Natural Course in Music Music Reader · Preface and Directions The teachin g in this, as in all precedin g R eaders, is presen ted in on e part e xe rcises;bu t in this book the ex

NATURAL COURSE IN MUSIC

M U S I C R E A D E R

NUMBER F IVE

FREDER IC H. R IPLEY

PRINC I PAL OF THE B IGELOW SCHOOL, BOSTON

AND

THOMAS TAPPER

I NSTRUCTOR IN M US ICAL COM POS IT ION AND THEORY . E! AM INERIN THEORY , IN THE AMERICAN COLLEGE O I

"M US IC IANS

NEW YORK C INC INNATI CHICAGO

AMER ICAN BOOK COMPANY

COPYRIGHT , 1895 , BY

AMERICAN BOOK COMPANY .

A ll rights reserved .

NAT. Mu s. R u m . v x .

F. H. G lLSON COMPANY

MUS IC PRINTERS

BOSTON

Preface and Direct ions .

The teaching in this, as i n a ll precedin g Readers , is presen ted in on epart exe rcises;bu t i n this book the exe rcises have been se lected from theworks of the great teachers of the vocal art, and are given w ith pian oaccompan ime n t .

Brief on e-part exercises , also frequ e n tly se lected , precede these advan ced solfeggios , and prepare the way for them;and songs are se lected toillu strate the prev iou s teaching . These songs are emin en tly adapted forcarefu l and progressive stu dy .

The pu pil will n ot on ly fee l the pleasu re which beau tifu l melodyaffords , bu t he w ill be con sciou s of a grow ing appreciation of good mu sic ,and fee l the deep satisfaction which in creasing power and ski ll always give .

I t has bee n the aim of the au thors from the begin n ing , to bring to thestu dy of mu sic the best and highest from all fie lds

,and to afford n ot on ly

temporary ben efits , bu t to open the way to a life- long e njoymen t of the art .That this object may be real iz ed the pu pils are tau ght to appreciate , as we llas to do . That they may be tau ght to do , they are su pplied with abu ndan t , easy material for sight practice . That they may be tau ght to appreciate , they are brou ght i n con tact w ith work that requ ires carefu l stu dy ,and which yie lds its tru e beau ty on ly to those who faithfu lly persevere tothe end . With this last thou ght i n v iew , a con siderable n umber of artisticsongs for on e and two voices has been in trodu ced for stu dy , n ot for a day ,bu t for many days . They are mode ls by which the taste may be formed oredu cated .

F'fth Read0'

As an in div idu al can sing bu t on e part , it is eviden t that the stu dyof exercise s for a single voice affords all the rhythmic and tonal teachi ngpossible . There is great advan tage in teaching in this way , as , owing to thefreedom which absen ce of other voices gives , the mu sic in on e part may bemu ch more advan ced . A stu dy of three- part ex ercises , as g en erally given ,shows that freedom of me lody and rhythm has been sacrificed to harmony .This tru th is i llu strated in this book ;the three- part e xercises gen erallybe ing free from rhythm ic d ifficu lty if the harmony is at all complicated;bu t in Section I I . a series of solfeggios has bee n prepared which is calcu latedto give fu ll scope to the powers of both pu pils and teacher. These solfegg ios are in three parts , bu t n o attempt has been made to redu ce them

from the ir origin al high standard , and the mastery of them will give powerfor choru s singing of the best character.

This volume prese n ts material of so advanced a characte r as to n ecessitate a carefu l preparation for each lesson by the stu dy of the chart (Serie sG ) which accompan ies this book .

The chart referen ces have been made very fu ll , bu t there are still manyimportan t matters for rev iew The teacher is , therefore , u rged to stu dy thechart by itse lf an d to take u p each exercise for practice , carefu lly n otingthe prin ted direction s at the foot of the page .

Ou r than ks are du e to Messrs . Hou ghton , Mifilin Co . and G . Sch irmer Co . for copyrighted mate rial .

Fifth Reader.

SECTION I .

Voca l Dri l l .

VIARDOT-GARCIA .

Ex . 2 . 011 . Set . G. Pag es 3 and 4. Ex . 3 .

Ex . 4 . Ex . 5 .

Ex . 6 .

1; STAFF . é CLEF . I BAR . IIDbZEE-

E—

EA-

r2, fi METER SIGNATURES . $25 KEY SIGNATURE .Fifth Re ader.

Ex . I . Ch . Ser. G. Pages 9 and 17.

Ex . 2 .

Ex . 3 .

Ex . 4 .

Ex . 5 .

Ex . 6 .

Ex . 7 .

s WHOL E NOTE . 5 ! HALF NOTE . J Q UARTER NOTE . J"E IGHTHNOTE . SIxTEENTH NOTE . WHOLE REST . HALF REST.

1 Q UARTER REST . 1 EIGHTH REST . q SI ! TEENTH REST. Fm Reader.

G . NAVA .

‘Andan te , somewhat slowly .Fifth Reader.

Fifth Re ade r.

Dictat ion .

The scale may begin on any staff degree . Do or one of the scale iscalled the key n ote . I t is also called the ton ic or strong ton e of the scale .

The scale derives its name from the n ame of the staff degree whichrepresen ts the pitch of Do, or the ton ic . Thu s a scale begin n ing on g ,

is kn own as the scale of G.

The key sign atu re is u sed to Show the position of the key n ote .On e sharp placed on the fifth l in e , or F , in dicate s that Do is on the

second lin e .Two sharps , the first on F and the second on the third space or 0

in dicate that Do occu rs on the

first space be low , and the key is D .

Three sharps placed thu s , E in dicate that Do is on the secon dspace , and the key i s A .

Fou r sharps placed thu s, indicate that Do i s on the first

l in e , and the key i s E .

The pu pils shou ld n ow be requ ired to write the scale throu gh on e oetave in the keys given above .

Care Shou ld be taken in placing the key sign atu re to pu t the sharpson the proper staff degrees, the n ames of which shou ld be learn ed .

Exe rc ise s .

The written exercises shou ld te st the pu pils’ kn owledge of the factsgiven above .

1 . Requ ire the pu pi ls to write scales begin n ing on differen t staff degrees , and affix the proper key Signatu re , e . g . , write a scale placing thefirst note on the secon d space , and affix the proper key sign atu re .

2 . Requ ire scales written , the n ame of the key n ote on ly be ing given ,as : write the scale of D .

3 . Give the key signatu re and requ ire the pu pils to place the keyn ote and to write the scale , as the sign atu re is w rite the scale .Fifth Read“ .

10

Andantz’

no.

Andan ti no, slowly .1p (p i ano) , softly .

The Wh ite Rose Tre e .

Mu s ic by J . B . WECKERLIN .

1 . 0 on ce I plu cked th e fa ir est2 . Then leaf by leaf each flower I

poco m’

c. p a tempo.

That grew u p on my rose-treeAnd pu t them i n my a pron

Fifth Reader.

mf (mez zoforte) , moderately lou d .1’

poco rit . , to retard a little .I a tempo, as qu ickly as before poco rit.

Fifth Reader.

11

Th en leaf by leaf Each flow’r IAnd cv

’ry rose ,whose leaves I

And pu t them i n my a pron whi te .Said :merrymaid ,you r you th i s bright .

12

Ex . 1 . Ch. Ser. G. Page 11 , Ex . 2 and Pag e 23 , Ex . 3.G. NAVA .

Fifth Re ade r.

14

Vocal Dri l l .

Ex . 1 .

Ex . 2 . Ch Ser. G. Pages 3, 11 , 13 and 2L

Ex . 3 .

Ex . 4 .

Ex . 5 .

Ex . 6 .

Ex . 7 .

E x . 8 .

The common meter sign atu res are 3, g, 2, 2, 3: or (3, g, g,'82

. The

u pper figu re indicates the n umber of beats to the measu re . The lower figu reindicates the n ote valu e allowed for each beat .

Fifth Reader.

No. 2 . If w i th a ll you r He arts.F . MENDELSSOHN-BARTHOLDY .

(From“ Elijah .

(German composer, 1809

If wi th

Y e shall ev er su re ly

Thu s sai th ou r God , Thu s saith ou r

No. 3 . 0 Re st in the Lord .

16

all you r hearts ye tru - ly

fi nd Me .

F . MENDELSSOHN-BARTHOLDY .(From

“ Eli jah .

O rest i n th e Lord;wai t pa t ien t-ly for Him and He Shall

give thee thy h eart’s de sires . O rest i n th e Lord;

and He shall give

and He shall g ive thee

Frfth Reader.

thee thy

thy heart ’s

wa i t pa-t ie nH y for

heart’s de

de sires.

16

No. 4 .

Ch . Ser. G. Pag e 17.

Spri ng’

s De l i g ht .

1 . All bloom i n g beau2 . K i nd spring gi ves par ty3 . There ’S n on e h is b id d i ng

seen , On th e hi lls an d i ngay , To th e mu sic ofn ay , For h e fou ght w i th gloom

t f (forte) , strongly , lou dly .

M u s ic by ROBERT SCHUMANN .(German composer, 18 10

bidswi ll su re

th e val whereth e for est w e

’11

y w i n ter and

Flfth Reader.

https://www.forgottenbooks.com/join

18

Ex . 1 .

Ex . 3 .

Fifth Reade r.

Giocoso, playfu lly .fp (p i ano) , softly .

Fifth Reade r.

May Song .

And down

An d met

19

Mu s ic by ROBERT SCHUMANN .(German composer, 18 10

Th e leaves are grow -i n gWhen w i n try shad-ows

be side th e brooklet Swe et v i ori - ly th e children Are shou t i n g

20

le ts are see n .i n the irg lee .

How sad

Th e su m

A now’

r

Far 0

ly We were pi n i ng ,were p i-n ingmer su n i s Shi n i ng , i s Sh i n i ng

a ga in to see ,ver h i ll and dale ,

Fifth Reader.

21

i n th e leaf y wood lands To wan der, wan der,brin gs th e t ime of ro ses , An d tu n e fu l , tu n e fu l

wan der w ide an d free .tu n e fu l n ight i n gale .

‘NOTE . The se two measu res have been slig htly chang ed to s impli fy th e rhythm.Fifth Reader.

Fifth Re ader.

Theme (em-A from th e KOMMERSBUCH .

29

22

Ex . 1 . Ch . Ser. G. Pag e 4. J . N . ASHTON .

Ex . 4 .

t SHARP . l! FLAT . Sharps an d flats are u sed i n the key Signatu re ,an d also as accide n tals , to indicate chromatic ton es . When u sed as accidentals the effect is con fin ed to the measu re in which the acciden tal is placed .

Fifth Reade r.

24

No. 6. Devot ion .

Mu sic by F . SILCHER .


