MT

on 26 cts. per copy. $20.00 per 100 copies.

IT'

^
oONGS IN SOL-FA:
UC NRLF

il, Dan ^G5ooUiid Ringing ^cliool,

B M ^^D bis

• NlAININt.; A

BRIEF COURSE OF INSTRUCTION, AND A GRADED SELECTION OF SONGS

TDNIC SCL-FA SYSTEM

T. F. SEWARD ^^^ B. C. UNSELD.

BIGLOW ^ MAIN, Puslishbi^s,

76 Kiiwt Ninth Stit>et SI K:iMa<.L)>h StJ'c-et,
NEW YORK. CHICAGO.

MAY BE ORDERED THROUGH ANY BOOKSELLER OR MUSIC DEALER.

v>^ ..^
\^'
on
^ K^
LIBRARY
OF THE

University of California.
OIF^T OK

t/Jccession mSM... Class

757 i;

^'AJ^.
 SONGS IN SOL-FA:

^uqdaij ^cljool, Dai| ^cljool ^i Ringing ^cljool,

CONTAINING A

BRIEF COURSE OF INSTRUCTION, AND A GRADED SELECTION OF SONGS

TDNIC SDL-FA SYSTEM

T. F. SEWARD .*^'B. C. UNSELD.

BI6L0W ^ MAIN, Publishbi^s,

76 Ka.-it Ninth Street, I 81 Randolph Street,
NB-W YOB.K. I
CHICAGO.
MAY BE ORDERED THROUGH ANY BOOKSELLER OR MUSIC DEALER.

Copyright, 1SS2, by [Link] .t M:

 MT3
Copyright, 1882, by Biglow & Main.

ia:o"v\r TO XJSE] this :oooi^.

This book has been prepared in response to an urgent call for a work that could be made useful in the
Sunday School, as well as in the day school, and in singing classes. It contains also a brief course of in-
struction in tlie Tonic Sol-fa notation, and a variety of exercises and secular songs for practice. It can,
therefore, be made available in three different ways, as follows:
1. As a text book
for teaching the system.
In this case, as the course of instruction is necessarily much condensed, the teacher should be supplied
with a copy of the Tonic Sol-fa Music Header (sent by mail for 35 cents), from which additional exercises
may be written on the blackboard as needed.
2. For institutes and short courses of instruction, which are now so often held by teachers in this

country. It was especially to meet this demand that the book was first planned, but it is hoped that it
will be found equally useful for the other purposes mentioned.
3. For [Link] in Sunday Schools where only rote singing is practised. When employed in such schools,
the following plan is strongly recommended in place of the ordinary method of mere imitation, in which
children are taught as parrots might be taught, leaving them at the end of any number of years of prac-
tice no more musically intelligent than at the beginning
Hang up a modulator in plain view of the whole school. Let the teacher, or leader (at first only using
the easier tunes), sing a short plirase of the tune to the syllables, pointing on the modulator as he sings.
Pupils repeat the phrase, the teacher pointing as they sing. Let this be done several times, or until the
phrase is somewhat familiar. Teach the next phrase in the same way then sing the two in connection,
;

and so on, until the whole tunc can be sung by the syllables, the teacher still pointing on the modulator.
Then turn to the book, and sing the tune to the syllables. If the pupils fail at any point, return to
the modulator and practice the ditficult passage as before. When the tune is learned, call attention to the
words, tlieir meaning, the sentiment, etc., and then sing the tune to the words. When the practice is
conducted in this way, it will not be long until the most difficult tunes can be easily taught. Not only
that, but after a time, the tones will become so familiar that the modulator can be dispensed with, and the
tunes taught at once from the book by syllable.
Observe tliat the teacher does not sing with the pupils. They listen and look while he sings and
points. He points and listens while they sing. One hour's training of this kind is more effective than
five hours spent in singing with the teacher.
The advantage of teaching the tunes by the syllables, instead of the ordinary method of teaching the
—
words and tune together, may be easily stated. First It avoids the hurtful effect of using sacred words
for mere practice. They are not introduced till they can be properly explained and impressed. Second —
The syllables possess a wonderful cumulative mnemonic power. Each tune that is learned is a help to the
next one. The ear becomes accustomed to certain progressions in connection with certain syllables, and
thus gradually gains a practical knowledge of all relations. This is the case even where no time is spent
in positive elementary instruction. It is needless to say that we by no means intend to countenance the
neglect of such instruction, when it can possibly be given. It is our hope and belief that many who begin
by using the syllables as above described, will be led by the delightful simplicity of this new notation
and way of teaching to devote some time to more thorough study. It is the universal experience, where
the Tonic Sol-fa system is introduced, that pupils are led by the ease and naturalness of the method to
r follow the study of music much farther than they are luclmed to do when they begin with the staff.
This the invariable result where the Tonic Sol-fa system is introduced. It diffuses musical intelligence
IS
among the people it leads to the appreciation and use of a higher order of music, and gradually substi-
;

tutes ready sight-reading for tlie mere imitation, or rote singing, which usually prevails in this country.
 SONGS m SOL-FA
INSTRUCTIONS AND EXERCISES.

FIRST STEP.

To recognize and produce the tones Don, Me, Soh,

the upper octave of Boh and the lower octave of Soh ;
^frong aivJ ireak acccnta ; the Fulae, the Ilalf-pMlne; two-puhe measure and three-pulse-measure.

