THE

TONIC SOL-FA MUSIC READER:

A.

COURSE OF INSTRUCTION AND PRACTICE IN THE

TONIC SOL-FA METHOD OF TEACHING SINGING,

WITH A

for Day Schools Choice Collection of Music Suitable

AND Singing Schools.

By

THEODORE

F.

SEWARD,

assisted by B. C.

UNSELD.

APPROVED BY JOHN CURWEN.

BiGLOW
No. 76 East Ninth Street,

&
New

Main, Publishers,
York, and
81

Randolph Street. CniCAGa

DEALERS GENERALLY. FOR SALE BY BOOKSELLERS AND MUSIC

onris o
Coi'YRIGHT, 1880, BY BlOLOW

& MaIM

has

PREFACE.
presented by the authors of this book to the American public, in the firm belief that tlie introduction of the system will mark a new era in the musical history of this coiintry. The ToMc Sol-Fa System presents two widely different characteristics, either one of which ouglit to commend it to all who are interested in music. Together they constitute an absolute demand for recognition.

ITcountr
in

Eng

methods c awaken a
to

lead th

The Tonic Sol-fa System

is

compositic
this

count During
thi

movement
side of

These characteristics are

// removes three-foitrths of Second. leads far greater

Firs I.
//
to

This coun
the difficulties

of music from the path of the beginner

in the

; atid,

ments."

intelligence

and appreciation

advanced stages of study and practice.

:

scholarly American musician has recently written concerning Tonic Sol-fa

easy, but for

"It

number ha But at
tained clei

is

not only a

method of making mubic

making

it

more truly and profoundly understood."

been want
nizcd

System is often called, by those who use it, "the natural method." The steps of progression are so easy and natural that both teacliers and pupils find a pleasure in the study that they

The Tonic

Soi,-fa

and

people, ev

never realized before.

It is

so simple as to bring about a

little

new departure
little

in

the teaching of music, in the

to

based upc

donee in
witness

following respect

Those who knoK' a

about music can teach that

without being compelled

master the whole

an opport
its

science beforehand, as is necessary

with the staff notation, in this way a new class of teachers is developed wherever the Tonic Sol-fa System is introduced, viz: persons of education and culture who love music, but who have heretofore been deterred by its technical difficulties from devoting themselves to it. It has been a cc mmon experience in England for such persons to begin teaching the first steps by the Sol-fa method, and, becoming interested, they have gone on studying and teaching till they were led to devote themselves exclusively to music and became among its most intelligent exponents and successful workers.

Seeing
cational p
ftimself to
Ais return,

wnt grides

idvorable

Try the system fairly. Do not omit the best points and fancy you know all about Sol-fa. The various devices and expedients presented in the system are not matters of theory, but the outgrowth ol years of actual trial and experience by many of the best teachers of Great Britain.
This book is prepared for elementary classes of all grades. It embraces the first four " steps " of the system, and is intended for Singing Schools and the various grades of Day Schools. Even the primary departments can be carried through the first steps by the aid of the modulator, handsigns and blackboard.

One
is

of
1

biings so
that
it

h
1

avoiding
the

mind
diffi(

these

accu;Uome
Tlie fol
1.

important to state that the "Tonic Sol-fa Music Reader," is published and approval of Mr. Curwen, the founder of the system. The first steps were examination and were returned approved, with but few and unimportant changes. of Mr. Curwen, his son, Mr. J. Spencer Curwen, who takes his place in directing land, has examined and approved the MS.
It is

with the

sympathy submitted to him for

full

The

so

staff,

Since the recent death

the

2.

To

loci

movement

in

Eng3.

be I twen

Orange,

N.

J.

THEO. F. SEWARD, B. C. UNSELD.

The

re

plica
in th
an, a

INTRODUCTION.
has been known for some years by musicians
in
tliis

ITcountry that an important musical movement was in progress

A new notation had been invented, and new in England. methods of teaching were cpming into use which seemed to awaken a widespread musical interest among the masses, and to lead them rapidly to the practice of a much higher order ol compositions than those studied by die corresponding class in
this

Each degree of the staff is so modified in the use of the various keys as to have more than thirty different meanings.

4.

When

a chromatic tone
it

is

introduced there

is

the reader whether

leads to a change of key or

nothing to tell is merely

"accidental."
5.

ic,

in the
I

caiintry.

country.
6.

to

com-

Dgnition.

:tice.

it

only a

steps of
that they
ic,
''

in the

the whole

During what may be called the experimental stage of the movement, it is not strange that the attention attracted on this side of the water amounted to little more than idle curiosity. This country had already been the subject of repeated " experiments." New notations and "easy methods" almost without number had arisen, won a few converts, and passed into oblivion. But at last it became evident that tlie English system contained elements of vitality and usefulness which the others had bucn wanting in. Prominent musicians in that country recognized and acknowledj^^ud its educational value, and thoughtful people, even in America were convinced that the system was based upon true philosophical principles. A two-years residence in England and Scotland gave the author of this work an oppurtunity to thoroughly investigate the method and to
witness
its

The intervals of the scale (steps and half-steps) are in no way indicated or suggested by the staff. The minor scale is not individualized by the staff notation,
and remains
mystery.
to the

average music reader an unsolved

to time.

7.

Notes have no fixed value as

quarter note in one

movement may be
and
8.
vice versa.

twice as long as a half note in another,

The

technical difficulties of the notation so cover

up and

mystify the simple realities of music that the study of har-

mony, which ought

to

come

naturally in the eaily stages

is left

of any thorough course of instruction,

after every other

as an abstruse

science to be taken up as a special study

t)3'-a

favored few,

department has been mastered.

is it

In view of such an array of difficulties,

there are so few readers of

any v.-onder
is

th.it

ieveloped
ve music,
t.

practical results.
is

music?

The

truth

that

tlie

staff

Seeing

believing.

The

superiority of the system for eduthat

notation

is

(except to the especially gifted)

rcMy a barrier delwecn

is

It

has

le Soi.-FA

to devote

workers.
-FA.

he resolved to devote ftimself to the special work of introducing it in tiiis country on dis return. A practical use of the s3-stinn with classes of dift'er(nt grades and ages since his return has fully confirmed the kdvorable impression already received.

cational purposes

was so evident

the learner

and music, and

the only question

whether or not

it

will

be overcome.

In nine cases out often

// is not.
f>I'-

In contrast with the complications of the staff notation,

erve carefully the

following characteristics of the Tonic Sol-la

system
1.
It

The
is

One
that
it

of the principal reasons

why

the Tonic Sol-fa system

has but one representation of the scale instead of fourteen,

as in the staff notation.
in-

2^rowth ol
" of the

biings so

quicker and better results than the old method, holds the learner constantly to \}i\c practice of music by
difliculties of tlie
staff notation until
effects.
is

much

2.

There are but two representations of each chromatic tone

stead of
five,

avoiding the technical

-js

as in the staff notation.

the

mind

thoroughly trained to musical

it

How great

3. "Accidental" orpassingchromatic tones are not

confounded

imary deboard.

these difficulties are

is

hard

for

us

to realize

who have been

accustomed
1.

lo

them from our

earliest years.

sympathy him for

in

The following are some of the more prominent of them The scale is represented in seven different positions on
staff, or,

with those which lead to a change of key. 4. Changes of key, however remote, are clearly indicated by In the words of an acute musical critic, this notation.
(Dr.

the

W.

S.

B.

M.VTHEWS

of Chicago,)

"the Tonic Sol-fa

including both

clefs, fourteen.

notation shows the musical reader exactly what he needs

:ent death
it

2.

To

locate the scale

upon

the

staff,

thirteen signatures

must
clefs,

Eng3.

be learned and remembered,

twenty-six.

or,

including both

5.

to know." There is no puzzling out of notes on added lines and spaces, which is always so confusing to the beginner, (and usually

EWARD,
LD.

The

representation of chromatic tones

is

exceedingly comits

a long time after beginning

6.

plicated.

The same tone

requires for

representation
:

in the various keys, five diflferent characters, viz.

aH, aX, or ate.

a$,

a!j,

7.

The representation of time is simple and uniform. By this notation the minor scale is easily sung and understood.

IV
8.

INTRODUCTION.
By
the Tonic Sol-fa notation and the method of teaching which properly accompanies it, the principles of harmony are received almost unconsciously, and can be comprethe Tonic Sol-fa College of London. After his arrival in Boston several years ago, he devoted considerable time to the Kinder,

garten work, and developed a very ingenious

hended from the beginning. 9. It is the quickest and most thorough means of acquiring the
use of the
ular classes
is

tones by colors.

method of teaching His method has attracted much attention

it

staff notation.

among prominent advocates of the Kinderjarten system, as adds a new educatirnal element to that work. Mr. Batchelloi;
is

The highest aim

to

of those

who

teach the

staff"

notation in pop-

an

official

representative of the Tonic Sol-fa College in this

enable the learner to read music, and the difficulties are so great that a very small per ccntage of those who begin the study ever really acquire the ability to sing indt. -^ndently at sight.

country.
this

He

book, and

has taken a deep interest in the preparation of its authors are indebted to him for many valua(see

ble suggestions.

The Modulator,
Sol-fa system, on the contrary, developes the

page VIII.)

As

the

Sun

is

the centr(

The Tonic

general musical intelligence of the pupil his perceptions, his It enables him to think music, listening faculty, his memory.
to
7;'rite

of the Solar system so the Modulator is the centre of the Sol-fa system. The Modulator in the Tonic Sol-fa notation takes the

music

the ability to read

it

comes incidentally as a
^

every note

place of the Staff in the common notation. It stands behind we see in the book. From habitual use of it, thu

matter of course.

Another advantage of this method is that it is really a system, from beginning to end. The pupil's way is marked out by a scries of "steps," and a great incentive to industry and practice is afforded by the giving of certiftcatcs to those who prepare to pass the various examinations. These certificates are issued by the Tonic Sol-fa College of London, and are five in number the Junior, Elementary, Intermediate, Member's and Advanced.

Mind's eye always sees it there. It is our "pictorial symbol of In the first steps it shows us the relations of tones in a single key, and at the fourth and other steps it shows the relations of keys to one another. A complete familiarity
tone relations."

with the Modulator

sible to

is of the utmost importance, for it is imposunderstand the notation properly until it is printed on in fact, until the letters of a tune become not merely the mind a straight line, but "pointers" which at once carry the mind to
;

A tc.'icher who has

to give the Junior

taken the Intermediate certificate is entitled after a proper examination (For requirements, see page V.) One who has (if th:j pupil. tiie .Member's certificate is catitled to give the three lower ones. Neat and tastefully printed certificates are supplied by the London College at a nominal price, which can be filled in by the

the Modulator.

It is

to the Sol-fa singer

It is

what the key-board

to be

of

and Elementary,

the piano is to the .player.

not sim'^ly a diagram illustra-

ting the intervals of the scale

and related keys,

Its great

used a

few'
it

times and then laid aside.

affords for drilling the class

value

is

in the

means

on the tones of the

scale.

It will

teacher as needed.

While the Tonic

Sol-fa

system has arrived

at its

present stage

of perfection through the experience of many teachers, yet it has liecn chiefly moulded into shape by the wisdom, firmness

be observed that the syllables are spelled with the English sounds of letters instead of the Italian, as has heretofore been Children are not accustomed to to the Italian the usage. sounds in any other words, and there is no occasion for confusing them with these. The open sound oi soh is preferred to
sol as
is

and orf:anizing qualities of one man the Rev. John Cukwkn, whose life of singular usefulness has ended within a few weeks. The educational part of this book the method proper is drawn from Mr. Curwen's various published works, but mainly from "The Standard Course." The authors claim no originalIt has ity for this book except in the manner of presentation. been prepared with great care, taking in every valuable point of the system, but rearranging and condensing for the special adaptation of the method to the musical needs of this country. The " Standard Course," which is Mr. Curwen's most complete

being more vocal.

(si)

The exchange
twice,
e.
/'..

of " te " for " se "

viz.
:

(si)

a needed improvement for several reasons,

2.

i.

The

usu

of the syllable " se "

as the seventh of the major

letter " s "
it

has the most should not occur more than once. 3. The change gives an additional consonant, and is useful for practice in articulation. 4. In the Sol-fa notation a
unpleasant sound in the language, and
different initial letter is

scale and also of the minor.

The

needed

for either soh

or

se.

Mental Effects. Somo

teachers are, at

first,

inclined to
effects are

ignore this doctrine of the Sol-fa method, but

it is

a subject emi-

setting forth of the system, includes full instructions in vocal

nently worthy of the profoundest study.

difficult

Mental

harmony, musical form, etc., etc. The "Tonic Sol-faMusic Reader" presents only the broad facts of time and tune, for the use of elementary classes.
training,

Let not the teacher be discouraged if he does not at once grasp the whole matter. The perception of mental effect is cumulative, the more
to

perceive because they are mental.

A new and very interesting amplication of Sol-fa principles is now being made by Mr. Daniel Batcheu.or, of Boston, in the Kindergarten work. Mr. Batchellor was a well known Sol-fa
teacher in England, having taken the

the subject is studied the plainer

teaching by mental effect has
Sol-fa

it becomes. The practice of become so important in the Tonic

method
it.

that the teacher cannot take too

much pains

to

Advanced

certificate at

master

Ife should remember that thest effects txist, whether he

INTRODUCTION
and it is certainl}' wiser to utilize than to ignore them. The pamphlet " Studies in Mental Effects" furnish a large variety of examples. Steps of the Methou. One of the most useful features of the method is the arrangement of the course of instruction in a The close of each step is intended as a series of graded steps. point at which the work should be revised, and the standing of each pupil ascertained before proceeding to the next. Anything which is left dimly understood or imperfectly practiced in one step, is only a legacy of so much confusion, weakness and discouragement handed over to the next. How many lessons will be required to teach each step it is difficult to say, without knowing the kind of class. Some classes will require one lesiicognizes

V.

them of

not,

Bring on separate slips of paper the names of three tunes, and point and Sol-fa on the Modulator, from memory, one
of these tunes chosen by
lot.

Sing on one tone to

/<?,

\os.

to 9 of tlie "

any one of Elementary Rhythms," taken by lot.

in pcifcctly correct time,

Two
i

attempts allowed.

3.

Follow the Examiner in a Voluntary by the Manual Signs, or on the Modulator, moving at the rate of M. 6o, and consisting of at least sixteen two-pulse measures, including

leaps to any of the tones of the scale, but neither transition

nor the minor mode.

4.

Answer

correctly any

one which

the teacher

the exercises belonging to Class

in the
{e. i

son and

some

three or four to each step.

The

teacher should

steps of "Hints for Ear Exercises,"

may choose of second and third Nos. 76 to 121

,

be guarded against hurry rather than delay.

and 160
for the

to 175), or

any corresponding

exercise.
:

The

Certificates.

At

the end of the third step a distinct

is

Ele.mentarv Certificate.
Assistants
1.

Examiners

Teachers or

their

personal examination of each pupil

School Certificate.
nation is

Junior At the end of the fourth step another exami-

made

who

hold the

"

Intermediate."

Elementary Certificate. The value of the Certificate depunds on the known character of the Examiner for strictness and integrity. A careless examination soon makes the pupil ashamed of his Certificate and of the teacher wiio signed it. The special object of these Certificates is to save the pupil from one-sidedness, and to secure an equality of progress in lime, tune, memory, &c., as well as to promote priThey supply to the teacher vate study and discipline at home. also a welcome test of his own work. If he finds his pupils generally failing in the Time Exercises of the Certificate, he knows where his own neglect has been. If their failure is in the Ear Exercises or in memory or in tune, he learns how to improve his lessons. It has been proved by extensive and careful statistics, that those teachers who make the fullest use of tlie Certificates have, on an iiversigc, /our times the success of other

made

for the

Bring on separate slips of paper the names of six tunes, and point and sing on the Modulator, from memory, one of
these tunes chosen

by

lot.

2.

Sing on one tone to la in perfectly correct time, any two of 'Iwo attempts the " Elementary Rhythms," taken by lot.
allowed.

3.

Follow the Examiner's pointing

lator,

4.

in a Voluntary on the ModuM. 60, containing transition into one of the side columns on the "better method." Pitcii by help of a tuning fork. Sol-fa not more than three times, and afterwards sing to words, or to the open syllable La, any " part " in a psalm tune, in the Tonic Sol-fa

moving

at

the rate of

Notation, not seen before

|

but

not necessarily con' lining

any passages of
5. Tell

transition, or of the

Minor Mode, or any

divisions of time less than a full pulse.

teachers,
fore
to
it

however

skillful those other teachers

may

be.

Thereis

succession (except

is that, in

the Tonic Sol-fa movement, every pains

taken

put /lonor on the Certificates first, by guarding, as far as posthe strictness of the teaching
;

by ear the Sol-fa name of any three tones in stepwise m r d) the Examiner may sound to the syllable "Sca/i," the Examiner having first given you the key-tone and chord. Two attempts allowed.

and second, by firmly proappearance of any uncertificated pupil at a public concert. Any one who gives his pupils the gratification of taking part in a public entertainment before they have taken the trouble to prepare themselves for a Certificate, does an unkindness to his brother teachers and to our whole movement, and a greater unkindness to his lazy pupils. The Elementary
sible,

hibiting the

Manner
It is

of Tetu'hing-.

hardly necessary to say that the ways of presenting the various subjects in this book are not to be followed mechaniThey are illustrations of the manner in which the topics callj'.

may be
this

treated, but every teacher will

have his

own way

of

Certificate is the only

class,

honest introduction to an Intermediate and the Intermediate Certificate is a necessary ground of

for

carrying out the details.

One

of the leading characteristics of

membership

an Advanced

class.

needs to be occupied with is the grand motto of the/ Tonic Sol-faist. The new devices of the system the Modulator, Manual Signs, Time-names, and even the doctrine of Mental
system
is

that so little time

theory.

"We learn

to

do by doing"

JRequirements of the Certificates.

Junior School Certificate. ^j:a'/rj
Assistants
.

Eflfects

Teachers or their

who

hold the " Elementary."

more, to think more, to remember better crease his musical intelligence.

are all expedients for leading the student \o practice in other words, to in;


VI

MENTAL EFFECTS AND MANUAL SIGNS OP TONES IN KEY.

^OTK.

The dixigramssliDW the right haiid

and

Aw

signs in front of his ribs, chest, face

as seen bij pupils sitting in front of the teacher toward his left hajid. head, rising a little as the tones go up, aud falling as they go down.

The teacher makti

FIRST STEP.

SECOND STEP.

THIRD STEP.

SOH.

The Grand or bright tone, the llnjor Dominant, making with Te and Ray the Dominant Cliord, the Chord S, and' with IHih also the Dominant Seventh Chord,
the Chord
'S.

TE.

LAH.
The PiEEciNO or
jor
sensUive

tone,the Ma-

Leading Tone, making with Ray and The Sad or weeping tone, the Major Mih the weak Chord T. Submediant, making with Doh and Me the Chord L.

The Steady or calm tone, the Major Mediant, making with Soh and Te the rarely used Chord M.

RAY. OOH.

FAH.

The RousiNo or hopeful tone, the Major The Desolate or awe-inspiring tone, The Stuono or flrni tone the Major Superionic, making with Fah and Lah the the Major Subdominant, making with Lah Tonic, making with Me and Soh the Tonic Chord R, in which case it is naturally and Doh, the Subdominant Chord, the Chord, the Chord D. sung a komma flatter. Chord F.

JSUd with

Note. ^, *.. I^ese proximate verbal descriptions of mental efect ar ordy true of the key, and when the effect is not modified by harmony.

the tones of th scale

when sung slowly when

the ear is

FINGEB-SIQNS FOB TIME,

AS SEEN
icher

PROM THE

PUPIL'S (NOT

TUB TEAOHEE'S) POINT OP VIEW.

maktk

TAA.

TAATAL

tafatofe.

the
h

Major

and Me

TAAtefe.

TAA-efe.

tafaTAL

AATAI.
.AA.

ng tone, with Lah hord, the

%ih ear i$
tiAA.

IkkSAI.

SAATkL

VIU

NOTATION OP TIME.
The loug heavy bar
the spnce between the accent marks. The space from one accent niaik to the next reprcKents a Pulse. (Heat, or Part of the measure). The space between the strong accent marks (.long bars) represents a measure.

dium acceut, and tho colon Time is represented by

indicates a Btrocg accent; the short, thin bar ) a weak accent (

:

a me-

TWO-PULSE
MiCASUKE.

THREE-PULSE MEASUKE.

FOUK-PULSB
AlEASUltE.
=
'

SIX- PULSE MEASUKE.

II

IIH
Sol-fa

ill
Method makes
I'nise
is

Mill

Thh Tonic
.c?y

of time.

The

mg is named taa.

tise of a system of Time-names to aid in the the unit of meiisnvement, and a tone one pulse

d
TAA

:d
TAA

Id
TAA

:d
TAA

Tho contimmtion of a tone through more than one pulse is indicated by dash, and the time-name is obtained by dropping the consonant

d
TAA

:d
TAA

id
TAA
-

AA

TAA

AA

AA

AA

A pulse divided into halves half-pulse tones is named taatai, and is indicated in the nota^ tion by a dot in tlie middle, (prou. iaii-tay)
tone continued into tne tirst half of the next pulse a pulse-and-a-half tone- is named and indicated thus:

.d

^
^

[
;

and

A pulse divided into quarters is named iqfatefe, is represented by a comma in the middle of

each half-pulse, (pvon. iah-fah-iay-fay).

'

A
IS

pulse divided into a half and two quarters \

TAAtefe.
j
\

named

pulse divided into three quarters and a quarter is ramed ,TAA-efe. and is indicated by a dot and comma.

!
j
)

Thirds of a pulse are named taataitee, and represented by commas turned to the right
Silences (Rests) are named by substituting the letter S for T or f, thus a full pulse silence is named SAA ; a half-pulse silence is named SAA on the first half of a pulse and SAI on the second half. Quarter-pulse silences are named sa on the first half and se on the second. Silences are indicated by the absence of notes in the pulse divisions, e. %., vacant space.

