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BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
>
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.
No.
3.
4.
2.
No.
5.
dFoxii'if) iEtrftion.
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.
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
....
...
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
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
dence
home
tide
fiudit
3 Your patience
NO.
8 Abroad at
62
...
would
Lost time
52
20
26
And now we
Let us endeavour
12 Let your pleasure
.48 9 Plough deep
.
50 11 Swiftly flies our
PACE
13
63
and pru-
.57
59
Augmented
,,
Canons
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
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
Snd
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
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
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
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
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
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.
141
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
and indeed
we may
is
will
in all the
German
Already in Prussia,
knowledge of music
States, a
is
a sine
qua
sion of a schoolmaster.
In the humblest
village- school in
Germany, and
taught
is
and
is
in the
pupUs to
play upon some musical instrument, and to instruct them in the science
of
schools.
manner, the usual lessons, and calculated, therefore, not only to reheve
the attention
in the
when
too
much
fatigued
it
is
by study, but
It
to create a conviction
made happier
as well as
tions,
or reproof.
Education in
ot
is
Let
The
first is,
that
it
whom it
made
the
argument
to induce us to
make an
effort to
this
That music
render
is
ought to be a
it
means of
After
all
that
PREFACE.
II
submit
condition of
tlic
working
tlie
to quite
favoured lot of the rich man, without our withholding from them any inno-
we
command.
to
Vocal music
might, by a
little
exertion, enable
is
fit
to be encouraged
music
is
among
it
peculiarly
of producing musical
poor
If the
effect.
man
equally good
him
more
German
band of the
in regard to
A family
Italian opera.
is really
its
its
of
vil-
Webbe and
good,
withdraw
make
performers.
skilful
number of
human voice
Even
it
them
less likely
it.
sufficiently
it is
The
with
The moral
two kinds.
has a direct
It
tendency to wean the mind from those pleasures which consist in mere
vicious and sensual indulgences,
and
upon the
it
it
It is a great error in
it is
covery that
it
is
It is
time
we made
the dis-
men
to
throughout their
relieve the
lives,
monotony of their
Pleasurable excitement of
sume.
existence
some kind
is
is
all
it
can be withit
ways
shall asj
among
PREFACE.
the poor,
it
Ill
common form
of intemperance.
We
but the choice of two things, either to provide for the working
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
such as will be
society.
It is said to
working
classes,
is
own
Happy would
women
are often
drawn
if
every
The
in to their
ruin.
is
weak enough
it
to give
way
to habits of intoxication,
more
But
that
it is
render him
intellectual source of
is
common
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
their
is,
that
it is
festivals.
But one
home
amusement.
effect
of
may be,
it is
The
effect of
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
EngUsh.
It is
man who
is
habits of dissipation.
may
We
add, that let music be rendered universal, and the Apollos of the
common
to the
digies
level.
would be found
talent,
gifted pro-
many
Tliere are
may be
treated as
books
No
hunger and
There
lest
is
thirst, lest
and
it is
is
lest
used to be contended to
dangerous to
we should become
satisfy the
some danger
for guidance.
that music
and we may
may become
be not to teach us
if it
the difference between the use and the abuse of that which
to impress
ration
may
With
be hurtful in excess
which
is
it
is
good, ajid
useful in
mode-
although
that,
wants of
there
It
lest
tliat
we mav observe
music
is
sufficient
The
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
mony
with
itself,
and with
it is
all
Thoroughly
to enjoy
things around
in the
it
words of Shakspeare
is
much
PREFACE" The
fit
man
and
sounds.
spoils.
be trusted."
away the
from Saul.
evil spirit
may be
It
life,
much
is
the attention
is
jects
object
is
not exactly that, but to act upon the affections, the music should be of
a more joyous character.
If
we want
then
our
first
if
we would
make
the heart
arts,
care should be to
cheerful.
some,
us beware
let
how we do any
We
it
spirits
for
it is
not when
It is often said
and there
is
some truth
in the assertion.
We
ill-conducted charity school, and see the sullen looks and scowling
in the
brows
something
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
evil,
music would be
to that kind of
will
make
music
the heart
glad.
Let
cation,
us,
above
all,
to
Instead of
rUEFACE.
VI
hymns,
as
some
wliic'li
all
them when
wholly engaged upon the time or tune, or upon worldly subjects, instead
of worshij)ping the Almighty,
"
We
In conclusion, we
may
notice an
argument
It is the
several other eminent physicians, that there are few things so well cal-
from
more
their
fall
is,
that
Young
ladies
who
act,
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,
must often
this fatal
organ.
it)
no doubt
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
favourably received, the author has been encouraged to the further task
The work
it is
hoped
it
it
all
will ])c
will
is
be found
now re-cast
much more
in
an improved
perfectly adapted
found
in
If
it
like the
PREFACE.
form a correct idea what apparently insignificant
insurmountable stumbling-blocks.
Vll
difficulties
may prove
those included in this work abound, but they are adapted only for the
more advanced
student.
The present
the moral songs, will contain a large collection of the most favourite
hymn
tunes
will
NOTATION OF MUSIC.
NOTATION OF MUSIC.
The
first
do,
pupil
is
usually an exercise
is
mi,
a, b, c, d, e,
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
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,
first
exercised
It is often
the
we mean an
in a healthy state,
is
that
but
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,
allowed to cry
songs.
itself asleep
In a similar way we
may account
amused with
lively nursery
aptitude for learning singing between the boys of large towns and the boys
of country villages.
those
at least
who spend
have been
sound of a peal of
B
bells
are
away
seldom found
have
to
tlie
In
such cases,
all
dirticulty,
it
is
unwise
years of age.
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
The
with
facility
th'c
plan of teaching
them
when
in classes.
individually.
is
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
it
make
the at-
need be desired.
The
ear,
first
is
by the
same sound correctly
The second
is
to express the
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
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.
more
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
At
if
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
means of
day.
No
all
less,
or the
better adapted for the early lessons of children than musiic of a cheerful cha-
Many persons
racter.
an
air
imagine that
its
mnst be much
it
Experience, which
The ear of
reverse.
is
a child a
number of notes
upon a long
it,
easier to teach
other.
note,
Indeed
is
its
to* sing, in
proper pitch,
the
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
Neither
is
much
of Mozart's
its
ill,
drawn out
The voice of a
wanting.
is
is
notes.
ear, but
therefore, suit-
is
adapted for
the other.
among
the children
is
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
if
It is
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
is
it
may be sung
fall,
is
music
accented notes ;* but, by means of lively melodies, children soon learn to keep
feet,
and
meaning
the consequence
Pupils
who have
is
is
it
may be made
is,
this
B 2
FinsT LESSONS IN SINGING,
to
made
become nure
of a composition.
Many persons have
failed in their
not be proi)erly,
who,
for his
character, let
to sacrifice, at
tcacliing
if at all,
If, therefore,
first,
little
air,
difficulties
would be increased
is
to prevent
a taste
understood, without an
retain
By
it.
him wrong.
The
eflfort.
it,
because
first,
it is
of this
first,
memory
more
scientific
melodies
may be interwoven by
combined eflfect.
But, however rapidly the
it
will
a master of the
taste of a child
minor key,
as persons
who
are
art,
may
improve,
in
it
distinct
in j)laintive
more advanced
and ultimately
number of
it
is
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
dis-
sorrow and
it
to discourage the
young
feel the
01'
same
to the
air in the
apply to
in Saul
performed upon
if
in
would think
will
it
Dead March
sublimity of the
school-room,
heard.
MUSIC.
the
it
many
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
feet, will
be found very
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
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
till
first
foot,
this perfectly, as
letting
feet,
He
should
it fall
they stand up
tell
the children to
lift
;
up
and
voices.
To
treble voice.
allow
it
The
no instrument
is
so effective as a powerful
is
which
note
it is
it is
Still,
is better
adapted for guiding and controlling the voices of children than any instrument.
German
some
rather severe
masters often
make
FIRST LESSONS IX
')
8 IXC IXC,
the
ficient
power.
Violoncello
is
If an
may
Organ, or a Piano
first
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
dued notes
effect is
in ver)'
in
it
sub-
would be well
if
Even
care were
taken to have no more instruments than suflicient to sustain the voices and
perform
tlie
symphonies.
some of the
airs to
much among
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
may be
it is,
above
all things,
neces-
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
monotonous
a,
destroying
all
and expression.
more
serious
Another
fault against
will
is
the
habit of drawling or sliding one note into another, throughout a tune; a fault
is
drawling singing
is
is
who
The
sing, almost
habit of
exclusively,
When
new
otherwise,
it
air
will
it
and shade
than another
made
to
subdue
When
flat.
voice properly,
sometimes
tlie
They should
in a forte passage as to
at the
produce
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
may
first
stage of musical
who have
&c.
should not be puzzled with crotchets and quavers, but, even in an infant school,
a class of the elder boys or girls
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
obvious that
if
made
who can
rectly the
not be expected to
make very
of learning to
siderable time
smg by
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.
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
it
it
upon paper
who can
so that a person
read music,
Thus
meant.
is
Remember
short or quick.
is
represented,
may know,
or loud,
soft,
is
name of a
or marked
without hearing
c:> L,
They
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,
their names.
make upon
||o||
all
without speaking.
Each of you
tell
which
slates,
the board.
This
is
called
It is the sign
hreve.
will
"Breves are
that
is
to say,
used, and
signifies half.
you
It is
it is
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
crotchet
half as
is
a semiquaver or half
^
made
Ik
lalf a
like a
minim.
/ The word
of
a minim.
long as a
^
/
J
called
is
called
a demisetniquaver.
it means the half
quaver.
demi-semiquaver
is
in music.
If
demi-semiquaver, A
to
is
what
that a semiquaver
^ m
the half of a quaver
is
that a quaver
is
that a
is
that a
;
j
<Z>;
every breve
minims
quavers
to
every minim
is
The
teacher
to
He
||cd||.
In other words,
is
equal to two
two semiquavers
slates,
of the class
the others.
is
every semihreve
girls
is
is
minim
then puts the following questions to the class upon the above
lesson.
Questions,
How many
W hat
is
What
What
What
is
the other ?
note
is this
What
is this
is this,
at
which I
sign called,
am now pointmg, on
{two.)
c> ?
^?
I
This,
? this,
I
L?
this,
>?
g?
this,
y^
How
Is
it
long ?
What
is
the
(8.)
Semiquavers?
(16.)
Demi-semiquavers? (32.)
in the
FIllsT
10
The
LESSONS IN SINGING,
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
Now make
a minima crotchet a
slates,
tells
He
their slates.
is
may be
repeated,
when
the
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,
It
this
may
When
be done with a
there
may
and a ruler.*
nail,
object, the teacher should provide himself with a board or frame of painted
shorter length
placed upon
it.
Two
should be six
It
would not
feet in length,
all
short,
and simple.
When the
difficult piece
pupil has
be
two
made
not from the board, but from a written, or printed copy, placed in his hands.
We
if
staff
only
is
mind
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
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
the lines.
it
in another,
it is h.
middle line;
=i=
#
line
slates.
on the middle
The
\-
^
line;
on the top
in
line but
one
on the top
line
the
E
G
space
1-
V-
just
in the
just
line.
now
in
(a degree.)
12
What
arc
Wliat
is tlie
tlicir
names
Teacher.
1 his
? b.
Thio? This
c.
? d-
?y.
*It is necessary to
make
after
a distinction
notes as signs, and the names of the notes as taken from the places in which they
stand in the
be told,
staff.
When
When
it is
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
is its
What
is
W^hat
is its
What
is
name
the
?
|
Its
place
the
(/)
name of the note which
place? {d)
AVliat
is
name
the
\j
The name of
m
The name of
the note
The teacher again examines the slates^ effaces the notes^ and exercises
each of his pupils in turn^ at the hoards in the following manner :
A
A
A
A
it
in the
place
c.
in the place h.
in the place a.
demi- semiquaver,
in the place e,
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,
7cith
tlie
a slate and
seven letters
AND
TJll-
NOTATION OF MUSIC.
13
a, h, e^ d, r,/,//.
all
On
letters, a, h, c, d,
e^f,g.
the piano-forte there are six of these scales, but at the present your atten-
the voice.
The
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
it
It will
middle
The
of the
The
line
because,
place of
in the
staff
if
lower scale
is
on the second
leger line
all
the other
notes of the lower scale, then the notes of the middle scale, which the class
Lower
_ J_ _
'^
The
tions
_^i'gFG
J_
B ^
slates
Middle
iViiaaie Scale.
acaie.
Scale.
scale,
till
they
_ J^
^ -^
-- -^j^ \_
ABCDEFG ABODE
Upper
all
What
What
Scale.
How many
stand in
names
FIRST LHaSONS IX SINGING,
11
called x^
ij,
'/
named?
//,
(a,
over
ayain.)
What
at uliieli
stafl",
am now
pointing?
What
is it
What
What
In
it
is
bottom?
What
is
line at the
(a.)
is
this
first
upon
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
A
A
in the
ft,
quaver, on
The
ft,
upper
in the
middle
in the
ft,
effect:
scale.
lower scale.
it is
called,
in the
upper
in alt.
FOURTH LESSON.
DURATION OF NOTES
Teacher. *My object
of the comparative
and
f/r//V)/^
staff.
{c.)
of different notes.
Wliat
Very
is its
well.
name
Now
am
i|^^t
(A breve.)
What is
the
Here
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.
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
Next a minim
pupils count
The
The
class then
'
it,
S-
the
far
awaij^
1, 2, 3, 4, twice.'
having done
class,
1, 2, 3, 4,
1, 2, 3, 4.
4.
Teacher.
The
is
1, 2.
15
twice.
to describe
upon the
and to
t
Teacher.
to the
^^-
-^-
^_c>.
_Ci.
Remember these
ray.,
re,
mi,
sol,
fa,
me,far*sole,
lar.,
la,
at the
same time,
do.'
see^ do. J
but
<?,
si,
you
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
He
and
syllables, clapping or
by
up the
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
:
four notes.
The quavers
are
now converted
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
is
expressed
r in far
silent.
sic;nifies
the
ir>
interval or distance between certain sounds,* as, for instance, the sounds
and
(Here
e.
upon an
each oj
instrur/tent,
it
sign before
it
^ ^ sharp^
be raised a semitone
semitone we
and
make use
The
-flat.
is
to
to lower a note a
note
e^
You will
this
see, there-
it is
in the
may also be
tween d and e
to pass
sometimes written
r-
and sometimes
-^i
ee;
If
we want
sigii (g)
its
it is
to
come back
called
to
d from d ^ox
^[7,
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
double sharp
is
double
flat is
called
[i[-).
-^i
F with
double
before
flat
it is
to
it is
to
be played as
G jf
be played as
B with the
Questions.
What
What
is
is
the
name of the
it ?
toiud organ
is
is
</
sharp?
in the
same sense
pui>ils in
as note, as
when we
say, a full-
17
What
;A
sign would
it
if
you wanted
flat.)
