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FROM THE LIBRARY OF

REV. LOUIS FITZGERALD BENSON. D.
D.
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
>
Digitized by the Internet Archive

in
2012 with funding from
Princeton Theological Seminary Library
http://archive.org/details/singOOhick
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THE
OF
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JUN 7
^^'
1935
SINGING MASTP:R;
CONTAINING
No.
No.
1.
FIRST LESSONS IN SINGING, AND

THE NOTATION OF MUSIC.
THE FIRST CLASS TUNE BOOK.

No.
No.
3.
4.
THE SECOND CLASS TUNE BOOK-
2.
RUDIMENTS OF THE SCIENCE OF

HARMONY.
No.
5.
THE HYMN TUNE BOOK.
dFoxii'if) iEtrftion.
REVISED AND CORRECTED.
LONDON
TAYLOU & WALTON, UPPER GOWER STREET,
BOOKSELLERS AND PUBLISHERS TO UNIVERSITY COLLEGE,
NOVELLO, DEAN STREET. SOHO
Co., STATIONERS' HALL COURT; AND
JOHN CUMMING, DUBLIN.
SOLD ALSO BY
J. A.
SIMPKIN, MARSHALL, &
MDCCCXL.
GENERAL INDEX.
FIRST LESSONS IN SINGING,
AND THE
NOTATION OF MUSIC.
PART
I.
PAGE
PAO
Preliminary instructions as
applicable to the teaching
of young children .
.
Notation of music .
.
Names and
...
forms of the
notes
2 Places of the notes .

3 Places of the notes belonging to the upper
and lower scales
4 Duration of notes: tones
.
and semitones
5 Various musical charac.
....
...
ters
6 Rests
7 The clefs
.
.
.
8 Time,
accents and time
signatures
.
.
9 Intervals
10
1
inten'als
.30
Method of singing
.
the
.
7 11 Intervals continued
.
12
13 The diatonic and chro-
matic scales .
8 14 Major and minor keys
Signature
15
of minor keys
11
16 The key note
.
.
17 Harmony,
singing in
.
12
parts
17
Cheap Metronome
39 5
42 2
44 4
46 10
He
that
part
55 14
thrive
Love of truth
.
Love your neighbour
away
Time and
When
21
.
.
.
58
63
64
59
58
56
57
60
62
60
time
.61
.
...
56
a weary task you
dence
home
tide
fiudit
3 Your patience
NO.
8 Abroad at
62
...
would
Lost time
52
20
26
And now we
6 Be you to others kind

31
and true
.
.
33 15 Grace before meat
.
35 16 Grace after meat
.
Let us endeavour
12 Let your pleasure
.48 9 Plough deep
.
50 11 Swiftly flies our
18 Sounds and signs

14 19 Singing with taste and
expression
.
.
.
PACE
13
63
and pru-
.57
59
RUDIMENTS OF THE SCIENCE OF HARMONY.

PAET
Application of rules
Augmented
,,
Canons
Chords, the principle of

common chord .
Consecutive fifths and oc

taves
8^3
simple
double
.
.
Discords
Dominant
Dominant seventh
Diminished seventh
in
82 Figured basses
,j
authentic .
plagal
.
half-cadence
Counterpoint,
II.
92
65
67
85
74
92
74
75 Preparation of discords
93 Progression of harmonies
90 Resolution of discords
Fundamental basses
Fugues .
Harmonies belonging to ma-
71
92
Si?cth
Harmonics
Intervals,
names of
Major and minor chords
Melodies, construction of
interrupted
(added)
.
.
and
melodic
78
83
75
79
95
78
73
har-
80
,,
80
74
monic minor scales*
7o
74 Seventh of the scale
.86
66 Sequences
.
71
69 Sub-dominant
.71
67 Tonic
94 Iransposition
87
66
87 Triad
78 Triads
71,72,80
84 Triad, mode of using the
72
93
.
...
....
,,
Rhythm
71 Scale, harmonised
jor scales
ditto to minor scales

ditto dispersed
ditto close
Modulation
Ninth (added)
75 Passing notes
77 Pedal harmonies
71
PACK
PAGE
simple
intervals
Cadences
,,
PAGE
95 Diminished fifth
79 Enharmonic scale
In the example given, page 80, of the harmonic minor scale, a note (D T) is by accident omittt'd
of the early copies, and in the following line a (jj) is also omitted, which should follow the
many
letter
D.
GENERAL INDEX.
IV
THE FIRST AND SECOND CLASS TUNE BOOKS.

CONTENTS.
Ist
Snd
too K.. BOOK.

PAOK
NO. NO.
7 Absent friends . 156
Alphabet
123
19
man's a man
13
164
for all that
148
2 Bells ringing .
206
38 Britons, arise
131
Chatterbox
26
NO-
and
debt
24
Come
104
130
us march
and sing
158
154
6 Cricket song .
Days of the months 113
let
31 Dulce domum
Early to bed
11 Kre around the
.
15
huge oak.
43 farewell.
25
33
27
161
212
.
183
4 For age and want

lO Forgiveness
39 (jolden rule .
159
207
Filial affection
143
night
33 Hark, the lark
197
Harmonious black
134
166
193
125
14 Ilar\estHome.
30 Home.
151
Good
bird
21
194
119
Hot cross-bnns
How the wind is
blowing
5 In the cottage
Kind heart
28 LaV>ourers'8ong
NO.
175
8
4
204
22
Improve the passing hours
23
see
how happily .
Come let us sing
fare
19 Idlenessii knavery
37 If you get into
Come
tk<n
190
NO.
29 Humble
2nd
1st
BOOK. BOOK.
1st
2nd
BOOk.BOOE.
10
100
152
128
188
18 Let the smiles of

youth
172
26
Linnet .
132
3 Love of truth
150
20 Lullaby .
176
6
Multiplication UblellO
7
Do. 2nd part
111
15 March.andliftup
your voices
167
17 Might with the
right
.
.
169
41 National anthem 210
Neatness & clean30
140
liness
42 Now let notes of joy2 11
Nursery jest
122
17
32 Old friends shall
never be forgot 195
120
Over the water
16
23 Our native land. 180
35 Patriots' song . 201
187
27 Peasants' song
Peacemaker .
114
11
28
18
29
Pence
table
Perseverance, or
Try Again
Play hours
Procrastination
Praise of spring .
34 Rejoice, rejoice.
40 Rule, Britannia.
.
School is begun
26 See, he comes
Sluggard
.
.
22 Stormy winds
1
Sunrise
Time
32
20
for rest
Tit for tat

Twinkle twinkle,
little
star
2l The hour
123
185
138
178
146
142
124
come
177
182
Try again
^Ve all love one
.
106
116
4
12
another
Welcome to school l02
We'll go
13
places
to our
.
12 Welcome
36 Well done .
8 When we go out
200
208
lOO
is
106
126
113
136
of twilight grey
24 To the good cause
31
117
162
202
157
together
16
118
rAou
112
NU.
When the rosy mornl68

Work away.
141
THE HYMN TUNE BOOK.

PART V
NO.
.'>2 Admiration
27 Adoration
36 Arabia
24 Auburn
44 Bradley Church
64 Calcutu.
33 Calvary
26 Carey's
41 Compassion
39 Condescension
22 Contemplation
10 Cranbrook
.
.
25 Katon
55 Faster Hymn
57 Evans
5 Evening Hymn
.
31
1 1
Fairsoat
Falcon Streit
....
.
28 Gabriel New
8 (ierman Hymn
9 Grove.
62 Hallelujah, Amen
14 Deritend
3 Devizes
PAGB NO.
PAGB NO
269
222 37 Old Hundredth
6 Hanover
243 15 Harts
231 48 Passing Bell (The)
253 23 Haweis, or Mount Cal
8^ Peru
"233 .6 Piety .
240
vary
261 56 Helrasley
.
279 66 Portsmouth New
28-2 43 Hephzibah .
266 45 Portugal New
250 20 Insh
.
.
.
236 29 Prospect,
242 16 Job
.
236 63 Refuge
258 67 Joyful
285 70 Repose .
256 53 Jude's Do.xology
270 19 R ou sseau'.j D ream
238 49 Knaresboro'
266 21 Sandgate.
226 69 Leigh, or Tucker's
287 65 ShirUnd
230 32 Lcmsdale.
1 Sicilian Mariners
249
2i9 30 I^well
247 13 Staughton
241 34 Lydia
7 Stevens
.
251
272 12 Martin's Lane .
4 Stonefield
228
274 18 Matthias.
234 42 Suffolk .
233 35 Sutton Cole6eld .
221 17 .Melbourn Port
248 54 Miles- Lane
271 51 Vesper
227 59 Monmouth
2 Warwick .
276
245 23 Mount Calvarv
:.w 60 Wcstbury Leigh
275 47 Wigan
224 58 Nativity
2o7
225 50 Newport
279 61 New Victory
278
fAOl
254
265
255
263
284
262
246
280
288
235
237
283
217
229
223
220
2.
252
268
218
277
264
PREFACE.
The
time
Music
noTi
among
fairly
presume the study of Vocal
be universally introduced in schools, as one of the means of
effecting the object
and indeed
we may
not distant when
is
will
proposed by a good education.
in all the
German
Already in Prussia,
knowledge of music
States, a
is
a sine
qua
the qualifications required of every candidate for the profes-
sion of a schoolmaster.
In the humblest
village- school in
indeed very generally on the Continent, singing

superior schools, the master
Germany, and
taught
is
and
further required to teach his
is
in the
pupUs to
play upon some musical instrument, and to instruct them in the science
of
Harmony or Thorough Base.

^
In this country singing has been introduced with great success in infantIt has
schools.
been shown to be a means of varying, in the most pleasing
manner, the usual lessons, and calculated, therefore, not only to reheve
the attention
in the
when
too
much
fatigued
minds of children (which
it
is
by study, but
other way), that they are sent to school to be

wiser.
It
to create a conviction
not always easy to produce in any
made happier
as well as
has also been found a means of impressing the miud with
kindly feelings, and of kindling or strengthening just and generous emo-
much more effectual than any mode of persuasion

The importance, however, of singing, as a branch
tions,
or reproof.
Education in
ot
elementary schools, and of teaching music systematically, with a

view of softening the manners, improving the taste, and raising the chaall
racter of the great
body of the people,
is
not yet fully understood.
Let
why music, but more

common property of all, in-
us briefly depict the reasons, moral and physical,

especially vocal music, should be
cluding the masses to
The
first is,
that
it
whom it
made
the
has hitherto been inaccessible.
would promote the happiness of all.
a means of social enjoyment, will be admitted ; and

suflBcient
argument
to induce us to
make an
effort to
this
That music
render
enjoyment to the poorest members of the community.
is
ought to be a
it
means of
After
all
that
PREFACE.
II
can be done lo meliorate

Iiavc to
submit
condition of
tlic
working
tlie
classes, they will
enough of privation, as compared with the more
to quite
favoured lot of the rich man, without our withholding from them any inno-
we
cent source of pleasure, which
command.
to
Vocal music
might, by a
little
exertion, enable
not only an innocent pleasure,
is
to be carried to a hurtful excess than almost
any other, but
fit
to be encouraged
music
is
among
the labouring classes.
it
peculiarly
In this respect, vocal
superior to instrumental music, while superior also in the power
of producing musical
poor
If the
effect.
man
to purchase costly musical instruments, let
equally good
should regret his inability
him
is in itself the finest instrument in the world.
learn that the
more
German
band of the
spend a winter's evening
in regard to
A family
Italian opera.
in singing the glees of
Calcott, need not sigh for grand piano-fortes,
is really
sounds of different instruments, which seldom assimilate
its
its
of
vil-
Webbe and
good,
almost invariably better without an accompaniment than with
withdraw
make
and double-actioned harps.
accompaniments, when vocal music
the voice, and prevent
performers.
skilful
peasants, singing together in a cabin, will often
better music than the whole

lagers able to
number of
perfect effect than any equal
keyed or stringed instruments, played upon by

party of
human voice
All voices are not, indeed,
but four even indifferent voices heard in correct harmony
together, will produce a
Even
has the re-
it
commendation of being a cheap amusement, which renders
them
less likely
it.
sufficiently
it is
The
with
being distinctly heard, distract the ear, and
attention from the harmony.
The moral
influences of music are of
two kinds.
has a direct
It
tendency to wean the mind from those pleasures which consist in mere
vicious and sensual indulgences,
and
into a right state, or, in other words,
upon the
it
it
has a tendency to bring the heart
has a direct and powerful influence
disposition and temper.
It is a great error in
any system of education, pro\'ided
of the poor, to conclude that
it is
no part of the duty of an instructor to
teach the means of rational enjoyment.
covery that
it
is
for the children
It is
time
we made
the dis-
men
quite out of our power to train any class of
to
habits of such unwearied industry, that they shall be content to toil on
throughout their
relieve the
lives,
without a moment's relaxation, or any attempt to
monotony of their
Pleasurable excitement of
held from none
sume.
existence
some kind
is
by some pleasurable excitement.

necessary for
we may determine merely
Among the rich it
is
all
it
the form which
attainable in a thousand different
can be withit
ways
shall asj
among
PREFACE.
the poor,
it
Ill
common form
assumes the too
of intemperance.
We
but the choice of two things, either to provide for the working
and enable them
to appreciate rational
and
intellectual
have
classes,
amusements, or to
allow the people, while in a low moral state, to choose for themselves
may be
their
own
fatal,
both to their own well-being, and to the peace and good order of
sources of gratification, although they
such as will be
society.
It is said to
working
be dangerous to encourage a taste for music among the

because singing
classes,
used as an attraction to public-houses,
is
and other places where young men and young
own
Happy would
women
are often
be for the community
drawn
if
every
drunkard in the kingdom could be inspired with a love for music.
The
in to their
ruin.
young man who
is
weak enough
it
to give
way
to habits of intoxication,
does so because in drinking he has one source of enjoyment;

musical, and he has then two sources of enjoyment
certain than that as his taste increases for the
and what can be more
more
pleasure, the temptation is diminished to that which
ductive of misery in the end
But
that
it is
render him
intellectual source of
is
merely a vice pro-
not in consequence of a musical education, but of the want of it,
common
labourers and mechanics run to hear a comic song, wretch-
edly sung, in a public-house. If they had been properly taught, they would
have had a taste for something better, and in that case, when they
own homes
among the members
left
for the sake of music, would have been probably found
their
of a choral society, preparing, perhaps, for the per-
formance of the Messiah, at some of our great musical

great advantage of music
is,
that
it is
festivals.
But one
always enjoyed the most as a
home
The quietude of home is much more favourable to the

harmony than the noise, bustle, and glare of the theatre or
concert-room ; and every one may observe that when an individual is
raised to the rank of a musician himself, of however humble a grade, he is
no longer so easily drawn hither and thither to witness the performances
amusement.
effect
of
of other people, as before; for

those performances
may be,
it is
a curious fact that however sublime
musical amateurs like infinitely better to
hear their own.
The
effect of
music in diminishing the temptation to intemperance
has been strongly exemplified in the case of the Germans.
Forty years
ago they were one of the most drunken nations on the face of the
earth ; but since music has been taught scientifically in the humblest
school, they have become, comparatively, remarkable for their sobriety.

PREFACE.
IV
In tlie large sugar-baking houses of the Metropolis, where, on account

of the danger, a person given to even occasional habits of intoxication is
never trusted, (jlermans are invariably employed in preference to the
EngUsh.
It is
man who
sometimes urged that a young
has a talent for singing
much into company, and is thus led to form

The remedy is to teach those persons to sing
unable, require to be amused by one who can,
apt to be invited too
is
habits of dissipation.
themselves, who, being
and are thus induced
may
to court his society to a prejudicial extent.
We
add, that let music be rendered universal, and the Apollos of the
public-house, and of the third-rate concert-room, would descend at once
common
to the
digies
They would no longer be considered
level.
would be found
talent,
gifted pro-
and the few only would be followed who, from pre-eminent
at the top of the profession,
and who could only
be heard on great public occasions.
many
Tliere are
other objections to music which
may be
treated as
belonging, generally, to the class of those which are often inconsiderately
urged against every thing good and useful.
be dangerous to teach a child to read,
books
No
dangerous to teach him to write,
doubt the danger exists
hunger and
There
lest
is
thirst, lest
and
it is
is
lest
used to be contended to
he should read improper
he should commit forgery.
dangerous to
we should become
satisfy the
some danger
for guidance.
that music
and we may
may become
fairly allow that
a ruling passion, too strong
But what is the value of education,
be not to teach us
if it
the difference between the use and the abuse of that which
to impress
ration
may
With
upon the mind the
lesson, that that
be hurtful in excess
which
is
it
is
good, ajid
useful in
mode-
respect to the direct moral influence of music,
although
that,
wants of
gluttons and wine-bibbers.
danger even in inculcating habits of prudence and economy,
they should degenerate into avarice
there
It
lest
would be preposterous to contend
tliat
we mav observe
music
is
sufficient
yet was a l)ad
man a good man, we may safely assert that there never

man who would not have been the better for its influence.
The
that nature has so ordered
to
make
a bad
reason
is,
it
that
when
the heart
is
full
of evil thoughts and malignant passions, the ear cannot at the same time
listen
with pleasure even to the simplest melody.
the eflects of good music,
mony
with
itself,
and with
it is
all
truth and sound philosophy
Thoroughly
to enjoy
necessary that the mind should be in har-
things around
in the
it
and hence there
words of Shakspeare
is
much
PREFACE" The
man that hath no music in himself.

And is not moved with concord of sweet
Is
for treasons, stratagems,
fit
Let not that
man
and
sounds.
spoils.
be trusted."
If we have a load of care or guilt upon our minds, we cannot sing.

Keep the mind in a state the best fitted for the enjoyment of music, and
that will be a state in which it will be least of all disposed to yield itself up
to the jarring and discordant influences of the evil passions. Hence the
secret of the art by which David/ the sweet singer of Israel/ charmed
away the
from Saul.
evil spirit
may be
It
observed, however, that the moral effect of cheerful music,
as adapted to the daily intercourse of
life,
music of a solemn and plaintive character.
much
is
greater than that of
Solemn anthems are most

more suitable when
appropriate to solemn occasions, and nothing can be
the attention
required to be exclusively fixed on the most serious sub-
is
which can engage human contemplation.
jects
But when our
object
is
not exactly that, but to act upon the affections, the music should be of
a more joyous character.
If
we want
to render education something
more than the teaching of two or three mechanical

educate the feelings,
then
our
first
if
we would
make
the heart
arts,
care should be to
cheerful.
If we desire to prevent children from being sullen and quarrel-
some,
us beware
let
over their minds.
how we do any
We
thing to throw too deep a gloom
ought not to repress, but merely endeavour to
keep within bounds, the buoyancy of youthful

children are
happy that they
the happiness of others.

that
it,
it
spirits
for
it is
not when
disagree, or find a pleasure in disturbing
It is often said
by the opponents of education
has failed in the civilizing and humanizing effects expected from
and there
is
some truth
in the assertion.
We
cannot look round an
ill-conducted charity school, and see the sullen looks and scowling
we sometimes meet with

wrong
in the
there, without perceiving there is
brows
something
system pursued, and something dangerous, too, to the
peace and welfare of the future community, of which the children of that
school will form a part.
calculated to prevent
Much
but
it
of this prospective
must not be confined
which has a tendency to sadden, but that which
evil,
music would be
to that kind of
will
make
music
the heart
glad.
Let
cation,
us,
above
all,
beware how we defeat the object of a religious edu-
and become a party to the irreverent use of sacred words, by
allowing only such
to
be used during Singing Lessons.
Instead of
rUEFACE.
VI
compelling children to sing, at
hymns,
as
some
their attention has first

to
wliic'li
all
times and seasons, nothing but religious
do, children should only be allowed to sing
them when
been drawn to the serious import of the words

Otherwise, with the mind
they arc alôut to give utterance.
wholly engaged upon the time or tune, or upon worldly subjects, instead
of worshij)ping the Almighty,
"
We
mock him with a solemn sound

Upon a thoughtless tongue.'*
In conclusion, we
may
notice an
argument
drawn from physical considerations.
in favour of vocal music,
It is the
opinion of Dr. Rush, and
several other eminent physicians, that there are few things so well cal-
culated to keep the lungs in a state of healthful action, and therefore to
operate as a preventive to consumption, as singing.

females,
from
more
their
especially than males,
fall
The reason why
victims to this disease
is,
that
confinement within doors, and sedentary pursuits, the lungs
are seldom freely brought into play.
Young
ladies
who
are not allowed
to run, and put themselves out of breath, or to shout, or laugh loud,
account of the vulgarity of the
act,
and who rarely speak
on
in a tone ot
voice above that of a drawing-room whisper, never have the chest fully
inflated.
lungs
The consequence
lies in
is,
that a large portion of each lobe of the
a comparatively torpid state, and a stagnation of the fluids,
or an insufficient supply of the oxygen of the atmosphere,
be a pre-disposing cause of tubercles and abscesses in
must often
this fatal
organ.
Public singers have been generally remarked to be long-lived, and one

reason (without, however, attaching an undue importance to
is,
it)
no doubt
the necessity of taking longer inspirations, and of more fully inflating
the lungs, than would have been done but in the exercise of their profession.
To promote
work.
the object
It originally
we have
described
is
the design of the present
appeared in an experimental form, and having been
favourably received, the author has been encouraged to the further task
The work
of revision and correction.

shape, in which
it is
hoped
it
to facilitate the introduction
have any merit,

lessons, and of
it
all
will ])c
will
is
be found
now re-cast
much more
in
an improved
perfectly adapted
of music into schools than before.
found
in
If
it
the simpHcity of the introductory
the airs and arrangements.
Only those who,
like the
author, have undertaken to teach a class of children to sing in parts, can
PREFACE.
form a correct idea what apparently insignificant
insurmountable stumbling-blocks.
Vll
difficulties
may prove
Compositions of a higher order than
those included in this work abound, but they are adapted only for the
more advanced
student.
The present
edition, unlike the last, besides
the moral songs, will contain a large collection of the most favourite
hymn
tunes
and the whole work, although complete in one volume,
will
be sold in separate parts, with a view of promoting the convenience of

those
who may wish
to procure copies of the introductory lessons, or of
the songs or hymns, without purchasing the entire book.

AND THE
NOTATION OF MUSIC.
FIRST LESSONS IN SINGING.

AND THE
NOTATION OF MUSIC.
The
first
lesson in the art of singing with adult pnpils
upon the gamut or scale of sounds, named

and sometimes sung to the Italian syllables
do,
pupil
is
usually an exercise
is
after the letters

re,
mi,
a, b, c, d, e,
fa, sol, la, si,
expected to sing every note of the scale correctly
f,
g,
The
do.
to learn to sustain,
diminish, and increase the volume of sound, as well as to read music tolerably
at sight, before
he attempts any
air or
melody from which he might derive some
gratification.
There are two objections to this course, which render it, if rigidly adhered
and especially for little children. One is, that it is exceedingly wearisome, and therefore calculated to defeat the object in view,
which can only be effectually promoted by inducing a love for the art. Another
is, that there are many persons, both old and young, who cannot sing the
gamut, and many who never would learn to sing it if the ear and voice were
to, unfit for children,
upon some more simple and striking melody.

assumed that a person who cannot readily overcome the difficulties of the gamut has no musical ear, and cannot be taught to sing.
This is a
mistake.
The ability to sing through the scale is the test of a certain degree of
proficiency, but a person may have a musical ear, and yet not be able to snig
not
first
exercised
It is often
gamut upon a first trial.

Every ear perfectly formed, and
the
we mean an
in a healthy state,
is
a musical ear ; by which
ear capable of being taught to distinguish musical sounds
every ear has not been tutored to the same extent
that
but
to say, has not been
is
accustomed to listen to the same melodies by which the love of music is first
awakened. The diflference in musical talent between two children of an equal
age
is,
in ordinary cases, easily explained.
allowed to cry
songs.
itself asleep
In a similar way we
One, while an infant in arms, was
the other was constantly
may account
amused with
lively nursery
for the remarkable diflference, in the
aptitude for learning singing between the boys of large towns and the boys
of country villages.
The town boys soon
learn, because their ears
tutored by listening to airs performed by street musicians

village
birds,
those
at least
and do not even
who spend
have been
but the boys of the
their days tending sheep, or frightening
live within the
sound of a peal of
B
bells
are
away
seldom found
FIRST LESSONS IN SINCiINC,
have
to
tlie
In
such cases,
all
can only be taught, with extreme
slighU'st notion of music, iind
when upwanU of twelve
dirticulty,
it
is
unwise
years of age.
gamut, for the Diatonic

by a beginner a very trou-
to begin with the
icale being an unaccented melody,
often found
is
blesome air. The better plan is to choose, for the first lesson, some simple
and striking air, calculated to fascinate the ear, and dwell upon the memory.
Every professional teacher must have met with adult pupils whom he could not
This difficulty
teach to sing through the iiTtervals of the Diatonic scale.
never would have occurred
if
young, of singing lively tunes
The
with
facility
th'c
of teaching children to sing in classes
plan of teaching
them
when
the opportunity had been given them,
in classes.
individually.
is
very great as compared
has been found that a child,
It
who
by reason of its timidity or dulness would never learn to sing if taught alone, will,
when standing up with others, in a class, gradually get the notion of managing
voice so as to join in with the rest, and, gathering courage to
its
tempt, by
little
and
little, will
be led on, until
it
make
the at-
begins to improve as rapidly as
need be desired.
The
ear,
first
step in musical education
one note from another.
is
by the
same sound correctly
to teach a child to distinguish,
The second
is
to express the
with the voice, and to sing perfectly in time.
If this can be accomplished in
childhood (audit can easily be done), the progress made, although it may appear
insignificant, is not to be despised, for it is much greater than would be made by
many
adults within a similar period of time,
lected
by them
if music had been entirely negAlthough there are many persons who do not
begin to learn to sing till they are past the age of twenty-one, and succeed, there
may almost invariably be discovered a flatness in some of their notes, which
proves that the ear has not acquired that extreme sensitiveness to nice gradations of sound, which is only the result of an early cultivation.
To effect the object, lively melodies in which the accents are strongly
marked, are better than any other, because the knowledge of the tune, which
in their youth.
the ear speedily acquires, enables children to discover
more
readily, than they
would do in any other case, when they are singing the wrong note and the
sounds which the ear can the most easily retain, the voice will the most readily
;
learn to express.
Parents, therefore,
teach
them
who wish
their children to
to sing while in the nursery, or
be musical, should begin to
should send them,
purpose, to a well-conducted infant school.
At
if
only for that
a ver\' tender age they will
quickly learn, provided the moral songs or hymns they may be taught be
adapted to cheerful tunes, and that the singing lessons be never made too long.
Nothing can be better than the plan generally adopted in infant schools, of not
always confining the singing to a decided hour, but of employing singing as a
means of
day.
No
relieving the attention at intervals, throughout
all
the lessons of the
day should be allowed to pass without practising, more or
less,
or the
voice will never acquire strength, nor improve in quality.

It is very
Is
important to guard against the mistake that slow, or serious music.
better adapted for the early lessons of children than musiic of a cheerful cha-
AND THE NOTATION OF MUSIC.
Many persons
racter.
slow tune, because of
an
air
imagine that
its
mnst be much
it
Experience, which
The ear of
reverse.
note which preceded
is
a child a
number of notes
rapidly following each
the best guide, proves the fact to be directly the
a child, while dwelling
upon a long
or which should follow
it,
easier to teach
apparent simplicity, containing but a few notes, than
contahiing comparatively a great
other.
note,
the note itself is seldom sustained throughout, exactly at
Indeed
voice always having a tendency to sink.
is
apt to forget the
and, partly for the same reason,
its
to* sing, in
proper pitch,
the
slow music, or serious
harmony, every note perfectly true, and in correct time, is one of the last things
which even good singers attain. Compared with this, it is easy (although the
public may think differently) to run up and down the scale, and execute
very florid and brilliant passages. Hence it happens that some of the most
celebrated Italian singers are unable to give proper effect to
music, the beauty of which often consists in

execute, otherwise than
Neither
is
much
of Mozart's
graceful simplicity, or even to
its
the national anthem.
ill,
the larynx, or organ of voice, in a child sufficiently developed for
sustaining, with the requisite fulness, long
the physical power
drawn out
The voice of a
wanting.
is
ing of a bird than the performance of an organ

able for the one,
is
notes.
Not only the
ear, but
child resembles rather the chirp;
and the music,
therefore, suit-
of a totally different character to that which
is
adapted for
In some infant schools, however, masters, altogether unfit for the
the other.
and other lessons
situation, set the alphabet
service; the result of which
among
to airs only adapted for a funeral
the children
is
a discordant effect like that of
screaming or crying, instead of singing, while they appear listless and unhappy.
In schools where the children are permitted to sing spirited popular airs, the
difference
is
striking
in this case they not only often
appear animated and cheerfid, as
if
necessary also to observe, that
It is
sing extremely well, but
they enjoyed the music.

it is
only by means of melodies having a
quick movement, and in which the accents are strongly marked, that the ear of
It is customary to
a child can be made to acquire any notion of time in music.
begin in the case of elder pupils by teaching them to count time
but the
first
object should be to enable a child to feel the time of the music, or, in other
words, to discover by the ear where the accents

time in music depends
given to the accented notes, although they

that
is
it
upon which what is called

marked emphasis be not
may be sung
to say, neither too fast nor too slow, the
In very slow music
fall,
for if in singing a sufficiently
is
music
in exact clock time,
will lose its proper effect.
quite impossible for the ear of a child to discover the
accented notes ;* but, by means of lively melodies, children soon learn to keep
time with their hands and
feet,
and
always precede that of counting.
* It may be observed that there

In teaching the piano-forte, a child
impossibilities.
Passages are given
with what rapidity the finger
meaning
the consequence
method of marking the time should
Pupils
who have
never been allowed to
is
one kind of quick music open to the same objection.
is
often tormented by being required to execute apparent
it
to perform^ written for the
may be made
is,
this
mere purpose of showing
move, and totally devoid of melody, accent, or

the ruin of the ear and of all taste for good music.
to
B 2

FinsT LESSONS IN SINGING,
(lojuMid uiun llic ear,
to
but have lu'en
made
to trust entirely to counting, are apt
nu'clianical j)erroniiers, incapable of entering into the true spirit
become nure
of a composition.
Many persons have
failed in their
attempts to teach music to children, by en-
deavouring prematurely to form a Uiste for compositions of a higher order than

This is to commit as great a
it is j)ossible very young persons can appreciate.
blunder as it would be to make a sj)elling-book of Milton's " Paradise Lost," in
Those who would teach children to sing must

some time will elapse before they discover the
dillerence between noise and music but it would require more than the patience
of Job to hear them, at an early age of their instruction, attempt a piece of
refined haniiony, the beauty of which might depend upon a chromatic semitone,
struck exactly in the right place, and at the right moment,
upon a crescendo
or diminuendo movement, or upon an instrumental accompaniment, which could
order to create a taste for poetry.
liave a great deal of patience, for
not be proi)erly,
who,
for his
character, let
supplied in the majority of schools.
own gratification, would study only works of a grave and scientific

him not hesitate, if he wish his young pupils to make any progress,
to sacrifice, at
tcacliing
if at all,
the teacher be a profound musician, and, on that account, one
If, therefore,
first,
his taste to theirs.
children to sing any
little
time, without adding to their
air,
There are quite difficulties enough in

however simple, in correct tune and
number; but those
difficulties
would be increased
a thousand-fold by insisting upon children singing only airs which appear to

them dull and insipid, and the melody of which cannot be easily remembered.
It
is
mistake to suppose that simple and cheerful melodies have a tendency
to prevent
a taste
Let the teacher
being formed at some future time for serious harmony.
in this, as in all other
she will not lead
understood, without an
retain
By
it.
him wrong.
The
eflfort.
branches of instruction, follow nature
simple melody pleases at

ear can follow
and by, the ear begins to
it,
because
first,
it is
and the memory can
of this
very simplicity, and

So with harmony, the
because they are understood but gradually the
tire
craves for melodies of a more elaborate construction.

simplest chords please at
first,
memory
ear becomes capable of following, and the

parts of a
more
scientific
of retaining, the different
composition when heard together
delights in tracing the skill and ingenuity with which a
melodies
may be interwoven by
combined eflfect.
But, however rapidly the
it
will
a master of the
taste of a child
be found to take the same pleasure
minor key,
as persons
who
are
art,
may
improve,
in
it
distinct
so as to produce one grand
in j)laintive
more advanced
and ultimately
number of
it
is
but seldom that
music, and melodies in a
life.
The reason
is,
that
music, to please, must give expression to the feelings which govern the mind.
In youth, the predominant feelings are those of hope and joy, arising from the
flow of animal spirits.
appointment
At
a later jêriod the
mind has been saddened with
the bright visions of youth have been dissipated
dis-
sorrow and
anxijty intrude upon our thoughts

inexpressible charm, because
it
; and solemn, or plaintive music, has then an

awakens a kindred chord in our bosoms.
These considerations should not induce the teacher entirely
to discourage the
AND THE NOTATION

serious style of music for
Even children may
young
feel the
01'
same
to the
air in the
apply to
for serious occasions.
in Saul
performed upon
they were compelled to listen
if
the play-ground, or in the midst of a
in
would think
will
it
Dead March
sublimity of the
school-room,
The same remark
heard.
pupils, but to reserve
a powerful organ during a funeral service; but
festive holiday party, they
MUSIC.
the
it
many
most intolerable they had ever
other fine old church compositions
the hundredth psalm, for
instance.
During Divine Service, when the mind
has been properly attuned to the most solemn subjects, it pleases both young
and old ; but compel little children to sing this psalm when they are thinking
of making their escape, from a wearisome lesson, to their tops and marbles, and it
be one of the most effectual means that can be devised of damping their
enjoyment, and causing music to be regarded by them as something hateful.
will
Teaching children to keep time with their hands and
feet, will
be found very
useful in infant schools as an agreeable muscular exertion, calculated to quicken
the circulation of the blood, as well as to raise the attention of the dullest to the
tune he
required to learn.
is
make by
Tlie noise they
course somewhat destroy the effect of the music, but,
if
this
method
will of
not permitted to
make
The motion of
not learn to keep time accurately.
the teacher's hand rising and falling will not be sufficient ; but when accom-
some
noise, they
will
panied with the sound of clapping or stamping, the ear assists the eye, and by
means of both the object is attained with little difficulty. Neither is it of much
consequence what noise they make while learning a new air, as the clapping or
stamping would of course be dispensed with when they could sing it perfectly.
No one thinks it necessary to keep time either by counting or beating, if well
acquainted with the music in which he takes a part.
The teacher should stand before his class, raising his arm, and directing the
children to do the same at the first note after every bar in the music, his arm
should descend, his right hand striking his left. When the children do not
strike or clap their hands simultaneously, he should direct them to repeat the
;
attempt
they are perfect.
till
In teaching them to keep time with their

one
first
foot,
and then the other,
when they can do
may march round

own
this perfectly, as
letting
he need pay no attention to
feet,
He
the bars, but only to the accented notes.
should
it fall
they stand up
tell
the children to
upon an accented note

all
lift
;
up
and
together, or in classes, they
the room, or round the play-ground, to the sound of their
voices.
To
lead the singing in schools,
treble voice.
allow
it
The
no instrument
is
so effective as a powerful
mistress of a school, if she exercise her voice sufficiently to
to acquire the requisite strength, will
children to sing over a master, as her voice
have a great advantage in teaching

of the same pitch as theirs, while
is
is an octave below that of the children ; in consequence of

not always very easy for them to learn from the note he sings, what
the voice of the master
which
note
it is
it is
he expects them to sing.
Still,
however, even a tenor voice
is better
adapted for guiding and controlling the voices of children than any instrument.
But when the master cannot
sing, or wishes to save himself
exertion, he should learn to play the Clarionet.
German
some
rather severe
masters often
make
FIRST LESSONS IX
')
8 IXC IXC,
nse of the Violin, because
it allows of their playing and giving directions at

same time. But the Clarionet assimilates more nearly with the voice, and
would be bi*tter heard than the Violin. A Flute is useful, but has scarcely suf-
the
ficient
power.
Violoncello
is
If an
best for the base.
Forte, be used, the air should be played at
chords, that the attention of the children
may
Organ, or a Piano
without the accompanying
first
not be distracted by several
sounds heard at one time. "When the pupils are perfect, the instrument sliould
be laic] aside, or kept entirely to parts written for it exclusively. A melody is
improved when the harmonies are taken up by instruments playing
dued notes
but in vocal harmony the
effect is
in ver)'
voices alone, and can only be impaired by the sounds of instruments.
performing the grand choruses of Handel,
in
it
sub-
as perfect as possible with
would be well
if
Even
care were
taken to have no more instruments than suflicient to sustain the voices and
perform
tlie
symphonies.
so powerful, that, whatever
The common error, however, is to make the band

may be the numbr- of vocal performers, they can
oidy be occasionally heard.

Until the voices of the pupils have acquired strength by continued practice,
some of the
airs to
be taught, which run
much among
the upper notes, should
be pitched a tone, or a semitone, lower than they a})pear in the written music.
In teaching singing, as in teaching reading, great pains should be taken to
Whether
render the enunciation of the pupil perfect.

air
may be
adapted happen to be musical, or not,
it is,
the words to which the
above
all things,
neces-
sary to sing so as to be understood.
That the meaning of the words should be properly conveyed, the pupil should
be taught to distinguish those which require to be sung with more force and
emphasis
and neither to sing every note alike, in the same even

upon words of comparatively little
tlian the rest,
monotonous
tone, nor to place an emphasis
Children should never be allowed

which are so unsuitable, or so badly adapted to
the accents of the music, that they cannot be sung with proper expression without offending the ear. In some schools all sorts of airs are sung to the same
spelling lesson or pence table, the melody being tortured for the purpose utterly
importance, such as
a,
an, the, and, of, &c.
to sing airs arranged to words,
destroying
all
correct notions of time, accent,
and expression.
more
serious
error in music cannot be committed.
Another
fault against
which the teacher
will
have to guard his pupils,
is
the
habit of drawling or sliding one note into another, throughout a tune; a fault
committed by almost all congregations in churches and chapels. When music

so written that one word, or one syllable, is divided among several notes,
they require to be connected together by the voice but whenever a note has a
word to itself, it should be separated from those which follow it by a slight break,
is
the voice ceasing and
drawling singing
is
commencing again upon the next word.
chiefly confined to those
slow tunes, and the fault
is
who
The
sing, almost
habit of
exclusively,
one which might be cured by means of melodies
having a quick staccato movement.
When
the children are learning a
as loudly as they please
new
otherwise,
it
air
will
they should be allowed to sing
it
be found that some of them, not

quite
knowing the tune, and not understanding how
will leave off, while the others will sing
acquired, the children should then be

light
and shade
than another
made
to
subdue
When
flat.
voice properly,
to observe the superior effect of
in music, or, in other words, of singing
sometimes
tlie
the air has been fairly
one part more softly
sinking their voices almost to a whisper, and then
gradually or suddenly increasing the volume of sound.
same time be cautioned against singing so loud
They should
in a forte passage as to
at the
produce
the effect of screaming, or over-straining the voice.
Every tune should be first taught to a class of the best singers, and not to
They will learn it most readily by themselves, and be the
the whole school.
better able to teach the rest.
The above preliminary

under six years of age,
tuition.
instructions for teaching, referring chiefly to children
may
be considered as forming the
first
stage of musical
We proceed to the next.

Little children
who have
&c.
scarcely mastered the mysteries of the alphabet,
should not be puzzled with crotchets and quavers, but, even in an infant school,
a class of the elder boys or girls
may be formed to learn the names and places

who may not be taught, by the time they
of the notes, and there are few children
are eight or nine years of age, to read music sufficiently well, not, indeed, to
sing perfectly at sight, but to derive great assistance from having the written
notes before them, without which they would have to trust entirely to the
memory.
To
It is
neglect this would be to throw
obvious that
if
away every chance of future improvement.

it can make no
a child leave school ignorant of the notes,
fbrther progress in music, vocal or instrumental.
In forming a class, or a number of classes, for learning the notation of music,

choice should be
made
of the best voices, and of those
common school songs and hymns.

Those who have had no previous opportunity
who can
sing most cor-
rectly the
not be expected to
make very
of learning to
would elapse before they would be enabled

sounds with written marks on paper.
siderable time
smg by
rapid progress in learning to read music.
ear can-
A con-
to connect
any
Supposing the class to be formed, the teacher provides himself with a large
black board, similar to those which are in common use in the Bell and Lancasterian schools, and a piece of chalk or pipe-clay.
The class should be
drawn up standing before the board, so that all can see it, each having a slate
and pencil in his hand. The teacher then addresses the class to the following
effect.
PinST LESSONS IN SINGING,
ii
FIRST LESSON.
THE NAMES AND FORMS OF TUB NOTES.
Teacher.
shrill,
Every sound
or deep
but
music
in
is
a note^ whether it be
called
has also another meaning;
it
it
sound, but the name of the sign by which the sound
upon paper
who can
so that a person
the note, what kind of sound
read music,
Thus
meant.
is
which you see me now make on the board,

are signs for two different kinds of sounds
Remember
short or quick.
not only the
is
represented,
may know,
or loud,
soft,
is
name of a
or marked
without hearing
the signs or musical characters
c:> L,
They
are called notes.
the one long or slow, the other
then that the word note has two meanings.
It is
name of a sound, and the name of a sign by which the sound is expressed.
Hence what is called the Notation of music is the art of noting,.or marking
down on paper different kinds of sounds, so that they may be understood, just
as writing is the art of putting down our thoughts, so that they may be comthe
municated
I will
you
to other persons,
now show you
their names.
make upon
||o||
all
without speaking.
the characters called notes used in music, and
Each of you
tell
which
slates,
the board.
This
is
called
It is the sign
hreve.
can sing, without taking breath.

will
copy the note upon your
will
"Breves are
of the longest note that a person
now very seldom
meet with them but rarely, excepting in old music.

This sign is called a semihreve. The word scJ7ii
therefore a half breve
that
is
to say,
used, and
signifies half.
you
It is
a note held only half as long as a
it is
breve would be held.
C>
I
'
This
is
This note
is
You
is
You
a crotchet.
called
observe
will
minim
it
is
made
rThis
^ stem
is
This
is
see
it
called a quarer.
turned up.
quaver
It is
is
semibreve,
has
its
and has
face filled up,
crotchet
half as
is
a semiquaver or half
^
made
exactly like a crotchet, but with the
a short quick note, half as long as a crotchet.

a quaver.
This, with three strokes turned upwards,
Ik
lalf a
like a
half as long as a semihreve.
minim.
/ The word
of
a minim.
a stem turned a different way to that of a minim.
long as a
^
/
J
called
but with a stem added.
is
called
a demisetniquaver.
it means the half
deyniy as well as semi, signifies half, so that
quaver.
demi-semiquaver
is
the shortest, and quickest note used
in music.
If
you have attended
demi-semiquaver, A
to
is
what
have been saying, you
the half of a semiquaver, '/;
will recollect that a
that a semiquaver
^ m
the half of a quaver
is
that a quaver
is
the half of a crotchet,
that a
AND THE NOTATION OP MUSIC.

crotchet
is
the half of a minim,
that a
;
j
and that a semihreve
<Z>;
every breve
minims
quavers
to
every minim
is
The
teacher
to
now proceeds to examine the

who may have copied the
He
the half of a semihreve,
||cd||.
In other words,
is
equal to two
every crotchet equal to two
two semiquavers
and every semiquaver equal
and employs those boys or
slates,
of the class
the others.
is
every semihreve
equal to two crotchets
every quaver equal

two demi-semiquavers.'
girls
the half of a breve,
is
equal to two semibreves
is
minim
notes the most exactly, to correct
then puts the following questions to the class upon the above
lesson.
Questions,
How many
W hat
is
meanings has the word note in reference to music?

one meaninor ?
What
What
What
is
the other ?
note
is this
What
is this
is this,
at
which I
sign called,
am now pointmg, on
{two.)
the board, l|o|| ?
c> ?
^?
I
This,
? this,
I
L?
this,
>?
g?
this,
y^
Is a breve a long note, or a short note?
How
Is
it
long ?
used for quick or slow music
What
is
the
meaning of the word semi?
How long is a semihreve ? (Half as long as a breve.)

How long a minim ?
How long a crotchet ? A quaver ? A semiquaver ? A demi-semiquaver ?
How many semibreves are equal to a breve ?
How many minims are equal to a semihreve ?
How many crotchets to a minim ?
How many quavers to a crotchet ? &c.
How many crotchets do you say are equal to a minim ?
How many quavers are equal to a minim ? (4.)
How many semiquavers ? (8.)
How many demi-semiquavers ? (16.)
How many crotchets are equal to a semihreve? (4.)
Hov/ many quavers ?
(8.)
Semiquavers?
These questions should not always be put

dodgingly.
(16.)
Demi-semiquavers? (32.)
in the
above order, but sometimes
FIllsT
10
The
LESSONS IN SINGING,
teacher next effaces the notes from the board, and
them out from
pupils, saying, "
quaver
semiquaver
in this
demi-semiquaver
the
;*'
them
This done, the notes are again effaced, both from the board and the
and another boy goes to the board to make the notes from memory and
manner each in turn is called to the board, until the teacher is satisfied
other children copying the notes as before on their

matle.
the class to rub
then gives the chalk or pipe-clay to one, of his

on the board, from memory, a breve a semibreve
Now make
a minima crotchet a
slates,
tells
He
their slates.
slates, as they see
the whole of the class are perfect hi their lesson.
This lesson, with several of those which follow,

teacher
is
may be
repeated,
when
the
not present, by the monitor or head boy of the class.
Before proceeding with the next lesson, the teacher should have the five
lines of
two staves painted on a black board, with white paint, so that notes
may be rubbed out, when necessary, with a cloth,
placed upon either staff
staff itself, which would be required for subsequent lessons.

would also be desirable, for the same reason, that two staves should be engraved on one side of all the slates used by the children. On common slates
without effacing the
It
this
may
When
be done with a
there
may
and a ruler.*
nail,
not be a board in the school sufficiently adapted to the
object, the teacher should provide himself with a board or frame of painted
canvass for the purpose.

deep.
shorter length
placed upon
it.
Two
should be six
It
would not
and eighteen inches
staves are necessary for the introductory lessons in
part harmonies, w hich will be

sufficient progress to
feet in length,
suffice for all the exercises requiring to
all
short,
attempt a long, and
and simple.
When the
difficult piece
pupil has
be
two
made
of music, he should sing,
not from the board, but from a written, or printed copy, placed in his hands.
We
suppose, therefore, the class to be diawn up before a board on which
two staves are painted thus
For the following lesson one

not be painted
if
staff
only
the teacher does not
is
absolutely necessary, and that need
mind
the trouble of ruling fresh hues
every time they are effaced.

* White porcelain music slates are sold in the shops with the lines ruled
generally too expensive for schools.
but they are
t If a wider board he used, and four staves be painted upon it, 'Vfire should be taken to
place the two upper at some distance fro:n the two under staves, or the eye o{ the pu|>il will
be perplexed iu lul'.owiug his part.
11
SECOND LESSON.
PLACES OF THE NOTES.
Teacher.
The
'
which you
five lines
see before
you
are called the staff or
when speaking of one set of five lines to call them the staff,
and when speaking of more than one staff to call them staves. Remember,
The use of the staff is to provide a number
singular, staff; plural, staves.
of different places for the notes, so that, by putting them sometimes in one
place and sometimes in another, we can represent the comparative height or
depth of different sounds. Thus, if we wanted to express on paper a very high
or shrill sound, we should place it about the top of the staff; if we wanted to describe a very low or deep sound, we should place it near the bottom of the staff.
stave.
usual
It is
You
and four spaces between

These lines and spaces are caEed degrees, and each of these lines
and each of these spaces is called after one of the seven letters, a, h, c, d, e,f,
g ; so that if I put a crotchet, for instance, in one place, it is called a ; if I put
will observe that the staff consists of five lines,
the lines.
it
in another,
Now, observe each
it is h.
do the same thing on your
middle line;
=i=
#
above the middle
line
slates.
on the middle
space just below the top line
above the top
The
\-
place where I put a crotchet, and
^
line;
on the top
in
the space just below the
line but
one
on the top
line
the
E
G
space
1-
V-
just
in the
just
line.
lesson on the board
now
stands as under, and the teacher with the

if the notes have been accurately
monitors proceed to examine the slates, to see

copied,
in
and rightly placed.
The following questions are then put
What are the five lines called?

What is the plural of staff ?
What is the use of the staff?
What is each line and each space called ?
How many degrees are there on the staff?
(a degree.)
FIRST LESSONS IX SINGING,
12
What
arc
Wliat
is tlie
tlicir
names
nanu" of this note? (pointing to a.)
This ? r.This ? /.This
These questions arc then a^keil dodgingly,

from the board, and from the slates.
Teacher.
1 his
? b.
Thio? This
c.
? d-
?y.
*It is necessary to
make
which the notes are effaced
after
a distinction
between the names of the
notes as signs, and the names of the notes as taken from the places in which they
stand in the
be told,
staff.
When
ask you therefore the naz/te of a note,
When
a minim, or a crotcliet, or perhaps a quaver.
it is
place of a note, you
will
have to answer , or
^,
expect to
or whatever
letter
ask the
it
may be
called.
Now tell me what is the name of this note which I place on the middle line ? ^^
Wliat
place called ? {h)
is its
What
is
W^hat
is its
What
is
name
the
of the note which I put on the top line
?
|
Its
place
the
(/)
name of the note which
put on the top line but one ?
place? {d)
AVliat
is
name
the
of the note which I put just below the middle line ?
\j
Its place ? (a)
The name of
the note I put between the two top lines ?
Its place ? {e)
m
The name of
the note
put in the space just above the middle line
Its place ? {c)
The teacher again examines the slates^ effaces the notes^ and exercises
each of his pupils in turn^ at the hoards in the following manner :
Make upon the board a quaver, and put it

Make a crotchet, and put it in the place d.
A
A
A
A
minim, and put

scmibreve
it
in the
place
c.
in the place h.
in the place a.
demi- semiquaver,
in the place e,
semi(iuaver, in the place y, &c.'
THIRD LESSON.
PLACES OF THE NOTES BELONGING TO THE UPPER AND LOWER SCALES.
Tlic pupils forming the class arc again assembled before the board, as they
are supposed
pencil.
Teacher.
'
to be in all the
each
subsequent lessons,
All sounds in music, or notes, are called after
7cith
tlie
a slate and
seven letters

AND
TJll-
NOTATION OF MUSIC.
13
No other letters are ever used. For example, no note

would ever be called ^, i, or^'; but when we have got to ^, and wish to give a
name to sounds higher than tliat note, we begin over again, a, b, c, &cc. These
a, h, e^ d, r,/,//.
seven notes are called a scale, and
kinds of sounds are divided into scales,
all
each scale consisting of seven notes, named after the
On
letters, a, h, c, d,
e^f,g.
the piano-forte there are six of these scales, but at the present your atten-
tion need only be directed to three,
which embrace more than the compass of
the voice.
The
places of the notes in one scale
you have been taught, you must now

In order
learn the places of the notes belonging to the upper and lower scale.
to find places for the notes of these scales,
it Is
necessary to
make use
of what
These are short lines, which serve as an extension of

and below it, like those which I am now about to make.
are called le(/er Jives,
the staff above
it
be useful for you to remember that a
is the space just below the

you recollect that, you may easily find out by counting
where the other notes should be placed. G and a are always close together,
because, after g comes a over again, going upwards, and after a therefore must
come g going downwards.
It will
middle
The
of the
The
line
because,
place of
in the
staff
if
lower scale
is
on the second
from the bottom
leger line
B follows of course next.'
teacher proceeds to describe on the board the places of
all
the other
notes of the lower scale, then the notes of the middle scale, which the class
have already learned, then the notes of the upper

the following order, but without the letters.
Lower
_ J_ _
'^
The
tions
_î'gFG
J_
B ^
slates
Middle
iViiaaie Scale.
acaie.
Scale.
scale,
till
they
_ J^
^ -^
-- -^j^ \_
ABCDEFG ABODE
Upper
all
What
What
Scale.
having been examined, the teacher puts the following ques-
are the seven notes called ?
How many
stand in
scales are there usually on a piano-forte ?
are the letters which give
names
to the places of the notes ?

FIRST LHaSONS IX SINGING,
11
Are there any notes
called x^
No other letters but

When we have got
ij,
'/
named?
those you have

to
what note conies next going upwards?
//,
(a,
over
ayain.)
Going downwards, what note comes after af (y.)

And what aflery, still going downwards? (y*.)
What
are the short lines called,
above or below the
at uliieli
stafl",
am now
pointing?
What
note, in the middle scale
is it
immediately below the middle line of
the stair? {a.)
What
What
In
it
on the middle line? {h.)

is placed on the second leger
the note called which
is
bottom?
What
the next note above
is
line at the
(a.)
is
this
the note called on the
first
leger line at top? {a.)
manner the teacher proceeds
upon
to question the class, dodgingly,
the places of each of the notes in the lower, middle, and upper scales, and
concludes, as in the second lesson, by exercising each boy or girl of the class,
in turn, at the
board to the following
Put a minim, upon
A
A
in the
ft,
crotchet, in the place
quaver, on
The
ft,
upper
in the
middle
in the
ft,
effect:
scale.
lower scale.
scale, kc. &c.
should be more frequently exercised upon the notes of the middle

and lower scale, than upon the higher, as they are comparatively but little used,
class
even in playing upon an instrmnent, and no voice reaches to

scale, or, as
it is
called,
in the
upper
in alt.
FOURTH LESSON.
DURATION OF NOTES
Teacher. *My object
of the comparative
going to put on the

place of the note?
and
in this lesson will
f/r//V)/^
staff.
{c.)
TONES AND SEMITONE"?.

be to give you a clear practical notion
of different notes.
Wliat
Very
is its
well.
name
Now
am
i|^^t
(A breve.)
What is
the
I will sing this note to the
wish you to count audibly, while I sing
Here
Observe the note which
it,
wordy^r,
6, 7, 8.
1, 2, 3, 4, 5,
the teacher sint/s the syllable far, holding on the note while his
pupils count
Teacher.
1, 2, 3, 4, 5, 6, 7, 8.
Now do you sing the same note while
count
8.
{Here the pupils sing far, holding on the note while the teacher counts S.J
The teacher proceeds to efface the breve from the board, and places instead,
oa the same degree of the
staff,
a semibreve.
He
sings
it
as before to the

syllable
far^ desiring the pupils to count
while the teacher counts
Next a minim
pupils count
The
w ritten on the board.
The
class then
I will sing these
'
while you count
it,
The teacher sings far^ -while

%m^far^ while the teacher counts 1, 2.
five notes to the
S-
the
words, far^ far^
far
awaij^
1, 2, 3, 4, twice.'
having done
class,
1, 2, 3, 4,
Afterwards they sing
1, 2, 3, 4.
4.
teacher then writes u])on the board
Teacher.
The
is
1, 2.
15
this, sing the
same words, while the teacher counts
twice.
The teacher proceeds
to describe
upon the
staff the following notes,
and to
question the class upon their names and places.
t
Teacher.
to the
^^-
-^-
I will sing these semibreves, not to the letters, a, h, c, d^
Itahan syllables, which sound better, do,
f These syllables must he pronounced^ do^

*
^_c>.
_Ci.
Remember these
ray.,
re,
mi,
sol,
fa,
me,far*sole,
lar.,
la,
at the
same time,
do.'
see^ do. J
notes, as semibreves, are to be sung very slowly; and as
cannot sing and count
but
<?,
si,
you
wish you, in order to mark their time
and proper duration, to clap with your hands four times upon each note.'
(The teacher explains that the left arm is to he hr ought to a level with the
hreast., and the right arm only to he raised, in order to strike the left.
After the pupils have sung through the scale in this manner, clapping or
striking the right hand against the left, four times upon each note, the teacher
turns the semibreves into minims,
directs the pupils to sing
by adding
a stem to them, thus
through the scale to the same
He
beating twice upon each note.
and
syllables, clapping or
then converts the minims into crotchets
by
and directs the pupils to sing through the

This done,
scale with increased quickness, beating once only upon each note.
filling
up the
faces of the minims,
he adds a stem to the crotchets, and turns them into quavers the pupils sing
with increased quickness, beating once only upon every two notes.
Next,
another stem is added to the quavers, by which they are turned into semiquavers
:
the pupils sing the scale again
four notes.
The quavers
are
more quickly than
now converted
before, beating once to every
into demi-semiquavers
by adding
another stem to the semiquavers, and the pupils are directed to sing the scale
so quickly that they will have time to beat but once during the whole eight
notes.
Teacher.
You
wish to teach you the difference between notes and toiies.

you that the word note signified the sound itself, or
will recollect I told
the sign by which the sound

* The
is
expressed
r in far
but the word tone
and lar must be
silent.
sic;nifies
the
ir>
interval or distance between certain sounds,* as, for instance, the sounds
and
(Here
e.
upon an
the teacher should sing^ or play
each oj
instrur/tent,
The interval between these two notes is called a ichole tone.

