.
scious while listening to music intelligently. It is
that sensation which prompts us to beat with hand As will and third pulses
be seen the first of this
measure are strong, resulting from the union of two
or foot in time with the “ merry sound of viol” or
other lively music. double measures.
In music we have both strong and weak pulses: Again two triple measures may be combined to
a strong pulse being always followed by one or more form one
weak ones, thus forming groups of pulses which are Ex. 15. Sextuple Measure.
called measures; a measure, then, is a group of s. w. w. S. w. w.
strong and weak pulses if the group consists of one ;

strong pulse and one weak pulse, it is called a two- 6

pulse or Double Measure. A short perpendicular 1 2 3 4 5 6
line, called a bar, is always followed by a strong ( The figure 6 at the beginning is the sign of Six-pulse
pulse in fact, bars have no significance except to
; or Sextuple Measure.)
show the strong pulses, e. g. The beats in sextuple measure are Down, left,
left, Right, right, up. Thus, in Example 15, the beats
Ex. 9. Double Measure. may be shown as follows: —
S. w. S. w. S. w. S. w.
Ex. 16.
s. w. w. s. w.

6 J J J i

J J \
(S stands for strong and w for weak.).
1

1 2 f 4 5 6
A leader usually indicates the strong pulses by firm D. 1. 1. R. r. u.
downward strokes of the hand or baton and the weak ,
Observe that the first ; and fourth pulses
ones by upward strokes. In example No. 9 the as tiie result ui uniting twy mpv.
strokes may be shown as follows :

In rapid movements it is usual to beat only tho

strong pulses of sextuple measure, reckoning three
Ex. 10.
pulses to each beat, thus :

S. w. S. w. S. w. S. w.
Ex. 17.
2 j J J | J J | J J | J J |
w. w. S. w. w.
Down, up, d.up, up, d. up.
d. s.

The figure 2 at the beginning is the sign of Two-pulse

( 6 J J J t
M a sure or Double Measure.) 7 2 3 4
These strokes of the hand or baton which are the ,
D. U.
outward manifestations of mental Pulses, are called
beats hence, indicating the Pulses by motions of
; In beating and counting this measure, we substi-
hand or baton is called beating. In beating, the tute the word ‘‘Down” for the count one, and the
* Musicians will understand that the placing of I)o at the
word “Up” for the count four, thus :— Down, two,|
beginning in this exercise is equivalent to clef and signature. three, Up, five, six.
 —— ! ; — —

SIGHT READING EXPLAINED. 5

If we unite three triple measures, the combination Ex. 24.
will result in one
w. S. w. w. S. w. w. S. w. w. S. w.
Ex. 18. Compound Triple Measure.
S. w. w. S. w. w. S w. w.
^8 Do &
9 |

*23
J
5 6 7
J
8 9
(The figure 9 at the beginning is the sign of Nine-pulse
J j
4
J J |

Sol, do,
(—

do, re, re, mi,

±=
re, do.
or Compound Triple Measure.) u. D. 1. u. D. 1. u. D. 1. u. D. 1.
The beats in this kind of measure are on the O God 1
our help in, a- - ges pas*
strong pulses only, reckoning three pulses to each Observe that the measures in the above exam p e
beat, thus: are three-pulse, or triple, and that each measure is
Ex. 19. filled with a half-note and a quarter note, being
s. w. w. s. w. w. s. w. w. equivalent to three quarter-notes in a measure this ;

1 1 1
1 1
j ]
1
fact should be recorded in the beginning by the
fraction f, the numerator 3 denoting triple measure,
1 2 3 4 5 6 7 9
D. - - 1.
— - u.
and the denominator 4 signifying a quarter-note to
1 1

the fraction
11

each pulse; f, then, indicates that

It will fourth and- seventh
be seen that the first, “Three quarter-notes, or their equivalent, will fill a
pulses are strong, owing to the union of three triple measure.”
measures. Example 24, w ith only the words and the notes, T

By uniting four triple measures we obtain one would appear thus :

Ex. 20. Compound Quadruple Measure. Ex. 25. The Fraction.

S. w. w. S. w. w. S. w. w. S. w. w.
12
I JJJ
1 210 11 12 3
JJJ6
4 5
JJJ
7 8 9
JJJ
4 M
7^ & ±
( The figure 12 at the beginning is the sign of Twelve-
O God! our help in a - ges past.
pulse or Compound Quadruple Measure.)
The beats in this kind of measure are only on the Therule for applying words in singing is “Apply :

strong pulses, and, as in ordinary quadruple meas- one syllable of the words to each note in the music?’
ure, are Down, left, right, up, reckoning three pulses Observe that the first two pulses in each of the
to each beat, thus: — measures in the above example are united, as shown
by the half-notes this way of indicating the union ;
Ex. 21.
of pulses is always used when the tones to be united
S. w. w. S. w w. S. w. w. S. w. w.
are on the same pitch; if the syllable and melody
12
JJJ
1 2 3
J
4
J*
5 6 7 8 9
JJ
10 11 12
I require two different tones, the union would be

D. - - - - - shown by a curved line called a Slur e -9- :

| |
1. r. I u. ^ J^jJ >

The first, fourth, seventh and tenth pulses are Ex. 26.
strong, resulting from the union of four triple meas-
ures. S. w. w. S. w. w. w. w. S. w.
The following diagram will show the motions
the hand or baton in beating the various kinds
measures :
of
of
i—— t. i-

Ex. 22. Do, do, do, do, ti, do, re, mi, re, do.
DOUBLE. triple. quadruple. SEXTUPLE. D. 1. u. D. 1. u. D. 1. u. D. 1.

Sun of my soul, Thou Sav ior dear.

Notice that the notes of the first two pulses in the

second and third measures are united by a slur.
The rule for applying words in case of the slur is:
“Apply one syllable of the words to as many notes
as are so connected.”
Example 26, if printed with words and notes only,
I I

NOTES.
13 2 1
would appear
Ex. 27.
as follows

The
:

Slur.
The duration of tones is indicated bv characters
called notes; the whole note (es) shows that the
tone must be sustained four pulses; the half-note
Sun Thou Sav
of my
ior dear. soul, -

(J) indicates that the tone must be held two pulses Sometimes it is desirable to continue a tone through
the quarter-note
(^) denotes that the tone is to con- three pulses, as indicated by a dotted half-note
tinue only one pulse. Two or more pulses are fre- l
). If a tone is to be continued through four
quently united to express the quantity of emphatic ( #

syllables or words; for instance, the line pulses a whole-note (cd) may be used.
“ O God our help in ages Cases occur in which a tone must be continued
past,” !

ip naturally resolved into triple measure

beyond the bar, or longer than can be expressed by
with the a whole-note; in such instances the continuation is
first two pulses united, thus :
indicated by a curved line, called a Tie. The follow-
Ex. 23. ing quotation from the oratorio of the Messiah will
W. S. w. w. S. w. w. s!~w. w. s7*w.
illustrate this idea: —
3 1
i 1 1
1
Ex. 28. The Tie.
«? 1
» I G? 1
\ 1

1 c?
3 1 2 3 1 2 3 1 2 3 1 2 King of kings, . . .and Lord of Lords,

u. D. U. D. u. DM. DM.
—
1. 1. u.
O God our help in a -
ges past.
4j>^i
^ OJJiOj 11 Hint oil dill
LVJ tilt;
4^:
tune Ortonville, would appear as follows: — r. u. D.l.r.u. D.I.r.u. D. 1. r. u. D.l.r.u. D.I.r.a.
 » — — — 1
! — ——

6 SIGHT READING EXPLAINED.

( The fraction £ at the beginning denotes that four Ex. 33. Uneotlat. Doublets.
quarter -notes, or their equivalent will fill a measure. ,
D. 1. r - u. - D. 1.
The difference between the Slur and the Tie is .

that the Tie represents the connecting of tones i

1
:
n
which are on the same pitch as shown in Example 5 k.
mK
Tn® w _ *s ^^
'

, i Xj\
i

_ S
4P
28; while the Slur denotes the uniting of tones
•

which are on different pitches, as shown in Ex. 27. Mi, mi, mi, re, mi, fa, sol, mi.
we gath the riv - er. Shall - er at
DOUBLETS. The Eighth-note as a Pulse-note.
* Thus w e have seen that pulses can be united they
r The eighth-note is frequently used as a pulse-note,
;

may also be divided that is to say, two or more particularly in sextuple measure thus
;
;
:

tones may be performed in the time of one pulse. Ex. 34. s._ w. w. s. w. w.
If a quarter-note represents the time of one pulse, 6
and we divide that pulse into two equal parts, each 8
half-pulse would be indicated by an eighth-note

( j^),
and such two equal parts are call Doublets:
J*
D.
J*
-
J* J*
up. |

i
1*34 I

i :

If we unite the first three pulses of the above

Ex. 29.
rfcr—
^
—
Eighth-Notes— Doublets.

w m m
.J
jS
S
"]

m
example by means of a dotted quarter-note, we have
a familiar rhythm, as follows
Ex. 35.
1

m
ft.
I
:

**
Ik.

-v— — 1

D. up - - D. up. D. up - - D. u.
Sol, sol, do, do, re, mi, do, re.
u. D. - 1. u. D. - 1.
—
—
I

I
—1

Mv days are glid - ing swift - ly by, - ^ q"°L Ur ^ r

Q i
-W-' P-=- jr
L r \Z r ^rwr^-
V- * V
1

ti.
Observe that the first two notes in each of the Mi, mi, fa, mi, re, re, Do, do, re, do, ti.
above measures are eighth-notes, two of which must Yield not to tempta-tion, For yielding is sin.
be sung in the time of one pulse. Each of the dotted quarter-notes in the above
Example 29, with only words and notes, would example equal three eighth-notes, and therefore fill
appear thus :

one-half of the measure. Thus the rule: “The dot

Ex. 30. adds one-half to the length of the note which pre-
cedes it,” will be easily understood.
-fc z ,
" ~~1 —N
5T
— RESTS.
1
f

1 ftrO*
IS
m
1

9 1

Sometimes pulses must be passed in silence; this

w is indicated by characters called rests, which corre-
My days are glid - ing swift - ly by,
spond in length to the several notes, and are named
similarly, to-wil the whole-rest (-»-), the half-rest
THE DOT. ,

(--), the quarter-rest (r), the eighth-rest (**!), and

It is frequently necessary to prolong a tone through the sixteenth-rest (|j).
one pulse and one-half of the following pulse this is ;

done in effect thus :

Ex. 36. Notes and Their Corresponding Rests.
Whole. Half. Quarter. Eighth. Sixteenth.
Ex. 31.
S. w. w. S. w. - w. S. w. w. S. w. - w. 7T> » 7*^2 -ra jm p ~M' •

H" w ^
t= -U V -p-

DIVISIONS OF THE VOICE.

Ladies who can sing high more easily than they
Do, do, re, ti, - do, re, mi, mi, fa, mi, - re, do. can sing low, are called Soprano Singers ladies who ;

D. 1. u. D. 1. - u. D. 1. u. D. 1. - u. can sing low more easily than they can sing high,
My country, ’tis of thee, Sweet land of lib - er - ty, are called Alto Singers. The notes for these voices
It will be noticed that in the second measure the are usually printed on a single staff which is marked
second pulse is divided, and the first half is tied to by a character called the Soprano or Treble
the quarter-note of the first pulse. In all such cases Clef i

the word or syllable must be held through the first

pulse and one-half of the second pulse this effect is
Ex. 37. Soprano and Alto. ;

repeated in the fourth measure. Instead of repre-

senting the divided pulse by two eighth-notes, the !

first of which is tied to the previous quarter-note, it

is customary to let a dot stand for the first eighth-
note, as in the second and fourth measures of the 1

following example:
Ex. 32. The Dot.
L tfO 1 ,

!
i

> J
~i —ns ,

L* L|
-l 1
L

My country, ’tis of thee, Sweet land of lib - er - ty,

( The dot in the second measure
equivalent to is an
eighth- note ; the same in the fourth measure.)

UNEQUAL DOUBLETS. l I —
Com fort, strength-en
- and keep you.
The dot also used to show that a pulse is divided
is
into unequal doublets i. e., the first half of the doublet ,
Gentlemen who can sing high more easily than
is prolonged and the last half is correspondingly they can sing low, are called Tenor Singers gentle- ;

men who can sing low more easily than they can
shortened, in w hich case it becomes necessary to use
T

sing high, are called Bass Singers. In our ordinary

a note one-half as long as an eighth-note such note
is called a sixteenth-note (Jfc). Psalmody the notes for these voices are usually
In the following ex-
printed on a single staff, which is designated by a
ample notice that the third and fourth pulses are
divided into character called a Bass Clp:f thus: i
 SIGHT READING EXPLAINED. 7
Whensharps ($) are placed on the staff just after
the they form a Signature, or sign, showing
clef,
where to find Do or Tonic. An infallible rule is that
the last or right-hand sharp is always ti, and Do is
on the next degree above. In reading the Soprano
and Alto of this tune, notice that the last sharp in
the signature is on the fourth line, which thereby is
made to represent Ti the next degree above it is
;

Do, and by reading down through the octave the

Soprano will be found to begin with Mi and the
Alto with Do. On the Bass stall' the last sharp is on
the third line, which represents Ti; the next degree*
above is Do, and by reading up to the Tenor it will
be found to begin with Sol.
Sing boldly it is better to make mistakes and cor-
;

rect them than to hesitate.

We may now bring Examples 37 and 38 together
and connect them with a character called a Brace,
Our next tune (Huguenot, page 86) is one that
has all the elements of great strength at the same
time it gives us a glimpse of what the church music
writers of 350 years ago could do. Like “Old
Hundred,” it is full of majesty its melodic compass ;

thus showing the four parts (Soprano, Alto, is even less, for while the melody of “ Old Hundred
”
| jj,

Tenor and Bass) as they usually appear in our
Church and Sabbath-school music.
involves a full octave (sol to sol), this requires only
seven degrees (ti to la).
A new feature will be found in the seventh and
thirteenth measures of the Alto, and in the eleventh
measure of the Soprano, viz.: a sharp (#) before the
note fa. This leads us to explain that between cer-
tain contiguous tones of our Scale there are Interme-
diate Tones; thus between fa and sol, the interme-
diate tone is sharp-four, called Fi (pronounced fee).
This tone belongs to sol that is to say, its tendency
;

is up to sol, and sol follows it immediately with rare

exceptions. In the eleventh measure of the Soprano,
the last note has a sharp before it, which indicates
the intermediate tone half-way between fa and sol,
e. g.:—

Ay
pH iLm
.
_
-
^ ,iJ
u
ti
slz. L _ u
%)
fi, sol.

Also in the seventh and thirteenth measures of

When flats ((j) are placed on the staff just follow- the Alto the same tone octurs, but in a lower octave,
ing the clef, they form a signature or sign, showing thus:

where to find Do. An infallible rule is that the last Ex. 42.
or right-hand flat is always Fa, and Do is on the fifth 7th Mean. 13th TOeas.
degree above, and the fourth degree below.
Having followed the foregoing remarks closely, we
are prepared to undertake the reading of a few HP IP
tunes. fi, sol; fi, sol.
Turn topage 135 and study. the tune “Yield not
There are four beats to each measure, after the
to Temptation.”
following scheme :
—
Observe that the signature consists of two flats,
the right-hand flat being on the fourth space, which Ex. 43.
thereby represents Fa. Read down and find that
the Soprano begins on Mi and the Alto on Do. The D. 1. r. u. D. 1. r.u. D. 1. r. u. D.l.r.u.
Tenor and Bass join the harmony at the Chorus.
In reading these parts notice that the right-hand
flat in the signature is on the third space, and there-
by represents Fa. By reading up to the Tenor it
will be found to begin with Do, and by reading down
from Fa, the first Bass note will be found to be
Do. Observe that the signature consists of only one
Sin g firmly but not loudly a soft tone may be firm. sharp (on the fifth line), which therefore represents
Let the expression of the sentiment of the hymn be ti (subtonic). The next degree above it is Do; by
of first importance. reading down through the octave, the second line
In the tune “Hark! the Voice of Jesus Calling, will also be found to represent Do; read further
i

page 74, which we will now consider, there are two down and it will be seen that the first note in the
beats in each measure, according to the following Alto is Sol.
scheme :
— In reading the Bass and Tenor, notice that the
sharp in the signature is on the fourth line, which
Ex. 40. thus represents ti; the next degree above is Do;
|

read up and find that the first Tenor note is mi.

The hymn, though not so old as the tune, was
j

written nearly 150 years ago. It is an attempt to

express the loftiest thoughts of which the human
!

mind is capable, and should be sung with full, re-

Mi, mi, mi, mi, fa, mi, ml, do, mi, re, re. sonant voices, and with an enthusiasm which is in-
Hark the voice of Jesus eall-ing “ Follow me.”
! spired by the contemplation of the illimitable grand-
8 SIGHT READING EXPLAINED.
eur, the inconceivable power and majesty of the
“Eternal God,” the “Great Unrivaled One.” Thin,
throaty tones can never give adequate expression to
so lofty a subject.
The singer should stand firmly on both feet, erect,
with shoulders thrown back, chin slightly elevated,
a deep breath in the lungs, and sing with a large
tone.
Our next tune, “In Heavenly Love Abiding,” page
The hymn is peculiarly graceful, and is adapted to
an exquisite melody which was written by the fam-
ous pianist Thalberg.
The tune, “Jesus, Lover of My Soul,” page 102, is
very inspiring when sung by the congregation, and
is also effective as a quartette. Several new features
are to be explained: first the letters p, /, ff, cres. and
the marks <
>, etc., have reference to the expres-
sion (loud and soft) p is the initial letter of the
;

If? 2, we find the signature consists of three flats. On word piano which means soft; / stands for forte,
,

the higher staff the flat farthest to the right is on loud ff means very loud cres. means increase the
the second space, which thus represents Fa, and, by
;

power, and the <>

denote first to increase and
;

(reading down we find the first note in Alto is Mi,
and first in Soprano is Sol. The last flat of signature
on Bass staff is on the first space, which is Fa, and
we read up to first note of Bass and find it to be Do,
and by reading up to the Tenor we find that it be-
then to diminish the power. Sharp-two (Ri) is indi-
cated in the twenty -first measure of Alto by a double-
sharp (x). In the twenty-eighth measure of the
Alto we have, for the first time, an intermediate tone
which tends (downward namely, a fiat. Being half-way
,

gins with Sol. between seven and six, it is fiat-seven, called Te (tay).
A new character appears several times throughout It is indicated by a cancel which here acts in the ,

this piece, which is called a Cancel (jj), inasmuch as capacity of a flat ()?), because the signature consists
it cancels the effect of the flat in the signature. In of sharps, e. g .:
tunes which have flats for signatures this cancel (£j)
usually has the effect of a sharp, as will be seen in
the first and fifth measures of the Soprano, where
sharp-four (Fi) is indicated by a cancel, thus: —
If
fo=t&= ——-*1— — .

y
2
fi, sol.
The beats are as follows :
—
The same effect is produced in the Tenor in the Ex. 52.
first, fifth, seventh, twelfth and fourteenth measures,
thus :
— l57l. u. DM. u. D. 1. u. DLu.

Ex. 45.
m 1 m
-1

,
-1
&
Sol, mi. mi, do, re, mi, re, do.
fi, sol.
Jo - sus, lov - er of my soul.
Four other intermediate tones occur in this piece,
viz.:sharp one, half-way between Do and Re, called While
this piece is more difficult than the others,,
Di (dee) in the sixth measure of the Bass, thus: has so beautiful a melody, and is so smooth and
it
natural that no trouble need be anticipated.
Ex. 46. •
We will conclude our studies with the hymn, “I
(£9 ^Qpp ^
*
§ On»e was a Stranger,” page 150 which involves many
of #he points in the foregoing Examples, viz.: Triple
di, re.
measure, dotted quarter-notes, eighth notes, sharp-
Sharp-two, half-way between Re and Mi, called four (Fi), crescendo, The beats occur thus:
ff, etc.
Ri (ree), occurs in the Alto in the first, fifth and
fourteenth measures, thus: Ex. 53.
u. D. 1. u. D. 1. u. D. 1. u. D. 1.

— r
Jj OT)o k
N 1
i

m !

*
.J
• ia !

fct=
Ji
** •
& <T
!

Sharp-five, half-way between Sol and La, called Sil n °' Sol, sol, mi, fa, sol, do, la, sol, mi, fa, sol.
(seel), in the eleventh measure of the Tenor, thus: — I once was a stranger to grace and to God.
Ex. 48.
All of the stanzas must be sung to complete the
story of transition from the state of “A Stranger”
sil, la. to that of utter self-abnegation which enables one to
And sharp-six, half-way between La and Ti, called “ Drink at the Life-giving Fountain.”
Li (lee), in the sixth measure of the Soprano, thus :— I have taken the liberty of changing the Hebrew
word Tsid-ke-nu (the Lord of righteousness), which
Ex. 49. occurs in the original, using the words “ Lord Jesus”
instead.
In singing this piece there should be a steady in-
crease of power throughout the third line, culminat-
All these intermediate tones are used so naturally ing in a grand climax on the word “Jehovah,” at
that ordinary singers will scarcely fail to sing them which point all possible tone (consistent with pur-
correctly, especially if led by a good instrument. ity) will not be too much to give adequate expres-
The following scheme will show the beats and sion to the sentiment of the hymn.
pulses of the tune : In leaving this subject I wish to emphasize what
Ex. 50. was said in the opening sentence, viz.: that the
fi 12 3 45 6 123 45 Tonic and Pitlse are the twin monarchs which unite
in the goverance of everything musical ;
should
either be absent confusion would enter immediately.
The singer or player should never for an instant
lose his mental grasp of the Tonic or the Pulse, for
the absence of either of these tyrannical Rulers
indicates the cessation of certainty and the be-
ginning of guess-work.
 JUNIOR GRADE.

Note— The teacher will find in “Palmer’s Class Method”* (see ££ 1 and 124 inclusive ), an explanation
in minute detail of the preliminary work which is absolutely essential before opening this book.

No. 1. Sing first by syllables, and then by words, after having the class commit the Rule for applying
words. ( See “Class Method” ££ 125 and 129 inclusive.)

j- _ Zj
'
—
—9 — m
j
i—
—M- W~ - J
1

-
=1
0 «
j 1
i 1
1 ]

J- 0
1

J— j

1 t - : i
i 1 Ttt ~0~ —=:={—
.
-9-
Do, Re, Mi, Fa, Sol, La, Ti, Do, Do, Ti, La, Sol, Fa, Mi, Re, Do.
My days of praise shall ne’er be past, While life and thought and be -
ing last.
1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1

No. 2. Explain the Double Bar and The Close. ( See “Class Method,” ££ 130 and 139 inclusive.)
( Sing first by syllables.)

Sing - ing, sing - ing, gai - ly sing - ing, Hap -

py birds their songs are trill - ing.

(-
I
^
1

^
1

9
1

9
1
1 1

. .
9
1

9
j
=1
q
d
=1
q
=j
9
m zj
*
1

q
0
1

-1
9
—
r

:9:
:
— :
i
Pfi
pH
LU
Sing - ing, sing - ing, gai - ly sing - ing, Hap -
py birds their songs are trill - ing.

No. 3.

q
tzzzqzzzg
|Z — zi
9 .q
* q
—j p
9
d
0 ___m
d .

» -« * * 7T d —4— EH
Do, Re, etc.

Let us forth with - out de - lay - ing, Thro' the pleas - ant mead - ow s stray -
t
ing.

No. 4. Give the Rules for Breathing. (See “ Class Method,” ££ 140 and 144 inclusive.)

t
E
=d—J—s v i
1

a
1

^
T

*
1 q
-«
q—
*
r~ —
-
i

-
q— q
* * d
-• *-i
— —*— *=i -
-
1
d d H

Shake the pop - per, shake the pop - per, Hold it where the fire is hot - ter,

p—
Y -9 «
3" a 3~J
m m *
p
1*1
p
— a
|
1
3
—m 1

9
1

dJ
t
— 1
-h —
fh
hH
& 0 - 9 -

Gold - en ker - nels white are turn - ing, While the fire is burn - ing, burn - ing.

No. 5.

r—F=3*
Hark
ij- — 91
what mean those ho
a
m 3 — :
<- 3“=3=
* + 3
0 —Jr 0 —d*
_q =3 a
— 1
-h

1 U
! - ly voic - es ? Lo ! th’ an - gel - ic host re - joic - es.

E=f —q—*— —* * 3—q 3 :

=
* - * ^ 3E_T
List - en to the won-drous sto - ry, “ Glo - ry in • the high - est, glo - ly.”
Palmer’s Class Method of Teaching the Rudiments of Music.” The John Church Co., Cincinnati, O. Price, $1.00.

( 9 )
 t — 1 — — r — ; ; 1
:

10 GRADED STUDIES.

No. 6.
i

F=
i —
— =j J J —j—j— __| j

^
j j
Pj

P
j 1

-J.
Peace on earth, good will from hea - ven, Reach-ing far as man is found

No.
—— — —
7.

L
-i
S •
1

^ P
i-

9
j

*
;

1
— - . - .

—
i

P
,

-j

M
,

rnt-
— L
B

Souls re - deemed and sins for - giv - en ! Loud our gold - en harps shall sound ;

No. 8. (Nos. 6, 7 and 8 may be sung together.)

F==S—
l — i

*
1

-
—!=£—m—*m ~ —
t ^ H
*
' '

J
^
d
P J
• f_
p p
p
' p:
j— -

Souls re - deemed and sins for - giv - en ! Loud our gold - en harps shall sound.

No. 9.
r
r ~
zJ
i

Teach me
zJ
.

d
some me
!

-
d
lo -
^
dious meas
i
~i
P
-
P
—

ure,
i

H Sung by
,
rap
d
-
d
m
tured saints a
zj=r[
P 9
-
_^L
bove.
:

I~
r
|
No.
--
1
10.

— i
—
~
,

1 —w zj
i
—
j*
i
}
P m
P
^
p
rz m
i

-J .
—i—
rp
m
—m m*
,

_J
m
[

9
1

.j
w
1 f.
rn
:1
_ 1
-

J p j \ J i

>-
List - en to the won-drous sto - ry, Which they chant in hymns of joy ;

No. (Nos. 10 and 11 may be sung together.)

r
r
|- — ,
11.

— ,

M l
.i|
1

P I r1
P
mu P m
iff -j
P_ 9
*
1
— _ (

-J— -H
1

t -
s
! i

3
,

j
i

-g
!

* *
zzi f1
\J [_ L
j
- M d
j
“Glo-ry in the high - est, glo - ry ! Glo - ry be to God most high!

No. 12 •
Explain Counting and Measures. ( See “ Class Method,” § § 145 and 186 inclusive. Sing
by syllables first. The first pulse should be strongly accented.

List
,

H
!
9
i
1

the birds are

“1
\~9
“1
J
—
^
sweet-ly
_M
1

i
lp
sing -
h
ing.
-=s 3- -4—
Thro’ the woods their
-4-
J F
LJ
mu -
^ L:_T —
J-
sic
P
ring
'

- ing

No. 13. Mav be sung in connection with No. 12.

H —
==—
Would that
1
*

we might know
1 their glad-ness, In the time of
i
woe and sad -
--W
— t:
ness.

No. 14. Explain the Tie. [See “Class Method,” $ £ 187 and 204 inclusive.)

No. 15. Explain the Long Note. ( See “Class Method,” 205 land 219 inclusive.)

Do, do, re, . .

wrn^^m =P
-p-

de
Firm - ly stand, Na - tive land, Truth and right thou’lt e’er - fend.

No. 16. This exercise is not to be sung. Read it by syllables twice forward and backward.
S paces. I Lines. I

E • ~ ^ j * •
:=zr±.
>-
-l I I

Do Do, mi, sol, ti, re, fa, la. do.

 t 1 — J —

JUNIOR GRADE. 11
No.
—wT~ j
17.

S
-J
~-=\
-
J
1

.
h
3
— -1 1

Jr- J
—
1

J
1

J
1
=d- 3 -^ H
-p hi
LJ
i

On our way, light and gay. Hand in hand we glad - ly stray.

J^ 0# J8 # (May be sung in connection with No. 17.)

cJ.
1
"

- J
1

*
1

p —
1 —«l
Shed
i
-
=1””"
^
-
L~+
-1

grance
q
J L

ev
w>
-
— tu
Sweet and rare, flow - ers fair their fra - - ’ry - where.

No. 19. (Nos 17, 18 and 19 may be sung together.)

H 1- 1-

Sha - dy bow’rs, sweet - est flow’rs, Come with Spring-time’s joy - ous hours.

No. 20.

le - lu - jah. Hal - le - lu - jah. A - men.

No. 21.
l
_l _J
: q _ q Z2. _
m
- — i
1
~
^ L -<s» —J l

J _ cl
l

—J «?
_ L_
L_[ZZ L

Come a - way, let us stray, ’Tis the mer - ry month of May.

No. 22. Explain The Slue. ( See “Class Method,” §§220 and 243 inclusive.)
i

—
ii
'
—j “1 tl -1 ... ...

i
H
1
’

^
1
"'i
LJc L_ j 1 1
-i -J .J
1
L »- <?-. —d d i

Joy - ful bells are ring - mg, Mer ry voic - es sing - mg.

No; 23.

There is no place so dear as home.

No. 24. Explain Seven below. (See “Class Method,” §§244 and 248 inclusive.)

Do, ti, do, Ti, do, re.

No. 25.

Swirl - ing, whirl - ing, falls the snow. See the snow - flakes come and go.

No. 26, Explain Two, Three and Four above. See “ Class Method,” 249 and 255
r
—*
— — (

-
—jm P
§§

* m
inclusive,

— pi”—
i

tn
t
b-t — P -

— i
7-^ — '

7±=
P2- iff

t—
(

1
j
1
1
—
— i
F
1
.

bit:, ld

No. 27. (Sing by syllables.)

„
Sol,
ml

la, ti, do, etc.

H
:=T
M . I j ; I

No. 28. This exercise is not to be sung. Kead it by syllables twice forward and backward.
Space.. i Line.
+ -W :*=f:
=*=it ±=±
Do, re,
 12 GRADED STUDIES.

No. 29. Sing first b y syllables.

Tho’ young birds in fly - ing fall, Still their wings grow strong - ger,

:f=p: r-=w
3=^ :^=M:
And the next time they can stay Up a lit - tie long - er.

——
—
1

t
No. 30.

^ =1
Sin g by syllables.

— .
J

1
— 1
.1
Lj P.
j
..
, —\ —
-p
t
i
— 1
i
P
4—
m
|
r
t—
P

• 31. Explain the Short Rest. ( See “ Class Method,” § § 256 and 274 inclusive.)

E -P— Pzzzf: H r
3
No, no, no, no, no, no, no, No.

i I-
Yes, yes, yes, yes, yes, yes, yes, Yes.

No. 32.
4 1- -I I-
4 -f=-
P:

Off, off, off we go, To the woods where wild flow’rs grow.

No. 33.
E—=z-=zz:q:
E^^=P: P P P —P: P==J:
4—

P P 8
Sing and rest, Tis a test, Watch each note, ob - serve each rest.

P—
No. 34.
=i *— **
— i — - = m r r
i m ±= -T-
_i 1

Af - ter la - bor then com - eth rest, sweet, sweet rest.

No. 35. Review Skip of a Third. ( See “ Class Method,” §§46 and 58 inclusive. Also §§ 275 and
284 inclusive.)

4
—
j—
1

-+
EE=rZZazj
1

3 ^d
1 1 1

-4 TSf

p— p W
H —J— —
— H
'

1—
'

_j
-
-r=3—
P =2
|
^
P P. _ ...
J' — 3? P
4-
7-3
b=T
1

J. 1 : j
 i \ — ;

JUNIOR GRADE. 13

Jfo, 36. Explain Skips of a Fourth, Fifth, Sixth and Octave. {See “Class Method, ” U 275
and 284 inclusive.) Sing by syllables.
6th Measure.
5th measure. 7th measure.

27th measure.

35th measure.

No. 37. Skip of a Seventh. ( See measures marked *.)

—
HP
h

m
i

— wt
P P-
1

Do, mi, etc.

*—p- ^

No. 38. Explain the Long Rest. ( See “Class Method,” $ 285 and 289 inclusire .)
W A. L.

— -
—
1

_4- r
| 1 !
i
1 -4 -

to:
While you sing and beat the time, Glance a - mong the throng

H -f-
+—— I-
H 1- H 1-

P P- p P-

If your hand’s not with the rest They must all be wrong.

No. 39. Explain the Brace, Melody and Harmony. ( See “ Class Method,” note 84 and $ 301.)

f- H 1-

0 0 3t * 0 --eT

Pleas-aDt voic - es blend in song, Har - mo - ny pro - due ing.

-4 -
H 4= —
i
1
1-

No. 40. This exercise is not to be sung. Read it twice by syllables forward and back.

Lines. Spaces. i

T
1-

t: j— P— H-

Do.
14 GRADED STUDIES
FOOT=BALL CRAZE.
Begging Longfellow’s pardon.

No. 41.

— — ""1

—& .

0_j
— -0 L
1

HP
1
- J J —m -J -4
0
-4
0 0
1

m d — _ tK
2_j
— S' u
Lives of great men but re - mind us We may rise though oth - ers fall,

—
L
—1 —
—4 — — — — —
—— —
—
—— H
0 u
1
1
1 1 1 i 1

\— 1

m 9
!
j
1 1 1 1 1
1

'0~
1

-0- -(S’-
1

—~
—& 1
1
— — j
r

H -
1

1
•
’1
1
1

" ^ -
m
L_
d
m -j
m m “1
m ,

i
1

-
id FH
td
0
,

~~ _ __L_ 1 J J 0
i

rH

And de - part - ing, leave be - hind us Foot-prints on a rub - ber ball.

0 — —^ —
__
-

J-
—|
=1-
1
-4—
m
-1
m
—J- 1 I
1

m
-
i

gp
— —I
0
® -
d
—* 1
—m ~
1

‘
1

-0-
j

1
— LU
_

No. 42. H. H. M.

1 1
_ = =T u _ . 5X39. - — 1 -P p 1

“
0 m : 2 : =j
1

Si - lence keep - ing, rest we here,

r c _ .

L.
'

RTOB1
_ p p .| ...
m

a—
i

d- 1
l

b L
0 0
i

L —&
Si - lence keep-ing, rest we here,

r=t=
iH =£2=

Mu SIC ring - ing, ring mg, sing with cheer.

— =1- " - - — 0 —
mg
^ =1
\=± — — —s — &> L-
3
1
J

Mu sic ring - mg, ring - smg with cheer.

Explain the difference between Ladies’ voices and the voices of Gentlemen. Explain the
No. 43.
Soprano Clef, Bass Clef and The Great Central Tone. ( See “ Class Method,” from Note 86 to $ 390.

No. 44.

Do, Re, Mi, etc. Do, Sol, Mi, Do, Sol, Sol, Do.

No. 45. Explain the Tenor Clef. (See “ Class Method,” § 532 to Note 115.)

Do.
 J _ j = — 11 | — 9 — — J
ii ;;; — i

JUNIOR GRADE. 15

No. 46 ,
Explain singing in Four Parts. (Se« Classification of Voices in “Class Method,”
notes 109 and 116 inclusive ; also $$ 513 and 554 inclusive .)

IL o—
j-
SOPRANO.
3—
mE—j—
Firm - ly
ALTO.
stand,
'

d— LJ
Na
i

- tive
J
1

land,
]„•
'

-J
—
Truth and right
1

|
™ §
J
de -
1

fend
g
bgZZIZZlH
fl

,£
-d=—d—
1 \

e
%) - 9 - -9
,
—
-
9- - 9
)

-
1
—
-
9
!

- - 9
!

-
—T— -
-!
9 -
— i

Firm - ly stand, Na - tive land, Truth and right de - fend

TENOR.
ur ( ( )
t i
.

1
—— ;

n
H
1MJ. 00 m cJ
^-zz: i^z:
-—j
m
-J „— ~zA
j
H
r,

Firm - ly stand, Na - tive land, Truth and right

6 de - fend
BASS.
—*^
m 9 .
=1 =1
“9 '
?=
±= PE =f= —=T= — :gl
i

=
F=q
— R
fl

J&Z
— — — :=q =T“ —9— — 1 -} 1— r=|
— 1
{

ft 40 — xJ
j

9
9 ^ '
’
'

“I
ar'
1

1 — fl
H
H

Then thou’lt be Tru ~ ly free, ] Free till time shall end.

— — ==Nn
—
i

i
:q_ zq
fctV
xlz
! !

jzJ 9 9 ~ * ..

^ ^ '
9
1

'
_
Then thou’lt be Tru - ly free, Free time end.
Uh * * _
till shall
——
9 mr,
—
1
4
-ISf * _9 9 fZJ i
_| r
hH
f l

9 A
. -

4nl-
11 " i
1-
i
4—
_l
i

4—
.

r~
4zz . I
m ! H

Then thou’lt be Tru - ly free, Free till time shall end.

w
4*42
Lp;
9— J
-J
m
~/=5
X-
—
“
cJ
9
n n
r
~ ~
— —tA
i

H rn
In
’-

i
r
i

rn
f

9
1
1

t z r TL ll

No. 4:7, Explain the writing of Four Parts on Two Staffs. (See “ Class Method,” note 117 paye 81 , .)

No. 48 Explain Triple Measure. See “ Class Method,” 402 and 422 inclusive.)

—
.

—
( $ \
—
n
57
“
— i i i

_ fb
— 9—9
|

rl
-9
sfi
( !

jg-9-9
1 1 1 1 1 1

*#—J-J. J.
Boys in a hurry, The girls in a flur-ry, The snow is now falling, It cov-ers the ground.

No. 49. Explain the Dotted Long Note. (

See
u
Class Method,” note 97, also § § 423 and 433 inclusive.

9=z9=zz*:
Sil - ver -
y bells, Beau-ti - ful bells, Rhyming and chiming their mel - o - dy swell;,

==E=====:z±E===:H±:==±==tz=fE==J=z=:t=fE— i=:t= i u
 1 — —

w GRADED STUDIES.
No. 50.
-4 1 1 *

— —1—4
w m
4— — 1
— 4— — |
FH
& m
1

=3=, J -A
m =t= J
Ed_^i LU
Fiine’s on the wing, Joy-ful-ly sing; Cheer-ful - ly, heart -i - ly, earn-est-ly sing.

JSL :g= g g_
? 3 m.: 22:

No. 51. Explain the Dotted Long Rest. (See “Class Method,” § 434.) Sing by syllables.

3 » * « ft
; :
*

m m ~ • m

ROUND FOR FOUR PARTS. Sing this exercise twice.

W - •

—W-
Ech -
0, List to the ech- oes from mountain and hill.

ROUND FOR FOUR PARTS. Sing this exercise twice.

3 Z£2ZE
-&4:
=£21 4 =
4:
± -O-

Ev - ’ry - where work to do, Work for me, work for you.

THE PIES OF OUR BOYHOOD.

No. 54. Sing first by syllable. Oraz.

W ell we re - mem - ber the fair days of yore ;

The old farm-house kitch- en with

?2=
±
bright paint - ed floor ;
Those days of our child- hood when Moth- er’s dear face II-

~ ..fr-
*
w .

lu- mined each cor - ner a - bout the old place ;

Those pies of our boy- hood we’ve

-<s-

m r- 1

not seen them since —The cus - tard, the pump-kin, the ap - pie and mince, So

jui - cy and deep, and so mammoth in size ! But then our dear Moth - er, She

1
1
1
r~~f^

t±
made her own pies, But then our dear Moth - er, she made her own pies.
Copyright 1894, by The John Church Co.

No. 55. This exercise is not to be sung. Read it by syllables twice forward and backward.
T Spaces. 1 Linus.
T
±
J^P _L—L =2: Z3t
* -
*
Do.
 — — — — —

JUNIOR GRADE. 1

No. 56. Explain Quadruple Measure. “Class Method,” §§ 435 and 445
—s——m
{See inclusive.)

r
7£
L A
f1 iiii
i
. 4- d-.
.i.i
.4= L-V apt rn
i

—^ i

s * m "
1 i

l
"
rn
.Li
r
_U

Sing - ing, beat - ing Four-pulse meas- ure. Down, left, right, up, Beat and sing.

No. 57. Sing by Syllables.

No
— ——
58. Sing first by syllables.

rzST* — n
st
T
ml
*
I
r
~m
1^
rtr.
25
1

Li .......
a
m
i
.
r
F .J
1

f t*
r
m 4
J

Skip to five, five to two, two to six, six to three,

rw
Iff** m
:.:..t..
m
tr—
.
[ p- II r
1
r* i

1
i

1
F*

:
t

eJ-
1
n

three to seven, seven to four, four to eight, five to one.

No. 59. Explain the Repeat. {See “ Class Method,” \ 446.) Sing first by syllables.

1. Where the .
A1 - pine rose is blow - ing, There the hunts -man builds his home,
2. Where the mount- ain, dark and drea - ry, Frowns up - on the world be - low,

W- 4=
±
From his couch at morn - ing go - ing, With the lark he loves to roam.
Rest - ing there, the hunts - man wea - ry, None such sweet re - pose can know.

No. 60. Explain the Whole Note. Give the notes their correct names. (
Whole note Half- note -
, ,

Quarter-note.) Explain the Fraction, Numerator and Denominator. {See “Class Method,” §§ 447 and
476 inclusive.

FJU mm—] — — “1
I

— y~
1
1

-aUd 0 - -
- H -|
“1
ttyW~r {•-'
I*r- 1
i
j

-S’-
tJ

No. 61. SPARKING SUNDAY NIGHT. (College Song.)

Respectfully inscribed to those who are guilty.

m— r__—w—^^—V—
— ~74 n—\—
-tS>- -&h
rtrr-4- —~t— —*
m —
— m
“ — 1 1

m m m W -- 0--
m w t: '"lZ— !

4— h
f f
t r
zJ
r

1 .L
!

... ._
1 1

L
-22 pn
Ul

1. Sit-ting in a cor-ner On a Sunday eve, With a ta- per fin-ger Resting on your sleeve
2. Star- light eyes are cast-ing On your face their light ;
Bless me ! this is pleas-ant — Sparking Sunday night.

3. How your heart is thumping ’Gainst your Sunday vest — Wickedly ’tie working On this day of rest.

4. “ Love ye one an - oth-er ” Min-is- ters re

! - cite ;
Bless me ! don’t we do it — Spark-ing Sunday night
 — — — — m————mr ' — ^ ! !

GRADED STUDIES.

No. 62. Sin £ by syllables.

b
f-
-<s>

icdj
—
—m d
m »- i ~
;p
—P ..
-

h
sd 1— Jfc
' 1
1
?TV(#
1
:r
H
f
1
£ _g 1
\m
.1..
r
1
.
r —#-q
L-

— VH— J
7 "i r
—
1 1 1 ;
*
w— r* as x:
W
!
~w
a
j

^
— j
i

< —1. —
i

—
>

J {
—
i

4 J j 1
.

-r-H r
arf -Af
m .J
1
if
JK J _J_
ts
<rji
_C-s! -O

NOTE. — Four-pulse measure is sometimes shown by “g,” and two-pulse by “ g,” instead of the fraction. These signs are
so indefinite (“g” shows or and “fjf ” or |-)> that they are very properly railing into disuse.

Explain beginning and ending with a fractional part of a measure. (See

{i
Class Method,”
!No» 03.
\\ 497 and 512 inclusive.)

r-
—— -;q. —
^ f) .

9
1

-d -J
**
1

p
J
•

~d~ — !
i
1— id d— m .gj .

\J*
;
1
J m -

oer . — — / _
2. A - way o’er the sea ! What plea-sure can be Like this we’re en - joy - ing, De-
3. A - float on the sea ! How hap -
py are we A - way from life’s hur - ry, Its

—
H 1

-4—=4= — —
^
i

# 1 •

id 1 *

3F t-tSJ

brisk as the free ;

A - way o’er the sea
be Like ours on the sea?
bus - tie and wor - ry l How hap - py are we, A - float on the sea!

No. 64. W A. L.

=P==
Shout a - loud for lib - er - ty, Shout a - loud, shout a - loud,

P
tmr
hw-
\J

& m
1
;
^ i
T ..r
1

:
r~
i ...
^
—
«*
t__zi
z=^_
t*
c:
y
(2
:
:

——
f*
1
- -

LU

Shout, we’ve gained the vie - to - ryl Shout! Shout! Shout!

No. 65. This exercise is not to be sung. Read it twice forward and backward.

h _ —» ±. t*
5
, m -p- -
T
Do.

This exercise is not to be sung. Read it twice forward and backward.

3
—— — = 7n—
——— — —3 w—W— — —
r* — — — —
Line*.
—~ m—m
i
-1
—
—
.
f
1
!
-*
j

i
1
1
!
1

i
'l

M
Spaces.
~~T
9
— T1
r~1
i—
-J J ^ — —
_dUzT J.JzgZMlZ-W 1-1
'
J

L
if

- m
1
1 i ! 1 j
1 1J
. 3
^it===- 1
 m S — J — m

JUNIOR GRADE. 19
THE BABBLING SPRING.
|fo, 06. Explain Choosing Notes. (See “Class Method,” § 554.)

br a i — 1
;

1
K 4a
ft m m
.J w ” 1

) -
!

—] -j * f

ma
!
_l _|
1
G7 -J

1. Bab - bling spring so bright and clear, Pleas - ant ’tis thy voice to hear;

Q± —
fcflA — |

1 1
— 1 j~ ~) —J J M
1

J — n~
9 P
i
1

^ i
— !
-

2. Oft in noon - day’8 sul - try heat, We have sought thy cool re - treat ;

H-H-3 1 ;

— <s> — |
1 <9 — 35* '

3. On thy mar - gin's grass -

y mound Are the ear - liest vio - lets found;

J m _J _l
'

m
1 i

m
7]
m
"J
a u m
i

u m
-J
—m
!

ai .
'
m. ~ r
w

E -s»-

List - en to the song we raise For we sing it in thy praise.

* &
And be - side thy sha - dy pool Sipp’d thy wa - ter clear and cool.

And our wreath crown’d heads we view, Pic - tured in thy mir - ror true.

m -w m-
-Z2.
=p=

No. 67.
F. Whitfield.
I NEED THEE BLESSED JESUS.
H. R. Palmer.

&=J
1. I need Thee, bless - ed Je sus ! For am ver -
y poor,

-r-3 j. i 1

j i
j ^
2. I need the love of Je sus, To cheer me on my way,

s
3. I need Theej bless - ed Je - sus, And hope to see Thee soon,

~3 » w
J ? ... ... * ... -r± * * EE
4. There, with Thy blood- bought chil - dren, My joy shall ev - er oe,
20 GRADED STUDIES.

I NEED THEE, BLESSED JESUS. Concluded.

" _
V == 1

f
—i——
- t-= — -Ttzn 1—
—m
1

m—
:_zp— —
—
|

'?T 9
1

22 fK
d c? '
- - -
9 S- *

A stran - ger and a pil - grim, I have no earth - ly store.

r\

H 3 ^ !&- •

mio guide my doubt - ing foot - steps. To be my strength and stay.

W zest

En - cir - cled with the rain - bow, And seat - ed on Thy throne.

at m
To sing Thy praise, Lord Je - sus! To gaze, my Lord, on Thee!

No. 681 Explain Eighth Notes. ( See ‘‘

Class Method,” §§ 572 and 599 inclusive.)

fczjs:
aTat
Mi, mi, mi, mi, mi, sol, etc.

No. 69. ROUND FOR FOUR PARTS.

Come, with gladness join our song, Do, ti, la, sol, fa, mi, re, do, mi, fa, sol.
 — ^9 — 9 — 1 9 J v 1

JUNIOR GRADE. 21

No. 74 .
LIGHTLY FALLS THE SNOW.
P,

CT)
JTO
\
~|S
*
N
0
fS
*
N 9
^
9
IS

&
1
"
ZV ZK “S
* ^
m
~ — + —
—z
1
-1

* m J wt:: 4pl j

1. Light - ly, light - ly falls the snow, Myr - iad flakes to - geth - er,

i)
/c~£ —
VvT ) 4- jS
'

'“S |S _.'S S 1
1 j

tr * -m- -9-
, _
9- -9-
& i 0 > * * <*
1

2. ’Neath a man - tie soft and white, Grass and flow - er sleep - eth,

tSP?-— Z Z Z Z~ -
)s
9~
Z]S
9 “A
1

9Zj
!S S
9—— 9-
S
—
S
— 40 m
3. Af - ter win - ter com - eth May, Sun - shine warm and show - ers,

fovo Z|s is s ~~K

'
~ri _ i
A
I

9 9 9 r r 9 M *
C_
>
— _JS jS
id 9
S
9—
.
N _ 1
j

y ^ r
s L w
\
'
nc
1” 5
— 1“ n ik.

^
\
j^
"‘1 _ __

JS .

W 9 W m 9 0^ J _ 0>
VJ) 9 9 9 9 rz I
1
1 l

ty
Whirl - ing, danc - ing to and fro, No one know - eth whith - er.

_£ ~~ 1
.... ~n
~A-
FT \
^ .
s
Z
s
" .. 1
_
.....

m
i“ 'is s z 1
"Ti f]
\k| )
m
r*
J J 9 m i

& i _

m j

_ . 9 1

9 . 1

it
.

9 9 ^ LI

Safe thro’ all the win - ter’s night, Earth her treas - ure keep - eth.

-H— 1

*
1
rn
E
.pr-nr
1
T *
W
m
^
«
^
m
W
.

z^
9
i ^
9
i

w
i ^
l

t
m
ra
r—
'

9
w ^
9 g

Birds will sing and lamb - kins play ;

Wa - ken then the flow - ers.

|
w
ipj.
Ik
n
9r.
ZTS
&z
ZZ>.
9.:
z
.
z
m~ 9
1ST
Z^
- - dtk
9
49*
9
—4- -
9
f**-

9
9^
9
^
** 9
r*-
# — —9 1
1

ZF
1

... Z

No. 75. Explain the Eighth Note as a Beat Note. ( See ‘‘Class Method,” $§ 600 and 602
inclusive.)

—S—S— t-
-v—
9 -

9 9 w w
Sol, mi, mi, fa, re, re, etc.

No. 76. Explain that connecting the Stems of Eighth notes is equivalent to a Slur. Sopranos and
Altos may sing the higher parts and the gentlemen the lowest part.

This exercise is not to be sung. Read it twice forward and backward.

Lines. 1 Spaces. 1
-
9 m J
* 1

m r~ 9jr * 9 s 1 r
w
jT? . i
J •
i |

L..g
g—T ip
1 '

^ j

L L— (— m 9
11
9 — •
1

m m
|

^ J
1

9 . tz: d 1 1
1

1
.

ti, sol, sol, mi, do, mi, sol, do.