What
The
effect
sign
if
you wanted
original state ?
its
(A
lesson
natural.)
following
in the space c.
h.
FIFTH LESSON.
VARIOUS MUSICAL CHARACTERS.
Teacher.
told that
but this
to one crotchet,
is
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
all
is,
for instrumental
same
line, called
When
thus
rest,
thus
a slur
slur^
is
is
!^
#
^
When
syllable,
9
/
itself, it
to be performed as one.
it is
called
iie^
and
18
LESSONS IN SINGINU,
FIILST
Sometimes a minim
is re(|uireil
in
This dot
preceding note
a dotted crotchet
three semiquavers
Upright
dot.
proper name
^^ ^'^^ ^^
3!'"*~
is
thus
^^
to
be repeated.
is
Double
end of a
bars,
part,
is
num-
sometimes
much
thicker
is
movement which
The
out.
other repeat
follows
One
is
is yO.
commence, in order
sign is ' ji* and is placed
to
whole music.
a dotted quaver
signify the
This sign
a measure.
movement, or
it
is
minun
to three quavers
a dotted semiquaver
is
dotted
is
to
When
the words
Da Capo^
it is
or the letters
to be repeated
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
when
the music
\Vhea the
first
to be
thus
performed
"p
make up
the proper
full
and strong.
is
number
the
is
to be sung
Two
An
It signifies that
The
to
be held
much
signifies
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
it is
lines
called the
is
19
the sound
is
called the
^^
Diminuendo
to be diminished.
direct {*^) placed upon a line at the bottom of a page, shows the place of
<
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
signify ?
What
to
When
a slur
is
bar,
what
!,
is it
When
a crotchet
is
When
a dot
is
What
What
same
syllable ?
slur.)
called ?
it ?
how
it.)
what does
it
signify ?
is
(Triplets.)
placed thus
by a
line, interrupted
line
it
How would
How
their use
(Bars.)
"?
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
is
/P
Of the
letter
What
is this
sign
What
is this
called
c2
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
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
more or
less
rest,
It is also
a pause
will observe is
signifies
and
you
rest,
This
is
a minim
left, is
rest,
a crotchet
rcst^
This, which
you
is
a quaver
rest,
S
'^-
When
or measure, a figure
is
is
required to wait
21
1-
L:
Questions.
What
What
is this
How
sign called Z
long does
What is
How
it
require
tell
to be silent ?
(Rests.)
you
to wait ?
you
to wait ?
long does
it
require
in this
manner through
all
the board, or
upon
their slates.
The
lesson
may
zz^:
:o:
Far
far,
:p=P=P=:
-way from
1, 2, 3, 4, 5,
far
m.
way
love,
all
on
ST
==EEE
-.trzK
t
Far
_G?!
i:
way.
each measure.
While they
sings the notes to the above words, pausing the proper time
when he comes
to
the rests.
SEVENTH LESSON.
THE CLEFS.
Teacher. When music
*
G cle/f and
is
sign
staff, this
music
is
to be
/n
or
You know
To
assist the
memory,
4234.
4.
it is
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,
it is
The reason
bottom
^'
This
spaces of the
which
and
clef,
is,
staff,
called
is
ti
now
same
its
which is
g.
) is
clef,
and
The same
is
tell
that
statf,
I will
is
is
In the base
line
llie
staff.
and thebase
tj!
>
clef
ilSi^
ABCDEFGABC
flf?f
A
Upper base
Scale.
^^
-* ^-*
tK
Besides the F clef and the o clef you will sometimes meet with what
which
is
written thus
It is called the c
clef,
is
because
ini
whatever line
I place
h but c
it
it
is
_^
This clef
is
now
we
line, which
and
all
staff, is
intended to become
Thus
c.
it is
if
no longer
is
it
but
in old vocal
music
it is
used in
in the
and
sopranof
all
music intended
clef, in
"When
it
"|M"
line
of the staff
c,
by
'
line
This word was formerly spelt basi, but Burrows and other
Italian
was written
converted into
as pronounced, hn.\,\
is
modem
staff,
it
becomes
word
23
what
is
4ffl=
staflf
that
is,
for
When the
clef
is
it is
Alto or Counter'
called the
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
When
the voices of
women and
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
Sixth or highest
eleven.
s^^S
Soprano,
or
Treble
voice.
Tenor
voice.
Second Scale.
Base
voice.
The
are of
practical use.
no
less
than eight scales, but the extreme upper and lower notes
21
now
will
btiifT,
(liri'ct
tJie
board aud
^
irrites
or Treble Clef.
as follows'.
or Base Clef.
i UABCDKFG
%J
Tenor
I
#A b
ini
,,
*-
i^i
D E
Clef.
:S=P:
II
Soprano Clef.
^=^pfeB^
C
II
Alto Clef.
mmmsr
5
The
teacher
now
A B C D E
Questions.
What
Why
Why
is
the
is it
is
name
(Because
it
am now
it is
pointing
m that
clef
is
What
What
What
Why
which
is
the
name
it is
What
--^
"
Thc-Kmest note
;
is
usedj^the line on
alto
ckT?
"
voice.)
man's voice.)
What
-^^^~
of this sign
ujk)!!
because, as the
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
becomes
it
When
placed upon
it is
called 4ttj- ?
When
it
tlie
may
be placed
(The tenor
is
it
clef.)
is
it
c.
is it
called
i-i-
(The
alto clef.)
Is the pitch of
How much
When
lower?
(When
and deep
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
by
to place a
<t,
d^ e^f, g^ as determined
that while
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
more than
notion of the places of the notes in the soprano, tenor, and alto
girls of
it
a general
clefs.
The
alto clefs
Music
writers
word tenor or
much
alto against
to see a love of
is
now
con-
it
composer taking
to prevent mistakes.*
is
that the difficulties of learning to read music are almost insuperable, as the variety
of
clefs.
It is singular that
attended with no advantage that can compensate for the confusion they produce
in the
sity
mind of the
of leger
lines,
learner.
but not to any very material extent; and then only by render-
first
glance, as
when
a practice which
is
attended with
when he
2n
we were
to follow out the principle, that, hocaiise there are five difterent
many
musical instruments.
EIGHTH LESSON.
TIME.
Teacher.
t
t.z=h
One, two,
six.
five,
six.
What
called
is
first,
marking
performing an
air neither
designed.
and made
first
to
any other.
In what
and a
tiiird
hand
?/_/?,
is
is
sure to be a note
first
upon
Down,
One,
right,
two,
down,
down,
up,
three,
rijjlit,
up,
the
right,
down,
up,
tlii-ee,
right,
down,
one,
up,
:t
?3^
three,
firj>t
Anthem
t^^
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
In some
five, six;
or one^
airs it is better to
in
When we
counting, but
for
we must do
when we come
it
it is
set,
to a rest;
eflfect,
notes,
it is
but
desirable to sing
to the
words
it
one,
air,
through
first,
two, three
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
teacher
I
But
tures.
such as the
first let
clef,
me
with
tell
flats
you that
all
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,
These
of what
slowly.
mon
time,
(L
a line
drawn through
the same
it is
number of
common
called quick
com-
crotchets or
little faster
than in
time.
-q-
denotes
The upper figure shows the numAs the fourth part of a semibreve is a
crotchet,
means
six
Anthem
although
it
appears simple,
it is
is
that of
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
(juavers,
^j^g semiquavers.
is
means
tliat
no parts
and
minims.
All these time signatures are supposed to indicate not only the
upon the
We
4
you
1st
6.
and
time,
both in
It
may
number of
6,
1st,
lie
3rd,
12^
and sometimes
They
is
to be
performed quickly or slowly, but do not determine the exact degree of quick,
ness or slov/ness required.*
For
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
if
is
It is as easy,
when speaking
3
to say three crotchet time, or three
nor
explain
it
at once, at the
minim
time, as
how many
head of the
staff,
figures to
time,
count
or time
in
and
as
.3
neither -7-
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
so graduated that
when
the weight
in a
is
minute.
fixed at
down
the rod.
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
cost.
liolding the
and
its
The
string
is
to
one end,
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
(The
first
always one.)
What
when
is
time in music?
singing
How
it.)
countmg.)
When
(The
What
first
my hand
always
fall ?
flats called, at
staff. ?
(The signature.)
What
What
What
is this
does
sign called,
it
C>
?
(p'
"t
(Time signatures.)
called?
(The sign of
common
time.)
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.)
triple time.)
8
it
mean ?
3 mean
lesson concludes
on the board or on
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
o
When,
if
at the
at the
head of the
minim or each
fifty
staff,
crotchet
to
r
50, or
M 100,
these marks
mean
PIR8T LESSONS IN SINGING,
NINTH LESSON.
INTERVALS.
Teacher.
sounds,
is
But
numbers
degree as
'
called
an
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
staff,
taking care,
may
own
a fourth,
-T=^
:1=i-^=::lr
z:c5:
One, two,
his
a third,
second,
if
^^ T=^
one, two, three, one, three, one, two, three, four, one, four.
5=^7
one, two, three, four,
a sixth
fifth.
:S=?Ci&:
5^
five,
one, five,
five, six,
one, six,
a seventh,
one,
five,
six,
seven,
one,
seven,
an eighth.
2\\icher.
one,
two,
will
e>
isS-
^=^-1
::;
-/=^
three,
now
four, five,
sing the
same
six,
intervals, counting
eight.
downwards,*
Here the teacher places upon the board the following notes, and sings them
'h
ANll
31
a third,
second,
a fourth.
asii^i^i^^
one, two, three, one three, one, two, three, four, one, four,
One, two,
i:lP^E
' C^-
a sixth,
fifth,
-c^-
fzozr:
/->
\J
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.
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,
may
sing together
gress
made by
but
if
afterwards
the object being to fix the attention, and ascertain the pro-
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,
four,
six,
is
first,
what
is
is
eight.
is
precisely the
same note
is
We
will
now
as the
one heing
sing an exercise in
fep^iiii
C
D- D
Teacher.
'
E-E
Thus you
G- G
F -F
is
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,
sound
fall
to be sung,
by
firt
Pi.
fe
One,
-^
eight, seven,
one,
-^one,
seven.
Questions.
What
common
Which
of those intervals
is
the easiest?
(The 8th.)
his assistance.
The
note,
d,
and the
it
without
e,f,g.
lesson concludes by the teacher effacing the notes from the board, and
first
33
may
begin at
first
class to write
tlie
by counting the
seventh to
c,
in
&c.;
may
What
intervals, they
says, "
(A
6th), or
ELEVENTH LESSON.
INTERVALS CONTINUED.
Teacher. The
*
eighth
\\\q fourth,
to sing
them, you
may
see
upon the
third, Ji/ih,
and
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
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
my
*Rub
be
gone.
mirdm
in
FlUST LK^>SoNS
i.\
siN(.i.sr;
?=f-
Far
Teacher
from
to the class.
'
my
Now
sing
it,
oi
'
be
taking care to
t^one.
fall
last note.'
Teacher
to
one of the
upon
a note
its |tlace
class.
Fur from
Teacher
to the class.
made in the
same words.
lUib
my
heart
be
vain world
gone.
Sin^ as before.'
'
The
following changes
will
be found
ft.
#=f:
W:^^
;E~t=E
Far
from,
^^E==^
:^:
;3^5
't-
-ff
bzzip
^if c>
-
-^
:oi.
&c.
in
in
E.
ff
1^:=
d
"
^I
-I
^ / /
:*=
^
dznz
jp
35
-o^-
=^^-W-
%
^i^^eS^3^
e>-
EEEEE^
'#=
:=^
o^
The
many
teacher's
'
will suggest
other variations of the same lesson, which, in one form or another, cannot
TWELFTH
LESSON.
INTERVALS CONTINUED.
Teacher.
The present
*
number of
music
at sight,
and
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
THIRDS.
PS^
One,
f-
Hi
one, three, one.
:11:
EiE^
One,
*zt^
^m
<3-
:fl:.
FOURTHS.
-:|
Onc,
-M-
*=p|lf^
:3:
fuur, one,
four,
37
^f^^tii^^-^^i.
One,
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=^3^i3^
One,
six,
one,
:p=4
One,
six.
one.
:1:
:F^:
?E5
il
;Q|
p=*;
*-^
--?:
one,
:||;.
SIX.
one.
SEVENTHS.
T^
%y
One, seven,
:^
-^^-
-^
one, seven,
:|I;
3:
-^-
i^
-^-
38
^X
XX
One, seven,
C^
CL
<>-,
<2:
1-^
one, two,
:il:
^>-
OCTAVES.
i
w
:fc <^-
T3J
One,
one,
eight,
eight.
-^3c:>
One, eight,
<^
:o:
-^
=t
-O-
<E>
:^
<3-
^^
-<^-
:m:
T^
^^
one, eight.
$ :i*
One, two,
three, four,
:;j:
0-W-
One, two,
three, four,
<^
^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,
39
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
the sounds
known
The
5,
we
d^ e, f^ y,
is
:
merely a
thus the
is
<?,
in music.
same
as the eleventh
it is
or
same
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
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
is
is,
words f//cf,
supposed
The
to
JO
nUST
Ht-rc
iIk'
ti'.uluT (lescrilH's
I.KSSONS
l.\
M.M.INc;,
notes.
Tliis scale
at
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
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
is
also called
a key
when
upon
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
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.*
The key
of
would not be
You
is
by
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
To
prevent this
it is
top for d.
and
fall as
they
the c lines^
stands thus:
-# D
7^
cfa
^^^
0-B
6
5
}-G.
r-E
Now,
in order, that
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
key of C, so that
He may
may
all
and white
42
LKSSUNS
PIU!>T
I.N
=Q:
t
:q~
You
SINGING,
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
scale
upon
c,
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.
(The
first
The 11th?
How many
Wliat
is
(A
whole
tones.)
Chiefly or entirely ?
(Chiefly.)
How many
What
and
is
8th.)
A key.)
Why is the
What
What
is
is
semitone?
write from
memory
FOURTEENTH LESSON.
MAJOR AKD MINOR KEYS.
Teacher.
major keys^
presently.
Diatonic
scales,
to distinguish
Now
I will
also termed
explain to
you
as not only each of the seven natural notes, but each of the
may become
43
ture on the
staff.
major keys, each of which is known hy a diflereiit signanow show you on the board the signature of eacli of
I will
slates as I write
them.
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 l^eys, 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
Major
E,
--
Two
third.
C\
TNI
cU
C"
Minor
^3
I
12
J,
D|
1
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
and
Questions.
Besides the term
gamut
^hat other
name
is
(Major key.)
(To distinguish
it
from a minor
MUMT
41
What
is
the
cliiei"
J.E880N8 IN SINGING,
(Tlie third
is
(Yes
tlie
sixth,
when the
What
for i>laintive
How many
music?
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.
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
ANL?
