xt754746t79w https://exploreuk.uky.edu/dips/xt754746t79w/data/mets.xml Oslin, Stephen Jesse 1904 96 pages (118 items), 20 cm. Call Number: M1495 .E89 1904 Donor: John Lair Music Collection scores (documents for music) M1495 .E89 1904 English Eureka Pub. Co Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection John Lair Music Collection Singing -- Instruction and study Catches, glees, rounds, etc Choruses, Sacred (Mixed voices), Unaccompanied Choruses, Secular (Mixed voices), Unaccompanied Children's songs, English The Eureka Sunlight Glees: for Use in Singing Schools, Literary Schools, Conventions and Musical Societies ; Containing an Excellent and Varied Collection of Sacred and Secular Songs, ©1904 text The Eureka Sunlight Glees: for Use in Singing Schools, Literary Schools, Conventions and Musical Societies ; Containing an Excellent and Varied Collection of Sacred and Secular Songs, ©1904 1904 1904 2023 true xt754746t79w section xt754746t79w  

 

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CONTAINING AN

Excellent and

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Gonventions and of $acred and

Musical $oeieties. %% 8eeular 8011118.

Written and Compiled by

Rev. S. J. OSLIN, G. L. YOUNG and J. T. LANE,
With
J. M. ASLIN, w. F. HARRISON andS B. CLAIBORN,

As Associate Authors
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THE EUREKA PUBLISHING CO.,
Stigler, Oklahoma.
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Copyright, 1904 by The EUI‘CKL Plb. Co.”

 

 

 

  
  
    
 

 

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PREFATORY.

 

We have no other apology to offer for the publication of
SUNLlGHT GLEES than the many urgent requests for such a book
by singing and day—school teachers, and leaders of musical societies.
For several years the Authors of this book have keenly felt the need
of just such a work in our own singing schools, conventions and nor—
mals. With nearly a quarter of a century’s experience for some of us
in teaching music, and all the while watching the wishes and needs of
the people, our chances for finding out that which is really useful have
been the very best. We believe we have succeeded, and will send the
book forth on its mission of usefulness in the fullest confidence.

 

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Do not allow undue, ungrounded prejudices against “glees” to
shut you out of a halo of light and real sunshine found in these pages.
If well rendered there will be something on every page to make life
brighter. And if the high standard of morals taught in the songs fails
to make hearts and lives better, we have failed to heed the teaching,
and the fault lies at our own door. There are a number of good sacred
pieces that can be used with propriety at religious gatherings and for
the afternoon Sunday singing; while selections for singing and day
schools, conventions, entertainments, and children’s classes are many,
rich and rare.

Do not allow your singing society, singing and literary schools to
grow dull and drag. In connection with any gospel song book you may
be using, add SUNLlGHT GLEES with its variety, and you will
double the life and interest of your class. Try it and you will be
convinced.

Glorify God by helping with these songs the discouraged to
hope, troubled and sad hearts to rejoice, and darkened pathways to
glow with light, and you will be a blessing to the world. And, with
a consciousness of work upon your part well done, there will come to
thine own soul a real, inexpressable satisfaction, which to you will be
worth far more than the gold of the nations.

Respectfully, Your Segrvants,

THE A "THORS.

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MUSICAL CA’TECHISM.

PREPARED AND ARRANGED BY

; JOHN H. SMITH and HIEL A. KEY.

 

LESSON 1.
INTRODUCTION!

1. Question. What is sound?
Answer. Anything we hear. .
2. There are how many classes of sounds, and what are they?
Two; musical and unmusical.
3. What is a musical sound called?
A tone.
4. What is an unmusical sound?
A noise. .
5. How many properties has a tone, and What are they?
Four; pitch, length, power and quality.
6. What does pitch mean?
The lowness or highness of a tone.
7. What does length mean?
The longness or shortness ofa tone.
8. \Vhat does power mean?
The loudness or softness of a tone.
9. Quality means what?
The kind or character of a tone.
10. Into how many departments are the rudiments of music divided, .no
what are they?
Three; Melodies, Rhythmics, and Dynamics.
11. Of what does Melodies treat? ‘
The pitch of tones.
12. Of What does Rhythmics treat?
The length of tones.
13. Dynamics treats of what?
The power and quality of tones.