 — ; — —i

22 GRADED STUDIES.
IF THE WORLD SEEMS COLD TO YOU.

—
No. 77. Explain the Eighth Rest. (
See “ Class Method,” \ 603.)
D. K. R.

** X — - jV X-
:i_K __ :
— sc ^
V
“I
Y x
Y
Hx — —
yv. JW
rrt\. 'q!
Q
!?_ !3rr_ ITT
.

—m —4
—
i ,

d
9 n
^ — t H
^
Hx
!Y I

1
4pl
— 9 9 9
1. If the world seems cold to you, Kin - die fire to warm it Let the com -fort

'

L
'L£'
e

A2 is X X X- - —
.J
1 —P -'jy — ]
:
a jx a _A_ X i
"
“ Hy
“n !y C
— ‘R !y
—
-9- -9- -9- -9- S- -9>- -jpj- - 9 - -9 - -9 . 9
- - - 9 - 9
- -

2. If the world’s a wil - der - ness, Go build hous - es in it; Will it help your

L
jY—
4-1

Jsh a.
£ S -A —X —X- y ...
_X„ T —— —
91—
fY IY
—
1

m. —H
-_jJL
i

J i

J •»
7 -
9— 9—9 -j (

3. If the world’s a va,! e of tears, Smile till rain-bows span it; Breathe the love that

—*
7hV «>

w w
ph
9. 9 9
5
9
jV.._
9
1

L—
4x ZX
9 -J
jS

W
X
.

J
9
x ,._j
J
9 *t
1 —9
rv
mf
iy

9
x-
9 —

jV
-4V A-
A A4
-<*-

hide from view Win- ters that de-form it; Hearts as fro - zen as your own, To that ra-diance
Copy

right,

sV
— 9
I ,

-9-
H I-

r^-'-ag
Wr ±at 11
93,

hy
lone - li - ness, On the winds to din it? Raise a hut, how - ev - er slight, Weeds and brambles
The

A- J
i 1-
^ 9 {^- H—
E
ohn

Ch

urch

life en- dears, Clear from clouds to fan it; Of your glad-ness lend a gleam Un - to souls that Go.

A- A A W-=W-
:i!=it=Z
^2=42=:

gath - er, You will soon for - get to moan, “Ah what cheer - less weath - er!’’

smoth- er, And to roof and meal in - vite Some less fa - vored broth - er.

shiv - er, Show them how dark sor - row’s stream Blends with hope’s bright riv - er.
 * - ; !;

JUNIOR GRADE. 23

No. 78. Explain Dotted Quarter Notes.

all parts sing the same tones is called
(See “Class Method,”
Unison Passage.
H 665 md 678 inclusive.) A
passage in which a
UNISON. HARMONY.

&U*
1

I
1
* £_
p - h—a— i

J
t
L_J — 1
yH
1
1

1
-J

1.
“ 'V^Td'e, ye heaven - ly gates un - fold ! Closed no more by death and sin

2.
^=
Hark ! th’ an-gel - ic host in -
7=:

quire,
‘
‘
Who is He, the might - y King ? ” *

s 3. “He whose pow’r - ful arm a -

72:
±
lone On His foes de - struc - tion hurled;
^1—
&A 4. He
±
who God’s pure law
,

ful - filled, Je - sus, the

±
In
7
-
~W-

car - nate Word

Z2~

UNISON. HARMONY.
Z2I 72:
I
Lo ! the conqu’ring Lord be - hold ! Let the King of Glo - ry in.”

=£2=

-&r-
Hark a - gain ! the answering choir Thus the strain of tri - umph sing

1 ±
1*- ^2=

IB who hath the vie - t’r won, He who saved a ru - ined world !

-P-
7
-|

W=W-
He whose truth with blood was sealed, He is heaven’s all - glo - rious Lord.”

No. 79. Explain the Half Note as a Beat Note .(See “ Class Method,” $$679 and 681 inclusive.)

Z2I TZ-
721 &- 22:
~Z±. si

No. 80. Explain that this is the same as No. 79, only represented differently.

2=t 72:

No. 81. BLEST ARE THE HEN. Oraz.

2: &r '22~
TS± '?zr

1. Blest are the men whose hearts are set To find the way to Zi - on’s gate
2. Cheerful they walk with grow - ing strength, Till all shall meet in heaven at length;

22:
4^ S:
i2:
£ 22:
4
fe :

5=4 4 2=t- Z2Z

21
P
God is their strength, and thro’ the road They lean up - on their help - er, God.
Till all be - fore Thy face ap - pear, And join in no - bier wor - ship there.

-m- 42:
4^- :g=gi &r.
-s>
-w- £2=^2: 42: Z2=zz±4s|: Z2Zj
 — — W — J ) —— dI

24 GRADED STUDIES.
OH HOW BRIGHTLY.
!

Extra power should be given where the extra accent marks (>-) occur.
No. 82. (
Arr, by H. R. P.

7^- zjs, qv .._zf!czi=: — i

(*
/ y
S
-9
^ fV —
— i

i
i—
v
e
(*•
b
^
9
1
P
b
*
—w 1

-•S’ 1

1
1
V rt J

1. Oh! how brightly, how brightly the sun moves a - long, From the East to the West thro’ the sky;

nN~" !
S'
-N — fc—
H H-
:qv=^r
—I h
i
1
rash wt

2. Oh! how swift- ly, how swift- ly the bird flies a - way To his home in the tall for - est tree;

~N N - rzmiiizzzizzizzz: =n
i t---
* -t h i
3. And the ros - es, the ros - es and lil - ies so fair, Which we pluck from the green fields in May;

=£=3£=: $=3*=Js. -J&—SL.

d d -
I

qp^
H sA-
z j z=g z^=qczi^z3
* ^ * ^ 1
3 i
•oq
Oh! how love - ly, how love-ly the moon looks a- mong All the stars as they sparkle on high;

qojnqo

—
\
i-

=& I
uuof'eqx

Oh! how sweet- ly, how sweet-ly he sings all the day, And as hap -
py, as hap -
py can be;

iV=K K=Z3$:
p
‘£681

m ^ ^ W— — [ I
H 1

¥ u
'‘W^ljidaQ

Fill with fragrance, with fragrance the fresh morning air, And to us, as they bloom, seem to Say

— —-A— t

— K ~| —
-K~-.~V
I

-N
— qV —« —\ :z=t==q
w— ^ ^
3 fc j
Ns

gj d=d — — __J__
1

_!
1-
-1
_J
*
Jrzd-
* ~d W -*) 9
SSL
wt
SL
i-
=3— fx IV — 5
Z5t—
——
9 9 9 :

==£== -
—-H
i

1 P- — ar I(=L— p:

=*=!= ^ jr:

These glo - rious lights to us were giv’n, To raise our thoughts from earth to heav’n;

~d zX-d- j— 3— — ^ W — j|—w-
^=i—
’Tis thus he tells of fa - vors giv’n, And while he sings he soars to heav’n;

& IjB=
T=f 1=F •F

By whom their sweet per - fume was giv’n, And thus they send it back to neav’m

m X-=$ -4-

-
9-
x
1
 m — —
— — 1 — 1 ' !

JUNIOR GRADE. 25
OH! HOW BRIGHTLY. Concluded.
—
dSt 1

\
1

~ r
s
_J : N * _x :JS. 1

h 0- o zz *7 :
®=n]
j I

fT4 - J w ~2~ 0 “ ^ Ir
" ^ 7 * i $

Oh! how bright-ly, how brightly they all move a - long, Shedding light o’er the world from on high.

~cr. 0
* °*? iv vv ^1
—j —1\ —:V Z P z ft -z 1
P
ZX JV ~ —
U
v OS ~1
i ,

#ft\
Azz zlz
_JS IZJ Z> '«£
;

0 & 0- «** 0—& <J> | g]

fj -0- & i

-0- ** -0- 9
Oh! hows weet-ly, how sweet- ly he sings all the day, In his nest on the tall for - est tree.

IK. ZX _X. ~
—
B~|

i'Nl w 0 H*.
-j
'

"ZP
dp-
_|Z. 0
j +
JiZ|
u,
'**.
S»
2“
0
2
0-
'Z
0
2"
0
^
#_ '• 0j—0 0 0 • I 1

j j
. . - r r r
l. r f v s'—
Oh! the ros - es, the ros - es and lil - ies so fair Fill the air, fill the air all the day.

/mV
(“J* Jp
0 0J
>
0-0
r>
0
p
0 0
^
0
Pi;
0 0
p
0
p
- 0 0
-p
0 h -
* — a?

u
<*> —— !

i -
g
a f
3

X-7 jj- •> - ^ ST« J j

\
L L0 ] 7 7 Zl 7 7 izjl

No. 83. Explain Legato. Semi-Staccato & Staccato. (

See Class Method \ 604 and 612 inclusive.)

Legato. Semi-staccato. Legato. Staccato.

No, 84. Explain 1st time & 2d time.

GLEE. HAVE YOU SEEN THAT MAID OF MINE?

No. J$5. Explain the Hold. ( See “ Class Method/’ § 645 and 650 inclusive.)
Mrs. Kidder. P.
rrs

TT-—
tJ
— «0 - -
m
-0 -
0
0 - - 0- -0 0 —
-m
-0
H A

0 « *-0 +
m— 0-
0- Copyright,

1. Have you seen that maid of mine, With her grace so near di-vine? Sun - nv tem- per
2. Lips like cher - ries, fair and sweet, Soft - ly whis- per when we meet; How I love her 18D:>,

4— -0
q— qz--q:
by

Nt-4 -— + •

— —
The

| 1 1
z ! 1

John

3. She is mer - ry, but not gay, She is hap -

py as the day. She has prom-ised
Church

_
"gr
! ! -H _(*
0
1—
1-
0
1

1 1 —0 1-
0
'1
0
4__
0
Co.

—m j
0 1

J
z= :

\zs

. — cJ J J ^ m
3—
1 1 1

—]
jdu-
— m
r — H
0
i
^ m— -H ^ — ^ “1 za
z i
1

h •

m
.
4 1

J
~ _ 4 Ph
W ^
—p
Z7
•
- 0 - - 0 - * 0 ^ .

W 0 z?
—p
E
-

night and day, And % warm heart like the May. At the win - dow there she stands,
none can tell, And I know she loves me well. At the win - dow there she stands,
rrs
+G-U —
-V h-
ZJ 0 4— z '
'

0 "•
&
^—
--v J
4* 9 E
0
— 0 0 < <S>

—— —
-
.T>. - -
-0 (T 1 & 1
[ r r r r
in the spring She will wear a wed - ding ring. At the win - dow there she stands.
^
_ 0L ^
m
.

-.j
S_.
— •
f=!=i=X
. 0 ,
!

«L-.
.

L-i
.

1
— — -*
0
i
*9
—
l

— I

t
— — -*
H
1
H — 1
- ,

1
1
I
26 GRADED STUDIES.
HAVE YOU SEEN THAT MAID OE MINE 7 Concluded.
/-T\

p 3EI
4 t t—T 1
Snow - y bios - eoma in her hands ;
Gold - en tress - es like a crown Shade her blue eyes

4
— —
0j—
! 1 1

# 0 - ,
m. . H* 1* d» r m. a "1
+Pr
-t= •U V K— -=i 1

1
h
L-i
1

1
1

1
mL_

Snow - y bios - soms in her hands Gold ;

- en tress - es like a crown Shade her bine eyes
+ 1
J—T
H
22
'O'

/TN

/P\-
4
i
1

look -
-i -j^^|
ing down,
-PE-J

Gold
h-

-
ill
en tress - es
-0

like a crown, Shade her

|fr

blue
*
eyes look - ing down.
ft

4-

8 d2-
SO
-P-
4-

look - ing down, Gold - en tress - es like a crown, Shade her blue eyes look - ing down.

4 1

6>-
1 —= +~

4-
:fc
sA/

Mo. 86, Explain Sextuple Measure. (See Class Method \ 614 and 644 inclusive.)

Sex - tu - pie meas - ure we’re sing - ing Re, mi, fa, sol, la, ti, do.

jE
m
U
— —
4=1 • -m
: 4
z~¥::zr. #
—=4=
— z-wL:.
r
—— +-
)
: —4-
—m
^
« •

J
j

w
1
—
.
-4
J- •
j—41
Yoic - es are mer - ri - ly ring - ing, Ti, la, sol, ia, mi, re, doT^

No. 8T. Round for four parts. Beat only the accented pulses.
1. 2 .

ijSE
£ =3 i
-
1. Tir - o - lee, tir lee, tweet, tweet, Sing for me, sing for me, sweet, sweet
3,
=4
— —
— I

1
1

1
j

Tell, bird-ie, tell, Who taught you so well To whis - tie a song so com - plete.

See
“ Class
No. 88. This exercise is the same as the preceding one. It only differs in representation. (

Method,” page 91, Note 132.)

2. Tir - o - lee, tir - o - lee, tweet, tweet, List to me, list to me, sweet, sweet
3. Tir - o - lee, tir - o - lee, tweet, tweet, Do you not tire, bird - ie sweet, sweet;

3. 4. _

S —R V —x — c —*Vs “IS
3n
S
P 0 0_*.TI
im l_?
iwzz4 — l,
lc=5c m tt* l
-H
0
p -H
0
!C

0
R
— — 1

1
—rR 1 — L 49
IV
0
IV
0
•

|—
II
JJ

Have I done wrong, In catch-ing yonr song, Its soft ten - der notes to re - peat?
All the long day You sing the same lay, Thro’ sun-shine or rain - driv-ing sleet?
 r — —— — ——
h 4r ^

JUNIOR GRADE. 27
Nt>. 89. I NEVER COULD FIND A GOOD REASON.
H. R. P., Jan. 16th, 1893.

4 -I ! 1 4-
=4

v
:4=^=Ez^:
i
-9 =i— 8— %—:j4-gr;~g—
1. I nev - er could find a good reas * on Why sor- row un - bid - den should stay[
2. The world has spir - it of beau - ty Which looks up - on all for the best,
#
-tf*
i PJ-
7

EfeS
yi* ft

y —w— r
w •* : 9. 'XT-
1—r— — t-

ases "~a>
ml -M -si- <s»-

And all the brightjoys of life’s sea - son Be driv - en un- heed - ed a - way.
And while it dis- charg - es its du - ty To Prov - i - dence leaves all the rest.

S=j=s=S —I
q g
t=t^ £ —-m- -m -

-m m-
-I — d-

—=dr±=:i=]
—^
<g --
Copyright.

1983,

Our cares would not wake more e - mo - tion, If we to our lot were re signed, by

That Spir - it’s the beam of de - vo - tion Which lights us thro’ life, to its close, The

-m- -<*-
S===Si=izi^Ez=^“^ eeee^eeee%\
3E S=rf=l=2= John

-i 1-
]
Church

4—— 4
m-
4-
22 .
-3:
Co.

'-SEES. afcz —
f~ ^etee^eeU <£>-

Than peb- bles flung in - to the o - cean, That scarce leave a rip - pie be hind,
And sets, like the sun, in the o - cean, More beau - ti - ful far than it rose.

. J. -i J.
S=S=S --JL —£- S: -m- -®-

W t~—fc—£
J-

No. 90. THREE BLIND MICE.*

Round for three parts.
Arr. by Oraz.

Three blind mice! Three blind mice! Three blind mice! See howtheyrun! See how they run!

=fc=3 =C-! “I
— IN S jV r -A v- 4S-,
fk
Alii *
-

9L
1
-

S.
'
=1 B

1
h
L| V L(
m
— m
2_-i?
m ^2 Zl 1
d

See how they run! They all ran up to the far-mer’a wife Who cut off their tails with a

jfc—* — J=| p + N — -p - :
:ar~
—
- 1

—f'
-jj h^» Ns .
II
-» * • jrr-jf.-*/ E^r 5 * 5
*7 -mi. • -mi-*

carv - ing knife, Did ev - er you see such a thing in your life, As Three blind miceT
* As a finish it is suggested that the first and second parts repeat the last line. “ Did ever you see such a thing in your life,”
until all parts come together, and then end with the final two measures “Three blind mice.”

No. 91. This exercise is not to be sung. Read it twice, forward and backward.
Do spaces.
1
j
-t
1

— —s—f
52
1

r~T r~ —
—•
« tf2_
-1
lines.

•
«-
1

1-
j

—“^
—
i

arf— "
^
1 -
• -j
r
— -1

±
4
—— «
1

1 L
i

1
1

it at: ±f
 — K — !! f —— &—— r! 7 —q — — » ~ X« —— —— 1

28 GRADED STUDIES.
No. 92. SOMETHING NEW EVERY DAY.

dz:
ffiuE--
VI/ V — <9
-a.

1. Lit
—
- tie
=K=1
• j bird with
0
H
F
- i-#-
H
-i

ea -
<»
1

p
ger wing,
m
1

J
-~-*--
Z-^=^Z=\
_
• J M
Stop- ping
—
now
W"
and bhen
i_
— 1
-K

to siug,
H
•
—
-
Oeajz, Jan. 16th, 1893.

Can
—
y ou
F
in
h-
—
your
1/

tMt
/»

-8-
-
—is
oJ
—J 4 — -
—IV-
om
—
zstz
i

isl__
\ 1

0
!

0
ft
— 3- 1

W
j

0
fc-
-l 3 -
rr(—
r
— —iS
j
ids'-
—
~
j—

2. Bu s -
y bee fromflow’r to flow’r You are fly - mg ev - ’ry hour; Can you in your
<»
!v|
:nrt-:
I

=
~ T~ j? £ (2 —
—— — £> -A A. 0 •
—(* H »—
3? |
:c
'
—t*_z±: |

_
-tfi
|

v
j

1
«s>
j

r
i b j
--t—
i

3. Gen - t le breeze a - ong the grass Yer - y soft - ly do you pass; Can you in y<)ur
—
b
vz7 o
CT
H
9
1

'" —fc
"f
0
—— ——4K—
—
_
*-
-j
0
j

-
m {
U
j
g —
~0
1

w
V3
j-

"0—
\

a
!

— 1*
P
“Sc—
0
^
j
'

Co.

Church

John

The

by
1833,

rust - ling way, Teach ns some - thing new to-day? Just like the pure zeph - yr that
Copyright,
/7S
i=£==d r*r : 3s=Js- :?s =fe=
-W 0

~
^^£E===£=^z=^ it*— :^s=
—i

in - no - cent glee, That we should be grate - fal and joy ous as he,

1 =:
5
dip- ds*- -0
d±:
mo ments - a - way, So we should be ac tive in work or m p!ay,

qsr— c
-
V Ik _ . 3k ...

v . ..
'

soothes as it goes, "We all should be to soothe oth - er’s woes,

:c:
b- -b- :qv is:

Rf
;
i 1
4 ZZZ1
M
1
r~^
a> 0 -
=h“
0 — *r
7
p ~ds 3T
— 09
.
•_

.
_
FFfl
11

Grate- ful as he, joy - ous as he, Grate- ful and joy - ous as he.
A
fav;
1

‘KT
(a
-

V IV PS- -*h—
k
_4> ^k —
—0 ft-
P- “4
1

—P— -
-N -V" K
— k-
—m P-
- k-
J3_ zd^
0—
1

vy - -
^ m~ - ~
• j* • u
Work-ing a - way play- ing a -
way! Act - ive in work or in play.

—0 — -~no

Soothe oth
<3?

—5r-
-
ar

er’s woes
0L

1
*
i

F_>
soothe oth
— k
-
~
—A
/——
er’s woes
* &
—
1

i
— . L
—V
Read
i— ? ———
V
#"'
/— i

to
i

F
soothe oth
r
-
* —
er’s
i

woes.
r
i'
—
0
1

1
. :
-J
1

- y
— JW- - |
_ _ _ a m o m n
_j>
_J\
d -a^— 7*il— mA... - H —
—^ i 1

——y —
_
8*
-/
t-v U
49
d— 'hr
F —— _ <j»
ha
—F hi 1 -raG . ^---14
/
t
F F F jj
 9 & ^

JUNIOR GRADE. 29

NOc 93* Explain Sharp Four (

See “ Class Method,” §$651 and 663 inclusive.)

sol, etc. re.

(See “Class Method,” § 664 and Note 138, page 94.)

Explain Accidentals.
Theshould commit the following Rule: Accidentals continue their significance throughout
class the measure in
which they occur* (See Bass, Tenor and Alto in second, third, and sixth measures.)

No. 94.
— ~!
^7TcT
8444-4: -m
H
-1
"t
9 J
“T
..-.I
tCV
"
~9
jJ
H
rr *
]

9
-]
1
—
S-
)

9
j —
-im
j _4
9—
j
1

1
—
Tj
Come, ye thank - ful peo - pie, come, Raise the song of har - vest home,
U
-Ar~A
A —
—— —— __ -j
j
ins: A
-T-
^
~ 9
l

—9n i ~z
9 &
,
'

9
1

CZ L
*

L.
-*

'

9
i
—
&
1

^
u-
4
J
1

9J -
9 - -9~ <&

trrr — <©
—
9 m
” ~ __L
9 p*
|
, 1 . - , | j
I]

tslfT
444-4: 1 r
1
1
I

t~ 1
9 m ms? 9 - a J

Come, ye thank - ful peo - pie, come, Raise the song of har - vest home,
-9-
- 9 ^
^ m _
r r
w9 m
r
1
.
1

^4
Vcf?;£
1
1
f- '
9 m 19 - -
..J... .-J

~
9 ~

is safe - ly gath - ered in, Ere the win - try storms be gin.

m 3 F

All is safe - ly gath -

i
ered
4-
in, Ere
±
the win - try
m
storms be - gin.

Z2L =P=
'(SS
£ ±z

The additional clause of this rule, viz.:“and from measure to measure until canceled by a note intervening upon
another degree of the staff,’’ is very properly discontinued by most of our modern composers, as it is of no benefit and causes
much confusion. Whenever an accidental is required in the following measure it should be placed there.

No. 95. This exercise is not to be sung. Read it twice forward and backward.

—
p
t ^ n
— ^
& 9 s® w 1.
7n
'
m 9^ i

& ~ M
1

_J
|

1 . A .

!
-4 -j- .

-U
-®——
r
p— P’ ’ '
CZ JJ
r i
0 L_ .® — u
Do.

No. 96. This exercise is not to be sung. Read it by syllables twice forward and backward.

Liih*h. 1 Spaces.

9 t— —
~H
— — £=3-2=*=?=^^
l +- ^ t-
H---
m i-£=3r?-P— 1
1
f f "Ji —9—
-p-et s* :±fj
—44f
Do, sol, re,
 —— — — ;

30 GRADED STUDIES.

NO. 97. Explain Sharp Two. (

See “ Class Method/’ page 94, Note 138.)

§14-^ ik -JK
at
IK
Do, mi, ri, mi, etc.

No. 98. Introducing Sharp Two with Sharp Four.

1
~ 1
=F
A 4
24 J I

m l J J U-J
1

J
& m
jjJ
Zj u. -
1

!
J I i

mi, ri, mi, etc.

m m - < k: -r
-i
*
1
«F— .
Mi, sol, fi, sol, etc.

No. 99. Explain Sharp One. (

See “Class Method,” page 94, Note 138.)

A:
—w- g- -~ H-
Mi, re, di, re, etc.

No. 100. Explain Sharp Six. (See “ Class Method,” page 94, Note 138.)

No. 101. Introducing Sharp One with Sharp Six.

Mi,
*—
-1
re, di, re, etc.
0- -0 r^-
.4:
Do, ti, li, ti. etc.
It
g
NO. 102. Explain Sharp Five. (See “ Class Method,” page 94, Note 138.

— =r~
T- zp= -» H
M— H
i

~zZ~* —S 1 —4 j

Ro - sy and fair, In hie arm chair, Sits the old farm - er con - tent - ed

$ Sun-shine and rain

1 1,1 '

Ri - pen
=*gii Z=t

the grain, Af - ter his fields are once plant - ea.

No. 103. Introducing Sharp One, Sharp Two, Sharp Four, Sharp Five and Sharp Six.

—~
-i
T
I
IK 3K
See the snow Come and go, Whirl-ing round and round ;
Fly - ing fast,

>
-J
4
I- J-|
——JN ff 1

t=
73 • r
II r F -1^3 —W —m
Hag
Flit so, Youth like sno

3f -7-P-
I -w-
Whirls and ed-dies past; Age comes on, Creep we down, To the ground at last.
 0 h « —m & ; ; ;

JUNIOR GRADE. 31
No. 104. THE FLOWERET.
Words and Music by H. R. Palmer, Jan., 18th, 1893.

Involving Sharp One, Sharp Two, Sharp Four, Sharp Five & Sharp Six. Explain the Cancel (tj).
See Soprano and Alto, 7th measure. (See Class Method \ 965 and Note 185.)

=J= == 1

i
1. Gath - er the sun - shine, dear flow - ’ret gay, Turn in - to beau * ty each trembling ray

SBk -p*
—:=J=

tJ it*-

la^rra:
^=J-

1t±
2. What is

H
thy mes - sage, lov

=t
- li

=£==?S
- est flow’r? Why

t:
didst thou come to me for an hour?

=st

tr-

Fra-grauce the rar - est Thou gent - ly bear - est ;

Oh how I love thee, thou child of a day. Copyright,

i tat
1893,

by

The

-3^
Z & a «
L,
0 m \& m
1—
m 0 0 I^EZZpr i

John
1
ha 1 | L, 1 1

V— h- tt*
-«s>-

My law of beau - ty, Mor - tal, is Du - ty, Faithful - ly heed it and thou shalt have pow’r. Church

H*=p:
—
Co.

V ^ -
z±
- ~d

£==S=t *=i 0- -l

~S« :
-p*
Zeph - yrs to meet thee, Dew-drops to greet thee, Fra-grance and beau - ty thou dost im - part
O'

— i
1 1-

Z$i Zjr
at=zaE=$at
o
-f
s Pt
Beau ty and sweet-ness In their complete - ness — Fra-grance su - per - nal then shall be thine

atnat

T-S*
Sun-beams ca - ress
3w=zrm

thee, Soft breez-es kiss thee, Beau -

:pt
ti - ful
qs==t=

flow-’reChow love -
-0-

ly thou
—
art.
1
=t I := R—
-p* V-
=dfc-~
tC=P0
Rain - bows will greet thee ;
An - gels will meet thee Heav-en ;
- ly ra-diancea - round thee will shine.”
^ —Pa—— a — a — jar. — 0. g k ^— h^-

±z f — — <9
32 GRADED STUDIES.

No. 105. Explain Sixteenth Notes. (

See u Class Method,” \ $ 682 and 706 ineluswe.)

ROUND FOR TWO PARTS.

ST1 m -s-g
J'
Tra la la la la la, Tra la la la, Tra la la la la la la la,

j
2J a JS fe |S ft
^
FtJk Ife i*s iW fe rte N fc —
tk5 1 — ^ K.
±:
tJ
Tra la la la la la, Tra la la la, Tra la la la la la la la.

No. 100. Sing first by syllables.

^
Tra
,^.._^r
la la
3 la
z:~£_g
la la, Tra la la, Tra
^
la la la la la la.

--(&** -aft h

Tra la la la, Tra la la, Tra la la la la la la.

ROUND FOR FOUR PARTS.

a bod -
y meet a bod -
y com - ing thro’ the rye ;
bod-y

»
«^g :

g g 5
kiss a bod - y, need a bod -
y cry ? Ey -
’ry las - sie has her lad - die,
J ji
^
i None they say have
& I,
<9
But
<Sr
-&F
all the lads they smile at
<*>

me When coming thro’ the

-«r-
rye.
 —— — ! ^ —
— g —— t
< — — — —— J & ; ; j

JUNIOR GRADE. OO

No. 108. SUMMER MORNING. F. F.

W 1" •
W —W — s. *
V
—
jp
— *T
c ^
* j f #= s" sJ‘ f
s F ^- gpi

We then will rise be - times and hear The wild bird’s bap -
py 6 >ong;

44 tt

r,*
— 95
— 95=—95 5= —J5~[95-=9*^= 95- — 3E=:
Jff.

While pearls of dew are on the grass, And fra - grance fills the f lower

: M ST“ — —^
-
ai 1 tl IW

i
—r Ui
f -
=3i d*=Lg5
krr —^511 -Jr
g Jr~ L. ,
=J*=
-
:g=z-r:

—
25=38^ 95=
r-K "
"x * 1
r-Q-

^5 =
-g*q 95— gr \-J
^ ah
'k
s
W -* -
3
->-- -1 Lg. —
"

g gzz
For when the sun pours (lown his rays, The t)ird will cease to £ fing;

— lg=\m—--B--
jjz 9
— =£= -g —
£=3= j- i *= -&— -g— g" -~g —5
..g
1

1
*
=ft
1
:g
^ — - j

Up in the morn - ing < 3ar - ]l

y - ere The world be -
g ins to plod

—3E
Zlg-— u—
g —m
— IS
afi —J<- -dfc ~

-J<— -
ft- —S m — j
'

r~
-g
:

— — —
H9
CI..I*
xA 9
1 r

—
M

(=r==3E 95 =a*= ==¥= =5=

3
- ir
- ~

= K==¥=l"S-
-

:
• - -a

-ft
--=*- =1
*CL_
1

r>4ft
tgz 01
n 2

V 1 -jp—
She’ll seek
i the cool and si - lent shade, And sit with fold - ed Tring.

M —* :2~—-g—
4W ^ — s g T*=]
ff
T

g i =
— m- —
=£= — * — =1i^zzdtl
:-9=4H
-P-

And fill our hearts with ] nel -

0 - d y> And i raise our songs to <
Grod.

— -£
*
3—— — 6*
EEgZ —^ —
— 3E
—— -%i
— d5= J5 j
1: ld
 ¥ —— —
34 GRADED STUDIES.
No. 109. COME WHERE JOY AND GLADNESS.
F.P.

qs: :fr=q
i s —I **<

Com© where grief and sad - ness Can - not find a dwell - ing with - in your breast. 5:

s-
i
qs: =q^

These pnr - suits en - joy - ing, Mer - ri - ly to - geth - er onr voi - ces ring, q

iE
-• m
£ l£=3L 1

Time with us will pass in Stud - y or in work or in health - ful play;

:=q^
J3 « ^ dV

% fc—
-9- 9-
* 1
Though in sports we take de - light, We love to read and we love to write:

3:
1 g

"
rs N IW s 1 ^ S ~ 1
Cl — —
J ^
. ;

j _lz .. -
-

iS
!S
w \ — R?
7ft "ft
"1
I
IIZ
ty »
1

. <p m 9 _ Jr* _m
9 '
1

Some - times with a cheer - ful song The hap -

py mo - ments will glide a - way.
a
LL .

/T,
l£ I
. — 5 \ V IS
^
-

5
*
%
.

* N )v
_

-0
|

f- ~S- 9 9 -4P-
J-
K 55

9 r N _

^7-
!C“ _ft
-#
S 1

_ J

—
14-44
lkL
4J3-
+PH- « ~j
9—
(V

9
s
-m—
s
9
V
-:R
—9
“IS,

— £_ 9
C
Tfr"T
9—9
K
9 —
s • :
S -

•D
IS
f_..
W-U
And our teach - ers true we prize Who strive to make us both good and wise.

/y\«
(£7* p
19
p
1
9 ~ip 9 9 „
9 — •—
fs —— s i
n
.
/ .
s
ST tf h
V g
(?
$ t
S'
-=% G ^
T-
. 7Z '
Jjr Tl
JJ
 £ — _ — —— — — ! -

JUNIOR GRADE. 35
Explain the Minor Scale. {Set “Class Method,” §792 and 821 inclusive.)

\
+-

4 + 22: zzL

Mi, la, sil, la, ti, mi, do, ti, la, sil, la, etc.

No, 111. * CHILD OF SIN AND SORROW.

T. Hastings. (Altered.) H. R. P.

* For good and sufficient reasons the explanation and practice of these exercises in minor should be omitted
when the class first reaches them, and taken up after the key of E minor has been introduced on page 45. They
are printed here because they logically follow the C major key, which we have finished.

DISTURB NOT THE PLOVER.

No 112. Round for four parts.

r-fcH ^ m _—
-
^ =fi m -Jw

WWW
V. 4* gm
9 9 "f ? '

p
-9- 9 9 r r
^ !* * ai 9JS 9
w
AUr> J
Dis - turb not the plo- ver, For see, she dothhov-er So ten-der-ly o - ver her

_2Z= M
Ay 9 .

C-
' - —* — — l 5)— 1 1 1—
.. ..

"I-""-"
*
p
=£===*=
g- —
-9 -m
i

sweet lit - tie brood. Pee - wit, Pee- wit. Hear her mournful cry,

-
4 =

| - Jg. '

9 ^ 9^
Hear her mournful cry, Oh, hear her pit - e - ous moan ! Pit - e - ous moan

TOBACCO IS AN INDIAN WEED.

No. 113. This melody is written in the Dorian Mode. (One of the Greek Modes.)
—PA ^ — 9 m-9-&-9
^
i

— _
4* 9
1 w
-9 —P¥ * p F-9-9 —^ _
-9 *
9
~T
m
o. G.

^ —J -
- > F1 —Fh
# .
1

's&r -f—
L1
^ &9
1. To-bac-co is an In - dian weed, Grows up in the morn, is cut down at eve, It

__ ' ~ ~

^ N s >
T S "is H
J "S
T"
9
|
1
9 , 9 j

*
J.
I

^ N |

* 9 9 m ti* ti* Sr ^ k N 1

7 if _r ^==±==::
i

. . *:

shows by de - cay that we’re all made of clay, Think of this when you smoke to - bac-co.
Copyright, 1894, by The John Church Co.
II. IV.
The smoke that doth ascend so high The pipe that is so foul within,
Shows how mankind is born to die ;
Shows how mankind is stained with sin,
Like vapor ’tis gone, and man’s life isdone, The same doth require to be cleansed in the fire,
Think of this when you smoke tobacco. Think of this when you smoke tobacco.
III. V.
The pipe that is so pure and white The pearly ashes pass away,
Shows how mankind may take delight; And to mankind they seem to say,
’Tis broken by a touch, and man’s life is such, “All came from the dust and return we all must,”
Think of this when you smoke tobacco. Think of this when you smoke tobacco.
 h — — r —

36 GRADED STUDIES.
Explain the permanent names of tones. ( See “Class Method,” § \ 707 and 748 inclusive.)

m ^- t—-rn-7rx? — ^ m &
^ ifm
1
!

— —^ r, iat
<9 ® I^zrt:
EFGABC DEFGABC.
1

ITdEFGABC defga.
K”o. ll<4o Explain the G key. (See “ Class Method,” §£ 749 and 791 inclusive.)
O.
/T'
—
4—— i

— i

—
— i

&
1
-d
*
1

d
<
)

=t T -| 1
:
4 1
-<sJ ...
«t...
&
! 1 .

L g#
ft —j

Do, fa,

&
Do, sol,

No. 115. Bound

-i i
for three parts. Sing first
——
by
]
syllables.
~1
''•*
“)
W
j

*
}“ - ^ ,

•
fr
r
£±_ '
1
1 "
' )
'
1 1

H 1 h— 7 to

MorD-ing pa-pers, morning pa-pers, all the ri - ots, rows and ca-pers, Try-bune, Her- aid, World,

No. 116 . Bound for four parts. Sing first by syllables.

4— &
A: ^ ^ jgj -

When a weary task you find it, Persevere and never mind it, Never mind it, Never mind it.

No. m. Bound for four parts. Sing first by syllables.

St s ^=iv
A 1 jui & 9 # & hV-=S-

Glid- ing so swift- ly o’er the snow, Fol-low, fol - low me and a - way we go.

SEE THE STARS APPEARING.

No. 118. Sing each part separately by syllables. (
See “ Class Method,” $$ 778 and 791 inclusive.)

iff z] zq _ m __
|SP (sS^
rn 1
1
-
\

_ L •“ _l 1 1

l~
& 2
Em blems ev er cheer - ing, Of ter nal love.

±
tj ~^r

ft 1 — I

H
i

| ^ i i
“j 1

9
i

1 J
J?Z y

Em blems ev er cheer - ing, Of ter nal love.

ZZpZZZIZZpr ;Z2Z
S>«^Z~ tl
 JUNIOR GRADE. 37

No. 119. DENVER.

_ _ M. Wakefield.

ML— -1—
:

T— -iT-
—m m— 1
-h
* m- -|
--={
<3-
1
— —mr ...
T
m— —^ .
:
—
r 1

1_
-1

1
-
— i
-4-
— —m.
-i
= --1
- «-
“td
-e±=h
4- t 0 0 /P P c? 9 0 9 0 w s» P'wl0 1

i. To Thy pas- tures fair and large, Heav’n-ly Shep- herd lead Thy charge
i.e_o — — —— J—H —r— —
-i

tl
j
tr-
h
1
1

I
d
1

—0H 1

H
m
]

-pA
1

P
1
t_

J
1

J
1

'

~~irA
1

0
2. When I faint with sum - mer heat, Thou shalt guide my wea - ry feet

—
=st= J
1 — (
1
—
— —£= t
=e=— i
^2=: —
—— h-
0
i
0
--tz- — 0
T- :
— 0—
{

P_ —
A —
i
—
rz — — r~
—
I

-- t

—P
1

P
1

— — — _zq
m— —P
1Tz: ==T=t= i

^
i Tl
rn
-jmt

—m 0
1 1

S>
1

jT rl _l

* P~- 0 • ^
tJ : g-~ -0- ~0~ -0-
~
9 -0-
~(ZZr

And my couch, with ten - d’rest care, ’Mid the spring-ing grass pre -
pare.
uM
A
3 4.# __ — ! —!

0—
1 1 i 1

1
9
1
-

.m _ _ _

W
J 1

&
zA &zn zzA & 0

To the streams that, still and slow, Thro’ the ver - dant mead - ows flow.
1

9 0 i
M
—
i |

P 0
—P —P 0
I
".
“ 0~ ,
[1

— — LM —
1

- i r . 1
- u
i
j
Ht= J i LU

No. 120. EVENING HYMN.

-y*A
vT
Ellerton.
— T

l
H. H.

—
McGranahan.

^
1

J - m H
j i

T-
m
1 1

gm —J zA
fc[\- A-
\Ni7 =* \
0 d ~
~
1

M
1

2
1

0 Z9
!
1

sa
fj 0 i

_ 9 _5_ .0 _g: 9 ~ 0 0 0 c?
1. When the day of toil is done, When the race of life is run,
2. When the dark - ness melts a - way At the break - ing of the day,

4
—
i i
1 1 1

&
1

~
|

flr
A zTr 0 0 0 0 0 0 cJ
1
...

3. When for van - ished days we yearn, Days that ne v - er

1
can re - turn,
4. When the breath of life is flown, When the gra ve must claim its own,

-0 0 0 —— —
w
/i*}*’?
T
4:
i

1 1
l
A
0 M
!

as
1
— ' — ' — ' 0
r

—J9 0
!
^ —

Fa - ther, grant Thy wea - ried one Rest for ev - er - more!

Bid us hail the cheer - ing ray — Light for ev - er - more

Teach us in Thy love to learn Love for ev - er — more

Lord of Life! be ours Thy crown — Life for ev - er - more!
 — —— - — —— F : —
— —P “ m^
— — 1 ! —

38 GRADED STUDIES.
No. 121.
W. Dickson. CHILDHOODS YEARS ARE PASSING. Gee.

H
——=r
St —
—
1

—J— —
—
_.V-
r
-H —
— J-
— 2 —F — ^
r
i

-
Fz:
i-
1

-
m——P-- —
i
F
— — -F- L- i
i— 1
-

2. Oh, may He who, meek and low - ly, Trod Him - self this vale of woe,
we may be nev Nev
—f —m —f—F
3. Soon part, it - er, - er here to meet a - gain
MW4- it
m — 4 q r— =£2
;

——
2= £=£“
.. i 1

^-4= tz 1
f- 1
tz_ r- Zm
izF— =F==F_
—— 1 i

:i
— -j
-j
1

n =}=z — [- — — — -
fl
9 m
€1 F
m F i 2
J
'
_

Jm
J
m
1

— j
1

m
1

—d _!
1
id IT
R

Cares and sor - rows lie be - fore us, Hid - den dan-gers, snares un-known.
..

ITT
IsSTi F F F F 69 69> ~ ~ J J F
r
_

F
7j
^ ,

9
L L _ L_ . .. F F
1

• B
Make us His and make us ho - ly, Guard and guide where - e’er we go
Oh, to meet in heav’n for - ev - er! Oh, the crown of life to gain!
*rf
'
F
n F
r~
L_ 9
.J
**
i
j i
i

! i
i

—9 ! i

i m
-J !
-i
F • I

L
)S>
i

No. 122 . SHINING SHORE.

E. H. Nelson. G. F. Root, by per.
MET. = 60.

4E3 F F—wt
I IF
“

...
My days are glid-ing swift-ly by, And I a pilgrim stranger, Would not de-tain them
=g=
^=]V

.
==1

^
F
f

We’ll gird our loins, my brethren dear, Our dis-tant home dis-cern-ing Our absent Lord has ;

w Br
T
:^z±zgz=p=
f-

Should coming days be cold and dark, We need not cease our sing-ing ;
That perfect rest naught
Let sorrow’s rud - est tempest blow, Each chord on earth to sev - er, Our King says, come, and

3=T
fHORIlS.
--A
=^=^s m- -fc- Ei i=z£r
-^9r -m- -m- 69
g
,

69
"F F
as they Those hours of toil and dan-ger.
fly, For oh! we stand on Jordan’s strand, Our
left us word, Let ev -’ry lamp be burn-ing.
*c
F zzF—®:
can golden harps are ring-ing.
mo-lest, Where
:F
:F & -

For oh! we stand on Jordan’s strand, Our

69 -
-69

i
there’s our home For-ev - er, oh, for - ev - er.

g5?hg— »=g
F J F —r= 1
-|—
I- . .
F
F.
m ~~ —_p_ —t— F fF —h
—Fpr~ ^=tr~
'
:
Izzz
=F
F F _F
F
i

“~±z—i — :
—fs “
— |
*— ^ — 1

m— .
:

t__F-—
1 1 1

E J-fl 9 —1— ^-at—

——
h-
> - L_j & .
m
*
^
friends are passing o - ver,
i

And just
y be-fore the shining shore We may almost di6-cov- er.

! ~~jv
i
friends are passing o - ver, And just be-fore the shining shore We may almost dis-cov - er.

W W — ——
w
gftt lff TTT*
I
1 i
T" 7 rm
rF
: !
m
F rftz-jK — F~ ^ : F-ffl
F F L_ ~z2 Nr ~2 & rF
——F^—# r F f F .F . 1
l
i
IA
4-h
LU
LU
 —— — — — —

JUNIOR GRADE. 39

No. 123. SABBATH MORNING.

C. R. Blackai/l. H. R. Palmer,
MET. ^ — 92.
^ All voices in unison.
/v
Wk - ^ |
~q i
S
r
_..S
i
S “j
it
^ !
~

r a it 4. rrw “i JV_j
gg 9 9Jr “
0 cJ “m k ~m ns j
\ ^ 9 ^9
)
0~ 9 9 9 9
L '

1. Glowing bright and pleasant is the ho - ly day, When from worldly du - ties, glad we turn a -way,
2. Hap-py bells are ring-ing, call-ing us a - way, With their merry chim-ing seem-ing thus to say,
3. Joyous hearts are greeting, each to each to-day, While our dear Re-deem-er will-ing we o - bey,

A
— K—
1

\~T —•S— ^ — — IV
—
*—
9 -9— 9 — ^0 —9——9—f
~ ~i -

* 0
Is

*—* 1

ZgL
j
— 9———m-j—
9 ~~0
—m—
— 0——M IS
——4
«
9 m
9
1

o’
tJ 1

Till the an - gel’s warn - i

ng tells us time must close, Shall we lore the Sab - bath day.

t
i * €=p:
V 0 -W-

Till the an - gel’s warn ing tells us time must close, Shall we love the Sab - bath day.

0
*
M
9
f*-
*
m
*
—
— m—,
H
—9 —1X
- V-
*
K
\f
^ . — —0V —* 'K _1 *-J_ : EH
0— — gz —— — L ^
•

LU
Copyright, 189h by The John Church Co.
 j — 9 —9 r 9 — 9 ———

40 GRADED STUDIES.

No. 124. TWO ANGELS HOPE AND PRAYER* :

D. E. Dortch, by per.
A. L. Davidson.
1. met. dS — 100.

» *
2.
Two an-gels watch be-side me, Which-ev- er way I go, One is with her face up-

E4:
~Mr
H&* ~9
^ -
9
~ —~ 1
9 9 ~

§9- o- . ..
~9~
~&- ~
0 -
-&i-
~ ""

The face of one is bright- er Than words of mine can tell, And I oft -en hear her

3. But when a cloud o’er-pass - mg, Her brightness fades a-way, I can hear in ac-cents

4. And straight the shadow pass- eth, And in the sud- den light, I can see her face up-

*=-9-
£ -9-

1
M
—-j— —
—
—— * g- 15—
^ _ -0CZZ
t.rr r
S“
—j- —
9 -9 9 m
N sn
9 9
N
Jr M
C 9. 9 fr_r
iWr—
> 9
fit* 9. ... . 9- _
& *
hr
-7- 9 ^
9 -| #r \jf WC.

L,

lift - ed, The oth - er bow - eth low They guide my ;

err- ing feet, They speak in ac-cents

_ 7~#
$

—N IW W- ^ l^z—
^
)W kxr IW W
^
—r ^— —Nr N 1

rv
fr \

p-
)
-
d
& & zJ - za
N
^ jc~
&
k
P __|
& .
Is 9 ~9
9 9 _^pl ^ ge*
1
fgu jgo .

sing - ing: “Look up, for all is well,” And “I am Hope, thy guide, I will with thee a-

— ——_N
i

+ «i
. J 9
h d
9
^

9—
f
S
1 _a,

> Jr m 9 -0 _ , !

_js
40
1^—
—— ®
it
*

ae
*
9
t-
% 9d di
9- ^ 9 * sf
V- -

ten - der, The oth - er an - gel say : “Dear Sav ior, un - de-filed, Help thou thy help-less

lift - ed, And read her name most bright ;

Up on her forehead fair, I read the name of

yjs mr m m K S CM .r 9 9 9 9 9 9 *
-m —
^
—

KZ? —
1™ i“
|

& 9 ~m4 9 9 9 _ 9 W W rr v*
-4
_L_ & w w w w
s-+

-=5l k— \

9-8 K
9 N ^ N — k— —
—> —S- _+
:p
— —"m
. * IS iS—
d -9n ~
CJTT
-9-9J ^
1
40
9
.

'
-J
-f
1 U- ja» * 1-
9 9 9
w • rl
II

sweet, They guide my err - ing, way-ward feet, They speak in ac - cents sweet.

cJf 1 1*-
— IS
J
s
N iw
—M— ———9 — fc-
1
S5
t-
—S
iw —S' s
—p- t
9 _ ^5
s
—Jl._j==| it
s-
\
— jt
— 9 9 9 -9 9 9 d mr ^
1
-

bide, Yes, I am Hope, thy friend - ly guide, I will with thee a - bide.

Xfc _ , 1
.-n
ir-n»
lh
,r —
9~
—
9— 9 ——9 9 9^ 3
41B
^
9 9
^
^> 9 i UN
bfl
tFP-
H-
;

.
.... ..gr-— ^ ‘
"T 9 i>
r tr
asf

L LLl

child, Dear Sav - ior, pure and un - de - hied, Help thou thy help - less child.”

Prayer, Up on her fore head bright and - - fair, I read the name of Prayer.

h?
m— .

—m
*
9999 9 9
_

^
m 9
*
9
^
9—
*
-
dB
9.
-9-
m
9
9
—9 -m >
a
fr
9 -
—9 i

.
4r
A
 V
S V
m m

JUNIOR GRADE. 41

No. 125. LONG AGO A LITTLE SUNBEAM.

M. T. Rouse. H. R. P.
met. = 100 (For Kindergarten clasvses.)

* **
a g;

1. Longa - go a lit - tie sun-beam, On a ver -

y dis - mal day, Die - con - tent-ed

* 1
2. By and by
- - they saw him shin - ing Thro’ a mer - ry las - sie’s face, In her heart he

x S • — I
3. Then up - on their quest they start-ed Soon each found the home he sought, When he entered,

g -8
,
^
^
^ --K
m
'

m g—g- -m
S
m> •
*^-j»
9 1

N— m v+ m. o
:
m*
with the weather, From his cloud-home stole a-way ;
Then his ro-guieh cous-in South-wind Spread the

mm
>> i «r m '$0= » • -9 —
nestled snug-ly; It was such a co -zy place, That the sun-beams were delighted, And to-

> >•:> S u
* • m & jgf «$-
m m
quickly vanished Ey -’ry sad and cloudy thought ;
Now, w hen-ev-er
r
it is storm-y, In good

A— m—m- Ml
-m

a m m- S — s s
1 -m-rnk m
sto - ry round a - bout, And to seek the wayward tru-ant, Ev-’ry sun-beam started out.

geth - er quick-ly cried : “Let us all find lads and las - sies In whose hearts we too may hide.”

#: -N * A
» m m
-V

children’s hearts they stay, And the peo-ple all around them Quite forget the dismal day.

-N m mm
m m
Copyright, 189J, by The John Church Co.
 9 j — *— w* _9 9—— 1 —— "

42 GRADED STUDIES.

No. 126 . TELL HER HOW I LOVE HER. H. R. Palmer.

D. K. Sun.
MET. ^ = 60.

=&
1.
fr- pr-
-

Go, laughing, leaping, romping rill, Go where my love

i

#bi
is
1=

stray-ing, And
e=q*=

in the pools, when

P
2. Go, gen-tle winds, soft sighing winds, Go where my love is sleep-ing, And be a - bout her

3.

— s^ — N—
fi
j s -rq
g -p m 9
I S -
# wt

Ifl
fi
c
S -
P
*--
,
~C„_
ZjT~ —
-40
j
9
£
— [-

40
-p >—
-P
W~~^'
^ J
9 *
U
10
-1
• _
f
L
•!
'
•'
-|

k *
'J' "J**—
* J
j
-V-
J -

1. Go, laughing, leaping, romping rill, Go where my love is stray-ing, And in the pools, when
2. Go, gen-tle winds, soft sighing winds, Go where my love is sleep-ing, And be a - bout her

M p w~~ mm—
& I
- P= zpi=p£=p: :
-
fr
———
pzzp=i=pEi=z=
p- b*
^=pz=p==p;
^
-
^ — i

—
--35FW-. -0 * J* g
=1
:9 "
•
>— a— rrr ;r

m
®;r
—jS —
J

tr—- 1 1

P~ &.

you are still, Lis-ten to what she’s say - ing ;

,^nd with the sun -ny sum-mer 6kies Of
window blinds, And thro’ her curtains creep-ing ;
W eave in
r
the wim-ples of her hair The
n
Ac
UM
, S —
9 -9
— |W

K—4—~=fa-
:q- — rr q =z^—irj- —^
— 0 "’IlT
_q k —
m-
- <*
v * * w w L_^ 9h-g^_9 -•

— — — ^—*
P
p—
-2-
1

^
Ifll —J— —40
H-=—
j

40
53

±
fa

Zd
1-
E— ®
0 a. fa

A
g-
&
fa-
z-jzzrrzz -^P
4- —k— * * &
you are still, Lis-ten to what she’s say - ing And with the sun-ny sum-mer skies Of
window blinds, And thro’ her curtains creep-ing
;

;
W eave the wim-ples of her hair The
in

Si* m
=^-4=“ -9 9—-9 9—— 9—
* *s
9
-1
P ^ S-g-gr— —0^— -P
"-•

Z'
«
^
E_
—

JS^t ±P-~rr-
yZ *—
az-ure arched a-bove her, Show her her own an-gel - ic eyes And tell her how I love her.
perfume of the clo - ver, Ca-ress her face so sweet and fair And tell her how I love her.