But there are not only whole tones, but half tones, called semitones ; instead
of going from dio e^l may go only half the distance, to d sharps thus (Here
the teacher performs upon the instrument d, and d sharp J
IJut although there is a place for d in the stalf, there is none for d sharp
and in order, therefore, to express it, we use this sign, called a sharp # (making
these notes.)
it
upon the board)
sign before
it
and when we intend
^ ^ sharp^
be raised a semitone
semitone we
and
make use
half a tone lower,
same manner when^we want
of this sign, p, called a

written thus
The
-flat.
is
to
to lower a note a
note
e^
and the note
You will
this
see, there-
two modes of describing on paper the half-way house be-
it is
in the
may also be
fore, that there are
tween d and e
therefore, signifies that the note
from d to d sharp, we put
to pass
sometimes written
r-
and sometimes
-î
ee;
If
we want
sigii (g)
its
it is
to
come back
called
to
d from d ôx
^[7,
we make use of another
signifies that the note is to
a natural, and
be restored to
natural state.
The
has
teacher should take a future opportunity to explain that when a note
by a sharp, or lowered by a flat, in the signature, and we require
been raised
to raise or lower
it
yet another semitone,
double sliarps and double flats.
we make use of characters
double sharp
is
double
flat is
called
[i[-).
-î
F with
double
the double sharp before
before
flat
it is
to
it is
to
be played as
G jf
be played as
B with the
Questions.
What
What
is
the difierence between a note and a tone ?
is
the
name of the
interval between rfand
In order to signify that a note
you put before
it ?
The word tone
toiud organ
is
is
</
sharp?
to be raised half a tone,
what sign would
(The sign of a sharp.)
sometimes loosely used
in the
but this need not be stated to the
same sense
pui>ils in
as note, as
when we
say, a full-
the present stage of their instruction.
17
What
;A
sign would
you put before
it
if
you wanted
to lower the note half a tone ?
flat.)
What
The
effect
sign
if
you wanted
to restore the note to
original state ?
its
(A
concludes with exercises upon the board to the
lesson
natural.)
following
Put the sign of a sharp upon the line /,

Put a flat in the space for ^, on the line
Put a natural on e, &, &c.
in the space c.
h.
FIFTH LESSON.
VARIOUS MUSICAL CHARACTERS.
Teacher.
and that two
You have been
told that
two quavers are equal
semiquavers are equal to a quaver
but this
to one crotchet,
is
not always the
sometimes performed in the time of two, so that one

minim is, in certain cases, equal to three crotchets, and one crotchet equal to
When this happens, the three notes to be sung in the time
three quavers.
case, for three notes are
of two are usually distinguished by the figure 3 placed over them

3
3
quavers or semiquavers, are joined together thus
When
and
if
three notes are written in this manner, to be sung in the time of two,
they are called triplets. (Sometimes the 3 is omitted, but it is generally easy to
find out, by the grouping of the notes, when they are intended to be sung as
triplets).
It is
customary to join
gether at the bottom, that
all
quavers, semiquavers, and demisemiquavers to-
is,
for instrumental
be sung, and has a syllable to
tached from the

to the
same
line, called
When
thus
rest,
thus
a slur
slur^
is
is
!^
#
^
music but when each note is to

must be written quite separate and de-
When
several notes are to be sung
without any space or break between them, the curved
syllable,
9
/
itself, it
put over them, or under them, thus
put over two notes, divided in the middle by an upright line,
to be performed as one.
it is
called
iie^
and
signifies that the
two notes are
18
LESSONS IN SINGINU,
FIILST
Sometimes a minim
is re(|uireil
to be held as long as three crotchets instead
of as long as two only, and sometimes a crotchet requires to be held as long as

three quavers
such cases we put a dot by the minim, or the crotchet, thus,
in
signifies that the
This dot
preceding note
would be held without the

crotchets
a dotted crotchet
three semiquavers
Upright
dot.
ber of equal parts,* and are called bars.

its
proper name
^^ ^'^^ ^^
3!'"*~
is
and blacker than the others
thus
^^
to
be repeated.
is
Double
end of a
bars,
part,
is
num-
sometimes
much
thicker
and when wTitten
-[- indicate that the preceding

to be repeated, or
is
sung over again
movement which
The
out.
other repeat
follows
One
Besides the dots, there are two other repeat signs.
is
is yO.
commence, in order
sign is ' ji* and is placed
placed aver the notes where the repetition

it
to
whole music.
they signify that the
to assist the eye in finding
a dotted quaver
The space between them
signify the
that the whole of the part
when placed thus
This sign
to three demi- semiquavers.
a measure.
Dots placed against a bar thus
movement, or
it
therefore ecûal to three
is
are used to divide a tune into a
lines like these
also called a bar, but
to be held half as long again as
minun
to three quavers
a dotted semiquaver
is
dotted
is
to
under some bar or measure, thus
to signify that the
preceding words are to be repeated.
When
the words
they denote that
word Finey which
Da Capo^
it is
D. C, are placed at the end of a tune,

from the beginning until we come to the
or the letters
to be repeated
signifies the end.
an abbreviation of the word piiino, which means soft, and is used to show
when the music is to be played softly.
is an abbreviation of the woTdforte,
is
or loud, and shows
when
the music
The dash, or Staccato sign,
\Vhea the
first
to be
thus
performed
"p
make up
reckoned only as one.
the proper
full
and strong.
shows that a note
bar, or measure, contains fewer notes than
to the notes of the last bar to

this case
is
number
the
is
to be sung
any other bar, they are added

first
bar and the last being in
AND THE NOTATION OF MUSIC

short, with a break or pause
that the note placed under
Two
An
It signifies that
The
to
be held
much
signifies
longer than usual.
Z form what is
forming an angle opening outwards, thus, *
Crescendo 5/^, (pronounced creshendo). It signifies that the sound
to be increased.
sign.
The hold
between that and the next.
it is
lines
called the
is
19
angle drawn thus
the sound
is
called the
^^
Diminuendo
to be diminished.
direct {*^) placed upon a line at the bottom of a page, shows the place of
The hrace or bracket
the next note overleaf.
<
used to join two or more
is
staves together, and signifies that all the parts so joined are to be played or
sung
at the
same
time.*
Questions.
When
a figure of 3
is
(The three notes are
signify ?
What
to
you denote that
(By putting the curved
When
a slur
is
over them called a
bar,
what
!,
is it
should these notes be sung
When
a crotchet
is
would you express
When
a dot
is
(That the minim
What
What
same
syllable ?
slur.)
joining two notes on the same
called ?
(As one minim.)
to be held as long as three quavers, instead of two,
(By a dot placed against
it ?
placed against a minim, thus
how
it.)
what does
it
signify ?
to be held as long as three crotchets.)
is
are the upright lines called ?

is
(Triplets.)
several notes are to be sung to the
placed thus
by a
line, interrupted
line
it
be performed in the time of two.)
are the three notes then called ?
How would
How
placed over three notes joined together, what does
their use
(Bars.)
(To divide a tune into equal
"?
parts.)
Supposing there to be six crotchets in one measure, should there be the same
number in the next ? (Yes, or as many quavers or other notes as would be
equal to six crotchets.)
What do the double bars signify ?

What do the dots between the lines against the bars signify ?
What is the name of this sign '^ ?
What is its use ?
What does this sign signify * ? (That the same words are to be repeated.)
What is the meaning of the words Da Capo f
1*
Of the word Fine
What
is
the meaning of the letter^ ^
/P
Of the
letter
What
is this
sign
What
is this
called
c2
FIRST LBS80N8 IN SINGING,
20
What
is
^-^
this
This :;:z==="
? this
'J
^?
this
In concluding the lesson, each of the pupils should make the above signs
at the dictation of the teacher upon the board, or upon their
from memory,
slates.
SIXTH LESSON.
RESTS.
Teacher.
*The
different signs, or characters, called minims, crotchets,

you how long each note is to be held in singing it. Sometimes
the music requires that you should leave off, and begin again and it is necessary, therefore, that there should be signs to tell you exactly how long to stop,
that you may neither wait too long, nor too short a time.
These signs are
quavers,
tell
called rests.
This
is
a breve
-P^.
1
rest,
1-
and
is
also used
one measure or
as a
rest. That is to say, it signifies that you are to stop as long a time as it
would require you to sing a breve, or all the notes that might otherwise be placed
between the two upright lines, called bars.
one bar
This
is
called
a semibreve
the time of two minims.
more or
less
rest,
It is also
than two minims to every bar.
a pause
will observe is
signifies
used as a one bar
to denote a pause equal to the duration of
and
you
rest,
This
is
a minim
equal to the duration of two quavers.
equal to the duration of two semiquavers.
This a demi-scmiquaver rest
even when there are
two crotchets. This
turned the other way, to the
left, is
are to wait during
rest,
a crotchet
rcst^
This, which
you
is
a quaver
rest,
This a semiquaver rest
S
'^-
When
the singer, or performer,
or measure, a figure
is
is
required to wait
more than one whole bar,

number of bars he is to
placed above to denote the
21

3
1-
count, before he begins, thus
L:
Questions.
What
are the signs called which
What
is this
How
sign called Z
long does
What is
How
it
require
tell
you how long
to be silent ?
(Rests.)
you
to wait ?
you
to wait ?
this sign called-
long does
it
require
The teacher proceeds
in this
directs each of his pupils to
manner through
all
the rests, and afterwards
make them from memory upon
the board, or
upon
their slates.
The
lesson
may
zz^:
conclude with the following exercise.
:o:
Far
far,
:p=P=P=:
-way from
The teacher having

audibly
1, 2, 3, 4, 5,
far
m.
way
love,
all
on
ST
==EEE
-.trzK
t
Far
_G?!
i:
way.
written the above on the board, desires the class to count

6, 7, 8, in
each measure.
While they
sings the notes to the above words, pausing the proper time
are doing this he
when he comes
to
Afterwards the class sing while the teacher counts.
the rests.
SEVENTH LESSON.
THE CLEFS.
Teacher. When music
*
the head or beginning of the
G cle/f and
put into your hands to sing, you will observe, at
is
signifies that the
sign
staff, this
music
instruments of the highest compass.
is
to be
/n
It is called tAe treble
or
sung or performed by voices or
You know
there are various kinds of

musical instruments, and there are also different kinds of voices. The fife, and
flute, produce much higher, or shriller notes, than those of the violoncello, and if
you take notice you will observe that the voices of females, and boys, are much
*
To
assist the
memory,
4234.
4.
it is
usual to count in this manner,
4,
&c.
234.
^234.
22
iikmi.
Wlien a man's voice is very powerful in
termed a base* voici\ and when music is intended to be
sung by base voices, or performed by base instruments, another clef or sign is
than those of
liigher, or sliriller,
the lower notes,
it is
placed at the head of the
The reason
bottom
^'
This
spaces of the
which
called the hose or f clef.
treble clef is called the g clef
and
clef,
is,
staff,
are not called by the
called
is
ti
now
in the treble clef
same
curve line at the
its
which is
g.
) is
clef,
and
The same
letters, as in the g clef.
called/ in the base
is
you the names of the
tell
that
statf,
in the other clefs, the different degrees, or lines
clef itself being placed upon that line (f
I will
is
so placed as to enclose the second line of the
is
In the base
line
llie
staff.
and thebase
tj!
therefore called the f clef
>
different degrees of the staff in the base
clef
ilSi^
ABCDEFGABC
flf?f
A
Upper base
Scale.
^^
-* ^-*
Middle base Scale.
Double base Scale.
tK
Besides the F clef and the o clef you will sometimes meet with what
which
called the c clef
is
written thus
It is called the c
clef,
is
because
ini
whatever line
I place
h but c
it
it
is
placed upon in the
upon the middle
_^
This clef
is
now
we
line, which
and
all
staff, is
intended to become
call h in the treble clef,
Thus
c.
it is
if
no longer
the other letters take their places accordingly.
falling rapidly into disuse;
three different positions, in which
is
it
but
in old vocal
music
it is
used in
soprano clef the
severally called the
tenor clef and the counter-tenor or alto clef

Formerly, only music intended for the upjier notes of instruments was written
in the g clef,
in the
and
sopranof
all
music intended
clef, in
having the clef placed upon
"When
for the voices of boys or females
which the bottom
this clef is placed
it
"|M"
line
of the staff
c,
by
'
upon the top
line
but one of the
This word was formerly spelt basi, but Burrows and other
Italian
was written
converted into
as pronounced, hn.\,\
t Soprano, from the
is
word wpra, upper.
modem
staff,
it
becomes
writers spell the
word
23
AM) THE NOTATION OF MLSiu.
what
is
called the tenor clef
and the notes then placed upon the
4ffl=
staflf
are designed for tenor voices,
that
is,
for
men's voices of middle compass,
neither very high nor very low.
When the
clef
is
placed upon the middle line,
it is
Alto or Counter'
called the
men's voices of the higliest pitch.* In modem

music, not only soprano parts, but parts written for tenor and alto voices
are all placed in the g clef.
When singing an alto part, men are generally
Tenor clef designed
for
make use of the falsetto^ or of that kind of voice which was natural
when children, and which ceases to be so about the age of fifteen, at
which period boys' voices break. The highest notes of men's voices only reach to
obliged to
to them
the lowest notes of women's voices, for the natural pitch of the voices of
and children
is
women
The
an octave, or eight notes, above that of men's voices.
lowest notes, therefore,
of soprano voices, are the same with the highest
notes of men's voices.
When
the voices of
women and
children are very
powerful and rich in the lower notes, they are said to have fine contralto voices;
the word contralto referring to the same notes as the words counter, tenor,
and
alto.
* The following diagram represents the comparative pitch of the different voices, and the
It is much to be regretted that
music had not been originally written upon a similar plan, in which it will be observed that a
note never changes its place in the staff; the staff in this case, consisting of but three lines
order of the different scales on a piano-forte of six octaves.
and four spaces, or of seven degrees instead of
Sixth or highest
eleven.
s^^S
Soprano,
or
Treble
voice.
Second Treble,or Contrailo.and Alto voice.
Tenor
voice.
Baritone or upper base

voice.
Second Scale.
Base
voice.
First or lowest Base

Scale on the Piano.
The
are of
largest organs contain

little
practical use.
no
less
than eight scales, but the extreme upper and lower notes
FIRbT LKS.SONS IN SINGING,
21
now
will
btiifT,
(liri'ct
your attention to the names of the principal degrees on the
as determined by the dilFerent clefs.'
The tcarhcr cicdnt
tJie
board aud
^
irrites
or Treble Clef.
as follows'.
or Base Clef.
i UABCDKFG
%J
Tenor
I
#A b
ini
,,
*-
iî
D E
Clef.
:S=P:
II
Soprano Clef.
^=^pfeB^
C
II
Alto Clef.
mmmsr
5
The
teacher
now
A B C D E
effaces the explanatory letters
and words from the board,
leaving only the notes, and proceeds to put the following
Questions.
What
Why
Why
is
the
is it
is
name
of the sign to which
(Because
called the g clef?
it
am now
it is
pointing
placed upon the line o.)
(Because the music
also called the treble clef?
m that
clef
is
generally sung by treble or soprano voices.)
What
What
are base voices ?
What
Why
which
(The voicesôf boys and females.)

(Men's voices, very low.)
are treble or soprano voices?
is
the
name
ffTf called the F clef?
it is
What
(Because, when that sign
notes are chiefly written-i the tenor clef?
--^
"
Thc-Kmest note
;
is
usedj^the line on
"(The middle notes of a

'
notes are written in the
alto
ckT?
(The highest notes of a man's
"
voice.)
placed becomes F.)
man's voice.)
What
-^^^~
of this sign
ujk)!!
because, as the
a pifflo-forteTs generally F, but the lowest note of the staff should be

of the alphiil t-t, it would be the more easily remembered.
first letter
In composing full-score music it_would still be useful to write^ upon this plan, by which
the intervals and chords emplv)yed, and the merits of the composition would be much bettei
undf.rstood than by the present
mode.
What
this simi
(The soprano
clef.)
ff
Why
upon
name of
the
is
is
it
also called a c clef?
becomes
it
When
placed upon
it is
called 4ttj- ?
When
it
(Because whatever line
tlie
may
be placed
(The tenor
top line but one, as in this instance, what
is
it
clef.)
placed upon the middle line what
is
it
c.
is it
called
i-i-
(The
alto clef.)
Is the pitch of
How much
When
men's voices the same as that of females and boys

(An octave or eight notes.)
lower?
(When
are the voices of boys or females called contralto voices?
and deep
they are rich
in the lower notes.)
The teacher then asks questions upon the names of the places of the
notes in each of the different clefs: thus, pointing to a note in the base
clef,
he says,
The
*'
What
is
lesson concludes
pupil to
make
note upon ,
Of this note
the place of this note ?
by
?" &c. &c.
the teacher clearing the board, and requiring each
upon the board, and

by the clef.
to place a
the signs of the different clefs

5,
<t,
d^ e^f, g^ as determined
The teacher should observe
that while
of great importance that the
it is
pupils should be perfectly familiar with the places of the notes in the treble or
G clef, and tolerably well acquainted with their places in the P or base clef,
comparatively of
is
moment
little
that they should acquire
more than
notion of the places of the notes in the soprano, tenor, and alto
girls of
it
a general
clefs.
The
course would never be required to sing music written in the tenor or
alto clefs
and music written for
treble voices in the soprano clef
Music
fined to very old copies or to foreign music.
by Glee and Song
writers
now generally placed
the precaution to place the
word tenor or
Every musician who wishes

discourage as
much
in the g clef; the
alto against
to see a love of
is
now
con-
for alto or tenor voices is
it
composer taking
to prevent mistakes.*
music universally diffused should

There is nothing which
as possible the use of the c clef.
perplexes the young pupil so much, and which
is
so apt to produce an impression
that the difficulties of learning to read music are almost insuperable, as the variety
of
clefs.
It is singular that
they should ever have been adopted, for they are
attended with no advantage that can compensate for the confusion they produce
in the
sity
mind of the
of leger
lines,
learner.
It is true the c clefs
sometimes obviate the neces-
but not to any very material extent; and then only by render-
ing the places of the notes quite as uncertain to the eye at a
first
glance, as
they could possibly be on leger lines.

* In choral music the alto and tenor
this inconvenience, that
when
which frequently happens, he

takes the greatest care.
clefs are still used,
a practice which
is
attended with
a person accustomed to the tenor clef has to sing an alto part,

is
perpetually liable to sing the wrong notes, even
when he
2n
FIUST LESSONS IN SINGING,

It'
we were
to follow out the principle, that, hocaiise there are five difterent
kinds of voices, there should be five different alphabets of music, we ought to

invent one alphabet for the flute, another for the clarionet, and, in short, have
as
many
clefs as there are
musical instruments.
EIGHTH LESSON.
TIME.
Teacher.
Accents and Time Signatures,

i.very air has
its peculiar accents, that is to say, some notes which

have a more marked and emphatic character than the rest; for exam])le, in the
air which I have now placed upon the board, the first and fourth notes in each
bar, or measure, are accented notes.
'
t
t.z=h
One, two,
three, four, five,
six.
one, two, three, four,
fThe Teacher shcmld shig or play theahoce, marking
five,
six.
the accented notes,
by heating with his hand or foot.)

In dividing a tune mto equal parts or bars, an accented note is always placed
is another accented note in the middle of
the bar (as in this instance), but not invariably.
next to a bar, and in most cases there
What
called
is
keeping time in music consists of two things
first,
marking
the accented parts of a tune by beating or counting, so as to give to each bar

or measure an equal duration
secondly, observing the right clock time, or
;
performing an
more quickly nor more slowly than the composer
air neither
designed.
In order to mark time by beating, the hand or arm must
and made
first
to
first be lifted up,

descend generally upon every accented note, but always upon the
note of the bar, which
any other.
In what
tions witli the
and a
tiiird
hand
?/_/?,
is
is
sure to be a note
called triple time,
one down upon the
note of the bar, one to therighty
first
upon
before the anii descends again
bar, as in the instance of the NationeJ
Down,
One,
right,
two,
down,
down,
up,
three,
rijjlit,
up,
the
right,
one, two, and
down,
up,
tlii-ee,
right,
down,
one,
up,
:t
?3^
three,
firj>t
note of the next
Anthem
t^^
one, two, and
more strongly accented than

to make three mo-
customary
it is
one,
Iwo,
three,
up.
ri^^ht,
two,
down,
three
right, up.
<3-^
one.
27
(The Teacher should sing the air, heating time with his arm as directed.
To keep time by counting, the rule is not always to count four to a semibreve, because
it
contains four crotchets, but to count one, two, three
two, three, four; or one, two, three, four,
In some
notes contained in a bar.
five, six;
or one^
according to the number of
airs it is better to
count six than three
in
others, eight than four.
When we
are singing the words of an air,
counting, but
for
we must do
when we come
quietly to ourselves that
it
In order to learn the time of a new

be
it is
set,
impossible to keep time by
to a rest;
or to enjoy the music, this counting
eflfect,
notes,
it is
and when singing

must be done mentally, or so
can be heard by no other person.
so
but
desirable to sing
to the
words
it
one,
air,
through
and the exact duration of each of the

not to the words to which it may
first,
two, three
or one, two, three, four, five, six.
Let us now do so with the National Anthem, singing, as I have just done, for
the first bar, one, two, three ; and for the second bar, where there is a dotted
crotchet, one, two,
and
three,
(Here the
and so on throughout the tune.*
and class sing as directed. J

must now explain to you the meaning of
teacher
I
But
tures.
such as the
first let
clef,
me
with
tell
flats
you that
all
the characters called time signa-
the characters at the head of the
and sharps, in
different tunes?
staflT,
^^-^
-/^-^ are called
the signature of the music, and hence certain other characters, also placed at
the head of the
staflT,
are called time signatures.
These
are, first, the signature
is termed slow common time, (J*

This character indicates that
every bar contains one semibreve or four crotchets, which are to be performed
of what
The same character with
slowly.
mon
time,
(L
a line
drawn through
It signifies that there are
the same
it is
number of
quavers in every bar, but that they are to be performed a
common
called quick
com-
crotchets or
little faster
than in
time.
^^shows that every bar contains ivfo fourth parts of a semibreve.

that every bar contains six eighth parts of a semibreve.
-q-
denotes
that there are nine
The upper figure shows the numAs the fourth part of a semibreve is a
sixteenth parts of a semibreve in every bar.

ber, the lower, the value of the notes.
crotchet,
2 therefore means two crotchets
and by the same rule
means
six
* It will be found that there
no better method of teaching children to sing the National

first making them sing it to the words one, two,
three, and in every other bar, one, two, and three. It is here selected as an exercise, because,
Anthem
in correct time than
although
it
appears simple,
it is
is
that of
really a very difficult air in respect to its time,
the dotted crotchets, which are never held sufficiently long by children,
to sing this air in schools.
on account of
when they
are
made
28
FIHST LESSONS IN KINGING,
(juavers,
^j^g semiquavers.
called the sign of trijjie time^
is
means
tliat
there are three
no parts
the sign of compound triple time.
and
of a semibreve in every bar, or three
minims.
All these time signatures are supposed to indicate not only the
notes in each bar, but where the accents are laid

perfectly
upon the
We
4
you
1st
6.
and
time,
the accents sometimes
and 4th notes, and sometimes upon the
have sometimes to count
both in
will find that
It
may
number of
but they do this very im-
6,
1st,
lie
and 5th notes.
3rd,
12^
and sometimes
also be observed that the time signatiu-es give no notion of
They
the real or clock time of a composition.
indicate that the music
is
to be
performed quickly or slowly, but do not determine the exact degree of quick,
ness or slov/ness required.*
For
of the pendulum of a clock,
purpose an instrument, upon the principle
this
used, called
is
a Metronome .\
On
tures,
this account the German composers are beginning to omit altogether the time signaanexample which should be generally followed, as tending greatly to simjtlify the notation
of music, by removing
much which
yet very unimportant,
if
is
very troublesome (to children especially) to learn, and
not quite useless.
It is as easy,
when speaking
3
to say three crotchet time, or three
nor
indicate with precision
explain
it
at once, at the
minim
time, as
how many
head of the
staff,
figures to
of the time of an air,
time,
count
or time
in
and
as
.3
neither -7-
each bar, the composer should
by saying. Count 6 #, or count #,
indicating
at
the same time the exact duration of the crotchet or quaver by the metronome.
t The
teacher should take another opportunity to explain, that Maelzel's Metronome, the
instrument used for measuring the real or clock time of a composition with accuracy, consists o
an upright rod which is made to oscillate, or vibrate, to and fro, as quickly or as slowly as maj
The
be desired.
which
is
vibrations are regulated by a weight, that slides up and
so graduated that
when
minute; when at 60, only 50 times
the weight
in a
is
minute.
fixed at
down
the rod.
160 the rod vibrates 160 times in a
These instruments are usually constructed so
as to produce at each vibration a sound like the ticking of a clock, and are very expensive
but, as the clock-work
purpose, at
Take
little
or
is
no
quite unnecessary, a
pendulum of
and fasten a bullet or any small weight
other between the thumb and finger.

a clock,
that will answer every
cost.
a yard and a half of fine string,
liolding the
metronome may be made
and
its
The
string
is
to
one end,
then a pendulum, like the
vibrations will be quick or slow in proportion to
its
length.
We
have elsewere (page 55) given the sralc by which a string pendulum of this kind should be
This scale should be transferred (at full length) to the wainscot of a wall, by
graduated.
means of whiih the master or pupil might always meafiure his string in a moment, without
having to seek for a foot rule.
29
Questions.
What
(Those parts which have a more
are the accented parts of a tune ?
marked and emphatic character than the rest.)

Can you tell me where to find an accented note
is
(The
first
note in every bar
always one.)
What
when
is
time in music?
singing
How
(Giving to each bar or measure an equal duration,
it.)
should we keep time?
(Sometimes by beating and sometimes by
countmg.)
When
(The
What
keep time by beating, upon what note should
first
my hand
always
fall ?
note in every bar.)
and sharps, and
are the clefs,
the head of the
flats called, at
staff. ?
(The signature.)
What
are these characters,
What
What
is this
does
sign called,
it
C>
?
(p'
"t
(Time signatures.)
called?
(The sign of
common
time.)
(That there are four crotchets in a bar, to be per-
signify ?
formed slowly.)
What
is
What
does
What
is this
sign called,
What
does
it
mean
What
is -3-
called ?
What
does
What
9
does rr signify
What
does
The
signs
Cp ?
this sign,
it
signify ?
(The sign of
triple time.)
(That there are three crotchets in every bar.)
(The sign of compound
triple time.)
8
it
(That there are six quavers in every bar.)
mean ?
3 mean
(That there are nine semiquavers in every bar.)
(Three minims in every bar.)
lesson concludes
on the board or on
by the pupil being required

from memory.
to
make
these various
their slates
It may be desirable to remark, as many persons are not aware of the fact, that,
be held steadily, whatever may be the swing of the pendulum, while it remains
length, the vibrations will always be of the same duration, passing the centre
moment,
that each
hand
same
the same
the
at
until they cease.
o
When,
if
at the
at the
head of the
minim or each
once, at the rate of
fifty
staff,
crotchet
the pupil sees

is
to
r
50, or
M 100,
these marks
mean
be held as long as it would take a pendulum to swing

hundred vibrations, as the case may be.
vibrations in a minute, or one

PIR8T LESSONS IN SINGING,
NINTH LESSON.
INTERVALS.
Teacher.
Tlie distance between one
note and anotlier, considered as

inter tal; a tone and a semitone are, therefore, iniertaU.
as there are greater intervals than these, it is usual to describe them by
sounds,
is
But
numbers
degree as
'
called
an
thus we speak of the interval between one note and

a second; the interval between the first and third
that
note
on the next
is called a
third; that between the first and fourth is called a fourth^ and so on, counting
upwards or downwards from the lirst note. The interval of the eighth is called
an octace. We will now sing through the intervals with which it is most important you should be. familiar.'
Here the teacher puts the following notes upon the board, and sings them
with the class to the words placed underneath the
knowledge of music be imperfect,

or
some other instrument,
staff,
taking care,
that the notes
may
own
a fourth,
-T=^
:1=i-^=::lr
z:c5:
One, two,
his
be sung quite correctly.
a third,
second,
if
to assist himself with a flute, a pitch pipe,
^^ T=^
one, two, three, one, three, one, two, three, four, one, four.
5=^7
a sixth
fifth.
:S=?Ci&:
5^
five,
one, five,
five, six,
one, six,
a seventh,
one,
two, three, four,
five,
six,
seven,
one,
seven,
an eighth.
2\\icher.
one,
two,
will
e>
isS-
^=^-1
::;
-/=^
three,
now
four, five,
sing the
same
six,
seven, eight, one
intervals, counting
eight.
downwards,*
Here the teacher places upon the board the following notes, and sings them
'h
the class as before
ANll
31
a third,
second,
a fourth.
asiiîî^^
one, two, three, one three, one, two, three, four, one, four,
One, two,
i:lPÊ
' C^-
a sixth,
fifth,
-c^-
fzozr:
/->
\J
one, two, three, four, five, one, five,
one, two, three, four, five, six, one, six,
a seventh,
t
-^two,
one,
three, four,
five,
six,
-^-
seven,
one,
seven,
an eighth.
:q
two, three, four,
one,
Teacher.
When music
*
five,
six,
seven, eight,
one,
"^
eight.
put into your hands with which you are unac-
is
quainted, you will often find yourself at a loss to determine the exact sound
which belongs to the written note but you will observe, from the exercise
have just given you, that it will never be very difficult to find out what
sound is meant, by running through all the intermediate intervals, as we have
been doing, until you come to the note to be sung.'
;
Before the intervals, ascending and descending, are effaced from the board,
they should be sung by the class over and over again, the teacher always
pointing to the notes as they are sung,
should sing them individually
may
sing together
gress
made by
but
if
afterwards
each pupil of the class
too diffident, two or three of the pupils
the object being to fix the attention, and ascertain the pro-
each. This lesson should on subsequent occasions be frequently
repeated.
TENTH LESSON.
METHOD OF SINGING THE INTERVALS WITHOUT RUNNING THROUGH THE
IMTERMEDIATE NOTES.
Teacher.
which
are
In reading music you will find that there are some intervals
easier to be sung than others. The most easy are the intervals
much
3*2
LESSONS IN SINGINfi,
FIIIST
oni of wliat
arisiiiL::
is
common
called the
chord, or the
tliird, fiftli,
and eighth,
counting ii|)wards, and the fourth, hixlh, and eighth, counting downwards.
The teacher directs one of the class to write from dictation, notes in the
following order, which the class afterwards sing, first altogether, and then
indicidualli/.
One,
Teacher.
The
one,
three, five, eight,
four,
six,
easiest interval to raise with the voice,
or octave, and the reason
is
that the eighth
first,
excepting that the one
what
is
is
eight.
is
that of the eighth
precisely the
same note
of a higher pitch than the other
is
We
called grave, and the other acute.
will
now
as the
one heing
sing an exercise in
octaves, rising and falling.
fepîiii
C
D- D
Teacher.
'
E-E
Thus you
G- G
F -F
will perceive, that
when one note
is
exactly the eighth
from another, there is no difficulty in finding out how to sing it. And this
knowledge of the facility of raising an octave will help you to sing the other
intervals.
For instance, the interval of the seventh. This is one which you will
not learn to sing at sight without considerable practice, but
to
it,
you can always
find out the
sound
then descending one degree, thus
and the same in
fall
to be sung,
by
firt
Pi.
fe
One,
when you come
singing the octave, and
One, eight, seven,
-^
eight, seven,
one,
-ône,
seven.
Questions.
What
are the easiest intervals to sing? (Those of the
common
chord, the 3rd,
5th, and 8th.)
Which
of those intervals
is
the easiest?
(The 8th.)
Sing the eighth to the sound c
Here the teacher pitches the

The same with
his assistance.
The
note,
d,
and the
class sing the octave to
it
without
e,f,g.
lesson concludes by the teacher effacing the notes from the board, and

desiring
one and then another of the
first
33
so that, although they
may
begin at
first
upon the board
class to write
crotchets, the third to c, the fifth to c, the eighth to c,
tlie
by counting the
seventh to
c,
in
&c.;
may
What
intervals, they
learn ultimately to name them at a glance. He then, pointing to b,

(A 7th.) What interval is A from c
interval is this note from c
questions to the same effect.
'?
says, "
(A
6th), or
ELEVENTH LESSON.
INTERVALS CONTINUED.
Teacher. The
*
eighth
easiest intervals to sing I told
but the intervals of
and when you have learned
\\\q fourth,
to sing
them, you
notion of the method of finding out what sound
may
see
upon the
you were the
third, Ji/ih,
and
sixth, and eighth, are not very difficult,

will
is
have obtained a tolerable
meant by any note which you
staff,'
Here the teacher dictates to one of the class the following notes, which, v*hen
upon the board, he directs the class to sing. In this exercise it is important that the difference between the third and fifth, and fourth and sixth,
should be accurately marked, and unless the teacher have a very correct ear, it
written
is
absolutely necessary that he should
make use of an instrument
in pitching
the notes.
=i=i=
?^
E i
i*
one,
three.
one,
four,
Jive,
eight,
one,
six,
eight,
one,
four.
three,
eight.
eight.
five,
These exercises should be sung over and over again till each pupil in the
can sing them perfectly.
The board is then cleared, and the teacher
places upon the staff tlie following notes, which he desires the class to sing.
class
i
w
'^
Teacher
lower D.
to
-^-
E
Far
from
one of the class^
my
heart vain world
*Rub
be
gone.
out the last d, and insert a
mirdm
in
FlUST LK^>SoNS
i.\
siN(.i.sr;
?=f-
Far
Teacher
from
to the class.
'
my
Now
heart vain world
sing
it,
oi
'
be
taking care to
tône.
fall
an octave ui)on the
last note.'
Teacher
to
one of the
upon
a note
its |tlace
class.
Fur from
Teacher
to the class.
Tlie teacher continues,
made in the
same words.
lUib
out every alternate note, and insert
my
heart
be
vain world
gone.
Sin^ as before.'
'
upon the same plan, to cause further changes to be

and to direct the class to sing them to the
position of the notes,
The
following changes
may be made, none of which
will
be found
very difficult exercises to sing, even without the assistance of a teacher.
ft.
#=f:
W:^^
;E~t=E
Far
from,
^Ê==^
:^:
;3^5
't-
-ff
bzzip
îf c>
-
-^
:oi.
&c.
in
in
E.
ff
1^:=
d
"
Î
-I
^ / /
:*=
^
dznz
jp
AKD THE NOTATION OF MUSIC.
35
-o^-
=^^-W-
%
î^êS^3^
e>-
EEEEE^
'#=
:=^
o^
The
many
teacher's
'
knowledge of music, and experience with his pupils,
will suggest
other variations of the same lesson, which, in one form or another, cannot
be too frequently repeated.
TWELFTH
LESSON.
INTERVALS CONTINUED.
Teacher.
The present
*
exercises, like the last, are designed to facilitate
progi-ess in learning to read
number of
music
at sight,
and
further, to enable you,
your
when
notes are joined together, in one movement, to sing each note with
distinctness.'
^ ^^^ :oi
J=1:
L
Far, far
way,
way,
!iipif^=1:
wav
D 2
way.
way.
36
LESSONS IN SIN(.lNO,
FIIIST
^ FR-t^
=i=p:
Tar
way,
far
:J=:t
a
way.
pi^gpi.
a
fur
way,
way.
way,
-#
'^^^^^^^mi
-
way, a
way,
way,
way.
This lesson may conclude with sometimes one, and sometimes another of the
following exercises, the teacher assisting the class, in the first instance, with a
flute or
some other instrument.
THIRDS.
PS^
One,
three, one, three,
three, one, three,
f-
Hi
one, three, one.
:11:
EiE^
One,
*zt^
^m
<3-
one. throf, one.
:fl:.
FOURTHS.
-:|
Onc,
-M-
*=p|lf^
:3:
fuur, one,
four,
unc, fuur. o'le.
37
^f^^tii^^-^î.
One,
four, one, four,
one, three,
:||:.
f.)ur.
FIFTHS.
One,
five,
one,
:ll:
one,
five,
m
one.
:^:
^=t
*
five,
:i:=t:;
five.
E^
One,
'^^,
^=t -iz=^:
one,
li.
one,
five,
two,
five.
SIXTHS.
:q=p:
i=^3î3^
One,
six,
one,
:p=4
One,
six.
one.
:1:
:F^:
?E5
six, one, six,
il
;Q|
p=*;
*-^
--?:
one,
:||;.
SIX.
one.
SEVENTHS.
T^
%y
One, seven,
:^
-^^-
-^
one, seven,
:|I;
3:
-^-
i^
-^-
FIRST LEMONS IN SIKGINO.
38
^X
XX
One, seven,
C^
CL
<>-,
<2:
1-^
one, two,
:il:
^>-
three, four, five, gix, seven.
OCTAVES.
i
w
:fc <^-
T3J
One,
one,
eight,
eight.
-^3c:>
One, eight,
<^
:o:
-^
=t
-O-
<E>
:^
<3-
^^
-<^-
:m:
T^
^^
one, eight.
Exercise in minor or Hat thirds.
$ :i*
One, two,
three, four,
:;j:
0-W-
One, two,
three, four,
Exercise upon various accidentals*
<^
^Jti
One, two,
uf
When
flats,
ll'C bUiff,
they
Ezi^
^^^-c:
><>:
"^
throe, four.
sharps, or naturals are introduced without being in the signature at the head
art-
called accidentals.
AND
THl']
NOTATION OF MUSIC.
one,
one, two, three,
39
two, three, four,
ri|o^|^zo^=j=
one,
two,
three,
two,
one,
four,
three.
THIRTEENTH LESSON.
THE DIATONIC, AND CHROMATIC SCALES, AND KEYt.
Teacher.
You have
'
give names to
all
already learned that the seven letters, ,
the sounds
known
are strictly but seven sounds, although there

variety.
The
5,
difference between one seven
and any other seven
difference of pitch, one scale being higher or lower than another
first of the scale with a mere difference of pitch

first of the next scale
as the tenth
we
d^ e, f^ y,
is
:
merely a
thus the
the same as the eighth
is
the second the same as the ninth; the third the
the fourth the
<?,
The reason of this is that there

may appear to you a much greater
in music.
same
as the eleventh
are referring to the tenth or eleventh,
it is
or
same
on which account, when
usual always to describe them as
the third and fourth in the scale above.
The seven notes, therefore, comprising all the notes known in music (for the
notes, when flattened or shai-pened a semitone, are not very sensibly different) may be termed the natural scale.*
But it is now necessary to explain
same
what are called the Diatonic scale, and the Chromatic scale. Let me remind
you that the interval between the two notes A and b on the staff is called a tone,
and, half that, the interval of a semitone.
The term Diatonic scale signifies a
scale consisting chiefly of whole tones
and the term Chromatic scale means
a scale consisting entirely of semitones.
The Diatonic scale is composed of the seven notes placed in their regular
order of progression, with the addition of the eighth, or first over again, in the
octave above. For example, one of the exercises which you have already frequently sung, forms a Diatonic scale.
The Diatonic
for, as
a melody,
scale
it is
The term Diatonic

term Chromatic
is
is,
however, frequently called the natural scale, but very injudiciously
quite as artificial as the Chromatic scale.

is
derived from two Greek
derived from chroma, colour
words f//cf,
supposed
through, and tonos, tone.
The
be because the introduction of

the semitones gives, figuratively, a colouring to the music, or a light and ornamental effect.
The probability, however, is that the ancients had some better reason for employing these
terms, of which
we now know nothing.
to
JO
nUST
Ht-rc
iIk'
ti'.uluT (lescrilH's
I.KSSONS
l.\
M.M.INc;,
upon the buanl the follow ing
notes.
is also known by the name o{ the gamut,

because the lowest note
one time (reckoning from g in the base) used to be called y<^//i;/ia, (the
Greek
word for c), and the highest, ut, thus forming the word gam-mut.
Tliis scale
at
chromatic scale, consisting entirely of semitones, is written thus

and
remark that although we ascend and descend by precisely the
same
intervals, it is customary to use sharps in ascending, and fiats in descending.
'I'he
you
will
%^^^^^^^^m
a 3=se
m
w
ta:
'-?EfcfSi3^tgpgp
The Diatonic scale contains five whole tones, and two semitones. The semitones are between the third and fourth, and seventh and eighth the same notes
which you will observe I have connected with a slur. It is not, however, very
;
easy for a learner to understand the relative distance of the notes from each
staff, and therefore, in order to explain it
to vou I
other as they appear in the
make use
will
of a diagram.*
Here the teacher describes upon the opposite side of the music board or
upon some other board in which there is a clear space, the followino" diagram,
the narrow spaces of which are intended to represent semitones, and the wide
spaces tones.
#-c-
#-B.
_ Semitone.
Tone.
Tone.
Tone,
-#-K.
Senrtitoue.
Tone.
Tone.
-#-(
'
must now
tell
you that
a scale like the above, besides
Diatonic scale, and the gamut,
is
also called
a key
or Diatonic scale from another of a different pitch,

the note upon which the scale begins, which note
when
the scale begins
upon
begin upon d, we should call
c, as in this instance,
it
the key of u
is
and
it
is
called
called the
it is
and upon
bemg
one key
by the name of
key
called the
e,
called the
to distinguish
rinte
key of c;
thus
if it
the key of E, and so on.

AND THE NOTATION OP MUSIC.
41
The key ofC, which is represented in our diagram, is sometimes called the
natural key, not because it is in the least more natural than any other, but
because all the notes of the Diatonic scale can be played in this key without the
of
artificial assistance
flats
and sharps.*
not termed a natural key, because it requires a sharp to

raise two of the notes, otherwise the tones and semitones of the Diatonic scale
The key
of
would not be
You
is
in their proper places.
by
will perceive this
referring again to the diagram.
If
we take d
(pointing to d in the diagram) as the first note in the scale, then the semitones,
yon observe, fall between the 2nd and 3rd, and 6th and 7th, instead of between
the 3rd and 4th, and 7th and 8th.
To
prevent this
it is
necessary that f and
and then the semitones

and 7th and 8th.'
the upper c should be each raised half a tone,
ought to do, between the 3rd and 4th,
Here the teacher rubs out

and places another line at the
the bottom line, raises the f
The diagram now
top for d.
and
fall as
they
the c lines^
stands thus:
-# D
7^
cfa
^^^
0-B
6
5
}-G.
r-E
you may understand by the ear as well as by the eye, the

we will sing through the notes of the Diatonic
scale, beginning upon d, and you must pay great attention to notice the difference
between the notes b and c, and f and g : you will perceive that the difference
is by no means so great as that between any of the other notes, consisting of
*
Now,
in order, that
places of the tones and semitones,
whole tones.*
Here the teacher describes upon the board the following notes, which are
and f are written as minims, in order that by dwelling upon
them, the ear may be prepared for the coming semitone.
then sung.
When
ment, like
of
there
all
is
a piano-forte at hand, the teacher
others, is tuned to the
key of C, so that
C may be performed without touching one
sharps are produced.

keys.
He may
may
all
further explain that this instru-
the tones and semitones in the key
of the black bits of ivory, by which the flats and
also state that both the black
and white
bits of ivory are called
42
LKSSUNS
PIU!>T
I.N
=Q:
t
:q~
You
SINGING,
observe that, for reasons which you have had
will
now
the
exj)laine(l,
signature otthe stalF contains two sharps, signifying that F and c are to be each
raised a semitone.
If
we had begun a
sharps in the signature
scale
upon
c,
there would have been
but take care to remember that music
is
no
so written,
and instruments are so tuned, that the interval between e 7iatural amd vnatural^
and between b natural and c natural^
is
always a semitone.
Questions.
How many sounds
are there in music ?
What are they ?

What is the 8th note ?
What is the 9th ?
The 10th?
(The
first
over again in the scale above.)
The 11th?
How many
Wliat
is
notes are there in the Diatonic scale ?
the meaning of the term ?
(A
scale consisting chiefly of
whole
tones.)
Chiefly or entirely ?
(Chiefly.)
How many
What
and
is
whole tones, and how many semitones does it contain ?

(Between the 3rd and 4th, and 7th
the position of the semitones?
8th.)
What other name is given to the Diatonic scale ?

By what name is one key known from another ?
What note is called the key note?
A key.)
Why is the
What
What
is
is
key of c sometimes called the natural key ?

(A scale consisting entirely of semitones.)
the name of the interval between E natural and f natural a tone or
the Chromatic scale ?
semitone?
Between b natural and c natural ? (A semitone.)

Between A natural and B natural ?
Between c natural and d natural?
The lesson may conclude by the pupils being required to
upon their slates, or upon the board, the Chromatic scale.
write from
memory
FOURTEENTH LESSON.
MAJOR AKD MINOR KEYS.
Teacher.
major keys^
presently.
Diatonic
scales,
to distinguish
Now
besides being called keys, are
them from minor keySy which
I will
also termed
explain to
you
as not only each of the seven natural notes, but each of the
half notes betwein them,
may become
the key-note of a Diatonic scale, there

43
AND THE NOTATIOiN OF MUSIC.

are altogether twelve
ture on the
staff.
these keys, and
major keys, each of which is known hy a diflereiit signanow show you on the board the signature of eacli of
I will
you must copy them on your
slates as I write
them.
Signatures of the twelve Major Keys.
li
D
"
F.
aI>
G.
Bb
a.
"
B.
In each of these major keys, the notes bear one uniform relation to each
The tones and semitones are always in the same places that is to say^
other.
the semitones are always between the third and fourth, and seventh and eighth,
counting from the key note, and the remaining intervals are whole tones.
In what are called 7ninor lêys, the first semitone is between the second and
third,
mstead of between the third and fourth. In other words, the third is minor
To' make the distinction between major thirds and minor
instead of major.
me
thirds perfectly clear to you, let
Major
E,
--
Two
third.
C\
TNI
cU
C"
Minor
^3
I
12
J,
D|
1
again illustrate the subject by a diagram.
third.
^1
Jl
tone and
one semitone.
One whole
whole tones.
"When the melody in a minor key does not ascend higher than the sixth, the
that is, half a tone lower than in major keys.
sixth also is minor
Minor keys are used for the serious and plaintive kind of music, while cheerTo show you that the minor keys
ful music is always written in major keys.
are adapted for the expression of grief or sorrow, let us sing a short exercise
in the
key of a minor.
(The teacher
writes upon the hoard,
and
the class sing the following :J
Questions.
Besides the term
gamut
for ihe Diatonic scale or key,
^hat other
name
is
(Major key.)
given to the same series of notes ?

Why is a Diatonic scale called a major key
key.)
(To distinguish
it
from a minor
MUMT
41
What
is
the
cliiei"
J.E880N8 IN SINGING,
difference between major and minor keys?
(Tlie third
is
minor instead of major.)

Is
there any otlier interval minor in minor keys ?
(Yes
tlie
sixth,
when the
nnisic does not ascend higher than the sixth.)
Wliat keys are used for cheerful music
What
for i>laintive
How many
music?
major keys are there?
This lesson may conclude by the teacher requiring each of his pupils to write
slate or on the board, from memory, the signature of the following keys:
on u
c,
i>,
E,
G,
F,
A, B b.
As the other keys are comparatively but seldom

remember them in this stage of their
used, the pupils need not be required to

instruction.
FIFTEENTH LESSON.
SIGNATURE OF MIXOR KEYS.
Teacher.
As every scale may be played or sung with the semitones between the second and third, and fifth and sixth, instead of between the third
and fourth, and seventh and eighth, there are, of course, as many minor keys
'
major keys that is to say, twelve of each. You must now, in order that
you may know when music placed before you is written in a minor or in a
major key, learn the signatures of the minor keys.
as
The signatures of
the
minor keys.
feiliiiiiiiif^^f
D5
G.
Gi?
*Vou will perceive that the signatures of the minor keys are
the same as those of the major keys, although the key note is different;
and this similarity, if you are not very careful, will cause you sometimes to
confound them together. Thus you observe the signature of A minor is the
same as the signature of c major the signature of g minor is the same as the
To find out which is which, you must attend to the
signature of fib major.
Tcachei.
accidentals.
45
THE NOTATION OF MUslC.
ANL?
you that the signature of minor keys is always written

on the supposition that the melody does not ascend above the sixth. Thus in
A minor no Hats or sharps are put in the signature, because none are rctpiired
Here
up
to
must explain
to F, the sixth.
But when the melody ascends
to the eighth
it
is
necessary
the sixth major, and also to raise the seventh a semitone, or otherwise
make
the etlect to the ear
Let
to
me show you
would be extremely unpleasing.

a minor ascending only to the sixth.
:4rz=T=:;
!=Ei
In this example you would not easily find out whether the key be c major or
A minor but the case will be different when the melody ascends above the sixth.
;
A minor ascendinj to the eighth. C major ascending
to the eighth.
|ipgî|^^.^s
You
observe there
is
upon
a sharp, or accidental,
The
minor, but none in c major.
enable you to determine that the key
In the same way you
may
the sixth and- seventh of a
sharps, therefore, or accidentals, in this case

is
minor and not major.
determine whether a key
is
in
g minor, or b p
major, and so with other keys.
minor.
major.
.^.jft.
gîil
It is
remarkable that the melody of a minor key, although in ascending to

it requires that the sixth and seventh should be raised, descending
the eighth,
from the eighth, the same notes are required to be lowered, and restored to
I will give you an example which you may sing to the
their former state.
words, one, two, three, four,
five, six, seven, eight.
minor.
=i?^te=5^=n-^
1=^-HKJ
One,
two,
three,
four,
five,
six,
seven,
eight.

lessons in sincjing,
fir<;t
4(i
One,
When
two,
four,
three,
hix,
five,
seven,
eight.
a minor key has the same signature as a major key,
Thus
rehitice rfiinor of that key.
the relative minor oI'b
in the instance hefore us, g
it
is
called the
minor
is
called
major.
[^
Questiojis.
May
every scale be played or sung with a minor instead of a major third?
(Yes.)
How many minor keys are there ? (Twelve as many as major keys.)
Are there any flats or sharps in the signature of c major? (No.)
Are there any in the key of A minor ? (No.)
When the signature of a minor key is the same as a major key, how do you
fmd out whether the key is major or minor ? (By observing whether there are
any accidentals upou the sixth and seventh of the scale.)
What is meant by the relative minor of a major key ? (A minor key that
has the same signature with the major key.)
What
The
is
the relative
minor of b
major
(g minor.)
teacher proceeds to require each of his pupils to write
upon
their slates,
or upon the board, from memory, the signature of the different minor keys,
but chiefly the keys of A, b b, c, d, Eb, and g.

To assist them in doing this, he may further explain that the key note of the
relative
minor
is
always a minor third below the key note of a major key with
the same signature.
be known,
if
we bear
So that the signature of a minor, or b minor, may always

in
mind
major key, a third above
Key
As the junior
for
it must be the same

example
that
as the signature of the
notes ivith their Signatures,
pupils will seldom have to sing music written in
they should not be detained too long over this lesson, because, in
it
would be forgotten long before
older pupils should study
it
it
all
minor keys,
probability,
could be of any practical use to them. The
attentively.
SIXTEENTH LESSON.
THE KEY NOTE.
Teacher.
'
When you
have
a piece of
nmsic put into your hands
to sing,
AND
NOTAFION OF MUSIC.
Tin:
47
and you have no instrument to accompany you, and no leader to help you, the
first thing you should do is to find out what key it is in, and the next, to sing
the key note by itself; for if you once get the key note well in your ear, so as
to fasten
upon your memory,
it
it
will help
you greatly
to sing all the other
intervals of the scale correctly.
When
the music
there
the
is
last,
Here
you are puzzled by the signature, and cannot make out in what key
is, you may always find the key note by looking at the base, when
It is a rule
one.
in composition that generally the
first,
but always
note of the base shall be the key note.'

the teacher should exhibit different pieces
of music with a base^ and
desire his pupils tojind out^ by this method, the key note.
Teacher.
'
In order to pitch the key note right,
it
is
customary
to
make
use of a tuning fork.'
The teacher should exhibit a tuning fork ; or, if one cannot be procured^
a pitch pipe, or some other instrument should be obtained for the following
exercises.
Teacher.
c
it
will
'
The note given by
a tuning fork
key note.
For example: suppose the key note
can easily find out the right pitch of d, because
The
is
generally c
help you to find out any other note which
teacher plays
c,
and the
class sing, first c,
but if
you hear
to be
the
I play c,
you
to
be d;
is
but the next note.
and then
if
d, as follows:
1-
t
Suppose the key note to be e
it
may happen
:^:
will play c again,
and do you sing
e.
i
w
Now having found out the key in this manner, by means of a tuning fork,
we have next to find out what is the first note of the tune, or part, to be sung
in the music placed before us
whether that note be the same as the key note,
or some other. Suppose g to be the key note, and the part we have to sing
Let me hear if you can sing d correctly, if I give you the key
begins upon d.
note G. Remember d is the fifth of the key note/
The teacher plays c, and the class sing as follows
;
=]=i
-^
%J
The
lesson
exercises
may
conclude with any of the customary school songs or vocal

first the key note, and desiring his pupils to
the teacher singing
pitch, themselves, the note
on which the part they have
to sing begins.
48
FIIIST LF.SSOM8 IX SINGING,
This practiro sliould be fulloweil, generally, with

cliuis ii> about to cuniiunice sniMn:r.
all
the school music, when-
ever a
SEVENTEENTH LESSON.
HARMONY
The
must be divided
class
other to the
but
into
SINGING
IN PARTS.
two bodies, one half forming
to the right, the
The
teacher explains that those

to tlie right are in future to sing the part written for " first voices," and those
to the leit to sing the part written for " second voices."
lell,
all
facing the board.
In dividing the class, the teacher will be careful to select for second voices
generally the elder pupils, whose voices are the most powerful in the lower
He
notes.
those
who
wise, the
two divisions
When
other's part.
their
room, be left between

and those who are to sing the second otherbecome confused, and one will be apt to sing the
will also see that a clear space, of standing
are to sing the fust

will
the second voices are heard to
number must be diminished, or
creased.
Teacher.
As you
'
the
be louder than the
number of
are about to take a lesson in
the
first
voices
first,
in-
harmony, I wish you to

Every air or tune
imdersuind the difference between harmony, and melody.
a melody, but wlien two or more airs are so arranged as to

effect if performed together, they constitute what is called
harmoiuj. Two or more sounds heard, not in succession, but at the same
moment, form either a concord or a discord. AVlien the effect is good, it is
called a concord; when the sounds jar, and grate upon the ear, they are
termed a discord.
heard by
itself is
produce a pleasing
Questions.
Wjiat
What
What
What
is
a melody?
harmony ?
is
is
a discord ?
is
concord
(An
air
or tune of any kind.)
teacher then dictates the following notes to one of the class, by whom
they are written upon the board, after which ihey are sung ; the first voices
singing the notes upon the upper staff; tiie second singing tiie notes upon the
The
lower
staff.
M
\st Voices.
t^^_oz^
ZZ_~cjr
"C3
Far, far
2mi
way,
far,
far
wav,
far.
far
far.
far
way,
Voices.
<=:>-
dz=I =
Far,
far
way.
fir,
far
way.
AND
When
board
is
NOTATION OF MUSIC.
TIIK
49
the above three exercises have been sung perfectly by the class,
tlie
again cleared and the foUowino: notes substituted.