Here
up
to
must explain
to F, the sixth.
to the eighth
it
is
necessary
the sixth major, and also to raise the seventh a semitone, or otherwise
make
Let
to
me show you
: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.
;
to the eighth.
|ipg^i|^^.^s
You
observe there
is
upon
a sharp, or accidental,
The
may
is
in
g minor, or b p
minor.
major.
.^.jft.
g^iil
It is
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,
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.
Thus
it
is
called the
minor
is
called
major.
[^
Questiojis.
May
(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.)
upon
their slates,
or upon the board, from memory, the signature of the different minor keys,
minor
is
always a minor third below the key note of a major key with
be known,
if
we bear
mind
Key
As the junior
for
that
they should not be detained too long over this lesson, because, in
it
it
it
all
minor keys,
probability,
attentively.
SIXTEENTH LESSON.
THE KEY NOTE.
Teacher.
'
When you
have
a piece of
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
it
it
will help
you greatly
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.
first,
but always
desire his pupils tojind out^ by this method, the key note.
Teacher.
'
it
is
customary
to
make
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
'
a tuning fork
key note.
The
is
generally c
teacher plays
c,
and the
but if
you hear
to be
the
I play c,
you
to
be d;
is
and then
if
d, as follows:
1-
t
Suppose the key note to be e
it
may happen
:^:
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
to sing begins.
48
all
ever a
SEVENTEENTH LESSON.
HARMONY
The
must be divided
class
other to the
but
into
SINGING
IN PARTS.
The
all
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
creased.
Teacher.
As you
'
the
number of
the
first
voices
first,
in-
heard by
itself is
produce a pleasing
Questions.
Wjiat
What
What
What
is
a melody?
harmony ?
is
is
a discord ?
is
concord
(An
air
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
-O
C3-
Far,
far
.^_
^^i=^
<^
"vray
,2nd Voices.
far
far,
way.
\st Voices.
:^=^
i^^i:^
Far
from
my
be
heart
-^-
gone
^2nd Voices.
:^ -^oh
-^c^
Far
The
lesson
may
from
my
world
vain
heart
be
gone
The
new
facility
They
will not
indeed be able
be retained by the
memory and
;
the eye
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
all
r>0
begin to
way,
feel their
in a
more
practical
knowleilge of the subject, than can be conveyed by any merely verbal explanation.
Tlu're can be
a considerable
paper
as
is
many
hymn
tunes, as
may be
required.
make
For
these copies the teacher should procure music paper of a moderately large size,
and
ing,
girls
his
young
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
sing or play
it
must
first
to the class
to sing
they singing
it
it
perfectly himself,
and then
in their
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.
instrument.
or engraved
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
n,
AND
Teacher. Put
*
you
what
it
is,
tliat
TUF,
NOTATION OF MUSIC.
note down.'
*this note.'
He
ahovej
(Here
Now
51
d,
my
telling
in the octacc
if
f, a,
in the
t'-=
^ifa=gfegE^
the pupils
continue to
number of easy
and
listen,
to place the
^=r=*:JEp:=EB-l-[-*-*-.^
,
fT-f
HL
iriziz--=ti=,
i^^^^a^^^ig^El
L=^EE^^
3rSEiz=^;
the lesson
may be
able
he
down
the notes
by
ear,
These exercises
will
e2
^2
NINETEENTH LESSON.
SINGING WITH TASTE AND EXPRESSION.
Teacher.
tinctly separate
commencing
fault,
when
to sing
The
mw
;
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
^-
of this alteration
is
tlie
it is
always
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
Another
fault to avoid
Even
is,
-<^3-
4 ->^z:^:i
in singing the
shut, and
mouth nearly
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
whollv lost.*
Remember,
much
and
F's,
much more
When
iMlSlC.
53
all
as defective as a painting
is
character, quick.
In
all
slow music
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
We
will
now
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
<> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <>
^a-^-"
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,
b,
~^
C3
they
^:
'II'''''
:
The
'
^1
^^==^
teacher must not expect the majority of children under fourteen years
and
as
it
it,
A few, however,
may be
is
much
time about
it,
but,
to learn
which
it is
first
example
Id
:o:
Teacher.
Besides
*
-co-
number
it is
now
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
Andante
time
not very
(pronounced vevarchayj^ quick and animated; Presto very quick; PrestissiinOj as quick as possible.'
y
Qiiestio?is.
first fault I
^
What is the name of the
little
to avoid ?
mouth
What
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
is
the
^.
Adagio
Largo
Larghetto
Andantino
Andante
Allegretto
Moderato
Allegro
Vivace
Presto
Prestissimo.
(The
GRADUATED SCALE,
50
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
When
the pendulum
is
required to swing
When
it
is
required to
and 51 parts
must be shortened
;
&c.
60
VOCAL
The
EXERCISES.
following simple canons, and two part harmonies, are designed as vocal
melody
No.
first,
it
*'
1.
to be written
is
well
to
in parts.
(A Canon.)
Count 4^
Time
and tide
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.
This canon
children
is
German
In
lujali
is
!"
No.
2.
Count
(A Canon.)
:1
-*-*
-##-
-^-&
Love
is
also
of
-#-
<^ ==i-^
-t3-
truth guide
my
de
C^-^
Love of truth,
- part,
]^Ei
youth,
From my
fell
great oaks."
*'
3.
57
(A Canon.)
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
3^i^
*:==:
gam
and
will
::]:
gain,
your
(A Canon.)
P=F
Love
neigh
your
hour,
by
Live
-t
=1:
:M-M:
l^
way,
t=
Live by
^^
I tzit:
la - bor
Love
your
t
neighbour
^^tiliMizzM:
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
3^EdE
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>
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
SE5
He
that has
lie
He
seven:
till
z^lW^Wi
-^^-
five.
No.
may
thriven
^^-
may
lie
till
seven.
8.
Count 4p
^-^
S5Ep"= ^Ef=^
T3
=3s;
^i<-
'-*
<^
pziin
'/
rj
!^
har-mo-ny, And
M=:^
rj
+3
he -tide,
ills
Still
^E^^.^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,
9.
Count 4 r
S^ .
Plough
while
deep,
~F-
No.
blug
e>
jjards
while
deep,
slug
Am:
gards
sleep,
And
(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
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
11.
Count 4 r
^
Swift
O-
-M-
ly
swift-ly
ly,
^\
&
Youth
im
our
time
:S
-^
flies
-^
Swift
^-
:^:
flies
way,
-3-
i^i
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.
Cyl
No.
12.
(A Canon.)
Count 4
fe^E.t4E
Li't
your pU-a-sure
l-T-
i=M: in*:
:z=r
ir-*
vrait
your
lei -
sure,
?^^?
your plea-sure.
Lt't
E3= :*=::
-
t=:l:
ig^^ygia^^
I
wait your
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
when
tlie
we
part,
pupils
to rest.
good night
must be
good night
This canon
is
1, 2,
intended to be sung
come
may be
in are
sus-
marked.
63
14.
**
(A Canon
it.'*
Count 4 f
When
gs=g
;t3;
When
wea
a weary, &c.
you find
task
ry
Per
it,
se
vere
and
=tE3EE
ne
mind
ver
Ne
it,
mind
ver
it.
e^
P /!-
:t=t=t=Hz*
p
No.
Ne-ver mind
When
it,
wea
ry
-p:
you
task
find
i
it,
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.
(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
-irz^o:
O" ^tjhr
name.
RUDIMENTS
SCIENCE OF HARMONY.
RUDIMENTS
SCIENCE OF HARMONY,
OR
THOROUGH
The
science of
Harmony
is
BASS.*
but at
the age of fifteen every youth evincing, by his love of music, a disposition to
the science.
who wish
to write
much
will
information as
is
own amusement,
or the
gratification of children.
the subject
dual application.
OF CHORDS.
The theory
of
harmony
or
may be
is
A Third.
consist of,
fifths.
separately, or
Fifth.
combined, thus
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.'
'
RUDIMENTS OF THE
The
tliree
Music may
yet
fifth
all
One
to generate
its
is
called
a Triad,
own
third and
take an opportunity,
when
fifth,
the
or produce
room
is
is
example
them of
perfectly
and
still,
itself.
If the student
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
siderably shriller.
in the
two upper
17th orad.
~V
7;~'iaa'or5th.^
ai
The sounds thus
by a good
CZ>
ear.
may
sixth
is
is
for ex-
Third.
Sixth.
eighth
notes, but
is
is
Fifth.
Fourth.
-I
IF.
An
ample
JK_e
w
fifth,
fifth
scales, thus.
and
first,
?it:
first
^~8th.
or
Ut
=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.
67
The ninth
effect.
is,
which may be
in-
as a second
A Second
and Ninth.
Seventh,
--^
^;
I
What
and
is
fifth
called the
common chord
combined, but
it is
i^^mM
i
^j'
*::i
iii=fz^
%--
third
may
is,
effect is
con-
plaintive music.
Minor Third.
Major Third.
^m
-1
w
The minor
third
Minor
Sixth.
Major
Sixth.
The augmented
sixth
is
is
An augmented
Sixth.
when inverted
is
it
Seventh.
-!
1^
j1 minor sixth
A minor
%-i?^
^-
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
correctly speaking,
it
effect, is to
be considered
is
also a
discord.
Diminished Fifth.
Augmented Fourth.
^
The
and
fifth
triads.
tm
Each of these
triads
Major Triad.
Minor Triad.
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
upon
the
first
third
is
Two Major
Thirds.
Two Minor
Thirds.
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 ;
:
first
SCIENCE OF HARMONY.
The
the
first
first
instance
of every chord
is
called the
Thus
prima
the
or root, to distinguish
first
i
w=^=^
Ist of the scale.
D the Prima
it
from
w^
yj
l;
Major Second,
An
p
A
i
F^f5E
A
i
w^.
Augmented Second,
:iit*-
Minor Third,
Major Third,
#-3
Pi
A Diminished Fourth,
i=3=-^
-!
When
:laix;
A Perfect Fourth,
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
'
A Minor
~ An
-{7 g-6
Augmented Fourth^
Augmented
1^
-g#Li
i-J-,_l
^^
:n5^
as a
Major Sixth.
^^Major Seventh,
The Octave,
the same as an
Sixth.
aClENCB OF liARMOIfY
m
The
71
of the
air.
It is especially
important to
make himself
difference
much
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.
;
ffih
of the scale,
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
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
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
its
Sub-dominant.
fifth
^^^
^k
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
fifth
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.
example.
First
Second
Third
First
Second
Third
First
Second
Third
form.
form.
form.
form.
form.
form.
form.
form.
form.
-0-1
'
'
to
be harmonised
is
d,
we must consider
to
what
triad
it
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
;
may
therefore be used.
we
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
to
may
he
harmonised as helonghig
is
The harmony,
as
but to
effect.
THE SCALE
Harmonised with
and 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
When
is
generally the
first,
is
effect,
or by
doubled, the
notes,
it is
four voices with the chords only of the tonic, sub-dominant, and dominant,
and with
effectively
by employing,
The
scale
scale
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
RUDIMENTS OF THE
74
The preceding
monies written
an instance of what
is
in the following
is
called dispersed
manner would be
harmony.
Har-
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
of notes belonging to
harmony
in that case
to, or against,
point
that
is
to
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
When
any note
is
is
Discords are greatly used in music, because, in dwelling upon them occa-
is
a general term,
may
However
is
not
satisfied to rest
upon
it
it
requires to
however
scientific
the music
may
SCIENCE OF HARMONY.
be considered,
vocal music.
it is
bad
in
75
in
The
triad
which
resolves
it
is
the
fifth,
interval,
is
This example
scale.
F % The
The manner
fifth.
in
in the staff.
G #, The 7th
"keys.
of the scale.
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.
seventh, ascends to c
The
rule,
f,
however, excepting
on
it
to the tonic or
The third of
g,
fifth, is
not
rise to
it
key note.
is
free to
bound by no
when accompanied by
is free
is
triad,
is
made,
identically the
is
is
fifth
When
hence called
A Dominant Seventh.
:=fc:Ji:
-l-^3~ Dominant.-
dominant seventh
is
RUDIMENTS OK THE
76
tone,
The Seventh of
Minor SeTcnth
Key
the
scale resolved.
resolved.
*a
Key
of C.
of C.
different
in
positions.
different positions.
by the
it
may be
is
four
written
the
more
eye.
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
dominant
root, if preferred.
played thus
The discord of
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
it,
before him.
The
following
written in score.
is
This
is
its
resolutions
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:
^I
:1=:
-^>-3=
^=i
-^
Oi-
iX
G^
a;
^-5-
,-f^^^
il
Another discord, which is often used with very good effect, is called
The Diminished Seventh. The discord of the diminished seventh differs
of the
The diminished
#Ei*^=i^if^^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,
in the treble
fifth,
:z|^=|^=|^=|^t=
s
&h-5-
RUDIMENTS OF THE
78
The
nant seventh.
added
Tlie discord
is
The
7iinth, is
resolution.
may be
introduced in five different positions, but the most effective form of the discord
is
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,
Sixth.
its
second form.
The same
Triad belonging
to the second of the scale.
Besides the rule we have mentioned, that every discord requires to be reis another, equally important ;
must be prepared
or abruptly introduced
chord.
scale
With
may be
that
;
it
is
must
first
\C3
To
-CTM-S-
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.
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
SCIENCE OF II.VUMONY.
79
dissonant note,
is
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
by
retardation
may be
When
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
they resolve generally by ascending one degree. In Major keys the only
interval that can arise (without accidentals are introduced) is that
augmented
diminislied Fifth
with
P
The note forming
its resolution.
1-^
An augmented
with
its
is
it
will
the reason
it
Fourth
resolution.
EE^
by ascending.
fifth.
::^-^
be observed,
is
the seventh of
RUDIMENTS OF THE
80
them
it
will
inter\'als,
be necessary to speak of
writers usually
make
Scale.
=ij=^=^=
E
^=t:
:^
For the various reasons assigned
Scale.
V-
zzti:
for introducing
in the
and
harmonic minor
the
in
Abbe
Vogler.
Germany, the
IIi
classic
The harmonic
scale, as
Minor Triad.
Double
Diminished Triad
Major Triad.
Major 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.
in preceding instances.
SCIENCE OF HARMONY.
81
J
gigi-Jiis^ii^lE^ii:
The minor harmonic
scale contains
augmented
sixth.
One
or the
jf,
The diminished
resolves
Diminished Third
Augmented Sixth
resolved.
resolved.
H^p:
lll|E=li.:
e^e^^He
Minor keys
also contain
No
Augmented Second
Diminished Seventh
resolved.
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
^T
wm
two altered
is
triads,
RUDIMENTa of
82
TliK
CADENCES.
By a cadence
is
Anthem form
a cadence
;;^s^=^n
i
w
The harmony upon which a simple cadence
domiuant, dominant, and
better effect
is,
in
tonic, thus
most
cases,
ic^ir
is
founded
1
is
the second of the scale in the place of the sub-dominant, as in the following
instance
'-^
^=E3^P^^
I-
^EEi
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
pi
1-
ai
I
S.