A m>- qszqs^z.55;
9 -p—p- 9 9— ~9
r£&-
Poco rit.

R=P=
m*
fic
zj=M: 9 '

—*
az-ure arched a - bove her, Show her her own an-gel - ic eyes And tell her how I love her.
perfume of the clo - ver, Ca-ress her face so sweet and fair And tell her how I love her.

Copyright, 1 SOI. by Tiie John Church Co

 - —

JUNIOR GRADE. 43
No. 127. LIGHT MAY THE BOAT ROW.
Arr. from Philips, by L« S. L eason.
MET. J = 120.
Note.— This piece should be omitted at first, and studied as a review after the class has passed the 5 3rd page.
* £ ^ ts £-| . 'T^ jzzpJX—
4-
1. Oh! calmly may the waves flow, And light- ly may the boat row, And safe andswiit the

^ — L-m
H
.zdk. T= :
S '-^-T

Allegro.

ii4 £
2. Then light may the boat row The boat row, the boat row, Oh, light may the

f=t=g: ±3? 1

*=* =nS3 3 *-
I
1
*7
£
i boat go, That my lad’s in; He plies the oar so light - ly, Moves in the dance so

J Hr= s= T9
~
—V
* V-
*
boat row, That my lad’s in; I know he is trae-heart - ed, True heart * - ed, true,

5« f isS
;
+ per •
jP ~P1>— — -

?
^ !
*
* 3 ?
44 GRADED STUDIES.
LIGHT MAY THE BOAT ROW. Concluded.

_Q—g —— — ?*-j -ar—

~ — f*
k ~S — — -t —^ !"T"l'"i n — r
—p-
rn —— £ 1

If
’H

r '
f
w r>
r
-iC
& 4B Jk i

^r ..f.
pL(»

XT r
wears a bine jack - et, And a dim - pie in bis chin; Light may the boat row, the

— Sr Ik
> “X
& —~dv !
k: S K -IV __J Bk ._
—9 Ik —
dpt — ^ P 1

-Jr~“
“d~; i r J > !>
P P
rrtv
\xY)
zlr' p*
h> r-
^ W
v I

XI
,, ,,
X m ^ H
nPih"'
ilM
-u —
—^
z
J
P
J.
p p — i*-
r~
^
rn
—rt*
r-
—r r
i
4»
u
^
“
i.F... r.
F
^
u?
'
r>
!

pl J
i
.

2
F
21
F
.

b-i@ W-
b-
z
-

J—
40

wears a blue jack - et, And a dim- pie in his chin; Light may the boat row, the
—
—r—
' —— « **

1
P
f
~“S
,
—
hr^
k
PS
'

&
k
'
1

&
_
*

P
v
^
l

b=
\
i
U*k
’i
&
^
.
<r»

J
<& —1—
—

u^42—^
-*—
L

J2=
y-

-H
E*—
a N -I

~
*
f j
— i *
i
"
r"
1
r rp- h*-
— —
— _ i
s- -
c
— Si r w
j
V 7 1
I

\/ / zz
boat row that my lad’s in, Light may the boat row that my lad s in.

a a
tr-» ——dkn if \ X '

j
Jr
rrtv —•—^ m d f
i t d d d ^
i

»
i

LJ 9 Or-
s

#P w—0
—^P FH »
^
p
— (^—
.

j. «...
j .

L_ *
-if
1
1
i

i— • i

Or zz't L
ff ft
-f —
-J
-
W
1
1 JL
1 F F '
1 1

boat row that my lad’s in, Light may the boat row that my lad’s in.

« - A- 4 J
» >
—
1

m
1

r r r
1

V7 W- » -T3- _
1

f p !>
J
P J
P _JF :

'
:
 — a P r —— - —
^ —
— P — ~ ;

JUNIOR GRADE. 45
129. Explain the E Minor Key. ( See “ Class Method,” § 805 and 821 inclusive.)

mi, la.

No. 129. Explain the Whole Rest. 'Sing each part separately by syllables.)
MET. A = 80. ORAZ.
-rsm — - J
^
A
W
i — | 1

^
Av- T ~A
r 1

P
; 1

m
.
; 1 , i

A- -3
0 0A * ~
t. y
1 **
..

& ]

1. Hark! the peal - ing, Soft - ly steal -ing, Evening bell, Even-ing bell;
2. Wei - come is the sil - v’ry mu - sic, Sil - v’ry bell, sil - v’ry bell

d-^-T
*
A -A ^
1
—— A
1

~1'~
(

^
,

zr~d'
1

= -1
-1" ~i -
—J. i
3
1

-p-
1

-p-
1
~i
-p- v ZJ~ ZI
-p -*t
^ m v ^ H

jjl y
A-
.

-H-it—Ar

a
££ a
V
.

—— ^
.
n
&
1

a
“
i
:

~~A A “
— J

A
— 1

A
,

CJ
|
_

m
2
A
0
.

cJ
. J
i\

1. Hark ! the peal - ing, Soft - ly steal - ing, Even-ing bell, Even-ing bell;
2. Wei -come is the sil - v’ry mu - sic, Sil - v’ry bell, sil - v’ry bell;

* p ® p 0 M 0 -.-0 0 0 0 P
h-
4 h, .
_1" ±= t= L_ 1 L L
E_ u 1
_ ti 1
p
—
i

rfcgi __ 1
—
——j
i

1
—
P=i
1

— ^ — —4-- ffl
—0 =J- w 40
^ til
fj
Sweet - ly ech - 0 Gent - iy down the dell.
Gen -
tiy tell - ing Of the day’s fare - well.

-GST-

—j—=r- —-
1—
/ ff[
—— i 1—
1

-g—z D~
—P P-— 0 #*^- J
if]
LU

tttt# 7
t
-7 A
* —^
1 —
—
——
-p
i
1 —— ~1
n
, -
P _
^ H
LI

Clear - ly ech - 0, Gen tiy down the dell.

Sweet - ly tell - ing, Of the day’s fare - well.

(£_U_- —P—
^
-g=zL_—
«
tz
*
1
-
J
^
u= 0—
1

1
—p= 1
H
1
„
=41
Ffl

No. 130. TIME IS LIKE A RIVER.

D. K. En. H. R. P.
MET. — = 60. ‘

4 4-

:P
^=p= 0— pfc* :*=pt
-s>- .

1. Time is like a riv - er, Ceaseless in its flow Never backward, nev-er, Is it known to go.

a
;

1
i_.
1 — i ^ 'T-d
P" -p
-
"P* -^--CT-
2. But for-ev - er onward, Like a liv- ing thing ;
And with pow’r re - sist - less, Swaying ev’rything.
1 =-+p-^-
=
4 1
-
H H
H h

4: -^ W- iP ~~ P P P-
<P

3. Onward and for-ev - er, Vastly and su -blime, Never backward, nev-er, Cri-eth Father Time.
H 1-
c
P=^=W=P H f-

Z±ZE2t
i=l
 r 9 1 m Ii

46 GRADED STUDIES.
“ GOD IS THERE.”
No. 131. Explain the D key. (See “ Class Method,” 822 and 856 inclusive.) h. R. p.
— — —— it - —'4'-= "
— — ~ 1 |

* j 1

w
1
!

m
!
!
J
!
..."

_r~
j. .
—1
cJ.
i __i
jm m m m ..o

1 . When o’er earth is b reak - ing, itos -

y light, so fair,

sr^T — , 1

—
9~— ~
1 1 l
— i
4 i

^ — 1
j

9~ 9
1
i

_J
-9- ~ -
tJ
2. When the spring is wreath - ing Flow - ers, rich and rare,

—
9—
i

ZJ
- ^
1 1

—t |
1 i

K-°it4
9 m
!

14- — itt
—9
* 9 9 cJ . m m -Ljl

3. When the storm is howl - ing, Through the mid - night air,

v;* * Z4
is#* 9
1

m
1

m m j
/TTj
c-^ 1

—J
1

— 99.—
i

J ^
*
\

-
1

m m ^ .

4. All the wide world’s treas - ure, Rich, or grand, or fair.

 - ]

JUNIOR GRADE. 47

No. 135. DAYS OF SUMMER GLORY.

C. H. Bateman. Oraz.

— —m —
f)
V
rwr— ft

wn
r~
9
ik
k
"
m
is
n
9
p
- IS IS

w
h. IS
—^ rn
-R

All your scenes of bril - liance, Have their charms for me.
When ’mid bright - er ra - diance We shall bide for aye.

r+tu.
a
1/ \ 1,1

s ns 1 J .

^ y
i

jj w w w 9 w 9 w c?
:

Of the pass - ing sto ry, Of mor - tal - i - ty.

S
s a
* fe. .
9
mn 9JT Ar*
m A
^
r* s
&_P
m.
^>
'• |
-s ~
i

<0 m.
*rHTT m i

And your leaves of beau - ty, Strew the path we tread.

We - will hast - en up - ward, To yet bright - er days.

* — . _ A A _ m A > _
- .**1
.. ^ ^ —A JL m i

No. 136. the grocer.

H. C. Dodge. Frank Forest.
48 GRADED STUDIES.

THE GROCER. Concluded.

7-3- V — Iw N k S Hk
1

ds~
tf K Ij r I K r n,
r ’P " r
- «g._*
.. W ... W d 1/ ^ w w
tv

while the B’s Slee] 3 E Z in their nest. He has to watch with all his I’s When

Vt s zr k k —R a s s - IS k is
t d*
9 9 a* d*
9 w 9
'
'k
& 9 9 — J 9
tJ -
9 - . 9
- -

lots of Fs Or N E thing at hand. Slow pay-ers he must not X Q’s, Be-

+
+
“T*—
d w
_,ff
zs
~T* W
w **
P*
r
P*
d
m sm
U
..
—
9 • of
-R. ns ns s s
- 9
S
w 9 — k w—
Si

buy - er Cs It’s mould-y with D K. Most ev -

’ry one the groc- er O’s, But
.
H .
h HH
is is — . 4E» ^
^ u ~ ^ ~ » _ rr p
d - ) .
j^ IS R ~k R~ is Is IS is
lr
v r.
w .. tfr .» 9 _ M. m m. M— 9 m sL 9

VT
m
d .. m —r m.
r—
w w
fir" Tf
1 / rv r. -JS- -j m ..
J
m J k
H •'
^ J is
dTP 9S 9r
— -__r* a_
_j
^ •
:;

cus - tom-ers s A To h elp themselves, or oth - er Y’s They’c1 steal his fine R A.

-W&-
yr %
* —J Sr ns-
m —— fL
ns~
m-—K
_ZJ
Ik—k s s
—— -aJ 1 . dV- -ds
^ ui V — JS- -ds - Jd- J*dd=k^ ^s—

cause in K C tr usts, With all the cau-tion he may IPs, Sure in the rfi d. >usts.

a m “T”-M. H — — k — —-k k- —k k— —dk

JWjytt
+FW- yp w M
R 9 9 dd ~9 / V M M m. dk ^ •

if E’s Y Z will Shut down on each dead B T knows, And have no M T till.

p “
w
/•Vtf
5 ^
_J — d d d
^ d
^ ... d
m d 1—. w 1 * '
m
g_ &
Xk
m- 9

Ho. 137. DEAR ONES ALL GOOD-BYE.

E. E. Hewitt. H. R. Palmer.
MET. d = 60. Don't hurry.

1. Dear ones 1
all good-by, good-by, Happy mo-ments swiftly fly, Hap-py moments these we spend,

itfind P=2
£=E=^ mtrwi

2. Let us not for-get these hours, May they blossom 9 like the flow’rs, While from our dear
10
school away,

11
3. Dear ones all good- 2 by, good-^by! There’s a bless-ed home 14 on high ; When we there with Je-sus dwell,

Copyright, 1892, by H. R. Palmer and M. G. Kennedy.

 k — P^

JUNIOR GRADE. 49

DEAR ONES ALL GOOD-BY. Concluded

k
—— W
7 s: _ ZLM ~
If
V:
U
^ r
^
w P ^
M 9 • 9 _P
]

.
P — . .

'
1
P~ iz
ar -
~

9
' "

fj
8
Learn-ing of the Children’s Friend; Good-by, . .
good-by, . . Good-by, good-by, good-by .

rw,, . ^
—k
Li

\
tt
* !

.J 1
m mZ Ji
rj 2 ) _25 *3 H
p
k k k
"P
9Z _J
s- S- s- * 9n_ij s
-9- * * r
-P-
3
Bear good fruit for ev - ’ry day, DearCmes all, Dearones all, Good-by, good-by, good-by .
8

r P pr ^P _ k—_k k k Z
§ tt H-
fi
* L
|
u
IT L* ^ .
_L:
t * __P P H *) k
P P
js )

P_
~*j
1

P P P_P J
1

_uj ! k
dp
i

*
i

We shall nev-er say, “Farewell.” Dear6 ones all, Dear ones all, 7
Good-by, good-by, good-by .
8

c
z
—^——
'
_ P
^ _ _ ^ -
to*-* rz l. i i «*i .J .J *1 k k “k p~ “
^
1

S TL IT 1
I

1 P _P _P P" 11

Motions.— 1. Wave both arms right and left. 2. Bow to the right. 3. Bow to left. 4. Hands in flight motion. 5. Point up.
6,Bow and wave to right. 7. Bow and wave to left. 8. Bow and wave to teacher. 9. Point down, as to growing flowers. 10.
Wave both hands right and left. 11, 12, 13. Same as 1, 2, 3. 14. Hands thrown upward.

No. 138. PURER YET AND PURER.

Explain p, pp m,f, , jff,
Ores., Dim. and Swell.. ( See “ Class Method,” §§857 and 903 inclusive.)

P, Rankin Hollingsworth.