J' J* 5'
measure

^ ^

Minuter divisions of the pulse, sixths, eighths, ninths, are eeldom used except in instrumental music. In the Sol-fa notation no diatinction is made between
ja.

ji.

**<'

^^^^ being but one way

of writing the different rMrittiea of

THE TONIC SOL-FA MUSIC READER.

PART I.-INSTRUCTIONS AND EXERCISES.
FIRST STEP.
To recognize and produce iha and the lower octave of Soh. To recoonize and produce the tones Doh, Me, Soh; the upper octave of Doh, half-pulse, two-pidse measure aiul three-pulse measure. and weak accent, and the simplest divisions of time, mz:-the False, the chooses, but varies the manner of producing them; making The first lesson may begin by practicing a familiar tune, or thein Rouietimes loud, sometimes soft, long or sliort; chawjinij he may bv a few appropriate remarks by the teacher, after which somethe pitch of Doh frequently, sometimes singing C and G, Bay times E and B, or D and A, etc., the pupils imitating each patYou may listen to me and be ready to sing the examSee examples below Exs. 1 to 4. tern.
ttrong

give you. lie sings a tone which he considers in his own mind on Doh, or E, clearly the lirst tone of the scale, at about the pitch of D and tirmly to the syllable la.
ples
I

We
it

will

now
is

learn the

er tone

called /)o/i What

is it

names of these two tones The is it called ?The upper

called?

ttiii'j is

called /So/i What

You may
The dash

all

sing

it.

will signify that a

It

command

a question answered. several times be+" ;: *

may be

necessary to

obeyed repeat the exampio

is
'

XOTK.In (riving out a new fact or principle tho teaoher shouM albo lod wavr .lUi'Mtiiii' :iu impils, that thoy iir,\y not only hear it stiiltMl but writes or to Htato ' I icmsulviH. The tuaclier, as lie given t'.ie nann', Uinni on tlie blackboard, Hoh above Doh, leaving considerablB "p-iiitH
space between them.

o voices blend well.

NOTF The
liHteu

amples o. while
"Tlio
best."
first

sltntild iioversiiis iirith his pupils, bnt slve exThey shoiiM iltoruH careriilly wliioli ihey aio to iniitato. Mr. Ciirwon siiys, ho sings, ami ho li.ston wliilo tlioy sing

teacher

Now we
iifter

will

Sing the tones to their names; repeat

I

me

the tones
.

give you.

art of the pupil

is

After this tone

Ho that liatons host, sings sung correctly, the teacher may say
is

to Ihten weU.

Listen to

me

again

fifth

The following exercises are specimens of patterns which the teacher may gi '\ The upright lines indicate how much of each exercise may be gi^m as a pattern. The horizontal dash
sho vs that the tone should be prolonged. For the sake of solitary students, who cannot have the assistance of a tcachei, the exercises are printed in the form of diagrams, the arrow indicating the upward or downward direction of the voice. A narrower tyi>e and somewhat altered form is given to the letter (PI), for convenience in printing.

He now
scale, to

sings a tone a fifth higher, Soh, the the syllable la. The pupils imitate.
after

tone of the

Jsow sing these two tones,

them.

me, just as I sing

la,

lie sings the two tones in succession, to

in any order

he

Ex.

I.

KEYB D, F and C.
s s s

SOH

s s s

ddd-

DOH
SOH

dd dEx. 3.

Ex, 4.
i-

s J

d a

DOH

d d

d d

\
d

FIRST. STEP.

You may now

above.

sing as I point to the

names on the
to those given

blackboard and without a pattern from me. They Bing, to his pointing, exercises similar
Sing again as
la.

It calling out "Doh," Sob," etc. each tone several times and not to

may

be well for him to sinf change too quickly for in

stance

d, d, d, d,

, i, s,

d, d, s, s, d b, d, b, s, d,

eta

point, but this tune sing the tones to

Name them once more, and if I sing a different tone from these two, one that is neither Doh nor Soh, you may say New-tone.
He sings as before, the class calling out the names, and after keeping them a little while in expectation, be sings the third tone of the scale Jfe (of course to la), which the pupils at once detect. It is better to let the new tone come in after Soh,
thus,

He points to the names, they sing to la. In all these exercises the teacher will frequently change his keytone, lest the pupils be tempted to try to sing by absolute pitch instead of giving their attention to the relation of tones.

Now
He
I will

I will

sings

sing Doh and you may sing the Soh to it. Doh and then gives them a signal to sing Soh. take a different Doh and ycu may give me the

d 8 -n
it

Soh
it.

to

it.

new tone higher or lower than higher or lower than Sohf The name of the new tone is Me.
Is the
Is

Dohf

SOH

takes a different pitch for Dnh and they sing the Soh to This he does several times, always changing the keytone.

He

What
Where

is its

name

?
it

ME
on the board?

shall I write

You may now name the tones as I sing them, I will ing to la, and when I sing the lower tone, say Doh, and -when I sing the upper tone say Soh. He sings the two tones in various successions, the pnpils
Ex.
5.

See diagram.

Imitate the patterns I give yon.

'

DOH

patterns the following or similar examples, singing to the n^mes, which the pupils repeat.

He

KKYH D, F

iind C.

Ex. 6.

SOH

s
n

ME
DOU
0H ME

n
d

\/ n

/\dS

V
\
PI

Ex. 8.

/
PI

DOU
Now
sing as I point.

/
;

The teacher should drill the class thoroughly on these three ^nes, singing them first to the names and afterward to la. The pitch should be changed frequently. Tims far we have been studying the names and relative positions of these three tones, but now I want to call your attention to the most important and most interesting thing about them, and that is their characters, or the effects or feelings they produce upon the mind. One of thera is a strong, firm tone; another is a bright, clear, grand tone; and another is a gentle, peaceful, calm tone. I want you to
find out the character of each

ally to Doh, and then tell me which of these characters it has whether it is ..aim and peaceful, or clear and grand, or strong and firm.

Teacher sings the following phrase or something similar, bringing out strongly the character of Doh.

|d:

|d:d|m:nj|d: |d:m|8:m|8:s|d:
Doh calm and
listen to

II

Is

peaceful, or clear

and grand, or strong

character
it

and firm?

Now

Soh and

tell

me what

has.

Teacher sings the following phrase.

tone for yourselves.

You

|d:d|m:d|B:s|B:-|s:in|d:in|8:i|B:
What
kind of a tone
is

jj

may listen

to

me and

as I sing give your attention speci-

Soh ?

FIRST STEP.
him
ikly

to 8in|i for in

Now

listen to

Me.

Teacher sings the following phrase.

fferent tone
i,

Id:d|n:diin:8|n:
What What
is

|n:in|8:Pi|d:s!in:
Do f Soh ? Mef
As you

II

you may
and
after

the character of 3Ief

is

kind of tone

08,

gs the third
xe

I call yofur attention to these characters or mental effects of the tones not as a mere matter of curiosity, but as

pupils at

in after Soh,

a real help
think of
its

in

singing them.
effect

try to sing a tone,

mental

and that

will help

you to sing

it

SOH

correctly.

ME

Let us now learn to sing the tones from signs repreThe strong, firm tone is senting their mental effects. represented by the closed hand thus, (see manual signs). All make it.

DOH
9,

What What

kind of a tone
is its

is

indicated by this sign

name?
is

singing to

The bright, clear, grand tone hand thus All make it.

represented by the open

'\
n

What kind of a tone does What is its name? And this sign (open hand,
the calm, peaceful tone.

this sign

mdicate ?

palm downwards), represents All make it.

sign ?

What kind of a tone is indicated by this And this? and this? etc., etc,, etc. Give me the sign for the strong tone.

The The

sign for the grand tone.

sign for the

calm tone

Grand

tone.

Strong

tone, etc.

laracters

it

and grand,
ing similar,

s|d:-||
i,

or strong

er

it

has.

II

FIRST STEP.

Time and Bhythm measure

the teachur thinks best.

may be introduced here For method see page 5.

if

I need not write

ficient.

it in full;

the

first letter will

'^^'

The upper octave of Doh may now be taught by the same process as that used for Me. 'NVhen the pupils have discovered the new tone the teacher may proceed as follows:
Is the Is
it

new tone higher

or lower than

Doh?

higher or lower than

Me?
is

Higher or lower than

^o/i?

The name

of the

new

tone

Doh.

What

is its

name?

Yon may
the

think

it

same name, but

it

strange that we have two tones with will be explained a little later in the

course.
NOTit. The nature of octaves can be better explained after the complete sc&le has beou taught.

Teacher writes a d in the proper place. In writing, the Upper Doh is indicated by the figure I placed at the top of the letter thus, d', and is called OneDoh. While we are practicing this now tone I want you to be thinking about its mental effect; compare the Upper Doh with the lower and notice whether it has the same effect, or if it is stronger or firmer. Let the new tone be practiced in connection with the others, first by patterns from, the teacher, and then from the teacher's pointing. Then let the teacher by questioning develop the fact that its mental effect is the same as the lower doh, only
stronger or more positive. The manual sign for d' is the some as for d with the hand raised. The foUoNving exercises are given as specimen patterns for the teacher. Sing them first to the solfa syllables,

Where

shall I write

it

on the board ?

and afterwards

to

la.

Ex. 17.

KEYS C and D.
s
d' d' d' d'
d'

d
d'

m
s
d'

n
s
s s

d'

s
d' d'

d'

m
s

m
d'

n
d

n m n

d
di

and
d'
PI

80H

After n thorough drill upon the tones by pattern, from the Modulator, Hand-Signs and so on, the

following exercises may be written upon the blackboard practiced or they may be siing from the book.

Ex. 18.

KEY D.

d
Ex.
19.

m
k:vC.

PI

d
d'

n
s

d'

d'

PI

d
di

ME

d
d'

s
Ex. 20.
s

m
c.

d'

n
S
d'

PI

PI

m
Ki:v D.

p)

d'

m
s

PI

d'

d d

SOH

Ex. 21.

DOH

d'

d'

PI

d'

The teacher may now explain the lower octave of Soh by simply stilting that as we have an Upper Doh, so we may also have a Lower Soh. It is indicated in the notation by the figure 1 placed at the bottom of the letter thus, s,, and is called SohIts mental effect is the same, only somewhat subdued. One. The hand sign for s, is the same as for s with the hand lowered.
Ex., 22-

Let Soh-One be practiced after the same manner as that pursued with the One-Doh, only taking a higher pitch for the key tone.

ME

The
teacher.

following exercises are patterns for the

KEYS

F,

iiud 6.
11

DOH
II

8,

d d

8| ni

8|

a
8

PI

d i

d
KEY D.
8

S|

d
1]

PI

FIBST STEP.
be
buir

-^le class

is

now ready
Ex. 23.

to practice the following exercises.

ignre 1
id

dS|dms8 md
KEY
F.

8l

m
s

Si

d d
d

Onent you

Ex. 24.

KET A.

le

Upper same

d
Ex. 26.

m
KEY G.

d
S|

S|

S|

m
m

d d d

n
8

m
8|

S|

m
8

m
Ex. 26.

d
KEY
F.

m
S|

8{

S|

8|

TIME AND RHYTHM.

Sol-fa treatment of the snbjoct of Time (Rhyth;jiic8), (litters eaoentiuliy from tliat which hna UHiinlly prevailed iu this Here the tnAMure \x;\n been ru^rnnlud im tlie Btnndanl or unit. country. In tliu Solfa metliod, tlie puUe, which correHpondx to our beat or part n/ the tneaxure, ix treated as tlie unit; and tune is nieiisuied by a regular recurrence of accent. This is undoulttedly tlie true |iliiliiso|iliy. In fact some prouiinent teachers in this country have already developttd this theory iu their later works. There are several ways in which this subject may l)e presented to a cla.ss. The following will serve as nn illu.stri'ttion ofone "way, which the teacher may vary, or condense or enlarge as ho may deem
best.

NOTK.The Tonic

directed to make a downward motion and an upward motion for the weak accent. These motions are not absolutely essential and they are not intended as an exercise in beating time, but merely as a means for the pupils to show to the teacher that they recognize the accents.
pitpils

The

may be

for the strong accent

Listen again
to

this time I will occasionally stop singing

show you that the accents may go on

in the

mind with-

out the music.

for a

Listen to me, I will sing a familiar tune, and as I sing wish you to observe that tliere will occur in your minds, at regular intervals, a throb or pulsation of some kind that keeps time with the music.
I

In this exercise the teacher will occnsionall^ stop singing measure or two but keeps on tapping in regular time.

The

teacher sings to la a familiar tune such as " Haste thee

I will now show you that the accents will or slowly as the music goes fast or slow.

move quickly

|f:f|ni:m|r:r|d: ll&c. or "Vesper Hymn," |n:8|f:s|pi:s|r:s|m:s|f:r|d:t||d:

|d:d|s:s|l:l|s:
II

Winter,"

Teacher

illustrates this.

is

all these examples that time in music measured by regularly recurring accents.

You

learn from

bringing out the strong accent.

Tho.se

How
The
cent
is

is

time measured

in

music?

who

noticed the throbs or pulsations

may

hold

np hands.
I will sing

time from one stroug accent to the next strong accalled a measure.
is it is

again and

will indicate these pulsations

taps upon the table, and you motion of your hands.

may

indicate

by them by some
is

What What
The

called?
?

a measure

He
pils

sings again, giving a tap for each stronrj accent, the pumaking, perhaps, a downward motion of the hand.

time from any accent, strong or weak, to the next, called a Pulse.

These throbs or heavy tones are called accents. are they called ?
I will sing again

What

What

is it

called?

What

is

a Pulse
each meas-

Listen to me.

and you will notice that after each of these accents there occurs a second pulsation, but of less
force.

He sings a number of measures to la, two tones to ure, accenting distinctly, thus, la la, la la, etc.
After each strong pulse there?

how many weak

pulses were

sings again, giving a heavy tap for the strong accent and light tap for each weak accent.
II ow

He

Yes, they were regularly strong, tea/fc, strong it^oyfc,

Listen again.

etc.

many

noticed the light throbs ?

pulsations are called strong accents,

The heavy

and

This time he accents the

la la la, etc.

first

in every three, thus, la la

li^

the light ones are called

weak

accents.

kinds of accents have we ? again and yon may Indicate every accent, ftrong or weak, by some motion of your hand.
I will sing

Uow many

How many

weak

pulses followed each strong pulse ?

Yes, they were regularly strong, weak, toeak, stroko, weak, weak, etc.


6
Different arrangements of the order of accents
different kinds of measure.

hbbt
makes

step.

What makes

different kinds of

measure?

measure consisting of two pulses, one strong and one weak, is called Two-pulse measure. What is it called? A measure consisting of three pulses, one strong and

weak pulse it is called When is a measthe secondary form. What is it called? ure in the secondary form ? Three-pulse measure may next be practiced with the same process as that just given to the two-pulse measure, or it may be
the measure begins with a
defered until
I will
later.

When When

is

a measure

in the

primary form ?

two weak
near.

is

called Three-pulse measure.

What is

it

called?

now

write a

number of
:

pulses on the blackboard

Listen to

me and

tell

me which

kind of measure you

and you may sing them as I

Teacher writes thus

direct.

Teacher sings a number of measures to la, accenting dischanging occasionally from two-pulse to three-pulse measure and back again, the pupils calling out "two-pulse," " three-pulse," at each change. Or he may sing a familiar tune in each kind of mea-sure and require the pupils to tell which kind of measure the tune is in. NoTK 111 tlio Stiimlanl Courseof the Tonic Sol-fa Method the pnpils are not laujilit to beat time until tlielburth stoii. Mr.Ciirwun snya "i'litinctly,
pils Hhotihl not bo allowod to

Taa Taa Taa Taa Taa Taa Taa Taa You may sing them in two-pulse measure commencing
with a strong pulse. Teacher indicates the time by a gentle tap of the pointer on
each pulse.

of time.

* *

"boat" time until they have gaiiieil a sense lU'cauHO no one can well learn two tliiiiss atoiico, antl.cou-

Again, commencing with a weak pulse. Teacher, if he chooses, may have them sung in three-pulse
measure.

seijiirntly, tliose who try to do .so areconstantly toiiuilbeatinj; to their Hi iigjnj; intjtead ol' siiij^inj: to an independent, steady beat. * * * Iieatin(j time can be of no u.se is only a burden to the puniliu keeping time, till it has become almost aiitonuilicnl, until "the time beats itMoil'," and vou know that vonr beallu;: ivill jio ri^ht whatever becomi'sof the voice. Then, and nut till then, the beatiiij; bi'come.t an independent test ut the siuging." American teachers, however, are so accustomed to teaching: counting and beating time I'rom the beginning that the teacher may introduce it here it' he prefers not as a test in singing, liut as a separate exercise as a means or a help ill developing the sense of time. In two-pulse measure the coiinlingH are one two, one two, &c., and the motions ot the baud are do^on up, dinvn ii|i, Sec. In three-pulse liieasnre the countings are onet vo three, one two ihree, &c., and the luutious ate doion left up, doion left up,

You see that as the exercise now stands there is nothing on the board to tell us which are the strong and which are the weak pulses. In the Sol-fa notation an upright bar ) shows that the pulse following it is to have the strong ( accent; the weak accent is indicated by two dots (:) and the Double Bar (||) shows the end. Teacher while he is making the above statement inserts the
I

accent marks as follows:

&c., or douni right i:p, &c.

Ill

priu'ticing exercises in time

for the dillereiit

lengths.

have names The time-name of a tone one

it is

useful to

Taa
I

Taa
the

Taa

Taa

Taa

Taa

Taa

Taa

||

What

does the bar indicate ?

is

pulse long

is

Taa*
is

or Taa-ai.*
fuil

How
to prolong

weak accent indicated?

The "ai"
the tones their

only needed when the pupils

full length.

What

docs the double bar show?

wish to indicate the strong accent we insert the letter R, thus, Traa. This indication of the strong accent by the letter R is useful in the first teaching of accent,

When we

Tlie accent marks are placed at equal distances of spacf and thus represent the equal divisions of time.

and

later

on in

dictation.

You may
pulse thus,

sing in two-pulse measure, one tone to each

The space from one accent mark to the next, strong or weak, represents the time of a pulse, and the space between the bars represents the time of a measure.

Traa Taa, Traa Taa, &c.

Let this be kept going until all get into the "swing" of the rhythm alternate measures may then be sung by the teacher and class or by two divisions of the class, being careful to keep a steady rate of movement. Then let it be done with a different rate. In this exercise be careful to have each pulse sung fully to the end. If it is not done so, the second vowel, ai, must be added. Later on when the pupils have learned to hold the tones to their full length the ai may be omitted.

What represents the time of a pulse ? What represents the time of a measure? You may now sing the exercise as written.
After it is sung correctlj', at different rates of movement,^ the teacher will write an exercise, beginning with the weak pulse.
thus:

Taa
I

Taa

Taa

Taa

Taa

Taa

Taa

Taa

|1

Let us try two-pulse measure again, but this time begin with the weak pulse, thus, Taa Traa, Taa Traa, &c.
Let this be practiced as above.

Let this be practiced

at different rates of

movement from

When
*

the measure begins with the strong pulse

it is

the teacher's patterns. Then each exercise should be sung to la, teacher writing a " la " under each taa. Then erasing the las and putting a d in each pulse sing doh. Then again with th<following or similiar successions.

called the primary form of the measure.

What

is it

called?

Aa

aa in fatherai as in psil.

(Taa id

Taa
d

Taa
g

Taa
S

Taa m

Taa m

Taa Id

Taa d

FIBST STEP.

Teacher will next erase the Sol-fa notes, leaving the

I will sing the exercise,

taas.

Teacher pointing to the continuation mark, asks:

and

if

make a
;

mistake, you

What

does this horizontal

line indicate?

may say wrong.

Teacher sings it the first time correctly second time with wrong accent, and the third time he makes a mistake in the second moasure prolonging the tone through both pulses, at which the pupils will say "wrong."

How How

are the time-names for continuations obtained?'

long must this tone be?

is

What

the time-name of a two-pulse tone?

Which measure was wrong? How many tones are indicated How many did I sing?

A
What

convenient short name for two-pnlse tones is Two will be a good short name for one-pulse tones ?

^i

in the

second measure

In the lesson now on the blackboard what kind of tone Ones. are required in the first and third measures? In
tiie

Was

it

a long tone or a short tone ?

it ?

How

second and fourth?

Twos.

long was

I will sing the lesson first

If the pupils fail to

and then you may t"y

it.

Yes, I continued the tone through the second pulse It is called a two-pulse tone. made it two pulses long. What is it called?

tlie

When a tone is continued from one pulse into the next continuation is indicated by a horizontal line, thus,
for continuations
is

prolong the tones their full length, the^ When the lesvowel Ai should be added, thus Taa-ai: -aa-ai. son has been sung correctly to tne time-names and at different rates, it should be sung to la, the teacher indicating la by an J under the time-names.
|

The time-name

obtained by dropping

the consonant, thus, Taa-aa. The teacher, as he makes these statements, changes the second and fourth measures so they appear thus:

Then he may change the measures so as to obtain the folEach exercise should be sung lowing or similar rhythms. several times to the time-names to la and at different rates of speed. They may also be sung in tune, the teacher writing the Sol-fa letters under the time-names as has been already sug-

Taa
I

Taa

Taa

-aa [Taa

Taa

Taa

-aa

||

gested.

Ex 28.
Taa
I

Taa

Taa

Taa

Taa

-aa

Taa

-aa

ll

ll

:1
Ex. 29,

ll

:1

ll

:Taa

|l

:-AA

Taa
1
:

-aa

Taa
1

-AA

Taa
1

Taa
1

:1

Ex.

31.

Taa
I

Taa
|l

Taa
1

Taa
1

Taa

ITaa
11

-aa

-AA

:1

:1

Ex. 33.

Taa
I

Taa
1

-AA

-AA
I

Taa

Taa
1

-AA

Taa
1

Taa

:1

:-

:1

:1

6
Ex.35.

FIRST STEP.

FIRST STEP.

itl

the E^entlehalf the ia sung, it

both at the the musio

divided a phrase "Where nee to the

;iy

1.

iviug steps.

u,

in two-

:d

:d

10
Ex. 51

FIBST STEP.
KEY
D.