]st Voices.
-O
C3-
Far,
far
.^_
^î=^
<^
"vray
,2nd Voices.
far
far,
way.
\st Voices.
:^=^
i^î:^
Far
from
my
be
heart
-^-
gone
^2nd Voices.
:^ -ôh
-^c^
Far
The
lesson
may
from
my
world
vain
heart
be
gone
conclude sometimes with one, and sometimes with another of
the exercises of the precedmg lessons.
The
pupils having arrived at this stage, are sufficiently advanced to sing
with more or less
new
facility
from written music.
They
will not
indeed be able
any assistance from the

teacher, or from an instrument but such a degree of proficiency is only acquired by long continued practice.
The ear must be continually accustomed
to sing music,
to them, perfectly at sight, without

;
to nice gradations of sound, or the difference

will not
be retained by the
memory and
;
to connect those intervals with the written
between one interval and another

must be equally accustomed
the eye
marks on paper, or the notes on the
not always recall lo mind the precise sounds which they are intended
to express. On this account it is of great importance that the pupils, even before
staff will
they are thoroughly conversant with
all
the preceding lessons, should begin to
Copies should be placed in their hands of

the simplest school songs which they have been taught by ear, in order to
sing from written or printed music.
establish an association in their
minds between the sounds with which they are

By these means children will
already familiar, and the notes before them.
FIRST LKSSOX8 IN SINGING,
r>0
begin to
way,
feel their
an<l will thus
in a
short time gain a
more
practical
knowleilge of the subject, than can be conveyed by any merely verbal explanation.
no difhculty in carrying this plan into effect, because, although

number of books may be too expensive for many schools, music
Tlu're can be
a considerable
paper
as
is
cheap, and the best writers in a school can always be employed to
many
copies of the school songs, or
hymn
tunes, as
may be
required.
make
For
these copies the teacher should procure music paper of a moderately large size,
and
slioulil threct his pn])ils to
phice the notes rather wide apart; otherwise, as
seldom write sulhciently small, with clearness, the right note

would not always be placed over the right word.
The teacher must not be disappointed if, alter passing tlirough all the precedboys and
ing,
girls
and following exercises, with
his
young
pupils, he finds himself
still
obliged,
with regard to the greater number, to depend more upon the ear than the eye,
them a new air, or a new second. When the music is at all difficult,
must still (unless the pupils have had considerable practice) be taught chiefly
by the ear but the advantage of the notes will be, even to the dullest, that they
will refresh the memory, so that a part once learned will always afterwards be
in teaching
it
read with
To
facility,
and
never be forgotten.
will
enable, therefore, a class
voices, the teacher
sing or play
it
must
first
to the class
to sing
through a new part written for second
learn to sing or jfiay
they singing
it
it
perfectly himself,
and then
with him, but with the music
in their
Sometimes he will assist them

only with the more difficult intervals, and sometimes he will merely give them
This course must continue to
the key note, telling them to find out the rest.
have
the
eye
been
the
ear
and
sufficiently tutored to reboth
until
be pursued
hands, and their eyes fixed upon the notes.
no further
The following
quire
aid.
lesson will be useful in impressing upon the mind the connexion between sounds, and musical characters, or signs.
EIGHTEENTH LESSON.
SOUNDS, AND SIGNS.
The teacher must provide himself witli a flute, or some other

ruled,
The class stand before iiim, each with a slate, having the staff
instrument.
or engraved
and one of the pupils at the board.

of notes on this instrument,
I am now about to play a number
them, so that you may be
and I wish you to pay great attention, and listen to
m their proper places,
staff
the
able to put the notes down upon your slates, on
ui)on
it,
Teacher'
I shall
you hear them played. The name of the notes
place
of
the
whether
ear
the
by
out
find
must
play, will be crotchets, but you
the assistance I
All
accordingly
down
it
put
the notes is A, h, c, or d, and
That will be lower d.
shaU give you, will be to tell you the first note.
one
afler the other, as
Here the teacher plays lower
n,
AND
Teacher. Put
*
you
what
it
is,
tliat
TUF,
NOTATION OF MUSIC.
note down.'
*this note.'
He
ahovej
(Here
Now
51
put down, without
the teacher plays
d,
my
telling
in the octacc
then examines the board and the slates, to see
if
the pupils have descril)ed the
two notes correctly upon the staff. The teacher

and upper d, and again examines the slates to
ascertain whether the sounds have been properly understood, and rightly deall
then plays lower d, then
f, a,
scribed on the staff ; where they should stand
The teacher proceeding
in the
intervals, like the following
t'-=
îfa=gfegE^
same manner, plays through
the pupils
continue to
number of easy
and
listen,
to place the
notes in their proper order, without any copy to guide them.
^=r=*:JEp:=EB-l-[-*-*-.^
,
fT-f
HL
iriziz--=ti=,
i^^^â^^îgÊl
L=ÊE^^
3rSEiz=^;
The teacher may conclude
the lesson
by playing through any
lection not too difficult, and desiring the pupils to put

as nearly as they
may be
able
he
down
air in his col-
the notes
by
ear,
merely assisting them by giving the name
of the key note.
These exercises
will
be found very useful, and cannot be too often repeated.
e2
FIUST LESSONS IN SINGING,
^2
NINETEENTH LESSON.
SINGING WITH TASTE AND EXPRESSION.
Teacher.
There are two or tliree faults in singing, against which it is of

imporUmce you should guard. One is the habit of drawling, or sliding from
one note k) another, when the music requires that a note should be kept dis*
tinctly separate
commencing
fault,
when
to sing
The
mw
;
there are two notes to be sung, like these,
them
effect
from the next note by a slight break; the voice ceasing, and
upon the following note. For example it is a common
again
-Jft
^3r
^-
as if they were three notes, written thus
of this alteration
best to adhere strictly to
is
often very bad, and as a general rule
tlie
it is
always
written music, and never to sing a single note
which you do not find upon the staff. When notes are intended to glide in
this manner one into another, a small note called a grace note^ or an appoggio'
tura^
is
usually inserted -thus:
Another
fault to avoid
Even
teeth quite closed.
is,
-<^3-
4 ->^z:^:i
singing with your
in singing the
shut, and
mouth nearly
close sounds, such as c, D, g,
your
you
should keep your teeth as far apart as you can possibly do, consistently with
distinct articulation.
Every sound
is
to
be rendere'd as
full
and round
as possible
but remember
distinctly
especially, that in singing, every word should be as correctly and as
the exein
science
or
skill
of
display
No
speaking.
expressed, as if you were
enunciation.
good
a
of
want
the
for
compensate
passages
will
difTicult
cution of
Unless you sing so as to be understood, you degrade the voice to a level with
an instrument. The great superiority of the voice over a flute or flageolet is,
that it can not only give utterance to sweet sounds, but make words of them,
But
so as to express a meaning which the sound alone would not convey.
themselves
good
think
who
there is no fault more common, even among those
singers, than that of expressing their
is
words so indistinctly that their meaning
whollv lost.*
Remember,
also, that too
much
attention cannot be paid to the P's
and
F's,
you may not sing an air, throughout,

or to the words Piano and Forte, so that
the efl-ect by singing some parts
improve
but
tone,
monotonous
even
in an
This fault is often greatly increased by sinking mu>ic to Italian words, to the meaning of
very young pupil should, therefore, learn
which an English audience is always indifferent. A
any other.
attempts
he
before
language
own
to sing well words in his
AND THE NOTATION OF
much more
When
softly tlian others.
iMlSlC.
53
the notes are sung equally loud, the
all
would he without light and shade.

When you have no guide to tell you what notes should he sung more emphatically than others (for sometimes the F's and P's are wholly omitted), you
must then he governed hy the sense of the words. Thus, if you come to tiie
word " grief," or " sorrow," you should sing it softly if to the word "joyful,'*
or "triumphant," you should sing \t forte. The same rule applies to alterations
of the time, which are often not marked when the words are of a plaintive
character, the music requires to he comparatively slow
when of a cheerful
music
as defective as a painting
is
character, quick.
In
all
slow music
of great importance that every note, however loud in
it is
away towards the end othersudden cessation of the voice, excepting in the peculiar case of a
staccato movement, will produce a very harsh and unpleasant effect.
Generally, every long note should be soft at the beginning, loud in the middle, and
the middle, or even at the beginning, should die
wise, the
soft at the end, as if the crescendo
We
will
now
and diminuendo sign were written over
sing through the gamut, increasing and diminishing the
it
power
of every note.
that you are to begin each note with your voices sunk to a whisare to swell in the middle, and die away quite softly at the end.
they
per, that
Remember
<> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <>
â-^-"
Do
re
mi
fa
^
la
sul
do
si
do
o,g^
mi
fa
sol
la
si
Sometimes you will see this sign, ^, written over a note. It stands for TR,
shake signifies the
which is an abbreviation of the word, trill, or shake.
sliding from one note to another several times with great rapidity.
If I write
down two
notes, b
and
c,
and place a shake over
require to be performed thus
b,
~^
C3
they
^:
'II'''''
:
The
'
^1
^^==^
teacher must not expect the majority of children under fourteen years
of age to learn to sing a shake perfectly
and
as
it
music, he will do well in most cases not to lose too

after explaining
it,
A few, however,
may be
is
not required in choral
much
time about
it,
but,
proceed to more important lessons.

of the pupils,
taught the shake
who may show
to learn
which
ing the two notes forming the shake at

their quickness after the following
it is
first
example
the greatest aptitude in music,
simply necessary to begin sing-
very slowly, gradually increasing
FIRST LKSSONS IN SINGING,
Id
:o:
Teacher.
Besides
*
learnt, there are a
-co-
the musical characters or signs which you have
number
of Italian words of which
it is
now
necessary you should
the meanin"-, as they are often given, as directions to the singer, for the
Adagio signifies a slow, solemn movement; Largo means very slow;
time.
Lar(/hettOj not so slow as Largo; Andantino^ rather slow and graceful;
know
not so slow as Andantino ; Allegretto and Modcrato^ in moderate

Allegro^ rather quick and lively ; Vivace
fast nor very slow
Andante
time
not very
(pronounced vevarchayj^ quick and animated; Presto very quick; PrestissiinOj as quick as possible.'
y
Qiiestio?is.
What was the
first fault I
told you to avoid ? (The habit of drawling in singing.)

^
^
What is the name of the
little
note placed against the minim c
(The appoggiatura or grace note.)

What other fault were you told
to avoid ?
(That of singing with the
mouth
shut, and the teeth closed.)
In what does the superiority of the voice over an instrument consist ?

(That of singing in an
Is there any other fimlt that I told you to avoid ?
even monotonous tone.)
What
are the signs to
which you should pay particular attention ?
and P.)
Should the word grief or sorrow be sung piano, or forte.?
Sliould plaintive or sorrowful music be quick, or slow?
What
What
is
this sign called ?
is
the
^.
meaning of the words
Adagio
Largo
Larghetto
Andantino
Andante
Allegretto
Moderato
Allegro
Vivace
Presto
Prestissimo.
(The
GRADUATED SCALE,
50
For a String Pendulum^ or Cheap Metronome.
LENGTH
Number
of
Vibralium.
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
72
Inches.
56
54
52
50
48
46
45
43
42
41
39
37
36
35
jiidrcJt
of an
11
44
25
19
24
40
65
43
85
20
93
71
34
33
32
56
45
40
39
31
45
30
29
28
27
52
64
80
22
74
25
77
76
78
80
82
84
86
88
90
92
94
96
98
24
23
22
43
20
20
20
19
99
18
17
22
42
16
67
97
100
104
108
112
116
15
15
30
14
69
14
13
12
11
5
10
11
25
10
49
80
18
120
124
128
132
136
140
144
148
152
156
9
9
8
8
7
160
6
6
6
5
61
9
63
20
80
44
10
79
51
Explanation of the Diagram,
When
the pendulum
is
required to swing
at the rate of fifty times in a minute, its
length must be 56 inches and 44 hundredth

parts of an inch.
When
it
is
required to
swing as rapidly as at the rate of 160 times

in a minute, its length
to 5 inches
and 51 parts
must be shortened
;
&c.
60
FIHST LESSONS IN SINGING,
VOCAL
The
EXERCISES.
following simple canons, and two part harmonies, are designed as vocal
exercises, to follow, or, to be included in, the preceding lessons.
Eiich canon, and duet,
melody
learn the air or
No.
first,
before they attempt to sing
it
Time and Tide:
*'
1.
on the board, and the pupils are
to be written
is
well
to
in parts.
(A Canon.)
Count 4^
Time
and tide
no man, time and tide will
wait for
will
^^
3^:
Time and
tide
will
no
wait for
man.
In singing the above, the teacher directs the second voices to count, 1,2, 3, 4,
The canon may be
voices are singing the first bar.
silently, while the first
As a signal when to stop, the teacher holds up his

hand about the middle of the air, and lets his hand fall when either the first or
All the voices should cease
the second voices have come to the last note.
together, although some must necessarily end in the middle of the tune.
repeated several times.
This canon
children
is
sometimes sung to the following couplet, adapted for young
"Idle folks, who spare their trouble,

Always make their labour double."
German
In
lujali
schools the same canon
is
sometimes sung to the word, " Halle-
!"
No.
" Love of Truth.
2.
Count
(A Canon.)
:1
-*-*
my youth, From my heart ne'er
Love of truth guide
-##-
-^-&
Love
The above canon
is
also
of
-#-
<^ ==i-^
-t3-
truth guide
my
de
C^-^
Love of truth,
- part,
]Êi
youth,
From my
heart ne'er de-part
sung by junior classes to the words,
" Little strokes
fell
great oaks."

No.
*'
3.
57
Your Patience and Prudence^
(A Canon.)
(From Musikalisches Schulgesangbuch.)
Count
3 r
m=
Your
M
and
pa-tience
pru-dence
will
not
Your
pa-tience
be
in
and
-C3l
They'll help
vain.
you
to
be
in
con-quer
not
vain,
pa
your
^=1=i
a
con - quer
and
- tience
pru - dence
3î^
*:==:
gam
and
will
::]:
gain,
your
" Love your Neighbour .''
(A Canon.)
P=F
Love
neigh
your
hour,
by
Live
-t
=1:
:M-M:
l^
pros-per that's the
way,
t=
Live by
^^
I tzit:
la - bor
Love
your
t
neighbour
^^tiliMizzM:
would you pros-per
that's
bor.
-;
rneigh-bour
your
-0
la
Love
would you
to
t=:^=ii
*=i:
gain,
Count 4
a-
you
They'll help
^-
4.
and
3ÊdE
4ZIZM.
pru-deace will
No.
gain
the way.
r
6S
No.
Lost Time."
'
5.
Count
4 f
2#=i^
<r>
1^3:
z'J
Loht
Ji
Lost
tm
w
lost
No.
time
ne
is
Count
-^
gam.
<>
:^:>:
found
ver
"c>
gam.
Kind and
gain.
X5:
=1=4:
<^ -Ci.
cjr
c?^-
found
ver
32:
a
found
ver
0>
" i?^ 2/ow to others
6.
gain,
XS"
t3I
ne
is
ne
is
C3
time
fuund
ver
^>-
time
Olost
ne
\&
:^
C3
-e>-
time
:t
-o-
True.''
4 r
^^'
VBe
you
to
:4:
-**
A-
as
true
and
kind
thers
=:
-^
icn*:
V^F^
you'd have
thers
be
to
you,
And
ne-ver
do
nor
!=f^f=f^fig^^^^
Az,
buy
P=p:
to
men The
f^:^44m ^\
-#
ItfZZIC
e>-
-#
-K-
thing
you
would
not
'^-
take
gain.
^ ^r-o
No.
He
7.
that
would
5.9
thrive.
Count 4 ^
xj^pilt
He
that
c^"
would
thrive
^-^-
Must
five
rise
by
-^--M-/I
He
roizixp:
--^-
Must rise by
that would thrive
SE5
He
that has
lie
He
seven:
till
z^lW^Wi
-^^-
five.
No.
may
thriven
^^-
that has thriven
may
lie
till
seven.
" Abroad, at home.**
8.
Count 4p
^-^
S5Ep"= Êf=^
T3
=3s;
î<-
A-hroad at home, Where'er we roam, What-e-ver
'-*
<^
pziin
'/
rj
!^
har-mo-ny, And
M=:^
rj
+3
he -tide,
ills
Still
Ê^^.^g^g
P-#
-h:-4
-hi
^^s?
JSTpB
pzi^
r-3
-ha
^^q^
- ni - ty,
^^qv^
:*:=?;
1
h
And
love shall be
our
-31-
guide.
^^-

GO
FIIIST
No.
LESSONS IN SINGING,
" Plough deep.
9.
Count 4 r
S^ .
Plough
while
deep,
~F-
No.
blug
e>
jjards
while
deep,
slug
Am:
gards
sleep,
And
slug- gards sleep, plough deip, plough deep,pliiugh deep.
(A Canon.)
'''Let US efideaoour."
10.
Count
sleep,
-fc*^^-
3-
-^-
PliU|^h
deep, \Vhile
-<3
1-^=:^:
3 r
^^^^:
-0
0-
WZZI0:
1=1^:
Let
II
us
eu
dea
vour
to
shew
th^t
when-
Let
us
eo-

AM) THE NOTATION OF MUSIC.
EEE
We
e - ver
#-
^lES=i=^
61
join
in
EEE
song,
we
-
keep time
can
to-
f=F=F^
dea-vuur to
shew that when
e -ver
We
join
0-
-0
in
0-
Mzm^zzim:
ge
ther,
And
let
%^ r=|:W=T
I
song
No.
we
can
en
us
dea
az=i=:p:
keep
time
to
vour
to
ge
ther,
And
" Swiftly flies our time away'*
11.
Count 4 r
^
Swift
O-
-M-
ly
swift-ly
ly,
^\
&
Youth
im
our
time
:S
-^
flies
-^
Swift
^-
:^:
flies
way,
-3-
iî
time
our
ziizio:
way,
oh swift -]y,
^^-
.^1
Youth
im
prove
-#4
-
prove the
it
S
mo-ments
while
you
may.
Z5=q:
t=^^while
you
may.
FFIIST LESSONS IN SINOINC,
Cyl
No.
" Let your pleasure.'*
12.
(A Canon.)
Count 4
feÊ.t4E
Li't
your pU-a-sure
l-T-
i=M: in*:
:z=r
ir-*
vrait
your
lei -
Hut your work do
sure,
?^^?
your plea-sure.
Lt't
E3= :*=::
-
Let your plea -sure
wait your lei-sure,
t=:l:
ig^^ygia^^
I
wait your
But your work do
lei - sure,
" ^?id
we
de
lay.
now we part.**
o-
'i^^S.
And now
nut
part.
p>od night!
pood night
-o
#:=
3EH
1^^
v^. T5^
!
<3
And now
3^51
c^
-Ci.
And now
In singing the following canon,

3, 4, in the bars
where they have
four parts, and therefore
when
tlie
we
part,
pupils
to rest.
good night
must be
good night
told to count silently
This canon
is
the pupils have learnt the air and time, they
sliould arrange tluMuselves in four divisions, so that the four parts

tained.
The bars where
1, 2,
intended to be sung
the 2nd, 3rd, and 4th voices should
come
may be
in are
sus-
marked.

No.
63
14.
**
JFhen a weary task you find
(A Canon
it.'*
Count 4 f
(2nd voice begins.)
When
(1st voice begins.)
gs=g
;t3;
When
wea
a weary, &c.
you find
task
ry
Per
it,
se
vere
and
(3rd voice begins.)
=tE3EE
ne
mind
ver
Ne
it,
mind
ver
it.
(4th voice begins)
e^
P /!-
:t=t=t=Hz*
p
No.
Ne-ver mind
When
it,
wea
ry
-p:
you
task
find
i
it,
Grace he/ore Meat.
15.
Count 4 r
kzi^ziiizt
i
Fa
ther
.^
we thank
These
thee,
1^
o^
i^
C3|_a|
#-
are
mer
thy
- cies,
1=t
ZQti:*:
-^^
P
-^-
SI
And
t
I
-^
thus thy
^:
EE:
AU
ness
^^
bounteous
tr.
ther,
-o
our
longs
^-
-^
-^
^^
:1=F-
Fa
pro
idiz^
^^
good
days,
p
-^-
4
thy
name
we
praist
G4
FlllsT
No.
LESSONS IN SINGING, &C.
(J race
I^.
F-
after Meat.
-<3-
SOL
^3"
And
now,
-e>
^^ -^>
with
grate
?il
I-
<>
-^
/
ICSZZZZMZ It3
Our
songs
<^
hearts,
ful
-^
e^
-<3-
'^^=^-
Thy
good
m
of
:c^
^=t=t=^
thank
ful - ness,
ness,
Lord,
pro-
-| lO.
C5
T^
t#
*^5t^^
p+
zq:
-^
praise
thy
lii
s
claim.
We
praise thy
H
^>
name,
We
-irzô:
O" ^tjhr
name.
RUDIMENTS
SCIENCE OF HARMONY.
RUDIMENTS
SCIENCE OF HARMONY,
OR
THOROUGH
The
science of
Harmony
is
BASS.*
not a study adapted for young children
but at
the age of fifteen every youth evincing, by his love of music, a disposition to
ought to have some general knowledge of the principles of

Without this he will not be able to appreciate fully the merits of
the finest compositions, nor to understand the meaning of much that he will
meet with on the subject of music in works of general literature.
The following outline of the rudiments of harmony will not supersede more
cultivate the art,
the science.
elaborate treatises, nor obviate the necessity of taking private lessons of a
master, in the case of those
who wish
to write
music professionally, but
perhaps suffice to convey (in an accessible form) as
much
required by the great body of musical amateurs, and by those

to obtain the
power of harmonising simple
airs for their
will
information as
is
who merely wish
own amusement,
or the
gratification of children.
In schools,the Teacher must exercise his own judgment as to what parts of

may be adapted for class teaching, and what must be left to indivi-
the subject
dual application.
OF CHORDS.
The theory
of
harmony
the chords employed by a
or
may be
very simple, for however numerous, and

modern composer may appear, they all
is
considered as derived from, thirds
Strictly speaking, there are
the third and the fifth.
A Third.
consist of,
fifths.
but two perfect chords, or concords, in musicj
They may be used
separately, or
Fifth.
combined, thus
Third and Fifth

combined.
L_
L_
u_
*
diTidi
diversified,
The term Thorough Bass' is becoming obsolete. It originated in the use of figured basses,
To understand the nature of the chords belonging to every base note,
and to know how to figure these chords was to have a thorough knowledge of basses, and of
their harmonies.
Hence the science of harmony itself was called thorough bass.'
'
(explained page 90).
RUDIMENTS OF THE
The
notes of the third and
tliree
Music may
yet
fifth
combined, form what
consist of thirds and fifths, as in the following
all
of the most curious facts in the science
One
to generate
its
is
called
a Triad,
be written in nine different parts for nine different voices,
own
third and
take an opportunity,
when
fifth,
the
or produce
room
is
is
example
the tendency of every sound
them of
perfectly
and
still,
itself.
If the student
to strike any one of the
base notes of a piano, and at the same time place his ear close to the sounding
board, he will distinctly hear two other sounds, fainter than the
These are the twelfth and seventeenth, or the
siderably shriller.
in the
two upper
17th orad.
~V
7;~'iaa'or5th.^
ai
The sounds thus
by a good
CZ>
ear.
may
sixth
turned upside down, and a fourth
usually be distinguished, besides the third

the same as a third, only inverted or
is
is
the same as an inverted fifth
for ex-
Third.
Sixth.
eighth
notes, but
is
is
Fifth.
Fourth.
-I
IF.
An
generated, or self-produced, are called harmonics , and
include a minor seventh, which
ample
and conand third
JK_e
w
fifth,
fifth
scales, thus.
and
first,
?it:
not considered to form a chord when there are no intermediate
an unison with the
first
^~8th.
or
Ut
of the cale nbovf .
=1
* A minor sixth. The major third becomes by inversion a minor sixth, and a minor third
by inversion a major sixth.
SCIENCE OF HARMONY.
The second and seventh
67
are not concords, but discords,
troduced occasionally for the sake of
The ninth
effect.
is,
which may be
in-
of course, the same
as a second
A Second
and Ninth.
Seventh,
--^
^;
I
What
and
is
fifth
called the
common chord
combined, but
it is
consists simply of a perfect triad, or third
generally written with the addition of the eighth.
THE COMMON CHORD IN DIFFERENT KEYS.
i^^mM
i
^j'
*::i
iii=fz^
%--
MAJOR AND MINOR CHORDS.
third
may
be either major or minor, and in both cases the
sidered equally perfect, although the minor third
is,
effect is
con-
of course, only adapted for
plaintive music.
Minor Third.
Major Third.
^m
-1
w
The minor
third
becomes by inversion a major sixth,
Minor
Sixth.
Major
Sixth.
The augmented
sixth
is
not considered a concord, but
ing discords employed in music.
semitones as a minor seventh,
is
one of the most pleas-
contains the same
number of tones and

although the two chords, or rather discords,
It
are written differently.
An augmented
Sixth.
when inverted
is
it
Seventh.
-!
1^
j1 minor sixth
A minor
%-i?^
^-
considered as perfect a concord as a major sixth, because
becomes a major
third.
F 2
RID1MEM&
68
Minor
0 THE
Major Third.
Siith.
bt.
^^
A
minor
fifth, or,
introduced
witii
By
a discord.
more
a diminished fifths although, when
correctly speaking,
judgment, often producing a pleasing

inversion
it
effect, is to
be considered
becomes an augmented fourth^ which
is
also a
discord.
Diminished Fifth.
Augmented Fourth.
^
The
combined, we have said, form what is called a triad ; but

as the third may be major or minor, there are consequently major and minor
third
and
fifth
triads.
tm
Each of these
triads
Major Triad.
Minor Triad.
forms a perfect consonant chord.
The
triad
may be
re-
garded as comprising not only a third and fifth, but also as consisting of two
thirds; and it is a fact worth noting, that the two thirds in every perfect triad
always consist of a major and a minor third.
When
When
the
first
third
major,
is
minor, the second must be

major.
Two major thirds combined, or two minor thirds combined, produce
a discord, although the latter is one of a pleasing character.
The student should
the second must be minor.
strike the notes
upon
the
first
third
is
a piano-forte to observe the difference of effect.
Two Major
Thirds.
Two Minor
Thirds.
NAMES OF THE INTERVALS* FORMED DY CHORDS AND DISCORDS.

we proceed to any further explanation of the nature of chords and
discords, it is necessary that the student should make himself acquainted with
the names of the intervals between each, and with their quantities, in reference
to the tones and semitones they contain.
Here let us recall to mind that the
interval between b and c, and between e and f, is always a semitone, miless
Before
one or other of those notes be raised or depressed by a sharp or a flat while

all the other degrees of the scale, next to each other, is a
;
the interval between
whole tone.
The term interval we have already defined to be the distance between one note and another.
In speaking, however, of chords, every note in a chord is commonly termed an interval, inUpon this subject musicians differ. We follow the
cluding even the first note of the chord.
opinion of those who say that it is a misnomer to call the first note of the chord an interval. The
term is derived from the Latin iutervalhnn, a ditch, and the preposition intrr, between. There
can be no ivlcr in reference to one object, as in reference to two objects. One o'clock, for
example, is not an interval
but we may speak of the interval between one and two o'clock.
Hence ni/iinl is an interval, because it includes two sounds, and the semitones between them ;
:
but not the
first
or root of the chord.
SCIENCE OF HARMONY.
The
the
first
first
instance
of every chord
is
called the
of the scale, merely.

is c,
Thus
prima
the
or root, to distinguish
first
but the prima or root of the annexed chord
i
w=^=^
Ist of the scale.
D the Prima
it
from
of the scale in the followmg

is d.
or root of the chord.
A Chromatic semitone or augmented unison, containing

one semitone.
w^
yj
l;
Diatonic Semitone* or Minor Second, containing

one semitone.
Major Second,
containing two semitones.
A Diminished Thirds containing the same.

=j=lli
An
p
A
i
F^f5E
A
i
w^.
Augmented Second,
containing three semitones^
:iit*-
Minor Third,
Major Third,
containing three semitones.
containing four semitones.
#-3
Pi
A Diminished Fourth,
i=3=-^
-!
When
containing the same.
:laix;
A Perfect Fourth,
containing five semitones.
the semitone changes its place on the staff, it is called diatonic; when it arisen
flattening the same note, without changing its place, it is called chromatic^:
from sharpening or
KUDIMENTS OF THE
70
^n
^^-
1^-
.-.
>#5-
~[
i
w
Wl,
Pg
DiminisJied Fifth, containing the same.
Perfect Fifth, containing seven semitones.
'
Augi7ientcd Fifth, containing eight semitones.
A Minor
containing six semitonea.
~ An
-{7 g-6
Augmented Fourth^
Sixth, containing the same.
A Major Sixth, containing nine semitones.

An
Augmented
Sixth, or Extreme Sharp Sixth, con-
taininf; ten semitones.
1^
J-:- A Diminished Seventh, containmg nine
-g#Li
i-J-,_l
^^
:n5^
as a
semitones, the same
Major Sixth.
A Minor Seventh, containing ten semitones,

Augmented
^^Major Seventh,
The Octave,
the same as an
Sixth.
containing eleven semitones.
containing twelve semitones.
A Flat Jînth, containing thirteen semitones.

-
aClENCB OF liARMOIfY
m
The
71
A Major Mnth, containing fourteen semitones.
student should take great pains to understand thoroughly the nature of
remember their exact names. He should strike

them upon the piano frequently, until he can tell the name of each without
looking at the notes ; and he should examine music written in different keys,
to analyze the intervals between the lowest base note, and the uppermost note
the above intervals and to
of the
air.
It is especially
important to
make himself
well acquainted with the
between a minor seventh and a major seventh, upon which

depends, in the science of harmony.
difference
much
OF THE HARMONY BELONGING TO MAJOR SCALES.
Every full perfect chord contains simply a third and a fifth but the third
and the fifth may be derived from different roots. Sometimes the first of the
scale may be considered the root, sometimes the fifth, and sometimes another
According to a system adopted very generally in England, there are but
note.
;
fundamental basses. These roots are the Jirst,

known by the names of the tonic, the
three roots, otherwise called
the fourth, amd the
ffih
of the scale,
sub- dominant, and dominant.
Mm
The
tonic or
CD
'
The Bubdominant.
^:
key note.
According, however, to the system of the Abbe Vogler (a very high authority,
German writers), every note may be treated as a root, or
followed by most
fundamental base, from which a third and
fifth
may be
The harmony
derived.
of the major scale, therefore, comprises the following triads, some of which have
major thirds, others minor. The triad fonned upon the seventh of the scale is
called
a diminished triad;
it
consists of
two minor
thirds,
and
chord, but a discord, which requires what is termed resolution
is
not a perfect
a term we shall
hereafter explain.
Major
Minor
Minor
Major
Major
Minor
Diminished
Triad.
Triad.
Triad.
Triad.
Triad.
Triad.
Triad.
^^^-
"O"
^L=i
%J
*
of
The reason why the
its
Sub-dominant.
fifth
^^^
^k
of the scale was called the dominant
predomiyiance in old church music.
m
^-
Dominant.
is
supposed to be because

RUDIMENTS OF
72
Tlie
same
in the
key of
TIIK
D.
Major
Minor
Minor
Major
Major
Minor
Diminished
Triad.
Triad.
Triad.
Triad.
Triad.
Triad.
Triad.
:^^^4
Sub-domiammt.
The reason it is necessary to regard every triad as derived from some root is,
when the three notes forming the triad change positions the third becom-
that
ing by inversion a sixth, the
fifth
a fourth, and the
an eighth
first
they
still
belong to the same chord, form essentially the same harmony, and are better
understood by their original names, than they would be by sometimes calling the
third a sixth
Every
and the
triad
may
fifth
a fourth.
be employed in three different forms, as in the following
example.
First
Second
Third
First
Second
Third
First
Second
Third
form.
form.
form.
form.
form.
form.
form.
form.
form.
-0-1
'
'
OP The mode of using the triad.
Suppose the note
to
be harmonised
is
d,
we must consider
to
what
triad
it
be found that d belongs to three

If we are in the key of c, it
different triads namely, the triad on the second, the fifth, and the seventh of
belongs.
will
the scale.
#-D5<:>
We may take then for the accompanying chords, the two notes belonging to
any one of the above triads but if in one part of the harmony we take g, for a
third part we must take b, because g and d belong only to one of the triads.
If to accompany d in one part we take f, then the third part may be either A
or D, because, as will be seen above, the two notes f and d belong to tno of
;
the above triads, and either
may
therefore be used.
If the note to be harmonised be e,
we
shall find that, in the
belongs to three different triads, derived from the
of the
scale, thus
first,
the
key of c, B also
and the sixth
tliird,
4
^
SCIENCE OF HARMON'Y.
In harmonising
two
we wish
parts,
b, therefore, for
73
we may
lake, if
we
please, b
hul
add a third part, we must then take

G, because b only belongs to one of the above triads, and determines, therefore,
the chord to be employed G, b, and a, for instance, will not be found together
in any of the above triads, and woidd produce a discord.
On examining the scale, it will be seen that every note, in a similar manner,
in consequence of taking b, if
to
may
he
harmonised as helonghig
however, most frequently used,
is
The harmony,
to three different triads.
that of the triads belonging to the tonic, the
Every note of the scale may be treated
sub-dominant, and the dominant.
belonging to one of these three chords, as in the following example
employ them exclusively would produce a monotonous
as
but to
effect.
THE SCALE
Harmonised with
and Dominant,
the Tonic, Sub-dominant,
in the hase.
XJ
\J
^^
1
1
-^
_.,
\.
J-
>
^^
oi
\ '^
V y
f/\\
<^
C3
i
c:^
^"
cz^
I-
Dominant.
Tonic.
Sub-domioant.
Tonic.
Tonic.
Sub-dominan*^.
Dominant.
Tonic.
In writing music in three parts, three different notes may, as we have exemployed but if a fourth part be added, it must be done either by
plained, be
introducing a dissonant note for the sake of some particular
When
doubling one of the three notes.

note to be preferred
fifth,
is
generally the
first,
one of the three notes
is
effect,
or by
doubled, the
or root of the chord, sometimes the
and, but very seldom, the third.
Without using any dissonant
notes,
possible to harmonise the scale for
it is
four voices with the chords only of the tonic, sub-dominant, and dominant,
and with
their roots in the base.
effectively
by employing,
The
scale
may be harmonised much more
as well, other chords
good exercise hereafter to harmonise the

having the following example before him.*
scale
but the student will find
upon
this principle,
it
without
THE SCALE
Harmonised for four parts with the chords of the Tonic, Sub-dominantj
and Dominant only, and their roots in the base.
,
uJ
i
f
.^L
SEE
T_C3^
-j
Taking care
&^
C^
-A
::^-^D-^
I^
^^L
^^
^ 3
-S 13
-s
zLzizoE:
-Ql
T CD
to avoid consecutive fifths and octaves, to be hereafter explained.
RUDIMENTS OF THE
74
The preceding
monies written
an instance of what
is
in the following
is
called dispersed
manner would be
harmony.
Har-
called close harmonies.
m
m
-m
jO^
The example we have given of the scale harmonised may be taken as an illuswhat is termed harmony in simple counterpoint.
Formerly, when
tration of
notes were written without stems, they were called />oiw/, and to harmonise in
simple counterpoint was to put point counter

say, note against note.
of notes belonging to
harmony
in that case
to, or against,
point
that
is
to
The same note may be harmonised with any niunber

the same chord, as in the following instance
but the
;
would not, of course, be called simple counterpoint.
OF DISCORDS.
It
cannot be too often repeated, in order that the fact may be well impressed
that every full perfect chord contains simply a third and a
upon the mind,

fifth.
When
any note
is
introduced not belonging to the
second, or third form, the cbord
is
triad, in its first,
changed into a discord.
Discords are greatly used in music, because, in dwelling upon them occa-
chord is more fully felt by contrast.

which is often made to include discords
so that discords are frequently termed chords by musicians, in speaking generally on the subject
but as it is desirable in an elementary work to use the
greatest precision of language, we shall here never use the term chord when we
sionally, the sweetness of the perfect
The term chord
is
a general term,
are speaking of harmonies containing a dissonant note.
All discords follow one general rule
harjnojty of the perfect chord.

tion of a discord
may
be, the ear
they require to be succeeded by the
However
is
not
pleasing the occasional introduc-
satisfied to rest
upon
it
it
requires to
be conducted to a state of repose. Music without occasional discords is tame

and spiritless, but nothing would be more unpleasing than music consisting
entirely of discords
and for the same reason, when, in a composition, discords
;
are allowed to predominate over chords,
however
scientific
the music
may
SCIENCE OF HARMONY.
be considered,
vocal music.
it is
bad
in
principle and in effect,
75
and more especially so
in
The
first discord we have to notice is that of the diminished Jifthy in the

on the seventli of the scale. Like every other discord, it must be followed
by a perfect chord, and this is called the resolution of the discord. The dis-
triad
sonant note in this case

it
which
resolves
it
is
the
fifth,
called a diminished fifth, because, as an
contains one semitone less than a perfect
interval,
is
by descending one degree
Resolution of the diminished fifth in different
B, The 7th of the
This example
scale.
F % The
The manner
fifth.
in
in the staff.
G #, The 7th
7th of the scale.
"keys.
of the scale.
which applies very generally,
will serve to illustrate the rule
excepting in minor keys, to the seventh of the scale. The seventh of the
scale in major keys requires to be followed by the eighth, from which it is but
a semitone distant. If the student play through the scale of c till he comes to
B,
he will find that the ear would not be satisfied with resting there, nor with
is to c.
So in
harmony, when the seventh from the key note occurs in one of the under parts,
Hence, in the above example, b, the
it still requires to ascend to the eighth.
descending to A, but that the natural progression of the note
seventh, ascends to c
The
rule,
f,
the seventh, ascends to g
however, excepting
to be regarded as an invariable one.
the eighth occasions

leads
on
it
to the tonic or
The third of
g,
the seventh, ascends to a.

a diminished
fifth, is
This tendency of the seventh to
not
rise to
to be called the leading note of the scale, because
it
key note.
the diminished triad
is
free to
other note of every other triad in the scale
bound by no
when accompanied by
ascend or descend, and every

to ascend or descend, and is
is free
rule in that respect.
OP THE DOMINANT SEVENTH.

This discord, of which great use
diminished
nant
is
triad,
is
made,
same with the

the domibecomes a minor seventh,
identically the
is
with the addition only o^ a dominant base.
taken for the root, then the diminished
counting from the dominant, and
is
fifth
When
hence called
A Dominant Seventh.
:=fc:Ji:
-l-^3~ Dominant.-
It is important to notice that the
dominant seventh
is
a minor seventh, and
RUDIMENTS OK THE
76
not a major seventh^ like the seventli of the scale
or, in other words, a whole

and not a semitone, from tlie eighth. Were it the major seventh of the
but as a minor seventh, it rescale, it would he a leading note to the eighth
quires to descend to the sixth.
;
tone,
The Seventh of
Minor SeTcnth
Key
the
scale resolved.
resolved.
*a
Key
of C.
of C.
The diminished fifth, as part of a triad^ may be employed in three

The dominant seventh may, in like manner, be employed
different
in
positions.
In the following example the dominant seventh
different positions.
as a crotchet, while the other notes are in minims, that

easily distinguished
by the
it
may be
is
four
written
the
more
eye.
The four positions of the Dominant Seventh^ with
its
resolutions.
In this example the two roots of the dominant and tonic are placed in the
fifth, or seventh may be placed in the base instead of the
base, but the third,
dominant
root, if preferred.
played thus
The discord of
the dominant seventh
is
often
c^
m^1351
:^s:
=.h=ES^
^% "^f~ ^%
_
.^1.
-Q
:cx
x^
<^
H:
This example should be played by the student on the piano, in order that he
leani to recognise the dissonant note which forms at once the diminished
may
fifth
and dominant seventh, whenever he hears
it,
without having the music
before him.
The
following
written in score.
is
an example of the dominant seventh, with
This
is
its
resolutions
a term used to distinguish music, written with
all
the
parts complete, from music written or printed with each part in a separate book.
SCIENCE OF HARMONY.
Dominant Seventh.
:oi:
t
i
w
-jb:
Gh
Gi
-C3-
O!]-
iQuI
o:
:1:
Î
:1=:
-^>-3=
^=i
-^
Oi-
iX
G^
a;
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,-f^^^
il
Another discord, which is often used with very good effect, is called
The Diminished Seventh. The discord of the diminished seventh differs
only from the discord of the dominant seventh in
this, that the intervals
of the
discord are diminished, or lessened, by raising the dominant root a semitone.
The diminished
seventh, however, only occurs in minor keys.
The Dominant Seventh and Diminished Seventh.
#Ei*^=iîf^^fe
In each of the above positions of the diminished seventh, the original root
being raised a semitone, becomes c #, the seventh of D minor.
c,
maybe repeated in the same position

and seventh in the base, as in the instances
we gave of the dominant seventh. The following is an example of the diminished seventh, in the key of A minor.
The
discords of the diminished seventh
in the treble
with the third,
fifth,
:z|^=|^=|^=|^t=
s
&h-5-
RUDIMENTS OF THE
78
The
discord called the
nant seventh.
added
Tlie discord
is
The
third, the other a minor.
formed by adding a third to the domione having a major
7iinth, is
then composed of two triads
dissonant notes are the seventh and the Tiinth,
both of which must descend one degree.

The added Ninth with iU
The added ninth may be employed with
resolution.
or without the seventh, and
may be
introduced in five different positions, but the most effective form of the discord
is
that of the above example.
What
in
dominant
England has been called the chord of the added sixth^ upon a subis by German writers not considered as a distinct chord, but
root,
merely as the triad belonging to the second of the scale, in

The added
Sixth.
its
second form.
The same
Triad belonging
to the second of the scale.
in its second form.
Besides the rule we have mentioned, that every discord requires to be reis another, equally important ;
solved, or followed by the perfect chord, there

it
must be prepared
or abruptly introduced
chord.
scale
With
may be
that
;
it
is
to say, the dissonant note
must
first
these two rules of preparation
The Ninth prepared

and resolved
\C3
To
and resolution every note of the
introduced as a dissonant note thus
-CTM-S-
must not be suddenly
be heard as a consonant in the preceding
as a Fifth
as an Eighth.
:^:a
t
the rule that all discords require to be prepared, by being first heard as
The rule does
is one exception.
consonants in the preceding harmony, there
not apply to the diminished fifth or dominant seventh. The note forming these
Disdissonances may always be introduced abruptly, or without preparation.
sometimes
are
example
preceding
cords prepared' and 'resolved as in the
By
used.
called discords hy suspension, but the term appears to be wrongly
German writers, discords by suspension, or suspended discords, are

resolution
repeated once, or oftener, before their resolution ; the
those
only
the best
SCIENCE OF II.VUMONY.
79
being, in this case, correctly described as suspended.

ple, F, the
dissonant note,
is
In the following exam-
suspended in the second chord, and resolved in the
third.
i
The
but
The
finally it
-e)L
an example of interrupted resolution^ or resolution by rewhich should descend one degree, is first iiiterrupted by d j
descends upon e.
following
tardation.
^^=y
is
F,
M^^
J
The
peculiar effect of resolutions
by
retardation
may be
best studied in the
works of Sebastian Bach.
When
the diminished fifth or the dominant seventh occurs in two parts of
the same chord, one
may ascend, provided
the other resolves
H^
by descending.
^^1
^:C>
Discords arising out of what are called augmented intervals are an exception
Instead of resolving by descending one degree on the
to the general rule.

staff,
they resolve generally by ascending one degree. In Major keys the only
interval that can arise (without accidentals are introduced) is that
augmented
of ^^^ augmented fourth^ on the fourth of the scale.
an inversion of the diminished
diminislied Fifth
with
P
The note forming
its resolution.
1-^
An augmented
with
its
is
it
will
the reason
it
Fourth
resolution.
EE^
the augmented fourth,
the scale, or leading note, which
by ascending.
It is, as before stated,
fifth.
::^-^
be observed,
is
the seventh of
must, as a general rule, resolve

RUDIMENTS OF THE
80
In Minor keys there are other augmented
them
it
will
inter\'als,
but before we notice
be necessary to speak of
TUB HARMONY OF MINOR KEYS.

German
writers usually
make
a distinction between the melodic jyiinor scale,
and the haniumic ni'tnor scale.

The Melodic minor scale is that in which the progression of the notes produces the most pleasing effect, ascending from the first to the eighth. The
harmonic minor scale is that in which the notes are considered solely in reference to the chords belonging to them.
The Melodic Minor
Scale.
=ij=^=^=
E
^=t:
The Harynonic Minor
:^
For the various reasons assigned
Scale.
V-
zzti:
for introducing
in the
we must refer the

the most learned writer on the subject of harmony
system, although not generally known in this country,
scale,
and
for not sharpening the f,
harmonic minor
student to the works of
the
in
Abbe
Vogler.
Germany, the
IIi
classic
land of music, has a higlier reputation than any other.
The harmonic
scale, as
above written, comprises the following chords
Triads of the Harmonic Mi??nr Scale.

llnrd
Minor Triad.
Double
Diminished Triad
Diminished Triad. Diminished Triad. Aurmontcd Triad. Minor Triad.
Major Triad.
Major Triad.
Diminished Triad. Minor Triad.
It will be seen that the above triads contain three diminished fifths, namely,
one on the second, one on the raised fourth, and one on the secenth of the
These diminished fifths become, by inversion, augmented fourths, in
scale.
which case they resolve by ascending, as
in preceding instances.
SCIENCE OF HARMONY.
81
J
gigi-Jiisîi^lEîi:
The minor harmonic
scale contains
raised fourth of the scale.
augmented
sixth.
One
a diminished third upon D
or the
jf,
third becomes by inversion an

by ascending, the other by descending.*
The diminished
resolves
Diminished Third
Augmented Sixth
resolved.
resolved.
H^p:
lll|E=li.:
eê^^He
Minor keys
also contain
two diminished sevenths^ one on the raised fourth,

These become, by inversion, augmented
the other on the seventh of the scale.

seconds.
Diminished Seventh
resolved.
No
Augmented Second
Diminished Seventh
resolved.
diminished interval requires preparation, but
Augmented Second
resolved.
resolved.
all
augmented mtervals
must be prepared by the dissonant note being heard as a consonant in the preceding chord, and the preparation and resolution must be in the same scale
and in the same part : the preparation must not be given to one voice, the dissonance to another, and the resolution to a third.
An augmented Second
:=t
o
An augmented
* This triad
prepared and resolved.
^T
wm
Fourth prepared and resolved.
termed by Callcott the
diafotiic dissonanl triad, out of vphich, he says, arise

one with4;he third flattened, the other with the third sharpened. Thesa
arc here termed the Hard diminished triad, and the Double diminished triad.
two altered
is
triads,
RUDIMENTa of
82
TliK
CADENCES.
By a cadence
is
understood the preparation of a close
Anthem form
bars of the National
a cadence
thus the last two
;;^s^=^n
i
w
The harmony upon which a simple cadence
domiuant, dominant, and
better effect
is,
in
tonic, thus
most
cases,
icîr
is
founded
1
is
that of the sub-
produced by introducing the harmony of
the second of the scale in the place of the sub-dominant, as in the following
instance
'-^
^=E3^P^^
I-
ÊEi
are called aulhentic cadences, by which term is meant, cadences
chord
of the dominant imrnQdiidiieXy precedes that of the tonic.
in which the
The plagal cadence is that in which the tonic harmony is preceded by the
The above
chord of the sub-dominant.
pi
1-
ai
I
S.
D.
T.
SCIENCE OF HAIIMONY.
An
excellent effect
is
83
generally produced in a cadence by the introduction of
the dominant seventh.
9.
tf#-^-
at
?^ÎIe
Key
A half cadence
instead of
upon
is
when
of
A Minor.
the cadence ends
upon the chord of the dominant,
A half cadence may
that of the tonic.
oi a phrase^ or a passage in the music
but at the
it
When
should end with the
full
at the
chord of three,
termination
termination of the com-
and so contrived,
position the last chord should be always the tonic,

that
occur
final
if
possible,
five, eight, in its first
form.
the third and fifth cannot both be introduced, the third should always
There are many ways of varying a cadence, but to
be preferred to the
fifth.
judge of these
necessary to study the works of the best composers.
it is
PROGRESSION OF HARMONIES.
In harmonising
it is
not sufficient that every note in the second, or in the
base, should be in accordance with the note above
it
in the air, but the
pro-
gression of the parts must be considered. Not only the air, but every part,
whether a second, third, or fourth, should have a melody of its own the voice
;
proceeding not by sudden skips, and abrupt transitions, but by easy intervals.
In vocal music this
in instrumental.
is
of the greatest importance
much more so indeed
The same progression of harmonies
that
may be
than
easily per-
formed upon the organ or piano, and which may seem satisfactory, will often
Hence it has often happened that clever writers of organ and piano-forte music have utterly failed,
when writing glee and choral music. The following is an instance (an extreme
one) of a false progression in the second part.
appear forced and unnatural when sung by voices.
Q
^- ^Âlthough,
in this
example, there
is
^^-
iE^Pi
not a note given to the second part which
air, the eflfect produced by the

sudden skips up and down to extrem.e parts of the staflf, is as disagreeable as if
every note were a dissonance. The second should be written after this manner:
G 2
does not accord with the note above in the
RUDIMENTS OF THE
84
It is
of so
much importance
flowingly, that
it is
that each part of the
olten better to sacrifice one or
harmony should be written

more of the intervals of the
and to have the harmony less full than it might othenîse be,
than to let the melody of each part be, in the slightest degree, broken or inThe superiority of Mozart over all other composers consisted not
terrupted.
perfect chord,
so
much
in the richness of his
which were breathed
harmonies as
in the beauty
into every part of his score,
soprano or for a tenor violin.

Another rule to be observed
is,
The
full
chord
is
in its
for a
second
that the accented parts of a composition, or
the notes most dwelt upon, are the parts where the
perfect.
of the melodies
whether written
most perfect
harmony should be the most
state
in its first form,
with the
root in the base.
When
the third is used as the lowest note, or the
fifth,
the
eflfect is less
per-
and should be confined as much as possible to rapid movements, and not

to what may be called the resting places of a composition.
There are some notes, especially in quick melodies, which do not require to
be harmonised at all these are the notes merely used for connecting the more
important intervals together. They are termed passing notes for instance,
fect,
If
we
we should put the fifth next the root, as in the order of the
The tifth, however, without the third will be found
harmony than the third without the fifth but, when possible, both
follow nature closely,
self-generated sounds called /tarmonics.
to produce a less perfect
should be heard in the last chord.

SCIENCE OK HARMONY.
In this example the quavers are passing notes.
8.5
Were
they notes requiring
to be dwelt upon, they could not be harmonised with o in the base.
Among
condemned by
what are termed consecutive jifUis
be understood fifths and octaves, ascending or
the false progressions in harmony, or progressions
musicians as producing a bad
and
octaves.
By
these are to
effect, are
descending in the scale consecutively.
Consecutive Fifths.
^
Consecutive thirds, fourths, sixths, and sevenths, are allowed, and often
produce a very agreeable
effect
but not consecutive
The following
fifths.
are not considered consecutive fifths, but merely repetitions of the
same chord.
p
Consecutive octaves are only disallowed when the intermediate intervals of
The following would not be
the chord are employed.
considered, in the ob-
jectionable sense, as consecutive octaves, but as an example of
Unisons.
Û
-I
i
9^
^t=?t:
f:
But if the intermediate parts of the chord were introduced, the octaves
would be disallowed, as producing, with the consecutive fifths, bad harmony.
Consecutive Fifths
dr
-/?K-
To
and
Octaves,
*|-2
-8
^8 "r-^
S-- rs 3-5
^- S-r
-5 a^r-
-r-g
5-?-
and octaves, which the student will at first

which give much more offence to some critics than
more serious faults), the parts may be made to proceed by contrary 7notion.
And indeed, without reference to consecutive fifths and octaves, when music i
avoid consecutive
fifths
find very troublesome (and
more parts, they should not, as a general rule, move

one or two of the parts ascend, a third should descend
written in two, three, or
much
together.
If
and when one or more of the parts have a rapid flowing passage, a third should
rest upon one long note.
RUDIMENTS UP THE
The same aroided by
Consecutive Fifths
and Octaves.
contrary motion.
Besides consecutive fifths and octaves, there are hidden fifths and octaves^
which are equally to be avoided. They are called hidden because one of the
parts, in its progress from one note to another, is felt to sing through the note
which, if expressed, would form a consecutive fifth or octave.
Hidden
Hidden Octave.
Fifth.
^t
x-^
^:
When
hidden
move by skips, but from one degree

and octaves are allowed, as in the following instance
the upper part does not
fifths
And even when the upper

when
to another,
part does
move by
the chord or triad employed in the
skips,
harmony
is
hidden
fifths are
allowed,
not changed, but the notes
merely move from one part of the chord to another.*
#-1Chord
of
G B D
SEQUENCES.
This term
is
another name
for consecutive chords,
but chords wliich are
allowed to succeed each other ascending or descending, and which often pro-
duce a rich
efiect.
A Sequence of Sixths.
#1-6-
i^-=^
r^_3
Hidden
fifths are
generally allowed
when
=>-6-
t=
-Of
the last fifth belongs to a major triad, but never
rhen the harmony moves from a major to a minor triad.
SCIKNCK OF HARMONY.
87
sequences that they must preserve throughout the same interwhich they commence. For example, if they commence with athu*d
and a fifth, thirds and fifths must be continued throughout.
It is a rule in
vals with
5-_
J ^
'
1=
-I-
f
A
Sequence of Sevenths in four parts
^ ^
-1
-o
-#-i-
-4
-^-
-^-
*:i-^
-^-
~c:l.
-C3i^
/^
e>
S3:
f-
$=1:
^^^:
i^^
^^- Ei
:^
-^
f-F-
J-J-
1^
^^-
-^-
:o^
:?=?r^q=g
-^-e^
i-
MODULATION.
When music is removed firom the key in which it may be written to another,
and the whole of the notes are played or sung one or more degrees higher or
lower than before, the change is called a transposition.
When a piece of music is played partly in one key, and we pass suddenly
and abruptly to another, the change is called a transition.
When the music, beginning in one key, glides gracefully and insensibly into
another, the change is called a modulation.
The art of modulating into different keys is very important, for the richest
and most varied effects in harmony are produced by a change of keys. To
pass suddenly from one key into another, without preparation,
when
the object
is
to startle or to express the effect of surprise,
cases, the abrupt transition
is
painful to the ear,
duced by means of modulation,

to give
The
all
is
but a
extremely pleasing
it
is
an example of transposition.
is
only allowed
for, in
ordinary
change of keys, proenables the composer
the effect of novelty, even to the repetition of the
following
same movement.
88
liri)I
IS
MINTS OF THE
We have here a movement written first in the key of c, and the same movement afterwards transjtosed, and written in the key of d. The difference of the
two movements is merely a difference of pitch one being a Httle higher than
the other.
If in the middle of the movement, as written in c, we were to pass
suddenly into the key of d, and finish in that key, the change would be a
transition, and a most disagreeable transition it would be.
In order to glide gradually and insensibly from one key to another, without
any interruption of the music, or, in other words, to modulate, it is necessary
10 understand and remember the following rule
Ifi inoihihition 7ve must pass into a neiv key, through a chord common
to both Aei/s.
For example, the subdommant of
is
the tonic of f; when, therefore,
are playing the chord of the subdominant of

ourselves in the key of
key
f,
and
treat the
we may,
c,
if
we
we
please, consider
succeeding chords as belonging to that
:c5t
e^
.^^
.^^L
S.
D. of C.
and Tonic of F.
-t
S. D.
Tonic of F.
of F.
1^
-^.
:S=
^1
The dominant of c is also the tonic of g, and therefore, when we are in the
chord of the dominant, we may treat all the succeeding chords as belonging to
the key of g.
-OH
lev
1P
t^
Dom.
Pom.
of C, and
Tonic of G.
lo:
3i
Another rule
the
for
modulation
dominant chord helonying
is,
to
of
G.
o-
that rrr tnai/

it,
pass into a nejv hey, through
generally with the dominant seventh
SCIENCE OF HARMONY.
89
|g|âJ^jE^
Dom.
Dom.
of G.
-^
r-g =15^
qu
of
I).
rzic^zinf
E^=
I O
:i
In modulating back again from the key of d to c the same principle

followed, but the process
nant of
G,
is
shorter.
The
tonic
and the tonic g as the dominant of
d may be treated
may
as the
be
domi-
c.
In modulating in this manner, by means of the dominant, into different keys

above or below, it is necessary to pass through all the intermediate keys. Thus
to get from c with
no sharp,
into e with four sharps,
we must
pass through g
with one sharp, d with two sharps, and a with three sharps.
There
is
no
diflB.culty in
finding out the dominant of the next key above, be-
of the next key is always the next note, ascending^

to the tonic of the key we are in.
For instance, in the first of the two modulations we have given, d, the dominant of g, which is the next key to c upwards,
is the next note to c and a, the dominant of-Q, which is the next key to g,
cause the dominant root
is the
next note
When we
to g.
are not harmonising, but require the
key to another,
it is
melody to modulate from one
done, with respect to the keys above, by raising the fourth
of the key a semitone, which then becomes a leading note to the tonic of the
next key the tonic being the next note. The raised fourth of every major key
is to be regarded as the major seventh of the next key.
;
raised 4th.
Key of C
7th of D.
7th of G.
This corresponds with the rule that in modulation we pass through the dominant of the next key.
For the f
j^
in the first instance, if
harmonised, would

90
RUDIMENTS OF THE
be the
tliird
of the dominant
the third of the dominant
To moduhite back
;uk1 the c
i),
in the
second instance would be
a.
melody
in the
to the
key below^
necessary to flatten
is
it
or lower a semitone the major seventh, or leading note of the key
For instance, we may modulate thus from a major
ta?^
^-^-
to
we
are in.
c.
->--
<>
<_>
t;<
Key
Key
of A.
Here again the same
Key
of D.
rule applies, that
through the chord of the dominant.

semitone in the keys of d,
g,
and
c,
it
Key
of G.
is
C3of C.
necessary in modulating to pass
For, in harmonising, the note lowered a

will be found to be the minor seventh of
the dominant.
FIGURED
The
perfect chord,
and
all
BASSES.
the discords
we have described,
are
known
to
musicians not only by the names we have given, but by figures^ which indicate the position in which the chord or discord may be used.
Formerly it was
customary not to treat a chord as derived from but one root, which might or
might not be in the base, but to consider the base note always as the root,
whatever that note might be.
Thus, while the perfect Triad in its

5
was called, rightly enough, the chord of q, in its second form,
essentially the
third
same chord,
it
was called the chord of the sixth or
form the chord of the
first
form
although
and
in its
the intervals being, in these cases, always
counted from the base note.

1st form.
2nd form.
1
:^F5
:8tr
aiE=3E^
c-^ZI
In old music
it
will
-^^r?-
m^l
M^
3rd form
^
m
-C5^
'^-
be observed that the composers, to save themselves
chord intended
trouble, often inserted over the base the figures of the
played, instead of inserting the notes themselves.
-X
Thus
:cjiz
=1:
to
be

SCIENCE OF UAKMONV.
These
figures
mean
that the chords to be played are those given in the preced-
ing example, and which

or both
91
may
be played either by the
but this practice of writing
is
now very
left
hand, or right hand,
properly discontinued, and
the notes of the full chord designed to be played are always inserted ujion the
staff.
As, however, the different chords and discords are
derived from the old figured basses,
it is
still
known by names
make
necessary that the student should
himself familiar with them.
The discord of the dominant seventh in its first form is called generally
by the same name, and in figured basses is marked simply by a 7. In its
second form
it
is
called the chord of
in
third the chord of 4
its
in
its
3
fourth the chord of the 4
2
2nd form.
1st form.
3rd form.
i^
j.-
When
flat,
-l-
:iti=
-^4-3-
in figured basses
be raised a semitone,
to that note, thus
4th form.
5.
it
i*r2-JPLl
it was necessary to indicate that one of the notes should

was done by drawing a line through the figure referring
In other cases, when the same note was to be depressed,
or a natural, was placed against the figure.