When to th e hou se of G go, I fee l su ch deepbeat - l u g heart , why throb ye so ? Y e tears , w hy are ye

My heart beats high , my warm tears flow W ithI t i s th e sou l that speaks , I know , I ts

rapt and Sweet de vo t ion , W ith rapt and sw eet de vo t ion !haav ' u ly joys be stow i n g , I ts h eav’n ly joys be stow i n g !

A chromatic ton e is indicated by a Sharp or flat placed before a n ote .I t is called chromatic becau se su ch ton es were formal ly in dicated bycolors . Chromatic mean s colored . ‘Ch . Ser. G . Page 23 , Ex . 3 .

Fifth Re ader.

25

Dictat ion .

Rev iew the pre limin ary facts of the Dictation on page 9 .

NEW FACTS .

When the scale begins on certain staff degrees flats are u sed to showthe position of the key n ote .

Thu s the scale begin n ing on the first space

requ ires a flat on the third l in e . The key is F .

A scale begin n ing on the third l in e flatted , is shown by a

secon d flat placed on the fou rth space , thu s and the key is B flat

(B 17)A scale begin n ing on the fou rth space flatted, thu s requ ires

a third flat placed u pon the second space , thu s : Eand the key is E flat (E b) .

Whe n the key n ote is u pon A b a fou rth flat is u pon the fou rth l in e ,

and the key is A i7°

Take n ote

1 . That the n ew flat occu rs each time on Fa .2 . That the flat before it is on Do .3 . That the n ames of the staff degrees on which the flats occu r in

order are B , E , A , D .

The pu pils shou ld be requ ired to write scales begin n ing on1 . The differen t stafl

'

degrees , as on E 17, and affix the proper sign a

2 . To write the scales having the signatu re given ;and in other waystested . The Sharps keys shou ld also be reviewed .

Fifth Reade r.

No . 7 . The S le ig h - Be l ls.Mu s ic by F . W . FARR INGTON .

2 . They ji n g le , jin - g le J i ng , And ou r voi ces g ai ly ri ng , Like

hearts u n ta i n t-cd as th e sn ow !ou t the ir joy on s chan t to day ! The n J i l l g le , J l n g le j i n g , Whi le ou r

1 cy a ir of n ight , As o’er th e ice - bou n d track we go !voi ces gai ly ri ng , Like ea gle s spe ed we on ou r way .

A TI E . Two n otes on the same staff degree u n ited by a ti e aresu ng as on e n ote hav ing the ir u n ited valu e . J J equ als a '

When several n ote s are to be su ng to on e word the n otes are u n ited

by a slu r,thu s : ‘Ch . Ser. G . Pages 8 and 1 7 .

Fi ft h Reader.

Voca l Dri l l .

BONALDI .

Ex . 2 . Ser. G Pages 14 and 17. ALBRECHTSBERGER .

Ex . 3 .

Ex . 4 .

Ex . 5 .

CONCONE .

A dot placed after a n ote in creases its v alu e on e half, thu s : equ alsequ als

a' J J . equ als J J

“

‘t equ als a“0“

Fi fth Re ader.

28

Ex . 1 Ch . Ser. G. Page 18.

Ex . 2 .

Ex . 3 .

Ex . 4 .

Ex . 5 .

Ex . 6 .

Ex . 7 .

Ex . 8 .

The lin es an d spaces of the staff are called staff degrees . The staffdegrees are lettered . The clef is u sed to Show the position of on e letter onthe staff from which al l of the other lette rs may be fou nd .

Fifth Reader.

29

My Fathe r had a Garde n Gay .

M u s ic by J . B . WECKERLIN .

My fa ther had a g ar den gay .

Un poco a l legretto, somewhat qu ickly .

The G Clef in dicates the position of the letter G , _G The clef

itse lf is a modified Gothic G. The letter above G is A , and the on e be lowis F . The letters follow in alphabe tical order, b u t on ly the first seven

lette rs of the alphabet are u sed ,

Fifth Reader

*poco ri t . , a little slower. ‘Ch . Ser. G. Pag es 11 and 23.

Fifth Reade r.

32

Ex . I . Ch . Ser. G. Pag es 14 and 18 .

‘Andan te sosten u to, i n a slow and su stai n ed man n er .

J . CONCONE .

Fifth Re ade r.

‘Cres . (crescendo) , to i n crease th e ton e pow er.

Fifth Reader‘Ch . Ser. G. Page 18.

33

Dictat ion .

The mean ing of the differen t mete r marks Shou ld be reviewed .Thu s;5mean s that each fu ll measu re con tain s the valu e of two half

n otes, and two beats Shou ld be given to each measu re , an d the first n ote ofthe measu re Shou ld be accen ted .

The variou s ways in which a 5measu re may be filled shou ld be illu s

and the same forms of measu re s

expressed in 2 and g.

Three - two measu re shou ld be stu died in the same way an d compare dwith 2 and 2.

Measu res written in on e meter shou ld be expre ssed i n others u n til th ekin ds of n ote s and rests are perfectly famil iar .

The fou r-fou r an d Six-e ight meters shou ld be treated Sim ilarly .

The pu pils be ing familiar w ith the differen t meters , the teacher shou ldsing or play S imple rhyt hms, an d cal l u pon the pu pils to te l l whether theyare two , three , fou r, or six partmeasu re . Hav ing decided what the mete ri s the children shou ld express what they hear in the paralle l meters .

For example i f the teacher has employed three part measu re the children shou ld express what theyhear i n 2, 2, or g, or in all three if desired .

Fifth Reade r.

35

Voca l Dri l l .

BONALD I .Ex . 1 .

Me me .Ex . 2 . Ch . Ser. G. Pages 8 an d 11 .

Ex . 3 .

E x . 4 . ROBERT SCHUMANN , Op . 79 , No . 3 .

Ex . 5 .

Ex . 6 .

Ex . 7 .

l i l

SCALE DESCENDING . SCALE ASCEND ING .As we sing the desce n ding scale we thin k of the ton es as be ing lowe r

as we go down ;and similarly , when we sing the asce nding scale we thin kof each su cceeding ton e as highe r than the

tD

on e before it . This differen cein ton es which we distingu ish by the words h igher and lower, we call pitch .Fifth Re ade r.

36

Ex . 1 . Ch. Ser. G. Pag e 18. SA I LOR SONG (Fran ce ).

Ex . 2 . SAI LOR SONG (from WATER

Ex . 3 .

le si .

Ex . 4 . Ch . Ser. G. Pag es 19 and 21. RICHARD WAGNER FLYING DUTCHMAN

Ex . 5 .

Fa se

Ex . 6 . RICHARD WAGN ER (“ PARS IFAL

Each staff degree repre se n ts a certa in p itch , and the le tte r which isthe n ame of the staff degree is also the n ame of the pitch which it reprosen ts

Fifth Reader.

Ex . 2 .

Ex . 3 .

Ex . 4 .

Ex . 5 .

Ex . 6 .

Ex . 7 .

ALBRECHTSBERGER .

R ICHARD WAGNER (“ FLYING D UTCHMANEx . 8 .

I t has been fou n d that all Objects which em it sou n d are in a state of

motion . This motion is cal led v ibration .in creases the pitch of the ton e rises .r im Reader.

As the rapidity Of the v ibration

No. 9 . To He ave n .

Ch. Ser. G. Pag es 14 an d 15.Words by G . C . D I EFFENBACH . Mu sic by FRANZ ABT.

(German poet .) (German compose r, 18 19An imato.‘

To Heav en soars th e sky lark W i th

son gs of pu re del ight , To B eav en cv ’ry flow ’ret Opes

‘Am'

mato, an imated .

1mf (mez zoforte) , moderate ly lou d .Fifth Reade r.

40

The oak

O Lord ,

poin t to-wards th e Sk i es

and smallest grass-blade Both poin t to-wards th ethat I draw n ear Thee Ti ll I from earth de

and small-est grass blade Boththat I draw n ear Thee Ti ll

To Heav-en , to Reav en !

to B eav en !

Fifth Reader.

41

D ictat ion .

Every scale has what is called its re lative minor scale . That is , ifin stead of begin n ing on DO of a g iven scale we begin on La an d sing to La ,we shall have what is called the n ormal minor scale ;and sin ce the keysign atu re i s u nchanged i t is said to be re lated to the major scale from which

it is derived .Relative minor.

The relative m inor , however , is con sidered to have La for its key n ote ,and as the staff degree on which the key n ote occu rs gives the n ame to the

scale this scale is called E min or.E i

The n ame of the re lative minor of any ily told— siiiiiiiypass fromDo , the key n ote of the major, to La , and observe u pon what staff degre e itoccu rs , n oticing at the same time if i t bear a Sharp or flat i n the keysignatu re . Thu s

E major. C 1: minor.

1 . The major scales shou ld now be rev iewed , written by direction , an din each case the re lative minor written after it . The children shou ld n amethe min or scales , n otic ing carefu lly the key sign atu re .

2 . The children shou ld learn to give the s1gn atu res for the differen tminors

, e . g . what is the key sign atu re for E min or . The process ofthou ght shou ld be if E or the first l in e is La , then the first space i s Si , andthe secon d lin e is Do . The second l in e or G be ing Do gives the key ofG

, sign atu re on e sharp , placed on the fou rth lin e , and the scale of E minor

appears thu s

Fi ft h Reader.

42

Ex . 1 .

A llegro, in a cheerfu l , lively man n er.

Mu sic by J . CONCONE .

(Italian composer, 1810

Fifth Reader.

‘Smorz . (smorzando) , grow i ng gradu ally softer . i Ch . Ser. G. Pag es 11 an d 23 .Fifth Reader.

43

M

No. IO. Bole ro.

Ch . Set . 0 . Page 15. Mu s ic by J . ARNOUD .Arte/mmmodcrm .’ (

Fren ch composer)

if c : fi

4 l

J's

Whe n in Ar a g on th e g low-lu g su n , Whe n i n Ar a gon th e

! !

g low ing su n Dips g e n t-ly dmvn ,d lps g e n t-ly dow n ,d ips gen tly dow nward when th e

i t I; — qAllegretto moderate , i n a mode rate ly qu ick movemen t.i imrru to, i n a dec isive , well-marked man n er.

Fifth Reader.

p i n , a. l i ttle .Fifth Reader.

45

mee t a-ga i n , w e

Here the n ’n eath th e su n -set’s

46

h is4

47

V

(trim -son g low , Ye s , l l : : re the n ’n eath th e su n -se t’s crim-son glow , Wh i l e

i i“

11x I I !

ou nd u s blow , Where perfumedw i nds a rou nd u s

i

’ F F1 ‘E oit D D

' i U D r

ca ssava.“ w ry stm u g . me an i n g i n a fu ll . lou d ton e .

Fi fth Rm .

48

No. I I . Gre e t i ng .Ch. Ser. G. Pag es 14 and 17.

Words from th e German of M u s ic by F . MENDELSSOHN-BARTHOLDY .I . VON E ICHENDORFF . (German composer, 18 10

Where ’ermy steps may

Where ’ermy steps

wan der , Throu gh woods and meadow s fai r,

wan der, Throu gh woods and meadows fair,

Fifl h Reade f e

0

Fifth Reader.