SUBJECT,—PITCH.

14. What is a graded series of eight pitches called?
' A scale.
15. What syllable names are sometimes applied to the tones of the sale?
TheyareI 2 34 5 678
Do Re Mi Fa 801 La Ti Do.
16. What are used as pitch names of tones?
The first seven letters of the Alphabet—A, B, C, D, E, F, G.
17 . How are pitches represented?
By lines and spaces.

Nora—Five lines and the spaces which go with them is called the stafi'. Lines and
spaces are numbered from the lowest upwards. and each representsadegret of pitch.
Added lines and spaces below and above the staff may be used.

ILLUsrizArmN N0. I.—THE STAFF.

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Added Line nbovc— u Space E ova

 

 

 

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, 4th Space
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_ 3rd Space
——3rd Llue m
, 2nd Space
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Nora—Before leaving this lesson let the teacher supply additional questions Md
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MUSY CAL CATECHISM

LESSON ll.

1 8. What letters are. used as clefs to make the stafi” represent pitches in O
fixed way?
I“, G, and C.
19. How is the F clef made, and what is its use? »
Like the reversed letter C ( 9; ) with two dots at the right, and names
the fourth line F. .

ILLUSTRATION No. 2.~F CLEF AND LETTERS ON THE STAFF.

F CLEI“. -0-
, 7 A
F

20. How is the G clef made, and what is its use?

Like the reversed capital S, ' and names the second line of the
staff G.

ILLUSTRATION No. 3.+G CLEF AND LETTERS ON THE STAFF.
G (‘LE F. .A.
__ E .F G a
I}
as C
. _(. A
17 . ‘
D L
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21 . How is the C clef made, and what is its use?
Four lines drawn across the staff, centering on the third space, the
two inside lines joined together by bars. and names the third space C.

ILLVSTRnTION No. 4.—-C CLEF AND LETTERS ON THE STAFF.

'A§
G
E F —

 

 

C I}

 

 

 

 

NOTE—The clef narnes one degree of the stafi', and the pitch names of all other de-
grees are known from lt‘ as the letters come in alphabetical order.

22. There are how many general classes of voices, and What are they?
Four; Bass, Tenor, Alto, and Soprano.
23. What are Bass voices?
Gentlemen’s voices of low pitch and heavy quality.
24. \Vhat are Tenor voices?
Gentlemen’s voices of high pitch and light quality.
25. Describe Alto voices.
Ladies’ voices of low pitch and heavy quality.
26. Describe Soprano voices.
Ladies~ voices of high pitch and light quality.
27.. There are what other classes?
Baritone, a gentleman’s voice between Bass and Tenor, and Mew
Soprano, a lady‘s voice between Alto and Soprano.
28. XVhat difference is found between the voices of ladies and gentlemen?
There are eight degrees; so that when they are seemingly togethel‘,
ladies are singing an octave higher than gentlemen.
29. What two parts sing from the G clef staff?
Soprano and Alto.
30. What parts sing from F clef stafi‘?
Bass. and sometimes Tenor.

(4)

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m‘u;.-e-.&L CATECHISM.

31. What part sings from the C clef stafi?
The Tenor alone.
32. What is meant by middle C?
It is a pitch in common to all voices; it is on added line above the
F clef staff, added line below the G clef staff, and third space on C clef stafi‘.
It is five degrees above the F clef position, and five degrees below the G clef
posrtion.

ILLUSTRATION No. 5—830me RANGE OF PARTS, ETC.

Soprano.

 

 

BRACE.

 

Bass.

Norm-A strong bar crossing the ends of two or more staves is called a brace. A
number 0; parts to be performed at the same time, connected by the brace, as in above}
example, is called a score.