^7
diminished seventh are written thus
>.
The four forms of
the
it
1st form.
2nd form.
3rd form.
..u
\-#l-
i
w
The discord of
the added ninth
is
called, in
its
Other discords, of which we have not thought

are
known
4th form.
in the
different forms.
it
7 6 6 7
9 6 5 4 6
7,5,4,3,4
3 3 2 2
necessary to give examples,
same manner, by names derived from
their figured basses.
RUDIMRNTS OF THE
9*2
DOUBLE COUNTERPOINT.
In harmonising an air it is usual to treat it as the principal melody of the
The highest part will
and, to keep it higher than the rest.
composition
always predominate over every other, and, therefore, none of the notes given
to the second, third, or fourth voices, should rise above the first, unless it
;
be intended that the melody of their part should, for the time, take the lead.
In most collections of psalm tunes harmonised for four voices, the parts are so
written that the tenor and counter appear above the air ; but the air in these
collections is intended to be sung by trchh voices, and the other parts by the
voices of men, in which case the air would
still
be the uppermost part.*
By double counterpoint musicans mean harmonising an air in such a manner

that it may sometimes be given to the base, and sometimes to the tenor, and yet
produce an equally good
ellect.
FUGUES.
A fugue
is
tates the first,
mhiant
is
that kind of composition in
by following
it
which the second or third part imi-
at a certain distance,
but starting upon the do-
The
or fifth of the scale, instead of the key note.
called the subject ; that which follows in the base
is
air
which leads off
called the ansiver.
Subject.
FJ=t=:J:
^#
-C3-
:o:
Answer.
zrozz
iJEiE-
\
The
greatest fugue writer the world ever
was contemporary with Handel.

j1 canon is a species of fugue
or Chapel.
produced was Sebastian Bach, who
the diflferent parts follow and imitate each
one of the reasons why congregational singing often prodacet

when there is not a majority of female singers in the Church
clerk leads the air while the tenor and counter-tenor voices sing their parts a
Ignorance of this rule
an unpleasing
effect,
is
especially
third and fifth above him.
Hence the
air
has the grumbling effect of a base, while the inver-
sion of the chord, contrary to the design of the composer, sometimes produces consecutive
fifths
and octaves.
In Germany, Churnlfs, a word which answers very nearly to pxalm tunrs hnrmntusedf
instead of being written for one treble voice, with an alto for a second, and a tenor and base,
are written for two treble voices, with a tenor and base.
between male and female singers, produce a much better
The four
effect.
parts thus equally divided
HARMON T.
SCIENCB OP
03
is not required to be founded on the dominant.

one in which the same parts repeat ad libitum.
other, but the answer
endless canon
is
The
PEDAL HARMONIES.
These are peculiar to organ music.
The pedal note is
but not invariably, the dominant, which

siderable
is
a long note, generally,
sustained sometimes through a con-
number
into each of
of bars, in which a variety of chords and discords are played*

which the pedal note enters as a component part.
THE ENHARMONIC SCALE.

According
a ft is not always to be
although on the piano-forte there is
to the strict theory of musical progression
considered precisely the
same note
as b
In the progression of sounds, a delicate ear will detect, besides

difference.
semi or halftones, quarter tones, and three-quarter tones. And hence arises
what is called the enharmonic scale, or a scale including the minutest possible
no
^gradations
no
practical use.
which may be expressed on the violin by a

first-rate artist, but not on the piano-forte, and which cannot even be correctly
The enharmonic scale is
written with the present system of musical notation.
gradations of sound
therefore of little or
Out of this
fact,
however,
that
in a musical progression the ear requires to
proceed (although generally without being conscious of it) sometimes by quarter

tones (it is said by even smaller intervals), and three-quarter tones, instead of
by semitones,
arises the impossibility of
tuning perfectly a keyed instrument like
found that when all the fifths are perwhich are of more consequence than the fifths. To
tune the notes correctly it is necessary in some cases to flatten the fifths, or
leave them comparatively out of tune hence the organ and piano-forte are
In tuning,
the piano-forte or organ.

fect, the
thirds
it is
are not,
termed imperfect instruments.

distribution
among
observable,
is
The imperfection
is
called the
woolf and
called the
different notes little used, so that the defect
may be
its
the least
temperament.
is when, without altering the pitch of the key note,
The enharmonic change

we change
from a key written with sharps to one written with flats, or vice
merely a different mode of writing the same sounds, the
key of G being for all practical purposes the same as that of f? but the rules
of harmony require that when an interval is changed enharmonically it must
frequently be followed by a different chord to that which would otherwise hare
been employed. Thus an augmented fourth changed enharmonically becomes
a diminished fifth. The one would have ascended, the other must descend.
versa.
it
It is, in fact,
t>
_^
W-
I.I
"^
*i
f~^
RUDIMENTS OK THE
94
OF THE CONSTRUCTION OF MELODIES.

Meloily ranks before harmony.
nised or not
good melody
will please
but a piece of harmony, however scientific,
if
whether harmo-
the air be indifferent,
much pleasure. A bad melody may be greatly imbut the perfection of the art is when good
harmonised,
by
being
proved
melodies and good harmonies are blended together. A person who has no
talent for writing original and beautiful melodies, can never make a great comis
rarely listened to with
may be
knowledge of the science of harmony. Hence

a branch of
is much more
The principal features of a melody
artificial than would at first be supposed.
jl
are, the subject^ consisting of a number of short j^hrascs and a cadence,
phrase, sometimes called a Ccesure and Figure, is a passage seldom extendposer, however great
his
every lover of music should study the construction of melodies

Their construction
the subject generally too much neglected.
more than two or three bars, containing a musical thought or idea

which may be imitated, varied, and changed at the will of the composer.
The National Anthem contains five phrases and two cadences each phrase
ing through
occupying but two bars.

First phrase.
Second phrase, or variation of the

'M
9:
glIZ|~(i_.;
first.
m-
t:
Cadence.
.^^-
V-
The same thought
is
again taken up and varied in three
diflferent
ways, in the
second part of the tune, concluding finally with another cadence. To compose good melodies, however, it is not sufficient to string musical phrases toGood music must be written upon the same
gether, however scientifically.
principle as
sists
good poetry.
The
heart
must be made
to speak.
Poetry that con-
of words or phrases, that appeals to no kindred feeling, or that awakens
no strong emotion, is always of an inferior character and so it is with music.

A good composer will give himself up to the inspiration of his feelings. If
writing music to words expressive of aflliction, he will endeavour to feel like
one afllicteil. If the words lie expressive of trium})li. iie will endeavour to call
up in his mind the emotions of joy and exultation. According to his ability to
do tills (and it is an art to be ac(|iiired), will be his power of producing works
;
such as are commonly ascribed to genius alone. The passions will always find
but the passionless cannot express the language of the passions.
utterance
;
SCIENCE OF HARMONY.
Rhythm
in
music
contains a certain
95
the same thing as metre in poetry.
is
number of syllables or
and
feet,
it is
In a
poem one
necessary the next
line
line,
it, should contain the same number of syllables or feet.

One phrase containing a certain number of bars, requires to be
answered by another containing the same number of bars and, as in poetry,
or one not very far from
So
in music.
there are different kinds of metres
common
sometimes
called long metre, short metre,
metre, &c., so in music there are different kinds of rhythms, to
understand which
it is
necessary to study the works of different composers.
APPLICATION OF THE FOREGOING RULES.
The musical
student
who
under an eminent master,

directions
how
is
able to afford the expense of private instruction,
will not require, in
an elementary work, any practical
to proceed, for every master has a system of his
will of course expect his pupils to follow
lovers of music,
own, which he
but to the humbler class
and those who cannot afford
to devote so
much
among
the
time to the
study as is often spent over a tedious, progressive series of lessons (and for
such especially we write), we would recommend the following course.
First, he should endeavour thoroughly to understand the principles we have
attempted to explain, relative to the science then let him take a simple air,
;
like that of the National
Anthem, and, with the
assistance of a piano, endeavour

two equal voices. In so doing he will discover that the
chief intervals to be employed are thirds and sixths, but he must find out by his
ear alone, w^hen a sixth will produce a better effect than a third, and when a
third should be used as a tenth.
The choice of a third, sixth, or tenth, or of
any other consonant interval, must always depend upon the progression of the
air: there is no rule that can be laid down on the subject. When he has written
his second, he should look it carefully through to see that he has not introduced
any consecutive fifths or octaves, and then get some person to sing it with him.
If the effect be such as to please his unscientific friends, he has made one step,
which will encourage him to persevere, and in subsequent efforts he will find
himself rapidly improve. When he has learned to harmonise tolerably well
for two voices, he should take the same airs and harmonise them for three, and
afterwards for four and five voices and not till he is somewhat expert in doing
to
harmonise
it
for
so should he attempt any original composition.
With
respect to them, he
should commence in the same manner, first with trying to write simple airs,
such as might give pleasure to childhood, then with simple duets ; and never
attempt, until he has gained considerable knowledge
by
practice, the higher
order of compositions, lest he be discouraged by a failure, which, at the be-
ginning of his career, would be inevitable.

If he wish to write good vocal
music, for three or four voices, without instrumental accompaniments, he should
study the compositions of Webbe, who must be placed at the head of English glee*
writers.
Next to Webbe, Callcott.
Both these writers were eminent for their
skill in that peculiar description
excelled, nor equalled,

*
of music in which England has neither been
by any nation
in the world.
madriold madrigals also should be studied, many of which are very beautiful.
a peculiar kind of chorus, written usually in six parts, without accompaniment. Glees
are usually written for three or four voices only, the parts not intended to be doubled, or
sung as choruses.
gal
The
is
RUDIMENTS OF THE SCIENCE OF IIARMOXY.
OG
The professional musician will find

witliout the assistance of
This
attained.
is
it
ofu^reat
an
importance to learn to write music
most great composers have

not to be done by simply studying the rules of harmony, but
tlie
piano
art wliich
by cultivating the memory of sounds, so that the effect of different

be heard, i/i the mind's ear^ the moment they are seen on paper.
may
To acquire
down from
intervals
power the young composer should begin by attempting to write

different airs, and correcting them afterwards witli the piano or some
other instrument.
He should then procure a person to play to him the seconds
or basses of the same airs, and write them down also, depending onlv upon his
Then the same airs played with their full
ear; having no copy before him.
chords. In this manner he will learn gradually to commit his musical ideas
to paper as readily and as correctly as he would put thoughts into words
but
this
memory
the art
many
is
not to be attained without considerable practice.
of his later works after
have done
so,
had he not
first
Beethoven wrote
he had become wholly deaf; but he could not
learned to retain the
memory of the sounds
he had
once, and oftentimes heard.
We
shall
conclude this brief outline of the rudiments of harmony, by an
extract from the ablest paper* that has yet appeared on the subject, written
upon the
article
*'
Music"
in the last edition (the edition of 1837), in the
**
En-
cyclopedia Britannica."
To
make any one a composer of music by means only of dry

upon intervals and chords, is just as absurd as to attempt to make a
poet by means of Bysshe's Art of Poetry,' or other books of the kind.
Genius,
*'
attempt to
treatises
'
and observation, and a careful study of the best models, are really the only
things which can ever
The
poser of music.
make
good
poet, or a
good
painter, or a
good com,
aid of a skilful master will be of great importance, if he
be not wrapped up in a theory.
And
in the absence of a master,
two or three
of the best modern treatises on the subject, such as Reicha's and Cherubim's,
may
help the student to understand the construction of those models of comwhich he ought to have constantly before him. But there is nothing
position
so uselcsJ! as spending whole years in the vain study of what

base, although
whole
*'
art
it is still
considered by too
many
is
called
thorough
persons as comprehending the
and science of music,
In the works of the greatest composers are found
many passages
of excellent
though prohibited by the rules of the theorists. Such being the case, we
would again earnestly urge the student to form an extensive acquaintance with
the best models of the art, rather than to trust to any theories on the subject,
effect,
lie
ought never to give up his reason and his judgment to any theoretical auwhatever he meets
If he do, he will become timid and uncertain
thorities.
with different from what his dry rules have taught him will perplex and terrify
him.
His energies will be paralyzed, and he will be incapable of producing
He ought to keep in view that

music nothing is out of rule except what offends the ear, the taste, and the
judgment, but that he must not attempt to imitate the freedom and bold effects
of the greatest masters, until he has acquired great knowledge and command
any thing but cold, feeble, and formal music.
in
of his materials."
lie
Since writing the above, the article referred to, written by Mr. Graham, has been pubs. j>aiate form.
iicc in
.\
THE FIRST CLASS TUNE-BOOK.

CONTENTS.
1.
Twinkle, twinkle,
19. The alphabet

20. Tit for tat
Kirst part
108
110
22.
Second
HI
....
4.
5.
Improve the
3.
passiiij^
6. Multiplication table.
9.
12.
13.
.
.
part
The peace maker
We
We
go
....
one another
all love
'11
to our places
14.
How
15.
Early
16.
Over the water from England

France
the wind is blowing .

to bed, and early to rise
The
following airs ma\'
they
may be sung with
The seconds
all
18. School
is
122
123
123
124
125
126
128
130
jest
begun
Hut cross buns

Plav hours
21.
23. The kind heart

24. ('ome let us sing
25. The chatterbox
26. The linnet
27. The harmonious blackbird
28. Tiie praise of spring
112
113
113
114
116
The pence table

The days of the months
10. Procrastination
11.
hours
Ditto.
7.
8.
Pae*"
The nursery
100
102
104
106
little star
Welcome to school
Come and see how happily
Perseverance, ur try aâm
2.
No.
17.
Paê
No.
131
132
134
136
138
140
....
.
The sluggard
117
118
119
30. Neatness and cleanliness

31. Work away
120
32.
33.
29.
to
Time
Good
141
142
143
for rest
night
be sung as songs without the accompanying parts, or
the second part only, omitting the third, or base.
will not be found too diflficult to
years of age, accustomed
to sing in classes,
be acquired by any child of seven
but
it
will be necessary to teach both
the air and the seconds separately, before singing them together, as children
when attempting
to sing
both parts, without knowing either perfectly, are apt to
pass from one into the other.
The
when not
base,
may be sung by
written expressly for an instrument,
the
In some cases the
schoolmaster, or by the father, or elder brother in a family.
third vocal part, although written in the base clef (for the convenience of piano-
may be taken by boys
forte players),
third part, if
sung by a
treble voice,
or girls of fourteen.
would
rise
above the
When, however,
air, it is
the
intended solely
for a base voice.
To
perform the
airs
upon the piano-forte, children should be directed
from the top and bottom
staves,
paying
little
or
no attention
to
to
play
the middle
staff,
by which they might be confused.
In singing,
the teacher
to pitch the notes b
must
first
and c
with the help only of a
î
play the upper b or c
-^
*-
and then
fall
with the voice.
K?
flute,
an octave
THE
TUNE BOOK.
FIRST CLASS
No. 1. TWINKLE,
TWINKLE, LITTLE STAR.

'Ah vom dtrai-je.*
The words from Rhymes ttvm the
Count 2 r Metronome 104.
'
ylt=i=j;
1st Voices.
Twin
kle,
'^
;e
twin
kle,
lit
tie
^^-
star.
^=iîE
2nd Voices.
Twin
Violoncello,
or
kle,
twin
kle,
-=^ -i
won
m^
i=i^3ES
der
won
^1*fl^=q"
>--ii:
what
you
a-
Up
are.
m^
R
-
-
der
C3-
what
you
Up
are,
-nPi^-p
3EEi5rd^=.=
^.=3g=
fEt*Esi?=b
Si
star.
^.=.=x
--i-*;
How
tie
"O.
t=F:
F"
How
lit
^:
e=?:
1*4
o:
.9>
eiiS
Piano-forte.
Nursciy.
y-
bove
the
mzzzm:
world
so
-G^-
high,
<=^
bove
the
3ttatE5^3
#3^5-
world
so
:*_ii*
high,
t=h
Like
dia
mond
eJ^
Zlt
Like
^"^=S=^^
dia
mond
THK FIRST CLASS
m
w
hi
il;nc UUOK.
:y=Tq:
101
:p=*:
-o>-
in
the
Twin
sky.
twin
kle,
Twin
sky.
the
twin
kle,
tie
M^zz
kle,
li
tie
-tî^
feg^
How
star.
lit
E3EE^;
m^mwWGU
fej
:o:
you
are.
what
tier
E3^S
R-
-ft
- kle,
=J
l=iES
m
How
star,
won
you
what
der
are.
->>-
gglgigpp3
l=ip=i=:
:i=:t
:d:
3.
When
the blazing sun
is
Then the traveller in the dark,

Thanks you fo your tiny spark
He cou/d not see which way to go,
gone,
M^'hen he nothing shines upon,
Then you show your

all
Twinkle, twinkle,
little star,
If you did not twinkle so.
the night.
Twinkle, twinkle,
How
little light,
wonder what you
Twinkle, twinkle,
How
are.
4,
In the dark blue sky you keep,
While you through
And you
Till the sun
is
curtains peep
in the sky.
Twinkle, twinkle,
liow
my
never shut your eye,
little star,
wonder what you
are.
little star,
wonder what you
are.
;;
102
2. WELCOME TO SCHOOL.
No.
Count
M.
4 r
March in Riue Beard.*

The Word, l^ W. E. Hicluoa.
'
104.
f^'
1st V.
^^
where
Come,
and
joy
ICX
glad
netiS
2ud Voices.
X2t
P
where
Come,
gUd
and
joy
^-
3rd Voices.
with
Come,
i
w
h
^
m
^
Yj
hj
1^^-^
Make each youth
1^
ful
Make each youth
-^
'
stran
i<;=L
ful
and
joy
glad
K-
ger
b^-
t-
wel
come
guest
And
::1:
stran
ger
wel
wel
use
come
guest
Aiul
lap^
2nd
Ferte,
and
Come,
Learn
ing
>r|2:z
f=3=
L
come,
be
still
some
come
guest
thing
fill
iss:
Oi-
>:
4=t=:]:
where grief
and
where grief
and
aFEEHq=z:j^
sad
sad
:^:
ncss
ness
find
dwell
ing
Will not find
dwell
ing
Will
not
^3-
^
Coiue.
where
grief
uu'.l
sad
ness
2/i/ f'erse.
Will
Thus
not
to
dwell
-
sjeth
with*
ei
THE PlUSr CLASS TUNE BOOK.
Fine.
F=^
your
in
103
Your
breast.
time
with
us
will
pass
With
way,
i
your
Your
breast.
time
with
us
will
pass
With
way,
S33^=
;(&*
P
breast,
we
will
sing.
:p=pc=p:
Êy
t-
^^
books
or
work
or
health
ful
play;
And some -times
books
or
work
or
health
ful
play;
And
with
ji=:
some -times
with
D.a
AJ
^r
\)
-)
#/"
11
your
f=^
i
W
in
J
^
cS
%J
cheer
'J
cheer
^.
fi
hap
hours
py
will
glide
long.
J
d
J
^
J
d
py
hours
will
'
"
_1L J
The
song,
/ K
y \v1
ful
J
d
^
^
ful
song,
The
hap
d
glide
c^
a
long.
\V
w
'
2.
Thus, our days employing,

We are always learning some useful thing;
And, these pursuits enjoying,
Merrily together we will sing.
Tho' in our sports we take delight
We
also love to read
And
Who
and write
who teach us, too,, we prize,

strive to make us good and wise.
those
'
104
No.
Count
M.
'
Voices.
2nH
HOW
SEE
HAPPILY.
StfveDSun
/5
L/
m
>
Come
and
\y
TJ
\
A
>
-2,
!^
1\
huw
hap
P \
Come
at:
N
^
and
see
how
K
\ P K.
\
J
m
#
pi
>
_iS
'
J
see
1^
m
k.
'
('^
3rd Vuicc'S.
AND
The worJ by W. E llickMO.
\\
i(
Viilri'S
3. COME
\\\.
r
1st
N
1
#
!
s.-_^
We
ly
N---N-^
-j^-
hap
'
V1
'
pi
"%
We
Jy
^
'
\
'1r
Cume
c^-
'
In
our
books
and
-P
and
see
how
^
sports
coin
biiitd.
-/i-t^/
Mc
ny
the
MUST CLASS TUNE BOOK.
TIIK
105
^^=
4=
y~^
charms we
find.
[n
our books and sports combined,
What charms we
Time
2iid Verse,
charms we
In
find,
our books and sports combined, "What
-a-.
charms
-P-
~^^=^-T-P ^=^
In
find,
see
how
hap
pi - ly
We
how
see
What charms
spend
:gf:
hap
pi
We
ly
p
//
how
see
N-
#~^^?
Al
J
*
ways join
ing
hap
pi
ly
q^
-\ ":s
> -5
p
^r
cheer
find;
day,
=F-
spend
each
day,
MOZMZZM.
Come and
find:
we
each
\A-^-
-9
Come and
we
A-
^=Sf-^
:p=:p:
Come and
ZZ^l
our books and sports combined,
find:
long.
=j=:
^H^
charms we
glides
:p:zzr
We
spend
-\
i y^
day,
work
In
ful - ly
each
a
?
play.
or
II
^=^"=51-?-=.^ -q^-J-^r^
^0
Al
^-
Al
&
ways join
ways
tf
ing
cheer
In
ful - ly
join - ing
A-^
work
or
P=
cheer
We
- ful
In
ly
work
improve the present hour,
For swift
Youth
is
it flies
hut a passing flower.
Which blooms, and
dies.
But with harmless mirth and song,
Time with us
still
glides along.
d~
'
play.
*
play.
-F-
!06
No. 4. PERSEVERANCE,
Count 4f M.
OR TRY AGAIN.
*
IGO.
DuDcan
Tlie word* by
f
?<=?
Ist X'oicL'g.
Oiy.*
W. E.
Hid
Chorus
:;=?
:q=^
'Tis
lea -
you
hoa
should
heed,
Try,
try,
b
2nd Voices.
=^=;
Try,
try,
m^
3rd \'oice8.
Try,
try.
:b=i:
-i:^.
try,
gain.
at
If,
first,
you
don't
sue
ceed,
^5
zfc
try,
gain.
g^g^j^
try,
gain.
f Chorus.
C3
-0|.
7'y.
to-.
try
gain.
rage
t^^=?'0-.
try
gain.
f.
eSS_=i
Try,
cou
5hP-^
To-.
Then your
i^
r^:
irv
i:aiu.
Then your
cou
rage
TUB
slioultl
ap
PIIUST
CLA88 TUNE BOOR.
pear
if
you
per
will
se -
vere,
m-
my
:!^=:t=t:
You
will
con
f Chorus.
E^
'rf-f-r
quer,
ne
-^-
ver
fear,
--r-
Try,
try,
Try,
Once, or twice, though you should
It
you would
fail.
at last prevail.
Try again.
If we strive,
'tis
Though we may
What
no disgrace.
not win the race
should you do in that case
Try again.
3.
If
you find your task
is
hard.
Try again.
Time
will bring
you your reward,
Try again.
All that other folks
Why,
with
Only keep
can do,
iiatience,
try
try
Try again.
should not you?
this rule in view,
Try again,
try
gain.
gam.
07

THE
108
Ist
TUNE
BOOll.
THE PASSING HOURS.
5. IMPROVE
No.
Count
FlUsT CLASS
Mutiirt.
W. E. Hieluoiw
M. 132
4 r
Voices.
Tlu; word. b>
ii^^^^m^m
Im
the
prove
pa>.s
in^
hours,
the
pass
?-*HT11-r:
-LztH
)-
2n(l Vuicei:
Im
Violoucello,
or
prove
_C3!
gBEE3
Piano-forte.
For
:m=zf:
ing
For
hours,
C3|
1^
b_,_,_.
tizztizzif
time
mg.
the
EEE^3
1--
on
is
Sip
ho
ney
ho
ney
:p=S;i:
time
on
is
the
4=:^
^^l:
wmg,
Sip
.C>
C^_.
|iS
the
EEE3
from
the
t::?
^=1:=
e:
^^-
And
mer
- ri
ly,
mer
ri
ly,
mer
ri -
ly
And
mer
- ri
ly,
mer
ri
- ly,
mer
ri -
ly
sing.
-i=^
'fe
flowers,
:c>:
dg
from
<3
^^
sing.
FIRST (JLASS TXJSE HOOK.
THb:
109
b=p:
s;
All
ends
ly
ness,
sad
ness,
For
All
ends
ly
fol
^^:
trou
ble
it
ness,
And
^
glad
^:
mer
-I-Pness,
And
to
wis
dom
leads
to
mer
#
- ri
-^
1^
58=!?=t:
- ri - ly,
ly,
^^-
-M
leads
S^zz^:
-
dora
:lr
glad
^h
itzzzt:
;?
wis
But
bring,
will
x>.
^=5:
?=?
:p=P=trou -
C3
-0
But
bring.
will
it
For
C>
f^^^
g
ble
in
-^-
l2zip=:pzzzpzzzii:
3itb
sad
in
4=^:1=:1=^:
f-^^
i
w
fol
mer
- ri
ly,
mer
- ri
ly
sing.
mer
- ri
ly
sing.
1t:fs
mer
- ri
ly,
^3-
^^-
2.
Repine not, if from labour

Your health and comfort spring,
Work hard, and help your neighbour,
And
merrily, merrily, merrily sing.
Store not your minds with fable,
To truth your homage bring,

Do all the good you are able.
And
merrily, merrily, merrily sing.
t-
i
no
THE FIRST CLASS TUNE
G MULTIPLICATION
No.
Count 4 r M.
Ul>OK
TABLE.
First Part
132.
1st Voices.
-^.
Three
are
threes
three
nine,
are
fours
twelve.
Three
^^=m
^
2n(l
Voices.
iL-^
Three
Violoncello,
or
Piano-forte.
threes
^tti^
^tt
make
teen:
fif
make
will
fif
And
teen,
G>
And
As
times
three
six
are
*:J I
=;
times
three
C3-
eigh
Three
-?r5
teon^
just
twelve,
<J>
* *i
are
-,-
r*
will
fives
10-
fours
fives
three
nine,
--
c>
^"tt
i=J=
are
have
they
a)
ways
been.
-^-
iOl
4.
And
And
make sixteen,
If you will count them o'er;
Ami lour times five have always been
Just twenty, or a score.
three times seven arc twcnt}'-onc.

Three eights are twenty-four ;
And three times nine are twenty-seven,
You'll find they make no more.
3.
Three tens are
thirty,
four times four will
1
And
and three elevens
Will make just thirty-three

And threi- tinu-s twelve are thirty-six.
And more ihey cannot be
;
6.
Fou) tens are forty, we repeat,
Four elevens are forty-four;
And
four times twelve are forty-eight,
And now
four times six are twenty-four,

Four sevens are twenty-eight
And foiur times eight are thirty-two.
Four nines are thirty-six.
our song
is
o'er.
THK FIRST CLASS TUNE BOOK.
No.
Count
7. MULTIPLICATION TABLE.
Ill
Second Part.
ist Voices.
Five
times
or
five
are
=.p:
twen
times
ty
five,
::*
4-
*tf^
-4
Violoncello,
^-m-
^^
2ad Voices.
Five
twen
five
ty
five,
aF,i2=f;
Piano-forte.
I;
_^,.--cij=hzj
Five times six
are
thir
Five times six
are
thir
ty
And
Pp^
five times seven
are
^^^#
-
ty;
And
five
times seven
are
^;
i
times
five
eight
are
for
ty.
t
thir
ty
- five,
And
times eight
five
are
for
^^-=-.
aiiE
m.
3.
Five times nine are forty-five,

Five times ten are fifty;
And five times eleven are fifty-five.
And five times twelve are sixty.
Six times nine are fifty-four,

Six times ten are sixty
And seven times nine are sixty-three.
And seven times ten are seventy.
4.
Eight times nine are seventy-two,

Eight times ten are eighty
And nine times nine are eighty-one,

And nine times ten are ninety.
ty.

THE
112
No.
Count
Ut
M.
CL^SS TUNE HOOK.
FIIIST
8.THE
PENCE TABLE.
Pur three equal
or two treblo and a brjie
160.
Twt'ii
pence
ty
and
one
are
eight
j>ence,
'4
2n(l Voices.
3rd Voices.
ii
Voices.
lig5zr=i^=rr=|=*r^p=:i=ziTq3=rp=#=:irzL
~
ft '
\V
b
b
b
b
b41
t-j
Thir
ty
pence
are
two
Thir
ty
pence
are
two
and
six
pence,
For
ly
pence
pence,
For
ty
pence
^^=r-/^:
and
six
4^^-i^
-
=4
'
Fur
^-^
V
zM-h--=^-v=i%J
tliree
IV
three
and
and
four
four
-m
Fif
pence,
pence,
ty
lif
t)'
pence
pence
a-
are
and
four t" pence,
Fif
ty
pence
>
and
two
and
four
four
are
are
four
are
/^
pence
ty
are
and
pence,
two
V
three
are
ponce,
two
pence,
'*iz^:p=:f==frp=:îl=r=#===*rp==3î4z^
xJ
Six
ty pence,
if
you
Are
will count,
five shil - lings
in
Mzz^:
:=*:
I
Six
ty pence,
if
you
will count,
Are m-e
amouut.
shil -
lings
in
amount.
lings
in
amount
^SESî
IX
ly
pence,
if
you
will coiuit.
Arc
five shil
lis
IHB PIKST CLA88 TUNE BOOK.

2.
Serenty pence are five and ten pence,

Kif;hty pence are six and eij^ht pence,
Ninety pence are seven and six pence,

a hundred, eight and I'ourpence
And
Twenty more we'll add, and then.

We shall make the shillings tea.
THE FOLLOWING SONG MAY BE SUNG TO THE SAME

No. 9.THE
AIH.
DAYS OF THE MONTHS.
Thirty days are in September,

April, June, and dull Noverabtrr;
All the rest have one and thirty.
Save the month of February,

Twenty -eight are all its store,
But in leap year, one day more.
No. 10. PROCRASTINATION.

A Canon
Count 3 r
^=0
=1=
-^
What
you've
get
do
to
for
^^
three
^3-
=t
done
to
day,
2nd Voice begins.
i
W^
What
-^
i
you've
to,
Î
And
^^
.Q-
do
3rd Voice begins.
There's
&c.
not
tiU
to
slay,
THE FIRST CLA88 TUNE BOOK.
114
No.
Count
M.
4 r
11THE PEACE MAKER.
The air from Midas.

The wordi by W. E. Hicl
144.
'
-R
Ut Vc
Comt
let
be
let
us
be
good
friends
frieuds
gain,
We
gain,
We
!i=:1:
-CJ>-
2n(l Voices,
Come,
5=1
good
Violoncello,
or
Piano-forte.
:A-O
-8=^
=q=:4:
-X
;h
^-
both
may
have
may
have
wrong;
been
V\1iy
should
we
let
our
should
we
let
our
l|=d:
t:^=
Why
=i
both
3ii:
wrong
been
:o:
<3-
^-
-^^-
-<E^
=
an
gry
pas
sions
j=i:
an
gry
pas
-1
Our
sions
1-
t=q:
-e>
=#:
>
-^
z:l=ji
quar
-o
?EE?:
^^- i
rels
on
\j
give
us
pain,
And
should not
last
so
- rels
on
ly
gi?e
us
pain.
And
should not
last
so
)tn-
quar
m^^
=1-
-o
-Gh
THE FIRST CLASS TUNE HOOK.
115
-^^h-
Fine.
c >
In
loug;
we
fu - ture
will
learn
to
mote
be
f.
wise.
Fine.
JOS-
-t
long:
In
fu -
we
ture
will
learn
Ql^
J^^
:^=d:
-^3-
Come,
shake
then,
hands,
be
not
&
1=t
-0
be
not
9-
-m
to
smile
tuM:
to
smile
gain, for
all
gain, for
all
is
ed.
.!Q)_
t
is
o:
end
ed.
Mizin
T3'
and
end
ed.
^^
-^
past and
past
:=#=
2.
We
:i=:
^3-
i
^^-
All those who wish for happy days.

This truth should keep in mind,
That friends without some faults are few and rare
And to those faults the proverb says,
"
should be sometimes blind,"
For we must learn to bear and to forbear.
Come, then, shake hands, be not still offended
Don't disdain to smile again.
For all is past and ended.
Come, let us be good friends again.
both may have been wrong
should we let our angry passions rise ?
Our quarrels only give us |)aiu,
And should not last so long
la ftiture we will learn to be more wise
Why
-^-
ed,
Z)a Capo.
-
-^-
We
fend
EEtEl
=jii
Don't dis-dain
of
still
^F
-h
Don't dis-dain
^^-
hamis,
shake
then,
:ss:
Baz^
fend
of
still
i
5EL
C>'
en
-^Come,
:
.^_
^^-
more
be
to
e3
THE FIRST CI^SS TUNE DOOK.
If)
No.
Count
12 WK ALL LOVE
ANOTHER.
Ox\E
4 r
it
w
#-
-0
We
no
one
love
all
We
ther,
tJ'tfl
^=F^
<E>
l=l=i
love
all
no
one
We
ther,
Pf
all
love
one
^^
:3Ê?^
no
:^
f-
rf^
And we
ther,
love
all
be
side,
EEi=:t^=E;E|^=E
-^-
Our
3zziz:
-e)-
Our
sis
ters
and
our
bro
thers,
^^â=i
i
^^^^
we
for - get
itzz
not
:;?=F=t:
thers,
Who
seek our
-4
-t^.
2.
We love our school and teachers,

We love our school and teachers.
We love our school and teacher*.
For useful things we learn:
We'll now take leave together,
We'll
And
C3-
f-
and our
fa - thers
-e>-
fÊ
thers.
-#
now
clap
hands together^
We'll go and play together,
But soon
we'll all return.
steps
o-
tf:
o-
to
guide.
-C5:
<3
THE KIHST CLASS TUNK HOOK.
No. 13.
Count
WE LL GO TO OUR
117
PLACES.
f*
go
We'll
pla
to
With
ces,
ai
I
:^
P
-/hands
clean
y"
^
)
'
a
/
^
^
J
r
to
all
we
are
told
'
m
^
else
we
~'?~
shall
p-_-v_
W-
~^
r~
ne
di-
- -
p.
HS
4^
^
i*
Be
ver
at-
"
For
great
V
r
J
pay
'
And
ces.
jj
lion
fa
Iv
ten
and
hap
5.
/'
py
and
^ :^
J
cle
-N-+
f
r
d
*"
And
ver,
r2.
1
'
I-
N-E^v
:=U=t^
learn
ing
aj^^
is
bet
ter
than
sil
ver
or
gold.
^
TUE FIRST CLASS TUNE BOOK.
118
No. 14.
Count 4 r M.
HOW THE WIND
BLOWING.
IS
132.
Irl
1st Voices.
M^V
How
the wind
3^^
xiz=q:
=l==z:*=r*iz
-^
blow
is
iug,
WUith
er
Whith
er
it
:#-
2n(l
^-^
Violoncello,
or
Piauo-forte.
it
aiiil
'C5"
ly
-l-ir
^^7===4
go
ing?
North-east
go
Qi
-
ing
North
to
It
-
t=i
east
to
south
and
-^
ing.
t
flow
ing.
in:
:s5:
./^
t ^-r~^
There
the
-^-#
e>-
where the waves are
.ii.
n-
-^-
LX^.
flow
where the waves are
west,
^=1:
and
south-west,
^^
:^
:ozzim:
!L4
is
There
har
dy
c>
har
lor
i=i
the
-^
dy
>-t
sai
sai
:c^
lor
bat
ties
with
the
with
the
iLtZbat
ties
c^
'c5'
r
THE FIRST CLASS TUMB BOOE.
^s^
EEEi-^
breeze,
wish him safe
wish him safe
^:
on
i:
dry
li^
No. 15. EARLY

6 ^
M.
:gtf
I^ZZZ^
:t==-=1
TO BED, AND EARLY TO

'-is.
-^
old air of
bed,
and
ear
Lillibt'lero.
to
bed,
and
ear
PPP=Slg3 ^
Iv
to
ly
ly
to
rise,
m^
i^
have
read.
the
have
read,
way
to
be
g^
f
Is,
'
*î=*Ef:
to
ly
the
way
be
=^
eiiS
#i
I:
If health you would keep, this counsel you'll take.

early asleep, and early awake.
Be
3.
'lis
No
good
your health, 'tis good for your purse,

doctor you'll need, and seldom a nurse.
for
4.
Then
^^
*îr
to
early to bod, and early to rise.
That we may be healthy, and wealthy, and
wise.
RISE.
âr
Violoncello,
or
Piano-forte.
sea.
home from the
and
The
Ear
2Dd Voices.
land,
160.
1st Voices.
the
:^.^:
-*
Count
home frum
dry laud, and
0(-
Oi-i
:^
J-
S=^
-4=^:?breeze,
on
119

120
HKST
TIIK
CI-ASS
TUNK LOOK.
THE WAIEK FKOM ENGLAND TO FRANCE.
No 10 0VP:R
Count
'^
-#-
wa
the
ver
ter
from
Eng-Und
%-
2ncl \uic.
France,
wa
the
ver
mL^^HEEE?;
- ter
from
Eng-lasd
to
France,
gain
ver
the
home
gain
But
blue
B=
!fe-^ >- ÎV

ver
the
blue
And
i=:^S=
home
An*
;q^^5; =t=:tt:
O
Vi"lonceIlo,
or
Piano-forte.
to
;s
-9But
ail
i^
!itj?
V^=^^=^
if
iu
your
î^-
if
in
learn
ing
you
do
not
ad
vance.
SE3â
your
learn
ing
you
the
bet
ter
will
do
not
ad
Pray
vatice,
Pray
t -F-
t
how much
you
^^3gSgSgg
'I
how much
the
bet
ter
ri;if=.=i:
will
you
b.
:^Ha:
be.
^=lPî
TIIK FIRST CLASS
TUNE BOOK.
121
s
Some
lit
tie
who
folks,
love
al
ways
s=^
r=
Some
lit
tie
who
folks,
al -
love
aifcfî^
'4
ways
Re-
to
:i
to
-A^-
roam,
main
as
great
^^^
a*
"
main
as
great
dun
^-
of
our
ces
But
ces
as
But
-I
we
time
as
F-t>'-
if
Re-
P
dun
It:
make
good
use
at
home,
We
i^=IS=ltrqV=jS:
f-
:*z=:^=
ff
of
our
we
time
make
good
t5=^:
::^
i=ztf=:j:
=j5=j
all
njay
he
hap
py
m^
may
be
hap
use
at
home,
We
I!
and
cle
isi
1^=:f!5=^5s=:^^
all
JSi:
py
and
cle
^pî
THF HRrr CLASS TL'NK BOOK.
18?
17THE NURSERY
No.
Count
M.
6 ^
JEST.
144.
A GermaB
EEf /
ChUd.
Lit
tie
^
Bo
has
yenf
Melody.
htr
lost
And
iihep,
Mother.
^^c:#Lit
tie
Bo
r-
tie
Bo
has
peep
Father.
Lit
tb:
can't
tell
has
peep
tell
can't
tell
^^'
And
her
lost
/
^^#-
where
where
#-
-#
5^ Tt
find
to
them
Leave them
to
to
find
them
find
them
Leave them
will
come home. And
Leave them
MZZM.
come home, And
-
will
lone,
and
their
tails
be
hind
be
hind
them.
hind
^^m.
them.
-Êk
bring
their
bring
their
taila
-0-^
r-^
^=^=7tht-y
î
will
and
-t=^=i^
bring
:t:^'=fi=^
they
lone,
i'=-
'^=gg^
they
and
0-
-0
:/=^=^
where
lone,
can't
sheep,
Cff
K-
\^jc=i
-i L-i
And
sheep,
her
lost
cume home, And
tails
be
-1
THE
FIllST
CLASS TUNE ROOK.
JSS
3.
Then up she took her
Little Bo-peep fell fast asleep.

And dreamt she heard them bleating
But when she awoke, she found it a joke.
For
still
they
all
were
And
forth she
^The song of
to find
them
made her heart
it
bleed,
fleeting.
Bo-peep
Little
crook,
little
She found them indeed, but

For they'd
N.B.
went
is so
left their tails
behind them.
great a favourite with children, that to
have omitted it in a work partly designed for the parlour and the nursery would
have been an unpardonable offence; but as the words are not considered by
Schoolmasters of a character sufficiently grave for Infant Schools, the following
may be
and sung
substituted,
to the
same
air.
No. 18. SCHOOL IS
BEGUN.
1.
School
is
begun, so come every one,
And come with
Little boys
And
smiling faces.
For happy are they, who learn when they may,

So come and take your places.
fill
when you grow to be men,

some useful station,
If you should be once found out as a dunce,
Oh, think of your vexation,

4.
2.
Here you
will find
And with their help succeeding.

The older you grow, the more you
And
Little girls, too, a lesson for you,
your teachers are kind,

will
To learn is now your duty.

Or no one will deem, you worthy esteem.
know,
What
soon you'll love your reading.
e'er
your youth or beauty.
5.
School
is
begun, so come every one,

with smiling faces,
And come
For happy are they, who learn when they may,

So come and take your places.
No. 19.THE
ALPHABET.
S=S
V-N-N'
!S=S=^
-'
bcdefghijklm
mB
-sa^
=t
S^
p
t:
P5=q^=^
]S=|!E
dr^^Êa^
g
u
1:
V and
4=
X y
Hi
jtzf
124
IHi:
PlllST
IJ())K
20 TIT FOR
No.
Conot
CLASS TUNE
TAT.
4 ^
The merry Sw!
The wurds
liy \V.
Hot.'
E. llick<
XX
Chil
as
dren,
we
.some
ai^3
ri
Don't
see,
^Ji.
=1:
S^^
gree,
gree
(lou't
They
t=a:
^-
out,
Tall
:o:
:<^:
^d^^
:q:
::!=
grieve
^7
times
x^
1=^
EE
In
say,
to
XX
their
hours
play.
of
:c3
-Cî
i=s=i5
One
of
fends,
m^S:
and
soon
we
learn,
He's
of
=1=
M-
Its:
:i^=--C3-
:=3:
fend
g^3
in
XV
-o
nis
^
turn;
And
tht-y
say
that
H^^î^
^#=p-
125
="F=P=FF
Children, why such anjiêr show ?

Don't you know, don't you know
You should not this rule obey ?
There 's a better way.
If each should in turn offend,
Then would quarrels never end :
There's a better way than that,
Or than tit for tat.
Though
it was indeed unkind,

Never mind, never mind
:
You should
bear a little pain,

So be friends again.
Those who
Must
world would
and must forgive
trifles like a man,
in this
live,
forget,
Bear these
That's the better plan.
No. 21. HOT
CROSS BUNS.
Count 4 ^
1st
XX
and 2nd
Voices.
Hot
Violoncello,,
or
Piano-forte.
cross
buns.
One
at
One
-9
pen
nv
buns,
lo
^-
N-
-H>-J
If
pen
ny,
^^
two
ai^;
f^==^t:I
pen
iiy,
tzzzt-
-^'^^
Hot
cross
buns.
iîS
The Infant Schoolmaster may substitute, for the above well-known nursery
words, the following, upon suitable occasions
:
Come, come, come,

Come away to school
Leave your play, and come away,
And come to school.
126
Count
2 r
M.
FIRST CLASS
No.
22.--PLAY-HOURS.
The vorda by W. E. Hickaon.
108.
!*^';
Ist Voices.
TUNE BOOR.
TIIK
Boys
and
come
girls.
2r)d Voices.
^t=i^
Buys
Violoncello,
or
Piano-forte.
mlf
S^=#
and
como
gii'^S)
aU
aud
^P^
and
:^:
:=!-
i^-ppl^ll
=1:
and
hands
Join
p'y.
:^:
.C2.
^^
pUy,
form
ring;
P-.
Put
your
P-
j^fefej
Join -
hands
mti=i
and
form
-^>ring
:^:
r=t^
books
and
1^2:
=1=F -
slates
Put
:m:
way,
^^
Conie
jom
y^
:c^:
=3^?i:
m- -0books
^^
and
slates
way
iCil
Coi
join
ra=:fc
:l^
:o:
our
THK FIRST CLASS TUNK BOOK.
are
bright.
In
i-health - ful
127
games
we
all
de-
:^
=1:
f
skies
îg:
are
bright,
lu
health
ful
games
Qi
G>-
^-
Discord shall not here be heard

No tales have we to tell
cold looks, or angry word.
We
love our friends too
For foolish
strife
Too
Avell.
we cannot spare
One moment from
Much
de-
all
-G>
Of
we
our hours of play.
too short they always were

swift they fly away.
128
No.
Count
3.*
M.
23.THE
KIND
H^:.\RT.
Th ir of the IHâr G irL
The words by W. E. Hickaoa.
*
104.
^=4:
Ut
Vcices.
Life
school where
this
school where
this
lea
son
is
taught,
sun
taught,
!Sd^-1:
2nd Voices.
-C3
Life
Violoncello.
^ or
Piano-forte.
is
S|=^:1=
t
be
it
deep-ly
im
les
-e^
-^
^-
P-
fe
=f==i^
May
-<3
pressed
on
my
mind;
Vain through the
it
SjjE
Of
May
deep
be
it
- ly
im
on
ss'd
press
gilE^Ê
my
mind
Vain through the
c>
-o-
m^:
-jp^^
orld
is
tru
hap
pi - ness
world
is
true
hap
pi
If
we
pos
If
we
pos
sought.
ne^s
sought
J^> _
-C^
C3
G>
-R
ÊBEiE
^3-5ses8
not
a heart
that
is
kind.
Those
who
ue
light
^-^
sess
not
heart
that
is^
kind.
Those who
3^^m
*
>Vheu two notes
are written, as in this instance, the upper one
event of the voice not being able to reach the lower.
"
is
to
make
r
delight to
make
only to be sung in th
'
THE Finsr CLASS TUNE BOOK.
un
thers
hap
^mm
=:r.
o
129
And
py,
think
^
to
sport
fine
it
cause
4-]-
SEP
o
hap
ua
thers
^-
And
py,
think
^-
sport
fine
it
to
'^-
-^
i
and
trou - ble
No
pain,
one
will
love
their
for
want
of
hu
Sni:
and
trou - ble
No
pain.
aie:
one
love
will
want
their
for
of
-^
:^:
i
w
#P-
man
- i
it*
man
- ty,
Slower.
-
i
and
Hate
ment
re - sent -
are
they
all
will
gain.
will
gam
S=iie
f
- ty,
<Bh
Hate
and
re
sent
ment
are
they
all
-^-
Gh
Gh
2.
Life
is
a blessing, which
We ought to
Kind thoughts and

Heav'n
Strength
And
if
we enjoy
render a blessing to
all
actions our-îme should employ,
loves all creatures, the great
is
and the small.
not ours to be used for oppression,
cruelty never to
power shoul3^belong ;V
Even dumb animals claim our
The weak have
protection,
a right to the aid of the strong.
hu
THE FUlSr CLASS TUNR BOOK.
ISO
LET US SING.
No. 24. COME,
The air from

The word* by W.
Count 4 f
'
Mida.'
E.
Jst Voices.
2ad Voices.
Violoncello,
or
Pmno-forte.
-i9"-#
>f; "if
(iJ
^
'^
c
t^-ff-^
There
-fi^
]/r,^ 1^
\u
not
is
^^
P
r
king
80
py
as
we:
hap
k.
-J,
1
P
^
^
1
-m-
There
be.
^W-r
^ 4J
Tt
2.
r-#
not
1
king
a
.
We'll not be sad

Tu
IS
without knowing why,

not half so bad to laiijjh as to cry
~P
hap
80
"
V~
With
py
w
>
to rejoice
ê
c:>
we join in the song,

would surely be wrung.
cheerful voice
For not
as
THK KIKST CLASS TUNE BOOK.
No. 25.
Count
THE CHATTER
181
BOX.
From
2 r
rs3
-R
1st
Voices.
=1=
There's some
t^â^
2ud Voices.
There's some
Violoncello,
or
Piano-forte.
folks,
what
do
you
do
-ât 1=:^:
They won't
will,
C5l
:*zii
folks,
the Oermaa.
what
you
They
will,
Q,
won't
-^
-e3>-
''-
II
:^=*==
Q|
:t::
let
tongues
their
lie
%let
click,
still,
Thus they
clack;
O
tongues
their
lie
M^^M:
click,
still,
Thus they
clack;
-^-
m,
r-î=i-
F
still
keep
ding,
on,
:*=t 1
t=t:
:t:--
night and
dong,
morn
ing.
ing.
:1^^
:r=d=i
"
^1
omorn
ding, dong, night and
o-
A-
^^-
-H-=
It:!?:
2.
But, though inends you live among.
Do
not
them with your tongue,
tire
Click, clack
click, clack
Soon they '11 wish you gone,

Ding, dong ding, dong
Take this warning.
;
When
advice you give or take
Think
before you silence break,
Once, twice once, twice

Think, and then you'll speak
:
Twice, thrice
twice, thrice
Thrice the better.
TUB PIKaT CLASS TUNE BOOK.
182
26 THE LINNET.
No.
{Arranged for three equal

Count 3 f M.
kt Voices.
voices, or
two trebles and a base.)
104.
The word."by"w. E^Hilkum,
l^SzE^
f
Oh,
r\\y
the
is
-^t
'.i
Liu
bo
ut-t
si -
lent
and
2iid V'oic<.
So
Hi
lent
and
81
lent
and
3rd V.
why
Oh,
No
sad,
the
Lin
net
-4:
:p=f
hap
bird
pier
there
could
The
be;
O-
---
:t=:=r:
sad,
No hap
No
Gf
bird
pier
:p=4
sad.
hap
there
could
be;
could
bej
The
tbird
pier
there
mmm-
JL -!#-
cold
nights were
gone,
thought
nights were
gone,
we
and
For
glad,
it
-^^
'^^=^^
-HfeS
cold
we
and
thought
it
For
glad.
so
<^
We
thought
n-
fe
sweet-Iy
it
iÊ
sweet-ly
sang
-'
it
sang
on
the
on
the
ou
the
I
For
glad,
so
it
The
greeu leaves were
tree.
The
green leaves were
tree.
The
tree.
ry
r:
\vct-ly
sang
greeu leaves were
I'
THE FIRST CLABS TUNB
138
BOOK.
i=f^:
i^'
come, and
-*-l
fÊEE
no
seemed
bird
so
For
blest,
joy
t-w
come, and
tuned
its
its
V.
^^^.
no
bird
no
bird
seemed so
blest,
For
joy
tuned
For
joy
tuned
-s
3Ii
t=t: I
come, and
when
notes
seemed
blest,
But
sung;
it
so
some
era
chil
el
its
have
dren
V-
^^
^
when
notes
But
sung J
it
some
cru
- el
chil
dren
have
aa5=i=f=|=
notes
when
Have
sung
It
-^-
3!f=t
%J
tak
en
nest.
its
And
robb'd
the
poor
bird
of
its
-^-
t:
WE^
tak
:f:==p:
-
en
nest,
its
And
robb'd
the
poor
bird
at
of
en
nest.
its
izzp:
And
robb'd
the
poor
bird
of
3.
I would not be guilty of such a great wrong,

pris'ners in cages for
Fly away, pretty

I
am
birds,
me
and repeat your sweet song,
always the friend of the
free.
youug.
t=l=f=t:
Our parents we love, for they do a gregt deal

More for us than we e'er can repay
But think of the sorrow those parents would feel,
If we were thus stolen away
No
its
-
-^>tak
young.
-^3
its
young.
THE
184
No.
Count
27.THE
Kills
CLASS TUNE DOOK.
HARMONIOUS BLACKBIRD.
HandeL
W. B. HidMOO.
2 f
Tlie wurdB by
Ivt Voices.
Hark,
2n(l Voices.
black
the
Ê3^3
Hark,
Violoncello,
or
Piano-forte.
bird
bird
ig
ng
3
hear
black
the
mg
41C3-
=4;
:=f^
In
hear
the
-o-
iiîii
trees
yon
of
Loud
grove
der
and
J^
c^
the
yon
trees
grs
!l=*
=1:
::]:
ee; -fe-i.
-Sil
his
notes
rh=
ring
are
and
ii^l^
.-iT-
clear
Loud
grove
der
ing
Through
the
woods
where
,->
*^.^^
oft
aie
=it=
ZI^!IIZ
we
:-a
oft
P-
^^
Var
bling
sweet
ly
fL
War
we
-fi-.
?:
t::
bling
sweet
ly
songs
songs
S5:
of
of
THE
glad
glad
ness,
When
CL\SS TUNE llOdK.
Fia.-.T
spring
flowers
have
I3fi
^^m^
deck'd
the
plain
liffigtgiî
ness.
'^-
Charm
When
spring
have
deck'd
the
=1=^
-*:=^;
t-
ing
flowers
hence
grief
all
-C3-
and
m:
-^-
<^-
2.
Feather'd songsters, singing gaily,
Oft
among
our groves are heard;
Yet, but few that warble daily
Sing more sweetly than
this bird.
Pretty blackbird, do not fear me,
Think not
would do thee wrong.
Come, and warble
And
boldly near me,
repeat your cheerful song.
plain
sad
m
ness,
136
THE
No.
Count
6 ^
M.
FlttST
CLASS TUNK UOOK.
28THK PRAISE OF
SPKING.
RoMini.
160
Tb word* by W.
Q-Vj-
s
^
-f*i
:rz^
^t
vy-
lit Voice*.
\^
"~r
In
cheer
^
your
lays
4
cheer
h->
refuse
:F=t=*:
sin^,
Let
to
M m-^ a-^1
none
refuse
ces
raise.
all
^-~F
,.^^-
Toi
- nite,
who
Let
sing.
to
Let
r^
rBV.
all
nite,
And
love
the bright
love
the bright A.nd
m
who
-#
{,'-j--=
-r
îjii*
Fine.
fc
-^^
t:
cheer
- ful
days
pla^
:=zM^0
cheer
- ful
of
To
spring.
cpring
Fine.
of
be
long
-P-
ihe
^_
f=iS
vr
days
To
spring.
spriug
be
loug
the
^^p^^^m
Fine.
^\
^=t
}:\r=^-9To
birds of song,
sum-mer
fruits
and
flovêrs.
When wood -bine
and
flowers,
When
and
P=P^J
-tr:
birds of sonif.
gfe'=.
To
^=V^.
sum-mer
fruits
and
Let
5E^^5^S^
^-^
îJ
raise.
r
T^- ^xj-
r-r--
l?z
your
lays
- ful
a-
ces
-A
In
none
voi -
~i
2nd Voices.
Violoncello,
or
Piano-forte.
^K
>
ful
-^
E. Hicluou.
wood-bine
^
the
the
mmmm.m^
THK FIRST CLASS TUNE BOOK.
137
^^!^
^
^-P
E5i
autumn comes the gold
en
grain,
Theu win
- ter
fol -
lows
^îfe5=a^î^
autumn comes the
gold
en grain,
Then win
i3^H
5^-^
ij*
EE^5
3*:
ter
fol-lows
fast.
But
:q;^-
icz*:
But
fast,
^^M^^^^^^^
Da
Capo.
soon the spring re

-X--]
B0
:j^-
soon the spring
turns
a-|:âin,
And
sfe
:=-
we
forget the
past.
i:l;=:^q=qs^h;zsJ=*=(E
'
re - turns
a-gain,
And
we
for-get
Each season in the circling year,

Has charms iinlike the rest,
But those of spring to me appear,
The fairest and the best.
I love to feel a summer breeze,
In shady bowers al noon
I love autumnal tints on
I love the harvest moon.
And
winter brings us social joys,
Though
verdure quits the plain,
Till lovely spring his
And
trees,
power destroys,
smiles on earth agua.
the
past.
THE
158
29.THE
No.
Count
FIR>-T
CLASS TUNE BOOK.
SLUGGARD. (A
Lesson an the Gamut.)