Round

for four partH,

T

*
is Is
I I

^
ts :8
-

lid'
(
I

8
in

m
Hing
-

:d
ing
t

n
Hal
-

:8
le
-

Id'
llu
-

:d"
jah!

Is
-

:8
-

Is

:
-

Is
-|

:
:

>
)

Join

Hal

le

|lu

jah.'

|A

men.

(In
II

:_
-

In
I

|n
|

:m
-

|m
|

:n
-

Id
|

:m
-

|8
j

m
jah!

d
A

:
-

Id
-I

men,

Hal

le

In

jah!

Hal

le

hi

men.

Exercises 52 to 55 consiBt of the tones d m our exercises may be deferred.

8 d'.

in three-pulse measure.

If three-pnlse

measure has not yet been taught the.,

Ex. 52.

KEY D.
f

d d

:d
:d

:d
:d
KKY

n
d
C.

m m

:s
:

d'

d'

:d'

:d'

: :\

Ex. 53.

d d

:d

:d

:d
KEY Cs

Ex. 54.

d
\

PI

:d :d

Id'

:
:

:-

PI

Ex. 55.

KEY D.

d :n
I

:s

PI

:d

n
A

:s

PI

__

FIRST STEP.

11
first

Half-pulse Tones may now be

prokors,

they

may be
|1

taught, or transfered to the next step.

if

the teacher

The time-name of the

half Tai.

half

is

Taa
of

of the
the first
is

f he following lesson may be written on the board,

|1

What

is

the time-name

second half?
in

Second half?
||

:1
it is

:1

|1

:1

|1

:1

The

sign for
|

an equally divided pulse

:

a dot

the

and after

sung

correctly the teacher

if I

may

say:

middle, thus,

I will sing the lesson and say wrong.

make a mistake you may

The teacher changes the measures to obtain the following rhythms. They should be practiced carefully from the teacher's patterns to the time-measures to la, etc.

sing it correctly the first time; with wrong accent the second, and the third time he sin^s two tones in the first pulse of the second measure at which the pupils will say wrong.

He may

Which measure was wrong? Which pulse of that measure ? How many tones are indicated How many did I sing?

in that pulse ?

time (Taa, Taatai and Taa-aa) introduced here with good effect. These signs are generally given with the left hand, to distinguish them from the Hand Signs for Tune, which are chiefly given with the right. Of course the teacher may use his right hand if he finds it easier. The back of the hand is toward the pupils, and the thiimb should not be seen, for we never divide a pulse into five equal parts. The time may be marked either by blight forward and backward movements of the hand, or by the right hand tapping the pulses on the top of the left or beating time in the regular way close
for

The Finger Signs

may be

Two

Half-pulse

tones sung in the time of one pulse are called Tones or Halves,

by-

The Time Chart

drilling a class in time.

What
Taa

also aflfords a most excellent means for It is to Time what the modulator is to

are they called

Tune.

12
Taatai-ing in tune.
l>y "tmitain'^'" is

FlIWT
meant
siu>j;iug

STKI'.
to this diMtinct conception of rhythm,

an

it is

useful to tntUai each

exercise (on one tone) to the tiiue-uameH, just as " Sol-fa-ing " is "Taataing in tune " is singing singing to the Sol-la syllablHS. Mr. Curwen says "Ldahv} on one the tUne to the timc-nann's. tone helps to ibrm that nhslrnd idea oi' a rhythm which is deaired. But sueh an idea is n-'ver truly eslablishod until the ear can recognize a rhythm as the sdin", though all the various disTo learn the ahguises which different tune-tbrius put upon it. Btract you must reeotfuize it in miu\ii concretes. A's a help

time-exercise on various tuno-formH."

After the above time-exercises have been sung to the timftnames and to la, let them be sung to the times j^rinted undei each, and lastly let the tunes lie sung to the time-names.

Exercises 59 to 63 introduce lialf-pulse tones in two-pulsB measure. Eacli cxei'oi.ie biiould be IwUaid on one tone tu secure
correct rhvthui.

^
Ex. 59.
lo.v C,

:d

FIRST STEP.

13
taatni in ium.
It is a

Tho Time Chart

Utries in
uatiiries.

the same

intendefl to be HRetl for time-volunwiiy that the Modulivtor in uHed for tnnp-volin

cise

which the pupils

great advantage

when

The Hand-Signs iu connection with mental effects are be uflecl at every leHson. Thfi Finrjer- Signs for Time are also couHiderod very useful for exerciHes in time.
to

tho answers to these ear exercises can be written bv the pupils and aftcnvard f>xamined by the teacher or liis assistants. The answers should come from nil the juipils, not merely from a few. See pamphlet " Hintw for Ear Exorcises."

Mental Effects shonld be frequently reviewed, accompanied with fresh illustrations. It is only in this way the impresBJon can be deepened. The perception of mental effect is at first very dim, but it is cumulative and the more attention Riven to it the clearer and stronger it becomes. See pamphlet "Studies in
:^Iental Effect."

Writing Exercises. Notation is best taught by writing, tiio thing imted is more <iuiokly and easily practiced when the notation is clear and tuiuiliiir to tho mind. Hence the value of writing exerc'isos. The teacher instructs his pupils to draw on slate or paper four (or eight or sixteen) measures in the primary (or secondary) form, thus:
and
I

:
I I

:
I

:
I

''tc,

or

||

and then
every lesson the teacher will exer<'iso his class in naming the tones he sings. There are several ways in which this may be done. First way, teacher sings several tones to figures and requires the pupil to tell him to which Tims, "Tell me to which figure or figures he sung b or n etc. figure I sing s"
sings d n n 8 d

Ear Exercises. At

may

dictates the notes to be written in each pulse, or write them on the blackboard for the pupils to copy.

he

Dictation. The time-names furnish a means of dictating, by very brief ordei-s, o)tn pulse at a time, "Accent" "Time" and "Tune" at once. The following example would be dictated
thus:

"Prepare four two-pulse measures, secondary form."

soh-one," ''TnxAdoh,"

"Taa
"Taa

"Twixi me
"Taa
:d

or d d d s m d or m d n 1234. 67 1234 13345

tn

etc.

doh," "Tkaat.vi me doli."

doh." "Tkaa'.s- h-one," soh," "Thaa dnh."

'i

"Tell

me

to

which
8

figure I sing
s

d"
B

sings

d m

or n
1

d n d
4
.5

m
7

etc.

12

3 4.')

2 3

The same process is given to other tones. Another way, the teacher sings the tones to la and the pupils make the manual sign for the tone required. Again, the teacher gives the keytone and chord and after a slight pause sings to la, lo, loo, lai or any vowel either d n s d' or s, and requires the pupils to tell him what tone be sung, thus
:
I

close of ouch lesson the pupils should take pride in showing their tea(!lier how many of the previous exercises they can point on tho Modulator anil Sol-fa from memory, ilusittal memory should be cultivated from the first, because it will greatly facilitate tho progress ol the pupil in future stops, and will be of constant service in after life. To encourage this exercise the pupils should be provided with small modulators upon which they can practice pointing at home. Where it is feasible the whole class should be supplied with "Hand Modulators" and point and sing together, holding their modulators in such way that the teacher can over-

Pointing from

Memory. At-tho

?
loo

'

look

all.

II

Again, the teacher sings to la and the pupils name or give the hand signs for all the tones. Again, the teacher sings two or three or four or more tones to la, as, d n d 8, etc., which the pupils repeat after him, first to la, then to the Sol-fa syllables. When the pupils can do this quite readily they will then be required to simply give the names without singing the tones. The teacher may then sing to different vowels, as
8
le
PI

d
loi

Pupils should also be well Writing from practiced in writing tunes from memory. Even where it is diflScult for a whole class to point on their modulators from memory at the same moment, so as to be seen by the teacher, it is not difficult to engage a whole class at the same moment in writing from memory the tunes they have learned. At the close of every lesson, one or two of the exercises should be chosen for the memory exercise of the next meeting. The pupil (at home) should copy that exercise six or ten times from the book, until he finds by testing himself that ho can write it from memory.
teacher must fully underthese exercises he must keep within the step at which the class is engaged. All the topics of the step should be mastered before the next step is entered. For instructions in Voice Training, Breathing etc., belonging to this Step the teacher will consult the Standard Course.

Memory.

lo

la

and the pupils give the names.

In <ijne ear-exercises the teacher sings two, three o* four measures on one tone to la, and requires the pupils to tell him the length of the tones in each measure, or they may Taatai or write what the teacher sings. Again the teacher sol-fas a short exer-

Keep within the Step.The

all

stand that in

14

FIRST

STEl'.

QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.

DOCTIUNE.
1

Wlmt

ai'e

the first three tone* you luvo loarned

if)

Wliat

is tlie is its

mental

effect of

noh-OM t

29.
20.

thiiH furl
t.

What
t)io

liand-sipnf

Wliiub of thnHe
liif{liurt

lowest touef

Thu

iioxt

T)i lilKbiiHtf

3
4.

Which

in thn more iinportniit, the relative position of IhoHe t4)iieH or tlieir mental etlVclst

How is it indicated in tlio notation < How is time in iniLsic measured? How many kinds of accents have you
What
is tlio

the stronenccent imlicated in the no Tlin weak accent / represents Wliat the time of a pulse? Of a
is

How

tation

measure?
27. AV'hat is the
'28.

AVluit is

tlie
I

montnl effect of Doh

Of Mef

Of Soh
5
6.

are these uieutal effeetH reproHenteil to the eyel BesitleH tJie liaiut-si^is and the iiioilulator wliat otlicr way Imvo we of inilicatins or wrilinj; the tones ?

How

learned time from one strong accent to the next stmui; accent called? What is tliu time from any accent to the next
calle.U

How
tlie

is tlie
/

time-name of none pulse tone? strong accent indicated in the tiine-

naiiies
29.

When

Is tliero hut

one order of arrancfinont of acthere

lie

30.

How

a tone is continued from one pulse into next, how is the crjitiniiation marked? are the time-names for continuations obtones are siini: in the time of one are they called? time-name of the first halt" of a

cents or

may

different

urrauso31.

tained?

7.
tj.

What

U'tt(;r ro))re8ent Z>o/i?

Mel Sohf
i)Osi(lo

Wliati8thi(metlioil of musical iiotatiou called?

9.

What other
ine,

tones have you learned

doh,

oh

10.
11.

What is
Wliat

tlie meiitiil etfect

of une-dohl

is its

liandsijin

Vi.

How

is it iuiliouteil iu lliu

notatiou

ments? What do <liireront arraugomouts of accents produuo? How many kinfis of measure have you learned and wliat are they? Wliat is the order of accents in two-pulse measure* Three-pulse measure? When is a lueasuru in its primary form ? Secondary
I

When two
pulse,

what
tlie

.32.

What

is

33.

How

pulse? The second? are balf-pulso tones indicated in the no? f

tation
34,

How

is

the end of an exercise indicated

PRACTICE.
3.'i.

Sliiir

to

?(T

the Soh to any

Doh the teacher givea.

43.

36.
37. 38.
3it.

Sing in the same manner the Soh-one. Sing in the same manner the One-Doh. Sing iu the same manner the Jfe. Sing in the same manner Soh to any One-Doh
JIfe.

Taatai in tune one of the Exs. 50, 60, or til, but not the same as in the last requirement, chosen by the teacher.

47. 48. 49.

50.

Ditto Soh.
IJitto

Doh.
tell
la.

Ditto Soh,

44.

Point on the modulator from memory anv one of the Exs. 50, 51, 52, 54, 56, 58, chosen by the
teacher.

Having beai-d the chord, which tone waa sung to

or write

down

the te.acher gives. 40. Sing iu the same manner the

41.
42.

51

45.
46.

Write from memory another of these exercises.

Sing in the same manner the Doh. Xaatai the iipjier part in one of the Uxs.
60, or 61.

From any phrase (belonging to

59,

this step), sung to figures, tell your teacher, or write down, which figure was sung to Me.

Follow the teacher's pointing on the modulatoi in a now voluntary, containing Doh, Me, Soh. Doh^, and Soh,, 'I*aa, Taa-aa and Taatai.

52.

Write from dictation and afterwards sing a

similar exercise.

KEY D.

Round

in four part.s.

Ess ET Ykw.

d
II Now

.d
the

II

11

16

SECOND STEP.
In (ulditiivi to the tonex d, n, s, four-pulse and six-pulse measures. tones in their simplest forms.
d'

and

a,

to recognize,

and produce Ray and

Te,

To distinguish and produce

the

medium

accent ami th

The whole-p\Use

silence, half-pulse tones in utree-pulse

measure, puise^nd-Orhaif-tones and quarter-pulse

.13

Ray and 7'e the teachor may proceed Bomewhat After reviewing the tones already tauf^ht, and a short drill from the Modulator or hand-signs, he may say:

To

introdxico

follows.

doh,

Xanie the tones I sing and if 1 sing a different tone from tlwse you have learned, one that is not d, n, or 8, you may say new tone.

The teacher next brings up in review the mental effects of me and soh, and then proceeds to dovelope the mental effects of ray and te, somewhat as follows. Now give your attention to the mental effect of ray in the examples I shall sing, and notice first whether ray
rt is

The teacher sings the tones to la, pupils calling out "Doh," "Soh " and so on, and after keeping them a moment or two in
expectation he sings /la;/, the second tone of the scale, (of course to to) which the pupils at once detect as a new tone.
Is the Is
it

gives a feeling of rest, of satisfaction, or whether reverse of that, is restless, expectant, imsatisfied.
exercises,

the

Teacher sings in any key suited to his voice, the following making a slight pause before the last tone.
/Tv

new tone higher

answers are
i
i,

or lower than

Doh ?

Id'

:s

higher or low^- tlian

Me ?

All sing

it.

If the

prompt and coiTectthe exercise must

be repeated.

Are you

satisfied
?

to

stop on tlint tone or

-io

you

ex-

upper Bay, and there is also an npper Me and an upper Soh. They are called one-Bay, one-Me and one-Soh.

The name of the new tone is Bay. He writes it on the board or shows it on the Modulator. As we have an upper Doh so also we can have an

pect something else

Listen again. Teacher sings.
|d>

:s

:s

Id'

:r'

Tp,'

All sing the same.

Is that as satisfactory as the former or

He

writes

them on the board or shows them

on the modulator.

s'

more so?

Name

you have not hem-d

the tones again and if I sing a tone 'n'fore, say New-tone.

Listen again.

Teacher

sings.
d'
it.
:

He sings the tones to la as before, pupils calling out the names, and after a moment or two he sings Te, the seventh tone of the scale. He questions the class as to the position of the new tone, writes its name on the board or shows it on the modulator, and also its lower octave. See diagram. He then patterns and points on the modulator
fluch exercises as these

m'

r'

fr'

!l

All sing

DOH'

Satisfactory or expectant?

TE

Listen again.

Teacher

sings.
d'
it.
:

tn'
I

r'

fd'

II

Ex. 63.

KEY C.
II

{|d:n|s: |s:t|ri: |r':t!8:dils:m|d:

Ex. 64.
{|

SOH

All sing

Satisfactory or expectant?

KK\ F.

8|

t,
I

t|
I

s,

n
n

II

Ex. 65.
{|

KKv A.
:

ME BAY

You learn from these examples that ray is a restless, moving, expectant tone, that it leans upon doh or me. But listen again and notice whether it has a depressing, desponding, hopeless effect, or whether it is hopeful, rousing, animating.

m d
I

8, |t,

1,

8|

8,

S|

II

DOH
t,

Teacher sings the following, which the pupils

may
.

repeat.
d'

Ex. 66.

KKV
:

F.

{|8

:n Id
Ex. 67.

njs
K
^

:r
U.
:t,

|t,

:r is

tmis

:8,

|d:

|l

:8.d'

Ir'

:d'.t
is its effect,

d'

d'

r'

m'

r'

What

depressing and hopeless, or hopeful,

'l|in:d|m:s

|r

rislmrsr

:s|d:-||

rousing, animating?

WKm

. .

viMiinpiiiiPMIill

16
It will

SECOND STEP.
be well to Ring the exercibe again, substituting doh

for

rut/,

thuH,

All

rs.dMd'

:d'.t

Id'

:8.d'
this will clearly.

!d'

:n'.d'|d'

||

The manual sign for the rousing, hopeful tone is this. make it The sign for the sensitive, piercing tone is this

aud again with ray as at first; will mako my stand out very

produce a contrast that The following examples

pointmg up to doh, the tone to which

All

it

so strongly leans.

make

it

will illustrate the mental efifect of te. The teacher may use them in his own way, to show that le is a restless tone, with an intense lonping fjr doh, an urgent, sharp, sensitive piercing effect.

The teacher now proceeds to drill the class thorouE;hly in the new tones by means of the modulator, hand-signs, ear exercises, etc., during which practice he will have the tones d m
sung together as a chord. This may be done by dividing the class into three sections, one section to sing doh, another me, and another soh. First let doh and soh be sung together, then (io/i and me ; then ms and soh, and then doh, me and soh all at once. The tcachewill explain that when tones are combined in this way, the combination This particular chord, formed of the tones of is called a chord. d n 8 is called tb chord of DOH, or Tonic Chord. The chord of DOH may be taught in the first step, if the teacher The tones 8 t r* should next be combined in the prefers. same way. They form the chord of SOH, or Dominant Chord. The class is now prepared to take up the :;tudy of the following
8

d
:

m
i

d'

t
t 1
s

d'

:i

d'

d'

1|

In the following oxeroise

m and

are substituted for t to

produce

a contrast.
:

d'

m
t

m
as

d'

||

Sin"

it

amiin with
:

and then
!

follows
d'

d'

PI

and

tinallv witli t as uliove.

exercises.

K\ 68.

Kiiv F.

ound

for two parts.

t

(Id On
I

d
ward

PI

d
the

s
lent
I

n
riv

:d
er,
t

It,
I

d
imd
night

m
we

to

Day
r
Old

r :r wend our

d
way;

(In
(
I

m
and
KKv

Id
|

m
dens

In
|

m
der

m
er,

n
and

d
idl

t|

t|

d
'

Men
ilx.

mai

won

ev

young

pass

WHY.

69.

F.

l\ound for three parts.

t

(Id
]
I

:d
ter

m
dy

Af

stu

r we

s
shall
find,

n Mu
:d
to
8|

PI
-

r
will

:d
re

sic

.}

(It,
( I

d
the

'

8
.\nd

t,

8|

d
bind.

lieve

mind,
lii'und for four parts.
t

our

hearts

goth

Ex. 70.

KKY 6.

S
Siot
-

d
lands
I

:d
-

>i
|

:s.
-

:d
|

* r
I

on

n
out.
t

V)urn

iug,

Scot

lauds

burn

ing,

Look

r Look

8
I

Is
I

Is
I

t|

:r

d
wa
-

:d
ter,

|t|
I

:r
on

ri.:-.-:

Fire!

Fire!

Fire!

Pour

pour

SECOND STEP.
e
is

17
A. L.
t

this.

Ex.72.
is

Ki

D.

Round

for three partR.

this

(Id
/ I

t,
I

d
go,

)ugly leans.

r
sure

:r
and

PI

m
Says

r
the
J
(

n
tui
-

:d
tie

"Here

Blow,'

oronirhly in gns, eiir ex-

d
down
Kx. 73.
S

t|

Id
I

""'

IS
I

s
so

s
I,

.d'

tones d

:n
By,"

.s

:s

.3

id'
|

n>
I I

be

low.

"Not

Mwittly

Sin,L!H

the bird on

high.

ee HectionR, First let i.

then

77ie

and
.S
-

KKY C.

Hound

in four parts.

T. F. S.

beBwill ex-

jombination
the tones of herd. The the teacher

8
now,

Hur

ry

ned in the nant Chord.

18

following

re

:d
ter.

n
We d
Tes.

.JIl)l,<J,MIUUU.I.

mmmmmmm

IS
Ex. 77.

SECOND STEP,
KEY
C.

Ex. 78.

KEY

F.

M written. Second time, Soprano and Tenor change parts. Third time, Soprano take Contralto Contralto take Tenor, Hinging instead of Tenor take Soprano.
Vint
t
t,

Second tlmo. Soprano take Tenor Tenor take First written. Third time. Contralto, singing s instead of s,, Contralto take Soprano. Soprano and Contralto change parts. Soprano singing s instead of s,

d:-

'Tenor tak

Third time,

lof
tl

s,

m^WB^Bsmmm

20

SECOND

Sl-EP.

]-:x.

84.
.

K1.Y Ei?.

SECOND STEP.

21

.d
unci
[

and and

When the pupils have distinguished the medium accent and produce it, the teacher will explain that the medium accent changes two two-pulse-measures into a fotir-pulse measure, and two three-pulse measures into a six-pulse measure. In four-pulse measure the accents are arranged in the order strong, wealc, MKpnJM, weak, (as in the words " mo-men-XA-///, " "plan-e-TfL-ry.") In six-pulse measure the accents are arranged in the onler strong, weak, weak, medium, toeafc, weak (as in the words "8pir-i<-u-AL-iThe medium, accent is indicated in the ty," \m-mu-ia-Jiiii-i-iy.") In the time-names, the medium notation by a short, thin bar.
ctai

.d .d

accent is indicated, when necessary (as in dictation exercises) by In Taataing, the L is not the letter L, thus, Tlaa, Tlaatai, etc.

Ex. 85.

22
Ex, 92.
:

SECOND STEP.
Kk\
F.

Round
:

in four parts.

In
I I

n
are

Now

n
met

r
let

we

d
mirth

:d
a

Id
bound,

:t,

d
let

:s,
the

and

Id
catch

:r
and
glee

go

round,

Ex. 93.

KET A.

SWEET SUMMER CROWNS.

:

:d
Sweet

d
sum
-

S|
I

s
pleas

mer
:

n
ant

crowns the

:d

Si

Id

:d

:d
And

u
oiear

S|

Id
skies,

PI

blue
:

with

:d

Si

Id

:d

SECOND STEP,
Ex. 99.

KEY
:

F.

