Singing bird : or progressive music reader ; designed to facilitate the introduction of vocal music in schools and academies

progressive music reader ; designed to facilitate the introduction of vocal music in schools and academies

/ ?'-v- / ^ N a nan I in-* very beBt quality ar and Violoncello Strings and «. *. «J »| « « i n I11 Library No.'&X. PLEASE RETURN. i -._, - - • ••• B &. n THE SINGING BIRD; ov ragrmifrt Ufa six $tu)tn: >^ fe T-?- :*=* Do re mi ? ^3 T~V ^ 1 r r r rrr r * = * ffpf ^ T* 1. Come, let us learn to sing, Loud let our voi - ces ring, Do re mi fa sol la si do ;} 2. This is the scale so sweet. Do re mi fa sol la si do ; Sing it with accent meet, Do re mi fa sol la si do ; First ascend in accents true, Then descend in order too ; Do si la sol fa mi re do. Let us sing with op - en sound, \ With our voi-ces full and round, J Do si la sol fa mi re do. 3. 0 how we love to sing, Do re mi fa sol la si do ; Praise to th' heavenly King, Do re mi fa sol la si do ; Let us learn his face to seek, Then aloud his praise we'll speak, Do si la sol fa mi re do. mpefo to facilitate % irfntotta 0f Dtal Stasit w Steals aifo ^atemitt. By WILLIAM B. BRADBURY. IUTHO* OP " SCHOOL SINGER," " MUSICAL GEMS," -" SABBATH SCHOqL MELODIES," "MENDELSSOHN COLLECTION," " PSALMIJ5TA, " ALPINE GLEE SINGER," &C, &C. N E W YORK: IYISON, PHINNEY & COMPANY, 48 & 50 WALKEE STREET. CHICAGO: S. C. GRIGGS & CO., 39 & 41 LAKE STREET. CINCINNATI: MOORE, WILSTACH, KEYS & CO. ST. LOUIS: KEITH & WOODS. PHILADELPHIA: SOWER, BARNES & CO. DETROIT : F. RAYMOND & CO. SAVANNAH: J. M. COOPER & GO. INTRODUCTORY CHAT ABOUT THE SINGING BIRD. T H E title of tbie work perhaps sufficiently explains its design. The plan, it will be perceived, is quite different from any of the author's former works. The SINGING BIRD is intended especially to render comparatively easy and phasaut the introduction of V O C A L M U S I C as a study, as well as a pastime, in schools, and seminaries, and juvenile classes. By the new arrangement of the Elements, the pupil begins to sing by not.-, and in pleasing melodies, from the very first lesson, and the Elementary and Song department are so completely interwoven, that ipil will not soon tire of study, as he reaps at every step an abundant reward for all his application in the pleasant songs that continually greet and cheer him. The difficulty to the beginner, of changing the scale, and singing in different keys, has been kept constantly in mind in the methodical arrangement of the music, so that songs in the keys with three, four, and five flats and sharps, will be found as easy and as simple as in the key of C. The subject of Transposition is explained in a familiar and attrac­tive way, and illustrated by new figures and diagrams. The Chro­matic Scale, even, is so introduced as to remove some of the greateet obstacles in the way of its general use in schools. The music and poetry generally is new, and of an unusually inter­esting and varied character. The Singing Bird has been prepared by special request, and for a specific object, and there is perhaps no work of its class that has re­ceived any thing like the amount of care and study that has been bestowed on this. The great variety of exercises in the different keys will enable ev­ery teacher to select such as are adapted to the wants of his class, and still follow out the general plan of the work. The p*s£tice of introducing new songs by rote may be occasionally resorted to without detriment, though the necessity of this practice is in a great measure avoided by the many plain and simple exercises aud tunes for reading. Entered according to Act of Congress, in the year 1852, By WILLIAM B. B R A D B U R Y, In the Clerk's Office of the District Court for the Southern District of N e w York. NOTICE TO COMPILERS OF SONQ BOORS.-In procuring the vast amount of new material for this work, as well as m the compilation, | .merit, and composition of the music generally, the Author has spent much time and money. And not the music only, but most of the been purchased by him, and writers liberally paid for their compositions. By the laws of copyright, this, having been " Entered according to Act of Congress," is his property; and no person can take, (except by either poetry or music for republication, or for reprint in any shape whatever, without directly infringing upon the Copy-right . »ped t'u.it tins notice will be sufficient. WILLIAM % "Ba^DBuar New York. Oct., 1852. 6terr*tvl,t<l by T H U U H B BlLtTHi 816 William St. GENERAL INDEX. > A , B , C lfi A hard Winter 77 A long pull..X- 160 Autumn Song 91 Bells are ringing 32 Be thou, O God 76 Brooklet flowing 90 Call to the Flowers 132 Can you tell 50 Changes 61 Climb the Mountain 68 Come forth and gather 36 Come, follow me 72 Commencement Chorus 176 Day is gone 45 Dear Father, ere we part 175 Death of a Scholar 174 Drink to Spring 145 Enjoy every Hour 74 Exercises for Vocalization 127 Exercises inChromatic Intervals,88,92 Exercises in Dotted Notes 36, 53 Exercises in the Minor Key 120 Exercises in the Intervals 31, 34 Firmly stand 89 Flats,Sharps,andNaturalsexplained40 From all that dwell 43 God's watchful care 104 Good Morning 159 Grammar Song 26 Great and Good 29 Hail, happy Dav 153 Hans Peter HO Happy School 158 Heavenly Father, bless 99 Heedless Minds 57 Higher will we climb 114 Holiday Echo Song 54 HHHHHoooomwwww est owrwfueeteee a ttins t tdtoo h bhgeeo oF srwsiit nbreganiydlnimg ny g 115231617223 Hurrah for Holiday 141 Hymn for Examination 70 If a weary Task 48 Intervals of the Scale 39 Invitation to singing Ill Keep up a good Heart 96 Let us endeavor to show 45 Let us sing with cheerful voices. 103 Look Pleasant 58 Major and Minor explained 117 Martyn 174 May comes laughing o'er the Plain 109 Meeting 90 Melody and Harmony 30 Mind your own Business 97 Minor Scales explained 118 Morning Call 56 Morning in Spring 93 Morning Song 29 Morning Song 49 Morning Song of Thanks 112 Morning Walk 107 Music 123 M y Garden 78 Never late 66 O come, come away 135 O, how sweet 27 Old John Cross 171 O, merry goes the time \. 169 On the Mountain's airy summit... 146 O, the singing School 121 Our cheerful Song 18 Our Father in Heaven 21 Parting of Friends 5.1 Peeping through 91 Perseverance 48 Pleasant Spring-time 90 Pleasures of War 128 RRPPPerruoaaprayyiemee niarren n aagndtto ptcoe lproefsneiicnntg g PS lScechahosoouolrl e '11.4673 381 73 Rouse, ye Sleepers Scales in all the Keys School Bell Shepherd, while thy Sister come Sleigh-bell Song Sliding down Hill Song in Double Measure. .. Song in Quadruple Measure. Song in Triple Measure Song of Farewell Song of Leger Lines Song of Sharps Song of the Reaper Songs of Letters Soon will return Sound, sound the merry Spring Life Spring Song Sunset Song . Tea-Party Song r The Absent The Bell doth toll The Bible The Bird's Life The Boat Song The Caravan The Chase The Chromatic Scale The Compact The Cradle Song The Cuckoo The Evening Sail The Fisher The Flower-Garden The Fountain The Fount of Joy The Goblet TThhee GHGHGoouolbnodbtdeye n-rSS cH hoRhoefuorp lltshaehere r dA lps 90 85 50 120 Mia 156 172 90 92 21 107 30 42 46 25 70 28 75 148 67 149 95 53 63 140 44 38 152 80 37 57 76 ST 106 64 60 163 168 44 113 \7^> 48 131 The Lark : The Light Heart The Linden Tree The Mill Boy The Miner The Moon The Morning Call The Mountain Rose The North Wind doth blow % The Play-Ground The Scholar's Prayer The School-Bell The Swiss Toy Girl The Wild Bird's Song The Wood-Horn The Young Traveller This Life 's a Blessing Thy Works proclaim Time flies "Tis Home where'er the Heart is. To the Clouds Transposition illustrated by the Trv again Vacation «<r Warble for us, Echo sweet Winter lingers 101 144 69! 150 89 162 20 m 77 139 59 58 103 124 94 34 50 108 136 170 7? 129 5r» 100 57 71 *>9 77 105 134 82 9? 100 164 69 110 98 174 165 31 155 106 INDEX OF SUBJECTS. Sacred Piocee B«thou,OCod 76 Do&r PlKther, ere we part 175 IK-aiti oi • Scholar 174 all that dwell 43 God's watchful imo 104 (Jr. at and Good 29 HesTealj Father, blest 99 11y 111 n for Examination 70 Manyn 174 ftfonuag Bong "I Thanks 119 Prayer at open ins Buliool i'-i Prayer at closing School 173 II rd, while thy 120 The Hiule 63 The <; I Shepherd 175 bolar'i Prayer 34 Tin Works proclaim 50 Walk and sing 69 Sounds. A hard Winter 77 Climb the Mountain 68 forth and gather 36 follow me 72 45 -1 nds 57 to be Binding 137 How true is the Friend 112 .i Jit 68 iW 45 L i at *\'.IX wiih cheerful voices ... 103 Ivh.k Pleaaai.l 58 laughing o'er the Plain. 109 30 owu liusineaa 97 .1 56 * *•«&. i»7 'linCroae 171 Perseverance 48 Repine not.. 48 Sister, come 102 Sound, Bound the merry 28 Sunset Sung 87 The Bell d..ih toll 53 The Chase [53 The School-Bell 50 This Lite's a Blessing 57 Tun.- M M "7 Uncurbed Tonguei 100 Warble (of us, Echo sweet 116 Sentences, and other Short Pieces. A, B, c 16 Autumn 8ong 91 Brooklet Bowing M Firmly stand BO Meeting '.MI Parting • 91 Peeping through 91 Pleatanl Spi iiig-time M Pur.- and perfect Pleasure 68 Rouse, ye Bluepert 90 Songi of Letters 95 The Cuckoo 76 The Linden Tree 89 1'he Mill Bug SO The Moon 77 Winter lingm 31 Songs for oper<ng or closing School. Commence men! Chorus ]76 Dear Father, err we part 17.") From all that dw«ll 43 Good Morning 159 Happy School 158 Heavenly Faihw, blest '. 99 Morniug Song 29 Morning Song of Thanks 112 Our Father in Heaven 21 Prayer at opening of School 173 Prayer at closing of School 173 School Bell «. 50 The Scholar's Pi aver 34 The Golden Rule .' 44 We're all here in Time 174 Temperance Pieces. Drink to Spring 145 The Goblet 168 The Temperance Call 136 Patriotic Songs. Hail, happy Day 153 Pleasures of W a r 128 Tea-Party Song 142 W h o is a Patriot? 165 Home Songs. Chances 61 Home 52 It is Light 08 My Garden 78 Sunset *>"« 67 The Absent 95 The Flower-Harden 64 Tit Home where'er the Heart is 105 Walk and sing 69 Songs to encourage Study. A long pull ]fi0 Happy School 159 Higher will we climb 114 If a weary Task 4# Keep up a good Heart 96 Never late ag O come, come away ]3j Sister, come 102 The Good Scholar ]]5 W e delight in our School 98 Holiday, or Vacation Songs. Holiday Echo Sons 54 How sweet to go straying ]26 Hurrah for Holiday 141 Roaming ]38 Sleigh-bell Song 156 The Play-Ground 124 Songs for Graduates. Commencement Chorus 176 Dear Father, ere we part 175 Hymn for Examination 70 Parting of Friends 51 The Young Traveller 55 Exercises and Studies. Exercises Tor Vocalization 127 Exercises in Chromatic Intervals, 88,92 Exercises in Dotted Noies 36,51 Exercises in the Minor Key 120 Exercises in the Intervals 31,34 Flats, Sharps, and Naturals explained 40 Intervals of the Scale 39 Major and Minor explained 117 Minor Scales explained 118 Scales in all I he Keys 85 Songs of Letters 25,30 The Chromatic Scale OT Transposition 79 Transposition illustrated by the Mu­sical Ladder 82,63 THE SINGING BIRD; OK, PROGRESSIVE MUSIC READER. uIIAPTER I. PRACTICAL EXERCISES, OR FIRST STEPS IN SINGING BY NOTE. -s> 1 J3L 2*. G- 3 Ascending. J2L & 4 6 JSf_ 6 THE SCALE. G>- &- &- 7" a 8 -&- 7 Descending. 6 5 4 -r5>- 8 4SL 2 -f^ 1 The Scale (as seen above) represents, by characters called Notes, a series of eight musical sounds. To learn to sing these sounds correctly is the first step in the art of reading music. (Pmctise tJie scale toith tJie numerals.) To the different sounds of the scale are often applied, for the convenience of practice, the following syllables:- Do, Re, Mi, Fa, Sol, La, Si, Do. Pronounced, Do, Ray, Mee, Fah, Sole, Lah, See, Do. The notes, representing the scale, and other musical exer­cises and tunes, are printed or written upon or between five parallel lines, called a STAFF. Sing to the syllables. THE SCALE UPON THE STAFF. -G>- 1 D0 5E5*EE5=^ -&- ~g g &~ J5L 4 5 sol, 6 la, 7 8 D; 7 st, 6 la 5 sol, 4 zzsr 3 2 1 da. THE SINGING BIRD, OR POSITION OF THE SCALE Th< BOmetlmea begins upon one place, and some­times upon another, of the Staff. In the above, it begins upon tin' lowest Kne. It may begin upon any line, or be " The Musical Ladder." It may be changed to any posi­tion upon the staff. There are rules regulating such changes, which will be presented in due time. W e will content ourselves for the present with the practice of the tween the lines. It is like a ladder, and is often called | scale, and exercises and tunes formed from it THE SCALE IX ANOTHER POSITION UPON THE STAFF.-(HIGHER.) 1 . Sinn to ihe syllable L a . & -r & ^_ C ^-0-^IZ^=±ZZI^= < &. - & • Do, La, re, la, 1)11, la, la, sol, la. la, la, si, la, do, la. Do, la, st, la, la, la, sol, la, fa, la, mi, la, g gr do. la. re, la, 2 . Sing io the words. THE SCALE IN ANOTHER POSITION UPON THE STAFF.-(LOWER.) Do, re. That peace mi, on • & - - » & - - - & - & - A earth sol, and /a, se </o, m a y reign, Do, To Heaven we sol, pray. A mi, men. re, A -&- do. men. N O T E . - I n the above w e have added a short line, in order to write the scale still lower. To T H E T E A C H E R . - I n the following Exercises the teacher will th.1 pitch generally, ns indicated by the numeral 1, (supposing tie elefand signature to be there.) simply saying to the class, "Now Do (1) is on the lowest (or first) line." " N o w between the first and »ec>nd lines, etc. By thus frequently changing; the position of t1 e [earns from the first to regard tiie intervals in th» ir re la:: >n. irrespective of any given place upon the staff. | This w e deem of much importance in teaching the art of reading music vocally. (In learning to play upnn an instrument the case is different.) After getting some practical idea of what reading music is-by the preparatory exercises that follow-the pupil will easily understand and appreciate the importance of fixed sounds as indica­ted by the letters and clefs. " O N E T H I N G A T A TIME," must be the successful teacher's motto. PROGRESSIVE MUSIC READER 3 . Rising and falling O n e Degree of the Scale. -G> « & - 1 2 1 Do, re, do, Here we meet 0, how sweet Z3Z 2 re, with the Z251T 2 hour - & • 1 c?o, to ot* I 2 re, geth sing re, er, ing, & ft- 1 2 do, re, Here to Hearts and &- 1 do, learn voi 2 re, our ees Z125ZI 2 re, songs joined 35! 2 re, to in - £ ? - 1 do. raise. praise. I 4:. Rising and falling T w o Degrees of the Scale. 1 • & • 3 2 1 mi, re, do, 2 3 1 2 .Z>o, re, mi, do, re, Blithe is the hour that w e spend here in & ft 1 2 <&>, re. &-&-\--&-G 3 Z mi, mi, sing - ing, 2 1>2^3 >>5 s^ & -, 3 3 2 1 2 22 2 2 3 2 mi, wu, re, cfo, re, re, re, re, mi, re, "When m u - sic, sweet m u - sic, is cheer - i - ly 1 1 do, do. ring-ing. S 5. Three Degrees. -<5>-ft 1 .2 J>o, re, 22=SSE. I <$. Four Degrees. : * = & - •: 5~ •& - & - & - - & • ~& <«S> _ T 3 nit, 4 4 3 2 me, re, 1 do. ( N o w as - cend - ing, n o w de - scend - ing, ) (All our voi-ees sweet-ly blend-ing. j" 7. Five Degrees. 3 4 5 5 mi, fa, sol, sol 1 2 Do, re, Let us make our voi - ees 5 sol, ring: 5 4 3 sol, fa, mi, N o V s the time -ft &-&-&- 2 1 1 1 re, do, do, do. to learn to sing, I -<5>-- 1 2 Ma - ny 29 « _ ^>- '29" S> -e--^-e - & &- -& *5 £ O 3 voi 4 5 ^ 6 5 5 6 5 6 5 ees seem to say, seem to say, "Mer - ry * The Dots show that the music is to be sung twice.