LESSON Ill.
STUDY OF LENGTHS.
33. There are how many lengths in ordinary use, and what are they?
Six: the whole, half, quarter, eighth, sixteenth, and thirty-second.
34:. How are lengths represented?
By characters called notes.

ILLUSTRATION No. 6.——NOTES REPRESENTING UENGTHS.

R
N N
a J J J“ a a
Whole Half Quarter Eighth Sixteenth Thirty-second
Note. Note. Note. Note. Note. Note.

Statements—I. A silence during the course ofa musical performance
is called a rest. 2. Rests correspond to notes of the same denomination, as

i to value in duration.

ILLUSTRATION No. 7.-—SHOWING REsTs.
l l

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Whole Half Quarter Eighth Sixteenth Thirty-second
Rest. Rest. Rest. Rest. Rest. Rest.

NOTE TO TEACHER.—See that each of your pupils is able to give a good description of
all notes and rests before leaving this part of the lesson.

35. A dot placed at the right of a note or rest increases its value how much?
One half.
(5)

 

  

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MUSICAL CATECHISM.

36. Two dOLs add how much to the value of a note or rest?
Three fourths.

ILLUSTRATION No. 8.-—THE DOT.

a . equals ova a - - equals a. J ,J
a . equals 5v) 5'. - equals a: J J“

37. A group of three tones sung or played in the time of two iscalled
what?
A triplet.
38. How 'is the triplet represented?
By a figure 3 placed over or under three notes.
39. When the tone is to be prolonged how is it represented ?
By placing a semicircle and dot over or under it, called a hold.

ILLUSTRATION NO. 9.—-TRIPLET AND HOLD.

Triplet, l or i Hold.
m

FA

 

LESSON IV.
BEATS AND MEASURES.

40. A pulsation of the mind while we listen to music is called what?
A musical beat.
41. Strong'beats are called what?
Accented beats.
42. What are weak beats called?
Unaccented beats.
43. A group of beats is called what?
A musical measure.
44. How are measures represented?
By figures placed at the beginning of each tune.
45. If the measure has two beats, and the half note occupies one best,
how is it represented;P
By the figures .
46. When the measure has two beats, and the quarter note receives the
time of one heat, what will be the measure sign?

The figures 2
47. When the eighth noth receives the time of one heat, and there are two
beats to the measure, what is the sign?
The figures 3
48. A measure thus formed of two beats, with the first accented, is called
what?
A double measure.
Statements.——I. A note which occupies the time of one heat is called
a beat note. 2. A note which fills a measure is called a measure note.
3. Small bars are used to denote the end of written measures. 4. We may
indicate musical beats in two ways,—viz., by counting, and motions of the
right hand. 5. To indicate the beats of double measure, we count “one,
two,” and make the motions of the hand, “down, up.” 6. The upper figure
shows the kind of measure—the number of beats, the under figure shows the
kind of note which goes to one beat.
(8)

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MUSICAL CATECH I SM .

ILLUSTRATION NO. IO.—DOUBLE MEASURE.
A First Variety. I Second Variety. I Third Variety.
i

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4 J l l j 1 1‘

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I I A
2:a‘——e—l—s—r4—-i——-‘—l 5} ='

49. A measure having three beats, with the first accented, is called what?
A triple measure.

50. What figure represents it?
The figure 3.—The motions of the hand, “down, left, up.”

ILLUSTRATION NO. II.—TRIPLE MEASURE.
First Variety. [ Second Variety. | Third Variety.

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l. A measure having four beats is called what?

A quadruple measure.

52. What are the beats?

The first is the primary accent. the third is a secondary accent, the
second and fourth are unaccented beats. Motions of the hand are “down.
left. right, up.”

ILLUSTRATION No. I2.—QUADRUPLE MEASURE.

First Variety. I Second Variety. | Third Variety.

         

NOTE —The half, quarter, and eighth have been used as heat notes. These are stand-
ards b which we measure the length of other notes. A good way to reckon them would
be hal , quarter, and eighth note varieties of measure.