49

w ith deep e mo t ion O’er h i ll , and vale ,and

mo t ion O’

er hi ll , an d vale ,and

ores .

cean , Greet -i ng thee ev’ry where , gree t- i n g thee ev ’ry

cean , Greet- i n g thee ev ’ry-where , cv ’ry

50

I , from th e g ar

I , from the g ar

dim. , dimi n u endo. to dimi n ish th e ton e power.

de n gath er

den gath er

‘

i Ch . Ser. G. Pa g e 14, Ex . 3.

Swe et

Swe et

Fifth Reader.

And i n

And i n

w i nd them , Wi th pleas an t thou ghts I b ind

w i nd them W ith pleas an t thou ghts I b i nd

crescendo, to i n crease th e ton e power. tCh . Ser. G. Page 15.

Fifth Reader.

to garlands

to garlands

them ,

them

greet i ngs i n ter tw in e , and gree t i n g s i n te r

An d gree t i ngs i n ter tw i n e , i n ter

Fifth Reader.

To thee I dare

To thee I dare

E’

en that might give thee pa in ,

‘pp , p ian issimo, very softly .

Fifth Reader.

n ot

not

gi ve

give

They soon

them,

them ,

53

a ga in mu st

54

per ish ,

They soon

I may not cher

I may n ot cher

a gai n mu st per

i sh M u st yet

i sh , Th e

i n th e h eart re

Flfth Readere

56

Ex . 1 . Ch . Set . G. Pag e 17.

Ex . 2 .

Ex . 3 .

I t has be e n ascerta in ed by carefu l experime n t j u st how many v ibration ssecon d w il l produ ce each ton e of the scale , and a ru le has been fou n d

by which the v ibration s for the other ton e s of the scale can be fou nd from a

g ive n on e .

Thu s i f we say that C is produ ced by a body v ibrating at the

rate of two hu ndred and fifty six time s a secon d , high IE w il l be pro

du ced by ju st twice that n u mbe r,or five hu n dred an d twe lve v ibration s .

Fift h Reader.

Ex . 1 . Ch . Ser. G. Pag es 9 and 13.

Ex . 2 .

The pitch of D will be fOu nd by mu ltiplying the n umber of v ibration srequ ired for C by g. E will be fou n d by mu ltiplying the same n umbe r by

g, F by g, G by g, A by g, B bylsé, and C by a , as previou sly give n .

Fifth Reader.

58

No. l2 . Fa i r- t i nted Primrose .

Mu sic by F . MENDELssOHN-BARTHOLDY .Ch . Ser. G. Pag e 20. (German composer, 1809

p Allegretto!

1 . Fair t in t - cd prim - rose , ver n al - ly spri ng - i n g , Star of th e2 . Ear ly from slum - ber wak i n g to meet u s , Come i n th y

Hope w ith thee bri ng-in g ,Sm il i ng ly greet u s ,

wi th th ee brin g ln g , Glad ly weln g ly greet u s, Glad ly we

Glad - 1y w e ha i l thee , Come i n thy beau ty , Glad- ly we

A llegretto, in a l ively, cheerfu l man n er.

Now , i f hav ing fou n d the v ibration s for D , by the ru le ju st given weproceed to establ ish a scale w ith this for the first note , we shall find thatthe ton es of this scale do n ot exactly correspon d with the ton es on thesame staff degrees that be long to the other scale .

Fi fth Reade r.

ty,

Fifth Reader.

Come i n thy beau ty,

Glad ly we hai l thee , we hail

ly we hallly we hall

glad ly weglad ly w e

ly wely we

Come i n thy beau

wood land,beau ty ,

thee , Gladthee , Glad

8 tCome

thee , we ha ilthee , we hall

hai lhall

hailhall

59

of thein thy

No. I3 . The Love ly Garde n .

Words from th e German of Mu sic by FRANZ ART .G. C . D IEFFENBACH . (German composer , 18 19

Where

Fi fth Reader.

’ry grace di v in e . Bu t we can on ly see i tsof t a-d ian ce rare . Oh Iwhat can match the ir glow i ng

th e S i len t n ight ,so far a - way?

ores .

yet , cou ld we bu t wan der n ear them, More grand and

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62

the ir sple n -dor bright , and then i ts love -ly fai - ryand ye t , cou ld w e bu t wan de r

ores.

Ch. Ser. G. Pag e 8.

all the ir sple nlove-ly st ill

dor bright !w ere they !

Fi fth Reader.

Mu s ic by J . CONOONE .

Ex . 1 . Ch . Set . G. Pag e 13. (I tal ian compose r. 18 10Al leg ro moderato .’

‘Allegro moderate , qu ickly , thou gh w i th moderat ion .

I f the staff degree on which the first , or key n ote , of the scale occu rsbears a sharp or flat in the key signatu re the fact is indicated by addingthe word sharp or flat i n giving the name of the key . Thu s a scale begin

n ing on B (third l in e ) i n this case wou ld be

the scal e of B—flat.Fi fth Reader.

Fi fth Reader,

65

66

Fi fth Re ade r.

Dictat ion .

REVI EW .

Be side s the Sharps and flats u sed in the key Sign atu re w e have sharps ,flats , and n atu rals u sed as acc ide ntals . Gen erally a sharp is u sed to in dicate ahigher pitch , and a flat is u sed to indicate a lower;bu t if a sharp orflat occu rsi n the key sign atu re on the staff degree which we w ish to affect , a n atu ral

a dou ble sharp (a) , or a dou ble flat may be requ ired . Thu s in this

example The first accide n ta l

indicate s a higher pitch ;the secon d , the n atu ral the efi'

ect of

the acc iden ta l Sharp , and so indicates a lower pitch . The third acc ide n tal ,the dou ble sharp(x ) indicate s a highe r pitch . The dou ble sharp is u sed becau se this staff degree bears a sharp in the key sign atu re (the octave bearsthe Sharp) , an d this fact requ ires u s to u se the dou ble sharp . The n e x t accide n tal , the n atu ral (it) indicates a lowe r pitch , as it removes the effect of thesharp on that sta ff degree in the key sign atu re .

Exe rc ise s .

1 . The children shou ld n ow be requ ired to write the differen t scales

again and to te ll the e ffect of accide n tals given by the teacher .2 . The children shou ld be requ ired to te ll why flats , n atu rals , sharps ,

dou ble Sharps , or dou ble flats are u sed in certa in case s .3 . Requ ire the children to sharp eve ry ton e of the scale , by the u se of

accide n tals , in the key of Ah.4 . Requ ire them to flat every ton e in the same scale .

Fifth Reader.

68

Ex . 1 . Ch . Ser. G. Page 15.

Ex . 2 , GUSTAV SCHARFE .

Ex . 3 .

re fa .

Ex . 4 . RICHARD WAGNER (“ PARS IFAL

Ex . 5 . ANTON DvoRAx (“ STABAT MATER

Ex . 6 .

The differen ce in pitch between two ton es is called an in te rval . Thein te rvals are n amed from the re lation of the staff degrees that representthe two ton es con side red . Thu s if we compare the ton e represe n ted by thefirst l in e of the staff w ith the on e represen ted by the first space , we say thatthe inte rval i s a second . I f we compare the pitch represen ted by on e linew ith the pitch represen ted by the n ext l in e e ither u p or down , the in tervalis a third , and so on .

Fifth Reader.

69

Ex . 1 . Ch . Ser. G. Pages 11, 13, 16.

Ex . 2 .

Ex . 3 .

M i fl t i la .Ex . 4 .

Ex . 5 .

Ex . 6 .

The n ame of any in te rva l may be fou nd by cou n ting the staff degrees ,call ing the starting poin t on e and in cl u ding the other degree in the cou n t ,thu s

Second. Th ird . Fou rth . Fifth . S ixth . Seven th . Octave .Fifth Reader.

70

Mu sic by GAETANO NAVA .(Ital ian composer, 1802

a“L arg h etto, from th e Ital ian word mean in g broadly . I t sig n ifies a Slow , majest ic motion .

Th e in te rval from any n ote of the scale to the n e x t above or be low i scalled a se con d;bu t if we examin e this e xe rcise we sha l l find that secon ds

are n ot all al ike ,

for n o chromatic ton e can be placed between three an d fou r or seve n an de ight of the scale , or in oth er words the staff degree s lettered E an d F , an dB and 0 , represen t pitches n earer together than the others do.

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Fifth Reader.

7 3

No. I4 . The Swa l low .

Ch . Ser. G. Pag e 18.Words by W . J . WESTBROOK . Mu si c by GRABEN—HOFFMANN .

(From th e German of OTTo ROQ UETTE . ) (Op . 101 , No .

1 . You swal low w i nging2 . No geld wi th-in my

throu gh th e air, A-mid th e su n -beams bright and clear, I gree t;as forth Ipu rse w i ll ru st For l igh tsome heart in fate doth tru st;’T is bet ter to be

Fifth Readore

I en vy n ot th e wan -d’ri n g t ime Of

Fifth Reader.

gi ft of Song by beav en ,u p , and far ther wan der,

Where I a brim mi ng glass

Fifth Reader.

75

I s gi ft of Song by b eavI u p , and far ther wan

can cli nk I ai ways pau se , and

76

Fifth Re ader.

pres

Fi fth Reader.

e u t ,

hate all thi ngs n u - pleas an t , An d g lo ry i n

And g lo ry i n th e pres

77

th e

78

D ictat ion .

CHROMATI C SCALE .

By the chromatic scale we mean a scale con sisting of thirtee n ton e sand in clu ded w ithin on e octave .

This is the chromatic scale ascending from C to its octave . I n an yother key the u se of the dou ble sharp or the n atu ral (u) wou ld ben ecessary . Thu s

1 . Explain the u se of the sharps and n atu rals in this case .2 . Write the ascen ding chromatic scale from any other note to its

octave .

The descen ding chromatic scale may be expressed by the u se of flats .

Thu s :

Descending chromatic scale in C.

From any other ton e difl'

e ren t accide n tals wou ld be requ ired .

Thu s

1 . Explain the u se of the n atu rals in this case .2 . Write the descending chromatic scale in other keys.

Fifth Reader.

80

Ex . 1

Ex . 2 .

Ex . 3 .

The secon ds be tween C and D , and D and E , are called Major or largesecon ds , while the secon ds between E and F , andB and C , are cal led Min orseconds . Fifth Reader.

81

No. IS. Star of Home .

Words by H. S . BUNCE . Mu sic by F. C . MAKER.

1 . Now o’er th e drear and si len t deep , Th e sol emn

2 . The o cean w ith a wav ’ri ng Sheen , Re fleets th e

‘Andante , slow ly , i n moderate speed .When we begin ou r scale on Do we place the minor secon ds between

three and fou r (Mi , Fa ) and seven and e ight (Si , Do) w ithou t any thou ghtabou t it whate ver, an d the scale which we thu s g ive is called the majorscale on accou n t of the arrangemen t of the seconds in it .