-They are called a REPEAT & - • & - -e - e 4 3 2 1 1 2 1 1 sing - ers, here's the way, here's the way 1 THE SINGING BIRD; OR, 8. Six and Seven Degrees. « <^ " >D '& z*s I £?- :s5zz=z^zrr e? , =B 1 Do. Hap Sor re, vy row S mt, days swift 4 A are iy 5 sol, gli flies 6 la, ding be 7 *i, o'er fore do, us, us, 7 st, Life And G la, is we 5 sol, fresh, gay • 4 /a, and iy mi, earth laugh 2 re, is at do. fair care. Sounds proceed try Skips as well as by Degrees. The Skips, after a little practice, are easily measured by the eye. 9. Skip of a Third. 1 2 „ 1 3 1 3 Do, re, mi, do, mi, do, mi. Come and skip this Third with me. I 1 0 . Skip of a Fourth. 1 2 3 4 1 4 1 4 Do, re, mi, fa, do, fa, do, fa. Skip a Fourth now, no more, no more. I 1 1 . Skip of a Fifth. _ ^ _ -O- 29: ~GO> ft tl 1 - e- 1 2 3 4 5 1 5 55 11 5 Do, re, mi, fa, sol, do, sol, sol, do, sol. Af-ter wisdom let us strive, lei us strive. CHAPTER II. CLASSIFICATION OF MUSICAL SOUNDS. FOR convenience in the analysis of musical characters, they arc often classified as follows, viz.:- 1st,-Such as represent the Length of Sounds. ^ " u " Pitch of Sounds. H • « u p0 Wer of Sounds. These three distinctions are indicated by the terms, RHYTHM. MELODY. DYNAMICS. RHYTHM,-Indicating the LENGTH of Sounds. MELODY, " " PITCH of Sounds. DYNAMICS, " " POWER of Sounds. RHYTHM. The signs used to represent the different Lengths of sounds are called N O T E S * PROGRESSIVE MUSIC READER. 9 NOTES. Six different kinds of Notes are in general use, viz.:- The Whole Note. <Z> Open head. Half Note. eZ> 1 Open head & stem. Quarter Note. 0 1 Closed head tfc stem. Eighth Note. 0 U One hook. Sixteenth Note. 0 TIwo hooks. „ Thirty-second Note. 0 * * * Three hooks. Pupils should examine the preceding notes until they are quite familiar with their form and shape. Name the following notes No. 1, 22,, 33,, 5, 6, O 4, 5, 5 7, o 9, 0 u 1, 10, H, 12. U w , ^ . fc. The " W H O L E N O T E represents a /owg' sound. The H A L F N O T E represents a sound Aa/f as long as a Whole Note. The Q U A R T E R N O T E represents a sound a quarter as long as a Whole Note. The E I G H T H N O T E represents a sound one eighth as long as a Whole Note, &c. Name the notes m any of the tunes in the body of this work. To TUE TEACHER.-Question on the proportionate duration of sounds as represented by the notes; as, for example, H o w many half notes, think you, should be performed in the time of one whole note ? H o w many quartern i Eighths? <fec. If one whole note is sung, how many Bounds are made \ Ann. O N E . If two half notes are sung, h o w many sounds are made ? Ans. Two. What then is the difference between two half notes and one whole note? Most pupils will under­stand the relative proportions of the notes as soon as they are able to distinguish one from another. Signs indicating silence are used in music. They are called RESTS. Their names and proportions are the same as the Notes. Whole Half Quarter Eiyhth Sixteenth Thirty-secotxd Rest. Rest. Rent. Rest. Rest. Rest. i I ^ «n Under Over Turned to Turned to **| the line, the line, the right, the left. T w o hooks. Three hooks QUESTIONS.-Upon the Rests. Name them in different tunes. The time of Notes and Rests is measured by equal mo­tions of the hand in BEATING, or by counting one3 two, & c, as will be shown in a future lesson. r r 0 0 0 0 0 0 0 o 0 0 0 0 0 0 0 f ' Name and describe the above-as one whole note is equal to two halvec, four quarters ^c. &c. 10 THE SINGING BIRD. OR CHAPTER III. 12. MELODY. PREPARATORY EXERCISES IN SKIPS. 13. C,~--G>--00 G &* & G>- 1 t I 1 3 1 2 3 4 1 4 1 2 3 4 5 1 5 1 Do, <tc. II -J-^ : _ ^ £ J £) &0 G &1 & &- 1 6 1 6 1 4 1 4 1 5 1 5 .\ Do, la, do, <tc. i 1 4 . Tunc proceeding by Degrees, or without Skips. Do (1) on the First Line Sing with numerals, syllables, and words. ^E^^EMEfE^f - % ^^gE^gg ~E^EJS5 S 1 2 8 2 3 4 5 5 5 6 5 6 7 8 8 7 6 5 4 8 2 3 4 5 4 3 2 1 re, mi, re, mi, fa, sol, sol, s,,l, la, sol, la, si, do, do, si, la, sol, fa, mi, re, mi, fa, sol, fa, mi, re, do. Let us, with a joy - Jul mind, Praise the Lord, lor He is kind; For His mercies shall en - dure, Ev - er faithful, ev - er sure. m The Skips of 1, 3. 5. and 8, are the easiest skips in the whole Male, and, when properly learned, serve as guides to the voice in singing the more difficult ones. QUIWTION.-What syllable is the numeral 1 ? 3 ? 5 t Sing with the syllables, (and also numerals) 1, 3, 6; 1, 5, 3; 3, 1, 5; 3, 5, 1; 5, 1, 3; 5, 3, 1; 1, 1, 3, 5; 1, 5, 5, 1, dec. To THE TEACHER.-We should practise these skips in various keys, allowing the pupils to precede the exercise with the scale, whenever we commenced a new key PROGRESSIVE MUSIC READER 11 1 5 . Tune, with Skips. Do (1) below the line. 2 :H ;=T &=£===! r =3 1 3 2 3 4 5 4 3 6 5 4 2)o, mi, re, m,i, /a, so/, ^/a, mi, /a, so/, y<a, I love the Lord, He heard my cries, And pit-ied 251 3 mi, :s?: 3 mi, ev-fe= §E^SfeES^^:,Jll 2 3 5 6 7 8 7 6 6 5 re, mi, sol, la, si, do, si, la, la, sol, ery groan ; Long as I live, w h e n troubles rise, mi, I'll 4 3 fa, mi hasten 2 re to 2 I re, do. His home. Each line and space of the Staff is called a Degree. IIo w many Degrees are there in the Staff? The Staff, as we have seen, consists of five lines and four spaces, but this number is not always sufficient. When more are needed, they are added above or below, as may be re­quired (in order to sing higher or lower), and are called A D D E D LINES. The extra spaces also, thus formed, are reckoned and employed as in the Staff. STAFF, WITH ADDED LINES AND SPACES. All music is written upon the Staff. The degrees (lines and spaces) of the Staff are numbered from the lowest upward, viz., the lowest line is reckoned as the first line, &c. Exercise on the lines and spaces, teacher pointing. The added lines and spaces are reckoned from the Staff the one next the Staff being called the first. 5th line.- 4th line.- 3d line. - 2d line. - 1st line.- % 1st line above. 1st space above. 1st line below. 1st space below 4th space. 'Ad space. 2d space. 1st space. 1 6 . A plain Melody or Tune. Do (1) on the Fiiift Line. Sing with numerals, syllables, ana La. • 1 Do, 1 do, 2 8 EZS=*: 4 8 •4. 2 re, 3 mi, 3 mi, 3 mi, 3 mi, 4 3 mi, >-J: 2 1 re, do 7 »i, do. rj^zsfc 2 r*. 12 THE SINGING BIRO. OR 112 82 3 4323333212321 Do, do, re, mi, re, mi, fa, mi, re, mi, mi, mi, mi, re, do, re, mi, re, do. 17. The same Melody as No. 16. Rhythm altered by substituting eighth notes for quarters in several places. QUESTION.-How many eighths should be sung in the time of one quarter ? Do, do, re, mi, re, mi, fa, mi, re, mi, »nt, mi, mi, fa, mi, re, do, si, do, re. 1 When I be - gin my morn - ing soug, Let thank-ful - ness in - spire my tongue; 2. I yield my powers to tby com - maud; To thee I con - se - crate my days; Do, do, re, mi, re, mi, fa, mi, re, mi, mi, in>, mi, re, do, re, mi, re, do. The kind - ness of my Ood pro - claim, And tell the won - dere of his name. - - pel - ual bless - ings from tl.y hand De - Band per - pet - ual songs of praise. • When two or more eighth (or sixteenth) notes are joiued by the hook, they are to be sung to one syllable of the poetry. 1 8. A plain Melody or tune. ONE (Do) on the first space. 18 34 43 2 13544323 22 31 43 22 32354821 Do. mi, mi, fa, fa, mi, re, do mi, sol, sol, fa, mi, re, mi, re, re, mi, do, fa, mi, r*: re, mi, re, mi, sol, fa. mi, re. do. PROGRESSIVE MUSIC READER 13 1 9 . The same Melody as No. 18. Rhythm altered by substituting quarter for half notes in several places Do, mi, mi, fa, fa, mi, re, do, mi, sol, sol, fa, mi, re, mi, re, re, mi, do, fa, mi, re, re, mi. re, mi, sol, fa, mi, re, do. Lord, in the morning thou shalt hear M y voice ascending high; To thee will I direct m y prayer, To thee lift up mine eye, 20. A plain Melody or Tune. ONE (DO) on the second line. Sing with numerals, syllables, and I*a. z=g=:Z=g*E. SEgEgE^gE^^^^JE^fe^JEg^g^EgEg^: & 1 3 3 3 1 5 5 5 5 3 3 4 3 2, <fec. Do, mi, nri, mi, do, sol, sol, sol, sol, mi, mi, fa, mi, re, do, mi, mi, mi, do, sol, sol, sol, sol, mi, do, do, si, do. la, la, <tc. 21. The same Melody as No. 20. Rhythm altered by substituting quarter for half notes in several places. Q U E S T I O N . - H o w many quarter notes should be sung in the time of one half note ? .3 1- j , 1- £• -&-A-&- 1. Awake, m y soul, to sound his praise I Awake, m y harp, to sing! Join all m y powers the song to raise, And morning incense briug. 2. Among the people of his care, And thro' the nations round, Glad songs of praise will I prepare, And there his name re - sound 22. A plain Melody or Tune. ONE (DO) on the second space. Sing with numerals, syllables, and La. 1 2 2 3 5 4 8 2. An. 52 Do, re, re, mi, sol, fa m» «, re, mi, re, do si la, sol, re, re, re, mt, fa, re, mi, re, do, do, si, si do, re, mu re, re, do. If THE SINGING BIRD; OR 2 3 . Tin4 same Melody as No. 22. Rhythm altered by substituting quarter for half notes in several places. Sin# I syllables and words. , Do, re, re, mi, <tol, fa, mi, re, <fec. si, la, sol, re, <tc Come, let us join our cheerful songs With angels round the throne; Ten thousand thousand are their tongues, But a11 ^eir joys are one. * The DOUBLE PAR, a9 above, shows the end of a strain or line of the poetry. f The T I E is a cui ved line placed over or under the notes that are to be sung to one syllable. 2 4 . O N E ( D O ) on the third line. ssfepfrTn Do, •' sol, do, re, mi, mi, mi, mi, re, do, fa, mi, re, do, re, mi, re, do, la, si, do, sol, mi, do, re, fa, mi, re, do. Be thou, 0 God, ex - alt-ed high, And as thy glory nils the 6ky, So let it be on earth displayed, Till thou art here an there obeyed little regard to the Rhythm. We must now pay more attention to this department. It is necessary that the notes in a piece of music should all receive their exact proportion of time; that is, the whole notes should be sung just twice as long as the half, four times as long as the quarter, &c. For greater convenience in reckoning the proportionate duration of the notes-or length of sounds-music is divided off into small equal portions. These portions are called CHAPTER IT. RHYTHM RESUMED. REMARK.-Those who have proceeded thus far are doubtless con- I that it is not such a very difficult thing to learn to sing by The preceding tunes have been sung, however, with comparatively . PROGRESSIVA IffWSIO READER. 15 M F A S U R E S , and the perpendicular lines dividing them are called B A R S. BAR. MEASURE. BAR# MEASURE. BAB,. MEASURE. BAR. Wrrfc^g^Egpf There may be various kinds of notes in the measures, but there must be an equal amount in every measure ; that is, one measure must contain as much in the aggregate as another.* QUESTIONS -How many measures in the above ? How many bars ! Examine, also, tunes in the body of the work. Question on the rela­tive proportion of notes, as: H o w many quarters are equal to a whole ? H o w many halves ? H o w many eighths to a quarter ? to a half ? to a whole ? &c. Large figures placed at the beginning of a piece of music denote the fractional proportions of the whole note, thus showing how much is contained in each measure. As, for example, ^ shows that four quarter notes, or an amount equivalent to them, fill a measure; *> shows that three 4 9 , quarters, or their equivalent, fill the measure; ^ that T W O H A L F NOTES fill the measure, &c., &c. * The first and last measures of a piece of music are sometimea ex­ceptions to this rule. Examine different pieces of music in the body of this work, and de­scribe the number and kind of notes that fill the measure. For still greater precision in Rhythm, it is necessary for the beginner to have some guide or rule by which he m ay be enabled to give the exact proportion of time to the dif­ferent notes in the same measure. This is done either by a motion of the hand called BEATING, or by Counting. The figures at the beginning described above, assist in this also , the upper figure showing Itotu many motions or counts in the measure (thus dividing the measure into a certain num­ber of parts), and the lower figure showing the kind of note. To aid in computing Time, Maelzel. the celebrated French mechanist, invented an instrument called a Metronome. It has a Pendulum, which swings and ticks at regular intervals of time, like that of a clock. (The instrument is, in fact, a clock, turned upside down, but without dial plate or hands.) If the weight be moved upwards, the pendulum will swing slower, if downwards, faster; but put the weight where you will, its motions will al­ways be in equal time; never hurrying, never dragging. In the performance of a-piece of music, the time must be computed with the same accuracy and regularity as by a metronome or a clock 10 THE SINGING BIRD; OR EXAMPLE OF MUSIC WITH TIME-FIGURES. 9 « <* 1= . . « The upper figure on the above, being ^ , shows that there •re two beats or counts in the measure. The lower figure being Q , shows that H A L F notes fill the measure, henca one beat or count to each H A L F NOTE. QUESTIONS.-In the above piece, the first measure contains what! There must then be given one beat or count to each what ? The sec­ond measure contains what? If you give one beat or count to one half note, how many must you give to the whole ? The third measure contains what? How many quarters are equivalent to one HALF) Then how many quarters must be sung to each beat in this piece? 25. The A. B. C An Easy Exercise in Double, or Two-part Measure, for Beating Time and Singing Two Quarter Notes in each Measure. One Beat to each Quarter Note. down, up, d. n. d. u. d. u. d. u. d. u. d. - u. - d. u. Eii^s^^f^fs^^i^^^f^y^gs^ A, B, C, D, d. u. E, F, G, H, 1, J, j&j^l_|_tl^j :. d. 11. u. K, L, d. u. M, N, d. i O, P, d. Q, R, u. u. S, T, d u. €ZZZM i r^h^M^^^gi U, W. V. X and Y, and Z, 0 dear me. cannot sny my B, C. To TUI: 1 FATHER.-Questions OB the figures-the different notes m - ee-the amount of time to each note-how the eighth notes . I be »ung. Ac. In the above song the pupils will recognise a familiar melody, and will be able to give their attentiou at once to the motions of th« band. When two or more notes are to be sung to one beat, as in the seventh PROGRESSIVE MUSIC READER. IT or eleventh measures, the tendency at first will be to cause confusion in the beating; but a few illustrations and a little help from the Teacher will soon enable the pupil not only to compute the time, but to perform the music while beating it, accurately. EXERCISES PREPARATORY TO BEATING TIME. 26. (Count several times and steadily.) One, Two; One, Two, 6fc. This is called DOUBLE MEASURE. It has T W O counts or beats. The upper figure is Q. 27. Count One, Two, Three; One, Two, Three, Sfc. This is called TRIPLE MEASURE. It has THREE counts or beats. The upper figure is 3 • 28. Count One, Two, Three, Four, fyc. This is called QUADRUPLE MEASURE. It has FOUR counts or beats. The upper figure is j\.. 