Methodical singing

Hi

m

m

THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Mcsie

L

MO

SI (a

1.3

Si

TECHNIC AND ART OF SINGING

^ ^1 1

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

-

I.

II.

A Method of Private and Class

Instruction in the First

and

Fundamental Requirements of Music

INCLUDING

THE SCIENCE OF MUSIC READING Arranged According to a Plan by which Pupils can Practice Correctly Alone; thus Designed for Use

in

Connection with Instrumental

Work

as well as with

LESSONS IN VOCAL CULTURE BY

FREDERIC W. ROOT OPUS

21

"WS^ THEODORE PRESSER 1712 Chestnut Street

:

CO.

Philadelphia

PROPERTY OF SOUTHERN

TECHNIC AND ART OF SINGING

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

early

all

/

adults and the majority of children have an acquaintance with

common

melod.

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

day

But

life.

this

knowledge

is

at first exclusively associated with the sense of hearing.

When

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

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

and habitual dependence, that a long course

of study,

often required before the eye leads the thought securely

'

' *

!

altogether.

To meet itemized thus

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

may

be

:

—

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

—

sentation.

To broaden To sharpen

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

this

—

the faculties of

—

ji

—

Copyright 1931 by

:

_ Fannus

S.

Root

1. 2. 3.

The mental

pictnre of key-representation — position on the certain intervals—principally the step and half ^thc

A mastery of A familiarity with

music reading.

—the

Memory

Thinking in musical phrase. Grouping tones as one groups the Rhythm and rhythmic forms.

7.

—

melodic progression in scale and chord forms

5. 6.

staff of key-note, etc.

-step.

4.

of pitch

iU

relative part of

music reading.

positive part of

Methodical sight singing designs

^the

letters

of the alphabet for words.

to take pupils

from the beginning through educational

grades to the accomplishment of the above habits and requirements.

While

A

this system

is

intended for use in classes

special feature of the system is that

with but

little

it is

equally available for private instruction.

may

be correctly pursued by the thoughtful learner attention from the teacher; for this purpose an instrument is a necessity. it

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

;

—

Requirementsu In order to use 1.

The

staff

this

work the pupil must

with the

Q

clef

upon

it;

learn

:

also the letter

names

of the lines

and spaces:

I 2.

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

—-_=^=:

8.

Quarter, half and measure rests:

4.

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

of a piece

and may come

I

#

<g

^

^*

in the middle of a measure:

I

is

used to define a section

i

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

aitK)

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

The sharp

(J|)

and

flat (fe)

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

C

T7 /?\

The

7.

tie:

'^^^^^

(^

r

frj^Y"!"^^ la

la

Da Capo

8.

(D. C.) Dal Segno (D.

S.

or dal

^)

K

wmm$ For individual

9.

octave, of

practice,

Rovdaiy^

one should also leam to play upon an instrument the

name

Finally, to

is

scales,

one

required.

signatures, letter names, relative

play upon the instrument each of the following

i

?c

F

G

A

B

3

4

5

6

7

8

doh

mee

fah

soh

lah

tee

doh

{do

re

mi

/«

sol

la

GF)(E BCD51or87 4

ray

mee

fah

soh

doh

tee

re

mi

fa

sol

do

ti

2

doh

—9-

D

^^ C

B

4

3

lah

5 soh

fah

mee

la

sol

fa

mi

6

^f^^^3^

C

do)

fe^ 3

1

Bb

3

1 E

I GA feEi

i^Uables,

2 ray

i

(do

names (numbers),

:

D

1

I

D.

C G B b F and D

(For a time, only the scale of C 10.

la

and Fine:

'

D. C.

Fine.

m

The pause:

^

I

£

and

to

9^(^n%s^

Methodical Sight Singing. Part

Preparatory Practice of Rliythm.

I.

"

5.

Deck the

with boughs of holly, 'Tis See the blazing yule beStrike the harp and join the chorus." hall

the season to be jolly.

Speak the following

lines slowly

and

distinctly,

fore us.

accenting the proper syllables, and clapping the

hands smartly at each accent.

come

If

the accent

at every other syllable, repeat the lines,

beating down-up, down-up.

If

come

the accent

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

Always beat down on the accent.

up.

"Softly

1.

fall

can 3.

may sometimes I

me

them

When

7.

fond recollection presents

to view."

"

Mine

eyes have seen the glory of the com-

8.

"

O

say, can

you

What

see,

we

by the dawn's

early

hailed at the twilight's

re-

how

9.

"Hark!

the vesper

hymn

is

stealing O'er

the waters soft and clear."

bum ?"

" Tell

dear to this heart are the scenes of

so proudly last gleaming ?"

But the torch when once wasted, ah

it

How

childhood,

light,

still."

" Joys that we've tasted

2.

turn,

my

ing of the Lord."

the shades of evening, O'er the

valley hushed and

"

6.

not

in

mournful numbers, Life

is

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

"

of them,

but an empty dream."

;

4.

"Bird

of the

wilderness,

blithesome and

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

Noble

six

hundred."

-D-

-B-

D

When

the fingers,

it

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

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

spaces of a

staff,

be in order.

the pupil

the space below

an added

line

is

directed to point notes

upon

is

the

little finger

representing E,

The "phrases" and "lessons"

dwelt upon.

D, and, slightly lower (where would be), middle C. it

1428399

When

rÂť

Key of C.

for Practice?

Phrases

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

and

their spaces).

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

To accomplish

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

and avoid forcing the vocal register

Sing

softly

The

syllable loo is valuable in this connection.

The principal thin^

to

is

practice a g7'eat deal.

4.

1.

(Introductory Lessons,N9. 15).

about

at

6.

8.

7.

xjJ IJji jjj h^jlljjjJJI Jjjjjll;jJjjijjJjj ll

I

m

d

m

a

s

9.

l

d

ff

10.

m

l

d

cl

s^

d

d

r

mf

13.

12.

11.

fm

s

s

d

r

d

dms fm d rms d

rd rm

d

"

18.

17.

dm r d s 20.

19.

^JJ^ Ii^JJjrjJ'^ I

m

d

r

m

s

d

s

s

fm

d

mm s

l

d

ll

dm r

d s ni r d

r

dm

d

15.

14.

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

m

r

r

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

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

l

23.

Ji^^ r

m d

16.

22.

21.

s

d

d

mm

# Âť *

^

m mf

s

J.

d

r s

I

24.

25.

$ d 31.

s

r

m

d

26.

m fad

d 32.

d

33.

mf m

28.

27.

s

d

s

f

s

d

34.

s

/

r

J.i i

i

I

t

d

d

30.

fm

f

I s

d

t

r

fm

s

37

r'iJJir^JJji d

d

r s

36.

35.

jJ.ijjiij. jj J ij. ijj jJihj jj d f r md d r m f a d r nif s I d r m f a i

m

29.

I s

f

i

rJiJi^ d

t I s

fm

i

/

38.

39.

P^

i d

f

40.

1

s

fm

r

d

t I

Jinjjrir-'Ji s

fm

r

d

42.

41.

i

irr

43.

44.

iiiijjiihjij

8

Reading Lessons, Key of C. Each time before sinking Take especial care

ing

may

to

at first occur,

a lesson play these passages:

:ÂąMi

W

^^^ ^^

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

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

is at first

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

8.

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

others.

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

of the silent

Remember

1.

^

tlie

relative length of a half

and

i

-0-

Always keep the key-note

2.

in

P

Are you keeping

in

Make

^

the voice sound soft and musical.

The small note

at the

beginning

4t

is

0-

i

i i

^i=^

J

Rhythm must be steady "

^

I

J

like the

-$r

not included in the rhythm.

W^^ 6.

^

^m

5

^^ 5.

w

good tune?

W^ 4.

?

mind.

?^ 3.

a quarter note.

marching

^

of soldi ers.

J

I

i

^

7.

^

How many

5 8.

What kind

^ 10.

g

^ Keep

in

What

is

w

mind the key-note, C- where

^

it

is

#

^

placed and

how

it

•

0-

^

J

id

—

What does

the 2 at the beginning of this lesson stand for?

On which beat

13.

In

^

^

1

what key

i 14.

«•

^

0-

is

What

J

I

the 4?

m

J

^

1^

Go over each lesson

in

W

J

^

lesson?

J

Ij

m

each of the ten ways prescribed.

:2z

4 15.

^ 16.

•

i

Dont slur

18.

i

1^

?

i

from one note

to another. zz:

^

^

Take a good breath before beginning

i

to sing.

«

*

^

I

J

J

I

i

^

^

^

^

Never forget the key-note while singing.

^^

"17

?

&

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

n

19.

J

or slide

=f 17.

i

the tone louder and on which softer?

is this

N

U

i

-<9

*

s

^ i

sounds.

the time-signature of this lesson?

4 -t-^^^^ 12.

?

w

W 11.

know thoroughly?

of notes are these?

^ 9.

9

of the 50 phrases do you

J

IJ

i

Point at the character called a

^

"clef.'

^

V

•r

?

3

3. Lah,lah.4.Claphands. 5. Sing key-note, Beat. 9. Silent measure, 10. Point. 8. Sing,play. 7. second. play others. 6. Play first, sing great deal of practice. but a theory little very needs learner 20. The

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

S 21.

4

^m

w^

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

^Ij^lj^lj

^2. What

is

the letter

name

jg^

I

^^

l

ir^ ^

-0-

24.

^ ±

S

What

mental training

27.

i

i

t is

the time-signature of this lesson?

w I

Remember

p^

J-

-^j,-

^

I

J^^^-^ Jj

What kind

^

=f

5=

beats are there in a measure?