The words by
Dr.
Wtla
Ist Voici?ji.
'Tia the
voice of
the slug-gard,
3eS3^^^^
2nd Voices.
heard him
^
r^
^^5
\^
-.
-^->
-=
waked
me
too
=:
| _-N_-S
~~*
~(i
waked
me
soon,
must
too
'^
soon,
:îrp=c
'M
on
^_N
its
|S
hin
on
its
hin
ges,
shoul-ders
and
his
ber
gain
he
ber
/ /
so
âin
/-
on
his
-9
0-
i^
i^
on
his
he
so
bed,
Like
the
-#
;
Like the
^zz^z
Turns
his
and
N-
shoul-ders
and
>-y
his
8<
1Pf
bed,
S-
sides
slum
p:
0
{^-=
his
^^==?s=S
4-
and
#-
jfiizr
sidt^s
uV_,S3=^
zzz^:
door
ges,
slum
must
/^-^
door
,,
\^
com -pldin, You have
ai
Violoncello,
or
Piano-forte.
You have
heard him cum-plain,
hea
Turns his
i
head.
1^=zA
his
hea
m
i
vy
head.
139
._p._--c:c=p=rp=:pE
^31
:|=Sr
t^-
lit
more
tie
sleep,
and
lit
Ifciftlfcil'irilV
:fcr.* i.*=
;Ie
-
lit
more
tie
sleep,
and
~
lit
a.
tie
more
slum
slum
ber,
tie
he
^M
:p=p:
-
So
more
ber,
So
he
wastes
all
his
days and
And when he
gets up
he
sits
wastes
all
his
days and his hours without number;
And when he
gets up
he
sitg
his hours without
number
?^rzs;==S=q^=^^qv
fold- ing his hands,
:=zr
Or
walks
bout sauntering, or
ZiV=iVixzzv:-?v
ezir
fold-ing his hands,
-0^ -#- -#- -- -0- -0walks a -bout sauntering, or
Or
=t^
trifl-ing
-qSziM-Vr^Hz
trifl-ing
3.
I
passed by his garden, and saw the wild
The
The
thorns,
And
his
and the
clothes that
money
thistles,
wastes,
brier,
grew higher and higher;
hang on him
still
are turning to rags,
till
he starves or he begs.
4.
Said 1 to
my
heart, here's a lesson for
I
he stands.
me.
That man's but a picture of what I might be;

But tha:ks to my friends, for their care of my breeding,
WiiO taught me betimes to love working and reading.
he stands.
140
THE FIRST CLASS
No. 30. NEATNESS

Count
TL'NK
BOOK.
AND CLEANLINESS.
Tlie blae
4 r
of
ell-
'ifefE?35S
x^^--^.
sad
this
dis
grace,
-Or
^^--^
dir
face.'
gc
Why,
you
have
and
you
IZC3:
have
not
comb'd your
o:
t:
hair,
trll
you a
rule, so attend that
hiKiie. or in school,
Are
i=i
you may hear:

always cle^n and neat appear,
Fine clothes you do not wnt, in the huute, nor in the street.
But your pride should be this, to be alnuys cleau aud neat.
rii
been
~4-
<3-
At
nut
<^
:5^:rt=:^=t=*
ai
such
-Q.
-î
and
C3"
wash'd,
with
S^
hands
ty
seen
t=^Q::
-
would be
8^-^ -^ ^p=
t=x:;
s2:
Pâ.
who
Fur
vou
-^
THE FIRST CLASS TUNE
No. 31.
Count 4
141
IJOOK.
WORK AWAY.
LeRoldeSardaiKne.'
The wurds by W.
J.
zzzd^-J^qzjSziM
:*=
1st Voices.
E. ilickion.
,v-^^
rzj=^
les -
son which was
not thrown a
les -
son which was
not thrown a
2nd Voices.
I
Violoncello,
or
Piano-forte.
re
Learn be
MZZW-'r]3=:fr=:p=i=[:
^^-Z: EE=
^-^z*
t--
^ W=Wway,
ber
ante
t
y
%
mem
times to
be
of
use,
don't lose
too
much time
in
be
of
use,
don't lose
too
much time
in
=p:
:3^;2=52z
yiia:^,
'
Learn be - times
to
wA
3SE
0
!fep=P=f:
play
Work
way while
you're
ii^cjt
*-?=
ble,
work
-S
a
way,
work
:^
;ê
play
\=\:
:a.
^^^
:
Work
^=?tp^-t^h-**
-*-^
way while
you're
ble,
work
way,
work a
i
way.
3i
::+
way.
-^-
ffiiii
:1=:
fi-
2.
Hands were made
you teach them the way.

Therefore, for yourself or neighbour, make them useful every day
to be useful, if
Work away, &c,
o.
And to speed with your labomr make the most of to-day,

What may hinder you to-morrow it's impossible to say Work away,
:
&c.
4.
As
for grief
When
them come when they may.

your labour, it will soon be light and gay
and vexation,
your heart
is in
let
Work away, &c.
In the world would you prosper, then this counsel obey.

Out of debt is out of danger, and your creditors to pay:
^Work away, &c
6.
Let your own hands support you
And
your heart should never
fail
till your strength shall decay,

you, even when your hair is gray
Work away, &c.

142
L
P^
32TIME FOR
No.
Count
4 r
M.
1^
REST.
98.
Ibt Voices.
And
P-
-^
q=p:
we're
nod
all
ding,
nid,
^î=^=zi-
2ud VoiceH.
:c2:
4
And
Viuloncello,
or
Piano-forte,
we're
nod
all
^^fp--j
fcd^
^-^
-f-2
ding,
nod-ding, For we're
nid,
nod-ding, For we're
nid,
nid,
S3
'it
#^=Rand
tired,
drop
op
- pinji:
ping
Sil
i^j
^s==lv
:^=:i5:
and
tired,
all
drop
To
hleep.
sleep.
to
off*
ping
to
off
To
sleep.
êff^
'fe^-^^^
keep
we
wake
)#4^x.
our
do
best.
:1^
wea
we
wake
do
our
rv
limbs
must
---.T-zq:
*!?:
t:
it:
a
?2^:
:1=:l:
't^
keep
t
But
best,
But
:rr=ii;
wea
ry
limbs
must
r-# r* #
V=r
f^ i=3
-ftrE*-*-^*--i* --^0- -*
have
some
rest
\^*-
And
we're
all
-J
some
?=?Ef^^:
rest:
And we're
;:!=
ding, nid,
---!-#
--
have
nod
all
nod
nid, nod-diiig,
ding, nid,
And
we're
J#
nid, nod-diug,
-#-
And
we're
THK
FIIIST
US
CLASS TUNK BOOK.
f^^^^
tl
2.
And
"
and
tired,
all
droii-ping
off"
<1>"J?
p- For we're
'I.
all tired,
and dropping off to
sleep.
%J
tired,
and drop-ping
off
1 Bj.
sleep.
eep
to
The hour
is
But go
bed without delay
to
For we're
11
nod-
sleep.
to
PP
all
we're all nodding, aid, nid,
:^
ee:
late,
all
we
will not stay.

:
nodding, &c.
^.
pp
No. 33. GOOD

Count 3
^
:|=:1:
P^
r/T^
P1st Voices.
NIGHT.
-^-
^-
^^-
Qi-e>
-^
C3l-
Good
night:
good
May
night:
-y~.
2nd Voices.
^^-
c>"
"O"
Good
night
peace and
^-O
t=:i
May
rest
p.
peace and
.^.
rest
f
3rd Voices.
dwell in your
rest
^Q^
-^
good
night
breast
^^breast: good
Ê"
breast,
good
^^-
-^-
night;
good
po
-^
breast
and
/
C3
t
dwell in
rest
-^night
-^good
night
night.
-^
night:
I
i
'*
'^
good
4:
good
your
PP
good
n^t.
night,
mm
night.
THE SECOND CLASS TUNE-BOOK.

CONTENTS.
Page
No.
1.
2. Bells ringinj^
3.
The
love of truth
1;^0
4.
For age and want
151
8.
Absent friends
When we go out together
let us march and sing

Forgiveness
the huge oak
around
11. Ere
9.
Come
12.
158
159
161
162
164
166
....
10.
Welcome
man's a man for all that

.
14. Harvest home
15. March and lift up your voices
13.
16.
17.
the rosy morn

The might with the right
18. Let the smiles of youth

19. Idleness and knavery
20. Lullaby
'21.
22.
The
The
168
169
172
175
176
177
178
hour is come of twiligh grey

.
stormy winds .
29.
Humble
30.
31.
Duke domum
180
182
183
185
186
188
190
193
194
fare
Home
Old friends shall never be forgot
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
167
When
Page
.....
152
154
156
157
.
In the cottage
6. The cricket song.
5.
7.
No.
23. Our native land
24. To the good cause
25. Filial affection
26. See he comes, the hero comes
.
.
27. The peasant's song .
28. The labourer's song
146
148
Sunrise
195
197
Harkl
the lark
Rejoice, rejoice
The
200
song
well done
201
patriot's
Well (lone,
If you get into debt
...
202
204
206
207
208
210
Britons, arise
rule
The golden
Rule Britannia
The National anthem
Now
....
notes of joy ascending
let
211
212
Farewell
In the selection and adaptation of the following vocal pieces, we have not confined
ourselves to the task of giving expression to sentiments, suitable only to a state
Education should take a prospective aim, and youth
of childhood.
when the mind may be impressed with
the feelings
govern the individual when he arrives
at
business of
this
life.
Hence
it
will
an age
is
the period
and principles which should

to take a part in the active
be observed, that several of the songs written
work, have reference to a time
when
the boy will
duties to discharge in reference to his family, his country, and his kind, of
in childhood
make music
which
Throughout the whole,
he could not have a very clear perception.
our object has been to
for
become a man, and have
subservient to higher objects than that of
merely pleasing the ear, and to promote cheerfulness of mind, kindly feelings,
content
a love of industry, honesty,
and
integrity,
and a
spirit of self reliance
and independence, combined with that of universal brotherhood.
Most
of the songs
will of course
may be sung
be taken by the teachers:

cases
without the accompanying parts, but the effect
be better with them.

in
In a school the bases
may be
omitted, or
a family by the father, or elder brother.
where there are three vocal
parts, they
not invariably.
may
all
may
In some
be sung by treble voices, but
^
1
THE
\G
SECOND CLASS TUNE BOOK

Count
[t
M.
6 [
No. 1. SUNRISE.
160.
Moxart.
The word! by W.E. Hickaoe.
:^.
Voices.
vJ
where
See
ns
the
lug sun
In
splen
2nd Voices.
where
See
the
ris
dour
'^'-
ing sun
In
Hpleu-dotir
Violoncello,
or
Piano-forte.
iS
0=i=Mr
=*;
decks
the skies,
decks
the skies.
His
y=f:
dai
ly
course
be
gun,
dai
ly
course
be
gun,
=i
His
:: -- -.
m.
r-*
9zS-r
cy
Haste,
and
rise.
Oh,
eome
with
come
with
me
where
E*Ê?3
and
Haste,
Oh,
me
^
bloom
And
scent
the
air
with
sweet
lets
bloom
And
scent
the
And
per-fu:iie;
F^^
:z:rr
vio
q_-^__
nzl
vio - lets
where
air
with
sweet
per-fume
y=F^
:5^P:
^d
A^d
THE SKCUNO CLASU TUNE
where
See
where
See
aB^
fi
the
the
sing sun
ri
sing
In
sun
splen
duiir
decks
the skies,
splen
dour
decks
the skies.
=jt
.-
"
rnîzzw:
t-p^f^
147
BOUS..
-^S-
VHis
dai
course
ly
His
dai
course
ly
cEze;
:$zc
and
Haste,
be-gun,
9-
^
and
Haste,
be-gun,
Ît
^^
=I=d=:]:
--^
itt-
FB=
3.
Fair
is
the face of morn
Why
Oh, who would slumber in his bed

W' hen darkness from his couch has
should your eyelids keep
Closed when the night is gone

Wake from your sleep
And when
Warbling songs of joy?
Fair
is
Why
Closed
the lark ascends on high,
the face of
mora
should your eyelids keep
when
Wake
the night is gone

from your sleep
!
fled
14!i
HE SKCOND CLASS TUNE BOOK.
J BELLS
No.
4
^
Ixt
Voice*.
f.=>^.=i:
p-
-^^JE.-,
the
'tis
of
bells
vil -
Uge
j?i
church,
How
\ oices.
Hark
3ri]
Caller Herring.*
E. lUckaoa.
The word by W.
ÊEv^^^
Ilark
11(1
RINGING.
Count
the
'tis
of
beils
church, Iluw
lage
vil -
Voices.
hark:
Hark
ll-SS^Tr^ -#
afzz/
plea-sant
ly
they
strike
fe^^^:
plea-sant
m^
they
ly
ynt
tz^
ear,
How
mer -
ear.
How
mer-ri
strike on the
haik
How
mer-
us
let
join
and
Come
us
let
join
aii^-=P^
im
and
im
iz:
Come,
each
ri
i-tate
X3part
take
in
they
ring
ly
they
ring.
thev
they
Iv
ly
-/
i -
their
m
tate
their
let
us
ring.
riiur.
-^-^
me
q:ri=dN=::îV
'rS
X-
ly
#-
#--
AZUL
Come
ri -
^gm
hark!
bells;
4f-^
'^
on the
the
'tis
^-^
Let
lo - dy,
i3izSriiKiE
me
- K> -
dy,
Let
join
har-mo-ny and
sing.
is=jt3
'%--
Sch
ffg;
come,
t.ike
part
in
har-mo-ny and
=1 1#
join
in
y-^
har
mo ny and
-
sing.
;=^F- =;
sing.
THK SECOND CLASS TUNF,
mer-ry
^ d ^ ~ ^
%J
love
peal of bells
mer-r^'
Oi
rfrr:
=>c
Of
of bells;
peal
149
UtH)K,
=F
/^ ty
love
hope and joy their
^/
hope aud joy their
tells
V\
mu-sic
tells
/
When
=^=
?L*p5^_^5EjE;
ry
love
peal of bells;
ismm
li-i^
Of
hope and joy
They
- ly,
- i
-I
homewards
wear
- ly,
They
teffa;
When
cheer
greet
-0-i t!d'
trav'ling
their
JtiiV 1^::^
homewards wear
trav'liilg
hen
inu-sic
'-
*:
:
!er - 1
greet
ly.
- i
ly.
m
They
:e^^
::_
Hark
-^
^
V^
greet us
cheer
- i
ly.
^^==^^
=i=P=:
7=^-
'-
5=?*^ ^_
'lis
the
bells
of
vil-lage church.
How
pleasant - ly
they
'tis
the
bells
of
vil-lage church,
How
pleasant
they
%
Hark
ly
f
'Mzzm.
siZi
^-7
fr
Hark!
hark!
'tis
the
bells,
^5-P-
Vstrike
%
kJ
on
the
How
ear,
on
the
How
ear.
â**
Hark
- ri
ly
they
ring.
they
ring.
they
nng.
^^=?^qv
azzt
t^^
strike
stri
I
mer
mer
- ri - ly
t
hark
How
iner -
ri -
ly

TML bliCONU CLASS
150
No. 3
Count
M.
6 f
I'HE
Tl;.\E
Ii(>(K.
LOVE OF TRUTH.
The
CO.
air of' Be{;otM. dull care.
Tl.e word*
s5==|=:1:zd
l4
by W. E. Hick4>n.
p-
Ikt
n-
Voi
My
2nd Voices.
days
^-
My
izl=rz==i
3EiEIE35
3l?iiS_'
the
tho'
not from
fol - ly
^-m-^-m-
>-~4-^
more the world I
see.
'^^-i
truth
the
prize
ly
i^=]=^
:5
free,
truth
the
prize
fol
zti:
tEE5
I
not from
3^:
youth
of
Piano-forte.
free,
the'
?ri=r#i?zprrgE5:
a;
days
Violoncello,
or
youth
of
the
more the world
see.
:p:
I'll
keep
the straight
^MM
1*11
nar
row path, and
lead where
eVr
it
/i
-4-
y-r*-:=:
3SZ
y-t-.-
=;^=F
the
keep
and
straight and
nar
row path, and
lead where
-V:
e'er
it
?F3fe
may,
The
voice
of
The
voice
I'll
fol
low and
bey.
35
z^^z-^T-
lino
u_LJa: fetix:
3
may.
truth
^>-
of
truth
I'll
fol
low and
bey.
^^^mm^w^M
THB SECOND CLASS TUNC BOOK.
151
2.
My
footsteps lead,
truth,
and mould
my
will,
lu word and deed my duty to fulfil:

Dishonest arts, anil silHsh aims to truth can ne'er belon^^,
No deed of mine shall be a deed of wrong.
3.
The
strength of youth, we si-e it soon decay,

But strong is truth, and stronger every day:
Though f.iUeh )o<l seem a miglity power which we in vain assail,
The power of truth will in ihe end prevail.
friends of youth, Oh ! let them always l;e

friends of truth, and, therefore, dear to thee :
Let others love duplicity, and on them fortune smile,
But the truth for me, and the heart that's free from guile.
The
The
No. 4. FOR
Count 4
1st
AGE AND WANT

A
Canon, W. r. Hickson.
The words by Franklin.
Voices.
f^^
%J
-^
^^-
#o=
want
and
For
you
while
save
2nd Voices.
want
save
^^
i^
and
last
all
l^=f=?
sun
may,
will
No
you
while
A-X
i^dzrrf
want
save
No
may,
morn
may,
you
5
ÊEi
For
day.
-^
and
age
^- -^-
last
all
day,
last
a:
^^-
4
morn
save
while
-Ci
-^-
all
day,
-^
-
ing
sun
will
last
ing
4
morn
will
No
^
want
G*
will
sun
ing
S3;
-^ e>E
while
all
day.
you
152
TliK
No.
Count
2rM.
SECOND CLASS TUNE HOOK.
5 IN THE
COTTAGE.
104.
Tlio wortU b)
^
Ist
Voices
fe^^
f
In
the
E. Ilicluuii.
fc=i
we
where
cot - tage
dwell,
We
han
We
have
-:\t
2iid Voices.
iSTT
In
Violoncello,
or
W.
the
\-jr-
Jr
-Cî:
ae3^3
we
where
cot - tage
^^
Piano-forte.
dwell,
=^
t-
-I
4-
ti=
:m
t
peace
led
Ours
Ufe;
ful
^-
which
joys
are
=1:
:^
:n
peace
led
Ours
life;
ful
joy*
are
=:a=n__|
which
1_
\-
^==s-
-^none
I
W
can
t
Who
tell
en
TZZ
none
can
g'^^g^'
i"
i^Qx
ious
^
strife.
=^d-j=|:
tell
Who
en
^r^pi
gage
in
anx
ious
strife.
rc2:
THE M'COND
Cl,\89
TUNK lOOK.
158
*=P
<>:t-
Though
pi
low
but
our
be
ly
'
-^-
Though
Yet
state,
low
butt
our
be
b^
Yet
state,
Or
:1=i
::fs:
tent
ed
m^
our
with
ed
jM:
our
with
'K-^
4
ZZMIZZ^
proud
and
fe=
w
proud
^f=4
and
not
tha
not
the
'h=<
We
lot,
vy
3:
tent
We
lot,
en
S- =1:
=1:
-^=V
t t
^^
Hap
great,
I
our
py
hum
t^
:1=*
-i-
Hap
great,
our
py
hum
3.
We
life,
desire
and
blest with health,
no splendid home
Nor, to be the slaves of wealth,

Do we ever wish to roam.
its sweets would quickly pallHonest hearts and liberty

In our own cot are worth them all-
All
Home
is
home
ble
cot.
^1
cot,
QJ
i-t
Blest with
- ble
where'er
it
be<
ZZI
O
154
TUB SECOND CLASS TLNE HOOK.
No.
Count 4r M.
GTHE
CRICKET SONG.
The FarUienne.'
The words bv W. E. liieiuaa
'
144.
ii
/=^
îd:^--
S;
lit \'uicos.
:^=^Û
rc^p:
Come,
our
jtiin
:c^bey
o -
sportii,
2nd Voices.
ing
The
in^
The
:F
laws that rule
:o?
0mCome,
Violoncello
or
our sports, o
join
_j
bey
laws that rule the
-C3
îU
'#^
=1:
S;
=^
Q|.
"tV
Piano-forte.
the
-c?:
^^
A
game;
no
ble
game
play - ing,
is
And
crick
I
tiizz;
^'ame
EEIHE^S
no
ble
game
is
play
:c^:
U:
C3l
bound
bound
ing.
And
crick
^g
et
is
Then
run, boys, run, start
ev' - ry
one
To
catch the ball
Then
run, boys, run,
ev'
ry
one
To
catch the ball
start
o-
i=#=c^
V-m
iU
HZIfZIfllC
-
is
-S3:
et
c^
its
be
be -
THR SECOND CLASS TUNE BOOK.
155
:^
fore
So
fall,
it
take your
p:?^
So
round,
sta-tions
take your sta-tions

^--
1'-i-r-t^
:Mzz^..
j:
fore
it
So
fall,
#=^^=1=^
take
-^
-ai
g-l-C-Tl
P=|C
in*
Then
round.
run, boys, run,
start
ev'
ry
Then
one
To
Wi
^f^S^H*round.
your sta-tions
=!:
^
t*4
So
round,
take your sta-tious
catch
ev'
ry
one
To
be
ziiSrîiES::
^-^
start
ball
=^
-^h
run, boys, run,
the
catch
the
ball
be
e>-
Bllil
^
;q=:
:Mt:
C5t-
-QL
fcbfsanfil
trti:
So
take your stations
So
take your stations
eii^
'^^^^:MT
fore
fore
it
fall,
it fall.
And
round,
round,
So
So take your
now, secure of winning,
Another youth is seen,

His turn is just beginning,
The best bat on the green.
The wicket, from our bowler,
long with
Is
But
skill
defended,
run, boys, run, start every one
To
catch the ball before
it fall
He 's out, the game is ended.

And we the game have won.
But
take your sta-tions round.
run, boys, run, &c.
Q^
sta-tious round.
t^
THE SECOND CLAS8 TUNR BOOK.
156
No.
7.-ABSb:NT FRIENDS.
^J^^! ^:i7,'Jl::r'^
1st Voices
%.J
Friends, and old
com
Friends, and
com
pan
Though
ionn dear,
far
far,
i^.^=P3pgg
2nd Voice*.
old
pan
Though
- ions dear.
^^^
:1/
rb=q-a=?eT:^
feSr^F
our dreams you
In
ray,
HV
* o
^î
:.=i=:r*^
ap-pear, Though
oft
a-
far
far,
-^-
Violoncello,
or
Piano-forte.
far,
far
far,
far
-H-
Hway.
i=;J=:t
our dreams you oft
In
way,
ap
pear.
Though
-<^-
Think not we can
%J
a^b=:
pleasant hours when
we can
for
e'er
h,-#H
O
:^=
get
The
pleasant hours
iSil
:l^:
:i
when
:^:
:r
vet.
Though
far,
far
deed, dear friends,
we
love
you
yet.
Though
far,
far
But we hope
Though
far,
and you remain,
away
meet again.
far away.
to
we met
In
-^-
:z_":
you
steals on,
last
CT
love
Still far, far
we met; In
?^
we
Time
last
^zzM-tl^:
deed, dear friends,
^ :
e>-
^__n=^:
t:
'
-cir
3.
The
^^
way.
^=1:
Think not
for - get
e*er
i^^-i^
4-
way.
way.
'
Yes. we hope again
to meet,
then our joy will be complete
For now, dear friends, the thought
Though far, far away.
And
is
sweet.
THE SECOND LLA3S TUNK HDOK.
No. 8
Count
WHEN WE GO OUT
157
TOGETHER.
4 r
March.
i=SjES3^3=!^^33^
1st Voices.
'hen
we
go
out
to
ge
ther,
=-
EBEi^S
2ud Voices.
When we
Violoncello,
or
go
out
to
ge
ther,
"^'
In
bright
:o-
Piano- forte.
gloomy
In bright or
gloomy
or
3:
^\
r-
=Ê
wea
t=
The same good
ther,
friends
ver,
We'll sing to cheer
the
^:ia=i^_?T|=p=p==p-?EE-==aEh3=p=i=wea
ther,
The same good
friends as
ver.
ai
We'll sing to cheer
:o:
^^
And
way:
when our jour-ney
end
ing,
-^
Our
steps are
bend-
ing,
:c^ =
:t
Our
cheer-ful
voi - ces
blend -ing, Shall close the hap-py
^1-
*w=^-
M0ZZW
- ing,
Our
?=:p^
-i -:?=f=!i!
bend
homeward
"^'
asÊf-^
P-i
the
cheer-ful
voi
ces
-Qj-
;1=^= zi^:
-^3-
blend
- ing,
33
^-
Shall close the
1*
hap - py
day.
-Q^
day,
:^
i^j
TUB 8BCONO CLASS TUNE BOOK.
IbS
M.
4 r
'
i
march and
us
let
ting.
4= q=4;
fei
2nJ Voices.
-o-
_:=zq:
Come,
Come,
lot
=l=,
a!f-
march aud
march, come,
lis
And
sing,
ati=fe^-tE^=^^
3rd \roices.
Come,
mu
SIC s
mil
sic 8
march,
M-^
St;
=1:
voice
march, come,
us
let
t
t^te^r='='^
%J
The air of Le Petit Tambour.

The words by W. . Hickaoa.
144.
fm
w
Voices.
MARCH AND SING
9.COME, LET US
No.
Count
lit
bey,
bey,
We
can
not
tire
if
not
tire
if
*^^=*
voice
can
QiffiiîF
mu
And
Let
o - bey,
voice
sic's
Tr ==:
O-
march,
us
Fine.
t tz
t
t
w
con
=ff:p=t::
con
$-
With
songs
spire
With
songs
to
The
way.
the
Fine.
cheer
way.
the
:=P=t:
t=E
march, come,
march,
cheer
Fine.
march.
-P
march
us
let
a - way.
The
:c>-^-:gl-
'I
pleasures
i
w
to
:t:
-
m^:
isr^
-
spire
<z>
^^^S^
V-
of
this
hour.
No
dis -cord shall
:^=:1
The
pleasures
of
With
\o\
=1^:^=4=4
=1^
=z=
It
al
zzr
No
this hour,
dis-cord shall
al -
II
^^r-r^
pleasure!
of
this
hour,
No
dii
cord shall
al
loy.
loy,With
With
TME SKfOND
CLAfii TU \ K
HOoK.
159
Da Capo
pzifpni^-p-ir
t=t=t
de-sign
utie
g=&S^-^;
tE^tEE^t
we
com -bine, And
all
raise
song
of
Du
Capo.
Da
Capo,
1=1=1=1:
one
de
sign
we
com
all
bine,
And
song of
raise
joy.
.
I
SipE,
ff~W
t=t:=t
one
de
sign
we
com
all
And
bine,
I
a
raise
song
of
joy.
No. 10. FORGIVENESS.

Count
6 f
M.
Ye banks and braes.'

The words by W. E. Hickson
'
66.
!^
lit Voices.
-/^=?#-
:^=W
In
with
peace
-/^
2nd Voices.
H^
1^1
peace
with
wise
the
all
would
an
-^
=5^*=j
long
with
peace
ger
will
And
'-^-
:
e
an - ger
fiot
wise would
the
all
But
burn.
when
they
And
live,
suf
fer
^^
__j
i^zzi^^r:
v-+
their
live,
A - ^
In
their
And
^-5-
EEEJ
t-
long
live,
^fc^
'r^
lu
3rd Voices.
N-H*^
wise would
the
all
will
not
i-r-H
P^
burn.
But
'^,b4=r-=w-
^
nf
when they
suf
fer
-0
jtzt
long
ly
they
^=3t:
they
Ê
an
their
for - give.
give,
ger
will
not
burn,
And
good
for
^tiZB
giv
for - give,
they
for
give,
1i*
And
for
good
for
^
And
good
But
when they
vil
they
r^
vil
=J
they
vil
they
fer
return.
>J
re - turn.
Ve
suf -
re - turn.
160
TUB SECOND CLASS TUMK BOOK.
coa-quer
ev*
ry
sul
^-^
J
quer
-m
con
ev' - ry
quer
sul
Un
kiud
o Un^
kiud
mood,
len
moud,
len
sul
Un
mood,
leu
ness
shall
with
ness
shall
with
shall
with
/-
-!
tt'=2-=E;
ev*
kind
ness
T^=^
love
be
met.
And
met.
And
vil
vil
ver
come with
good.
ver
come with
ôod.
aiHS^5
love
be
It is not pride,
Vll
it is
not
ver
come
strife,
Nor bitter thoughts, nor angry deeds,

That gild with joy the days of life.
Resentment
Then
htill
to sorrow leads.
love shall triumph, love alone
Within our hearts shall live and reign;

foes subdue<l, its power shall own,
Our
And
once lovcd Ineuds, be friends again.
with
good.
THE SECOND CLASS TUNK HDOK
191
AROUND THE HUGE
No. 11. ERE
OAK.
Count 3 r
Pr
t=t=\r.
Voices.
huge oak
round the
Violoncello,
3=;
or
which
sha
o'er
- (lows
35
=1:
Piano- forte.
^^m
hill.
used
fore - fa - thers
to
-^-
ru
3
rook
the
^^
built
^-
on
stands
3^;
t 1^
yon
nest
its
the
~t
pme,
f
-==\
=1^
rook
the
built
^ i: ^
yon
its
^^
:s f
::}:
2.
can trace back the time
When my
to
far distant date,
forefathers toil'd in
yon
field,
And
the farm I now hold on your honour's estate.

Is the same that my grandfather till'd.
3.
He
died,
and bequeath'd
to his son a
good name,
Which unblemish'd descended to me,

And I will preserve it, unsullied by shame,
That it still from a spot may go free.
hill,
Ql
f^
m
IJ
=F
that
in
^
Or
-^
:t^:
'Gi-
t=t:
cline
eSe^1=1:
::l=z4
the church was
re
-^-
Ere
iî
Where my
yon
pine.
-F
irj2
Mlfc
StCONU CLAhS TUNfc
No.
liOOK.
12 WELCOME.
C)ount 2 ^
F.
Kiênhoft^
*-P-
Ist Vuici-H.
Wei
cume,
wel
come,
2=5?:
^=J
come
wel
is
this
Wel
come.
Wel
come,
wel
come
is
this
meet
ing,
1-
-I
meet
ing,
Voices.
S-'i-
Wel
come,
wel
come
wel
come
this
this
is
meet
E^
Which
^--
a:^Ê5:E3ÊS
^-r-#-
2ll(l \'o*10f8.
r^rd
lb* words by W. E. Hid
witli
:p=:^=p:
joy
has
r=:E
fiird
11^^=^
Which with
joy
has
fill'd
our
our
breaut;
^___^
lug
E^
EE
Friends,
ac -
:=*:
r=t=t
breast
Friends,
ac
TUB SECOND CLASS TUNK BOOK.
great
not
^^.-
-#c
sure,
Than
the
trea
sure,
Than
the
s=;
great
not
er
'M
ip::
ai
trea
V.
^
whose
friend
Than
trea
great
not
gam
love
the
Ab
sence
pains,
;5^s
E^=5
whose
friend
we
love
but
gain
Ab
seuce
pains,
but
gam;
Ab
sence
pains.
but
ei
whose
friend
-#
love
(i-
:p=p:
S::
:=5iz^=y=!^:
sweeter
-h-J
plea
the
is
sure,
When
at
last
we
meet
N X
> N ^
?i^
'
i
w
a^53^^
=:
I
t=t
sweeter
is
the
plea
sweeter
is
the
plea
sure,
sure,
When
at
last
we
meet
:t:
When
at
last
we
i
meet
flZ
gain.
Wel
come,
wel
come,
wel
f=^=
gain.
Wel
come,
wel
come,
wel
come,
I
at
-F-gain.
Wel
come,
wel
come.
wel
THK bKCOND CLASS TUNK BOOK.
104
?P:1^
-;=4=
^5:
We
will
all
re-joice
with clieer-ful hearts and voice,
We
will
all
re-joice
with cheer-ful hearts and voice,
S>
-T-m
V=tJ
Wê
will
4::
we
gam;
'
For
here
f.
May
we
ver
VMay
we
ver
=4-
at
H-W-
izs:
:r-
it
gam
meet
we
at
=i-:
f=X
last
here
gain
meet
EE
r,-|
at
p:
-=
3
we
last
For
It
here
:>.zi^
meet
'^^-
Fur
with cheer-ful hearts and voice,
re - joice
all
w
last
.P
^S
^=*=^:
May
we
^'-.^
t=?^
t
t
lom
to
and
ge-ther,
on
i=p=rzzprrp==
r-u
thus
to
nite
part
ly
and
ge-ther,
on
part
ly
meet
- gain.
gain.
â=
:!=:
r/n^.
meet
to
to
'MZZLi
thus
to
nite
ge-ther.
No. 13. A
Count
4 r
\r
Ibt
Voi
^^
^^=^
We
or
Pianu-forte.
part
ly
meet
to
MAN FOR ALL
rb
Violoncello,
on
MAN'S A
:?^=:
will
not blush for
^^
gain.
THAT.
not blush for
aaE3
# -
p
po
ver
ty.
Nor hang our heads and

:4S=;
-0:j-*-^:
will
Tlu' words from Burns, anglicised
a=i=::?^ :i-*-p^-
^-
We
2nd Voices.
and
m0-
-00- '.nzm:
po-ver-
ty.
Nor hang our heads and
^=i^*=f
F=t=t
THE SECOND CLAS8 TUNE DUOK.
166
:fc;=?s
t,!lrj=:?:q=^
r-^-p=:
that, Tito'
all
wealthy folks
may
pass us by,
man
fur
alt
man
for
all
man's
:iq=q=J=
that,
all
Tho' wealthy folks
may
pass us
hy,
man's
^fe^g-.
^
t=^
ii=t
that,
For
that,
all
^^
and
all
that.
Our
For
aiFE
that,
all
UJ
but the
rank
^-*
'
obscure, and
that.
all
Their
xn^P^ ^-oguinea's stamp,
---r
man's
man's
aMES
fe
--
5E
-#--
-jr^l
5
a
man
for
all
that.
man
for
all - -
that.
=i
t
but the
is
o^--
3=^:
4=f=
->
Their
^=3^-^
=;:
is
toils
rank
Our
all that,
that.
all
-^-A-t
#- -
and
i^-
-e)-
obscure, and
toils
/
that,
-i-f
V-t
guinea's stamp,
-h=^=+
^St
^^
3.
The king
may make
A marquis,
a knight, or lord,
duke, and
all
For
When
And
kings can never buy that.

all that,
and
all
that,
The pride of birth and all that

Good sense and worth o'er all the
Are nobler things than all that.
let
us pray, that come
As come
that;
But honesty needs no reward.
And
And
earth,
it
may.
it
will for all that
with the right, shall be the might,

truth shall reign,
and
all that.
For
all that,
and
all that,
'Tis
coming
still
for all that
When man
with
man
Shall brothers be, and
the wide world o'er

all that.
THK 8KCOND CLASS TUNB BOOK.
ir)6
14 IIAUVKST HOME.
No.
Couiil
^,
Iht
Voic.s.
;p=*:
fc=t
home,
Har-vent
home, Hail
liarve:>t
the fruits
uf
la
la
bour
^z
2n(l Voices.
CF
home, harvest home. Hail
Ilar-vest
Har-vest home,
harvest home, Hail
bour
the fruits of
la
bour;
of
apEÊg-ÊÊ^^^
3rd Voices.
the fruits
^^-
Fine,
<3>
~^3
;eee;
Har
home,
Test
:^
har
-<E>
Har
home, Wel-come, friend and
i^:
home,
vest
vest
har
vest
home,
and
Wel-come, friend
e>-
neigh
Cr5
bour.
H
H
C!>~
neigh -boor.
aftbaEE3E^tEHEEEa353EÊiES-^' -m
^\-m 9
P
o
|~-
Har
-vest
home,
har
vest
home,
'
neigh -bour,
M^
:z=t:
Har
Wel-come, friend and
home,
- vest
har
vest
hume,
Hail
the
^f
of
fruits
bour
la
E gi
=i=
I-
Har
ae
^
home,
Ê^
-
vest
vest
home,
Hail
the
vest
home,
bar
of
fruits
p^r
vest
home.
Hail
the
fruits
uf
la
T:
S2^
home,
har-vest
home, Welcome,
and
neigh
Bar-vest home,
har-vest
home, \\'elcome, friend and
neit;h
friend
m.
bour.
lo:
V-*
Bar-vest home,
b
Har-vest
bour
la
:*zz
l:
Har
har
bour.
4-t3-
C3-
har-vest
home.
Wêlcome, friend and
neigh
bout.
THE SBCOND CLASS lUNK
AND
No. 15. MARCH,
167
UOOK..
LIFT UP
YOUR
VOICES.
Suono
/ount 4
la tromlvi.
The words by W.
z^lk
Ist Voices.
or
ces,
re
as
cing
jui
9-'-P
-^-
March, and
?iano-forte.
vui
E^tF*=^^
.z=:*:zz:
/iulon Cello,
up vour
lift
,_L
Jnd Voices.
/r
^
W^^^
March, and
E. llickson
=F=F=^=?=F=F^ 1^
up your
lift
voi
ces,
re
joi
as
ciug
mk
-t=t=^
V
3-
Fine,
#--.
^^-
it it; Qt-t
JE^ÊESE^-EEB
%J
bro
thers,
%^-x
bro
Each hand within
an
an
thers,
And
love
in
thers.
And
love
in each
each heart.
- thers,
Each hand within
heart.
Fine.
fi
aEEEJ
----
ir-
-^
F
zw:r*z:w=z-.
joy
and
T^^^
^t
Jtujii:
March thus
SEE
t3-
fc>
March thus with
--
:t=q:
p P
with joy
and
mu
To
?=^=:^
-^t
-
sic.
thistzoth
snoooth the path be
fore
us,
^-
:M:i:^Mi
mu
To smooth
sic.
^-
zi/izitz^zz*:
the path be
us,
fore
-#--
EEE^
-\
-*-*#
EEJ
-Da
fct=t
"lEZ*
cy
While
friendship watch-ing
ver
us,
Bids
Capo.
^=i=p:
ev'- ry
fear
I
de
part
D.C.
^zz*=:*=S=o=:ft
While friendship watch-ing
ver
us.
Bids
ev'- ry
fear
de
part.
D.C.
m^j:
-J=::i.
1^9
-^-
IHK yLCO.NU CLASS lUNE BOOK.
I6b
No.
Count
4 f
Voice
16WHEN THE ROSY MORN APPEARING.
M.
Fur three equal Voice*,

two Trebles and a Bmw.
IIG.
or
1 E=t::zitBii:^^ztrl:r-*~'-^-\ J^zi^t
When
the
ro
morn
sy
appearing;, Paiuta with gold the
ver-dant
lawn,
2n(l
Voices.
im0:^^
Bees on banks of thyme dis- port- iuj]f, Sip the sweets and
dawn.
hail the
^^
2nd
Voices.
:^^
r^ "SE^
*
:
\^
See
con -tent the
Na-ture
:r,t*i=|?:
all
her
hum-ble
children
j^leaner,
viewini;,
.01 -0. ^'

Picks the scatter'd
uy^-*^
bounteous
Kind-ly
=1:
i=*;
Warbling birds the day
pro-claim-in g,
=i=q^=:i
:i=M:
:is;=^=;
Ca
rol
that
ears
cares
for
fall
all.
t=t
--]--#-
sweet their live
- ly
strain
^-^t
r.^
:9:*^ziz=jf.
^^^^=t
azrr
:jj-^-*-*
Warbling birds the day pro-claim-ing,
Ca
rol
sweet their
live - ly
Ca
rol
sweet their
Warbling
birds the
day
pro-claim-ing,
strain
:#_!_#:
live
ly
strain
THE SFCONl)
Cl.ASb
TUNE BOOK.
If)'.
faE^Ê^^^gg^gjî
They
for-sake their
lea - fy
dwell -ing,
To
se-cure
:=W=
:^5=f=ff--
:^
They
forsake their
at^^
R
St
They
se-cure
gold-eu grain.
the
*=d=
t=f;
t=^=F=t
:czi=?=r
lea - fy dwelling,
To
se-cure
t:*=t=t
gold -en grain.
the
MIGHT WITH THE RIGHT.

Callcott.
160.
The words by W.
Ist Voices.
To
li
t=t
for-sake their
M.
dwell -ing,
lea - fy
No. 17. THE

Ck)unt 4 f
gold -en graia.
the
-0
May
ev'
E. Hickson.
The time when
ry year but draw more near
strife shall
bz
^^m.
2nd Voices.
May
ev' - ry
3rd Voices,
=M:
:P=T
May
ev'
ry
m^nun^
And
truth and love all hearts shall move,
cease,
And
truth
SEE O.
cease,
^H
-rîii
And
azzpr
all
all
time
when
strife shall
EE5
To
hearts shall move, To
truth and love
The
cease,
and love
strife shall
J==t^
year but draw more near
a.'
_J
*-
The time when
year but draw more near
live
live
eri^
in
joy and peace.
in
joy and peace.
-j:
P~P~#=:
^:*
hearts shall move,
To
live
in
joy and peace.
^
P
THE SECOND CLASS TUNE BOOK.
170
s^^^^
i|-J?_-z*=*.
Now
cum -plains, For
and earth
Mor-row reigna,
fol -
vtill
\y
her
t^ !g^=Eta3^5^1Sli
n
Now
and
8or- row reigns,
aHE
Now
eatth
and
sor-row reigns,
com-
com
p p^p pP=#:
fol
For
-plains,
:lrr
But
power main-tains;
the
^^^
E^
power main-tains
But the
still
her
-
ly
fol
still
her
i5=1^
When
pear,
the
^n=r^^-~z
4-
:i=:#=:
ap
yet
shall
clay
ly
=1:
rr
II
earth
For
plains,
t=t
day
ap
yet
shall
^3=^:
When
pear.
the
=?=T=^=/T
=i=i=*- ^-t
m'=^^
-
0-
<3-
=1-
power main-tains; But the
*=P=:
i11^
^5Efc^
might with the
right,
and the truth
might with the
right,
and the truth
pear,
l^Ût.
shall be,
the
shall be,
When
the might with the right, and the
iPca-.
;t.'
l^^gE^g
shall
be,
there
truth
shall
Uje mi^ht with the right, and the
-0
may,
#h
itlO^
to
stand
there niav, to
the
in
-I
^2=i^
And come what
;p=P=P=*=::p:
_:L^_i #-,
,agb^=^
f- ; !- /->J
rr-^
i^n^
"/^^^
And come what
truth
right,
#
When
With
a!?J
ap
yet
shall
.^.
t^
*^
day
stand
in
way,
That
^â
#
-{-
the
wav.
Tliat
May.
Tht
aczip;
=?=ir
:?=^=t=t
be.
And come what
there
may,
to
stand
in
the
^y
TUB SECOND CLASS TUNIi HOOK.

">
^m
171
^.
:^_zSztt"^=
iqi=52z:;?
day
the
world
shall
day
the
world
shall
see,
see,
When
the
When
the mij^ht
might with the
rii;ht,
and the
with the
right,
and
the
afeE==p.-=f=?d=t:=P -^3
:t
i
day
the
world
shall
see.
e^-
l-O!
?^
VZT^
truth shall
be,
truth shall
be,
With
When
the
right,
the might with the right
ffi=E;
-Q
ItiuL
When the
fp
^=?=T
and the truth
be,
shall
t=t~-
:t=ti
y ^= ^^
might with the right and the
truth shall
be.
And
And
-hi
-I
come what there may,
And
to stand in
a= :p=ir
the way, That
day the world
^shall
see.
5-3
1==5?=;?=t
T.
-t>'t^-
stand in the way, That
to
-frzwz:
^zzi/:
^=^
day
stand in
That day
the way,
3.
more
No
The righteous cause prevail.

In vain, and long, enduring wrong,
The weak may

But the day
the world shall see.
Though interest pleads, that noble deeds

The world will not regard
To noble minds, that duty binds.
efforts fail;
give not o'er, until once
# t
to
good men ne'er of truth despair.
Though humble
Oh
the world shall see.
2.
Jjet
See
strive against the strong
sacrifice is hard.
true may seem but few.

But hope has better things in view ;
And the day will yet appear,
When the might with the right, &c.
The brave and

;
shall yet appear,
M'^hen the might with the right, &c.
^*
THK SECOND CLASS TUNE
172
THE SMILES OF YOUTH APPEARING.
No. 18. LET

Count
M.
4 [
BOOK.
160.
1st Voices,
Let
youth ap-pear-ing.
the smiles of
Let the Toice
of
1=^
2od
Voices.
Let
the
voice of
EEiEl
8rd Voices,
-ff-
piur-g qig--p_p_^
/=/-^J5-3f
du
ty
cheering;
Let the smiles of youth ap-pear-ing,
du
ty
cheering;
Let the smiles of youth ap-pcar-iug,
Let the voice of
E5E:îi
#-
Let the voice of
^^
y-y /-i^
y=?=;=?
Let the smiles of youth ap-pear-ing,
Let the voice of
du
ty
cheer-iiig,
Drive the gloom of
'#=P:
:z^_>?=A
du
ty
cheer-ing, Drive the gloom of
Sim
du
:/zzfr.
t-f=\
-
ty
vi+Jt
.Fine
care
way.
Fine
way,
>=/=t=
care a
-
wa)',
Drive the gloom of
Drive the gloom of
5Ei
^
n
Thus
care
way,
Drive the gloom of
^
s^
in
strains
P-
-=:
V-/:
y
-I
5*=?-Jt=^
#-^-#
0-r-m
cheer-ing, Drive the gloom of
care
care
way.
Thus
in strains of
^^/live - ly
mea-sure,
^Fine
li
;=>=^
^3^^
care
war.
Thus
in strains of
:?=!tzt:
live
ly
mea-surp,
THK SKCOND CLASS TUNE BOOK.
la
:^
We would
We
would
^v-#-
:cx
still
still
with joy
EE^=>:
and pleasure
Lengthen out each hap - py
day.
Lengthen out each hap
py
day.
each hap-py
day.
out
We would
still
with joy and pleasure
still
in strains of
live - ly
measure,
Thus
in strains of
live - ly
measure,
t. I-,
in strains of
I-
-^^^^/-
Wê would
3ii#SESEI
!/f-^
-P=P=B=P=|=P
live
ly
u
#
Lengthen out each hap-py
We
measure.
day,
would
:p=p:
day.
:?=;<:
Lengthen out each hap
V/^
day.
hap-py
y-p^
;^=;^:
>=P
i-
6\^'
day.
out each
-/ /Lengthen out each hap-py
still
/
^^K 1^
?E^
Lengthen
_L
sm
Lengthen
%y
::1=
rs^t
Thus
Thus
173
py
y_/_
day
f=
day.
THF 8EC0ND CLASS TUNE BOOK.
17*
:c^
'<.->'
^^-
ri=j=i^
:f=#?=
am
of
bi
tioui
Count
M.
If ^'
^>-
Far
from
66.
sS
the
muit
lu
ars^l
am
Of
'il
'#-
-Q|-Ql
:cSf>;
=:^:
strife,
Ea
tJ| .
con
- sy,
tent
con
sy,
Riit glide
may we
ed
tent
may
ed
thro'
i-
=tc^:
^-
J=q:
Ea
- bi -
eii^
life
^^-IZOj
we
glide thro'
=s^
Q|_t^
life
^3^^
:c^
may
strife
Time can im
!fet
Time can im
g#-
EZ..giilLlO>-<J|
'i
pair
the
lus-tre
we
glide thro'
pair
But
:c3:
<E>
lus-tre
the
of
our
But
youth,
<^
^t=x=^
Time can im
pair,
Da
le
^î<->^
-C^!
t=t
trVnot
of
fdend
ship,
love,
^ti
ICO-
^-It
not
of
aM^^z?^
%
But
life;
youth,
our
of
^5
-^
#=l^
^
tiuus
=i=c:?=^ -o :o:
s^:
C> -^
--If-
i^^
i^
-^--
not
of
sa
cred
c^
iLi:
love,
ndr
sa
cred
c:>
-V-
ship,
love,
nor
sa
cred
truth.
1^
C3
M^
friend
:or
-^
friend - ship,
nor
Capo.
truth.
truth.
mm
II
TnF SECOVI) CLASS TUNE BOOK,
No.
19.-IDLENESS
Count 4 f
!t#=^
Ist Voices.
iziziti-*
1 - die
2nd Voices.
:d-'-
AND KNAV^
175
176
TIIK
SECOND CLASS TLNK BOOK.
No.
20 LULLABY.
b'ring
the
I^
can,
-^
the
=}=F
171
THE SKCONU CLASS TUNK bOOK.
.i^
Vlul
la
'^^
-0
lul
la
with
their
them
Soothe
by,
A'
lul
with
by.
la
=1:
-^
t
i=j=i
them
Soothe
by.
êfJ
their
lul
by.
'C3;
S^.
2.
wind tempestuous blowing ?

Still no danger they descry
The ^'uileless heart its boon bestowing,
Soothes them with its lullaby.
Is the
Lullaby, lullaby, lullaby, lullaby,
Soothes them with
HOUR
No. 21.THE
Count
6 f
its lullaby.
COME OF HVILIGHT GRAY.
IS
Canon
for four
voicea
h^^The
hour
come
IS
of
twi
2nd voice begins.
gray,
light
3r4 voice begins.

-1-
::T
?=^
The
hour
is
come
of,
even
ing
The
&c,
hoi
the
veils
of
face
day
come
is
The
shades
of
night
gteg^
:|,=i:!=3::ar
gin
to
fall.
hour
is
'
come
"
of, SccT
q:
-^ izzzotzmdzC3"
And dark
soon
ness
will
&c
:SL
4th voice begins.
The
of,
M eV
^^^
O- -#_QAnd
i^l
v^
co
-^T"
-
ver
all.
be
THK SECOND CLAbS ILNK HUOK.
179
No.
Count
22THE STORMY WINDS.
4 r
Or. Calloutt.
=z^,-r|if.-=firpi:^^
1st \'ou:i
:3:=^=?+*-f-^ i?ip
the
rain
is
fall
ing,
And
Hark! how the
rain
is
fall
injj.
And
how
Hark!
2iu\ Vuiceit.
3rd Voices.
loud-ly roars the
i
-Mri^
ais
Hark
how the
fall
m^^^
t) ;i=^'
What
torrents pour, Shut
-P-
What
blast;
And
ing,
loud
ly roars
the
rpzzc
q=:^=t
torrents pour,
Shut
What
torrents pour,
Shut
to
shut
the
the
tera
shut
ters
shut
ters
a
6i
And
the door,
to
tHe
close
f*
And
the door,
to
g^=if1^=g
blast;
E^=t=t
<3-
rain
^->^^
-fc^-P
blast;
0-
S^
I==F
loud-ly roars the
cluse
And
the door,
c!osi
f e>-
fast.
i;
:p=t=F:
On
f
such
a rough and
bit
ter
night,
How
plea-sant
'tis
to
!rb-
'
Lrz
fast.
On
such
a rough and
bit
ter
night,
How
plea-sant
'tis
to
fast.
On
such a rough and
bit
ter
night,
How
plea-sant
'tis
to
/?
>
:i=p:
i^
w
We
r-^^
^>
have
here
_--Q.
t
nought
fear.
We
have
:c5
We
V-'-
have
here
uought
to
fear,
We
have
\\t
have
+ -,
aii:b=
know
to
We
have here
nought
to
fear,
THK SECOND CLAKS TUNK UOOK.
i^â
179
j^:^
tî^
here nought to
fear,
We
have here nought to
fear.
When
the
here nought to
fear,
We
have here nought
to
fear,
When
the
here nought to
fear,
We
have here nought
to
fear,
stormy winds do
hlow, -
stormy winds do
blow,
stormy winds do
blow,
b.
When
the stormy winds do blow,
When
the
When
- -
When
the
When
When
the
^^
^^-J^
sg^^^
stor-my winds do
blo w,
When
the
stor
t:i=i=:i
stor-my winds do
winds do
blow.
fi
When
blow.
the
stor
stor
^7
stor-my winds do
my
=^-
blow,
When
the
my
-^
ray winds do
blow.
While here we
sit
at ease.
they in safety reach their port.

Nor wreck nor danger know
;
And on
shore,
Fear no more,
the stormy winds do blow.
When
blow.
SES
Oh pity the poor sailor,

And all who cross the seas;
What fears are their' s,
What toils and cares,
May
winds do
B^
p
THB SECOND
J80
No. 23.
TVHH
CLAi9
IHJOK.
OUR NATIVE LAND.

The mntie by Webbe.
The vôrdb bv W. R. Hiduutt.
Ck)unt 4 r
Ql=^>
Ist Vuici's.
^m
m
Land
-y
our
of
fa
where-80
there
i^r
2n(l Voici'S.
3rd Voices.
of our
fa
:c3;
M-V-&
MZlfk
t-
Laud
of
our
fa
therg
C^
ii:
:l=t
Land
we
- 'er
where-so
we
- 'er
JTI
csq-
thi-rs
0.
4=F^
-X
where-so
we
- 'er
roam,
-Oi:p==:
:f=F
Our
na-tive
=r:z:*zr
Our
coun
try
*=^^*^ _
na
coun
- tive
try
is
Long may
home;
our
still
uJ_Jz=i3d==B-^z=
is
home
our
still
at^5E:Ê.j=g=^=^
:-i;
Long may
c;^:
jL^yZzm:
home;
Long may
:il=:.-r=t
na
Our
pe
pe
en
-
ri
--=-
ri
ri
coun
try
is
P^
on
ty
our
still
thy
sons
on
thy
-1
-I
at
sous
pro
^P-
-^3i-
tend,
^^
ty
pro*
<E^-
G*
m
pe
tive
pros
tend,
at
And
pos
to
EE53jE
#
#-
-e3
And
to
pos
=11
<^ =1=:1=;f=.
Isons
thy
on
ty
sn
And
tend,
at
to
rr
pos -
ÊEgj^^g^
te
ri -
ty
its
isig
te
ri
ty
its
gifts
de
:q:
sccnd.
de
scend.
G>
t
ri
ty
its
X3:
'-^
gifts
de
ni - ting,
ni - tirg
c^-
o^-ziio:
gifts
Thus then
Thus then
ip^^
sceud.
Thus then
^
u
ni -
ting,
QC
THB SBCUND
:<^
f^=F: :q::
hearts
and
voi
161
^^
i
w
FUNB HOOK.
CLAtiS
-C^
~r
Sing
join - iiig,
ces
we
in
har
mo - ny
na
our
^=q:
and
voi
ces
join
ing,
^nar
3EV
W-W
Sing
we
in
har
-^
hearts and voi
ces
join
ing,
Siug
we
na
land,
and,
na
our
na
na
our
na
ee3
_o
Qi
land.
na
tive
na
our
1-
- tive
-^
-^
tive
land,
na
tive
^^
our
tive
^=^
na
tive
.09_
.C3
tive
I
E
laud,
na
our
land,
na
our
tive
Q-
C31
-^
sEeEeEe^
land,
tive
land.
^>
F-
land,
mo ny
-
:^=^
our
na
tive
i 9
fQ)
?E5
land.
har
:^
%j
in
our
-\
/ :=r
-<
mo - ny
-H-
._,_-
^ C>
0=^
:ca;
hearts
:l=f:=t:J
tive
land.
CZ>
tive
land.
1-
tive
na
laud,
h-
_Ql_
<Z>
:1:
-^^
tive
land.
na
"
tive
land.
other climes may brighter hopes fulfil,

England, with all thy faults I love thee still."
Heav'n shield Britannia frorr. each hustile band.
And peace and plenty crown our native land.
Though
'<
Tnus then vmiting. hearts an;l voices joining.

Sing we in harmony our native land.
" Tlie sons of Erin
may
substitute " iielaud" for " England, or the Scotch, " Scotlaud.'
THE BECOND CLASS TUNE BOOK.
182
No.
24TO THE GOOD CAUSE.

A
Count 3 r
Fulili
National Air.
W.
Tti words by
goud cause:
to
^^p
To
the good cause
To
the good cause;
to
HickMb.
^^^^
the cause for which we'll
Ig
H.
the cause for which we'll
ver
bat
tie
bat
ver
tie
we
11
ism
Uat
- tie
/*%
*- Fman
ful - ly.
man
---
tdEÊ may
(1? good cause
To
the good cause
pros
- j)er
pros
it
more, and
ful
Ij-.
may
it
per more
and
pznairp;
i:?=^=[:=n:
man
ful -
y_gi=t;
To
ly.
the good cause
=^_^t:
more, and
i=gsH^
hî:^^
!iz^
S-#
&pet:(l
con
tin - ual
- ly.
more, and speed
cou
tini - iial
ly.
ual
ly.
To
To
zr
the
brave few,
the
the
brave few,
the
51
5!
may
good and
true,
it
Who
speed con
for
it
- tin
strug-gled un
To
sue -cess- ful
the
the
brave few,
ly;
And
may
its tri-
i5^-^^^
good and
true,
good and
true.
Who
for
it
strug-gled un
sue
cess
- ful
ly
And
may
its tri-
^fitrt:^
Who
struggled un
sue
cess
ful - ly
And
may
SECOND CLASS TUNE BOOK.
TIIK
itiTP -
183
ggjggg^Bîggjaii
umj)h now be speed
- i
ly.
And
to
the
the
right,
vie
-+^
ry.
it
be speed
triiinn)h
^h'^
--^-^^^"1-^^^^-^
umph now
speed
No.
Count
to
^=^4
It:
t-/
ly,
And
to the
And
Iv,
to
right,
the
riirht,
the
the
vie
vie
to
to - ry.
r/.
'
The miser
ry.
25. FILIAL AFFECTION.
4 f
tlius.'
1st Voices.
c7
ig^^^î^^
"4~^
she was
mo-ther
kind
me.
to
When
^=F
2nd Voices.
I
'^
-^-
11
yet
limbs
these
^^
took
-G>-
t:
me
'^
::^=l=:t
were
She
weak,
smi
knee,
And
n--
mm
Second voices repeat.