Fi fth Re ade r.

Shades of n ight i n crease; Th e soft w i nd lu lls thespar kle of th e skies , Wh ere peer th e stars w i th

! ropm. !

wave to Sleep , And all i s peace ,An d all i s peace . Star of mygaz e se ren e , Like lov i ng eyes , Like lov i ng eyes .

R it . , riten u to, to hold back;to retard . Ch. Ser. G. Pag es 4 an d 17.fMaestoso, majestically;wi th dign i ty .

Fi fth Reader.

home

hall

a cross th e ma in ,

thy beams a - g ain .

With joy

8 3

84

Ex . 1 .

Ex . 2 .

Ex . 3 .

Taking the scale begin n ing on C , and con sidering C to be Do , de scen dto La , an d

b

taki ng that foi the first n ote of you i scalea

sing to La , and n otethe effect .

The differen ce in these scales i s du e to the arrangemen t of the minorsecon ds in them . The secon d or La scale is called Mi n or . Whe n ever theposition of the m in or secon ds of a scale is changed the effect i s fe lt at on cean d we u su ally recogn iz e the change as be ing from major to min or, ormin orto major , as the case may be . am, an d“ ,

85

Theme selected .Ex . 1

E ! . 2 . CI) . SOP. G. Pag e 18. Theme selected .

Variation s i n the min or scale are made by mean s of acc ide n tals , an dmajor scales may be modified by acciden tals , so that while Do con tin u e s tobe the key n ote the effect of the minor scale is perfectly ev iden t .

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86

a . Ch . Ser. G. Page 14:

Ex . 1 .

Ex . 2 .

Ex . 3 .

Ex . 4 .

Ex . 5 .

We fou n d that in the Normal Minor scale amin or Secon d occu rred between two and three and five an d six (cou n ting La as on e of th is scale )

This arrangemen t of min or secon ds is varied

frequ en tly , and an other min or second produ ced . Thu s the seve n th ton e ofth is scale i s frequ en tly raised by an accide n tal so that a third minor secon d

occu rs be tween seven an d e ight . Thu s

Ra ising this ton e in creases still more the in terval between Fa an d then ex t ton e above . This in terval was already a major second . Now it ismore than that . I t i s called an au gmen ted secon d . This form of the Scaleis called the Harmon ic Minor . I t con tain s three minor secon ds .

Fifth Reader.

88

sn ow cov-er’

d he ight ,l ight shad-owe play ,wai t by th e shore ,li fe o’er th e grou nd

Glide

Plu nge

Swi ft to th e valBlu e are th e b eav

tly each blosWi nd i n g a far

l ing in tranon throu gh alld i ng it smi lei n th e b i l

qu i lbright

lows pro

Fifth Reader.

Brook - let so S i len t-ly flowSee how th e su n seems to loveBri n g to th e flow ers thy blessOn w ith thy l ight rip-pl ingmo

Sw ift to th e val ley art goare th e beav en s a bove

Ge n tly each blos som ca ressWi nd i ng a far to th e o

calla voce.

Fifth Reader.

90

Ch . Ser. G. Page 19. Mu sic by J . CONCONE.THEME . ( Italian composer, 18 10

*Legato con dolcez z a , very smoothly , and w i th delicacy .Fifth Reader.

VARIATI ON I . Ch . Set . G. Pag e 12 .

Fifth Reader.

91

92

VAR IATION II . Ch . Ser. G. Page 9.

Fifth Read“ .

94

*L en to, slow ly .

col canto.

Fifth Reader.

96

Allegretto. Ch . Ser. G. Page 13 . Selected

The effect of the Me lodie M in or scale can be easily produ ced by aslight change in the Major . Thu s , i f we con side r the n ote which is La of

the key of C to be Do , we have the key of A . E

By lowering the th ird ton e of this scale we have prec ise ly what was repre

sen ted before withou t any key sign atu re . Th u s

gives the same e ffect as " j ag Both represe n tation s

shou ld be familiar to the pu pil .See Chart Series H .

Fi fth Reader.

Fifth Reade r.

97

98

Voca l Dri l l .

Ser. Pag es 9, 13 , 17. CONCONE .

Ex . 2 . FERD . S IELER (Op . 30, No

Ex . 3 .

Ex . 4 .

Ex . 5 .

An other variation in the Min or Scale is made by raising fa , or th e sixthton e of the Harmon ic Scale , thu s remov ing the m in or secon d between fiveand six , and at the same time destroying the au gmen ted secon d .

Fi fth Re ader.

100

No. I7 . I Wande r th rou g h the St i l ly Night .‘

l"

Words from the German of M u s ic by ROBERT FRANZ , Or . 35 , No. 2 .J os . V . EICHENDORFF . ( German composer, 18 15Andanti no con mote ) “ p

I wan der thro’ th e sti l - 1y n ight , be

Th e love ly n ight in

‘Andan tino con moto. somewhat sp irited , yet not too qu ickly . i Ch . Ser. G. Page 19.

Flfth Reader.

101

19000 cres.’

poco ores .

won -(i ron s sou nds break throu gh th e n i ght zafar th e cu rre n ts ru sh w ithmig h t ,sw oot

Fi fth Reade r.

102

i f I mu t ter’d

p oco cres .

my thou ghts n ow go a stray .

‘ Cp oco ores.

104

to th e an gry a irt Shou ld

you der lea , My plai die to th e an - g ry a irt Shou ld

shel ter th ee ! Or d id m i s for-tu n e ’s

she l ter thee , Sehou ld shel ter thee ! Or d id m is for - tu n e ’s

Fi fth Re ade r.

105

b i t ter storms A rou nd thee blaw , A rou nd the e blaw ,

b it ter storms A rou nd thee blaw , A rou nd the e blaw ,

Thy shield shou ld be my be som To share i t a’, To share i t a

Thy sh ie ld shou ld be my be som To share i t a’, To share i t a’ .

Fifth Reade r.

106

w ild est waste , Sae black an d bare , Sae

0 were I i n th e

0 w ere I i n th e

black an d bare ,‘

Th e

Fifth Reade r.

108

the e to re ign , W ith thee to re ign , The bright-est jew el

thee to re ign , W i th thee to re ig n , Th e bright-est jew e l

i n my crow n Wad be my qu een , Wad be my qu een.

i n my crow n Wad be my qu ee n , Wad be my qu een .

Fifth Reader.

109Mu sic by ROBERT SCHUMANN .NO l9 The Swa l lows .(German composer, 18 10

c ir cli ng a le ftto the land of the su n

when th e sw ee t su m mer a gai n

Now h igh and n ew low they ’re flyWhere balm i er w in ds are blow

n ear And cheer ly th e plou ghboy is s i ng

Al l major scales beg in n ing on G will therefore have the F sharped ,and i f the mu sic is writte n on this scale the sharp will be placed as a keysign atu re .

Whe n therefore on e sharp appears in the key s ign atu re we expect tofind the scale begin n ing on G .

A carefu l stu dy of scales begin n ing on differen t staff degree s will showhow many and what characters mu st be u sed in the key signatu re .Fifth Reader.

1 10

way ,

n ew beau

The ir w ay they ’11 be h i th er ward ,

h ie i ng ;ty is glow i ng ;

h i th er ward w ing i n g ,

Fifth Reader.

1 12

No. 20. The Sabbath Morn .M u si c by F . MENDELSSOHN- BARTHOLDY .

(Op . 77 , No . (German composer , 18 10Andan te sosten u to.

This i s th e

f p

ores .

Sab bath morn ! Th is i s th e Sab bath morn ! I am a

Th is is th e Sab bath morn ! I am a

V? 0

I t sometime s occu rs that i n order to brin g the m in or secon ds in theright place s the staff degre es mu st be made to represen t a lower than the irn atu ral pitch . This gives rise to the u se of flats in the key sign atu re s .

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118

w ith-i n th e dell , Y et one fai n t sou nd , the ma t i n

w i th- ln the de ll , Y et on e fa in t sou nd , the ma t i n

bell , Now st i ll i s wood and lawn , now

be ll , Now st i ll i s wood and lawn ,

Fifth Reader.

114

st i ll i s wood and lawn . A bove what

0

st i ll i s wood an d lawn .

p ores.

g lo ri es play , a bove what g lo ries play , Seem i ng as

A bove what g lo ri es play , Seem i n g as

Fifth Reader.

1 16

No. 2 I . Ove r H i l l , Ove r Da le . *

M IDSUMMER NIGHT’S DREAM . Mu sic by F . MENDELSSOHN-BARTHOLDY .Act 11 . So. 1 . (German composer 1810

ores cen

O ver h i ll , 0 ver dale , Throu gh b u sh ,throu g h brier, O ver

0 v er h i ll , 0 ver dale , Throu gh b u sh ,th rou g h brier, 0 ver

I fwe begin the scale on F , secon d space , we find that the m inor secon ds

come thu s st on e is betwee n fou r

and five , 1 d of be ing between three and fou r . By making the thirdl in e of the starf repre sen t a lower pitch we bring the minor secon d be tweenthree and fou r , and at the same time produ ce a major secon d between fiveand six . This restore s the proper su ccession of ton es for the major scale .The change i s shown by placing a flat on the third l in e , thu s

‘Ch . Ser. G. Pages 17, 19.Fi fth Reader.

b u sh ,th rou gh brier,

I do wan der ev ’ry-where , I

wan -der cv’ry

-where ,

Fifth Reade r.

0 ver pale ,

do wan der

wa i l der

l l‘l

Throu gh fire ,

cv’ry where ,

’

ry where ,

1 18

Sw i ft er than th e moon ’s sphere;O ver h i ll , 0 v e r dale ,Th rou g h

Sw ift er than moon ’s sphere;O ver h i ll , 0 ver dale ,Th rou g h

011. Set . G. Page 8.

b u sh , throu g h brier, O ver park ,o ver pale ,Throu g h flood , th rou g h fire ,O v er

bu sh , throu gh brier , O ver park , 0 ver pale ,Th rou g h fiood ,th rou g h fire ,O ver

Fifth Reader.

120

I n the ir gold coats spots you see; I mu st g o seek some

Fi fth Re ade r.

go, I mu st go , I mu st go . For I serve th e fai - ry qu ee n ,

go , I mu st go , I mu st go . O-ver

O-ver

f mp

I t mu st be remembered that all major scales con ta in two min orseconds , and that these occu r between three and fou r (mi fa and sevenand e ight ( si de ) . We shou ld also remember that the staff degreesrepresen t pitches which can on ly be varied by acciden tals or by the keysignatu re . ‘D . C. ,Da Capo, from th e begi n n ing .

Fifth Reader.