'

-«^^ c»

i

—

m

and the sound

—•^=g I

30.

How many

4

^ J ^£

of the

——* m—

^

'-U

i^ What

J I

i

the last one?

^^

and

don't shirk.

i

i

-^9-^

i

J

50 phrases can you write or point upon hearing

i

J

I

J^rnt

j

J

IJ

J

jl

J

J

J

I

J

I

h.h^

^

J

i.

it?

J

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

3

i

* J. d

J

32.

I

of the key-note, C.

i

£^

^

i

^ J. *

m

-tSl^

=^^^ let

^

of a note is the first one in this lesson?

3E

Never

W

the other two be lighter.

the place on the staff

Don't skip anything

31.

let

_^

29.

i^

How many

-«t-^

iJi

3E

/ are the seven different characters used here?

i

,28.

?

any other study.

I

26. Accent the down beat and

^

like

i-^

r

25. WTiat

S

to sing is

Learning

Jjl^

second line of the staff?

of the

I m 23.

l

J

J

^.

N9 11.)

^p ^

a 33. The quarter

rest.

34. Half and quarter rests.

3E

iiJ N

OK rni JO. The measure

i i

I

M

^^T~^=J

t

i i^

N

" .

rest,

"

-'

^

F=^

u

*

M^ m

^^ i M ^

The whole rest is used to indicate a what the time signature may be.)

(

I

I

full

measure of restno matter

3

*

-^

^

^

36.

^m i

m

37.

i

1 38.

NQ.*

37 and 38 may be sung together.

^ i r^^ 39.

I

?

N9 39 may be sung together with N9

^

^

8.

i

^

40. N? 40 may be sung together with N9 39. -ai'^-?l

/y^^

\

Kn

i

rr-.

—•—

p

—m—^

f

rr.

12

Readinff Lessons from Popular Melodies. 1.

S 2.

Repeat and

^

T)a

Capo.

N^ N

J

JJ

I

Begin with the up beat. The

I

JJ IJJ

SA

i

Do you know what these melodies

^J

i

r

i

J J

J

I

~a

J

I

wxnxn^j\

^

^

i

are?

^^J

•*

^^

j I

^^x^i

pirH'nTi TTTT jjij j

I

tie.

1

3.

D.C.

Fine.

lil^fl^lJf

^^

^

lij

4. This one should go pretty fast.

s

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

i

^n^

i

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

«

:

^.Slow.

iUiirr

^^

^M i

m=m: -^^~f-

i

^JiJiijUjiiiirri^-' pcp:

^^ i

i

-iJiJiU

aurrirJi^rNji^jUrUj

i

iii

Q.Modei'ate.

S

^

<<<

#

'^^

^^^ mP^i

i

s

jlJJ J^ '^^NjS

^5*-^

l

*

77

I

gi

W

I3g

^

l.Slow. -*

jiNijjiri^j rp

^k

|

jj

i

M

hJmp

^.Faat. Observe the repeat.

m

^^^

i

i

^

I

Ji^^i-^JU-U

s

#4^:j4^

If |JJ

i

^

JJu i '^'^JU U

^

m m

:zizz

JnTTTTij:

13 9. fast.

^

I

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

\O.Fast. The sign.

(

^

6'^^// o.

'i^^uu^ Fi/ie

W.Fast.

%

ifi'JiJiLjUMiii^^

^

^

iJ^ri

iJiUj^

*^*

Fine.

i rr^ i^r

J

\2.Slow. The pause.

? ^

n:

ijijiiji

^

F-^iJjijjijrnTrrirr

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

i^

3

^?

^

i

rrHJMJl g

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

^•-#-

#-»-=rj

-«i

"S7

^

g

'

^

# Ji^JUU

^J

^ rij^ijJi^ X^.Moderate.

y ^H^—i

i

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

—

——n

^

F-d

\

\

—

S^

-^-^

i

r

— -ih-—+-

14

Theme with Varied Accompaniment. Sing

at first

with doh, ray,

mee

&c., but,

when

learned, use the other syllables. Beattime.

^^

Slow. 22:

t ^ may

nee

dah

m

d

s

po

too

lah

///

s

d

bay dah t

t

may nee s d

po too

^ ^^^ ^

lah

d

r

tn

i^

^W m

P J^ P

^

i^«=«t -g~r^

-^

1

»

3

i:^

^

^s r^ fe i f^r

^

t,

iz:

^

f V

3:

;

jJT^

gp^

*

^

rJ;^ 5&

i

^

? i

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

>):«

JJT3

w

m m m

fff 4=4

i

r

«

W F=r i=a

^ ^ ^^ ^

z

^<^

F

C

?

trt-i

^

15

Vocal Accompaniment to a Familiar Melody. The Suanee River. Sing with syllables

first,

Foster.

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

Slow.

S 4-^ s

s

Far

way

m

/

s

roam, f:

^ 3: ^fc#

PW

»

4

si

s

Thinking

M-

ev

P

Itab

m m ^^

cLl^ cLir i

i

-

er

^ Omit

^m f

^

of

my

:y_-i:

tJiese notes)

the first time

m home.

low ±:

it

^m ^ ^

^ left,

W

^

L^^

Best

±zm-.

wdm

s

s

ma r

*

» J * *

sore

sfe

tP^ XX^

i

>

^^

^

jj-

Long

T

d

*

^

^P

?

^

^ heart

s

home,The home whose

loved

-

^

m

go-

3:

^^ g

Tocal Accompaniment to a Familiar Melody. The Last Hope.

i^^^^ $

d

d

d

d The

shades

m

s

evening now

of

Gottschalk.

^^

Slow. Always beat time.

s

f

fall

a

m -

s

round me,

d

d

I

gaze

3

W 4=»

^

^

P=fP

i»

i

i

¥

i

P

ZS^

f

i m

d drea

-

on

ly

^

i

¥

-

d

t

ness

With

I

^

i

ltd mem-o

-

ry's

-#

s

^

1

s

bathed

xna

^ ^^

d

the

=^

scenes

P

s

in

a

:2z

Ie^^

^

W--f

there

^

^^ -

muse

i^t

a

I

^

And

night

the

^T/^ F f

dark

d

t

mi

p

in

light.

m E

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

same way as

sation or recitation from

memory

in

language study in which bothgrammer andconver

-

are used.

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

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

same manner as

17

Loving- Voices.

CW Glover, (adapted.)

Slow.

1. Lov- ing 2.Wlien the

^^ In gay Lov - ing

^

voic

-

heart

fond ly sad and

es is

^

ming'-le

Like the

heav-y

Soft

3

childhood's voic - es

mur-mur as

ly

-

a

of

pray'r,

summer

the

rain.

n:

fair

-

^m ^W

fan-cies,

y

low and

In youth's

ten - der,

up

Tell

-

vis -ions, rich on the spir -

zc

i

and

rare,

it's

pain.

^ /Cs

N

i

mel

There are O'er

life's

i li j

dies of path -way clouds may -

o

i

-

;

j na ga

iiij

l

-

ture

-

ther,

Ris But

3

-

ing the

o

J -

land and ev - er

ver

shadows

i

22

i

"•

sea. flee.

2Z v:^

^

i

i

But like

mu

Fbr

sun -light

like

-

our our

in

sic

in

-d/ti

Lov - ing Lov- ing

dwelling dwelling

W

voic

-

es

are are

voic-es

The Lark.

Mendelssohn.

^td

^

l.Wliat

How

joy earth

m

and

rael

o

love

ly

-

dy,

hark

thy

lay,

m 'Tis

Sweet

!^P^

S -

ous out thou art

pour spring

-

i a

^

from a part-song by

Fast.

3.

le.

me.

to

m

HI

rj

to

-

way

soar from earth

i

f=^^

mer-ry

lark.

Thy

car

strel of

day

\Mien

up

thou

min

-

!

iU^i w ing;

I

ing;

In

i

s

list -

spired

I'kr

off

in

the

skies

join

in

the

car

to

thy

by thy

lay

mirth

^^

=0

And

S

-

thou art ol thouVt

f -

ols

so

from the

^

while I

up

too

?H

soar

ing.

sing-

ing.

The Landing* of the Pilgrims.

18

Hemans

Felicia

Browne.

Moderate

The

A

m waves dashed storm they

breaking midst the

-

On And

high sang,

i stern and rock-bound stars heard, and the

a the

f

coast,

sea

p And And

—:

^

F¥^

a

the

an-them

woods a - gainst the storm -y sky Their sound-ing aisles of the dim wood rang To the

the

W^

gi

branches

ant

-

( tossed

the

of

free

-^^L I

F

F

F

i And

I

J hung

I

hea - vy night ea - gle o - cean

the

The

^

F

i

I

I

J

J '

dark soared

The FVom

mm

his

i=f

^m

When a band of And the rocking

m

^

P

P

P

I

m

shore.

home.

^PS

The Hermit.

J

Peter Parley.

o'er

foam.

3:

ex-iles moord their bark On the wild New England for- est roared, This was their welcome

I

U

i -

^

*

pines of the

P

P

^ wa

i

^

f=r

and

ters nest by the white wave's hills

Adapted.

Fast.

i

$ ±=t i 1.

a.

A

her

The

way be

3.'Tis

^^

:

-

-

mit

there

was

to

be

hap

and

do

ing

—7

be would I pleasures and as

m

to

-

and py they ing and

lived

in

say

you ing

hav

-

a have

grot;

The

got,

And

that

make

All

3Z

J.

/

^^ way

he

^^-NH hap

-

py

they

IVe pains of which learn

it

said

he

come

to

had

your mor- tals par

got.