LESSON V.
COMPOUND MEASURE.

Nora—Thus far the measures learned are called simple measures. A compound
measure is one having two, three, or four groups of three beats each, and will equal three
measures in the simple form.

53. What is a compound double measure?
One having six musical beats.
54. What beats are accented? .
Primary accent on the first, and a secondary accent on the fourth.
55. There will be how many groups, and how many beats to the group?
Two groups of three beats each.

ILLUSTRATION No. 13.-—COMPOUND DOUBLE MEASURE.
Quarter Note Variety. | Eighth Note Variety.

         

2 I

I 2
56. A measure having nine musical beats, and three groups of three beat:
each, is called what?
A compound triple measure.
57. Which beats are accented?
The first, fourth, and seventh.

ILLUSTRATION No. I4.-—COMPOUND TRIPLE MEASURE.
Eighth Note Variety.

    

(7:

 

 . < MUSICAL CATECHISM.

58. A measure having twelve musical beats, and four groups of three
beats each, is called what?

A compound quadruple measure.
59. Which beats are accented?

The first. fourth. seventh and tenth.

ILLUSTRATION No. 15.——COMPOUND QUADRUPLE MEASURE.

 

I 2 3 4
LESSON Vl.

MISCELLANEOUS DEPARTMENT.

I. A broad bar is used to denote the end ofa musical phrase or a line Of
.5 words.
'* 2. A row of dots across the staff indicates a repeated passage.

3. The figures I and 2 at the close denote a double ending. The first
time, sing or play under the figure I; the second time, under the figure 2.

ILLUSTRATION No. 16.
, 1 r 2 r

1

 

    

   

 

Q

4. Da Caz/)0. or their initials, D. C, means return to the commencement.
5. Ba! Segno, or their initials, D. 5., means to return to the sign—:8:
6. An accented beat on an unaccented part of a measure is called
syncopation.
7. Two broad bars denote the end of a tune or exercise.
DS. The word Fine means the end, and is the place to close after D. C.
or . S. ‘

 

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ILLUSTRATION No. 17.
Syn. Fine. D. C.

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n :8: Fine. D. S.
r74 4 n _. l . i n l Li 1 it l- n 4 1 -n
i§§%‘lfiiv—:3:i!—‘-—O 'L : 0—l——t—_'—I
2 . . v . . V .
%Ԥ 9. A tze is a curved line connecting two or more notes on the same

degree of the staff.

3%“; 10. A 5/1” is a curved line connecting two or more notes on different
iti‘n degrees of the stafl‘.

.; II. The stems of two or more notes joined together by one or more bars
are called grouped notes. The bars from one stem to another answer the
5g? purpose of a turn. '

3 12. A note not connected to another by the bar nor curved line is called
i a detached note.

3 13. The rule for the application of words to music is, usually, one sylla~
ble of words to each detached note, group, slur, and tie.

3:; ILLUSTRATION. No. 18.
Slur. Tie. Groups.

    
   

Come lis - ten while we cheer-ful - 1y sing.

(8)

 

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MUSICAL CATECHISM.

l4. Solo—music in one part. 18. Quintet—music in five parts.
15. Duet—-music in two parts. 19. Sextet—music in six parts.
16. Trio—music in three parts. 20. Octet—music in eight parts.
17. Quartet—music in four parts.

LESSON Vll.
SCALES.

80. The difference of pitch between two tones is called what?
An interval.

61 . What names have been given to the intervals between the tonesoffllt

acalei

Steps and half steps.

62. Between What pitches do the half steps occur?
E and F, and B and C.

63. They occur between what syllables?
Between Mi and Fa, and Ti and Do.

64. A scale thus formed of steps and half steps is called what?
Major Diatonic scale.

ILLUSTRATION NO. 19.—DIATONIC SCALE.
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Do Re Mi Fa Sol La Ti Do.
I 2 3 4 5 6 7 8
V v

65. Pitches introduced between the tones of the scale which form an inc
terval of a step, are called what?

Chromatic tones.