29. Count One, Two, Three, Four, Five, Six, Sfc. This is called SEXTUPLE MEASURE. It has six counts or beats. The upper figure is Q. BEATING TIME. Double Measure has how many parts (counts or beats) ? Make T W O motions of the hand-down, up. Triple Measure has how many part* * Make THREE motion* of tne nana-down, tefl, up. Quadruple Measure has how many parts ? Make FOUR motions of the hand-down, left, right, up, Sextuple Measure has how many parts? Make six motions-down, down, left, right, up, up. %W Each count or beat represents a certain part or portion of the measure-hence Double Measure is said to contain two parts, Triple Measure three parts, &o. ILLUSTRATION OF THE MOTIONS OF THE HAND IN BEATING TIME. Double Measure. Triple Measure Quadruple Measure. right PL, O left °J/7 1 a. O * 0 left Sextuple Measure. a,' 0 a. 0 right left a, o 3 a. s 1* T H E SINGING BIR^, GA. In Sextuple Measure, at the first " d o w n " beat the hand f;rlls half-way; at the second, quite d o w n - t h e same with the two upward motions : or, if preferred, three motions, as in Triple Measure, repeated. -Tn all the rapid movement- of Sextuple Measure, it i- bet­ter to beat M in Double Measure, letting the hand full on the first part, and rise on the fourth. W e usually teach our pupils that Sextuple i or T w o l>e;it-; and i ben beat the tune •« itb the right hand, pointing to the note* with the left. ACCH7T. Certain parts of a Measure generally receive more empha­sis, or stress of voice, than the other parts. This is called Accent. D O U B L E M E A S U R E is accented on the first part TRIPLE M E A S U R E is accented on die first part. Q U A D R U P L E M E A S U R E accented on first and third parts. SEXTUPLE M E A S U R E accented on first and fonrth parts. I)o\Vt), Up, (1. u. SO. OUR CHEERFUL SONG. Do (1) on the Second Line. What kind of Measure? u. d. u. d. u. <l. u. d. u. d. u. d. u. t . . I.•-. 1 . L Do. tin, si, la. In, now our oheerfol daya will speed ft e the 0 In, ', Sal, In, si, song, Bright with youth-fu] long, lie tith and % i_r - er do, feel steal \ Sing w LMIO ll j Youth ami beau - ty baste a - way, Pleel - ing, dash - inir tie / >i< Itnesa, pain, and sor - low slay, Youth a - lone Iiath pie do, do, mi, mi, sol, ) Days and months re - fuse ) Who can prom - ise we do, uur. as - ure, as - ure. u. d. u. m ma sol, to ? wait, .1. .1. w. d. u. d. u. shall sing, . m :• 11 ES^^feiilpliDIiieaiisl 1. UP W H O pluck* liis rl«>wers too late, Finds no balm for heal - ing. Finds no balm ior heal - incr. d. d. UP W H O pluck* his flowers t<"' 3. Utice a - g a m u< fes - m e late, riug, Finds no Songs of balm for joy - ous ing, ure, Finds no Songs of balm joy - ior oua heal meas ing. • U/4. PROGRESSIVE MUSIC READS* 19 3 1 . What kind of measur°? How many beats? Pupils examine each measure and explain, as in No. 30. Down, left, up, d. 1. u. d. 1. u. d. 1. u. b=Egfeg3fe-^=^ I 2 1 2 A dot affixed to a note makes it half as long again : thus, a dotted whole note is equal to a whole and a half note, joined; a dotted half note is equal to a half note and a quarter, &c. 32. What kind of measure? Examine and explain.- Beat the time and point to the notes. ^==b===fe=iEL=n &- /Q- • 1 1 2 3 1 2 3 1 2 3 1 3 3 . What kind of measure? How many beats or 30unts? Examine and explain, &c. .9E j j 1 1. 12 8 4 1 2 8 4 1 2 S4 1 2 8 4 3 4 . What kind of measure? How many beats or counts? Ans. Six or Two. Examine, & c * K?H?:h 12 3 4 5 6 Or* 1 2 ->i-J 12 3 4 5 6 1 2 m^m£ ~ i - - 123456 1 2 3 4 56 1 2 12 CHAPTER V. PRACTICAL EXERCISES, COMBINING RHYTHM AND MELODY. PREVIOUS to the following songs, practise the skips 1, 3, 5, 8, in their various inversions, as: 1, 3, 5, 8; 1, 3, 8, 5; 1,5,3,8; 1,5,8,3; 1,8,3,5; 1,8,5,3; 3,1,5,8; 3,1, 8, 5; 3, 5, 1, 8;.,3, 5, 8, 1; 3,-8, 1, 5; 3, 8, 5, 1; &c. * Sextuple Measure may be counted or beaten the oame as Double Measure. THE SINGING BIRD; OR, Beat Down, up. 35. SONG IN DOUBLE MEASURE. ONE (DO) on the first Added Line below, and Third Space u. d. u. d. u. d. u. d. u. d. u. a. d. a =2 2== ^^r^=e is -& ^ J zJ^: i)o, Shu* I've lve Wit, we been been «o£, now eit - stand - sol, in tiriL,' ing la, sol, Dou - - by in la, si, ble the the do, sol, Meat - ure, hill - side, gar - den, do, si, One and Lit - tie Where Uje la, all birds buz - sol, the flew zing fa, mi, strain pro gay - ly bees flew re, • long; round; round ; u. d. u. A u. -•-:3- sli^i?i^Mfe=ailiP=^gi£^i :s:~~z 7><». mi, Doe - BLK a W hat a sol, sol, MICAS - uas, •fat] - ing, hum • niiug, /a. O What go - sol, la, si, what a hig. do, sol, pleas - m e •pi ing - ing eon - iiiLr, do, do, • . Ev - er F r o m their A s their re, re, may be nest - lings hon - ey mi, re, found in to the cells they do. song ground. found. 36. THE MILL BOY. ONE (DO) on the Second Line. Beat Time and Sing. II _=5Et^i=^3Jb^=ilC *o. re re, Lawrence m% mi, mi, go straight to la, si, bit you do. spill. PROGRESSIVE MUSIC READER 21 37. OUR FATHER IN HEAVEN Song in Triple Measure. ONE (DO) on the First Space. j^** Tunes do not always commence on the down beat or first part of the measure, like " Song in Double Measure," ana "Merry Bells they may commence on any part of the measure. On what part of the measure does this tune commence ? _J_ I I _J 0 ^ i l£Pf -QE-0 - V0 m _ Do, do, re, mi, mi, re, do, re, do, re, mi, do, &o. 1. Our Fa - ther in heaven, we hallow thy name, May thy kingdom ho - ly on earth be the sane; 2. For - give our transgressions, and teach ui to know That hum - ble com - passion that pardons each fo« ; m -h g§^a^^EgEggp=s^gE^Bfe O, give to us dai - ly our portion of bread, For 'tis from thy bounty that all must be Keep us from temp - ta - tion, from weakness and sin, And thiue be the glo - ry, for ev - er. A fed. men. 38. SONG IN TRIFLE MEASURE. Beat Down, left, up. A O N E (DO) on the Third Space and First Line below. L u. d. L u. d. L u. d. 1. u. d. 1. u. d. L u. f=f^l i^S P .p__ T~" EElr^flfe d. I u. ._! I Do, do, do, si si, st, la, la, la, sol, This is Tri - pie Meas ure; a<j THE SINGING BIRD; <M. d. L n. a. n. d L u. d. 1. u. d. 1. u. d. 1. u. d. I. u. d. L u. Do, do, do, re, re, re, mi, mi, mi, fa, This is Tri - pie Meas - - ure; Be careful here,-two Eighth Note* to the Bent.-Be attentive. d L u. d. 1. u. .1 L u. d 1. u. d. 1. u. d. 1. u. d. 1. u. d 1. u. Trip, trip, triple, trip, trip, triple, triple, triple, triple measure, This is tri - pie meas - ure. 39. SONG IN QUADRUPLE MEASURE. ONE (DO) on the Second Line. Beat Down, left, right, up, d. L r. u. d, L r. u. d. 1. r. u. ElfjlPll^Sli7li3=l-i4 iiJ=-j iJf t=^=z Do, do. re, mi, do, mi, re, si, do, re, mi, do, si, sol. Let us sing a good old song In Quad - - ru - pie M^as - ure, Don't L r. u. d - L r. u. d I r. u. d. L r. u. ^7^i^i^L^^^^^E£^E#^if3L^iE^I do, do, re, »i<- fa, fa, mi, re, do, make the notes long, Dooi sing the sounds wrong. O si. mu sol, SIC. la, what 81, a do. treas do. ure! PROGRESSIVE MUSIC READER. 2. J TABLE OF THE DIFFERENT KINDS AND VARIETIES OF MEASURE IN GENERAL USE. There are four kinds of measure in general use. These are DOUBLE, TRIPLE, QUADRUPLE,. SEXTUPLE. If the upper figure is 2 the piece is in DOUBLE MEASURF 3 •« " TRIPLE 4 f " QUADRUPLE " a « « Q r« « SEXTUPLE " There are also three varieties of each of the above kinds; Double Measure. Triple Measure. Quadruple Meas. Sextuple Meas. 2 2 2 2 4 8 3 3 3 2 4 8 4 4 4 2 4 8 6 6 6 2 4 8 CHAPTER VI. CLEFS AND LETTERS. T H E different sounds of the scale are named after the first seven letters of the alphabet; viz. : A B 0 D E F © Tne Teacher will explain, anil sing or play the sounds of the above letters, naming them, and especially chawing the attention of the pupils to the fact that musical sounds are distinguished from eac^ other as to given pitch, or difference of pitch, by the letters, and not by syllables or numerals. The Scale may begin on either of the above letters. There are two kinds of staves in general use: one called the T R E B L E STAFF, the other the B A S E STAFF. The different staves are distinguished by characters placed at their beginning, called CLEFS. STAFF WITH TREBLE CLEF, Called the Treble Staff. STAFF WITH BASE CLEF, Called the Base Staff. m. Each clef is intended to designate a certain letter of the above series 24 THE The Treble Clef represents the letter G on the second line of the staff, counting from the lowest upward. The Base Clef represents the letter F on the fourth line of the staff, counting from the lowest upward. Every degree (line and space) of the staff is named after one of the seven letters. THE STAFF. WITH ITS LETTERS. Treble Staff. First added line above,-A- Fimt apace above. G D E -E F C-First added line below. D"F,rst s P a c e ra°w- Base Staff. c- -B- -D I -E-Notes placed upon either degree of the staff receive their melodic name from the letter of the line or space on which they are placed. Thus, a note on the first line of the Treble Staff is called E ; on the hrst space, F, &c. Practise reading tunes and exercises by the letters BIRD: OA N O T E . - T h e Teacher will adopt any method he thinks proper to aid the memories of his pupils in the position of the letters upon the staves. W e sometimes adopt the H A N D method-allowing^the two hands to represent the two staves, the right hand the treble staff and the left hand the base, the fingers the lines, and the distances be­tween the fingers the spaces. Beginning with the little finger of the right hand, w e name that E, the next G the next B, &c. This method RIGHT HAND,-REPRESENTING THE TREBLE STAFF LEFT HAND,-REPRESENTING THE BASE STAFF. PROGRESSIVE MUSIC READER. 25 amuses children, and they never learn so fast as when they are in­terested, or if you please, amused, providing always that the subject of the amusement is drawn from the lesson in hand. At best, it will be some time before ALL in a promiscuous class or school will learn the position of the letters so thoroughly as to be able to read by them; but a patient and pleasant teacher will even­tually be crowned with success, without overtaxing the application of his young pupils either. W e would recommend also the following " Songs of Letters." The Teacher should be particular to impress upon the minds of the pupils, that the letters representing the given pitch cf sounds are permanent. 5EU SONGS OF LETTERS. 39* Lines of the Treble Staff. Repeat several times. H£ L~J=^S=S= 0 0 0 -r r- 1 0* - 0* zt=e=?=±=e=t=t: - fc»- -0*-0*- When on a - ny staff you see the treble clef, The lines of that staff are E, G, B, D, F, For the clef, as you may 6ee, Winds a - round the let - ter G, And the lines of that staff are E, G, B, D, F. 40. Spaces of the Treble Staff. s^fe Of spa - cea we've FOUR In the staf£ and ro more, And each in its place, Helps spell the word KACK. 2© THE SINGING BIRD; OR, 41. GRAMMAR SONG. m 0 *0T m £ -±~-JL -_J_1-J_J-1_JJ->- - f - J - ^ ^ Tf CON The Three A D - JSC VERBS JUNG IN - lit - tie words you some - times see, Are TIVES tell the kind of NOUN, As tell of some - thing to be done, To TIONS join the words to - gether, As TEE - JEO - TIONS show sur - prise, As, A R - TI - CLES a, great, small, pret • ty, read, write, count, sing, men and boys- as Oh t how pret - ty- an, and the. white, or brown. jump, or ' run. wind or weather. Ah I how wise. F-#£P^==5=^ - I - A In - How The The NOUN'S stead things FKE - whole the of are l'O are name NOUNS done si - called of the the TION NINE - - 0~ & a - ny PRO - NOUNS A D - VERBS stands be PARTS OF M += m £ f=FE i thing, stand, tell, • fore SPEECH, As Her As A Which school, head, slow • NOUN, Read • or his ly, as ing, gar • den, face, your quick • ly, in, or Wri - ting, hoop, arm, ill, through Speak or my or the i"g, swing. hand. well. door. teach. NOTE.- As the number cf syllables vary in the different stanzas of the above song, small notes and ties are printed for convenience in adapting them to the music. This mode of adapting different stanzas to music is frequently resorted to. The necessity of such an arrange­ment will appear on reading the poetry. CHAPTER VII. HARMONY. Two or more sounds, heard at the same time, form a Oii"i;i>. and ;J succession of chords constitutes harmony. L.'t tiia two seotiomsof the school sing the following chords: First section u tt a n u « tt tt u u U tt sing CI tt tt tt tt tt 1, o 3, 5, 8, 5, 3, S scor tt u u M a a id section tt tt a u tt II sing 3. " 5. " 8. (( Q u 5 " 3. " 1. PROGRESSIVE MUSIC READER \ written over or under each other on separate the same staff. COMMON CHORDS NOTE.-Divide the school also into three or four sections, and prac­tise together the. numerals 1, 3, 5, 8. This combination of sounds, (1, 3, 5,8,) is called the COM­MON CHORD , In harmony the notes that are to be sung together are 42. EXERCISE IN TWO PARTS ON ONE STAFF. (COMMON CHORD.) May also be sung as a Round.* \J *J ' I 1 1 - & ? -0- 0 0 £ n o how sweet in bar - m o - ny to sing, Har - m o - ny, har - m o - ny sweet plea - sife-e* bring. N O T E . - L e t the whole school practise each part separately at first, then sing the two parts in harmony. There are a great many other chords and different com­binations of sounds in harmony. The Common Chord, sometimes called the Triad, is the simplest and most useful. The skips of tire C o m m o n Chord, or Triad, are the easiest * A Round is c ,jiece of music so composed that different voices, commencing at different times, may all sing in harmony. When one set of voices have sung to the figure 2, another set commences at the figure 1, and follows on after the first. In the same manner also the third and fourth sets commence successively one after another, as indicated by the figures • each set singing its part through, and re­in the whole scale to sing, and they should be pfca>tisra until they can be sung quite rapidly, and with certainty and precision. They will then serve as guides or helps to the more difficult skips in the scale. turning again to the beginning. It is customary to srns; a hVxind through in this manner two or three times. The one nhove \\v\\ l>»- sung in one, two, three, or four part.-*, a-* indicated bv the liijuiHt> The practice <>i Rounds tends to make good independent SHI/LTS besides, they are always interesting. 98 J THE SINGING BIRD; OR, 43. EXERCISE IN TWO PARTS.-SEPARATE STAVES. May also be sung as a Round. <5>-ih-i =£i!iE=l sound the merry mountain horn, Sound, •0~ -&- sound the merry mountain horn. iz^zzzzzzz: lSg=^LSj^^^=| Sound the merry mountain horn, Yes, sound, sound the horn, Sound the merry mountain horn, sound, 60und. CHAPTER VIII. MUSIC IN PARTS. HARMONY,-CONTINUED. TUNELS and other musical compositions are arranged in two, three, four, and sometimes even more parts. Music arranged in four farts is said to be in full har­mony ; music for adult choirs is usually thus arranged, viz: FIRST TREBLES, SECOND TREBLES, TENOR, AND BASK As not more than three parts, (and often only two,) are sung in a school, the tunes and songs in this book are mostly arranged in two and three parts, viz.: FIRST TREBLES, SECOND TREBLES, AND BASE. The Base may be sung either by scholars or the teacher, or played upon an instrument. Scholars should practise reading and singing.occasionally from the Base staff. Ob­serve that the letters upon the Base staff are two degrees lower than upon the Treble. a pROGRESSlVE MUSIC READER 29 1st Treble. ~J- 44. GREAT AND GOOD. Song in Two Parts-1st and 2d Treble. •9- L4: I. 2. 