>fOTK.— The teacher will need for his instruction and another is a calm, gentle tone, and another is a
irection a copy of The Tonic Sol-fa Music Jteader. Not clear, bright tone.
nly the facts as in this book, but tlie method of teaching
i therein presented, with cuts of the Hand-siiins and Fin-
—
Note. The pupils must determine the characters of the
ersiftus, and many, illustrations and sugsestionswith re- tones for themselves, after hearing suitable illustrations
ard to points tliii uiacher needs to know. A Modulator, from the teacher.
Lining-fork and iilack-l)oard ai-e the necessary apparatus.*
6. As a means of practice the tones are indica-
TUNE. ted by Hand-signs representing their mental ef-
1. The three principal tones in mu- SOH fects.
ic —the first to —
be learned are Doh,
7. The strong, firm tone is represented by the
Soh.
closed hand; the clear, bright tone by the open
^/e.

2. these, doh is the lowest, mf

Of hand thumb upwards; the calm, gentle tone by
he next higher and soh the highest. the open hand palm downward.

3. These three tones combined form ME 8. In the Tonic Sol-Fa Notation the initials of
he chord of Doh. or To7iic Chord. the syllables are used as "notes"— d for doh, sfor
4. The relative position of the tones soh and n for me.
3of less importance than their char- Note. A narrower tvpe and somewhat altered form is
cters or mental eflFects. given the letter m (tn) for convenience in printing. After
the tones have been well practiced from the toacher'spat-
5. Of the mental effects of these DOH tems, from the Modulator, Hand-si^ns etc., the following
hree tones, one is a strong, firm tone, exercises may be sung from the book or black-board.

1. KEY D.
d n

KEY F.
PI s

3. KF.Y E.

n d
Moduhitors of various sizes costing from 10 cents to 80 cents may be obtained from the P"Wi8l>«rs
•
Sons, London, Eng. ° Va/alo"u6«
Catalogues
Iso any of the books, music apparatus &c.. published by Messrs. John Curwen &
urnished on request.

03841
 FIEST STEP.

9. The tones next to be learned are 12. The lower soh is distinguished by the fig-
the upper octave of doh, and the low- ure 1 placed at the bottom of the letter thus—s,
er octave of soh.
and is called Soh-One.
10. In the notation the upper doh
SOH
is distinguished by the figure 1 placed 13. mental effect is the same as soh, only
Its
at the top of the letter thus d' and — ME somewhat subdued. Its Hand-sign is the same as
is called One-Doh.
for soh with the hand lowered.
11. Its mental effect is the same as DOH
doh, only more positive. Its Hand- —
Note. After sufficient drill by pattern from the Modu-
sign is the same as for doh with the lator, Hand-signs etc., the following exercises may be
hand held higher. practiced.

KEV D.
d PI

KEY C.
s n

O. KEY F,
d s, d

KEY A.
d m

TIME AND RHYTHM.

14. Time
in music is measured by regularly re- 19. A measure consisting of two pulses, one
curring accents. strong and one weak, is caUed Two-pulse meas-
ure.
15. The most easily perceived degrees of ac-
cent are the steong and the weak. 20. A measure consisting of three pulses, one
strong and two weak, is called Three-pulse meas-
16. The time from one strong accent to the next ure.
is called a Meascke.
21. When the measure begins with the strong
17. The time from any accent to the next is accent it is called theprimary form of the meas-
called a Pulse. ure.

18. Different arrangements of the order of ac- 22. When

the measure begins with a weak ac-
cents makes different kinds of measure. cent, it is called a Secondary form.
 —

FIRST STEP.

23. Sol-fa Method makes use of a

The Tonic with the strong accent, and a note following a co-
iystem of time-names to aid in the study of time. lon is to be sung with the weak accent.

24. The pulse is the unit of measurement, and 28. The accent marks are placed at equal dis-
I tone one pulse long is named Taa, pron. Tah. tances of space and thus represent the equal di-
visions of time.
25. The strong accent may be indicated, when
lecessary, by the letter E, thus Tbaa.
29. The space from one accent mark to the next
'2(3. The strong accent
indicated in the nota-
is represents the time of a pulse, and the space be-
ion by a long heavy bar; the weak accent by a tween the bars represents the time of a measure.
;olon (:).
30. The end of an exercise is indicated by a
27. The note following a long bar is to be sung Double Bar.

TWO-PULSE MEASURE
PlUMAUV. Skcosdaby.

d :d d ;d Id :d ii j :d Id :d I
d :d
TAA TAA T.\A TAA I TAA [Link] II I TAA I TAA TAA TAA TAA

THREE-PULSE MEASURE.
 ,

SECOND STEP.
The tones Eat and Te. The medium accent, R
nd-a-half tones and quarter-pulse tones.

33. The tones to be learned next

.re Ray and Te.
—
Note. Their octaves, r' a'i<l t, au<l "' 1

ther tones above and below the iiiiniarkfil

clave cau easilj- be taught from iheModii-
PI'

3-t. As
to the mental effects of these r'
lew tones, one is a sharp, piercing
one, and the other is a hopeful, rous- d'
ag tone.
TE
See Note after paragraph 5.

3'). The Hand-signfor the sharp,

liercing tone is the fore-finger point-
ag upward and the sign for the hope-
ul tone is the open hand tingors up- SOH
•ard, palm outward.
36. The tones soh. te, ray combined
arm the chord of ; o/i, or Dominant
^ord.
ME
Note. —
After preparatory practice of the
RAY
ew tones by pattern, from the Modulator,
land-signs etc., the following exercises may
e studied. DOH
The teacher will give such instruction in
reathing and [Link] as may be needed
:om time to tmo. The words in italics are
J be sung softly those in small cviTfAi-s
;

re to besung loudly, and those in the com-

lon type are to bo sung with a medium de-
ree of power. See "Reader," p. 18.

ll>. KEV A.
d :d t, :d r :t, S| :d
Lilt- is like u ship in mo - tion,
While we're safe from show - er

d :d Si :ni Si :ni
 SECOND STEP.

