xt7fn29p5v1p https://exploreuk.uky.edu/dips/xt7fn29p5v1p/data/mets.xml Kieffer, Aldine S. (Aldine Sillman), 1840-1904 1886 1877 scores (documents for music) M2193.N49 K540 1886 English Ruebush, Kieffer Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Glenn C. Wilcox Collection Sunday school music Hymns, English Shape note hymnals Singing -- Instruction and study The New Starry Crown; for the Sabbath School, 1886, ©1877 text 1 close score (112 pages), 15 x 18 cm. Call Number: M2193.N49 K540 1886 Imperfect: Cover detached (c.2).Provenance: Wilcox, Glenn C The New Starry Crown; for the Sabbath School, 1886, ©1877 1886 1886 1877 2023 true xt7fn29p5v1p section xt7fn29p5v1p  

 

  

 

 NEW STARRY CROWN°(

FOR 717E SABBATH SCfIOOL,

EDITED BY

ALDINE s. KIEFFER.

 

 

PUBLISHED BY

RUEBUSH, KIEFFER & (30.,

DAYTON, ROCKINGHAM 00., VIRGINIA.
1886.

 

 PUBLISHERS’ PREFACE.

THE “STARRY CROWN,” after having passed through numerous editions, has again been
irevised by the author; and its present revision being so general in its character, it has been
thought best to add the word NEW to the title.
‘ Owing to the general adoption of Aikin’s Character-Notes, it became necessary to have new '7
breotype-plates made for the book ; and, in having this done, it was deemed best to condense
the music into as small a compass as possible, and then to add new music to fill up the pages to
the complement ( t' former editions.
This new music, together with the elementary statements prefixed to the body of the work,
,is the only excuse for changing the name to “THE NEW STARRY CROWN.”
In its present form, it will be found a much more serviceable book for the Sabbath School,
and as a companion for the Singing class, than the former editions.
With the hope that it may continue to do good, and that its songs may cheer the heaven-
ward pilgrim, we send it fort}: on its new mission.

\

August Ist, 1877. ——

THE PUBLISHERS,

THE SCALE.

    

Doe, Ray, Mee, Faw, Sole, Law, See, Doe. Doe, See, Lavy, Sole, F aw, Mee, Ray, Doe.

 

Entered, according to Act of Gang-rem, m the year 1877, by
RUEBUSH, KIEFFER J: 00..
in the Ofice of the Librarian of Congress. at Washington.

2:45:

9‘22»

J M. ARMSTRONG, MUSIC Tyranny-nan,
' Pmunxwuu.

42‘:-

."V
,n.
.

 

  

TZEIE

NOTE 1,—1t has been the object of the author to present,
in a few brief chapters, the most important things
under the dillerent heads which music is treated
upon, necessary to enable the learner to gain stifli-
-ient knowledge to read music correctly. it will be
necessary to study the following chapters closely,
however, as nothing is contained in them which is
not of importance to the student. They are divested

of all unnecessary terms, and the teacher, it is hoped,

will use his influence to secure good discipline upon
the subject, rei’nemhering that “repetition is the
mother of improvement.”

CHAPTE 3. i.

G ICT‘IERAL DIV IS“ )3 '5.
-lecry musical tone has three essential properties, with»
o' , which it cannot exist, viz .—-
PITCH LENGTH Powen.
’ 7
Hence these three wrand distinctions into which element-
5
ary instruction in music is naturally divided ;.H
1st. MELODY, treating ot' the pitch. of sounds.
2d. RHYTHM, treating ot' the length of sounds.
3d. DYNAMICS, treating of the. power of sounds.

Under these three general heads will he noticed every-
thing necessary to assist the pupil in learning to read music.

 

‘ > ,,.'.~.p»;m...t1 w, N. x a-“

SINGING-SCHOOL.

CHAPTER II.
MELODY.

1. The Scale—At the foundation of music there
It consists of an
:H-(JEHdlng series ot eight. tones, which are counted from

lies a series of sounds called the Scale.

the lowest upwards, as one, 171,0, three, four, file, 311:, seven,
rag/t5, and to Wlllt'll the syllables Do, Re, 312., 14a, 801, La,
m, Do, are applied.

a. The Stafi'.w~ The tones of the scale are written
The
stall consists of five lines and four intermediate spaces.
(in this stall we can write nine degrees of sound, although

(,3

upon a Staff with certain characters called Notes.

the compass of the staff may be increased by the ad-

These are called added lines
Also spaces abate and spaces
below. Each line is called a degree. Each space is called
a degree.

dition of lines and spaces.
above and added lines below.

Add ed line above.

 

 

 

Added line below.