I

grot,

I

take:

To

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

19

-J learn

(

J

J

if

pleases,

to

cell,

And

a plan, lb a man's best, lb

there's such

do

was

Mviien I

write

there the old

me down just

it

have a good heart

is

as the

N Jj|

^ la

J

Jij

la

la

^

^UiU

Tra

la

la

la

la

la

la

la

la

way

be

to

blest. Tra

m

r

la la

la

la la

la.

la

^B

TH -G-^

SC

-Âť^

i

^ ^

i Tra

{j

her-mit said "Well," TVa cani TVa plain as you

m

m

m

J

l

went to his

so

it,

treat you,

jjJ Âťi

i

I

-&-^

Music on the Waves. C.W.

} Slow.

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

Tlie

winds

soft

2.

Can

this

be

1^ li

1

1

-

ly

the

^j

j

sigh in

their

song

of

the

n u^

N mys si

-

^ 1 1

Glover, (adapted.)

-

ti -

cal

rens that

caves, Tlie

keep Their 22

i moon re

-

gilds the

vels

be

20

October's Parly.

^

Fast.

t 1.

3.

3. There

the

in

came

in

yel

-

rust

y

hoi

-low

W yf^

^

par-ty,

pave a

Oc - to - ber The Chestnuts

-

low,

in

At

hide and

hundreds crimson

came,

dress, seek they played,

f

f

i Oaks and Miss - es

Ma-ples,

Tl\e

par-ty

closed at

sundown.

Ash-es

^^

t

w=^ ^

3

t

f

And

Ma - pie

trees of

Were

-

ra-diant eve - ry -

But

like

i

i

=3

ry

name;

^

the

bod-y

^;

f

^

rest;

stayed;

^

The All -

And And

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

f

f

i

^ ^ ^ W^

Miss Weather The sight was

like

And when

par- ty

the

led the

a

danc

-

rain

-

end

-

-

ry

-

ly

flew a

"Diey

-

-

thing

was

grand

fluttered

by;

long the

ground,-

f

s

^ii^^^

^

eve

gai

^ ^

i

s

bi/

by

i

3

love - ly

Words used

leaves

Oaks

^;

f

The The

Pro

The The

Alex. Lee.

-JO.

J

ing Pro - fes-sor Wmd the bow, New fall -en from the ed,'Twas jol - ly 'hands all

f ^

PermtssinN of American Booh Co.

i

u u band, skj-.

round."

PI

f 3

3

^

m

21

The Lover and the Bird.

Guglielmo. (adapted.)

^

Moderate.

J

s sing, sing,

1.

2.

S

m

i

i

m

sing on sing on

sweet -ly

to

to

de

e'en

-

ceive

^3 I

wwm 3:

cheer

^T^

i

^'

^m ^ m

sol- ace

wiE

t

m

Thou

bringvain;

wilt

leave

not

me,

vain hopes,

Flat -tVing but

thy

mu

with

vis

^NS

ions

1^

WTiy should'st thou fear do not leave 0,

wm

-6-

±=^

sic

-

^

3Z

glitt'ring but

me. Bird, me, Bird,

-G-^

*

me? me,

t*

m

«»••

i>

3

i Sing Sing

i

^

of of

m

love,

-G sing, sing.

P

P

P

^

I*-

W

love

^

-

ly

-

ly

np

^*-^

cresc.

P

on love on

of of

love,

sing sing

Sing, Sing,

i

^

f=^

my

can

f

3^ t p

^

^

^^. i sing to sing to

ah!

ahl

S 3: -^i-^

Slow.

^m Ahl.-o^ "

song,-^ ster^_^ o S

pit

I

i i i i i i=?=

22

^

^

Jr^^-

nev

-9

song

a

sing

er

-

mgg

WW w

rap

of

ture

-

T2:

1

thee?

like

if

f

m

-6

The Strawberry

2:

—

Girl. adapted from M. D. Sullivan.

/>?«/.

^4^lji^ iili 3U

3E

i

l

sun was clear on the ne-ver such

l.Th«

J

J

*):i>

I

eye^

p

i

^

^ I

p

plav;

i

p

p

P

hi

way.

The

gip

cry

"0

buy

^m U ray,

1*-

lea,

The

summer

part,

As

sparkles

p

p

i

p

#-

i5*-

i

-

f

shadows

sy

hat

ber-ries, buy

its

breeze had ceased to

1

i

iS*-

my

^ '

rest her thro' the

^p

'2

beam-ing

that

in

p

i

my

g

4/

'

i ^

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

M

g

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

Buy my strawber - ries

•#•

^

^

1*

^+FiiJ

The while a buy my

*^'

p

I

p

^

hope s glad fresh

to

-

•#

a:

» ]

pen im -

J

|

^

^^^^^^

day,-

-

light

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

Wr

i

o

wealth can

2.

^

\

I

[^

J

sim-ple

lay she

ber-ries,

buy

my

i

;J

sung Of ber-ries,

0-

-0-

M

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

:q=b:

h

P

:n:

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

*

is:

^

1

way. day."

H

a3

Phrases for Practice, Read the comments given withthe Phrases

for Practice,

Key of G.

Key

and follow the same di

of C;

rections here. The phrases must be learned. 1. Play the phrase upon the instrument. 2. Sing it with doh, ray, etc., playing loudly at the same time.

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

Sing Sing 5. Sing

3.

it

4.

it

*

with doh, ray, with lah.lah,

etc.,

(or loo)

6.

5.

1.

#

d

s

n

d

#

t

d

m

-#

d

d

Jl

tn

m

d

s

s

s

d

tn

t

10.

d

d

m

d r

20.

d

^ s I

s^

d

s

tn

d

d

s

d

d

tn r

16.

d r d

s

4^-9-

d

t

d

I

d

s

^

r s

t

/ 34.

d

t

r

I

t

d

d

d

s

tn s

^

<*

s

I

d

tn

d

s

r d

s

I

d

d

d

s

I

t

tn

13.

m

s

d

d

d

r

t

d

s

d

I

r

37

fd

s tn

s

s

d

s

d d

d

d

tn

d

d

s

tn s

s s tn

d

s=*

tn

t

d

d

s s tn

d

£

^ d

d

#

in»

d

d

m

r

t^

33.

s tn s

d

39.

I

d

r

^m

32.

.r.

d df

d

t

26.

# #

^

38.

d r

d

19.

25.

31.

s

s

dtrdtndtltd

d

JJ ^-^ IIIJJ^J t

r

tn

ii

24.

30.

tn t

s

V

23.

36.

s tn

d

r

i

IJ

18.

JJllJ

35.

m

msf

d

d

29.

28.

27.

m

—

ni

-*-"

r

17.

22.

21.

d

r ni

I

12.

11.

i t

d

J

±=M.

15.

14.

d

lJJ JJ

d

s

I

I

^

^ d

JJjjJ

l

j

9.

8.

fe^ d

<*

d

40.

? -# f

s

r

d

d

tn I

d

s

Supplementary Passages for Practice or Dictation.

^

42.

41.

V-*

±±

46.

43.

fc«

m "m

±1^

4 • ^ • d

*=*

^

^m ^ 49.

*-# 52.

51.

^^-*-#

^

9^2^

-#^

50.

^m

48.

47.

t=m

45.

44.

£^

:ii^

53.

=ii *-^-*

¥=*

i

24

Eeading Lessons, Key of G.

Each time before singing a lesson play these passages.

Remember

^

^^m

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

lessons.)

Practice each lesson as specified for the key of C. 1. Play and sing it using doh, ray, mee, etc. 2. Sing without the instrument, doh,ray, etc.

Sing without the instrument, lah,lah (or loo). Clap the hands at the first note of each measure. 5. Sing the key-noteeachtimeandplay the others. Do not play and sing together. Keep time. 6. Play the first measure, sing the second, alternate. 7. Sing the first and play the second; alternate. 8. Beat time. Accent the first note in each measure. 9.Singone measure and be silent in the next; alternate. 10. Point the lesson on the fingers, or write it upon a staff. Be sure you keep in tune. 3.

4.

On which line does

1.

*

m

i

is

in this key?

^m

the signature of the key of G?

^^

i±ztt

t?: Give the half note

3.

its full

fe

J

Keep on with practice

4.

i

come

-9-

What

2.

doh, the key note,

—

17 time.

J

of the

-G-

-1

I

40 "Phrases"

if

0-

5.

Dont forget where the key note

is

5

i

and how

it

sounds.

s 6.

In

i

S

# a^

m 8.

is

i

-«>-

^

You must not use chest tones as high as Ff.

7.

9.

^

how many ways is each lesson to be practiced? *

r

The small note

at the

ir

beginning

Accent the first count.

i

r is

a"memory

^m

1

you cant sing these lessons.

i

5

^

z±=mz

zo;

tone."

t

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

10.

*

letter

names

of the lines

S

J :±E=±

12.

4 ^

let

the lessons be class or private

*

i

m

You need not sing

i

J

J

^^

Singing

is

good

^^

sing.

»

you must practice.

J

J

I

J

16,

I± '

What •

d

-*

*

is

J

•

d

-f

d

*

d

-I

for nothing

it

an instant befor singing. 32

if it is

the time-signature?

^

^m

17.

S

»

d

g

19.

«

*

Take the high notes

IS

4 ^

20. =3=

Hf-^

*

^

^

—

^-^

73

22:

—

-^

21.

F

#

^

softly, don't force the voice

-d

*

d

n

o

^

18.

u

^

out of tune-

^^ ^

I

I

|

Take a good breath and hold

-^-^

J

loudly.