TIME.
37. In addition to the strong and weak accents is STEONG, weak, medium, weak.
there is also a Medium accent.
In six-pulse measure the order of accents
40. ia
38. The medium accent changes two two-pulse
measures into a four-pulse measure, andtwothree-
STRONG, weak, weak, medium, weak, weak.
I)ulse measures into a six-pulse measure.
41. The medium accent is indicated in the no-
39. In four-pulse measure the order of accents tation by a short, thin bar.

FOUR-PULSE. MEASURE.
bECOXDAKY.

:d d Id
ir

SIX-PULSE MEASURE.
Pkimakv. Skcondakt.

Id :d :d |d :d :d Id :d :d [d :d :d 1| ( :d Id :d :d [d :d :d jd :d :d !d :d

Id :- .d
42. A Silent pulse (Rest) is named SAA, and is and indicated thus-
I TAA-AA-TAI
indicated in the notation by the absence of any
notes in the pulse-space, i. e. vacant space. 44. A
pulse divided into quarters is named ia/a-
tefv, is indicated by a comma in the middle of
and
43. A tone continued through the first half of the each half-pulse, thus- 'd ,d .d ,d :
—
next pulse a pulse-and-a-half tone is named — ta-fa - te - fe.

SO. KEY Et?. Round in three parts.

s :s jm :d t, :S| jd :
— Id
{I May.
 1

SECOND STEP.

23. KEY C. Hound in two parts.

id : d : d | m :m m Iss :— :— Id'
: I :—
d' :— :-it |
1 :t :t |r' :r' :r' Id' :— :- Is :— :-

[Mer-ri - ly. mer-ri - ly |

I
dan
(lane ing, | Mer-ri - ly, nier-ri-ly I glaiic - - iu^,

Im :pi :n |d :d :d Im :— :— |n :— :— Is :s :s |t :t :t Id' :— :— [— :- :—
IComethebriglitdaysof thel morn - - ing, I Filling all hearts with ile -| light. I

Vl-i. KKv D. Round in four parts.

Id :d :d |d :d :d In :— :r |d :— :
- In :n : n |n : m : n Is :
- :s In :— :—
[Link]-ri - ly. mer-ri - ly Uound the born, Iciieeri - ly, cheeri - ly I o'er the lawn;

s :— :s is : — :s is :— :— jd' :— :— |s :— :— id' :— :— |s :— :—
On - - ward, | On - - ward.

:r in :n |r :r id :
| ]

O I haste, do not de - | lay, )

id :d |t| :t| id : |
ii

j Yes, I will a - wav.

 DGC

hj
THIRD STEP.
The tones Fah and Lah, completing the Scale. The Standard Scale. To pitch tunes. The Balf-pulse
Silence. Various combinations of Quarter-pxdses.

TUNE.
45. The tones next to be learned 54. The tones te and fah have the strongest lean-
are Fah and Lah, and their octaves. ing or leading tendency, te leading upward to doh
and fah leading downward to me.
46. Of the mental effects of these 55. The most important tone of the scale, the
two tones, Lah is a sad, weeping tone, strongest, the governing tone is called the Key-tone.
and Fah a serious, solemn, desolate
56. A key-tone with the tones related to it, or
tone.
belonging to it, is called a Key.
47. The Hand-sign for the sad, 57. A distinction is made between "key" and
weeping tone is the hand hanging
DOH>
—
"scale " a key is a family of related tones, consist-
loosely from the wrist; the sign for the ing of a key-tone with six related tones and their
serious, desolate tone is the forefinger replicates. A scale is the tones of a key arranged
pointing downward. IE in successive order ascending or descending. The
intervals (steps and half-steps) are indicated by the
48. The tones Fah, Lah, Doh, com- spaces.
bined, form the chord of Fah, or Sub- LA 58. Any degree of pitch may be taken as the
Dominant. key-tone.
49. The series of tones from d to d', 59. One scale is chosen as the Stand- d'—
represented in the Modulator, is called SOH ard Scale from which all the others are
the Scale. reckoned. t-B
60. The
particular degree of pitch
50. Each tone of the scale differs FAH which is taken as the key-tone of the
from the others in pitch. Standard Scale is named C, Ray is D,
By "pitch" is meant the highness orlow-
ME Me is E, and so on. 1-A
ness of tones. 61. The correct pitch of this scale,
for ordinary vocal purposes, may be H
51. The eighth tone above or below
RAY obtained Irom a C
tuning fork, or one «t)
any given tone has the same mental of its tones may be fixed on the mem- s—
effect and the same name. They are §
Replicates or Octaves one of the other.
ory- P
DOH 62. Any tone of
the Standard Scale
^
52. The first octave above any tone is may be taken as a. key-tone. «
indicated by the figure 1 placed at the t, 63. A scale or key is named from §
top of the letter, the second octave by the name of the pitch taken as the h
the figure 2 and so on, thus— d d' d^ key-tone. n-
named doh, one-doh, two-doh, etc. The 64. The different keys are indica-
octaves below are indicated by the fig- 1.
ted in the notation by the signature
ure placed at the bottom of the letter, "key C," "key G," and so on.
—
thus B 8, 8, named soh, soh-one, soh- Note.— The pupils shouW learn to pitch r—
two. S| the key-tone. Take C from the fork and
'

sing down to the tone wanted, this tone

53. The tones doh, me, soh are the strong, bold the pupil will dwell upon a little and repeat
tones of the scale, and ray, fah, la and te are the to the syllable doh, and then sing the chord
leaning tones. of DOH to oonflrm the key. d-0
 SS. KEY C.
d :pi Is : m

d' : s I
n
12 THIED STEP.

TIME.