m jf Dim. - PP
Pfrft- , -
~| *r
r-
—
xJJ
ft:: ~r
p
~
~1
^
~~~H P ^
1
"P
r
:r
^P
P
- —4 "

p
y

. M

Dear er yet and dear Ev - du ty

m
-

—= # ,
- er,

1
’ry
Dim. - -
-

- -
find.
PP
1
it j
inr z P — 1

xi/
9L
i
i

z! z! ** '

9 9 9J .. !

|LJ
,. M
ff u.
m -< P 1
ff _ Dim. - - - - PP
PJ
i l .

_!
IS r.
it
* P P !

ip _
i i

L
t
1
P P ^
“
CD _ _

Sur
W*

P
- er
- = yet and
f
—
sur - er,

—
Peace
_
at
IMm.
^
last
- -
to
- -
_i
1
gain.
PP
& Ill
^ it
n — i__ 1
t P
i
J
i

i.:.
. ..

: g m.. z II
LU
50 GRADED STUDIES.
SLUMBER SONG.
130 MET. ^= 120. Words and Music by H. R. Palmer.
 JUNIOR GRADE. 51
No, 140. WORK AWAY WHILE YOU’RE ABLE.
D. K. H.R. Palmer, Jan. 14th, 1893.
~ ^
—m
1

J-#:* ^ “PT
P N P N Zp~
» ^ “j

yl_ jt la
fr x *
p J .J
_n p
V"T *4
/*
0 9 1
0. J
0 _
w ^ Or « « - H

1. I re - mem - ber a les - son which was not thrown a - way ;

“ In the
t

r»,„ o 5

Is ^ _ .K - ^

N _> — *
^
j

V" T # & -J
J —J0 Ij
f* Js K Zj Zfc. \ rr |

tJ
~ m 3
m w w ^
2. And to speed with your la - bor, make the most of to - day ;
What may
tfc m "" .
- P —Tj- —nt —2i ^ _p5 _4_ .
p „p: -Z] ZT« 1*1
tr 1 -tt ^s5
0 !

0 !

1
'« 1

0 0 0 0L M. #_ _z_# _» ^ jT _JCJ .... .

3. In the world would you pros - per, then this coun - sel o - bey, Out of
A A
~ 9 m
^
n 00

— m » „U
\

——
xzs fl: i
* .
r-_
j* !_i— ¥
t

r 0 vL. U
l_
__lL.
Je
E
iF

i 0 0— 1
 — —
52 GRADED STUDIES.

Explain Bis. I. C. Q.
No. 141. Florence Le Claik.
I).

-/'t 6
K. G. N.
MKT. m — 76.

^ — is K t^vE T TT^- IS V K 'K

*
I

.0) 8 I: * - • i> E * • w
]. Tim Clii-na-man prais-eth his T’s, The maD -da - rin prais-eth his Q.

\ ZR= -S N -IS —IV

9 ^* * : M a ig —.wt

-f
-W
— f—f
^— U
— —ff=
f—r 9-

2. The fool - ish have need of the Y’s, The act - or hath need of his Q.
 — — — —
JUNIOR GRADE. 53

JJo. 142. Explain Dotted Eighth Notes. ( See “Class Method,” $ 904 to 928 inclusive.) Explain .

D. C. (See “ Class Method,” § 613.) All voices sing the Melody.

A
it** “1
^
- “1
Pa
» ,
. I —^ c
-'Ll
• n
4* is
j m i _

J s
-
i I

^
i 1

71 1 _J§. SL
m
•
-1 _I
m •
^
:
_ .11

Mi, mi, re, -do, Sol, sol, fa, mi, re, do, re, mi, do.

ff
tfc
=) zf% 3 z%r. Z-J "J ... jr* -=J- -|
-*-» 0 v
.. .. Jff
wfc~^
S *
J *
jjj “ Hi
fj

No. 143. SOUND THE STRAIN AGAIN.

54 GRADED STUDIES.

NOW THE SHADES OF NIGHT ARE GONE.

146. Explain the B Minor Key.

No. 147. giver of the heavenly peace. H. R. P.

H. Bonar.
 — — : ^ — ;

JUNIOR GRADE. 55

Explain Flats. (See “ Class Method,” 929 and 934 inclusive.)

JJq # 148, § §

Flat 7. Flat 6. Flat 5. Flat 3. Flat 2.

^
Ti te la le sol se mi me ra ra

!NTo« 149. Explain the Chromatic Scale, ascending and descending.

* 9*~'
:8*:
*
:f==J
M .J.
Do di re ri mi fa fi sol sil la li ti do do ti te la le sol se fa mi me re ra do.

No. 150. Explain the F Key. ( See “Class Method,” §935 and 964 inclusive.)

ie£
Do ti
sol.

No. 151. ROUND FOR FOUR PARTS.

-

-t —r- -J 1 1 \

—^ M
.... j.

1
--
1

..
1 —
:gJ."
)
- p -
^1—1—1 =1
—
—
=4= — H —id
e- 1

S— -J
id
1

1 1

Sing we an - oth - er be - fore we de - part, Sing to the praise of our mu- sic - al

=pz=
4
atzatzat
Zj: 4P & -49
art. Sing, sing, sing, sing, Do, do, do, sol, sol, sol, sol, sol, sol, do.

No 152. ROUND FOR FOUR PARTS.

i 9r -;g~8
N
, K nv f5=?S=45=lS W-— -W
m m m
fj •W- -J- -st"
Uncurbed tongues out- run their master, Chatt’ring fast and railing faster ;
Art thou deep ? Silence keep.

No. 153. ROUND FOR FOUR PARTS.

i ±r-z=p=—r£
a
-
^=pu
- —
5 -W-
Pur-ling stream, your sound I love, Gen - tly, gen - tly glide a - long thro’ yon-der grove.

No. 154. ROUND FOR FOUR PARTS.

I:i_4
tf- z£
My dame My dame

m
has a lame, tame crane, has a crane that is lame
=T
3= T=r:
u
Oh come, gen -tie Jane, feed the dame’s lame, tame crane ;
Feed and go home a - gain.

No. 155. THE BOY AND THE BIRD.

Words by G. Arr. from R.

5 ft

1. Aboy once caught a lit - tie wren, hm, hm, so so, And
2. He was so sil - ly in his joy, hm, hm, so so, He
3. The lit -
tie bird, he flew a - way, hm, hm, so so, “If

Jv-ft— ft ft—ft -

& m ~N N
ft ft-

hm, so, so,

-J-
hm, hm,
V so, so.
hm, so, so, hm, hm, so, so.
hm, so, so, hm, hm, so. so.
 ^ —— n 0 —0 — — - i 1 — ~ —
;;

56 GRADED STUDIES.

No. 156. ALL MY TIMES ARE IN THY HAND. H. R. P.

D. K.

No. 157. WE LIFT OUR SONGS TO THEE. H. H.. McGranahan, by per.

N. J. SQUIRRS.
—Jr —
fy i
" —
—
4a 0 T
0
j*
~T
4
lw
m
j

“1
;

AT* CaJ.
1

& J
P\ — ig —
&
L

-W
j
_ —— i

1. We lift our songs to Thee, Our Sav - ior and our guide

-Arfi — —— ——IS
0—
1

4 0 — — k — i

p
1 1

.Sir
T:
^
'

Urrr
- 0
is
<&-
i

* . .
|
1

—
- -jpr- x&~
2. We lift our pray’rs to Thee, Who on - ly hear - eth pray’r

Slfc-ff
mt&-A —®P —m —
~
p m
zi t
H _4 - _4* S —™ j

+W- 4
zJ
- 1
9 m 0
We
3. lift our faith to Thee, In - creased by grace di - vine;

H— —^ _ — i

--
—
1

"1 1

far-
~ 1
—P fcs
P
5# 0 0 )

. .
i

4P
-US
M
--aJ
—
0
1

0
1

1
l-'

4. We lift our all to Thee, For all things, Lord, are Thine;

.
— ri “i
-
—ik.
'
'
~ '
P* .
— .- -
~

W
i
j t

v" zZ 1 9 -
-
-
- 0 ~
—m r~ “ -
zj
~ ~
la
m
1

L_
P
)r
tm
r -w
* 9 \

_
—
- -
1

tj
0 make us from our bur - den free, And keep us near Thy side.

_z4-
fr
AH r
U -i

— S -
S 9
'
. . .
~
•

9
i
“PX
0
-

9
—9
s -
;

-
-J- zZ
— -
'

-i i
'

~ zzt
fj
r _g_
-
-
_
0 _ zjf. .

They who on eartli do thus a - gree, Shall find Thy bless - ing there.

It-it. '

m— 9 9 9_ V _ dm ^ s :

urns'
— -
-HV ik. k. -
-
"

m :

~p \

^
s* y
^
_ _
C^f.
:

_
+» ZZ at -
m ~ -

h k
cj w
rj
l
1

1 4

Help us, O Lord, Thy. foot -steps see, And on Thy help re - cline.
—
*— —
n.
4r — i
-i

P '
"P —m P'
tv ^ —Ik.
3 si—
1
r
5?
*
‘
1 '
^
m hg
1^
~p^-
W-
-

1
i

1
— -> 9 9 U
9 m M J 0 a> i

L
\

Take us, and all we have, and see Thy like - ness in us shine.
Copyright, 138G, by H. H. McGranahan.
 JUNIOR GRADE. 57

No. 158. DRIVE THE NAIL ARIGHT, BOYS.

“ Sunshine. A. B. Morton.

5:
3
rj
•> g: y IVjCZJt -s>- g-
atzK : e=l
1 . Drive the nail aright, boys, Hit it on the head ;
Strike with all your might, boys, E’er the time has fled.

N s '

* =t=
tJ -
s s
g- -g- -g- -g--g- -id- -g - -*)-
"
'
3V.-^-r^r^ ±gb=±=j^=:^
" m m ^ -gb ^ -g- .
N V '

'-g-' -g- -g-

\ Nr 1
2. Standing at the foot, boys, Gazing at the sky ;
How can you get up, boys, If you nev-er try ?

nepg g •

mt izitt g g g -g- g_g g:

3. Al-ways per-se-vere, boys, Tho’ your task is hard Toil and happy
;
trust, boys, Bring their own reward.

*=Nl =V-=fcbifc_^r
g *=3v *=*
g g g * 1 :g g ; = g ?=?: -
:g=g_ g
Lessons you’ve to learn, boys, Stud-y with a will ;
They who reach the top, boys, First must climb the hill.

-K—X—N- dN — -

:g: g; m g 1
g~~'g '

-g- -g-
N ~S
Tho’ you stum-ble *oft, boys, Nev-er be down- cast ; Try, and try a-gain, boys, You’ll succeed at last.

Is
Nev-er give it up, boys, Always say you’ll try ;
You will gain the crown, boys, Surely, by and by.

mfr—gS—g fc -^V-=5[
g g
T •g —
g—g g g
(• -g —g-
-
s=e N— g^ -g= g=gg=g

No. 159. LET IX NEVER GRIEVE VS.

Words partly written by Florence Le Claire. F. Le Claire.
MET. jp 1
96.= * •*""=>_. =* N——
'-K -J
*3 :g=g: at «r
4 g j
g g :£=!. at g— •- at w I
1. Let it nev - er grieve us Tho’ the world go wrong, Let not cour age leave us,

in
:g - m =pz

2. Let us ev - er cher-ish Friendship, love and truth; Then when time shall per- ish,

— —g—g-
^
m 2=e 4=1
.

r-rf-
r
s
^
m
r
i*
jf
s
g
%
-1
j

Night can-not be long.

j
He who does his best en-deav-or, Strug’ling on-ward day by day. )

Peace shall fill his soul for-ev-er, He shall con quer in the fray.

m
^ J

&^ z£
-JV-
g= at
*
P~g=g4
V— = •[

Bright shall be our youth,

j Heav’nly care is watching o’er us, Let our hearts be brave and strong, |
(
Keep this watch - word e’er be - fore us, “God and right ’gainst sin and wrong, j

:£=P= £3
:g__g .£=£
1st time D. C. with 1st stanza, 2d time D. C. with 2d stanza.
 h

58 GRADED STUDIES.

No. 160. THE LORD’S MY SHEPHERD.

F. Raus. Jas. H. Robinson.
Moderato. 4-
H
3E3 T
4 St IZ2l

1. The Lord’s my shepherd, I’ll not want, He makes me down to lie In pastures green, he

4 ^ YrJ — hg
i g :^= ~g2 •

=afc

2. Yea, tho’ I walk thro’ death’s dark vale, Yet will I fear no ill; For thou art with me,

22:
!*=£?=-zp: :^ 2—pc qs pz:g =
'jzJ.l eJ
'

=P=
±=±t ±=±l W-

3. Good-ness and mer - cy all my life Shall sure - ly fol - low me ;

And in God’s house for

M fi=ff= :S -& £ S? & 22 zzat -+- —

i cJ •
^=3t= 01 z± a. f
=3-

lead - eth me The qui - et wa - ters by. My soul he doth re - store a - gain, And

£ -i h
tz2: 3=t
W-
'

& 22 y 122:

and thy rod And staff me com -fort still. A ta - ble thou hast fur-nished me, In

^2=p=^z=p: -f^=i= 22:

RE H H 2^=3= ~W-

ev - er-more My dwell-ing place shall be. The Lord’s my shepherd, I’ll not want, He

m Tz:
22 ^ g2 gt :f

H
g±g~f 1-
. :
22 z wtr^ zA .i M.

/•s

^23^2Z=pr ?2I
gj - - ^ -22- 22^22

me to walk doth make With - in the paths of righteousness, E’en for his own name’s sake.

-<^—-54 22izis£ ! g/ 22: 4

Hpi-

presence of my foes ;
My head thou dost with oil an-oint And my cup ov - er - flows.

”
=£2- pizpz=zp 3=c :^P=
j:.. -T
4— H
?= 2 =
22^-JZl

makes me down to lie In pastures green, he lead-eth me The qui - et wa-ters by.

P=g=P zzzzt* £2=

L=U
SI-— Sh
=f^:
22: . ^_g2_jL
g^22
I

JUNIOR GRADE. 59

No. 161. COASTING.

MET. ^ — 80.
U n N IS IS K *.
7TnlT K S S S N
V Vq
-K
0s - \ 0 0 0 0 R
»
m
—g.Nr 0~ 0 ^0 0 0 0 ‘

^ ' ^ 0 1

N
t)

1. Come, boys, get your sleds and a - way let us haste, A - way to the hill-top, there’s

L(T r l

fV lT
Q "V r N . .
.
s iy . .

s
7 75 IV
ik
N N N N !N IN
""
k
~w '

"0 0 : N > N 1

tJ -X- -&I- -0- & 0- -0- 0 **'

-0- *
-<S? <2?- -X-

tt" "i n r* 4,
0 ~9
i

0
_

+WTT 0
.

TT^I
"V Q
* n N _ X~ 0 0 0 9 0: X X X ' i
" N '
X x -
X X _____ ____ _~i

2. With whoop and hurrah each one ran ! for his sled, And took it in haste from its

(rA p
/ST*
i >
s
_r 0 0 0 0 ir 0 si
.0000 v v
0
s 0 0 0 0 0 0 i
* o O ___ X. _ / ^ _ / L* IX ^ h
x X x x x

—
S N
|S |T —s—s S 1

— s
—ns —ns~
/ v*« N 0
f
V
^ rJ :J
X X X X j& 9 M ""

7. Y

no time to waste, It’s cap - i - tal coast-ing, the s now is so deep, Its froz - en so

9-
'
k k k is s ns m ns "
'S' K S
XN XN XN X
IS
f V
i

X 9
k.
s % n s
0 V
t il
_

» 0 0 X _X __ 0
C

ItTT,
r? 9 9 9 9 9 is s rs ns ^ 0 0 9
^ X x x r~ x 9 9 9 0 0 n
x X X X 1"'
' X X X : X “

peg in the shed; A - way they all ran to the top of the hill, For aught that we

/SjV _IK -N N as 0 0 '0 0 — 0 w 0 0 s

—X
'

fr "X
^
~W X 9 ~9~
X X X x X ^ -X X X r—
-X -

____ ~s n\ IS ^ N —— —_ X
1
!

x
sr -0 •
.
:
nn
fty
kJZJ
n
X ^ x j
^

i Sr 1 !
“N J X J J- Li-
it1
0 ^
!
•

<7 -X- -X- -«>- • v ^

hard and the hill is so steep, Its froz - en so hard and the hill is so steep.

yfn ZN zv_ S S S s — 1

_±
~0
1

) X X X X X t

A J

>
j.

9 X • J s
^ n _ 1 j

-X- -x- •
-X- *
-X- -X- -X^X-

IS
909 »
X
x n»
X ~X •

T~
9 “s IJ m
L
9
X
rn
X —0-
ns
Xr
-j

LjP_-.X_
-X-

know they are coast-ing there still, For aught that we know they are coast - ing there still.

iv* r
X 0 _
P S S S N 0 0 0 -0 0 • 0ft L
J
|
-U
(SA fr —\ JP r_ 4
1/
0 9 X X X I r x rl
X '

"X .. • _ -
.

'
\

1
.

-L
 — Z . ;; ;
; ;

60 GRADED STUDIES.
No. 162. GENTLE MARY*
Fred Woodrow. Chas. H. Gabriel.

JSt
9
And my heart will share thy sor - row, Tho’ my hand not its tear
wipes

As the light that gilds the eve - ning, Still pro-longs the morning past

P- T
if—M wtzsL •"
M-. -9 "W>r - ~9'
^r
-

jg? :

And my heart will share thy sor-row, Tho’ my hand wipes not, wipes not its tear

m—a> & i 1 W~~W~W -

3s=fs;

As the light that gilds the evening, Still prolongs, prolongs the morn-ing past

-> 3K
m k %r=*i
-js - S
m>—*-*—* *
I
-
*
"K
0 * 0
DCET.

ii g-g t
True to - day and true for - ev - er, As the sun be - hind the show’r.
And the hearts, no time can sev - er, Bound in love’s un - bro - ken chain
T -
-e-

5
r~ —
——9Sr 9J
~V' ~n
|

K
/\ a
fn\ J 9 ^N
m
n r
^ 9— m
r -j sr
— Bk
Z2
S 9 j 1 f*
TSTT 9 " ^ yt i 9 •
~ v*
~C7
fj
Or the jells of Bar-row stee - pie, Ringing at the sun- set lour. ]

Tho’ we part to - day in sor - row, Yet, my love, we’llmeet a - gain.

-0— *

—9S
r-

JLw s—~S"r K
9 9—
p r i i _ _ '
K s S p*
(ry 1 i

-:~S S J 9 ~9"~~9 9 9 S S ~~S _N _Tz

Or the bells of Bar-row steeple, Ringing sweetly at the sun-set hour.

-J
rw .
m
.J J
zr
“r
_ k.
fm k.
m r
——
m m m 9 m m P 9S
S
T_ ....9 r
t-
V 1

w w :Z
w w 9
rZ Z
w 9...
!

Tho’ we part to - day in sor-row, Yet, my meet, love, we’ll we’ll meet a - gain.
S
(mV
CCA r r' ^ W’ — —S—9~S S S s S
IS I

S%-J-r V 9—
r, <

i
V-H > -
r
*-~ P '
9 9 9 9. :9
—9~9 u
~9
By permission of the Author.
 99 ^ _ —— I 9 H

— JUNIOR GRADE. 61
'
GENTLE MARY, Concluded.
CHORDS. ^
t, '
~JS .."p m 9 0 p HjV Zjy. N ~~pk ~~y ~ ]v # A 9
j?
V? '
L_ <8P ^ ££ 6& #
fj
Gen gen- Ma ry, Gen -tie Ma ry, we shall meet a -gain,
—
- tie, tie - -

~~pr
^ \ 1
——P
._

m %
: |

rtv & ^ (W -

~ 9
-

7
•

9 9 9- 9 9 9 '
: m -Zl j
i

Gen - tie, gen- tie Ma - ry, Gen - tie Ma - ry, we shall meet a- gain,
^ _ - ~ _
*
___ _ P
It"it,
•p rfi ~9 M M m e P pi C.
— a-
_ 9 9 _Jr_ P , v
~ n
^ —
- ,i_— j [-, 1

rs
• «i ~ • H
~9 9" 9 ~
“1b H? m g M
9 9
L* L*
9 L
9
Gen-tle Ma-ry, gen- tie, gen- tie Ma-ry, We shall meet, shall meet a -gain,
_ 9 9 _ ^
9 9 9 9 ^ __
^ r: *
tv w
* n
If 7T
V. 9 9- 9—r—
=
V- — r
^ p t —a
^ — — ^
I.. "W
'

L# £ 3t 3? ^
ii

||

yv -

fs ^ "1 r 9 9 __ __ !
_X p
- J

.J,
.

,
V
Tp S' ; ii

9 -
m
1

** ~
r ^
l

\TT -
m -w- ^ L_ _____
G
Tho’ we part to - day in sor - row, Yet, my ove, we’ll meet a - gain.

K
'

XT U r-
. .. ....
Tv "v k p V-=K- '
_
]
rTv
VTT _N S 9 9 9 9^9 9 9 9 n N N P P 1
tJ
_

-9- -9
\ _ _

-9- -9- -9- -9- 9 9

r
Tho’ we part to - day in sor-row, Yet, my love, well meet, well meet a -gain.
,L jn P 9 9 - _ _ _ p _ v ~p rrt
t9" m
r»
If
j

W W W '
' '
W~
' 9 r j
1

Tho’ we part to - day, in so r- row, Yet, my love, well meet, we'll meet a -gain.
_____ _ ___ P P
__

“
__

V V
^
_

~
_ 1

- V—9—r ,
r
i
r
1- ——— 9- 9
r*
-

~m _»
_ .v
w 9 m 9
V
__
—9 —9—
— !
— [
I 1

No. 163. SINNER COME.*

met. ^ = 80 .

iy ___ _ __J i ^ J i —
75V+ J
^ J . , i i

S
I 1

v:f7 -+ 9. 9 9 40
d»
9^3t
^9 9 & 9~
O
1

- - -9 i

1. Sin - ner come,

’
Mid thy gloom, All thv %/
sins con - fess - ing ;

1
m m m m " ^
lU+t-4; ?n "

—
1 1

**} -
/i 9 9 —
± : _ rz _ i J L
_

L
i* :
! _ 1

2. Sin - ner come, Ere thy doom Shall be sealed for - ev - er ;

~ « — i

LSzyT. T- pi i i

cJ
- Jr. 1
r.
l
r
L

* This Number should be followed immediately by No. 164, in order to show the similarity of the Keys of F and F sharp
as regards representation.
 . — — ——— 1 — —— ;; —

62 GRADED STUDIES.
%

“ Class Method/’ and 980

No. 164. Explain Complimentary Signatures. {See \ 9<56 inclusive.)

Explain the F Sharp Key. Al so that it is represented exactly like the F Key.
* MET. ^ = 80. — —V
jfr
— 4
1. Sin
*
-
*
ner, come,
1

# Fs
1

’Mid
1

9
~1

thy gloom,
gZZI
All
J
*
0
•
thy
' -
J —Z
s~:.

sin
9-: \~£ A-.g
con
~

-
1

fess
1
- 1

- ing
j—.

tt-H-S
43- "
IP
*£ **~~a

T
4 *
9
1

-
M
1

^ i
F 4 1
—m—
_
L_
i
zjK—
1

1
1

1
— pn 1

1
jbs?
L_
0
JH- 1

2. Sin - ner, come, Ere thy doom Shall be sealed for - ev - er

0 0 r m
P f- 0
L m — |

r7TT^T
r07%* it 4-
F _ ff—
—
'

^ — r 4+— 1
F
f
1
,

cJ j L 1 cJ. _L
:

p- .... :=T= =f=— -1-

4-.-.^==
^ ^ A
—
^ ...4 1

frk" ff 4+ 1
1

9— _i

9
t -mi

4 -
"
wtz a -s>-
::

Tremb - ling now, Con - trite bow, Take the of - fered bless -
ing.

^V j -
—g.—
=f=— ^ \

m
!
-(*
F
.£2
1
"
4
__±=-
0 —=±='—m
— —&
F_.. .F.
-
i — .t-=ir t~
—A
Now re - turn, Grieve and mourn, Flee to Christ the Sav - ior.

/OlTt itrL-TW 1 ^ —p —
—H i
<s>
Ff ——
- P-
1_
J—
(_
=f= -
— -
49
F-
1—
-£=
— —F ^
:*t=
—
=£=--:

JJo, 105, Explain the D Minor Key.

,Fr4 1— * ~j -F ~n -w 1
m 1 — -h " j"
^
!

W 1

,
i

c*> CJ.
|
,

!
^
1. Gently evening bends O’er vale and hill, Softly peace descends, The world is still.

^
1 j

r4
1 j
| i i i

F
1

cJ
^ ^ ^ ^ &
1

i
1
i | 1
1

CJ.
TT 9
2. Save the brooklet s gush All things now rest, Ceaseless is its rush To o-cean’s breast.

ri 4
* r? a m m m m FJ ZTZ0 ^ „ g ~Fzz
£2
1

0 0 0 0
i
; -4_. i
{ 1

r-7-; --

3. Restless thus life Hows With -in my breast ;

God a-lone be-stows The tran-quil rest.

/yr«
_
a m m
....
_pr_
^ -Fi
^
0 0 r Z
-F^
[Sir, 4A m _J
. 1 _L_
,

r r r !
i

^4 F
'Yf \

i
1
I

>.L— L„
\

e2~

No. 166. ROUND FOR THREE PARTS.

Three blind mice, Three blind mice, Ran a-round thrice, Ran a-round thrice, The

mil - ler and his mer-ry old wife, Ne’er laughed so much in all their life. Three blind mice.
* This strain should be repeated until all parts come together.
 ^
1 X — “ w
! ! —
9 ! ;; !

JUNIOR GRADE. ^33

No. 167. Explain the B Flat Key. (Sec ‘‘Class Method,” §981 and 1001 inclusive.)

MET. J — 66.
•

O b ~, _ — 1
TOT 4j ' i

-
H Z ? ] Zj _4 ! p
m
.
1 ) 1

vdt h- u m _ 9 ~ m Cy _ .M
m

w
zJ 1 _!
9 9
1

tJ

1. Peal - ing, soft - ly peal - ing, O’er the syl - van dell

7* ~,
J
*+ i
r
t
r
-a ~r
m ^*i

^
—
!

~
r
3

—j-
. L i _i Z1
4pL
-
L
^
]

*
J
-pi-

‘
nrrs\\j a i
—j
^ _ ... 1 — j _J
f+tr ^ v
.-r
^ “ p
|

m
;

m
I
CJ .
?•
\
I

a: I ! ^ cJ. M at J

2. Lo ! the day is dy - ing, In the crim - son west

V U A 1 J 4

iAsr—*+
-i
1 ? ^1 f*
gA 1
...
1

“prfr
vrw
IMV
a
{

zJ
~t
— J
I
—
m
;

i
. j .
i

j i

t n
. t ^ cJ
_
s n

Light - ly, sweet - ly steal - ing, Comes the ves - per bell.

m——^ —m
/Svb- 1-
+- 1
1

r
- — i 1

zL
1
—g \ — j
-

—^ 1
-
DU
FH
FH
^
'

1
::zJ
tJ
i
~ 9 at'..
^ **
l
^ ! _
^

TyTi H
S b
i/

J
,

J
,

m 9 9 r * J -0
nr «J mJ J U
|

r~J
1 1 1 1

in *
e c _ j0 9 .. ...
1

9^ J L M- ..... Q. .. L!

Birds are home - ward fly - ing, To their leaf -

y nest.

r H —f 9
— rn
(&rb -] 1
— 1 1

^ f f fH
^
1 !

Ci7kr zJ zJ ! :d
— zA — tn

No. 168. ROUND FOR FOUR PARTS. Arr. by P.

— —b-H MET. gm 112 .

—
— —% 1^
9 — — 9— -
1 1 1
rl
—9
i
i

'f/W'tr — ——I ^ W
|
“j 1 .

-a 1
\
] f- « "i
1

h%t> 4m 4 • »!* '

bat -.9 W—gzJ
Hark ! ’tis the cuckoo’s voice From yonder shady grove ;
List to the mellow notes, The

—^— ^
:
?i
z:
rZ---z '

1
*5'—' 99
t— T-
M
r=f± - *' :
~a^: ’•_L: 1 1 : !

song I dear-ly love, Cuckoo cuckoo cuckoo cuckoo

fer fr— -
£
Hark !
’tis the cuckoo’s voice From yonder shady grove ;
List to the mellow notes, The

£
song I dear-ly
^5 love, Hark
nL

’tis the cuckoo’s voice,

-I p r

From yonder shady grove

H
I*t
h

;
-*-'-9
List to the mellow
9

CODA. To be sung altogether as a close.

/ _ ~f~m — i~P— VP
;P i r-p — WM-- p- -p-.^ —
notes, The song I dear-ly love. Cuckoo! cuckoo! cuckoo! cuckoo!
^4 GRADED STUDIES,

No. 169. SINGING CHEERILY.

Words and music by Wm. * Sherwin. '.

met. o = 112. Note. — The third and fourth braces are in the F key.

J
T * ^ N ft, N
— JL ——
-K=W=W=1
k I
•

-
*
tE J <r -
^ :£
> -£- u-
_ft_
=*—
1. Sing-iug cheer -i - ly come we now, Tra la la la la, gai - ly twin - ing
- — =p= _
— . k
— ——m=N W .ft :ft_zft.._ft
m wt & #
y
V « « S
w £L * m
__ *4 : - 1

J* 0~ :3 -g —*—^3—
:
— , f -r m. ^ A
P -—P
* J

ifll— R ’ £ $ P
^ P -P
L
-
..r=
*
EZZI
1

t*

2 . Oh ! how pleas-ant - ly time glides on, Tra la la la la, t>ring-mg pleas-ure,

—m— m
- m
u
- 9
i?
mr '

r= —& * — —m— P----E?

&
-#
L
p» -
P
^
r
^
i*.
^
^

* =*
—Fine.
I

Wreathe of- mel - o for each brow, Tra la la la la la la.

When in har - mo - ny sings each one, Tra la la la la la la.

—m m- — —
i =r
t=t£

F KEY.
^==e ss
m W
-4* ai
<i O-fVl
Eyes that spar-kle with a pure de- light, So bright-ly gleam -ing, On us beam-ing,

at=m m
-y»-.
g
-j a n--,
k .
r» -ai. .**.

la-re
Q4 40

la-re
V U =tg » t
* E
All life’s tri - als are a -while for -got, Its troubled dream-ing, I - die schem-ing;

r .
r =g
re-sol

do ol<
Used by permission.
 JUNIOR GRADE. 65

No. 170. HAVE YOU NOT HEARD OF THE BEAUTIFUL STREAM?

D. K. En. H. Palmer. R.
MET. ^= 60. ^ ^ _ K t ,S JS I
|

-m-
--M -r m i

I S t m
1. Oh, have you not heard of a beau - ti - ful stream, That flows thro’ our Father's land?
2. With murmuring sound doth it wan-der a - long Thro fields of e - ter-nal green,

ft

3. Its fountains are deep and its wa ters are pure - And sweet to the wea- ry soul
-i —
4. This beau- ti - ful stream is the riv - er of life, It flows for all na-tions free;

p=zp: m
IE8=* V V u= i -m-

5. Oh, will you not drink of that beau - ti - ful stream, And dwell on its peaceful shore?

-m-

wa ters gleam
Its - bright in the heav- en - ly light And rip - pie o’er gold - en sand.
Where songs of the blest in their hav en - of rest, Float soft on the air se - rene.

It flows from the throne of Je - ho - vah a - lone, Oh, come where its bright waves roll.
A balm for each w ound
T
in its wa - ters is found, O. sin - ner, it flows for thee !

gel
The Spir - it says, come, all ye wea - ry ones, home, And wan-der in sin no more.

CHORUS. stream ! . . stream ! . .

Copyright, 189-4, by The John Church Co.

 — A H — — — m — 1 1

66 JUNIOR GRADE.

NO. 171. PRAISE HIM.

met. y= 100. Jas. W. Fillmore. By per.

— — — AR— md>—m—P
— m p * "1 *—g
m^ —ui
-
^ fD
V—
-
T
,

P r
Ifc-t 4- wt m :*
f
P i i

kr ^ P* ^
^ 1. Praise, my soul, of heav the King - - - en, To His feet thy tribute bring,
2. Praise Him for His grace and fav - - - or, To our fathers in dis - tress,
— (7

(i V\

tr
-- t

1
-
T

4
%

^
Praise,
1

^
my
1
— . . .
4_ —
s oul,
s
K.

the
K —M—
M
King
s s

of heaven,
1
—-
To His
1

-md
^
J
—g
^

feet thy tribute bring,

- fk
ft
—
J J *44
1
-
—— f
-1

—
.

-rrYa
— m—P —-P—
—M WH~—A
^—4—
!
r ~>T -I5£S
fc fe
fc

g i
y-m m m jzJl
1

m
i

m £2 Z
. 4. \j£. yt. 1 _

2. Praise Him, . . . for His grace and fa- vor, To our . . . fathers in dis-tress,
r ^
j p
As An m to
' i
~h
J p _p
- - - — _P P to w
W 9. P -
-
^ «| ,

4- U — 1 }

—
CT.'P
Tsr-fT'-P !
1

“i
— —whKn *A—n~ It
— -
~iS
"

m
g r*
h r i# .
p pprqi
]
— 1 1 — 1

m #
i

frtsv
vqr 1
!
zA 1
1 W
^ Ran-somed, healed, re - stored, for giv - - - en,
1

W holike me,
r

His praise shall sing,

Praise Him still the same for ev - er, fi low to chide and swift to bless,
-Q. b
p- — — !
'
s —R V“ 1
:
^ ^ a :

^
1
1

^ 9
1

m m m f
i

9 m ^ O'
tr
Who
.

Ran - somed, . . . healed, re * stored, for- giv- en, like me 5, His praise shall sing,

^ P ^ p!
Wp —W jw

f-ft
'p
;
& 5
A—
-JP1---—
=;

.
ap—“ r r ^
r'
to
p
f r
t
eJ eJ
a
P P
5s
cJ.
,

Praise Him, still the ime for

sj - ev - er, Slow to chide, and swift to bless ;

TJmT*
|^]a / 1
1

|
1

j
- -
R -
R ^
P i
f ! i P IV A3—m m -4
1
—
.
zA zA

g i ±
1

atzati
Praise Him, Praise Him, Praise the ev - er- last-ing King,
Praise
b
Him,
— Praise Him, Glorious in His faith-ful - ness,

: mL-JBL 2±
Praise
Hr ^
Him, ev - er praise Him,
-
Praise

r — Him, ev-er

=rz:is~~z^r
atzat ^=pc
praise Him, Praise the ev- er- last-ing King,

g=g=£:
Praise Him, Praise Him, ev-er praise Him, Glorious in His faith-ful-ness, oh, praise Him,
H* P A-ift gr-.e- - W-
•
ft- - ft d- f
ev - er praise Him

g= *1-1—
^ Praise Him, Praise Him, Praise the ev - er - last - ing King,
Praise Him, Praise Him, Glo-rious in His faith- ful - ness,
fe

Praise Him, ev - er praise Him, ev - er ev - er praise Him, Praise the ev-er - last-ing King.

» *
Praise Him, ev - er praise Him, ev - er praise Him, praise Him, Glo-rious in His faith- ful - ness.

tfct
3 E
g =3- 3* ^~w <S-
 — !

JUNIOR GRADE. 67
No. 172. Explain Triplets. (See “ Class Method,” 1 1002 and 1020 inclusive.)

ROUND FOR THREE PARTS.

Sing, sing we to - geth - er Mer-ri - ly,

V-
mer-ri
*
*3*
- ly sing. Sing, we sing to-
m
&
geth - er Mer-ri-ly, mer-ri - ly sing, Sing, sing, sing,

No. 173. TRUSTING IN JESUS.

MET. ^ =: 84. Words and Music by H. R. Palmer.

l| A* -f—m •- m » •- i
1. Je-sus will nev-er, nev-er for- sake thee; When thou are tempted O turn un - to Him;

zp=]: 3t=t=mt > j

S -
3-

2. Down from on high He came to re- deem thee ;

Left His bright kingdom to suf - fer and die ;

3. What tho’ the dark-est gloom doth en-shroud thee ;

Blighting thy hopes in the morning of life

E4: -2=2 2=2 = =4?

I =£=^=~: : ? m
IS—
*
is
&
H

IlSgSgi 2=£=2 4V
=S=2*= atz2:

Sin - ful al - lurements shall conquer thee nev-er, If from the Sav- ior a smile thon dost win ;

W 4*=2*:
, . - ,
w>
_ *72 2 '&4=1
Nowin thy weak-ness He ev - er is near thee; Smile in af - flic - tion for Je-sus is nigh;

Je-sus thy Day-Star is ris - ing to cheer thee; He will dis-perse all the shadowiTof night.

m =*=2 -K—^ f*- $ SEB

He with His blood has wil- ling- ly bought thee, Ev - er His strength to thy weakness will lend
o

j -v V *772 2=2 2 2 "-

-
2*-* "
7S=4V
3-

* 2 a
He by His pow’r for - ev - er will shield thee, And with thy sor- rows sweet comfort will blend :

He by His love doth ten- der- ly draw thee, Mer-cy and grace He will sure- ly ex -tend:

Copyright, 1892, by The John Church Co.

 — mK — ; ; ;

68 JUNIOR GRADE.

TRUSTING IX JESUS. Concluded.

=h-4
-m-
-m- — —m-
h
7S m-
*=*=%=3 i
\

%
nev-er, nev-er for-sake thee, TriistJoHim al -way, He’s ev^_er thy Friend.
Je-sus will

m. ~ 0—m —
No, 174. CLING TO THE BIBLE.
Explain the B key as complimentary of B flat key. Also that it is represented exactly like the B flat key.
, J. R. Murray.
M. J. Smith, met. 100
UU. . . . w.
,

r~ zf5--z^z] ^-pr 3t=2±

-st-

tJ
-0-T-& 0
1. Cling to the Bi-ble, tho’all else be tak- en Lose not its prom-is- es precious and sure ;

2. Lamp for the feet that in by-ways have wan-dered, Guide for the youth that would oth er-wise fall

—W*-+ 1 0-— : I C|L

I
!
;

t**- l

i, If

mr mr wr
* *% ^ 0-
Souls that are sleeping its ech-oes a -wak - en, Drink from the fountain, so peaceful, so pure.
Hope for the sinner whose best days are squandered, Staff for the a - ged and best Book of all.
#0 • 0 f

& or • — '

Cling to the Bi - ble ! Cling to the Bi - ble ! Cling to the Bi - ble, Our Lamp and our Guide
1

Copyright, 1887, by The John Church Co.

No. 175. GENTLY FALL THE DEWS OF EYE.

76. Explain the G Minor Key Fine.

LGen-tly fall the dews of eve, Rais - ing still the lan - guid flow’rs ;

D.C. Sweet -ly flow the tears that grieve O’er a mourn-er’s strick en hours.
-

3=
-0
0 -
-i 0
1

- -
0 -
1~

==3===4=^-l 1
J =1
-m- 3d: P— «L
— : i

— J.

ad
,

*-

Sweet - ly flow the tears that grieve O’er a mourn-er’s strick - en hours
 — —— — — - — — — —

JUNIOR GRADE. m
No. 176. Explain the E Flat Key. ( See “Class Method,” § 1025 and 1035 inclusive.)

No. ITT. ROUND FOR FOUR PARTS.

Now the blacksmith’s arm is swinging And his cheerful song he’s singing, Kling, kling, klang, klang.

No. 1T8. WHO COMES LAUGHING?

ROUND FO R THREE PARTS.
MET. ^ = 126.
^rh-rd — — m—
—a
1

m - ~z — ;

*—d
1
; : 1 1

—J
1

—— m :-47~-
S—
1

m m—
1

S
i

-J —
1

J
i

A
1

J...J
1

-i
1

*
i
t

• i

* 1

1
-h
ZWT ^ - ce J-
a ]

e ,

Who comes laughing, laugh-ing, laughing,Who comes laughing here a - main ? We come laughing,
-ffr- S— —as——as —as——m— -
zN: > —
w- — —A- — IV i
40
1

— }

—
1
-

1
r*Hr
— —-Zfc—os
—a-fr—& -

vdT ... ' .

I !
<

-at at
Ha, ha, ha, ha, ha, ha, ha, ha, We come laughing here a - main, Fla, ha, ha, ha,

*'
—VS
m m
--N
m J J*- V“S —** -*-5^
s d"
ap rN '
V Ffl
» « * *
,

-
» EB -

ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, Ha, ha, ha, ha, ha, ha, ha, ha, Ha, ha, ha, ha, ha.

No 1T9. ROUND FOR FIVE PARTS.

i IS
L
—
-4—
as——
— *
J-r-
i3« -
» -
«

Row, row, row our boat Gen - tly down the stream, Mer - ri - ly, mer - ri - ly,

HH> r — r it
“4
—^
-

*
s -
- )

——
-5
a
^
—^ j

"
rn
rn
—S- ::A——l
.
'

J =J=
* —— i 1

1
,

ffl
at
mer - ri - ly float, Life is but a dream, Life is but a dream.

No. 180. E FLAT KEY WE’RE READING.

For questions see “ Class Method,” £ 1036 to 1044 inclusive.
Words and music by Oraz.
met. = 88.
-rfr-i
H — f-

-MzjbL » -m * • ar_gL

E flat key we’re reading, Three flats are the sign ;

All these keys we’re need- ing, In one grand combine.

H 1

L <^- a) S
:c2:

i 1
e

E flat key we’re reading, Three flats are the sign ;

All these keys we're need- ing, In one grand combine.
TX-
:g:
i
.

a
2
H> 2 I t— r-
 m ;

70 JUNIOR GRADE.

No. 181. 1 NEED thee, blessed JESUS.

^ = 66.
H. B. Palmer.
F. Whitfield, met.

(J , JL need
JULV-/ V-'X-A Auwj bless - ed
Thee, Je - sus,/ And hope „
JL
to see Thee soon;
4. There with
ij/l tl..
Thy Vvinn/i iiAurriif
blood-bought nViil
chil _
- dren, Mv
My inv
joy shfl.ll ev - er be;

^=2= =£2=
±z=nfcni

To guide my doubt - ing foot - steps, my strength and stay.

En - circ - led with the rain - bow, And seat - ed on Thy throne.

To sing Thy praise, Lord Je - sus, To gaze, my Lord, on Thee.

W
In ±z: ±
Copyright, 1894, by The John Church Co.

dear savior, we gather.

H. R. Palmer.

1. Dear Sav-ior, we gather our trib-ute to bring The breathings of love, like the blossoms of spring;
2. When stoop-ing to earth trom the bright ness of heav’n, Thy blood for our ransom so free-ly was giv’n,
> * *- =p=
s=p=^=
^
3. Those arms which embraced lit-tle chil-dren of old, Still love to en-cir-cle the lambs of the fold
4. Ho - san-na, ho-san-na ! Great Teacher, we raise Our hearts and our voices in hymning thy praise,

% * s
5=^ m* "
, » s.g t*
Our gracious Redeemer, we grate-ful - ly raise Our hearts and our voices in hymning Thy praise.
» «r i! r i

y
Thou deignest to listen while children adored, With joy-ful ho-sannas, the bless’d of the Lord.
rfc:

That grace which in-vit-eth the wan-der-ing home, Hath never for-bid-den the youngest to come.
For precept and promise so gra-cious-ly giv’n, For blessings of earth and the glories of heav’n.
£=£: ~-m—w-
=3v=^ & -a—
W: s* & W k W J-
<

Copyright, 1894, by The John Church Co.

 P v r
m — ! :

JUNIOR GRADE. 71

DEAR SAVIOR, WE GATHER. Concluded.

CHORUS
d
(fty
~
$ Js-
•
'

i • * •
.

— *
: 2*
Z L
rN_fe_A ~m—
p =fc=£p-S=
— !

Hal-le - lu - jah ! Hal-le - lu - jah ! Ho - eau - na in the high - est

:
^
p * e— zt=
p p IP"

Ho - san
m —m—m—,
Hal-le - lu - jah ! Hal-le - lu - jah ! - na in the high est!

-m m m m-
^mm w

m-
-m- ’« * -w-

Hal-le - lu jah ! Hal-le - lu jah ! Ho - san - na to the Lord

m —m-
>—bP > ;P fSPi
Hal-le -lu - jah! Hal-le - lu -jah Ho -san - na to the Lord!
—
!

m-.m-. ~ -m
i m m m m feta as
EE feta

No. 183. A PICTURE MEM’RY BRINGS.

J. G. Whittier. H. R. Palmer.

—ftrb Q
— 4
met.

=
"
^ = 120.
-Jrm 'C7
'

^
—
J m
P M
i

1 ~
—

1
*
22
_L_
L_
^
1
P r
r
t
1
>
— tm
r~ —— t
i

W
1

1 . A pict-ure mem -’ry brings to me; I look a - cross the years and see My-
U~ J q
S\ h Lf)
^
'

.. 1 ..... , j

f\Y^\
I
i

M
, | i

—1
j d __ i i .dm £2 -3 1
H
~¥~ ~m~ ~d>-
2. I feel her gen - tie hand re-strain My self - ish moods and know a - gain A
£2 J nq
,

in
i
M .
n:
^ m i 1

“ i
0 - _j L_ : P .. P J

3 . But wis - er now, a man gray grown, My childhood’s needs are bet - ter known, My
u O _i
*- __ . _ . __
/*V rtt
(Pa m wr _h m~ P r
7*2
^
1

1 1

C i
]
- l
"r^
^azztz 'r\A
±nzziz_ :c2iz wL- Jrr tr _i

d?= -i — i-
4 Gray grown, but in our Father’s sight
A child still groping for the light,
To read His works and ways aright.
self be - side my moth - er’s knee.
dtz
life:

child’s blind sense of

-P-
j-HI
•

wrong and
•
!
-^p-

pain.
n 5 I bow myself beneath His hand
That pain itself for good was planned
I trust, but cannot understand.
;

6 I fondly dream it needs must be

dt
— -J-m-W- That as my mother dealt with me,
*=£—.
So with His children dealeth He.
moth - er’s chast-’ning love I . . own.
7 I wait and trust the end will prove
ftg -p = That here and there, below, above,
The chast’ning heals, the pain is love.

Copyright, 1892, by The John Church Co.

 ^\ ' —

72 GRADED STUDIES
No. 184. PRECIOUS SAVIOR, REAR REDEEMER.
J = 63.
rfcfc 3
MET.

— X
^r- :q:
rs — -«
Words and Music by H. R. Palmer.

-
3v
K? 9 &
k — — <5?~

1. Pre- cious Sav - ior, dear Re - deem - er, Thy sweet mes - sage now im - part;

"2 hV
£
7 ^s- hV —£=t
hV- H 1-5 1 -jd-
q:
t=t 1
_ 'W*~ -

2. Pre - cious Sav - ior, dear Re - deem - er, We are weak but Thou art strong;
* "t— ^jzzzrj^r^pqrrrrq I IV—A A---—t~
-<* &
3. Pre - cious Sav - ior, dear Re - deem - er, Thou wilt bind the bro - ken heart;

-Zp-r rlr—pr- _
*r—~
^ s m 1- -h
,&L.
£
:qs?

tz

!znz^rc_z:z|_3~i
35 £ =t*=t=^=3
Co.

Church
May Thy Spir - it, pure and fer vid ev - ’ry tim - id heart.

hn
Jo
r =3
-*•
qv qv =5
—jv
=
-
1 .
— Tm
1*
—
-IS- S-
-0
1
1

The TP*~

lftffl,
jz
— In Thy in

F=q-
fi - nite

£
com
-y
- pas - sion Stay the tide of

-<a>-
sin and wrong.

-( 9 -

yright,
:3S> E -I
-y- :k-
f
Let not sor - rows o - ver- whelm us, Dry the bit - ter tears that start.
Cop

+ - :

11
P
hi
4b
1 V r r
|r.
r
j/- — /
=g
_
-
1

!
m.
[_
&.

i*
° -«
£ !
j*
1

Ir
i*
1

/
P
1

Ir
_

-
0 j

0*
 JUNIOR GRADE. 73

No. 185. AWAY WE GO.

C. H. G. (Use bells or triangles in Chorus.) Chas. H. Gabriel.
MET. ^ = 100.
—A :=fc4
SL ri k-t * tm m^ is” m m ^ --m &
m- -w-
A-
* W * * -hzr il
1. A - way we go o’er flee - cy snow, Tra la la la la la la la la la, A-
2. A - way we glide, we swift-ly ride, Tra la la la la la la la la la, With

-4- -T — 4
=±4

nier - ry chime and tune - ful rhyme Of cheer-ful jin- gling sil - ver bells; All
pranc- ing steed a - way we speed, All care and sor-row left be - hind ;
Let

J t - 4 -

OiSr
—9 **-
•I
1~~ =1= 4=£
J

(HOIKS.
—
iHi- 5=^=5:
*mW -fr—
i-

JJ
Hark the voic-es hear Now on the frost -
y at- mos-phere, . . .

V& -s
-
•

m
—
&
i
— Pa imt _M:.
Is 4v
&rm :s ^ mA =t= -

Hark ! the mer-ry, mer- ry voic-es hear, Now sing-ing on the frosty, frost-y atmosphere,

Hark! the mer-ry, mer-ry voic-es hear, Now sing-ing on the frosty, frost-y atmosphere,

** ^ ^ f </*

Used by permission of C. II. Gabriel, owner of the copyright.

 m AA — » ; — A « — —— ;

74 GRADED STUDIES.
AWAY WE GO. Concluded.
Laugh - ing in their glee, All hearts are bound ing light and free.

fr- s
-
- fr

— A *1
-A ig J 'mmm
A A—
-ml
2
^ y W W r \
W' W' \

Laughing, shouting, singing in their glee, All hearts are bound- ing, bounding light and free.

-P- £— -A- A- m m m
-f— ^ p •

I*-
te=SE=JZ=t2=
By permission of the Author.

HARK! THE VOICE OF JESUS CALLING.

If O* 186. Explain the E Key. Also that it is represented exactly like the E Feat Key. ( See “ Class
Method,” $1045 and 1048 inclusive
inclusive.)
.)
= 116.
m
» M. B. Sleight, met. <pN H. It. Palmer.
“ir* fr

1. Hark! the voice of Je - sus call -ing, “ Fol- low me, fol - low me!” Soft-ly thro’ the
!”
2. Who will heed the ho - ly man-date, “ Fol- low me, fol -low me Leaving all things
Hearken, lest He plead no lon-ger, “Fol- low me, fol -low me!” Once a -gain, oh,
3.
0 • m m A— — 0 -= ,
0 — A. -l -0 rA - 0--—A r A 0- A A

silence fall-ing, “ Fol

- low- low, fol - me!” As of old He called the fish-ers,
at His bidding, “ Fol low- low, fol - me !” Hark that ten-der voice en-treat-ing
!

hear Him call-ing, “ Fol -low, fol- low me! ’’Turn -ing swift at Thy sweet summons,
A
5*
issf -w- m * -»-
-1=2-

I
”
When He walk’d by Gal - patient voice is plead-ing, “Follow, fol-low me
i - lee, Still His !

”
Mar- i- ners on life’s rough sea, Gently, lov-ing - ly repeating, “Follow, fol-low me !

Ev-er-more, O Christ, would we, For Thy love all else for-saking, “Follow, fol-low Thee!” A - men.
a- a f p r A- A— • pe. .
pm hSK r f= fm — m — :pr~ p" '
r*-*
:t==t=—tr— A m A*— *—w — :t= :?2_ £2
-m m— —a— \s&

7 £ u &
• is SP
:to
|j®

U_Jz ]•_ '-A

|

1-^
•
1
-1 - --

A *
1 1

'A A A A A A 1
A A
Used by per. of H. R. Palmer, owner of Copyright.,

No. 187. IRWIN.

Explain the C Minor Key. A. B. Morton.

—
— 1

1
— ——1

1 1
—*

®
j
-
:=}
=1
^
-1
s ::
:

-M J -J *L

sa - cred voice, Come, and make my paths your choice ;

here is found Balm that flows for ev - ery wound

-$A- &— r f- -n
£21 ±
4»

~i
—— n — _4_ |
L
t

* _ w... -3zz: S’ -L
t

your home Wea - ry pil - grim, hith - er come.

en - dure, Rest E - ter - nal, sa - cred, sure.
-A- -& --f.--.tm -r IT r g— -g-—
-m-
$2 - £=
r
 JUNIOR GRADE. 75

No. 188* Explain the A Flat Key. (

See “Class Method,” § 1049 and 1055 inclusive.)

No. 189. ROUND FOR THREE PARTS.

^or-

They march, they march to the rolling drum, The soldiers bold, see they come, they come To the r-r-r-r-r-rolling drum.

No. 190.
— Z_lJ2

y—
ha _

®—
| |
!

- c
i

«|-
1
—9——
— i i- —— — — ^n— p-
it i

-»
-rJ—
— —P—0
Eatzt
1
—__
1

WJ _iC.J.
~n
n
tU

1. Hear the mountain stream-let, In the sol - i-tude,With its ripples saying “God : is ev- er good.”
2. Bring, my heart, thy tribute, Songs of gratitude, While all nature ut-ters :“God is ev- er good.”

No. 191.
From Kelly. JOYFUL ARE WE. J. P. Harter.
MET. ^ = 80.
—“ 9 — —S - -J -4= -
f P — —p m
— -J
4- jm
* -J
— a, fm
*
1
" 1 (

Vs J H- 1
1

1 \
1
1
i
_ 9
1. Joy - ful are we now to own, Rap - ture thrills us as we trace

jf\,
yn h.u iyh
l 17
i

a
t- ,
..

V
3
| , |

f?Pr
HZ i
d ;

d 1
dT ... d d d d M _ 9 L
1

J
2.
J
Tis Thy grace a - lone can save; Ev -
?
ry bless -ing comes from Thee

3. Thine the Name to sin - ners dear ! Thine the Name all names be - fore

~ .
“1
~T n
/ST*
7 J 1
"1
* 9 7Tj
'

j |
1

m 9
1

# 9 * w =t= ^ t= & ~ * m L_ J

— L
v* —
^ —p
j~, ~i n
9
. , i 1
f

—9dm 9 j j

fv J d d m e® >—
j
! "
— jm
9
1 1 t
-f- 9 J]
xJ m

All the deeds Thy love hath done, All the rich - es of Thy grace.

y_„/..bL
w'
- -

—i
— i
- —r ~
/L.-h.
EXT -
2 d d
,

1 1
-
-h
d td f
91

d fid '
d d d~ 1

U ^ « -40-
~ ** -(S'-
.

All we have, and hope to have, All we are, and hope to be.

~r— —
1/ .h n
n 1
“i 1
— ^ 9' m m
r
.. ^ Li

=n=t=
'

st== -H
1

« - ® L
i

|7 ...

f
Bless - ed here and ev - ’ry - where, Bless - ed now and ev - er - more.

w —
wk 17
[/

.2
m
r
t
m
r
|

1
9
1 1
9
—
~t
— 3B
i
4
1

^
rz -Mi m P
1
9
1
—
cJ.
1
Fh
CD
 — — — — — : —

76 JUNIOR GRADE.

No. 192. © THOU WHO ART ENTHRONED ON LIGHT.

Balpern. Alt. by F. L. C. Arr. from Mendelssohn, by P.
MET. ^=116.
— —r —
nv^ v A —
LT y t? /"> ‘
1

_ R r TT
2 9 9
W
1

erj
1

MB 1
<rj •
•

2P~
1

** ..2^1
!

I2d
!

f~ .
2
9 e 1

1 ! _L
1 f
L .J
,

'

1. 0 Thou, who art enthroned on light, Of heaven and earth thou’rt the King, We
iT V hn
— ~~2i
|

• — ~
a 1
eJ rJ
^
•
2
1

S ^
|

zJ— cJ
iS7
- '
p
l

- 2d
^ <*
_i

.
1

2. 0 King of kings, we wor-ship Thee, Our en - e - mies Thou dost sub-due ;

Oh,

2.1? U^TT 2 •
1 n i
£» 9 ff 4i ^ rj v J
” 1/ A
=F 23
!

.
£2*
p 1 1 1 1 ;

L
E_
1
r ri
“

3. Then shine on us, and let us see The beau-ty of Thy glorious face ;
Oh,.
.-*•2 ^ ~ ^
r r
^ _
n—
irpirt I 1 II P-.
„ffl 9 9 9 9 P
^ b 4* 0 • L 1
"g2 ar~g2~ -1 1 1 1 1 L Z2-* cP :

-J.— JBt IgZHI -JEZ.

fj
I
knovV Thy love will not des-pise The prais-es we grate-ful - ly bring. A -men.
-
r ,

9 =J=F -^==*=±?- -0ft- 1

to Thy seep- ter may we bow, And ev - er to Thy love be true. A - men.
ittzzrzzzlz_zj i 1=F
zziTizs^zi :ct -W-
122: -<s>-

may we all, wher-e’er we go, Re - fleet Thy om - nip - o - tent grace. A - men.
H — r-
2=

ztztzjot ^2_ 221 I

No 193. FRITZ.
met. ^ = 120. Explain the A Key. Also that it is represented like the A Feat Key. m. w.
^ it
IT I
,

n
,
ij
,

Z3
1 , 1 .
-

V* 4A ft
m
1
J

w I T p
2 1
,

.
j jgj ait
_ 23 Jt Z
1

1. Fritz came from school, the first half year, As wise as he could be,
2. He hard - ly spoke, this hope - ful son, Un - to his par - ents kind,
it ..
(t
.._ft 4 n TP M ^ r r r r 1 1 n -

. _I_
.
A
't
M
\

L_
r 2d ^ v ~

3. And so, at din - ner, he be - gan : Pa - pa, you think you see
4. First, this is one, and that is two, As plain as plain can be,
5. Just so, re - plied the Herr Pa - pa, Bless - ings be on your pate;
4*)'# P4 r; r: r: _ r ® »J
1
*

l $L A
;

H 1
“j 1
1
4 r~tz tz.i_iLLz.znrb:
~ 1

h -jp

m
1 “1
m
[ H
9
p 1 1
j [—p
21 2d
1 1
— "1
zdz*:..:.:
i

21 21 2 2T H23
— W
'

*
1
~wt
And wished to show to all a - round His great phi - los - 0 - pty-
For he was ea - ger to dis -
play The treas- ures of his mind.
1 1

w 2 d
m 2 m 11
9 2 !

2 !

Two roast - ed chick- ens on that dish, Now I will prove them three.
I add the one un -
to the two, And one and two make three.
So I take one, ma -
ma takes one, The third put on your plate.
^
^ 11
inm 1
. -

ip _ IT
,

II
,

II '
dt at s® . J- 1

^ L 9 tzmztz tZHHZHtl _ 9 1 L ^ • L.
 JUNIOR GRADE. 77

THE WOODS.
met. J = 76. 1st time Semi-Chorus. 2d time Full Chorus. Divide the class into eight parts.
Werzel, by per. Arr. by F. F.
1st *Sr 2d Sop. A legro.
I
^ ^
*
* sr •

—¥*—**—*
*
\r-
* ^

1. How charming are the woods, The verdant, shady woods ! The trees, with their ’leaves all in

u. J& 1st & 2d Alto. ^

2. How charming are the woods, The verdant, shady woods ! The tree-tops bow down with a
—A
1st 2d Tenor. _ ^
~fj»~7P~arra» m w
u.

r —
Z
4*=P
m m - -
r • ri^

fc*: 1 «=» * *=£ j

3. How clear our voic-es swell, In verdant sha-dy woods ! And hark, how the ech-oes are
1st «fc 2d Bass. - ^ f
^
,

Rf £ f£ =£=£ e
W~ W 'W^-W-
> ^ U* L*

4U
S ^* i- i * W- W-
—6 \-2 1
*
W
— -

y
1^-rfr-z pE
m-
iai
I
mo-tion, Hum sweet as the mur-mur-ing o-cean ;
They’re murmuring in the woods,

# 4—4
-* m-T — M f ttrdfc
S g
greeting, As if to re - joice in the meet-ing ;
The meeting in air - y woods,

* m*
ring-ing, They give back the words we are sing- ing ;
Are sing- ing in air -
y woods,

g —P—f- r —is t
W W
"

g- n %
m t#-

Repeat pp as an eeho. £

The ver - dant, sha - dy woods, hal - lo ! Hal - lo, hal - lo, hal - lo

HC
M i a
In ver - dant, sha - dy woods, hal - lo ! Hal - lo, hal - lo, hal - lo

* ti-

ll! ver dant, sha - dy woods, hal - lo ! Hal - lo, hal - lo, hal - lo

lip
* iii £=£: ffET
-4-i
y^
— zi
1

* A
i u
double quartet in an adjoining room will give a beautiful echo
i
i!r effect.
u i

The^choir should prolong their

^
ibcjzfcten
i
v
— —
"
i _
last
"i
chord three
pulses, but the echo should begin in exact time.
78 GRADED STUDIES.

No. 195. WHEN O’ER EARTH IS BREAKING.

Explain the D Flat Key. (See u Class Method,” Note 213, page 146.)
Before reading this Number, the class should review No. 131, on page 46, when this may follow, after ex-
plaining five flats as the complement of two sharps.
Explain Double Flat. See “Class Method,” \ 1057.) (

met. ^ 88 -----
.

n
——
0 b u a iq ~|

m— — —
, \ .

J — <S —
b-4-
— f
When
M
f