J

*

15,

some count while the others

d

* 1 14.

^J

J

Whether

*

13.

d

In a class

^a

and spaces?

i

S:

11.

t

Do you know the

i

S

26

1.

8. /

J?

With instrument.

Beat.

9. Silent. 10.

3. Without. 3.

Lah. 4. Hands.

5.

Key-note.

22.

h^A 4 »

23.

_-4— ^

What

f

f

does the 3 at the beginning stand for?

^ ^

What the 4?

24. Beat time in exact rhythm.

S 25.

What kind of a

*5F 4 *

*

J

note

is

^-^

g

m

the fourtli one of this lesson? 22

6.

Play- sing.

T^—#-

^ ^^ ^

26.

"^ 27.

^

7.

^

Point.

=«^=^

Sing- play

^F=B

-«^-

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

^„

4

,

^

,

—

^ ^^

<>'\rJ.

r-^

\

36. The quarter

37.

The half

^

.

—

^.1* ^

1 I

>

I

1

1

I

I

!

I

^-

rest.

rest.

#

^

»

38. The measure rest.

#g 39. The measure rest

*

*

-

i^^

^!

—

^

»

^

^

-^5^

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

I ^z* ^^Efe^^ *:

41. Replace each quarter rest with

CANONS. Two divisions

IJ

^

some

u

^^

note.

of a class, two singers or voice

beg ins one measure later than the

^

and instrument. The second voice

first.

1.

fa ^ftr-^

d-f- r_ »_ ^r±

-

^

:^=ae

irlJJ JJ I

I

^Mrrr

l i

rrir^i^Jijjir

Jnmf ^^'j^ rrrUrlrfUJI i

i

Mr

Jl

i^

JH-

3. t5^

j

^*!i J

J

i

j

Jij Jir

i

j.

Mf

i

jJJ rr^ir i

Jij J

i

^

rii°

^

\

t

njjjirJr-4M

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

i

^i'^ ^

2H

Reading Lessons from Popular Melodies.

§' JJIJjIJJNJIJJ JjI I

2. Ve?\^

Slow The

3.

4,

l

^

^ z±

—

—— Nir

^-j?

i

d

'

^

•

^TJTTjJ JJIJJ l

J

D.iSfOW. S/ow 5.

ij'tt

r

i

p ^

-9-

I-

^

^1^

r

^ -/Oil ^=1= ft

^

0— w f

i»

i

^

^^-*

t-f- ^^

rr

—

^^

— -g-«

»

-^h

i

jr

^^

^m

iJ

i^t::^

^^ *

^

iJf i

Moderate.

^^1-^ W

.

rs

i

*

J

I

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

T*^

I

JJ JJIJJhMjJIJ

I

r\

Moderate.

4 ^ ^ d ^

lJ

Pause.

-#

^fr-»

i

,

J

i

J

^

i

jj

— =P — Fine.

-n

I

'

r

1

^

r^-=^=--;

r

^-^ i

r

ii

r

^ — —^J ,

/>.

^.

.

r

-

1

29 9. Fast.

S

^^ ^ 10.

#

3 ^

9'

# 1

9=i=

^

Slow

11. /V?s^.

-#—

^—=

4-

^

—#

J

1

^

^

"

If

r

r'r

ij

ej

i

J

n

r

30

Theme with Varied Accompaniment, ^

^

Slow.

^ »

i^ ^^

«•

nee

po

d

^±it ^

too

d

i

is:

fe

:m=±i

^-^

1

W

*J

i]

j

S

-#-*^

^y

^ ^

afc

rj^

^

W

^ i

fc^ I

f

s

m

^ ^ W^^ d

^

^ m

^

#-

^1

£:

1

fe

d

f

P

f^

po

i=*h ^

J

-1^

It

s

t

»

-*

•

may nee

bay dah

lah

///

•

4

m fl

^T II dJJ^d S'^'

^m

•

^

<*

I

itf

S

—

h

%

zm

f

f

tri

^ ^^1^^^

Ws

i^

Vocal Accompaniments to Melodies.

31

Learn the lessons, then sing them always beating time.

"What Are

^,J

J-,^JJ (is d

l

I

I

the

^^

Wild Waves Saying?"

IJ

J

s

d

r

^ S m^ m" ^ m ^ with un

-

ceas

-

ing mo-tion

m

d

To

r

t h^

tn-mn w m

'Tis

as

s

s

///

o

-

cean

f=r

///

J

't

HI

<y

-r^

S

mys i

^

d

d

bring

-

m

r

ing some

word

i

—

#-

d

^ ]

r

tic

J

deep i

f

//<

fn

d

S

Wliere st range se-erets

-^

^

J_Li.

s

t

tlieyhave

r

The Last Idea of von Weber.''

i

:Âą=t

la

^

they were

d heard.

^ ^ ^ ^^^ ^^**^

Slow.

Tho'

r

///

if

m.

fe

d As

r

^

ij

From the

.

d

t

shore come, waves of

*

d

'>^[_\^^

,

i

i

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

Roll-ing

*

Glover

r

/^

3»

Music Everywhere. Geo.

F.

Root

Moderate.

#

-9

^

Mu Mu

-

sic

m

sic

in

^

—

I

—o

the the

wood

-

school

-

s 7i

land,

Mu

-

sic

in

the

rill;

room,

Mu

-

sic

for

us

all;

s

1^

-

^

sic

in

the

air,

-

sic

in

our

care.

SIC

ev ev

'ry

p Mu Mu

-

sic

on

the

moun

-

sic

in

our

sor

,^ Mu Mu

^

-

Mu Mu

tains,

row,

-

3

^

^E^ %

I -

sic

m

the

-

isic

in

our

true glad

—

Mu Mu

heart, -

ness,

sic

V

where, where.

i

-6h

Used by permission of The John Church

What

Chas. Mackay.

Co.

I

Love and Hate. (Adapted.

Fast.

f ]

$

^

9-

I

love the

son^ of

birds

And

the

2.

I

love

sim-ple

song

That

a

3.

But

when

hate.

ev

lov

a

the

sur

r

-

a

er

I

-

r

^

-

ing

wo -man's hope that world a

i

J

-

I

round

i

wakes

e

-

mv

seek

mo

-

tion

gar- den

-

I

J

J

low

I

j

and

sweet,

es

him who

faints,

me

and

bove,

voice,

rais

^ i

it 'i

r^ words, strong, gate,

i

J

world of vey the i

If

Vi *

child-rens ear-ly

%

-6h

P^^ r

'^ ^ ^

1.

^^ And And And

t

i

a

11^ John John John

^ zzr

Brown, Brown; Brown;

33

Music

^

Moderate.

—9

^r-

mu-sic

There's

in the

There's mu-sic

in the

ill

(When (When (When

air air

I

There's mu-sic

in the

the Air.

air

When

^^

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

i

ig^=^

r

ir

r

r

w \n

^

faint

its

fleets

on

lost

-» -77-

blush

is

seen

gold

en

light

ev

-

-

'ning's

breast. 221

V'» r

r

Many

a

When

be

Then,

0,

^^

-

then the

list

en

Swift

ly

to

gel

voi

the ces

An Faed

hi/

-

-

pernii anion of The

lov'd

-

spir - it greet us

^

nigh

And

beam

Re

-

^

^^i'V,^^^ sigh - tie °

Is

f

s

On On On

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

As As

its

(

\

its

pen

^m J

beau

/

sive(

-

ties

die.

9-

II

i -

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

John Church Co

Root.

i

gen

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

ones

cliant-ed

t On

J

harps ec - sta - tic neath some grate-ful

While we -

-*

f

F.

t —9—

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

I

^>'*if

Geo.

in In of

ij

J

pro

joy

head les

-

-

U

found,

is

laid,

tial

song,

the

air.

the the

air. air.

34

Dream

Faces. arr. fr.

W. M. Hutchinson.

Fast.

i

— -(5^

W==^

shad-ows

l.Deep 2.

Sweet

^^

^

^

lie

dream-landfac

i

cross the dim - ing to

-

^

31^3

zn

-.9-^

s -mm

^

to

fes= «—

glows

mem

mem mur

-

-

-

'ry

^ >^ -

V

'ry

i '

sails

ing gent

and

v' -

^

Fond

Mur

light

-

back

ly

fades

in -to of

the gloom, a - go,

"Hope

long

%

3E

I unf

a

-

mist

ed on,

with dreams v^of one, dear lov'd

days

^ we

pain,

of

-^^ that are shall

meet

f

tant shore,

^ -

g

ff

i

child-hood's dis thro'

^

—

days

i

^

mm

i

g'

i

Freight

%

i

-#

m m

to

fro,

*==^

^ fire

%

and

i

* While Bring

old room,

y pass

5^ % ^rs^

%

I

a es,

-

more.

no a

m^

-

gain.'

*

m

•f -«»-

fei

35

A

Daisy Song. arr. fni.

fast.

«

t:

i 1.

Pet- als pluck'd and thrown a

2. Will

t

A.b.Gatty,

be

it

man

a

*

to

On the breeze are E - ven - song and

way,

-

preach,

^

J

Wlio

is

i

Dai-sy, pray, her for -tune say, Or p;oes she to school a - gain,

float

-

inp,;

mat

-

in?

^

1

on

her

ing?

dot

^ ^^ n ^ ^

^^

Where

teach -es

lie

Lut

in?

i

^ ^

*^*^

^^

^

^ ^^

Will he Will it

'

be be

a

sol-dier

in

cot

-

ton,

smart,

silk,

Or

f

Who

i

r

r

storm will she'll be

by

rags, that

i

r

her, Or

take

mar

-

ried?Well,

#=s

f=«

^

p

sail- or

break her heart, His

will

a

come

the worst, she'll take the

W^^

^ ^m « m a ^^

S

i

first,

fig- ure

And none

-

shall

head to say she

make tar

her? -

ried.