65. The Half-ptilse Silence is named SAA on ers is named TAAtefe.

Id .d ,d
TAA te fe
the first half of the pulse and SAI on the second
half, and is indicated by the blank space between
68. A pulse divided into a three quarter pulse
the dot and the accent mark. Id . : .d
\txaSAISAAtai tone and a quarter is named TAAefe. _ 'A

66. A pulse divided into two quarters and a 69. Syncopation i8 the anticipation of accent.
It reqiiires an accent to be struck before its regu-
half is named tafaTAi.
d,d.d :

ta fa TAi larly recurring time, changing a weak pulse or

weak part of a pulse into a strong one, and the
immediately following strong pulse into a weak
67. A pulse divided into a half and two quar-

3-i. KEY D. Bound in two parts.

d' .d' :di . t .t

I Mer - ry May,

d .d :d
II Mer - ry May,
 13
FOURTH STEP.
The Intervals if the scale. Transition to the First Sharp and First Flat keys. Chromatic tones. Si-
lent quarter-pulse. Thirds of a pulse.

THE MODULATOR.

doh'

;
 -

14 FOURTH STEP.

84. This transition is made by omlting fah and 96. This is called the "proper" or "perfect"
taking /e in its place. way of indicating transition.
85. Thus/f becomes the distinguishing tone of the 97. When the transition is very brief, less than
new key. It has the eflfect of a new te, and all the two measures long, it is more convenient not to al-
other tones change their mental effects accordingly. ter the names of the tones.
86. The new key is called the " Soh-key " or (on 98. This is called the "improper" or imperfect
account of the sharp effect of its distinguishing way of indicating transition.
tone), the First Sharp-key. In addition to the bridge-note transition
99. is
87. Another common form of transition is when indicated by the signature of the new key.
fah is taken as the new doh.
100. The distinguishing tone of the new key is
88. This transition is made by omitting te and indicated in the signature by a small letter (t) on
taking to in its place. the nght for the first sharp key, and (f) on theleft
89. Thus ta becomes the distinguishing tone of for the first fiat key, thus —
G. t., or f. F. by this —
this new key, it has the effect of a uevf fah, and all the singer is warned to expect a new te oinevf fah.
the other tones change their mental effects to cor-
101. The tones fe and ia are frequently intro-
respond.
duced iu such a way as 7wt to produce transition.
90. This new key is called the "Fah key," or
(on account of the fiat effect of its distinguishing 102. When thus used they are called chromatic
tone) the First Flat key. tones.

91. These transitions are called transitions of one 103. Chromatic tones may also be introduced
remove because only one change is made in the between any two tones of the scale which form the
pitch-tones used. interval of a Step.

92. When
soh becomes doh the music is said to 104. These intermediate tones are named from
go into fhe first sharp key, or key of the Dominant. the scale-tone below by changing the vowel into
93. When fah becomes doh the music is said to
—
"e" as doh, de, ray, re, etc.; or from the scale
go into the jirst fiat key, or key of the Sub-Domin-
tone above by changing the vowel into "a" as te —
ia, lah la, etc.
ant.
—
Note. Eighty per cent of all the transitions in mnsio Note.—The cnstomary prononnciation of the vowel "a"
are to one or the other of these two keys, and that to the in America is "ay" as m "Bay," in England it is pro-
Dominant is the one most used. Transitions of two, three nounced "aw."
and four removes rarely occur .^ simple music and need
not he explained in this work. Eor further instructions with regard to pitching tunes,
see "Keader," p. 79.
94. The tone on which the change is made from
one key into another is called a Bridge-tone. 105. The silent quarter-pulse is indicated like
the other silences by a vacant space among the
95. Bridge-tones are indicated in the notation
pulse divisions. It is named sa on the accented
by double notes, called Bridge-notes, thus: sd, Ir, and se on the unaccented part of a pulse.
»n, (pronounced s' doh, 1' ray, t' me), the small note
on the left giving the name of the tone in the old 106. Thirds of a pulse are indicated by commas
key and the large note its name in the new key. turned to the right and named taataixee.

The teacher will examine the " Eeader," page 78, for the best way of practicing these exercises.

37^. KEY C. G. t f. C.

Id :m Is :d' jt :1 |s :— |sd :d it, :d | pi :r |d :— jds :1 Is :in If

:1
 FOURTH STEP. 15

:$?^. Ki.v C. G. t. f. c.

m :r Id :m Is :f I n :— hi, :t, id :n|r :r id :— Id3:3 11 :1 Is :f In

31>. KEY C. G. t. f. C.

d :r In :d If :m [r : - |rs, :!, Is, :d Id :t| Id :— Ids :r in :f In :r Id

-to. KEY C. G. t. f, C.

n :f IS :di Ir' .-d' It :— |tn :f In :r Id :t| Id :— Ha :d' Is :n ir :f |n

I
I I It :d' It :1 Is :fe Is :— I I |

-il. KKY C. G. t. t C.

s :f In :s Id' :t 11 :- |lr :n If :r Id :t, id :— Us :n If :r id :t, Id

1 :t |d' :1 Is :fe [a :— I

~L*~i. KKY C. G. t. f. C.

n :f Is :s 11 :t Id' :— Id'f :f m :d 11, :t, Id :— Ids :s If :f |n:r Id :—

^ti. KKY C. G. t. f. C.

d :n Is :n Ir :n If :— |fet,:d In :r Id tt. Id :— Ids id' 11 :f Ir :3 id :— il

Kxtenileil TransitiDii to the tirst flat key seldom occurs, so that it is not necessary to give more than one or two
examples of it.