122

No. 2 2 . The Mou nta i n Chape l .M u s ic by FRAN Z An 'r.

Andantt'

no. (German composer, 18 19

1 . Up on th e h i ll top a ch a pel stands;I t looks throu gh l ime -trees e2 . I ts fai th-fu l watch o’er th e vale we mark ,W i th heav’n ly greet ing th rou gh3 . O mou n ta in cha pel , th cross ap-pears ,Wh en wrapped i n fragran ce th e

cross lands;I ts beli ’s clear mu sic i n v i tes toth e dark : I t cv er poi n ts to th e stead fastn ing n ears , Thy be ll’s clear mu s ic i n v i tes to

cres.pocomt.

prayer,And bless-ings are born e on g ensky , And heave nward u p l i fts th e de jcet ed eye .prayer;I n that which thou g i v est my heart wou ld share .

Fifth R.‘d.re

l24

No. 24 . Had I W i ngs as a Dove .Mu si c by FRAN Z ABT.

(German composer, 1819Andan ti no.

Had I w i ngs , as a dove h as , Far from th e world wou ld I flee ,

Sw i ft-er than w inds cou ld fol - low , Lord , Lord , and rest there w i th Thee ,

Thee . Ah , my h eart i s i n an - gu ish ,

haste to th e reg ion Where

Fear an d gri e f are my lot ,Wou ld I cou ld ,wou ld I cou ld haste to th e re gion

Fi ft h Reader.

125

e - vi l tonch - es u s

poco rit.

Thee , Lord ,

Thee , wi th Thee .

Thee .

Fifth Reade r.

126

No. 2 5 . The Standard Be are r.

Mu s ic by L INDPAI NTER .

Ch. Ser. G. Pag e 12 an d 13. (German composer, 179 1

With keen sword draw n , s ide th e w atch-fires bright , HisSw i ft fl ies th e n ight , morn wakes to bat tle ’s sou nd , TheDeath ' s work i s o’er and won th e hard fou ght field , From

lon e ly gu ard th e stan dard bear er ‘8 keepfoe men press where that prou d flag i s flyg ap i ng wou nds th e mi n -strel

’s b lood i s pou r

song ri ngs throu gh len t n ight ,stan dard bear er yi elds no foot of grou nd ,

grasps the flag h e swore to shi eld ,

Fifth Reader

128

fou ght

th e flag

th e flag

th e flag

strive

I ’ve sworn to g u ardI ’ve sworn to gu ardI swore to gu ard

I’

ve sworn to gu ard for cvI ’ve sworn to gu ard for cvI swore to gu ard for cv

Fifth Reader.

129

No. 2 6. Ladyb i rd .

German melody . Arr.Andan te.

b ird , and sit you down ,2 . Go, La dy b ird , fly home , fiy home ,3 . Fly , La dy b ird , a cross th e hedge ,

u p on my be su re I w i ll n otyou r ch il dren cry so sore ly , oh ,to n eigh-bors there , be su re they w i ll not

cou ld n ot hu rt su ch pret ty things , I on - 1ysore ly ! The spi der sp ins them rou nd a bou t , go, La dyharm you ! They cou ld n ot hu rt su ch pret ty thi ngs , they on ly

wan t to see your sh i-n ing w i ngs , you r sh i -n i ng , you r sh in i ng w i ngs so pret ty.ib lrd .and take them ou t , you r ch i l-dren , you r chi ldren , cry so sore ly !wan t to see you r sh l- i i l ii g w ings , and greet them, and greet them all so pret ty !

Fifth Reader.

No. 2 7 . H ig h are the Bi l lows.

f Marcato, ma non troppo lento. sf

1 . H ig h are th e b i l lows , and lou d

Mu s ic by FRAN Z Aer .(German composer, 1819

i s the ir sh ock ,h ig h are th e b il-lows , and2 . Dark-n ess o’er al l things , the stars ve i l’d i n n ight , dark-n ess o’er all th i n g s , the3 . Trem-h li ng thou wand’t est , and sore ly art tried , trembling thou wand’rest ,and

lou d i s the ir shock , h igh are th e b i l lows , and lou d i s the ir sh ock ,andstars ve i l

’

d i n n ight , dark-n ess o’er al l th i ngs , th e stars ve i l’d i n n ig h t , th eart tried , trem-bl i ng thou wand’t est , and sore ly art tried , andsore ly

lou d i s the irstars ve i l

’

d i n

sore ly art

shock .n ight .tried

not

not

not

8.

8.

Be n ot

Be n ot

Be not

fraid ,fraid ,

a fraid ,a fraid ,a fra id ,

th e Lordth e Lord

th e Lord i s thyth e Lord i s thyth e Lord i s thy

Rock.is thy Light .i s thy Gu ide .

Fifth Reader.

132

No. 29 . The Sabbath Morn i ng .

Words by Dr. J OHN LEYDEN .(Scotland , 1775 French Me lody . (Arr.)

W i th s i le n t awe , w e hai l the sa cred morn , That slow ly

born e , A grav- s r mu r mu r g u r-gles from the rill; And ech 0

Fi fth Reader.

133

The sky lark war bles i n a ton e less

shri ll . H ai l , l ight se ren e ! Hail , sa cred Sab bath

Fifth Reader.

No. 30. The Tyro l e se and his Child .

Mu s ic by FRANZ ABT.German composer, 18 19

Len to.

When for bl iss fu l home I yearn , When i n min e eyes th e tear-dropsAnd when l ife seems ver cold , My dar-l ing to my h eart I

bu rn , Whe n b eav y g rows my heart and sore ,Tli i nk ing of days that are nohold , A nd bless-cd mem -’ry bri n g s me back, Th e bl iss I mu st for ev er

more , On e there is that lu lls my pai n , And makes my heart growlack , T i ll all my wea w a i t i ng o’er, Th e message comes from

Fifth Reader.

136

No. 3 I . Bl u e Be l ls of Scot land.Ch . Ser. G. Page 19. Scotch Melody . (Arr .)

1 . Oh ! wh ere ,tell me , where i s you r H igh-land lad d ie gon e ? He ’s2 . Oh ! wh ere ,te ll me , where d id you r High-land lad die dwe ll ? He

gon e w i th streaming ban n ers , where no b le deeds are don e , an d it ’sdwelt i n bon n ie Scot land ,wh ere blooms th e sw eet blu e bell , and i t ’s

w ish h im sa fe home .lo

’

e my lad d ie well .

1 37

No. 32 . Sou nds of Eve n i ng .Mu sic by FRANZ AB 'r.

(German composer, 18 19- 1885Andante soatemrto.

1 . Even ing bells are ring-i n g ,ring ing , soft2 . They are g en tly hu sh-ing wea-ry day3 . Let the ir s i i v’ry chimi n g draw ou r thou ghts

ring lu g soft w ith an gel ,

wea ry day to rest, Best.ead h eart , oh ,

thou gh ts ,thy thou gh ts to Heav’n ,Lead thee towards the

As w i th an g el voi ces th rou gh th e si len t n ight ,Re st .sad h eart , for g et thou cares i n slum-bet blest ,

Lead thee towards thecou u try wh ere tru e peace is given ,

as w ith an ge l voi e si len t n igh t, As w ith an gel ,rest,sad heart, for get thou cares in slum ber b lest, ! test, sad li eart,oh ,cou n try,towards the cou n trywhere tru e peace is g iven , Lead thee towards the

As w ith an g el voi ces throu gh th e s i le n t n ight .Rest , sad h eart , for g et thou cares i n slum -b er blest .Lead thee towards th e cou n try , where tru e peace i s given

throu gh th e t n ig h t, the s i len t n ight.heart, for get thou cares ln slum ber b lest.wh ere tru e peace is g iven , tru e peace is g iven .

Fi fth Reade r.

138

No. 33 . In the Tw i l i g ht of the S i le nt Woods.M u sic by FRAN Z An 'r.

(German composer 1819

I n th e tw i -l ight of th e si le n t woods , Where th e heart on ver n al2 D is tau t far from n ois-y ci t i es’ d in , Rest ,my h eart , th is wooded

Has th e Sprin gFee l thou h ere ,

rap tu re broods , Has th e Spring on bu ds n ow n ew ly glow- ingdepth w i th- i h , Feel thou here a mid th is p eace u n -brok - en

All h er ma g ic sweetn ess been be stow in g : Flowers are peep i ng from th eHow that peace to thee is al so spe ken . All th e spells w h i ch to th e

Fifth Reader.

140

of pleas - u re , you th fu l heart . Drink from ou t theof pleas u re , you th fu l heart . Here , where p in es a

si i ver fou n -tain Ease for sor row ’s st ing- i ng smart;Here ,w i th in thisbou t thee ru s tle , Where w i th fra gran t balm they part ,Wh ere i n se cret

leaf y shel ter, Dream of pleas u re , vou th fu l heart .voi ces wh is - per , Dream of pleas u re , you th fu l heart .

Fifth Reade r.

Katyd id .Words by 01.1a WENDELL HOLMES . Mu sic by C . KREUZ ER , arr.( American au thor, 1 809 (German composer.)

1 . I love to hear th i n e ear-n e st voice ,Wh er cv er thou art h id , The n2 . Thou art a fe - i n ale , Ka - ty - d id ! . I know i t by tl i trill That3 . 0 , tell me where did ' Ka ty l ive , And what d id Ka t do? And

tes ty l it tle dog ma t ist , Thou pre t - ty Ka ty d id ! Thouqu iv-e rs throu gh thy p i er c i n g n otes ,So pet u lan t and shrill . Iwas sh e ver y fa ir and you n g ,And ye t so w ick -cd too? D id

mi n d-e st me of g e n tle-folks , Old g e n tle-folks are they , —Thouthi n k there i s a knot of you Be n eath th e 1101 low tree , AKa ty love th e n au ght-y man , Or kiss more che eks than on e ? I

say’

st an u n dis pu t ed th ing , I n su ch a sol emu way .kn ot of spi n -ster Ka ty dids .— Do Ka ty d ids dri nk tea?war - rau t Ka ty did no more Than man y a Kate h as don e .

Fifth Reader.

142

L i ft Th i ne Eyes .

M u sic by F . MENDELssou N-BARTHOLDY .(German composer, 1809

Andante .

to the

Li ft thi n e eyes ,O li ft thi n e eyes to th e mou n tai n smhence cometh ,whence

eth h elp . Thy help com e thThy help com eth , com eth from the

cometh ,wh en ce cometh help . Thy help com eth from th eores . ores .

Lord , th e Mak er of beav en and earth . He hath

Lord ,th e Mak er of b eav en an d earth . He hath

said , thy foot Shall n ot be mov ed .

sf (I talian ) , yorza ndo, su dden ly lou d , strong .Fifth Reader.