 

 , ‘ V . . fl ", .H w“ l > , :- * H _ ’ w- .11. . 7‘, ”a M,
l .i‘“ , M J , .‘. . hr if” t v ML 3,,» A. . ' r! R}& .
‘ 3 331’ ’tcr 1» :3, 1‘ , ,, " ., gar-”‘3'???“ ‘5: 1115:1111 1:151:11 “1: .1491», '; 333w

4 THE SI\GI\(}-St‘11()()l

5. Nunlel‘als.—Numerals are used to designate the
different degrees of the scale series, as I, 3, H4 6,1
the scale. One always designates Do, two deZignates Re,
three designates Mi, etc. Numerals are also used to in—
dicate the time, and are written on the stafl; fractionally,

3. Clefs.——The staff, however, is a meaningless
character of itself, and of no use until we prefix other
characters to it, called Clefs, Of these there are two in

use—the G clef and the F clef, as follows 2-—
F clef. 9
6. Lettel'S.——Letters are also written upon the stafl'.
They occur in regular order, counting upward from the
\Vith the use of the foregoing characters mentioned in lower line of each stall'. Their position is fixed. Notes

the preceding paragraphs, we can form a starting point may be written on (htleient degrees of the staff, but
letters occur alwa}s in the same regular order. The

 

 

at the beginning of a tune,

10 |o

 

G clef.

l

for writing music.
'We can now write the scale in the following manner: Clet fixes the position of the letter, but the first sound
of the scale may be written on either line or space of the
1E? __:1_ —- stafl” by the use of characters which will be given in due
f filififl '— v ‘ time, The letters on the staff stand thus :—
J,— fer—rt - 7 7 i
‘19,. I? e Mi. Fa, Sol. La, Si, Do,

1?:

   

 

With the use of the F clef the scale would stand thus
upon the staff:—

 

 

1%“

    

Re, Mi, Fa. S01. La, Si, Do.

 

4. Steps and Half-steps.—-The intervals of the
scale are seven. Some of these are greater than others. V
The greater intervals are called steps; the lesser intervals 7. Sharps, Flats, and NaturalsmThose are
are called hatf steps. Their order is, from Do to Re, :1 characters which affect the pitch oftoncs on the staff. A
step; from Re to Mi, 3. step; from Mi to Fa,a half-step, Sharp is a character which, when placed before a note

from Fa to Sol, a step; from Sol to La, a step , from La raises its pitch a halt- -s1ep; a Flat, placed before a note
lowers its pitch a half step, a Natural is used to cancel

 

 

 

 

to Si, a step; from Si to Do, a halt-step.

 

 1“...“

THE SIN til Nti-SCH(_)UL. 5

the effect of a sharp or flat. The effect of :1 sharp, a flat,
or a natural, continues to operate on all the notes on the
same degree of the staff in that measure in which it
occurs. By the aid of these characters we can introduce
intermediate tones between one and two, two and three,
four and five, tive and six, and six and seven of the scale.
No intermediate tone can he introduced between three
and four, and between seven and eight, as a half-step
is the smallest practical interval known in musical no—
tation.

Sharp.

Flat. Natural.

 

8. Diatonic Intervals.—~—In addition to the reg-
ular steps and half-steps 0f the scale, and the intermedi-
ate tones already mentioned, there are yet other intervals
occasioned by skipping. A second from 1 to 2 of the
scale; a third from 1 to 3 of the scale; a fourth from 1 to
4 of the scale, etc. A second is always the interval made
by any one given scale-tone to the next above it. A
third, from any given scale—tone to the second one above
it. A fourth, a fifth, a sixth, a seventh, are found by a sim-
ilar course of reckoning. For example 2——

Second. Third. Fourth. Fifith. Sixth.

Seventh.

 

 

 

CHAPTER III.
RHYTHM.

NOTE 2.———In practicing a Singing—School in Rhythm,
the teacher will find a blackboard almost indispens-
able. Let him illustrate time—measures, notes, rests,
etc., until each pupil can answer correctly. We do
not form questions on each chapter, as we think the
teacher should do that, because it will enable him to
vary his questions until he is satisfied that all the
pupils understand the subject.

9. N0tes.—Music is written with characters called
Notes. Notes have two shapes or forms. A figurative
form, which represents the syllables applied to them. A
rhythmical form, which represents the length of sounds.
There are live rhythmical notes in common use. They
are named Whole, I'Ialf, Quarter, Eighth, and Sixteenth note.

10. Rests—Them are rhythmical characters called
Rests. Each note has its corresponding rest, which is
named after the note whose rhythmical value it repre-
sents. Rests are marks of silence, and should be observed
as particularly as the notes themselves.