-i-t. KEY C. f. F. C. t

s :f In :s Id' :t il :- |in :f In :r Id :t, Id :— |df :f In :s 11 :t id :—

AS. KEY D. Chromatic fe.

d :n Is :fe |s :f in :— In rs jfe :8 If :r |d :—
 s

16 FOUETH —FIFTH STEP.

46. KEY F.

:fe f :pi t| :ta| 11, :t|

4'7'. KEY C. Kound in two parts. T. F.

staccato.
d' :d' It .le :t l

|1
:1 Is .fe :s :f
Trip. trip, fair - ies light, I
Dane ing all the night, I'
I'Neath the

PI .re : n r Id f :a |r .de :r
stars so bright, Here there, La la la la la,

:f I
m .re : m :1 t
la la la la, la La

4S. KEY C. Konnd in three parts. Taataitee. T. F. S.

®
d' :d' : t 4 ',r' Id' : Is m In :r<rn(f )

II Ring, ring, beautiful I chimes are ring ing, Sing, sing. sing. cheeiily J

s :d' Id'

birds are sing - mg, Per - fumes sweet buds broad are fling

For tunes suitable at this stage see Teacher' a Index.

FIFTH STEP.
The Modes. The Modern Minor. Expression.

107. Thus far in our studies doh has been the Tunes in the Doh Mode are more or less
112.
key-tone or point of repose. bright and joyous.

108. Any tone of the scale may be made to pre- 113. The Doh Mode, on account of its Major
dominate in a tune so as to have the character of Third is called the Major Mode.
a key-tone and to give something of its own pecu- 114. The Bay and Lah Modes, having Minor
liar mental effect to the music. Thirds are called Minor Modes.
109. A mode of using the common scale which 115. Of the minor modes, the Lah Mode is the
makes Ray the most prominent tone is called the one most used at the present day.
Bay Mode.
116. To give Lah the importance of a key-tone
110. A mode which makes Ldh predominant is modem harmony requires a leading tone (se) hav-
caUed the Lah Mode. ing the same relation to it that ie has to doh.

111. Tunes in the Bay and Lah Modes have a 117. Occasionly, also, another tone is intro-
sad, plaintive effect. duced a full step below se, called hah (written 6a).
 FIFTH STEP. 17

1 1 S. Modulation is a claange of mode, as from 119. Transitional modulation is a change of

miijor to minor, or minor to major. both key and mode, as from the Doh key to the
—
XOTK. The word "modulation" rs commonly nsetl to relative minor of the first flat key, or to the rela-
ninaii change of key; in the Tonic Sol-fa method change
of key is called Transition— change of mode, modulation. tive minor of the first sharp key.

-iO. KEY C. Ray is D. Ray Mode.

If :r 11 :f I pi :r 1 :1 Id' :1 |t :r' 11
'\
Their Iblood a - I bout Je - I ni - e» - llem, Like I wa - tor I thoy have jshed;

1 :di It :s \\ .-m

1 And them, When I they were [Link] ami

S»0. KEY G. Ray is A. Ray Mode.

1,

(2.
18 FIFTH STEP.

53. KEY A. Lali is Ff.

d :8, U, :t, Id :r |d :t, 11, :n, |ba, tse, II, :t, |1,

il

Id .
:d It, :1, 11, :!, |se, :ba, Ise, : n, jl, :d it, :se, |1,
l|d

See Teacher's Index for appropriate I

EXPRESSION.

The following table shows the names of the tions. The teacher will explain these topics, as
different degrees of power; the abbreviations and may be required, at convenient points in his
marks by which they are known, and their defini- course of lessons.

Name.
 Ket D. AUTUMN HYMN. 19
:d
 ; ;

20 Kez F. EVENING IS FALLING.

n :tt m : m :d :d

d :d d :d :d t, :s, :d
1. Evening fall - ing to sleep in the
2. Now all the flow - era have gone to re pose,
3. Sleep till tlie flow - era shall o - - pen once more,
S :s :rn s :r rtn s :— :—
d :d :d

8 :r d :S| :t, d :— :—
t, :t, :t, d :p1| :ni, :S| S|

Lull - ing the gold - en bright meadows to rest,

AU the per - fume cups grace - ful ly close,
Sleep till lark in the morn - ing shall soar.

r :s m :d :d :r in

S| :S| :Si

"PP
d r :—

Sweet sle^p,

Key C. THE HAPPY SCHOLAR.

d .d :n .n 8 .8 :m .d n .PI :s .8
1. In the win - ter when it furies, In the win - ter
2. When the robinchants his dit-ty, And the spring, sweet
3.N0W our school-life is a pleasure. And we cheer it

s .8 :m .d m .m :s .s m .8 :d'
school seems longer, All the while the cold wind blows
school with pleasure For it seems so ver - y near
haat-en hith - er, And the way seems nev-er long;
 BE CONTENT.
TvetG.
22 THE MELLOW HORN.
Key G. L. O. Emerson, by per.

m :r
: nil

[Link]
2. A -

3. Witl
:d
:d

^Borne
But
)And
:d
:d
 DON'T STOP THERE. 23
Key G.
m .m :r .r m .r

.s, d .d :t, .t|

[Link] ou the path of

'[Link]( i - die hub - it,

1 3. Our fel - low trav - 'lors

,n
.d

PI .m .r

d .d .t,

if not care - ful,

make U8 stum - ble
when they reach some
s .s :s .s

d .d :s, .S|
24
 ;:

S. C. B.
NEVER TELL A LIE T. F. Sewakd. 25
Kkv G.
PI
:
— :m in : — :m -:— IS :— :S| 1, :-:l, 11, :-:l, d :d :-!-:_ :1,
dT^:d Id :-:d n :— — |Pi :— :s, f, :-:f, If, :— :f, 1,1, :-|-:-:^
• [Link] out, boys, look out, gills. There's many a foo to shun, There's'
I2.TI1C one who tells a false hood To comrade, friend or brother, To
3. Now. children, if you'd pros per, And keep your conscionco clear. And
:d d :— :d Id :- :d d :-; -Id :— :p1| fi :— :f, If, :— :f, f, :f, :-|-:-:f,