Konnd
Is
way,

in three partK.

go

round.

(Is ; s ] I Come ye

s n

In
I

n
a

ir
way,

Come ye

Id
I

:d
is

:d
a

This

ve

:t, ry

rt,
fine

:
11 sum
-

:d
mers

Is, day,

d
Come

m
a

|r
way.

d
Come

:d
a

t,

WHV.

Ex. 100.

Kiv

D.

Round

in four parts.

d :d
II Mer-ri
-

:d Id :d
ly,

:d
-

irn
|

:r
the

Id

:
:

mer-ri

ly,

sound

horn;

s
I

Cheer-i

ly,

cheer-i

ly,

o'er

the

lawn;

s il Let

:s
It

Is
ring

:8

Is
|

:s

|s

now

loud

and long;

-: Idi : :-|s :_:_|d' :-:_

On
ward,

On

ward.

Ex. S
iv^l

101.

KEi

C.

me.

-}

24
Ex. 102.

SECOND STEP.
KEY
G.

M.

C. S.
:

SING EVERY ONE.

n
s,
I

B. C. U.

:S|
:

n
S|
beiini,

nil

nil

the
flay

H*m'H

blight

when
shiul

the

snii
fall,

nitiK

ows
;

:d
:

d d

d d

d
Si

S|

SECOND STEP.
t.

25
u.

c. u.

Ex. 107.

KET G.
s,

Round
:

in fotir parts.

=)

d
II March,

d
march

:S|

d
-

march,
:

way,

* d :d Who are
S

t,

d
for

read
S read

:t, the :si

d
fray;
:

m
II Fal

m
ter

r
not

:r
for

n
foe
-

:r
man's

n
ire,

:s

S
-

8|

Now

make

y,

aim

and

shoot!

Ex. 108.

KEY C.

Round

in

two

purts.

T. F. S.

s :d< : II Cuc-koo,

is :d> : Icuc-koo,

It
|

:t
to

:t
the

list

|d> : song;
|

is :n I Sweetly

:d
it

Is
|

:m

:d Ir
the
|

floats o'er

:r :r meadows a

In
|

long.

Ex. 109.

KEY D.
:

Round
:t
on

in three parts.

B. C. U.

d
II See
Ustinguish itaing, the the timeto

|s

|r'
lea,

d'

|s
his

::s
it.

n :song

the bee.

the

hear

s
his

1
raer

t
ry

Id'
I

m :s
I

d<

r
yes,

s
I

:s
it,

In
|

whisper

II

is

Song,

hear

hear

:s |r :s Id : Hear his mer - ry | song.

be Taataid

Ex. 110.

KEY C.
:

TAA

/
:d' Who's

:t
I'm

:1

there?

d' sure

:
I

:d' /
:

t
/

:t
vrd

d'

soHnd,

m
:d
:

V
|s
speak,

PV
Id
still,

:s
Don't

:d
keep

:s
hush,

|s
hush.

4 o

n
YES,

:8
'tis

mmm

26
Ex.

112.

xT E^

d d

:::

n
d
un
-

n
to to

:d

Come Come

m
d

an
s

:s

::

:d

n d
wea
that

n
rj'
1

s
ti

:d
-

road,
give,

:8
:

n
Now
s

m
let

Henv . y

:s

:d

28
exerciseB teiMher writes the following

SECOND STEP.
taught foUowB. Pulse and half tones may be on the board.
TAATiU TAA
:l
.1
11
TiiA

The
TAA

And when they are correctly Bung he changeB

AA TAI TAA :- .111

the second nu to

TAA
:1

TAA
II

TAI TAA

TAA
:1

.1

11

TAA
1

TAA
:1

TAA

TAATAX TAA
:1
.1 |1

TAA
:1

and explains

that in the first

first

and

be continued from the

TAA
1

TAATAI
:1
.1

TAA
:1
|1

TAATAI
:1
.1

TAA
11

TAA
:1

P^lsV^^l" i?iJ Thf exercise exercise w half lon^. The ond, making the tone a pulse and a from the teacher's pattern. The two la-ed and then to be tiitaid

^^Y^^^^^'^^^'^Pl^^'^^

e?cSes

|1

are to be taataid

sung alternately. rX then belaed '^^^^^^^^Z taataid in tune. on one tone and

and

Ex.

115.

TAA

SECOND STEP.
A. S.

Ex. 120.
8|
Pil
1.

KlEFFER. KEY Q.
.8|

GENTLE SPBIVa
:d :d
is

IS

HERE AGAIN.

:-

|d
spring

:- .mi|8|
-

(jen

tie

2.
:).

Years
All

a a

go
lone
1

ber she
:

:- .d

pi

:-.d|d
:- .8| |d

:d :d :d
-

8|
nil

:- .piilSj
tbo sing
life's lot

And
/Vnd

inj,'

WHS
-

And

the

bare
PI

bells

d d
r
t,

:- .d

:- .d

:d

;-

.r |r

But But But

;- .t, It, my heart no joy

her face
;-

r
8|

.r |r

:- .8||s,

S|

:-

.S|

|d

mi

Hi

30

SECOND STEP.
TAA
ta

41
-

fa

te

fe

TAA
1

ta

fa

te

fe

ta

fa

te

fe

TAA
1

m
mustf

:1
:

,1.1
,

,1
,

.1
.

:1
:8
:

|1

,1 .1

,1:1

,1 .1

,1
,in

.d
s
:

fe

m .d
r .r

s
8

8
Ir

,i*).d ,in:s ,r .r ,r
:

,m.d
,8.8

)pe8 are

,r

.8

igth shall^
.

.d
n

n
S|

.S| lakes the usk - y

ride

no

.d d .d
i

Tmnmiammmgmmmmm

S2
s

SECOND STEP.

33

THIRD
tunes.

STEP.

The Standard Scale, To pitch Ttu VTQ'ninent topics of the Third Step are as foUowsThe tones Fah and Lah, completing the Scale. Various combinations of Quarter-pulses. Syncopation. ModifiGlasaification of wicea. The Metronome. The Half-pulse Silence.
of merUal
effects.

>ation

The tones Fah and Lah are now to be taught. The method for doing this need not be described, the same process which was used for r and t will be used for the new tones, see p. 15. The mental

f
n'

effect of Fah, a gloomy, serious, desolate tone and of Lah, a sorrowful, weeping tone, may be shown by the following examples.

KEY C or

d
their list of ;unes for Ibo
it

r'

In

fouvpr.lsfc'
oto,

ieptt.d.
m]j,

F<-r bd-

DOH'

le

StaudtircJ

TE

LAH
jDt pulse f

SOH

Ion?
ilflu-and-a-half-

.ion

quarter-pnls*
I'Rt (|iiarter
i

FAH

of

third?

The

9(1

In the n*tar

li.kY

two meMure*
h the tt-aoher glvu you the t\t by tuatainK in^r tho accent ne, but the twcv
u

DOH
ti

wiilHimplylO'
at
loant tw'

itp,

which,

afv-

li

rate as abore^

34

TUIRD STEP.
scale
is

The Scale. After the tones drnfsltd' have been song in successive order, the teacher will explain that this Each tone of the scale series of tones is called the Scale. dififers from the others in pitch. By "pitch" is meant the highness or lowness of tones. It may be observed that the eighth tone above or below any given tone has the same mental effect and the same name. The two tones are so nearly alike in character that the ear accepts them as relatively the same notwithstanding the difference of pitch.

called

The Standard

Sc^le,

(commonly

They

are lleplicates or Octaves

one of the other. The word octave sometimes means a sel of eight tones, sometimes the eighth tone and sometimes the difference of pitch or distance between the two tones. The teacher
will question the
class

us Natural Scale). The particular degree of pitch which is taken as the key-tone of the Standard Scale is named C, liay is D, Me is E, Fah is F and so on as shown in the diagram. These pitch-names (letters) of the Standard Scale should be thoroughly committed to memory. The correct pitch of this scale may be obtained from a piano or organ, or any of the common musical instruments properly tuned, or, for ordinary vocal purposes from a C tuning-fork. It is a great advantage to have one tone in absolute pitch fixed on the
'

known

d'

thoroughly in regard to the scale

"The fifth tone?" Soh. "Which is the third tone?" Me. "The second tone?" Ray and so on.; also questions in regard

memory and it is more easy to do this than is commouly supposed. The teacher will frequently ask
in a man's voice is tlie tuning-fork. In this way the power of recollection is soon developed. In estimating the chances of certainty, ho vever, we should always bear in mind that any

the pupils to sing

really

C (which

to the

mental

effects

and hand-signs.

He

will explain that

C) and then

tests

them with

d n and

a are readily distinguished as the strong, bold tones of the scale, and r f 1 and t as the leaning tones, t and f have t)ie strongest leaning or leading tendency, t leading upward to d and f leading downward to n. The most important tone oft;

bo

the strongest, most restful, the governing tone, is callo the Key-tone. A key-tone with the tones related to it or belonging to it is called a key. A distinction is made between "key" and "scale". A Key is a family of related tones consisting of a key-tone with six related tones and their replicates. A scale is the tones of a key arranged in successive order ascending or descending. The intervals of the scale, large and small steps, &c., will be exjilained in the Fourth Step.
scale,

or mental depression has a tendency to flateven our recollection. Any pitch of the StandScale may be taken as a key-tone. A scale or y iH named from the letter taken as the key-tone, xiie different keys are indicated in the notation by
lily

m
r

the signatures

"Key C," "Key G " and so on. To pitch tunes. Up to this point the teach-

The Standard
tical

Scale.

The teacher

examples that the scale may be sung conceivable pitch may bo taken as the key-tone, und the other related tones will readily take their proper places. It is aeoessary to have one particular scale of pitch as a standard This from which all the othei-s are to be reckoned.

will show by pracat different pitches.

Any

er has fixed the pitch of the key-tone. The pupils themselves should now learn to do it in turn. The tuning-fork and taking the pupil strikes the tone it gives, sings down the scale to the tone he wants. This tone he swells out, i \A then repeats it to the syllable doh, and perhaps sings the scale Farther or chord of DOH to confirm the key. instructions on pitching tunes in the Fourth Step.

Ex. 132.

KV.Y G.

II

THIRD STEP.
Ex. 135.

85
U.

KET D.

Botmd
:f
fare

in two parts.

d Now

:r

In
say

S
well.

f
Our
pleas
-

:8
ant

U
work

:t
18

Id'
[done;

:s

we

Good

d< bye,

:s
then,

:s good

lt|
I

:r
then,

|s
All

:8

1
til

:s
to

If
inor

:r
row's

d
sun.

bye

an

Ex. 136.

KEY
:1

F.

Hound

in three parts.

11 With

the

Is Spring

:
-

:n |s
time
|

:~

:1

comes

the

8 rob

:m
in

Is :f Singing
I

:m
his

|r

:n

:f
re
-

Im
|

oheertui

frain,

*
jl
{
I

:f
a
-

In
way

:d
you

In
I

:
-

Sing

hap

:f py

n
bird

:d
ling,

In :r
I

:d |ti :d :r Bring us the Spring-time a

gain.

r-D

|d

Id

!d

S|

:S|

:S|

|S|
-

II Hark!

hark!

|hark!

hark!

Hear the met

:8| di

:S|
-

Id
I

ous

strain.

d-0

Ex. 137.

KEY D.

Round

in

two
|1
I

parts.

*
ts
in

d :r :n If : II Who sows good' seed

KEY C.

:
-

:t
ful

id'
I

:8
Shall

Id'
I

;t

:d'

ll
|

:s
the

f
har

:n
-

:r
vest

id
j

fruit

loam.

bear

with

joy

home.

Ex. 138.
d'

liound in two parts.

:d'
in

:-.d'|t
we
I

f
peace

:-.f|n
a
-|

:-

.dlf
witli|

:m
the

t
grvte

:-.t|d
-

11 While
:s

meet

gam.

Sing

joy

ful

strain.

We

Ex. 139.

KEY D.
:t

Round
d' pleas

in three parts.

S il Hark!

:d'
-

how

ant,

.d' the

It
|

.1

:8

.f

In
|

.r
the

:d
bells.

:s

8
peal

:n
ing.

merry

chiming

of

Sweet

Ex. 140.

KEY D.

Round

in two parts.

r. F. S.

:n
to

n
I

:n
the

:n

|n
keeps

:n
so

:n

n
and

:n
the

f
rain

:n

|d

:r
like

In in
(that, | that.

|8
I

:s
ahall

If

weath-er

storm - y

comes down

-S

:8

ilL

er

|8 have

:8
the

1>.
I

:8
i

:8
lege

pnv

of

wear

:8 ing

in my

:8

d'
Lai.

new

s.

d>

Ex. 145.

KEY C.

\nd \nd

w .n

s.

:-)

FINE.

D.

C*

38

TumD
s

ETTEP.

89
FINE.

.1
to
-

.f
be
as

n
cheer

:r
ful
.

.r
and
can
.t,

d
gay;
tell;

way

max

im,

ma

ny
:t,
ful

n
way

:m
to

.r
be

d
cheer
Si

d
gay-

and
.S|

d
f
do
tri
-

:d

.d

:si

Ex. 150.

wsmmm

40
Ex. 153.

THraD STEP.
KEY
EI2.

Ex. 154.

KEY

F.

d:-

"TS

42
KET
s
F.

TKIBD STEP.

MOTHER, CHILDHOOD, FRIENDS AND HOME.

M.
76.

C.

G. AujsN.
I

:s

11

:s

:f

n
tie,

n
d

:r

|1

:n
:d
t,

:d

r
It, die;

m d

:f

:d
:d
where

d
1.

:d

Id

:d

:d
ii

Id

::-

2.

Twin'd with cv - ery 0th -or climes may

earth- ly

:t, Mera'ries

|r

:d

:r

m
still

charm

while,

0th
s
S|

er

Bweet that eyes in

can - not beau - ty

smile;

Breathing Yet we

mur - mur
|s

n
d

:n
:d

|f

:n
:d

:1

Is

:s
:S|

Is
|S|

:s
:S|

f
si

:n
:li

Is
s,
:

:s

:n

Id

:d

n
d
fond
s

:d

Id

:1

Is

d
e'er

MS

:d we we
:f
:li

Id
roam, roam,

f
r

:r

m
Id
cliild
-

:s

m
d

:r
:t,

d
|d

::

:m
t|

:r
|r
qar
-

:f

|s

:-

:t|

:d
hood, hood,
:ni

:d
of

:t|

:d
-

Id
prize,

:-

Moth -er, Moth -er,

child

and home, friends and home.

friends

Green the
All

den

where we
ly

played,

joy
s
I

wo
:s
:si

f
fi

|m
Id

m
li

:s
:S|

|s

s
S|

:f
:8,

m
d
1

s
S|

:s
:S|

:r

|m
Id
|d

:-

::f

|d
:-

:d

::1

S|
I

d
:s

:d

:-

:s

|s

:n
:d

jr
lt|

n :f
d :r

|s

:d

d :r

m :r
d

d :d |r :r Dear the old fa Twin'd with all our

f

:-

n :d

:d

Id

:-

:t,

Id :d

mil - iar shade, fond-est ties,

s
ti

In oxir dreams how oft they come, roam. Sa - cred still where- e'er wo
s

Mother, childhood. Mother, childhood,

:t| Id friends aud h*^

friends

and h

:m
:d

Is
It,

:s
:t,

:s

|s
Isi

::-

:s

Is

:m
:d

:f

n
d

m
li

:s
:S|

|s

:m
:d

s
S|

:f
:S|

|m
|d

:d

d :d

Id

jd

THE WAYSIDE WELL.

KET C'
s
B. C. TJnseld.
:

.s
.

n
pret
greet

m
ty

.f

:r
:t|
well,

r
t|

.n
.d

:f
:r
la
-

.s

:8

s
PI

.s
.PI
-

PI

n
1.

:d

.d
-

Oh! the
Fair the

r .r way - side
on
face

.n
b'rer

f
ro
to
-

:n
ses,

:d
gen
peas
-

.d
tie -

Wreath'd a - bout with

2. 3.

Treads the dro

vor

the
as
-

ing

sward, cends,

Comes the
Like
s
S|

thee,
ter,

When be Free as
When the
d'

guiled with
-

na
:s
:S|

lad

daugh
d'

ant

d>

.d'

:s

.s

s
S|

.s
.S|

:s
:S|

.s
.S|

.d'
.S|

:d>

.d'

:s

.8

d
f

.d
.f
.r
or
sie

:d
:r
:t|
spell,

.d

d
f r

:d
.f
:r
:

d
.r
.

.d
.f .r

:d
:8

.d

r
t|

.8
.t|

:t

.8

!8

PI

:r
foot

.r
re -

r
pos

tm
es;

.r

t|

t|

sooth-ing

man
las -

lord,

bends
:s
:8|

Wea-ry From his To the

D
8|
.

woo trem - bling wa

steed to

thee;
ter.

With a wel - come fresh and Thou from parch-ing lip dost When she leans up - on her
v
.

:pi green,
earn,
pail,
:

s
8|

.8
.8t

o
8|

.8
:8|

.8
.t]

d'

tt

.8
.

.8

d*

.8

:8|

8|

.d

:d

44
s

THIllD STEP.

:
:

:s

:m
It

But

And And

:d :d

d'

n
sir.

-)

sir.
sir. sir.

-!

SBMAN.

:d

46
G>

THIRD STEP.
may now proceed
Classification of Voices. The teacher to a more definite classificaall musical instruments. The diagram on the left will show the usual vocal compass, male and female. The

nearly

pi E'

D'

C
B
A
G.

tion of the voices. He will first explain the difference of pitch between the voices of men and the voices of women. This may be done by having the women sing the scale of several times alone, and then let the men sing it alone. Most of the men will think they sang the same tones the ladies sang. To prove they did not let the ladies sing d (C) and sustain it while the men sing from their d up to d', when they reach their d' they will be in exact unison with the ladies. It will thus be seen that the voices of men are naturally an octave lower than the voices of women. This pitch C, which was just sung in unison, and which stands high in a man's voice and low in a woman's is called Middle G. It is about the middle tone of the usual vocal compass and is common to

teacher may find it useful to draw this diagram on the black-board and have the tones sung at their proper pitch to his pointing. Let all begin at Middle C, the voices of the men and women in exact unison, then as the teacher points sing up the scale together. At the

men will stop, many of them will have to stop before reaching that tone, the
continue up to G'. Then descending the men will join in at G (at the proper pitch) and together descend to G at this tone the women will stop, the men continuing down to G,. Returning upwards, the women will
join in at

women

G and

so on.

Ex. 155.

Kr.Y

c.

Ladies.

:d

C
B. A,

Middle

-G,

Fitj
E,
-5

>
CO

"b

C,

B.

A,

G.

THIBD STEP.
'
d'

47

F>

t
1

<

1)1

c
B

18

THIRD STEP.

CHRISTMAS SONG.
XBT C.

:8

n
ingt

d'

:1

:f and wUl your

:d'

:f

.j:.,mmsm

50
EST D.

:d :d
1. 2.
3.

How A With

THIBD STEP.

MY MOUNTAIN HOME.
KEV D.

M.

90,

beating twice,

Words and Musib by Aldine

S.

Kibfteb, by per.

:m
:d
ly

:s

ing a -

:s

:d

:t :r

The He To
:s
:s,

I.

Doo.

:t,

:r

...'...

im.'^^mm*

52
Second Verse and Cbonis by T. W. KEY A. M. 72.
S| ,f|

THIRD STEP.

D
.d
,1|

SUN SHOWER.
T,
:S|
S| ,S| .S|
,S|

W. Demminoton, by
,r

per.

.Hi ,f|:8|

.d

,t|

:d

.d
.S|
-

r
S|

.n ,n :r

.m\ mi,ri .d| ,ri:ni 1. Sparkling in the sunlight, 2. Clouds are flying swiftly,

Ii ,1|

.1|

,f|

:mi
hills,

Dancing on the

mi,n|.ni ,ni:si Tapping at my win

Everything
is

,8 .S| ,St :S|

dow.
ing,

Sunlight breaking throngh,

shin

Singing in the rills; As with morning dew;

t|

,d .d ,d :d

.d
.d|

d
fi

,d
>fi

d
d|

,d .d ,d :d

.d
.

}t|.d ,d :t|
,S|.d ,d :8|

d| ,d|.d| ,d| :d|

fi >fi

d|,d| .d| ,d| :mi

pii

S|

s ,f .m ,f
S| ,S| .S|

:s
:S|

.m
.S|

d ,d.d ,m :f
p\\

f
li

,f .f ,f
,1|
.1| ,1|

:n
:si

.r
.S|

,t|

.m

,r

:d
:

,S|

,pi|.n|,S| :1|

S| ,S| .S| ,f|

Comes the pleaBant sunshower

Palling on the

moun

tain,

Like a glad surprise. In the fer-tile vale,

While

gaze with won-der

Giving joy and glad-ness.

mi At the changeful skies. Comes the gentle rain.

pi,r .d ,r

:n
:d

.d .d
.n
-

,d .d ,d

:d

d,d
fi ,f|

.d ,d
.f| ,f|

:d
:

.f
.

m,r

.d

,t| ,S|

:d
:d|

d,d
8
Put
-

.d ,d

d| ,di.di ,d| :f|

8|

S|

S|,S|.S|

.m
ter,

:8
pat

d
hear

.1,

:d
rain,
,1|

S|

.d
-

:n
,S|

.8

ter,

the

Gen

tie

spring has

f .n come a
t|
,t|

:r
-

gain;
:t|

,d .d ,d :d ,d .d
.8
- ter,

,d

li

,1| .1|

:S|
rain,

Putter, patter,

patter, patter,

Listen to the

:8| ,S|.S| ,8| patter, patter, Patter, patter,

n|,m|.S|

.d ,d

Spring has come again;

m
Pat

:n
pat
-

.s
ter,

f
hear
,d|
f|

.f the
f|

:n
rain,

d
Gen
-

.m
tie

:8

.m

spring has

r .d come a
S| S|

t|

gain;
:8|

di ,d|.d| ,d| :d| ,d|.d|

Patter, pattur,

f|'f|

Jd|
rain,

d| ,d|.d| ,di :d|,d|.d| ,d|

Fatter, patter,
patter, patter,

.8|

,8|

patter, patter,

Listen to the

Spring has come again

8 Pat

.m
-

:8
pat
-

.m
ter

d
soft
1|

.1,

:d
,1|

Si

.d
-

;n
on

ter,

re

froin,

Tap

ping

.r the

d
win
-

.t,

:d
pane,

dow

,d .d ,d
.8
- ter,

:d ,d .d ,d

,1| .1|

:8|

Patter, patter, patter, patter,

hear the soft refrain,

n|,n|.8| ,8| :8| ,8| .1| ,1| :8| 8| ,8| .S| 8| Tapping, tapping, tapping.tipping on the window pone.

m
Pat

:m
pat
-

.8 ter
,d|

f
soft
fi

.f
re
-

:n
frain,
.f|

d
Tap
-

.m
ping

:8 on

.f the
fi

n
win
-

.r

:n
pane,
8|

dow
.8|

d|,d|.d|,d| :d|,d| .d|

,f|.f|

:d|

Patter, patter, patter, patter,

hear the soft refrain.