Soft ly fall the2 M u r m

’

ring w i nds stealGon e are al l th e

som ber gray , Slowseeks i ts n est; On etoil now cease; Ho

all who h ap ly stray ,on a world at rest ,

brings God’s per feet peace ,

Eve n i ng .

selected .

shades of cv - ’n ing , Earth is wrapt inthrou gh th e for est , Each g ay song stersou nds of la bor, Brave hearts from the ir

ly Lu na’S rays ap pear, Gu id i ng

by on e th e stars a bove Gleam u piy S i lence fi lls th e air, Ev ’n i u g

Gu id i ng all wh o h ap ly stray .Gleam u p on a world at rest .

’n in g bring s God’s per feet peace .

Fifth Reader.

145

SECTION I I .

Voca l Dri l l .

Pages 3, 4, and 17.

CAFFARIO .

HENRY PURCELL .

Fifth Reader.

146

Ex . 1 . Ch. Ser. G. Page 17.

Ex . 2 .

Ex . 3 .

I n te rvals in mu sic are n amed from the n umber of staff degrees be tweenthe n otes wh ich represen t them . Thu s from Do to Mi i s a third , becau seM i is represen ted on the third staff degree from Do . Or i f we con sider thethe n otes in reverse order, Do is on the third stad

'

degree from Mi .

I n cou n ting to ascerta in what the in terval may be both staff degreesare in clu ded .

*Q Th e F clef , so called becau se i t shows the place of F . Th e sign i s a mod i fiedGoth i c F. I ts letters are show n here

Fifth Reader.

148

Voca l Dri l l .Ex . 1 .

Ex . 2 . Chart Series G. Pag e 11 .

Ex . 3 .

Ex . 4 .

Ex . 5 .

e’

1wo n ote s occu py i n g the.

same staff degree are sai d to represe n t aprime , thou gh l n real i ty the re 1s n o i n te rval .

Similarly if Do be Sharped an d Re be flatted awe have the

appearan ce of a second ;bu t in real ity n o in te rval , pitch is concern ed , exists and the notes are simply two represen tation s of the same pitch .

Fi fth Reader.

149

No. 38 . The Ki ng of Th u le :

Words by GOETHE . Mu s ic by K . F . Z EL 'rER .(Ge rman poet , 1749 (German composer, 1758

Theren au ght

sat at

Th ere stood

troth kept to grave , To whomeach h igh feas t ’t w as u sed : When togave h is realm a way, Gave allm id h is kn i g h t- ly train ; I n h i s forel i fe ’s last drau ght q u afi‘ed h e , Then hu ri ’d

c ean s i nk i n g fast; His eyes closed

A gold en g obi t , His eyes w ith tears su f fu sed .

ces sor, B u t th e cu p w i th h im d id stay .cast That bee ti ed o’cr th e mai n .g ob Down , down w ith i n th e sea .s ink i ng , That drau ght ,— i t was h i s last .

Fift h Re ade r.

150

Ex . 1 . Ch . Ser. G. Pag e 3.

Ex . 2 .

We have already stu died seconds , an d we fou n d that they were of twokinds , major and min or , an d that the diaton ic major scale con tain s

five major and two minor seconds . By a carefu l stu dy of Chart Seri es G ,

page 18 , the differen ce i n effect between major and min or secon ds can beclearly established .

Fifth Reader.

152

Ex . 1 .

Ex . 3 .

Ex . 4 .

S econds con ti n u ed — We find , however, that a major secon d may be.come au gmen ted by rai si ng or lowering the pitches of on e or both of thestaff degree s which represen t it . Thu s Sol Fa represe n ts a major second ;bu t i f Sol be raised , au gmen ted secon d .

This is the characteristic in terval of the Harmon ic Minor scale and is carefu lly con sidered on pages 1 1 and 18 of Chart Series G .

Fifth Re ade r.

153

No. 40. Eve n i ng Star.Th e poem from th e Fren ch of A , DA IRONT.

By CHARLOTTE H . COURSEN . M u sic by J. ARNOUD ,Ch . Ser. G. Pag e 12 . (Fren ch composer. )

1 . Thou fair eve n ing star, Hope sh i n i ng a far ! Smi le2 . So qu i e t an d clear, Thy l ight creep -eth n ear, To3 . Thy soft sil ver ray Now seem e th to say , “ I4 . Dost gu ide to th e sh ore , Wh ere sai l ors on ce more Th e

dow n from th e Ski esWhere thy fair si s ters are .ble ss wea ry eyes , I n th e dark n ess so drear.seek thee thro’ space F rom a realm far a way .home track may trace ,Wh en th e long sa il i s o’er.

D ictat ion .

The dictation exercises shou ld n ow in clu de the writing of simpleme lodies from memory and the represen tation Of rhythms which the teacher dictates . The special stu dy su gg ested in this and su cceeding lesson sw il l re fer directly to the stu dy Of chromatic ton es by mean s Of in tervaldrill . See Chart Se rie s G , page s 18 to 24 , and preface Of this volume .

Exe rc ise .

1 . Represen t 1 , a major secon d 2 , a m in or secon d u p from each ton eof the scale of C major .

2 . Represen t : 1 , a mi nor second;2 , a major second down from eachton e Of the scale of C major .

3 . Give the kind Of second and te ll whether it is u p or down , as theteacher sings or plays the following

F ifth Re ade r.

154

Ex . 2 .

Ex . 3 . Ch. Ser. G. Page 23 , Ex . 4.

Ex . 4 .

The diaton ic scale , as we have already learn ed , presen ts two kin ds ofthirds , the Major an d the Minor . I f, however , on e Of these ton es com

pos1ng a minor third shou ld be brou ght sti ll n earer the other by an acc iden tal , we have a still smaller third , known as a dimin ished third .

Fifth Reader.

156

Voca l Dri l l .

Ex . 1 .

Ex . 2 . Ch Ser. G. Pages 13 , 14, 15.

Ex . 3 . CONCONE .

Ex . 4 .

Ex . 5 . GUSTAVE SHARFE .

The dimin ished third will ev ide n tly occu r in those places on ly i nthe scale where the minor thirds regu larly ex ist . We have already learn edthat Re Fa , Mi Sol , La DO , and Si Re , represen t the min or thirds .

D imin ished represen ted thu s

Fifth Reade r.

157

No. 4 2 . I know that my Redeeme r l ive s .Th e. poem by CHARLES WESLEY . Mu s ic by G . F . HANDEL .( Engl ish au thor, 1708 (German composer, 1685Ch . Ser. G. Pag e 17 .

I kn ow that my Re deem er lives An d

prays me A

D ictat ion .1 . Repre sen t : 1st

,a major third ;2d , a min or third u p from each ton e

Of the scale Of D major.2 . Represen t : 1st

,a major third;2d , a mi nor third down from each

ton e Of the scale Of E .3 . G ive the kind Of third and te ll whether u p or down as the teacher

si ngs the following i n i rregu lar order.

The d im in ished third is simply another way of represe n ting a majorsecon d . I t is called a third becau se it occu pies three staff degree s . Bu t wemu st be able to si ng it , an d the i n tervals as represe n ted are to be learn ed asall othe rs have been . (See Chart Series G . page

Fifth Reade r.

158

Voca l Dri l l .

Ch . Ser. G. Pages 11,

Ex . 4 .

Ex . 5 .

Fou rths occu py fou r staff degrees , bu t they vary somewhat in the n umber of min or secon ds which they con tain .

The fou rth from DO to Fa con tain s on e minor secon d and two major

seconds . (DO Re , major, Re Mi , major , Mi Fa , minor . ) This is calleda perfect fou rth .

Fifth Reader.

160

Ex . 1 . Ch . Ser. G. Pag e 13 .

The fou rth from Re to Sol con ta i n s similarly two major an d on emin or secon d , an d the fou rth from Mi to La con tain s the same . These are ,therefore , also perfect fou rths .

Fi fth Reader.

161

No. 44 . Eve n i ng .

Words by Rev . GEORGE CROLY .Iri sh au thor, 1780

pu r cli ff andThen chan ce fate re moved ,

li fe l ike fad i ng fiow’r,When morn i ng sheds gor geons dye ,

Thou ghts of th e heart , how soft dow l Not softLike Sp ir i ts crowd u p on th e eye ,—Th eI ts beau ty dy i ng as gaz e , Y etOu r hope , ou r heart to earth given ;Bu t dark

west ern wave The gold l in es su n set glow .one we loved , And the whole heart mem o ry .

rou nd u s lower, Heav’n pou rs bove bright er blaz e .is th e eye That tu rn s eve to heaven .

Fifth e

162

Theme by I . J . PADEREWSKI , (arr.)

Bu t the fou rth from Fa to Si con tain s three major seconds , an d is largerthan the perfect fou rth . I t is therefore called the au gmen ted fou rth .

The effect of this fou rth on the ear i s so striking that very li ttle practiceen ables u s to distingu ish it when ever gi ven .Note . Th e effect of th e au gmen ted fou rth is so striki ng , and i t i s SO importan t in mod

alat ion , that it shou ld be very carefu lly learned. See Ch. Ser. G. Page 21.

Fifth Read,“

164

Theme by Gaetano N ava .The Alto and Bass Voi cesBy J OSEPH N. A SHTON .

The fou rth l ike other in te rvals may be modifi ed by acciden tals ,and all pe ifect fou rths may be made au gme n ted fou rths . (See Chart SeriesG . NO .

Again perfect fou rths may be so affected by acciden tals as to con tainle ss than two major and on e minor second . For instance , from Si to M iis a perfect fou rth .

Fi fth Reader.

Fifth Reade r.

165

166

No. 4 6 . w i l l Arise .

Ch . Ser. G. Pages 11, 17 19. mea n “ ) CECH "

I w i ll a I w ill a rise , and

and w ill say n u to

Him, Fa ther, ve si n n ed , I have

I f,n ew , the M i be flatted , we have a fou rth con tain ing on e major and

two minor secon ds , thu s; This fou rth is called a dimin ished

The dimin ished fou rth is , however, simply an other repre sen tation Of themajor third , thou gh i n effect it i s qu ite differen t from it . g m, Reader.

168

Ex . 1 .

Ex . 2 . Ch . Ser. G. Page 17.

Ex . 3 .

Ex . 4 .

D ictat ion .

FOURTHS .

1 Represen t a perfect fou rth u p from each ton e of the scale Of F major.2 . Represe n t an au gmen ted fou rth down from each ton e of the scale

of D major .3 . Give the kind Of fou rth an d te ll whe ther u p or down , as the

teacher sings the following in irregu lar order .

Fifth Re ade r.

169

Theme by Gae tano Nava .

Th e Alto and Bass VoicesBy J OSEPH N . ASHTON .

Ser. G Pag es 13, 16 17.

Fifth Reader.

Bre athe soft , ye W i nds.

Ch . Ser. G. Pag e 4. M u s ic by WILLIAM PAxTON .(English composer 17

Andante. ores.