3. 4. 3=3r r7-rr-rF$s3=^_i j. I j i-^g Great An - Trees, Join, and gels and my good is thuf are bird&, and soul, and God ev flowers ev • er de Fa - ther, sing - ing, clare Him praise Him, Great and Great and Great and Great and good, good, good, good, Great and Great and Great and Great and good. good. good. good. 2d Treble. H9- bfe 3=5=^=M33 EZ^EE^ii^=L|iEh=ld - ^ "i i ^ 45. MORNING SONG. In Two Parts-Treble and Base. 1st Treble. ^UJ_U=£g 3 1. T h e day is h«jre, the night B a s e . May be sung by teacher or scholars 3£ =SEri~tre tZ^U-J-i^| ^Sr £ fc==c lit gone, The dusk do, mi, shades make re, way re, for do. morn. 7rr±-*-k-*- • May be sung by teacher or scholars. lirrru^ Do, do, m 2. The sun S. So sweet 4. "«My dear do, lifts he eat mt, mt, up his smil - eth, sons," he face and seems A so so to mi, do, bright, And mild, As 6&y, " Sleep do, fills smiles not do, the a these mt, plain moth goW do, with - er *9n sol, gold on hours* sol, en her a do. light. child. way." :tt» THE SINGING BIRD, OR, |4 @ 4 I 46. MELODY AND HARMONY Round, in Three Parts. 2 I' -as ant b=^fe^^Er|^E^fefefefes T it to hear a one voice mel - o 3 -0-*Y But with a sec - ond the # -0- 0. ^^^tEpEEp^^^E^ga^Z^g HOI .vie sweeter still will be, Then with a third voice we join in rich - est har • m o - ny. The The 0 0* 47. SONG OF THE LEGER LINES AND SPACES OF THE TREBLE STAFF. V/ May be learned by rote. Old Melody. . - r 0--? ~-j 0 0 + r-le - ger lines are troublesome, quite troublesome to m e ; But cer - tain - ly the first be - low the • p;ice that's tir:-t be - low the tre - ble staff is al - ways D; The sec-ond space be - low, it rhvmes so staff w wi»ll we'll al - ways C And if 'tis not too trou - ble - some, too trou - ble - some onti it JB. The space that's first a - bove the staff vou'll al - w a y s find :£i?=- to I **y G, im i'ii While tn« PROGRESSIVE MUSIC READER. 31 -0*-p-p-p-p ;P_~P_ =^T3 1. teach you that the sec-ond line 2. sec - oud space a - bove, like that - U - be - low is be - low, is ^a^pjiiil^s al - ways A. al - so IS. Then when we go a - bove the staff, the And now we've learned the tre - ble 6taff, We'll -^S-C m 0 B 0 0 0-~- 0- Fl# 5 0~-f *- r-F I. or - der is re - versed- For C is then the sec - ond line, and 2. sing it o'er and o'er- For prac - tice al - ways per - feet makes, as A 13 then the first, I've been taught be - fore. For For - p zv = : 1 -fi. . •- - p 0* 0* c prac is tice then al the ways zzzpz - p - sec per :zzr<i p - # -J m m 1 ond ect line, makes, and as A I've is been then taught the be first. fore. 48. EXERTJISE ON THE SOUNDS, 1, 3, 4, 5, 6, 8. t-?=»_-f =r_J-_J Do, *o^, fa, sol, fa, sol, mi, do, W i ter lin - gers in the bow - ers, Buds are locked in mi, re, slum - bers 1 ao. 3 iEZ£L& Win • ter lin - gers 3 la, 0 in the bow • ers, la, Buds fa are do, locked la, m I fa, la, sol, slum - l>ers tieep, FOwr.l r«w-n-xm 32 W~ THE SINGING BIRD; OR, ES H J ^r rrn~T[ Tell me, snow - drop, mod - est flow - er, Tell me, snow • drop, mod - est flow - er, la, do, fa. W h o thus ear - ly mzzzzzipzzt: - W h o thus ear - ly 3; ^ breaks your sleep. ^ breaks your sleep. Lively. 49. BELLS ARE RINGING. ONE (DO) on C. What kind of Measure ? / m^ jz Sol, mi, 1. Bells are 2. Har - vest 3. Fleet - ly 4. Bright in Jfcr 0 1 0 1 <?o, la, ring - ing, o - ver, glancing, gush - es, i-i E±E£ sol, mi, Maids are Friend and Light -ly Smiles and E^E <fo, /a, sing - ing, neigh - bor danc - ing, blush - es, I I 1 l ~~9 #- soJ, mt, y«, «o/, mi, /a, fa, mi, mi, By the vil - lage tree; Wreaths and ban - ners Hast-en to the green; All is mirth and song; Come and flit a P 3 3 =i way. Love with crown of So till gold - en Har - vest now is --ztzz±-h=±=z: Do, do do, ifcc. si sol, do, *% si, do, do, L PROGRESSIVE MUSIC READER 33 fa, T#~ «7 1. -*L la Aj 2. my S. 4. m e o & d £^ , sol, tfcc. r - ing, r - tie, - - ven, - - ver, H G^ 1 1 9 ' 9 Youth in Health in Kin - dies So shall - -i -f- - 0 j_ 0 J i - --J&---^A-- vi - gor try - ing, for - est kir - tie, earth and hea - ven, friend and neigh - bor 1 r - • i - I F * -±=3 0 0 i <.-' , , ii Joy Beau So Greet i Z-J : " * - T m m mr ^-?F ?* - is - ty they the I ~M - 0 " wild reigns wheel fes - -1 ' - 0j -0 and ns a - tive i - 0 1 pi__ -14- 1 •«L . free. queen. • long. day. 1 f^ • P- te do, <fcc. 50. EXERCISES ON THE SOUNDS, 1, 2, 5, 7, 8. (Do, Re, Sol, Si, Do.) > ^ > >_ > >. i->- tjJlU j j I > j j Ij^rjJJ j PTJTF^Do, Ac. 51. fe^^a#3ff E5-EI ^ 3 a Zto, *o/, cfce. 34 THE SURGING BIRD; OR 52. THE SCHOLAR'S PRAYER. Gently* 1. fO' Fi a - t-rfh e r, lio ok up i ' i r 2. Though thou art in the on us, heavens, Here at thy feet to Thou guardest all be i day, low; g* J P R 4 r f J -E-F-+-d- 3 GLASER. EE^-IE^ j_(i_5E± r r f r i. And though our words are r-Teach us to learn and . :. J J gEEEE r - ' - r - f - i :is?: Thou know'st what All that we we would ought to say. know. r-tf 1E i Teach us to use thy blessings, From stings of conscience free; May we be gay and happy, Without forgetting thee. 4. May we go on improving The time that thou hast given; And may we not, O Father 1 E'er lose the way to heaven. I Lively. 5 3 . SPRING IS SMILING.-Round, in Two Parts. 2 -EELEEJiEEE^EEIzEEEW^EEFS ^^z^ -& 9 Spring is smi - ling, Spring - t 3*m=*m smi - ling, Smi - ling sweet - ly all round. PROGRESSIVE MUSIC READER 35 V 54. THE EVENING SAIL. 1st Treble. *-4r-i 1 1. By the moonlight 2d Treble. s-4 WMiW^^i^z^z,^z^^z^±z^. pale and ten - der, O'er the sleeping lake we float; Ev - ery breath of 1 fame or rich - es, Tempt us o'er the treacherous deep; z3z±zjz=3zzzzzzzzz£^zz^EzJ=± 2. Ne'er may hopes of Base rzj4LzHizzznzvzzz3z mzzziI -0 i 3EPEEEEEEEEEJ; Where the o - cean r &m EEBSSE: & 4 -9ZZJ. 4 Sjij.jJ.AAj £ whispering zephyrs, Light - ly rocks our lit - tie boat %ZZ^^ZZ^^^EZ^^Z^1 mon - ster ban - quets, Where the rend - ing tern - pest sweep. £ d m 3 a J Here w e float with home around us, Close along the moonlit shore ; While the water's placid bosom, Dimples to the dipping oar. 4. Every troubled thought is banished, Every grudge is laid at rest; W h o can taste the bliss of nature, Harboring malice io his breast 36 THE SINGING BIRD; OR, 5 5 . EXERCISE IN D O T T E D NOTES. DOTTED QUARTERS AND EIGHTHS. Make one beat and a half to each dotted quarter, singing the eighth while the hand remains stationary; or, if easier at first, beat a few measures in advance, describing the beats thus: "Down, left {and) right, up;" speaking the word "and' as quickly as the note itself should be sung. Make a careful distinction between the dotted and plain notes. Down, left, right, up, lzjZ=£zSz4z3zZzl •£=-£ "ML i d. u. 56. 3-0~~4 l. 5 7 . The same Melody, plain and dotted. Make the distinction carefully. PLAIN. DOTTED. PLAIN. DOTTED. BBjr^^fl^^ jj^^r^^prfB _ i :-3 9 -0- -0- -0- -0^L* 58. COME FORTH AND GATHER-Round in Four Parts. a - 3 4 Ws^^^i&^W^rrtt zzg: ? i Com« forth and gath - er Flow'rs in fair wea - ther; Silence, till to - mor - row All your care and Bor • row PROGRESSIVE MUSIC READER. 59. THE COMPACT. 37 From the German. slowly. r0'~ FT-i !IEZEEZCEIZZEE~~ - f C ~0 _ . . .... .. «» i.u„i i a» _;~v.+ 1. Clasp hand in hand, like brothers, Let heart with heart unite, N o w pledge we faith and honor.^holdjnd guard the right 3. The sa - cred hond and compact, No dfstance shall un - do; But rolling time shall twine it, More binding, firm ai*!true. S^EEEEL^^1 1 8 1 3-1^ 9rxt^£ JEZE:EfaEEZ;EEZ^ Eii^^llsilEpp^E^lfJillPirElf . . ... -^ _» AI i,:n™ ...^ m-.r,A',nrr Tn Pfhofis loud and loner. Each v'oioe, the heart obeying, Bursts forth in patriot song; Far" o'er the bin. * • « g » h _ edi«. tod «ri "faB-XiUCU VUlUe, tuc ucam UUCJI i"5, .~.~~ x: ~ ^ppigiipifJPpllllil^ssi.siEEB pg|^g|gipfifpi^Efeg^E^EEi|^iig / 3* THE SINGING BIRLV. OR (iO. THE CARAVAN. Eighth Notes Lively. -Two to the Beat. Repeat. ¥m^m%Mz^m^^^zmgim Popular Melody. a - ares ca - ges , \ ( Lions, tigers, leopards, bears, ) ; ) ( Linxes, catamounts, and dners, J Brought by easy sta -ges. ; ) j When the lion smells the meat, )' ; ) \ You would think he meant to eat ) 1 1. Curious beasts are here for show, Of all sorts and Side by side, a - live and fierce, Safe in i - ron 2. All awake and full of fun, Fluttering, growling, whin-ing; ) ( When the lion smells the meat, You had better come again, When they all are din - ing J } You would think he meant to eat f Man, and hat, and lining. .~~J. 0 0 .~j)_ * CHAPTE'R IX. ABOUT TRANSPOSITION. TRANSPOSITION is removing the scale from one place or position upon the staff to another either higher or lower. In most of the Tunes and Rounds we have sung of late our scale has been founded on the letter C, hence these Tunes, &c., are said to bf in the key of C. Now if we remove our scale to G-, or F, or A, or any other letter, then it must be in tlie key of G-, or F, or A, &c. There are rules for trans­posing the scale-that is, changing it from one key to an­other- which may be learned by all who wish to understand PROGRESSIVE MUSIC READER. 39 the principles of music thoroughly. These require close at­tention, and we shall only introduce a part of them now, and then go on again, Singing* INTERVALS. An interval is the distance from any sound of the scale to the next above or below. There are two kinds of intervals in the scale, large and small. The large interval is called a TONE, the small a HALF-TONE. Learning the intervals of the scale, and also of the letters is the first preparatory step towards understanding thorough­ly the principles of transposition. * The Editor, wishing to continue the plan of progressiveness adopted as the basis of this work,-interspersing the practical with the theo­retical,- thinks it much preferable to introduce the keys with sharps before a full explanation of the modus operandi of transposition is attempted. It will be enough at present for the pupils to learn the intervals and the tables of signatures with sharps. After this, let them sing on. Experience has taught us that we must not remain too long in the key of C. if w e would make good and intelligent readers of music ; and it i9 for this practical reason that w e have inter­spersed occasional exercises to be read and sung in other keys, (without clef or signature) before the subject of keys, signatures, <fec, could be properly introduced. After the lesson of intervals, and explanation of the signs of transposition, a series of rounds, tunes, and other pleasing and useful exercises will be found in the different keys with sharps, us simple and varied as those in the key of C. The order of Intervals in the scale, is as follows, viz: From 1 to 2, a TONE. From 4 to 5, a TONE. " 2 to 3, a TONE. " 5 to 6, a TONE. " 3 to A. a Half Tone. "• 6 to 7, a TONE. From 7 to 8, a Half Tone. The oraer of Intervals in the Letters is as follows : From C to 1), a TONE. From F to G. a TONE. " D to E, a TONE. " G to A, a TONE. " E to F, a Half Tone. " A to B, a TONE. From B to C, a. Half Tone. QUESTIONS ON THE INTERVALS.-What is the difference between any two sounds of the scale called ? H o w many kinds of Intervals are there! What are they? See if you can distinguish them by the sounds [Teacher sings]. What is the large interval called? The small? Repeat the order of Intervals by the numerals. H o w mauy W H O L E T O N E S do you find in the scale? H o w many H A L F TONES} Where (between what numerals) do the half tones occur ? What kind of Intervals are all the others? Repeat the names of Intervals by the Letters. Where do the half tones occur ? STAFF WITH THE HALF TONES MARKED. Half Tone. Half Tone. 40 THE SINGING BIRD; OR If the pupils observe carefully where the H A L F T O N E S are situated, they will not be liable to make mistakes, as they will then have only to remember that all the rest are tones. SIGNS OF ELEVATION AND DEPRESSION. A sign is used in music which, when placed before a note, indicates a sound half a tone higher than the letter upon which the note is written would otherwise represent. This is called a S H A R P , j£3gT #. C EXAMPLE OF THE SHARP. C sharp. A A sharp. D 'ZZZF: **= pEEEJ XZ ZZZ&. ^zzz±zzrz A sign is used in music which, when placed before a note, indicates a sound half a tone lower than the letter upon which the note is written would otherwise represent. This is called a F L A T , OCT b EXAMPLE OF THE FLAT. B flat. E E flat. A Aflat. A sign is used in music to counteract the influence of either of the above signs. This is called a NATURAL, EST*. EXAMPLE OF THE NATURAL C sharp. C B flat. B. F sharp. F i^^^E^EEEJE.-gEEEEf The sharps and flats used in effecting the changes neces­sary to the formation of the scales are placed together at the beginning of a piece of music, and called its SIGNATURE. The letter on which the scale is founded is called the or K E Y N O T E , or TONIC. After a little familiarity with the signatures, we recognize at once the key from the number of flats or sharps at the beginning. TABLE OF SIGNATURES WITH SHARPS. One sharp is the signature to the key of G. •Two sharps " " " " D. Three sharps " " " " A. Four sharps " " " " E. Five sharps " " " " B. Six sharps " •« " « F# PROGRESSIVE MUSIC READER 41 SCALES, EXERCISES, AND TUNES IN THE K E Y OP G. 61. What Signature ? Sing backwards. ^^mmmmmm - & mmmmm 1 2 3 4 6 6 7 8 Do, re, mi, fa, sol, la, si, do. 62. D o , *i, 2a, *oZ, /a, si, do. S. i g backwards. ~*E±EEtE I""t" -± J~M- -i-i-i-i 3ffiS EEECE imm^m^^^M Do, do, do, do, re, &c. 63. \y~4r- ^4=^ZE=ilE=Z#EEmZEll mmmmmjs=m Sing backwards 0 0 zrz -=tf Z>o, Jo, re, re, <fec. 64. P4- ^ " ^ ' ^=H- J 1 J j. a J. »• 65. Do, do, si, st, la, la, sol, sol, fa, fa, Ac. ^ i :i i 4I ^ g 9 E^^^^^^^^S^^^^^Eft'^EB h£EE? 2>« mt, «o/, «fo. 42 THE SINGING BIRD; OR. 66. £fEf^=_E_ ^_Ezn_^ E^^pfe-^^^^^i li Do, si, ia, sol. tt <fo, sol, 67. EXERCISE WITH RESTS. iEEEEEEEEEELEEEEt -& ^Wm^^^^^^i^-^^m^m Do, do, si, la, 68. SONG OF THE SHARPS. The Signatures of Sharps in general use. -i-r £^^Bg5St=jiB=i)=^g3=g 5EESJEJEE O N E Sharp shows the key of G, And T W O the key of D, sir; While THREE sharps show the La, la, la, &o. * - '^IzZ^^Zz^zSzZZ^Zzz^zzzm key of A, And FOUR the key of E, sir. :EEEEj=E=J Hav-ing learci-'t these SWiZaZ -Z ZN9A Z- ~TU RES, We'll -#- H 1 1- S-»-r- nth pie -^ 9 ^r^rr^-^fTTT"^ -f-s practise on with pleas - ure, We'll sing in all these different keys, In various kinds of MEAS - URE. . [Repeat with La faster.} PROGRESSIVE MUSIC READER. as 69. FROM ALL THAT DWELL • # gEg^g^i-^^zgEE^^E^Ep^H 32 EZEE^EZ EZi^EiEZl l Z*o, rfo, re, 1. From all that dwell be 2. E - ter - nal are thy low the 6kies, mcr - cies, Lord, Let the Cre - a - tors praise a - rise; E - ter - nal truth at - tends thy word' 2--+ 2L& SEE3EE1| -TZfi^ZJZZZf.^ --FI-^- S E EnJ ^ ^ = 1 ^ 3^11 "#- ^^^^^^N^^^^^^^=8 1. Let the Re - deem - er's name be sung Through ev - ery land, by ev - ery tongue. 