1| :— a :— :r |m :— :n f :— :f |n ;:— :pi r :r
rn,:— :f, |s, :— :d r ;- :r |d :- :d t, :t.

many a wrong you must a - void, And vie - 'try to bo won

make it seem quite truth - ful. Will of - ten tell an - other
nev - ei" bn tor- ment - - ed With self - ac - ens - ing fear.

d :- :d Id :- :d d :— :d Id :— :d t, :-:t. Id :- :d

n :
— : rn I
m :
— :pi 1, :-:l, II, :- :1, d :

d :— :d |d :— :d PI :
— : PI I
PI : — : s, f, :- :f. If, :- :f, li :

if you'd climb the hOl of fame. So glo - rious and so high,

thus they keep in - creas - ing. In col - or, shape, or .size,
have a name far bet - - ter Than sil - vcr or than gold,
d :— :d |d :— :d ;d Id m. f, :-:f. If, :- :f, I-

1, :-
 ;;

26 T. B. AiDEiOH. IN THE OLD CHURCH TOWER.

Key F. E. P. Andeews.

.d.r n :m Im rtn .r d :- 1- :d.d r :r jd :r m - I-

:d .d d :d Id :t, .t| d :S| .S| |d :d .d t, ;t, Id :t| d :-

[Link] old church tower hau^s the bell; hangs thebell. And a- bove it on the vane,
^[Link] okl church tower hangs the bell You can hear its gieat heart
\3. lu the ohl church tower hangs the bell Deep and sol - emn, hark, a - gain,
/4. In the okl church tower hangs the bell A quaint friend that seems to know
:m.f :s .f n :— |— im.m s :s |s :s

\:d .d d :d Is, :s, .s, d :— I— :d.d s, :f, In, :s,

,:d .d jd :r PI :— j— :[Link] s :s |s :in

:d .d Id :t, d :- I— :d .d R :n in :d tn :- I-
IIn the and the rain, Cut in gold St. Pe - ter stands.
/Ah, so loud, and mild, and sweet, As the par - son
says his prayer,
•<
Ah, what pas - sion and what pain, With her hands up - on her breast,
/a11 our joy, and all our woe; It is glad when we are
:tn .m s :s |s :s

:d ,d s, :f, |m, :s, d :- I-

PI .PI :m :d
1:
:d .d n : PI |m :d t, :-

With the two keys in hia hands,

/ O - ver hap - py lev - era there,
jSomepoor soul has gone to rest,
/it is sad when we are dead,
 EVENING HYMN. Concluded. 27

s :-.f Im.f :s .1
 ;

28 MOUNTAINEER'S SONG.
Key C. E. P. Andbews.

d :di rU':t_j Is :s sj :t^di|r' d' :-

in :n :s f :f In :s f :f.n|f n :—
1. Oh, we are mer -ry mountain-eers, And have no vex - ing cares
2. Up ris - ing with the ear - ly morn, We wind the mel - low horn;
I 8. Oil who would leave the mountain's brow,The scenes so bright and fair]
:d' s :d' Id' :d' 1 :r|^'|di :d' t.d':r'.di|t :r' d' :—
:d d :d Id :m f :f Id :n d :—

:s
 ;

JOSEPH REE. 29
Key T. F. Seward.

':s, S| :ni :fi |S| : rn d :~ :d .d r :r :r |r :d rt,

:mi n, :d| .Ti |ni| :• s, :s, m, :

— :pi, .pi. f, :f, :f, If, :f, :f,

M. A right merry chap Jo - - seph Ece, He revels at morn in the

)2. He ceases not long ca - rol his song Till the close of the bright sun - ny (

'3. A gay lit - tie spouse Joseph I ween, For his sweet lit tie wile and her \
:d, d, :d. Id, :- d, :d, :d, |d, :d, .d. S, : S. s, |s, :s, :s, )

d :- :- f- s, :ni, :t, |s, :s, :d m : — :r Id :— :d .d

PI) :— :- I- :in. n, :d| rr, |rn, rm, :ni s, :- :f, In, :

— :R,.Fn|
dew, He sings from the bough of some swing - ing tree, While hel
day, But wlustles and flut - ters the flow'rs a - mong, While he/
brood Are not 80 far off in the May-grass so green, But theyl

I- :- :d, d, :d, :d, |d. :d. d, :— :d, Id, :d, .d,

r :r :r |r :r :r r :- :- h d :— : n I
d :— :s, .s,

s, :s, :s, jfe, :s, :1, t, :- n, :— :s, |n, :— :s, .s, 1

seems to be say ing

- to vou: Joe Reel Joe Ree ! I've a f

catches the in cense of

- May: Joe Kee! Joe Reel Just /

hear what he boasts from the wood Joe Ree! Joe Ree! While V

ta 2X3 ita |r. :ri g, :_ :_ |_ :_ :

I
: :s, .,s, /

s, :s, :s. Is,

30 COME, MAY,

KbtEJz.