Breathe soft , ye w inds , ye waters,g en - tly flow , Shield h er, ye

Breathe soft , ye w inds , ye waters,g en tly fiow , Shield h er, ye

trees. ye fiow’

rs , a rou nd h er g row;Breath e soft , ye wi nds , ye

trees , ye fiow’

rs , a rou nd h er grow;Breathe soft , ye w i nds , ye

wa - ters ,g en tly fiow , Shi eld h er, ye trees , ye fiow ’rs , arou nd h er

wa - ters ,g e u tly flow , Shi eld h er, ye trees ye fiow ’rs , arou nd h er

Fi fth Re ader.

172

0 O 0 0

My

My

my

my

love

love

67 68 .

love

love

swai n s ,

swains ,

i n

i n

I

i n

i n

beg you

you der vale

you der vale

yon der vale

yon der vale

pass i n si len ce

pass i n S i len ce

a sleep doth

a - sleep doth

a sleep doth l i e .

a-sleep doth l i e .

Fi fth Reader.

173

No. 4 8 . Sweet and Low.

Words by ALFRED , LORD TENNY SON .(Engli sh poet , 1809

roll i ngon mother’s breast Fa-ther w i ll come to thee soon . Fa-therw ill come to h i s

wa ters go, Come from th e dyi n g moon an d blow ,B low h im ag ai n to me ,

Uh der th e si i ver moon .Sleep ,my l i t tle on e ,S leep , my pret-ty on e , Sleep .

Fifth Reader

174

Ex . 1 . Ch. Ser. G. Pages 9, 12 13 .

Ex . 2 .

Ex . 3 .

Ex . 4 .

Ex . 5 .

5 /

Ex . 6 .

Ex . 7 .

The fifth from DO to Sol is called a perfect fifth . I t con tain s threemajor seconds an d on e min or secon d . This i s the pattern for all perfectfifths .

Dou btless the effect of the perfect fifth has been n oticed many timeswhen a v iolin ist has been tu n ing h is in strumen t . When i n tu n e the v iol instrings g ive ton es a fifth apart .

Fifth Reader.

176

Page 21 .

Theme by Lu ig i Ross i .


Fifth Reader.

177

Fifth Reader.

1 78

Fifth Reader.

180

Voca l Dri l l .

Ex . 1 .

Pag es 12, 13 1 Irish Melody .

Ex . 3 .

Ex . 4 .

Ex . 5 . Ex . 6 .

Ex . 7 .

Ex . 8 ,

Fifth Reader.

181

No. 5 l . Eng land .

Th e poem by WILLIAM WORDSWORTH . Th e melody by(Engl ish au thor , 1770 ALBERT METHFESSEL ,

l'

v Ttrav eled a mon g u n -known men I n lan ds be -yond th e sea ! Nor,

’T is past , that mel an cho ly dream i Norw i ll I qu it thy Shore

E n g land ! did I know t i ll then What love boresec e nd t ime , for st ill seem love thee more more .

Flfth Reader.

182

Ex . 1 . Ch . Ser. G. Pages 7, 12 and 13.

Ex . 3 .

Ex . 4 .

Fifth Reade r.

184

Theme by Gaetano Nava.


Fifth Reade r.

Fifth Reader.

185

186

Ex . 1 .

Ex . 2 .

From Re to La is also a perfect fifth , an d from Mi to Si , Fa toDO , Solto Re , and La to Mi , likewise bu t from Si to Fa in clu des both of the min orseconds Of the scale and gives u s the dimin ished fifth .

The dim in ished fifth and the au gmen ted fou rth are similar in effect.The stu dy of the dimin ished fifth reveals the ten de n cy of the voice to passto the same ton es that follow the au gmen ted fou rth , bu t in this case thevoice progresses in the opposite direction .

Fifth Reader.

188

Ex . 1 . Ch . Ser. G. Pag e 16. GIOVANN I MARTINI .

Ex . 2 . Welsh Air .

Ex . 3 . GUSTAVE SCHARFE.

Ex . 4 .

Ex . 5 .

Fifths , like all other in tervals , may be affected by acc iden tals , bymean s of wh ich all perfect fifths may be made dim in i shed , an d g ive theeffect of Si , Fa in the sca le .

Perfect fifths may be made in to au gme n ted fifths by acc iden tals , andthe effect wholly changed .

Thu s the fifth DO Sol may be made DO Si

For stu dy of fifths see Chart Serie s G , pag e 2 1 .

Fifth Reade r.

189

No. 54 . How Beau t i fu l are the Feet .

Mu sic by G . F . HANDEL .From th e MESS IAH . (German composer, 1685

How beau ti fu l are the feet of them that

preach th e OS pe l of peace How beau t i - fu l are fee t ,

beau t i fu l feet of th em that preach th e gos peace ,

Dictat ion .

F I FTHS .

1 . Represe n t a perfect fifth u p and down from each ton e in the scale

of C major.

2 . Represen t a dimin ished fifth u p and down from each ton e Of thescale Of D major .

Give the kind of fifth as the teacher sings the following i n irregu lar

order.

190

Theme by P. E. RASMUNSEN

The stu dy of sixths may be simpl ified by comparing them w ith thirdsOf which they are the complemen t .

By the complemen t is mean t the in te rval which completes the octave .Thu s from DO to Mi is a third , from Mi to Do i s a sixth . M i DO (u p) iscal led the in version of D e M i .

Th ird SixthFi fth Reader.

192

No. 56 . Now the Day is ove r.Th e poem by S . BARING—GOULD . Mu sic by J . BARNBY.

(English wri ter 1834 (English composer 1838

Now th e day i s o ver Night is dawn -i u g n igh ,

Ex . 1 .

Sixths are known as major, min or, and au gmen ted .There are bu t three minor sixths in the diaton ic scale . They are Mi

De , La Fa , Si Sol .

Sixths , l ike the other in tervals , may be affected by acciden tals;and allminor sixths may be made major, and all major six ths may be made au gme ri ted. See Chart Series G , page 22 .

Fi fth Reader.

193

Me lody by J . Arnou d .Ch . Ser. G. Pag es 18 and 19. Th eme by J.

Dictat ion .SI ! THS .

The children Shou ld be train ed to distingu ish in tervals when the ton escomposing them are sou n ded together, as well as when sou nded in su ecession . I f there be no in strumen t at han d the class may be divided in totwo parts, on e taking the lower and the other the u pper note s .1 . Represen t the major six ths in the key of C major.2 . Represen t the m inor six ths in the same key .3 . Name the in tervalshere given as the teacher sings them in irregu lar order.

Fifth Reader.

194

Theme by Gaetano N ava .


Ser. Pag es 11 and 21 .

f11111 ROOGQH

ihs are major, minor, and dimin ished . There are bu t two major

the diaton ic scale . They are Do Si and Fe. Mi .

Seven ths are su bject to modification by acciden tals ju st as the

in tervals are . See Chart Series G , page 22 .

I f we invert any in terval , the in te rval formed will be fou nd by su btracting the first in terval from n in e . Thu s a third in verted becomes asix th , 9 A fou rth inverted becomes a fifth , 9

D ictat ion .

The pu pils shou ld be requ ired to write any in terval from a given ton eu p or down , e . g

1 . I n the key of G : first , write a m in or third u p from DO or on e ;

second , write a min or third down from the same n ote third , write a perfect

fou rth u p from the same fou rth , write an au gmen ted fou rth u p from the same .

2 . Name the in tervals as the teacher sin gs .

Fifth Reader.

Fifth Reader.

Theme by Gaetano Nava.

Th e Alto and Bass VoicesBy JOSEPH N . ASHTON .

197

198

Fifth Reade r.

200

Fifth Reader.

Fifth Reader.

202

SECTI ON I I I .

PATRIOTIC AND DEVOTIONAL SONGS.

No. 57. Watch on the Rh i ne .

Words by M SCHNEc NHERGER . Mu sic by CARL W ILHELM .Arranged . )

There comes a call l ike thu u der’s peal , The break-ers , roar ,th eh u u dred thou s-ands forth they stream,Th e ir eyes like flash i n gh eav

’u they raised the ir gleam i ng eyes , Th e h e roes saw them

Lou d ri ngs th e oath , th e wa ters flow , I n th e free breez e th e

clank of steel;Th e Rh in e ! the Rh i n e i the g lo riou s Rhi n e !light n i ng s gleam;Th e Ger man s , hon est , stron g and brave ,from the ir sk i es ,And swore , w ith yearn - in g for th e strife ,ban n ers blow;Th e Rhi n e;th e Rhi n e ! u h - fet-tered Rhi n e !

Fifth Reader.

204

No. 58 .

sou nd

Home and Fathe rland .

(DUTCH NATIONAL ANTHEM .)

song n owThee serve

0 1’

w i th h imhome ,

land for

great and

Fifth Reade r.

205

A h u man heart g lowed i n h im n e’er, WeFrom you th thro’ life be this ou r song , Ti ll

Wh o cal lou s hears th eOh God , pre serve ou r

ther land !land !

Fifth Reader.

206

No. 59 . M arch of the Me n of H arlech .

Words by WI LLIAM D UTB IE . We lsh Nation al SongArranged for three parts

from th e version by J OSEPH BARNBY

d is tan t sou n d ?

g lo ry n ow !

’

T is th e tramp o f Sax on foe -men , Sax -on spear-me n ,Sax -on bowmen ,Hu rl th e reel i ng horseme n o ver L et th e earth dead foe-men cov er,

Fate of fri end , of w i fe , of lov er , Trem - bles on a blow !

Fifth Reader.

208

No. 60. The M arse i l laise .

Th e mu sic by ROUGET DE Llsm .(Fren ch patriot , 1760

Ch . Ser. G. Pag es 13 and 20.

Y e son s of free dom ry ! Hark ! hark ! whatNow , n ow th e dang-’rou s storm i ng ,Wh ich w ick ed0 ! l ib er ty can thee , Once hav i ng

bid you rise ! You r chi l-dren ,w lves an d grand siresmen con fed-

‘

rate raise; Th e dogs of war, let loose ,telt thy g en -’rou s flame ? Can du n g eon s ,bolts an d bars con

hoa ry; Behold their tears an d hear the ir cries , B ehold the irhowl in g , And lo ! ou r walls and ci t i es blaz e ! And shall wefin e thee ? Or wh ips thy n o ble sp ir tame ? Orwh ips thy

Fifth Reader.

209

tears and hear the ir cries ! Shall hate fu l tyr an ts mis chiefsbase - ly view th e scen e , Wh i le law less force , w ithn o ble sp ir it tame ? Too long th e world has wept ,

breed i ng W i th h ire l i ng hosts , a ru f flan hand ,stride , Spreads des o la t ion far and w ide ,wai l i ng That false hood’s dag -g et ty ran ts w ield

fright and des o late th e land , Wh ile peace and l ib - er ty l iedes o la tion far and wide , W i th crimes and blood h is hands emfree dom is ou r sword and ' sh ie ld , al l the ir arts are u n a

F'

ifth Reader.

veng i n g

arms ,

sword n u sheath !

all hearts

to - ry

re

arms , brave

March on ,

solved

or death .