11. Diagram of Notes and Restsz~
We write the Whole note thus: ’ 0 Rest, thus: -*
We write the Half note thus:

\Ve write the Quarter note thus:

We write the Eighth note thus:

We write the Sixteenth note thus:

X
(I (t 7
=7

"\\13(_. *V "“0

 

  

fli' iii, ii iJ-i'i ii'li‘ 33‘ i‘ i? A! it- , In «it .i

6 TH E SINGING-SCHOOL.

12. Notes and lieStS.—Notes and rests have not
a positive but only a relative length. The Whole note is
the governing or ruling power in Rhythm. If we sing
the Whole note in six seconds, the Half note must be sung
in three seconds, the Quarter note in one-and-a-half sec-
onds, the Eighth note in three-quarters of a second, and
the Sixteenth note in three-eighths of a second. If we
allow four seconds to the Whole note, then the Half note
must receive but two seconds for its time, the Quarter
note, one second, etc.

13. Measures—Notes and rests, when written on
the staff in a piece of music, are divided into equal
portions, called Measures. Measures are represented to
the eye by the interspaces, separated from each other by
perpendicular lines, called Bars.

To illustrate-.—

Broad Double
Measure. Bar. Bar. Bar.

Close.

 

14.. Bal’S.—-There are four kinds of bars in use.
The Common Bar, used to divide the staff into measures
of equal time; the Broad Bar, used for marking the end
of a musical sentence or line of poetry; the Double Bar,
used to mark the end of 3. Repeat, the beginning of a
Chorus, or at the change of time; and the Close, used at
the end of a tune.

l5. PallseS.-These are rhythmical characters used
within the compass of the staff, and for the purpose of

 

protracting the length of notes. A Pause over or under
a note protracts it about one-third its original length,
though it is not an absolute character, and the time to be
given to a pause is left to the taste of the performer.
Sometimes it requires a much greater length than at
others. There should always be a momentary suspension
of the voice after the pause has been duly given to the
note.

16. Points.—The length of notes and rests is often
increased by writing Dots or Points after them. A point
adds one-half to the length of a note or rest after which
it is placed. See following illustrations of the two pre—
ceding paragraphs :—

EA’AflIPLE
Paused Notes. Pointed Notes.

Pointed Notes.
A m '

    

 

Thus the learner will see that the pointed Whole note
equals three Half notes in length; the pointed Half note
equals three Quarters in length; the pointed Qi.“'ter
equals three Eighths in length, etc.

17. Of Tinle.—Time in music is that length which
we give to each note in a piece of music, relative to the
Whole note.

 '1 HE SINGING—SCHOOL. 7

18. Of lVlmrernenh—There are three movements
of Time—Conmwn or Even Time, Triple or Uneven Ttme,
and compound Time. Common time is divided into
double and quadruple measures. These measures which
divide into two parts are called Double, and those which
divide into four parts are called Quadruple.

19. Of Variety.—The various measures of Time
used in this work will be expressed in the following
manner, via:—

 

By the use of notes, points, rests, and other rhythmical
characters, an endless combination of time—measures may
be written in the above indicated measures.

20'. Primitive IMeasures.—A measure is called
prumtwe when it contains the number and kind of notes
much the fraction expresses. For instance, in Double
Time the measure must contain two Half notes or two
Quarters; in Quadruple Time, four Half notes or four
Quarters; in Triple Time, three Half notes, three Quar-
ters, or three Eighths; and in Compound Time, six
Quarters or SIX Eighth notes.

21. Derivative Wiea-Sllfes.wMeasures which do
not contain the number and kind of notes called for by

the fraction expressing the time. are licrzmtiws. Deriv-

 

ative measures must contain the quantity expressed by
the fraction in other notes and rests.

22. Of Ties. —It is frequently necessary to sing or
warble three or more notes to one syllable of verse.
These notes are always tied together by a curved line
over or under them. These are called Grouped or Tied
notes.

23. Triplets—These are frequently met with in
pieces of music. Three notes tied together with the
figure 3 over or under them, are required to be sung in
the same time as two of the same denominational value
without the figure 3. Illustrations of ties and triplets;

Tie.

Group.

Triplets.

,\

    

—3

 

24. Repeats—A line of dots placed across the
staff indicates that the strain following is to be repeated

to the Double Bar. Da, Capo (D.C.) means to repeat
from the beginning, closing at the word Fine written
above the stafl‘.

 

  

8 THE SINGING-SCHOOL.

CHAPTER IV.

DYNAMICS OR POWER.

NOTE 3.—We have treated of tones in the preceding
chapters as being merely high and low, and long and
short. We now treat sounds as being loud and soft.
N0 teacher can drill his class too much in expression
and in accent, for they are the soul of music. With-
out these all-important requisites, singing is a dull,
lifeless performance, unworthy the name, and with
out the power of music. a

25. Accent—Accent is a particular stress of the
voice given to certain notes in a measure of music, and
to certain syllables in a line of poetry.

26. Accent in Measures of Double Time.
——The first note in a measure is invariably accented. In
primitive measures there is but one accent—the first part
is accented, the second is unaccented; though measures
may be arranged in this movement so as to take as many
accents as beats.