:n
 ; m 1

W. A. Bdtleb. SOIVIEBODY. T. F. Sewabd, by per. 31

Key Eb.
8 .S :1 .1 s :1 :8 Is :f :n
:n .m PI :m rn |n :n :rn :f .f m :f :m |m :r :d
"
1
1. There's a meddlesome " Somebod - y go ing
- a - bout, And
playing his pranks but -we
;2. Oar young folks at home, at all seasons and times, Are re hearsing the long roll of
h. It 18 "Somebody" breaks all the pitchers and plates, And hides the boys' knives andruns
4. Now if those hijjh crimes of "Some bod - y" don't cease, We must summon iu the do -
d .d d :d :d |d :d :d f, :f, :f, If, :- :f| .f, s, :s, :s, |s, :s, :S|

Id :- :s |s :s :s il.l

Id :- :m :n |m :u\ :s f.f
can't lind him out; He's up stairs and down stairs from morning till night, And I

" Somebody's" crimes; Or, fast as heir feet or their tongues can well run, Come toj
off with their slates; And turns on the wa - ter, and tumbles the beds, And
tec - tive po - lice And they, in their wis - dom, at once -nnll make known The
Si :si :si id :— :d d :d :d |d :d :d f, :f, :f, If, :- :f,.f,

All the voices in unison.

s :1 :s |s :f : r :Fn :r |d :— d :r :m |f rs :1

R : f : m | m : r : d t, :t, :t, Id :— The rogues have read of,

I in
al - ways in mis - chief, but nev - er in sight. 12 '"Tis '
Somebody's gone with my '

tell the last deed the sly mischief has done; 3 One night the dull sound like the
steals all the pins and melts all the dolls' heads. 4, Then should it turn out, af - ter
cul - prit be - longs to no house but our own.
s, :s, :S| |s, :S| :s. s, :s, :s, !d :—

s :1 :t Id' :— :d PI If :s :1 s :1 :t Id' :— :s i' :d' :d'

song or in tale, Are caught at the end and con] ducted to jail. :pi PI :pi :m
knife, "one will say; And "Somebody's' carried my pen-cU a - way." ^ But 'Somebody's'
thump of a head. An - nounced that one youngster was out of his bed. ~- And 'Soniobody's
all, to be true, The young folks of our house are "Somebody" too. •^* And said, half a-
4. How queer it would
Chorus. Oh! '
Somebod V,'
;d d :d :d

D. S. for Chorus.
,!t :t :t d' :di :d' |1-:— :1 s :1 :s |s :f r :n :r |d :—
r :r :r d :d :d Id :— :f PI :f :n :r
|P1 :d t, :t, :t, |d :—
,
tracks are all covered so well. He never has seen the side of a cell,

gone & thrown down the blocks;" And "'Somebody' ate

all all the cakes in the box!"
sleep when ask'd what it meant, " 'Some- bod-y' is push-ing me out of the tent."
work if we saw them all go Marched off to the sta - tion - house, six in a row!
Somebod - y,' who will lind out t I'm sure we can catch hitn. he's always a - bout.

X :r :r PI :pi :pi If :— :f 3 :s :3 |S| :s, :s. s, :s, :S| |d —

32 SWEETLY CHIMES THE BELL.
Key E|2.

n :pi 1 :s f :f In :m .m

d :d Id :d .d r :r |d :d .d
[Link] chimes thro' the Bells so clear, and the
2. Sweetly sound - ing a - Hear the tones of the
s :s |n :[Link] s :s |s :s .s

d :d Id :d .d s, :si Is, :si .s,

 —
!; ;

KeyG. AWAKEI 33
From the "Chautumiuan.' E. P. Andkews.

1:s, d :— :d |d :r :n r :-:-|d :d r :— :r |r PJ :- :- I- :- :

rm, n,:— :pi||ni:f| rs, fi :-:-|n :d t| :— :t, It d :- :- I- :- :

[Link] Sim gets up iu the morn - - in Aud lifta his state head
[Link] sun gets up iu the morn - - iii^ Aud 80 must cbil - drcu too
[:d d :- :d |d :d :d t, :— :— Id :— : PI s :— :s |s :— :s

\:d d :- :d |d :d :d s, :-:-|d :-:d S| :— : s, I

s, ;— : S|

s :s :s IS : — : n f :— :pi |r :— :d ;r |! :fe

d :d :d |d :— :d r :— :d It, :— :1, S| :— :t, |t, :— :1, t| :— :t|

Open your eyes, my sleep - y sides, The sun is out of bed; The
How d:iro you keep so fast a - sleep, The sun is call - - iug you 'Mid
PI : PI : PI I R :
— : s s :— :s Is :— :pi r :— :s Ir :— :r r :
:r

d :d :d |d :— :d Is, :— :d r :— :r [r :— :r s, :—

s :— :s |r :— :f PI :n :— |- f :-:f is :— :pi

t, :— :t| |t, :— :r d :d :- |- :d r :— :r |pi :— :d t, :— :— - :t

nioou is ver - •
y timid, She daro not meet the sun, With
all the buds aud blossoms Your mer - ry voio - - es With
r :— :r |s :— :s s :s : — — — |- :
:s s :— :s |s :— :m - :s

:s, Is, :— :S| d :d — :— :d :si

m
3^
 ;

SCORED SELECTIOlsrS. 35

Key G. JESUS IS MINE. E. P. Andbews.

n :d .r |n .f :in r
S| rm, .f| lS| .1, :S|
1. Fade, fade eacli earthly joy;
'2. Tempt uot my soul a - way;
3. Farewell mortal - i - ty
d :d .d Id .d :d
d :d .d Id .d :d
 JESUS, MEEK AND GENTLE. Concluded.