2. Thy praise shall sound from shore to 6hore, Till moons shall wax and wane no more. EEgEEtEjLJ-U-^ C9Z? T 'JPZ=g~i- mzwmm 70. EXERCISE IN TWO NOTES TO A BEAT ^E~ 3 ^ H 44 THE SINGING BIRD; OR, 71. THE GOLDEN RULE. Tunes may commence on 1,3, 5, or 8. Where does this commence ? Lively, II.. -^ - I I I \- 0 Be you to others kind and true, As you'd have others be to you, And neither do nor eay to men Whate'er you will not take again. ^JEE^m~r=Fp3=£&: ' ~9~~j~l J '~ 9-9-9-9 0 iar0~0 9,-9-9-9~ Z^Z^Zz\rZz1\z^ 9-9-9-9J- r9 ^HzJf t 72. THE BOAT SONG. MENDEL. / \ IJEg^^E^^^l^^fe^^gfegg^j 1. Lightly row 1 Lightly row 1 O'er the glassy waves w e go; Smoothly glide, Smoothly glide O n the si r lent tide. 2. Far a way 1 Far a - way 1 Ech - o in the rocks at play; Calleth not, Calleth not To this lonely spot. m?mmm^£mitw^Mwm*zW^i 2d Hymn. Study low. Study low, Ladies, don't dis - turb m e so; Whisper not, Whisoer not* In this pleasant spot: 3v PROGRESSIVE MUSIC READER. • \ / Ili^feygE^fE^ljEFgglgE^E^SEEi 1. Let the winas and waters be Mingled with our mel-o - dy, Sing and float, Sing and float In our lit tie boat. 2. On - ly with the sea-bird's note Shall our dy - ing mu - sic float. Lightly row 1 Lightly row ! Echo's voice is low. In this school-room you are bound To suppress the slightest sound; Silence reigns, Silence reigns In these fair do - mains. 73. LET US ENDEAVOR-Round. 3 -9-9-9 E^^£^B^^^^^^^£E| Let us en - deavor To show, that when - ev - er W e join in a song, W e can keep time to - gether. *-J 2 74. DAY IS GONE.-Ronnd. 3 "B-1-FEE EE •»•• t 1 1 . _ ._ TXT I™ ^.w* Day is gone, Nipht hag come, When 4t-1h-.e/% ^dIaO TyT on*f l11i rf.e< \ lias fflloonwrnn , H+Ae aan vTreoinl br»e*\ *o-»*u•»»r• h\\or\mvmef\. 48 THE SLNGLNG BIRD; OR, 75. SONG OF THE REAPER SEE^E* :*B£^ F E ? I ac 1. Yield thee, yield thee, golden harvest 1 Fall, thou golden grain 1 Yield thee to the keen-edged sickle ! 2. T was for this the hand of la - bor Rear'd thee, thus to fall; Yield thee, yield thee, to the sickle 1 3. Ere the dews of evening gather Bu-sy hands will come, Bind the sheaves, and with re-joicing 4. Soon shall I, like you, be gathered, Till no leaf 6ur-vive; But the deathless germ with-in me 5. Yield thee, yield thee to the sickle, Rich and golden grain 1 All must bow be - fore the reaper 1 f=pE •0*-\ Strew the stubble plain I All must one day fall 1 Bear thee to their nome. Yet again shall live. All will live a - gain! mszi ^mm^m^^mM^sz^i^M. CHAPTER X. DYNAMICS. (POWER OF SOUNDS.) To sing m good taste, with expression, our sounds must be varied with respect to their P O W E R , or stress, sometimes singing louder, and sometimes softer, according to the char­acter of the song o;- sentiment. For this purpose Dynamic marks of expression are used. DYNAMIC CHARACTERS EXPLAINED. Piano marked, .p Soft. Pianissimo marked, .pp Very soft. Forte marked../ Loud. Fortissimo marked, .ff Very lovd. Mezzo marked., m Medium. Mezzo Piano marked..mp Rather soft. Mezzo Forte marked, .mf Rather loud. Crescendo Ores, or -wc^T.. Commence soft and increase . Commence toud and diminish. Swell. Diminuendo marked.. Dim. or Swell marked Explosive °f \ marked. ./z or > Sudden and full. Staccato marked.... or f f Legato marked., x-""v. . Short and distinct. . Connected ana smoot*. PROGRESSIVE MUSIC R E A D ER 47 NOTE.-Practise scales and exercises (at convenient intervals) in all the above Dynamic degrees. QUESTIONS.-On the foregoing table. OTHER MUSICAL CHARACTERS. Brace. Pause. Repeat. Double Bar. Close. { K I or thus, Bis. m EXPLANATIONS. A PAUSE or HOLD denotes an indefinite suspension of a note or rest; but where it is necessary that definite periods should be understood, it is usual to double the note or rest over which the pause is placed. A R E P E A T shows what part of a piece is to be performed twice. A D O U B L E B A R shows the end of a strain. A C L O S E denotes the end of a piece. D. C. is an abbreviation for the Italian words D A CAPO. which mean begin again and end at the word FINE: A BRACE shows the number of parts to be sung together. 76. EXERCISES IN DIFFERENT DYNAMIC DEGREES. fz ^ ^ ^ ^ ^ ^ E t ^ ^ l ^ B E ^^ Do, re, mi, fa, mi. 77. What Clef? f m p zr Do, do, do, si, la, sol, la, la, la 48 THE SLNGLNG BIRD; OR, 78. PERSEVERE.-Round. If a weary task you find it, Per - severe, and nev - er mind it, Never, never mind it, never, never mind it. t£gttt*±iTr rt m+t-rttfr. t r r I rj^79. REPINE NOT.-Round. 3 fe^f^^^S^^-^-NEEE Ke .'p thy heart from sad re - pin - ing, And thy sun is 5=^g=Elt al - way* shin ing? 80. THE HOBBY-HORSE. * »" f± 3^£ Ites :e_ E9 Z_t Hop, hop, Hwo, hwo, Spare, spare, Here, here, L hopl hwo 1 spare I herel Nlm - ble as a top, How like fun you go 1 Sure e - nough we're there 1 Yes, my po - ny dear; mp German. ^j-M^J^zfftzxzz^ |g|l^i§3i& -r-- Where 'tis smooth, and where tis sto - ny, Stop, you jade, I tell you-tell you, Ver - y well, m y lit - tie po - ny, Now with oats and hay I'll treat you mp pE^EppE?E£E£ L PROGRESSIVE MUSIC READER i9 E_E^E!EEP^ET-B=E=g=Ee;.^ E'EEPEESEFE Trudge a - long my lit - tie po - ny, Hop, hop, hop, hop, hopl If you don't, I'll sure- ly sell you! Hwo, hwo, hwo, hwo, hwo! Safe's our jaunt, though rough and sto - ny ; Spare, spare, spare, spare, spare ! And with smiles will ev - er greet you, Po - ny, po - ny, dear! EEgEpjjBEgEEEEfi Nim - ble as a top. Ho w like fun you go. Sure e - nough we're there. Yes, m y po - ny, dear 1 'EE^,EE§EM^fiiilf^iE^ESfEEll 81. MORNING SONG. :-fe-F=-=; 1 j • • n a m I i ' ""^• tBue 1. The sun in glory ris - ing, Calls all to life and light; And all the forms of dark-ness Sink back to shades of night 2. With joyful heart a - ris - in°-, I hail the stirring hours ; Sweet sleep, thy soothing poppies Renew m y active powers. SllSligSEEFffl=^ m & FffliT: :*EE<rl:_VfEEE±z 3. A - rise, m y happy spirit, In thankful prayer and praise, To Him who guards m y slumbers, And crowns with joy m y days. 4. Receive, 0, Heavenly Fa - ther 1 The humble song I raise! Tho' words are all too fee - ble To speak m y love and praise. mszzzwizfzwmm^ 4 & tZtztZ&zZzZ-ZZ^ ^ [ F E E E E E J 60 .. 1 Lively. THE SINGING BIRD; OR 82. THE SCHOOL BELL.-Round. 2 ^affFEF^EE^rEg ^^F^EpE^^^^gE£^ Hark! the bell re-sounds from a - far, tt Loud it calls, 4 to school now re - pair; Jing - a - ling a - ling a J33£^^M^S^\&^^^z^^=Sz^^ ling a - ling a - ling a-ling a-ling a-ling a-ling; Cheerly cheerly, 0 1 cheerly cheerly, O 1 cheerly we come 83. CAN YOU TELL? 'i^Z^ you tell how ma - ny stars are glow - ing, Where the blue sky is un - furled ? ) you tell how ma - ny clouds are go - ing, Flying o - ver all the world? ) God the Lord, their great Cre-you tell how ma - ny motes are play - ing In the bright warm sun you tell how ma - ny fish are stray - ing In the o - cean and beam ? stream ? and |g££E^^5£ ) In the air EE^SBg^gEEEEEj in the -0 zte you tell how m a - ny, ma-ny child - ren Dai - ly from their bed a - rise ? / you tell whose great and generous boun-ty Ev - ery dai - ly want sup-plies ? J God has made them, and he P^f=^#P E PROGRESSIVE MUSIC READER 51 km3Ml^ziz^^ztz^M^^ -0*- lEEEEEl=t1g a - tor, Were their numbers millions great-er, He could all their numbers tell, He could all their numbers tell. o - cean, God has given them all their mo - tion, That they now so happy are, That they now so happy are. sees them, And his kindness nev - er leaves them, Yes, He knows and loves us all, Yes, He knows and loves them alL ^-fz#zZzCzE9EzZ-EEf~zEzZ:E ZZEEZi-C »~EEZ*E~Z^IZ- I gZZ»EZ~~EZ~ET ~ : P W t ~~ \W~ IT ZTEEZLZEEEZLEZZE^EZ 1 - 0t l_. -0*-0*- Gently. 84. PARTING OF FRIENDS. - V-& zzf^^^zZZ^ZZ^zz^zzM^ZZzW^E^^^ HUNTEN. 0T 1. Fare 2. There Well friends, a your im - age time we of will sor - row cher - ish, Is And the wher mo - ment when e'er our feet wo part; may stray, mmmLmmwimzZzwmmm^ 3. Fare - well! and when thoughts de - press - ing, 4. May an oth hap <- py meet - ing, Rise All ±3- E-4E mmmmm^m 4- i for you with our doubts and ZWZZTZZC2. 9Z in fears :Mz: the heart, dis - pel, wm tm 52 THE SINGING BIRD; OR, •-#-- F=E£ E||E£jE|ElEEEfe|E^jE^EgEEE^fI^Eg rizzzz 1 1. But though ab - sent on the mor - row, You'll be pres - ent to our heart. 2. Nev - er, nev - er, shall it per - ish, Or our love for you de - cay. -#" if 7£&zzlzBzzjm: EpEEf £?E d :?zz _ZE zf iiiiiLMpFfii " EEL J j. _&_ 3. May our prayers bring down a bless - ing, Which on you and your's may rest. 4. Joy - ful then will be our greet - ing, And, till then, dear friends fare - well. m=^ ZZZZUEIZZZI-:\- gEE^EErZEFifEEEf; -^- 1EI 85. HOME. • # o fcI8=f PH^g^ggHEi 1. Home, home, •* 0* can I for - get thee, Dear, 97. dear, •I -M dearly loved home, No, PAX. b?E1EffEiEEpE| no, can I re - / mt^^miWr^EE^ZZ^^zW^kWzW: 2. Home, home, why did I leave thee ? Dear, dear friends do not mourn, Home, home, once more re h PROGRESSIVE MUSIC READER S3 rK^^afg^^E^g^^BgE^g^^&P 1. gret thee, Tho' I may far from thee roam , Home, home, home, home, Dearest and hap - j.i - est home 2. ceive me, Quickly to thee I'll re-turn; Home, home, home, home, Dearest and hap - pi -est home. jffia I ~rz V0 r~i V9 1 V9 1 j r# r~ \*z\\\zz:?ZlZZ£l^ _j 0*-*-0*~ -0*-0t-*-0*-pi-l -I -! M l_ \-pt-&-^_l ^ _ ^ - 0 t _J S_ 86. r# *-, -_• J MZE_>-u-k-u--• * : 87. THE BELL DOTH TOLL.-Round. -4-A \ZZZ4E- tz^^ztzzzzzWzzz^ 0-0 i r~ *- 9 1 m=m^ • & • ~^~ I The bell doth toll, Its ech - oes roll, :+_ mm gLEJq s: zwzzzfzzzfzzzfzzzt- -0* 0* 0* 0*-m know the sound full well, Bome, borne, birn borne z^zzirzzz*.-9 # rz rz i r G s? P ^Pfe bell, I love its ring - ing, For it calls to sing - ing, With its bim. bim. b*m borne <dl 54 THE SINGING BIRD; OR. 88. HOLIDAY ECHO SONG. •qN Arranged from ROSSINI I^E 0^^z\z^^zW^z^^z^lSl^^^ za$zz£ZzZzz.[ 1. U p the hills on a bright sun - ny morn, Voi ees clear as the bu - gle horn, List to the ech - oes 2. Now thro' aha - dy vale and grove, Joy - ous, hap - py, here we rove, List to the songsters ^-^rfcrfcz^ P53 ZE^ZS" EEzz£zzE==p d^zz^==z^7zr«z^3 $Z^ZZE^-0--^^J*^*ZZ _EZEZ g^EEEE^^^H H*-/J+* * -*"°-^ZZ± 0 ZZ19 tSrzfZ ~9 9 />pEclio. Fil^' Solo. • 0I»-*Z£ ~&Z V ^EE^PEEEEE^N^ £ 55 PE1 Chorus 1. as they flow, Here we go, here we go, here we go! Come, fol - low, fol - low 2. cheer - ful lay, Hap - py day, hap - py day, hap-py day! Come, fol - low, <fcc. JEgEgaU^^EEE^B^ ZJZ We'll '9 9~ 0 _ZL 0 feEE2ETl IZ1 f-r "# Solo. Cliorus. D. C. sEEEglET^tE^^^rElE^EEEll come, we'll come with glee, Hur - rah 1 hur - rah! we're free, / |-ZgEgEjEEJE'ifpz|Ez We'll fol - low, fol - low thee. mm&jj=i=8j=M PROGRESSIVE MUSIC READER 55 89. THE YOUNG TRAVELER Sprightly. -#-.., ~z<ozjzz_d Prom the German. -4EHEE 3-4E?EEEF -JZZZZJZZZ \\ am re - solved the world to see, And sail in ev - ery o - cean; \ The man who would not rest at home, Must keep him-self in mo - tion; ) ' Tis worth some trouble 3EEZ :3zzz3zzz3 0-ys--&-j z^^^z^mLzzW^^^m here I That tea is stay, I raised on may be told, The world is tim - ber stems, Be - neath a boarded shintrled o - ver cov - er ; AIn d root ed here I 3^*3 EEEffPezE fzfcEEF 9 z~wzz r~ itz^ZE^-E^ZZZ^l * 9ZZZZ9Z i I 1 r~" mm= 'ZZ^Zwf ZZ^Zl 1. but to know What things be - hind yon moun - tains grow. mzmmMmmmm 2. ne'ei can know Wheth - er such tales are false or true. - : - #- ezf: gEEggg=H 3. In foreign lands, things new and strange, And customs worth observing I might collect, and carry back For home consumption serving ; Knowledge's of use at every turn. Then old and young may ever learn. 4. So here I seize my wanderer's staff, My well-packed knapsack bearing, And wander forth, up hill and down. On all things brightly staring; And when I all the world have seen, I'll turn m y footsteps back again. 66 THE SINGING BIRD; OR. *m DE­SCALES, EXERCISES, AND TINES IN THE KEY OF D. 9 0 . What is the Signature? J 2 -r5-Y-&-\ S> & - -& Do, re. 3 mi, 4 fa. 5 sol, 6 9 si, do, do, 1 si, 6 la, 5 so£, 4 /a, E22EZJ 3 mi, 2 re, I rfo. 91. ila^g^siil Do, 93. ^tS1- zE 23 92. MORNING BELLS.-Round. 1 2 3 z^ZZ^9ZZ^izz\9-ZZAZzzlzz^ZZliZwzZzZ 9 & Do, mi, sol, sol, mi, sol, do, do, sol, do, do. do, sol, sol, do, Morning bells I love to hear, Ringing merrily, Loud and clear. iSE-g&- gr mmm^-:ff if g - 2 9 - <5?-H* •| r~- gi Z>o, mi, y"a, *o£, soZ, ya, mi, Thus far the Lord hath led me u T-I :^?E SEEZE And re, on; Ezqzz =3= soZ, <fec. Thus far his power pro - longs m y days, mil _Z|ZZZ 3?E_ &_ piElpi ev ery eve - ning shall make known Some fresh m e - m o - rial of his grace. PROGRESSIVE MUSIC READER. 57 94. HEEDLESS MINDS.-Rovmd. -P EJb ' Zl ' 1 1 ZEE -1 -Izzr-t Heedless minds are oft the fountains Whence our chief mis " 2 5- for - tunes spring 8 * zt^zzzzzzzz E*EEEEE&_ Heedless minds are #-Fz* 9 * 1 :f--f= E B # oft the fountains Whence our chief mis - for - times spring. 95. THIS LIFE'S A BLESSING. 3 --N-E ± E * Z E E E F E E Z E T E E E E E f * E £ E E E Z r E § E E E ^^ This life's a bless - ing, Fair is the earth we tread, This life's a bless • ing, Fair is the earth we tread. Yes,- 96. 1TH E CKADLE SONG. ^ , Chorus. Sleep,baby, sleep 1 Our cottage vale is deep; j The lit-tie lamb is on the green, ) ( With snowy fleece so soft and clean, ) Sleep, baby, sleep ! lif|EE^s^iiB|gi^^|lpEEEi=i 58 THE SINGING BIRD: OR 97. THE NEIGHBOR. ( Neighbor, neighbor, ahl lend me once more your Ian - tern I ) Mv sheoherd has lost mv best lambs bv the L I For the night is so dark that I can't find the path; f M ^ snePnera nas lost mT De&t i a m D S D-v ine wa7« I must go with him and find where they stray. Playfully. iE-£-3- - Z H < * m' ^IEZ"S~~L TT- ~9 D. a And Fine. D' C' - 0 9 * »- 9]-9-zi. S* -" ZSZ9-9 9-±Zmt -JZZJZ 9 9 9 _£J. « j Dearest neighbor, ah! lend me, lend me your Ian - tern; ' / 2 It storms-it is dark, and there shines not a star I D. C Although it is broken, no fault will I find, My hat held be - fore it will, screen it from wind. Fine. D. C. ?_*_£ _£_tE_Zt n ( Now, good neighbor, should you e'er fall in - to trou - ble, ) „, . n .„ . , . . , . E , M Then call up-on me, and do not be a - fraid; J This world will in - deed be a val - ley of tears, D. C. When neigh-bor to neigh - bor re - fu - ses his aid. ¥ 98. LOOK PLEASANT.-Ronnd. 3 n=m^^i^^m^m^^^^=7^m Don't always look downcast, The best of our race May oft - en be seen with A smile on their face. PROGRESSIVE MUSIC READER. 59 9®. THE MOUNTAIN ROSE Elsa^gEJ-EElilifEIEEfE 1. Swingiug in the mountain air, See the rock-rose bright and fair; Lovely blossoms, in your prime,Would you tempt m y steps to climb J 2. Steep the cliff for climbing feet, Yet the rose is fair and sweet; And,while i-dly gazing here, No cliff-roses shall I wear. 3. Climb, then, climb the rocky edge, Till I reach the mountain ledge, Rough and treach'rous ways are past, I have gained the top at last. 4. Hands are bleeding, feet are worn, Limbs are weary,garments torn, Shadows tell of day's de-cline; But the rose, the rose is mine. ^m n - i" ZZ0ZT^ZZZ- 9 .ZE|EEhE 5£=EZFEEEEEjEEB=T 1. Thy works pro - claim thy 2. Great God! how should our 3. Then will I still a - IOO. THY WORKS PROCLAIM THY GLORY, LORD. L. M. mmmm- glo wor dore ship thy Lord, rise name, F-dE^ nzzztirz mt PziYz^z- The To Thou, bloom-ing thee, who who for fields, the formed the ev - er 6ing - ing bird, earth and skies 1 art the same. ZZPZZTZS mm^mm^mmmm .