D.
T.
SCIENCE OF HAIIMONY.
An
excellent effect
is
83
9.
tf#-^-
at
?^^IIe
Key
A half cadence
instead of
upon
is
when
of
A Minor.
but at the
it
When
full
at the
chord of three,
termination
and so contrived,
occur
final
if
possible,
form.
the third and fifth cannot both be introduced, the third should always
be preferred to the
fifth.
judge of these
it is
PROGRESSION OF HARMONIES.
In harmonising
it is
it
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
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
^- ^^Although,
in this
example, there
is
^^-
iE^Pi
RUDIMENTS OF THE
84
It is
of so
much importance
flowingly, that
it is
and to have the harmony less full than it might othen^ise 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
harmonies as
in the beauty
is,
The
full
chord
is
in its
for a
second
the notes most dwelt upon, are the parts where the
perfect.
of the melodies
whether written
most perfect
state
with the
When
fifth,
the
eflfect is less
per-
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
SCIENCE OK HARMONY.
In this example the quavers are passing notes.
8.5
Were
Among
condemned by
what are termed consecutive jifUis
be understood fifths and octaves, ascending or
and
octaves.
By
these are to
effect, are
Consecutive Fifths.
^
Consecutive thirds, fourths, sixths, and sevenths, are allowed, and often
effect
The following
fifths.
same chord.
p
Consecutive octaves are only disallowed when the intermediate intervals of
Unisons.
^U
-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-?-
fifths
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
fifths
to another,
part does
move by
skips,
harmony
is
hidden
fifths are
allowed,
#-1Chord
of
G B D
SEQUENCES.
This term
is
another name
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
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
^ ^
-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
is
The
all
is
but a
extremely pleasing
it
is
an example of transposition.
is
only allowed
for, in
ordinary
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.
is
key
f,
and
treat the
we may,
c,
if
we
we
please, consider
: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
is,
to
of
G.
o-
SCIENCE OF HARMONY.
89
|g|^aJ^jE^
Dom.
Dom.
of G.
-^
r-g =15^
qu
of
I).
rzic^zinf
E^=
I O
:i
nant of
G,
is
shorter.
The
tonic
d may be treated
may
as the
be
domi-
c.
no sharp,
we must
pass through g
with one sharp, d with two sharps, and a with three sharps.
There
is
no
diflB.culty in
is the
next note
When we
to g.
key to another,
it is
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^
harmonised, would
90
RUDIMENTS OF THE
be the
tliird
of the dominant
To moduhite back
;uk1 the c
i),
in the
a.
melody
in the
to the
key below^
necessary to flatten
is
it
ta?^
^-^-
to
we
are in.
c.
->--
<>
<_>
t;<
Key
Key
of A.
Key
of D.
g,
and
c,
it
Key
of G.
is
C3of C.
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.
third
same chord,
it
first
form
although
and
in its
2nd form.
1
:^F5
:8tr
aiE=3E^
c-^ZI
In old music
it
will
-^^r?-
m^l
M^
3rd form
^
m
-C5^
'^-
chord intended
-X
Thus
:cjiz
=1:
to
be
SCIENCE OF UAKMONV.
These
figures
mean
91
may
is
now very
left
the notes of the full chord designed to be played are always inserted ujion the
staff.
it is
still
known by names
make
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
in
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
>.
the
it
1st form.
2nd form.
3rd form.
..u
\-#l-
i
w
The discord of
is
called, in
its
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
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
ellect.
FUGUES.
A fugue
is
mhiant
is
by following
it
at a certain distance,
The
is
air
Subject.
FJ=t=:J:
^#
-C3-
:o:
Answer.
zrozz
iJEiE-
\
The
or Chapel.
an unpleasing
effect,
is
especially
Hence the
air
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.
The four
effect.
HARMON T.
SCIENCB OP
03
endless canon
is
The
PEDAL HARMONIES.
These are peculiar to organ music.
is
number
into each of
a ft is not always to be
although on the piano-forte there is
same note
as b
no
^gradations
no
practical use.
gradations of sound
therefore of little or
Out of this
fact,
however,
that
by semitones,
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,
thirds
it is
are not,
among
observable,
is
The imperfection
is
called the
woolf and
called the
may be
its
the least
temperament.
is when, without altering the pitch of the key note,
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
good melody
will please
if
whether harmo-
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
may be
his
9:
glIZ|~(i_.;
first.
m-
t:
Cadence.
.^^-
V-
is
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.
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
is
number of syllables or
and
feet,
it is
In a
poem one
line
line,
So
in music.
common
sometimes
understand which
it is
The musical
student
who
how
is
lovers of music,
own, which he
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,
;
harmonise
it
for
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
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
OG
This
attained.
is
it
ofu^reat
an
piano
art wliich
may
To acquire
down from
intervals
memory
the art
many
is
have done
so,
had he not
first
Beethoven wrote
he had become wholly deaf; but he could not
he had
We
shall
extract from the ablest paper* that has yet appeared on the subject, written
upon the
article
*'
Music"
**
En-
cyclopedia Britannica."
To
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,
And
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
whole
*'
art
it is still
considered by too
many
is
called
thorough
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
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
.\
Twinkle, twinkle,
Kirst part
108
110
22.
Second
HI
....
4.
5.
Improve the
3.
passiiij^
6. Multiplication table.
9.
12.
13.
.
.
part
We
We
go
....
one another
all love
'11
to our places
14.
How
15.
Early
16.
The
they
The seconds
all
18. School
is
122
123
123
124
125
126
128
130
jest
begun
21.
112
113
113
114
116
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 a^am
2.
No.
17.
Pa^e
No.
131
132
134
136
138
140
....
.
The sluggard
117
118
119
120
32.
33.
29.
to
Time
Good
141
142
143
for rest
night
to sing in classes,
but
it
the air and the seconds separately, before singing them together, as children
when attempting
to sing
The
when not
base,
may be sung by
the
third vocal part, although written in the base clef (for the convenience of piano-
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
To
perform the
airs
staves,
paying
little
or
no attention
to
to
play
the middle
staff,
In singing,
the teacher
must
first
and c
^i
-^
*-
and then
fall
K?
flute,
an octave
THE
TUNE BOOK.
FIRST CLASS
No. 1. TWINKLE,
'
ylt=i=j;
1st Voices.
Twin
kle,
'^
;e
twin
kle,
lit
tie
^^-
star.
^=i^iE
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
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
-t^i^
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
is
gone,
Twinkle, twinkle,
little star,
the night.
Twinkle, twinkle,
How
little light,
Twinkle, twinkle,
How
are.
4,
And you
is
curtains peep
in the sky.
Twinkle, twinkle,
liow
my
little star,
are.
little star,
are.
;;
102
2. WELCOME TO SCHOOL.
No.
Count
M.
4 r
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^^-^
1^
ful
-^
'
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
dwell
ing
Will
not
^3-
^
Coiue.
where
grief
uu'.l
sad
ness
2/i/ f'erse.
Will
Thus
not
to
dwell
-
sjeth
with*
ei
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:
^Ey
t-
^^
books
or
work
or
health
ful
play;
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.
We
And
Who
and write
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
\\
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
TIIK
105
^^=
4=
y~^
charms we
find.
[n
What charms we
Time
2iid Verse,
charms we
In
find,
-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
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
For swift
Youth
is
it flies
dies.
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
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,
It
you would
fail.
at last prevail.
Try again.
If we strive,
'tis
Though we may
What
no disgrace.
not win the race
Try again.
3.
If
is
hard.
Try again.
Time
will bring
Try again.
All that other folks
Why,
with
Only keep
can do,
iiatience,
try
try
Try again.
Try again,
try
gain.
gam.
07
THE
108
Ist
TUNE
BOOll.
5. IMPROVE
No.
Count
FlUsT CLASS
Mutiirt.
W. E. Hieluoiw
M. 132
4 r
Voices.
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.
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.
And
And
t-
i
no
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.
thirty,
1
And
6.
And
And now
our song
is
o'er.
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
are
thir
are
thir
ty
And
Pp^
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.
ty.
THE
112
No.
Count
Ut
M.
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
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=:^il=r=#===*rp==3^i4z^
xJ
Six
ty pence,
if
you
Are
will count,
in
Mzz^:
:=*:
I
Six
ty pence,
if
you
will count,
Are m-e
amouut.
shil -
lings
in
amount.
lings
in
amount
^SES^i
IX
ly
pence,
if
you
will coiuit.
Arc
five shil
lis
And
AIH.
Count 3 r
^=0
=1=
-^
What
you've
get
do
to
for
^^
three
^3-
=t
done
to
day,
i
W^
What
-^
i
you've
to,
^I
And
^^
.Q-
do
There's
&c.
not
tiU
to
slay,
114
No.
Count
M.
4 r
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
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
^^-
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
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
^^
:3^E?^
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,
^^^a=i
i
^^^^
we
for - get
itzz
not
:;?=F=t:
thers,
Who
seek our
-4
-t^.
2.
And
C3-
f-
and our
fa - thers
-e>-
f^E
thers.
-#
now
clap
hands together^
But soon
steps
o-
tf:
o-
to
guide.
-C5:
<3
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.
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>-
.ii.
n-
-^-
LX^.
flow
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,
^:
on
i:
dry
li^
M.
:gtf
I^ZZZ^
:t==-=1
-^
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,
'
*^i=*Ef:
to
ly
the
way
be
=^
eiiS
#i
I:
Be
3.
'lis
No
good
4.
Then
^^
*^ir
to
wise.
RISE.
^ar
Violoncello,
or
Piano-forte.
sea.
and
The
Ear
2Dd Voices.
land,
160.
1st Voices.
the
:^.^:
-*
Count
home frum
0(-
Oi-i
:^
J-
S=^
-4=^:?breeze,
on
119
120
HKST
TIIK
CI-ASS
TUNK LOOK.
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=
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
^i^-
if
in
learn
ing
you
do
not
ad
vance.
SE3^a
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.
^=lP^i
TUNE BOOK.
121
s
Some
lit
tie
who
folks,
love
al
ways
s=^
r=
Some
lit
tie
who
folks,
al -
love
aifcf^i^
'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
^p^i
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
Leave them
MZZM.
come home, And
-
will
lone,
and
their
tails
be
hind
be
hind
them.
hind
^^m.
them.
-^Ek
bring
their
bring
their
taila
-0-^
r-^
^=^=7tht-y
^i
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
tails
be
-1
THE
FIllST
JSS
3.
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
N.B.
went
is so
behind them.
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.
BEGUN.
1.
School
is
Little boys
And
smiling faces.
fill
2.
Here you
will find
And
know,
What
e'er
5.
School
is
And come
No. 19.THE
ALPHABET.
S=S
V-N-N'
!S=S=^
-'
bcdefghijklm
mB
-sa^
=t
S^
p
t:
P5=q^=^
]S=|!E
dr^^^Ea^
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 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
-C^i
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^^^i^
^#=p-
125
="F=P=FF
Though
You should
Those who
Must
world would
and must forgive
trifles like a man,
in this
live,
forget,
Bear these
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.
i^iS
The Infant Schoolmaster may substitute, for the above well-known nursery
words, the following, upon suitable occasions
:
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
are
bright.
In
i-health - ful
127
games
we
all
de-
:^
=1:
f
skies
^ig:
are
bright,
lu
health
ful
games
Qi
G>-
^-
We
For foolish
strife
Too
Avell.
we cannot spare
Much
de-
all
-G>
Of
we
128
No.
Count
3.*
M.
23.THE
KIND
H^:.\RT.
Th ir of the IH^ar 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;
it
SjjE
Of
May
deep
be
it
- ly
im
on
ss'd
press
gilE^^E
my
mind
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
^EBEiE
^3-5ses8
not
a heart
that
is
kind.
Those
who
ue
light
^-^
sess
not
heart
that
is^
kind.
Those who
3^^m
*
"
is
to
make
r
de- light to
make
only to be sung in th
'
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
And
if
we enjoy
render a blessing to
all
is
cruelty never to
power shoul3^belong ;V
protection,
hu
ISO
LET US SING.
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
.
IS
~P
hap
80
"
V~
With
py
w
>
to rejoice
^e
c:>
cheerful voice
For not
as
No. 25.
Count
THE CHATTER
181
BOX.
From
2 r
rs3
-R
1st
Voices.
=1=
There's some
t^^a^
2ud Voices.
There's some
Violoncello,
or
Piano-forte.
folks,
what
do
you
do
-^at 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-^i=i-
F
still
keep
ding,
on,
:*=t 1
t=t:
:t:--
night and
dong,
morn
ing.
ing.
:1^^
:r=d=i
"
^1
omorn
o-
A-
^^-
-H-=
It:!?:
2.
Do
not
tire
Click, clack
click, clack
When
Think
Twice, thrice
twice, thrice
182
26 THE LINNET.
No.
kt Voices.
voices, or
104.
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
i^E
sweet-ly
sang
-'
it
sang
on
the
on
the
ou
the
I
For
glad,
so
it
The
tree.
The
tree.
The
tree.
ry
r:
\vct-ly
sang
I'
138
BOOK.
i=f^:
i^'
come, and
-*-l
f^EEE
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.
am
birds,
me
free.
youug.
t=l=f=t:
No
its
-
-^>tak
young.
-^3
its
young.
THE
184
No.
Count
27.THE
Kills
HARMONIOUS BLACKBIRD.
HandeL
W. B. HidMOO.
2 f
Tlie wurdB by
Ivt Voices.
Hark,
2n(l Voices.
black
the
^E3^3
Hark,
Violoncello,
or
Piano-forte.
bird
bird
ig
ng
3
hear
black
the
mg
41C3-
=4;
:=f^
In
hear
the
-o-
ii^iii
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
Fia.-.T
spring
flowers
have
I3fi
^^m^
deck'd
the
plain
liffigtgi^i
ness.
'^-
Charm
When
spring
have
deck'd
the
=1=^
-*:=^;
t-
ing
flowers
hence
grief
all
-C3-
and
m:
-^-
<^-
2.
Oft
among
this bird.
Think not
And
plain
sad
m
ness,
136
THE
No.
Count
6 ^
M.
FlttST
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
m
who
-#
{,'-j--=
-r
^ijii*
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
flov^ers.
and
flowers,
When
and
P=P^J
-tr:
birds of sonif.
gfe'=.
To
^=V^.
sum-mer
fruits
and
Let
5E^^5^S^
^-^
^iJ
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^
137
^^!^
^
^-P
E5i
en
grain,
Theu win
- ter
fol -
lows
^^ife5=a^^i^
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.
B0
:j^-
turns
a-|:^ain,
And
sfe
:=-
we
forget the
past.
i:l;=:^q=qs^h;zsJ=*=(E
'
re - turns
a-gain,
And
we
for-get
And
Though
And
trees,
power destroys,
the
past.
THE
158
29.THE
No.