o’er earth
m %
is break - ing,
s
Ros
<8!

-S-
»
light,
*
so
1

fair,
1. -
y

b'T
1

*
1

*
1
q
& — ,,
Uk J
VVf*
1 -4
1. 1
4
1
1
d
S ....
^
2. All the wide earth’s treas - ures, Rich, or grand, or fair,

(&-tfr-4 — zJ
..
J J d — - _J P
1 j
ri
i

1 R
!

1 !

— — — H

——
1 1

-irrlM; 1 1 rl 1

—g
1 1 1
"

i g. ..
g g g g 3=JK -3 J l—n
j

LLI

Morn a - far pro - claim - eth Sweet - ly, “ God is there.”

.. N -u 2" 6. ..
1

P p " " m __j i

*J P
. . fc . .n . J
r
t- Wl
-j gr j

2. In each feat - ure bear - eth Grav - en,

‘
‘
God is there.”
— a
ay. u
wh
.

kZ
z_a.
r
f—
r
(-
r
1
r
1
'
7T2
1 P'
1
Itrm
r f9
1

m.
j

No. 196. COMB JOIN THE FESTIVE SONG*

D. K. En. A. Abbott. Arr. by P.
MET. = 84.
it
£ ta=fc
=g=p: <&-

1. Come join the festive song, Wake voices all ;

Chime with the vernal throng. List to the call.

T -5=n=
—wt
Lord of the rolling year, Round and a-bove, Boundless Thy works appear, Boundless Thy love.

— W- tot izat i st
3. Joy - ous we swell the strain, Thankful to Thee, Watched by Thy care again, Spring-time we see.
4. On ward
- for-ev-er flow, Truth’s mighty wave Soon ev -’ry clime below Conquer and save ! !

~W=W-
** — *-
 — ^ — - — —— — 0— _ —q — - — — — ;

JUNIOR GRADE. 79
SEE THE STARS.
NO. 197. Explain the G Flat Key. (See “Class Method,” note, 215 page 147.) Before reading this
Number, the class should review No. 118 page 36, when this may follow, explaining six flats as the compliment
of one sharp.

Ho. 198. PRAISE.

-r— — — —
met. ^ '
76. W. H. Adams.

J -1— —
-t — H "I:" -
4
i

-i ~j
i ¥ *-» 4 0 fj——m— m
-i
-m -5= * |

&
-j

4
rJ 9 0 0 0 0 0 0 0 0
1. All ye na - tions, join and sing, Praise your Sav - ior, praise your King,

— — ——
—p-——
a uA
H S- d — —4-
T 1/ _

— — —m—
! 1 1

14- —p — —0 — 0
K : !

w —
1
1
—
-0 — -
id
0 0H =J-
-* : i
d
d

2. Hark ! the des - ert lands re - joice, And the is - lands join their voice

—id—
1

— - -4
0
— r.=r--7TT—
— -4 w — m— — 0— -
—0 —m -a- ~tZ —
id
mr.
— f—
(
1 TJ

7-rb^-r —2—0 —m— 0

1— 1 1

r- 1

0
1
1 — I

J ! | “1 1
;

rn
-if 0 0 0 —0 ’Jr i ^ “ ™ ~
MS ' ' ~~ *
i
“J

tJ
-y
— 0 0 '”*r
<J7~' 0
Let it sound
(

from shore to shore, Je - sus reigns for ev - er - more. A - - men.

^ ^ ^
-.*. 4 — Y-b-
. * _n
.

4444-—
.
k-
— i 4-
0t
i
1
„
0t
h
*
-ff
-1
— h
:
-1
1_
*
d
1 .

9— -f—
—!
1

*
pd-
1
— -* -<s> H
Joy the whole ere - a - tion sings, Je - sus is the King of Kings. A - - men.

ISA \) W u m m m1 m 1 1 [
^ rn
LP
vid? he * J

r 0 J 0 TP
L(S> — LU
1 1 cJ. '

^ zzst 1

1
t
rr.

SIGNATURES FOR THE MAJOR KEYS.

No. 199. All voices in unison.
D. K. Arr. by P. v P.

~-y~a
N ^ IK N 9 9
Z 0T
W 0
Jk
K V
fr\\ 0
1

—
;

1
L 0 0- 1

1. No sharps or flats be - long to C, One sharp will show the key of G,

2. The key of F one flat must take, Two flats the key of B flat make ;
A /?S

V
7 H ns l: it . j 1

N —
m
~9 -#0 0
f
VJ
.

J !

V9 0 » ^ _ _

But D has two and A has three, In E are four and five in B.
E flat has three, A flat has four, And for D flat count still one more;
/
1 777, T ~9 s, ,
fc

^ r m
r
‘

0 '9 9 '2
AU2 W--
1
* dr» \-0 m—
For F sharp key we must have six, And for C sharp all seven pre - fix.

b7 six the G flat key is known, And C flat makes all seven its own.
Copyright, 1S92, by The John Church Co.
80 GRADED STUDIES.
THE REAPER AND THE FLOWERS.
NO. 200. Explain Chanting. (See “Class Method,” Note 207, page 143.)
H. W. Longfellow. Adapted by W. Ludden.

There is a Reaper whose \ f He

reaps the bearded grain \
3
name is Death, and with his / sick • le keen 1 at a breath, And the / . . . flow’rs that grow be - tween.

1221 £2 gr 22:
ret Z2I
-is>-
122:

Tho’ the breath of these

:s2i [22:
o
“Shall I have naught that 1

is fair?” saith he; Have bearded grain flow’rs is sweet to me. I’ll > them all back a - gain.’*
?
naught but the | | give j
He gazed at the flowr’s with It wag for the Lord in \
tearful eyes, He kissed their } drooping leaves ; { Paradise, He / bound them in his sheaves.
“My Lord has need of these “Dear tokens of the earth /
flow’rets gay,” The Reaper } said and smiled, { are they, Where ..... J He was once a child.”
“They shall all bloom in fields upon their gar* 1 And saints
of light, Transplanted .
} by my care, { ments white These J sa - cred blos-soms wear.” . . . .

And the mother gave in tears She knew she should find \
and pain, The flowers she } most did love { them all again In the j fields
;
of light a - bove. . .

Oh, not in cruelty, not in ’Twas an angel visited the 1

wrath, The Reaper, } came that day . . .

; { green earth, And j took the flow’rs a - way.

No. 201. DOMINUS REG3T ME. (Psalm xxiii.) H. R. Palmer.

-&r izz
il =^= :
s : hS- :
S=
He maketh me to lie down I
1. The Lord is my shepherd, I shall not want; in green pastures; He j- side the still waters, A - men.

m He restoreth my soul He ;
t
f
I
leadeth me be- -

Yea, tho’
the valley of the shadow
I
1221
1221

walk through
)

H©-
~Z21
jQl

leadeth me in the paths of > name’s sake, -j of death, I will fear no

staff they comfort me.
{ righteousness for His . . J |
evil for ;
Thou art with
t me Thy;
rod and Thy .

Thou preparest a table be- '

Surely goodness and iner-
fore me in the presence cy shall follow me all the |

3. { of mine enemies Thou ;

[ cup runneth over. -j days of my life; and I *
Lord for - ever. men.
|
annointest my head with will dwell in the house
toil ;
my of the

No. 202. WITH TEARS OF ANGUISH,

Words by Stennett. H. R. P.

22 7^- ;
gr
/With anguish I la-/
tears of f Mypassion, pride, and dis- \
t ment, Here at thy J
... . feet, my God, 1 content, And vile in ... / grat - i tude.

& -<s>- ~r±

4— X ©
/ My reason tells me thy com- / f Tells me God /whate’er my
\ mands Are holy,- . . . . j just and true; I.demands, Is his most .f right - eous . . due.
J How long, Dear Savior, shall
/ J When wilt thou bow my stub- /
\ I feel These struggles . . . / in my breast f \ born will, And give my / conscience . . rest ?

W <s£ -o-

fj 3 -o- is:
(S5
rj ^ ’22' -& '22'

j Sure there was ne’er a heart 1 .

/So faithless to its
\ so base, So false as ... J mine has been ? \ promises, So . prone to ev - Wy sin. A-men

m /
1
Reason
I hear, her counsels
weigh, And all her
<22

-<S>-

/ / But still I find it hard /

j words approve; ( t’ obey, And
. . j hard
-s>- 3 122:

. . .
-Li
--I

-
gi-
~S=W-

er
ts>

yet
—s>-
to love.
3
/ Break, Sovereign Grace, Oh, / Reveal, Almighty God,
/ /
I break the charm, And set the f cap - tive free; \ thine arm. And J haste . . to res - cue me. A-men.
 ?;
! p r —
JUNIOR GRADE. 81
No. 203. THE LORD’S PRAYER. Adapted by H. R. Palmer.

I =t 18
:
s :

S
=r-

1
"

/ Our Father who -tin

art in ) Thy kingdom come, Thy |
(
J.
\ heaven, hallowed . be thy name, \ will be done on ... J earth as it is in heaven,
. . j
~ .£2 ^£2
.

-v.— s ?2=
S
2. Give us this day our . . dai - ly bread, ( And forgive our tres-
1 passes, as we forgive
\
j them that trespass a-gaint us, . .
^2= |
— !S>
^B
For thine is the king- \
3. ^u^deH ^e^
118 ^ rom ev ^ ^
dom, and the power, V ever and ever, - men. j- A
{ ^mptathfn }
>

{ and the glory, for J . .

DEVS 9IISEREATVR. (Psalm lxvii.)

Tallis.

^i=r

And show us the light 'j

of his countenance, y merciful un - to US. A - men.

I and be .... j

&
£fe?
SEZ5-J

2.
JZ2-

That thy way way be known upon

ZfSI
-IS>-

r
0
_£2_
_C2I

earth
God
,
I Thy saving ....
Yea,
<2
Z2I

I
F
health a
m- mono
peo
all
!Z2:

nations.
.<12.

3. Let the people praise thee, let . . all the - pie praise thee.
— | .
|

4. God shall bless us, I And all the ends of i

\ the j world shall fear — him. A - men.

No. 205. MISERERE MEI, DEVS. (Psalm li.)

H. R. Palmer.

Wash me thoroughly'! ( For I acknowledge^

from mine iniquity, >
from my sin. -j
my transgression: >sin is ever before me.
{ and cleanse me . . .
J t and my . . . J
Hide thy face from Create in me a clean
my sins, and blot out
j
> mine in - iquities. «
{
heart, O God, and
|
> spirit with- in — me.
{ all J renew a right
( . . . J
Cast me not away from Restore unto me the
C 'j
j
thy presence, and take [ Spir- it from me ; -Ijoy of thy salvation, [ me with thy free Spirit. A - men.
{ not thy Holy . ... j 1 and uphold .... J

No. 206. AS THE HART PANTETH. (Psalm xlii.

Farrant.
o, e

221 ;g- ?£2lgfc±=£2Z2 '22

J As the hart panteth ^ So panteth my soul after thee, 0 God A - men.

t after the . . . . j wa - ter brooks,

J
My soul thirsteth for )
© 9 -&-
122 ZZI —&—
J
Wiien shall I come \
±-
-£2_

— * ~ -
H
^2
1

^2—
"
&
o
-ms
/T'

\ God, for the . y . . liv - ing God \ and ap- - - - - j pear be fore — God.
f My tears have been ) J While they continu-
1 my meat ... J day and night, ( ally say unto ...
^
j me where is Thy God?
|
Why art thou cast down, |
0 my Soul |
Why art thou dis- |
qui - et - ed with in me ?
For I shall yet praise i

5„ j Hope . . ... Thou in Him, who is the health > counte-nance and my God. A - me'
...
|

{ of my . j
 F . 1

JUNIOR GRADE.
82
Class Method,” 966 and 980 indusmt.)
COMPLEMENTARY SIGNATURES ( See “

No. 209.
5?

No. 207.
No 208, *
COMPLEMENTARY SIGNATURES.
GNATURES.
COMPLEMENTARY SIGNATURES. Do
* uu
Bb key.
m
u,

F key. I Fit key. 08-#n n

i Do
*ta- r Do A/

B key are The Eh key and tne & Key aie

resent ' The Bb key and the ed by the same degrees of the
Stan.
The F key and the «„k-7 h fi;IIP
the staf represented by the same degrees
ed by the same degrees of of the staff. and the
Call the last flat of the signature fa,
Call the last flat of the signature
sharp ti ; read up or down to find
do.
signature fa and the ti ; read up last
Call the last flat of the do. fa, and the last sharp
last sharp ti read up or down to find
; or down to find do.
Do Do

Do
No. 211. No. 212.
No. 210. COMPLEMENTARY SIGNATURES.
COMPLEMENTARY SIGNATURES.
COMPLEMENTARY SIGNATURES. Do Qkey D° -

Do Qte key.
At key. Do A key.

Do «J Do
' Do ~ Do G key are repre-
The Gfe key and the
The Dfe key and the D key are repre- sented by the same degrees of
the staff.
The key and the A key are repre-
Afe sented by the same degrees of the
staff.
by the same degrees of the staff. Call the last flat of the
si^afwe /a and
sented
Call the last flat of the signature fa,
and or down to find do
Call the last flat of the
signa^re/a,n«d down to find do. the last sharp ti; read up
the last sharp ti; read up or Do uu
or down to find do vo
the last sharp ti ; read up Do
Do CjC

Class Method,”
relative major and minor modes.
(See “ \ 805.)

Relative Modes.
Modes.
Relative Modes. No. 214 .
Relative Mo. 215. B minor key.
KTo 213
CmaToViey. A major key. Om^orkey. Emmorkey. D major key.
- z =g j
j

do re mi fa sil la
do la ti

do re mi fa sol la ti do la ti do re mi fa sil k do re mi fa sol la ti

BC#D G B
gabcdef#g EWOABCWE
IT ti mi la sil la E Fit Alt
do re mi fa sol la tide
do re
D B F# G A B C# D
CDEF6ABC A B C D E F G# A do re mi fa sol la ti do la ti do re mi fa sil la
do la ti do re mi fa ail la
do re mi fa sil la do re mi fa sol la ti
do re mi fa sol la ti do la ti

Relative Modes.
Modes. No. 217. Relative Modes. No. 218. G# minor key
No. 216. Relative
F# minor key. E major key. C# minor key B minor key.
A "major key.

do re mi fa «1
do re mi fa sol la tide la ti

do la ti do re niifasilla E Fit Git Alt B Git AS B Clt Dlt E F#

do re mi fa sol la ti B Clt Dlt

Gf A Fit Git A B CS D Elf Fit do la ti do re mi fa sil

A B Clt D E Fit do re mi fa sol la ti

sol la ti do la ti do re mi fa sil la
do re mi fa

Wo. 220 Kelat ,^' ® ’^y'

<

NF O. 219
major key.
.
Relative Modes.
D minor key. Bb m ajor key.
.
( li
^m'JPkey. C minor key.

fa sol la ti do la ti do re mi fa ml
mi fa sil la do re mi
doremi do la ti do re
do do re mi fa sil la fa sol la ti
G AfeBb C D Eh C D Eb F 6 AbB
do re mi fa sol la ti la ti
teCDEferflABbflABbCDBkWe EbF
FGABbCDEF DEFGABfeCltD do re mi fa sol la ti do la ti do re mi fa sil
do re mi fa la

do re mi fa sol la tide la ti do re mi fa sil la do re mi fa sol la ti do la ti sil

• _ - JO*

Relative Modes.
Relative Modes. No. 223. Relative Modes. No. 224.
No. 222. DlJ major key. Bh minor key. Gfe major key.
minor ke
Ah major key. F minor key.

do re mi fa sol la
AitBbCDbEb FGAfe F G
do * mi f? sol la ti
ti do la

do la ti
ti do re mi fan] la
AbBbCDbE
do re mi fa ill la
‘
&SBNHK38
 — ; ; ;;

SENIOR GRADE
Throughout the Senior Grade every piece should well the second time, thus passing for readers
be practiced by syllables until all its tones are sung whereas, if left to their own powers, unsustained by
in time and in tune, and all modulations well un- an instrument, they would make sorry work of
derstood. Less haste will bring greater speed, for reading.
every piece which is well learned imparts an added When the syllable names are thoroughly im-
strength to the learner, which will be of great as- pressed upon the mind as names of tone-relations,
sistance in overcoming the obstacles of all future the learner has progressed a long way toward an in-
efforts. telligent knowledge of tone-combinations, without
The writer is of the opinion that the entire Grade which no one can be called a good reader, for a
should first be sung by syllables, all being obliged to good reader should always know what relation* the
beat the time, then return and apply the words, tone which he is singing sustains to the Tonic. Two
with expression, etc. There is great danger in terms cannot be called a long time to be confined to
abandoning syllables and beating too soon, as all the practice of syllables and beating, if, in those
are apt to blunder through once, and, with quick two terms, the pupils shall have acquired a knowl-
•ears, catch their several parts by rote, and sing very edge of tone-relationships.

No. 225. ENDLESS PRAISE.

Note. — Before studying the three following pages, review all the four part pieces on pages 19 and 34
inclusive.
Robert L. Fletcher. H. R. Palmer.
MET. = 88 .

4-
^
4 -m-
3
• s
m m -
*
1-

- i -m- '
: s -m-
9
1 . God of eve ning, God of
- morn - ing, God of ev er - - last - ing days
2. All Thy won- drous works ad - mir - ing, God our Sav - ior, Lord of all,

3. Laud and hon - or, praise and glo - ry, Be to Thee, O God most high
9^-9 —
m w
-w-
m
§
n Z+. 9 5*
-Sh

God whose glo - ry earth a - dorn - ing, Calls for end - less songs of praise,
Au - thor of the soul’s as - pir - ing, Hear us when on Thee we call,
All the saints on earth a - dore Thee, An - gels praise Thee in the sky.

- i
— i

^=-3==F
- =F= * 9
_ ^
9 — i

-ai =t=q=:
tT m * f 9
IS ir \
i ZJ
All our hopes Thee con to - fid - God of mer -
ing, cv, God of love,
Thee we praise in cease -less meas-ure; To Thy throne lift up our songs
God of eve - ning, God of morn -ing, God of ev - er -
last - ing days

Repeat for 2d and 3d stanzas.

-I r—
I 1 4-
m-
-&

Thy
In prom-is - es a - bid - ing, Now we lift our eyes _
S
a - bove.
i

Thou who art our high- est treas-ure, Un to whom - all praise be longs. -

God whose glo - ry earth a - dorn-ing, Calls for end - less songs of praise. A - men.

*
t t t
Copyright,
ii^*
1892, by H. R. Palmer.
r !r * - i f ‘ '

83
 £ m “ 0 ; —
0 | — &
^ — ; . — ; i

84 GRADED STUDIES.

No. 226. SOFT THE EVENING FALLS.

' l

Explain Canon. (See Class Method,” § § 1099 and 1100 inclusive.)

Beethoven.
MET. ^= 80.
" -
T “1 ZSgZ ZZ " 1~
m—g
f/
m !— 010 —^
1 I .

fs\ r —
- -t
r- ® tJ ^ i

g r 0 29 1
-
-J -1®
Cl
CtH-4: J i

1
1!

1
j
J,.., ( y X-
1

L.
f
Soft the evening falls, The 1)ird of twilight calls Our fo otsteps home No lon-ger

Wm
-J- -J- “1 zz - 4&[- _z| -14 "
1
f
m
.
,

jgL
§v-t4\
77“
|
k#" *
-
0 0 ‘

^ 0M. 0 m- -J
i

^ LJL 10 . ;Jzz..-l
^ x
Soft the evening falls, The bird of twilight calls Our footsteps home
i L
4 \
mi mm L® XB
ri St gm
j ~l

^4 L_ 1
z. g
i_
CJ. •
r Jr
j
J
r
L_
g *
L_
Soft the evening falls, The bird of twilight
"g W^m
W4
/TV. ,1

A
1 _

*- .. ..
l

_
|
1
i

L
H
-
^=3 —
feg —
Soft the evening falls, The

~V-
y-
-
&0~ m * u_ rm — ^
0 0 0
! _=== = _
.
0 \ a* * 0 L

L_ iSf
_|M 49
r
-
a^ ‘
f
wuiasa
,

L_L — v, ^

fj
roam, For soft the evening falls, The )ird of twilight calls Our footsteps home ;

— ” ‘
“1 - -

-ys&- i
,
,
_
"T . _ . $0*
vtt
"T" 1 J. -

TP • .. _
m m tj i 0m fe
/f9 -

^ J

_L_
J i
ifjp.

No lon-ger roam, For soft the evening falls, The bird of twilight calls, Our
Ik
i
w
1
— 1
2S^“
1

- —
0 r ^ 1

0. m 0
tz
9
{_. . It
. 0
c_
0 ^ .

t= tz.
o
__4
1

^
.
..

w
"r.j |

calls Our footsteps home . . No lon-ger roam, For soft the evening falls, The
/Vx. — _ .
;

... .. .. ... ..... .... iffi

——
bird of twilight calls
-
t
;

t-
i
0
—
[- -
^ ?rf~.
t - . .. ——
Our footsteps home
Li
0 M
— —
1i
-|

.
Lj-

.
— -+
No
1
—
lon-ger roam,
——
• ... 0~1.

For soft the evening

{~ rzzr-
1 |
1
w
1

L_
1

-Gh £ w 0 ’Bum:
-G-
0*
No lon-ger roam, For soft the evening falls, The bird of twilight calls Our

t==]:
-0 —T -G>- azr 3 -0=mt=Ji
footsteps home, . . No lon-ger roam, For soft the evening falls, The bird of twilight
-0 Z
t-
0— Gh izL :^== m-0-
±==f
bird of twi-light calls Our ootsteps home ;
. . No lon ger roam, For soft the evening

0 &- m— ' m0
A — 1
!:
falls, The bird of twilight calls, Our footsteps home ;
. . No longer roam, For

— sr
—
0—
1 “1
0 fz
0
— i _ -=t
^ - ^4r JZ g Z m.
"zjzzzzrzzq zzj=
^
^
^
-
t:
tt)
i
0
ll 1
0 j
1 • r j
¥*' . I 1
gm
z_ .
®
No
®
footsteps home . No lon-ger r oam, For soft the eve-ning j alls, lon-ger i•oam.

ft\
Vr-t
,
— •
- J00L
—
^Ft;
Zj
0 f- — — ZJ
^
i

^
-

p ^ **
]
:_zz:
.
.
-
”.zg*t czjzzizf
0m ^ ®
=q
cJ
tJ -G>-
calk Our footsteps home, . . No lon-ger roam, No Ion - ger roam.
^--- -
— a*- m s
M --
,
__ p" _ .... _4 |

— 0-0
- 1 i |

r*
n rr< . 00- 1

i_
0*
>

"O C—_ g cJ J
1 ^

fells^ Tbe )ird of twi-light calls Our footsteps home ;

. . . No Ion- ger roam.

——0~ —
/- V
0T»~
m
0 m fgm
^
m ryr at m
g ^
szs
zip
.

F: ^
t=“ :
~r
ccz
rJ LL
jkz:
...
.

L _T _
• -
•
- - -
gj
** J
i
11
L g L_ r
.TZ _ 1

soft the evening falls, The bird of twi-light calls, No Ion - ger roam.
 — ! ; ;

SENIOR GRADE. 85
No. 227. JUST AS THOU WILT!
D. K. E. met. = 63. H. R. Palmer.

s
1. Just as Thou wilt I wel-come pain,
! And wea- ry
2. Just as Thou wilt! once more the cup .... Of fel-low-
1. Just as Thou wilt! I welcome pain,
2. Just as Thou wilt! once more the cup
f- -f- -fm & _
- -
m a - up 3 — _
-

ffeg 9
&

days .... and nights a - gain For grace sings low, ....
ship .... I now take up ;
... ’Tis sweet, dear Lord, ....
And wea- ry days and nightsa - gain ;
For urace sings low
Of fel - low-ship I now take up ’Tis sweet, dear Lord
;

# # * ,

>%% % %
^
r
6

in sweet re - frain, . Thy will, O God, be done, Just as Thou

with Thee to sup ! Thy will, O God, be done. Just as Thou
in sweet re-frain, Thy will, O God, be done.
w ith Thee to sup
r
! Thy will, O God, be done.
4 ' " s %

s
wilt ! enough for me, It seemeth best, dear Lord, to
wilt ! . . Thou knowest best, And heeding thus Thy love’s be-
Just as Thou w ilt r
enough for me, lt seemeth best,
Just as Thou wilt Thou knowest best And heed- ing thus
a & e>- -m-

Thee, Tho’ to the end I do not see. .... Thy will, O

hest, Thro’ sweet be
. - lief I’ll en - ter rest Thy will, O
dear Lord, to Thee, Tho’ to the end I do not see.
Thy love’s be- hest, Thro’ sweet be - lief I’ll en - ter rest.

i/ i/ i/

God, ..... be done, Thy will, O God, be

God, be done, Thy will. O God, be done. A men.
Thy will, O God be done, Thy will, O God, be
Thy will, O God be done, Thy will, O God, be men.

LLj

l== 1
Cn^vriirht. 181)5 by The John Cher; m Co.
 — - !

86 GRADED STUDIES.
— Before studying the three following pages, review pages 36 and 45 inclusive.
Note.
No. 228. OLD HUNDRED.
(Sing by syllables.)
Louis Bourgeois. 1552-
MET. = 60. i /?\
X
-m-
3= T -m- * t ?
t

God from whom all bless- mgs flow ! Praise Him all crea - tures here be - low !

-m-
-m-

-0h §
:
g 1 f J ;
fj 1* .

J i

Praise Him a - bove, ye heav’n-ly host! Praise Fa - ther, Son, and Ho ly Ghost
« I .
^ A.
~p
Ef
j* ^

No. 229. HUGUENOT.

Xr. Mad. Guyon. 1710. 3V. W. Cowper. 1782, alt. Louis Bourgeois. 1551,

1. E -ter - nal God Thou ! great un- ri-valed

light e - clip- ses that One
of yon-der sun;! Whose
2. O God Thy creatures
!
;
All, in all times
in one strain a and plac-es
- speak of Thee
gree ;

3. All present thro’ in - fin - i - tude of space, Thou art Thy-self Thine own vast dwelling place ;

4. Oh, then re - peat the truth thatnev-er tires; No god is like the God my soul de- sires;

m 2 e l ± tS>-
-

:2
2:
+~ P i-

Compared with Thee, how dim radiance of his gold - en beams

his beau-ty seems ! How quenched the

E’en I, with trembling heart, and stammering tongue, Attempt Thy praise, and join the gen’r-al song.
Soul of our soul whom yet no sense of ours Discerns, e - lud- ing our most ac - tive powers.
!

He, at whose voice heav’n trembles, e-ven He, — Great as He is, — knows how to stoop to me.

&
1
- * * „ f ,-p- qg:

3
-1
fg: .
p-W—W- -e>-
4S- T* t-
t

No. 230. O BEAUTIFUL STAR.

Explain Modulation. (See “ Class Method, ”§ 330. (Sing by syllables and follow the modulation.)
Arr. from S. by H. R. Palmer.

^Lento. MET.

sfll ri ^
1. O beau-ti-ful star So radiant a - far, How dearly I love you, Tho’ distant you are.
2. How brightly that eye, That sparkles on high, Is gaz- ing and smiling On me from the sky.
3. And ev - er I see Wher-e’er I may be, That clear shining eye beaming kindly on me.
4. Un- fail- ing and true As fall- eth the dew, O star of the evening, 0h were I like you. ;

re
12 jg

mi ti
Arrangement of words and music Copyright, 1892 by The John Church Co.
 SENIOR GRADE. 87
No. 231. COME, YE FAITHFUL.
(Sing by syllables and follow the modulation.)
J. M. Neale. A. S. Sullivan. 1872.
-4- re-Mol aol
:fc
i * T
g g| wt=^: -m-
ti-nii faJ 1

t"
i re
j

1. Come, ye faith- ful, raise the strain Of tri-umph-ant glad-ness ! God hathbro’t His
2. ’Tis the spring of souls to-day; Christ hath burst His pris-on, And from three days’
KOl-dO
-m- -m- -m- -m- -&r ^ -f- -m- -& -£2_ i*ti sol ^
8?- Jg » >

4
sol-do
m fa
i
do
mi do-sol
*=3t :i=f t=r=*
I do
-m
If * 1 ; &=- f
ti
i f; g s-
I
Is - ra - el In - to joy from sad - ness, — Loosed from Pha-roah’s bit - ter yoke,
sleep in death, As the sun, hath ris - en. All the win - ter of our sins,
do

No. 232. GUIDE ME, O THOU GREAT JEHOVAH.

W. Williams, Annie F. Harrison.
met. ^ — 96 .

1/ ^
-B-
1. Guide me, O r

Thou great Je-hov- ah, Pil-grim thro’ this bar- ren land ;
I am weak, but
2, O - pen now the crys- tal fountain, Whence the heal-ing wa- ters flow ;
Let the fi - ery,

Thou art mighty, Hold me with Thy pow’rful hand; Bread of heav-en, Bread of heav-en,
cloud -y pil - lar Lead me all my journey thro’; Strong de-liv’- rer, Strong de - liv’- rer,

^
-

~
8. =p % ::T: w % ^ * —*
—
.

i=4==^=lz^=±:=z3z=?::r~^~z iz b: Fr : tz

^ i I F -w- T - . , .

Feed me till I want no more. Bread of heaven. ’

Bread of heaven, Feed 7
me till I want no more.
Be Thou still my strength and shield, Strong de-liv’rer, Strong deliv’rer, Be Thou still my strength and

- ------ r-m » * ,* -

0 \Z • F
;
9 * -J
f 'm -
f- <2-
B S
\-m —SB — — —Hh—
*
IB— IB —HB
ta
— — I I*
if-
(
f£ -
I
* •
 r v e

88 GRADED STUDIES.

No. 233. OH, SADLY WE PART.

(The 1st and 2nd Tenor parts may he sung by the Sopranos and Altos in the Tenor register.) Call attention
to six flats as the complement of one sharp.
Words and Music by J. P. Harter.
fr-frir o~— - y: .
"
t !V

1. Oh, sad-ly we part with our lov’d one, Yes sad-ly we bid he? a- dieu ; But with

:=1 -1 r- -(S>
— -
I*

2. With sor-row our poor hearts are breaking, For the friend that has gone on be- fore ;
But we

SEE £2 W~~W -

m±
I

3. We know that all heart aches and sor- rows, Will be felt there and feared never more ;
And with

— —— |
_| 4
^F=+
1 b
i
CHORVI.

Christ and the ransomed in glo - ry, §fe ?8 waiting for me and for you. We will watch, and wait, ’Till

H 1- — f-
T v^s
3* 9^-m- -mte-

know there’s a promise if faith- ful, We’ll meet on the sweet Heav’nly shore. We will watch, and wait, ’Till

zjgzzf
-'

xT—
& ^
t

* « J ±=±
.

tzzzt
pi:
BSf
g -to- g

Christ and our loved ones for - ev - er, We’ll dwell on that sweet Heav’nly shore. We will watch, and wait,’ Till

H h
\

% — r —
2±2=3==£±33
H 1- -40? iflj "jj? ‘ n
i |
:
W-

Kitrf-dim.
=3=P= E=E F=T==t
5=p: g-p -

H —
-m-=e:
-i
i-
i—
Je- sus shall come, And then with our loved ones We’ll all meet at home, Yes, home, we’ll all meet at home.
Kit-e-dim.
H h
t&t- —
Je-sus shall come, And then with our loved ones We’ll all meet at home, Yes, home, we’ll all meet at home.
Kit-e-dim.
i£2 :~p cp__sr.-:*: F=t=» £21 F^=P=E ?2=
gJE t=t= =t*=£

Je-sus shall come, And then with our loved ones We’ll all meet at home," Yes, home, we’ll all meet at home.
Rit-e-dim.
+p — ^ — spj
Copyright, 1891, by The John Church Co.
 B m — r 9 S
;

SENIOR GRADE. 89
No. 234. DON'T SEEK FOR FLAWS.
Note. — efore studying the three following pages, review pages 46 and 54 inclusive.
D. K. C. met. ^ = 104. H. R. Palmer.

m 9 ~9
* —9=S=4v §
fj
M: ~M
-

9 — -jet

1. Don’t seek for the flaws as you go thro’ life, And e - ven if you should find them, It is

ft* =F
I 9 9 9 9 ~
9 9 a* m- -m-
^ -A
=P 4s==4s: :=f==T==P T =4S=^K
9 9: P gJ L a 91
2. The cloud - i - est

fi- J*
night has a hint

m
•

m
, -n—
of light Some - where

-r -
in its

^
shad-ows hid - ing

3
;
It is

* • • S
£ —
'

m
wise and kind to be some-times blind, And to look for the vir - tues be - hind them ;

4=^ 1*=*:

bet - ter far, you shonld hunt for a star, Than for spots on the great sun a - bid - ing

m =h-==M
4s=lv
9
9 9 5=S
CHORUS.
P * M
~J-9
tt

Don’t seek for the flaws as you go

-£=\~=w£-

thro’ life, And e - ven if you should find them, It

m
is

Don’t seek for the flaws as you go thro’ life, And e - ven if you should find them, It is

T =F -*
m-
d ~i
— —— S

M . P::... P m. . 9 i

A
^5 i, • -<s> 9
wise and kind to be sometimes blind, And to look for the vir -tues be -hind them.
Os
* T
4=£ 3=3=^ 9-

I
It
*
wise and kind to be sometimes blind, And to look for the vir - tues be -hind them.

p=v ~P
Pi* P=8P 5 '

Copyright, 1SG4, by The John Church Co.

 — — r ;

00 GRADED STUDIES.

No. 235. SCALE ETUDE. 8s & 78. H. R. Palmer.

from Lyra G.
Rist,
MET. ^ — 60.
2:8:
's-i
t4-"
' — *
— g
— — — —m
* — —r ® > r-i
"Cl
1. Sink not yet, my soul, to slum-ber, Wake, my heart, go forth and tell

=4
2. But our wis - dom vain - ly pon - ders, Fath - oms not the lov - ing tho’t

3L4 J
£
:Si -m-
4 -

^1 m-
hwt==t $ -9r

fj
m. T=S=^r
All the mer - cies with - out num-ber That this by - gone day be - fell.

m &
-P=?
P=fi* * I
* 2Z±

Nev - er tongue can tell the won - ders That each day for us are wrought.

-0f£-
m W- St
Copyright, 1894, hy The John Church Co.

No. 236. MIZMAIM. 7 S.

Call attention to five flats as the complement of two sharps. B. C. Unseld.
PP -=

t± *
& i
t t
'
.
1
* — 1
S- .

1, When in si - lence, o’er the deep, Dark- ness kept its death-like sleep;
2. But a beam of ho - Her light, Gild - ed Bethlehem’s lone - ly night,
gi-gg=
4 w m 4®-
Jfr,
g.
f=(g: r -e
m
SezBeeeE
i

*
££4
/ if
-•h -SJ-

-m-
~n m :®:

Soon as God his man - date spoke, Light in won-drous beau - ty broke.
When the glo - ry of the Lord, Mer - cy’s sun -light, shone a - broad.

144
£
: L£z£zz_ Jbzzz^h :
4 -m-

No. 237. THEY SAY WE ARE OLD.

Rebecca Pierce Smith. Jas. H. Robinson.
— 1

.
— "I

M
1

40

1. They say we are old, dear heart of mine, But the tho’t brings no pain to me For each ;

2. The wild waves dash high dear heart of mine, And the wa ters are deep and cold But the -
;

3. And so as we wait, dear heart of mine, For our boat to comedown to the sea, We will

— jtfSP
JL-
——
JSL- • I >. ^ .
<*- -0-

-m »
1

-m ** — u»- -ts>-

0* 1/
Copyright,, 1894, by The John Church Co.
 SENIOR GRADE. 91

THEY SAY WE ARE OLD. Concluded.

we drift on the riv - er of life, Brings us near- er the crys - tal sea,
day I
white winged ships out - ride the storm, When the sail- ors are true and bold ;
And with
think of the past, its sorrows and joys, And of what the future may be; Of the

think when I list-en, I hear the sound Of the breakers up -on the shore Of the ;

Christ the cap- tain there’s nanght to fear, For the tern p-est o - beys his will; For the
loved ones who wait on the heav’n-ly shore, Where the saints in their beau-ty shine Of the ;

boat - men’s song as they sail a - wa v To the beau- ti - ful ev - er - more. To the
wild wa^es are calmed and the winds are hushed At the sound of his “peace be still.” At the
ones who will fol - low us o’er the sea, To that new home, dear heart of mine. To that
422 -
* « ± w-
B5
£1$ W
-I 1-

—w -(

W--
U*
1-

m
1*
-m- -m- KS -o—

-'
am
7 »
g g g : sg g
beau- ti- ful ev - er-more, To the beau-ti - ful ev - er - more, Of the
sound of his “Peace be still,” At the sound of his “Peace be still,” For the
new home, dear heart of mine, To that new home, dear heart of mine, Of the

beau-ti - ful, beautiful ev - er more, To the beau-ti -fnl, beau-ti-ful ev er-more,-

sound of his “Peace be still, be still,” At the sound of his “Peace be still, be still,”
new home, dear heart, dear heart of mine, To that new home, dear heart, dear heart of mine,

*
boat -men’s song as they sail a-way To the beau-ti-ful ev - er-more, (ev - er-more.)
wild and the winds are hushed At the sonnd of his “Peace be still, ’’(“Peace be still.”)
waves arc calmed,
ones who will fol-low us o’er the sea, To that new home, dear heart of mine, (heart of mine.)
 ; ; r

92 GRADED STUDIES.
No. 238. GREAT IN GEORY IS OER KING. Ps. 138.

Note. — Before studying the following pages, review pages 56 and 62 inclusive. H. H. McGranahan,

s s~ r~ l * * ' * ^
f
I

$
l

-m — r-«-
&-
3 m-
W-T- f t f
1. With all my heart I’ll praise thy name, Be- fore the gods thy praise pro-claim; I’ll wor-ship
2. The Lord, tho’ high, re-spects the low; But He the proud far off doth know; Tho’ waves of
3. O Lord, thy mer-cy nev - er ends, Through-out all a - ges it ex- tends Then on thy
;

l>f-|

CHORUS.
— IS -IS -4-

_
in thy ho - ly place, And praise thee for thy trnth and grace,
trou- ble ’round me roll, Thou, Lord, wilt yet re-vive my soul. All Kings of earth shall give thee praise, When
ser- vant pi - ty take, Thine own hand’s work do not for-sake.
^ |

j* e
-<&>- v k v W-
--r ;-r
m-- &
-

1m~
fef
* *
(Bg~T~

t- —
)grzfel

No. 239.
SOLO. S
WEEP NOT FOR HER. H. R. Palmer.

1
fj
*
c?
!--*
9
1

-Gh
-g
1. Weep not for her, she hath crossed the river, We almost saw Him,
2. Weep not for her that hath reached before us The safe warm shel - ter
3 . Weep not for her; think how she may be kneeling, Gazing her fill up-
4. But weep for those ’round whom the fight is thronging, Who still must buck - le
5 . And pray for them, that they, though sad and lonely, May still with pa - tience
-&>-

•
$ —m
1^-
-

a ^
'

' ....... d— _ ... - 2=t -

V
9 fS- cJ ^ •

meet her on the shore, And lead her through the golden gates where
of her long loved home Weep not for her, she may be bend - ing
on the Mas - ter’s face A loving, humble smile but half - re-
wea -
*7 ar - mor on, Who dare not pray for rest, though sad their
bear the cross He sends, And learn that tears, and wounds, and loss es

m-- Ii=pr

Ad lib.

J
$ sc
c?— —
never
i-

Sor - row or death can en -

TT?
ter an -
~JZ2T

more,
ST %m
y
o’er us In qui - et won - der when we too, shall come,
vealing The per - feet peace she feels in Ma - ry’s place,
longing, ’Till all the wea - ry work - ing day be done,
only Make peace the sweet - er when the war - fare ends. A men.
<g> A
JS:
H9- tpz
m m -m-
>
* In
^ 3^
and 5th stanzas
i i

these first four words may be sung alternately by Bass

U» ^ 1

and
1 ''i

the 1st, 3rd Alto. In the 2nd and 4tt

stanzas they should be sung by all voices in unison, passing on without pause.
Copyright, 18'M, by The John Church Co.
 — :

SENIOR GRADE. 93
No. 240. LET EVERY HEART REJOICE AND SING.
S. H. Lightner

4. f .t ±
-)V

^^ >'
1

i/
Sf % • t mm •zz=^==5=z^

£ '

Let ev - ’ry heart re- joice and sing, Let cho - ral anthems rise, Ye rev’rend men and
=S *
1 ^- J r= ±tz== ±z=
Let ev - ’ry heart re- joice and sing, Let cho -ral anthems rise, Ye rev’rend men and
:q: * *
-P4 - 1

* ? 1 1*--

fj

chil-dren bring To God

J
r
4

your
& .

sac-ri
Sr

-
sm fice. For He
Z -Z =E=fiq[ n^~^T^"^r =Y==Y=d-'~j:
} * f
is
':

good,
> f . *
the Lord is good, The Lord is good, and

chil-dren bring To God your sac-ri - fice. For He is good, the Lord is good, The Lord is good, and

« m £3: gz=£-£±frr
\ f-

kind Bis ways; With songs and honors sound- ing loud, The Lord Jehovah praise, While the rocks and the

KEtE£3cE&E~E*±* -I h
* * SIEL 22:

kind Bis ways ;

With songs and honors sound- ing loud, The Lord Jehovah praise, While the rocks

* * —
4 h
e± v
~
-
-(& —P®-

rills, While the vales aud the hills A glorious anthem raise ;
Let each prolong the

and the rills, While the vales and the hills A glorious anthem raise; Let each prolong the
a?--1
m » . w&z * |

^ zV;
While the vales and the hills

-<p-
-«T- *
V-m — h
*

-J
S- - 5 K Lk BLi
grate- ful song, And the God of our fa-thers praise, And the God of our fa- thers praise.
/"Tv

“ j l~ A
1
grate- ful song, And the God of our fa-thers praise, And the God of our fa-thers praise.
 94 GRADED STUDIES.
No. 241. WHAT DOES LITTLE BIRDIE SAY ?
Lord Tennyson. H. R. Palmer.

— £/ ^ — j
'

"fcfc. ^
N
—k —
pH
E5S=T
* 9
^ ^
frK'i'n
U 4-
k
p —0 — N
m
i
Sr J
w
-

L
1

*_] TZ i L-
J
•
,
. .

jp .
j

'mm
*5 p
4U4- -m v B I
a
w
i

lz _
1

it "rW«r . zz 1

tT -d- ***
:

9
1. What does lit - tie bird - ie say, In her nest at peep of day?

J .4

p p 2
Jp id
JP p
TT
tkr
fj
n
M
-d-
V
P
-d-
k
P
-d-
k
P
•
-m~
-
Sr
Sr J
m M jk d—rll m mm
”P s
m '

sr~ 4*
U
i — J
p
w
p
j
_ k
r •
.

sr
52
r
_

9
H
ten.

m^
I
^
am p mr
m
k
P
\
• dB r r
_
^
Ltf _ ,
^ z
i

^
i

^
L.
^ L.
^
\

—
|

2. What does lit - tie ba - by say, In her bed at peep of day?

ns
n ns j
S—
.

4: r S r "
r" \

j
fes*
I ]

is* ^ I 1

....
i

^ — i

tr 9 -|

JL^.
IC\--
Vs
O
/
- d-p
S
i
J
<*
f*
—•Jh
•
_p
m
Sr
•
-
g
fn
1^
»
1

LJ
» B ^55
TTr
m m
—mp ——
•
_p
m J
m
\—i I
S

“Let me fly,” says lit - tie bird - ie, 44

Moth - er, let me fly a - way.”
-Q-
k
— to -ta s— N "N '""“IS .
'

XLX^ s k m m
js
i Jn
fs
k llm P ® ~m P P _2 l
tJ -d- ~mu -d- •
-m- ~m- -d- -d- *
-d- -d-

* k ^ ___ k K k
H ^ x
..k—t— p - *
J IP
p
»nnS
^
1
m
I 1

.
n - i

r ^
JT
r 9J * d m~ d
*
,

'
L_i '

J
1
^
i

s»e»
-w- ^tr~
1

. __ .
-
-

Ba - by says like lit - tie bird - ie, “Let me rise and fly a - way. ,r

_ _____ ____ _ ... ____ _._ _____ ^

w p P 0 0. 0- 0- P P 0 1
ifg7« r g. ~~P f
P
!
p -
9 !
_p
4 r 1
W |

^ £ • 1
!

|
~tr fep l- ... “Zd. zdzz ~~d 1

fj
So
£
she rests lit - tie
v5!g=at
long - er, Then the bird
irjt
-
pr

ie
B
flies
7? J D
a- way.

d —d Tt :ir
I
-fc-

If she sleeps a lit - tie long - er, Ba - by too shall fly a- way.

*
%
'

• C t*-
 SENIOR GRADE.

— Before studying the following pages, review page# 63 and 68 inclusive.

Note. five

No. 242 SAVIOR, AGAIN TO THY DEAR NAME WE RAISE.

.

£llerton. (Pax Dei.) H. R. Palmer,

j.
met 1=60.

1. Sav - ior, a - gain to Thy dear name we raise, With one ac-cord, our parting hymn of praise
2. Grant us Thy peace, Lord, thro’ the coming night, Turn Thou for us its darkness in - to light
Grant us Thy peace thro’-out our earthly life, Our balm in sor-row and our stay in strife
3.

-m — m- * m ~ ^— m m — ^ ^ ——— ;

We rise to bless Thee ere our worship cease, And now de-part-ing, wait Thy word of peace.
From harm and danger keep Thy children free, For dark and light are both a - like to Thee.
Then, when Thy voice shall bid our conflict cease, Call us, O Lord, to Thine e - ter- nal peace.

€L —
Copyright, 1894, by The John Church Co.

WELCOME TO MAY. L. S. Leason,

JS_
*

1. Come with the dew of morn-ing, It melts with the sun’s glad ray, All ra-diant with
hrhTT- ^ r~i i ~n^ri
— 1

~~i h. r -V-

2. Come with the lay of glad-ness, So full with the sounds of mirth, So sweet and so
3. Come in the noon-day gleaming, When bright with each golden ray, The sun with his

n H * * « *>
± r e g--g— 1

/ n m * J^ n
"
—-j
Nr ^ rz 1
1-*
1 -1
CHOBUS.
.
J
m 1*
—m
1

m m
K-* ——
r JBL
< —
]

SET w . 9
|

. 9 ~_ ** :9 » m J m 9 \
•
1
1
\

J 9^
liu _

fj
light, bring
.

gar-lands bright,
,
^
Thy precious
T
gifts,
""

sweet
i

May. Hail,
i.
'9
May, bright, wel-come May, Charming
v
V'l v m K 1
^ _i
_ _ 9 P if-
9 9
i 1

h
•

9
1

m
1

9
]

9 9
.

\— r r w? .
•
: tz sL ^
pure from mu-sic’s store, To hail thy gladsome birth. Hail, May, bright, wel-come May, Charming
light in lus-ter bright, Doth greet thee, merry May.
v=v-
-

j ^ 3t=atzmt r e-.
S—9

sun - ny month of May, Like the birds we chant the words To welcome love - ly May.

sun - ny month of May, Like the birds we chant the words To welcome love - ly May.

t — m- s
 — H

96 GRADED STUDIES.

Nop 244, WHILE IS HUSHED. (Boat Song.)

Arranged from KrbU’KX’"
P MET. J = 88.
-3 j-

1. While all is hushed on ev - ’ry side, While all is hushed on ev - ’ry side,

D"r*
&=Z — P-
Jt=at g. g
& .

b /> ^ _ *
»,

^q r * r
— p_ FL i
i

2!
r r r r -1 t 1

g —r T
U—[—
1

-i if L s- >F- i -L— tz:. r:

1

w 1

2. We hear the ech-oing hills respond, We hear the ech-oing hills respond,
P
_
/V^ •
(FA
1-
2.11 *1 B p* .21 p* P p r p
O 1
F 7 ' ' 1

^ o „ g . . ... : _ ” :

While all is hushed, On

The hills respond, The

,/ Dim. /
-P P-
* *
We wake, we wake, we wake the swelling note ;
We wake, we
1
— — —-fa—
I I r

U— —
Ti : :
:
*
(—

M=3t m gL
1
V

£ M wL

We hear the echoing hills respond, As we approach the shore ;

We hear the echoiDg
-n-p-

ev - ’ry side, We wake, We

hills respond, The hills respond, The

Dim. / Deice.
IV
1* St afczai 5
wake, we wake the swelling note ;
The swelling note, the swelling note, . .

—
Zd
i

:-TKr_, *
p =1- r ~~V~-
1 1
] —t — =K 1

i
— 1—
_c-L_ 1
==r:-i^2v:
• 1
The swelling note,
The hills re-spond,
Dim. Dolce.
-#

tz jg = Z

hills respond, As we approach the shore ;

We hear the echoing hills re - spond, . .

-ppii-jtIZZZZZ

i
...jl

& i
wake, The swelling note,
hills respond, The hills r<> « spond,
 A 1 - — ;

SENIOR GRADE. 97
WHILE ALL IS HUSHED. Continued.
Dolce

The sil moon, the sil - v’ry moon shines far, shines far and wide
- v’ry ;

The moon looks down, the moon looks down with smiles, with smiles so fond ;

The
The

m n p-
tt:
'MtZWt

The sil - v’ry moon . . shines far and wide

The moon looks down . . with smiles so fond ;

I>ol<*c.

-M-r-

The sil -
i v’ry
it
moon, the sil-v’ry moon shines far and wide; The sil - v’ry
I
The moon looks down, the moon looks down with smiles so fond; The moon looks

The sil - v’ry moon shines far and wide, Shines far and wide, Shines
The moon looks down with smiles so fond, The moon looks down with

sil - v’ry moon shines far, shines far and wide,

moon looks down, looks down with smiles so fond,

Shines far, shines far and wide, Shines far and wide, Shines
With smiles, with smiles so fond, The moon looks down with
^ -m- • r>

moon, the sil - v’ry moon shines far and wide, Shines far, shines far and wide,
down, the moon looks down with smiles so fond, With smiles, with smiles so fond,

— /rj m 'm —
n ft • 49 • 1 li ** r j
I

rfr i \

Li w
iZ P P • *
L ^ i

far and wide, And smooth - ly smooth ly

smiles so fond. Then w ake,wake r
the strain, wake the
— — 't> — »
— ——
df\ a 6 »
— jw -zr~3p-i.
....
wm *»
1 :.q—
J
,
1 i

Hi- .J LJ _ m m • P . . Pr-P~A
And smooth - ly
Then wake, . . wake the

r i _
&j wJ
i

•]
** “ m P m p . 3

iTTS f ;

... .
1 1
1

i~ P J
r r i

J f

far and wide. And smoothly, smooth-ly

smiles so fond. Therrwake, wake the strain, wake the

P rzP w w
urn
k
m n P k , II.;
p-p~ m i i

1
•

mV 9.
-
r*

.
•
J U jp
!

•
P •
-
•
a
wk^M-r ^
.^1 tr r HJ
Shines far and wide. smoothly, And smoothly glides our boat, . . And smoothly
With smiles so fond. Then wake, wake the strain, wake the strain once more, . . Wake the strain, wake the
 r I . — ^

98 GRADED STUDIES.

WHILE ALL IS HUSHED. Concluded.

P- f- 4L
d!t. S pr=3v w~w~~ 7T
w: z*£Jtat

glides our boat ;

The sil - v’ry moon shines clear and bright, And smoothly glides our boat The sil v’ry ;
-

strain once more ;

The moon looks down with smiles so fond. Then wake, then wake the strain, The moon looks
p- 42 -

d -- -9- -
J—J—g- -m m

-1
--I »--0
^
Si
1
l_
1
mr
1
«-

1 "
—IS
9 a?
1

^
IV- — I

l
—0 -S —d- * S
-~±
V—
—K
w 9
1

1
tA
V-J
m.\
glides our boat The moon ;
shines bright, And smoothly glides our boat ;
The sil - v’ry
strain once more; The moon looks down. Then wake, then wake the strain, The moon looks
- P-^— r 4P
=fv
P=P= =V=T
-*L zat -p-p-v- -Jttnat

glides our mat ;

The sil - v’ry moon shines clear and bright. And smoothly glides our boat ;
The sil - v’ry
strain once more ;
The moon looks down with smiles so fond. Then wake, then wake the strain, The moon looks

5 =======P=fi
Mzutjzatz U -frr fe* feP V - :g—gzzat j fc
a m a
moon shines clear and bright, And smoothly glides our boat, Smooth - ly glides our boat, And smooth-

—
ly

down with smiles so fond, Then wake the strain once more, Wake . . the strain once more ;
Then wake the
42-
dt -f.
*
-=W=-

U
moon shines clear and bright, And smoothly glides our boat, And smooth-ly glides our boat, And
down with smiles so fond, Then wake the strain once more, Then wake the strain once more, Then
-Ar m m
P
moon shines clear and bright, And smoothly glides our boat, And smoothly glides our boat, And
down with smiles so fond, Then wake the strain once more Then wake the strain once more, Then
—U
;

:tfc=t
J... : wt ir ^ prnp—r=g I

Q
L
— —PP 7
"] "SI 'K
|

-
m w w J1
*1 1
r

K ” P: P r
~m
W m u U
-

W
'

w ' ' ‘ '

p ) .

glides, . . . And smoothly £glides, And smoothly glides our boat