«. i^Awzlz^zzl 60 THE SINGING BIRD- OR, m^zm^zm^^mmmim^zF^ 1. The tern - pest, and the sun - ny hour, 2. The things that creep, and things that fly, 3. But yet thy grace and mer - cy, Lord, 8fc-=-R Show forth thy good - ness and thy power. Are viewed by thine all - see - ing eye. Shine bright - est in thy ho - ly word. -29- mm^smziwmm^WzWMm 101. THE FOUNTAIN. u -p* _jtZ2~"# \9 * & * Sail 1. Bubbling spring, so bright and clear, Pleasant is thy voice to hear, Listen to the song w e raise, For w e sing it to thy praise. 2. Oft in noon-day's sultry heat, W e have sought thy cool retreat, And beside thy shady pool Sipped the water clear and cooL 4-r-T- £ESE£EEE b E E f ^ ^ ES ^ EZ+|EE--Tg -zy.2±zrzizjs±ti On thy margin's grassy round Are the earliest violets found, And our wreath-crown'd heads w e view, Pictured in thy mirror true. Thou dost nev-er i - dly stay, Lingering on thy chosen way ; All, like thee, are onward driven, Nought is firmly fix'd but heaven. zz^zz^Zzfzh p^Eqgrl^^fe^ PROGRESSIVE MUSIC READER 102. CHANGES. 61 ggE^^feEEEJEEPEFg German Melody. gES^EEfSilg J0 J * 1. Yes - ter - day it hailed and snowed, All was white on field and road-; N o w the snow is all a - way, And the hills are bare and gray. -# lEt^EEE ) 0, this life is ev - er r^M^Wz\^^^^M^Sz^^Wl^zW. 2. Yes - ter - day my great de - light Was m y rose - tree, fresh and bright; ) N o w its fa - ded flowers are shed, All may on my ro - ses tread. ) O, this life is ev - er lEzlilltEESZ^^^ S*7-f ^jB^^^^paggSE^B^3S^^^g 1. changing, All our pleasures melt a - way; Hope a - lone remains, to promise Some future, brighter day. -#z ; ^^^^q^g^^r^r^Pr^^^^l ZEE % 2. chauging. All our pleasures melt a - way; Hope a - lone remains, to promise Some future, brighter day t-^ZEZ]§EEZ£»" tE£ 9-9- •-£ZzfZZ£&z£ »zz*-\z? £E£E£ -0--0~0^ SESUEZEI 62 THE SINGING BIRD; OR 103. THE LARK. Rather Slow. ifEEE EEJEEZJEEEJZ EgEE^EEEEH^EEg^^Edbfcz^^gL^ Far o'er the Grass, seed, and 1-4EEE^E?= r - "0 1. Hear how the sky - lark sings, See how he up - ward springs, Buoyant and light, 2. Seeks he the bounteous hand, Whence o'er the bar - ren land, Year - ly are shed, 3. Far o'er the stars so bright, Far o'er the noon - day light, Stands His high throne, Yet not an £-%mz^mmMm^zZ^^^zWzzM^ JEfeE^EgZ^Spfefefe P S E S T zt Fr-Tj^gl 1. clouds so high, U p through the 2. mil - let fair, That all the az - ure sky, Fad - kig from sight, birds of air, Free - ly may feed, Fad - ing from sight. Free - ly may feed ? PEE:1 =EE^EEEEJ=EEEEJ= yzz~~# v 9 -# r z. 0ZZ1Z~9 W ^EZJEElEEEE^EEjEEjE^ZEJ 3. in - sect crawls, Yet not ^ZEtEEfEZEZfZZ^ZE Z r! 0* 1 a, spar - row falls, To Him nn - known, ?=? To Him un - known. WzzZzZZ1^=zZ-ZzZZZ^BzZ^ PROGRESSIVE MUSIC READER. 63 Rather Slow and Expressive. rn JEPZEZE=^ 104. THE BIBLE. ZELZZ-Zf- mmz^^^Wz^m^mmwm^ -#- 1. The Word full of com-fort, of knowl-edge and * love, Our Fa - ther has gra - cious - ly giv S^fe^Flf =3= -E-rz--J- -9-&-0 9 n EZZE E 2. In trou - ble we turn for re - lief to its 3. There speaks the good Shepherd kind words to hi3 page, lock, TET 0^~J And sure con And prom - i - ses IPPl^EEf i - r n r i- ^-ET _,_ so - la - tion there meets nev - er to leave *ZBEZXZE - f - t - f e - P - P - E f z - r - £ r t ^zEEZE^-^^=nzzzt^:bzz:nEz-:r?f #z±z:E - i 1 ri 1 j-rl r j r i \- r # g g - r g #-.i LiZEEEEEZZ t ^g^^^^^^^^^P^i^^^ en To save us, to bless us in life's dark - est hour, And teach us the path-way to heav - en. JTZLM: ZT -0- rEF=2 ZT f ^ -s?-1 3=3 E-S-En-LEXEEb r 2. us; And there, when the heart with its bless-ings o'er - flows, Sweet, heav-en - born sym - pa - thy greets us. 3. them; H e calls them to fol - low the path he has trod, Where He waits, in love to re - ceive them. ;tr *3f=r=?=k=?=? -9 0 !•--(©• \9ZZZfZZ EEEl5El^f c - c r r- ^xa=a 64 THE SINGING BIRD; OR, .*ZEErr -JgC SS^Bp^^^gggEESEgg^jgE Each line with the radiance of hea - ven is bright,- The va - pors of earth ne'er can dark - en its fight. EIl lis EEEJ Il:SEE^S=Elrfe^SI 2. The sim-ple find com - fort to si - lence each moan, The greatest find wis - dom sur - pass -ing their own. 3. Re - joice, then, ye good, tho' this bo - dy must die, The spi - rit will live in His kingdom on high. izm^^i^m^mmm^mw^F-W£ 105. THE FLOWER-GARDEN. • # Very Quick. EEZ^EZETZeZZZ ZZi* LZI M z f.dft-Ef=ppEg^EJEEEgEEfE{gEEEE; fi- *~ \Z~Zf-EEEEEEE__*ZZEZ_ZZEZ _EE__ZZLZ - Z 1. Come, bro - ther and sis - ter 1 come, go out with me, _Z1^E^EE^JE>EE^ The flowers in the gar - den this %3-^-f-*-S-vF~^-is-«i-P-Is^-vF-i-t->-F-~>-fc-*T Is-l*~i % - » - P J-^--j-F^-j-=jPF-^=^-i=F-g=-F=g=F:j-iEZE^bEJEEE^EElj " ^ 1. Come, bro - ther and sis - terl come, go out with me, The flowers in the gar - den this BfegasfeFrfirnfrrFE^^^^i PROGRESSIVE MUSIC READER. 65 Z^Z^Zm E#EEEEEZiEZTE-I" , tzztzm: see, SZZ3ZZ The flowers -0*- the gar EzJlzZzzZ3ZBESZZ morn - ing to see, The P^gEEEEEE-T^^ <? flowers the gar (^>EEESEEEEfrp xzzzzlzzzzHz den this 1 den this ®#zzzzfzzz£zzz?zzczzzzzxzzzzzczpzzzz:tzzzz^p]tzzzzf>zzzz*zzLzz CEE: Wtzzzrzzz^zzz^4ifZZz\zz^4z%zzzzMzzz^zzzlz^ The flowers in the gar - den this morn - ing to see, The I-9 Vf Fresh flowers shall w e find there, all glittering with dew, |Z] |T We'll braid crowns and garlands for m e and for you, -1- 3. You, brother, prepared us the beds nice and square, - And sister and I raked them over with care. 4. |EC And planted the seeds in the circles and lines, And put up strong cord for the creepers and vines. 5. And now w e have plenty worth going to see, C-P- V- E-I V- 0 fr For bouquets and garlands for you and for me. Ez^EEJfEEEZ^EzPzZZ^EZZZtZEI^EEEzJEh 6. !E I - u. flowers in the gar - den this mor n-ing to •- Pint r n m o fnr nnv t.p;iY>Ti<ir w h n Irrc-ps tlipm •vnv i - see. Pick come for our teacher, who loves them, you know, And now it is time, and to school w e will go. 66 THE SINGING BIRD; OR. 106. NEVER LATE. V '**r W. B. B. •^zfzjz:pizz0 f /j-bfa^iEEJLarpEEj^J^a'p1 J * JTp-tzzizz^Zt 1. Til a - wake at dawn on a winter's day, For I will not doze precious time away, With m y lessons learned, this shall tzgf^EeEjEE^ Ffj J J j/b=j=ii=^j#f^^ ttzz^izz^hizzJtz^SB 2. Birds awake betimes, every morn they sing, None are tardy there, when the woods do ring, So when day-light peeps, Then I'll -EESE^. zZ^^^ZZ^^^^Ez^^^Z^^^^Zz^^Z^^S EE^Ezi 0*- L-f- 0*.- 0*- -v •tt==2rE^EESEEEprp zzzz^zzPjzzzzZzzZzzZZ 3. I. be my rule, Never, never, never to be late ^E^El^^^i^i^lEEJEEl When the summer's sun wakes the flowers again, They the call obey-none are tardy then, at school. Nor will I forget, that it is m y rule, _ Never, never, never to be late at school. 2. think of m y rule, Never, never, (^ZE-^EZ^Z~rEE?EZ?ZEPEZf never &-0- i 1- ~w*-0*-0* '0*- to be late at school. 0* 0*- &Z 0, these precious days will too soon be o'er, And these happy hours will returu no more, Then I'll ne'er regret that it was m y rule, Neve-, never, never to be late at schooL PROGRESSIVE MUSIC READER. 6* SCALES, EXERCISES, AND TUNES IN THE KEY OF A. 1 0 7 . What Signature ? What Key ? What Clef. =b#ZEZ mmmm=-G>-im smm&-mts>. 1 Do, 2 re, 3 mi, 4 fa, 5 so?, 6 la, 1 si. do. 1 or 8 7 -Z>o, si, 6 6 4 eoJ, /a, /Sz??<7 Backwards. iEEH re, do. 108. What Signature? What Key? What Clef % WfA F E^ZEE^ZZE1 -^-^=^N=F^:F--F BJJF^B^ -<&- zzlr .Do, re, mi, cfcc. 109. SUNSET SONG.-Round or Duett. gfjgiii^l EjErafegEJ^EEEF PF EEEPS =F=: -*-1»- i - ^ FEB Do, do, mi, mi, re, re, fa, fa, mi, mi, ?t, re, do, do, re, mi, mi, sol, sol, fa, fa, re, re, do, re, mi, fa, mi, re, do. See the sun now slowly setting, Takes his last farewell of day; Forests, mountains, he is tinting Brightly with his pur - pie ray. -riEi^^ETEZEEEEZ^-E3EEEEE-EFEEE«EcFEEEEtEF»EZ~ iZZ^zZ^^J^z^^^^^^^^zlzlBB=^±zE^z SEES?" I d Mi, mi, do, sol, sol, la, si, sol, do, do, sol, sol, mi, do, sol, do, do, mi, mi, re, re, fa, fa, mi, re, do, re, do, si, do. Soon the stars shall hover o'er us, Beaming with their silvery light; Soon the moon all pure and glorious. Dawn as goddess of the night 68 THE SLNGLNG BIRD; OR, • # - * . H O . IT IS LIGHT-Round 2 « E g PEl It is light! V-t azztszzz^ gEEllIIPIlEE? Come, let us rise For the sun in the skies. 111. CLIMB THE MOUNTAIN.-Round. Tunes may commence on 1, 3, 5, or 8 of the Scale. Where does this commence ? What Syllable ? 4± 1 2 3 4 3=? z± Climb the mountain, Taste the foun - tain, Rouse with mirth and mu - sic high, All the powers that slumb'ring lie. 112. PURE AND PERFECT PLEASURE. What Clef ? Commences on what Numeral ? Syllable? /". 3fe W^zW^^^^^^--^^^^^^-^^ Pure and per-feet pleas - ure, When wilt thou be mine ? When a - mong the an - gels Thou in heaven dost shine. W h a t Clef? What Numeral ? What Syllable ? p#-S/t; 'gfe^^g^P^^feEfeEg^^a^^^ PROGRESSIVE MUSIC READER U9 113. WALK AND SING. Commences on what Numeral? Syllable? What part of the Measure? M « ~ -IEZI 5t* E ^ J E z E ^ E ^ f e ^ ^^ 1. Come, join with me fef to CLASER. 0_ i.E^IEEErfiiFEE.EEE. sing and praise Our heaven-ly Fa - ther's care, "4- Who gave to ~± iZiEfpgZZEZgZtEElg 2. The win - ter hid them deep in 6now, And held the brook - let long; ga^=BiZEJEFE*EE£ But now it mm<^mmmmmm<mmmm ElEjgljE^jEEE^gigpj^F^sfE 3. 1. Na - ture all her power, And made the fields so fair. ^EE^jl^BEEEE^B And let us mix our voices gay, With Nature's merry tone ; Our Maker gave not music sweet To birds and brooks alone. 2. dan - ees, as ^zzzzz zi~ it goes, To Rob - in's mer - ry song. ^Ml^^^Z^Z^Z^zzWzZ^z The birds can flutter free and wild, And sing the livelong day, - |J I To us alone our Father gave A voice to praise and pray. 7Q '.HIE SINGING BIRD: OR 114. SOON WILL RETURN THE IMPORTANT DAY.-Hymn for Examination.* What kind of Measure ? Commences on what part of the Measure ? 1. Soon will re - turn th' im - por - taut day, When we in hope and fear, Be - fore our friends and Thee, 0 God, E_sEO _J : ^ E i^i^^mr&^^^^m^^^^^^r wMz.cz -zzz&zztzz 2. O grant that we in wisdom's way May walk and nev - er cease, -&f^rzzzZ0,z fe 9 0 i r ?~2 £^£1 0 0 0 0---0' c #- Her wave are ways of pleas-antness, And g§S^|gz||Ef ( 2d Ending for the 4th and 5th Stanzas. E^^PEII^^EE^EEPEFEEE^ humble hearts ap - pear, 2d Endin ail her paths are peace. *- 5I ^-Pj^ m 2d Endin: ^tz^^zZ^ZZ^^Z^ZZ^LZ^m 3. O bless the ones whose watchful care, In love our steps have led, Who teach us now with strength and skill Life's rugged paths to tread. 4. W e pray Tbee that fair wisdom's light O'er all the land may spread, Before it. Superstition's shade And Folly fly in dread. 5. And as we learn how good Thou art, And wise, and great, and true. "We'll seek to gain that happy share, Where wisdom's ever new. * On the Dav of Examination the words, " Again appears th' important day," may be substitute<t PROGRESSIVE MUSIC READER. tl THIS WORLD IS NOT SO BAD A WORLD Zi EEEEE3 N- S 9ZZZZ? E^JIZs-E^ ET Zs I ZJZZZSTtZZTCZ ^^zzJziWzkim -4- 1 0 z&EEEBEEfE elS , j This world is not so bad a world As some would like to make it, }_ Tho' whether good, or whether bad, Depends on how we take it; ) For if we scold and fret all day, From dewy morn till *-*".-^--r~ -r- - •- -MT- -Tr-ir. KT-N 1- - K - S ^ rN ~4->hE >-->-> ^-F- 9ZZ FvT^ O * -"• JE -iT- -Q- 3 * 1 r Hz ">~ES Fzv^n,"E^±i 9Z j 0-0zrzi~^T 9-9-0^-^ zf:?. 9 - ^ rhis world in truth's as good a world, As e'er was known to a - ny, ) Who have not seen an - other yet, And there are ve - ry ma - ny ; ) And if the men and women, too, Have plenty ot em - tzzezt f ZZZZ3EZZZI 9~9 WjT*- 0-VV -V-P~ P~ Y9ZZ9ZZZL t z N^r^^^^^r^^r^P ~0~~ 9 0-0- -\ - I Z \Z~\ ~&ZZVZJ?ZZ0zZZ ZEZC^EP zzzz r e - ven, This world will ne'er af-ford to man A foretaste here of heaven. aZZEZP ^%E?E^^»M? EZEEEEEE 2. ployment, They surely must be hard to please, W h o cannot find en - joyment. ,_ 3. This world is quite a pleasant world, In rain or pleasant weather; If people would but learn to live In harmony together; And cease to burst the kindly bond, By love and peace cemented, And learn that best of lessons yet, To always be contented. 4. Then were this world a pleasant world And pleasant folks were iu it, The day would pass most pleasantly, To those who thus begin it: And all the nameless grievances. Brought on by borrowed troubles Would prove, as certainly they are, A imss of empty bubbles. 72 THE SINGIJNi* BIRD; OR -$Z 116. COME FOLLOW.-Round 2 ;'t -£?. _^. 0 0 Come follow, follow, follow, follow, fol - low, fol - low me. Whither shall I fol - low, fol - low, fol - low, .# s jg^^gpg^^^^g^^^^BEgE^^ ._ES_ . & 0 Whither shall I fol - low, fol-low thee? Down by the willow, willow, willow, down by the willow, willow tree « EXERCISES IN SEXTUPLE MEASURE. 117. -& £ -*Jrf.fiEE:7^"""^qE^!~5^n r E r ^ ™ ^EEJ =EECEJE:^=I ZT ~Z~ 0 •JE#E# #~ i La la la, Ac. 118.* ^gE^E^E^EEpFEfEEEZ^E^lEgZEJEEgEEEJE • * * 'S^ZZ^ZZZZ~ e 3Z =:zzfc:3-=3- 119.* E^ZZ^ZZZfvrZNEZ^ ^^ZZ^ZCZ>ZE^_> ZZZEEEZEZZZpZEZZZZZZZZZZZZZZZZZZCEZZZZZZZZZZZ Lf -#- S EJ * Exercises 118 aud 119 may be sung together. PROGRESSIVE MUSIC READER 73 -#;*r-.- 120. SEXTUPLE MEASURE WITH RESTS Count 1 2 3 4 6 6 ^agy^peaf^^l^^^pS^^I 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 56 121. THE WOOD HORN. W h a t kind of Measure 1 §^zz^lZZrZZZVz==¥^=l~f=z ZzzSzZPiY'zzzZzZzZtzPszz^ZZZ1*. SEEl^EEFir P-f: x t~T~t -**-I 1*- German. ZZttZZfZz] 1. H o w sweetly sail, O'er hill and dale, The woodhorn's mel - low strain; The ech - o clear, Brings ev - er near, The 2. The whispering breeze, That fans the trees, Those charming sounds pro-long; The fountain bright, Leaps clear as light, And _ffi_j_tE-J 2_JE £_TE tt tE.CE tSL,.J_iJt j_J_i_£ J_J-JZ± Echo. mmmmmmmtmt 1. notes a - - gam, a 2. joins the eong, the * * - gain, eong, ES^ a - - gain, the song, Echp.^r, a the gam. song. -#- * -jr=nET= &E ;=3E flElll The listening ear Is charmed to hear The merry, merry lays; The voice bursts out, In joyful shout, To speak m praise, In praise, in praise, in praise 74 THE SINGING BIRD; OR. ( U Lively. 122. ENJOY EVERY HOUR. H 41SER. fctXEEdEEPC F, .. 3T7ZZI § :4;=3-r_*=-E=E 3Ev" EEEE^EE-^EF^==- fi- - M j - b - |EE4Ef^EEEEgfe=r 1. W e chil - dren en - j vy EJ ZE dJZ ery hour of the day, We laugh, and we chat, and we fe_-3-EEa: - 8 - 4 ~ t E=Ej- <SE~E«.~: E^qEEEEpE^E^EEEETEFp^^^B r v 9 9- V9 9 rl r Ir -0T g- ZF=E: Ec-*-*-E FF^r=F^ P * -fc^ESigj: g E^feE^rE^^SE^^S read, and wee play WWee shout and we whis - tie, we jump and we sing, m*-t-zi. EZ E _ 1 \Z~~i 0 r EEZZT ZEEZZZ^E And "FEJEEEEEEE^: y-0 0 • 0- ~CL i ¥-S-S-9 -p 0- clat- ter, clat- ter, we mil.1-ill the ears round us ring. *E*Ei: I fa. v-tzz.* :#EEpcE:hi"E.iEq ^ E "Ji E*_ZEEiz zZtZ [ f"" Ah! there goes the sun to his btu in the West. r~1 -^na hrothcr, our pillows both wait to be pressed." \<S "I Good night! pleasant dreams ! and sswweeeerr sieep all tmnee nni ght, To-morrow, morrow, we'll rise with the first rosy liijht PROGRESSIVE MUSIC READER. 75 :-*_ 123. SPRING LIFE. L.. D E CALL. §EEEEZE£Z>^JTSZ1LE_ZEEZE>E_^ P"£F'-|53Efc^=lj=fegg^Hjf 33 1. Now the gentle May approaches, Shining flee-ey clouds are seen, clouds are seen, And a joy-ful song of welcome . 2. Da'-ly come her feathered heralds, From a-far a - cross the sea, across the sea, And abroad, the hap-py children IEZZEZZ ZE fzEEEZEZEZsZs E = Z Z Z ^ N-iN--.1-J-L-11--0-0--Z-- 3 i ' 3~d -0j-z -^0:- d-d-1 ' ~j,--L d L---ij-S ---,jS -0H -0-L-- .