Th’

a

march

Fifth Reader.

2 12

No. 62 . The Star- Spang led Ban ne r.FRANCIS ScorT KEY .

(American au thor, 1779

say , can you see , by th e dawn’s ear ly

2 . Wh en ou r land i s ll lumed wi th L ib er ty’s

l ight , What prou d we hai led at th e twi-light ' s lassmile , I f a foe from w ith i n strike a blow at h er

gleam i ng s and bright stars thro’ th e per i l ou sg lo ry , Down , down , wi th th e trai tor that dares to de

fight O' er th e ram parts watched were so gal ian t lyfi le The flag of h er stars , and the page of h er

stream i ng . And th e rock ets’

red glare , th e bombs bu rst-i ng i nsto ry. By the mi l lion s n u chain ed ,who ou r b irth right have

gain ed , We will keep h er bright bla zon for cv er nu stained !

Fifth Reader.

2 13

0 say , does that star - span -gled ban n er yet wave O’er th eAnd th e star-span - gi ed ban n er i n tri u mph sh all wave Wh ile th e

land of th e free and th e home of th e brave ?land of th e free i s th e h ome of th e brave !

No . 63 . H e ave n ly Fathe r, Sove re ig n Lord .

Words from Songs for th e San ctu ary , No . 889 . FELI ! MEND sLssonN .


Heaven -ly Fa - th er,sov’

re ig n Lord , Be Thy g lo - riou s n ame a dored !2 . Thou gh n u -wor thy ,Lord .Th i n e ear, De ign ou r h um - ble songs to hear;3 . Whi le on earth ordai n ed to stay , Gu ide ou r foot-steps i n Thy way ,4 . The n w i th an g el harps a gai n We w i ll wake a n o b i er stra in ;

Lord , Thy mer - c i es n ev er fai l;Hai l ce i es tial good-n ess , hai l .Pu r er prai se we h ope to bri n g ,Wh e n a rou nd Thy th ron e we si ng .Ti ll we come to dwell w i th Thee , T i ll we all Thy g lo ry see .There , in joy fu l songs of prai se , Ou r tri u mph-an t voi ces raise .

Fifth Reader.

2 14

No. 64 . Ha”Co l umb ia !Words by J OSEPH Horm soN .

(American au thor, 1770

1 . Hai l , Co - lum b ia ! h ap py land ! Hai l , ye h e roes ,2 . Im mor tal pa triots , rise on ce more ! D e fend you r rights , de

h eav’

n -born -ban d ! Who fou ght and bled i n Freedom’s cau se ,Wh o fou ght an d bled infend you r shore ! Let n o ru de foe w i th im-p iou s h and , Let n o ru de foe w ith

piou s hand , I n vad e th e shri n e where sa cred lies Of

joyed th e peace you r val orwon . Let i n de-pen -den ce be ou r boast ,to il and blood th e we ll-earn ’d pri z e .Wh i le oil‘ ’ri ng peace ,sin -cere and ju st , I n

Heav’n we place a man l y tru st , That tru th and ju s t i ce

for th e pri z e , Let i ts ai tar reach th e ski es .shall pre vai l , An d cv ’ry scheme of bon dage fai l .

Fifth Reade r.

216

No. 66 . Come , Thou Almig hty Ki ng .

(ITALIAN HYMN . )The poem by CHARLES WESLEY . Mu s ic by FELI CI GIARDIN I .(English writer, 1708 (Italian composer, 17 16

Come ,Thou ai might y Ki ng , Help n ameCome ,Thou i n n ate Word , G ird

ou s, O’

er al l v ic

bless , And give Thy

ri ou s , Come and re ign ver u s , An c ien tword su c-cess;Spir i t 1! n ess , On u s scend.

Fifth Reade r.

2 17

No. 6 7 . Batt le Hymn of the Repu b l ic .Words by JULIA WARD HOWE .

eyes have seen th e g lo ry of the2 . I have seen Him i n th e watch fires of a3 . I have read a fie ry gos pel writ i n4 . He has sou nd ed forth th e trump et th at shall5 . I n th e beau ty of th e l i l Christ was

bu rn ished rows of steel “ As ye deal w i th My con -tem n ers , so w ithn ev er call retreat; He is si ft i n g ou t th e hearts of men beborn a-cross th e sea , Wi th a g lo ry i n His bo som that tran s

grapes of wrath are stored;eve n ing dews and clamps; I can read His righteou s sen tence by th eyou My grace shall dea Let th e He ro born of wo man cru sh th efore His j u dg-men t seat : Oh , be sw i ft , my sou l , to an swerHim ! befig u res you and me

ter ri ble tru th i s march-l u g on .dim and fiar i ng lamps : His day is march-lu g on .ser pen t wi th h is heel , S i nce God i smarch-i ng on .ju b l lan t , my feet ! Ou r God i s march-i ng on .die to make men free , While i smarch-lu g

CHORUS .

Fifth Reade r.

218

No. 68 . God eve r Gloriou s.

Words by S . F . SMITH . RUSSIAN HYMN . Mu sic by ALE ! I S T . Lworr .(American au thor, 1808 Ru ssian composer, 1799

Strong to de l iv er Own we Thy han d .God keep ou r cou n try Free cv er more .

Fift h Reader.

220

No. 70. J e ru sa lem the Go lde n .

Words by BERNARD or CLUNY .

l . J e t u sa lem th e gold mi lk and h on ey2 . They stand those halls of Z i on , All i n b i lan t w i th3 . There is the throne of Da v id , And th ere , fromcare re

Be n eath conAnd bright w ith many anTh e song of them that

S i nk heart voice op pressed . I know not , oh , IAnd all th e mar tyr throng . Th e Pri nce i s cv erTh e Shou t of them that feast . And they , who w i th the ir

know not. What joys a wait me there;i n them, Th e day l ight i s se re n eLead er, Have con qu ered i n th e fight ,

t a dlan cy of g lo ry What l ight be yond com - pare .pas tu reS of th e bless ed Are decked in g lo rions Sheen .cv er and for ev er Are clad i n robes of whi te .

Fifth Re ade r.

221

No . 7 l . Portu g u ese Hymn .Words by JAMES MONTGOMERY. Mu sic by J . RE AD I NG.(Scotch poet, 1771 (Eng l ish composer, 1645

1 . Th e Lord is my Shep - herd , n o wan t Shall I kn ow; I2 . Let good - n ess and mer cy, my bou n t i - fu l God , St i ll

feed i n green pas-tu res;safe foid ed I rest;He lead - eth my sou l where th efol low my steps t i ll I meet Thee a-bove; I seek by th e path wh ichmy

st ill wa ters flow , Re stores me when wan - d’ring , refore fa-th ers trod , Thro’ th e land of the ir so jou rn ,Thy

deems when op-press’d Re storesme when wand ’ri ng ,redeems when oppress’d .k ing-dom of love , Thro' th e land of the ir so-jou rn ,Thy ki ngdom of love .

Fi fth Reader.

222

No. 72 . Pra ise the Lord .

(AUSTR I AN HYMN . )

Words by B I SHOP RICHARD M ANT . Mu sic by JOSEPH HAYDN .(Bri t ish wri ter, 1776 (German composer , 1732

1 . Pra ise th e Lord ! ye h eav ’u s . a dore Him ,Pra ise Him, an - gels i n th e2 . Prai se the Lord , for He i s g lo-rion s;Ne v er shall His prom i se

-

rhe ight;S u n and moon , re joice be -fore Him zPra ise Him ,all ye stars offai l; God hath made Hi s sa i n ts v i e to-riou s , S i n and death Shall n ot pre

l igh t raise th e Lord , for He hath spo-ken ;Worlds h ismight-y voice o-beyed .va i l . Praise th e God of ou r Sal va t iou ,Hosts on hi g h His pow ’rprocla im;

Laws which n ev er sh all b e bro - ken , For the ir gu id-an ce made .Heav’n and earth ,and al l cre - a tion ,Lard and mag u i fy His n ame .

Fi fth Reader.

224

PAGE . Cou pon s 0 3 SOURCE .220 J eru salem th e Golden A lexan der Ewi ng141 Katyd id C. K reu z er

149 K in g of Thu le, (Th e ) . K . F . Z elter129 Lady B ird German (arr .)147 Lady Moon

187 Lamen t for Summer, (A ) .155 Lark , (Th e )211 Lead, K indly Light1 42 L ift th in e Eyes175 L ightly Tread60 Love ly Garden , (Th e )

206 March of th e Men of Harlech Will iam Du th ie204 Marse i lla ise , (The )19 May Son g1 22 Mou n ta in Chapel , (Th e )29 My Father had a Garden Gay192 Now th e Day is over

151 O Holy Father2 19 0 Parad i se15 0 Rest in the Lord

1 16 Over H ill and Dale103 O wert thou in th e Cau ld Blast221 Portu g u ese Hymn .2 22 Praise th e Lord

Sabbath Morn , (Th e )Sabath Morn i ng , (Th e ) Dr. J ohn LeydenSabbath Sti lln essSle igh -bells, (Th e )Son g of Peace , (Th e )Son g of Pra ise, (A ) J ames Mon tgomerySou n ds of Even in g

Sprin g ’s Del ightStan dard Bearer, (Th e )Star of Home H . S . Bu n ceStar Span g led Ban n er, (The )Swallow, (Th e ) . W. J . WestbrookSwallows, (Th e ) .Sweet and Low A lfred Ten n yson

38 To Heaven1 34 Tyrolese and h is Ch i ld, (Th e ) .

202 Watch on th e Rh in e Max Sch n eckeu berg er10 Wh ite Rose Tree , (Th e )

Old MelodyJ . Arnou d

. J . B . Dykes

F Mendelssohn -B artholdy. J . Scotland

Fran z A bt

Welsh A irRou g et de L i sle

Robert Sch umann

Fran z Abt

J . B . Weekerli n

S . Barin g -Gou ld J . B arnbyW. H . Bu rle igh Robert Schuman nF. W. Faber J . B arnbyFrom El ijah” F. Mende lssohn -BartholdyM idsummerNight’sDreamF .Mendelssohn -B artholdyRobert Bu rn s F . Mendelssohn -B artholdy

J ames Mon tgomery J . Readi ngRichard Man i; J oseph Haydn

F . Mende lssohn -B artholdyFren ch M e lody (arr.)

Fran z Abt

F . W. Farr i ng tonF . S i lcher

Selected

Franz A bt

Robert Sch uman n

L indpa i n ter

F. C. Maker

Fran c is Scott K ey

Graben -Hofl‘

man n

Robert S chuman n

Documents

Natural Course in Music Music Reader · Preface and Directions The teachin g in this, as in all precedin g R eaders, is presen ted in on e part e xe rcises;bu t in this book the ex