-ff-
::^
.^3i_
taught
my
speak.
to
lips
The above having been sung by
ing
the
first voices,
alone, the second voices repeat the air, sing-
words:
My father he was kind to me,
When yet these limbs were weak
it
also alone, to the following
First
and second voices then join
in the following
He
took me, smiling, on his knee,

lips to speak.
And taught my
chorus
THB SECOND CLASS TUNB DOOH,
84
Ikt
Voices.
i^
^_fe^?
And
pa-renU
dear,
whea
yuu
Tis:
are
Your
t,
(1
Voices.
-=^#3
And
Violoncello,
or
Piano-forto.
pa -rents
m.
^cii=^=:t^-?5
-^_
f-
when
dear,
you
are
<^
:<^
::1=cs
-o-
we'll
not
love
we'll
not
for
g?#3=l^:
Tor
tor
<3-
-^3You
pet.
^^
-<3
-<r^-
=1=:^
love
Your
old,
p^
c::^
Y.u
eet.
^^^
r4=r:f*=i=^
in:
not
shall
:SEa
#^
#-T-
nut
shall
^t
SOi
find
3^=-^^
E^
c>îi
hearts
find
:c>r
C3-
<^
q=:i^^
C3
our
hearts
=^
<>
^^
-o
jq:
THK SECOND CLAS8 TUNE ROOK.
No.
26. SEE,
HE COMES, THE HERO COMES

HaiideL
Count 4 f M. 116.
'i:
ist
^^m^
Amngod for two trebles
e>^
Voices.
See,
fe
he
33
comes, the
2nd Voices.
he
- --*-*-r*
Songs
185
umph
to
ro
and a bae.
comes.
^-^
sin.
THB SECOND CLAHS TUNE BOOK.
186
Sound
trum
the
pets,
drums.
beat
2.
He
was
tried
and faithful found,
And
with laurel shall be crown'd,

Since he duty's call obeys,
He deserves our honest praise.
See, he comes, the hero comes,
Sound the trumpets, beat the drums.
No. 27. THE

Count 3 ^ M.
PEASANT'S SONG.
The words by W. E.
84.
Though
3 :=*:
xi
may
frown,
for -
'S^
b=q=1
kfeg'.^
tlz::l
%j
door,
aiHE3
On
:q=1=
;he;
tune
Ilickson
and
by
pass
my
5="a: X
C5l
lizip:
ii.
mansions
'Se^^^S^
of
pride
her
<3-
gifts
to
be
stow,
^^-
not
will
ve
pino,
for
um
though
poor,
=E
1H7
-i:
:t5
friend
whose af
C3l-
hand
This
earns
my
h-m--^
B.
7
-o-
:p
blessings,
im
uo wealth can
m
3
ne
"
grow
ver
The
fee
i-.zp=f^rp:
:^:
cold
ê.^
The
-^:
best joys
of
all,
those which spring from the
?*=#^
-M
^-
\-
atit
heart,
Can
ne
ver
be
tion will
1=:|:
(^
rb=f=r?=p|irr
- part,
bought with
^^
sil
ver
nor
\-
T^
Though sickness or sorrow may sometimes o'ertake me,
With wealth, and with power, those ills would befal
Though Heaven may afflict, it will not forsake me.
The rich and the poor, one God made them all.
4.
Though rank and distinction by thousands are

The highest is that which few care to find,
But mine, be it ever to act as I ought,
And leave, when I die, a good name behind.
sought.
C5l
m
gold.
THl 8KCOND CLASS TUNK HOOK.
188
No. 28. THE
LABOURERS' SONG.
Count 4 r
A. Marut.
Hie words by W. E. Hicksoa.
^^S^^^^^^^
Ist Voicea.
none
Let
but those
who
in
live
Tain,
The
use
:>^:Tt=:i
2nd Voices.
M-T.0i
none
Let
Violoncello,
or
Piano-forte.
life
-o
m
disdain, While
life
who
bat those
we an honest
live
vain,
Ot-
liv-ing gain,
di8-dain,\Vhilewe an honest
in
living gain,
Of
Of
The
use
- ful
labour we will
labour
we
arts
of
axtt
of
-^
-o-
will
not complain.
not
ot
complain.
^1
-^
iî^-:
aia:
^=;?=F
!iz.:zrzLii.xBi:*r:fz
for
ful
i^^
>-G)
Tho' some
As
dai-ly mourn,
riches
could
not
be borne, With
their lot could
not
be borne, With
if their lot
t,:^-j=:^t]^
Tho' some
for
riches
<3
3tp_d-
dai
mourn. As
\y
if
^^
-O
Ot
->
-O
aL^-#
h_^ho
^
nebt pride from
them we
f
turn,
Hi:
No
{0=^^=1^
M:rMiz02
ho
ai;
nest pride
^-^#bread's so sveet
as
that
we
as
that
we
^?CT
-^
ziMjji:
from them we turn,
earn.
No
bread's so sweet
^
-=---
IcX
earn.
THK
Count
i
tf
forle and
SE5CX>ND
:p=P-
^-
Bright shines the
suu
to
cheer the sons
t^_-^
Bright shines the
^S
of
la
-I-
=1;
hour, Thro' the field and
?=iEi
IBZZt
sua
to
cheer the sons
l.=|:
of
la - hour,
^^-
ai
IS1>
J-U-g-
7=?-
1^
TUNB HOOK.
CI.AHS
quicker.
sE:
Thro' the field and
a:
^^:^
ipizp:
It::
5^=;?
workshop
let
your
voi
Night, when we've
ring,
cea
3^=q5^
t fzt
workshop
let
your
voi
done,
will
done,
will
1^:^
jizzr
Night, when we've
ring,
cea
-^-
.^
IE:
=1:
^
-^
:ieS
%J
bring
a friend and neighbour Who will join the
chorus, so re-joice
m^^^^
and
-is^ZS^-^-^-r
^--^S-M.
bring
a friend and neighbour
Who will join
-^
A1^:
the
chorus, so re-joice
We
'11
food by our
own hands
-qt
supplied
be content, whate'er's denied
The world could not improve the store

Of him who feels he wants no more.
Among the rich, among tke great,
all their wealth, and all their
There 's many a heart not half so
From care, as humble honesty.
For
^~<3r
and
siug.
-^-
L=l=
-^-
2.
With
sing.
state.
free
Bright shines the sun, &c. &c.
;:
THF SECOND CLASS TUNE ROOK.
190
No. 29. HUMBLE FARK.

0>unt
1st
Hook.
6
K. Hiekton
Voices.
Here,
!n(l
The words by W.
bro
Here,
here,
there,
bro
Voices.
thers,
--^
Here,
Piano-lorte.
:^-F=^=F
here
t^ -^
^
Shall
joy
at
tend
i:
con
our
3^^
thers,
joy
Shall
9^r}
at
tend
con
our
stant guest.
-=
#
:?=r
Though
btant guest,
Si
^-
i^
here
iH^^^
iEH3
VioloncellO)
or
bro
Though
g
#
=-
hum
ble
our
fare
ble
our
fare
-în
hum
i!=
^^m
Here
bro
thers,
#
THE SECOND CLASS TUNE UOOK.
joy
ut-teii(l
Who
at-tend
our
con
would with health and
peace
compare
hj
aiEE3
peace
our
ble
our
crys
The
crys
stream will
tal
tal
stream will
^t
--t
-^
;d^L
l=:
compare
The
-m
would with health and
hum
slant guest, Tho*
.=5^=^z!d=t::
Who
ble
nt
î=K-i=^
joy
hum
con -staut guest, Tho'
our
"1;;^-
">
f=P=p:
F3^P^^
V=t::
y
best
en
sure
The
best
en
sure
The
eE3
r=t=i^*
head
head
that's clear,
the
heart that's pure.
that's clear,
the
heart that's pure.
^^^
^11
199
THE SECOND
TUNE BOOK.
OLAHtt
*^î=W=t
h-
:i.5=?
And
thus
vrhut-e'er
/^j^
And
thu8
.1
kind Ileav'n ha
\r-\
Through
111
>>
we'll
life
al -
h^^
li:
has sent, Through
kind Heav'n
what-e'er
rm%%
sent,
we'll
lite
wajv
:^
al -
wayH
^^-3=3=
ffi=i
Discharge
live content;
du
oar
-^
-^^-^-
ty,
dis - chargt
A^\
"
:2;
con
live
Dis -charge
tent
-0
'-
1=
%-^v
^=^
du
ty,
nur
think
:^^^
du
ty.
nor
our
hard,
lot
fcl
Pthink
our
hard,
lot
S=S^^
an
i^^^m
life
well spent needs
no
well spent needs
ai^-*
i^
no
re -
life
well spent needs
l3Êi:
life
re-ward,
-^^
ward,
life
fc^:
well spent needs
&^
^--^
no
reward.
i^î
no
re - ward.
THE SCCONI) CLASS TUNK
ItOOK.
11)3
No. 30. HOME.

Count
From till! nermnn.

Du, du, lifj{8t rair iin luTzen.'
'
f
Ut Voices.
Home,
2nd Voices.
or
Piano-forte.
can
aiiSET
%y
Violoucello,
home,
Home,
home,
for -
can
for
n-
-J
fe
dear
loved
ly
- ly
get thee
Dear,
dear,
Dear,
dear.
loved
-tT
home
No,
no,
Hi-
still
No,
still
Far,
re - gret thee,
:fersnjs
pfe
home
^^
4-
*p:
^=i=i=i=:
-
-t
dear
get thee
^ ^S
Far,
re - gret thee.
--
-h-
z^:
V-
?=ir
tno'
far,
iii
hi
ma;
may
Home,
roam.
home,
JIfJi
there
^^-=qs;^:^^
H
tho'
far,
may
Home,
roam.
fee
^g^3î
Dear, dear,
art thou
35^.
dear,
i~
2.
Home, home, why
^^5
11
9 ^~ ~
'-
art thou
be,
to
Z]
=P
be,
i=n
Dear,
there would I
it4
>-^-^-h i
home,
EgS
aiist
would
^P:
li
1-
X-
to
me.
did I leave thee
Home, home, once more
receive
me,
Soon, soon, 1 will return.
Home, home,
quickly I come,
Dear, dear, dearly lovod home.
X 11
Dear, dear friends do not mourn:
!)1
Omnt
Ixt
No. 31. DULCE
DOMUM.
Vuicei
Con-ci
na-mui
So
t=2i=
2Qd Voices.
na-nrns
ci
les,
So
da
iR,
3^
:#
3rd Voices.
Con-ci
ja
quid
si
ja
quid
si
ja
quid
si
::i=n
t=
Cou
da
na-mus
So
da
g:
les,
f*a <3|
:/cr?:
No
mu8,
le
le
No
mus.
bi
can
le
ti -
cum
me
dulce
do
- los
cum,
-r-can
le
ti -
\^
3f=*:
cum
- ti
do
ce
mum
so
ne
me
dulce
do
- loe
i
dul
do
ce
mum
so
^%
/^^
T^
I 7
%^J
do
ce
dul
^^
->'-f
u
dul
do
S
1^
ne
- inus.
Domum,
Domum,
mus.
f
domum,
dul
domum,
CO
''
mum
1
1
ce
do
'
ne
j-
Dul
mus,
ce
domum.
#
-
mum
so
'
-t:=
-
mum
so
ne
ne
#-
dul
domum.
ce
(!e,
dul
0
~^:
r
-
\^
\
ce,
>-^-^^
-zizl
dul
ce,
c:>'
xzir
--
-T
do
so
domum,
'
-
mum,
ce
+t
tr
-1
ce
'
^
'
/
ce
=^^^J {\/
'
so
U.
#_
dul
mum
dul
?=î^^=S
-=:^^=*z=r
dul
3^
net
domum,
Domura,
mus.
zztiip
rzj
dul
mum,
5i=^
bi
tt
le
can
le
i^s=iS
No
raus,
-R
!=i
4_/
bi
mus,
mus
Dul
J m
-i
Dul
ce,
^-
^T-^
^
-
ce,
dul
_
-
ce.
THE SECOND CLASS TUNB BOOK,
^^^mt
Ifc^
ta
-^
I
%J
dul
dul
do
ce
mum,
dul
do
ce
mum
so - ne
mus.
S^T 3=pl
lul-c
80
dul
ce, dul
do
ce
mum,
dul
do
ce
mum
80
ne
mus.
oLmz
-=i
Vrrt
-
ne
mus.
2.
Appropinquat ecce
Felix
Hora gaudiorum:
Post grave toedium
Advenit omnium
Meta petita lahorum.
Chorus, Doraum, domum, &c.
Concinamus ad Penates
No. 32. OLD

Ck)unt
Ist
- ce,
195
4rM.
Vox
et
audiatur
Phosphore
quid jubar
Segnuis emicans
!
Gaudid nostra moratur.

Chorus,
Domum, domum,
&e.
FRIENDS SHALL NEVER BE FORGOT.

The air of Auld lang syne.*
'
108.
Voices.
Old friends
be
ver
for - got, Whose love
shall ne
^^^
11^ Or.--
be
ver
for
love
And
:#^t=t
cere.
And
still,
what
Vstill,
sin
got,Whose love was love
e-
-^-
P-
:i^^-3:
ver
what e- ver
33
sin -
^*^=^^- 14=^=1=^.:
:=^
--r-a
:p=p:
:S^:
cere.
mt.
t
was
^=^1
Old friends
or
*iano- forte.
ne
2ad Voices.
^''ioloncello,
shall
be their
-Abe
lot,
We'll
make them welcome
^-
=l=1?s:-t=^
their lot, We'll
--n
1o2
here.
**T-*-
make them welcome
"here.
zîd:
19')
=FThe
kind
The
kind
negs
they
ness
they
have
oft
en
shown.
We
bhown.
Wt
f
-
._
ai_fc
haw
oft
te^
/=.
long
E!|He;
:f:
/
1=:
have borue
have
-_L
p:
^-^
And
mind,
in
-/
borne
long
a:=r
?=P
we
mind,
in
t-
And
long
:izzic
we
our
l^t
friends
5ligftir^~^
have known,
wel
:^
have known,
g~
come where
i^S=J
wel
come where
^:
3.
It shall not yit be said
That now our hearts
The
And
with truth,
are cold
who loved us in our

love when they are old.
friends
We'll
if in ills
They kind
youth.
which we withstand,
assistance need,
We'll stretch them forth a helping h&nd.
And
hope
C2L
zr^ze
our
^^-
;eeE:
:^:
friends
hope
^zzzzS=T-
,-
-^"^-i
Mznm:
long
be a friend indeed.
to
find.
i
to
fiud.
THE SECOND CLASS TUNK BOUK.
No. 33. HARK!
197
THE LARK.
Count 6 f
1st Voices.
2nd Voices.
3rd Voices.
af^^^^=^^^=f^^=F=S
Hark!
high,
With songs he
S^^tES
high,
"^
hark!
hails,
he
the
hails the
dawn
lark
hails,
he
hails the
dawn
hear
t=t=i^=:
;
The
sun
3=i
-%-.-
^-^35
t^^:
gins
to
gins
to
the
sky,
And gloomy
night
gild the
sky,
And gloomy
night
gild
i!a=P=p=:^
^^F=B= EE
gins to
gild
the
sky,
:35
And
on
The
l^z^-m- SE^
With songs he
we
^
be
golie.
111
t-
goue.
=*=*-*=*=:
gloomy night
is
gone.
;;
199
H.33^3
n-n
i^
w
'
-r
Ami
now the
and
flowtTB
bud
^^=1^
ii
ap-pear, \\ ith
va-ried
:zî=r.
:t:=:^
^'^^=ip^^==p=1^c
And
buds
ap-pc*ar,
With
they
tints
ra
- ried
they
tints
aiFE=^b=^=
y
Now
ap
flow'rs
And
pear,
=1=4^=^
f
r-F
:t^
eyes
our
greet
And
now
the
flow'rs
ap
And
now
the
flow'rs
ap
Now
flow'rs
pear,
With
rl^
m^m
now they
eyes;
our
greet
greet
our
e}t
- pear,
With
ap
__
rb:
tE5
^^
va
va
-t*
ried
lied
they
tints
greet
:]t:
'-0-
our
eyes
our
eyes
they
tiuts
greet
-F
they
pear,
:r::rp=:^=f:=7=
wake,
and
lend
our
greet
^
listen
P^
<
in?
ear,
And
#-
y
-
eyes;
^-#
with the
sun
with the
sun
4=?=t=^
listen -
ing
ear,
-=
And
p-
And
-1-^=?
with the
sun
t^
a
THE SECOND CLASS TUNE HOOK.
VJO
^-
f-
t
And
with
:b=i:
sun
the
-F
And
^M
^^
And
F-
t:
yrise,
H:;^:
3.^
a
sun
the
ith
and
A-wake,
rise.
<^--
lend
-^
:z=:pi==:zt:=t^
with
sun
the
A-wake,
/^
and
lend
-P-
-F^-
^^1^=F
-1
g=g=|
:^
And
ing ear,
with
-zt:=^
A-wake
rise.
d2z?
listen -
the
sun
and
^^
rise,
y^-
^1=^:
-/
-
ing ear,
And
with
agEt=?=PEf;
:
listen
ing
ear,
the
with
with
the
And
with
the
rise,
rise,
:^^^
:t=2?:
rise,
F-*-
sun
sui
^-^-
V-
sun
^w
rise,
=^:
the
3^-5
sun
?;p:
J-
And
'/.
sun
And
i7
with
-^
t3i
I=1/=^
And
the
P-/
ri==i=P=5
listen
lend
rise.
=^
4 i
rise.
200
THE SFXOND CLASS TUNK

No.
Count
kt
34. REJOICE, REJOICE.

A
4 r
- joice, re - joice,
joice,
re - joice, re
joice, re
?E?
Re
;l5fei^_=,^
at
length
will
re
-#
-
And
come,
the
joice
ji=
Voices,
hour
rejoice,
4=
{,===q=d
VoiceH
Re
.'3rd
Chorus from Macbeth.*
^=0:
Voices
Re
'Jutl
UO(;K.
the
re - joice
joice, re - joice,
tE^3^
joice,
re - joice, re
soon
re
j oice,
the
joice
gfeii
dear
and well-known voice Will
gG^3^=Ti.^î^ys^
>--i-^^
C3
C^-"
hour
at
lengtl
length
will
come,
And
soon
hour
at
length
will
come,
And
soon
dear
w^^^^mm^
P
^
glEgg^l^j
bid
us
wcl
come
dear and well-known voice Will
loved
^^^
home,
Dear
loved
home,
Dear
- ly
^^=f^
.c>.
Dear
- ly
home;
Dear
liome
and well-kuown voice Will
loTed
ly
|i^4=gz=
-C
*-^
U8
bid
=^ f-CT^'wel -come
ly
s?
-)
loved
:35
#-^-#
{'
us
bid
come
home
Yes,
E
we
re
Yes,
m^
home
Dear
loved
I3'
we
re
joice
at
joice
Dear
ly
at
re
thoughts
of
home.
G>
"ClT
of
home.
-<3
-QJ:1:
:1=it
we
thoughts
-o
jcy.
-^>
Yes,
home.
1-
^l^^^dEaE=j
t
home
e>
O-
^-^
home
wel
c^z:
joice
at
thought*
of
home.
loved
No. 35.THE
201
PATRIOrS SONG.
Soots wha ha'e.*
The words by W. E. Hickaoa.
*
Count
M.
4 f
96.
kM
1st
^=X
Voices.
Mn:
Friends,
we
'2nd Voices,
wel-come here,
you
bid
we
Violoncello,
or
Piano-forte.
wel-come here,
yuu
bid
^^
^^^-
la:
\r^=^
cause revere
And dai-ly
freedom's
sa
Who
freedom's
sa-cred
cred
:i
^=?
Friends,
Who
-M-
^^
^sm
t=>^
Q|
zliji
breathe a prayer sincere, For
all
who
suf-fer wrong,
li-^-
t^^=^-=\.rgitt
ri-F
cause revere
IjjL
cy
dai
ly breathe a prayer sincere,
Fear not,
.^^
lest
all
-^
.^_
.t=t
ipTzpzie
^-
For
-M
-^
17~Q|:
And
0-0^-itr
who suf-fer wrong.
your hopes should
fail,
For truth
&^^-
:^-:
:px:
f-
is
strong,
and must prevail; Tho'
is
strong,
and must pre -
^--
S
i
Fear
not, lest
._ca|
your hopes should
Q|
fail,
Tor truth
C3|
-e^-
^:
-t
^^-
ipTz^:
-1:
vail ;
Tbo*
i
:ri
rh
t=^SEE
hosts of
foes
our cause
Ipgg
hosts of
foes
^^
2:
.^-
as -
sail,
They
t
will
l5-.
IBZlt
our cause as
-c^-Fnot triumph
long,
:s:
- sail.
They
will
J=F=iIL
fT-*.
triumph
not
long,
.^.
isx
& =P:q:
::l=t
EiEEE:E
'
THE SECOND CLASS TUNE DOOK.
202
Who IH ho devoid of tthame,

Who jiutice for himself would
And
yet
deny
Who
Or spend
to all the ainu,
Through vain and

are not
j;oi>d
left to fi^^ht
man'u cause
Fur Ileav'n
is
on our
ulone
we'll
1st
our own.
their days with care
That we have
side.
No. 36.
Count
make
live, to live in vain,
WELL
DONE,
WELL DONE.
Adapted
Make
=!=J^
i=^
im
W
^-^-F-*^
to Purcell's
ruom,
make room.
:^
=1:
jt=M:
=i
Well done, well done, Let
Wêll done, well done, well done,
2nd Voices.
lived their friend.
Voices.
and pain.
For some ignoble end.

We would hope to leave behind
A better world than here we find
A world the better fur mankind,
Keltisih pride.
Friends, our hearts you Ion;; hate known,
You
The
would
Like those wha seek alone for gain
claim?
HÊEiE^
Well done, well done, well done.
Let
31
Violoncello,
or
Piano -forte.
to
m-
the
wor
thy,
wor
thy,
the
=u=t
:ta^:
:|=?:
wor
the
.^1=^1
-
thy,
be
shown.
The
tri-bute of praise
we
cheerful -ly
pay, the
W_
wor
^#-
thy,
be
shown.
V-
We
cheer-ful-Ty
m
pay the

203
THE SKCOND CLASS TUNK BOOK.

-#
m-
-m
mm
#-
-=JL
-^
Diaise
tri-bute of praise
Wt done,
Well
i-jS4v
E.Ef
well done,
kt
ev'
hon-our
ry
due.
to
the
pi=:&
i=^=:fi
-F-y-
tri-bute of praise
Well done,
let
=?=:
hon - our
ev' - ry
due,
=Z7
--^^=4
1
K^PC
:^=i=(==*=p:
-Jwor
wor
the
thy,
thy
wor
the
thy,
:=
to
the
wor
the
it:
-
th y, the
wor
thy,
wor
the
thy,
the
S
53=r5=^
thy
be
:S=T^==PisJ;
shown,
thy
be
to
(hi
the
?=^=3=SE
=?:i=*=
wor
^=P-PC 4::
:lEÊiEt3^
shown,
to the
wo r
th y,
the
wor
wor
thy,
the
thy,
the
a
^:
thv
m=^
l=i==t
i^
i
be
nr
shown.
^^
204
No.
37 IF YOU GET LNTO
DP:BT.
a.
Count 4 r
CompOMd
F. Ploweri
two trebles and bail.
tot
^^-
!l=3
Ut
Voices.
:=::
If
you
get
in
to
If
you
jêt
in
to
2nd Voices.
3rii N'oices.
3i
ft
If
you
get
re
to
If
gret.
You
will
:ff:
in
you
get
cau se
to
re
-O gret.
fj
mi
':
in
to
:=*:
tf. ou
get
in
to
:*zi*=rz^^z^
gret.
re
to
4L
You'll have
to debt,
=4=11:
m-:
have
fe.^
a3=*zzi*:
=^
You'll have
^^m
debt,
?s
.?-
<)
debt,
you
-^
If
get
in - to
C5=
=:^:
You'll have
debt.
"
\ou
debt ,
^^
debt,
to
n=i:
W^
cause
11
hare cause,
you
-<L>
You'll have
cause.
-^
will
have
cause
-#
re
to
re
-:3-
]^!zr/j
ou'U have
cause
to
:4=i=:
gret.
If
you
get
in
to
debt,
You
sfîsg
^^=F^?=f
gri-t.
gret.
If
you
get
in
to
debt,
You
^
SECOND CLASS
'IHE
t
have
will
t:
to
re
cause to
re
^0
^-jrJiC^:
TUNIi
If
grot
gret.
You'll have cause to
yoti
iêt
you
get
If
-e>
If
re - gret.
you
-'.SE^
re
cause
i
w
to
-t

^=^
\-i
hi
to
re
in
to debt, You'll
to
^5
in
debt, You'll have
V
I
to debt, You'll
will
have
have
t^lÊ;
will
.^.
have
cause,
Q|.
3=1
V-
You
have
cause,
gret.
-^
&You
re -gret.
get
You
gret.
::i5^=qv
cause
:^4^
M^
^-
r-:pc:
to
in
m
r~^--
-0
EEE^
caase
Mb
BOOK.
i=*=P
t:=r=
k=
have cause
will
will
have
will
have
:^^=^
have
cause,
cause
to
re
mi
gret.
1:
i
W
have
0-
-^
-^
You
cause,
you
will
cause
to
will
have
cause,
gret.
^:
g
You
have
cause
to
gret.
THE SFXOND CLASS lUNE
206
BOOIt.
No. 38. BRITONS ARISE.

Count
3 r
PuroelL
-C>
^tEÊ
lit Voices.
Bri
Hit:-
tona
coun
vuiir
rise,
2nd Voices.
try
her
callii
=1:
-^l
coun
your
nse,
tons
try
calls
ais^feti
-r>
3rd Voices.
Bri
tons
-o
your
rise,
coun
try
igîB
calls
hear
w^
i
Hear
bey.
the
the
call,
hear
the
hear
the
^
tub
Ht
bey.
EE
==t::
hear
hear,
call,
-0'-
=T-
ics:
c/
her
;1=ti:
O
o
F-
Hear,
bey.
4^
her
the
call,
Your
call,
Your
t=t
Hear
call,
laSEf:
zlzit:
call,
the
hear
t=l==t
hear
call,
hear
call,
the
îis
the
call,
hear
-^-
the
Your
call.
^^
:|z
i-V
the
coun
bey
try's
-^coun
try's
voice
C3-
Ht
I3-E2EE
bey.
A^
-i
-O-1-
coun
try 8
voice
bey.
Hear
the
THE SECOND CLASS TUNE HOOK.

H
:?
I-
your
:<:5
1-
coun
- try
calls
P.-^_
^-0-
207
Hear.
her
voice
Hear,
her
voice
i3,
^
your
Et
coun
- try
calls
5;=t=t:
Your
call,
bey,
Su
pine
coun
ness
try
a]
Su
pine
voice
be
tray.
v=-\-
cause
her
will
ness
be
-4-
*=#
r-=^^=t:
Su
pine
Her
-^-
-Of
-F=^
cause
-^
bey.
-~
calls.
her
will
-^
^^^-
tray.
O*-
-^ness
No. 39.THE
cause
her
will
be
tray.
GOLDEN RULE.
A
to
kind
thers
and
true,
When
manner,
voice
first
it
Canon
As
Lidierti.
for three voioe*
have
you'd
canons are written in this

is
intended that the
first
should sing to the end of the

part, and then sing the second
part, after
which the third
part,
and
]\ then the first part over again ; so with

the other voices each voice alternately
sings the other's part. The second
:
voice begins
to the
when
end of the
the
first
first
part.
has got
THE SECOND CLASS TUNE OOOK.
20S
No.
4 r
Count
M.
Ainr.
lit Voices.
40 RULE BRITANNIA.
98.
Th worda bv Tliumson.
When
%J
n-.
x^
B-11
Bri
tain
-^-^
î
-C^-
\Vhen
Violoncello,
or
Bri
tain
at
mand,
11
-I
com
Hear'ni
--I
^^
CCSZ
at
first
Heav'ns
Piano-forte.
\.J
at
first
R
=1:
2ud Voices.
-^^1-
rose
ai
/
i
i -^
%J
iit
main,
main,
^t=t
it=3
-<s>-
- rose
from
-the
out
main,
zure
^Ê^
î=t=
-^
A
from
rose
out
the
out
the
S
-^-^
=t
-Oa
a
A
rose from
mam,
zure
iî
zure
main.
/
^^
:^:
-oThis
was
the char
r-
45>
This
EE
- ter.
'-^
was
9-
jt:^
Ihe
char-tcr,
the
char
land.
R^F^
-^
ter
of
^-,
the
the
char
ter
of
the
And
:1:
land,
And
TriK SF.CONl) CLASS
guar
209
sani^
gels
(liaa
TUNK bOOK.
the
a?
.^
i-
p
Czzii-
w
Rule,
t
ty
Bri
tan
nia,
Bri
tan
nia.
Bri
Bri
f\J
yy
Bri
tan
P
I
|-
/7
<^
nia rule
-oFor
waves,
the
&'3^g=g3if
a
1
J_
I
Bepeat Fo rte.
<=^
^^.
CZD
'
ne
tons
ver,
ne
ver
^1
^^-^
^*
%J.
-^
ify\
(f
O'
For
waves,
1
1
J-
'
Bri
^y
the
"
V\)
%J
rule
tan- nia.
tnS
nia
=t=f:.
-
:i=i=E=*
Rule,
Jiztzitzi:
:i
Rule,
tan
be
shall
ne
tons
t_>i
c^l
ver,
'
ne
tons
ver
--
"^
shall
be
ver,
the
freedom,
ne
ver
"
_;
:*
thy kws.
Britain's sacred cause.
Rule, Britannia,
&.c.
3.
Thy
ships shall whiten every sea,

Diflusing knowledge, liberty;
And while thy commerce they maintain,
Let tyrants tremble at the strain.*
Rule, Britannia, 6.0.
The second
slaves.
spirit of
c->
slaves.
cz>
'
Justice,
The world a bright example give,

And teach the nations how to live
And
be
shall
\.
Bri
tm
ne
O]
Bri
slaves.
anil third verses
have been added by
\V.
I:
Hjcksi
THE SECOND CLASS TUNK BOOK.
210
41 THE NATIONAL ANTHEM.
No.
(
Count
The air should be tungjirit, by thejiril
M.
3 f
voices, atone, the* repmt.furte,
with
all
the partt.)
The words by W.
GG.
1st Voice!
E. Hickion.
*= =p;
God
na
our
bless
land,
tive
May
Heav'n's pro
- tect - in^j
2iul Voices.
/^}
(lotl
3^
11
na
our
bluss
41
tive
3ril \'oices.
'^'-
God
hand
our
bless
Heav'n's pro
tect - ing
hand
^g^_g
na - tive land,
Repea
Repeat
May
land,
May
Heav'n's pro
tect - ing
hand
forte.
guard our
Still
f==i^
3^[
e>shore!
May
peace her power
lu
Foe be trans-
ex -tend,
42.
fe
'A-
-î:
euard our
Still
shore!
i-
guard our
shore
May
*^^
peace her power
i=l^^
^- [
still
May
j-eace her
pzic
Foe be trans-
ex-tend,
.^^-^
power
Foe he trans
ex-tend.
Repeat
forte.
.-f^
^^
form'd to friend,
And
Britain's
rights
form'd
And
Britain's
rights
to friend,
ii)rmd to friend,
And
Britain's
Lord, preserve the Queen

may she reign
L<)uj^
and move
With wisdom from above;
inspire,
lltr
li^-art
And
in a natu)n"s love
Her throne maintain
de-pend
On
war
no
more!
de-pend
On
war
no
morel
de-pend
On
and riixhticuis laws

Uphold the pubbc cause,
l\Iay just
.And bless our Isle

of the brave and free,
The land of liberty,
pray that still on thee
Kind Heav'n may smile !
!
Home
We
war
t:
-<^
no
more!
4.
3.
2.
i'hroMjrh I'v'ry cliani;ini; scene,
Oh
rights
^^>-i~
And
not this land aK)ne,

But be thy mercies known
From shore to shore
Lord, make the nations see
That men should brothers be,
And form one family
The wide world o'er!
I
THB SECOND CLASS TUNE
The
original words arc subjoined for
tlic
BfX^K.
:?11
convenience of those wlio, from old
associations, prefer singing no otlicr to the above air;
that the spirit of the second verse
is
it will be ol)>-erved, however,

with the kindly feelings which
at variance
should be cultivated in a childrens' school.

1.
God save our gracious Queen

Long live our gracious Queen
Goil save the Qiu-tu
Ami make them
save the
No.
Count
Queen
their politics
Frustrate their knavish tricks;
On thee our hopes we

God save us all
to reign over us,
God
fall.
Confound
Send her victorious

Happy and glorious
Long
Thy choicest gifts in store,

On her be pleased to pour,
Long may she reign
May she defend our laws.
And ever give us cause
To sing, with heart and voice,
God save the Queen
Lord our God arise,

Scalter her enemies,
42. NOW
fix
LET NOTES OF JOY ASCENDING.

A
4 f
from
Canon
'
for four or eight voices

Musicalishes Scliulgesangbuch.'
2nd Voice begins.
^g^
Now
Now
!ôw
let
notes of
as-cend-ing,
joy
ev' - ry
let
notes
&c.
voi - ces blend-ing,
heart;
ev' - ry
6th Voice begins.
:
Now
of,
And har-mo-nious
Glad-den
heart
5th Voice begins.
i
w
notes
4th Voice begins.
3rd Voice begins.
Glad-den
let
of,
t=\&c.
-i9.-# p- =i=^:
Now
let
notes
of,
&Ct
:t=:t:
%J
Friends with you we'll share the plea-sure,
7th Voice begins.
If
you know the
air
8th Voice begins.
lit
_/_
Noow
let
Come and
notes
take
of,
&c.
3^
part,
\J
Now
let notes of,
Come and
take a
part.
and mea-sure,
THK SECOND
21-2
TINE
CLASS
D >OK.
No. 43. FAREWELL.

Count
1*
M.
Go<t pr*TTe
6G.
Kiupfror.' IIit>(ln.
K. liickMiu.
thi"
The wurd* by W.
Itt Voices.
"are
friendil
well,
time
of
time
of
or
low
2nd Voices.
\J
3r(l
Fare
well,
sor
row
-P
ail
friends!
V
K
'
time
of
if^^
sor
^^-
%J
the
Is
mo
when
ment
though
But,
part;
P-
Is
the
mo
the
mo
ment
ment
we
whTn
Snt,
But, though
part
^2^:
-4-
when
we
part
though
Biit,
1=^=4=
A
ab
ab
sent
ab
sent
sent
on
on
<^to
my
heart.
5^^S
%J
to
my
mor
the
mor
the
mor
Mt
There
row,
row.
be
You'll
be
You'll
row,
You'll
be
V-
pre
sent
^
pre
sent
pre
sent
i
your
fge
mXt
will
^-
.i=i
heart.
WBrp
to
the
There
-
heart.
There
your
mage
your
ma^
=i
will
THE SECOND CLASS TUNK UOOK.
1=^:
213
::i:
And
rish,
Ir^
where
my
e'er
feet
may
feet
may
stray,
it"
:c>:
And
rish,
where
mjr
e'er
stray.
P^^^
_^^
che
rish,
And
^*
where
my
e'er
may
stray.
:w=^F
t^:
ESdE5=F;
ne
Ter,
feet
shall
it
pe
rish,
:t=t:
pe
shall
rish,
:p==P=:f
Ne
pe
shall
ver
2.
Farewell
Rise for
May my
and when thoughts depressing

you within my breast,
prayers bring
Which on you and
May
down
your's
a blessing,
may
rest.
another happy meeting
All those doubts and fears dispel

Joyful, then, will be our greeting,
And,
'till
then, dear ftiends, farewell
rish,
THE HYMN TUNE BOOK,
CONTENTS.
PAGE
NO.
1
Sicilian
217
218
219
220
221
222
223
224
Mariners
2 Warwick
3 Devizes
4 Stonefield
5 Evening Hymn
6 Kanover ."
7 Stevens
8 German Hymn
9
10
11
12
13
14
15
16
17
18
19
Falcon Street
Martin's Lane
Staughton
Deritend
225
226
227
228
229
230
Harts
Job
Melbourn Port
231
232
233
Matthias
Rousseau's Dream
234
235
236
Grove
Cranbrook
20 Irish
21 Sandgate
22 Contemplation
23 Haweis, or Mount Calvary
24 Auburn
25 Eaton
26 Carey's
27 Adoration
28 Gabriel New
29 Prospect
30 LoweU
237
238
239
240
241
242
243
245
246
247
248
249
250
251
252
31 Fairseat
32 Lonsdale
33 Calvary
34 Lydia
35 Sutton Colefield
The
following collection of
hymn
NO.
36 Arabia
37 Old Hundredth
38 Peru
39 Condescension
40 Horsley
41 Compassion.....
42 Suffolk
43 Hepbzibah
44 Bradley Church
45 Portugal New
46 Piety
47 Wigan
48 The Passing Bell
49 Knaresboro'
50 Newport
51 Vesper
52 Admiration
53 Jude's Doxology
54 Miles' Lane
55 Easter Hymn
56 Helmsley
57 Evans
58 Nativity
59 Monmouth
60 Westbury Leigh
PAGE
253
254
255
256
257
258
259
263
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
282
283
284
285
286
287
288
.'
New Victory
62 Hallelujah, Amen
63 Refuge
64 Calcutta
61
65
66
67
68
Shirland
Portsmouth
New
Joyful
Triumph
69 Tucker's, or Leigh
70 Repose
tunes, adapted for public
and
social worship, has
been pre-
pared chiefly with a view to schools, especially Sunday-schools.
The
object
is
to
promote the practice of part- singing, by which the
always greatly improved
work
arises
from the
eflfect
of psalmody
and the necessity of a collection arranged upon the plan of
fact that in the
books commonly used the
airs
is
this
are arranged without a
second treble part for children, but with alto and tenor parts (written for men's voices),
which, in schools, can very seldom be adequately sustained.
HYMN TUNE
rUF
21C
BOOK.
very desirable that every one should be enabled to join in sacred harmony, each tak-
It 16
ing the part best adapted for his voice

of singing in jjarts should
ability to sing a
commence
second treble part
but to attain this eud

at school,
for a
will very rarely, at a
it is
necessary that the practice
youth who has not
first
acquired the
subsequent period when his voice has
changed, learn to sing a part written for a tenor, alto, or base.

All the airs, therefore, in the present work, are arranged with this object in view, either
for
two trebles and a base, or for three equal voiees.

The Sunday School Teaeher, it is presumed, will form a
on some evening
the
week
manner described
or in the
When
in the
in
No.
of
"The
his pupils are familiar with the notes
air,
classes
the other to sing the

some distance
Each
together.
voices.
apart, that they
first
separately,
the
air
may
will divide
them
into two classes,one to sing
"second voices," taking care
to keep
both
in reading music,
must
not confuse each other.
had some considerable practice
by
meet
upon the plan,
Singing Master, or First Lessons in Singing."
he
part written for
part, until the pupils have
be taught at
class of the elder pupils, to
for the purpose of learning the notation of music,
itself,
and the second by
itself,
before both are sung
The female teachers should lead, dividing themselves between the

Some of the young men among the teachers may perhaps be able
first
and second
to sing with the
seconds in a falsetto voice, the rest shoxild sing the base, and boys of fourteen whose voices
are about to break
may
sing the base with
them
in the octave above.
When
there
is sufficient
strength in the upper parts with treble voices, the air should not be sung by men's voices, as
they would only injure the
The
effect.
pupils should never be taught entirely
by
ear,
but always with the notes before them.
The tune should either be written on a black board with chalk, the teacher pointing to each
note when it is sung, or copies should be placed in their hands. By means of the best writer*
in a school, copies can always be multiplied
ad
libitum^
but without having either the written
or printed music constantly before them, children will never acquire a thorough knowledge of
intervals, or have
signs
an association established in their minds between musical sounds and the
by which those sounds are represented on paper.
In a school in which the children have had no previous practice in singing, the teacher
should begin with the
solemn
airs
airs better suited to
have acquired
which have rather a quick movement, leaving some of the
fine
suoh an instrument as the organ until the voices of the children
sufficient strength
and fulness
for sustaining long notes.
; !!
THE HYMN TUNB BOOK.
MARINERS.
No. 1. SICILIAN
Count
217
The words by
f
Rev. Uubt. Robinson.
#-1?^
^=f=^
tzz^.
God, while
Mighty
an
gels bless
Mighty
an
God, while
May
thee,
1=1^
an
?5
gels bless
rs=m-
(i==F
in
fant
lisp
thy name.
fant
lisp
thy name.
-e--
thee,
May
an
in
^
Mighty
an -gels bless
God, while
thee,
te^jTTTj
Lord of
men
Lon of
Lord
t/
3
!
le
an
an
gels,
Thou
art
ev
gels,
Thou
art
ev
Thou
gels.
^=^
/^:p=^
ery
ery
lisp
thy name.
ZX
crea-ture's theme.
crea-ture's theme.
le
ery
crea-ture's theme.
-^v
ev
art
^F=t
1
Hal
t=i=^
fant
lu-jah!
9i^-m
il
well as
as
well as
^ t=t
-
-jU
Hal
as
men
an
well as
in
es
S
s^
\=i
^-
Lord of
i
d
men
an
=F=^
as
^J1-Itn
May
Hal
lu-jahl
le
lu
jah!
'
A -men
f n n
Hal
Hal
le -
lu-jah!
u] sj^^rtf-tiMJ^
Hal
le
lu-jah!
^
-
le
lu-jah!
Hd
le
Hal
le
lu
Hal
le
lu
jah
men.
men.
1^
lu-jah!
jah!
2.
Lord, of every land and nation,

Ancient of eternal days
Sounded thro' the wide creation
Be thy just and lawful praise.
For thy providence that governs

Thro' thine empire's wide domain
"Wings an angel, guides a sparrow
Blessed be thy holy name.
Hallelujah
Hallelujah
3.
5.
By
For the grandeur of thy nature,

Grand beyond a seraph's thought
For created works of power,
Works with skill and kindness wrought,
Hallelujah
thy rich, thy free redemption,
Dark thro' brightness all along,

Thought is poor, and poor expression
Who
Q
dare sing that awful song ?

Hallelujah!
THE HYMN TUNL BOOK
2lB
No.2.WARWICK. c. m
Stanley.
'Ihe word* by Dr. Walli*
guard
their
P W^
rules
im
from
lives
parts,
parts,
Thy
rules
im
the
choi
To
keep
-f^=)
Z3:
rules
Z3
im
XJ-
To
keep
con
the
science
clean.
<r>
-
science
clean.
63-
parts,
cest
I
con
the
tl
XX IQ
%J
word
TT
33:
sin
To
keep
con-science
the
clean.
3.
Wlien once
'Tis like the sun, a heavenly light,
it enters to the mind.

spreads such light abroad,
The meanest souls instruction find,
And raise their thoughts to God.
That guides us all the day;

And, through the dangers of the night,
A lamp to lead the way.
It
Thy word
How
That
lioly
And
is
pure
everlasting truth
is every page
book
shall guide our youth,
well 8uj>port our tgc.
THE HYMN TUNE BOOK.
219
No. 3. DEVIZES.-c. M.
Count
Tucker.
The words by
P-
M^/-t-f^
V-
S32
Ist Voices.
Dr. Walti.
m^ r
O ^^
^F^
I sing
th'
power
almighty
God, That made the mountains
of
1^=:^-^^
2nd Voices
PesT^
^^
%
I
3rd Voices.
sing:
^?S-f% o X
f
rise
rise
5^=51^
of
:/f
made
..
And
seas
^f-
i
_
%-%-P
t=^
built the
lof
g
-
ty
skies,
^
,l.T
ty
-^
And
ix
built
the
broad,
lof
lof
<n
ty
skies,
ty
skies.
fl-/-
tii
\
skies,
And
built
fp
the
^
TX.
And
the
built
2.
lof
ty
skies,
3.
wisdom
goodness of the Lord,

That fiU'd the earth with food ;
form'd
He
the creatures with his word,
And then pronounc'd them good.
I sing the
that ordain'd
The sun to rule the day ;
The moon shines full at his command,
And all the stars obey.
I sing the
And
broad,
^mp:
^^
lof
seas
That spread the flowing
built the
.;i:
broad,
xi.
;
the mountains
atitjfe?
seas
God, That made the mountains
^^
^p-:
y
rise
power
PS
P=F=F
:*:
almighty
th'
* -^
îW
sing th' almighty power of God, That
3tjt
4.
His hand is my perpetual guard

He keeps me with his eye
Why should I then forget the Lord,
;
Who
is for
ever iiigh
220
TIIF.
4.-ST0NEFIELD, or DOVERSDALE. l.
No.
^^'J'
^S
2nd Voices.
-^
.-
1.-L
my
^
my
-^
my
du
ty
^2:
du
of
<=^
ty
And
soul,
and
soul,
with
and
Shake
run.
--J
off
T7
Shake
off
sc
du
of
ty
TT rszzTT
^^
To
Shake
run.
off
-i-
<^
dull
-e>r
oar
1,
rise,
To
pay
thy
-^-
/
ZX
ly
zx
aSF
Z3
rise,
To
C>
thy morn-ing
pay
past,
3.
thy converse be sincere,

Thy conscience as the noon-day clear ;
For God's all-seeing eye surveys
hy secret thoughts, thy works, and ways.
Let
all
and
>
fice.
33:
-
fice.
eî 1
day as if the last

Thy talents to improve take care
For the great day thyself prepare.
live this
sloth,
cri
2.
Redeem thy mis-spent moments
And
and
-^
C>
-^
sloth,
cri
morning
ly
^s
dull
1=t
TX
and
-(^
dull
.<
1/
ly
dai
sloth,
thy morn-ing
pay
-e^r
dai
Thy
ly
e5,--e^
J'-
run.
<^>
the sun
sun Thy
the
with
dai
Hk
r^
c i
m.rTT
e^(--c^
soul,
C3
Thy
-CX
stage
"I
the sun
with
zx I3ZT3
-<^^
wake
of
^yî^
staê
'U
<^
-i--t--LJi
XE=phzt
-^ ZX
fe -^
T5
stage
wake
wake
zx
5n
'
3rd Voices, fl
W'
m.
Counts
Ist
HYMN TUNE BOOK
sa
cri
fice.
HYMN
TIJK
No.
Count 4
TlNt- ROOK.
29t
EVENING HYMN. l.
Talhs.
^f-
Ist Voices.
p5iE^=FF5^^
^S^^g
- ^S
Glo
3rd Voices.
my
thee,
to
God,
this
For
night,
:=l:
Glo
all
P
all
all
to
ry
-/-
3
Glo
^t
ry
2nd Voices.
fJ
ry
H ~^v
the bless
to
the
of
this
God,
this
Keep
light.
me,
For
night.
For
night,
r-f-^=^
î
ings
keep
me,
keep
me
keep
me,
the bless
ings
of
g
the
Keep
light.
i^2
K.
me,
^w^^m
the bless
of
ings
of
Be
kings,
of
kings.
King
of
kings.
Keep
light.
neath thy
own
i=3&:
King
the
me,
^ ta&
-P-
^^
King
God,
my
thee,
1
all
m
my
thee,
Be
migh
al
ty
wings.
3t
neath thy own
al
own
al
i
migh
ty
wings.
ty
wings.
at
Be
neath thy
migh
2.
Forgive me, Lord, for thy dear Son,

ill that I this day have done
That with the world, myself, and thee,
I, ere I sleep, at peace may be.
The
3.
Teach me
to live, that I
may dread
The grave as little as my bed

Teach me to die, that so I may
;
Rise glorious at the judgment-da
THE HYMS TUNE BOOK.
222
G. HANOVER. p.
No.
m.
The
-/lit Voices.
2nd Voices.
13
My
3rd Voices.
-X
Z4
Speak good
name; Hi* mer-cies
of his
O^ O
-=?
C3
Speak good of
seal, praise the Lord,
-e3
My
soul, praise the Lord,
S^3E3|
r5
c^
f->
boun-ties
pro
r^
r->
boun
cord, His
claim.
ties
good of
name; His mer-cies
his
-r
Z2 ^ Z5;
To God,
boon
pro
ties
claim.
ri^
_|
To God,
r-/.
their
TX ^r rx
^-e^Let
a -tor,
all
^^
u
tor,
Let
Z3ZOC
--
Let
Cre
-^
tor,
re
all
creatures
crea-turea
O O
r
11
crea-tures
-Or
-L-A
-^- -CL
Cre
-p-
cord. His
their
-3-
To God, their Cre
<^ -^
re-
-^-
Speak
r>]^r>r^"
:cxS3
pro|. claim.
Z3:
^^
K
-<9
re-
J^JL
name; His mercies
his
2'
cord, His
zx
Z5:
Tl
-/-
-^
XT-ei
by
-/-
-p-
-^>
zx o-
soul, praise the Lord,
My
wori\
I'ark.
Count 3 *^
c >
raise
The
hymn
of thanks
giv
The
ing.
cho
rus
of
praise.
-/-
25=xr
Ti-~rrz\ J^
The
song
of thanks
-/
raise
The
giv
-^^-
The
ing.
-^
ri TT
Oi
LJ_
3-
song of thanks
giv
ing,
ocho
xx
The
cho
ot
nis
By knowledge
of
is
supreme,
By wisdom divine,
God governs the earth
With gracious design
Yet here by his works

known.
The world shines a mirror

Its Maker to show,
O'er beast, bird, and insect

His Providence reigns.
And
Whose
heav'n shines with wonders

Reflected below.
will first created,
Whote love
3.
And man,
Who,
Or
veil his
form
work.
falling
through
sin,
By grace is renew'd
To God, his Creator,
Let man ever raise
The song of thanksgiving,
The chorus of praise.
;
Who
smiles in the sunbeam.

frowns in the storm.
his last
With reason subdu'd,
Fire, water, earth, sky,

Attest the dread might
Of God, the Most High;
rides on the whirlwind.
While clouds
sustains.
5.
Those agents of power,
Who
still
praise.
TX
4.
2.
Though hid from man's sight

God sits on his throne.
Thtir author
:i2
rus
praise
THK HYMN TUNE BOOK,
223
No. ;. STEPHENS. c. m.
Count
Rpv. W. J ones.
The words by Dr. Walts.
'-
^^
lit Voices.
-^3-
t=^t^
Time,
what
XX
g:
enip
va
ty
pour
And
'tis,
~-P'-
2nd Voices.
--
-e>-
Time,
a=
3rd Voices.
what
how
days
va
ty
pour
emp
an
va
ty
pour
\^
rr/r-ra=tr
r-^-i
rx
swift
how
swift
they
are
Swift
an
as
-^
they
-r-
how
are
In
dian
swift they
are
-^^
lOL
In
swift
swift
dian
xz
-^
1=tt
days
And
'tis,
OX=W=S-
rx=^
days
And
v=^
what
/-
-^
'tis,
-^
-Ci.
^jn
-r
p ^
an
f-
Time,
hQ>
emp
25
ar
3
ar
In
as
row
21^
Xi.
S"*""
row
dian
ZX
-ei-
lo:
or
flies,
shoot
like
star.
t==:i^=
CL
or
flies,
shoot
like
mg
ing
star.
iii=a
flies,
or
shoot
like
star.
2.
Our
life is
ever
on the wing,
And death is ever nigh

The moment when our lives
'Tis sovereign mercy finds us food,

And we are cloth' d with love ;
We
all
begin to
begin,
die.
While grace stands pointing out the road

That leads our souls above.
3.
5.
Yet, mighty God, our fleeting days
Thy
lasting favours share
Yet with the bounties of thy grace
Thou
load' St the rolling year.
His goodness runs an endless round

All glory to the Lord
His mercy never knows a bound,
And be his name ador'd.
Thus we begin the lasting song,

And when we close our eyes.
Let the next age thy praise prolong,
Till time and nature dies.

224
HYMN TLXK BOOK
TIIL
No.
Count
8.-GERMAN HYMN. 7s.
4 r
word* by Ur. RyUnd.
Tlie
1ft Voices.
TT
ZjlTm-
$h
Sov'
of
xs^-
JUL.
-e>
-e3-
-M-
Ru-ler
reign
f
K
skies,
tlie
;t-(-
gracious.
Tcr
2nd Voices
-^3-
Sov'
^^
3rd Voices.
the
of
ler
zx
zx
ver
powers
are
inj
zx
-t>-
com
AU
hand.
Vl^^^
powers
com
thy
at
haud,
All
mand.
mand.
xz
com
thy
at
mand.
2.
3.
of sickness, times of health

of poverty and wealth ;
of trial and of trrief
of triumph and relief.
Times the tempter's pow'r to prove

Times to taste a Saviour's love
All with thee begin and end,

Father, and Almighty Mend
thou gracious, wise, and just.

In thy hands
Thou,
1
my
life I
Lord, art
and mine are
all
trust
God
my
alone
own.
my
-/
powers
my
iX
thyl
in thy
ZX
Times
Times
Times
Times
All
^f-
times are
thy
at
hand,
-Or
zx
xz
^>-
ZJ
times
my
All
wise.
tt:
thy
.-,
-6^
-^
ver
in
e^-*-
my
All
-eor
gracioiD,
ver
skies,
3Eg
times are
I.
TIT
wise.
the
-^3*-
my
All
wise,
->
of
-6^
XX
i=-i
LJ_
XX
ver
gracious,
rer
-/-
-P-
zs:
Ru-ler
rei^n
K
-/-
Q
-
6>
-e
skies,
-e>-
Sov'
I b
Ru
reign
<^
my
THE HYMN* TUNl. BOOK.
No. 1). GROVE.-p.

Count
225
M
Th
4 f
worils
by
Dr. Wutts.
1st Voices.
2ud Voices
Aud
of
- f'er
songs di
-
O O
ho
ly
To your Cre
vine,
l=r-^
angels
throng of
î
bright, In
ex ^
ho
ly
ho
ly
an
throng of
throng of
gels
,..
an
bright, In
o, r
gels bright
tor'
praise.
-r -i^
worlds of light be
O)
be
Shine to your Maker's praise.

stars of twinkling light.
His power declare,

Ye floods on high,
clouds that
In empty
fly
gin
the
air.
Ye
kings and judges, fear

the sovereign King
And while you rule us here,
His heavenly honours sing ;
Nor let the dream
The Lord,
Of power and
Make you
The shining worlds above

In glorious order stand.
Or in swift courses move
By his supreme command.

He spake the word,
Aud all their frame
From nothing came^
To praise the Lord.
state
forget
His power supreme.

5.
3.
Virgins and youths, engage
To sound
his praise divine.
While infancy and age

Their feebler voices join.
Wide as he reigns.
His name be sung
By every tongue
In endless strains.
song:
4.
Thou sun with dazzling rays,

And moon that rul'st the night,
And
gin the
of light
song.
worlds of light be
In worlds
the
2.
With
gin
I
song.
:26
IIVMN TLNt HOOE.
THF.
No. 10. CRANBROOK. s. m.

Count
1st
CUrk.
4 r
The wonii by Dr. WatU.
I m^^m
Come sound
his praise a-broad,
^^/'-r-H5s-r
2nd Voices
fetefe^
aLit
And hymns
of
glo
^
ging
ry
^mjw^Fm^
r
Come sound his praise
a- broad, And
E?^=p
3rd Voices.
hymns of
his praise a-broad,
glo
ry
ps
And hymns of
iK;
\^/-C>| O
a *
zizt
Come sound
P-
glo
sing;
ry
wEm
-^ly
Je-ho-vahist
Je-ho-vah
is the sov'reign God,
if
PS
is
>
* d *
-A-yJe-hovah
the sov'reign God,
is
the sov'reign God,
::3c
#-^
Ut^:
/
^
The
the sov'reign God,
-^
V^^'/-l=A
r-'fc
The
u- ni-ver-sal King;
u-ni-ver-sal
M^
^=i=*^^
ziz:
I
is
p*
The
u-ni-ver-sal King;
King
The
*i.
:^=z:
The
universal King;
ni
ver-sal
The
u-ni
/
.
I
I
King.
a Z3 I
it-i
-
ver
sal
^^^^
trrjr
The
the sov'reign God,
J-J-
Je-ho-vah
is
-P
^-^
Je-bo-vah
Je-ho-rah
l^-N-
King.
o-
ry
ni-ver-sal
King
The u-ni-ver-sal King
The
Ter
sal
King.
3.
He form'd the deeps unknown,

He gave the seas their bound
The watery worlds
And aU
are
all
his
own,
the solid ground.
Come worship at his throne,

Come bow before the Lord
We
To-day attend his voice,

Nor dare provoke his rod
Come,
like the people of his choice,
And own
are his works, and not our

He form'd us by his word.
your gracious God
own,
THE IIVMN Tr>'E BOOK.
No. 11. FALCON

Couut
STREET. s. m
J. Smith.
;The Words by Dr. WatU.
f-
TX
-^>
Come sound
praise a
his
-^>r
3-
And hymns
broad,
praise a
/-HV-,
=^
praise a
XX
ho
vah
CJ
sing,
Je
-es^
of
of
-^>-^
God, The
reign
ry
CJ>
glo
o-
ry
siug
Je
sing
Je
r-P-
And hymns
glo
broad.
sov
the
is
H,
of
And hymns
LjtiCi
Come sound his

^/-
-GJ
broad,
H-.
t^^
r-V-
iy j-;ijo!i^
Come sound his
3:
^j^
glo
ry
^
u
:^:^
ni
ver
:s:
King.
sal
m^m:^
p^^&Ef^^
E^^î
ho
vah
a :^
ho
the
is
sov'
God, The
reign
vah
sov
the
is
P^
3^
Lord
Hal
le
lu -jah
Lord
Praise ye the
Hal-le-lu-jah
lu- jah
Hal-le-lu-jah!
ver
King.
sal
/-
E^^3
Praise ye the
Lord
Hal
le - lu -
jah
Hal-le-lu
jah
Hal
Hal
le- lu-jah
Hal
Hal
-le -
lu-jah
le
lu
jah
^-
le
lu-jah
n:
Praise ye
the
Lord
i=i
$<i-*g
!
Lord
^
'=fi=-
Hal-ie- lu-jah
ni
->..
Praise ye the
Hal-le-lu-jah
i
a
King.
sal
I ^ ?
Hal-le
u
.
ZX
-grcy
Praise ye the
ver
TZf
God, The
reign
r^
-Ci.
ni
CIT
-
Hal-le
lu-jah
Praise
ye
w-^ TT
Hal-le-lu-jah! Hal-le-lu-jah!
* For the remaining verses of this
Praise
hymn
the
ye
the
see page 226.
Lord!
:o:
Lord!
THE IIYMK TUNE BOOK.
228
No. 12. MARTIN'S

Count
LANE. l.
m.
Thf wonlf
by Ann Taylor
4 f
/-4
SCZf
1st Voices.
God, and
Great
m
w
2nd Voices
con
de
o:
and
God,
Great
3rd Voices
wilt thou
thou
con
de
ex
God,
Great
ZX
and
thou
wilt
fa
con
de
:?
>^v
i
5
'
frieiid
To
my
be
friend
To
friend?
friend
=r
poor
child,
=^=^
^"1
Tl
poor
O.
Xji
>
t=i
?!
ZZ -- '
my
>,
be
^
Si
my
and
poor
and
air,
r ^
child,
and
thou
thou
air,
and
ix
and
i
1
fa
ther
and
:^
<^
my
xx
-
and
ther
sky,
The
sky,
my
and
sky.
so
Lord
of

-m=^
5=2 -6>
The
high,
Lord
of
^^
thou
so
The
high.
Lord
The Lord
ot
earth,
o'"
of
^3air,
of
zr--^
and
sky.
earth,
^.\^
i^
-eo
and
and
sky.
air,
t=^ o- c>
^-c
The Lord
and
Lord
5t3 3e:^
vx
O:
air,
The
high,
so
^^*
Z3:
rr
earth, and
fa
'\-
-Gr
rzx
-e>
and
my
and
=5
earth,
<:>-
X=:X
earth,
be
To
and
child,
<?>
:^=^
friend
^c;t_i:izx:^3C
mj
ther
i=j
friend
.-p-
*
XJL!_U_l
'-~'
'
my
iJJii
and
-P^
*
3r
-L-i-
ther
be
<
fa
r>
-t-/-
my
and
ther
o.
r^^
^
I
az^
fa
To
scend
i^Z^
my
and
ther
mj
be
XJ-
^ * 1
WlJL
IL
zr
cy-
i=4:
^^
Ê^
i-
.LI
my
be
To
scend
zz
iza: CO
wilt
To
scend
:J=1
earth,
and
air,
^
-e>
and sky.
THE HYMN TUN

my
Art thou
Father ?
BOOK.
20
Canst thou bear
To hear my poor imperfect prayer ?