strain, Then wake the strain, . . . Then wake the strain once more
PP m
X V h , r c- “ _
*i
'

r —
i
i
1 ii

mV &
_

9n W wr
'

xjJL IS
~ 1 N _N 1
i --r : 1
!

9
i

cs
|

•
i

! Tn
j
1 11

•J -a- -m- -m- -m- •

smoothly glides our boat, And smoothly glides our boat, And smoothly glides our boat, our boat,
wake the strain once more, Then wake the strain once more, Then wake the strain once more, once more . ,

.. .. l 10
1 K 1^, S
1010
— S ^ K
f
J
,

P•_* '

H S —
1

/ _ w m: 1 F- "M __
m ^ r l “T ”T
A
tJ v
W
. .
~

1 ar~ "
ip •

\
sy
smoothly glides our boat, And smoothly glides our boat
wake the strain once more, Then wake the strain once more
-= ==~
[rJ •< 1/
10
l
(**
1010
p "iT ^ — |
.
f
j
1
— 1

”~i
‘

^ --
.
^ ^
T
 — — m ;

SENIOR GRADE. 99
No. 245. THOU ART MY SHEPHERD.
Note. Call attention to five sharps as the complement of two flats.

M. E. Thalheimer. met . \ — H2. Arr. from C. by H. R. P.

A . JA-U-J PS-

1. Thou art my Shep- herd, Car- mg in ev - ’ry need, Thy lit - tie lamb to feed, Trusting Thee still

2. Or if my way lie Where death o’erhanging nigh, My soul would ter-ri - fy With sud-den chill,-

In the green past-ures low, Where living wa-tersflow, Safe by Thy side I go, Fearing no ill.

•
tfJk "i
—h. -—isrr S H 1
"1 "N " Vi S ~~i — r
~~
S "V S — —Sr
Yet I am not afraid ;
Whilst softly on my head Thy ten-der hand is laid, I fear no ill.

Used by permission.

No. 246. SOFTLY SLEEP. (Serenade for male voices.)

(Ladies may sing the tenor parts in the tenor register, thus producing the effect of a male chorus.)
D. K. S. N. H. R. Palmer.
P
i^s ® m — is
tit -&
-m-
fez

1. Soft - ly sleep! in peace - ful pleas - ure, Now Thy wea - ried eye - lids close!
2. Soft - ly sleep! oh, what can se - ver True af - fee - tion’s con - stan -cy?
3. Soft - ly sleep! a bright - er mor - row Wake Thee with its fresh -
’nmg light;
-42 1 -_42 ) C S
1

May some strain of heav’n - ly meas - ure Lull Thy heart to calm re - pose.
Tho’ those eyes should close for - ev - er, Ne’er should cease my love for Thee.
Wake to life un - dim’d by sor - row, Peace be with Thee, love, to-night,
P m PP
-SI
i

-m
i

st
I
i ^ i I/-*
mh—0-
^ ^2. °i

53; -w- :i± -s- -m- iftj

r
Copyright, 1894, by The John Church Co.

No. 247. FROM THE CROSS UPLIFTED HI OH.

T. Hawies. Spanish.
viirr i>. c.

1. From the cross up - lift- ed high, Where the Savior deigns to die. f melodious sounds we hear
What
D. C. “Loves re-deem-ing work is done — Come and wel-come, Sinner come !
”
i Burst- ing on the rav-is’d ear.

2. Spread for Thee, the fes- tal board See with richest bounty stor’d ; j
To Thy Fa- ther’s bos-om pressed,
D. C. Ne - ver from His house to roam, Come and welcome, Sinner come! { Thou shalt be a child confessed.
is

-m
-4=>- ^
tz± T~
100 GRADED STUDIES,
No. 248. JUST FOR TO-DAY.
Note. —
Before studying the three following pages, review pages 69 and 74 inclusive.
E. R. WlLBERFORCE. H. R. Palmer,

#=t
MET. 88 .

V 1

L
«
,
IV
p ——— 5 n
—^Z^r— M— L
1

0- v 0* ~

*t
| i |

m- *_ ^ 0 0
dP 0 2 • « L si m >»—i-i-
i
-j j . j-
1. Lord, for m or- row - to - and its needs do not pray ;
Keep me, my God, from
^ h ly
-IV
H 1
-i s "V
7 •A 0 0 4^- ^ -P- 9-0 -0
4 r t
2. Let me no wrong or i - die word Un - think-ing say ;
Bet Thou a seal up-
3. And if, to - day, this life of mine Should ebb a - way, Give me Thy Sac - ra-
Lfc4:
^zt?4:
''<0 ---&
22
^ :r~T:

w Cues.
m
—
m
-IS H
:ifc=
m-
F3=
m 3V -Sf-
!dt -0r -St-
-<s-
3-—0 b^: St
<u
z :
'S-
— 10,
(^3
1
0
stain of sin, Just for to - day. Help me to la - bor earn-est - ly, And du - ly

id? 0 i

~ ~~V *
r —T r E k 1
r~r K
C’res.
1 <'

-v Of -'•S'
-p-
3=3* "• *s * -j?
K2
•

on my lips, Thro
5
ail to-day. Let me in sea -son, Lord, be grave, In sea -son
ment Di - vine, Fa- ther, to - day. So for to - mor - row and its needs I do not
C’res.

TZ- 4=K= V -0 ~-m - ?2=

:^=e=e=z
zzzzflrtzoi:
:
is£ & 0*'

ff Rail.
-SI 1*
-Sb
— 22 -m- -0- 0 jm t=t s-
fj 0 -m
'S-
-S- -S-

pray Let me be kind in word and deed, Fa - ther, to - day.

Rail.
-v r ^==?V =v zz 25
-2?

gay ;
Let me be faith - ful to Thy grace, Dear Lord, to - day.
pray; Still keep me, guide me, love me, Lord, Thro’ each to - day. A - men.
Rail.
5±: =e 22:
22:
:
231. :e2 221
Copyright, 1892, by The John Church Co.

No. 249. GO TO THY REST IN PEACE.

D. K. (For funeral occasions. H. R. Palmer.
= 60.
MET. 3s
4 r— — —— r
— ;

$±:2-=4 =r=i =1 :zq=zq_ =f-

i
1

1 = rx~~ >» Jnzfs_ rs

fj 22 & '0' S' 'S' ~W '22' ~S*~ 1s w &' ~0~ 0~ ~ '
-C=S-^0- -0- 0-
1. Go to Thy rest in peace, Am sweet be Thy re - pose, Thy toils are o’er Thy troubles
2. Go to Thy peace-ful rest, For Thee we need not weep, Since Thou art now A-mongthe
3. Go to Thy rest, and while Thy absence we de - plore, One tho’t our sor - row shall be-

F^=^ ;

S' • % ^
9> t .
# _. p =P=P=
— — S
:^4ztzL_L_Ai: El
t-
-s -is
1
1

— - \^
- 1
0 -
l
- & -- jg : #
^
l

—— fap..
s*
!# :

*J

cease
_
;
:!

From earthly
m 0\.

care
^2"]^
m
-

^
in
-K—

sweet
'W
re-lease
'S±
^ s
^
Thine eye
-si-
12:22-

-
-<&
^
lids
-si-

gen- tly close,

pp

^5*
"Cr
m
blest, No more by sin and sorrow pressed, But hush’d in qui-et sleep,
guile, For soon with a ce- les- tial smile, We meet to part no more. A - men.

3^=&=*—g -
_IZ — —g
-T
1
&=eum=z— —mb—mb— i—
— —Li^
— — g=f 1

-s>-
1 , j , i . urn

Copyright, 1894, by
I— ”
-~J
r:p=Cz^z=£2i
The John Church
—
l
/

Co.
-
1-^

-is —s- 1

n
 SENIOR GRADE. 101

No. 250. CRADLE SONG.

L. S. Leason.
:=l=^z=a =5= '

=t
g* s g: i s S n~
w
1. Ev’-ning is balm-y and cool in the west, Lulling the bright verdant meadows to rest;

O VJ - V £ >— L- t=*£ :f^:

—* * —S
J

S»--
i
2. Now all the flow-ers are gone to re - pose, All the sweet in-cense cups peaceful- ly close ;

3. Sleep till the flow-ers are op’n-ing once more, Sleep till the lark in the morning shall soar

-*
m m.-' g a g *—
H 1
t-

>£. s^- ^ ^ . *S> -4

-I r
i
t-
*i
«>

Twink-le like sil - ver, the stars in the skies, Peeping at two lit - tie slum-ber-ing eyes

X=£=W- — w: ^ 1-

l-fr * y m
|
I-

9 M. —
Bloss-oms, rock’d light-ly on evening’s mild breeze, Drow-si - ly, dream-i - ly, swing in the trees
Sleep till the gold-en bells heav-en - ly chime Fes-tive-ly wel-come the morn - ing’s sunshine;

> ~w- m * * m m —m-

-mi
 C ;; & — —— —
102 GRADED STUDIES.
No. 251. WE MAY NOT CLIMB THE HEAVENLY STEEPS.
Note. — all attention to four sharps as the complement of three flats.
J. G. Whittier. met. i
— 76. Used by arrangement with Oliver Ditson Co., owners of the Copyright. W. V. Wallace.

m 4 at
1. We may not climb the heav’n-ly steeps To bring
i Lord
the
t
Christ
t
down In ;

2. But warm, sweet, ten -der, e - ven yet A pres - ent help is He; And
3. The heal - ing of the seam -less dress Is by our beds of pain; We
-4^
*tr*L*re 1,
- $ *4Zfc
4*— Ijr-s-lg—=*==*= -W———
1
—m u- r-farz=te= _j
I
jajB bv
wL
— in
W l_
—— L — — -T
— r--ZIg==g==:-g 1
.
1 1

P
£2
±=
=P 1
T
!

^ ? 1
I
V V
4. O Lord and Mas - ter of us all, What -e’er our name or sign, We

-m-
« -4-

m- 4—P-

vain we
search the low - est deeps, For Him ^
no depth can drown,
* 1
S-

faith has yet its 01 - i - vet, And love its Gal - i - lee.
touch Him in life’s throng and press, And we are whole a - gain
%z - f
£fc±
-

jt —t 80 ...gji!£-r-$—
*
JZ%m
-w-
-
i* T r

own Thy sway, we hear Thy call, We test our lives by Thine! A - men.

'No. 252. JKSSJS, LOVER OF MY SOUL. John Zundel, by per.

^4 ! P my
1

me
& i P ,

1. Je - sus, lov- er of soul, Let to Thy bo - som fly, While the bil-lows near me
2. Oth- er ref- uge have I none ;
Hangs my helpless soul on Thee Leave, ah ;
! leave me not a-

m m.
3.
4- ^
Thou, O Christ!
:gt

art all I want

44
— More ban
St
all in Thee I find
4£
;
:i=t

Raise the fal-len, cheer the

2± 44

4. Plenteous grace with Thee is found, Grace to par-don all my sin ;

Let the heal-ing streams a -

§355——-£-?z=p: &-
' 1

42: £2=p: :^=

42: r-&

roll, While the tempest still is high Hide me, O my Sav- ior hide, ;
Till the storm of
j* lone, Still sup jort and com-fort me All my trust on Thee is stayed :
;
All my help from
safe St •* w * -
faint, Heal the sick and lead the )lind. Just and ho - ly is Thy name, I am all un-
bound, Make and keep me pure with in ;
Thou of life the Fountain art, Free ly let me
-m- ?2=
iJ \zztzizj: -<sL — :
i4 P=£: 44 42 m

Cr<*s.
at
=t

^ (
^
4
_
-<s-
St-

past; Safein-tothe ha- ven guide;

life is Oh, re-ceive my soul at last!
u, Thee
bring; Cov-er my defenceless head
I With the shadow of Thy wing.
:fcjg-^=a— r.'~^-u-UL-zzztT ~~i z_^i_zczi-
f ff m at—- c zzz jgcg r 7 ilc-Z—C r :
St j
. i

; 4* ^=rf-
st
righteousness Vile and full of sin I am, Thou art full of truth and grace.
take of Thee Spring Thou up within my heart, Rise to all e - ter - ni - ty. A - men.
?2=ig-to
c: -p- |~ £21 :^v :
it# -<s>-
|

zst

Copyright, 1875, by John Zundel.

 SENIOR GRADE. 103
Note. — efore studying the three following pages, review pages 75 and 77 inclusive.

No. 253. ARISE AND SHINE.

Horatius Bonar. Alt. H. H. McGranahan.
M> r . 7 T -m. -
m -
m-
IXL
1. Out. of dark-ness in - to light, Je - sue calls the sons of night ;
Out of mid-night
From the pris - on house of sin, From the pow’r with-out, with-in ;
From this mor - tal
3. From this world’s al-lur - ing snares, From its per - ils and its cares, From its van - i-

—S . g €=!=: _ if ‘
dT g. m f \f r
jp m # :| tf'
'1 C
* i i/ I
< I

II 1
_ i
P i *
4. From the van - i - ties of youth, in - to rest and love and truth, In - to joy that
CHORUS.

in - to day, Je - sus bids us come a - way. A - rise and shine Thy light ! is

wea-ri-ness, Je - sus calls to joy and peace. A -rise and shine !

ty and strife, Je - sus beck-ons us to life. A - rise and shine! Thy light is

l~J -m- ;
=£:;

' £T S|:
v.'i f F !
nev - er palls, Je - sus now in mer - cy calls. A - rise and shine
<Ve<
V=v-
-m-
A *1* !

MUM
-m-
4 -"

come. The glo

-pe -

-
-4

ry of the Lord is ris - en up - on our gloom

W ;
A rise
-N=^-
J-

and

j= ~ 1~ 0 r e I 5^5 Af: _— ip -m — — rm 1—
..
g [
s -' ,

f w
fr—F~'l— U- T~^jg. -

< 40, • --T 1 "T-~i rn

M
i wl' •

v-k« ^ « —«
* flP
—Lu* 111

6hine ! Thy light is come, The glo - ry of the Lord is ris- en up - on our gloom
P-^P- ^ ^ * -
§gs -h-
p m- k •
*
I

Copyright, 1894, by H. H. McGranahan.

No. 254. KAGSY. C. M.

Joseph Swain. Explain imitation, (see Soprano and Tenor.) B. C. Unseld.

1.
r-

How sweet, how

*--p
-J=s—

heav’n-ly
-m-

is the sight, When who lovethose

-v=< at
=#* SCtgt
the Lord
a
2. When each can feel his broth-er’s sigh, And with him bear a part!
3. When, free from en - vy, scorn, and pride, Our wish - es all a - bove,
r'v I I '

‘
4. -m- x
~

izr^p— :
F
22: 1^2:
£2 i , t»
tz

P^F % j f :
— Pe :s4=zzh^:
WV+-
In one an - oth - er’s peace de - light, And so ful - fill his word
When sor - row flows from eye to eye, And joy from heart to heart
Each can his broth - er’s fail - ings hide, And show a broth - er’s love
^ 1

-i~— _ r- . P-,— I

p=E=
=

P C£2
£2=
iglia
 y [ | 0 ^ 0m
— . ——0 r;; —

104 GRADED STUDIES

No. 255. OUR. BIRTHDAY SONG.

E. E. Hewitt. H. R. Palmer.
= 60.
.

met. . r.
^
^ o — — _j
J^ mN 4 ^
n7
7
zjx-J J J |

0 Jr 0 J
-

P m m~ p p p
0 y*
0 ^
P cJ
1. 0 —p- -j- )- W Ly Z
^— P " P
5r
u
1 . Hap - py our birth-days, when we glad- ly bring, Hearts of af - fee - tion to our Sav-ior
—
i
s s | i
— 3
0—
s: :

_a g g m
—— Z
r%
_
y?i7' 7>
, i.

p P ( t

p 3 __0 er 77 d
*
Yyi
X J -m 0 7 ,

1-0 gg 0 g0 ^ P
2. Hap - py our birth-days, when the past we see Sparkling with mercies, all His gifts so

p p p p *
_ -
-H-+f
. P \) O 1

Z Ir Ly P
\_si
W
\lM I

f
I

L L 1
..

L. 0 P 1 1
P—
^
0P Ty 0 P
z &
^
3. Hap - py our birth-days when His voice we hear, Try - ing to serve Him bet-ter ev -
’ry
o ^ pi pi — -r * ^ X]
_ L p g g ~0 m ”
J P p-— P
-m
!?
0 0
•-» i 1 1
1
!

.
F i7-~3 P IP IP IP p L*
£ ...
J

P
4. Hap py our birth-days,- if each milestone be Near-er the mansions by the crye-tal

S~~- — S™ — —
— '
P
!
r_ 0 |

l_
.J
m aai - am T ,j CJJ
L
W &
1

0
K™
1

~ |
j
1

^3
i

rz)
i

-
i
w tty 1
177

King, Lay-ing our gifts be - fore Him while we sing Sing- ing His ten - der love.
—nr-T7-K
/(
—— -
is *.

_3l
fc.

^
i-i
"
J
m 0 _
_.®p jP
|

J. . > 1 I — 1
r
11
1 fy
Q
o
free ;
Oh, how our Sav - ior loves us, you and me ! Sing - ing His ten - der love.

"E-VTT-K ^ p J -« z I z
r 4^ r a , , pi1 17
'
__ tZJ w w U 1
Z l t8
year; Thinking of oth - ers we may help and cheer, Sing- ing His ten -der love.
72Z u ..-i nw r
,

m 0 r .L i— 0 m (gm
P T7 .

z"
0 0
” ^
_ __
0 ^
r* n
—P Z > P
h
r
i 1

o
-

y
y.
—
h
{7
Vr V w 1

|
i

1
rzr
LcX • _T3

sea ;
Near-er the Home Land, where His face we’ll see, Sing- ing His ten - der love

CHORUS. MET. g}, — 60.

0 b k
0 0 —0 LN k ^ zs ZTk.
ynk
Yd-t-
,

l^T7
rt~P
r*
0 P
P — -
T Z1 ^.
P
1 g
K ,
P 0 3 N --jN
|k .

0P”
0P —0P— k.

tt r"
^

Singing His ten-der love, trusting His care, Happy our birthdays are, Shining and fair
r\ i_ i

j 7 kv» ... .. ..

K - - s s
K k
r Zh ZP ZP kZ
*0_S 0 0 K S
k.
ft
J ^ r N m Z
~ _Z7
G* -0-
-j
P
_^L
s ^ jS.
0 0
1

tJ -00- .^3 -0- -0- .

" “
z i;
r ^tT
iin
_p 0
\ k 5b.

^
^ *
n jr !*,,

p _T3 0
0B-Z s s s s s Si S
... 7 ft 0 1

^ J ML...
—
is
— -
• _0 0 ! 0L _h! [S ^ 0 0 0 •
L 0( -0 0
Singing His ten-der love, trusting His care, Ha.ppy our birthdays are, Shining and fair
Z3 3 S 2S
/W\* u. r*
tftr-rX frtr
Zv
.

^ k.
-jk
IS
0
m
P ^ ^
75
^
~
.

k. k. k. ZS
^ ZN ^
^ ZIS
0H 0 0
_ 1

0T7
73Z7PT ' " yJ ’
1
zz_n_ 0 g 0 0
!

tr • "
r~. :

_y_ w i_
-is sr ^ ^ Z
/("
rrzv
Yrt
z 'FT
~
a
rz
0
0
z '"0
~m m
z^
0
m
32
0 0 Z0 Z
0
01

^
#
tf ,0
t?
p
» z
P 0 p
Z 0 0SP 0PS 0
—!
P 0 "
,

.
:i

2 _
?

Well may our hands grateful of - fer-ings bring, While with our lips bright hosannas we sing.

\T. V .5
7Th
_
_ _____ Z S S .k,
" k'
^
rn\ ~~i7
^
3 s
^
s
.
s
*
s
^ ^
Z^ Zs Js
_Z
» ^
0^ 0 0 !

0i

0 32
.
T5
72
T5^ S S S i
L

..>.y n 9 w ZS S ZS P P S P
j j 0
1

P Ly
wP Ly
zy
P Z 0 0 0Z 0 0
Well may our hands grateful of - fer-ings bring, While with our lips bright hosannas We sing.
h r W z r 0 7* y. P P 0 0 3 ^ _ •

S
75iV*
VcZkZ
“P-fr
,

— P —
0 0 Z0P — P~ w
..
-

w ^ ^ 0 "T^ Z m
0
P^0
0
1

Copyright, .1892, by II. R. Palmer and M. G. Kennedy.

 ! — v — - f y# A 3 —— -

SENIOR GRADE. 105

No. 256. LET US ARISE.
Dedicated to the. Christian Citizens of our Land.

E. D. Mdnd. Note. — Call attention to three sharps as the complement of four flats. E. S. Lorenz.

—V-—"N — N £ ^— A Sh
A—
^
I

ft* JS z?v -t
—S-*
w g f-

1. Do
-JT

not slum- ber in your tent, Christ-ian

£ * fv
5
sol -
-
dier,
J i

While the foe is spreading woe

i' zS=z i
thro’ the

m ft* 4r
4
2.
-

Can you lin - ger in your tent, Christ-ian sol -

3=

dier?
£
Sa- tan’s smil- ing o’er your
9~Z3t
N--+-

i die de -

•
±—
. S
Effii
rdt=S ±f-
I

3. Let us rise in ho - ly wrath, Christian sol - diers, Crush the e - vil neath the heel of your

STS
J— rdN ~S.
£=± M-lzzg. m..
3t3Ei —
—«* 5 s
- ^ r ' ' ' r , /
land? Do you note his ris - ing pow’r, Grow - ing bold - er ev -
’ry hour? Will he
ST\
-*
2s:
— W~ W Ad
lay; Thous- ands, per - ish while you wait, While you coun - sel and de- bate; Heed you
S7\

h
y
£=-
¥
might 1 Count- ing cost, no long - er wait, For- ward, man- hood of the State! For in

n
:M
u
S fe
— ,

!
'

"N -ft
i
—r
-1 1
Chorus.
3 — r
h *
3t3fc \ S
22:

not our land de- vour while you stand ? Let

$ i/
us
'/
a -
\

rise! all u
*
nite!
7 us7 a7
Let -

7.-J —
|_qv-^=-v hV
V
-&-
^ —
^iziz\E3=3=J- i ZSSZZ^
1- H 1

i-

not their aw - ful fate, as they stray? Let us a - rise! all u-nite! Let us a-
—
j-
-m- M -t¥—I*-
SI -hr- =0=tz£
God your strength is great for the right. Let us rise! all u-nite! Let us a

A-^dV
A— — &-
r-
—^
1

A
ff-
rise! in our might Let us rise! Speak for God and the right. Though our

=fv
!

— IS— 1- =1*
MZrL

rise in oui might ! Let us a - rise ! Speak for God and the right. Though our
3
m—
3a
— 1~
if
—
-y
l
y
p—

y -
^ w “pr * •" iS'-

num-bersmay be few, God willlead us grandly thro’, And our arms with strength renew by hismight.

=*=P= —N_z=
3 »ri>zz^Szz^- \ — *-

hS ^ —
*:»v --gr— -m-rS'S~
|

~ BF-j-
y /

num- bers may be few, God willlead us grand-ly thro’, Andour arms with strength renew by hismight.
;•-* rj>.. t;
/ —— y
itn
-y- if
Copyright, 1881, by E. S. Lorenz.
 ! — — — — —— — — I

106 GRADED STUDIES.

EXERCISES IN RHYTHMICS.
(Sing first by syllables, then by la.)

No. 257. Don’t prolong the tones into the time of the rests.

&
No. 259. Keep a fir m mental grasp on the pulses.
K ly — —
- " fs 1

-J
!
1-
^ l“|i A
0 --]-p
J ~F~^ h i* 1“
j —*-
-S -C<!_
—A—^=P ——j—— —P—
^ 4= i r -j— 4=
i
f=-P
1

No. 260. Syncopation. ( See “Class

r-r-p^z
~
j i
!* !-
"h.
r r '
1^*

r
•
~
1- ”
4» ~
t- — "!»-(-
,0> r r .
J
- h
I ~l |
. .

=FiP :

-J —J—— -
i*z_
i
J— J- tA4^
—
•*

j
Method,” $$ 1224 and 1254 inclusive.)
~ > v -Z=~

=n-^-
*
j— f=^E
:

fhjiJ^-R
g J *—jrr f y z-t*!
=5 \\ -

A *"
flj:
1--
1
f
—r-r-^»-
'0 f'J’ _
1 fr
-£
j
1

cUzz
-*z
:l g ~ifc=
J 1 1 -L
d It HI
g? r
1-
 « n

SENIOR GRADE. 107

EXERCISES IX RHYTHMICS.
(First sing “la” to each note, then the entire exercise with “ah.”
No. 269. No. 275.
3t

No. 276.

No.
1*0. 277 >
= 5=5:

No. 279.
• * -3?^ .. ~q
^ _
E
“?=l ***lg3 _jT

No. 273. No. 280.

EES f S 1 i jZj —i=i
•v* P
yjrn — nII I
5 ? TT

f No. 281.
No. 274.

No. 287.
* .
-T
,7 ^
No. 288.

No. 290.
^ VVl*
*

No. 291.

No. 293.
*m ^ _ _ P—
:t=t=
 :

108 GRADED STUDIES.

VOCALISES.

No. 294. Conc luded. N N

—M—1
w % =g=P
..a N S *^i
->
.

-> b*~ -i>> + *-

No. 295. Concluded.

* -*- = * —
~ at.

N o. 29 6. Con cluded. 8
J ^
* r p - p= = W f~-
±=J=
-
i* -
. *' * .
No. 297. Concluded. 3

No. 298. Concluded.

W w

.•i'S =P=F= wT W, -

No. 299. Concluded.

rrrrm ^5 tf=t
g mfPim
No. 300. Concluded.

No. 301. Concluded.

 m
SENIOR GRADE. 109
VOCALISES.
No. 294. Continued. H 1-
~

^•=g-~=T' ~

# ^ jr^rj

No. 295. Continued.

ae * :£=*=£=

296. Continued.
—No.
J-J— 5=^ ? rT ^'g ^jr~r~T~
PNo.
e

297, Continued.
ptn=r* »- . Jt
-

m
No. 298. Continued.

No. 299. Cont inued.

I *• ^
No. 300. Continued.

No. 301. Continued.

=T5=
sli ! t sl S £. I... 1*1

^ 52 *
110 GRADED STUDIES,
VOCALISES.
No. 302.

Ah,
No. 308.

Ah, h ah, . . . etc.

No. 309

^
riii ^=^=^=3:
W
c
¥-- 1
5
J- -=aL s
•«• r
I
t=^
! r
No. 310. Preparation for the trill.

No. 311. Preparation for the trill.

IT r b r
—l+^ —r
r ---^

ittlnT
,- - -
—I
T ~
w?
i
~t !

1 * *
! '
-JT-

rFf^P
No. 310. Continued.
 f ? r

SENIOR GRADE. 11 1

VOCALISES.
No. 302. Concluded.

303. Concluded.
No. —
*

No. 304. — Concluded.

m

No. 305. Concluded. ^

i j ' IS£§ r» ^P- '
-
r i
No. 306. Concluded.

No. 307. Concluded

No. 308. Concluded.

No. 309. Concluded.

s&

* r

5^ 4
j=j-'l g
'
£,
S 5 '*

*
1

*
56
* ^ *

r
r t"">
'

"V— h — ! tr
I-
•
*
r r r
=*F=P*
—
r

No. 310. Continued.

No. 311. Continued.

I *
t
,. p -f
s
r ~r
r
.

s
t

Si — — i ;
s-
1 TTf
=J=I=^=

3E _*C_ L* iil
v 4 r ^rr
No. 310. Concluded.
'

qiz
* • *
$- ? ?: :fc 5et

No. 311. Concluded.

F f i ( i i i J* i
112 GRADED STUDIES.
VOCALISES.
 _

SENIOR GRADE. 113

VOCALISES.

No. 312. Concluded.

No. 313. Concluded.

—rf 3
3 5is
j3*= - — -
I jJ^ E=^E=|g
p T~
-
t
f-m 3

No. 314. Concluded.

pip^ili3|§lp w
-3 3

<t+=t *~ f~- 2 *'

No. 31b. Co nclu ded.

No. 316. Concluded.

±m
«

SEE
ace •
^ .'

SSS"
1

^. = f
'’*•

No. 318. Concluded

*5
Si
j 1* ^• r
EE
05
EB^g^g
 i

U4 GRADED STUDIES.
SOLFEGGI FOR TWO VOICES.
These exercises may he practised in either of the five following ways, viz. by two Soprano voices; Soprano and Alto; Soprano and
Tenor ; Tenor and Alto, or all parts together with Soprano and Tenor against Alto and Bass.

No. 319. H. R. P.

! ^F= 3 5=:

«i
,::hsi. 5=^ S J ^ " 3 I
g J
No. 320. H. R. P.

SF5-

I
9
* 33^
l?=g J ''
S ~p l
^-g-g * 3=>H*=f
<£» »

No. 321. H. R. P.

3^

No. 322. H. R. P.

**
^j l
J
j g^fcf|pj
,f
g^gggl ^g^jiggl j45 J g JH
: 17 T1 P
g^ ft

SOLFEGGIO.
No. 323. All voices in unison. Sing first by syllables ;
second by la, giving a la to each note ;
third
by la, observing the slurs.
H. R. P.

:3t*Seg H-~B¥7igg^ 3 ^ jilifff

rr
 w c—
2
M 9
m - — — - —

SENIOR GRADE. 115

STUDIES OK GRACE NOTES, TURN, Etc.

ARTICULATION. (Connecting Tones.)

No. 329. Portamento.

—
—
— — —
— :n
7 :
.

m c* m t- r- 1-

&
! ! 1

jr
[/ .
.
'' ='r:
f - 1
<tj 9 err
t

M !
1
1
I 1
:
j

a - ve, a - ve, a - ve, a - ve, a - ve, a - ve, a - ve.

— —
7
jr T
7
*

—M
m~zz
m+
ii
It"
rz-m
r i
m— m m ^ I rW TL4 m
1
i i

w 09 m “ 9
i i r
J
~ La
rd
0 m
_j
i

r~
m0
1

m
4

*^ m
—H 1
r—
J Pj
m—
i i i 1

a - ve, a ve, a ve, a - ve, a - ve, a - ve, a - ve.

-f
T7
———m*
r *
m w. a -
p= 4 0 — m— r
—
X
i

X
i
.
...

t
- ..

m rnrn t= -A
• mj
i , .

t:
'
—
J J 1
| i
- t*~
r
*
1 1

—
>
j
H F
,
F
,
J
—
—a
.
Wi
^— s
1

J
—
i

- m— * J m
m ^
a - ve , a - ve, a ° ve, a - ve, a - ve, a - ve a - ve, a - ve.

|
T
f
—m5—5 1 1

— 1

MIT
r
m-
—
\ |

wt L
— M &
r
i i i i J

*****
| 1

V 9—
~m m m,
u
e m
1 i 1

W 1

# * * l

9 ~ m
SSL. .53
-5-
-x-
S5_
V -ii-
9 0
V;
.J
* •* * '

—
— S X 0 W 0 W 0 m m __
—w—w— n
T.
"i 1

m
1

r
T=r~\-
r r
-P
r - s?
I —— — — p
1
Si
{.
ii
. i
r
i
r
i
r
i
” g_.
j-
TS

L__4—
"E
“ 11
1
L.
T
...

I f i
0.
1 11 J— ——— p
1
LH
-111
KTXJISK.

PHRASING.
 No. 340, All voices in unison. The incorrect construction of two of these chords is rendered
necessary by the object for which the exercise was written viz the chromatic scale descending.
:
g R p
 DAY 5CH00L AND INSTITUTE DEPARTMENT
Rkv. G. Lansing Taylor.
DARK TO DO RIGHT. F. E. Belden.

)~~if ,^o N «. N ~zs

—— “1 — : - ~ "

'iL "X k
Jfrv i • pL — — _^ — m •)
m (5 PI P K *1

—P &
^4
f —H 9 • m 3r wi ^
i ft
9m
tP
9
•
- -

.J
s
i

S !
1
1

1. Dare to do right, dare to be true! You have a work that no oth - er can do ;

2. Dare to do right, dare to be true ! Oth - er men’s fail- ures can nev - er Bave you
3. Dare to do right, dare to be true! God who ere - a - ted you, cares for you too;
4. Dare to do right, dare to be true! Keep the great Judgment day al - ways in view;

7ZV.* <r»“n
m mm •

i 1
r r
_ . _ _
r
m
_L
m \ JJ ^ ^ ^ 1
_ "
^ TJ.Q r
£~U— -l-
L b* 5— -U
w w
JM
J

* 9P
j -

_*
i

« 9 3=
i — 3

5. Dare to do right, dare to be true ! Je - sus, your Sav - ior, will car - ry you through
j.
For D. S. repeat these three lines of each stanza

Do it so brave - ly, so kind * ly, so well, An -gels will hast-en the sto-ry to tell;
Stand by your conscience, your hou Stand like a he - ro and bat -tie ’til death; - or, your faith ;

Treasures the tears that his striv- ing ones shed, Counts and pro-tects ev -’ry hair of your head;
Look at your work as you’ll look at it then Scann’d by Je - ho-vah, and an- gels, and men; —
m m—m ^
Cit -
f*
y,
Ft IV
and man-sion, and
-jp H-
throne, all in sight, Can
W
0 -

you not dare to

tm
V k
-m9-
-
U-
be true and
4——ft
to-
*
*
do right?
m

WHEN YOU ARE IN TROUBLE. H. R. Palmer.

— —
V
U2?
4
P
&
P
m
N iw

9
K U
M
9
*i S
m m
9 MJ*
% .
_>
^
S
“1
9
,

9.
•
•
*1
'
mm— 9
9E
P
«
N ~ir —
t.
1. When you are
i/ i/
in trou - ble, ’Tis the
^
nic - est way, Bun - die
-W-
up your
-dR-

2. When you are in trou - hie, Nev - er mind your fears, Laugh a - way your
When you are in trou - ble, Sing your glad est song Sound the tones
3.
m ~ ^
-

_
-g- -g.’
;

m m v
*
of

V
1 S* \S y*
J*
u.
fL s- 1
_ g i "GT 0 tg br
^ L* L- ~M

-m. 4 TT
S=
~9
=PS=*
tgr f
U
dis - mal doubts And fling them all a way! - Fling them all a - way ! Fling them
gloom -y thoughts And wipe a way your tears - Wipe a way your tears! - Wipe a-
com - ing joy, Both loud and clear and strong Loud and clear and strong Loud and
ft

—Mil Iw 1 ^i *
^ ^
m " .iT k k S £
Z9
~m •
=«
:Cz jHtr^^izi*
Z7
^ :.i.i '^zi -J?
.

#
all a - way Bun - die up your dis mal doubts And fling them all - a - way.
way your tears! Laugh a - way your gloom - y thoughts And wipe a - way your tears,
clear and strong ! Sound the tones of com - ing joy, Both loud and clear and strong.
9 - -m -w W r 1

U V fr— =£=£= -1 1 If
J
1

Copyright, 1894, by The John Church Co. (119)

 120 GRADED STUDIES.
STORY OF THE RAINDROPS.
H. E. Hewitt. (Motion Song.) H. R. Palmer.
= 104.
- 7
Met.

—
-4-
f
!

'hV-
—— -Nr-
+— — i
m H — i-
iNzzV
-N

w w—w~
— N-

-&r
—— —— —pq
—
*
i
t

i
ati

-W>—
*-&-
|

'W &-

1. Oneday, the lit tie - drops of rain, Dash’d Mown against my window pane ;
I tho’t 2 how ver- y
2. She told me of the 7 toss-ing sea, How ve - ry strange it seems to me! The sun can, 8 by a
The lit - tie rain-drops 13 feed the rills, That run in mu - sic down the hills, And
13 these, in turn, will
3.
Our Heav’nly 17 Father, wise and great, All things up -on Thy bidding wait Thy hand leads18 out the
4.

at—LM — fSL—p- -f* — _**_!*..

;

—®
)y-7-~3~
J® W—&— -» « © » • 7 7
1/ 1/1/7 7 7 7

-jv -N v
—9
-
I-
-
i® (• * -g- -gr ;<r ~S -w*
*--£• s. irV i
nice’twouldbe If could know their his - to • ry. I And so, my 3
sis - ter’shandl took, And
might -y law, The o - cean 9 va - pors up- ward draw, Un - til they 9
make the clouds on high, Like
find the sea, There, for a- while 14 theirhome will be, Un - til they rise 15
in mist a- gain, To
cir-cling sun, And by Thy will, 19 the streamlets run, At Thy com-mand, 20 the wa-ters rise, To
ah jm m &s> _ | j!y

S-n H -
7 : ±=n=l==
ie: »-
:|=

1/
^ It I r

\
S3 hV hS
^hV -<@-
h 1
H 1
3 —— 1
N

T
-

-o>-

; 7
beggedhernot to read her book, But tell me, 4 on thisrain-y day, How came those drops from far away,
10 n 12
sails up- on the deep blue sky But when these dark and heavy grow,The 3 fal 1 in drops to earth below,
r Copyright,

form an- oth-er show’rof rain, Ah, lit- tie drops! 16

I know you well, Your histo-ry I now can tell,
o - verspread the 21 sunny skies, And when Thou seest best, they fall Dear Lord, Thy love is over all.
22 22
:

—
1892,

m V
Imn'WJ.
7 7
&-

7 — 7-
4=—
m
— f—
I®—
1_,

7
1

7
1

7
ftL.
|

7 7
mm
7
4
by

H.

R.

Palmer

Chorus.
a
nd
-1
m *, 1-
hV M.

Q
.

Pit -ter, pat -ter, 6

pit-ter, pat - ter, Hear the rain-drops fall, Pit - ter, pat - ter Kennedy.

Pit pat, pit pat, Pit, pat,

fcbzfc=^-.==^-—
4
e: »-
"7" /-
&E
fall, pat, pit, pat,

4V bv hV
--K--
3T HW
h5 a 1

-m-
I-

-«i
o «
#. g- *
6 pret
5
pit - ter, pat - ter, God has sent them all. List - en, - ty lit - tie flow -
’rets

pit, pat,

s -I-
F ::aF
7

ifcl
To their gen - tie call,
F=hV

Pit- ter, pat - ter, pit - ter,

=fe
a
**
. „

® 9-
:=SV==Ni

pat -ter, Hear the rain-drops fall.

~0> g- m
pd2=!
-(* — I®- 7? (®
i *1

f®
-P--
®
F=F=:F
ft ^L
!N

t f±
-P jr-i/ L i-

call, pat, pit, pat, pit, pat, pit, pat.

f
Mottons — 1. Dashinsr motion both hands 2. Cheek resting on hand, in meditation 3. Take next child’s hand. 4. Arms
raised and lowered with fluttering fingers; rain motion. 5 Snapping Angel'S. 6 Point to flowers or ground. 7 Wave motion,
both hands 8 Point up 9 Hands placed low ; slowly raised 10 Hands moved over head. 11. Form arch 12 Rain motion.
\3 Right arm swung with rippling motion of fingers. 14 Wave motion. 15. Hands placed low, slowly raised. 16 Shake fore-
figer. 17. Look up 18. Describe circle. 19. Rippling motion. 20. As before. 21. Arch. 22. Hands clasped, look up
 DAY SCHOOLS AND INSTITUTES. 121
HOW GLASS IS MADE.

Then sift ed and made smooth like clay, And heat-ed hot with -out de - lay; The
-

The win- do vv panes, so clear and white On which Jack Frost has danced all night Are — —
9
[III 9 09 g9
1
'
q
0
#
q
r ^ ^
w
q
nas
, .
q
9
hi
0 9
*
1

m9
^ s-* 9+
tv
s 1

h
V
^
*
_l
*
0
-
3
9
1 .

Wl Z2 ^ ^
r f
ii9
m
J
ii
« 9
L
r
1
9
i

1.

/
rr—\
m
— -4
m -r q
m ^ mJ
— 1 j
.

VV M -r r 1
1 1
||
f ./
'

1 1 1

L 00 -
— ^— m cl U
ty
heat is fierce, the fire is bright ;
The glass comes melt - ed clear and white,
made of glass just in the way We sing a - bout, this pleas - ant day.
J ^
-

V Vr
V
,

- »
— 9
^ j
0-
1

" '9
1 ,

HI
1

•
—H
4
H
J
1 -1

1 J I J
0 9 9 0 9 9 ‘ '
0 0 J r 0 « J z? _
]
J
*
tK fe* at
CV
. . i_ .

Tv i «
0 0«
1

0j J
r~ “i 1 1

— J
0 J
0
1

9
,

q
J 0
I >5;

_q
--

z0
-
V 0 -
9 1 jf- -0 ^- lJ
-G)
Copyright, 1894, by The John Church Co.
122 GRADED STUDIES.
BRIGHT AND EARLY.

sky is bright with morn - ing light, ’Tis time the boys were wak - ing.
home to rest, where each is blest, Be - fore the sun’s de - scend - ed.

r -
Hfc ~k “SBf S S| "K r g- -p 1 jS-|r 1
s-n
1 Cfi i
^
m gr— -g~—
•

fr
%T7 IT
Ti ~ J . ^
V m W rr
^
i
S
dpi

^ ^ k £ k *
Heigh-ho, heigh-ho! to Far-mer Jo, Cries ev - e - ry boy a bound-ing; All
jv
r
Ih.
m rr _ _ • s
If
'
n
'

“V r r
1 r~
s'
j

rr
i

t L#

Work well be -gun is one half done, We learn from an old - time say- ing ;
An
... - m-’
*a*’
-
KP' w*»- [V
^ r r r

p'+ru. sl fr Lk
XZs ft j? y 5 _
y ^
Z. .
'
r
__z=^=.
H g 1
.

— 4- ^—
-
m 4 -
M -g-
-<m- IV
-0*
:Mgi
i -g — ®—
—0—dP
j
ZJMr
w
£0
—
— -j-
m-

up at work, no one will shirk, And list, the horn is sound-ing, And list to the winding
=P==pe=F,
m -S=p »*
* ? ?
ear - ly start is no small part Of a - ny game we’re play - ing, But list to the winding
- — & — —
~p
f-
m—
k- P ~
<a£ 2, r-<g - -
I

-P=P=fK
^-ri
i

y- y- tr
It

Echo.
01 S- &\ --V—tg —lV- —
: 4- -4* JVs-
:
3- -g : .

horn, The mel- low horn, the mel-low horn, The mel - low wind - ing horn, the mel-low
r
^ ?.
-
"-r=g=
-k *-*--4
horn, The mel- low horn, the mel-low lwm, The mel-low wind - ing horn, the mel-low

wind -ing horn, The mel-low wind- ing horn, The mel-low wind -ing horn.

A —k -(• m — k
-j —r—d f— ——— -
!

f— r
j \/ j
^ -i — i- =~1
j
—V_jL —
. j
1~ = :

wind -ing horn, The mel-low wind- ing horn, The mel-low wind -ing horn.

9==i
t=^ -g
-s=^
A3 .
-0-

* By a Quartet of good voices in an adjoining room.

 DAY SCHOOLS AND INSTITUTES. 123

Mrs. Grace Wieser Davis.

HE CARETH FOR ME H. R. Palmer.
Met. ^= 60.

% *
1. As our heav-en - ly Fa-ther the spar row’s fall doth know, wav - mg
2 . As our heav-en - ly Fa-ther for too doth
111 - ies care, with
clothe

3. As our heav - en - ly Fa - ther the grass doth clothe so well e’en the
4. Take uo thought for the mor- row ;
Thy heav’n-ly Fa - ther knows jiugs that

-m-
m m- *
-m-y-
m -i 1

m
-j^-j -

^
leaf on the tree - top He notes as it fall - eth low, As e’en Thy hairs are
ex - qui - site beau - ty in pur - i - ty, oh, so fair; As spar-rows toil and
ti - ni - est in - sect He sees in its pu - ny cell; So, pre-cious soul, He
ye stand in need of, He in - tin - ite mer cy - shows ;
Seek first for God’s own

—
-

at f
& m
t=C
-w -w- -m-
—&
=t* - I k= i

—
m -m-
- > j ~h-
—
-m
qvz::
m- 0> i
'

o mj:* S N=^-

num-bered, let this Thy com- fort be, Much more, O pre
cious lov’d one, - Thy
spin not, yet by Thy God are fed, Much less for - get Thee
will He ;
Thou
not - eth Thy life’s mi - nut - est care, And, praise His name, Fie deign-eth Thy
king-dom set up with - in Thy heart, And all things shall be add - ed ;
then

zm & -W- '

w- » m ' z m z_
1 & [Z & ..._
H r^r: ^i

m
self each
ff

day
l/=v-

1 He
/4 -

cares for
-

& 4P

me !
m He
>- P

cares for me ! In all things, and al - way

7—ViH—
PFf ^
tr
&=*
w m— '
-m
f>
m-
i w-
-t? i >
Copyright, 1894, by Chas. H. Gabriel.
 —— — * r — f r t

124 GRADED STUDIES.

BEAUTIFUL MAY. Arr. from W. F. Taylor, by H. R.
Words partly written by H. R. P. P.

mf Soprano, met. ^.= 76. Tempo di Valse.

r :3=4
.a 0 0A 0 0-
:= |— =F -4
h
^00-—
W — ri-w-i
1
<•+ 1

^ t=
nt —0 0 1
3t I
1. La, la, la, la, la, la, la, . . Oil, charm-ing it is, and de- light- ful to dwell, On thy
Alto.

r— 3=
=4 I—
:q:
— i i-i— i
0— ^ * rl
2. La, la, la, la, la. la, la, . . Each heart is so light, and each eye is so bright, As we
mf Tenor. 0
m 4 »
Bass. r
!/-*-• -0

S —
> T-z^ =ar
1
I

c?
-

I
- -0- -0-

*==*
n—— I
-0-' -p-
-f- -f~ -f-

£ i
:qz 1 —
—i- 0 -0-0- 0~01
~\—+
u tr
sweet fas - ci - na- tion, O beau - ti - ful May, . .No words can the half of thy love - li- ness

*—4.=4= =1=1
:=F
=t
:4 4 0—0:
fj
r t#
~P+ fl-
s 0 -

list - en to Na-ture’s har- mo - ni - ous lay, . . Oh, spring, love-ly spring, to thy con - fidence
~0~ -0— -0~ -0
*=F* A4q ns
-V- t=t — — — — E= — —p—
j=EpE
C r—c:iEEfE3i:
zJtrJfz:
F-|
^ i
-
E=E=i m
nr-\
m . * ifczt:

i :tr- —f—^ t-
0
» ^ t
=S=r
3
tell, And the wealth of thy perfume no mor - tal can say. . . Oh, charm- ing it is, and de
=4=4
bring
01
We our
=t
jL
-
1*=J=tW-
crets, well
m
knowing thou’lt never
4=F :

01 10: :
=t

be - tray. Each heart

=4 ==:qi^q=pq===q==q==^

is so light, and each ?

Jt r'
.-
~r-
4=t= igNNN
- p=pJ
r
.-tp-

-- 1-
4==W=4 :^=>V4 =t
E?3 £t Ct tit#*
light- ful to dwell, On thy sweet fas- ci - na-tion, O beau- ti - ful May, . . No words can the half of thy

^4=3*4 :4s E^f^iEr^zzpqr--qszq=prp=qz--q^

J ' 0-0-0 H
...
1-

* • rl» « . L 0—0 P - bfarSi^t±^t--j3

fj

eye is so bright, As we list- en to Nature’s bar- mo- ni- ons lay, O spring, lovely spring to thy
0-0- -0 m m . « -0- 0- 0- X

Chorus.
1*=l =4 =4
-l 0 -0-
*=£
•

t=
-j
f=
love - li - ness tell, And the wealth of thy perfume no mor - tal can say. As round and
p
1- 1=4 4 lM=4 4
JE
r
4: -4
4*=4
.V
:

I 0=01
con - fi-dence bring We our se - crets, well knowing thou’lt nev-er be - tray. La, la,

0-
:.z=^jz=Lr-=t=c
• -0- -0- 0- &
S
0— T— - 0-
tr :
»' .i ; t 9 ‘
_ 0^0^
l I
 r — —— — t

DAY SCHOOLS AND INSTITUTES 125

BEAUTIFUL MAY. Concluded.

LOVELY NIGHT.
May be transposed to G, and used as a male chorus— or, to A— or to it flat, the ladies singing the 1st and 2d Tenor in Alt*
F. H. Chwatal.
p 1st Tenor.
_ 4- ^ ^
±zz ^2: y=: :tm
±±=±=d±= -tz=j=: =t=
t
1. Love - ly night! O love - ly night! Spread-ing o - ver hill and mead * ow, Soft and
p 2d Tenor. 1 ——
1 1

0 0
:£t=|
-H
^n2=^nzatzbs!: |=^ 3= H
—
It —
— H~ !

t-
2. Ho - ly night! O I10 - ly night! Plac- ing bright - er worlds be- fore us; Hap - pi -

p 1st Bass.
*
-£2- & 1
&— |
—— 1
| !-

m
1 J 1

:t:

t~
Zlip2I ..a..7:?Ji®=^p_ L_ —
ps:

2d Bass.

slow thy haz

0 V
-
y shadow
T
;
Soon
:

ie2:

our wear- ied

=
it:
it

eye - lids close,

-<s>-
S //

And slum- her

:tT-r
nit
i£_-r*:_*ii

in
iil
thy
ff
4 T Tn — 1
H <-
1-
-1 — !-

i
1

h I^_
illtiS SE^Ei
ML Mi -iH-vf---
t=t==I=
ness thou shed - dest o’er us Oh, that we might ne’er re - turn To this dull earth to

blest re - pose, Soon our wea - ried eve - lids close, And slum- ber in thy blest re - pose.

p pp
?l=S-=£\ — 4- 1-
'
ff
k-
-

t- -*-j£t= It
i-3-
*=- -Z-ftt::
-h- t -1
—M'"
— |
'Ml
weep and mourn, Oh. that we might ne’er re - turn To this dull weep and mourn.
earth to
P I ff _ \calando. PP\
 —3

126 GRADED STUDIES.

FAIR EVENING HOUR. H. R. Palmer.
E. E. Hewitt.
Solo.
-H-
— 4S-4-

1. The mur mur - - ing sum - mer breeze, Stirs light - ly a - mong the trees, And
2. The bios - soms of grove and field, Their del - i - cate per - fume yield, The
3. What glo - ri -
ous vis - ions wait, Be - yond the bright sun - set gate; Be

hush- es the fiow’rs to slum - ber, With lull -a by mel - - o - dies, O, calm as the lake - let’s
dew-drops are gen - tly fall - ing, The wounds of the day are heal’d. We
wel-comethe gra - cious
read - y, O soul, to greet them, Tho’ ear - ly the call, or late. Soon pass- es the star - ry

em
—
>
Z
.
0-
i I:
t
I

r f=^ F
:
1
=

-H
£-4 at
^3: W-——
h
^ LA ^ U —4 —— P- —- — 1

~t t
#
I
#
4?
1

L » 1

r. I ad t
-m- tt==
- !
/—
i

[ht,
(JQ

p" 71

1892,

breast, Re - fleet - ing the gold - en west, The heart hold-ing sweet com-mua - ings,This by
sign, Fall ten - der - ly, dews Di - vine; Re - fresh ev - ’ry droop - ing spir - it, While
night, All shad- ows will take their flight, When breaks thine e - ter - naL mom - ing, O The

Joh

n
*
m —A
'
J
e
A
fc?
' 5
,
t ~r (Thum

b
Co.

! LI J JfJ-<Chorus.
-N—K srr-^^^-K-r -I— —
— S—
1-
1

m -V— =3v
:a|=J
r
35 m
*
— m—h
— 9—^-m
-j E-~ L fS-
^ V v
tran-quil hour, pure and blest,
lin- ger - ing sun- beams shine, O, hal - lowed hour! fair eve - ning hour! What bless-ed mem-o - ries
beau-ti - ful Land of Light.

1/
 DAY SCHOOLS AND INSTITUTES. 127
SLEIGHING SONG.
S. H. Lightner.

1. A - way, a - way, the track is white, The stars, are shin - ing clear to-
2. A - way, a - way, our hearts are light, And need not breathe by day or
3. A - way, a - way, a - cross the plain, We sweep as sea - birds skim the

ri
HP — —~^ .
1

—m—^Ip 1
—
'
s r3 » 1
— rt_
ip
,
r K
1 -J*qr«h-
!*—
m—
h
—
±z
1

tz tr tz 1 =-. --b ±= ."tz

-«s>
L|
W
L iztz z±=

& -m-
-m — P-
pM2 - -P-- P~

.
I
~ 1
night, The win - ter winds are sleep ing; The moon a - bove the stee - pie
night A sigh for sum - raer pleas ure, The mer - ry
bells ring gai - ly
main, Our pul - ses gai - ly leap ing ;
The stars are bright, the track is.

t
/yr,~E~ —j h— — I
^ -0—r f= J.
P r* P
=£=*H __1 w- hp- m- -m- HS-
I
Ad. lib.
j? . m -P—
-m-
Gh — J- -ei-

tall, A sil - ver cres - cent o ver all, Her si - lent watch is keep ing.
out, Our lips keep time with song and shout, And laugh, in hap - py meas ure.
white There’s joy in ev - ’ry heart to - night, While win - ter winds are sleep ing.

m m-
-m- -m-

Copyright, 1894, by The John Church Co.

:f§=p:
^21
£ -g--
tt=

ALWAYS AX THE SCHOOL, F. E. Bei.den. By per.

-Ah P — P*

:M=S:
4-
— J*

-i-r- p
1. We’re al-ways at the school with joy- ful greeting, Always here, always here When mer-ri - ly the bells say, ;

2. How blessed is the place where an- gels gather, Bringing cheer, ho - ly cheer, From God, our never failing
3. How sa-cred are the les- sons we are learning, Christ the Life, Christ the Way —
His ho - ly law of love no !

-Ph
gp; r
d M-S* -4-
•&
S8
t mm~
“ Come to We are
meet
- ing,” al*ways here. A1 - - ways at the school, Work ing for it
Friend and Father, Whom we wor-ship here
longer spurn-ing, Joy-ful we o - bey. Always at the school, ------
always at the school, Working with

SSNSIS
a will,

0 0 0 00*.

IX IX
i
j—
i'fsS-m t-h

ev - - er ;
A1 - - - ways at the school, We will let it fail, no, nev-er
Working for it ev - er ;
Always at the school, always at the school,

4 1 »
— I 1 1- ^ 0 0 + 0 H \
1 ( p W
>
w P F
X- -
F
V zE r tz:
rP-F-

Copyright, 1894, by F. E. Belden.

 Q — — — — — 1 :

198 GRADED STUDIES.

WISHES. H. R. Palmer.
1st stanza D. K. 2d stanza by H. R. P.

40 i- -i P P 4F — -m-

1. I wish that friends were al- ways true ;

And motives al - ways pure, I ' wish the good were

3V

r
'P
-
~Wt
tit
3 s
>-
:zf5 i — —hi
1A T
-

-W- —i—^it i if
t
2. I wish each friend would meet each friend With heart-y sal - u - tation ;
That eyes, and lips, and
-P3-
—
pe: "l-aeri

P mt
5*2,4--
-i1 —i: — :mt

=i=&*t :P" "P~TP: i

not so few, I wish the bad were few - er. I wish that per- sons ne’er for - got To

fin - ger tips Would show their ad - mi - ra - tion ;

I wish when friends ad - mire their friends, They’d

* S ~ - " r * S
P---P-
—it
! I 1 I

± r -i- m-

-XT __ . _ ~Fl n r
— “i .
,

Sz
If

fj

r
heed their pi - us teach- ing, ........... L J=xL- •

V .HW. HI JSfc
1

Pi
. .

IS <t

fi
** ns t i
i
T3T7
& n^ re erni ft
“ft
ik. i

& & & s & z

wv ~
_ i

tj *p @*-i_ -^r -gst

I wish that per-sons ne’er for - got To heed their pi -ous

IS7"
m rn i rej P -a
n®e ti !
- nr- 1

^ Pr
—
1C
m tz afcnP a m TZ
at®
\

T7
2» *
faT-i & & ® ft
m
-.1-
” . &L . - - 1#W r r 1

> W
ft
2*-+.' ® -J
J
hon - est - ly con - fess it. I wish when friends ad - mire their friends, They’d hon- est - ly con-
A
ZH. **
^ -J

Li —i i
i“i
ns ~K n
i i~
1

v- —*— #>
1
s |
i
.
-ft.
& —& —& -.
~1~"
q
1

— — r -

/(
:

r J
J S r ij pir
_
P “ft
i
j* Pr _P .. .
j

m i i t

!j
i

1
1? sr Sh
i

gi 1

. . I wish that prac - tic -

ing was not So dif - fer - ent from jreaching.
Ov
— — -

m —~i
Jv~
1 .
.
.
.

|
i

“ns s 1 i

Vy i 7" ^
"“ft
^
ftu i*l
~
1

i P i i i i
fJ -i-
teach-ing,
,, _
~
.. __ sasSk ^ , x ^
:12"
t
r
P
r-
i
P
i
P
f
i
i
LJ iJ
ft
rJ /J
a'
i — i i ra a a at
?

fess it, And not de - lay till life’s last day, Be - fore they dare ex - press it.
/T'

ns h ® ® p P P
i“ r V
i

i i i "i i ^
-> i

=1 m et
m J {

Copyright, 1894, by The John Church Co.

 DAY SCHOOLS AND INSTITUTES. 129
POPPING CORN. *

_ +3 1- •

J J 1 -H ^ rri-
—— |
-] —
WH —
1 1

—Jr— 11 H -H
9
-H
“ ta J
S
1

— j

-rr'sr
i i

J
P
,

J
• ar
m
^J
i

as
eJ
* • m
hear the pop - ping of the corn, So dain - ty and so light, So dain -tv

p
j
P
J
p
1
P
J
m
r
i=.
.
se
i

Lz
m
p
p <*i
m
—p -m—m _3__n_
__i
m :=£ar - P P !

sit be - side the jheer- ful

< fire, Un - til the corn is c one, Un - til the

/m '\ «** 94 49 49 .4? 4? j®L P

“J*J+
VCT7 — 1~
;
f

1
j
I
rr
1“ _L _J_ tZ 111 r
.

<==* .
I
i n

CHORUS* m
-P- /.

S^P - 4

and
1

1/

so
II
I

light.
i II
I

Then pop, pop, pop, pop, pop goes the

I ^ I

corn,
l
^

Like snowflakes pure and

z2ze '-J -m-

corn is done. Then pop, pop, pop, pop, pop goes the corn, Like snowflakes pure and

t
S--

P f
j8= -m-
s4 =
T=t -&T

white, Then pop, pop, pop, pop, pop goes the corn, So dain - ty and so light.

—
~sf~ ± #±:
white, Then pop, pop, pop, pop, pop goes the corn, So dain - ty and so light

~ P- * -Cn

T ~ f 1

T J *}-

Lightner, owner of copyright.

&
Used by permission of S. II.
•
Each member of the class should use a white handkerchief at the words “ pop, pop,” and at the Hold lift the handker-
chief high and make it tremble.
 ) n r h i « ! ; ;

130 GRADED STUDIES.

MARCH, MARCH ONWARD. V. Flager. By
E. H. LUMPTRE. I. per.
-U N 1-

m— m- : f 3 r* i *
1. March, march on- ward sol- diers true ! Take thro’ cloud and mist your way, Yon-der flows the fount of life,
2. Hark, hark, loud the trum-pet sounds, Wake, ye children of the light Time is past for sloth and sleep ;

3. See, see, yon- der shines your home ;

Gates of pearl and walls of gold, Joy that heart hath nev - er known,

-Sh
0$ -

*'-» -s>-
m-
Yon-der dwells e - ter-nal day, March, tho’ my- riad foes are nigh, Forward till ye reach the shore.
Wake and arm you for the fight. Spear and sword each war-rior needs, Foes are round you, friends are few;
Bliss that tongue hath nev - er told. Vic- tors then thro’ Christ your Lord, Gathered round His glo-rious throne,