66. How are chromatic tones represented?

By characters called sharps (1:), flats (l7), cancels (n ), double
sharps gX ), and double flats (M7 ).

.Slatements.-I. A sharp causes a degree to represent a pitch one half
step higher. 2. A flat causes a degree to represent a pitch one half step
lower. 3. The cancel cancels the effect ofa sharp or flat. 4. The double
sharp is only used on a degree that has been represented sharp, and makes
it represent a pitch one half step higher. 5. A double flat makes a degree
that has beenrepresented flat, represent a pitch one half step lower. 6. To
cancel the double sharp, use a cancel and one sharp. 7. To cancel the
double flat, use a cancel and one flat. '

67. A scale of thirteen pitches formed of all the diatonic and chromatic
tones is called what?

A chromatic scale.

ILLUSTRATION NO. 20.--CHROMATIC SCALE.

 

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Do Dee Re Ree Mi Fa Fee 801 See La Lee Ti Do.

ILLUSTRATION No. 21,—DESCENDING.

 

 

 

 

 

 

Do Tee Tay La Lay Sol Say Fa M May Re Ra
68. What is a minor scale?
One formed on La or Six of the major scale.
69. How many forms has the minor scale? .
Three, but the following is the principal one, and W111 suffice.

(9)

 

  

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MUSICAL CATECHISM.

ILLUSTRATION No. 22.——MINOR SCALE.

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0 LESSON Vlll.
TRANSPOSITION.

70. What is meant by the term “key”?
A family of related tones.
71. There are how many keys?
Two; major and minor.
' 72. Major music is expressive of what?
Brightness, joy. and exultation.
73. Minor music is expressive of what?
Sadness, grief, and plaintiveness.
74:. Transposition signifies what?
Changing the key.
75. What does modulation mean?
Changing the key during the course ofa composition.
76. A short modulation is called what?
Transition.
77. There are how many keys used?
Thirteen major and thirteen minor.
78. The scale is transposed by what interve..-
By fifths and by fourths.
79. What is meant by fifths and fourths? .
That in one instance Five of the old key is taken for One of the new.
and in the other, Four is taken for One of the new key.
80. What are used as key signatures?
Sharps, when the moves are by fifths, and flats when the moves are
by fourths. ’
81. Where are key signatures written?
On the staff immediately after the clef_

ILLUSTRATION No. 23.—SHOWING SIGNATURES To ALL KEYS.
Major Keys—Sharps.
C G D

A E B F Sharp.

 

Minor Keys— Sharps.
A E B F if. C 1: G if. D it

 

Major Keys—Flats.
F B [7 E [7 A D D b G 9

 

Minor Keys -~—Flats.
D c F Bb El?

 

4E}-
No-rE.—The student should commit the table of sharps and flats to memory, and be
\ble to give signatures to allmajor and minor keys.

(10)

 

  

MUSICAL CATECHISM.

a . LESSON 1X.
POWERS.

32. There are how many powers in use, and what are their names?
Seven; Pianissimo, Piano, Mezzo-piano, Mezzo, Mezzo-forte, Forte,
and Fortissimo. ..
83. How are powers represented?
Usually by their initials, except Pianissimo and Fortissimo, then
their initials are doubled.
84:. Give list of powers, with their pronunciation, meaning, and represenc

tation.
ILLUSTRATION No. 24.
Names. Pronounced. Meaning. Represented.

Pianissimo Pee’ -ah-nis’-si—mo Very soft pp

Hana Pee-ah’-no Soft p
Mezzo-piano Met’ ~zo-pee-ah’ -no Medium soft mp

Mezzo Met’ -zo Medium m
Mezzo-forte Met’-zo-for’-tay Medium loud mf

Forte For’ -tay Loud f
Fortissimo For-tis’-see-mo Very loud fi'

85. As to class, what are the above powers called? .
Primitive powers,—those beginning, continuing, and ending With the

m. 7 H same degree of force. '
f86. As to class, what are they called when they increase or decrease 1n
orce?

are Modified powers, of which there are five.