:d| Tapping,tapping,tapping,Uppiiig on the window pane.

di,d|.d| ,d| :d|,di'fi

S| ,8|

KEY D.

Hound
|8
for

for

two parts

d
II War

:m
-

:8
us.

d>

ble

ech
1

:d> o
:1

It

:1
-

|8

f
Soft

:f
-

m
now

:n
our

:r
-

Id
peat.

sweet,

ech

sweet,

ly

song re
8
clear

:f
-

n
ech

:m
- o,

|8

w Gen
its,
(

tie

woke from

sleep.

f :f Gen tie

m
ech

:m
o,

r
clear

:r : Id and deep.

:8 and

n
deep.

KXT 8.

Bound
8
I
I

for four parts.

*
For

:8 health and

:f

m
dai

:m

In
food,

:r

:d

Id
name.

:t,

d
Lord.

strength and

We

praise thy

THIRD STEP.
KKi A.

68

M.

72.

SERENADE.
:d
:mi
est,

!m
liSi

.m
.S|

n
dear

:d .d
while a - round of her dwell ni^ht wind bears
.1|
S|

:s,

:S|
:

.S|
.

8|
S|

8| S|

:8|

:s,

8|

:S|
:

.8|

:mi
thee
-

mi
All

f|

:s,
si

mi
lence

/l.filMp 01,

is

)2.To
/3.

the chain

And the woo :d .d d

:d| .d|

her ing
:8|

ing,

them

Wliere my Far a -

wi wrapt in love in

deep;
lieu:

mi . Hi While thel
Thro' the?

slum

ber
tant

way

o'er dis
p\
PI] is

plain;

And

theV

:d
:d,

:d .r

n
d| All

m
:S|

:r
.S|
in
o'er

d
.S|
-

:d,

:d,

.d

d,

:S|
fii

wrapt in

d, lence deep;
lies;

Where my love Far a - way

slumber

dis-tunt plain;

/
.d
chains
trees
:t|
.1,
S|

Dim.

:d
thee, ing,

dream
fi
:

sleep have bound of love - tones tell in hears ing fair one
.1,

:d .m s God doth con

As on gold Hears and sweet

.f
en
ly

:m
lad

.1'
-

m
keep.
rise.

:m

.m
]

stant vig

ils

Con - stant
As on Sweet -ly

der

them,

dreams a

gain.
S|

:8,

.f,

m,

:mi
:s,
thee,

:mi

.S|

t|

.t|

:d
:

.S|
.

d .d

.d

:d

.d

.r

:r

t|

d
keep,
rise.
f;ain.

While the chains of sleep have bound Thro' the trees in love -tones tell And the dream-ingfidr one hears
fi

God doth con

stant vig

- ils

them,
:d,

As on gold -en laci"- ders Hears and s\vuet-ly dreams a

S|

.fi

fi

.f,

:f|

.f|

d,

,S\

:S|

.S|

:S|

.S|

d,

:d
vig lad
-

d
keep.
rise.
-

ils

:d .d Con - stant
As on Sweet - ly

s,

ders

dreams
f,

a
:1|
-

gain.

.f,

.1

God doth con

As on gold - en Hears and sweet - ly

li

:si stant vig lad

.f|
lis

m,
keep.
rise.

ders dreams a .1| .fi

"aia.
S|

.li

:d
:f|

.d
.f|

:t|
:fi

fi

.f|

d,

64

THIRD STEP.

CANON.
KET
Bt2.

M.

104.

May

NOW THE EVENING

PALLS.

be sung in two, three or four porta.

m
Now

r
the

1.

No
fl

Pll

foot

steps

r
bird
ri
falls.

d
of

S|

V
THIRD STEP.

EVETTINQ PRAYER.
KT
AiZ.

56

THIRD STEP.

HURRAH! FOR THE MERRY GREEN WOOD.

KE
:S|

JOWIBT.

Is

:;-

m
|s
rrab!

Id

Id
sky,
tall,

:-

o'er,
fair.

n
d

Id

K6
SET D.
d>

TUIBD STEP,

M. 112.
|d>

Boldly, wilhont dragging.

:t

:-.l

m
S

:f
the

|8
song |8

Woke

:8

:r

In

THIRD S7RP.

69

8
join

: I
:

::t
!t

8
Je

.8 |8 BQB is

:8
Uie

d'

itA :tj
it

8 8

:n

:8 .f
s .f

|n
I

:
:

>ng

n
und

f
sing,

:m
the :d'

d'

:n
:pi

m
of
id'

join

Let
d' d'

sound from
1

shore to
1 1

shore,
;I

t 8
join

:d'

|r'

itA
:t
.1

:~ I-

:s .f

8 Je

:-.8|8

:s
the

|8

:m

n :8.f|n

:-

BUS

is

ing

:8

11

:r"

Id'

:t

|d'

d
Je
1

:d
BOB

Id
If
If

:f
:1

\n
ev
-

:f
er
-

In
more
Is
inaso.

reigns for-

:8

8 8

:s
:8|

B,

:n

:r

Id

d Now

n
the

n.r|d

ti

Id

m
londi'

do

Bert

lands re

joice.

And

the

meuo,
t,

d
the

|r
whole
I

:n

Yeo,

8 gns with

n
join

|8,

n
Yea,

their voice,

the

Ir whole

ere

60

THIBD STEP.

is an instrument for regulating the It is a penaulum which in a piece of music. M. 60 at various rates per minute. (Metronome CO), in the Tonic Solfa notation means, "Let the fnUaen of this tune move at the rate of 60 in a minute." In the nMe of very quick six pulse measure, the metronome rate is maile to correspond, not with pulses, but with half measures "beating twice in the measure."

The Metronome
movement

rate of

oan be made to swing

substitute for the costly clockwork metronome is a with a weight nttached to one end a common pocket tapeUieoHure is the moHt convenient. The following table gives the number of inches of the tape required for the dififerent rates of movement. The number of inchcH here given is not absolutely correct, but is near enough for ordinary purposes.
iitring

A cheap

M.

fix
ila

M. 60

in

to begin

d then test te of move-

smpemment

^n

be conlake us sing

powor of aost importTie

the teacher
3asure, thus:

onome, bo as
e while they it again, on

immediately
the blank

y
)

halves) and half of the

whispering

62

TUiuD STEP.
Ex. 165.

63

TAA
iSWABO.

te - fe

TAA
:1

te- fe

TAA
1

efe .,1
.,1

TAA
:1
:s

efe .,1
.,1

TAA
1

'

efe

TAA
:1
:pi

TAX

D. C.

.1 .r

,1

.1
.PI

,1

,,1
.,f
.,8

.1

d d

,n :f
:d

,f
,pi

8
1

.PI ,r

.r
F.

.,Pl

:f

:f

Ex. 166.

Key
-

Bound
.r
-

in four parts.

*
:d
sing,

d
II
All

.r
to

:n
geth

Id
I

.t|

n
We d
Sing,

er

let

ua

8 ,8 .8 {I Geutlo-men,
Ex. 167.
.8,
in,

S fS

gentle -men,

8 ,8 .8 gentle -men.

:8
sing,

KEY F.
:

Hound
.

in four part8.
.

He
.S|

d
II Come,

d
come

,r m to the I King

m
ing

:d
school,

.d
Let

in,

He

*
PI

:8
oome,

.m
.d

i
come,

II Come,
8

.8
we'll

n
Ring

.n
the

II There

.d
la

,r
la

:n
la

.n
la

,f
la

8
la

II La

Ex. 168.

KBT

F.

Bonnd

in four parts

^
II

II
tone luid a Bomiua placed
B

L^

8At

64

THIBD STEP.

OH! THE SFOBTS OF CHILDHOOD.

SBT C.
Smoothly ; in sviinging
style.

M.

104.

p
m n
I.
'I.
:J.

:di

:s

.,f

.,r .,f :n Oh, theRports of

in

d
child

:n
hood! beams, hood!

Swaying

the sun Oh, the Bports of child

d'

.,d':d'
.,d

.,d
.,d

d'

:d

:d

d'

:1

Md' s
..f

n
Hap Hap Hap
d'
. -

:f py py py
id'

m
free;
free;
free;

and and and

.,1

d<

:d

.,d

r'

.,d':t
.,f

.,1

:t

:f

.,f

Swinging *neath the old Swinging 'neath the old Swinging 'neath the old
s
.,1

:t
:s

.,d'

r>

,s

.8

:d>

:di

n
Swing Swing
d'
-

:n
ing,
-

18 swing
ing.

:n
ing.

|8

id

THIRD STEP.
B.L.
EST G.

iya

THE OLD BLACK

:pi

OAT.
B. LowBT, by per.

.m
8|
1.

.,f

PI

.r
.t,

:r
:t|
glee,

8|
8|

.r

:r
:t,

.,P1

r
t,

.d
.d

:d :d
be?
well,

8|

.PI

:pi

.d

:d
fnll

.,d
of the
to
.,1

d
fnu
tor

t,

Who

80

and

Hap-py

08

2.

Rome will choose

toiHe shell,

therg

love

.,d a the

can white so
cat
set

3.

When the
.8

boys,

make her
8

run,

Call the

dogs

and
.,8

them on,
.PI
:pi

m
d

:s

.8
.8|

:s
:s,

8
8|

.8
.S|
:8|

f
S|

.d

:d

..d

.,8|

.d

:d

6
A. S.

XHUID STEP.
Ejtnma.

THIRD STEP.

67
(O.

TO THE MOUNTAIN.
0.
:d'.,r'

d*
PI

:8

:8

.,1

:m
:d

r .n

f .8

.8
.pi
-

n
PI

:8

:n.,f
2.

:m

:in.,f
to the

:d.,d

t|^

:rj]i
tain

;f
a
a

:d

l.Tothf moantain,
)

mooDtoin, mountain,
d>

To the moontain,
vyB

to the

To the monn To the moon

way,
woy. S

tain

:di

:d'.,d'

:8

8 t)8

:s
:

:8
:

:d .,d

:d

:d.,d

:d

:d

.,d

68

TUIKD BTKB,

or C.
f

LOUD THROUGH THE WOBLD PROCLAIM.

M. 104

I
8

:n .,r|d :n .,r|d
thro' the

:m :m
pro

8
8
claim

.-I:
:

:di

:r'

d<

:n
Je :8

r
ho
8 8
-

:f
vah's

Load
8 8

world

:n .,r|d

:m M^ld

:m :n

| I

:8 :8

:d

mo.
:8

ni

:n
Je

I'S

:n
:d
ith

the

:t

:f
Is

70
'

THUID STEP.

ASCRIPTION. S.M.

Exxkt

TBIBD STEP.
the anticipntion of accent It reqnirea an accent to be strnck before its regularly recurring time, elianging a voeak pulse or weak part of a pulse into a strong one,
ia

71

Synoopstion

and the immetliately followinn strong pulne or part of a puis* It niuHt be boKlIy ntnick, and the strung accent on tbe immediately following pulse must be omitted.
into a iceuk one.

Ex. 169.

:T
TAA Hi

Il-iA

:1

:1

II

:1

:1

AA

:1

-AA

:1

TAA

TAA

TAA

TAA

-AA

TAA

TAA

TAA

TAA

TAA

I' TAA
I

'^ TAA

ft
If

Ex. 170.
1

X
TAX

:Ai
C.

.1
TAI

.1
TAI
-

:AA

.1
TAI

.1
TAI

{I TAA

TAA

TAA

:1 TAA

.1
TAI

:1

TAA

SAI

TAA

SAJ

Ex. 171. 8 II

Come

:8 now,

^XKT Bound
I

in two parts.

T. P. S.

:8

II

:r
now,

:I

:t
shall

|8

oh.

come

Or

we

:t be

d'
Lite,

:d'
I

!d'
fear.

(In
1
1

f
we're

If
-

s
right

d
long.

Yes.

com

ing

Ex. 172.

XST C.

Bound

in two parts.

Wk

II
d'

"

If
no,

:-

n
no.

|r
no,

d>
no,

::8
yes.

It
no.

::f
yes,

|s
no,

:n
ye^

no.

tr
yes,

IKXT C.

:d'
yea,

I|

:t
yes,

:1
yes,

:r be

:f
yes.

m
late;

In
yes.

Ex. 173.

Bound
.t

in two parts.

.r
.n
no.

:-

II

.T
now,

II

Come now,

O
:n
no.

come

.8 Or

f
we

.n
shall

.f
too

PI

f
no,

.f
no,

:f
no,

n
And
I

.d'
you,
too,

{| No,

.t must

wait

Ex. 174.

KZT F.
:ni

Bound

in three ports.

(In
i|Cnll

.,f Is John the | boat

:d

n
call

man.

:r .,d ir him a - 1 gain,

:-

.d

In
I

:s

.1

loud For hot

roars tbe

Is tem
I

:n .d
pest

j.

and

:n
I
I

.,1^

|d

.d
John

:d .d
is

Id
I

:-

.d
he

Id
I

:t|

.1|
-

|si
|

:-

.t,

fust

foils

the] rain.

sleep,

sleeps

ve

ry

sound,

His)

d
II oom
8 .8 II rap- id

:d
are

.d
at

Id
j

:d
and

.d
his

In
|

:8
is

rest,

boat

.,f a

In
-I

:8

.n
the

:d
xoors

ground.

Loud

.,r In the I riv

.n
er,

.d
so

j.

:-

.1

and

deep;

.8,81 8 .8 Butthel louder

:n .f
you
coll

Is
I

John,

Is .8 :8| sounder he I

.,8||d
will} sleep.

72
T. P. S.

kkyC

M.

Skwabd.
:t,

74

THUU) STEP.

QUESTIONS FOB WRITTEN OR ORAL EXAMINATION.

DOCTIIINE.
Wliat two
Hll'llt

new

tonea hare yon lo.nrned In thia

Si).

Miint the acnle alwnyn he Niin<r at the ^ami^ pitcli or may il he .sun;: alililt'eruiit pitclient

46.

IIow

fa

thia tone
f

and the aix tonM abOT*

la

marked
47.

a llelwvoii what two tones dors Fah comet

3,
4.
S.

20.

What
the

is

Itrtwi-en

what two tones

iho luliilivH

iUh'h

Lah

toiiio!
27.

'iiiici'!)

the naiiioofthat scale from which all are reckonrii'

In the

Key

the

.Scale is dtih.

nnmnrked CJof tho Standard what is the unmarked A I Th*

lah be

Whiil

in is i
i.s

6.
7.

Whul What
AVhiil

Fah to Doht ihe ruladvu ixi.sitioii oC Lah to Duht the iiii'iilal fll'.rt of Fah! Of Laht thtt iiiaiiiial Hi;iii tor Fahl For Lah't
itoHitioii ol'

What

the naineof tin- |iitcli that is taken as the Ui'Vlono of the Stamlai il Scale I
IS

iiniiinrked E.'
18.
4!).

How
IIow

would

tliat

marked?

is.

29.

Name What

tlie

pitches of tho Stniiilard Scale!

is

i.itch

Soht

Ilaiif

Laht

(The

Willi what octave marks are the IJase and Tenor pai ts wrilteu/
is

8.

Whiil

I'horil Ik I'oniivil
is llio

of the loneH f

dt
s
1

tearlii'i' will .siippiy

t

Himilar

i|iieslioii!).)
I
I

50.

the exact rate of raovenieut of a tune

9.

What

Huriea uf luuua,

d r

d',

30.

callt'.lf

10.

AVIiii h is tlio flOh tone of the Brnlof Tlie lhir<lf 'I'hitxi^th? ti'at'hcr will nii|i( Thu )ily Mililiii ij;il i|iii'stiuiis, mill al.io i|iiL>liuiid

In the aliscnce of n iiiiisical iiistninient, how may the ciiriecL pilcli of iho Standard Sea \m ulitaiiicd (

regiiiateill
51.
i

What
IIow
lire

lines II. CO Indicate?

52.

is

the rate of verf iiuiek, six-pulse meaaI

^

31. 32.

From what

is

ii

aciilo

or Vey nnineilf

marked

on
11
III

lliu loi-itlai

cH'uctH

ami

Uow

haiiil-Mi;;iis.)

are the dilTeruul lieya indicated In the notation t

ix the ilillVronce of pitch between the Voices of men ami liie voices of wonicut
1.1*

Kacli loiif of Uie Huulu

tlill'urH

from tLu utbeis,

33.

What)
is iiicniit is
ilin
liiiic

What

is vhe time-nnme nfa nileiice on tlie first half of a pulse? Uii the aecoini liaUW 54. How are hulf-piilso ailencea iKilicuted in the notation?

53.

What

19
13.

Wliat

What
IIuw
till!

hy "pitch?" (iu'hth tone aboro or below any

I

34.

What

55.

the

name of

What
two

is

the pilch

that

ntiiiiila

i|iiarler.s

the tinie-nnmo of a pul.so divided into and a hali*?

in the notation

):lvi'ii

calU'il

14.

is tliM

octave abore any tone indicated in

35. Is

nhoiit the )iaHs f

middle uf the usual vucal cum5G.

IIow are they indicated

Wliat
is

iioialioiil
JH
is

miiMIe
voice
I

a high or a

lo\r

tone in a man's

57.

the time-name of a half and two quar-

tet a_l

l.").

IIow

the octave below iiidirntcilt

the
Hi'coiiil

Ifi.

How

octave ImlicattMlT
uf the acalot

.IG.

Is

it

u high or a low tone

in

a woman's votcot

58. 59.

IIow are they indicated in the notation?

17.
Iti.

Whlcli
Wlilih
Wliiili
III

ai'o tlio Ntiiiii;;, liohl toiioii

ail-

37. 38.
39. 40. 41.

the

Iraiiiiij;

lU.

twd

iiiiifH

toncMl have the atrongcat leaning

I

IrailillU IflliliMIC.vf

30. 81.

To wll;lt To what

loliu iloos

Irail?

(oiii; iloi's f liiaiif

W
3.

Wliiii is iliriiiosi iMi|ioi Hint,

;;iiv<'i iiiii^

thPKtrongcat, the
calli-il
I

lone of Ihe scale

42.

What
toiK
AVIiiMi

Ih a

family of

loiics, coiislstiii),'

uf a Icey-

43.

aiiil ni.x

ivlaluil tonus, ualliiitl

44. 45.

S-i.

the toiii-H of II key Hie arraiitied In anociv^nne oi'ih-i, iwcuuiJiug ur duecuiidiug.whut Uu iLey luukut

What are the high voicoa of women cnlledf What is the iisiini coiiip.-isl of the Sopranot What are the low voices of women called f What is the usual compass of the Contniltot What are the high voices of men called What is the usual compass of the Tenor I What are the low voices of men callodt What is the usmil compass of (he llasef
>

What
a

is

llii'ce-4uaiter-]nil.su

the lime-name of a pnlse divided into tone and a i|uaitert

CO.
Gt, 02.

now am tliey
What What
What By
is
is its

indicated in tho uotatiuu?

syncopntioii?
ed'ect
piii.su?

upon a weak pulse, or weak

part of a
G3.
is

strong
C4.

its oHcct piil.su?

rliielly, ia

upon tho next foUowIni;

the mental elTect of tonea
effecf the strong uuiutiuuul luuus ?

what,

nioililled?
65,
I

From what octave of

the Slainlard Scale la the pilch uf the iieyuulu uf uuy key lukunl

IIow does a quick movonirnt

tuuua uf ihu auulut

The

PRACTICE.
66.

Sin? from memory the nitch of d' ofthe Standard Scale, and sing down the scale.
Strike, from Ihe liiniiiii fork, the jiitch of d' of the Slainlard Scale, and .ling duwu the scale,

73. Tnatai, witli accent,

nght fnnr-pnlae menanrea.

iiO.

77.

NiiNiaining the rulu uf Al.

Tliu ratu<uf
78.
I.''i7

U.
67.

\.M.

Toint and Solfaon the modulator, from memory, any one of the followiiii; four ICxi'icisea 133, l:ii, 137, 138, chosen by the uxamiiier,
Write, f^iim iiiemnry, anv other of these four UxurciHcs, chosen by tlie examiner.
Tell which istaA,- wliicli
ta

73.

Taatal, from
to
liiO

memory, anv one of thePlxa.

us above.
8.

INtch, from the tuning fork,

to la the

Key

D O A r.
tlie

anil Hi'l III li'i.'i. cliimeii by the lirst lueiisurti being naiiiuil,
74.

tbu teacher,
70,
li^xa.

/ah, as directed,

on page
Tuntal on one tone any one of the to Ili8, chu.seu by thu ieticher.
lOG
80.

3C, i|uestion 31,

all

69. SiiiL'

FaK

to

any hoh

teacher

gives.
70.

Ullto^o^. Ditto tnA.

I

TJilfo 7>iA,. Ditto any of ill] tonea uf the acaie the luacbof may choose.

75. Taalai, in tune, any one of the 173, clioauu by the teacher.
76.

Exa.

167, 1G8,

ei.

71. Tuatai,

with accent, a fnnr-pnlae meaanre, at the rate of M. (iO, ftvui memory. At tha rau of M. 120.