Faint not, tho’ the way be long Fainting, still you may pur-sue. ;
March, mareh on-ward, sol-diers true,
Be it yours to sing His praise, Praise that He your King shall own.
m- r *
. m
—^—W- p jg
0 0
i —r— -m- -m- jg=|M-Zjar
-w- -m-
i

KEEP TENTING, TO’ARD^THE HIGHLANDS.

F. E. B. (Dedicated to Ira D. Sankey.) F. E. Belden.

3. To the mountains of sal - va - tion ! Hear the an - gel, Mer - cy, call Do not

|
.
-=^3 T
^ Aim. - - (BORIS. ^ sC
5
| ^

-0^- $i -m-
-W—&- 0~
^ > £
nearing life’s high mountains, As the night comes on a - gain? Keep tenting . to’ard the highlands,
aw- ful judg- ment sto - ry ;
Lin-ger not, her joys are vain.
fe*.
-k-
T
• * ~r~
?2= 0 0- 0 p —w-
g F f- I
h—4-
-i r w V .

t
I*
tf=±
tar- ry ! look not back-ward! Hast-en on, ere vengeance fall Keep tent- ing to’ard the ligh-lands of life,

rft>— -i
— : —
-f
•

"~r
>* -
7*5 0.0-0
m
— |> ~j —^ j—jj- -

EF
f

fv V
. |

0 0 0 0
^ y s -ssr-3
—s — ^
^ 2 sr*•
'

^ 5
Si v
r: •

rJ ~ m ,
p
'
-

Each ev ening nearer home Keep tenting ;

. . . to’ard the highlands, . . Keep tent-ing near- er home.

0 0 J- S--&-
n J ” 0 0 0 • "S" Sr £-• 0 <2 .
HP « ^
w ra sr ry y * I"y
•
ij
(2LL* r 17 1 r t~ F -F a*
•
•
f 5 1
‘

1
I

2 L _ Lti^—
1 -i
z ,g=t=g— - . 1 _L
Copvrierht, 1893, by F. E. Bei.den. Keep tent-ing to’ard the highlands of life,
 DAY SCHOOLS AND INSTITUTES. 131

H. Dingman.
I WILL SHOUT HIS PRAISE I IV GLORY.
P. Sweney, by

m
J no. R. per.
> > < '
V f-m m m-

m
U»
* * I I I ;
ask what makes me hap - py, my heart
so free from care, It is be-cause my
was a friend-less wand’rer till sus took me
Je - in, Mv life was of full
wish that ev - ’rv sin - ner be - fore his throne would bow ;
He waits to bid them
mean to live for Je - sus while here on earth I stay, And when his voice shall
-0L
ft—*
^ —9 * * r c — p^~-r—r—w • » * * (t—
^ m ^ 9 J*
—— w r* M ^ ^
—
:
l~^
M
-

M
1 1

-g -V- y -4= fit. ? m m |

_p * l
* is *

-7,-1^ -3
vr fir ^ —
ns
p — 7T — J*-
— -fr 1

J - -1

0 9 * 9 9 9 ZT 9 m m 9 9 9 -*
&
^if..9
-4
7 7
_ ....
» 9 9
- ..

9
Sav - ior in mer - cy heard my pray’r; He brought me out of dark - ness and
sor - row, my heart was full of sin; But when the blood so pre - cious spoke
wel - come, he longs to bless them now ;
If they but knew the rap - ture that
call me to realms of end • less day, As one by one we gath - er, re-
9— 9
SSL-k-t—
£
r=4=
- -0-
P
~

-1
-

=&
r =r
£ -
«
tz—
r:

a* *
_ r
«*
_

-
~9~
-F
-1

-0
—F99 ~

4
~

.
i—
.0-
~

F
1
0 ~

-PP —
9
F" -
— —q
9—9
-J
L* l* U* U* U*

m—^9> 0 J
— 4—b— 4> > .
fc
“it “si r
—
-m P-
^ 9 9P — ~9
* ,

—
—S ^
^

£
(

jS
^
1 1
1

g g T * t* * * * * {]
^ 5
now the light I Oh, bless - ed, lov - ing Sav - ior
see ;
to him ! the praise shall be.
par - don to my Oh, bliss - ful bliss - ful mo-ment! ’twas joy
soul; be - yond con - trol.
in his love I see, They’d come and shout sal - va - tion, and sing his praise with me.
joic - ing on the shore, We’ll shout his praise in glo ry, and sing - for ev - er-more.
 — ;; — —
t — ;;;

132 GRADED STUDIES.

HE CAME TO SAVE ME. Wm. J. Kirkpatrick. By per.
H. E. Blair.

When Je sus laid His crown a - side, He came save me;

^ \

\ When on
-

the cross He bled and died, Omit .. .. He came to save me.

„ (

\
In my poor heart
Oh, praise His name,
He
I
deigns to dwell,
know it well,
He
Omit
came
.... to save me;
He came to save me.
• — —— — * - *=- -*=>•
— p:
j*" 'jgn7p^~r~{8 h
-0- . jfiL

^4 j",
s*
j* f.
m ~~ m-

1st. T 2d
-m-
m- jV -^v
H
h—m- H

-jgf &
I’m so glad, I’m so glad, I’m so glad that Je -sus came, And grace is free,
He came to save me.

—^ g ^— H9-
&
0—w—
1* fegz
j
1

4S>-
With gentle hand He leads me still, 4 To him my faith with rapture clings,
He came to save me He came to save me ;

And trusting him I fear no ill, To him my heart looks up and sings,
He came to save me He came to save me.
Copyright, 1885, by Wm. J. Kirkpatrick.

“HOLY SPIRIT FROM ABOVE.”

MET. = 66 Words and Music by H.
Inscribed to the Rev. 0. H. Tyndall. Palmer.
.

Q-
— — —I -i -fcr
i
R.

<P
-m- t m- =K
-m-

1. Ho - ly Spir
~
it from a - hove,
I

Fill our
I

hearts with
r
Thy
-m-

pure love;
2. Take our sin ful tho’ts a - way ;
Lead, oh lead us lest we stray
3. With the al tar’s sa - cred Fire, Touch our lips,* our hearts in - spire
/"- J )-— • l
j-~\
J
i .

0
m. -fg
At
»
l±±5=t P2=
Z±
&« ?..

£ m
'j=t

4. Bless - ed source of Heav’n - ly ight, Now dis - perse the gloom of night

± a -s- St m—J— — “t
:rt
— i
m 1
— j
1
5—
*

se
;» I*' -&r •

Oh, m spire us with Thy zeal ;

May each soul Thy pres - ence feel.
Ho - ly Spir - it, faith - ful Guide, May each soul in Thee a - bide.
Oh, il lume us by Thy grace ;
In each soul Thy im - age trace.
i

!/~

S *
- W -m-
*
j
1
4B
± —pE :
i§£
In our hearts for -
ev - er shine; Fill each soul with joy di - vine.

j' REFRAIN. Don’t hurry.

/. .
&=J: 4 —
Ho - ly Spir
-m-

from Thy throne

-a-
id
-a-
r^i0
«t

us
-an

with the
-ai-

y
Sav-ior’s
-Nr

dy -
p 3=
ing love
- it a - bove, Fill

— * ~e~—C— — #—=p_—
4 e.-=£=
•__JE
—
r
I

m
1
i

|
1 — i

jm •
— w
-1
1 4 -1
0
far-
— -1 p r-
m —F-
-X—

j u» u > 1/

-/js JN- h, ^ 1

Now de - scend up - on us, Heav’n-ly Dove; Come, Thou bless- ed Com-fort - er. men.
/
$--7 B==
:

w
F
W
=== ^—
M U
yzz=
ff
^^
V k
zzz^==^-g-gSz=^:
_
& i/
-
I
I
-V L. ..

Isaiah vi : 6 and 7 Copyright, 1894, by H. R. Palmer.

 ; i —— ! — — — I — ; h —

DAY SCHOOLS AND INSTITUTES. 133

JESUS, TENDER SHEPHERD, HEAR ME.
M. L. Duncan, met. ^ = 76.
H. R. Palmer.

4
» S -I-. :=)v^ P-4 =R=
s
2 * £ s
1. Je-sus, ten-der Shepherd, hear me, Bless Thy lit - tie lamb to - night ;
Thro’ the darkness
2 Jdav my sins be all for - giv * en, Bless the friends I love so well ,
lake me, when I

<£> *?
m — F5 0
* *
-

m
^zqv :=^-=ls jzizjzfa
& —
zz* :=fc
=£=4=:
1-
0 •tziEE® 0
5 % * 0 -#• 2 2 - - «T *
be Thou near me, Keep me safe morning light. All this day Thy hand has led me, And I thank Thee
till

die, to heaven,’ Hap- py there with Thee to dwell. Je-sus, ten-der Shepherd hear me, Bless Thy lit-tle

-h- IS- fc ;z^Srrnt

=F a” L / —
:pE~pb[Zji
T2- 2 ' * 2
for Thy hast cioth’d me,
care, Thou warm’d me, fed me; Lis - ten to my eve- ning pray’r.

lamb to'- night; Thro’ the dark- ness be Thou near me, Keep me safe till morn-mg light.

w 0
&=&-
-<s>-

T
=t-== g lBg — — - 1

EC
^ p
— f — *—
1^
frzzH^zz:
Copyright, 1883, by H. R. Palmer. Used by permission.

JESUS, LOVER OF MY SOIL. J. M. Black.

1st and 2d Tenor.
- -s '

4 . — i

N N-(1—
I
IN ~m
1 i

J:
in
ti
€m TTT TT

u
m ii%»
m rI X -
if*

p
|
* S —2— 2 si -f> J*-!
5 -si — Jm. 5=z

1. Je - sus, lov - er of mv soul, Let me to Thy bos-om fly ;

While the near-er
2. Oth - er ref - uge have I none ;
Hangs my help - less soul on Thee : Leave, ah, leave me
—hs— s 0 — 0— m vim m
-f— — ^
0— 0— 0—r* mr?
—f=
i
r
j* -
3~Fjir
^4
p38-f-‘
L". L- 0 —m —0——0— L
Wt rn a.

1
—1^— ^ p— —
Lis-
i
-t
i
,
t
» kE:-E=
w
w
3. Plen-teous grace with Thee is found, Grace to cov- er all my sins ;
Let the heal-ing

— m^ —
== —
m—v-J
1

m— - -

wa - ters roll, While the tein pest still is high, Hide me, oh, my Sav-ior, hide, Till the
sup- port and comfort me; All my trust on Thee is stayed, All my
not a - lone ;
Still

wm zw
t=-t=-
Szfe
t^ZZtZZZt2ZZ^ZZ^Z^2
=t=
U*
1
- -

Make and keep me pure with-in. Thou of life the fountain art, bree-ly
streams a - bound

5
-0 —^ t *
-h- JS :=4
2 : 2 -
-
-m--
0 M ^ igl.z* i -Si-

tt=:
storm of life is past; Safe in - to the ha - ven guide, Oh, re - ceive my soul at last,

bring; Cov my de -fence-less head With the shad-ow of Ihy wing.

help from Thee I - er

V
let me take of Thee ;
Spring Thou up with - in my heart, Rise to
Copyright, 1894, by The John Church Co.
 — — b — —

134 GRADED STUDIES.

THE ROCK THAT IS HIGHER THAN I.

Arr. by Dr. C. C. Miller.
MET. £ = 60. SOJLO.
-
J
Wh -i =n 1 ns
“ s
is 1

n r*
:~1
'

-
h - .
]
>
ft. \
P
/Hv
•

c*
t -i
—1 zi iP zz "1
J-.. _0 p b j m m m m
lJ
^0 ^ m '

1. In sea - sons of grief to my God I’ll re - pair, When my heart is o’er-

2 . When Sa - tan, my foe, com - etb in like a flood, To drive my poor

3 . And when have end - ed
I my pil - grim age here,
- Clad in Je - sus’ pure
4. And when the last trum- pet shall sound thro’ the skies, When the dead from the

-MSr 7.
V4 —m H J
2 ^
^ HI . ... -j ^ ^
4 j -j 1

* j 0
^ A i. 4
^
j3.j3.-a*.
p; p p
f
—4
mm r
m
r
t
^
^ -a
-4-
0
L
0
1
. . #
i

1
^
-1 1 1

* 0 0 m — 0=—^===5====^=-tfc fe= it-=£ -y-=T

w w
whelm - ed with sor - row and care ;
From ends of the the earth un - to
soul from the fount - ain of God, I will pray to my Sav -
ior who
right - eous - ness let me ap - pear, In the swell - ings of Jor - dan, on
dust of the earth shall a -
rise, With mil - lions I’ll join far a-

CHORUS.
— ^ — =rf-rz> —
—t——t?— *—0— —J— — -j-
— — — „ -f ~

—— —
'

-v-w ~1*
1

K -K
:^tp 5 0
!'

fr-
P
— r 4 1

^r - --
—t-ad ari
- -

-p- 0 £ -J -j
|
-40 jl 0J --

High-er than I, bigh-er than I, Lead me to the Rock that is high - er than I.
High-er than I, high-er than I, Lead me to the Rock that is high - er than I.
n ft - -
P ^
0s P __i
ar- ys n 1

Ay 0
1 \

inv “N ^ 0~ 0 K mJ J J n*> 5?
J J J
.

tfyr a*
1

. a*
0 0 • 0 0 “
fj
High-er than I, bigh-er than I, And look to the Rock that is high - er than I.

#
^ 0
1

2 ~T P 0 --H f*- — j— je p r^ r r 0 1 1

V A V ^ _L: 0 w
I 1

1
0 a 0 « a
g P
t _ 1
1

High-er than I, high-er than I, To praise the dear Rock that is high-er than I.

m 0._- . 0 • 0 l_ 0 . p lz w m .

V- P' P 0 p’’ U S
0—LU
7
L_ !

J L*. C H
 TEMPERANCE DEPARTMENT.
THE TEMPERANCE CALL,
Franz Abt.
-1- 1 _| V-*-:

1. Hear the Temp’rance call, Freemen, one and all, Hear your country’s ear-nest cry; See your native land
2. Leave the shop and farm, Leave your bright hearths warm, To the polls, the land to save Let your leaders be ;

3. Hail our Fa - ther-land Here thy children stand, All resolved, u nit - ed, true; In the temp’rance cause
;
-

~ ~
i>. *
Lift beck’ning hand, Sons of free-dom, come ye nigh. Chase the mon-ster from
its our shore,
True and no - ble free Fearless, temp’rate, good and brave.
;

Ne’er to faint or pause, This our pur-pose is, and vow. , i

r
5* <
r: ~W-

u *
Chase the monster from

YIELD NOT TO TEMPTATION.

Words and Music by H. R. Palmer.
MET. 72.
—K fcj 1- —n :
1 H i
1
IV

O
1. Yield not to temp-ta-tion, For yielding is sin, Each vict’ry will help you, Some oth-er to win;
2. Shun e - vil com-pan-ions, Bad language dis-dain, God’s name hold in rev’rence, Nor take it in vain ;

3. To him that o’er-com-eth God giv-eth a crown, Thro’ faith we shall conquer, Tho’ oft - en cast down ;

igft

Fight man-ful-ly onward, Dark passions sub - due, Look ev - er to Je - sus, He’ll car- ry you through.
Be thoughtful and earnest, Kindhearted and true, Look, ev - er to Je stis, He’ll car- ry you through.
-

He, who is the Sav - ior, Our strength will re new, Look ev - - er to Je - sus, He’ll car- ry you through.

1= = 4 4
1 :
tt 4
CHORI'K.
TT i-M I

wi at-

Ask the Sav-ibr to help you, Comfort, strengthen and keep you, He is willing to aid you, He will car-ry you through.

Copyright, 1868, by H. R p almer. Used by permission.

- T^r
(135)
 — r !

136 GRADED STUDIES.

PRAISE YE THE LORD.
F. J. Crosby. H. R. Palmer.
Met. J — 100.
Full Harmony
rfcb^ _
All Voices in Unison. a
p:d==
5pI=
£=£ at
1. Praise ye
m 0

the Lord !
joy ful- ly
f
shout
=f

ho - san - na
T=c

! Praise the Lord with glad

t —
JEE9I

ac - claim ;

2. Praise ye the Lord ! He is the King e - ter - nal ! Glo - ry be to God on high

J J. 4 ,
#—Mh
*=:
r i
All Voices in Unison. Full Harmony.
-) h—— Sj-A 4-
-

5fc
:=t
3
f
Lift up
r
our hearts un-to His throne with glad - ness— Mag - ni - fy His ho - ly name.
Praise ye the Lord, tell of His lov - ing kind - ness— Join the cho - rus of the sky.
K
J A, 51 J* - y t4—_Fi*J __j 4-
* i

fry
*' iif;
SE
'
T~ £ ** ^
= g=i=— E
All Voices in Unison.

•Jst ^9
— te—
G* ^
I-
Full Harmony.
£ &
£
f
March -ing a - long
^ *
f-
un - der His ban - ner
t T -St
f*’
bright, Trust
>
- ing in
>
His
'+

mer - cy as we
Still march-ing on, cheer-i - ly march - ing on, In the ranks of Je - sus we will

4- -4* - - f* A J* J l
|
is », fc fc J* fc

Co.

W- -W- • 4- 4r-
^ U we
9

go (still as go,) His ight di - vine ten-der-ly o’er us will shine shall be ;
We
go (yes, we will go,) Home to our rest, joy-ful - ly home where the blest Gath-er and
Copjright^lSMj^byTheJohnChur^

-A--*
» »
a

%
1

— ~*=-t
V 1? *
Chorus.
V-ts-

guid
praise
- ed
the
by His hand now and for - ev
Sav -iour’s name, praise Him for - ev
-si :

-
er.
er.
m
Stead
IT

s s
- i - ly
Tr
5
'J y
march - ing on, with our

* s
*
p>
£: •i^ a. »>
=d u
& ~K (S -
i/
U !?

5*
^ —— s (-

I * 1/
haprmr
l/
ban - ner wav -ing o’er us, Stead - i - ly marching on, while we sing the joy - ful cho - rus,
3
-AJI
mi ^==^=4=:==:^i==b^^E5=lt4::
S3:
All Voices in Unison. 1/

r
Stead-i
.
- ly
r r
marchingon,
;
pillar
* *
"?
and cloud go-in
^ g be-fore us,
* v*
To
^ -
the realms of glo - ry, to our home on high.
 TEMPERANCE 137
THY LIGHT IS COME.
M. E. Servoss. H. R. Palmer.
DIET. Not too r»st. met. i
— 96.
-=h-i*— [-
—1 w
-^=m-rn
.

id =r : ran -1
=t=4=^
• — \-m
m
4 * -
: m • . . J -* • f 2r— ~m !

m m £ 1
: S I gr I
1. A - mid the deep val - ley of an - guish and sor - row Where dwell the foul
2. Give thanks un - to God who is a - ble and will - ing To save to the
3. Then ban isli - the wine - cup, and seek for a bless - ing From Him in whose
(2—!L
-+-
4= ±=
h2 &-

y en-
got - ten the mor-row Till the light of sal - va - tion broke o tile hill,
demp-tion ful - fill - ing, While His won - der - ful love shall dis - pel ’ry fear,
weak ness - con - fess - ing, Shall have strength to re - sist all the foes as - sail.
* r (2_
^tr=;±—
F=3=
CHORUS. Spirited. MET. = 92.
rise a - rise A - rise ! a-
 — —

138 GRADED STUDIES.

OH, I LIKE XO BE JOLLY.
A Temperance Song. Words and Music Arr. by H. R. P

m -t-
¥
-v
w~
—g—P / / — $— hh — 1*- — -J-
.
d-3 1

The

1 Oh I like to be jol - ly in a mod -

f
er- ate way, But think it pit to Arr.
. - y
2 . There’s a time for pleas-ure there’s a time for play, A time to la - bor and a of

3 . If I had the mon-ey that so ma- ny have got, I’d seat -

- ter bit in the
4 . So I’ve al - ways a pen - ny if I want to spend ;
I’ve al ways pen- ny, If I Words

and

Marie

Copyrighted

1R93,

by

The

J.

C
hear folks say, “ Let us drink and be mer - ry till the break of day,” For no “ Jol- ly Dog ” am hnrch

time to be gay, If the sun shine brightly you must make your hay, I’ll tell you the rea - son
Co.

laborer’s cot, And the pov - er - ty-strick-en, for I pity their lot, No mis - er - ly man am
want to lend; I’ve al - ways a pen- ny for a poor old friend, Foracare-ful man am

tho’ I have a heart to spend, I’ve still the sense to save. And I
out the strength for work or song, With- out a friend as well. So I
want, up - on the world’s high - way, I’d ne’er for - get the poor. And I’ll
poor man, if he’s not a sot, Will one day e - qual them. So I
 — — —— —— —— ——
TEMPERANCE. 139
OH, I LIKE: TO BE JOLLY. Concluded.

— <*-
— |S 1^
aCbzg: #- £ * *.
> ? /-
:fe=je:
i
Mer- ry and -wise,” is the mot- to for me. And “up with the lark in the morn - ing.

*=fcdfc=£: — iS-
fczjt --A

i —^f7
= £= IV
zjfc=z&

“Mer-rv and wise,” is the mot- to for me. And “up with the lark in the morn - ing.

(Sfct2 — m —«—« —V h *1 s --+

t=

“KEEP TRYING.”
—
Words arr. by Florence LeClaire.

—I— -i —nn — ,

i
,

-1-
“H r
^ tzqzzzr
.
. — — n
zj
~r~
rjz:
H. R. Palmer.

—m l i T"
S' A |

_^5 2 s • M L...J 2 2 2 - C 2? J
t) *- -S- ; s
i

1. Have your el - forts prov’d in vain ? Try, keep try - ing ! Do not sink to earth a - gain,
2. Fal - ter not but up -ward rise; Try, keep try - ing ! Put forth all your en - er-gies,
_i
" n ZI __J
"V
Tr^" 3E j T L__ ^ :Trjz~~a. w w. £
A
1

W J W , . ZJ-
w
j

-
-
’P~
-1
-C*
1-
_ ^ -S & £i-
1 1 ! -1 !
(12
1

3. Pond’rous bar- riers you may meet; Try, keep tiy-ing! Ev - er ’gainst them brave - lybeat,
-
££=3=3 4_4=:-:j_ F=1==h 4= at
r-~r 0—— <s> d
Ss_4—*. «r 0- . 1
£ . C2 — sS-f * «_ ial # -«. .
1

r -|="
h
L .O-tJ- *

Copyright,

1893,

by

The

John

Church

Co.
 ! — ®—
^ 1 t « ,

140 GRADED STUDIES.

MARCHING ON TO VICTORY.
MET. 112 (Temperance.) Words and Music by II. R. Pa t
'teu
m
—*jSa=j=^=Lfc_
.

-4
^ ^ ^

fJ
$= 1

m LS s :
?eSe& 3BLi
(s— ' 1

®
-#-

Let
^
-
s
-

reach the sky

1-

1. Marching, marching, marching on to vie - to - ry, Raise our ban- ner high, it ;

2. Marching, marching,marching on to vie - to - ry, See the. dread-ful foe! Hear the cry of woe;

-®- Jt.. -|®- jt- -®-* -|®~ -|®-* H®- -®-» #- ^ ^ A «» .

» - * S — «- .

.f±
ta—ff-U g-fr
.
g H®~ - — ? ?•
fcrf

-Jrd: -4 4 &=>-
S— ir=4=
:_4^z # :^= -si-
& ® - m,
S*
9
^ -

March- march- ing, march- ing on

ing, to vie - to - ry, Lift the temp’ ranee ban - ner high.

Weep-ing thous-ands urge us on to vie - to - ry, Fal - ter not, but on- ward go.

jt- ®- >- -#- *

-I®- H®- •
-l®- h®- • -0- e> -®- • -®- •
-®~
p ^
If -Iftprij--* -£pdL
l 3 .

:e:z=fe:
1 1
“ !

F=l==*
-4 H—£— — — -J— !5 Is fc 1

• • • o ^5$ oo
•
17 2«-- S • CO

^
P I

Touch not, taste not, han - die not” the dreadful thing, Ser- pent faugs lie den in the bowl
hid- ; ^
whelming wa- ters roll. ®
Sweep- ing, surg- ing, like a might- y ti - dal wave, Far and wide the
- - - -
>
bb
* •

Jl. ® -®-

S Ft
-i
£-5
t :

p -5
£
& l
i
ca

-« *"•« t N>:
L M
~ * **"
”" -

l®
bj
X
^ ^
“ Touch not, taste not, han- die not ’’the dreadful thing, Poi- son not the precious soul. Brothers let us then be
Yic- tims soon will be beyond our pow’r to save, Soon they’ll reach the horrid goal. Brotherslet us then be

^ ^ ^ -pi
-* •

Marching, marching, marching on

m m tp?. to vie - to -
»i-

ry,
<9

Raise our ban- ner high,

2l
F=4V

Let it
f *1
ird*>—-ft

reach the sky

I

;
J

JL JL. .JL. -*-• -® - -® -» -m- a* m

m
-

d®:zzmr_jEi_=Kz ^ ^ • S
r#.;
P ——
~~
te—

^=4= iszzq:
^
; s ? s * .;i
® ®
Ff=i -®- -2^-
1- 1
Marching, march- ing, march -ing on the temp’rance ban - ner high.
to vie - to - ry, Lift ^
-i®- -h- >- ®- -®- • -®- -®. • ®- -® •
^
 niSCELLANEOUS DEPARTMENT
I LIKE IX.
Words and Music by Palmer Hartbough.

i —-
— 1
„ — | |

like it, Or Summer gleaming, and hot is the air:

is
like it, All day in the kitchen I clean and I cook;
like it, On Sun-day so-pran- o I sing, which is higher;
"
% “S
«

1. The Spring is all blooming so sweet and so fair, I like it,

2. All day in the of-fice I write in the book I like it,

3. On Sunday the en-or I sing in the choir I like it,

fc: a==
5 * ^ *—n-
- 4= -m-
-4r
I like it,
57

Bass and Tenor in Unison.

ts

-m- =*=(:
S S * J -m
-m- & & **
h;z

-JTP
+
1?
And so - ber or mer-ry, Ising it, I do, The beau - ti - ful mu- sic, I like it, don’t you?
And heav-y or light I will car - ry it thro, The whole, bless-ed business, I like it, do’ntyou?
Let for- tune be tick - le, let friends be un-true, A light heart is glad, and I like it, don’t you?

Copyright, 1894, by Palmer Hartsough.

 g
142 GRADED STUDIES.
WE’IX CONQUER IN THE FIGHT.
Words and Music A. J. Van Fleet.

1. This world is but a bat - tie ground and we are men of war, Our en - e - mies are
2. This world is such a bus - y place we dare not un - der - take, To sit us down and
3. There’s work e - nough for all to do, to ben - e - fit man- kind, Then make an ef - fort

r: r r g: ^ * -w-

-
4 :
m L h- -w- ±=t
r-

lurk ing round us seek ing

- - to de - vour, let us then be sol - diers true with
fret and frown, and grum- ble at our fate, up and do - ing ev - ’ry day, from
bold and true, and pleas ure - you will find, earn -est, hon - est, dil - li - gent, and

-g-'
jfl -r -r,
-m-
-m- w-
T _
W
t
w r
—
—
t» t*
t-

-m- -m-
-m-
& L <SI- t: m *
ar - mor ev - er bright. Let’s pull a - head, ’tis tru - ly said, we’ll con-quer in the fight,
ear - ly morn ’til night, And pull a - head, ’tis tru - Jy said, we’ll con-quer in the fight,
bat - tie for the right. And pull a - head, ’tis tru - ly said, we’ll con-quer in the fight.
0
-
09-
-w-
-m-
* : m ?zol
-00- -00-
-
00 -
-00-
»-
-00-
W-
-00-
-m-
_
-m-
-!*-
:iag
-

—[»__mt
- -m-

:p: tz-
L
t-

WHEN EARLY TIDES WERE FLOWING.

1. vvnenear-iy uaes were flow - ing, Were flowing round the

2. When morn-ing tides came flow - ing, Came flowing up the
3. When evening tides were go - ing, Were go - ing down the

lee,
&
And morn-ing
«; *
winds,
S :S

were blow
S
mg, A
5
kiss
* m of
plain, . Saw we the dawn’s first glow mg, A promise
plain, . Heard I the an - - - - - chor throw mg, The rat - tie

"
g—pxg -

round the lee, And morning winds were blow - ing,

up the plain, Saw we the dawn’s first glow - ing
down the plain, Heard I the an - chor throw- ing,

r-^5 5E
lee, And morn-ing winds were blow - ing,
plain, Saw we the dawn’s first glow - ing,
plain, Heard I the an chor throw- ing,
 k ;; ;

MISCELLANEOUS. 143
WHEN EARLY TIDES WERE FLOWING. Concluded.
t 1

M M .

/y
r — __4_
—
|

• _j
Z r m M. -=t- »_4z"^r=r £ hr-
£
hope to me My love he went a-
on the main, And part ed we, well
of the chain, Heard I . my love come

+ r 40
S

A kiss of hope to me My love

A prom-ise on the main, And part
The rat - tie of the chain, Heard I

• ;
g
A kiss of hope to me My love he
A prom-ise on the main, And part - ed
The rat -tie of the chain, Heard I my

r
row ing, A - row ing out to sea, My
know ing, That we r
would meet a - gain, And
row ing, Come row ing home a - gain, Heard

m p
u—
•

U P k
he went a - row- ing, A - row ing out to sea,
ed we, well knowing, know
Well ing we would meet,
my love come row-ing, Come row ing home a - gain,

went a - row-ing, A -
t
row ing, A -
* '£
s* *
row-ing out
~
to sea,
m
we, well knowing, Well know ing, That we would meet a - gain,
love come row-ing, Come row ing, Come row-ing home a - gain.

i 2 * >
*-g i :8 * < 1* :
H -t-

f^
love he went a row -
ing, A - row ing out to sea
part ed we, well know ing, That we would meet a - gain
my love come row ing, Come row ing home a - gain

s ^
W=W-
? t.

My
love he went a-row-ing, a - row ing, A-row-ing out to sea.
And part ed we, well knowing, well know ing That we would meet a- gain,

Heard I my love come row- ing, come row ing, Come row- ing home a-gain.

m-7-m m-. -m* m-

£ Mr#: wt
My love he went a - row-mg, a - row ing, A-row-ing out to sea.
And part-ed we, well know ing, well know ing, That we would meet a-gain.
Hep.rd I my love come row - ing, come row ing, Come row- ing home a-gain.
 ;

144 GRADED STUDIES.

SOFTLY RIPPLES THE BROOK.

1st and 2d Soprano.

--
pp - -
KP s m
•I-.*-
m r«t
— — 1 -m-

w
I—IT.

i
I 1-

f T : -4- g:- *
Alto. r- s,,
1. Soft soft -
1 y, Rus-tle the leaves in the wood Cares which may the
2. Soft soft - ly, Murmur the bees in the bow’r, Dron-ing, buz-zing,
3. Soft soft - ly, Ripples the brook in the grove, Gurg-ling o - ver
4. Soft soft - ly, Nature is sing-ing her song,
A Dream-i - ly the

tf-.

m—"s m —
C!res.
35 zr~ ... _

i
i

-dH
_ztz:
1

• i 1

£ S
mind en-cum - ber Wav - ing branch - es soothe to slum - ber ;
Soft
go - ing, com -ing, Fly - ing still with drow - sy hum - ming ;
Soft
sto - ny plac - es, Glid - ing in the mos - sy spac - es, Soft
sounds en-twin - ing, All in one I hear corn-bin - ing ;
Soft

Ps s
jV. fr.
-^-= -
1

u V + -I*
soft - ly, Rus- the leaves in the
tie wood. . .

soft - ly, Mur-mur the bees in the bow’r. . .

soft - ly, Ripples the brook in the grove. . .

soft - ly, Na-ture is sing-ing her song. . .

Copyright, 1SD-1, by The John Church Co.

 g—

MISCELLANEOUS. 14a
WHO H IS THE KEY TO THE CHRISTMAS LAND ?
Wm. Lyle. Arr. met. 76 .
Dr. G. F. Root. By per.

:tr
\_f ^ —A —B m
tj

1. Who has the key to the Christmas land, Where the bright tire shines, And the hoi - ly twines, And
2. Light are the hearts in the Christmas land, In each group vou meet There are fac - es sweet, The

J*—g£-4
._
p — — i
1 *-
—*g - U? 1 1 i (
i r

tatzzzT
iw

s t-
car - rol - ers sing, a —
mer - ry band, And bright stars are shin- ing o’er the strand ? Who has the key ?
young and the guile-less ones are there, And brows not yet wrinkled o’er with care.
^ ^ J0 - ^ ^
liSI* ^

Who has the key, the key to the Christmas land? has the key . to the

* v g- =r g— w —m—ig—g g
-er-^e
g a a g jr V — > a »: -_1 . :
d

Love has the key, Love has the key,

? ^ ;g * fczjtz itzzgzz^z:;
Christmas land, the Christmas land, With wings of a dove, She comes from a - hove, And o - pens the gates,
* " f fff -f : if:.
* -* ,;g

—
•tz tz iz
:» * * i

*
5 ?
And o - pens the gates, yes o - pens the gates of _ the Christmas land. Then come, all ye dwellers in

«z_ (z— >z S» lZ--U- -k~g' t Z -

g g -g-
I
^ r
r ^
Christmas land, There is much to do, And the days are few, Re- mem-ber that Christ himself draws near, And

f~ ,m m m a a

crowns the work to him so dear, When love has the key, love has the key, The key to the Christmas land.

f f f f 1- f » j > I j>
fsll
Copyright, lsys, by The John Church Co.
146 GRADED STUDIES.
LVLLABV.
(Unaccompanied. May be sung in B flat ;
Ladies singing the two Tenor parts.)

Johannes Brahms.
1st Tenor.
pp With gentle animation. Met. = 60 .

W. it
4= £
1. Lul - la - by and good - night, with ro - ses be - dight, With li - lies be -
2. Lul - la - by and good - night, thy moth-er’s de - light ;
Bright an - gels a-
~ -r(s_3= — *
-Pr / r— * —
— 1

1
.
«
e —L 1

v-
m.
&— I « —
pp 1st & 2d Baritone.

+—j-
-f2-
f_. . . 0. W
4=
1. Lul - la - by and good - night, with ro - ses be - dight, With li - lies be
2. Lul - la - by and good - night, thy moth - er’s de - light ; Bright an - gels a
"

1st & 2d Bass-

—l
tfea
/ ^ I
r r 1

-r r r r

-<5»-

Mflz
( 9- Eb £_£..f f I I

E? T= JC L#_
~ZT-

- sted is ba - by’s wee bed ;

Lay thee down now and rest, may thy
round my dar - ling shall stand, They will guard thee from harms, thou shalt

& £ -ST-

IK
zz :
M— <*>- u \m=m 19 -
J-

- sted is ba - by’s wee bed ;

Lay thee down now and rest, may thy
round my dar - ling shall stand, They will guard thee from harms, thou shalt

j—,tzi H
4 1-
i 4
r r r r

riten.
7SL
s 5r- 9
slum - ber be blest, Lay thee down now and rest, may thy slum - ber be blest,
wake in my arms, They will guard thee from h arms, thou shalt wake in my arms.
PP riten. ,pp ^
see
f-
/
pp
^ N riten.

HP i=i-i
jl
— - La
|

Z/-
. L. if :

£ a
slum - ber be blest, Lay thee down now and rest, may thy slum - ber be blest,
wake in my arms, They will guard thee from harms, thou shalt wake in my arms.
W I.. . riten. . .
 h— — 1

MISCELLANEOUS 147
TWENTY THIRD PSALM.
(The Lord Shepherd.) is my
(
The Quartets and Duets may be sung by all, if necessary.) H. R. Palmer.
M. M. J “ 56 .

Pastorale.
r
—
—n - _
bn
.

A U II "
S. 1 . -J i t i r. r -1
ftrA^P -LL
—
.'
4- i i

—
/itv r
\ 7T
v
2
-*
7:

• T
~
V S-
^
-9-
' —
^
-9- 9- • • -9- •
'
^ * • 2
-* V 1
'
r- ,

-J-
-2-:

p 13
) Organ. |
1 k .

/v. r - — ^ r J* J.. m
. *
m ^ M ^
7*
t- c; t. ^-i. • .L.r: ~
^
— L;i-
• 1
\ rr k Ti :
i, ...l~
k
-U -i-r _ .

-
..

k
.

g ~kzz=Ll- U I- L-l- :
.
-g
~ -^C-: ^ 7T : rrcz^r-—
?
> 1 r T k- 4 --*- '

i
f
148 GRADED STUDIES.
TWENTY THIRD PSALM. Continued.
 ) " f £

MISCELLANEOUS. 149
TWENTY THIRD PSALM. Concluded.

P fol - low me all the days, all the days of my

t-
life: And will

P -4v
Shall fol - low me all
:=iv

the days of
^=3
my life: And I’ll
B

« - v- -<

Shall fol -low me all the days of my life: And I’ll dwell
—in^ — —the
w -a •» i,—
H h
-V-
Shall fol- low me all the

F
.
r==zrr-
. _
- 1-
'
r
:
— rr-
1
:
-t-
r~T 1

. _
:

the house the Lord

cres cen do. ff stringendo molto.

*>• mr~ ~. r s~t-

cres - cen - do. stringendo molto.

days of my life: And I’ll dwell in the house of the Lord

cres cen - do. Tutti la forza. stringendo molto .

, . f - - -M&A -m&a

gs2j2_L
-m • —« •
y -*
— 1 -1
9*
=H
~w
4= —ps 7 ^
1 4- 1 -E « • • . -a^-v

ev er more
fcfc

i
!«—
Zj2==t :r-i=^±
ev - er more

-4: 3= I
ev er more

—s
0-0-+- -0-0-0-0-0-0 -j 0 9 0 0-0
Ft ‘
T r ;TTPTti Lu^ i--t-r-
0- t-F-»-F-F-F-F- -F-i
c
j
— t
rr]n
^LXi
— I-

s
-n—i—n •
*
I
JjFTX TTTTT
JiiTI-. * » , • < TT* I
.

f- r*-^— n *—
>* 8 r- s s s s s rr i
10-±—0 — Jj
I
i^2i aJiiiejM ! :
* *j>l*ed. "* — «> E—FtL
1
8 I
 — — — - — : : — —^ .

150 GRADED STUDIES.

M. A. W. Cooke.
THE LORD WILL PROVIDE. E. S. Lorenz. By per.
MET.
1 —3(Hr — — — m 0
—
1

--
rfc m Jc m
ft5 i
-rb
^-5 c
g— fc A
a* .N
M IS
*
m
:*
1

. d. 9 =g J L3 -J -1i— .0.
m 0. ,
. jm 0 .

1 In some way oth or - er The Lord will pro -vide; It may not be my way,
2. At some time oth or - er The Lord will pro - vide ;
It may not be my time,
3 . De-spond then no long - er The Lord will pro -vide; And this be the to - ken—
The sea di-vide; The path- way made glo-
4 . March on, then, right bold - ly, shall
? rious,

4r~f~ 0 -
.|g
H
-j
-m—*
1

m— -b
j
_j

r
— r~-
1

br
——
-.
-

-hr—
1
— m
m
-m- * -m- 3 SP
£
tj P
It may not be thy way, And
*
yet in His own way, The Lord
2
will pro -
m-

vide.
It may not be time, And yet in His own time, The Lord will pro - vide.
en, Was ev - er yet brok - en The Lord will pro - vide.
With shout - ings vie rious, We’ll join in the cho - rus, The Lord will pro - vide.

m- -m- * *
£=£- -m-

R. M, McCheyne.
I OI^CK WAS A STRANGER. H. R. Palmer.
Slowly, and with great feeling. .... |
i

H
..

0—
) r» ~
1

-IS--
t4i — g
T A
1

Z2
i

IS
I
"b 0 ___j n
is
ar
i

i 0 .
2 m
v ,
y |
^ .
y ^
1 . I once was a stran - ger to grace and to God ;
I knew not my
2 . Like tears from the daugh - ters of Zi - on that roll, I wept when the

s
0 * S /• m m m ~m . “S ~ 0 "
<rz>
m
l

m a>
J
. 1

L
** .1 t~ t — r ~
_
m • \

3 . When free grace a - woke me, by light from on high, Then le - gal fears

zrzz: _ZJ_
(rdrs
KZs A 0J 0 • m
is
m ! m
p 0 ~0 . m & -

CJ. 0
J
r r r
1
\r *

4 . My hor - rors all van - ished be - fore the sweet name; My guil - ty fears

-7- — — (’ res ______ cen

—
fnr\
\yrr
f_J
“]
at
9
—r
2 "3
s
~
-0
~jr~'
0 •
—m^w 7i 1

'
cj
1

0 —
0
1

w
1
l
__i

w —
_J

& 0
:rp= ..

*J0 \

dan - ger, I felt not my load; Tho’ friends spoke in rap - ture of
wa - ters went 0 - ver His soul ;
Yet thought not that my sins had

0
__ .
- p m ^ p r mW
H-b (-
f- (— W _ L _
1 1

shook me, I trem - bled to die No ref - uge nor safe - ty in

7mV 1 1
— H — w — ;

m -0 0 0 0
4lt 1 L_ . L 1 ! J L_ L_

ban - ished, with bold - ness I came To drink at the foun - tain, life-

-v-
fn\
— 2
I

2
1

2—
h-i _
_l

—
r^-
——j
•’~ =
J"
®— —at
0
1
1

"
—3
0
S Z2
% 0
1

“N *T 1
— — — — —rn 1
1

*
1

Christ on the tree; Je - ho - vah, Lord Je - sus’ was noth -ing to me.
nailed to the tree Je - ho - vah, Lord Je - sus; t’was noth - ing to me.
j UI
1

^ «
D7 ^
'T 0 0 0 ,
1

—
(

41
L_ L_ L ' LU
self could I see : Je - ho - v ah, Lord Je - sus, my Sav - ior must be.

m m
( 57
•
=“
—p f£f

|
£9
p
j
d
p
|
9
1 1

I
0.0s l

P
_tz
^ r r
ai
w r
.

1 rJ
1

cJ.
] 1

LLJ
11

n
giv - ing and free: Je - ho - vah, Lord Je - sus, was all things to me. A - men.
Copyright, 1879, by IT. R. Palmer.
 MISCELLANEOUS. 151

H. H. Hayden.
EVENING ON THE LAKE.

1. Now, brightly on the yield-ing wave, The moon’s soft rays are glanc - ing; The sparkling wa - ter
2. The ev-’ning breez-es gent-ly blow, A sweet re-fresh-ment bring - ing; As on-ward blith-some-

3. We gai - ly dip the gleaming oar, And on-ward now are dash - ing.; While taint, and faint-er
^ ^-m0- ft f:
6~pi W~W'W~W -
3*=W=W- :w=m=w- W- £j^—\r=:0z
0 ;_

seems to move, As if with joy ’twere danc - ing; And we are full of answering glee, With
ly we go, Our mer - ry chor-us sing - ing; Our wa- tery path-way gleams with light, The

grows the shore, On which the waves are plash - ing; We bid each tho’t of sor-row flee, Care

± ±

hap - py hearts we sing; And far a - cross the wa - ters free, Our mer-ry notes shall ring,
hour is full of joy; All na - ture smiles on us to-night, No troub-le shall an - noy.

to the winds we fling; And far a - cross the wa - ters free, Our mer-ry notes shall ring.
-0 —0- -i

fc±3
CHORUS.
4—
. p g
La, la, la, la, la, la, la, la,

K N K — -N *—
I -0 0 0 0 —*- -
zM_::0^:0---0-
- -P-
c0~ 0 -0 —9= -*H

La, la, la, la, la, la, la, la, I

a, la, la, la, la, la, la, la,

0—0—
S !S S N
0 0 0 p- i * * # f- g - : -pr-g:
i I t—t
10 0 w 0 m 0-
-
0- 0
01
0 W W*
j
[p-
152 GRADED STUDIES
STRIKE THE CYMBAL!
PUCITTA.
 MISCELLANEOUS 153
STRIKE THE CYMBAL! Concluded.
Slow.
*=ar 3E
i !

r*
*1
F-1»
r
!»—
t
^=^-Ezi=5 a»

God of thuiL - der, Rend a - sun - der All the pow’r Thi lis - tia boasts.

1 tit:

God of thun - der, Rend sun - der All the pow’r Phi lis - ti3 boasts.

H
Zjfc
St =f

Chorus, a tempo primo.

-I

:=M:
J-r3B |S_r
— —
<p_v
Andante.
A — .hV
4
— 5-
What are
!/
na-tions?
r I —
What their
.
-m
„
-

1/
sta-tions?
I
t
Is-rael’s
T
God
v
is
i

Lord of hosts. What

-&

are haughty

T
V a*

JJL
'
-

*
« —- 11
What are na-tions? What their sta-tions? Is-rael’s God is Lord of hosts.

| 1— 1 **
|

-V -I
[V

n*
— i
—
-i
-i
i

1
() — I

fs

Chorus, a tempo primo

_lS 4P
I
1
-?*-

*»
— » —»•
i/ 1/ * * / S
hovah brings. Praise him, praise him, exulting nations, praise, Praise him, praise him, exulting nations, praise.

S#=Z==Z^ZZ=Z|_^ PtTP
y=y: vv :l AJ E5E2=2||=a
Praise him, praise him, exulting nations, praise, Praise him, praise him, exultingnations, praise.
 — % — - m 1 :

154 GRADED STUDIES.

MERRY SINGS THE LARK. J. H. Hall, by per.

J ^— W
9 —* -j
;
^ ~=t~—~2 ~g^~d~
-j
•
— —x-—
—wm— ; >; =1=—
•
irfs^+tri,
'
is
-

:yy~p
3

p - jf . 8 £
s

t/
.
'
g 1 i* U U i

1. Mer - ry sings the lark, at the break of day, 1

Tra la la la, Tra la la la, Tra la la
2. Rouse ye, rouse ye now at the morn- ing call,
L
rw
k"+
vHt-T ™
-J
fa W“* fa ~fa ~J
za
w m • 3S
^
& L '
r: r r
p*

<-§•
l

2 2 2 r _

3. Health and strength are found in the morn- ing air, Tra la la la,

04
A
sMr * 1
•
€ * • ~g^-g
*t
-g-E-
• g~ -m —r-
m-—m -P
-— -P—
— mr—m—m— i* i* —P
u -g -Ik- -- T" P-- : 3

List - en while she sings her mer - ry lay-\

Tra
iraiaa J Tiia i
Tra
i
a
la, '
i
]a
la ia
la,
| Rouse ^ .. d i e dream-ers, one and all. /
la ,Ja Ia
,
’
Ara i a
la i
a
Ja a’
la
i

- 7*88 ~W=W- =P=pE

W-jy P —m-m-'- o m g ^
-H*-
— —(9^
- t=±
Tra la la la, Beau - ty, youth and life in na - ture’s face, Tra la la la,

± :p=p
3
W W~w^~W=W- zgEgirgE
EE •frr^ rk fr—tf-k t

CHORUS.

Tra la la la, Tra la la la, Hear her song, la la la, hear her song, la la la,

\w~v~w = pE7pzpr-p^BT-prz:
*E> P
Ik u U-k g_u~J? -k k k k fct-
I 5 0

Tra la la la, Tra la la la la la, Tra la la la la la,

—3 3

=P m w w PPP=jr
Bt fa* h*V- *=wt=atzmtzM k k k- k g

I S $ « g g ; | g S * S » g -S^-gdfOl » fr- g
:
^
3 3 V? & '

Yes, so sweetly she sings, Tra la la la, Tra la la la la la, Hear her song, la la la, hear her

Yes, so sweetly she sings, Tra la la la, Tra la la la la la, Tra la la la la la,

wpm m ~ [E^zfa-rfa r^nj:

k~k k k k ^raU.gr:3^_

,
771?' ! ^ % m m 9 m“ 2
^ m J .fa falfas "fa rfa^p~^ Tn
7 P S r: U 9
7 % f P m m.
Jfa S’
2 ® .2
m .
fa •"
1
1
* w h Tn
tj 1

5 1
^ “ 0
3
^ ~ r
song, la la la, Tra la la la la la la la la la la la la la la la, Tra la la la.

1/ iff iff jff (ff • fff 'J-

|ff
J _fa y
1 S S -U
.. .y l) L2 0—ff
L> > &—
ff- — r~ n
—ff—L# .
^r y <•
b*
*1
J
^ 12 P P
;
P
2 zz
f '

: r!

Tra la la la la la, Tra la la la la la la la, Tra la la la.

r S —w 1

Lk -1
r
LM *1
^ *1
«
^
O *1 m WriU r
-
-
A
1
'W
—U
-
KZ>U u -

•z
1

1^
1

Lv
1 1 1

-t==T
. . \

-1
 MISCELLANEOUS. 155
STILL, FOR THEE I’M SIGHING.
 — !

156 GRADED STUDIES.

OLD CARE AWAY. Arr. from Franz Abt, by L. S. L.

MET. _! = 144. /

1. Come let us bid Old Care de-part, The

2. We’ll send him off with laugh and shout, And

^zwt

1. Come let us bid Old Care de - part,

2. We’ll send him off with laugh and shout,

Z±
3. We do not care how soon he goes, We do not care how soon he goes, The
4. Our hearts no more willlet him in, Our hearts no more will let him in, With
4~
-p_ W==£Z=ft
±3gz

KWr
\ —-jsssa ji—r—g-
&-
fj
rust -
y crust - y fel - low, The rust- y, crust-
y fel-low;
w arning scorn-ing
r
fin - ger ! And warning scorning fin -ger

d *-t= i
-40 :^= fl Cx: ^
Too soon the leaf - lets
No more our pres-ence

-W=^ ± #
sigh-ing, cry - ing crea - ture, The sigh-ing, cry - ing creature Some one will welcome,
;

grieving, thieving ev - er, With grieving, thieving ev - er Of ours he is no

;

*«
z!*St

Too soon the leaf - lets of the heart He turns to sere and yel - low, He
No more our presence round a-bout His gloom -y face shall lin - ger, His

zwt-JzM. •st
tr
of the heart,
round a - bout,

x
Et? t- zr 22:
W wVft*-*--#^*
-T-

we suppose, Some one will wel-come, we suppose, His ev - er grace-less fea - ture, His
kith or kin, Of ours he is no kith or kin, And we will own him nev - er, And

a m ~- m
^5 t- V R,
 — P P

MISCELLANEOUS. 157

OLD CARE AWAY. Concluded.

-P — t: j=:

light and free, Hurrah, hurrah, hurrah ! Away, Old Care, Away, a-way,

ms§
-1 P -N-^- -p—
+ * :wLz==£++

a - way,

-m—m *-*- n — m * „ g~p— rig:

— ^-9—\
1
h s-?
t—**=4 * n- r s * *^22L;j

light and free, Hurrah, hurrah, hurrah ! Away, Old Care, Away. a-way, a-way,

*_^ -* *
~ J ? - * » * 22
-I* r- 1 io 1 -p — p-
d h h
a-

way, a-way, Old Care, a -way, a-way, a-way, away, Old Care, away.

rb' b
T-
—
^

4-w-PP
^J -
P- -P~ -P — P-
2=2 1

• m * l

a - way,
/
Wfefc; o *L_~ r
r: v -
p-p
h
r r »
--

5±5
p — ^^=P^— i
a-way, Old Care, a - way, a-way, a-way, away, Old Care, away.

way, a - way, a - way, a-way,

 — — - p3 M 1

158 GRADED STUDIES.

REDEMPTION. Words and Music by J. P. Harter.
— |

k: _q zzq zft ' : H —

-9 “ —
|

-9 9
1

^ 9 „> m ^
i- - — ^pr
j* — —f
r- s*
-
.

m
K #? 9 ,

9^
]

9
v.
-9

1. Je - sus Christ the Fa - ther’s son, Came to save us ev - ’ry one, And my brother

L tt
) r*

Y O
~l
« ik.

m
_ ...i
-

...a ~
^9 : —
9
1

9 m— 1_- :

m •
:

9 i

9 1 9 9
1

9
^
9
^

• 9
R
9 —
t)

:
£
r
11 "
'
&r>
Tf
n
,

9
N 9—
^
J
——~9 ~ r
\9 1
r
t?
r *"
m 9
w
m m
w J
r r
U r
J 9 R "

2. When I think of God’s great love Send- ing Je - sus from a-bove, Hereto euf - fer

TZWfTl*
i*j 4ri>
o
i
p
rr
/
p P
rr
w
w m prr—
r J
—pW—p—
a
! 1
,
r r
U
-

4L
- r
L— -
r
-1
1 r 1

ktf
1 Ir " '
t~

~£=m=W-
£
He’ll save Thee, For he saves a wretch like me; Yes, I know his sav - ing pow’r,

t#:
* =£=p:
±

on the tree, All to save a wretch like me ;

How my heart with joy should swell,

P=P= =P=Q —> Z ~

t

±
w [ s
 MISCELLANEOUS. 15 U
THOSE EVENING BELLS.
Moore. H. R. Palmer.

—rr o —v v 0
t
r—
•
_:=N
-l
"
zzy-zzy
n hki ^ zsr
sir*-
rr^-—^T

1.
H -

Those eve - ning bells,

“3
i
S

i
those eve - ning bells
*-L#
! How many
_^
1
_p
s ^pL

a
rr
h

tale
f •

their
4
*
p - * -* d
mu - sic
2. Those joy - ous hours are pass’d a - way ;
And many a
heart that then was
3. And so" ’twill be when I am gone, That tune - ful peal will still ring

ILH jv~ —R _0
~

:m 0
""~q
q .q
\ ,S ~~l 4
++•^4— 4 w w r 9
. . .

9 s m m J
TF -W U 1

1. Ev<5 - ning bel s the>se eve - ning bel Is! How many a tale their
2. Joy - ous hou rs ar b pass’d a - wa
y ;
And many heart a that
3. So ’twill be wh bu I am gon e, That tune- ful peal will

/^V. o (3 4
[ft/* #1 •! ^ m M M 10 ZM M
PS
M ^
w S - -i
>s j

I.-.—
4
-J
J
J
-4 J J
.

£=fc —
-4

i . < * & : / i
* d—s —5
tells, Of youth and home and that sweet time, When last I heard their soothing chime. 5
gay» With- in the tomb now dark - ly dwells, And hears no more those evening bells. «
on, While oth - er bards shall walk these dells, And sing your praise, sweet evening bells.

zpEzqgzzp— gzzp
!
that sweet time When last I heard their soothing chime, g
-

mu -sic tells, Of youth and home and

then was gay, With - in the tomb now davk - ly dwells, And hears no more those evening bells. g
still ring on, While oth - er bards shall walk these dells And sing your praise, sweet evening bells. |

1s=js=t
atzfci £ y—y-

Sweet evening bells, Sweet evening bells^

Evening bells, sweet evening bells, sweet bells, Many a tale their music tells, sweet bells, Of youth and

IV
t—si— ^
-0-
—0—0 0—Fm 0- ’i "
"* —0 —m—0— -F— sm—
— 0—0f—— 0
Uz=tz_ f
H f- F-
"fR H
:F:zg^i?-:7F:
1

r-r -

JC. * W.
-i-t=
-lF— d-

Evening bells, sweet evening bells, sweet bells, Many a tale their music tells, sweet bells, Of

* F-g. prqa
~
N~ -j-

-=b— *- U V-'V V ... -

a
chime.

home, and that sweet time

n tr-y
When last I heard their sooth
i
5 £ £ £ 5
ing chime, When last I heard their chime.
1
fit. e dim. PP
m youth and home and that sweet time
rj- *~Jt
When last I heard their soothing chime, When last I heard their chime.
mm
rii. e dim.
160 GRADED STUDIES.

THE BETTE BEEES OE SCOTLAND.

MET. — 104 .
Scotch Melody, harmonized by H. R. P„

SEMI-CHORUS, (or QUARTET, or FULL CHORUS, very soft.) FULL CHORUS.

"-mW-
m~—4? -

1. Oh, where, and oh, where is your Highland Lad-die gone? Oh, where, and oh,

TV
iizEt
&
2. Oh, where, and oh, where did your Highland Lad-die dwell ? Oh, where, and oh,
— rrm —
m c
The 3rd stanza should be more subdued, and a
z^ jr ~-

little slower.
*r
^ J* m

3. Sup - pose, and sup - pose that your Highland Lad should die ? Sup - pose, aud sup-

T~ 4 —p~ —
m: m :J *-

Slightly faster.
-rfr
— .1 1
|gz
E it-t 5

where is your Highland Lad-die gone? He’s gone to fight the foe, For Yic -

zk _ m f
—m-—w
..

3V =1
>- 'M ml- *n wfi-
fe5='

where did your Highland Lad-die dwell ? He dwelt in mer - ry Scot - land, At the

—»
m
Slightly faster.
rfe: —m r~^r hV
:SEt t0 :wt

pose that your Highland Lad should die? The bag-pipes should play o’er him, And I’d

* ^EZ^I
^—
v ^
y=s-
 : .

MISCELLANEOUS 161
SLEEP, LADY, SLEEP! (Serenade.)
I. B. Woodbury.
Andante con espressione
-fc

1. Sleep, la - dy, sleep the plan - ets ! weep Their star- dew on the mid-night deep, The moonlight
2. On favor-ing tides the ves - sel glides,The sea - fire spark-les round her sides And in the ;

2=p=P: 'W-
*
W EP - P z 0
=3T
~M.
=4=t=
3. But hark ! the cry from top - mast high, Its ac - cents tells that land is nigh, And dim - ly