H6

The Heart That Knows No Sorrow.

P^ ^ *T m

from J.Gungl,

Fast.

3^

^5^

rl J i>

l.The heart that knows no sor 2. The heart that trusts me on

s

i^^

9^^^?^

r

r

I

,

f

r

M

me, sad

-^^

u

i

i

*

a

izia

m

-

—

*

9

1 U

J

Yet

^— ^-^

m

*

J

I

ness

i

to

-

-

est

m

Jl

J

%

,

word ~6^

«

Whose

—

*i

^ -61-*-

That

is

not

the heart

for

me,

is

not

the heart

for

me

m

*

That That

i

That

*

V That

^

^^

^^

1

^

^^ ,

day

can bound with child-like glee, oth - ers from me flee. all

m

That But

«L^

^

de-vo-tion.

s

P

^

the near-est

m

J

When

^

then

t

-

15^

swells not with

^m

sus

pi

gay, heard,

?

-

-

9-

'

mm

^^ ^ pi -cion's light

t

is

-«^

-«»-^

At

^

me

^f

a

and lone-ly,

;i |' ij

draws not

er light and

A\'hennodouht of

auizz?:

throbs not with e - mo-tion, love is not sin-cer-est

^

-

hap

nn

'

ev

If there's

^^ ^ !g''

is

J.

l

I

the mor-row,

I

f^

9J

ly

-

-^^

cares not for leaves

row,That

-

J

1

•

$

w

az~it

i

^ m m

37

One Morning. Jean Ingelow. irr. fr.

Slow. J

1

I

One morning,

1.

II

I

l|

my

ear-Iy,

so

^^

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

2.

±

^^ f ^ * P^ ^^

i#

*

V

J

sang"Give us our

life's

5W

lov-ed,

^ lov

w

w

-

—iw

-

I

J

J

I

J

j

gar- den,"Hear the

ask-eth,"Not

glo

-

ed,

- ry','

dear sto- ry.

And

for

the

Give us

my be-lov-ed, All the my be lev -ed, Now for -

* J.J ^i

i^*^

on

the

^

year's

-r-r

in

-

I

-

ry,

fame and

not

for

dove sang'Give us give us love and

J the

Let

my

crease.

^

^ hear the

J

cease. 'Twas

1

^^ sto

w

:»

^

they would

er

1

thrush sang in the voice be heard that

all

-

J

nev

if

P

^^

lark

^

^ r^ As

us doth Springs bright morning Wait up

P

be be

my

^

birds were sing-ing blrthe-ly,

^

A.S.Gatty.

sto glo

-

ry','

ry,

«

w

And

the

Give for

^ peace

peace."!

'•-

PI

38

Dog Tray.

Old

Stephen C.Foster. ^adapted)

Moderate,

^

i

The morn of

1

* SE

-«i

my

*

^

I

i?r

r

vil-lage green, vain-ly seek

m ^

*

i

f

A

i

*

ru -^

r

'

ItI $ i

i

^

% ^ i

j

i

dog dog

ni nev-er, nev-er find

a

that

he

^

*

i

^ i i

U

n

1

I'll

J

-

on the

vain-ly,

i

J

iJJ

dog Tray's ev-er

i ^ 1^ ^§f f W ^

^i He's gen-tle,he

;

I I ?=3*:

f iii A bet-ter

Up

J

^

i^ i

i:

J

l

mmm

I

Old

JlQJj

J

J

Tray.

rc

ji'

me

know

%

Tray,

^ P

i f

brings

I

^^^

Grief can-not drive him a -way

ful.

i l' i l'J I

:?'i-'

i

a=x

t

^:

^

Sporting with my old bet-ter friend tlian old

-6^

It

^

S i

f

faith

cast,

J

IJ

|

J

^

* *

me

^

J

i

Of mer-ry forms I've seen Although he can-not speak,

day.

^ i

II =^

ev'ning comes at last;

sad heart would say;

m^ j

J

tw

hap-py

once

a

what

feels

$

And

^^ of

|

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

*:

dream

J

J

His eyes are on

the past,

call

*

^^

^

-

past,

is

life

2. WTien thoughts re

*

U

J

"cnzg 1

friend than old

3

^

is

I *^

kind,

^

-«»-

dog Tray.

^a

Phrases for Practice,

Key of B

Flat.

Be thorough with this part of the work practicing as before directed. Playthephrase. 3. Singandplay; doh,ray,etc. 3. Sing without playing; doh,ray, etc. 4. Sing with lah(orloo). 5. Sing from memory, indicating the position of the notes by pointpoii 1.

iiig

or writing.

Think intently; sing

d .

.

1^'

s

m

IN

lightly.

d

d

s

10.

d

s

t

I

f

s

rn

J

mf

s

d d

^

d

mf

s

I

s

f

30.

i

d

t

15.

s

d

t

s

s

I

" i

d

32.

31.

d

s

I

m

i

-

'-

J-^

s t

I

s

d

r-* ±:d

mf

d

s

I

m

s

d d d

s

m d

m

d^s

s

35.

34.

i

l

j

m

s

I

29.

l

a

n

w ±=d

28.

d

m

d

t

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

!^

33.

d 23.

22.

27.

I

JjJ | JjJj

j

i

—^JJJ— I^—

*— ^J J- ^jjs m d I s f /n 26.

mf

s

16.

f

21.

jjj'^JJiJJ^JjjJ

ni

slid

s

I

t

dlstddmfaddlstns

s

—

s

I

2q.

±:± ^-^ t

d

s

d

s

14.

20.

"

24.

d

m

d

s

l

19.

mI

d

s

I

d

f

l

t

m

d m

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

JJJl *^ €z«t UiJlJllJ -* ±=^ d

s

13.

'll'l

t

I

18.

17

d

12.

11.

JJjJjjlljJjJJ d

m

s

jj d

r

36.

jjJ'irrrJj rjJrn rrJjjMrrrrJiirrrjJiirrrJ ii

d

d d

fn s

37.

^

d

m

d

t

m

d

s ni

d

s

I

d

t

s

I

f

in

r

r

m

d

d

s

r

-•

m d w

d

r

md

r

d

d

t

I

d

r

d

f

I

r tn

s

f m

d

r

m

ltd

r //i^

d

f/^

s

d

tn

ni

d

s

d

s

f mf

s

I

t

d

r

d

t

I

!^

I

f

d

r

d

t

46.

45.

d

t

I

s

f

fn

f

s

d

t

I

r

m

52.

51.

m

d

s

—

d

s

44.

50.

d

md

s

^ES^

43.

I

md

ni

39.

^-y ^-m-

r d a

d

s

38.

42.

d

d

nt

i

t

d

d

r

mf m

r

d

.

t

I

x

I

t

d

40

Reading Lessons, Key of j^"^

Get the key well in mind before practicing a lesson.

B

^ ^ f 1

Flat. ll

jJ'JJ*

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

Keep

tune; do not accustom the ear to false intonation.

in

^

1.

I

t

^^=^ r

II

2.

How many

r

r

beats are there in a measure?

^ 3.

m£ 4.

How many times

does the key note appear here?

^

Which beat

is

accetited?

e^

^

Which

5,

atzzzn

6, Practice slowly

J

*

^

m^ 8.

a

at

-6i

the beginning

What

is

•

^^

#-

is

#

*

'

J

*

^ ^ a"memory

I

^ Take

1

a

i

»

^^

IJ

good breath and keep the throat

free.

#

:=—

1

\ \

^

-^

^ ?

tone."

the time signature here?

3^

^\}''i

[

"flat"?

.

55

10.

r.

m.

I

IJ

named with the word

^^ The small note

j

I

and keep the rhythm steady.

£

9.

U

notes in this lesson are

^m 7.

£ V-^

,

_

^---i

^

r

41

13.

$

14. Find eight differentfttenhi of notation here.

:±df=M:

What does

15.

the 3 represent?

What

the 4?

fa

^^^ Remember the key

16.

i

17,

d

—

.

I.""

let

d

#

#-

£

*

d

^3=^

^=^

(

^ 1

^A

^

i

-0

#-

^

r

i»

d ^

afci:

•

^ *

m^ ^^-

-6^

25. Measure

JT^iff

high turn

^

27.Which way

:#=ff

it

upside

te ^

will you read

MIM

down and sing

g it?

^—tt

begin one measure after the

;^rfiJJ J'iJ^

first^

il^

i

2. The second voice to

begin two measures after the first.

3. The second voice one

measure after the

first.

4.The second voice two measures after the

first.

H-

rest.

^^ g

Forward, backward, upside down.

?

T

-(5-=

:i=*

it.

CANONS. l.Tlie second voice to

# ^# 77^

i

^

a=i^:

^

k»

rest.

d\^

w=g=m.

i

23. Half rest.

r

If this is too

S

j.ijjJ rr

rest.

1

^

-6^

J

—

^m

m

24. Measure

I

#

JJijJr rr

jfi

nfMJHii^jij *:*^

P

••

J

21.

» Pl »

22. Quarter

26.

-0

IJ

J

^

d

19,

^

d

^

-Mmm.

18. Dont slur.

^

d

the thought be careless or lazy.

,

iP

d

note

^

Dont

d

:t=±

g

F

l#

i

P

^

^^

42

Lessons from Popular Melodies.

Readiiii:: \.Modtr<ite.