-10 , ~0!. -0 - ^ _L 3. O'er the hills and meadows scatter Lowing cat-tie far and near, far and near, And <M zephyrs gent-ly float-ing, m-*- 0*-\ 9Z101Z9ZZ9Z~L0Z~9-9-0-V9 h II T 1 Y9-9-0 0 10 0 gNjfepipEff^a f-pfT C 1 IZ'_K_! .0i-0t- -0*-*-* L^_^_^_^_^_l 1. Sounds from every coppice green, coppice green. Tra la la la la la, la la la la la, la la la la la, la. 2. Shout and sing in harmless glee, harmless glee. St \ ^ d~d~ ^IZfE^pEiFEfei^P:^^ i 3. Mark the sheep-bell tinkling clear, tinkling clear. 9-m-9-fc- L0z -ZiZZZZE.^ wzzzz Tra la la la la la, la la la la la, ~0 -0 0-0-9-0 -J-la la la la la, la. M ZED {f^E^E-E^ H- ->- I---I ~ r - K - r ? - » - ? ~ ^ * E ± * Z E * E * z * E > _ f c ? z^ 76 HIE SINGLING BIRD; OR, SCALES, EXERCISES, AND SONGS IN THE KEY OF E. 1 2 4 . What Signature ? What Key ? What Clef? lESEfliilgEEFEEEf EfEE^ZE P 1 Do, 2 r<?, 3 4 mi, fa, 6 soZ, 6 la, 7 8 si, do, 8 Do, 7 si, 6 la, 5 4 3 2 «oZ, /a, mi, re, m 1 do. 125. What Clef 1 !-&-*-& ^ ,2. • ^PPr^^P^ j2Z - ^ - fEUlli 1 2 Do, re, 3 mi. 4 5 /a, sol, 6 7 si, do, 1 or 8 7 2>o, si, 6 /a, 5 so/, 4 3 2 ^ ^ /a, ?ni, re, <fo. 126. THE CUCKOO. it _^ _PFiiin»ec.. _• | . J^-r'r j The cheerful day is dawning, I hear the cuckoo sing, ) I To greet the ear-ly morning. And ush - er in the spring; J 0 D. C. O cuckoo, cuckoo, wel-come 1 O welcome, gen-tle spring 1 welcome, welcome, cuck-oo! 0 welcome, gentle spring. 127. A TREBLE PART WRITTEN IN THE BASE CLEF. m^zw^^mmm^mm^^wmmmm Do, Be do, Thou si, 0 la, God. sol, Ac. ex - alt ed high; And as Thy glo - rjr fills the sky, .- • PROGRESSIVE MUSIC READER IV sm^m^^m&w^WMm^mm^u So let it be on earth dis - played, Till Thou art here as there o - beyed. 128. THE MOON. {Give careful attention to the Dynamic marks.) (A p m Cres. J Dim . p pp 1. With mild and qui- et grace,The moon's sweet, friendly face Looks down with pitying eye, And pates with sym-pa - thy. 2. 0, moon, were I like thee, From earth's afflic- tions free, And moved in heaven's light. I might, like thee, be bright. 3. Then let me upward gaze, Be-yond thy sil - ver rays; For all thy splendors shine From rays more pure than thine. 129. A HARD WINTER.-Round. 2 3 mm^mm^mm^zmmmreEzm Hard the win - ter in - deed, When a wolf, a wolf up - on his mate will feed _ ^^5 \==&=&tt±j=±±±t* 130. TIME FLIES-Rcrond. 3 3 =3z HB-t^li=±E=pe zzt FE1=JE^FEZE3ES -<S> 0-Y-\z-ip- On rap - id wings Time for - ward springs, Ne'er re - turn - ing, Ne'er re - turn - ing. 78 THE SINGING BIRD; 0?, 13 3. MY GARDEN. a. !+• fe Very Quick. giEifciFZEErE lEEEE^EiES -,- T-t-J" i i r-rig rTrVE~~FTt' I I i J I l~ J i rfrpf Ll^E^F^EEF^SE^^&iEE^E^REEE^E^F^EEi 1. I can-not tell you how I prize M y garden sweet and small; You speak of trouble in its care,-To m e 'tis none at all. --s - # 4 ? - F - - E-]- rlzz-z X-ttjzzfcz-dzfczLZZEl-rM z j ZiZr-J_-.]- ELE2Z J_ ElEZ*_L^_i zr^EEiz-nZrSz^ZEZEir.riZEiZEnzEzr^E 2. When in the ear-ly hours I go, To see m y pets a - while, r _ J _ ~<7~9 ^FaiSr ElilEies ThoSw hEe-sEideE m yJ pa:th, Z ATn d pansies" To n mme smile. Zil^ZEzfEEZEZ^Z^fEEEr^J L #_jz-|_c r t-jp-»-|-|-F#-*-zj ~v iEEEEEEEl±EEEFEFiEE^EE3iEEEEsE£ r" 0 "I m b> 3. Bright blossoms, modest, sweet and fair, On every side I 6ee, That claim m y love and fostering care, They aU are dear to me. 1. And all m y pains are 6weetly paid By many a crimson gem; And many a bud of richest gold Glows on its slender 6tem. ^JIZCTZ^^ r-FF 2. The morning glories wave their robes, The tulips sparkle gay : The moss-rose meets m y charmed gaze, And blushing, turns away. ipi?EiEEiEE]ES 3. I can-not tell you how I prize M y garden sweet and small; You speak of trouble in its care,-To m e 'tis none at alL PROGRESSIVE MUSIC READER •SEMITONES. CHAPTER X* TRANSPOSITION. {Continued from page 40.) NOTE.-In order to transpose or remove the Scale from one place to another, two things are necessary to be borne in mind, viz.: 1st.-That the form of the Scale-order of Intervals-must ever be the same; 1 to 2, a tone, 2 to 3, a tone, 3 to 4, a half tone, & c , &c. See diagram of Musical Ladder. 2d.-That the sounds represented by letters are permanent -they never change; the sound of C, for instance, is the same sound in one scale as in another. In different scales it simply bears a different relation to the other sounds; in one scale it may be the first or key note, in another scale it may be the third, in another the fourth, & c , but it is ever the same sound, C. * The instructions and exercises contained in this Chapter may be introduced at any suitable time according to the judgment of the Teacher. Portions of them may be interspersed to advantage through several different lessons. After pleasant songs for recreation, scholars will study welL The Semitones of the .Scale The Semitones in the letters must be between 3 i ud 4, are between E and F, and and 7 and 8. All tLuoth- B and C. All the others ers must be tones. are tones. When the Scale coix uences on C, its intervals (tones and semitones) correspond \ lith the intervals of the letters, thus: Tone tone 12 i",ne tone tone tone 1-2 tone C D E F G A B G 1 2 3 4 5 6 7 8 Do, re, mi, fa, sol, la, si, do. As seen above, from C to D is a tone, and from 1 to 2 is a tone. From D to E is a tone, and from 2 to 3 is a tone. From E to F is a hajf rone, and from 3 to 4 is a half tone, &c. See also Fig. 1, i i the Table of transposition. Now these intervals if the Scale will not agree with those of the letters, if we c luimence on any other letter than C ; hence, when we would ihrm a Scale on any other letter, we must obtain other somr.^than those found in the scale of C. To make the above plain s uppose, for example, we commence a scab on E, first line of the treble i'taff. E now becomes one of the new seal* F two, G three, dec. N o w i r. ply the rule: from 1 to 'l must be a tone but from E to F is but a h\(f tone-that will not do. Here it is seen we meet with a difficulty at the very outset, and a sound half a tone higher than the sound of F \\ required in order to get our interval of &o r i S SINGING BIRD; OR, a T O N E from 1 to 2 in the new scale. Should we proceed thus, we should find similar discrepancies at almost every step. All the intervals that are now tones may be divided into half tones-thus two half tones can be obtained from C to D; also from D to E - f r o m F to G - G to A - A to B. The characters used to represent the division of these inter­vals are sharps and flats. See page 40. All the tones being thus divided, we shall form a new scale, viz.: a scale of semitones. This is called THE CHROMATIC SCALE. halftone halftone halftone halftone halftone halftone halftone halftone halftone halftone half C c# D D# E F F# G G# A A# 1 #1 2 #2 3 4 #4 5 #5 6 #5 This scale appears upon the staff thus : half half half half half half half half half half half half tone half tone B C 7 8 Syllables. Do, de, Re, Numerals. 1 #1 2 re, #2 -&- Mi, 3 -g-&g-grzffg: •<D flgr -&- O . i Fa, fe, 4 #4 Sol, 6 se, #5 La, 6 le, #6 Si, 1 Do. 8 Pronounced " Sharp one, Sharp two," (fee. A similar scale of semitones is obtained by a different process, viz.: by making use of the signs of flats) for dividing the large intervals. This scale appears upon the staff thus: ~ half half half half half half half half half half half half G>-h& g?-bg- -<S> \)G> as &-b&- Do, Si, say, La, lay, Sol, say, Fa, Mi, 9 7 h7f 6 b6 6 b>5 4 3 Pronounced " Flat 7, Flat 6," <fec. may. Re, 2 ray, Do. t>2 1 depression (the 1 PROGRESSIVE MUSIC READER 81 W e will now represent the Diatonic Scale (the scale of tones and semitones which has been in constant practice), by a L A D D E R , consisting of eight rounds or steps, placed at unequal distances apart. From the first round or step to the second we will call the distance one foot,-from the second to the third the same,-from the third to the fourth half the distance, (six inches),-from the fourth to the fifth, a foot,-from the fifth to the sixth, a foot,-from the sixth to the seventh, a foot,-from the seventh to the eighth, (or top), half the distance, (six inches). MUSICAL LADDER, REPRESENTING THE DIATONIC SCALE. it now stands, without steps or rounds. at all changing the order of the flftlf. Whole. Whole. Whole. Half. Whole. Whole. 8 6 4 3 2 1 Do, Si, La, Sol, Fa, Mi, Re, V This Ladder we will consider complete; and it may be removed to any position required, higher or lower, without changing its form. N o w since it has been seen that our Diatonic Scale which we re­present by the ladder is movable, while the letters are permanent- ncrer changing-we have a very simple process before us, viz.: to preserve the ladder complete as Here let the scholars repeat the order of intervals in the scale :•- " From one to two a tone," tfcc. Also the intervals as they occur in the letters, beginning with 0. As, e. g., " C to D a tone, D to E a tone, E to F a half tone," <fcc. If slates are convenient let them draw the Musical Ladder upon it. Let them learn also to repeat the intervals of the Chromatic Scale, both by sharps and flats. We now take the letters representing all the sounds of the Chromatic Scale, (scale of semitones), and placing them in a perpendicular line, set up our "ladder"-Diatonic Scale- along side. (See next page.) W e shall thus observe at a glance what sounds are necessary to be used for the Dia­tonic Scales in any hey. Commencing by placing the first or lowest round of our ladder (Fig. 1) on C, we find that no sharp or flat is required to give us a perfect scale. This is therefore called the natural key. Placing our Diatonic Scale, (ladder), upon G, (Fig. 2), a fifth higher than C, we observe that we must.take F # from the Chromatic Scale in place of F, in order to secure the half tone between 7 and 8, as also a whole tone between 6 and 7. W e next place our ladder upon D, and find that two sharps are necessary; and so on through the vE;ole series. W e have printed two octaves of the Chromatic Scale, for the convenience of transposing. a 2 TRANSPOSITION-ILLUSTRATED BY THE MUSICAL LADDER SCALES WITH SHARPS. FIGURE 1. Scale of C. NATURAL. FIGURE 2. Scale of G. ONE #. Fi«URE 3. Scale of D. Two #s. FIGURE 4. Scale of A. THREE #S. FIGURE 5. Scale of E. FOUR #S. FIGURE 6. Scale of B. FIVE ITS. FIGURE 7. Scale of Iff. Six #s. •2 c ., a B .... | A#... S A ... g G# . . . G ... F# ... F ... E ... 3#... D :.. *v .,. 0 ... . .D Y.G 7- 6- -5- - 2 -! do . si . la . sol. fa mi re do G E ZD .0 .B ! A *G 7- -6 5- 4- 3 - -2- -1-! rfo. si . la . sol. fa'. mi. re . do'. .D .c# !B '. A - « .G .F# - 7 - -6- -5- -3 -2- -1 - do . si . la '. sol. fa. mi re do ,A !E ..D . . c# !!A - 7 - 6- -5- -4 - 3 - -2- -1- soE fa. mi. re . do'. ..E "c# !!B !!A ..G# - 7 - -6- -5- 4- -3 "1-1 do .. si .. la .. sol.. fa. mi. re , do . B :G# ..E ..D# . .B 7- -6 -5- 4 - 3 - d do . si . la . sol. fa'.. yni. re . do . • *E# ..B ..A* ,G# ^ 8 - 7- 6- -5- -4 -3 2-1 # 1-1- mt re cfo In the above it will be observed we have ascended in each successive scale a fifth, or descended a. fourth; and that one additional sharp was required at each successive transposition. This is the regular order of transposition by sharps. f Copy-right secured.] * This is written as E# in this Scale-the same sound as F. TRANSPOSITION-ILLUSTRATED BY THE MUSICAL LADDER. §3 SCALES WITH FLATS. FIGURE 1. Scale of C. NATURAL. FIGURE 2. Scale of F. ONE \). FIGURE 3. Scale of Bb. Two fa. FIGURE 4. Scale of Eb. THREE [)S. FIGURE 5. Scale of A b. FOUR [)S-FIGURE 6. Scale of Db. FIVE \ys. FIGURE 7. Scale of Gb- Six [)S. c B A G F E D C - 8 - - 7 - - 6- - 5 - - 4 - - 3 - 2 i - 1 - I do . si . la . sol. fa'. mi . .D !c .A !F 7- -6- -5- -4 -3 o -1- do si la . sol. fa, mi. re . do . .Bb .A !G !F . Eb .D !c !Bb - 7 - -6- -5- __4. -3- o_ -1- do si , la . sol. .Ab ,G fa. mi. re . do'. . .Eb ..D ..C • -Bb •Ab • G .F .Eb -7- -6- 5- -4- -3- -1- do . si . la '. sol. fa'. mi. re . do . . .F . .Eb . .Db ..c !!sb !!Ab -8- -7- -6- -5- -4- - 3- -2 1- do. si . la . sol. fa'. mi. re . do . • Gb .F ..Db ..c . .'Ab re do .Gb ,F .Eb • Db 7 -6- 5- -4- - 3 - 2 -1- do .. si . . la . . sol. . fa'.'. mi.. ..Eb . .Db !*0b . .Bb '.'.Ab i.Gb I - P re -i do do si la sol fa. mi re do In the above it will be observed w e have, in removing our Diatonic Scale from one position to another, ascended a fourth, or descended a fifth, and that one additional flat was required at each successive transposition This is the regular order of transposition by flats. * This is written upon the staff as C b - t h e same sound as B. 9* TO FORM SCALES UPON THE BOARD OR SLATE. In order to form' scales correctly in any key, upon the board, slate, or music-paper, the pupil has simply to ask him­self at every step of his progress: " Is this interval, as it now stands, correct?" And in order to answer this question with certainty, he has only to call to mind the " Order of Intervals," with which he must be quite familiar. It is to Transposition what the Multiplication Table is to Arith­metic. In the process of forming a new scale he will find some of the intervals right, others too large, and others too small, and he has but to use the signs of elevation and depression just when and where they are required for enlarging or con­tracting the intervals that need changing. One illustration of the modus operandi must suffice. Suppose a scale is required to be formed on the letter E, first line, Treble Staff. E now becomes 1, F 2, G 3, &c. N o w the first question is, What must be the interval from 1 "to 2? Ans. A whole tone. Q U E S T I O N . - W h a t is the in­terval from E to F % Ans. A half tone. Half tone. -G> « 1 2 Do, re. This, then, cannot be right for a scale on E. The inter­val, as is seen at a glance, is a half tone too small. A sharp must then be placed before F, introducing the new sound ofF#. i Tone. W- •JUSL s Do, re. Again, from 2 to 3 must be a tone, but from F # to G is only a half tone. W e must therefore place a sharp before G, introducing the sound of G # , to obtain the requisite tone from 2 to 3. Tone. Tone. Half. -&• :i^E 2 - # S > - in From 3 to 4 a half tone is required; this we have from G # to A , so that here no change is necessary. In this way we proceed step by step till the whole scale is completed; when we shall find that four sharps were requisite. Either process-this last, or the one by Diagrams, is in teresting and not difficult. A little application only is necessary to give pupils a thorough insight into the forma­tion and transposition of scales. SCALES IN ALL THE KEYS, FOR DAILY PRACTICE. » . • > 1 3 2 . Sing to the Syllables and Words. G. 9 -0-0 *r I ! Do, do, do, re, mi, fa, sol, Sing the scale cf C, the scale of C, and prepare for D. Do, do, do, G, with its one sharp; Sing the scale of =-*- *-0 - 0 - t r 0-9-d~~ 9-0 9-* *^ ^ w-9- Do, si, la, do, si, la, sol, sol, G, the scale of G, and prepare for #^n Do, do, re, mi, D, with its two sharps; SiDg the scale of D, the scale of jiSEEj^SEE^^ESEE 0-0 *--$• E^EEEj1 ~9ZZZVZZZ9_ *-0- fm^^m^m sol, sol, Do, do, do, si, la, do, si, la, sol, sol, D, and prepare for A, with its three sharps; Sing the scale of A, the scale of A, and prepare for r£-#- # & - do, do, si, la, do, 9 9 9 9 9 9 9 9~ ' sol, Do, do. -d-7^ Do, E, with its font sharps; Sing the scale of ' E, the scale of E, and prepare for 9 9 _iT Do, do, B. w^h its five ehafns so SCALES FOR DAILY PRACTICE. Continued. 