i$p==*
Allegretto.

beam shines on the stream, To light the wa - ter spir - it’s dream; Ah, soft - ly thus shall
sail the eve - ning gale Is whispering low a sooth- ing tale ;
Yet, la - dy, sleep, in
~ m
P
_P r p .p _bm p ML P
79
r P—d
AAf
J ^— r !y.
*
Lp
* L pj t
o r
n
• .p
j n
w 4_ 1

~TZ
-
- - -

_L_ t t IL= * d
seen the head-land green Is break - ing thro’ the mid- night screen; Then wake, then wake, our
7ZY- _ ... ...... W- w -w— iz£_
>
:
"=1 =1= -L “
—jm m
P
—P P P P
v_xU
_S3
^> >
Lm at M __ m P _a
_Q
4
1
* p
'
9.
^ ^ ^H 1
...

Jj
1

Cren.

slum-ber shed Her lull - ing dews a - round thy head, And fan - cy’s beam-ings spark-le nigh,
vis - ions sweet, A dream-y scene thy gaze shall meet ;
And while the tall ship slow- ly moves,

home is nigh, Ah, ne’er can rise on fan - cy’s eye, A spot be- neath yon a - zure dome,

=1 N & & & & » - >9

&'**-

-0. JS —P 1 N -l -K — 1 -K -1 " '

P P p
w m W -& m —
1

'
P : .^zm m 9 a P - ~

“P“ 9 P
P m-%- ^ 5
tr
As bright-ly on thy dream - ing eye; And fan - cy’s beam-ings spark- le nigh, As
Thy heart shall fly to friends it loves; And while the tall ship slow - ly moves, Thv
.
^ -
m
"
& M - M P~ P m.
p
m .....
“ p -

m jp p _|

~t~ w ~

r~
~
i 1 T ^ 1 V*
~
i

So love - ly as the land of home ;

A spot be - neath yon a - zure dome, So

Mm 9 P P r 9 P P P P wJ J P &
Z L P 1
.... . . P... tr Jt
.J-
\
i
 : — *m —

162 GRADED STUDIES.

IX HEAVENLY LOVE ABIDING.
Thalberg Arr. and adapted by H. R. P.

1. In heav’n-ly love a - bid - ing, No change my heart shall fear, And safe is such con-
2. Wher - ev - er He may guide me, No want shall turn me back; My Shepherd is be-
m *>*
g 5=3£
* * —2
'

']ir p SB- % J* • »
±s=
- S * r % s
;

^ ly=v-
O'

-m- -m- m-
ate :2:j
fid - ing, For noth - ing chang - es here The storm may roar with - out me, My
side me, And noth - ing can I lack His wis - dom ev - er wak - eth, His

-m §S
<p
s * m
Dtr-
5-b- -m-z-m m-
-h—\=*-

heart may low be laid, But God is round a bout me, And can - I be dis-may’d?
sight is nev-er dim: He knows the way He tak-eth, And I will walk with Him. A- men
- - ~ J JS o
>
> *

—
‘
!

*!\ m * *
-*~rS Z '
ft
5m
V

~M
*m-
I I -w- m-
* -ir-

Used by permission of H. R. Palmer.

F. A. Mace,
ONLY WAITING. Arr. and adapted by H. R. Palmer.
met. 69. ^= SOLO. Accompaniment soft.

L (S>
23 J t.
tear

1 • 1
.

1. On - ly waiting till the shadows Are a lit - tie long-er grown: On - ly wait-ing till the glimmer
2 . On - ly waiting till the reapers Have their last sheaf gathered home: For the Summer time is end- ed,
3. On - ly waiting till the angels O- pen wide the mys-tic gate, At whose feet I long have lingered,
Ar
-gi -(2-
EEE m
& m

DUET.
— i
— :
gv jj -5“

y ~F
S P I P !
#

the day’s last beam is flown, Till the night of earth is

Of fad-ed, From the heart once full of
And the Au - tumn winds have come, Quickly, reap-ers, gath-er quickly, The last ripe hours of my
Wea-ry, poor and des - o - late. E - ven now I hear their footsteps, And their voic es far a-

Ek
w i=

m QUARTET, or CMOSI7S. P PP
V,u m
i I
3
Ad. lib.
y
m-
S= —m-
T Z

"
S-- -
+
u
££ m * t :

w 1

day, . . . Till the stars of heav’n are break-ing Thro’ the twi - light soft and gray.
heart, . . . For the bloom of life is with- er’d And I hast - en to de - part.
way, . . . If they call me, I am wait-ing, On - ly wait-ing to o - bey.
o
w i 4"
m-
HP

Used by permission
H*
P p .

of H. R.
.. frixzjf:

Palmer, owner
±=flf=

^
of the copyright.
^
"t

I
—
^
m—
 MISCELLANEOUS. 163
DEEP BE TIIV SLEEP.
(For funeral occasions.) Arr. by Obaz.
pp L.r»«. met.
y — 63.

1. Deep be thy sleep ! Rest thee with - in thy grave, Thou love - ly form whose
2. Deep be thy sleep ! How brief thy fleet - ing day ! The morning’s ros - y
3. Deep be thy sleep Th / spir - it goes be - fore Thro’ bit - ter fall ing
9—
!
-
~ jg- -r r
=?==z
-m-
t- $
Thou love - ly form whose
The morn- ing’s ros y
Thro’ bit - ter fall ing

• * ? '
• ---j-
v -<s>

breath From cold re - lent - less death, No bloom of youth could save. Deep be thy
light, To shades of ai lent * night, Too soon hath passed a - way. Deep be thy
tears, Our faith thy mes-sage hears, We all shall meet once more. Deep be thy

g=g=g=I= -&— — m mz=:

K—
» 9. . J — -
1

m ^
breath From cold, re - lent - less death, No bloom,
light, To shades, of si - lent night. Too soon, .

tears, Our faith, thy mes - sage hears, We all .

r .
- -
i- i-. . .
f S
sleep ! In peace with-in thy grave. Deep be thy sleep In peace ! with-in thy grave,
sleep ! How brief thy fleeting day ! Deep be thy sleep How brief ! thv fleeting day.
sleep! Thy spir - it goes be - fore. Deep be thy sleep! Thy spir it goes be - fore. A - men.
3= b(2- -m
-m —m—W9—m- -m
0
— «-

In peace In peace
How brief How brief
Thy spir - it Thy spir - it

Copyright, 1894, by The John Chubch Co.

{
S
HE SLEEPS BENEATH
} {
} NATIVE EARTH.
D. K. D. (For funeral occasions.) H. R. Palmer.
m mej. J = 100.
34
43^: :
-d—
:
-d-
S- S-
zP
-9-
d—L * ' _
-S-
l

— m . W 1

:
~
* *
j£~j£- jf:
*
m-

MH Sh
o} sleeps be- neath
{ {
na - tive earth, And near the spot that gave
{ hfm]
birth;
j

MAnd
O

3.
f She
He
1

/
rests

oft
be- neath

we’ll lift
J
r
j^g
the
|

tear
na -

-
tive

ful
earth;

eye,
With
To hear {him}
grate - ful hearts we’ll sing

call -ing from

|^?g
the
r
|
worth;
sky; 01^,

-m m-
I

1/
. ES.1^
t/ r
£ -m

youth -ful feet trod flow’rs that bloom In beau - ty

vv
o’er
.
y
{{^5!- ear
'

m
• ly tomb.
2^1 1

G
{ man wa y® shall ev - er dwell In hearts that knew and loved {^ well,
*-
ly } { j
how could we {{jfsr A
-9 m—rg= m
}
ab-sence bear, But that
~* —
-~f~- -
-
we hope to meet {him} t ^iere
-m -b m
m -m rJ
- *
T*-
— ——
-i

-m-
i
— — £
*

ess
men.

r
Copyright, 1894, by Thf. John Church Co. \~4
 — — m ; —

164 GRADED STUDIES.

OUR FAIRY QUEEN,
#
mP Allegretto. P m T. J. Cook. By per.
jf

S _fy —
J$ S
If: —-&~T~ W-
Hark! the fair - y’s foot is trip-piug, tripping, tripping, Light - ly o’er the mead-ows
m-_£i-rr--r^ r——
—y;s“‘ tl A— i—
/

dp% 4 — -
mp
i#—^ i#
» 1

^
i# 1# w
1

&
r W» =-= H
“jap — —bp
i
1 1

bp
1

bp bap
1

bat
&
—P£—
1

-J
^
j

l
.... _ _
^
-V
i

U
i

U
i i

t2 :

-$-# —m—m-
« -w
Alto. s-p*

1~*l ar mfr"*
~
f*

w
1

-tgr^r
:t
—
p- H
mt~ » <* & & w>
w
h
jg— *1

fj
thought of grief Leave one single trace of care, On their life’s unspotted leaf
" >:
r.^-4t (—
ij
!

% £ j %

A tempo. Tenor and Bass.

 —

MISCELLANEOUS 165
THE FAIRY QUEEN. Concluded.

;•

PISjEjr
-
•
-
it

w=r-us.

nri
. -s *
V
it

_
fSrf
- - 3—
£—
»
]*
Pf~!» „

-
-
. .
V
^
-J*
P\~.w

- 4P
-k
_<f

- ct~g-»-.-

—
-
/
-k-=^

•>P
«
~

_
•

q-k-=»-

— —
-W—+

K>P
——
— i
t7
r

_
,
—
t
^
»*
T
—
Repeat fromb eginning.
. -
« :
 — — . —— — h — r
;; —

166 GRADED STUDIES.

WAKE 9 LADY, WAKE* Quartet or Chorus.
(The 1st and 2d Tenors may be sung by the ladies, in the Tenor voice.)
L. S. Leason. By per.

» 1) llfl • • p p _p^p _ — ^ 1 rP——P P 4* *

P-^. rp'-'p
p~* P~P1W .p p —P~ i~—“mrzr~
I

' V—17 O w L_n.

» p. ql 1

H — -f* — -
H-H- X 1
1 L_
_CZ Irf L_ -f P 1 !

or
1-
<

1. Wake, la - dy, wake, thy lov - er true On wings of love has flown to you,

p—p
~
orm —LP m ^
'
'

V- ~i
_l
^f-A-p ~p~
~i
— J- p S
1 | j 1

]SL •

P 0 P _c
L m P
'

At yi.
t v-w J • • •
i

* j
^L_
L
!

~P .

r— ^ —
2. Pray, la - dy, pray, thy lov-er true, O’er roll-ing waves has gone from you;
i p p -F-r p •
fra \y wtt4 ssj lj
~ L_ p _p r p h^~ -p^p
— =1 F -pK
p
h-
—
;
;
*— M "

L
i
-fctanl i

1
1

i_ J
3. Weep la - dy, weep, thy lov - er true, On snow-white wings has flown from you
__l V r- r- ( — 1 W-> 1 1

__j
P_^.P p_ -P,
V- :

» P-T
_|
—
PL*.
i

PJ
i-rp
~P-«_P •
-
p p . •
—P 1

• P
Tm
- 0- - 0- !

-0-» -0- *
i

-i 1-
-P—
p-
-¥=*-

r-
P
h ——
-
P-
p- & -*<=V-

^ P~ -
-y=v-

P-- P-3-
How sad each night, how dull each day, Since he has been from you a - way;

-Nr --I - --4 K-

~S-r :P_^.P_!1 rrr
!* 3feP=afc=
-s=/-
Tho’ sad each night, tho’ dull each day, He may re - turn, O la - dy, pray
— — y=\—
:p~ -y=v-
‘
-v=v-
;

P=q*==j -P p. • (M-jql

How sad each night, how dull each day, Since he has gone from you a - way
K-I b=s-4- 4V 1
V
fe a 4
.m a| -P-.-P 4J-
-W-r PU
/ y=v. — — 1
1

^1
? 4^ p r~r »
fr cti ztz
1
'

+ (— ^ -

Wake, la - dy, in thy beau - ty bright, Out -shine the sil - very stars to-night;
1 1 1
r~ 1 1 1
:
sr -t. y=*-

An - gels on pin - ions bright and fair, Will waft to heav’n thy ves - per prayer

P± f ’m P P'H* P y=\ , y=v

Weep, la - dy, he’ll re - turn no

iSl
more; Sweet be his sleep, his toil is o’er
-Mv4 V, b=V— — — —
^ -V-, |W y-V IV
I | - -
1
| I

Ifli -* -~m
—H
w
*P M • *t m- • m H
1- P_t.M:
•
. - 0- S- -0-

y=V-
mt. -y=v-
p p -P^P- :p v P:p:g*.
t=t ±
Out -shine the sil - v’rv stars to - night. Wake, la - dy, wake, Wake, la - dy, wake!

Will waft to heav’n thy ves - per prayer. Pray, la - dy, pray, Pray, la - dv, pray.
Rit.
-P-
P P :P T -P P
Sweet be his sleep, his toil is o’er. Weep, la - dy, weep, Weep, la - dy, weep.
—
-4
g|z
=±=
tr—>

u
1

1
r^-

1
=pr-."pj-44 -4 -
— — !

1.
1

1
1—
1 :P - P
1-3-
L«_i .
1
1

1
1
H—
1
__4
±j 1 1
-4— —
:«rz=p====p- _«
1— ~V =zl..
•
p-
^ = :
 * — | r ^ , — — - — — — — —— — i — H|j

MISCELLANEOUS. 167
THE COMRADES’ SONG OF HOPE.
ADOLPHE Adam.
-Oil ^
t ;
MET. == 112.
— ^ » Al PP
v ——^0 Tery ~
m ~— r~ —— — ~V — 1=4
- 1 a“r:
ZZ — i-
I— r-
9— 2
Ait. by P.

——
—
1

P A
—
*

~ 5
it ’71 H— 4A £2
= p _Z
.
L — P r
L
f -
%TT 4 JZ
_j_
1
41— I
rr
1 .
^ -R-
^ ^Hark, what strains of so - leran glad - ness Are ieard fill - ing the air ! ...
»/i)
Trv\
—J-
^U fJ
.*
1

—
}
1 __J
22
r
-g=3 — — & - _c2
1 1

9 1

_L
w ~ ^
j

—9 — ,

i |
H1
'
W ,
4
' .
L< ( ^ -

Hark, what strains of so - lemn glad - ness Are heard fill - ing the air!
* £ P& ^
(2 A _ m
.

—
tt ft 22 “
I R jb
P _L_
l p -
j9
Z_
e* i_
L
.

*
M
_. !

TZ
9 ^
A_
!

+HH. ^ j— 4 i
!
-(gj _
n .

Hark, what strains of so - leran glad Dess Are leard fill - ing the air ! .

XZ7 *
tf A
#=22 .
ZJ
9
=4
22
zjz.
.
r
Z_ pi"--
m
_J 1
L cJ \
"

...
::
~=

.
zq p-.
p~'
1
-^2.
-4-
_L_ LI
-W ~M
L
hr^
r,
i
7T2
~R —
. H

'
n Ik L J J i I 1 . .. _ I ! 1
'
.

zr~.ffnno .1 j _j j *T a
Z S
9 S s • #
#-
0 9
_ ^
^ . i. #r ^ ^ .
-R
"
X7
)/ z
4 ^ J & !

At!
^ 1
w
|

^
g. * J
w J
» J
e A#-]
cr-i
j
.
Z

.
|

AA u
VP
p- - f=
» _&_ -* P -
_t-
#*
. P^ #
rr
Tio
rvi!’UtT r r L. -Jg_«
^
t,a
t-to:
J
— 3 -b » ^
4
>
1

*
J
*
9-
1
42
L
•

J.
*
1
ft

:
b
t
p
5 •

it 7
.

t+kr*
U
~
r— ~~
T*~ ^ zq: =4=4 [=_ e -
2ZTT
a_ n
/
P m
»r zr M
|

JP r^-
FT r
i
I 4
L I#
__
J JZ.
j

rr
-
—
-i

^ ixSweet as . lope that dawns on sad - - ness, The gloom of c oubt dis - pel - ling, A
F Y*
-

cJ
1 —
-J
1 .
_ 1 . |

cA.
1

m
i

.
.
i i

22 -. a
1 i

= —'
t
•
rtivJ
i

—z _
' _

•
i
i
d
Sweet as Hope that dawns on sad The gloom of doubt A
—
- ness,
- dis - pel - ling,

» it
__ a :
p— 9m
"I"''
•*
tf
|_Z MJ __

_cz_ _4 — 4 £-
_L_
4
fL
{- _fZ 1 J 1 4— i

lL&-- —
i
- p
2 ^z a q
Sweet as dope that dawns on sad - -
ness, The £(loom of c oubt dis - pel - ling, A
/STT+r if
r
[

i
Z! P 1

vt 7
it J 1 1

Z2
i

_ ®
j

r •
. :

_P
J J
FL 4_
(22
r
'
•

z: • q
~
n#tt_ I ! 1 . '
.1
Z . .—
y 11rfir^T
/, it
1

j
4 i
4- i^r
«_

#
i

^<22 5
p. J*Sa
0
__i

s.
.J

§L
Z
^(2 ..
0
0-
t
-

K
r— fZj
_

aJ
' _ 1
w J
9 ~
Ag Ab r = RZ "

'b
•P
1
Xt,
1
1 1 T

r>*Tf TTi
TT
T
-4- -42-

_u
| |
-*
4
4—4
r
4c
4—
0
-4-
f

<3
A^

Z r —
—
•
4
r
i
1

itzS: S- k 4- -!*- H 4 1 J [ 1

Ball. Tempo.
djtM ~7TD • “ » ~ z
-
— I

P
1

iz r r »*

rrr
\mt i
* ...

1
P JZ t
I
t

1
'
-L '
gJ 1

a«
,

w 4
r " day fore- tell - ing, To fol - low the night of des pair. Men that
f j°y -

y5Z
JJ
t
r 1

— -a-
-+
— i

22=
'
1 1

——
^ ’
j
—4

q
— i

*
____
—
zZ
t

Rail.
—d-
^
i

—— P i

al..
i

Tempo.
r*
j

* f j°y
' ftd day fore -tell - ing, To fol - low des -pair. Men that
-a -

jL.
'
uT
_!
1 1 t I
i

^
,
'
A - -
m
!

zA • rz) ^
a a _

r~
i
P"
,
_

9.
!

. .P ^ 22
!

L
e*
1

[
=
1
q
I

joy - ful day fore -tell - ing, To fol - low the night of des-
T
nair. Men that
gw=g~
E25I R22 .

a_ m zzzzz m li-
it
_ ^ i

z ,

r 1

!
a-
?Z- p
1= ^r
7Z}
^
• (22
L
... 1
r-
!
J.
^
|

J
J
I

To fol low des - pair.

n J i J Z J 1 -

n
. , . 1 i
.,. ; 1

ItTl
a
_
# r
j

zZ i

d i

9 * 0~- __l
fm
it
n
52 ~
it
' ^
—& i

J. 72 e;
_

4- ^ *- -

=i • # r
1 1
*i 1 1
.

Rail.
r » ac/.
Tempo.
r
1
1
*-
u ^ ^ ^ ^ J -» # J JL 1 |

,A. t-
r\4 It 'r? a Z
f3
9
0
r r 0
& =
9
0 _L= .. fZ
TT
-
I
r
CZ^ _t 1

t==Li<2
1
*

Li
i t L L 1
_L . L-
168 GRADED STUDIES.
THE COMRADES’ SONG OF HOPE. Continued.
Stse. Kail. llegro.

toil in the bat-tie of life, Listen to strains that will sweeten the strife. The right-eoiis

Stac. . ,
(p- ,
Ra)l.- 4^ _ Allegro.
.toil in the bat-tie of life, Listen to strains that will sweeten the strife. The righteous

— ; ; v —
toil in the bat-tie of life, Listen to strains that will sweeten the strife. right-eous

..cause a-lone is - rious, And wins the fight, And wins the fight. The friends of truth shall he vic-
s=#
—S^ S~^
~
jrz S
f ^Stac. ff mf
ucause - rious, And wins the fight, And wins the fight. The friends of truth are vic-
——
cause a- lone is glo -
—n te-

rious, And wins the fight, And wins the fight. The friends of truth
grp-g,
shall be
s
vie-

SjE T*-
% t—
cause - rious, And wins the fight, Aud wins the fight. The friends of truth are vic-

—1 = 1 ; I
— ; — 1

to - rious, For truth is might, For truth is might. Falsehood and malice may as - sail you, And
S*
3s==3s: IS
g
S S ———m —& Nr
-<s>-
-pp
wtutt I z±
f Stac. -ff:
to - rious, For truth is might, For truth is might. Falsehood and malice may as - sail you, And
S ~S
3t=g±g
~iSr
©- A -hV
V-- *
S
g=g
—S'

d
to - rious, For truth is might, For truth is might. Falsehood and malice may as - sail you, And
 . ' — —
3 —

MISCELLANEOUS. 169
THE COMRADES’ SONG OF HOPE. Continued.

ns*#
~ c 9 — 1

:s2 • .

r_ 1

^ * zsr .

p 1
"F^
J
'

' t

"T^ ti* l«S

~r3 9 !
z
1
|

^ * Sweet as Hope that dawns on sad - ness, The gloom of doubt dis 3el -
ling, A
£
|
1
1,
— 1 T~ — 1 1
up _|.
rPy
—
*«d
|

J
—
i

cJ.
I

^ rJ M cJ 9 : 9 1=3
5^ i;®5 J
1 ' -
_____ _____

j* Sweet as Hope that dawns on sad - - ness, The gloom of doubt dis-pel - bug, A
—i=
-

.. ..
. If
* .

.I

Sweet
_ 9
-_j

as Tope that dawns on sad

—
j= r~
^
-
~i
^ m
-

——
-
~td
x= i

n ess,
m
p-

The g loom of doubt

1

-1
T—-
t=d r*

_
1

— -t
1—
‘

r
1—
dis-pel
H

LIZ
-
* - ~ct:

ing,
1

«
A
J

zq
J
|

~~r~
—
1

1^4 z _^L-
r—r~
i

“ •-
9
1
1 j 1

i 1
1

--
:^z LZ rz “r:j
z ±z
1 i

f*r.
&
1

_ \
C7 ~rzr~ i ___ J J
______
Zd -
n 4
J/ffz d
l 1 J ~
“T~
ZP
'
' d — i

1 -> -w _|
d
1

— ( |

^1
—
& —
1

JL. * ffl

— F5
.
* 8
f?T\
VMi ^w-^
S5
& t* _ — -j
# If 7? (2
L_
f>d _J

^
0- r^r ' I 1 r 1

r\ • .
1
1

1 i r r
f- -p-
J
. — r
^
_r_
g f f a . <>9
_pi
1

#
T
-

h |

(C •
0 -
1 1
1

0 z r_
_ |
.

P » -<2 P • b ^-— h— _[ 1— _ J b_ L _
1
 — — —— —— f^ — ; . ^ —
170 GRADED STUDIES.
THE COMRADES’ SONG OF HOPE. Continued.
Ball. Tempo.

Ball. _ Tempo.
low des - pair. Men that
— -4— —
^
:=d
::
1
:=4
cl • ^
1

_cJ. _ m - r1
—— \
• s
! ^

joy - ful day fore -tel To fol - low the night of des - pair. Men that
£2:
--
2^:
- ful day fore -tel - To fol low des - pair.
Kail.
Tempo.

In Martial Style ff
r^m
.

* e w-
-trfhr-W-
• !?
fa*
-fa*—fr-fa*-- V
1 —
u. When the kindly conntry that bore you, When broad man-kind your valor needs When the good and great
ffli::
EpL-4-u g-£ P
-i
—— r —
-fc*—>-fa*—
fe*~l
*J TTTl ‘T X.
When When
•
x, ,1 X
^Whenthe
,

kindly country that bore you, broad mankind yourval-or needs?; the good and great
t-Jt-r - • i
* S zfrrqizzz
r ^
When the kind- ly coun-try that bore you, When broad mankind yourval-or needs ;
When the good a-nd great

^3-4 d F—^ ® . ff rH-k— gt- 1

-fc* r 1

When broad man - - kind your valor needs ;

s ?!
1
’Vi1 • *
1 -p^-r4-
pLgJ::^ — *1—
1
fff- 1—

t
fc-,

- k
j

tkH j
u—
'4-~4
—0 —
1
i

.
j-
H
jUp^lb
-0—0— 0—F -
,
“i

- *4sL- :
— 1
—sir 1
-

*
t^
ff H H J i H _ 4-
r^r ——— p 4-41
:

. .
1 i 1 "i ! 1
1
1 i

•J 4 0 4 #
9#r
M I*

+f-4
f-

——
zsai -
I.
1
!

L
*
!

—(2
—
•

|—
•
%1
1
<
-
k___

V.
|— ^
9h
tf •

T
• *5-f
1
.

-t-
1

-f—
m 1
ad
 MISCELLANEOUS. 171
THE COMRADES’ SONG OE HOPE. Continued.
I
j.
pp With spirit.
S' iSs-
vmz « *H j
^ {g .
k 1 C2 d
^ gone before you, Look down to mark your ble deeds
no-ble ;
For the love of fatherland and
—K +-P-

PP With111
a£o*
spirit.
^gone before you, Look down to mark vour no-ble deeds; For your fa - ther - land and

gone before you, Look down to mark your no-ble deeds ;

For the lo\r e of fatherland and

For your fa - ther - land

With spirit. “1—
fete:
Mi
P
i

U- y* »
r i I

PP

H-
!

#
H —#—H
!

#-
-J
te #- « -r- x -r #

i m
gg :p=£: ^
i
P * •
-- -
—?^ s $
* H
1
free - dom, For truth aud right stand in the van ! Fling wealth and pomp to those who

^freedom, For truth and right stand in the van ! Fling wealth and pomp to those who
S=m * *
*s
free - dom, For truth and right stand in the van ! Fling wealth and pomp to those who
P=P=
-*-*1 t=± ±= i=
freedom, For truth and right stand in van ! Fling wealth and pomp to those who
F

€' res.

$ * * P v#
^ ?=2=
m need . . them, Be stanch and bold,
tz=^=
and play the man ! Be stanch and bold,
#
S§ & -Cres
-fc—

Be stanch and play the man! Be

m
_ ^need them,

TT^ 3ii
* m *
=t*
and bold, stanch and bold,

-=M-
and play the

^ ^ >
need them, Be stanch and bold, and play the man, Be stanch anc bold,

need them, Be stanch and bold, and play

^ the man, Be stanch and bold, and play the
""f
I
 y— —
^ [ ;; - ;

172 GRADED STUDIES.

THE COMRADES’ SONG OP HOPE. Continued.

m » >
-
fr >I
& >yyr±sr -m
y y v yy
and play the man Be stanch and bold, and play the man, play the
^

y—y-
and play the man, Be standi and bold, and play the man, playthe
~y
-±
— -=i-
«z=8e
=!» P=ff=
man, Be stanch and bold, and play the man, .
play the man, play the

V2 2" - ~ e w ,3 F • ^ ^ J - 2 :
—
•p. *
1
m
I
—
I

J
» •

3
*-
id

v &f i

a* . a
7 *

*
H !

J .
H
^
*f * F
# 0
!

.
F
C u,g
H22-

//
ijgzzzzi
f=P=
* g —* . j;
~

.man Truth your standard, ho

! - ly your cause, Be faithful to death, for your freedom and laws
:^ ;

%
* : 3i=^L==iq

man Truth your standard, ho -

!
rzpz:
<£ *L w
ly your cause,
m Be faithful
H-

to death for your freedom and laws

r r

man Truth your standard, ho - ly your cause, Be

! faithful to death for your freedom and laws

t~-w fczztzza \
—-P— — I* I ^r~mz -
1*
» r —
<u
your standard, ho - ly your cause, Be faithful eath, freedom and laws
q= n
^Truth to c for jour

=%± Tl — q=![=~l
- ~~ ~~
W
fj
Truth
&
your standard, ho ly your cause, Be faithful
-

-
^

to c eath, for your

m —
freedom and laws
H P-
m —m-
For your
;

*=¥T“ —
===t=dtt= i :tz:

Truth your standard, ho - ly your cause, Be faithful to

3=
c eath,
40-

for
.

your freedom and laws

7*— P

K
~r • *
: 0 - t .^S, 0 .. * g pg
'•
r pr~y :

M
For your
 — p

MISCELLANEOUS. 173
THE COMRADES’ SONG OF HOPE. Continued.

P p P & r s P P P -P P P
few
TOT
v
it
ft
i 1
•

/ W ^
W J
_
-
_ _«i-«-g..
«.
1

WWW
Be
. L. H-
_ _ _ -i »

^ W * ..
-

_____ P P
J
J
u. and play the man, stanch and bold, and play the man, play the
'

_«3_*_Zlk is -J
f\\ * ^ . _ rJ _J & N N
, — ;
L 1

j _
> & J
^ .man, Be stanch and bold, and play the man, play the man, play the
1

-m.. Tl m m * m m P
WWW£ man, WWW —
TT

K
and play the
7 ; !

Be
.

stanch and
p* i
bold,
WWW'
and
< «*

man,
.

play the
5 Lc
w wP
play the
-
4
J

to P P » • ai c? luw
+ ^
m m m & ' .1

TT- ti
H » jP f
J
^H w •
'“t?
i W
1?
\

1
tr_ __

lZ
.
h
^
L^. r
y£
1
l{
^ 1 * -
jj*
'
L ., 1
1
.

j
Be stanch and bold, and play the man, play the man, play the

-*U
jcr t
tl
man,

r ~ ~ » ^
j _
V7- » 0
J
cm J
0 .
J
0
i _ ____ _ _ . '

. j
-
itd
a
V7 !/
n ^_

•? *
P"^^^ 1
* h H 1 *f * P"^""^ 1

ti
tf # • 0 & 0 0 • 0 U
n# » • m
# # * * Ug? • 0 !_#. .. -

LX f? np_
-1
' '
•f •
£ ^ |H ,|f_ .....j
-.j _|
 ~ « — —— V —— —V « —— \ 1 *— ;

174 GRADED STUDIES.

THE COMRADES’ SONG OF HOPE. Continued.
//
*2 *=&
v- *
.man Truth your standard, ho - ly your cause, Be faithful to death, for your freedom and laws
~ ~~
n
!
;

:8JL- r 7z :=3r r~-=i=z£—sczt^—•_ - ... - c

H-P-
i
# ma-n Truth your standard, ho
- ly your cause, Be faithful to death for your freedom and laws
m r
!

- r
— ;

tetif Ta"
r

5zi
Nr

ml J
m r
n
man Truth your standard, ho - ly your cause, Be faithful
- to death for your freedom and laws
==
!

Cg ==
Sit:
-V - £
P >5
z fcr£
i

4^-
4 4
>T
^= tZ^S 3

//*£
I

-# #-
S- » 1 :

IeI =*4=*= *-• i»

L_J

*2
#=je A £
Truth your stand-ard, ho your cause, Be faith your free-dom and

m
- ly - ful to death, for
*2 ——K ar
=d L_g.
Truth your stand ard, ho ly your cause, Be faith - ful to death, for your free-dom’and
PE ?E :p=^=pr ~W=k
I
* •

Truth your stand-ard, ho - ly your cause, Be faith - ful to death, for your free-dom and
<& ^ m -

* •
£

j r-f-fr
« .
— i '
•

*-
5. t t * *: f
gap

* . at r*^
> j. =P= :mzr
_L_ -j
•
... •5
—WeL .
^ . . L
...

w
k f
—~r—
j

Jaws! Your cause is riigiit, And right is m ight, Then play the
— S—
—S —— —— — —— ——
r ^S g
—S
ft it:

—H — —N— —N — — N — S— — IS IS
_K «
JK- IS
s-
s
-zf
*S 8 <s --si wiK mi md mi md _J

^ ^laws Your cause is right, your cause is right, And right is might, and right is nlight. Then play the man, then play the
— —4—
!
^
— — ^—m -=5=
^—— —P
*
h

—« m I -

#' "H -2^ - :d

IflJ. bE -m a? -m -* ^ i

laws! Your cause

— gtt, And right m ight, Then play the
jm* frT
=t--*
(• m
L-
is

*
ri

-4
-md
-P— ^ . i^. -P-
-+—
is
—
—
LIE
|
:
r\
1—^ — e. —
——
F
j
: —cH—
n ft#
#«p=l 5=-Pv—•4 #
1

-J
1

PH—
—
N ~Jt
1

i L_ — — 0
tfty+f tz t # mJ
# 4
^
w .f: r-f—r r
-m
-J
ft
1

r r r
r r r 1

——
f 1

*-

——
•
0-
-

—vf ^ --# 0
z %r-
7 1
— ... .
-m
±:: _4t
^
;
1

-t:
m J
^
1
—^—4 \/
1

0
— —
*

y
i . i
 1 — ^ - — » ^ i m I! :

MISCELLANEOUS. 175
THE COMRADES’ SONG OF HOPE. Concluded.

-Jr-
rHy-*
it
— at
p
i s~r~~
“
gr f- - r
0r
TL
J
~
p
i
-
“
m
rt
—
:p
—v
p~~P
-

tz:

^ miight, Then play man,

the and win the fight, Play the man, .

/ S k K K N >, S - ..._
is
k N k
— h
....
1

^ & & WJ
i

r»
^ Z S
Mr a €w 40 \aP _P p p p p p p p 1

^ ^might. Then play the man, then play the man, and win the fight, and win the fight, Play the
P
^
I
- • .

p
1
r -»

r
T
p
^
W j
»
P_
« <

might, Then play the man, and win the fight, Play the
^
/V\tr a
- . .
’

^ it
* 0
\
zr-
w -
m
1
m
U
*~W
*1 — P
t— 1
p p 4—
F-
i i*
t
——±2—
p 3p
r — p»
1
•

n * J S ' I’
V
JLr^
ffuTI
ti
J
0
,

7
v
_n
- • z
•
,

j
0
0
!
1

d
0 A H -v J
»
5 0 9 0 0 0 0 0 0 0
9 • 0*0
TI
^ •

t * - * - _ ;
0
a m
s ft
* *
: • * ? 1

‘j J ! J
• 0
'
>* » • r
^
MnnwE
0
;

a
r\ g
*
9
r _ :
0TS1 *
p £2
1
H” m
i
mr~
.

u2.
»
p
&
m m P
r
m
i

L>
*

&
~m
i
prr-p—
r p p
- m M vs
t
.

P
>

r
j
n^T~ “22
p
— Ln
^ . . win the fight, . .
.
play the man, win the ight, play the man, win the fight, ^lay tlie man.
NS! ^
(ft

z\ k ^ ^ s s - M
—^
».
S N S .H
.

4
1
k) m.m iv ^ r«»
1

^4 ^ .!

jw • iw c^>
. z M
u ^man, win the fight, play the man, win the fight, play the man, win the fight, play the man.
^
m m^ p m
m m )— m m T» — —“p —
^
» . . il

1
*»
r*
1
'
hr
w —
b*
W — ^ ;
-

W ^ FT
W W ^
•

I
*-•
L2 '
s
man, win the fight, play the man, win the fight, play the man, win the fight, play the man.
U
Lk ^ ^ ^ — * A ^——
0^ r r ~0~ w r p r
r’ '

LI!
/
( zj**
3 ^ it
p r W *
p m ^ r p
r •
S' * w.
^ : i 1

tr—5
; <
i j

0
' i |

*
1
v LLJ
‘
t? » tsr L2 i-LZ !
..

122 LU
^
n
LFtfuTT—*
^ & J
^
# * 0 0 0*0 -a # 4 # /g r
—w
• . • «

~ ^ r— L . L p —la 0 u.* • p ||
^ i ^ si-f
a 1

L^3 1 1
LJ 1
i
~ I 1

£
£ £ 0*0 £ 0*0 £ £
(
* ~V"'
J*!
ii

If
iii.
u
i

^
^ * br
n.
_ 0 •

•
0
# t“—
0
9
• 0 £“
if ^ B “t B~r~p — 1

j
•

* l

^’_« 1J
5

—
1

i ’

1—
.

-r
1 tr
T » i —J -1—u (C
Jj
J
 INDEX.
?A3E, PAGE.
A Boy Once Caught a Little Bird 55 Hark! ’tis the Cuckoo’s Voice 63 Sharp Two 30
Accidentals (rule for) 29 Have Mercy Upon Me 81 She Sleeps Beneath her Native Earth.. 163
A-flat, Major (key of) 75 Have you seen that Maid of Mine ? - 25 Shining Shore 38
All my Times are in Thy Hand 56 Have you not Heard 65 Shout Aloud, for Liberty 18
All ye Nations Join and Sing.... 79 Hear the Mountain Streamlet 75 Sight Reading Explained 3
Alto Singers Described 6 He Careth for Me - 123 Signatures for the Major Keys 79
Always at School 127 He Came to Save Me 132 Sixteenth Notes 32
Amid the Deep Valley 137 He Sleeps Beneath His 163 Sinner, Come... 61,62
A-minor (key of) 35 Hold 25 Singing Cheerily 64-
A Picture Memory Brings to Me 71 Holy Spirit from Above 132 Silvery Bells 15
Are you Tenting Towards 130 How Brightly 24 Sing it over with your Might 46
.vrise and Shine 103 How Charming are the Woods 77 Sing we Another 55
Vrticulation 115 How Glass is Made 121 Sink not yet my Soul 9u
As Our Heavenly Father 123 How Sweet, how Heavenly 103 Skip of a Third.... '.
12
m.sthe Hart Panteth 81 Huguenot 86 Skips of a Fourth, Fifth, Sixth, and
Away, Away, the Track is White 127 I. C. Q 52 Octave 13
Away, O’er the Sea 18 If a Body Meet a Body 32 Sleep, Lady, Sleep 161
Away We Go 73 If the World seems Cold ;.. 22 Sleighing Song 127
Babbling Spring 19 I Like It 141 Slumber Song 5G
I Need Thee, Blessed Jesus 19 and 70 Slur (introduced) 5, 11
Bass Clef 14
I Never Could Find a Good Reason 27 Soft the Evening Falls 84
Bass Singers Described 6
Beautiful May 124 In Heavenly Love Abiding 162 Softly Sleep in Peaceful 99
B-fiat Major (key of) 63 In Seasons of Grief 134 Softly Ripples the Brook 144
Blest are the Men 23 In Some Way or Other 150 Solfeggi 114
Blow, Bugle, Blow 21 I Once was a Stranger 150 Something New Every Day 28
Blue Bells of Scotland 160 Irwin 74 Soprano Singers Described 6
Boys in a Hurry 15 I will Love Thee 60 Soprano Clef 14
Brace 13 I will Shout His Praise 131 Sound the Mountain Horn 20
Bright and Early 122 I wish that Friends.. 128 Sound the Strain Again... 53
Cancel (explained) 31 Johnny, What 46 Sparking Sunday Night 17
Childhood’s Years are Passing 38 Joyful we Are 75 Springtime Brings us Blossoms 75
Child of Sin and Sorrow 35 Just as Thou Wilt 85 Staccato 25
Clef 14 Just for To-day 100 Still forThee I’m Sighing 155
Cling to the Bible 68 Jesus Christ, the Father’s Son 158 Story of the Raindrops 120
Coasting 59 Jesus, Lover of my Soul 102 and 133 Strike the Cymbal 152
Come, Boys, get your Sleds 59 Jesus,Tender Shepherd 133 Studies of Grace Notes 115
Come, Join the Festive Song 78 Kagsy 103 Studies in the Chromatic Scale 118
Come, Let us Bid Old Care Depart 156 Keep Tenting Toward 130 Sub-dominant 3
Come, says Jesus’ Sacred Voice 74 Keep Trying 139 Sub-mediant 3
-Come where Joy and Gladness 34 Legato... ..... 25 Sub-tonic 3
Come with Gladness 20 Let Every Heart Rejoice and Sing 93 Summer Morning 33
Come with the Dew
of Morning 95 Let it never Grieve us 57 Super-dominant 3
Come, ye Faithful, Raise 87 Let us Arise 105 Super-mediant 3
Come, ye Thankful People 29 Lightly Falls the Snow 21 Super-tonic 3
Complementary Signatures (table) ...62, 82 Light May the Boat Row 43 TellHer how I Love Her 42
Counting and Measures 10 Long Ago a Little Sunbeam 41 Tenor Clef 14
Cradle Song 101 Long Note 10 Tenor Singers Described 6
Dare to do Right ,
119 Lord for To-morrow and its Needs 100 The Babbling Spring 19
Days of Summer Glory 47 Lord’s Prayer 81 The Boy and the Bird, 55
Dear Ones, all Good-by 48 Lovely Night The 125 Blue Bells of Scotland 160
Dear Savior, we Gather 70 Lullaby The 146 Comrade’s Song of Hope 167
Deep be Thy Sleep 163 March, March, Onward The 130 Flowret 31
Degrees of Power 49 Marching on to Victory The 140 Fraction 5, 17
Denominator 17 Measures and Counting The 10 Grocer 47
Denver 37 Memoria HO The Hold 25
Deus Miseratur. 81 Merry Sings the Lark 154 The Lord is my Shepherd 80, 147
D-flat (key of) ,78 Mizraim 90 The Lord ’s my Shepherd 58
Disturb not the Plover 35 Modulation Introduced 86 The Lord’s Prayer 81
Division of Voices 6 and 14 Morning Papers 36 The Lord will Provide 150
D-minor (key of) 62 My Dame has a Lame Crane 55 The Murmuring Summer Breeze 126
Dominus Regit me 80 No Sharps or Flats belong to C 79 The Pies of our Boyhood 16
Do not Slumber in your Tent 105 Notes, and Corresponding Rests 6 The Pulse : 4
Don’t seek for Flaws 89 Now Brightly on the Yielding Wave... 151 The Reaper and the Flowers 80
Dot 6, 15, 17 Now the Blacksmith 69 There is a Reaper 80
Dotted Eighth Notes 53 Now the Shades of Night 54 The Rock that is Higher than 1 134
Dotted Long Note 15 Numerator 17 The Scale (with letter names) 36
Dotted Quarter Note 23 O Beautiful Star 86 The Scale (with technical names) 3
Double Bar Introduced 9 Oh, Charming it is and 124 The Slur 5, 11

Dou bleFlat 78 Ob, Have you not Heard 65 The Temperance Call 135
Double Measure.. 4, 10 Oh, how Brightly 24 The Tie 5, 10
Double Measure (diagram) 5 Oh, I like to be Jolly 138 The Tonic 3
Doublets 6, 106 Oh, Sadly we Part 88 The Woods 77
Doublets (unequal) 6, 106 Oh, where, and oh, where is your High- They March to the Rolling Drum 75
Doxology 86 land Laddie gone 160 They Say we are Old 90
Drive the Nail Aright, Boys 57 Old Care Away 156 This World is but a Battle Ground 142
E-flatKey We’re Reading 69 Old Hundred 86 Those Evening Belis 159
Major (key of)
E-fiat 69 One day the Little Drops of Rain 120 Thou art my Shepherd 99
Eighth Note as a Beat Note 21 Only Waiting 162 Three Blind Mice 27 62
Eighth Notes.'. ..... 20 O Thou Who art
Enthroned 76 Thy Light is Come 137
E-minor (key of) 45 Our Birthday Song 104 Time is Like a River 45
Endless Praise 83 Our Fairy Queen 164 Tirolee, Tirolee, Tweet 26
Eternal God, Thou Great 86 Out of Darkness into Light.... 103 Tobacco is an Indian Weed 35
Etude 116 Phrasing H6 Tonic 3
Evening Hymn 37 Popping Corn 129 To Thy Pastures Fair and Large 37
Evening is Balmy 101 Praise 79 Triple Measure (diagram) 4, 5. 15
Evening on the Lake 151 Praise God from Whom 86 Trusting in Jesus 67
Exercise in Italian Vowels 116 Praise Him 66 Two Angels 40
E v Rhythmics
rcises in 106, 107 Praise ye the Lord 136 Uncurbed Tongues 55
Vocalises 108, 109, 110, 111, 112, 113
nr Evening Hour 126 Precious Savior 72
Firmly Stand 15 Psalm XXIII 147 Wake and Sing 20
Flats Explained 55 Pulse 4 Wake. Lady. Wake 166
Foot-ball Craze 14 Purer yet and Purer 49 Weep Not for Her 92
Fractional Part of a Measure 18 Purest Flowers Blossom 25 We Lift our Songs to Thee 56
Fraction 17 Purling Stream We’ll Conquer in the Fight 142
Fritz Came From School 76 Redemption 158 We may not Climb the 102
From Egypt Came the Secret. 121 Relative Major and Minor Keys (table). 82 We’re Always at the School 127
From the Cross Uplifted High 99 Repeat 17 Welcome to May 95
Gently fall the Dews 68 Rests 6, 12, 13, 45 What does Little Birdie Say ? 94
Gentle Mary 60 Rest (the long) 13 When a Wearv Task you Find it 36
G-flat Major (key of) 79 Rests (with corresponding notes) 6 When Early Tides were Flowing 142
Giver of the Heavenly Peace 54 Rosy and Fair 30 When in Silence O’er the Deep...... 90
Gliding so Swiftly 36 Roulade 117 When Jesus Laid His Crown Aside 132
Glowing Bright and Pleasant Row, Row our Boat 69 When O’er Earth is Breaking 46, 78

G-major (key of)

God of Evening
— 39
36
83
Sabbath Morning
Savior again to Thy
39
9o
When the Day of Toil is Done
When You are in Trouble
37
119
God is There 46 Scale (with technical names) 3 Where the Alpine Rose 17

Go to thy Rest in Peace 100 Scale (with letter names) 36 While all is Hushed 96
Great Central Tone 14 Scale Etude 90 Who Comes Laughing? „ 69
Who has the Key to the Xmas Land
1
145
See the Snow
?..
Great in Glory is our King 92 30
Guide Me, O Thou Great Jehovah ! 87 See the Stars Appearing 36, 79 Whole Note 17
Half Note as a Beat-note 23 Semi Staccato 25 Wide ye Heavenly Gates Unfold 23
Halloo, Halloo calls Farmer Jo
! 122 Seven below H With all my Heart, I’ll Praise 92
Happy our Birthdays 104 Sextuple Measure (diagram) 4, 5, 26 With Tears of Anguish, 80
Hard Times, Go and Stay 46 Sharp Five 80 Wishes
Hark! the Pealing 45 Sharp Four -9 Work Away While You’re Able
Yield not to Temptation
Harx the Fairy’s Foot is Tripping
i

Hark! the Voice of Jesus

164
74
Sharp One
Sharp Six ...
30
30 You Ask What Makes Me Hair v .. .
w
135

f
17G1
*
 — — 2 — — 2 — — — .

PALHER’S VOCAL MODULATOR.

EXPLANATION. — The central column represents the model key (C Key). The columns at the right indicate keys
which require sharps for their signatures; the columns at the left denote keys which require flats for their signatures.
All black syllables and figures represent Diatonic Tones.
All colored syllables, figures, and characters denote Intermediate Tones.
All tones whose tendency is upward are called’ Sharps, and are here
represented by red.
whose tendency is downward are called Flats, and are here represented by
All tones green.
The points of difference between a given key and our model (C key), if recorded near the clef, form the Signature of
such key; e. g., comparing the diatonic tones (black) of the G key with those of the C key we find that they agree (both
black) at all points except 7 (ti), which in the C column is red. By glancing at the margin we see that the point of dif-
ference is F#, the signature ot the G key.
With the help of this Modulator pupils quickly get a clear idea of intervals; e. g., comparing the 2d Do=re or Re=mi
with the 2d Mi=ta orTi-do pupils will at once comprehend that some 2ds are large (major) and others are small (minor)-
thus by pointing to other columns they will see that Mi=fa and Ti=do are always minor 2ds, and that the other five are
always major 2ds.
In teaching Harmony the power of the Modulator is beyond estimate: major, minor, and diminished chords, seventh
chords, etc., are shown to the eye with the utmost clearness. E. g., in teaching the chord Do=mi=soI, show that it has
two 3ds, Do=mi and Mi=sol ; examine its lower 3d, Do=mi, which is formed of two major 2ds; then notice its upper
3d, Mi=sol, which has one minor 2d and one major 2d, thus showing clearly that some 3ds are large (major Tds) and some
are small (minor 3ds). Now
examine the chord Re=fa=la, and show that it also has two 3ds, but differs in that its lower
“ If a chord’s lower 3d be major, it is a major
3d is minor, while the lower 3d of the Do
chord is major; hence the rule,
chord, if a chord’s lower 3d be minor, it is a minor chord.” A glance will also show that if the lower 3d be major the upper
3d will be minor, and vice versa (except the chord Ti-re=fa, which they will see has two minor 3ds). The perfect fifth,
Do=sol, the augmented 5th, Do=sil, the diminished 5th, Ti=fa also the perfect 4th, Do=fa, the augmented 4th, Fa=ti,
;

and the diminished 4th, Sil=do, can be explained by aid of the Modulator in less than half the time and with far greater
clearness than in the old way. For more extended explanations see CLASS METHOD, pages 10, 49, 50, and 5 1

Gb Db Ab Eb Bb F C G D A E B F#
Key. Key. Key. Key. Key. Key. Key, Key. Key. Key. Key. Key. Key.
6 Flats. 5 Flats. 4 Flats. 3 Flats. 2 Flats. 1 Flat. or Model Key 1 Sharp. 2 Sharps. 3 Sharps. 4 Sharps. 5 Sharps. 6 Sharps.

G b5-#4 —7 —3 — —6— 2 -5— —8— —4— b3-# 2 b6-#5 b 2-# 1

G
fj*
1
Tt
pL 8 4A
6
b7-# bib# b6-#5
2
P7 17 7 0 6 5 -Do- Fti o-L

eft-F- —7— —3— — 6 — — 2 — —5— -Do- — 4 - b?-# 6

b3-# 2 'b&-#5 b 2-#' b5~#4 -Ti- f-4
fh-E- b7 -# 6 b 3 -# 2 b 2 -#' b?-#4 -Ti -3- — 6 — — —5 -Do- —4— te-li E-fbi
d#-E^ —6 — 2 — —5 -Do- — 4— te-li
b3 -# 2 b 2 -# b5-#4 -Ti-
1 —3— -La- D#-eb
D b^# b5 -# 4 -Ti-
1 —3— -La- — 2 — —5~ -Do- — 4— te-li
b ># 2 le-sil D
—5 — -Do —4— te_ b ^ 2 le-sil
b 2 -#l b5~#4 -Ti- —3— -La- —2 — -Sol- c^b
btf-C b5-#4 -Ti- —3— -La- 2 -Sol- -Do- — 4 te-li
b ># 2 le-sil
b>-#« se fi C-b#
c b-B —4— te-li
b ?-# 2 le-sil
b 2 -# 1 se-fi -Ti- —3 — -La- 2 — -Sol- -Do- -Fa- B— cb
—3— -La- 2 -Sol- -Do- -Fa- te— li
b 3-# 2 le-sil
b^#' se- fi -Ti- -Mi- A#-bb
A b3 -# 2 le-sil
b-#' se-fi -Ti- -Mi- -La - 2 -Sol- -Do- -Fa- te- li me-ri A
— 2— -Sol- -Do- -Fa- te-li me- ri le-sil b 2-# 1 se-fi -Ti- -Mi- -La- -Re- G#-*b

G b 2 -# 1 se-fi -Ti- -Mi- -La- -Re- -Sol : Do - -Fa- te- li

me- ri le-sil ra-di G
-Do- -Fa- te-li me-ri le-sil ra-di se— fi -Ti- -Mi- -La- -Re- -Sol - -Do- F#-Sb!
e#-F- -Ti- -Mi- -La- -Re- -SoS- -Do- -Fa- te-li me-ri le-sil ra-di se-fi —7— F-e#
fb-E- teJi me-ri le-sil ra-di se-fi — 7— -Mi- -La- -Re- -Sol- -Do- -Fa- b?-# 6 E-fb
°#-Eb -La- -Re- -Sol- -Do- -Fa- b ?-#6 me-ri le-sil ra-di se-fi 7 -Mi- —— — 6— D#-eb !

D le_sil ra_di se-fi —7— -Mi- 6 -Re- -Sol- -Do- -Fa- b ?-# 6 me-ri —— bMh D
c#-Db -Sol- -Do- -Fa- b7-#6 me-ri bf-#5 ra— di se-fi —7— Mi- 6 -Re- —— — 5— C#-,db
b#-C- se-fi —7 -Mi - — 6— -Re- —5 — -Do- -Fa- b7 -# 6 me-ri b6-#5 ra-di b5-#4 C-b«
cb-B- -Fa- b7 -# 6 m e_n b6-#5 ra-di b5-#4 —7 - -Mi- 6 ——
-Re- —5— -Do- 4 B-cb ——
k- Bb -Mi- —6— -Re- —5— -Do- —4 — #6 me- ri
b6-#5 ra-di bs-#4 —7 —3— A^’-bb
A me_ri b^-#5 ra-di b<-#4 —7— —3— -6- -Re- —5— -Do- —4 b :-# 6 b5 -# 2 A |

e#- A b -Re- —5— -Do- —4— b ?-# 6 k?-# 2 b6-#5 ra-di b5-#4 —7— —3— — 6— 2 C#-ab
G ra_di b>-#4 —7— —3— - 6- — — -5- -Do —4— b 7 -# 6 b3 -#2 b6-#5 b2 # 1
G
Copyright, 1883, by H. R . Palmer.
N. B. —This Modulator is published in mammoth size
(934 feet high by 7 feet wide) for classes; handsomely printed in colors, backed with muslin, and
mounted on rollers, or made to fold, so that it can be carried in trunk or shawl-strap. Price in either shape, $7.50, less ten percent to teachers. Liberal arrange-
ments may be made by authors and compilers who would like to insert this miniature Modulator in their works.
 PALMERS’ GRADED STUDIES
IS THK AKT CK
READING MUSIC AT SIGHT.
A carefully graded Junior and Senior Course cf
Reading Exercises, carrying the pupils through all
the keys major and minor.
It follows the Author’s Class Method, and was
made to accompany that work, referring the teacher
to it for the best way of explaining all points. A
miscellaneous department of Concert l’ieces, and a
department of Temperance Music are added, making
book an excellent one for Conventions and Insti-
tutes, as well as for the home.
Price, 60
PALMER’ S PRIMARY CLASS BOOK.
A charming text-book for Juvenile Classes. Besides
a catechism which covers the notation of music, it
contains many of the Author’s most beautiful songs
for children, among which are “ Robin Red-Breast,”
“ Come, Birdie, Come,” “Slumber Song,” etc.
Price, 10 cts.
THE SONG HERALD.
A superior text-book for Singing Classes. Like its
predecessors, the Song Queen and Song King, its
sales have been large, and it is still “ going.”
cts. Price, 60 cts.

PALMER S CLASS METHOD PALMER’S SONGS OF LOVE

or TEA CHINO THE FOR THE
ART OF READING MUSIC. BIBLE SCHOOL.
A guide for teachers which may be relied upon This book is full, from cover to cover, of bright,
with the utmost confidence. beautiful melodies for Sunday-schools. Many of our
It pi .,< s tli
< teacher Indore an imaginary class,
•• first-class city Sunday-schools have worn out two sets
asks hi* Questions, and gives their replies. It begins of Songs of Love. Price, 35 cts,
tUhe Ao( teacher's work, and explains every
*
i*>ifu of his progress, up«»u the synthetic or inductive
plan With the aid of this manual the apt teacher PALMER’S CONCERT CHORUSES.
can place himself in the fore-front of the teachers of
the world.
An excellent collection of music for advanced
Choral Societies, etc. Every piece in the book is a
it > : to go hand in hand with the new
• ; ;
.•

concert gem. Price, 75 cts.

text U v k, Graded Studies, mentioned above.
Prke, $1.00.
i Cl a* ft Method will be ready in January, 1895.) PALMER’S NORMAL COLLECTION.
A beautiful book of easy-grade Anthems.
PALMER' S THEORY OF MUSIC. Price, $1.00.

The popularity of this work is shown by the fact &

that its y*-arlv sales exceed the combined sales of all
Other theory Looks published in America. It begins
THE SONG KING.
lower down and earn, s the student one chapter higher The king of class text-books for Singing Schools.
(that in nny other theoretical w ork ex- r It has had the greatest sales of any similar work ever
tant, either in Europe or America. published, and is still selling largely.
Price, $1.00. Price, 60 cts.

GARNERED GEMS THE SONG QUEEN.

The pioneer of this style of text-books for classes.
SUNDAY-SCHOOL SONG. The first great hit in popular singing school books.
Its sales are still large.
Two hundred and fifty Beautiful Songs for Sunday-
Price, 50 cts.
•©hook. represents the bod thoughts of nearly
It
on© hundered different composers, and contains the
b**i»t hymns of about two hundred different hyrnn-
wriurra. Price, 35 cts. PALMER'S VOCAL MODULATOR.
The miniature Modulator (9f inches high by 6
inches W'ide) is very convenient for individual study.
THE FESTIVAL CHOIR. All syllables and characters which represent diatonic
For Musical Festivals, Chautauqua Assemblies, tones are printed in black; all intermediate tones
Choral Societies, etc. It is replete with brilliant
whose tendency is upward (sharps) are represented by
Choruses for o noert purposes. red characters, and all intermediate tones whose ten-
Prke, 60 cts.
dency is downward (flats) are indicated by characters
printed in gas-light green. There are sufficient ex-
planations on each Modulator to enable one to unravel
THE CHORUS KING. the whole scheme. Printed on thin paper for pasting
into a book, or mounted on cardboard.
A choice collection of Chorusee. etc., for Choral Printed in either style, 5 cents each ; 50 cents
Societies, Convent ions, Festivals, and Concerts. Every per doz. ; $3.00 per hundred.
piece la selected on account of its snap before a concert It is a suitable present from a teacher to the mem-
audience. Price, 75 cts. bers of his class.

Any ot the above works will be sent, postpaid, upon receipt of marked price.

THE JOHN CHURCH COMPANY, Cincinnati, New York, Chicago.