PI :r |d li :- |r d :t| Hi :t, I-
s, :t, 11, f :— Ife, s, :f, If, :f,
Pitying, lev ing Sav lour, Hear Thy cbil - dren cry.
Thro' ter - res trial dark ness To ce - les - tial day.
d :f |m d :— Ir PI :r |r :r d I-
d :s, II, S| ;s, Is, :si

f :— d :r |P1 :f s :—
S| :— S| :t. Id :d
Give us ho - ly free dom, Fillour hearts with
Je - sus, meek and gen tie, Son of God most
r :pi |f :pi r :— d :s Is :f
Si :Si I
Si :d t, :— Fli 'Si Id :1,
 SING, MY SOUL. Concluded. 37

:d .,r tn :m.,f|ni :d .r
:ri,,f,

In its
I

iVuiijIit on
lAndsliall

:d .,d

:d .,d
38 Old Elizabethan Carol.
 Rev. J. D. Wilson.
Key Bk.
S| :pi :r id :t
40 ALWAYS CHEERFUL.
KetEIz.
 MILMAN. 41
Key C.

n :n |r :u\

d :t|Id :d
l.\\Tien our heads are
2. When the heart is
3. When our eyes grow
s :s |s :s
d :d Is, :d
 ; —

42 AWAY WITH THE WINE.

Key a. E. P. Andrews.

m :ri :r |d :d :d PI :m :r |d :— :d r :r :r |r :d :r

S| :S| :f| Im, :p1| :p1| s, :S| :fi |ni| :

:mi S| :S| :S| |S| :S| :S|

1 1. There's woe in the wine cup, There's death in the bowl. The' brightly it sparkles aud
2. There's death in the wine cup, The tempter may smUe, And seem for a while half di -

'3. A - rise, friends of temp'rance And strike for the right, In faith hope and love all com-
:d d :d :t, Id :d :d d :d :t, |d :— :d t| :t| :t| |t| :d :t|

:d d :d :s, 11, :!, :d d :d :S| 11,

:— :d S| :S| :S| |S| :m, :S|

PI :— :- I-
- :d

s, :— — :pi

shines
vine,
bine,
d :—
d :— I-
 Bev. I. Baxtzeu..
Key A.
:d .d id
:s, .s,
44 OiiA RuD. ANGELS OF DREAMLAND.
Key Bl2. J. M. JoiiLET.

m :-.r :d |d -.t, :1, 1, :— :— Is, :— :s,

s, :-.f, :n, 11, :-.s, :f| f, :— :— In,:—: n,

I. Beautiful au - gels of dream - land Tliat
2. Beautiful an - gels of dream - land, Saj^
3. Beautiful au jels of dream - land, O
d :-.d:d |d ;-.d :d d :-:- Id :— :d

d, :-.d,:d, |f, :-.f, :f, d, :— :— Id, :— :d,

m :-.r :d |d r-.t, il.

 I !

THE WOND'ROUS STORY. 45

Key A.

s, :- .S| |1| .S| :1| .d r :d I-

rii :- .^1 |f| .S| :f, .m, fi im,
1. O how woud'ious is tbo sto - ry I

2. O ! what love is liere a - bound - ing

3. Who will slight his tender plead - ing?
d :- .d Id .d :d .d t, :d
d :- .d, |f| .rn, :r, .d, Si :d,
 WATCH AND PRAY.
KeyC.
 THE MORNING LIGHT. 47

Kky Et2. A. S. KiEFFER, by per.

:n d
48 KeyEIl

m
 LONGINGS. 49

Key Eb.

PI .PI :d ,n

d .d :d .d d
(.Pur-er yet and pur -

[Link] yet and calm

[Link] yet and quick
s .8 :pi .d m
d .d :d .d
KetF.
 HARKI HARKl MY SOUL Concluded. 51

m :—
52 WE SHALL REST.
Key D.

d' :t |1 :s 1 .,1 :s .,f |m :r .,n

:m .,in n :s |f :n f .,f :pi.,r Id :t|.,d

[Link] us work for God and follow His command With a
[Link] give us strength, our vigor to re - new, He will
)[Link] a glo - rious work He calleth us a-way. Let us
:s .,S d' :t |1 :s 1 .,1 :s .,f |n :s .,s

:d .,d m :s If :n f .,f :m.,r id :s .,s

 SUMMER SUNS ARE GLOWING. 53
KetC.
 ;

54 HEAR OUR EVENING PRAYER.

Key F. A. L. Cowley.

m n |m m in r :r |r :r d :r |P1

d :d Id :d Id t| :t, It, :t, d :t, Id

[Link] us, heav'n-]y ther, Lis - ten to our evening prayer
[Link] us, heav'n-ly ther, Guide and guard us with thy might
s :s |s :s Is :- s :s |s :s m :s Is

d :d Id :d Id :- S| :S| |s, :s, s, :s, Id

PI :pi
 SWELL THE ANTHEM.
KeyG.
d
1 A. S. KlEFFER.
 CHRIST, WHOSE GLORY. 57

Kkv E.
58 HEAVENLY LOVE.
Key G. B. C. Unseld.

;s, m :— :n [
t, td :r 1, Is,

:S| s, :— :s, Is, :— :1 1. :-:f, is.

[Link] heayenly love a -

|[Link]- ev - er he may
[Link] jias - tures are be -

d :— :d |f :m :r

d, :- :d| Ir, :ni,:f|

JosEHiNE Pollard.
 BRINGING IN THE SHEAVES.
Key Ah.
 BRINGING IN THE SHEAVES. Concluded. 61

f .,f :f .,f
 A. S. KlEFFEB. NEARER HOME. A. J. Showaltee, by per.

Key G,

-:s, .d n :- .s :f .n f .d :-
|:s, .S| d . :-.d :t|.d
in til is land of
; Day by (lay life's path grows
^Earthly friend - ships oft de -

y On our jour - ney may we

jrn .PI s :- .n :r .d
':d .d d :-.d :s,.l.
 MOURNER, CEASE THY WEEPING. 63
Key Bb.
 TEACHERS' INDEX.

FIRST STEP. THIRD STEP— Continued.

PAGE
Blessed Rain, 32
Great and Good, 19
The Happ7 Scholar, 20

SECOND STEP.
A Mothers Lullabv, .
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14
Harmony Player for the Harmonium, "
Commonplaces of Music. Part A paper.