Count
FIR>-T
SLUGGARD. (A
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,
:^irp=c
'M
on
^_N
its
|S
hin
on
its
hin
ges,
shoul-ders
and
his
ber
gain
he
ber
/ /
so
^ain
/-
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
,,
\^
ai
Violoncello,
or
Piano-forte.
You have
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
And when he
gets up
he
sitg
number
?^rzs;==S=q^=^^qv
:=zr
Or
walks
bout sauntering, or
ZiV=iVixzzv:-?v
ezir
Or
=t^
trifl-ing
-qSziM-Vr^Hz
trifl-ing
3.
I
The
The
thorns,
And
his
and the
clothes that
money
thistles,
wastes,
brier,
hang on him
still
till
he starves or he begs.
4.
Said 1 to
my
I
he stands.
me.
he stands.
140
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
hiKiie. or in school,
Are
i=i
been
~4-
<3-
At
nut
<^
:5^:rt=:^=t=*
ai
such
-Q.
-^i
and
C3"
wash'd,
with
S^
hands
ty
seen
t=^Q::
-
would be
8^-^ -^ ^p=
t=x:;
s2:
P^a.
who
Fur
vou
-^
No. 31.
Count 4
141
IJOOK.
WORK AWAY.
LeRoldeSardaiKne.'
The wurds by W.
J.
zzzd^-J^qzjSziM
:*=
1st Voices.
E. ilickion.
,v-^^
rzj=^
les -
not thrown a
les -
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
:^
;^e
play
\=\:
:a.
^^^
:
Work
^=?tp^-t^h-**
-*-^
way while
you're
ble,
work
way,
work a
i
way.
3i
::+
way.
-^-
ffiiii
:1=:
fi-
2.
o.
&c.
4.
As
for grief
When
and vexation,
your heart
is in
let
6.
And
fail
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,
^^i=^=zi-
2ud VoiceH.
:c2:
4
And
Viuloncello,
or
Piano-forte,
we're
nod
all
^^fp--j
fcd^
^-^
-f-2
ding,
nid,
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.
^eff^
'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
f^^^^
tl
2.
And
"
and
tired,
all
droii-ping
off"
<1>"J?
p- For we're
'I.
all tired,
sleep.
%J
tired,
and drop-ping
off
1 Bj.
sleep.
eep
to
The hour
is
But go
to
For we're
11
nod-
sleep.
to
PP
all
:^
ee:
late,
all
we
nodding, &c.
^.
pp
^
:|=: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
^E"
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.
No.
1.
2. Bells ringinj^
3.
The
love of truth
1;^0
4.
151
8.
Absent friends
When we go out together
9.
Come
12.
158
159
161
162
164
166
....
10.
Welcome
16.
17.
22.
The
The
168
169
172
175
176
177
178
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
....
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
of childhood.
the feelings
at
business of
this
life.
Hence
it
will
an age
is
the period
when
duties to discharge in reference to his family, his country, and his kind, of
in childhood
make music
which
for
merely pleasing the ear, and to promote cheerfulness of mind, kindly feelings,
content
and
integrity,
and a
Most
of the songs
will of course
may be sung
may be
omitted, or
parts, they
not invariably.
may
all
may
In some
^
1
THE
\G
[t
M.
6 [
No. 1. SUNRISE.
160.
Moxart.
:^.
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*^E?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
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
.-
"
rn^izzw:
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,
^It
^^
=I=d=:]:
--^
itt-
FB=
3.
Fair
is
Why
And when
Fair
is
Why
Closed
the face of
mora
when
Wake
fled
14!i
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.
^EEv^^^
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=::^iV
'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.
mer-ry
^ d ^ ~ ^
%J
love
peal of bells
mer-r^'
Oi
rfrr:
=>c
Of
of bells;
peal
149
UtH)K,
=F
/^ ty
love
^/
tells
V\
mu-sic
tells
/
When
=^=
?L*p5^_^5EjE;
ry
love
peal of bells;
ismm
li-i^
Of
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.
^a**
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.
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
see.
:p:
I'll
keep
the straight
^MM
1*11
nar
lead where
eVr
it
/i
-4-
y-r*-:=:
3SZ
y-t-.-
=;^=F
the
keep
and
straight and
nar
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
151
2.
My
footsteps lead,
truth,
and mould
my
will,
The
The
The
No. 4. FOR
Count 4
1st
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
^EEi
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.
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
-C^i:
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
no splendid home
All
Home
is
home
ble
cot.
^1
cot,
QJ
i-t
Blest with
- ble
where'er
it
be<
ZZI
O
154
No.
Count 4r M.
GTHE
CRICKET SONG.
The FarUienne.'
The words bv W. E. liieiuaa
'
144.
ii
/=^
^id:^--
S;
lit \'uicos.
:^=^^U
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
-C3
^iU
'#^
=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
ev' - ry
one
To
Then
ev'
ry
one
To
start
o-
i=#=c^
V-m
iU
HZIfZIfllC
-
is
-S3:
et
c^
its
be
be -
155
:^
fore
So
fall,
it
take your
p:?^
So
round,
sta-tions
1'-i-r-t^
:Mzz^..
j:
fore
it
So
fall,
#=^^=1=^
take
-^
-ai
g-l-C-Tl
P=|C
in*
Then
round.
start
ev'
ry
Then
one
To
Wi
^f^S^H*round.
your sta-tions
=!:
^
t*4
So
round,
catch
ev'
ry
one
To
be
ziiSr^iiES::
^-^
start
ball
=^
-^h
the
catch
the
ball
be
e>-
Bllil
^
;q=:
:Mt:
C5t-
-QL
fcbfsanfil
trti:
So
So
eii^
'^^^^:MT
fore
fore
it
fall,
it fall.
And
round,
round,
So
So take your
Is
But
skill
defended,
To
it fall
Q^
sta-tious round.
t^
156
No.
7.-ABSb:NT FRIENDS.
^J^^! ^:i7,'Jl::r'^
1st Voices
%.J
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
^^i
:.=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
-<^-
%J
a^b=:
we can
for
e'er
h,-#H
O
:^=
get
The
pleasant hours
iSil
:l^:
:i
when
:^:
:r
vet.
Though
far,
far
we
love
you
yet.
Though
far,
far
But we hope
Though
far,
away
meet again.
far away.
to
we met
In
-^-
:z_":
you
steals on,
last
CT
love
we met; In
?^
we
Time
last
^zzM-tl^:
^ :
e>-
^__n=^:
t:
'
-cir
3.
The
^^
way.
^=1:
Think not
for - get
e*er
i^^-i^
4-
way.
way.
'
to meet,
then our joy will be complete
For now, dear friends, the thought
Though far, far away.
And
is
sweet.
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-
=^E
wea
t=
The same good
ther,
friends
ver,
the
^:ia=i^_?T|=p=p==p-?EE-==aEh3=p=i=wea
ther,
friends as
ver.
ai
:o:
^^
And
way:
end
ing,
-^
Our
steps are
bend-
ing,
:c^ =
:t
Our
cheer-ful
voi - ces
^1-
*w=^-
M0ZZW
- ing,
Our
?=:p^
-i -:?=f=!i!
bend
homeward
"^'
as^Ef-^
P-i
the
cheer-ful
voi
ces
-Qj-
;1=^= zi^:
-^3-
blend
- ing,
33
^-
1*
hap - py
day.
-Q^
day,
:^
i^j
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
144.
fm
w
Voices.
9.COME, LET US
No.
Count
lit
bey,
bey,
We
can
not
tire
if
not
tire
if
*^^=*
voice
can
Qiffii^iF
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
:^=: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
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.
6 f
M.
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
^E
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
re- turn.
>J
re - turn.
Ve
suf -
re - turn.
160
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
^ood.
aiHS^5
love
be
It is not pride,
Vll
it is
not
ver
come
strife,
Then
htill
to sorrow leads.
Our
And
with
good.
191
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.
When my
to
forefathers toil'd in
yon
field,
And
He
died,
and bequeath'd
to his son a
good name,
hill,
Ql
f^
m
IJ
=F
that
in
^
Or
-^
:t^:
'Gi-
t=t:
cline
eSe^1=1:
::l=z4
the church was
re
-^-
Ere
i^i
Where my
yon
pine.
-F
irj2
Mlfc
No.
liOOK.
12 WELCOME.
C)ount 2 ^
F.
Ki^enhoft^
*-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:^^E5:E3^ES
^-r-#-
2ll(l \'o*10f8.
r^rd
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
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
104
?P:1^
-;=4=
^5:
We
will
all
re-joice
We
will
all
re-joice
S>
-T-m
V=tJ
W^e
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
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.
^a=
:!=:
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
rb
Violoncello,
on
MAN'S A
:?^=:
will
^^
gain.
THAT.
aaE3
# -
p
po
ver
ty.
-0:j-*-^:
will
a=i=::?^ :i-*-p^-
^-
We
2nd Voices.
and
m0-
-00- '.nzm:
po-ver-
ty.
^=i^*=f
F=t=t
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
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
---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
and
all
that,
let
As come
that;
And
And
earth,
it
may.
it
and
all that.
For
all that,
and
all that,
'Tis
coming
still
When man
with
man
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,
bour
the fruits of
la
bour;
of
apE^Eg-^E^E^^^
3rd Voices.
the fruits
^^-
Fine,
<3>
~^3
;eee;
Har
home,
Test
:^
har
-<E>
Har
i^:
home,
vest
vest
har
vest
home,
and
Wel-come, friend
e>-
neigh
Cr5
bour.
H
H
C!>~
neigh -boor.
aftbaEE3E^tEHEEEa353E^EiES-^' -m
^\-m 9
P
o
|~-
Har
-vest
home,
har
vest
home,
'
neigh -bour,
M^
:z=t:
Har
home,
- vest
har
vest
hume,
Hail
the
^f
of
fruits
bour
la
E gi
=i=
I-
Har
ae
^
home,
^E^
-
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
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.
neigh
bout.
AND
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^^EESE^-EEB
%J
bro
thers,
%^-x
bro
an
an
thers,
And
love
in
thers.
And
love
in each
each heart.
- thers,
heart.
Fine.
fi
aEEEJ
----
ir-
-^
F
zw:r*z:w=z-.
joy
and
T^^^
^t
Jtujii:
March thus
SEE
t3-
fc>
--
:t=q:
p P
with joy
and
mu
To
?=^=:^
-^t
-
sic.
thistzoth
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
-^-
I6b
No.
Count
4 f
Voice
M.
IIG.
or
1 E=t::zitBii:^^ztrl:r-*~'-^-\ J^zi^t
When
the
ro
morn
sy
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
Na-ture
:r,t*i=|?:
all
her
hum-ble
child- ren
j^leaner,
viewini;,
uy^-*^
bounteous
Kind-ly
=1:
i=*;
pro-claim-in g,
=i=q^=:i
:i=M:
:is;=^=;
Ca
rol
that
ears
cares
for
fall
all.
t=t
--]--#-
- ly
strain
^-^t
r.^
:9:*^ziz=jf.
^^^^=t
azrr
:jj-^-*-*
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^^E^^^gg^gj^i
They
for-sake their
lea - fy
dwell -ing,
To
se-cure
:=W=
:^5=f=ff--
:^
They
at^^
R
St
They
se-cure
gold-eu grain.
the
*=d=
t=f;
t=^=F=t
:czi=?=r
To
se-cure
t:*=t=t
gold -en grain.
the
160.
The words by W.
Ist Voices.
To
li
t=t
for-sake their
M.
dwell -ing,
lea - fy
the
-0
May
ev'
E. Hickson.
strife shall
bz
^^m.
2nd Voices.
May
ev' - ry
3rd Voices,
=M:
:P=T
May
ev'
ry
m^nun^
And
cease,
And
truth
SEE O.
cease,
^H
-r^iii
And
azzpr
all
all
time
when
strife shall
EE5
To
The
cease,
and love
strife shall
J==t^
a.'
_J
*-
live
live
eri^
in
in
-j:
P~P~#=:
^:*
To
live
in
^
P
170
s^^^^
i|-J?_-z*=*.
Now
and earth
Mor-row reigna,
fol -
vtill
\y
her
t^ !g^=Eta3^5^1Sli
n
Now
and
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-
*=P=:
i11^
^5Efc^
right,
right,
pear,
l^^Ut.
shall be,
the
shall be,
When
iPca-.
;t.'
l^^gE^g
shall
be,
there
truth
shall
-0
may,
#h
itlO^
to
stand
there niav, to
the
in
-I
^2=i^
;p=P=P=*=::p:
_:L^_i #-,
,agb^=^
f- ; !- /->J
rr-^
i^n^
"/^^^
truth
right,
#
When
With
a!?J
ap
yet
shall
.^.
t^
*^
day
stand
in
way,
That
^^a
#
-{-
the
wav.
Tliat
May.
Tht
aczip;
=?=ir
:?=^=t=t
be.
there
may,
to
stand
in
the
^y
^m
171
^.
:^_zSztt"^=
iqi=52z:;?
day
the
world
shall
day
the
world
shall
see,
see,
When
the
When
the mij^ht
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,
ffi=E;
-Q
ItiuL
When the
fp
^=?=T
be,
shall
t=t~-
:t=ti
y ^= ^^
might with the right and the
truth shall
be.
And
And
-hi
-I
And
to stand in
a= :p=ir
^shall
see.
5-3
1==5?=;?=t
T.
-t>'t^-
to
-frzwz:
^zzi/:
come what there may,
^=^
day
stand in
That day
the way,
3.
more
No
efforts fail;
# t
to
Though humble
Oh
2.
Jjet
See
sacrifice is hard.
^*
172
M.
4 [
BOOK.
160.
1st Voices,
Let
youth ap-pear-ing.
the smiles of
of
1=^
2od
Voices.
Let
the
voice of
EEiEl
8rd Voices,
-ff-
piur-g qig--p_p_^
/=/-^J5-3f
du
ty
cheering;
du
ty
cheering;
E5E:^ii
#-
^^
y-y /-i^
y=?=;=?
du
ty
cheer-iiig,
'#=P:
:z^_>?=A
du
ty
Sim
du
:/zzfr.
t-f=\
-
ty
vi+Jt
.Fine
care
way.
Fine
way,
>=/=t=
care a
-
wa)',
5Ei
^
n
Thus
care
way,
^
s^
in
strains
P-
-=:
V-/:
y
-I
5*=?-Jt=^
#-^-#
0-r-m
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,
la
:^
We would
We
would
^v-#-
:cx
still
still
with joy
EE^=>:
and pleasure
day.
py
day.
each hap-py
day.
out
We would
still
still
in strains of
live - ly
measure,
Thus
in strains of
live - ly
measure,
t. I-,
in strains of
I-
-^^^^/-
W^e would
3ii#SESEI
!/f-^
-P=P=B=P=|=P
live
ly
u
#
We
measure.
day,
would
:p=p:
day.