8^F=="-^F^ J=:::FF^i-|#|q 1=1 rTET-EEEf^E,-*-?-*-! 2>o, Sins: the scale of B, tne scale of EE - 9 di, rt, mi, fa, sol, sol, B, and prepare for Enharmonic Change* Gb. Do, F sharp-six sharps; Sing the scale of -F---F-H EE_j"",^_:^=5EE_t • •• j «_•__* f i ^^zzj^zz^Z^ZZ^ do, si, la, sol, fa, mi, re, do, do. F sharp, the scale of F sharp. Do, Now the E N - HAR do, MO - NIO CHANGE, and Db. T ~~ a-99 - 09 V ' 9-~9-9-9-9" 0-0 "^ do, re, mi, do, si, la, do, si la, sol, sol, Sing the scale of G flat, the scale of G flat-prepare for ii^^^feggE^f do, u, la, do, re, mi, fa, sot, sol, D flat, the scale of D flat.-prepare for 9- . Do, do, re, D flat, with five flats; Sing the scale of fi^Efiiy^g Do, do, do, re, A flat with four flats, Sing the scale of do, si, la, A flat, the scale of • A change to the <sye, hut not to the ear.-the sounds in both keys being the same. One scale is founded on .F#, the other on G|> jP D E » SCALES FOR DAILY PRACTICE. Concluded. Eb. 87 ^gifep^ppf^sP^^s^^^ <?o, w, /a so/, so/, A flat-prepare for Do, do, si, do, si, la, do, re, mi, fa, sol, sol, E flat, with three flats; Sing the scale of E flat, the scale of E flat-prepare for E=EE^^E^pp^#E%fe^^^E-E^E^EfeE^^|ES Bb. tzb- Do, do, do, si, do, si, la, sol, sol, B flat, with two flats; Sing the scale of B flat, the scale of B flat-prepare for Do, F, with its one flat; c. V- & \^dz0zz^z:^z\:zzzzzi^~^e--e-lz^ ^2=**£ = PPP^iEE rfo, re, <?o se, /a, rfo, sr, /a, so/, sol, Sing the scale of F, the scale of F, and prepare for Do, do, re. C, the Nat - ural key; HH N^F^E^%^^a^^^^aaJ?EEEji mi, r«, e?ov cfo, re, mi, do, do, si, la, do. 0 the Nat-ural key Where w e be - gan, now end, you and me. Sing - ing the Scales from C to 0. S3 CHROMATIC INTERVALS Sharps, flats, and naturals, introduced to represent differ­ent portions of the Chromatic Scale, do not usually belong to the signature of the tune, but are found interspersed through the different measures. They are termed acciden­tals (for want of a better name), and their influence extends throughout the measure only in which they are found, ex­cept where the note that has been changed is continued or repeated on the first part of the next measure. In that case, the note or notes thus repeated in the succeeding measure, are affected by the accidental. See " The Linden Tree," on next page. N O T E T O T H E T E A C H E R . - A s betore intimated, w e would not recom­mend attempting too much of this kind of study at any one time. One or two of the following Chromatic Exercises at each lesson will gen­erally be found sufficient, and pupils will not become wearied. The easiest, and perhaps the most useful, is the sharp fourth. Next in order may follow the flat seventh,-then the sharp second, flat third, &.C. Young pupils will not so soon grow weary in the practice of the sharp fourth and flat seventh as in that of most other chromatic inter­vals. This is very fortunate, inasmuch as these are trie principal notes of modulation in passing from one key to the next, and of course are indi-pensable Let them dwell on these till they can strike the intervals with promptness and certainty. EASY EXERCISES FOR TB G PRACTICE OF CHROMATIC INTERVALS. "When singing these chromatic exercises with syllables, use the vo»wel sound of e long, as in mete, for the sharps, and a long, asfate, for the flats. Exercises on the S H A R P F O U R T H. 133. f^-diZ Z0 ~r i J '! i Frd-#~±-ri i J h* l - r R E - E = EE Sol, la, sol, fe. ->-»->--^-fc-*--*4zJ-zrd-^-\:.rzz-i-£=zSzt*z:ziZz^zz,z. Summoned by the hour of twilight, Thoughts of long gone days re-turn, Teaching with their ma - ny Toi - ees, Les - BOOS 1 too slow ly leara 134. ^t^^P^Ef^j^p^Eg Do, fe, sol 135. Slow. ^:--^z±zzzzz^Yzrzz0: \ArXz^z^zzLfzzV^zzzrz LIGHT OF THOSE WHOSE DREARY DWELLING /- T-r-n §9 W^^itMi^M^M¥^z^0^ wr - -car- Light of those whose dreary dwelling Borders on the shades of death, Rise on us thyself revealing, Rise and chase the clouds beneath 136. FIRMLY STAND. Exercise on the FLAT SEVENTH. : Izzzzzzzzzpz^zzAPzz fz^.zzz^: Firm - ly stand, my land, Firm - ly, f II firm - ly, firm - ly stand. 137. THE LINDEN TREE. Song introducing the FLAT SEVENTH and SHARP FOURTH. *iz^zm^ziz^z^zmm^^sm^^mm , j A Linden tree is grow - ing, Close by a mountain stream ; ) { I've dreamed beneath its shadow, Full many a pleasant dream; j" The names I carved in childhood, Still in its bark are seen, D. C. A n d many a withered garland, Hangs 'mid its branches green. * It was not necessary to reprint the natural here, as the accidental in the preceding measure does not extend to this, yet most author prefer, in such passages, to print the additional accidental to prevent the possibility of a mistake. f The flat seventh is here introduced by removing the sharp. •0 J3S. BROOKLET FLOWING. Exercise on the SHARP SECOND. E-4z-: biE^^EfEEr^E^^EpE^^l^pEE^r^PrE^P > *z& Brooklet flowing, Gently going, Onward, downward, far away, Silver waving, Green banks laving, Glowest thou in evening ray. 139. ROUSE, YE SLEEPERS. ±4f_ NEEI Lively. > Exercise on the F L A T THIRD. > > :d-JJJJ^^ > * -^r--# -^- Z^Z'0'99~9~ -JZ 9®* 9' ®0^d- 0) n-i-ri SEE * ^ 1 Rouse, ye sleepers 1 up and labor, Rise and feel the sun's warm beam, See the mists the valley filling, Semblance of the tranquil stream. 140. PLEASANT SPRING TIME. Exercise on the SHARP FIRST. K E Y OF G. jffo->~I5 ZZLZZZXZZ> E-f Pleasant spring time, Lovely spring time, Joyous spring time N o w is near; Happy spring time, Merry spring time, Dearest spring time, Welcome here. 141. MEETING. Exercise on the FLAT SIXTH *.Ljirvreelyy*. > > J> Pirn. Crea. neat lit tie home. In the val - ley I see; I live there so hap py, 80 hap py and free. Slow. ~E 142. PARTING. Exercises on the SHARP FIFTH. Jl HfcF UVTi Fare ye well m y lit -tie cottage, Parents, brothers, sisters dear, Truest friends must often sever, Of-ten drop the parting tear. 143* Exercises on the SHARP SIXTH, FLAT SECOND, and SHARP SECOND. i^E^EESEfiEE£g£SEE^f|fegi 144. AUTUMN SONG. "^4--j-|S-|^--j^- EE^F^^^^^E^E^;iEEEF ^EE^EE^ I See the leaves around us falling, Dry and withered is the ground, Thus to thoughtless mortals calling, In a sad and solemn sound. &EFEEEEJI 0-0 i -h ^Mzz^^z^^Mfzf^0fz\^M Youth, on length of days presuming, W h o the paths of pleasure tread, View us late in beauty blooming, Numbered now among the dead. 145. PEEPING THROUGH THE DEEPENING TWILIGHT. Song in the CHROMATIC SCALE. d- #0- 9 IT9 Peeping thro' tlie deeo'ning twilight, Glimm'ring stars in myriads shine, A n d the moon, with softest lustre, Sparkles thro the clust'ring vina 92 g F ^ - + - j-pEErf iftg zzzz 0 LZ .EEf psra^psiiii Peeping thro' the deep'ning twilight, Glimm'ring stars in myriads shine, And the moon, with softest lustre, Sparkles thro' the clustering vine. 146. CHROMATIC SCALE in regular succession. Descending* '-d'-^d- *~%* a^a^MPH^i^fei^^r^ 147. TRY AGAIN. i% ^ m | S L J J - s F is-M-F-i-• * S - F ^ - F • * - 9 - 9 - 0 Y - - 0 - 0 - 0 - F H - f - --9~7 r^i-F <f-f- d - > F->--^-f- F - J - I 8-r^-y - 0 - 0 - • » - m - \ - - m - • - # J-i 1-F^-r -Ar-b-d-d N Fd-*-r-\~9 +*-S-Fl F-i ' 1-F-> i 1 -0-9-r-»-Fd-r L* -0- Lri 0* U4 0* 0* 'Tis a les - son you should heed, Try, try -0- -0- WH£U-9 STL 9LZ-\ LE * a - gain; If at first you don't succeed, Try, try 0* a - gain; Ez£_-E £ W Ffz=PE*=^=f=F*:=f:=*=Fr#--f"J=FE:=E \zzzz\:?zz*zzz?z-?zzy?zzzxzz* ~[::cr~v^zz+z\&zz\. Then your courage should appear, For if you "vill per - se - vere, You will conquer, nev - cr fear, Try, try a - gain. imz^mmmmm^AWMzWmtm -# #- Very Sprightly 1 4 8 . MORNING IN SPRING. What Chromatic Interval is introduced into this Song, and where 1 93 -^fzzz-tzvzzz^ ^ d- ri- From the German. 5=3=' 5-31-3: 3 =5 E 3 EEE^_ 5 S£ SON 1. H o w love - ly, how charm-ing, has na - ture been made, The hill in the sun - shine, the walk in the 2. H o w green are the mea - dows, how bright is the morn, H o w glit - ter the dew-drops on !au - rel and ; g-rfr3-r- F - T - . - : -j h 3. The As - pen - tree fiut - ters, and whis - pers its fear, The Lin - den in - vites all the bees to draw 4. H o w love - ly, how cheer ing, has na - ture been made, The flow'rs in the sun - shine, the brook in the Bfet^^fJF^^r^^rl^fj^^r^r^riS^r 3t«: FFgFFFTrfTEEqU-^Ug^Fiii 1. shade ; The wild rose, a - dorn-ing the hedge with its bloom, And load-ing the air with its wealth of per-fume. 2. thorn; H o w pearly and pure is the bri - ar in bloom, H o w love-ly the May-flow'rs, how sweet their perfume. -#E#]I- 'ziz+m: '^^ll^^lz^JzS^^i near, The wil - low bends low its frail branches to lave In the lake where the clouds seem to float on the wave-shade. All, all with their charms were bestowed with our birth, To cheer and en - liv - en our path-way on earth. ^^^LZ^Z^^ZZZZZ^zZZZZzZ^ 3EEE3EEEff?E izzazzztztizz ~=zzizzzzl^^ M 94 #_# Sprightly 149. THE ROSY MORN BLUSHES.-Spring Song, No. 8. Es What Chromatic Interval in this Song 1 Where rt m^^^miiWMWsz^iZzWMzzm\WM 1. The ro - sy morn blush - es in hea - ven so blue, The flow'rs sparkle bright in their chap-lets of 2. Come roam o'er the hills and through val - leys with m e ; Leave crowds on the pave - ment, and wan-der forth i^ElSSEIEplli&^SEPlsli 3. A h ! soon will the charms of the bios - soms be o'er, Their breath will ex - hale its sweet fragrance no 4. A h ! soon the bright green will be lost to the eye! A h ! soon the rough winds through the stub-ble will 3--4H-FF-- i-r=- F 9-#Ei~*-rn' ;gEJEE3E|EE^^^^=^^fe^ 85- #-.-:*I#J - ZZZZ ± -f.-0--tM9- *^- p^llIrlEgiP^: ^ ^-0 z l_V^<qz-Ytzzzi I. dew, The hedges are crowned with their garlands so fair, And fra-grance of flow'rs fills the soft morning air. J. fret,. The birds callus out to taste pas - to - ral bliss, And who can re - fuse on a morning like this? tt I :E^=^^^=q=Tfr=^^ii=p-^=?ErE£=Efj=n^H-j-Tf^ 0-0>-0'-0-J--A-0-J-0J-\ 1 s^j --•-! 1-« **J-sj-' d-L9-0-01 x&-*- more. Al - read-y the cher-ry flow'rs, fall-ing like snow, Have shrouded the vi - o - lets blooming be - low. sigh ! Then come to the woodlands while still they are fair, And wor - ship the God w h o ere - a - ted them, there. sii^llllilElilgE^EEEPgll 95 SCALES AND SONGS IN THE KEY OF B. 15 v. illEEIEIilllll -<5>- 2 re, "ST -&• 1 1 do, Do, -&- re, &-*& z^nzz i 3 mt, 4 /<*, 5 sol, 6 la, 1 si, 8 do „!£ / Q,niclc 151. THE ABSENT.-" The Loved Ones far away." J&-J «*»j^- ^S />__ _#_ zt^tz^m^z^m^^^'^^^^. EEE3EE3E3EEEEEEE 9ZZ9Z ( Our fes - tal Bongs are ring - ing loud, Our hearts are fall of glee, ) ( W e wel - come back our friends of old, W e hail our ju - bi - lee; ) piiiiii But P sad - ness checks our 0 3 7 0 iE^S 3 EIEEE^EE^ 9 j The Spring is here with op'n - ing flow'rs, The grass is spring-ing green; ) '( A n d all the young and gay are met, A joy- ous crowd, I ween; ) But __„ / _ ^ e_ ^A-9-£TzFi-•-'iz=. some, and they the ^a=£^QzfEEEEgEE|^N^^ N-I- 5 5E: I A n d some are rov -ing east and west, Or on the sound-ing sea But peace ana love and joy to them W h e r - ev - er they m a y be * Flat Seventh. l\ Their mana-'ry ris 96 %-e- | rV. THE ABSENT. Concluded. l. ELVEE^FF^PEEE While thinking of the I ^tl^ElIP joy - ou3 notes, And soft - er pours our lay, While thinking of the loved ones, The loved ones lur a - way. d -h V-jzzX -J-i-i3 " ~9~ ~w' ~&~ love - li - est, Are not with us to - day; W e spoke the word of part - ing To the loved ones far a - way. g^^E^j^^^^^^^feE^pESS^E 3. # in our hearts, U p - on this fes - tal day; W e pray for God's rich bless - ing O n the loved ones flu a - way -# 152. KEEP UP A GOOD HEART. From the German. ssm^^Mzw^^m&zz^m^wj^1. Keep thro' thy jour-ney here, Calm breast and conscience clear; Make ev'ry moment sure, Lost time re - turns no more. lL#3!IHiIpiiilpii!H#^ipii ~w~ ~9~ 2. When lost in night pro-found, Black clouds enfold thee round. Let not thy heart re-pine, Soon will the morn - 3. E'en should the morn de - lay, Let not thy strength decay, Hold thou the promise sure, Night cannot long en - dure. i^tEvEE3E^3EEE5E^^EE3:F3^^ * The darkest hour of night iajusi before dap. w 153. SCALE AND EXERCISE IN THE KEY OF F#. (Six Sharps.) !limHIHEHELi!EPE!E§EEEI^lI Do, re, mi, fa, sol, la, si, do- Do, si, la, sol, fa, mi, re, do. 154. MIND YOUR OWN BUSINESS.-Round. Keep to the work you best can do, And let all other business go ; And hold this homely proverb fast, " Good cobbler, ne'er forsake & zzzz&zzz SCALE AND SONGS IN THE KEY OF F. (One Flat.) 155. lliEilEgli la, lELE^lEIESE i Do, re, mi, fa, sol, la, si, do. Do, si, la, sol, fa, mi, re, 156. MIND YOUR OWN BUSINESS.-Round. do. This round is here repeated to show the difference between this key and that of F#. Both read the same,-but the former, it will be perceived, is half a tone higher than this. The key of F, (one flat), is used very much-that of F#, (six sharps), very seldom. Keep to the work you be*t can <ao, And let all other bu .ness go; And hold this homely proverb fast, " Good obbler, ne'er forsake your last." 7 157. WE DELIGHT IN OUR SCHOOL >5S iz^^EZ^^EEE^EEE^E^F^ 9^ f3-J-J^g ?-?-\*-j ^ z F r - Z z E E E E E E E E E E E E E E S l g - • 1. W e de -light in our school, We'll o - bey ev - ery rule, And the high - w a y to knowl-edge pur - sue. 2. W e will not lag be - hind In the race of the mind, But will strive to be found in the van. fe=3=jfaqte) ~Z3ZZZ?Z±Z£ZZZZZ-JZZZ? I9 -~9 g~F~ 3. But if then we should fail, 0 - ver all to pre - vail, See - ing this may be out of 4. All our words shall be kind- All our con - duct re - fined- A-bove all we will try to m our power do right. ^IzzzzlzZ^M t-tz •0*-0>- EEEED: 7ZZZZ9ZZZ9Z g=BEg^^£B £=fcz >-i- ~t d=d~ s S--V ?- •J: jEEEtE^^EEfEEJJEp So our teach - er By hard stu - dy shall say and care, At the close of It will not be the day, That we're dil - i - gent, peace-ful, and true. un - fair, To out - strip all the rest, if we can. E^B^EEEE^l & •JzzJ±bJzzzzjzz-i V- > =1 -jf a: g^gE^EpEEJEE^ 3. Although loa ing the prize, It would nev - er be wise, To be peev - ish and mood - y and sour. 4. Then al - though we may grieve, W h e n the school we shall leave, W e will think of it oft, with de - light 15 Not toe Slow. 99 MCNCK, HEAVENLY FATHER, BLESS THE HOURS.-School Prayer. F^=g3EE^fE^p|fE^gfg^E^^g^^ 1. Heaven - ly Fa - ther, bless the 2. Give us light. to guide our YZ0 E^ hours way, That we pass in use - ful learn - ing! While Thy Word is spread be - fore us! fJ^S^&zzzizt 3. May no i - die, 4. Then, like plants that *3 ill - spent days bios - som fair, feE^^^EEjEJpJEJEjEEpg Efci^E--=EE=E: Bow our par - ents' heads with sad- nessl Which thy rain and sun - shine nour - ish, T ^P=EgpEEEEEpEE3Eg^gEE3EpE^E^ - & ^H^=g=^B^^=£}p^ip^gi=El 1. Sane - ti 2. May we ne'er our men - tal powers, in er - ror stray! IPEi^IiEEE&^EgiEi All May T our thoughts to wis - dom turn thy spir - it hov - er o'er ing. us! =3^Si m est, well-earned praise Thy heaven-ly care, Fill their grate - ful hearts with glad We, for heaven, shall grow and flour ness