87. Give names, meaning, and representation of each.

ILLUSTRATION No. 25.

Names. Meaning. Representation.
Crescendo Gradually increasing Cres. or <
.rp. Diminuemio Gradually decreasing Dim. or>
i Swell Increasing and decreasing O—
. Pressure tone Suddenly increasing <
Forzano’o Suddenly diminishing >

88. To what does style have reference?
The manner of execution.
89. There are how many styles, and what are their names?
Four; Legato, Staccato, Semi—staccato, and Portamento.
90. What does Legato mean, and how represented? /‘
Closely connected, and represented by the curved line, thus: f r r
91. Give the meaning of Staccato and its representation.
Izisconnected, and represented by points placed over or under notes,
, v 0
thus. J J I: l‘
92. What does Semi-staccato mean?
A medium between Legato and Staccato, represented by dots over 0!

under notes, thus: ' l' .
93. What does Portamento mean?
A gliding of the voice, and letting it occupy pitches between the tone! -
of the scale»
(11)

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MUSICAL caracmsm.
LESSON X. .
MO VEM ENTS.

94. There are how many movements in ordinary use, and what are they?
Seven; Adagio, Andante, Andantino, Moderate, Allegretto, Allegro.
3nd Presto.
95. Give pronunciation and meaning of each.

ILLUSTRATION N0. 26.

Names. Pronounced. Meaning.
Adagio Ah-dah’-jee-o Very slow
Andanie An-(lan’rtay Slow
Andantino An’-dan—tee’-no Moderately slow
Moderato Mod’ e rah’-to Medium—neither fast nor slow
Allegra!!!) Al’-le-gray’—to Moderately fast
2 Allegro Al-lay’-gro Fast ' ‘ ’
Presto Presto Very fast

96. As to class, what are the above movements called?
Primitive movementse—same rate of speed throughout.
97. When the movement changes from fast to slow, or from slow to fast,
what is it called?
Modified movement.
98. What does Ritardando, or its abbreviation, kit, mean?
Gradually slower and slower.
99. Accelerando, or its abbreviation, 145661., means what?
Gradually faster and faster.
100. What does Rallentando, or Rall., mean?
Gradually slower and softer.
101. What is the design in the study of movement?
It assists us in bringing out the meaning of the words.

NOTE.—-We hope that our efforts to prepare a simple, practical treatise on the first
principles of music, with up-to-date explanations, definitions, and illustrations will be
appreciated by our brother teachers and pupils. While we have made no attempt at
completeness, yet we believe that there will be found plenty for any ordinary singing
school, and as much to the amount of space as can be found in any book, Let the teacher
use additional explanationaand illustrations. and prove himself to be master of the W0 ()3
he has in hand.

Your servants,
THE AUTHORS.

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GRADED EXERCISES.

Intended for usI: after lessons in beats, measures, lengths,

rests, etc.
The Initials D, U. L. R, stands for down, up, left, right.

No. 1. Double measure, one beat to each quarter; two beats to each

 

 

 

 

 

 

 

 

 

 

 

 

 

halfnote.
a d u d u d ‘u du . ‘ ‘
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. Do re mi mi fa fa sol, La ti do la sol mi re;
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Mi fa sol la ti do re, Mi re do la sol ti do.

 

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Mi fa sol m1 fa la sol Do la sol fa 1111 re mi,
Lov- -ing voi- ces, hear them ring, Sweetest mu- sic while theysing;

 

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Mi sol la (1 re mi re, Mi do la fa mi re do.
Loud-er still as on we go, High- -er than the up- per do.

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No. 3. Bass staff with F clef. Double measure.

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Do re mi fa sol la sol, La ti do la sol sol do;

 

 

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801 la ti do re mi fa, Sol fa mi do fa sol do.

No. 4.
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Do re mi do fa sol, Do re do la sol mi re;
Sing-ing, sing-ing all the day, Swift-1y fliesthe time a - way;

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Sol ti re fa mi la sol, Do In sol mi re sol do.