W

Ml in

ijl

(fi'

Ml

^^

lr

l

^

r\

ISL

2. Mode rate

?2=#=

^

I

1

—•-

I

-*

"^.Moderate.

a

r

1^

^

^

f^

^^ Q^

^^S

I^^^^^

rP=^r

r

zz

,

*

*

-77^- d»

^ 3

•

n

p

f'

^

If

^

r

"5^-

I

^ I

i

r.

If

M==^=:^

^

^-v

0-

-5^

^i^

If

r

*=f

^

1^ ^ K*

/J

Q.Sloiv.

S¥4 *

f

^-y-

2±Z±22

d

J

l/;>Moderat0. xtosr:

f

i

f-^4f-F4f-^lJ

*

'

3^

^ ^^

J IJ J Ij J

»

I

J

li

J

1)^

rrHi^JiJJ

J IJ J IJ J Ip

i

'!''

j'mI'iiIi

i

I

Mil

H

^^

rh i=t

||

'jLli^

^f

S.Fasl.

¥ ^ji,i.hMnrrr >i^V-i-

i

^m I

m •

-6t-

m^

^ ^.Fast.

l^^'i

11

III

— =n=^-a^^E^-^=F--U^^

43 1

!

.

1,

n

r^rn

44

Theme with Varied Accompaniment

i

$ d

s

/

s

may /

dah

bay

lah

too

nee po

f

s

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

too lah bay

m

s

may

dah

d

t

m

^^ d

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

r

^ i

53

^^ r

r

i

I

t

'd

^

tt

^ ^ f

I

r

T"

Ni-^iffl

^

ihM-4 -=»*^

^ ^ ^^

^^ ^ ^ ^

^

r

^CS3K

i

-

ts

^

f0._

^ w

#P ^

g 1

mf—rf ^m

f

1?

^^

^-H-

F^ ;^

a

»^

^^ I

*:^

^s

,

I

m tM S

^^ ^ ^

rA''iJ rr

fe

J

^^ ^ ^ s rff

-^>i''S J

^

4

^¥S ^ ^ pfffff

f

r

f^

f=

^^

45

Vocal Accompaniment to Melodies. The Hazel Dell. Moderate.

t^"i^

!'

I'' (I

Down

*

J

^

d

s

in

the

s s d Green ha-zel

I

dell

i

PE s

I

sleeps

d

s

Nel-

lov'd

lie

-•

watch

keep

I'lti

-

i zz

^pp

*=^^

5

^ ^

inp;

d

s

the

in

t

-

s

s

.V

.<?

in g,

ring

-

ing,

-

Lone

m

J

where my

t

Nel-lie's

j |

I

d

d

sleep

t

m

Wely.

f

f Fro

,

ing.

-

i%

Bells.

ing rhymj^J^g,

JIK

3^3^

1

^

iE

m

% a

dell

Now my

\y

-

s

s

w=*

I

^ t

m

tn

chim

k

^

The Monastery

Swi ng

lie

m

s

t

P^^ ^^ d Here

s

ly

-

I

^=t:

t —

Lone

^

4

s -

^ Mm m ^ s

I

so well

m

d Nel

i-^-t±-t^

d

t

d There

t

dell

m the

f

s

ni

Sound the

tower.

-s

4-

a bells

s ,

Joy

s

in

s

s

m m

tn

glad-ness Comfort in

d

s

sad

-

ness

r

tn

O^^^SLz

f m

r

d

s

votiontheirmo^^^

d tells

46

Were

If I

a Sunbeam.

Moderate.

If

1

were

I

in

Steal-ing

2.

If

3.

^ 4.

were

I

Sad hearts

seek the

Id

look

whit

-

a

sun- beam

a a

mong them, sun - beam

ing

up

-

est

-

m

I

would

light

est

-

know where

me

Would see

do;

shed,

I'd

would go; shine, shine and I

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

y els

en,

3 i

soft

I

ies

lil

each grace - ful lil low - liest hov the heav they thought of

Un-til In -to Un-til

The

ward

-

know what

1

S!

g

-&-

T

Maying. arr.

^m

Fast.

^ ia

l.Wan

^ 2.

^a

dring in the May-time,Sweet it Spring she is a maid-en Wait- ing

hay-time Thro' the la - den In her

zt

in

I

the

sum-mer

짜

is

to

rove;

Just be

to

be

wooed;

Hid- ing blos-som

-

fore the

g

t^tHj-i-'i

I'f'M

Stephen Glover.

^

i^

-

fr.

leaf-y sol

-

i

j^^

grove, -

tude;

j

Where

the

Coy

she

IJ

breeze,

And

\

rnm

grass is

bend- ing Wave -like is and meek-er Than the

i

22

iJi fair;

i

i

lij

1

ij

53

the white thorns send-ing But for those who seek her

^^m

Per-fumes from the treetT She has gifts more rare.

Never Say

Chas. Swain, Fast.

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

Keep pushing 2. With an eye ev 1.

3. In

m-1

47

Fail.

life's

ip

p

^^^^^m

^^^1 wis -er than

a-

And si^h-iili!; and wis h-ing and tongue that's not dumb, A heart that wiU nev - er to ro -sy morn-ing, in man-hood's fair pride,Let this be your mot - to your 'tis

-

er

^

sit -ting

side,

o -pen, a

ip

p

i

p

p

^^m ^ ^^ ^^

Vi^

TJ^y

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

'>^'

[

\

%

^f

J j J onwardand migh- ty who conquer and

m

4t

P

i^i

j nev- er say nev- er say

nev-ersay ^-^ m

ij

ij

^

How

We'll

onwardand conquer and nev- er say

^m ^ *

r>

m F

f

If

I

F

*f

f

M

i|"

f

-

lus

the

the

breez

es

the

sail.

now

,

by onward

rock'd

-^^-h-W-^^

-^

they

in

#

E'e!i -

*:

the it

when the ver

i

—

^r-

a

viewthem,and

^F

F

F

i

m

%

barque they glide, they glide, waves that sink and rise. lo:

f

F

^*

^m

f=

ti

fail.

m

%

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

Fann'd by Spreading

on

fail

t

^

r float,

m ^

nau

fail.

Stephen Glover, (adapted

te

.

ver the 2. Cast by the

way

^^1

J

r

Over the Waves.

Moderate

F

^

fail,

J.E .Carpenter.

"VI

Who

j

fail,

i

1.0-

i

dai- ly march onward and nev -er say strong and how mighty who nev- er say

fail,

,

^

j

the

tide. In flies. Ear

p wa

-

bil

-

ters are lows a-

^

48

tnrm way, and a

V

There way, ^ J

-

I

."

' '

I I

I

J

7. t=*

I

1

,1

^r-^

.

11,'

J

1

llj

'

II I

I

deep, And

calm, they rest on the and stemming the gale

^

JlJ

J

I

Braving the

FpW^

r

r

.

.

F=f

,N

'

4

sail,

If

p

p

h

the

is

In the bright

they sail. freedom that knows no de - cay.

sur-face they

o'er the

Safe

gale

lash'd by the

by the safe -ty for

lull'd

tide. In

-

zeph-yrs,they sleep, they sleep, ev - er, they glide, they glide. -J-

^f

T

i

ip

'T

fe^tei

r

F

Hearts of Oak.

^

Moderate.

^ ±

iS^

I

*

T"

i

^^r—

arr.fr.

f

F.Campana.

T-

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

1.

^

,

j.J I

«

m

f^E >

J

J.

l

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

'>^'

J

i

? Pis^

^ ^

Free from the chains

^

On'neath our flag,

¥ I

J All

^m

J

f we most

^

Dare

to

i be

God ev- er

•

^.

f"

Bold be your stroke, Swift as the

J

^'

Ef

free,

near.

i ^

^

^^ i

foes that kill

r

^^

J

I

dle-ness weaves, Free from the pains Fighting the wrong, Hill-top and crag

^-

r From

'': I

Ne'er let us yield. Faith as our ward,

I-

i^ 7^

-^^J

^

iv^

i

^

S

,

p

i leaves,

song

P

^±^^H r

r

=??

prize ,Free from fierce will Brave hearts of oak

light.

Coward-ice Ech-o our

,

Hat-red and

On

^^

for tlie

lies,

right.

-&^

i

49

Away Now Joyful

Riding.

Fast.

Kiicken.

^^'\\\\

A -way now

1.

2.

At length a

3.

Now by

steed

U

J

-

words be-guil

-

1

joy-ful

^ rid

cot-tage shin

the

now chid

homedi-vin

J

-

ingWith heart and hope

-

ing

warm hearth smil

ingThen cheering

-

so

light,

Mid floWrets comes to

sight;

ing,There's one the star

his quick flight.

ing;Springs cheer'ly on its ing She bids me ne'er to

flight.

roam.

#pf n $ * $ m * *

m i-

Y\

i

f>

-<9

Âą

.ojij

*

Now

of

My foam-ing My steed its

home,

TMth gen -

tie

urge thee still more fleet the door I see can-not now say 'nay"

Now by I

m

t

I%Ii

i

i

^ road

r

J

i

j

^ i

J

i

i

J

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

Well have

^ ^ Two

ÂŁ

i

^ a

^ fm *

*

i

i

fc

trot

i

-

wayl

r

ri^

A- wayiWe

i

*

i

^

P ^

must more

rest for thee; Trot, trot, trot,trot home I'll stay; Trot, trot, trot, trot

$

I

J

^

^^

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

my own good steedjheres home and a -far

way!

rest for thee

nomore^With love and home

ill

stay

50

Sweet Bird,

Sing, L.M.Thornton.

^

Fust.

my

1.