:?=;<:
V/^
day.
hap-py
y-p^
;^=;^:
>=P
i-
6\^'
day.
out each
still
/
^^K 1^
?E^
Lengthen
_L
sm
Lengthen
%y
::1=
rs^t
Thus
Thus
173
py
y_/_
day
f=
day.
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
^^i<->^
-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
No.
19.-IDLENESS
Count 4 f
!t#=^
Ist Voices.
iziziti-*
1 - die
2nd Voices.
:d-'-
AND KNAV^
175
176
TIIK
No.
20 LULLABY.
b'ring
the
I^
can,
-^
the
=}=F
171
.i^
Vlul
la
'^^
-0
lul
la
with
their
them
Soothe
by,
A'
lul
with
by.
la
=1:
-^
t
i=j=i
them
Soothe
by.
^efJ
their
lul
by.
'C3;
S^.
2.
HOUR
No. 21.THE
Count
6 f
its lullaby.
IS
Canon
for four
voicea
h^^The
hour
come
IS
of
twi
gray,
light
::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
The
of,
M eV
^^^
O- -#_QAnd
i^l
v^
co
-^T"
-
ver
all.
be
179
No.
Count
4 r
Or. Calloutt.
=z^,-r|if.-=firpi:^^
1st \'ou:i
:3:=^=?+*-f-^ i?ip
the
rain
is
fall
ing,
And
rain
is
fall
injj.
And
how
Hark!
2iu\ Vuiceit.
3rd Voices.
i
-Mri^
ais
Hark
how the
fall
m^^^
t) ;i=^'
What
-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
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,
i^^a
179
j^:^
t^i^
here nought to
fear,
We
fear.
When
the
here nought to
fear,
We
to
fear,
When
the
here nought to
fear,
We
to
fear,
stormy winds do
hlow, -
stormy winds do
blow,
stormy winds do
blow,
b.
When
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.
And on
shore,
Fear no more,
the stormy winds do blow.
When
blow.
SES
May
winds do
B^
p
THB SECOND
J80
No. 23.
TVHH
CLAi9
IHJOK.
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:^E.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 -
^EEgj^^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
-^
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.
Though
'<
may
substitute " iielaud" for " England, or the Scotch, " Scotlaud.'
182
No.
Count 3 r
Fulili
National Air.
W.
Tti words by
goud cause:
to
^^p
To
To
to
HickMb.
^^^^
Ig
H.
ver
bat
tie
bat
ver
tie
we
11
ism
Uat
- tie
/*%
*- Fman
ful - ly.
man
---
tdE^E may
To
pros
- j)er
pros
it
more, and
ful
Ij-.
may
it
per more
and
pznairp;
i:?=^=[:=n:
man
ful -
y_gi=t;
To
ly.
=^_^t:
more, and
i=gsH^
h^i:^^
!iz^
S-#
&pet:(l
con
tin - ual
- ly.
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
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
TIIK
itiTP -
183
ggjggg^B^iggjaii
- 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.
4 f
tlius.'
1st Voices.
c7
ig^^^^i^^
"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
::^
.^3i_
taught
my
speak.
to
lips
ing
the
first voices,
words:
My father he was kind to me,
When yet these limbs were weak
it
First
in the following
He
And taught my
chorus
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>^ii
hearts
find
:c>r
C3-
<^
q=:i^^
C3
our
hearts
=^
<>
^^
-o
jq:
No.
26. SEE,
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.
186
Sound
trum
the
pets,
drums.
beat
2.
He
was
tried
And
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
^e.^
The
-^:
best joys
of
all,
?*=#^
-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.
sought.
C5l
m
gold.
188
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
-^
i^i^-:
aia:
^=;?=F
!iz.:zrzLii.xBi:*r:fz
for
ful
i^^
>-G)
Tho' some
As
dai-ly mourn,
riches
could
not
be borne, With
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-
^-
suu
to
t^_-^
^S
of
la
-I-
=1;
?=iEi
IBZZt
sua
to
l.=|:
of
la - hour,
^^-
ai
IS1>
J-U-g-
7=?-
1^
TUNB HOOK.
CI.AHS
quicker.
sE:
a:
^^:^
ipizp:
It::
5^=;?
workshop
let
your
voi
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
chorus, so re-joice
m^^^^
and
-is^ZS^-^-^-r
^--^S-M.
bring
-^
A1^:
the
chorus, so re-joice
We
'11
food by our
own hands
-qt
supplied
For
^~<3r
and
siug.
-^-
L=l=
-^-
2.
With
sing.
state.
free
;:
190
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
-^in
hum
i!=
^^m
Here
bro
thers,
#
THE SECOND CLASS TUNE UOOK.
joy
ut-teii(l
Who
at-tend
our
con
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
.=5^=^z!d=t::
Who
ble
nt
^i=K-i=^
joy
hum
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
that's clear,
the
^^^
^11
199
THE SECOND
TUNE BOOK.
OLAHtt
*^^i=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:
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
no
ai^-*
i^
no
re -
life
l3^Ei:
life
re-ward,
-^^
ward,
life
fc^:
&^
^--^
no
re- ward.
i^^i
no
re - ward.
ItOOK.
11)3
'
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^3^i
Dear, dear,
art thou
35^.
dear,
i~
2.
^^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.
receive
me,
Home, home,
quickly I come,
X 11
!)1
Omnt
Ixt
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
?=^i^^=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.
^^^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
Ist
- ce,
195
4rM.
Vox
et
audiatur
Phosphore
quid jubar
Segnuis emicans
!
Domum, domum,
&e.
108.
Voices.
Old friends
be
ver
shall ne
^^^
11^ Or.--
be
ver
for
love
And
:#^t=t
cere.
And
still,
what
Vstill,
sin
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
^-
=l=1?s:-t=^
--n
1o2
here.
**T-*-
"here.
z^id:
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.
The
And
with truth,
are cold
friends
We'll
if in ills
They kind
youth.
which we withstand,
assistance need,
And
hope
C2L
zr^ze
our
^^-
;eeE:
:^:
friends
hope
^zzzzS=T-
,-
-^"^-i
Mznm:
long
be a friend indeed.
to
find.
i
to
fiud.
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
:z^i=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
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
Count
kt
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
re- joice,
4=
{,===q=d
VoiceH
Re
.'3rd
^=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
gG^3^=Ti.^^i^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
loved
^^^
home,
Dear
loved
home,
Dear
- ly
^^=f^
.c>.
Dear
- ly
home;
Dear
liome
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
all
who
suf-fer wrong,
li-^-
t^^=^-=\.rgitt
ri-F
cause revere
IjjL
cy
dai
Fear not,
.^^
lest
all
-^
.^_
.t=t
ipTzpzie
^-
For
-M
-^
17~Q|:
And
0-0^-itr
who suf-fer wrong.
fail,
For truth
&^^-
:^-:
:px:
f-
is
strong,
is
strong,
^--
S
i
Fear
not, lest
._ca|
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
'
202
yet
deny
Who
Or spend
left to fi^^ht
man'u cause
Fur Ileav'n
is
on our
ulone
we'll
1st
our own.
That we have
side.
No. 36.
Count
make
WELL
DONE,
WELL DONE.
Adapted
Make
=!=J^
i=^
im
W
^-^-F-*^
to Purcell's
ruom,
make room.
:^
=1:
jt=M:
=i
2nd Voices.
Voices.
and pain.
Keltisih pride.
You
The
would
claim?
H^EEiE^
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
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::
:lE^EiEt3^
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.
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
j^et
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
sf^isg
^^=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.
yoti
i^et
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
V
I
to debt, You'll
will
have
have
t^l^E;
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.
206
BOOIt.
3 r
PuroelL
-C>
^tE^E
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
ig^iB
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
^iis
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
:?
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
first
part, after
part,
and
voice begins
to the
when
end of the
the
first
first
part.
has got
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
-^-^
^i
-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
^^E^
^i=t=
-^
A
from
rose
out
the
out
the
S
-^-^
=t
-Oa
a
A
rose from
mam,
zure
i^i
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
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
The second
slaves.
spirit of
c->
slaves.
cz>
'
Justice,
And
be
shall
\.
Bri
tm
ne
O]
Bri
slaves.
\V.
I:
Hjcksi
210
No.
(
Count
M.
3 f
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
lu
Foe be trans-
ex -tend,
42.
fe
'A-
-^i:
euard our
Still
shore!
i-
guard our
shore
May
*^^
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
L<)uj^
and move
With wisdom from above;
inspire,
lltr
li^-art
And
in a natu)n"s love
de-pend
On
war
no
more!
de-pend
On
war
no
morel
de-pend
On
l\Iay just
Home
We
war
t:
-<^
no
more!
4.
3.
2.
Oh
rights
^^>-i~
And
The
tlic
BfX^K.
:?11
is
at variance
save the
No.
Count
Queen
their politics
Frustrate their knavish tricks;
God
fall.
Confound
Long
42. NOW
fix
4 f
from
Canon
'
^g^
Now
Now
!^ow
let
notes of
as-cend-ing,
joy
ev' - ry
let
notes
&c.
heart;
ev' - ry
:
Now
of,
And har-mo-nious
Glad-den
heart
i
w
notes
Glad-den
let
of,
t=\&c.
-i9.-# p- =i=^:
Now
let
notes
of,
&Ct
:t=:t:
%J
If
air
lit
_/_
Noow
let
Come and
notes
take
of,
&c.
3^
part,
\J
Now
Come and
take a
part.
and mea-sure,
THK SECOND
21-2
TINE
CLASS
D >OK.
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
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
prayers bring
May
down
your's
a blessing,
may
rest.
And,
'till
rish,
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
and
been pre-
The
object
is
to
work
arises
from the
eflfect
of psalmody
airs
is
this
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
commence
for a
it is
first
acquired the
on some evening
the
week
manner described
or in the
When
in the
in
No.
of
"The
air,
classes
Each
together.
voices.
first
separately,
the
air
may
will divide
them
to keep
both
in reading music,
must
by
meet
he
be taught at
itself,
itself,
first
and second
seconds in a falsetto voice, the rest shoxild sing the base, and boys of fourteen whose voices
are about to break
may
them
When
there
is sufficient
strength in the upper parts with treble voices, the air should not be sung by men's voices, as
The
effect.
by
ear,
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^
or printed music constantly before them, children will never acquire a thorough knowledge of
intervals, or have
signs
In a school in which the children have had no previous practice in singing, the teacher
should begin with the
solemn
airs
have acquired
fine
sufficient strength
and fulness
; !!
MARINERS.
No. 1. SICILIAN
Count
217
The words by
f
#-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.
Hallelujah
Hallelujah
3.
5.
By
Who
Q
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
It
Thy word
How
That
lioly
And
is
pure
everlasting truth
is every page
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
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
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
built the
.;i:
broad,
xi.
;
the mountains
atitjfe?
seas
^^
^p-:
y
rise
power
PS
P=F=F
:*:
almighty
th'
* -^
^iW
3tjt
4.
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.
Let
all
and
>
fice.
33:
-
fice.
e^i 1
sloth,
cri
2.
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
^y^i^
sta^e
'U
<^
-i--t--LJi
XE=phzt
-^ ZX
fe -^
T5
stage
wake
wake
zx
5n
'
3rd Voices, fl
W'
m.
Counts
Ist
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-^=^
^i
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
al
own
al
i
migh
ty
wings.
ty
wings.
at
Be
neath thy
migh
2.
The
3.
Teach me
to live, that I
may dread
222
G. HANOVER. p.
No.
m.
The
-/lit Voices.
2nd Voices.
13
My
3rd Voices.
-X
Z4
Speak good
of his
O^ O
-=?
C3
Speak good of
-e3
My
S^3E3|
r5
c^
f->
boun-ties
pro
r^
r->
boun
cord, His
claim.
ties
good of
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-
<^ -^
re-
-^-
Speak
r>]^r>r^"
:cxS3
pro|. claim.
Z3:
^^
K
-<9
re-
J^JL
his
2'
cord, His
zx
Z5:
Tl
-/-
-^
XT-ei
by
-/-
-p-
-^>
zx o-
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
And
Whose
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
his last
While clouds
sustains.
5.
Who
still
praise.
TX
4.
2.
:i2
rus
praise
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,
We
all
begin to
begin,
die.
3.
5.
Thy
Thou
224
TIIL
No.
Count
4 r
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.
Thou,
1
my
life I
Lord, art
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
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-^
an- gels
throng of
^i
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
In empty
fly
gin
the
air.
Ye
The Lord,
Of power and
Make you
state
forget
3.
To sound
song:
4.
And
gin the
of light
song.
worlds of light be
In worlds
the
2.
With
gin
I
song.
:26
THF.
1st
CUrk.
4 r
I m^^m
Come sound
^^/'-r-H5s-r
2nd Voices
fetefe^
aLit
And hymns
of
glo
^
ging
ry
^mjw^Fm^
r
a- broad, And
E?^=p
3rd Voices.
hymns of
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
is
::3c
#-^
Ut^:
/
^
The
-^
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
J-J-
Je-ho-vah
is
-P
^-^
Je-bo-vah
Je-ho-rah
l^-N-
King.
o-
ry
ni-ver-sal
King
The
Ter
sal
King.
3.
And aU
are
all
his
own,
We
Come,
And own
own,
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
-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^^^i
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
Lord!
:o:
Lord!
228
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:
^^
^E^
i-
.LI
my
be
To
scend
zz
iza: CO
wilt
To
scend
:J=1
earth,
and
air,
^
-e>
and sky.
Art thou
Father ?
BOOK.
20
one can
little
raise
3.
4.
To
serve
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.
To
in thy love.
be thy better child above.
The words by
4 f
Dr. Watts.
q
b
r>.
.CX-
>
in>
y.,^_1S
o*
rV
honours,
^^
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
loud.
s^ei
ver
^ Sl
a -^
H{>
T31
loud,
T3
sounding
O o
i_i.
CV
TT
heav'ns he
spreads his
He
To
cloud,
and wa
-d.
veil
the
sky.
Of
The
5.
He
I
-
THE HYMN
230
USE BOOK.
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
Z2=gl3r <^
moves
^
won
"^i
God
;s
<z^ IX
ders
/
^c^
1/
to
per
He
form:
form;
And
sea,
tiiC
?=K
^ g 1
l^
._
per
foiTDj
/
*^
o,
,
to
per
IHe
form;
<:rJ
^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
^3-
L/
And
rides
up
rides
up
c:>
on the storm.
unfathomable mines
He
3.
Ye
^^
I
I
ZX
never-failing skill.
treasures up his bright designs,
And works
And
And
^ii^=p=[
upon the storm
*
*
r\
'
'
'
s
rides
:^:
^\-
n .;-i
^--
Jf--
TX
<^>
c">,
231
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.
Thy
the
23-i
AmolJ
p
Tlie wrd
by Dr. Watti.
/
1st Voices.
5^
1/
Give to
2nd Voices
r-^-^.