Or wilt thou listen to the praise
That such a
one can
little
raise
3.
4.
Art thou my Father ? Let me be

A meek, obedient child to thee
And try, in word, and deed, and thought.
;
To
serve
and please thee
my
I'll depend
Father?
Upon the care of such a friend
And only wish to do and be
Whatever seemeth good to thee.
Art thou
as I ought.
5.
my Father ? Then at last,

"When all my days on earth are past,
Art thou
Send down and take me,
To
in thy love.
be thy better child above.
No. 13. STAUGHTON. c. m.

Count
The words by
4 f
Dr. Watts.
q
b
r>.
.CX-
>
With songs and honours, sounding
in>
y.,^_1S
o*
d With songs and
rV
honours,
^^
With songs and honours, sounding
Xi.
ver
the heav'ns
.-H-^-,
i-i<r}
he
spreads
heav'ns he spreads
-Oh
the
^P-
o
high,
-^
:^c
JH.
loud, Ad-dress the
his
cloud, and
his
cloud, and
TT
O O
izL
wa
Lord on
ters
high,
wa
1-
iOL
-6^
veil
the
sky.
the
jCX.
sky.
^1
Z3
-
ters
ters
veil
lo:
T3
JOt.
ver
high,
,
.^=^^'
EEjg
the
-P-
53
_CIL
Address the Lord on
loud.
sêi
ver
^ Sl
Ad-dress the Lord on
a -^
H{>
T31
loud,
T3
sounding
O o
i_i.
CV
TT
heav'ns he
spreads his
He
sends his showers of blessing down,

clear the plains below
He makes the grass the mountains crown,
And corn in valleys grow.
To
cloud,
and wa
-d.
veil
the
sky.
His steady counsels change the face
Of
the declining year,
He bids the sun cut short hi^ race,

And wintry days appear.
His hoary frost, his fleecy snow,

Descend and clothe the ground
The
liquid streams forbear to flow,

In icy fetters bound.
5.
He
sends his word, and melts the snow

The fields no longer mourn ;
He calls the warmer gales to blow.
And bids the spring return.
The changing wind, the flying cloud.

Obey his mighty word.
With songs and honours, sounding loud|
Praige ye the so v' reign Lord.
I
-
THE HYMN
230
USE BOOK.
No. 14. DERITEND. c. m.

Count
Mope ton.
The word* by Cowper.
ff^
^&
1st Voices.
God
moves
P
2nd Voices,
mys
in
moves
^r:^
^> ri
5& ZX
3rd Voices.
God
mys
in
mys
in
e^-^
ders
ders
o,
r>,
G>
won
te-riousway, His
won
te- rious way, His
Z2=gl3r <^
moves
^
won
te-rions waj, His
"î
God
;s
<z^ IX
ders
/
^c^
1/
to
per
He
form:
form;
plants his footsteps

tootsU
in
And
sea,
tiiC
?=K
^ g 1
l^
._
per
IT plants his footsteps in

He
foiTDj
/
*^
o,
,
to
per
IHe
form;
<:rJ
plants his footsteps in the sea, He plants hisfootsteps inthesea,And
^L^-A
-I
rides
up-on the
>#
storm
And
'
'
I
And
rides
rides
^' ir
upon the
storm
I
-^T^
*-/'^
Deep
Of
He
in
And
rides
rides
up
r^
:q^ ^
rides
on the storm
on the storm.
upon And
upon the storm
^3-
L/
And
rides
up
rides
up
c:>
on the storm.
Judge not the Lord by feeble sense.

But trust him for his grace;
Behind a frowning providence
unfathomable mines
He
his sovereign will,
hides a smiling face.

5.
3.
Ye
^^
I
I
ZX
never-failing skill.
treasures up his bright designs,
And works
And
And
îi^=p=[
upon the storm
*
*
r\
'
'
'
upon the storm:
s
rides
:^:
^\-
n .;-i
^--
Jf--
TX
<^>
c">,
tho sea, He plants his footsteps in the sea.
fearful saints, fresh courage take
The clouds ye so much dread

Are big with mercies, and shall break
In blessings on your head.
His purposes will ripen fast,

Unfolding every hour
The bud may have a bitter taste,
But sweet will be the flower.
Blind unbelief is sure to err,

And scan his work in vain
God is his own interpreter,

And he will make it plain.
THE HYMN TUNF BOOK.
231
No. 15. HARTS.

Count 2 f
P^
Ist Voices.
An
gels,
roll
t=t
An
gels
way
Death, give
g^
P-
2nd Voices
rock
tlie
-f-
<->-
t=^
rock
the
roll
-/-
way
Death
3rd Voices.
f)r^>
An
$ ^^
up
ii
Vh
up
tomb,
way
tt
-m
Death,
ty
prey.
migh
thy
migh
thy
Glow
p^^^
SH.
ses
from
the
ty
t^
^ ^
prey.
he
See,
prey.
ses
he
See,
ri
from the
from
?
ing
im
with
^^-
Glow
ri
-p-
ty
he
See,
mor
bloom.
tal
3
im
with
ing
mor
bloom.
tal
^^F?v=r
tomb,
give
migh
thy
tomb.
Tr
ii-p:
-P-4=^
hr-^
rock
the
roll
J
a"^
i=f:
up
gels
give
-/^
P-
i
Glow
ing
im
with
mor
bloom.
tal
2.
3.
Heav'n, display your portals wide,

Glorious hero, thro' them ride
'Tis the Saviour: angels, raise

Your eternal hymn of praise ;
King of Glory, mount the throne.

great Father's, and thine own.
Let the earth's remotest bound
Thy
Hear the joy-inspiring sound.

4.
Shout, O Earth in rapturous song.

Let the strains be sweet and strong
Praise him, all ye heavenly choirs ;
Praise, and sweeo vour golden lyres.
!
the
THE HYMN TUNE BOOK.
23-i
No. 16*. JOB. L. M.

Count
AmolJ
p
Tlie wrd
by Dr. Watti.
/
1st Voices.
5^
1/
Give to
2nd Voices
r-^-^.
Give
-f >-
lords re
nown, The King of
^zzz
\-
lords re
1^
Give
to
-L>
a^^
kings with
kings
^
nown, The King
of
kings with
-<=>-
Hismer-cies
crown.
ry
-/
glo
i o
"O
1/
'
P'-
^^3
lords re
Mt-
^
r
glo
ry
crown.
His
ZX
zx
\-
-i-*-
--
Q o
mer-cies
^
When
-y^^
-e^
When
Lords and
ver
Lords and
cies
,_
ver
-e>-
Kings,
when Lords and
Kings are
Kings,
Z3:
-#-^^
-e^
when Lords and Kings
en
shall
-/-
shall
J
en
dure,
xz
dure,
xa.
i^
Lords and
^^^
When
His mer
crown.
dare.
shall
Z3:
glo
>
Lord of
the
i
I
P~
oo
3rJ Voices
kings with
nown, The King of
i">
"e>
r-
Iôrd of
the
to
Lord of
the
{^TT
-6J-
xunt
known
3t:
are
knos
Z3:
-e^
zx
iZL
Kings, when Lords and
Kings are
known
2.
He
He
the sun with morning light,

bids the moon direct the night;
His mercies ever shall endure,
When suns and moons shall be no more.
fills
this vain world he guides our feet,

leads us to his heavenly seat
FKis mercies ever shall endure,
When this vain world shall be no more.
Thro'
And
,;
THK HYMN TUNE BOOK.
No.
933
17.-MELBOURN PORT. c.
M.
The words by
Count
Dr. Watti,
4 r
13
tJ Bless' d be the
ver
God,
last-ing
Tlie
Fa
our
thei of
ther
Z3:
Lord
be
/7^
-Or
2nd Voices
U
3rd Voices.
Bless'd be tbe
^^^
-#'
his
abounding
r>,
ther of our
Lord;
ftj
mercy
God, The
ver-last-ing
^m
Fa
rr-rr
i0
Bless'd be the
r>,
God, The
ver-last-ing
Be
praised
our
ther of
Lord; Be
^^
XX
T-m
Fa-
his
bound-ing
mer
his
a -bound-ing
mer
cy
-^
Be
cy
a:
his
abounding
p raise d
^
m
mercy
praised
Be
his
bound-ing mercy
if~if
î3t
praised
Be
a-bound-ing mer
his
?=p:
t=1=14
^
Be
cy praised, His
ma-jes -ty
^=^
^^^^=t
-^>-
mercy praised, His
a- dored.
ma
-jes
ty
o
a
dored.
4.
from the dead he raised

And call'd him to the sky
his
an inheritance divine,
Reserv'd against that day
Son
There
'Tis uncorrupted, undefiled,
And
die.
3.
cannot fade away.

5.
What though
our inbred sins require

Our flesh to see the dust
Yet as the Lord our Saviour rose,
So all his followers must.
's
gave our souls a lively hope,
That they should never
dored.
XJl
2.
When
He
t=x
=i
^^
a-bounding
his
praised, His ma-jes -ty a
Saints by the power of God are kept

Till the salvation come
walk by faith as strangers here
Till Christ shall call us home.
;
We
jj
THE IITMM TUHE MOOK.
234
No. 18. MATTHIAS. s. m

Stanlfj.
Count
The word* by Dr. WatU
3--^
1ft Voice*.
Be
2nd Voicci
ZX
lof
ty
Be
lof
XJL
Be
God
And
claim
clares
-e^
<^
De
sky
ty
De
sky
ty
maker
its
-t^
clares
Esac
maker
it*
r/
Z5
clares
maker
its
works
star
^.S-9-
lof
his
all
o o
-LJ_
the
hold,
De
sky
the
hold,
^3 |g
3rd Voice*.
ii
4:
the
hold,
-e^
high Pro-
./-e>-
power
his
broad
-Ci.
Pro
claim
-e>his
Z5
power a
broad.
broad.
./-
i'fi iJ
-'
nlnim
claim
J_J
.l,i
|
.1
.13
nnnrpr
power
Viia
his
=^/
broad; Pro
^*
claim
V# -'power
Q3^
o
a
his
XX
-ex-
Z2:
claim
power
his
broad
Pro
claim
his
power a
2.
The darkness and
Ye
the light
keep their course the same

While night to day, and day to night,
Divinely teach his name.
Still
British lands, rejoice

reveals his word;
are not left to nature's voice
To bid us know the Lord.
:
Here he
We
5.
3.
In every different land

Their general voice is known,
They show the wonders of his hand,
And orders of his throne.
His statutes and commands

Are set before our eyes
He puts his gospel in our hand*
Where our salvation lies.
His laws are just and pure.

His truth without deceit
His promises for ever sure.
And his rewards are great.
broad.
;;
THE HYMN TUNE BOOK.

No. 19. ROUSSEAU'S
Count
235
DREAM. 8.
/-
-^-
Guide me,
thou great Je
15f
Guide me,
thou great Je
Guide me,
*F #
,
am
weak, but
ho vah,
T=F
griai thro' this
^m
bar
ren
Pil
ho-vah,
^--v
grim thro'
this
bar
ren
land
Pil
grim thro'
this
bar
ren
land
f-
art
Hold me with thy
mighty
powerful
^fi-LQ^^
#--^
i^
am
weak, but
-P
7^n^
I
thou art
mighty
hand
/-
"
-^
thou
land
-=V-
thou great Je
Pil
g
^^S333SS^
tjt
^m
^P-^
ho-vah,
4.
t=t5f
Hold me with thy
powerful
Hold me with thy
powerful hand.
hand
i=t=t:
am
weak, but
m^
Bread
thou
art
mighty
./-
ww
hea-ven, bread of hea-ven,
of
i-^
-m
:i=t
Feed
me
till
Bread
Feed me
till
want
no
more.
of
Feed me
till
want
no
more.
fiery,
Lead me
all
When
flow
Bid
* The four last bars, here, should be

as in the first part of the tune.
my
safe on Canaan's
Songs of praises
Strong deliverer
thou still my strength and shield.
!
Be
tread the verge of Jordan

anxious fears subside ;
of deaths, and hell's destruction,
Death
Land me
cloudy pillar
my journey through.
I will
side.
ever give to thee.
sung by a tenor voice, the second
r2
more.
Open thou the crystal fountain

Whence the healing streams do
Let the
no
of
P-
Bread
want
^
^
w^
m rTrnn^^^g^
-m^
treble voices singing
U36
HYMN
TIIK
TLNT. BOOK.
No. 20. IRISH. c. M.

Count 4
The wonU by
Dr. Waiu.
lit Voices.
2nd Voices
wait
Ma
your
wlule
T^^-4-^
while
she
TJ
she
ker's
sings
The
nod
My
soul
nours
stands
of
trem
bling
God.
her
ZX
-i-4
<^-
-3sings
bo
1 he
God.
of
2.
death, and hell, and worlds

Hang on his firm decree
He sits on no precarious throne,
Lifi',
unknown
His prnvidtnce unfolds the book,

Ar.d makes his counsels shine ;
Earh opening leaf, and every stroke,
Fulfil some deep design.
Nor borrows
leave to be.
5.
3.
My God, I would not long to

My fate with curious eyes
Chain'd to his throne a volume lies,

With all the fe>rm3 of men,
With tvery ansrel's form and size
Drawn by the eternal pen.
In
\\'liat
gloomy
And what
tliy fair
O may
Recorded
see
honk of
I3eneath
life
and grace,
my name
some humble
find
in
my
plr.re
Lord, the Lamb.
lines are writ for me,

bright scenes may rise.
IIVMN TUNE BOOK.
Tlir.
237
No. 21. SA.NDGA TE. c. m.

Count
riiirk.
4 t
Ist Voices.
The worda by Addison.
When
all
When
vl
as
t
3rd Voices.
When
all
thy
-#
all
thy
cies,
p--
my
mer
sur
cies,
Trans-port-ed
1^
with
N^
Trans-port-ed
veys,
sur
God,
My
my
God,
My
the
with the
^
view,
I'm
view,
I'm
H
Trans-port-ed
veys
with
the
ri -
sing
ri -
sing
'=s
In won-
s
lost
Inwon-
tt=^
lost
In
^PS
In
and
praise.
der,
love,
der,
love,
and
praise.
won -der,
love,
and
praise.
mzzK
and praise; In
love,
der.
won
sing
lost
I'm
view,
i
and praise
love,
der.
ri -
my
-Ci.
soul
My
God,
veys,
sur
mer-cies,
-/:
soul
s
^
A_UJ_^^
2nJ Voices.
soul
mer
thy
and
love,
der,
won
^
In
praise;
2.
To all my weak complaints and

Thy mercy lent an ear,
Ten thousand thousand precious

My daily thanks employ
Nor is the least a cheerful heart
cries
gifts
Ere yet my feeble thoughts had learnt

To form themselves in prayer.
That
tastes those gifts with joy.
3.
5.
When worn
with sickness, oft hast thou

With health renew'd my face,
And when in sins and sorrow sunk,
Heviv'd my soul with grace.
Through
all
A joyful
For oh
To
Through every period of
Thy goodness
And,
life
worlds
The glorious theme renew.
I'll raise
eternity 's too short

utter all thy praise.
!
my
pursue,
after death, in distant
eternity to thee
song
I'll
THE HYMN TUNE BOOK.
238
No. 22. CONTEMPLATION.-c. m.

Count 2
The word* by
f
J.C.Wallace.
1ft Voices.
There's not
fr
^^
9
-'
3rd Voices
'
THptp'r not
nnf
There's
n
a
whose twinkling
Star
-#
2nd Voices
mm
^^-^
light
II
light
II
:p=t:
star whose twinkling
There's not
whose twinkling
twinkli
star
lumes our
na
tive
lumes our
na
tive
^^^^
- If-
light
II
lumes our
na
tive
\P-
--T-
>
_t_-i.
r
And cheers
earth,
the solemn gloom of night, But goodness gave
There's
birth.
it
^^fjiffjrmi^^s^
And cheers
earth,
solemn gloom of night, But goodness gave
the
ii^
earth,
And
not
gî'
not
3^
not
-P
Up-
til
II
cloud whose dews dis
- til
1-^
n^
#
Ji
a
^W
-/-

I
-^^
m^
cheers the solemn gloom of night, But goodness gave
^
$
P pm
rr^'-r
birth. There's
it
m.
- til
on
1^=^
+=t==f
the parch-ing
=p/
ij_j.
Up -on
'
^n
on
And
clod,
a
:
1^
And
clod,
4
->
the parch-ing
r-i-F-/^-i
Up-
birth. Piere's
it
"T^.
'P
clod,
And
the parch-ing
Z2
clothe with ver-dure
vale
^^
^-#-i
hill.
clothe with ver-dure
vale
1
^F^^'
and
-4
and
That
S
hill,
r-l
hill.
3.
There's not a place, search earth around,

Or ocean deep, or air,
Where skill and goodness are not found.
For God is every where.
sent
by
I
God.
If-
That
-1
That
is
not
is
/
i=lf-
.clothe with ver-dure yale anA
not
is
sent
not
sent
God
by
H"!
God.
by
4.
Almighty God, thy gracious powei

On every hand we see
And may the blessings of each hour
;
Direct our thoughts to thee.
THE HYMN TUNK BOOK.
MOUNT CALVARY. c.
No. 23. HAWEIS, or

Count 8
1st
239
Voices.
mmm
*
O
2nd Voices
i^
1 1
good-ness flows,
whom all
.p..-^-^
^-^
T=^
**:
-^^
I
,_
my
lift
r-f-5
good-ness flows, I
-r
f=Pi
prr^^
thee
In
my
all
sor
t*
to
soul
iii-
whom all
thou from
soul
:^
:o:
^'- "*''**
^/-
good-ness flows,
thou from
my
lift
^
i^sg
i:z3
7^^^^
3rd Voices.
whom all
thou from
m.
soul
-^-9)
^^
rows,
my
lift
to
my woes, Good Lord re-mem-ber me Re
all
-P-
thee
In
^^
my
all
sor
rows,
all
-I-
my
woes.
1^-
- __i.
Good Lord re-mem-ber me Re

;
TJ-W
Good Lord,re-mem-ber me Re
thee
P=E
fc*
member me Re-mem-ber me Good Lord,

;
t^
i
M^
ZX
ber
J5-^ r>
-#-r#-
member me; Re-mem-ber me; Good Lord,
^Âr^
re
fesES BE
ir~if
ber
re
mem-ber me Re-mem-ber me
;
Good Lord,
re
-JZL
ber
2.
When
My
on
my
aching, burden'd heart
sins lie heavily
When worn
impart,
3.
"When
trials sore
And
ills I
my
cannot
relief:
5.
obstruct
my
way,
flee,
strength be as
^Tien in the solemn hour of death

I
my
day
Good Lord, remember me.
let
with pain, disease, and grief.
This feeble body see

Grant patience, rest, and kind
:
Thy pardon grant, new peace

wait thy just decree,
Be this the prayer of my last breath

>
240
TUNK BOOK.
Tlir IITMN
No. 24. AUBURN. c. m.

Count
Uer. J. Lawson
The words b> Dt. WIU.
4 f
^ r^^
9ZM
<^>
Hap-py the heart where
Up
*=Jt
(
gra
ces
Hap-py the heart where
gra
Where love
reiga,
teiU
zn:
inspires the brcMt;
the heart where
gra
o,
lEZiT
-^-f^
t=t
L/ love inspires the
breast.
\4J
love inspires the
i^
breast.
Where
ii^^
(i
(i
is
the
^-:^zr
bright
1^
is
the
bright
est
all
And
XJ-
of
the
train,
breast.
Love
is
of
the
train.
Xj
bright
the
est
/-^
3ET
>
:r5:
strengthens
all
the
rest.
strength-ens
all
trS
-t-^
traiu,
-o-
^>strengthens
the
E3
^li^^^-tr^
^
Love
of
est
/^
love inspires the
iLove
reign,
ces
5==t
Where
Hap-py
Where
B rx
o:
reign, "Where love inspires the brcaat;
ces
g?^3
^qt
r ^
<
And
the rest;
strengthens all the
And
rest;
*-4<.^-J-*
And strengthens
-w=
And
the rest
all
strengthens
Knowledge,
alas
all
the
'tis all
>
And
^t=L
rest;
And
in vain,
And all in vain our fear

Our stubborn sins will fight and
;
reign
If love be absent there.

3.
the grace that lives and sings

When faith and hope shall cease ;
is this shall strike our joyful strings
In the sweet realms of p>ace.
This
'
is
4.
Before we quite forsake our clay,

Or leave this dark abode,
Tlie wings of love bear us away
To see our smiling Goil.
strength-ena
-^>
TTTT
the
rest.
-rnH
all
the
3
rest.
Count
HYMN TUNK
TIJK
No.
DOOK.
25.-EATON. L.
m.
Wyvil.
blow.
-J
041
Tlip words by
Krv. J. Stcntielt
llie
1st Voices.
nJ
2nd Voices
An
An
ther six days'
work
is
done,
An
ther six days'
work
is
^l-done, An
^^^
.p-u
3rd Voices, -pi
I]
ther six days'
work
is
An
done,
en
is
begun; Re
o- ther
Im -prove
joy thy rest,
Re-
sabbath
God has
is
begun
blest
Re
11^^
t=ic
the day thy
God
has blest.
^-
^g^ff^^^t^?^
en
soul,
en
soul,
Im
joy thy rest,

-
my
o- ther sabbath
-^T
turn,
begun
the day thy
^^
my
is
l"%-r-/-
.l"*-^
Im - prove
turn,
o- ther sabbath
att
T>-4-
An
rH
-1
prove
Im
prove
the day thy
2.
that our thoughts and thanks may rise

As grateful incense to the skies ;
And draw from heaven that sweet repose
"Which none, but he that feels it, knows.
3.
This heavenly calm within the breast

Is the dear pledge of glorious rest.
Which to the child of God remains
The end
of cares, the end of pains.

4.
With
God, thy works we view,

In various scenes, both old and new;
With praise we think on mercies past.
joy, great
With joy we future pleasures
day thy
God
has blest
Ê^g
^^
joy thy rest,
the
taste.
God has
blest.
THE HYMN TUNE BOOK.
242
No. 26. CAREY'S.

The words by
Countfip
1st Voices.
Addittoa.
jcr
my
Lord
The
|)a
\^(
pas
cy
-^rrr
Z3
ture
pre
shall
>
pare,
And
-r
2nd VoictN
3rii Voices.
C>
13
()
my
Lurd
The
The
pas
tore
-<
>
shep
pre
shall
<3<>-
C7
CT-
pare,
zx
pre
sence
"CT I
His
herd's care.
with
And
-f>-
tt:
shall
my
>
'cr
shep
(^
pare,
-f
LJ_l_e>
_LJ
And
O
-P-
with
-e^
X-L.
pre
(-?i:^;^^
my
Lord
shall
ZT
-^3-
JUL
Me^
zoz
13,
ture
His
herd's care.
ZT
c>,
pre
-^>
sence
shall
rr
r>
(>
my
o.
Z2
feed
me
5^
C3
i
^^^^
wants
wants
^3
sup
sup
shep
with
ply,
.ai
And
ply.
^^
And
C>
ply,
And
-63-
with
sence
-^y-
pre
watch
i-i-
my
shall
-63
ful
eye.
t >
-63-
^^
>
guard
me
-^
with
-^
watch
ful
eye.
-/
-63-
Xi
X-L C3 C3
<->
wants
sup
guard
me
with
watch
ful
eye.
2.
WTien in the sultry glebe I faint.

Or on the thirsty mountain pant.
To fertile vales and dewy meads
My weary wandering steps he leads
Wliere peaceful rivers, soft and slow,
;
Amid
His
herd's care.
guard
-/
OO
the verdant landscape flow.
Though in a bare and nicged way,

Through devious, lonely paths I stray,
Thy bounty shall my pains beguile,

The barren wilderness shall smile,
With sudden greens and herbage crown'd,
4^..d streams shall murmur all around.
hough in the paths of death I tread,

\Vith gloomy horrors overspread,
stcdfast heart shall fear no ill,
For thou,
Lord, art with me still
Thy friendly crook shall give me aid,
And guide me through the dreadful
1
My
THE HYMN TUNE BOOK.
'243
No. 27. ADORATION.

of Mr. J. Walker.)
(liy permission
Walker.
Count 3 f
d^
Ist Voices.
n-M
/^
^
Now, un
2n J Voices
ices.
Now, un
Him who
to
#
r
a
is
r.
ble
to
Him who
to
is
ble
keep
^ îi
3rd Voices.
us
from
f=fT
keep
to
from
us
^-
keep
us
from
be
fore
:t:=f:
-f>-^
Now, un
i^
r-P
Him who
to
ft
f
-
tall
And
ing
TT
And
ing
fall -
pre
to
pre
us
sent
f"r
ble
to
r
fault
r
less
the
ing
pre
And
sence
to
pre
sence
/
of
of
his
gio
ry
his
sence
/
IT
of
his
with ex
glo
.
Vy
less
be
fore
the
fore
the
glo
ry with ex
ry
/T
be
less
ceed
ing
^f-
fault
P^
*
HS
pre
us
sent
f^^^
pre
fault
.
1^1-^
0-
fall -
r~^T-^
us
sent
^p
att
to
^P-
fc
is
joy.
r^-f^
ceed
ing
t=^
joy.
^^r^
JT
with ex
ing
joy.

244
THr.
HYMN TINE
BOOK.
ill
To
To
on
Sa-viour, the
wise
ly
tiud
God our
on-ly wise
on
Sa-viour, the
Saviour
^P
our Savioor
y^
njjj\ih\uî^
glo
on
our Sa-viour, the
fir
and
ry
^=rr'r
ma-jes-ty, do
God
wise
ly
^^
^p
Be
God
on-ly wise
the
J'-r^^
Tr
mi-nion and
=6
Be
Be
gJo
glo
ever.
ever,
Be
men.
ry
glo
J'-^
Be
glo
and
i^
power, both now and
power, both now and
power, both
now and
dominion and power, both
majesty,
e-ver,
^^ m^
e-ver,
and
-^
f5=I
majesty,
Tj
and
men.
majesty,
P-^
<->^^=i-f=i^
now, and
!>
See
minion
and
ry
,/-
now, and
Sa\iour
[.rizprmj
glo
Be
^
A
and
minion
i=^4=i=t
A- men.
TXULZK
our
^p=^=^
^P
ff^
do
majesty,
^'
men.
do
majesty,
and
ry
'
ever,
^m
^
and
ry
i=im^î-r
^
God
wise
ly
Quicker
our
P^t^t^t^
r~
the
To
ii
God our
on-ly wise
the
^m
aif:
'S
^2>r
men.
^^f.
q:
S^JL.
men.
P
men.
(->
<ry-
men.
men.
Pr^
# (^
men.
A
_/_._0.
-
men.
^3t
^3-
now, and
e-ver,
men.
men.
men.
HYMN TUNK
TlIK
>
KOOK.
245
NEW. c.
No. 28. GABRIEL
m.
Arnold.
Dr. Watts.
Count 4 r
The worda by
XT
zx
ô
:
Our God, our
help
iii
help
in
rxi
ff
ges past,Our hope for years to
Our
come,
-c^
Our God, our
ges past,
a-
ges past,
Our
P
X-I-
^>
>
<
>
Our God, our
-4:
hope
Qin
come
years to
-;^-
Our hope for
^-J
Our
come,
years to
^
o o
^
H
t^
1-^
^~'
\-^-i
from the
stormy blast, And our e
,
"
\-^
'
azztf
I_Ji
zx
k-iî
for
C i
help
Our
shel-tor
/
-Ci.
hope
ao
come
years to
for
Our
#-#
i=t
shel-ter
from the
m^^
^n
stormy
O-p
|-Q~||<
>
years
for
to
come
Our
And our
<^
i-l
I
I
hope
blast,
shel-ter
from
stormy
the
blast.
/
i^X
i
W
3C=^
-M-
i=
And
home,
ter-ual
^^
t=t:^
our e-ter-nal home, And
our
:^-r
n
ter
s^l
home.
nal
r/-
^ Ji^3^
--
P
2
ter-nal
And
home,
^->i
Before the
hills in
O
e
order stood,
nal
home
nal
home.
Î
Xli-
our e-ter-nal home, And our
Or earth received her frame,

From everlasting thou art God,
To endless years the same.
ter
-O
C~7..
y~
-^
-f-^
our e-ter-nal home, And our
and our eternal home, And
1
Tzr
ter
The busy tribes of flesh and blood,

With all their lives and cares,
Are carried downwards by the
And
3.
flood.
lost in following years.

5.
thousand ages in thy sight

Are like an evening gone
Short as the watch that ends the night
Before the rising sun.
!
Our God, our help in ages past.

Our hope for years to come.
Be thou our guard while troubles
And
our eternal home.
last,
THE HYMN TUNE BOOK.
246
No. 21). PROSPECT. c. M.

Count 3*1
^^
The words bj Dr. Watts.
>
^
5
(^
In
In
>
- fi -
nite
fi
<
Where
light,
saints
im
mortal reign.
<> TT
>
ex
>
Q
ex
<^^
day
ex
^
light,
i-l-
the
^^
And
night.
-OL
Where
ver
sures ba
the
eludes
And
-^^
lasting
And
night,
-^^-f^
-
nish
pain,
nish
-^
plea
-e>
( y
nish
-e>-
-^
night,
mortal reign.
sores
ba
XX
-^3
sures
ba
r>
(>
-
63-
im
plea
Spring
rj
plea
bides,
rs:
<:j
saints
-<^>
<3r
Thei
There
the
eludes
do
^>-
eludes
mortal reign
-i~J^
pure
-Oi-
1/
de
im
o :^-rr
^tct
ZZ
of
<
day
nite
>
day
nite
^'YY^
In
land
is
- fi -
I^
Where sainU
light,
-o
C> C>
de
pure
of
<3- Zl
<->
c->
Th
land
is
pure
of
^7~-r
-i-M^t=^
c^
CJ>
There
land
ia
XX
^4=
There
1/
1
IS
-J^-W
pain.
^3
^
<^
pain.
zx -e>
-e>-
And ne
ver with'ring flowers
I7\
o'-^.e
-e>-
There
/-
K iX
ver
(~>
There
ver
lasting
("
<:>
lasting
--^-M
Death, like a
narrow
P
s
>
Spring
^
sea,
-e>-
cTTT
(->
narrow
sea,
I
>
sea,
Sweet fields beyond the swelling flood

Stand dress'd in livinj^ green.
So to the Jews old Canaan stood,
W^hile Jordan roU'd between.
(">
bides,
-3r
And ne
X-L
Ci
And ne
vides
This
heav'n
with'ring
ly
flowers
-e> XJt
-^-
-^^-
ly
This
heav'n
ly
land from ours.
l=i
iZ2_^>
heav'n
vides
-^>-
-e>-
land from ours.
Z^
di
flowers
-^ XZk
ver
This
di - vides
^ ^ry
ver with'ring
-?">
-o^-M f -e-> z:^:
o
di
c^
bides,
<=>
narrow
like a
a
CJ>
C~)
<
zx
Death, like a
Death,
Spring
(>
e>-^
<J c>
c:>
C3
ZS
-6^
land from ours.
Could we but climb where Moses stood.
And
view the landscape o'er,
Not Jordan's stream, nor Death's
cold flood*
Should fright us from the shore.
THE HYMN TUNE ROUK.
No. 30. LOWELL. s.
247
The words by
^
nm^^^^m^m^
m-^
Ph'3
Dr. Watta.
fj^^^tegt^
blessed
O,
are they
Whose
sins
are
CO
ver'd
are they
Whose
sins
are
co
ver'd
sins
are
co
vei'd
x^
C V
o c
^S
P
O,
bless-
O,
'3"
o'er
^55*:
viae
ly bless'd, to
Di
^
i
vine
/i'n
whom
the
vine
whom
ly bless'd, to
..
<î
ly bless'd, to
Lord Im
the
Lord Im
putes
their
putes
^
rû'rir^^
-r-^
whom
the
fP
Lord Im
putes
their
'3'.
TT-m
4-+-
Pm
Im
guilt
tî^
^3
^^m
I
-
putes their
guilt
tq:
h-l
Im
guilt
guilt
#^
[-
'
s^
P.
^
-
^s
^
/
Xi
Di
F^
Ôr
Whose
are they
souls
bless-ed
Di
souls
TT"
t^=^
fe
ed
putes their
/_
guilt
no
no
They mourn
And keep
more.
ri
xx
Im
no
:o;
i::^.
more.
putes their
their follies past.

their lives with care;
lips and lives without deceit

Shall prove their faith sincere.
Their
3.
Let sinners learn to pray.

Let saints keep near the throne;
Our help in times of deep distress
Is found in God alone.
guilt
no
more.
THE HYMN TlNK BOOK.
248
No. 31
Count
. FAIRSEAT.-c. m
W. E. Ilickion.
The worJi by lUe Kev. Mr. llegtobotha
4 r
P
p
i^-
ril bless thee,
Maker, God.Tiiro'
mjr
all
ray
mor
tal
days
end
to e
J-
2ad Voices.
11
~\
i"^
'
I'll
O my
bless thee,
Sig^ vx
terni
ty
ty
all
my mor
/-
days; an d to
Thy
prolong
tal
diys
--*-
my
sweet
prolong
em
Thy
ploy,
this
t-
happy hour. Be
vast, thy boundless praise. In ev'rv smiling
praise refines
my
earth-ly bliss, And doubles
^
n-^^-r^ ^
gi =1-. "
_{_n
all
mj joy.
my
sweet
em-
ploy.
my
sweet
em
ploy,
Thy
praise refines
my
:^=i:
earth-ly bliss, And doubles
i
this
In ev'ry smiling happy hour, Be
,.==-
Thy
n,-^^^
tx^^
Xi
to e
*- ; *
this
and
-,;'-
t:^3
ty
vast, thy boundless praise.
t-.
term
X-^j-
^^
tal
prolong Thy vast, thy boundless praise. In ev'ry smiling happv hour, Be
-
terni
Maker, God,Thro'
!*
13E=?E
all my mor =^^

1^-
Maker, God.Thro'
^tV
3rJ Voices.
O my
bless thee,
-S
And
doubles
all
my joy.
SI
all
my joy.
5.
"When cloomy care and keen

Attiict
My
my
tongue
Aud
distress
lull
throbbing breast.
speak thy praise.
each pain to reat.
shall learn to
And when
these lips shall cease to move

Vhen death shall close these eyes,
Tl en shall my soul to nobler hcig'uts
Of joy and transport rise.
6.
Nor shall my tongue alone proclaim

The honours of my God
;
powers.
Shall spread thy praise abroad.
51 y life, with all its active
Then
shall her
powers
in endless strains
Their grateful tribute pay

The theme demands an angel's tongue,
And an eternal day.
;
THE HYMN TUNE BOOK.
No.
Count
i
fn o
m.
From
The
p}
r r
p-
And
Come we
And
r*
iLi!_jl
Come we
MA
that love the Lord,
F=P=
<-^r
--
a song with
Join in
r-f-
our joys be known

^-A-
let
i>
And
that love the Lord,
let
our joys be known
let
r^
E3
Corolli.
worrJs by Dr. Walts.
T^rtiftfflTTfnrrr?:^
ihac love the Lord,
2^
32.-LONSDALE. s.
Come we
219
W^
our joys be known
gffl^^ ^
sweet accord, And thus surround the throne.The sorrows of the
^ a^^
a song with
Join in
Join
in a song with
mind
Be
banish'd
mind
Be
banish'd
P-9-^
;iz*;
sweet accord, And thus surround the throne.The sorrows of the
Be ym
*-^
1=1:
sweet accord, And thus surround the throne.
The sorrows
-/-
Re
ligion never
the
-^
mind
g^^
m
P=P
of
was design'd to make our pleasures
inr
--i*
less.
1=1
never was design'd to make our pleasures
Êzp:
W=f
Be banish'd from this
The God
3
that rules
place
Re -
ligion never
was design'd
The men
on high,
thunders when he please ;

That rides upon the stormy sky,
And manages
^^^g
: ^qs
to
make our pleasures
less.
6.
And
of grace liave found
Glory begun below
From
the seas
faith
7.
God
The
of Sion yields
thousand sacred sweets.
Before we tread the sacred fields,
Or walk the golden streets.
is ours,
father and our love ;
He shall send down his heav'nly powers
To carry us above.
hill
Our
5.
Yes, and before we rise

To that immortal state,
The thoughts of such amazing
Should constant joys create.
on earthly ground
and hope may grow.
Celestial fruits
4.
This awful
less.
8.
Then
our songs abound,

ev'ry tear be dry
let
And
We're marching
bliss
To
fairer
thro'
Immanuel's ground,
worlds on high.
HYMN
TIIK
250
TUWF. BOOK.
No. 33. CALVARY.

SUnley.
()ount4 P
Z5
^-V-P^
let Voices.
Hark
^/
2nd Voice*
e>
Sounds
cy
e^
-
Sounds
cy
and
love
of
voice
the
-^ P!
loud from
Cal
va
^
See,
ry-
LJt.
mer
rends
it
J",
X-i
!
-i-
-e>-
^^P=i=3E
Hark
^^
mer
and
love
3rd Voices.
r/
of
voice
the
nier
Pr
r-n
Hark
and
love
of
voice
the
--
-O^
Sounds
cy
^y-
the
rocks
the
rocks
>
J|
-sun-der
^P
1=t
-O
-G>
:ttrt
x)
loud from
Cal
va
See,
ry
rx
loud from
Cal
^:^
4=t:
Shakes
the
va
the
the
rocks
sun
der,
-O
li
and
vsils the
sky.
cJ
It
J :dz:^ ::3
is
fi
nish'd,
Z3
the
and
earth,
veils the
Xfcx.'
It
nish'd,
cy
sky.
'
<^
It
is
ex.
nish'd,
-e^
xX
-(?>
xJ
der.
t=t:
sky.
veils the
agi5f
Shakes
J^-^
--^3L
earth.
sun
jô.
rends
Shakes
<->-
-*--V
it
atzi:
-LJl-
and
.-4-H
x3i:
8^
earth,
rends
-Pr
See,
ry.
F4-^
-3l
it
is
nish'd,
fi
Hear the
dy
^^
ing
Saviour
cry.
ing
Saviour
cry.
If?
$ xix
Iz
-C>fi
nish'd,
_CJ-
Hear the
'^
dy
>
-*-9>-
is
fi
nish'd.
Hear the
2.
Do
It is finish'd
Saints, the dying words rccorJ
ing
cry.
3.
O what pleasure
these dying words afford
Heavenly blessings without measure
Flow to us from Christ the Lord.
It ii finish'd
dy
Tune your harps anew, ye seraphs.

Join to sing the pleasing theme;
All in earth, and all in heaven.
Join to praise Imraanuel's name.
Hallelujah
Glory to the bleeding
Lamb
HYMN TUNK
TIIK
HOOK.
251
No. 3 1. LYDIA. c. m.
Count 4
Arnold.
Dr. Watts.
The words by
1st Voices.
1
2nd Voices.
'
r"'
My
God,
My
God,
;):
My
God,
3rd Voices.
-jjS
my
ver
^^
ver
last - ing
hope,
P-
^T
e
ver
l3t
live
up
<^
-^
my
^
up
live
^'T l_e^
my
^H=î=^
hope,
ing
last -
last
^ S^S
hope^
ing
up
live
|^^^^=ffl
thy
^^m
my childhood
truth,
Thine hands have held
truth,
Thine hands have held my childhood
thy
%=4=^
-OLt
and
up,
Thine hands have held
truth.
and
up,
-"'T
my childhood
up,
-c:i-
strengthen'dallmy
strengthen'd
all
my
And
youth.
my
all
youth.
3ES
And
youth,
strengthen'd
strengthen'd
my
all
-3r
-^
And
strengthen'd
my
all
i
youth.
t^
youth.
2.
My flesh was fashion'd by thy
power,
these limbs of mine ;

And in the mercies of each hour
Thy care and goodness shine.
With
all
4.
3.
Still
has
my life new wonders
And when
seen.
in age
my
strength declines.
When
hoary hairs arise,

Thy goodness still, in endless signs,
Repeated every year
The futiire as the past has been,

Thy love will make appear.
Shall
still
5.
Then
in
my
life I'll trust to
And dying still adore

And after death will sing
thee,
When
thy praise,
time shall be no more.
my
heart surprise.
THE HYMN TVSt BOOK.
252
No. 35. SUTTON
COLEFIELD.-s.
m.
Stanley.
Dr. Wattf.
Count 6 f
The words by
/
-^
<^
C 1
!p
(->
<~>
c^
-^
the
hearts
and
zx Or
hopes
/
-f>
the
Blest
Whose
one,
-^>
Whose
hearts
ttit
i=^
<->
^^
kind
Whose
one,
are
kind
^P
^^ -^
r-y
de
signs
to
serve
de
sigus
to
serve
TTT
-^
^3r
please
iS-^
please
kind
de
Thro'
all their
Thro'
Thro'
run,
-Îxi
actions
..
-^-<^ -^
all their
actions
all
Thro'
all
Thro'
all
all their
3.
Thus on the heavenly hills

The saints are blest above,
Where joy like morning dew di&tils.
the air
i*
love.
actions
all
their actions
Ti
Thro'
2.
all
j^
t:^
Thro'
run,
is
And
and
^^
the pious house

Where zeal and friendship meet
Their songs of praise, their mingled vows,
Make their communion sweet.
Blest
serve
-e^
Thro'
run,
rP-&
P
Thro'
to
f-
all their
f.
signs
25 -^
a r
actions
and
r_
p-^-=^
LJL.
P^P
please
Whose
one,
are
Z2
and
Q^_^
^5^
hopes
and
-.
of peace,
XX
are
hopes
and
of peace, NN hose
-M,
Or
-/'-
hearts
Blest
Whose
of peace,
-^P
:^
Vf
soni
sons
the
are
Blest
l7
all their
actions run.
'
;;;
HYMN TUNE BOOK.
Tilt
253
No. 36.ARA.BIA. c. m.
Count 4 f
The words by Ann Taylor.
/^
\J,
ll (
\''^
Wff
2ml Voices
Our
life
is
ne
ver
life
o
ne
is
is
is
always
near
always
near
QQ
J
And
ver
1-^
e>
death
is
al -
ways
is
-T-hr-dal -
ways
r^
death
-}
r^
a stand, 'Tis like
(-ll
at
__
like
)i
r~^
^='
c^
^M
How
m P
And
nearer
ev'
at
hand,
And
nearer
ev'
O :q^
near
at
1
1
I
1
>
<
j_
flower
ry
hour.
^^û^
And
>'^~A
5=^
flower
fading
ry
s=f
hand,
-.
f->
Or
is
-e"- "TT
near
at
hand,
nearer
And
hour.
^m
hour.
ry
r-R
al -
ways
near
at
near
And
And
near
ev'
ry
hour.
TT-FSTrmflE
near
er
^
hand,
er
-e^
hand,
who now
often has the bell been toll'd

funeral mov'd along
'Twas for the young as well as old,
The healthy and the strong.
The
1
1
-^m
hand,
at
r:i
fading
4-1
at
are young and gay,

Like roses in their bloom.
Will very soon be old and grey,
And wither in the tomb.
those
'
-OL
-
ev' - ry
hour.
o.
-ry
er
ev' - ry
life
does seldom last
hour.
2-
And
4-4-
death
^^^^
And
a stand, 'lis
at
ft-
^^
1^
flower
1
>
a^
near
-Or .Op_p_
H^
And
<
fading
like
r-)
'
-Or
always
is
1 1
>
a stand, 'Tis
^=V=
death
h-
'
^
^^
< ^
life
ver
z3r
And
^^VH^
death
^~^
at
w_^
ne
is
c-C
s=^^
And
^^
<^-k
J
U
death
>
1
tt
_
Our
And
Our
nJ
A-*
-^
Vi
^h
(TY
:-\j
3rd Voices
>
<
t/
'
J^
^
r
l^f
Ist Voices.
For now man's
To
three-score years and ten ;

the time will soon be past,
If we should live till then.
And, Oh
Then
let
Since
us
all
life will
prepare to die.
not endure
,;
And trust the Lord of earth and

To make his promise sure.
sky
THE HYMN TUNE BOOK,
264
No. 37. OLD
HUNDREDTH.L.
m.
Luther.
rf-
tongue.
Eternal are thy mercies, Lord,

Eternal truth attends thy word
Thy praise shall sound from shore to shore,
'Jill suns shall rise and set no more.
;
The above
is
usually sung to the following Psalm
All peo|)le that on earth do dwell,

Sing to the Lord witli cheerful voice
Him serve with fear, his praise forthtell,
Come ye before him and rejoice.
Without our
God indeed
he did us make
is
aid
;
are his flock, he doth us feed,
doth
he
us
take.
And for his sheep
We
enter then his gates with praise
Approach with joy his courts unto

Praise, laud, and bless his name always*
For it is seemly so to do.
I
4.
2.
The Lord, yc know,
For he, the' Lord our God, is good,

His mercy is for ever sure
His truth at all times firmly stood.
And shall from age to age endure.
;
TUE IIVMN TUNE BOOK.
255
No. 38. PERU. L. M.

Count
fô
Loach.
The Words by
^
Ei
I3t
1/ Sweet
is
oo
is
is
x-i
my
the work,
13
^~-i
Sweet
my
God,
-N^^J
my
the work^
my
God,
,r-P-
King,
To
show thy
love
praise thy name,give thanks, and sing
ifi^^
'>l'^V-i
morn
by
P \P.
XLi.
King, To praise thy name,give thanks, and sing
^
Epf
:?:
To
King, To praise thyname,givetiiank8,and sing
Sweet
IS
my
God,
.
fiT -h-Or
-QT-t-
my
the work,
T^
13:
-^
/
(3
Dr. Watta.
P^
-^
ing
light.
^^
P-
:^
And
of
talk
f.
T>~7
-d^
t=:t
itZZ^
To show thy
by
love
/-
To
i
i
ing
*__
show thy
love
by
ing
SE^
all
thy
all
thy
night,
truth at
truth at
"i
night,
Sf
thy
all
And
talk
Tr
of
all
lo:
light,
^
thy
And
night,
And
-FFl
talk
of
all
And
of
talk
loi
-Ol
TT"
truth
at
night.
^ZlZ^-^f-F=1
thy
truth
-/!::
And
of
talk
P-
^
truth at
light,
at
night.
-Ol
talk
of
all
thy
truth
^
at
Xi
night.
2.
And
the day of sacred rest.

No mortal care shall seize my breast.
may my heart in tune be found.
Like David's harp of solemn sound.
Sweet
a glorious part.
grace hath well refined my heart,
fresh supplies of joy are shed,
Like holy oil to cheer my head.
is
I shall share
When
And
3.
5.
triumph in my Lord,
And bless his works, and bless his word.
Thy works of grace how bright they shine
How deep thy counsels how divine
My heart
shall
'
Then
and hear, and know

All I desired and wish'd below.
And ev'ry power find sweet employ
In an eternal world of joy.
I shall see,
THK HYMN TUNE BOOK.
256
No. 39. CONDESCENSION. c. m.

Ttif-kor.
Count
The Word* from "The Suudny
Scliolar'i
Cumpanioa,'
llyinu 62 nud part ol CI.
/ _
Ist Voices.
2nd Voices
3rd
When
mong
Christ a
sons
the
of
men
hum
In
ble
P
&-
:pH
form
was
cru
slan
el
a^^
&
--a
form
With
found,
was
With
found,
cru
ders,
false
and
ders,
false
and
ders,
false
and
zzt
slan
el
}LlA
XX
-ttf
form
was
With
found.
cru
slan
el
aî
vain,
com
They
pass'd
"
com
They
f=A
him
pass'd
round.
t:!^
vain.
com
They
pass'd
com
They
him
pass'd
round.
-;=r--
vain.
com
They
pass'd
com
They
round.
pass'd
2.
With
triiderness he bore their griefs.

Their peace he still pursued
They render'd hatred for his love,
And evil for his good.
:
From
the rich fountain of his love

streams of mercy flow
"Father, forgive them," Jesus cries,
**
Ihey know not what they do."
What
5.
3.
the fallen human race

(Ilow'd in his tender breast;
For man he yielded to discrace.
]>f)ve to
Forsaken and distrtst
my guide.
pattern I pursue
How can 1 bear revenge or pride
With Jesus in my view :
may
The
his
meekness be
Tin;
HYMN iune
book.
257
No. 40. HORSLEY. c.

Count 4
m,
J.
Tucker.
The words by Dr.
Watts.
i^ ^?^
^=?t
t^=^
3tl{^
Awakeoursouls.a
way our
fears,
Let
ev
Awake our souls,
way our
fears.
Let
ev
ery
i^S
^m
Awake our souls, a
way our
t=^
zx
A
gone
-wake, and
gone;
5=^2=
wake, and
bling thought be
fears,
^m
run
heavenly
the
wake, and
^^
run
run
?=P=
cheer
cou
f ol
rage
heavenly
the
ful
cou -rage
heavenly
the
race.
And
put
cheerful
courage
on.
^fc^^-^
on,
^^=?=
on,
And put
race,
-Or
E^
cheer
put
Z2
Q
A
And
race,
-P-
gone
trembling thought be
4=-^
i s
^=t
trembling thought be
ery
And
put
cheerful
XT
cou -rag
^^t^rs
-o,
And put a cheerful
courage
on,
And
put
cheer- fvd
cou
rage
on.
2.
True,
'tis
a strait and thorny road.
And
mortal spirits tire and faint

But they forget the mighty God,
That feeds the strength of every saint.
3.
The mighty God, whose matchless power

Is ever
And
new, and ever young,
firm endures, while endless years

Their everlasting circles run.
From thee, the ever-flowing spring,

Our souls shall drink a fresh supply
While such as
trust their native strength,
Shall melt away,
and droop, and
die.
5.
Swift as an eagle cuts the air,

We'll mount aloft to thine abode ;
On wings of love our souls shall fly.
Nor tire amidst the heavenly road.
258
MYMN TINK
TIIK
No.
ll.-COMI'ASSION.s.
Count 6 P
Isl Voices.
Raise
FtOK.
_ _
your
um
tri
jjhant songs,
Raise
your
um
tri
songs,
pliant
To
an
To
an
r1=^
t=f
<Jr
3rd Voices
-e^
Raise
your
um
tri
Bliger.
fWcrm^-^
^
2nd Voices
m.
pliant songs,
To
Z5
Let
resound the
wiile earth
the
deeds,
Let
/U-HV
Let
Let
tune.
tal
-e)r
-^
deeds,
ftf9
Ce
les
tial
Let
Let
^^
grace
has
done.
has
done,
~ir-ir
P^
deeds
- --
^~r
-^^
-e>-
^F^
the wide earth resound the
'*îj'
deeds
cii:
a=^
deeds,
wide earth resound the
the
r-r-irf^
i^
wide earth resound the
the
'
mor
-^=^
Ce
tial
grace
tial
grace
ss
deeds
Ce
Sing how eternal love

Its chief beloved chose
And bid him raise our wretched race
From their abyss of woes.
les
Nor
No
terror clothes his brow;

bolts to drive our guilty souls
To
fiercer flames below.
4.
'Twas mercy fiU'd the throne.

And wrath stood silent by,
When Christ was sent with pardon down
rebels
has
His hand no thunder bears,
To
-P-f'-
i=}:
1*1^
les
doom'd
to die.
done.
TIIK
HYMN
250
Tl'NK DOOK.
No. 42. SUFFOLK. c. m.

Count
The words by
i
S
<u
-e>
Rejoice, ye rigliteous,ia
in the Lord, Tliis work be
-^
1t3t
Rejoice, ye righteous.in the Lord, This
work be
O X^=F
Rejoice, ye righteous.in the Lord, This work be
Sing
of his name,
-^
Sing
of his name,
his
rT
^
his
^m
ways,
his
f-^
ways,
his
longs
word,
you.
to
longs
m--^
How
-<=*
How
word,
you.
to
-Or
ho
!=--
ly,
^m
just,
and
just,
and
^^^-o
ho
ly,
you.
to
fq:
i3:5t
<l-|-"
-'-!-#
Î
P
longs
is
-e>-
^B
Dr. Watl.
^^^
-^
ffi
Z2
:]=2:
true;
Sing of his name,hisways,his word,
How ho
ly,
just,
and
true.
true:
Sing of hisname.hiswavs.his word.
How
ly,
iust,
and
true.
'^^
/.
11^ ?~F
ho
CK
Sing of his name,hisways,his word.
How
^3^^
ho
ly,
just,
and
:o:
-e>true
2.
He
His mercy and his righteousness

Let heaven and earth proclaim
His works of nature and of grace
Reveal his wondrous name.
To their appointed deep

The flowing seas their limits know,
And their own station keep.
His wisdom and almighty word
Ye
The heavenly
arches spread
the Spirit of the Lord
Their shining hosts were made.
And by
bid the liquid waters flow

;
tenants of the spacious earth,

fear before him stand ;
spake, and nature took its birth,
With
He
And
rests
on
bis
command.
2G0
TIIK
HYMN TUNE
BOOK.
No. 43. HEPHZIUAH. c. M.