Sing sweet bird and chase

2.

Morn and noon and dew-y

m

9

?

u F^ m 1&W ^ 'S

^

J

cho-ris

^

I

ter

-

sfe^

^^

|J

J

Jl

i

O

%

i

^

i

i

^f^

J

J

IJ

gain.

-

late.

m

4 ^:.l>

^

\

\

^u

^

\

\

o

lj^'^

Jir rir

\

\

r

^

Say who can be sad at heart. Sing sweet Yield its dul-cet notes a - gain.

to

thy

strain

Sing

s'veet bird

^

^ I

I

I

tale

harp

M,^

of so

J

?;

I

^

^

love thou'rt tell- ing long for - sa-ken

JH-M4^ ^

-G-

r

^

3t

i

J

^y

i

i

\

i

*

Hov-er still a - round my So shall time fond tho'ts a-

^ J

I

I

-

dwelling,There is pleas-ure where thou art; While thy wak-en; Joy once more shall live and reign; And the

^^\

^^

f

i

J

m

From thy Come thou

i

t^

i

can bor-rowThat which bids me hope a of hea -ven Cheer a soul dis- con-so

% f

^

^

i

k &

warbling

^

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

^ y

^

W. Ganz. (adapted)

i

j

r

bird Sing sweet

Sing sweet bird Sing thy

^

M^ii^ bird Let

song

to

me

me

lis

a

-

-ten

gain

51

Phrases for Practice, Key of

F.

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

1.

4.

^ nr 2

1

i

d

m

s

9.

Y

s

^-i

^^

d

d

tn

10.

J J

Jl

,

d

d

d

r

m

r

m

r

m

s

d

m

r

d

23.

^

d

I

t

t

*

d

d

r s

t

d

d

m

s

I

s

d

r

d

d

t

r

/

24

25.

I

md

s

d

s

d

t

d yS

^

d

m

s

15.

t

J

I

s

I

tl

d

20.

/

d

m

s

JJJII^JJ

• d

^

-m-

d

s

14.

19.

tn

m

d

d

s

n

d

j^^jji j^ rrrli d m f

8.

13.

18,

s

6.

d

d

s

12.

17.

d

d

did

d

5.

-0-

d

11.

16.

t

4.

3.

a JJJ**

d

t

d r

ni

2''l.

t

r

d

d

26,

27.

i ^tat drltddfmls

d

r

f

s

d

^^ a

s

m

d

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

28.

30,

29.

32

31.

33.

^m

-•-r 39.

53.

54.

55

56.

57.

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

m m 4

62

^TjjP'CTji

35.

34.

40.

41.

58.

59.

*=?

^

^^

"

60,

*=^^

64,

63. • # # * ^

n

*=^

43.

42,

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

jj

I I

65. at=^ »z^

-trzf

I

5Z

Reading Lessons, Key Q,

Use the instrument free ly beforepracticing a lesson; but while singing it throng2;h, play only as directed below.

of F. m ytT P f m ^

| |

(C>d^|

ll

M

^

I| p E

2. Doh,ray, etc. voice alone. 3. Lah, voice alone. 4, Clap the and play all the other notes. Do not both play and the Feachtime Sing hands for accent. singthe second; alternate throughout. 7. Sing and measure first the Play sing at once. 6. time. 9. Sing and be silent; alternate measures. Beat 8. so on. and second; the the first, play

Play andsing doh.ray, etc.

1.

5.

write the lesson.

10. Point or

^ ^m

1.

^m 2.

^t

m

m

in the time of a rest

Do not sing

J^-l^lJ-l 3.

Name

.MIJ

!>''

4.

the letter

names

f

I

IJ

J

J

B

^

upon?

i

¥

?

<

of this key,

^

5. Which line is the flat placed

m±=d

J

^^ ^

Without looking, think the signature

%

MJ

J

of the scale,

^

J

I 9J

^

»

^

#-

-0

6.

m4-y 7,

#

w=-=^

¥

Can you without looking think the representation

*=*

f

8.

f

J

I

J

17

^

of the scale?

i

^

J

=?==*

9.

^^

i ±=i W t\'Tm ^ hat

10.

11.

is

Eeeee^

the time signature?

i

M

w—w

J

J

V

r

J

HzzM

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

^g 4 ^

J

«i

MJ J ^-h^^

12. Sing a few notes of

» ^a I

I

.

I

I

i i

I

"America" pointing

^^ I

I

1-^

^

it

i

r

"

^ 1

^

on the fingers,

ir->-+*

s

^

13. What do

,

we

call the figures at the

i w-^

Vi=w 14.

15. There

^

i

16. In

many

first beat

%

though

it

be

silent.

i

?=^=«

music begins with the up

pieces, the

te * t

^^

•

d

^^niu

J

out.

must be a mental accent on the

\ ^3

beat.

*

*

-

M

[J J J

32:

17.

/

<P

it

i

*

HJ

I

Sing the key note and point

53

beginning of this lesson?

^j

n^

^

"-i

i

^^ ^a

M M ^ |J

r

ij

18 I'is

J

J

r

I

If

"

1^

^

r

^

J

1^

J

ij

J

i

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

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

^"1

-

f

\

^

20.

^^

junNunnUM^jim^jUMN r

i

^ ^

*

d-H»

^

^ f

i 1

<-

2£

!

I

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

I

i

^3

^"=? m

feES

<^

I

f

J

r

r

I

^^

**

^

m

22. Sing a note in place of each rest.

^•tJ '

\

IJ

^

23. Change five notes

to

^li_i^j^^

i

r

this

more smoothly melodic

' I

I

1^

-'

IJ

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

^^• '

>-

make

I 1

.

Hj^

-^

25. Change the position of a quarter note

^ ^Flt

^

in

each measure

J

ij

I

1^

54

Reading Lessons from Popular Melodies, \.Sloiv.

.

Q

,

..

1

—

1

1

—

1

1

1

—

1

1

1

—

1

—

1

t

1

1

1

1

1

1

z^,

1—T

^

1

55

W

9. Fast, "

-^ ^ ii j j

J

I

J J J

J

I

J

"^

^^

r^v^^^^

I

^^=^

m

X^.Fast I

'j'/

N

i

i

UJiprrif^

i

'^

'

'I

W.Fast.

Jr tmJ

i>g

I

r

If

J

I

j

|

i

JUIJ

a=s

jj|j jj

^ J^rirr

rH'

JJ

I

Jl-'

J

l

J|'

|

|

jjij

[-lJ '

l

['

l

fi^

l

|

VI. Moderate.

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

m

22

i^^JJ|7MJ

ffpl'i-

l

l

-i |'p

^^

^

J J

l

l

plfr

,1

|

l

-

J

pr'

lJ

Jl[7M-

|

|

l

^.

l

j^Ti~r

i

# tzt

JJLI.|g

i

f^j

i

1

|

*-nr-

i

^

JLM^

J|J

14./V?s^.

j.^y'j

^^

,

i

I

I

i

J

J

J

i

Jf

ip

i

J

J

I

\o.Fast. iL^^

jJ

16.

l

JjIjjM

Moderate

I

J

^Jg

I-

r

T J

r

^

^

J

^

i

I

JJ

-

^

J

=#==*

^ ^^^

:2i]

^7-

^^ tzJ

56

The Water Mill. Diehl.C adapted)

Fast

t'il 1.

J

IJ

List-en

to

2. Take

0-

4t

How Gold

-

r

-

M

^

wheel

the

of

en years are fleet-ing

by,

i

^m

Wears

the hours a

Youth

is

i

J

^

f

Lan-guid Strive to

I

r

From the Time will

i^

PT^

*Hj

J

^

the

a

Leave no

most

of

^

i

r

r

fields the

nev

-

er

f

^

i

p -

day,

py

i $

i

^tf?=Fi^

I

^

^

i

If

reap-ers

sing back,

^^

bring you

r f

i

i

ten-der

hap

Lose no

TT i mem-'ry

^^

too.

Stirs the green-wood leaves

life,

f

way

P

^m

J

J

Au - tumn wind

the

i And

I

*

J

r

J

^m^ ^ ^

make

^

1 t)a

ly

-

^

f

IJ

•

*

-

pass-ing

FPliJiJU^iJU^* i *

^m

J

J

All the live-long day Lov- ing hearts and true,

mill

ter

your-selves,

to

r

i

click-ing

the

wa

the les-son

a

J

J

J

o'er

I

I

word un

^ ^

I

J

mind As

ray -

sheaves -

way.

i -I

I

Bind- ing up the Chan-ces swept a

3t

J a

said, Love,while

l

i

^

spell

is

love shall

cast;

last,

The The

57

mill will

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

mill will

is

past,

is

past.

/

Gentle Zitella.

Cooke.

Fast.

^m

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

W=t

,

I

I

while

thy

ra

-

grant ye

fr

No

hair;

And

no

prayer^

To

If

hF

li

i

j

J

J

Night

is

ad

Thou

art the

rob

'Tis

the bold

Bri- gand him

J

^

-

your light

f

i

is

«

.

-

la

dark-er than

ye no

List

— —^^t=% —

dit

m-

i

-

and

ty

a

if

J

;

cap tive

I

self

who

p

F

-

J

-

nel

Love's ri

-

tor

-

nel

Love's ri

-

tor

-

nel

fear.