This our tune and bass -stafi‘son%, Keep the time and don’t go wrong.
. - 13

 

  

 

GRADED EXERCISES.

No. 5. Notes on the C clef staff, used for tenor voices.

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re mi fa sol la sol, Fa la sol do sol mi re;

 

M2 sol la ti do mi re, Mi fa mi re do ti do.

No. 6. Eighth notes. Two to one beat.

 

Sol fa. mi fa sol do re, Mi re do ti do la sol; ‘
Summerdaysare com-ing on, All is love-1y, bright and fair;

 

Do sol la ti do mi re, Mi re do la sol ti do.
Birdsandbeesare fly-ing’round,Thro’thefragranceof the air.

N0. 7. Sixteenth notes. Four to one beat. Double measure.

 

 

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Sweet hap-py voi-ces, Ring-ing in a cho-rus grand;

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With sniil-ing fa - ces, We’re a hap-py vo - cal band.

 

 

N0. 8. Halfand quarter rests; half, quarter and eighth notes. Don’t
sing when silence is represented.

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Sparkling lit - tle dew -drops, Sparkling in the sun,

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Wav—ing on the grass -es All the dew-y morn.

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N6. 9. Watch for the rests, else you will be singing when others are silent.

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Once there lived an ug - 1y man, He was fun-ny so we learn!

 

 

 

 

Wasted all his time in jest. Don’tdo so. but let us rest.
14

 

 GRADED EXERCISES.

No. 10. Triple measure; three beats. One beat to each quarter note.
d l u d 1

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Lov-ing and cheer-ful while singing to-day, sing-ing to-day,
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sing - ing to- day; We’ re hap-py and gay, while singing to- day.

No. 11. First and last equals one whole measure, the first being one
third, last two thirds full.
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BRADED EXERCISES.
N0. 20. Chromatic t011es—-those between the diatonic tones of the scale.

 

 

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re re mi ri mi fa mi fa sol fi sol la;
Be care-1111,] be care-ful in smg-ing forsharps are now seen;

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La la si la ti li ti do ti do re 111i re do.
Chro-ma-tics are tones that are fre-quent-ly com-ing be-tween.

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Sol mi mi me re _re ra do ti te la la le sol,
A—gain we ad-mon-1sh—be careful, for flats are foundtoo;

 

 

 

 

 

 

 

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La sol sol se fa fa fa mi mi me re re ra
Be sure that the voice nowdoth move in half steps to rrr do.

 

N0. 21. Chromatic on bass staff- F clef.

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Do di re ri mi fi sol, 801 Si la 1i ti ti do;
Now chro-mat-ics come a- gain, But this time on bass - es’ staff;

re sol

 

Do te la 1e sol se fa. Mi me re ra do sol do.
Downwardsing-ing in thisstrain, If you singit wrongdon’tlaugh.

N0. 22. Chromatics in all parts.

  

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Spark-ling brooklet, gen- tly flow, 011 wa dthro’ the vale be low
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Nev - er i - dle 11 ht nor day-r, Bless- -1ng all a- long thy way.
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GRADED EXERCISES.

Key of G—signature one slmrpvl’

 

 

 

 

 

 

 

 

Scale 011 G clef. Scale on F clef
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PIIcIIesIGABCDEFfiG. GABCDEFfiG.
Syllables.Do re mi fa sol la ti do, Do re mi fa sol la ti do.
No. 23.

 

Do 501 la ti do re mi, Fa sol la fa mi re do.

 

 

 

 

 

N0. 24.
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Sol do mi do re mi fa, sol la la sol mi re;

 

 

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Mi sol do mi re fi sol, 801 1a Sol fa mi re do.

No. 25.

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Mi re do mi re sol sol, La la 501 do mi re do;

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Sol sol la do ti la sol, Sol la sol mi re mi do.

 

 

 

 

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Mi re do fa mi re mi sol la sol, Fa mi re mi;

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