Give
-f >-
lords re
^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,
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
i">
"e>
r-
I^ord 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
Thro'
And
,;
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
^i3t
praised
Be
a-bound-ing mer
his
?=p:
t=1=14
^
Be
cy praised, His
ma-jes -ty
^=^
^^^^=t
-^>-
a- dored.
ma
-jes
ty
o
a
dored.
4.
his
an inheritance divine,
Reserv'd against that day
Son
There
And
die.
3.
What though
's
dored.
XJl
2.
When
He
t=x
=i
^^
a-bounding
his
We
jj
234
Count
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.
Ye
the light
Here he
We
5.
3.
broad.
;;
235
DREAM. 8.
/-
-^-
Guide me,
thou great Je
15f
Guide me,
thou great Je
Guide me,
*F #
,
am
weak, but
ho vah,
T=F
^m
bar
ren
Pil
ho-vah,
^--v
grim thro'
this
bar
ren
land
Pil
grim thro'
this
bar
ren
land
f-
art
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
powerful
powerful hand.
hand
i=t=t:
am
weak, but
m^
Bread
thou
art
mighty
./-
ww
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
my
safe on Canaan's
Songs of praises
Strong deliverer
thou still my strength and shield.
!
Be
Death
Land me
cloudy pillar
my journey through.
I will
side.
r2
more.
no
of
P-
Bread
want
^
^
w^
m rTrnn^^^g^
-m^
U36
HYMN
TIIK
TLNT. BOOK.
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.
Lifi',
unknown
Nor borrows
leave to be.
5.
3.
\\'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
Tlir.
237
riiirk.
4 t
Ist Voices.
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.
cries
gifts
That
3.
5.
When worn
Through
all
A joyful
For oh
To
Thy goodness
And,
life
worlds
The glorious theme renew.
I'll raise
my
pursue,
eternity to thee
song
I'll
238
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,
There's
birth.
it
^^fjiffjrmi^^s^
And cheers
earth,
the
ii^
earth,
And
not
g^i'
not
3^
not
-P
Up-
til
II
- til
1-^
n^
#
Ji
a
^W
-/-
-^^
m^
^
$
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
vale
^^
^-#-i
hill.
vale
1
^F^^'
and
-4
and
That
S
hill,
r-l
hill.
3.
sent
by
I
God.
If-
That
-1
That
is
not
is
/
i=lf-
not
is
sent
not
sent
God
by
H"!
God.
by
4.
MOUNT CALVARY. c.
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
all
-P-
thee
In
^^
my
all
sor
rows,
all
-I-
my
woes.
1^-
- __i.
TJ-W
Good Lord,re-mem-ber me Re
thee
P=E
fc*
t^
i
M^
ZX
ber
J5-^ r>
-#-r#-
^^Ar^
re
fesES BE
ir~if
ber
re
mem-ber me Re-mem-ber me
;
Good Lord,
re
-JZL
ber
2.
When
My
on
my
When worn
impart,
3.
"When
trials sore
And
ills I
my
cannot
relief:
5.
obstruct
my
way,
flee,
strength be as
my
day
Good Lord, remember me.
let
>
240
TUNK BOOK.
Tlir IITMN
Uer. J. Lawson
The words b> Dt. WIU.
4 f
^ r^^
9ZM
<^>
Up
*=Jt
(
gra
ces
gra
Where love
reiga,
teiU
zn:
gra
o,
lEZiT
-^-f^
t=t
L/ love inspires the
breast.
\4J
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:
strength- ens
all
the
rest.
strength-ens
all
trS
-t-^
traiu,
-o-
^>strengthens
the
E3
^li^^^-tr^
^
Love
of
est
/^
iLove
reign,
ces
5==t
Where
Hap-py
Where
B rx
o:
ces
g?^3
^qt
r ^
<
And
the rest;
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,
reign
This
'
is
4.
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
work
is
done,
An
work
is
^l-done, An
^^^
.p-u
I]
work
is
An
done,
en
is
begun; Re
o- ther
Im -prove
Re-
sabbath
God has
is
begun
blest
Re
11^^
t=ic
God
has blest.
^-
^g^ff^^^t^?^
en
soul,
en
soul,
Im
my
o- ther sabbath
-^T
turn,
begun
^^
my
is
l"%-r-/-
.l"*-^
Im - prove
turn,
o- ther sabbath
att
T>-4-
An
rH
-1
prove
Im
prove
2.
The end
With
day thy
God
has blest
^E^g
^^
the
taste.
God has
blest.
242
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.
Amid
His
herd's care.
guard
-/
OO
My
'243
(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
^ ^ii
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\u^i^
glo
on
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
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^^i-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.
m.
Arnold.
Dr. Watts.
Count 4 r
The worda by
XT
zx
^o
:
Our God, our
help
iii
help
in
rxi
ff
Our
come,
-c^
Our God, our
ges past,
a-
ges past,
Our
P
X-I-
^>
>
<
>
-4:
hope
Qin
come
years to
-;^-
^-J
Our
come,
years to
^
o o
^
H
t^
1-^
^~'
\-^-i
from the
stormy blast, And our e
,
"
\-^
'
azztf
I_Ji
zx
k-i^i
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.
^I
Xli-
ter
-O
C~7..
y~
-^
-f-^
1
Tzr
ter
And
3.
flood.
And
last,
246
^^
>
^
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
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,
(">
bides,
-3r
And ne
X-L
Ci
And ne
vides
This
heav'n
with'ring
ly
flowers
-e> XJt
-^-
-^^-
ly
This
heav'n
ly
l=i
iZ2_^>
heav'n
vides
-^>-
-e>-
Z^
di
flowers
-^ XZk
ver
This
di - vides
^ ^ry
ver with'ring
-?">
o
di
c^
bides,
<=>
narrow
like a
a
CJ>
C~)
<
zx
Death, like a
Death,
Spring
(>
e>-^
<J c>
c:>
C3
ZS
-6^
And
cold flood*
247
The words by
^
nm^^^^m^m^
m-^
Ph'3
Dr. Watta.
fj^^^tegt^
bless- ed
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
..
<^i
ly bless'd, to
Lord Im
the
Lord Im
putes
their
putes
^
r^u'rir^^
-r-^
whom
the
fP
Lord Im
putes
their
'3'.
TT-m
4-+-
Pm
Im
guilt
t^i^
^3
^^m
I
-
putes their
guilt
tq:
h-l
Im
guilt
guilt
#^
[-
'
s^
P.
^
-
^s
^
/
Xi
Di
F^
^Or
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
3.
guilt
no
more.
248
No. 31
Count
. FAIRSEAT.-c. m
W. E. Ilickion.
The worJi by lUe Kev. Mr. llegtobotha
4 r
P
p
i^-
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
praise refines
my
^
n-^^-r^ ^
gi =1-. "
_{_n
all
mj joy.
my
sweet
em-
ploy.
my
sweet
em
ploy,
Thy
praise refines
my
:^=i:
i
this
,.==-
Thy
n,-^^^
tx^^
Xi
to e
*- ; *
this
and
-,;'-
t:^3
ty
t-.
term
X-^j-
^^
tal
prolong Thy vast, thy boundless praise. In ev'ry smiling happv hour, Be
-
terni
Maker, God,Thro'
!*
13E=?E
Maker, God.Thro'
^tV
3rJ Voices.
O my
bless thee,
-S
And
doubles
all
my joy.
SI
all
my joy.
5.
My
my
tongue
Aud
distress
lull
throbbing breast.
speak thy praise.
each pain to reat.
shall learn to
And when
powers.
Shall spread thy praise abroad.
Then
shall her
powers
in endless strains
No.
Count
i
fn o
m.
From
The
p}
r r
p-
And
Come we
And
r*
iLi!_jl
Come we
MA
F=P=
<-^r
--
a song with
Join in
r-f-
let
i>
And
let
let
r^
E3
Corolli.
T^rtiftfflTTfnrrr?:^
2^
32.-LONSDALE. s.
Come we
219
W^
gffl^^ ^
^ a^^
a song with
Join in
Join
in a song with
mind
Be
banish'd
mind
Be
banish'd
P-9-^
;iz*;
Be ym
*-^
1=1:
The sorrows
-/-
Re
ligion never
the
-^
mind
g^^
m
P=P
of
inr
--i*
less.
1=1
^Ezp:
W=f
Be banish'd from this
The God
3
that rules
place
Re -
ligion never
was design'd
The men
on high,
And manages
^^^g
: ^qs
to
less.
6.
And
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.
on earthly ground
and hope may grow.
Celestial fruits
4.
This awful
less.
8.
Then
let
And
We're marching
bliss
To
fairer
thro'
Immanuel's ground,
worlds on high.
HYMN
TIIK
250
TUWF. BOOK.
()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
j^o.
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
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
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=^i=^
hope,
ing
last -
last
^ S^S
hope^
ing
up
live
|^^^^=ffl
thy
^^m
my childhood
truth,
truth,
thy
%=4=^
-OLt
and
up,
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.
power,
With
all
4.
3.
Still
has
And when
seen.
in age
my
strength declines.
When
Shall
still
5.
Then
in
my
thee,
When
thy praise,
time shall be no more.
my
heart surprise.
252
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,
-^Ixi
actions
..
-^-<^ -^
all their
actions
all
Thro'
all
Thro'
all
all their
3.
i*
love.
actions
all
their actions
Ti
Thro'
2.
all
j^
t:^
Thro'
run,
is
And
and
^^
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.
'
;;;
Tilt
253
No. 36.ARA.BIA. c. m.
Count 4 f
/^
\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^
(-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.
^^^u^
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
The
1
1
-^m
hand,
at
r:i
fading
4-1
at
those
'
-OL
-
ev' - ry
hour.
o.
-ry
er
ev' - ry
life
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.
To
And, Oh
Then
let
Since
us
all
life will
prepare to die.
not endure
,;
sky
264
HUNDREDTH.L.
m.
Luther.
rf-
tongue.
The above
is
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
4.
2.
255
f^o
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
ifi^^
'>l'^V-i
morn
by
P \P.
XLi.
^
Epf
:?:
To
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
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
256
Count
Scliolar'i
Cumpanioa,'
/ _
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
a^i
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
From
What
5.
3.
]>f)ve to
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
m,
J.
Tucker.
Watts.
i^ ^?^
^=?t
t^=^
3tl{^
Awakeoursouls.a
way our
fears,
Let
ev
way our
fears.
Let
ev
ery
i^S
^m
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
cheer- ful
cou- rage
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
cheer- ful
XT
cou -rag
^^t^rs
-o,
cou- rage
on,
And
put
cheer- fvd
cou
rage
on.
2.
True,
'tis
And
And
die.
5.
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^
'*^ij'
deeds
cii:
a=^
deeds,
the
r-r-irf^
i^
the
'
mor
-^=^
Ce
tial
grace
tial
grace
ss
deeds
Ce
les
Nor
No
To
4.
has
To
-P-f'-
i=}:
1*1^
les
doom'd
to die.
done.
TIIK
HYMN
250
Tl'NK DOOK.
The words by
i
S
<u
-e>
Rejoice, ye rigliteous,ia
in the Lord, Tliis work be
-^
1t3t
work be
O X^=F
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-|-"
-'-!-#
^I
P
longs
is
-e>-
^B
Dr. Watl.
^^^
-^
ffi
Z2
:]=2:
true;
How ho
ly,
just,
and
true.
true:
How
ly,
iust,
and
true.
'^^
/.
11^ ?~F
ho
CK
How
^3^^
ho
ly,
just,
and
:o:
-e>true
2.
He
Ye
The heavenly
arches spread
the Spirit of the Lord
Their shining hosts were made.
And by
With
He
And
rests
on
bis
command.
2G0
TIIK
HYMN TUNE
BOOK.
/
'^ft
wake,
my
^*
^^
"ir
5 v^
A-
e:^
my
soul, stretch
kiin
A-
wuke,
heaven
wake,
my
p7f
J44^
vi-gouron,
vi-gouron,
^s=m
ly race de
iA
vi-gouroii,
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
zeal.
?ES
tti^
It-
zeal, And
heaven
ly
race de
mands thy
heaven
ly
race de
ir^
1^=^
/ / y f
-Ui
an immortal crown, And an immortal crown, And an
And
SE
an
ioi-mor-tal crown.
fe^PI^E^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
j^
an
im-mor-tal crown.
2.
To
4.
Which
WiuMi
shall
new
victors' wreaths
Shall blend in
glories bright.
lustre boast,
common
dust.
44.-BRADLEY CHURCH. s.
No.
Count
261
m.
Mortimer.
The
/
^M
^^
the
on
P-m^^-P^
^^
t=f
God
Our
ly wise,
Sa
P-^
To
^
on
the
-f-
-^
^B^
Our
ly wise,
Sa
To
^
the
on
-e^
-O"
-
ly
Our
wise,
Sa
iour
To
^
God
the only
wise,
Let
all
the
all
the saints be
saints be
^^ -Ci.
low the
low the
low the
p
God
wise,
the only
-i^
*^a
and
Our Saviour
lO
Let
our King,
JOL
-^)r-
a|^
m
God
the
only
:o
^
wise.
/
-{=-skies.
Let
all
:^
skies.
Sfa
skies.
Let
all
tf-
Let
all
be
-^1
--
Oi
-Qt
_J^
hum
/
^
^^
'
ff
hum
m
-
ble
ble
-o^
Z3
Si
I
praises
bring.
Xi -^
praises
bring.
, -.
hum
ble
r->
1
praises
bring.
2-
And
Then
5.
He will
With
And
everlasting songs.
262
NEW.
Adeste Pidelet.
4 f
/
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.
^o
With Christ
perform
^*-^ ^>^
v^
With Christ
vessel,
\-
'Tis
to obey, 'tis
cisterns be broken,
and fountains
shall surely
pre-
vail.
Lord.
-^^
How
Through much
v:
3.
t^*=p^
in the vessel,
all
fail,
Why
4.
since he is my guide,
his to provide.
mine
jr^.-^nr
vessel,
2.
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
Since
all
TIIF.
2fi3
/
Et!
Pfr^^^
Father of
-^
all,
ter
ter
all,
Mind,
nal
all,
15
ter
Thy
Im-
^^-#
Or-r
15
by
->
-^-
^
I
.y<
iZi
Thy
thee,
child
ren
J -1-^=^
great,
=^=F
--^
zi
/y--f
Im
Mind,
nal
iDLjCA
^-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
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
be sung,
Oh
let
fault;
Nor
let
resentments
3.
seat.
too,
live.
5.
Thy
Where tempting
fi.
Fi^ernab unconfin'd.
truth,
2C4
HYMN TUNE
Tlir
BOOK.
47._\V1GAN. s.
Xy.
M.
A
Count
The Word* by
lt Voirea.
(Treble)
1;^^
'^'^
^>
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
Et^I ^>
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
^i-i-i-
want be
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
2Cj
2.
He
me
leads
to the place
go astray,
4.
While he
affords hi
.vV'
5.