^P

i

l

broad! he,

now

tor

fear,

i

is

-

thy

F

F

singsl

'I '

>

I

I

>

F

l

Lone-ly

Zi

tel-la

GenGen-

tie

Zi

tel-la,

tie

Zi

tel-la,

^

^

may

not

hear,

and and

hear,

i

^

la

she

-

la

tar

-

ry

-

la

tar

-

ry

-

F

i

^

Bri-gand's a

r

F l

the -

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

Bri

the

if

foot-steps let

*f

j

ban ban

thy

not

lin-gerd too

have

Love's ri

ish

fiF

1

fear,

-

p

f"

those bright eyes,

to

ish

Night

nel

-

s

much has -

tor

ware;

f"

the

p

-

1-

ber

p

Love's ri

way?

-

vanc-ing -

i

i

*=i

play.

^vf-f-p

a

thou shouldst be

ven

I

j j

'

shouldst thou care?

.-,

t^

*

i list

whith-er

why

'

i

,1

—— Mr

t f

1=9iM

'

ij

I

%

221

^^ hear.

a

58

Phrases for Practice, Key of

D.

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

etc.

1.

4.

^

1,

*

h

m

s

rn

(f

s

m

d

m

s

d

s

r

s

16.

d

s

10.

9.

8.

mf

d

m

"S^

iF*=*

m

r

mf

d

s

d

r

12.

11.

18.

17.

s

s

sfdmmrds

d

m

J

r

d

r s

d

15.

13.

14.

mfrs

mf

20.

19.

^'

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

m

r d

22.

21.

—

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

m

r s fn

tn

23.

d

s r tn

t

I

s

m

d

I

s

l

d d r

mf

s

26.

jih^jj d

s

r

25.

24.

I^S I

I

t

d

i

t

d

r

m

s

m

d

d

t

d

s

28.

27.

HTJ^iur s

m

d

I

p I

f

r

t

d

d

30.

29.

rJ^J irrr

n^

i

d

s

m

I

d

s

t

m

s

I

i

d d

s

rr^ t

d

ii

s

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

9. 11.

Were there any consecutive repetitions Were there any skips? 32.

31.

U

34.

35.

I

J ^

42.

41.

"j—J

ii

50.

43.

52.

ii

i

59.

53. i

39.

38.

^ ^

45.

54.

p^^

±=A

46.

56.

55.

49.

48.

47.

" <*

^ •

IJJJ.^

61.

^

62.

jJJjjj

J ^

58.

57.

'J

60. I

37.

*-^

iJ ^JJ i^iJ if JJJJJJJ

44.

*=»

51.

36.

Which note was thus repeated?

^m

^^ 40.

h

33.

of a note? 10.

63. i

j;:^

59

Reading Lessons, Key Keep

^7

in tune.

(

J J

J

|

of D.

^

^ J . f f p

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

5.

1.

Fix the new key note well in mind

-»

—

Have you done Ihe work carefully

3.

•—

-*

m 4.

^m

^-0

What two

*

notes in this key are

in the

I

g

I

*

^

*

#

preceeding keys?

3

g

<

named with the word"sharp"?

^i

1

^^

5. Notice the rests.

*

^

4

*

4

6.

*

s

8.

The

letter

«fc

'

^^m

*

jiameof the note in the

*

I

*

t

9.

^ *^

*

—

10.

-Mnr-.

:

4

first

J

space

is

MJ

not

J

F.

What II

*

^

is it?

1.

8.

Play and sing,

Beat.

9.

2.

Voice alone.

3.

Lah.

4.

Hands.

5.

Key-note.

6.

Play-Sing.

Silent. lO.Point.

13.

tI:^ H

r-rr-rr-j

«P

9r

14.

y":^j 15.

J

IJ

J

-^

—*~

s

•

^

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

16. 'j

17.

J

J

i

r

J

Ir

J

IJ

U

r

ir

J

i

r

j

7.

Sing-Play.

61

Rhythmic Forms.

^^ ii

I

J

4'';

I

1

I

I

1

6.

i

*hi

\

i

\

\]i

J

U

\

Hj JmJ

J

r

\

r

t

f

r

r

^i

I

Mr

9.

*

J

J

1

1

II

I

i

8.

"^^j

1

^ ^^ ^^ ^ nn ^ ^ ^ ^

5.

m

1

I

J I

?

r

i

^i

>i^

^

^

Hj

J

>

r^^-f-u

f

St.

10.

#

^

3=

P^'^

J

'

I

^

M

^

J

I

f

"

''

j^"

J.

I

J

r

ir

3J*

r

^

d

^

12.

fe

r

r

I

'

'

' '

I

f

t

Mf

M

^

62

Reading Lessons from Popular Melodies. jijirrir-^Nj 2.

jh

J^^^

J

J

J

J

mzrm-

M

i

?>,Fast.

m m \m

—

«>

^

'

•-

ji^Ji^Jir^i^J Jj

#

i

i

j,^^

Moderate

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

i

i

.

a:

JJIJJIJIJJ

^l I

l

J^hl Jjl-l iJ l

Jjj rrrirH

i

i

^

5 Modemte

%^A

^

l

I

^^

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

hiJ ^ \

i

•

^

^

s

jJ ^

^^

l

JjJ

l

.LI-

•

Jlr^a

«j

*

1

d

^ ^

1 I .Moderate. j.uuaeraie. .

^

hJ rirJi^JM i

8.

Tt

Fast f

Ai.

i

xS'/oe^;.

Fine.

jtmr^

i?.C.

JJ

l

J

I

I

JJ

Q.Fast.

m A

J,

'!'

=^

?

r ^

,

Jjljl

,

iJ"'

rr f'J i

10. Moderate. wj.inoaeraze.

J

III

Ml

J J

I

^

J J

^ i?.^.

-fi^

63

The Old Familiar Place. Moderate. '

J

l.We may 2. We may

rove the wide world sail o'er ev - 'ry

m

^m Of

A

home we

the

ny

-

spot

so

lov'd

of

dear

to

r

i

scenes may

be

as

Words

corn-fort

we

may

-

\

of

tr-Hf

j

j

J

^

i

'

j-

n

\

wel-come

and the

tones to

mem -'ry

home, of home, the

is

p

All

the to

^

^

N

is

F

And

be,

If I

j

i

^FfTfJ

Home Home

yore.

'

I

hear,

It

f

U

j

light

dear,

^ be

reft,

longs

p

those old

we home

find

shall

fail

old

fa

mil

one

we

still

left

songs,

1^

find

-

left

place,

be

hind

.

1^^

f

miss,'neath

a - lien touch the

can- not

I

j

J

I

skies,

heart

j

f

^m r

Mem-'ry All

iai lar

j

we

Of the Of the

f

-

I

But they

2

I

forms of hear the

ne'er shall

^r

bright, But

wand-'rer

this

.W. Glover

ij

J we we

Of the As the

r

Both the Like the

J

I

C

2

f

k

ft

But sea, But o'er,

'

y'jtj. 0th er

I

fm.

arr.

the

m

old kind

friends

If

loves

a

eyes.

part.

-

17

p

^

ing

whom we

lov

from

r

^ -

scenes of

gain youth

to

trace

to

trace.

lar

place, place.

f

In

the

old

fa

-

In

the

old

fa

-

mil mil

iar

f>4

Gently Rest. Kiicken

Slow.

AH

1.

a. Gent

-

is

still

ly

rest,

in

sweet

the

night

rest,

est

-

stars gleam,

Be

thy

Soft

thy

hW

T

m

SEE

f

—

i—^ *

--^

9

se

sleep

slum

4

-

rene

-

ber,

^ -

bright

—V

ly

blest

thy

dream;

o'er I

the

wild

will

keep

;

are

moan

Fear

no

harm,

i

^

*-

r

fJ

la

-

sleep

by,

and ward,

i

-I

J

I

Watch

for

ISJ

I -

ing

-

—

1

p Lul

^

Winds

9-1.9

S f=f

^

^

f

—

^m jm

^

»

\

my

on,

while thou'rt

a

child.

sleep,

-

* •m

^m, ^ i

T

_ Lul

Watch

on,

-

la

and

my

-

So

lul

r

a

-

-

la

^

^^ T

-T^

-ri

my

by, sleep on, ward, while thou'rt

child.

T

r

r

T

f

n

HI

0-

child.

So

lul

la

-

by,

sleep

sleep.

So

lul

la

-

by,

sleep

-

by,

sleep

on,

my

child.

Methods and Studies

Superior Vocal

MASTER VOCAL

THE BEGINNER'S VOICE BOOK

EXERCISES By

FRANTZ PROSCHOWSKI Every teacher

of

voice

and

students of singing should

all

know

this

remarkable

instruc-

tion book by the vocal advisor many widely acclaimed of presupposes no singers. It knowledge of -nusic and de-

the

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

The

and

te.xt

anatomical

In Four Grades

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

bound

^3.00, cloth

SINGING

HORATIO CONNELL Price, $1.00

By

Price,

STANDARD GRADED COURSE

present.

TECHNIC AND ART OF

il-

lustrations covering the singer's equipment are parphysical ticularly helpful.

HERBERT WILBEi* GREENE

By

Price, ^1.25 each grade

A

compilation

arrangement

and

of

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

and may be supplemented by other material at the discretion of the ment,

SINGING

teacher.

FREDERIC W. ROOT METHODICAL SIGHTBy

SINGING.

VOCAL STUDIES

Part ning Part

High Voice, Medium Voice, By

TURE,

EDMUND

J.

MYER

Price, ^1.25 60

Op.

22

1.00

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

75

For Medium Op. 25 For Lower Op. 26

Compass, 75

In

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

methods embodied

cuts made from photographs taken especially for this work. These illustrations make the work of the pupil much more simple and secure.

Compass, 75

SCALES AND VARIOUS EXERCISES, Op. 27

SHORT MELODIC

For

High

Low

and

Voice, each