Follow the examlner'a poliitinir. in a new voluntary coiilainin:: ail the lolieH of the NCllle, but no ditliculUea uf time greater than the
M>tf atop,

83.

ia sung to la, aa at page 32, i|uestioii 32. Toniai liny ihythni of two fonr-pnlse meaaiirea beloiis io the step, which Ihe examiner shall ia tu you, are page 32, i|iioMtioii 33. Taatal, In lunn, any rhylhiii of Iwo foiir-niifa* nieiuiiiivs iH-loiiKing to this step, whicli Iha exiimlner SuU'iui tu yutl. 8ee page 32, q ! tiwu34.

Tell wliat tone of

Ihe scale

75

FOURTH
nM
r

STEP.

boT

It

7b.

The Intervals nf the Scale. Trnnaition io the T^iritt Sharp and the Fir/^t Flat Keys ; Us proeeaa and menial tffed. The tonea Chromatic effects. Cadence, Passing and Exlemled D-ansition. Pitching Tunes. Thirds of a Puise. Beating Time.

A and

ilie Stnndftrtf

ikudAt lb*
liiR

The Intervals
snliject is
is

not

of the Scale. In the now deemed so important us

it

nrt of singing, once was, for

t)io

JiaAo

and

leut of a tun

ix- pulse

measfirHt

directed immediutelj' to the clmracter nnd mental effect of a tone ia the Bcale, rather than to its distance fr<nn any other tone. In an elementary cluss tiie Rubject need not be dwelt upon merely the main facts briefly i)resented. The teacher or student who wishes an exhaustive treatment of the matter, is rel'ered to Llusical Theory, liook I., by John
Btti'ntion

now

those who have studied the mental effect of each tone, the study of "transition" becomes very interesting. At the call of souin single new tone cliaracterisiically heard as it cntem the uuisic, the other tones are seen to ucknowlodge their new ruler, ami, suddenly assuming the new offices he requires, to milliliter in their places aroiunl hiiu.

Curwen.

u-c>
<i

on the
ill

The Tonic
lows:

Sol-fa statement of the scale-interrals is as folLittle Stet) (iroater Step.

liiiU'i

licaliiil

the
into

10

iliviiled

lotntiont

ami two quarlotntionf

tt*
1

t to d 1 to t 8 to 1 f to 8 in to f. r to m d to r
TliTiB

5
.

.'.

. . . .

Smaller .Stop. Greater Step. .Little Step .Smaller Stop. Greater Step.

.8
.1)

5
. .

.8 .9

Kommas. Kommas. Kommas. Kommas. Kommas. Kommas. Kommas.

The musical /net, thus didactically state d, may be set before Fimt the minds of pupils in some such way as the following bring up the scale in review, questioning the class as to the mental effects of the tones, the intervals and the two most marked charactcriutio tones of the 8cule. The teacher may then
;

Buy:

Listen to
I

mo

while

.-^iii)^

stay

ill

tlio
it

same key

all

tune, and notice whctlior si ilirough the tunc, or whether I

go out of

at uiiy point.
la.

Teacher sings the following example to

iliviilcil
<|il;il

Into

the scale contains Three Great Steps,

Two Small
A..
{i

II

tf.rt

lotatluuf

Two Little Steps. The difference between a Greater Smaller Step is called a Komiua: a Greater Stej) conhisfcing of nine Kommas; n Smaller Step, tight Kommas, and a Litripps ami

SET C.

md

It

:m
:8

Is

:m
:t
.1

|1

:!'

Is

::

tle

pulse, or

weak

distinction is made between the Greater and Smaller Stejis, tlioy arc simply called Steps, and the Little Step is commonly called a Hall-Stop.
Step, live

Kommas.

(Jrditiarily,

no

{|8

Id'

Is

:f

In

go out
feel

next following
effect of tones

ITi'ct

Ihb strong

tiuuul loiiutit

also named Seconds, Thirds, Fourths, Sevenths, Octaves, and so on. The interval lioiii any lone to the next in the scale is called a Second; from 'uiy tone to the third tone is culled a Third; to tlu! tb\u-tli tone l'"ourth, and so on. A Second that is ecpial to a Stop is called .^bljor Second; a Second that is eqnii] to a Little Step is called a Minor Second. A Third that is eijual to two Stoiis is called a Major i'hird as from d to n f to 1 or b to t. A Third that is cfpial to one full Step and one Little Stej) (a Step and a Half) is called a Jlinor Third as from r to f n to s 1 to d -or t to r'.

Intervals are
Sixths,

Fifths,

of

it

Did I stay in the oue key any point?

ciianged.
sings, still to

all

the time, or did I

Listen again, and raise your hands

wbcu you

the

key

lias

Teacher now

la,

example B.

B.
{|d
{|8

SET C.

:n

!s

:pi

II

:1

Is
|s

::

tor.

from memICxiTcises

ioiir
lit)

oxiiiiiiiiiir.

of tliuse four miller.

h,

as Jiroted,

7'e and Fah are separated by a peculiar interval, called the Tri-tone equal ti> three full Steps it is the only one found in the Scale. Tims f and t become the most marked chamcteristic tones of the scale. From their mental effects t may be odled We sh.ill prethe sharp tone of the scale, and f the Jiut tone. sently see how the whole aspect of the scale changes when f is omitted and a omitted and a new t put in its phice, or when t is new t is taken instead.

id'

:t

.1

Is

:fe

||

the toucher strikos the tone ftr the pupils will, withhold np till ir liunds if they do not, then both examples innst bo repeated.

When

out

diiulil.

Yon
key.

sung

to la, a>

pulse monsnrea
KXiiiiiluur shall
III :i:i.

two
il<|i,
I

fiiiir-nii(

which tb

put{e

M,

i|

IM

the "passing over" of the music from one key into another. (Heretofore this has been called modulationbut in the Tonic Sol-fa syBtem -'modulation" has a different meaning.) Sometimes, in the course of a tune, the music seems to have elected n new covorning or key tone; and the tones gather, for a time, around this new key-tone in the same For this purpose relationship and order as around the first. one or more new tones are commonly required, and the tones, which do not change their absolute pitch, change neverthelesB, To their *' mental effect " with the change of key-relotionship.

Transition

is

feel that the mnsic lins "n.T^^ed over'' into n now This change of key during the progress of a tuue is

called Transition. It may be well

imitating.

now

to repeat the

two examples to

la,

pupils

Let MS now learn what lias caused this transition, change of key. You may sing (solfu-ing) as I point. The teacher points on the modulator the example
above.

76
Did yoa make a transition then, or stay kej? Trj it again, as I point
This time he changes second phrase, thus:
io

FOURTH STEP.
the sa'^e

Teacher sings, and points on the modulator, example B, which the pupils may sing after bim.

E.
{jd

KEY

C.
1

:m
:8

:rn

|1

:1

|8 .8

: :

O.
{|d
{|8

a.Ei C.

:m
:s

|s

:m
:t
.1

II

:1

|8 8

{|8

^1

:b

.1

it

:1

If

||

Id'

Is

:?

Have we made a
same

transition or not?

Did you make a key?

Listen to me.
at /

transition then, or stay in the

Has

the mental effect of any of the tones changed ?

Listen again, and in place of te we will put a called ta* now notice the mental effect of fah.
;

new tone
of te

Tciicber singfl exuinple to la, pointing as he sings; he points iofah, ou tho modulator, but sings ft.
I

and

Teacher repeats example pupils imitating.

E, singing

ia in

the

placf.

Did

sing fall, then, or a

new tone?

Was Was
fe;
it is

the

new tone
is

liigher or lower than_/a/i?

it liiglier

or lower than ^oh?

The new tone

to

a Little Step l)elow %oh, and

is

called

point,

exactly Avhat If, is to doh. Now sing as I listen to the mental eiVect of aoh, and tell me
it still

mh

whether

sounds

like

mh.
example B, above.

has become doh, soh has become ray, lah ha.s is a new /nA, and so on. have mado a transition into a now key, but a different new key. Tindixlinr/uiKhing tone of this new key is la. It is called the "Fah Key," or (on account of the JIat effect of its distinguishing tone), the First Flat Key. The Fah Key is represented on the modulator on the left of the old, or Doh

Fah

become me, <a

We

Pupils
Wiiiit

Hol-fii,

to the toixcher's pointing,

Key.
Teacher will now pattern and point exam Av the side column, as indicated in euimple F.

(lid

the last soh sound like?

What

did the_/e

E,

i-oing into

sound like?

Yes wh has oluuiged into doh, fern a. new te, lah is changed into rai/, U: into inc., and so on. The teacher may illuHtrate thifi further if he thinks best. You see that Uic tniiisition is caused by omitting /*a^, \\cjlal tone of the old key, and taking fe, the t^harp tone if a new key, in its phice. Fe thus becomes the dixlingui^Jniig tone of the new key. The new key is called the "Soli Key," or (on account of iha sharp elTect of the distinguishing tone), the First Sha7'p Key. The new key is shown ou the modulator on the right of the old key. You see the new doh is placed opposite the old o/i the new
;

IT.
{|d
f.

KKV C.

:n
F.

|s

:n
:r

|1

:1

|s

{|8r

:r
It will

.m |f

:n

.r

|d

|'

bo interesting

now

to review

examples A, B, D, h

andF.

Adjacent Keys in Transition,

^

Snch

transitions iw

'ay opposite the old lah; the

new me opposite

the old

te,

and so on. The teacher

ple

will now pattern and point on the modulator example B, going into the side column, as indicated in exam-

D,

following.

have just been studied are called trauKitions of one remove, becanse only one chiingo is made in the jjitcli tones used. When ! said to go into the first shnrp key, or 8 becomes d the uins or key of the Dominant. When f becomes d the n-nsii; is saiil l.> key, Eighty go into the first fiat or key of the Snb-Dominant. per cent, of all tho transitions of music are to one or the other of thcKe two keys, and that to the Dominant is tiie one most The relation of these two adjacent keys should be very used. clearly understood by the pupil, and he should be led to notice how the pitch tones change their mentid effect, as described iu
the following table:

jy.

KEY c.
:tn
1

{|d
G.

:m

II

:1

:Id

Piercing t Sorrowful 1

hecomes

"
'*

Calm Rousing

n.
r.

t
:d
for

Grand

{I'd

;m .T Id

:t,

:-

Desolate

Calm
Rousing
Strong
*

m
r

Instead of putting a another experiment. aharj) tone under aoh, in place effah, let us put Ajlat tone under doh, in place of te, and see what the effect will be.

Now

cfMnged for beeomtA " "

Strong 4, Piercing t. Sorrowful L

Orand
Desolate

For

pronanciktioii, nee pftg 77.

FOURTH
eiample B,
d>

STEP.

77

:~

t
t-ta

Returning Transition. Ah h mle, nil tnnes go back again to their principal key, but the returning tronsitioa in not always taken in so marked a manner as the departing transition, because th* principal key has already a hold on the mind, and the ear easily acoeptK the slightest hint of a return to it. Commonly, also, it is in the departing transition that the com poser wishes to produce uis most marked effect, and in which,
he therefore makes his chords deciKive. and his distinguishing tones emphatic. Let it be carefully noticed, that the return to the original key is the same thing in its nature, as going to the hrattlat key, so that a study of the luutuid relatiou of these two keys is the ground work of all studies hn tninsitiim. The pupils should be taught to driiw a diagriim of a ])rin('ipal key, with its first sharp key on the right, and its first, flat key on the left, observing earefully the shorter distances between in f and t d', and to l"am liy rote, the relations ol tlieir notes. Thus, let him say aloud, reading from the middle column to the right, "d f, r s, n 1, fe t, s d," iiud so on: and from the middle column to tiio (ft. "d s, r 1, in t, and so on. It may be interesting to mention, that in i)assing to" the trst sharp key the old 1 requires \o l)e raised a koinma to make it into a new r; and in passing to the lir^^t fiat key the old r is loworcd a kouuii.-i. to inukc a new These changes need not trouble the learner, 1. his voice will naturally make them without any
I

:;hangcd?
t
ft

new tone
of te

h.
a placf
.

'aif,

lah has

ifive
\v is

mndo
Till'
tin-

koy.

called

of
1

its distinis

Key

rop-

old, or Doll

E, ^oing

into

special effort.

:I

:-

I'

leB A,

B, D, h

trnnsitionB iw
10
I

remove, be-

UHCtl.

When

or .nsie \H sniil to
t

.shitrp key,

inimt Eighty le or the other

ft

Notation of Transition. Ton' ^ .Sol-faists always prenotes should correspond with the nioutal elfect of the tones they represent. We therefore adojjt the plan of giving to some tone, closely preceding ;he distinguishing tone, a double ?wim. call it by its name in the old key as well as by that which it assumes in the new, p.-onouncing tlie old name slightly, and the new name emphatically, thus: H' Duh, Jin/, 7" Me, etc. Tliese are called brhlfjc-tows ; they are indicated in the notation by doiiWfl notes, called briJije-notcs, tlius: sd, Ir, "n, etc.; the small note on the left giving the nutne of the tone lu the old key, and tlie large note its uame in the uew key This is called the "proper" way of indicating transition, lint when the transition is very brief, less than two measures long, it is more convenient not to alter the names of the tones, but to write the new t as fe, and the now fas ta.
fer that their

We

tlie

one

luost

houlil be very e led to notice a deHcribed in

is placeii over every written in the "I'l-opor" way. If it is a .iharp (e. i. to the r'ujIU on the modulator) the new distinguishing tone is placed on the ritf/U of the key name, thus, 6. t. If it is tijlat key (e. i. to the left on the modulator) the new distinguishing tone is placed to the left, thus, f F., and so on. By this the singer knows that be has a new t or a uew f to expect. More distant removes would have their two or three distinguishing notes similarly placed, for which, see Sixth Step.

The Signature of the

when

New Key

transition,

key

Mental Effects of Transition.

effects of transition arise

The most marked

from the distinguishing tones which ore used. Transition to the first sharp key naturally expresses excitement and elevation; that to the first flat key depression and seriousness.

mmmmm

7s

FOUKTH

STEP.
the same way, and so on with each exercise, singing by the proper " notjition. The oIect of this is, to acquire the ability to U(ip to the 1>ridge-tone. It is needless to sav the teacher may invent his own exercises, in phic of these, if he so prefers.

thns, the first part of ExeroiHe 175 and the second port of ExerciHe 17G. The first part of Exercise 175 and the second part of Exercise 177, and so on. Then take the first part of Exeroiae 170 and connect it with the second part of the others, in

After they hava is indicated for all these exerciaes, it will be better to chanKo the key occasionally to D or E|,. Although key been well practiced, they may be sua<; through ooutiuaously as oue exercise. The small notes indicate the tones as they are named in called the "improper" notation. key

Ex. 175.

KEi C.
:di :d>

8.

t.

Id Id

:m |8 |8

It

:1

|8
I

:d

|t|
fa

:d
:s

In
It

:r
:1

Ez. 176.

SBY C.

8. t

:r

Id

:m |8

:f

|n

"1,

:t,

:n
:t

:r
:1

Ex. 177.

KBY C.

G.t

:r

|m

:d

If

:n

|r

'8,

:1,
:

Ex. 178.

KKY C.
:d'
ir'

in

:f

Is

:d'

It

6.

t.

tn :f
t

|n
It

:r
:1

:d'

Ex. 179.

ttiT C.

G.t.

:f

In
I

:s

|d'

:t

jl

Mr :n jf
1

:r
:1

r
n

-r

k
Y C.
:s
|1

:t

Id'

Ex. 180.

:f

is

:t

|d'

FOUIITU STEP.
inging by the lire the ability lO teacher may
10

7a

Ex. 184.
d>

KKT C.

Passing Transition to the

first flat

key.

:8

II

:ta

II

:f

im

in

:f

:ta

II

:t

d'

!I

prefers.

rter

they hava y are named in

8

Ex. 185.

EBT C.
Id'

:m

:t

:d'

:ta

:f

:r

11

:Ex. 186.

KEY A.

r
d

:r

Id

:t.

:1>

8|

Id

:tai

i: ill

:r

:t.

Ex. 187.

KET
1

0.

Chromatic fe and (a,

:m

:fe

Is

:f

:8

fe

:8

:r

II

:Ex. 188.

KET

D.

id

:m
I''

-"
I

:fe

:n

11

=
I'

'
l^'

I"

'-

Ex. 189.

EBT A.

|d

:~

8|

:m

Ir

:d

ta

li

Hi

:tai

:d

:r

:-

Ex. 190.

KEY

F.

|d:|d:tuples of it

:fe

:n

:1

:d

:ta,

11

:t,

:-

Ex.
s

191.

EST

C.

:f

im

:1

:fe

Id'

:ta

II

:r'

d'

:t

d'

:-

Id'

Pitching Tunes. In the thivd Ktep the pnpil vus tanght to pitch the key tone of a time by RingiuR down tlie Standard Scale, stepwiHe, to the tone required. A shorter way may now be taught. In pitching key G the prpil need not run
to G stepwise, but will pitching key F he will take

down

|d'

:~

is pitched bv falling to 1, thus D. thuB,'C' d r' i* d'. the key may be pitched a Uttlo-Rtep higher (sharper), or a little-step lower (flatter), than anv tone of the Standard Scale. The tones thus reijuired are mnined "C shurp," "D sharp,' 'E flat," D flot." etc., and the

thus, 8 m d. '-d'8 n-md.

Kev E Kev A

upon it at once from a, and fall to the key may be piched by falling to n,
full

C as

In

tone, thuK,

d'

1-ld.

Kev

A sharp bears no is used for "sharp," and \f for "flat." relation to the tone below it, and after which, for convenience, named, but its relation is to the tone above it. It is to the tone above it the same that t is to d, or fe to i. In order to strike it correctly, sing the tone above, and then smoothly deBtend a little-step to it. A flat beara no relation to the tone above it, and after which it is named. Its relation in to the ttm^ below it, to which it is the same as f to m, or la to 1. To pilch it correctly, in the cases of Gb, AJj and Dtj, we should sing the tone below, and then rise to it a little-step. In the Key llo take as 1. thus, C' -1 1 d'. as 3, and sing f- fd. In Key Eb take
sign t
it is

w
C<
KIT
F.
1

FOUBTH STEP.

BACK, SWEET MAT.

:d
il.

d
ev
love

: :n
-

Is

:d'

CoBt

back,
-

(2.

As

|3. I

:d

FOURTH STEP.
KBY A.

81

G. B.

THE HONEY-BEE'S SONG

T. F.

8WAnn.

-:

:d

S|

:d

:d
:p1i

|d
PI)

:d
:

:d
:

t| ri

:r
:f|

:r
:f,

|r
Ifi

S|
fi

:r
:f,
-

:r
tbe
to

|r
Ifi

:r

:r

d
nil

:n
:S|

:n |n
:8|

The/
Thro*'

PI)

Hi

-: :d)

am Up in 3. No i
l.I
2.

a tbe die

bon-ey - bee, buz -zing a morning no lug - gardb are

mo-ments bave we
d|
tliro'

|si

: :

:-

way.
we,

vor

blos-soms tbe
-

Skimming tbe clo-ver

:

tops ripe for

tbe day,
:S|
s,

d, :d|

:d|

:d|

S|

:si

No time
B|

squander in
|S|

long sum -mer day; tbe bee; sleep or in play;

:d|

:S|

:S|

:S|

:S|

d| :d|

jdi

:-

:n
Once

S|
Pii

:d
:

:d
:mi
tbe tbe
is

|d
I

:d

:d

t| S|

:r
:t|

:r
:t|

r
t,
till,

r
t|

:r
:t|

:r
:t|
1

:d
1|

:t
:S|

li'

:t|
:

:1|
:

|S|
|

Pii

Ou
.

Now

in

mi :n, :s, 111 - y - cup

flow
fly

:l|

fei

fei

fei

S|

drinkinfj

my

Waking

ers
ing,

at

:d

Summer
/
d| :d|

and

dawning of we must be
S|

day,

sure
S|

Now wbere tbe ro - bob bloom un-dcr tbe bill; Ere tbe brigbt sun kiss tbe dew-drops a - way; Food for tbe win-ter at once to Be - cure:
S|

:d,

d|

:d|

:mi

:S|

:S|

:S|

:S|

|S|

:S|

:S|

r,

:r,

:ri

|S|

:d
Oncei
Wbilei
Fill,

S|

:si :8,

:s,
:8|

If
Ir
fly,

:n
:d ir : we fly. we Bing,
a
:s,
hive,

:8,

s,
S|
fei -

:8, :si

:si
:S|

n
8|
I,

::-

:r
:f|

d
ni
r.

:
:

8|

:d

Gai-ly Gai-ly Bees in

S|

we we
a
:si

sing, bive,

:d we wo
a
:8|

t.
fly.

:8,

:r
:fi

n
S| I;

My

lows and

and

and

sing, bive,
8|
:-

Ab on - ward we Are up and a :8|

S|

wing,
live,

we
a
-

wing,
live,

we
a
-

wing;
live;

:si

|si

|8|

:8,

:8,

d,
I

:-

:d,

d,

:-

:d,

d,

:-

pi:n :n

f :-

:r
ant

8
"7-

II

in

Si

FOUBTfl STEP.

FOUBTH STEP.
d
1.

:d
:'ii

:d
:1|

f
:1|
-

:f

:n
:d
en

::

r-td

:f

:f

n
d
dny

n
Hun,

Shin
ning bright
er
till

: :n :-:d
is
-

In

: : :
:

Up
Chil
-

a
ly

bove UB winds
flut
-

the

gold
Hura

the

done;
grain;
-

nier ruin

Nev

blighted

our
the
:f,

gold

See, with

ter

and
:fi

whirl

they go,

|fi

:fi

:-

:d

Id

Down

the
:f,

bnnk
If,

to
:f,

brook

en be

low;

:d

Id

1:1
d :d

:1

:8

:8

:-

:d

:d

:d

Down be - low iind beHe who feed -eth ns Some for a bath nnd f :f :f |n :n :m

04

FOVBTH
KBX

STEP.

ANYWHESE.
EIZ.