The bounties of thy iSve
With joy shall crown my ^ays
And
want be
No. 48.THE
Count
side
while in thee
My
^
;
PASSING BELL.-l.
m.
Wliitaker.
4 r
so-lemn
toll
e^i
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
-e>
call'd to
die
bell I hear,
5.
3.
Rather
Then
And
my
fate,
my
spirit
?'
0|
4.
2.
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,
29C
Leach.
To uraUe
S o
j
/-
Ni
all
thy powers
My soul.wake
He
n:
:f=r
and
at his voice
come
He
calls,
and
at his voice
come
^^-^
thy powers
f4f
-^rnr
?=p:
\jr
f^
The
forth
=^-
-i^^
-^
Toice
come
g?=5
forth
The
He
calls, and
at his voice
forth
^1^
^i
smil
smil
t'
^=r^ ^=^
-c^^
smil-
i^^r-Q^
come
[i^^U
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-
hiMM
33
all
My i^oul.wake
thy powers;
zuc
^>
all
thy powers
^-Fidriim#f^6
To praise
To
all
come forthThe
smil
ing
<i
M:
harvest
hours.
4.
to sow
Tlie seeds of righteousness ;
Smile on my soul, and with thy beams
The
3.
Then
With
exceed
hope.
HYMN TUNE
TIIF.
BOOK.
267
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
-n/
Gr
S^
pro
e-
^r-R
g
all
the blue
n Q
^
[it
e-
P^
-Of
^ -Or
nal
-^
t=t^
z^izp
pro
:^ iQ
r-
t3^
-
the blue
S
m
ri
gi
gi
-^
nal proclaim.
iZL
-Gfgi
ri
nal proclaim.
nal proclaim.
4.
2.
The unwearied
Whilst
all
3.
Soon
-Or
-m-^-m-
-^
Z2 <^
3t
all
jhiiTmSEm^
'" 1
tt
e-
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
^ ^
5.
The moon
And
all rejoice,
And
t2
OO
268
7. 4.
.i:-^Wkf
?s
ZjT
mercy
i
cIS;^
DtI=T=t:
#-
Come.tbou fount of
--P
^1
myhpart
ev'-ry bless-ing.Tune
ti
t^ ^Jr
izt
lu-jah! Hal-
i
B
jah
JUL
le - lu-
mercy
:p=p:
^ih
-
m-
"r~-
---
-#
mercy
lu-jah
le
Hal-
le
lu- jahl
f
i
^~~#
1-
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
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
fix
S
tongues a-boTe
fix
me
T*
on
it,
un
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
#-^i7i*-
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
me when a stranger,
Wandering from the fold of God
He, to save my soul from danger,
Jesus sought
it-
Moreton.
^
E&4
-Or
-P-
P=
<^^
Lord,thouhastsearch'dandseenmethrough;Thineeyecommands,wit.h pierc
/,.
c;>
I.
-#*
-&-
.LJL
-& -P^
-^
^^
i-4
?S3
R^
view,
My
>
<
Oi
^
^1
my
and
ris-ing
-/-^
Rof
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.
My
m ^^
-+.^^-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
my
powers
my
powers.
rs
-Qr
iOL
all
3.
2.
My thoughts,
my
own.
Amazing knowledge
570
4 f
DOXOLOGY.-
My
t=^
N-,
c>
My
pro
&
i=t
.-H
My
hour
per
to
rise,
And
iv-.;^T
It^rt
pro
hour
per
T=it:
rue,
to
And
p,-=^
t=^
Uymn 161.
:f=K
-/-
From "The
M.
m
all
trt
hoar
per
to
rise,
fcif:
And
to
give light to
E^^
tzt
^
all
pro
to give light to
to give light to
And
to
t=t
give light to
-P-
And
m
^
aU
^7N
i
be
low, And
fcZjE
/
be
(On
siotcfT.
t=5:
Sr-
low, And
give light
to
to
all
/TS
i ?
all
be
low,
And
to
give light to
all
be
*=it I^
Slourr.
2.
When
Give me,
So
like the
let
my
sun may
The business
Begin
my
I fulfil
of the day
work betimes, and
;
still
Nor
ig
^
-
tzjcft:
all
15!
all
give light to
?==
=|E
give light to
to
to
Slovrr.
same
271
air
GOODNESS OF GOD.
" Sunday Scholar's
Lord,
&
My
care,
But what
is
2.
'Tis
I
Companion" Hymn
care.
My
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.
p p p
E'^
p ^ p T
^^ ^
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
On
all
We
majesty ascribe.
Oh
tribe.
To him
of
I
all.
3.
aU.
T3:
him,
JSOl
r\
;].?
r
And crown
fall
n\
n\
r\
tt
ig
f^e
n\
&-
n\
fall
-mm-
m.
Shrubsole.
LANE.c.
all.
m
aU.
272
HYMN lUNK
Tllk:
BOOK.
HYMN.
4 P
Jesua Christ
ris'u to
is
/
Hal
day,
^m
-
>^o
le-lu-jah,
-m-^
-
^mm
&>
Hal
S5
^m
Z5
Tjf
i^
^i
Jesus Christ
ris'n
is
to
le-lu-jah,
Hal
day,
le-lu-jah,
men^,
:c5
-Gf-
/
ho-ly
^^^
:
B:3t -#Qi
Hal
day,
le-lu-jah,
->-
men;
-fm-P:
- le-
^^^4^f#F^^
Hal
le-lu-jah,
A
L
/
ho-ly
Hal
day,
taen
Who
S^^
le-lu-jah,
jah,
men,
Suffer
Z5
i*
to
redeem our
loss,
Hal-le
lu-jah,
2.
is
done,
Hymns
seal,
Unto
le-
lu
- le-
F*5
men.
TIJE
II
V73
Count 8 f
/
acj ?^
Jtst
^K
gloom
O'er the
ly
Hi
P.
gloom
^S
gloom
1 -g
mi
ma
-*^
^-
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
: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
:f^
Jubilee
2.
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
-b-^>
^5^
*z4:
J=t
bilee!
gaze,
-I-
--
and
-*-*
still
ses
:^^
bilee
"^
h^
of darknessLook,my soul,be
hills
m. as
^ ^O
;^
^^^
t=^
^ -^-n^
s:=i"
O'er the
I**
hills
W^
gaze,
-/-
and
still
/-
i=i^
O'er the
of darkaessLook.my soul, be
hills
that
sit
in darkness,
And redemption,
Freely purchased, win the day.
574
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
And
Then
And
my
to
ev'
soul engage,
ry
And
fear,
wipe
weep-ing
Let cares
And
May
My
God, my heav'n,
Then
my
my
all.
^
eyes.
27.G
J arm an-
4 f
m
Ij^
Jj^^^l
:pPfi
Mortals, a
di^
wake,
Mortals, a
wake,
with an
with
an
If^t^
i^^ES
H>
i=t:
join,
gels
join,
lay,
And
-Gh
And
c>
And
r P
:ff
-L-i-
Mortals, a
with an
wake,
^i^QK^l
p^
And
gels
^chant
/.chant
chant
the
solemn
the
solemn
gels
^m
F F
ji
^I
ti
lay.
^HV
^}
rrr-
Ir
lay.
And
join,
tude combine
combine To
tude
ft
:^
t=
-^
09-
CJ
tt
t=t
To hail th'
\-rP
To
riz* TT7W
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
To
tt
4.
Hark
And
Thro'
all
And
3.
5.
With joy
Hail
Prince of
life
Thy
praise shall
neve
end.
fail,
175
No.5!>. MONMOUTH. L.
Count
Davis.
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-^
:!^
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
good
'tis
-e^-c^
Praise ye the Lord,
P
P
m.
make
this
du
ty
-t^
our de
light.
light.
4.
heavenly flames,
The
And
3.
Tucker.
w
When
thou,
my
Xi^
come To
.r^. r^t^
S
V o
LEIGH.
m
1/
27:
home,
^5^
e^
atit
When
my
thou,
come To
^ se ^ ^
When
my
thou,
come To
home,
^^=P^
-y-1^
/-,
Shall I
-^P
-09-
Shall such
t:
r fShall I
y y y ^ if"
n / /Shall I
am
fraid to die,
a-
Be found
times
am
I,
at
worm
at
as
I,
-^
S :^:
Who
'no
some
some-
6^
Who
some-
-#-
-fi-M
t
Be found
fraid to die,
63^
at thy right
hand
3.
2.
What if my name
Let
me among
Whene'er
th' archangel's
trump
shall sound.
sing,
With shouts
'.
^^
-e-
I love to
When
as
S3t
i^ii
Be found
li-
worm
worth-less
5^
;tt
^i:
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.
278
No.
Count
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.
his deliverance
em
ploy.
and
4.
I will
boast,
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
Who
3.
279
AMEN. c.
m.
Spanish Chant,
The words
(la by W.
K. llickson.
P
23h
:
now
Join
praise,
p
05 ;>
^
^^
men
-&rP
-9-
lu- jah,
-G^-
le - lu
men
le - lu - jah,
By
jah,
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:
^ .^A
.,i^^
rx
^^^^m
;>-
praise,
in
to our
^y r
-Or
3
now
our
Praise to
Hal -le
ia
: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
Amen
Hallelujah,
Sing,
Hallelujah,
father and our friend,
thee our joys depend ;
Thy love will never end
Hallelujah,
Amen
and in God
Hallelujah,
Amen
rejoice,
Amen
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,
Thy goodness
to adore
Hallelujah,
Amen
Amen
80
HYMN TLNE
Tin:
BOOK.
Morcton.
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
^^ii=^
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=^
s:
all
day
be
neath
shade,
And
t=p:
there
at
head.
And
2.
Then
will I say,
"
My
3.
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
^e^qr
'-^=ff^
:f=^
-
'21
his
t:-
i;
night shall
head.
'282
No. G
Count
-CALCUTTA.
Clark.
hills
-r-P
Up
K
e
f/
^^
*
[_
It
hills
/^
^ ^
-ffW
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
/.
^^M
pro
All the
/-
r-,
hills
fc=i
pro
and gaze
still
,
Tjr
I?
pro
I.
4 f
Blessed jubilee,
J'-
travail with
E
a
:f::^=^
glo
X^
Let
dawn,
HYMN TUNK
TIIF.
Wr=^
glorious
morning dawn.
2^<3
ss m=m^
^
glorious
morning dawn,
^^
morning dawn.
rious
3.
2.
morning dawn.
rious
^L_^
BOOK.
m
Stanley.
ger
so
is
slow
to
rise,
So
rea
And
dy
to
3.
2.
The pity
To those
name,
He knows our
of the Lord
that fear his
^
^
feeble frame.
bate.
284
IMMN
TUI.
No.
Count 4
book.
11 mi:
m.
The words by
a^
^
a
Ye
tribes of
g^j
Ye
f=;2
25
join
A-dam,
tribes of
And
A-dam,
vine,
offer notes di
lo
vine
seas, And
be
And
offer notes di
To your Cre
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
f-
t=t
:rjt
tT-t
Creator's praise;
-/-H
^^
Creator's praise
m-s-
^
t=t
r^i
^=f:
;
Ht
F=:
Ye
n^
f^
the song. Ye
^W^Fly
< ^ <
'
join
i^
t=t=t
ij
T=i^
t^i
'
earth
-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
-
<r7
-PP
gSlZf
tJ^
*-
t=:t
holy throng of
an
gels bright.
In
worlds
of
light
be
HYMN TLXU
Tllli
HOOK.
2a.'i
2.
To sound
praise,
as he reigns,
His name be sung
By
ev'ry tongue,
In endless strains.
air.
5.
3.
The
Let
By
his
Wide
Ye floods on high,
And clouds that fly
In empty
supreme command
He spake
And all
all
the word,
their
frame
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
m ~rrw
-^3'-
0Q
z^
^3i
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.
3.
God
shall
this air is
&c.
&c.
Let us
all tears.
When
5.
wipe away
it is
And
When
28G
HYMN TUNE
TIIF
BOOK.
Arison
The words by W.
of re-joic-iugcou-Bpir-ing to
So
%J Songs
raise,
Songs of re-joic-iugcou-spir-ingto
^^
raise,
gi^
:a=3^
Swell with
cho-nis of praise
raise.
10
5ac=t^
cho-rus of praise
r r r
itZML
jizpqt
gzzzz:
S/
Ir
P^l*
=1^=^
/^
Z"^
^qti^
^^
rK
W)
"^
[^
1^
'
IVn
\^m
y
'
fJt^i1,
'
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
1
1
is
>->
>
y-^tr ^ / /
3#:^
a^
P^=?Ei?EzpEzpqt
raise.
ri
^ w
fp
-^^A it=^
re-joic-ing con-spir-ing to
is
^ Jt-A
r.
Fa-tlier Al-migh-ty,tie
*.-
re-joic-ing con-spir-ing to
|i
Lord he
.^
f^^=^
re-joic-ing con-spir-ing to
ir
j. j <
^ /
N-t-
t=^
good,
L*'
Al-ini)i:h-ty,the
vir ^
/ > /
Our Fa-thcr
^"^"
""^
1^
Songsof
Lr
liv-ing,
fu
JhF
r
^
r
r
p
/-"/'
^L_;^
_^L_>
-/-^M^
good,
tf*
life
-/-
i^
PIr
^L^
L-^
P
"^
Pi*
^r^
"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
(i
-M<^
E. Ilickion.
CO
/ / lc=A
his name be
ador'd
[Lord
Praise your Creator
rejoice in the
Great is His power, for the Lord is
Praise
to
Jehovah
Almighty,
For goodness
And
-m #
m *
Uz.
praise.
The
d m m
1
which
OR LEIGH. c.
No. 69.TUCKER'S,
Count
:87
to judge
iudee the world, a
2nd Voices.
1^-
He comes! He comes!
cries.
^^^B^^
to
loud
th'
archangel
cries.
^4.--pi
t-
3rd Voices
He comes He comes
!
^^3E
While thunders
roll
While thunders
roll
roll
loud
^:^=^
&^
While thunders
^3t ^
^=^P=
^SB
a
Stennett.
m.
Tucker.
4 f
And
th'
archangel
it
cries.
m.
&
Jl
/'
^
#
And
skies,
light
/
4=^^
-Gf-
r=*
?=^
-f=^
lU-
i :^
nings cleave
skies,
^^
!*
the skies.
Tl
-p^
skies,
And
light
?qe
2.
The
of the ground
rise.
3.
Amid
Of
No. 70.~REPOSK.
288
Count 2
^1
Mow,
Rtst
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
^H
low keep.
pil -
/-
iStJ^
Ev'
t^oH~o
J J
ry
>'
>'
5^ Z
P=t
^sihA\Q:H.i
S==t:
Ev'
ry
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
re
^^
pro
'
'
/
C^^H
Let thy
cJ
pi ess- ing,
re
'
^UJ
^
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
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,
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We
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34 March and
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Wind
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23 Come gay Mirth.
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