The words by
/
'^ft
wake,
my
^*
^^
"ir
5 v^
A-
e:^
ev-ery nerve,and press with
my
soul, stretch
kiin
A-
wuke,
heaven
wake,
my
p7f
J44^
vi-gouron,
vi-gouron,
^s=m
soul, stretch ev-ery nerve. And press with
ly race de
iA
vi-gouroii,
ev-ery nerve, and press with
s
A
Doddrid^
W^f^
suul, stretch
:J*=f
Dr.
mands thy
And
zeal,
f^
he ivea
ly race
de
mands thy
heaven
ly race
de
mands thy zeal,
zeal.
?ES
tti^
It-
zeal, And
heaven
ly
race de
mands thy
heaven
ly
race de
mands thy zeal.And
ir^
1^=^
/ / y f
-Ui
an immortal crown, And an immortal crown, And an
And
SE
an
ioi-mor-tal crown.
fe^PIÊ^P^^
/^
^gaB
->-^r
an immortal crown,
And an immortal
crow^n, And
an
And
an
im-mor-tal crown
^j-^
T>-*"-ir
m immortal
-=H
And
crown, And an immortal crown,
j^
an
im-mor-tal crown.
2.
Tis God's all-animating voice

That calls thee from on high ;
Tis his own hand presents the prize
cloud of witnesses around

Hold thee in full survey
Forget the steps already trod,
And onward urge thy way.
To
thine aspiring eye.
4.
That prize with peerless
Which
WiuMi
shall
new
victors' wreaths
Shall blend in
glories bright.
lustre boast,
and monarciis' j^cms
common
dust.
THE HYMN TUNK BOOK.
44.-BRADLEY CHURCH. s.
No.
Count
261
m.
Mortimer.
The
wortls b^ Dr. Watts.
/
^M
^^
the
on
P-m^^-P^
^^
t=f
God
Our
ly wise,
Sa
P-^
To
viour and our King,
^
on
the
-f-
-^
^B^
Our
ly wise,
Sa
viour and our King,
To
^
the
on
-e^
-O"
-
ly
Our
wise,
Sa
iour
and our King,
To
^
God
the only
Our Saviour and our King,
wise,
Let
all
the
all
the saints be
saints be
^^ -Ci.
low the
low the
low the
p
God
wise,
the only
-i^
*â
and
Our Saviour
lO
Let
our King,
JOL
-^)r-
a|^
m
God
the
only
:o
^
wise.
Our Saviour and our King,
/
-{=-skies.
Let
all
:^
the saints below the skies, Their
skies.
Sfa
skies.
Let
all
tf-
the saints below
Let
all
be
-^1
--
Oi
the skies. Their
-Qt
_J^
the saints below
hum
/
^
^^
'
ff
the skies, Their
hum
m
-
ble
ble
-o^
Z3
Si
I
praises
bring.
Xi -^
praises
bring.
, -.
hum
ble
r->
1
praises
bring.
2-
'Tis his almighty love,

His counsel, and his care.
Preserve us safe from sin and death,
And
ev'ry hurtful snare.
Then
all the chosen seed

Shall meet around the throne ;
Shall bless the conduct of his grace,
And make his wonders known.
5.
He will
present our souls,

Unblemish'd and complete,
Before the glory of his face,
With
joys divinely great.
To our Redeemer, God,

Wisdom and power belongs.
Immortal crowns of majesty.
And
everlasting songs.
THE HYMN TUNE BOOK.
262
No. 15. PORTUGAL

Count
NEW.
Adeste Pidelet.
4 f
The wordB by Newton.
/
jj
K
*
to
Be
tJ
gone un-be-lief,
un-1
my
-.
rl'
Sa
viour
3
for
my
re
TtPnr. And
Xni\ for
fnr
near,
mv
my
rt
re
And
near,
is
will
lief
-/'
-,
TX
1^
R
Be
.
-
tr,\i\f un-be-lief,
iin_Kf>_li*f inv
gone
my
.Su
Sa
viniir
viour
ia
is
<r>-f
lief
m^
gone un-be-lief,
my
Sa
viour
And
near.
is
for
itnt
my
re
lief
/
%J
surely
By
ap-j
prayer
^>-
LJMs.
surely
ap-pear.
By
let
me
wrestle,
and he
will
me
let
and he
wrestle,
will
ap-pear.
By
prayer
let
me
wrestle,
and be
will
perform
\N ith
perform
\N ith
in the vessel,
With Christ
34:
TS.
t-
With
vessel.
ô
With Christ
perform
^*-^ ^>^
v^
With Christ
vessel,
\-
'Tis
to obey, 'tis
cisterns be broken,
and fountains
The word he has spoken
shall surely
pre-
vail.
Lord.
-^^
smile at the storm.
How
cup no heart can conceive,

Which he drank quite up, that sinners might
bitter that
live
His way was much rougher and darker than

mine
Did Christ, my Lord, suffer, and shall I repine ?
5.
Through much
smile at the storm.
v:
3.
complain of crief or distress,

Affliction or pain.' he told me no less
The heirs of salvation, 1 know by his word,
should
t^*=p^
in the vessel,
all
fail,
Why
4.
since he is my guide,
his to provide.
mine
smile at the storm.
jr^.-^nr
vessel,
2.
Though dark be my way,

Though
I-L.
Christ in the
^^=
in the vessel,
in the
Cbrist in the
-e>
i-i.
With Christ
Chribt in the
trt^:
SH
x=x
vessel,
F5=ff
T4:
3tf:
J-i474v-J-k-J-J
prayer
will
-#tt=t
gg^ssiii^^^
^^gg?^
surely
will
-W-f
#
Be
tribulation 'nust follow their
that I meet shall work for my good,

Tlie bitter is sweet, the medicine is food
Tho' painful at present, 'twill cease before long,
And then,
how pleasant the conqueror't
song.
Since
all
TIIF.
HYMN TUNE HOOK.
2fi3
No. 4G. PIETY. c. M.

Count 4
/
Et!
Pfr^^^
Father of
-^
all,
ter
Immensely good and
ter
all,
Mind,
nal
all,
15
ter
Thy
Im-
^^-#
Or-r
15
by
->
-^-
^
I
mensely good and great
.y<
iZi
Thy
thee,
child
ren
J -1-^=^
mensely good and great; Thy children form'd and bless'd by
great,
=^=F
children form'd and bless'd
--^
zi
/y--f
Im
Mind,
nal
iDLjCA
mensely good and great
Immensely good and
^-4
t
e
ffi
Father of
great,
"P
S^
t=^:
Mind,
nal
^^^
<=>--
Father of
py=h^
W7f^^
J-^
_LJl
^,
t=1
thee.
A ^
P0|
H^ZZff
Thy children form'd and bless'd by
Thy
thee,
child
ren
rx
%=^-
form'd and
rf:
bless'd
by
Ap
thee.
proach thy
heav'nly
Ap
H^
->-
lo:
proach
seat.
thy
heav'nly
Z5
seat.
o:
~o-
form'd and
Thy name
bless'd
by
in hallow'd strains
We join the
solemn praise
Ap
thee,
thy
proach
heav'nly
Extend thy grace to ev'ry
be sung,
Oh
To thy great name with heart and tongue

Our cheerful homage raise.
let
fault;
thy love forgive
Teach us divine forgiveness
Nor
let
resentments
3.
seat.
too,
live.
5.
Thy
Where tempting
righteous, mild, and sov'reign reign

Let ev'ry being own
And in our minds, thy work divine,
Erect thy gracious throne.
snares bestrew the way.
Permit us not to tread

Avert the threat'ning evil near,
From our unguarded head.
fi.
Thy sacred name we thus adore.

With humble, joyful mind
And praise thy goodness, pow'r, and
;
Fiêrnab unconfin'd.
truth,
2C4
HYMN TUNE
Tlir
BOOK.
47._\V1GAN. s.
Xy.
M.
A
Count
The Word* by
lt Voirea.
(Treble)
1;^^
'^'^
The Lord my ShepherJ
^>
well sup
m^^
sup
w
well
iJ
Dr. Watt.
^-4
plied
Since he
-^>
tt
am
shall be
-i-j
his
NN'hat
can
^1^
P=F
plied; Since he
m^r^p
mine and
is
r^P
-
-rm-
is,
mine and
is
am
his,
-P-
rt-t
^=mP
well sup
EtÎ ^>
plied
Since he
mine and
is
-Pn
-c>
am
<^
well sup
plied
-<^
Xi
r ^
Since he
^=
his,
>r
^-^
^ VV
^
>
^-^
-h-H
tt
I
i
mine and
is
am
want be -side?
1M-
-*-^
r-
his,Whatcan
î-i-i-
want be
want be-side .'What can
9-9-^
What can
;>
"i
can
want be -sidePWhat
tL_|^
can
can
-e^>-^
want be-
side /
What
Iwant
can
want be
side
What
can
What
ra
I
I
j^nt be
'J^'J
side ? What
4t<;
wan* be
3=.--^
What
be
<>-s-
^ ^
^
What
can
sidePWliat
side
<^>
side ?
What
What
THE HYMN rUNK DOOK.
2Cj
2.
He
me
leads
to the place
Where heavenly pasture grows,

Where living waters gently pass,
And full salvation Hows.
If e'er
go astray,
He doth my soul reclaim,

And guides me in his own right way
For his most holy name.
4.
While he
affords hi
1 cannot yield to ^^^^^^;y

Tho' I should walk SIBIi^î^
dark shade,
My Shepherd's witu pe
.vV'
5.
The bounties of thy iSve
With joy shall crown my âys
And
want be
No. 48.THE
Count
side
I live and move,

tongue shall speak thy praise.
while in thee
My
^
;
PASSING BELL.-l.
m.
Wliitaker.
4 r
Oft as the bell with
so-lemn
toll
Speaks the de-part-ure

-^-9-
eî
t=^
Speaks the de-
of
soul,
Let
soul,
Let
Or ^^
iJL
of
part-Tire
h;>
Let
to
^^
^
ask him
each one
J^
^
^5r
each one
ask
i=V^
^^
him
self,
"Am
ask
him
"Am
self,
Gr
LCi
Prepar'd, should I
call'd to
die?'
be
call'd to
die
M
be
this frail
But when the solemn
-e>
call'd to
die
bell I hear,
from guilt, I need not fear

Nor would the thought distressing be,
" Perhaps it next may toll for me."
If saved
5.
3.
Rather
Then
leaving all I lov'd below,

To God's tribunal I must go
Must hear the Judge pronounce
And fix my everlasting state.
And
my
fate,
my
spirit
?'
0|
4.
2.
and fleeting breath

Preserves me from the jaws of death
Soon as it fails, at once I'm gone,
And plunged into a world unknown.
Only
-ej-
Xi -^-
-^
-
be
-i^
.pp.
Prepar'd, should I
lEF
each one
:pp:
T=^
tt
Prepar'd, should
"Am
self,
o o
would
rejoice,
long and wish to hear thy voice

Glad when it bids me earth resign,
Secure of heaven if thou art mine.
TUK MY UN ItNE BOOK.
29C
No. 49. KNARESBORO'. c. m.

Counts
Leach.
the e-ver bounteous Lord, My soul, wake
To uraUe
S o
j
the e-ver bounteous Lord, My soul, wake
/-
Ni
all
thy powers
My soul.wake
He
n:
:f=r
and
at his voice
come
He
calls,
and
at his voice
come
^^-^
He calls, and at his
thy powers
f4f
-^rnr
?=p:
\jr
f^
ing harvest hours.He calls, and at his voice
The
forth
=^-
-i^^
-^
Toice
come
g?=5
forth
The
He
calls, and
at his voice
forth
^1^
î
smil
ing harvest hours.
come forth The
smil
ing harvest hours
t'
^=r^ ^=^
-c^^
smil-
i^^r-Q^
come
[i^Û
ing harvest hours, He calls, and at his voice
smil-
-P
^F^t=x
Z3:
--
The
forth
;a^-r^Y^
^5
thy powers
Wif=^
>^;t
calls,
rJ
IT^
Et
all
My soul, wake
X-
praise the e-ver bounteous Lord
hiMM
33
all
My iôul.wake
thy powers;
zuc
^>
all
thy powers
^-Fidriim#f^6
To praise
To
all
come forthThe

smil
ing
<i
M:
harvest
hours.
4.
His covenant with the earth he keeps;

My tongue, his goodness sing;
Summer and winter know their time,
His harvest crowns the spring.
Thus teach me, gracious God,
to sow
Tlie seeds of righteousness ;
Smile on my soul, and with thy beams
The
ripening harvest bless.

5.
3.
Well pleased the toiling swains behold

The waving yellow crop
Then
With
The harvest shall by

What I have sown
joy they bear the shervves away,

Anii BOW again in hope.
in the last great harvest, I
Shall reap a gloKous crop:

far
in
exceed
hope.
HYMN TUNE
TIIF.
BOOK.
267
No. 50. NEWPORT. L. m.

Count 4
Cuzpns.
P=*=^
E|p -^
The spacious
spacious
fir
The spacious
meut
on
high,
^
ma
on
high,
Tft-r^
laa
fir
ment
ment
on
With
^^
spangled heav'ns, a
^/-PHr-.
sky,
real
And
spangled heav'ns, a
the
sky,
real
And
gi
rf:
-Gfgi
ri
gi
pro
nal
m
nal
^^^^
SE
spangled heav'ns, a
claim, Their great
-n/
Gr
S^
pro
e-
^r-R
g
all
the blue
n Q
^
[it
e-
P^
-Of
shining frame, Their great
^ -Or
nal
-^
t=t^
zîzp
pro
claim. Their great
:^ iQ
shining frame, Their great
r-
claim, Their great
t3^
-
the blue
S
m
ri
gi
gi
-^
nal proclaim.
iZL
-Gfgi
ri
nal proclaim.
nal proclaim.
4.
2.
The unwearied
sun, from day to day.

Does his Creator's power display ;
And publishes to ev'ry land
The work of an Almighty hand.
the stars that round her burn,

And all the planets in their turn.,
Confirm the tidings as they roll.
And spread the truth from pole to pole.
Whilst
all
3.
Soon
-Or
-m-^-m-
-^
Z2 <^
3t
all
jhiiTmSEm^
'" 1
tt
e-
shining frame. Their great

.
G^
-
With
high,
the blue
all
t
And
sky,
H-1
the
<^
fe
^
T^
3cp:
real
P.
With
-o-
m
\$
ma
:^
CJl
the
^mt
11 The
tir
^ ^
The words by Addison.
5.
as the ev'ning shades prevail,
The moon
takes up the wondrous tale

nightly to the list'ning earth
Repeats the glory of her birth.
And
What though in solemn silence all

Move round the dark terrestrial ball ?
What though no real voice nor sound
Amid their radiant orbs be found ?
In reason's ear they
all rejoice,
And
utter forth a glorious voice ;

For ever singing as they shine,
**
The hand that made us is divine."
t2
OO
TUE HYMN TLNK BOOK.
268
No. 51. VESPER. 8.

Coant
7. 4.
The wordf by Robinson.

p
.i:-^Wkf
?s
ZjT
ev'-ry bless-ing.Tunemyheart to sing tby grace, Streams of
Come, thou fount of

(
mercy
i
cIS;^
DtI=T=t:
#-
Come.tbou fount of
--P
^1
myhpart
ev'-ry bless-ing.Tune
to sing thy grace;5ltream6 of
ti
t^ ^Jr
izt
loudest praise. Hal- le
lu-jah! Hal-
i
B
jah
JUL
ne -ver ceas-iug Call for songs of
le - lu-
mercy
:p=p:
îh
-
to sing thy gracejStreamsof
ne -ver ceas-ing Call for songs of
m-
"r~-
---
Come,thoufount of ev'-ry bless-ing.Tune my heart
-#
mercy
loudest praise. Hal-
lu-jah
le
Hal-
le
lu- jahl
f
i
^~~#
1-
one-ver ceas-ing Call for songs of
loudest praise. Hal- le
lu
men.
Teach me some me
jah
Hal-
le - lu-
jah
\-
o-
Jir^-^
lodious sonnet
Sung by flam-ing
*
Hal-le-lu-jah
Jn=t:
2'
^^
lf~W
-^
TX
Hal-le-lu-jah
T^^
Hal-le-lu-j{di
tonjTues
men.
Teach me some me
Sung by flam-ing
lodious sonnet
-e*-
a-bove
men.
-yr
;=t
Teach me some
Praise the mount,
me
fix
lodious sonnet
Song by flam-ing
me
on
it,
Mount
of God's un
me
on
it,
Mount
of God's un
Mount
t=x
of God's
--f-
^. d
tongues a-bove
Praise the mount,
Praise the mount,
fix
S
tongues a-boTe
fix
me
T*
on
it,
un
THE HYMN TUNE BOOK.
p
mj
L/
Z2
Hal-le-lu-jah
chaDiging love.
chai
Hal-le-lu-jah
Ha
-1 e
lu-jah
men.
^
1
I^f
11
K^
changing love.
Hal-le-lu-jah
f ^
.
,
^^
C^
*/
1
\j
1
1
changing love.
Hal
Hal-le-lu-jah!
A
P
Hal-le-lu-jab
1/
f
#-î7i*-
ly
269
Hal
le - iu-jah
^'
^,
"
<-
Hal
le - lu-jah
II
II
II
L_
le-lu-jah
r:
men.
men.
3.
2.
O to
I raise my Ebenezer
Hither by thy help I come;
And I hope, by thy good pleasure,
Here
grace how great a debtor

Daily I'm constrained to be!
Let thy grace, Lord, like a fetter.
Bind my wandering heart to thee.
Prone to wander. Lord, I feel it.
Prone to leave the God I love
Here 's my heart. Lord, take and seal
Seal it from thy courts above.
Safely to arrive at home.
me when a stranger,
Wandering from the fold of God
He, to save my soul from danger,
Jesus sought
Interposed his precious blood.
it-
No. 52. ADMIRATION. c. m.

Count
Moreton.
The words by Dr. Watts.
^
E&4
-Or
-P-
P=
<^^
Lord,thouhastsearch'dandseenmethrough;Thineeyecommands,wit.h pierc
/,.
c;>
I.
-#*
-&-
.LJL
-& -P^
-^
^^
i-4
?S3
Lord,thouhast search'd and seen methrough;Thine eye commands,with pierc
R^
view,
My
>
<
Oi
^
^1
my
and
ris-ing
-/-^
Rof
ing
Lord,thouhastsearch'dandseenmethrough;Tbine eyecommands.with pierc -ing
m JDL
.^P-^
rest
.
tt=t
view.
My
and
ris-ing
V)4-^^MI-R-?
tt=t
view,
My
my
T is:
ris-ing
and
my
p
s:s
ing hours.
before they are
My
m ^^
heart and flesh,with
-+.^^-r.P
-oI^ Ut
rest
ing hours.
-^>r-=
rest
ing hours,
My
XDi
ing
^--V-Or
all
my
i^
powers
ffi
My heart
C> 9
and
flesh, with all
my
powers
my
powers.
rs
-Qr
iOL
heart and flesh,with
all
3.
2.
My thoughts,
my
own.
Are to my God distinctly known

He knows the words I mean to speak,
F,re from my opening lips they break.
;
Amazing knowledge
vast and great
"What large extent what lofty height

My soul, with all the powers I boast,
Is in the boundless prospect lost
!
THE UTMN TUXK BOOK.
570
No. 53. JUDE'S

Count
4 f
DOXOLOGY.-
My
t=^
God, who makes the
N-,
c>
My
God, who makes the
sun to know His
pro
&
i=t
.-H
My
hour
per
to
rise,
And
iv-.;^T
It^rt
sun to know His
pro
hour
per
T=it:
rue,
to
And
p,-=^
t=^
Uymn 161.
:f=K
-/-
The word* by Watt,

Sundfty Scholar'* Couipaaion"
From "The
M.
God, who makes the
m
all
trt
hoar
per
to
rise,
fcif:
And
to
give light to
E^^
tzt
^
all
pro
be-low Dost send him round the skies
to give light to
Eun to know His
to give light to
be-low Dost send him round the skies,
And
to
t=t
give light to
-P-
And
m
^
aU
^7N
i
be
low, And
fcZjE
be -low Dost sendhim round the skies.
/
be
(On
siotcfT.
t=5:
Sr-
low, And
give light
to
to
all
be-low Dost send him
/TS
i ?
all
be
low,
And
to
give light to
all
be
*=it I^
Slourr.
low Dost send him round the skiet.

3.
2.
When
from the chambers of the East

His morning race begins,
He never tires, nor stops to rest,
But round the world he shines*
Give me,
So
like the
let
my
sun may
The business
Begin
my
I fulfil
of the day
work betimes, and
;
still
March on my heavenly way.
Lord, thy early grace.

soul complain
Thnt the young morning of my days
Hat all been spent in vain.
Nor
round Ihe skies.
ig
^
-
tzjcft:
all
15!
all
give light to
?==
=|E
give light to
to
to
Slovrr.
THE HYMN TUNE BOOK.

The following hymn may
also be sung to the
same
271
air
GOODNESS OF GOD.
" Sunday Scholar's
Lord,
would own thy tender
&
My
care,
And all thy love to me

The food I eat, the clothes I wear.
Are all bestow'd by thee.
health, and friends, and parents dear.

To me by God are given ;
have not any blessing here
But what
is
sent from heaven.

4.
2.
Such goodness. Lord, and constant
thou preservest me from death

And dangers every hour;
cannot draw another breath
Unless thou give me power.
'Tis
I
Companion" Hymn
care.
My
youth can ne'er repay;

But may it be my daily prayer
To love thee, and obey.
It is usual also, at the close of Divine Service, frequently to sing the follow
ing lines to Jude's Doxology
To Father, Son, and Holy Ghost,
One God, whom we adore,
Be glory, as it was, is now,
:
And
shall be evermore.
No. 54. MILES'S

Count 4
p p p
E'^
p ^ p T
All hail the pow'r of Jesu's name, Let angels prostrate
^^ ^
fall
di-a-dem.
C\
r>
And crown
m
di-a-dem.
irrfr
di-a-dem.
And crown
^^
crown him
CT ^ZSf
Lord
of
crown him
^
crown him, crown him
2.
-& lO
Lord
of
JZ>
-Qt-
Lord
of
shall
meet
Let ev'ry kindred, ev'ry
On
all
that with yonder sacred throng

at his feet may fall
We'll join the everlasting song,
And crown ))im Lord of all.
We
majesty ascribe.
And crown him Lord

4.
Oh
tribe.
this terrestrial ball,
To him
Shall lay their honours at his feet.

And crown him Lord of all.
of
I
all.
3.
The Gentile and the Jew

At his celestial call,
aU.
T3:
him, crown him, crown him,
him,
Bring forth the royal
JSOl
r\
;].?
r
And crown
fall
n\
n\
him, crown him, crown him,
r\
tt
ig
fê
n\
&-
n\
fall
-mm-
m.
Shrubsole.
LANE.c.
all.
m
aU.
272
HYMN lUNK
Tllk:
BOOK.
HYMN.
No. 56. EASTER

Count
4 P
Jesua Christ
ris'u to
is
/
Hal
day,
^m
-
>ô
le-lu-jah,
-m-^
-
men, Our triumphant
^mm
&>
Hal
S5
^m
Z5
Tjf
i^
î
Jesus Christ
ris'n
is
to
le-lu-jah,
Hal
day,
le-lu-jah,
men^,
:c5
-Gf-
men, Our triumphant
/
ho-ly
^^^
:
B:3t -#Qi
Hal
day,
le-lu-jah,
->-
men;
-fm-P:
Who did once up-on
the cross, Hal
- le-
^^^4^f#F^^
Hal
le-lu-jah,
A
L
/
ho-ly
Hal
day,
taen
Who
did once up-on the cross, Hal
S^^
le-lu-jah,
A - men Who did once

;
jah,
men,
Suffer
Z5
i*
up-on the cross, Hal
to
redeem our
loss,
Hal-le
lu-jah,
2.
Love's redeeming work
is
done,
Fouplit the tii;ht, the battle won.

Lo, the sun's eclipse is o'er.
Now he sets in blood no more.
Hymns
Vain the stone, the watch, the
seal,
Christ has burst the gates of hell;

Death in vain forbids his rise,
Christ has open'd paradise.
of praise then let us sing

Christ, our heav'niy King,
Wlio endur'd the cross and grave,
Sinners to redeem and save.
Unto
le-
lu
- le-
F*5
men.
TIJE
II
VAIN TUiVE BOOK.
V73
No. 56-. flELMSLEY 8. 7-4.
Count 8 f
/
acj ?^
Jtst
^K
gloom
O'er the
ly
Hi
P.
gloom
^S
gloom
1 -g
All the pro
mi
ma
-*^
^-
All the pro
mi
saiH^
ses
#T-l^
With a
do travail
r=w
mi
ses
-i^-j
glorious
Bless
ed
Bless
\9
ed
-&
day of grace.
y=-
t^
*<(-=*.
day of grace.
Bless
Jubilee! Bless -ed
:i=i:
ed Jubilee
ms
Bless
ed
Ju
ed
Ju
ed
Ju
Bless
ed
Bless
/
-^-
KLTE
Jubilee! Let
Jubilee
^-Or
:t==t
thy
glorious
morning dawn.
Let
thy
glorious
o^^
morning dawn.
Let
thy
glorious morning dawn.
:f^
Jubilee
2.
Let the Indian, let the Negro,

Let the rude Barbarian see
That divine and glorious conquest.
Once obtained on Calvary
Let the gospel
Loud resound from pole to pole.
3.
Kingdoms wide
Bless
day of grace.
^;t=^J=t
m.
1=tE
gaze,
:i=*:
t5:5
I
and
^S
p-i-
Bless- ed Jubilee
tt
still
N-
t:p:
i:^!:
bilee
do travail With a glorious
-b-^>
^5^
*z4:
J=t
All the pro-
bilee!
gaze,
-I-
--
and
-*-*
still
do travail With a glorious
ses
:^^
bilee
"^
h^
of darknessLook,my soul,be
hills
m. as
^ Ô
;^
^^^
t=^
^ -^-n^
s:=i"
O'er the
I**
of darkness Look, my soul,be
hills
W^
gaze,
-/-
and
still
/-
i=i^
O'er the
of darkaessLook.my soul, be
hills
that
sit
in darkness,
Grant them, Lord, the glorious light;

And from eastern coast to western.
May the morning chace the night
And redemption,
Freely purchased, win the day.
THE HYMN TUNC BOOK-
574
No. 57. EVANS. c. M

Count 3
The words by
-
t*-^^
:p=f
When 1
can
^=3^
my
read
ti
s;?i
<)^-
To man
tie clear
bions in
i=^ c^
When
can
When
^
bid
J1
^^. i*
bid
my
read
skies,
the
skies,
^^
my
sions in
ev'
t=i:
to
ev'
-^^
To man
ry
And
fear,
my
wipe
And
my
wipe
And
wipe
weep
eyes.
ti
:dz^
fear,
^3^
ing
skies,
^P-^
3:
weep
:p=P=i:
ry
the
sions in
5-p:
:!t3t
3=1^
to
farewell
tie clear
#* 'f^
rt
t^
-r
farewell
To man
read
1 cart
^3-
tie clear
ti
f=4=:t
---
the
tIs *
Dr. Watlg.
<^-
iog
eye*.
t-
^^S
[-
my weep
ing
eyes.
weeping
eyes.
/.
1^^
bid
fare
well to
^^
i^
bid
ev'
and wipe
fear,
my
t-t-t
-^
well to
fare
ry
i=tt
:jt
ev'
ry
fear,
And wipe
my
weep-ing .eyes.
/-^:
TX
rrr-T
-H^
bid
fare
well
Should earth against
And
Then
And
my
to
ev'
soul engage,
hellish darts be hurl'd,
can smile at Satan's rage,

face a frowning world.
ry
And
fear,
wipe
weep-ing
Let cares
And
May
My
like a wild deluge come,

storms of sorrow fall.
but safely reach my home,
God, my heav'n,
shall 1 bathe my weary soul

In seas of heav'nly rest,
And not a wave of trouble roll
Aorps y peaceful breast.
Then
my
my
all.
^
eyes.
THE HYMN TUNE UUUK.
27.G
No. 58. NATIVITY. c. M.

Count
J arm an-
4 f
The words bv Medle.
m
Ij^
Jj^^^l
:pPfi
Mortals, a
di^
wake,
Mortals, a
wake,
with an
with
an
If^t^
i^ÊS
H>
i=t:
join,
gels
join,
chant the solemn
lay,
And
-Gh
And
chant the solemn lay,
c>
And
r P
:ff
-L-i-
Mortals, a
with an
wake,
î^QK^l
p^
And
gels
^chant
/.chant
chant
the
solemn
the
solemn
gels
^m
F F
ji
Î
ti
Joy, love, and gra
lay.
^HV
^}
rrr-
Ir
Joy, love, and gra
lay.
And
join,
tude combine
combine To
tude
ft
:^
t=
-^
09-
CJ
tt
t=t
To hail th'
\-rP
hail th' auspicious day, To hail th' auspicious

.
To
riz* TT7W
hail th' auspicious
p-f-r
XJL
auspicious day,
To
day
1
1

To hail th'
To
auspicious day,
hail th'aus-
day,To hail
-CX
To
hail th' auspicious day,
&>^
hail
To
th' auspicious day.
tt
hail th' auspicious day.
4.
Hark
In heav'n the rapturous song began,
And
Thro'
the cherubic armies shout.

And glory leads the song
Good-will and peace are heard throughout
Th' harmonious heav'nly throng.
sweet seraphic fire

the shining legions ran,
strung and tun'd the lyre.
all
And
3.
5.
With joy
Swift thro' the vast expanse it flew,

And loud the echo roll'd ;
The theme, the song, the joy was new,
'Twas more than heaven could hold.
Hail
Prince of
the chorus we'll repeat.

Glory to God on high
Good-will and peace are now complete
Jesus was born to die.
!
life
for ever hail,
Redeemer, Brother, Friend

Tho' earth, and time, and life should
Thy
praise shall
neve
end.
fail,
THK HYMN TUNK BOOK.
175
No.5!>. MONMOUTH. L.
Count
Davis.
The words from " The Sunday

Hyiim 12.
Praise ye the Lord,
H<
5
gg
to raise
^>
hearts and
voi
i
'tis
good
L^
to raise
in his praise
ces
Our
this
hearts and
-
voi
Our
-^
du
ty
our
in his praise;
hearts and
AhJ-
na
voi
ture and
in his praise;
mo
ces
<
e>-
in his praise;
>
Our
t'>
works
his
a)
tt
tt
Our
1 > ffiS
ces
-"
<
ces
in
3:
de
light
To
make
tliis
du
ty
our de
de
light
To
make
this
du
ty
our de
Our
vite
light.
t=t
i^:f^
To
make
this
To
make
-L_l
du
ty
Tt^=f^
^^
ti
this
du
ty
our
J
-c-^
:!^
forrn'd the stars, those
i^-i.
-i^J.
our
de
light
To
2.
He
voi
Scholar's Companion.'
<^
-e>-
Our
His
hearts an^
f=^
I
i
I
make
to raise
^j
To
good
'tis
,o
Traise ye the Lord,
good
'tis
-e^-c^
Praise ye the Lord,
P
P
m.
make
this
du
ty
-t^
our de
light.
light.
4.
heavenly flames,
}le counts tlieir numbers, calls their names

His wisdom's vast, and knows no bound,
A deep, where all our thoughts are drown'd.
W'lio spreads his cloud.-? arouncl the sky
The
And
beasts with food his hands supply,

the young ravens when they cry.
5.
3.
Sing to the Lord, exalt him high,
There he prepares the fruitful rain.

Nor lets the drops descend in vain.
He makes the grass the hills adorn,

And clothes the smiling fields with com
His saints are lovely in his slight,

Ho views his children with delight ;
He sees their hope, he knows their fear,
And loves his holy image there.
THE HYMN TUXK BOOK.
No. 60. WESTBURY

Count
Tucker.
w
When
thou,
my
Xi^
come To
righteous Judge, shall
.r^. r^t^
S
V o
LEIGH.
m
1/
27:
fetch thy ransom'd people
home,
^5^
e^
atit
When
my
thou,
righteous Judge, shalt
come To
fetch thy ransom'd people
^ se ^ ^
When
my
thou,
righteous Judge, shalt
come To
home,
^^=P^
-y-1^
fetch thy ransom'd people home.
/-,
Shall I
a-moug them stand
-^P
-09-
Shall such
t:
r fShall I
a-mong them stand
y y y ^ if"
n / /Shall I
am
a-mong them stand ? Shall such a
fraid to die,
a-
Be found
times
am
I,
at
worm
at
as
I,
-^
S :^:
Who
'no
some
some-
6^
Who
some-
thy right hand, Be found at thy right hand
-#-
-fi-M
thy right hand, Be found at thy right hand
t
Be found
fraid to die,
63^
at thy right
hand
3.
2.
meet among them now.

Before thy gracious feet to bow,
Tho' vilest of them all
But can I bear the piercing thought,
What if my name
should be left out,

thou for them shalt call ?
Let
me among
Whene'er
Prevent, prevent it by thy grace

Be thou, dear Lord my hiding-place
In this th' accepted day:
Thy pard'ning voice O let me hear,
still
my unbelieving fear,
To
Nor let me fall, I pray.
;
thy saints be found,
th' archangel's
trump
To see thy smiling face

Then loudest of the crowd I'll
shall sound.
sing,
While heav'n's resounding mansions ring
With shouts
'.
^^
-e-
I love to
When
as
S3t
iîi
Be found
li-
worm
worth-less
5^
;tt
î:
at
t-f
p=y=4
some-
JtW
worth-less
Who
n-4
/>-
_
^^
-g
times
Shall such
I,
rP-
-.
3tat
as
-.-
-1
t:^
o^-
/ /^/
worm
worth-less
/T
^n
--Ht-
?^S-
of sov'reign grace.
THB HYMN TUNE BOOK.
278
No.
Count
Cl.-NEW VICTORY, OR WIMPOLE.-c.
The word! by
ing scenes of
life,
lu
trou-ble
and in
joy,
ing scenes of
life,
In
trou-ble
and
joj,
/
:ifti
P^.=
Thio'allthe
Thi
chang
Thro'
chang
all
the
/
f5 =
Thro'
all
?=
=5=
chang
the
my
of
God
>-#
ing scenes of
P=ff
still,
my
God
t=?
my
of
God
^^
heart
Ihe
ri
still,
prai
The
4 4
shall
still,
prai
my
of
ses
shall
still
y F
of
sea
my
God
shall
still
prai
of
ses
^r^
my
God
shall
still
mm
My
ploy.
^~
ploy,
heart
and
tongue
em
->
ploy.
^m
E-
My
heart
-6^
-^
My
heart
and
tongue
em
TX
-e>-
tongue
em
ploy.
ploy.
heart and tongue
his deliverance
em
ploy.
and
4.
I will
boast,
Till all that are distrest
From my example comfort
And charm
God
~y rx
2.
Of
praises
tjL
-e3^
en
^^
The
joy.
SOk.
:?*
The
tongue
r^Pl ^^ i^
<=^
^^
My
f
IT.
My heart and
p
and in
praises
T=t:
"
and tongue em
trou-ble
he praises
The
^ ^>
--c
-#--
shall
rx
T^
.Ik
e>
1'
^^:ir~y
of
la
shall
'
in
Tate.
v^
life,
My
m.
take,
their griefs to rest.
O, make but
trial
of his love
Experience will decide

riow blest are they, and only they,
Who
in his truth confide.

5.
3.
The hosts of God encamp around

The dwellings of the just
;
Deliverance he affords to all

Who on his succour trust
Fear him, ye saints, and you will then

Have nothing else to fear;
Make you his service your delight.
Your wants shall be his care.
THE HYMN TUNE BOOH
No. 62. HALLELUJAH

Count 4
279
AMEN. c.
m.
Spanish Chant,
The words
(la by W.
K. llickson.
P
23h
:
now
Join
praise,
and sing Hal
p
05 ;>
^
^^
men
-&rP
-9-
A"^ menl Praise
lu- jah,
-G^-
le - lu
men
le - lu - jah,
By
jah,
heavenly King, Hal-
le -
A-
lu- jah,
-lu -jah,
-/
hearts subdued,
Still
men!
Praise to our
menl By
gra ti-tude
Still
men
love and
JBy
gra-ti-tude
be our
gra-ti-tude
Still
be our
TIT*^
re-new'd, Hal
song
Still
t:p=#:
i Gh
be the
be our
^^
love and
t=f^ r
t=^
love and
-Gf-
t=^
le
tor
itt
1=1:
^ .Â
.,i^^
rx
^^^^m
heavenly King, Hal
;>-
and sing Hal
praise,
in
to our
^y r
-Or
3
now
our
Praise to
Hal -le
praise, and sing
ia
heavenly King, Hal-
:t=4 i
-fci'-
DOW
in:^=z^z^
t=t
lu -jah,
- le -
-I
Joia
Join
-e->
in
le - lu
le
jah,
jah,
*\
-f-
-i
9
hearts subdued.
Still
be
song
the
lu
men.
men.
^ :^
^
hearts subdued,
re-new'd, Hal
Still
be
re-new'd, Hal
song
the
le
lu
jah.
2.
Praise to the
Lord most high,

Hallelujah,
Sing both with heart and voice,
Amen
Hallelujah,
Let every tongue reply,
Sing,
Hallelujah,
father and our friend,
thee our joys depend ;
Thy love will never end
Hallelujah,
Amen
and in God
Hallelujah,
Amen
rejoice,
Amen
O Lord, each day we prove

Some token of thy love
In thee we live and move
Our
On
Amen!
Hallelujah,
4.
Lord again,
Hallelujah, Amen
Life shall not end the strain.
Hallelujah, Amen
For, when this life is o'er,
This dust thou wilt restore,
Praise yet the
Thy goodness
to adore
Hallelujah,
Amen
Amen
80
HYMN TLNE
Tin:
BOOK.
No. (;3. REFUGE. L. m.

Count
Morcton.
Tht words by Dr. Watts.
ut
Voices.
(Treblt
I^tf^
%7
BBggg;
fT"!
made
hai
lie that has
(Treble, or
Alto.)
He
He
^h4
his
re
fuge
God
^^
made
that has
r-F
i=t
He
ShaU
^ t==
t:^t
3=^^
E3:
4th Voices,
(Base.)
made
that has
-/-
>#:Jf-
3rd Voices,
(Tenor.)
God
fugt
his
#^
2nd Voices
Z3:
xuade
that has
his
re
N- fuj'e
TJL
his
re
fuge
God
t=f^
God
Shall
/
**-.
EE
cure
t=ts
find
most
se
bode, Shall
most
find
se
fe^;j^
Shall find a
most
se
cure
bode,
P"
ci^-^
Shall find a
most
se
P
:^=P
:i=it
7~~:r
most
Shall find a
se
cure
bode,
^?E==
tind
cure
Shall find a
t:^
most
t=t
se
bodt
^îi=^
If
cure
:<hall
-A-
walk
bode,
all
Sliall
most
se
^=fW^
find
most
nealh
se
its
THE HYMN
ff-^nT
1/
t=^
t=fL
Shall walk
shade,
s
all
day
be
Tl'NK liOOK.
ueath
its
t=t:
shade.
And
there
^
L/
m
mst
U
t=^ t=^
shade, Shall walk
s:
all
day
be
neath
shade,
And
t=p:
there
at
head.
And
there at night shall rest
2.
Then
will I say,
"
My
God, thy pow'r
Shall be my fortress and my tow'r

I, that am form'd of feeble dust,
Make thine almighty arm my trust."
;
3.
Just as a hen protects her brood

From birds of prey, that seek their blood,
Under her feathers ; so the Lord
Makes his own arm his people's guard.
shall
night shall
at
And there at
his
nii2;ht
W=^
shade.
rest
night shall
J J L
^mm.
its
-^
at
And there
shade,
:n5P
ê^qr
'-^=ff^
:f=^
-
'21
his
t:-
i;
night shall
head.
THE HYMN TVSli KOOK.
'282
No. G
Count
-CALCUTTA.
Clark.
O'er the gloomy
hills
-r-P
Up
K
e
f/
of darkneas Look, my soul, be
^^
*
[_
It
hills
/^
^ ^
-ffW
O'er the gloomy
of darkness Look, my soul, be
a P
p.
mi
mi
ses do
-id^
- ses to
i%I
lui
i^
a
ses to
travail
^>
^^
with
gaze
and gaze
still
^-# ^3^
All the
All the
i^
glo
rious
day of grace
glo
rious
day of grace
^m
a
and
5^
P:=W=^=^
-
travail with
still
-^Pm
of darkness Look, my soul, be
/.
^^M
pro
All the
/-
r-,
hills
fc=i
pro
and gaze
still
,
Tjr
I?
pro
O'er the gloomy
I.
4 f
Blessed jubilee,
J'-
travail with
E
a
:f::^=^
glo
X^

rious day of grace
Let thy glorious morning dawn,
Let
tliy i;lurious niorniiij;
dawn,
Let thy glorious morning
HYMN TUNK
TIIF.
dawn, Let thy
Wr=^
glorious
morning dawn.
2^<3
Let thy glo
ss m=m^
^
glorious
morning dawn,
Let thy glo
^^
morning dawn.
rious
3.
2.
Fly abroad, thou mighty Gospel,

Win and conquer, never cease ;
May thy lasting wide dominion
Multiply and still increase
Sway thy sceptre.
Saviour, all the world around.
Let the Indian, let the Negro,

Let the rude Barbarian see
That divine and glorious conquest
Once obtain'd on Calvary;
Let the Gospel
Loud resound from pole to pole.
No. 65. SHIRLAND. s.

Count
morning dawn.
rious
^L_^
dawn, Let thy
BOOK.
m
Stanley.
The words by Ur. Watts.
ger
so
is
slow
to
rise,
So
rea
God will not always chide,

And when his strokes are felt.
His strokes are fewer than our crimes,
And
dy
to
3.
2.
lighter than our guilt.
The pity
To those
name,
Is such as tender parents feel;
He knows our
For thy compassions, Lord,

'J'o
of the Lord
that fear his
endless years endure,
^
^
And children's children ever find

Thy words of promise sure.
feeble frame.
bate.
284
IMMN
TUI.
GC PORTSMOUTH NEW. 148tli
No.
Count 4
book.
11 mi:
m.
The words by
a^
^
a
Ye
tribes of
g^j
Ye
f=;2
25
With heav'n &
join
A-dam,
tribes of
And
A-dam,
vine,
offer notes di
lo
vine
seas, And
be
And
offer notes di
To your Cre
of-fer notes di-
And
offer
3^
To
your
tor's praise,
To
your
Z^-
:tSt
To your Cre
vine
Creator's praise
notes di
-1-^
-9^-^
#-H*-
of-fernotes di-
a- tor's praise,
S=iE
-o*
vine,
seas, And
1=F=^
vine
^^m-
&
earth
your Cre
^rr*^
3S
tor's praise,
"-^
To
your
Ir
Ye holy throng
of angels bright,In worlds of light begin the song. Ye
f-
t=t
:rjt
tT-t
Creator's praise;
-/-H
^^
Creator's praise
m-s-
^
t=t
rî
^=f:
;
Ht
Ye holythrongof angelsbright,Inworldsof light begin
F=:
Ye
n^
f^
the song. Ye
holy throng of angels bright, In worlds of light begin the song, Ye
^W^Fly
< ^ <
'
With heav'n &
join
i^
t=t=t
ij
T=i^
tî
'
earth
seas, And of-fer notes di-
-Ve*-
4 4
vine,
6c
earth
Ye
&
^With heav'n
join
r=^
3=t
ijjji.^^
tribes of
A-dam,
Dr. Wktts.
ti=tt
'
holy throne of
holythrongof
an an-
gels bright,
In
worlds
of
Mght
be
holythrongof
an-
gels bright.
In
worlds
of
light
be
I
-
gin the song.
<r7
-PP
gSlZf
tJ^
gin the song.
gin the song.
*-
t=:t
holy throng of
an
gels bright.
In
worlds
of
light
be
HYMN TLXU
Tllli
HOOK.
2a.'i
2.
Thou sun, with dazzling rays,

And inoon that rul'st the night,
Virgins and youths engage
Shine to your Maker's

With stars of twinkling light
His power declare,
^Vhile infancy and age

Their feebler voices join
To sound
praise,
as he reigns,
His name be sung
By
ev'ry tongue,
In endless strains.
air.
5.
3.
The
Let
the nations fear

The God that rules above
He brings his people near,
shining worlds above

In glorious order stand,
Or in swift courses move,
By
his
Wide
Ye floods on high,
And clouds that fly
In empty
his praise divine,
And makes them
supreme command
He spake
And all
all
taste his love
While earth and sky

Attempt his praise,
His saints shall raise
His honours high.
the word,
their
frame
From nothing came.

To praise the Lord.
No. 67. JOYFUL,

Count
6fp
Very Slow*
Oi
1=t P
i
So
Hprp we
vpp
Here
ciiffpr grief
DTipf
suffer
nnin
& pain;
/t.
i
m
Hpr* we
r^p meet
mpp.f
Here
tn part
nart again.
a?
to
Q
t
II
In heav'n we part no more.
m ~rrw
-^3'-
Here we meet to part again, In heav'n we part no
0Q
z^
^3i
more.
In heav'n we part no more.
Count
Count
6
p
Very Slow.
01 thatwillbejoyfuljJoyful,joyful,joyful,0! thatwillbejoyful,Whenwemeettopartnomore.
4.
All
who
When
And
Lord below,
to Heaven will
love the
they die
go,
sing with saints above.
O! that will be joyful
&c.
None have seen, nor ear hath heard

What good things are there prepared.
For those who love the Lord.
O! that will be joyful
3.
God
shall
this air is
&c.
&c.
Let us
all tears.
Pain and sorrows, sighs and fears,

For ever flee away.
Ol that will be joyful! &c.
When
5.
wipe away
sung quick throughout
it is
And
all then watch and pray.

prepare for that great day,
Christ our Judge appears.
that wiU be joyful
When
converted into an exceedingly vulgar gig tune.
28G
HYMN TUNE
TIIF
BOOK.
No. GS. TRIUMPH

Count 6
Arison
The words by W.
of re-joic-iugcou-Bpir-ing to
So
%J Songs
raise,
Songs of re-joic-iugcou-spir-ingto
^^
raise,
Songs of re-joic-iug con-spir-ing
gi^
:a=3^
Swell with
cho-nis of praise
our voices the
Swell with your voices the
raise.
10

5ac=t^
cho-rus of praise
r r r
itZML
jizpqt
gzzzz:
S/
Ir
P^l*
=1^=^
/^
Z"^
^qti^
e-ter-nal has stood; Fyr
^^
rK
W)
"^
[^
1^
'
IVn
\^m
y
'
fJtî1,
'
3
p
\fA
made earth.and gave
he who
i^
1^
to
all
Songs of
to
life
jEV
Songs of
i
9
praise,
^-r->
ho
tit
***
>
/ >
ir
all
liv-ing,
Our
raist\
r>-CSS^
^
/ /
raise,
n^-TT
tztat
Lord he
cho-rus of praise.The cho-rus of praise.
1
1
is
>->
>
y-^tr ^ / /
3#:^
Swell with your voices the cho-rus of
a^
P^=?Ei?EzpEzpqt
raise.
ri
^ w
fp
-^Â it=^
re-joic-ing con-spir-ing to
is
Swell with vour voices the cho-rus of
^ Jt-A
r.
Fa-tlier Al-migh-ty,tie
*.-
|i
Lord he
.^
f^^=^
ir
j. j <
^ /
N-t-
t=^
good,
L*'
Al-ini)i:h-ty,the
vir ^
/ > /
Our Fa-thcr
^"^"
""^
1^
Songsof
Lr
liv-ing,
e-ter-nal has stood; For
fu
JhF
r
^
r
r
p
/-"/'
^L_;^
_^L_>
-/-^M^
good,
tf*
life
-/-
i^
PIr
^L^
L-^
P
"^
Pi*
^r^
he who made earth, and gave
"O
f
:f
^ffP
ix"T
^-^^^.v-i
-^
Sing and rejoice, and approach with thanksgiving The throne that thro' a-ges
^^
/r
A
V V
\f
> 1^
njoiccand approach with thanksgiving The throne that ihro' a-ges
Sing and
and
%J
cho-r us of praise
fNt p n p _^
4^2
^t
Swell with your voices the
(i
-M<^
E. Ilickion.
CO
/ / lc=A
Swell with your voices the cho-rus of

2.
his name be
ador'd
[Lord
Praise your Creator
rejoice in the
Great is His power, for the Lord is
Praise
to
Jehovah
Almighty,
But greater His goodness,

gives life its worth
it was plann'd the work

of creation.
love to our Maker that love
should call forth ;
For goodness
And
-m #
m *
Uz.
praise.
The
d m m
1
cho-rua of praise.The cho-rus of praise.
which
Praise to Jehovah, tS:c.

Praise your Creator, &:c.
THE HYMN ti:nk nooK.
OR LEIGH. c.
No. 69.TUCKER'S,
Count
:87
The words by Dr.
Hee comes He comes

!
to judge
iudee the world, a
2nd Voices.
loud th' archangel

archaneel
1^-
He comes! He comes!
cries.
^^^B^^
judge the world, a
to
loud
th'
archangel
cries.
^4.--pi
t-
3rd Voices
He comes He comes
!
^^3E
While thunders
roll
While thunders
roll
to judge the world, a
roll
loud
from pole to pole, And lightnings cleave the
^:^=^
from pole to pole,
&^
While thunders
^3t ^
^=^P=
^SB
a
Stennett.
m.
Tucker.
4 f
And
th'
archangel
it
cries.
m.
skies, And lightnings, And
&
lightnings cleave the skies,And lightnings, And
Jl
from pole to pole, And lightnings cleave the
skies, And lightnings,
/'
^
#
lightnings cleave the
And
skies,
light
/
4=^^
-Gf-
r=*
?=^
-f=^
lU-
nings cleave the îes.
i :^
nings cleave
skies,
^^
!*
the skies.
Tl
-p^
skies,
And
light
?qe
nings cleave the skies.
2.
The
affrighted nations hear the sound,

And upward lift their eyes ;
The slumb'ring tenants

In living armies
of the ground
rise.
So he ascends the judgment-seat.

And, at his dread command,
Myriads of creatures round his feet
In solemn silence stand.
3.
Amid
Of
the shouts of num'rous friends.

hosts divinely bright.
The Judge in solemn pomp descends.
Arrayed in robes of white.
Princes and peasants here expect

Their last, their righteous doom ;
The men who dared his grace reject,
And they who dared presume
No. 70.~REPOSK.
288
Count 2
^1
The Music and Words by W.
Mow,
Fd-ther, nay thy bleti-ing
Rtst
Fa-ther, may thy
bless-ing
Heat up -on
bless-ing
Rest
up -on
hours of
the
E. Ilicksoo.
sleep;
-P
O
Now, O
the hours of
sleep
the hours of
sleep
V
O
Now,
1^
Ev'
t/
ry
Fa
ther,
may
thy
anx-ioua thought re
up
on
my
press- ing, Thro* the night
^H
low keep.
pil -
/-
iStJ^
Ev'
tôH~o
J J
anx -ious thought
ry
>'
>'
5^ Z
P=t
^sihA\Q:H.i
S==t:
Ev'
ry
anx -ious thought
Let thy
pro
vi-dence pro
vi
dence pro
pil
my
pil -
r-Or
:i=^
^ XJU
tect
me
In
the thick
tect
me
In
the
thick
low
ti=f^ ^^
-^
WtJ ^^^
^^ dtit 3
/I
my
press-ing, Thro' the night
re
^^
pro
'
'
/
C^^H
Let thy
cJ
Thro' the night
pi ess- ing,
re
'
ÛJ
^
low
ZX
vi
dence pro
tect
me
In
the thick
X-t
ger
can
af
feet
me That
is
hid
- eer
dan -ger
can
af
feet
me That
is
h
hid
C3
uight
est
gloom of
night
gloom of
-e>-
It^ -^^
dan
t=t:
e>1 here's no
\J There's
keep,
- est
->
'-f-t
pro
keep.
J-V
Let thy
est
gloom of
ZX
:^^p:^
den
from thy
night
sight.
P
iJL
\J There's no
P
SUL
There's no
dan
XX
-
ger
can
af
feet
thy goodness ne'er forsaken,

this night will trust in thee ;
In the morning to awaken,

And another day to see.
sight
1J
me That
is
hid
den
3.
By
^^^
from thy
^H ^^-
e>I
den
1:5
:iji
"
from thy
sight,
4.
And when
Then
On
life's last
in sleep
I'll
day
is
ending,
close these eyes.
a brighter day depending,

In a better world to rise.
WORKS PRINTED FOR
TAYLOR, WALTON, AND MABERLY,

UPPER GOWER STREET,
AND IVY LANE, PATERNOSTER ROW.
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v.THE
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TUNE-BOOK.
Selection of Seventy Popular Hymn and Psalm Tunes, arranged with a View of facilitating the Progress of Children learning to Sing in Parts. Medium 8vo. Price 1*. 6d.
*45*
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WORKS PRINTED FOR TAYLOR. WALTON, AND MABERLY.
THE SINGING MASTEIlcontinued.

The
Exercises. Moral Songa, and Hymns, with the Music, may also be
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Price 2d. each Card, or Tweuty-five for 3#., as foUowg
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Introductory (Notation of Music).

Vocal Exercises.
43 The National Anthem

of Joy Ascendiag.
Ditto.
44 Farewell.
Ditto (Canons).
Twinkle, Twinkle, Little Star.
Welcome
Hymn
to School.
Come and
Words
how Happily.
Si;e
H Perseverani!e
or, Try Again.
9 Improve the Passing Hours.
10 Multiplication Table First Part.
;
The Pence Tahle and

12 The Peace. Maker.
1
13
We
How
and We'll go
is
Blowing
and
Early to
Bed and Early to llise.

15 Over the Water from England to France.
16 The Nursery Jest; and The Alphabet.
17 Tit for Tat
and Hot Cross Buns.
18 Play-Hours.
The
19
Kind Heart.
20 Come Let us Sing and the Chatter-box.
21 The Linnet.
22 The Harmonious Blackbird.
23 The Praise of Spring.
24 The Sluggard.
25 Neatness and Cleanliness and Work away.
26 Time for Rest and Good Night.
;
27 Sunrise.
28 Bells Ringing.
29 The Love of Truth
45 Sicilian Mariners and Warwick.

46 Devizes
and Stonefield, or Doversdale.
Evening Hymn and Hanover.
48 Stephens; and the German Hymn.
49 Grove
and Cranbrook.
50 Falcon Street and Deritend,
51 Martin's Lane
and Staughton.
52 Hart's and Job.
63 Melbourn Port and Matthias.
54 Rousseau's Dream and Irish.
55 Sandgate and Contemplation.
56 Hawies, or Mount Calvary and Auburn.
57 Eaton and Carey's.
58 Adoration.
59 Gabriel New and Prospect.
00 Lowell and Fairseat.
61 Lonsdale
and Calvary.
62 Lydia and Sutton Colefield.
63 Arabia
and Old Hundredth.
64 Peru and Condescension.
65 Horsley; and Compassion.
66 Suffolk and Hephzibah.
67 Bradley Church and Portugal New.
68 Piety and Knaresborough.
69 Wigan and The Passing Bell.
70 Newport; and Easter Hymn.
71 Vesper
and Admiration.
72 Jude's Doxology and Miles's Lane.
73 Helmsley
and Evans.
74 Nativity
and Monmouth.
75 Westbury Leigh
and New Victory, or
;
and
for
Age and
31 The Cricket Song.

32 Absent Friends
and
;
When we
go out
together,
33 Ere Around the Huge Oak
and Harvest
lift
up your Voices
ness and Knavery.

35 Lullaby and The Hour
;
is
The Stormy Winds.

Our Native Land.
The Labourers' Song.
Home, Home and Rejoice,
;
Wimpole.
and Idle-
come of Twi-
76
77
78
79
80
Refuge.
Calcutta
Amen, and Triumph.
Tucker's or Leigh
Rejoice.
Man
for
all that.
Mom
When the Rosy

appearing
the Might with the Right.
God Speed the Right.
If you Get into Debt.

41 Britons, Arise; and The Golden Rule.
42 Rule, Britannia
84
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Hallelujah,
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Portsmouth New and Joyful.
and Repose.
81- 82 Welcome
and a Man is a
light Grey.
36
37
38
39
40
and Psalm TktneM, with

Sunday Schools.
suitable for
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30 In the Cottage.
Home.
34 March and
Notes
Wind
let
Love one another
the
Now
Procrastination.
to our Places.
14
and
all
First Class
*^* The Cards and Tune-Dooks may be used with Mr. HuUah's or any other system of
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" What chietljr deliphts us, in the Sinking Master, is the intermixture of many little Moral Songs with the
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anything: of the kind better executed. They relate to exactly the claiss of subjects which all who wish well
to the industrious orders would wish t(i see imprinted on tl.cir inmost nature
contentment with their
lowly but honourable lot, the blessings that flow from industry, the fostering of the domestic aflfections,
and aspirati>U8 fur the improvement of society." Chambers^ Journal.
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IN
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A Selection of favourite old Glees, Rounds, and Canons; arranged to words suitable for
Demy 8vo, (oblong) 2s. Grf
Families and Schools. By Hklen S. Hkrschell. Second Edition.
CONTENTS.
met 3. Come, follow me merrily. 4. Come, all yc who

Come, follow, follow me. 7. The Emif^raiifs Song.-K
How great is the
Young Ladies" Debate. 11. Wilberforce's Grave. 12.
-10.
The
Queen.
9.
Our
Breathes there the Man.
The (iras hoi)pcr.-13. When from my Native Land.-14. Tranquillity. 15. Would you sin- a Round with
1
The Queen's Birth-day. 2.
Music love. 5.
Now
are we
I'leasure. 6.
19. lar
18. Whittington.
17. Flowers for your Gardens.
Pleasure.S-16. Whate'er you others find.
Tune your Voices22. A Boat Song.
all studied Grace. -20. Come now to the Greenwood. 21.
sweet
'How
the
Scene3.27.
leave
Come,
26.
Spring.
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FROM THE LIBRARY OF

Digitized by the Internet Archive

2012 with funding from

Princeton Theological Seminary Library

FIRST LESSONS IN SINGING, AND

THE FIRST CLASS TUNE BOOK.

THE SECOND CLASS TUNE BOOK-

RUDIMENTS OF THE SCIENCE OF

THE HYMN TUNE BOOK.

REVISED AND CORRECTED.

SIMPKIN, MARSHALL, &

2 Places of the notes .

13 The diatonic and chro-

a weary task you

6 Be you to others kind

18 Sounds and signs

RUDIMENTS OF THE SCIENCE OF HARMONY.

Chords, the principle of

Consecutive fifths and oc

ditto to minor scales

THE FIRST AND SECOND CLASS TUNE BOOKS.

too K.. BOOK.

4 For age and want

Improve the passing hours

18 Let the smiles of

Tit for tat

Welcome to school l02

When the rosy mornl68

THE HYMN TUNE BOOK.

presume the study of Vocal

be universally introduced in schools, as one of the means of

effecting the object

not distant when

proposed by a good education.

the qualifications required of every candidate for the profes-

indeed very generally on the Continent, singing

further required to teach his

Harmony or Thorough Base.

been shown to be a means of varying, in the most pleasing

minds of children (which

other way), that they are sent to school to be

not always easy to produce in any

has also been found a means of impressing the miud with

kindly feelings, and of kindling or strengthening just and generous emo-

much more effectual than any mode of persuasion

elementary schools, and of teaching music systematically, with a

racter of the great

body of the people,

not yet fully understood.

why music, but more

us briefly depict the reasons, moral and physical,

cluding the masses to

has hitherto been inaccessible.

would promote the happiness of all.

a means of social enjoyment, will be admitted ; and

enjoyment to the poorest members of the community.

can be done lo meliorate

classes, they will

enough of privation, as compared with the more

cent source of pleasure, which

not only an innocent pleasure,

to be carried to a hurtful excess than almost

any other, but