FOURTH
8

STEP.

86

:d'

:d
of

onr
will

:1

:f

wmnmm

wsmmmim

86
Kbi
s

FOURTH STEP.
F.

M.

ONWARD CHRISTIAN
120.

SOLDIERS.

:s

js

:s

FOURTH
rlUS.

STEP.

DOO,
:d>

PATHEB OF MERCIES.
Beknabd Schmidt.

Is

Id
cross

d
your
(

:-.d

t|

:d

oura

:n
In

^mim

68
Fanmie Cbosby

FOUBTH STEP.

HURRAH FOR THE SLEIGH BELLS

ketG.
.

m
Hi Hur('2. Oh!
11.

.n

,f

:n
:

r
bells,

.d
>

:s,

S|
rail!

.St ,1|

S|

p\\

for the Rleigh

is

here
in

we
choras

now
'11

tlie

time

for
bells

miHh and
Id Id

/3.

We

sing with the

Ld
,d

d d

.d ,d :d
.d ,d :d

.d
.d

.d

.d

p.

Sewabd.

Ill

iimuiiuR'T*

"^^^^^'^'^msfmmm

90

F0X7BTH STEP.

RISE,
KZT
EtZ.
:

CYNTHIA, RISE.

li 100 twice.

Rise,

r :d :r Cyn - thia,

:-

nee.

d'
tip
PI

:
-

d'

toe stands

: jn : :d'
-

In
Is

To :d
:

:s
view
thy

d :- :d
s

:s

:s

: :8
-

tip

toe stands

To

view

thy smil
t|

ing

:d Id:-

n:
:

: :d

:-.f:r In

: :d n

:s
ers

Phoebus on

fleet - est

coura

sd :-.r:t| |d

: :S| d : :n

t
all

;pi :r
his

^s

Eb-D.C. j^ : 8
Th

;f :8

'.ace.

rir - cling

S|

: :f|

|".t|:

n njr :n
1
The

r ;d :t||<^8
all

:
?

1
cir

:-:l
-

his race.

cling

81

: :s,

r^si

d,H.

ll

:-: |r
in

ah!

Hook.
11

:-:t mom on

Id

: :f

jd': :s
If

mom on :-:r

jd

: :-

borne,

[n

:s
in

fair

: :S| : d :m
S|
fair

in

d|

: :d|

|n
5

: :S|
Then

eye;

8
J

eye;

wmmgm

92

FOURTH STEP.

VIRTUE WOULD QLOBIOUSLT.

kxtC.

94

FOUBTH STEP.

BEST,
KKT
Bi2.

WEABY
|d

FILGBIM.
From

S. S. 0.,

or T. T. B., or B. C.
be

li

Domzxm
I

V
8,
I.
2.

May

sung

in key 0, by S. C. T.,

Tenor singing the

loveest

part an octav higher than wriUen.

re

;
1

n
8,

:r
:lai
ro
-

n
8|

|d
|8|
-

n
d
And
8|

|8|

:S|
-

fei

:
from
till
I

|lai
toil

:
-

: :
:

:m
:r
-

|r

Rest, Rest,

wea weo
|di

ry ry

pu pu
d,

grim!

poB

ing, ing,

flight's

dark'-ning
birda a
Isoi

grim
Id,

mora-ing's
If.
:fi

break
d|

d|

:
:
:-

:d|

::r

Imi

:se.

n
d
abnd

If
|r OWB
thee
|r,

r
t,

ere*.

\n
Id
ibee

d d
clos

Id Id
ing;
ing;
I

r
ti

:n

?-

:
I

round
blithe
8|
:

are

Drear

round
li

songB are
1

wok
Pli

Hark
S|

:-

8,

:8|

Hi

FOURTH STEP.
KKT 6.
.8|
I

9f

THE MILLEB.
ZoiiLNzm.
,8|

DoNiniTXX.

:pii

.f|

.}li

:8|
:

.d

:m
:r
-

|r

ll.

To

won
see

der
it

is

dark'-ning
birds a
Isci

We're learnt J2.

\3.

from
al
.

We

thia
-

U. Oh!

won

d'r

ing

tke the BO ever

mU
flow
in
is

ler's joy.

.d To

In d
wan
lenmt
see
-

.,r

:d
is

.r
.fi

n
8.

.,f
.,li

:i*i

.d

v8| :ni
der
it

:8|

.d

ing the

stream, We've
wheehi, We
joy.

from
al
-

this
d'r

y
J

Ob!

wan

ing

the the so ever

mil
flow
in
is

ler's joy,

To

ing the

stream, The
wheels, the
joy,
:

my
:

Oh!
.PI

:sei
:

.d
.8,

Id
Hi way
est
II.

n
d
wan
flow
..
'

:r
:t,
.

d d
.

.8,

r
t|

.r
.t|

:n,r .de,r
:t|
oil

ti

.r
.8|

.8,

.t

8|

:si

S|

der.

The
It

ing

stream, wheels,
ing.

bus

y
der

Which
Tare
.8
-

mil - lers neith - er do not

well

rests

do by
a
-

love

to

roam,
night,

To
Its

day
lone

nor

turn

wan
8

my
.8
.8|

pa

rents,

by friends and
.8
.8|

day,

IJut

home,

Let
.8
.8,

:f
Sl|

f
8)

:f
:8|

.8
.8,

f
8|

:f
:8|

-Id

jsi

r
theet

i
.t|

:n, r
tU
fol

de,r
lage,

t|

.r
.3i

:8|

.8,

i|

.t,
.t,

:d :d
vil

.r

ingi
JPI,
:

ti

.ti

8|

:8|
light,

.ai

1|

leave

their
it

coarse

lows
all

hoQse and with de

ni^ht BO

home, To
-

leave
conrs?!

their
it
it

Its

fol

keep

it

np
-

gay,

But
.8|
.S|

keep

up
-

me
f

on
.8
.8|

to

the
.8
.8|

wide world

roam, Let

me
1| 1|

un
.t,

to

:f
:8|

f
S|

.8
.8|

:f
:8|

:d

-|~:
8

.t,

:d

8
:8|
t,

8
t|"

:si

-I-:

wan
flow

der, ing.
By.

bn wan

der.

wan Sow bu wan

der,
-

wan
flow

ing.
By.

mg.
By.

der,

bu wan

If
tlie

r
I

It

:8
J8|

r
S|

:f
:8|

:n
iu

KKT
8 II Soh,
d'

C.
.

Bound
fe
:

in fonr parts.

8
Isoh,

.fe
fe,

:8
soh.

ilftf

fe,

soh,

me,

re,

me.

.i

:8
-

.n
and

[I

Now

be

ware

d* sing

.1 with

:8
care.

.n
And

d
keep

d
ev

,d
-

m
voioe

s
in

'ry

96

FOURTH STEP.

MURMURING BROOKLET.
Mart
KBT
s,
BI?.

G.

Sewabd.
Bcpeatpp. D.O. 5^F.
t.

Schumann.

:d :t, 1, :r :d Murm'ring brook-let

:f,

n,:Loo

:- :-

FOURTH STEP.
Bl?.
t.

97

3HUMAKN.

: :

: :

PI

:
.

Loo.

If :-

:-

"|ijjr'":d*

pure

as

:-

:-

:d

not
s

when
:m :d
;pi

s
not
s

:d

when
:n :d

Si

:-

done.
S|

;;-

;s

S|

;8

done.
S|

:-

:s

i;

TrS!?l!S!!!mHtS!!!9''*1!"^SR99

96
T. P.

a
:fei

KET
8|

AiZ.

Sbwabd.

:n
:8|
flowers,

)i

ids peep,

:d
:d
FINE.

:8

:n
-

long,

id
'

low,

:d'

:d
/T> D. 0.

:f.

:r

100

FOUBTH

STEP.

SWEET EVENING HOUR.

T. F. SXWABD.

Arranged from KuvLkK, by Thbo. F. Sbwabd.

KEY

I
Biz.

.S|

8|

1,

.d
.ri

S|

.n

sweet

evening
fi

hour,

o
.8|

Pll

Hi
S|

n,
S|

S|

8|

S|

S|

Sweet
d,

eve
d,

ning
d,

hour,
d,

Sweet
d,

eve

.t|

:d
qui
:

.1|
-

calm and
fi

et
.f|

eve

.S|

rii

S|

p. Sewabd.

.n

o
.8|

:s,

102
Beating Time.
It

fOXTBTH BTEP,
waa recommended in the flnt step
motion
thicker
to tbe is

from the thinner te thicker end of each

rest" for each pulse.

line.

The

(see note, page 7) not to allow pnpils to bent time nntil tbey have gained a senKe of time. If the teacher wiBbeR,,he may now teacb beating time according to tbe following diagrams. The beating Bhould be done by one hand (palm downwards) chiefly

end shows the "point of

arm.

by the motion of the wriut, and with bnt little motion of the The hand should pass swiftly and decidedly from one

poitit

of the beating to the next, and it should be held steadily at each point as long as the pulse lasts. The direction of the

pnlne of threo-pniM mMMiire than (oa Rome <lo) towartU the lrt, lM<eaiiH ii tlnia rorrethe niediuiii bnt of the I'oiir-piiUe iiK'nMiiie, and the iM-cona piilHuuf thpje-piilMoiiieaHnrviii/ii< a iiie<liiiiii piiUe. It In voiiimioiiIv tr-nti^ (both rhythnncully and hiirniiinivHlly) aa a coiKiniiniimi ufihe firrt piilne Similar reanona ahow a pr(>prit<ly In the niodtt of b4-aiiii|! a als-piilHe iiiraa ure; but when Ihia nieaaiiru niorpH very <|iilrkly, it la beuiaa like a twa pulse lueaaiire, giving a beat ou each aucuuted pulae.
rijibt,

Nom. It is better to beat the second

apomU with

TWOPtTLSB
MASDJt.
up:

TITREE-rULSB

MEASURB.

rouR-ruLSB MEASUKB.
up:

STXPULSB MEASOUB.

txww

following table shows the names of the ditl'ereut (le^rees of power; the nbbreviutions ami ninrks by which Uiey aro known, ami their delinitions. The teucher will ozplain tliefie topioH, as may be required, at convenient points in hiH courHC of lesKons. 'j^he full treatment of the subject belongs in the Fifth Step.

Expression. The

silences,
pultie.

Silent Quarter-pulse is indicatpd, like Ihe other by a vacant 6|)ace among the pulKo-diviKJons. It is named sa on the accented, and se on the unaccented part of a
Ex. 192.
TAA
1

Tho

PnOXOUXCKD.

Makkxo.
-

Meaxiko.

PUNISSDIO

Pe-fth-nisfiimo

PUNO
Mezzo
FonTE

Pe-a/t-no
Ifci-zo
-

Four-tay

.p....... Medium. m .y. ..---- Loud.

Soft.

pp

Very
'

Soft.

FonTissnio -

Four-^tssimo

ff
-

.
-

-Very Loud.
-

Crescendo

Cre-s/ien-do

ere*,

or _*;-

Increase.

Diminuendo

Dim-in-oo-en-do

dim. or
-

~^

Diminish.

SwELt

Increase and Diminish.

or/z. or

Sfoutzando

Sfort-zan-do loiy-fjah-to
-

sf.

>-

Explosive.

Leoato
Staccato

Smooth, Connected.
f t t -

Stock-ZcaA-to

Short, Detached.

The Hold
at the option of

tlie

/CSt indicates that the tone is to leader.

be prolonged

Da

Capo,

or D. 0., means repeat ficom the beginning.

Dal Segno,
Fine

oi D. S.,

meana repeat from the sign

end

*f^.

indicates the place to

after a D. 0. or D. S.

FOITBTH STEP.
each line.
pulse.

103

The

MERRILY SINQS THE LARK.

KZT
8| B{2.

hreo-pniM mMumre
aiiHO
IN
III

.,8|

:S|
!

.,8|

ii

iliim
I

Id

:8|

.,8

^r
8|

\n
Is,

riirre-

M
:8| <S|,8|
S|
la,
la.

,r ,r
481

me, and

he iM-cnna

voiiiiiMiiilv tr<-ntMf

ni.,pii
1.
2.

Hi .,ni In,
at at

i|!

urilie fiirgt piilHe a rIx-|iiiIh iiivaa

beuUa

like a twa
3.

Merry Rings the lark Ronseya, ronse ye now

.,d

Health and strength are fonnd in

.,ni the the the

;8,

:8|<8i

break

of

day,
call,
air,

mom mom
d
nil

ing ing
:t,

Tra Tra Tra

la

la

la
la

la la

la.

Tra Tra Tra

la In

la la
la la

:d
:

.,d

|d
|

:d
:

.,d
.,d|

id
Id

:d (d

(d

t.

d| .,dt

d| .,d|

d|

d|

:s,

:8|

,8| ,8|

8|
la.

Tra

la la

S|

.,S|

:S|

.,S|
I

d
Hi

:si
:mii
8|

:r
:si
>-y

\m
1

PI <piPi

n,
la. la.
1ft.

mi.,ni

tpii .jPii

81

:S| (S|<S|

Hear her aa she House, ye i - die

sings

her
ers,

mor
one ua

lay.
all,

Beau
1

- ty,

dream youth and life

and
ture
:t,

in

fair,

Tra Tra Tra

:

la lu

la la
la la

d
p(i,

.,d

:d .,d
:d| .,d

|d
|

:d
:d,

d
Hi

Id Id

(d (d

like the other

It
is

-(liviKioDn.

:d|,dud| a, Tra Ilk la ISL,

I

d| .,d

d|

18,

cenled port of a

s
VAX
:1
ITAI

:r
8|
la,

,r ,r
j8|
Pll

r <r,r :r ,S|

^r
S|

|f
Is,
la,
I

.1

:suS|

,SuS|:S|la la la

:d
:8

.d
.8

Tm

la la

Tra

la

tl

t| (t| (t

d
:

t,

:t|
la

t| jt| (t|

t|
la.

Tra
S| ,S| <S|
I

la
I

la

la

8|
la,

d| <di <d|
la la

d|
I

8|

:si

S| <S| <S|

S|

tft-fa

te

fie

Tra

la

la

Tra

la

:1
;

,1 ,r

.1
.

D.

s.

:m

,f

:s

d
to

jd jd

d
la

4- d

n
8,
la,
:

(S (S

n
|lul|Ji:li
Tra
la la
la,

(d d :t|<tut|
:

d
S|
la.

immnn turned
llie
uB

iHe iH uniiicd taa,

mi,m'i(ni:rni<-,ni

SitS|(S|:S|

S| 4S1 <S|

S| 8| 481

KiluuceH before.

and

Tra

la la

la

Tra

la la la,

Tra

la la

la

la la

d
Tra

:d
la

|d,dd:d
la la la

(d <d

|r,r
Tra

<r

:f
la,

n^m^n
Tra la
la

:r <r
la
:

^r
I

PI
la.

la

Tra

la la la,

la la

la la
(8,

TAA
:1

TAI

:d
Bound
:d<
ring,

|d<d<d:d
in three parts.

dudid|:d|

fi.fufi:fi

8|(8|(S|

.1

8,481

d,

:r :f

.d
.PI

xn C.
(Id'
Hing, (llli

T. F. S.
d<

|d>
ring,

TAI 1 8

:t',d'.r' beautiful

:8
are

Is
Ting
ing,

m
Sing,

:m
sing,

in
sing,

:r 4m if I
cheer-i
-

chimes

ly J

.1

.m

m
!l birds

In
are
sing

:d
-ing,

8 Per

:8 fames

|8 sweet

:8

|8

(8
1

:d>
are

Id'
fling

:8
ing.
II

flowers a

broad

3.

UKSXIiD.

n :
ber,

tm.f

d : :d^
But
ing,
era,

The
We'll

Id

: :

:8

:d

:-

irrea

106
KEY

AIZ.

d ::f
:8|
that
:t,
light.
8,

II

: : I

light.

d,:- I-

:d
and
:8,

:d
and

:mi

:r

And
:s,
:t,

And
:si

|n
and
Is,

:r

my
:li

Is

:f

and
I

my
:fi

Hi

108
Os&OB J.Fbamoss.

FOUBTH STEP.

THE SWEET VOICE.

:8
8

:n

:f

|s
I

:d'

:d<

:d
\l. I

d :d :r
carcH of voice in

m :m
I
life

dreamed that afar

'2.

The

)3. That

my my

in

heart I
I

:m
:d

m :s :s d' :s d :d :d Id :d

FOURTH BTtP.
I
11

:t

:d>

by

pes

f Oh!
d>
fi

UT

Bt?.

n
I

Sweet
:

d/

Sweet;

Sweet

tice,

n
>ice.

110
OEonas Bbnmbtt. Key AtZ.
S|
nil
1

POUKTH STEP.

HOPE WILL BANISH SORROW.

EoBEBT
8|
f|
;

P. I^Iaxn,

by

per.

:si
:

|S|
|f|
-

:S|
:f|

1|

.t Id
|

::

nil

:fi

jn,
part,

1|
fi

:li
:fi

It,
|f|
'tis

Id

Once a

gain
far

we're

2. 3.

When I'm :d
:d|

doom'd to way from

heav'n
t| S|
i

Doem
O'er

thee,

not the
is

o
ev
Is,

Faith and trust in

|t|

we

have,

Ood

d
d,

:t|

d.r

Id
Hi

:-

d
f,

:d
:f,

|r,

:ri

:s,

:-

|r,

FOURTH STEP.
e. H. Hatdkn. M. 108.

Ill

IKET D.

:si
-

ed en
the

:d
:mi

'd
I

mi
row.

row. row.

Id
Id,

.8

.d
I'd,

AxlaS

rd|

.n
.d

112

FOURTH
KIT C.

STEP.

aOOD NIQHT.
GUSTATI CaBDUiL
di

:1

.1

d>

It
m
Bim, Bim,

:1

.1

d>

:di

m
1.

:f .f

:f

.f

2.

Bim, Bim,

bim, bim, bim, bim, bim, bim,

bim, bim, bim, bim, bim, bim,

:re now
ye

:I

.1

:1

.1

:fe
:1,

:f .f

:f

.f

D.C.
d'

.d>
.

:r'

.t

d'

:le

n
S

:f

.r

r
Hark!

Hounds the mid - night LOQT, lend your aid, zeph-yrs

8

8|

8|

S|

8|

8|

Bim,

lU

FOURTH STEP.

SLEEP, BELOVED.

m
d
Dark
Clouda
s
:
:

re

fe

^p
r
:

10. F.

SawARa

116
8.

fOUBTH STEP.
KET G.
M. 100.

-AATAL
:t|
|1|

IJymn Tune, "Wainwrighf

(:8|

d
TAA

:
'AA

:t|

:d
TAA

Ir .n
TAA
I

:f

.m :r .d |d
TAATAI

:t
TAA

:r
TAA

TAA

TAA

TAATAI

TAATAI

XAA

:-

.f
-AATAI

:n
XAA

1,

,r
TAATAI

:d
TAA

:t,

TAA

TAA

SAA
Jlymn Tuue, "Simeon.

9.

KEY E.

M.
I

100.

s
TAA

:s .f
TAATAI

n
TAA

:- .f
-AATAI

In
|

:r
TAA TAA

Id
TAA

:-.d|f
-AATAI
|

:-.m|l
TAA
-AATAI

:-.8|t|
TAA
-AATAI
I

:d
TAA

|r
TAA TAA

:-.rl
-AATAI
j

m
{I
TAA

:r.d|f
TAATAI

:n.r
TAA
TAATAI

Is
I

:1
TAA
TAA

js
TAA

r-.sls
-AATAI
I

:- .1 Is .f
TAA
-AATAI

:n.f

n
TAA

;r
TAA

|d
TAA

-AA

TAATAI TAATAI

10.

KK7

D.

M.

100.

(The pupils to take each part alternately.)

:s

J.

B. Thomas, "Picnic.
:

m
d

.f :r

.mjd
TAA

m.f :r .m jd
TAA
TAATAI
TAATAI

:s
TAA

TAATAI

TAATAI

TAA
:t,

:di s .f :m.f |s TAATAI TAATAI TAA TAA

l.s:f.m|r
TAATAI TAATAI
t|

-AA
'

TAA TAA

:d
TAA

Id
TAA

:ti ^1

d
TAA

:d
TAA

jd
TAA

d
TAA
TAA

:d
TAA

|m
TAA

:d
TAA

:d
TAA

.|S|

:
-AA
:

TAA

TAA

TAA

:8

:8

:s
TAA

:s

f .8 :1 .t
TAA
TAATAI
TAATAI

SAA
I r
TAA
:

TAA
I

SAA
rn
:

SAA
r
:

TAA

SAA
TAA

|d> TAA

:n
TAA

r
TAA

:s
TAA
:t,

|d
TAA

SAA
M.

TAA

SAA

TAA

SAA

In: SAA
talatele

f
TAA

:r
TAA

|n
TAA

:d
TAA

d
TAA

Id
TAA

-AA

TAA

-AA

II.

KEY C.

72.

Tafiitefo.

Bugle Qill

"Walk and

Drive." Altered

d,d.d,d:d
II
tatatet'e

.d

In
j

.d

:d
taa

n,m.n,m:n

.n

Is
|

.n
ta,\tai

:n
taa

|d',d'.d',d' rd'
|

.d'

taatai

taatai

t.vatai

tafatele

taatai

j|s,s.s,s:s s,s.s,s:s
( I

.n |d,d.d,d:n |(
j

.s

Im .d
|

:d
taa
i

:a
t/va
ta.v

n .d
taatai

:d
taa

n
TAA

:n
TAA

tafatefe

taatai

tafatefe

taatai

taatai

s .n II taatai
12.

:n
taa

d',d'.d',d':d'
tafatefe
t^va

s,s.s,s:s
tafatefe

|d,d.d,
taa
tafatefe

d:n
Bugle

.s

In
|

.d

rd
taa

taatai

taatai

KEY

D.

M.

72.

TAAtefe.

Call,

"Hay up

or Litter down."

d
II
w

.d
TAAte<"0

,d :d

.d

.S|

:d

TAATAI

TAATAI S

.S| TAATAI

n ,n

.d
TAATAI

:n

.d
TAATAI

TAAtefe

TAATAI

t
..

d>

w
13.
>\

.8

:d'

.8
TAATAI

Id
I

.d ,d :d
TAAtel'e

.d
TAATAI

d.
TAA

TAAtef

TaJ

TAATAI

SAA
Call,

KEY r.
.8)
I

Ibil.

:tafr 'AI.

Bugle
8|
I
I

"Defaulters."

d
I

,8|

:d

,8|

8 yS

TAATAI

tofaTAI

tnftiTAi

TAAtefe

S TAATAI t

,8|

:d

,8|

.p

jd
TAA

tofaTAI

tafaTAi

"

FOUBTH STBP.
14.

117
Bugle
Gall,

EET G.

M.

100.

TAA-efe.

"Salute for tho Guard.

'Wain Wright"
k|

d
TAA

:d.,dj3|
TAA-efe
I

:S|.,S||d
TAA-6fe
|

:d.,djd
TAA-efe |

td.d :m.d
SAA
I

Itn.s
|

:n.d|8|
|

:r

TAA
100.

TAA

TAA

TAATAI TAATAI

TAATAI TAATAI

TAA

:8|.,S||8| TAA-efe TAA

I

SAA

15.

KIT C.
.,s
I I

M.

Bugle
.,8

(M,

"Officers."
5

AA

SAA
"Simeon."

:s

a'

:s

:8

.,s
|

m
taa

:s
TAA

d>

TAA-efe

TAA

TAA-efe

TAA-efe

TAA

TAA

tfo TAA-efe

tS

t)8

18
|

~"~
-aa

TAA-efe

taa

tie,

:s

:8
TAA

.,8

:8

.,8
I

m
I

:8

n
TAA

:d
TAA

.d

:d

.d

Id
|

-AA

|r
A.

:-.r
-kATU

TAA

TAA-efe

TAA-efe

TAA

TAA

TAATAI

TAATAI

TAA
Call,

TAA

16.

KEY F.
.,S||d
I

M. 100

Bugle

"Orders."

Id
A.

:TAA
I

:si
I

:
TAA
-AA

|n

:S|.,S||d
TAA TAA-efe
I

:
-AA

|n
TAA

:S|.,S||d
TAA-efe
|

:8|.,S||n
TAA-efe

:S|.,S||d
TAA-efe
|

:
-AA

|n
TAA

) )

-AA

TAA-efe

TAA

TAA

TAA

TAA

>HAs, "Picnic.

:si

|d.,Si:n.,S||d.,8|:m.,S||d.,8|:n.,8||d
I

:m
taa

U
I

:
taa
-aa

|
-aa

:n.,d( S|
TAA-efe
|

:- .d jn
-AATAI

m|r
AI

:
TAA TAA
-AA

TAA
.

TAA-efe TAA-efe TAA-efe TAA-efe| TAA-efe TAA-efe

taa

TAA

TAA

.Is,

:-AA

17.
(

KEY C.

M.

100.

iTymn Tme, "Truro."

d
TAA

:n.,f|s
TAA-efe

:-.s|l
-AATAI
|

:t
TAA TAA

|d'

:- .s Id'
TAA
-AATAI
|

TAA
100.

TAA

:8 TAA

|f.n:r.d|f
TAATAI TAATAI
I

:n
TAA
Call,

|r
TAA

TAA

SAA

Id
A

:TAA
18.

KEY F.

M.

-AA

Hugh

"General Salute."
:S|.,S||S| TAA-efe TAA

Id
A

:TAA
-AA

:si

Id
I

:d .,d|d.m :s
TAA-efe

.mid
|

:d .,d|d
TAA-Cfe

:S|.,d|pt
TAA-efe
|

:d.,ni|s
TAA
TAA-efo

TAA

TAA

TAATAI TAATAI

TAA

TAA

TAA

:S|.,S||S| TAA-cfe TAA

|

rive." Altered

:S|

Id
TAA
I

:d .,d|d.n :8
TAA-eff* TAATAI

.mid
|

:d .,d|d
TAA-ei'o

:S|.,d|m
TAA-efe
I

:d.,m|8
TAA-efe

:8|

Id
TAA
|

:d.,d|d
TAA-efe

TAA

TAATAI

TAA

TAA

TAA

TAA

TAA

TAA

l',d':d' .d' 3l'e TAATAI

'

19.

KY

F.

M.

100.

-AA-efe.
I

Bugle

Call.

"ARsembly."
.,S|

:TAA

.,n :d

TAA

TAA

AA-efe

.S| TAATAI

Id
I

.,S|:d
TAA
-AA-efe

.S| TAATAI

Id
|

.,S|

:d

.S|

jd

:d

.8|

TAA:efe

taatai

TAA-efe

taatai

d
Ll

rd
TAA
TAA
20.

:n
TAA BET F.
TAA
100.

.,n :d

.S|

id
I

-AA-efe

TAATAI

TAA

-AA

SAA
2'iine,

M.

Ifymn

"Serenity."

Litter

down."

rpT

.d
TAATAI

:d
TAA
21.

|t|.,d:r
I

:8
TAA
100.

8
TAA

-AA

TAA-efe

TAA

fe TAA

\s
I

:
TAA
-AA

:d.,t||l|
TAA-efe I

:-.t|:d.r|n
TAA -AATAI TAATAI
I

-AA

:r
TAA 1

Id
I

:-

TAA

TAA

KEY F.

M.

ITymn Tune, "Arlington."'

SAA
"Defaulters."

:d
TAA

im
I

.,1^ :i^ TAA-efe TAA

:r
TAA
:1

Id
I

.,d

:d
TAA 8
TAA

:r
TAA
:d>

n
r

.8

:f
TAA

:in

m
TAA
TAA

:r
TAA

TAA-efe

TAATAI

:f
TAA

In .,m:n
I

8
TAA

^98

.f

:n
TAA

:r
TAA

d
TAA

:
.AA
'I

TAA-efe

TAA

TAA-efe

TAA

TAATAI

TAA

118
22.
8 KEY F. -

FOUBTH 8IBP.
M.
100.

Barnett,

"Hark! sweet
.,t| :8|

echo.'

.m
M.

:f

.1

.,nrd
TiA>efe

.d

:d
TAA
TAA

:-

.8
TAATAI

11

TAA 23.
KEY

-AATAX
F.
72.

TAATAI

TAATAI

-AATAI

TAA-efe
JUazzinghi,

.8| TAATAI

TAA

"Tom
I

Starboard."

m
(

TAA
:8

.ff TAA-efe

:r

.,m :d

.S|

:r
TAA

m
TAA

.,f:8

.,m :l,s.f,m|r
tafatefe

TAA.efe

taatai

8AA BAA

TAA-efe

TAA-efe

taa

BAA

m
TAA
KEY. F.

TAA-efe

.,f :r .,m TAA-efe

72.

:d

.S|

:t|

Id
TAA
I

.r

:n .s,f:n .r
TAAtefe

taatai

TAA

TAATAI

TAATAI

TAA

BAA

24.

M.

"Home, sweet home."

;d
TAA 25.

|m.,f:f .,s|s.,n:n
I

|f.,n:f .,r|n
I

:-.d,d|n .,f:f .,s{3

AAtefe
I

:n
taa

.s If .,n:f .r Id
|

TAA-efe TAA-efe

TAA-efe

taa

TAA-efe TAA-efe

taa

TAA-efe TAA-efe|

taatai
J.

TAA-efe taatai |

taa

KEY C.

M.

fiO.

E. Thomas, "Picnic."

s,f.m,f:s
tofutefe

.1 TAATAI

.m

:d'

Ir'

.,d':t,l .s,f
tafatefe

In
|

|s,f.m,f:s
taa
tafatefe

.1

TAATAI

TAA

TAA-efe

taatai

.m'
taatai

:d>

t
TAA

.d>,t:l
TAAtefe

.t.Ils
TAAtefe

II

TAA

BAA
Hymn
Tune, "Prestwick."
:

26.
I

KEY

F.
:

M.

100.

:8 .f m |:8.f|
(

rr.nlf
-AA TAATAI TAA

:
-AA

:n
TAA

m
TAA

:r
TAA

:d
TAA

|d

:t|

:t|

Id :-.r:n |n.r:d

:t|

Id
I

:
-AA
-AA

taatai) TAA

TAA TAA TAA I TAA -AATAI TAA TAATAI TAA TAA

TAA

BAA SAA

Modulator Voluntaries now

inclnde tmBsition of one

remove. TLeHe slioixUl not bo made too difficult by wide and unexpected leaps on to tbe distinguishing tone; nor too easy by fthviiys approaching the distinguishing tone stepwise. While the effects of transition are in process of being learnt these exercises may be sol-fa-eJ, but the teacher cannot now be content with sol-fa-ing. Every exercise should also be sung to la,
laa-voluntaries are really sight-singing exercises, if the teacher does not get into self-repeating habits of pointing. See p. 12. But, at their best, they give no Therefore the absolute necespractice in reading time at sight. sity of sight-laa-ing from new music from the book or the black-board.

and it is important to exercise the memory of tune and rhythm. For these reasons our teachers give long pa>rns extending to two or more sections including some of the more delicate rhythms. These patterns are given laa-ing but pointing on the modulator. The pupils imitate them, wUhoui the teacher s point ing, first sol-fa-ing and then laa-ing.

Sight-laa-ing.

The

Memorizing in three keys. The pupils should now know from memory, not only what is above any one note on the modulator and what below it, but what is on its right and what on its left. The one key no longer stands alone on the mind's
on the
It has an elder brother on the right and a younger and each of its tones bears cousinship to the other 'wo families, and may be called to enter them. Therefore, at all the later lessons of this step, exercises should be given in committing to memory this relationship, p. 77. The pupils must learn to say these relations, colleotively and each one for

practice of singing whole pieces to the order "Close books: eyes on the baton is a very enjoyable one. The sinp;er enjoys the exercise of subordination to his conductor along with a sense of companionship in that subordination, and delights in the effects which are thus produced. This practice is very needful at the present stage in order to form a habit, in the singer, of looking up from his book. This should now be his normal position. But, as from necessity, the learner's eyes have hitherto bof .. much engaged with his book, he will have to make a conscious effort to form "the habit of looking up." Occasional "Memory Singing" will make him feel the use and pleasure of
to words, from

Memory

Singing. The

memory in obedience

modulator.

this.

left,

Ear Exercises
new

(which will now include fe and ta, ami difficulties of time), Diciaiion, Pointing and Writing from

himself, voUhout tbe modulator.

Memory
of time

Patterns. It is difficult to indicate divisions by the motions of the pointer on the modulator with

sufficient nicety to guide the singers in following a voluntary,

Memory, should still be practiced. Writing from memory doea not at all take the place of pointing from memory. There have been pupils who could write from memory, but could not point the same tunes on the modulator. It is important to establish in the memory that pictorial view of key relationship which the modulator gives, especially now that the study of Transition added to that of the scale.
is'

FOUBTH
sweet echo."
I

STEP.

11

'Si

!8|

lATAI

TAA

QUESTIONS FOR WRITTEN OR ORAL EXAMINATION

DOCTRINE.
1.

Starboard."

rAA

8AA

How many
How many

tn^ater itpa are there ia the scale, and butwmin which tones do they occur t

13.

What

is

the Interval from /ah to

te

called?

33.

"What
ia

is

that tone called on which the

to another?

chang

14.

a.

smaller steps are there, and whore do tbey occur?

15.

"Which are the two most marked characteristic

tones of the scale ?

made from one key

tire

FAA

BAA

3.

How many
are they 1

From

little

steps are there,

and where
16.

their mental called?

efifcts,

what are fak and

33.
to

now

bridge-tones indicated in the not-

tion?
34.

jweet home."

4.

What
ITnw
8II1I1.

What

is the diffi'rence hetween a greater a smaller stop culled?

and

is a change of key during the course of a tune culled?

What is
on

,n:f .r Id
efe TAATAI I
AS, "Picnic."

5.

many konimaa has

step?
il little

lor

a greater atept stop?

17.

Which
what

is

the sharp distinguisliing tone, and

tli right or trausitiou ?

the meaning of the little notes placed lul't of the key signature lu

is its

mental effect?
flat

85.

What

are the general mental

efl'octs

of transifirst fiati

TAA

6.
7.

By what other names are intervals called! TVhat is the interval from any tone to the
uexl in the scale culled?

18.

Which
what

is

the

distinguishiug tone, and

86.

tion to the first shai-p

key?

To the
Is
it

is its

mental effect!

key?

19.

On which
shurt)

8.

What

key ?

i,f:s
fe

.1
9.

the Interval from third tone from it cnllud?

is
full

any tone to the

i20.

side of the modulator is the first On which side is the first flat

Wljat

is

a Cadence Transition?

written

in the "proper" or
87. 28.

key?

"improper" way?
?

TAATAI

\\niat is

a Second called that is eoual to one step? a Second called that ia equal to a
(half-stei>)
?

In

10.

\Sniat is

lit-

poinjt to the first sharp key what does the lohoi the old key become In the new? What does the old lah become? What does tlie old te liucome? (The teacher will supply addi-

What is

a Passing Transition t IIow written

Transition?

What is Extended
"What

Uow written T

Ue step
11.

tional questions.)
21.

29.

IS.

What kind of a Third is eqnal What kind of a Third ia equal

and one
little

to

to

two steps t one fuU step

slept

In doing to the first flat key what tone of the old key becomes doh in the new? What tone becomes ray f (The teacher will supply additional questions.)

is the name for a silent qnvtor-pul.so on the strong part of a pul.sel On llio weak part? liow is it indicated in tlie notation ?

30.

"What

is

the

Prestwiok."

thirds ?

Uow

name

of a pulse divided into. indicated in the notation ?

-:-|
X
f

-AA

SAASAA
PEACTICE.
II

tune and rhythm. prns extendinf; to the more delicate 3ut pointing on the
the teacher 8
inging whole
le

point

Teacher singins to nRiires, Exercise ns, lot llio impil toll to what figure the distinpiii(*liinji tout! of the li rut sharp key was
suiig.

35.

Taatai from racmorv any one of the Exercises 11)2, lyj, 194, 195, the hist pulse being named.

40.

Write, from memory, any other of these pieceschosen by the ex.injiuer.

pieces
32.

The

Miinio willi

17(i.

36.

the order "Close

one. The singer inductor along with
ation,
77771

In the

same maimer
Iti-J

ilistiiiKiiishin^

lot the pnpil name the tune of the hrut tiat key, in

Taatai any part of "Merrily sings the Lark," or the liouud, "King, ring, ring," page 103.

41.

Sing to

la at first .sight, any exercise difficult than theso pieces.

not more

Exercisi'8
33.

and

18J.

37. IJoat n
\u'i

and

delights

Tonrher
110.

lis practice is very

sliicinji to fljrnres, "Langdon," page (uacli line li('.>iiMiiiiig with 1) let the pii|iil uuiiie hy itu li;;iiro, first, the dlstin;

llie

wilh four-])ulso nieasuro.

six-pulsu mea.sure.
'18.

number of two-pulse measures describinotion.s of thu liutid. The same The same with

42.

Tell which is fe and

which

is ta,

as directed,

page
43.

32,

question

31.

Tell

a habit, in the should now be his learner's eyes have e will have to make jg up." Occasionnl se and pleasure of
ide fe and ta, and and Writing from

what tAio (/ or ta) is H*2- niiftMtinri question ;i*J 32, 3

la.M directed, page-

Kiii.sliin;;

anil,

tone of the di'parling trnusitiun; soooutl, that of the rctuniiug traua-

iliuu,
[34. Pit<:h,

Follow the examiner's pointing in a now voluntary coutaiuiujj transition, both to the first shai-p and l&st flat keys, and singing
tola.

44.

withont a tnnlng fork, the keys B, B Hut. E. flat, and A flat. The pupil has not HutiHtied this requirement, if, when teste<l, he is found to he wrong so much
step.

Taatai any riiythm of two or three four-pulse measures, beloiiiring to iliis stoj), which tl>& examiner shall la to you. See page 32. question 33.

39,

I'oiut

and sol-fa on the modnlator, from memory, any one of the pieces on pages 80 to 86,
chosen
l>y the

45.

examiner.

Taatai in tune, any rhythm of two or thre four-pulse measures, belonging to this stop, wliich the exauiiuer sliull tol/a to you.

memory does nory. There have ut could not point

from
>ortant to establiRh

tionship which the ly of Transition i^

,/

-1

INDEX
X 4
FAOB
After Rtady we shall find. (Honnd)
All ilmt now All tojretlicr. (Round) Aiit\vvr|>. L.

PAOB

tAOk
97 6S
31

16 36

Hark the
!

distant bell. (Ronnd)

53
(K3

Hear the Warbling Notes Here I go. (Rouml)

lloney-Iiee's Song,
1Io]>e

Aiirwhure
Ariiiitoii. A8ci'ii)tion.

CM
S.

84

The On, and Hope Ever

55 Oh, Wipe away that Teu 72 Old Ulack Cat, The 17 One, two, three. (Round)... 81 Onward Christian Soldier 37 Onward to the silent river. (Bound)
110

86
16

M
May

66 70 29 36
31
71

Hofie will bauish Sorrow How Sweet to be Struyiug

Sweet to

Me

86 98 SG
91 90
12

How Sweet to Hear

uiTah for the Merry Oreen Hurrah for the Sleigh UeUii! Hurry now. (Rouud)
1 1
I

nnnifl)i Sorrow Uciinliriil Mouth of

Wood

Bouuty
Call

in the
t)ie

woodland. (Round)

John

boatman. (Round)

Tf happiness. (Round)

99 Out in the Shady Bowera 50 Over the Suow 66 88 Rest, Weary Pilgrim 17 Rise, Cynthia, Rise Roaming over Meadows. (Round) 34 Rubbius. L.

47
109 GO
IG

I^tbor ClieerriiliicHH coincth

Clii!<;rriii

19

Clu-ei-t'iilly

of. (Round) work. (Round)

22
19

the weather. (Round) In the Vineyard

If

'i5

101

diiiiio

Apiin

Cliiit|i('rce

dice
Sweet
the
1110.

CliMstiniiH Carol
ChriMtiiiiin Soiij;

Come
Come,

liiick,

May
(Rouud)

ooiiio to

Coiiiu follow

Hin^fin;;. (Koiiiitl)

Come
Come,

let'H lu;;)i.

(Round)

let

UH all bo .Merry
(Roiind)

Come

now. (Round)

'Come now.

Come now. (Round) Come to the Kotmtuin Come l.'nto Mu

89 Join in Singing. (Round) 10 82 105 Kingdom. 7s 50 48 80 Langdon. 110 03 L<>urn to sing. (Round) , 28 22 Let us endeavor, (liound) 16 22 Let us sing. (Rouud) 18 72 Lilienand Roses 94 34 ijongingH .>.. . .......... liv Sleep lieloved 71 LoltbeOlad May Morn 44 Song of the Autunm 71 Loud through the World Proclaim 68 Sound the straiu again. (Round) 82 Lovely Land, The 84 S|teak Kindly.

CM

Sabbath Evening Says Williaui to Julia. (Round) Si-otluiid'H burniu";. (Round) Seek the tender Shepherd See the bee. (Round) Serenade Sileut Vale Sing every One Singing Cheerily Sing we now. (Round) SkatinjT Olee

93
S,i S-l -lO

34

98

S8
i'i

IM
41
(iil

G'2

26
106
2^1

Lovely

May

31

Still

Like

Dew

27
6'2

Come Unto Ale. Come yo away.

Jomiu<; N'Iglit
^rii'Uctf 1

No. 2

(Rouud)

Mai vem.

uo > Cuckoo, cuckoo. (Rou^id)

Dnlny.Tlio Day lias gone.
Deiiuis.
S.

40 wi 25
37

L. M.... ............. ........ March, march, march away. (Round)....

is

May

(Rouud)

9 70
?.
1

Elementary Rhythms Kvan. Evening on the Luke Evening Prayer Ever blooming. (Rouud) Every Day hath Toil

CM

15-1 IB

53
Ill

55

21 107

here 22 Men-ily, merrily dancing. (Round) Merrily, merrily sound the horn. (Round) 2:1 103 Alerrily Sings Merrily the bells. (Rouud) 31 Merrily the Ciu-k(M> 45 MeiTy May. (Rouud) 60 95 Miller, The Morning Ilnnn 49 Mother, Chllilhood, Friends and Home... 42 96 Munuuring BrtNtklet 43 Music Ever^rhere

Sun Shower (SI Sweet Evening Hour il!i Sweet Sunnner Crowns 85 Sweet Voice, The
Sweil the

100

'" 103
I'i

Authem

Tell Me. Spring

39
54 80
C7

The

To To

doth toll. (Round) Portmnouth. (Round)

bell

the Mountain Tuning ExerciHCS

is

17, 18, 39, 40

(JG

Twilight

Stealing

Up, up and away. (Round)

66

My Mouutam Home
Never Say Pail

Fnr out in the Wildwood Vut her of Mercies For Health and Strength.
Centle Snring is here again Ouutly Lvening heudetk

36
87

Virtue would Gloriously Wake the S<ing of Jubilee 48 Warble for UH. (Rouud)
51

92
58

53 42
12

(Round)

52 29
83 112

Good

Nitflit

Grwtaud Qood
n*Pr7 loppy ITov '^w- (Bound) Hapuvlluiuu
flarki

9
S2 23 35

No, no, uo. (Round) 71 Now beware. (Rtnind) 95 Now the Evening Falls 54 , Now the Si'cond Step is coming. (Round) 14 93 Now the Wintry Storms. Now we are met. (Roiuidl 22 35 Now we May farewell. (Round) 104 Nutting Song

Wayside

W.'ll,

The
(Round)

What What

a Clatter. (Round) you've to do. (Round)

uuict.

34 3 25
91

While we

VVhosTheret With II J Rosy Light With tl e Spring-time. (Round)

Who sow^s goinl

Work
Tee,orNo

sec<L (Round) while you work

^; 3o 38

how plaaaant. (Uound)

Haste. (Round) OhI the Sporu of Childhood

35 64

6\