27. Accent of Quadruple Measures—Prim
itive measures contain four notes, expressed by the frac-
tion, and the accent is on the first and third, the second
and fourth being unaccented. These measures may also
be arranged to take as many accents as beats,

28. Accents in Triple Measures—Tim first
note in each measure is accented, the second and third

 

are unaccented, but may be so constructed as to require
three accents in each measure.

29. Accent in Compound Measures. In
primitive measures of Compound Time the accent lies on
the first and fourth notes of each measure, the second,
third, fifth, and sixth, are unaccented.

 

30. Degrees of Power.—For the purpose of
varying expression according to the character of the
music or the sentiment of the poetry, certain degrees of
power are used. Some of them, with their abbreviations,
are given in the following list, which may be applied to
single notes or to entire measures and passages :—-

MEzzo, abbreviated m, a medium degree of power.
PIANO, abbreviated pia‘ or p, soft; pp, very soft.
FORTE, abbreviated f, loud; 15”, very loud.
CRESCENDO, or <, increasing in power.
DIMINUENI)0, or >, decreasing in power.
STACCATO, or t y y y , separate and distinct.

RITARDANDO, abbreviated Bit, gradually retarding
the movement,

The sentiment of the poetry should be the main guide
to dynamic expression.

31.——As a general thing, where we have an ascending
series of tones in a piece of music, the voice should in:
crease in volume, and where a descending series occurs,
the reverse is generally a safe rule: for expression.

 THE SiNGINU-SUI-IUOL. 9

CHAPTER V.
TRANSPOSITION.

32. Key Of C.—When the scale begins with C, it
is said to be in the Natural Key or Key of C’; but the
scale may be transposed so as to commence on any of its
seven letters, in which the letter, taken as one, is called
the Key-note. Thus, if G is taken as one, it is called the
Key of G; ifD is taken as one, it is called the Key of 1), etc.

33. Key Of G.—ln transposing the scale, the
proper order of intervals, with reference to steps and
half-steps, must be preserved. In this key we have to
substitute F sharp for F in the former scale, as we must
have a step from 6 to 7 of the scale.

34:. Key Of D.—In transposing from C to D we
have to use two sharps. In order to preserve the agree-
ment of intervals between 3 and 4, and 7 and 8 of the
scale, F and C are sharped.

35. Key of A.—In writing music in this key,
three sharps have to be used for the same purpose, viz.,
that of adjusting the intervals.

36. Key Of E.——Four sharps are found to be neces—

sary in transposing the key to this letter, F, C, G and D
sharp.

37. Key of F.—The place of disagreement, when
the scale is transposed to F, is between 3 and 4 of the
scale. To correct this it is found necessary to flat B.

38. Key Of Bl7.—VVhen the scale is transposed to

B flat, there are found two places of disagreement. For

 

the tones Band E we must substitute B flat and E
flat.

39. Key of El}.——In writing music in this key, we
have to use three flats, B, E, and A flat, in order to adjust
the intervals.

40. Key Of A i7.~—In transposing the scale from B
flat to A flat we have to use four flats, B, E, A, and D flat.

41. How to Find the Key.—It will be ob-
served that the sharps and flats, which are the signature
of the key, are placed on the staff directly after the clefs,
but not written directly over one another, so that each
additional sharp or flat is written a little to the right of
the preceding one. The following will serve as a rule:
The degree above the last sharp is I of the Scale; the degree
above the last flat is 5 of the scale. The last sharp or flat
will be the one farthest towards the right.

42.—The difficulty of reading round-note music lies
in the fact that any line or space of the stafl‘ may be
taken as one, and, as there is but one shape for all the
tones of the scale in round-note notation, the syllables
have to be found by calculation. In character—notes this
serious difficulty is avoided, as each note of the scale has
a distinct shape which represents a given syllable, and
this identity of shape and syllable is preserved through-
out all the changes of transposition, rendering the read‘
ing of music in any key an easy matter.

43. We have used but four sharps and four flats in
transposing the scale, as we have used but nine keys in
this work. See the following illustrations of keys by
transposition :—

 

  

 

 

 

 

    

 

10 . THE SINGING—SCHOOL
KEY 0E C—Natural. KEY OF C—Natural.
JA“ 1 1‘
, :q—wfi; a r E
-231 U V ' -23.

 

01, D2, E3. F4, G5, A6, B7,

0
9°

01, D2, E3, F4, G5, A6, B7, 08.

Transposed to KEY OF G——0ne Sharp. Transposed to KEY OF F—One Flat.

      

G1, A2, B3. C4, D5, E6. Ffi7, G8. F1, G2, A3, 13,54, 05. D6, E7, F8.

Transposed to KEY 01; D—— Two Sharps. Transposed to KEY 01? Bb—Two Flats.

 

 

 

 

 

 

 

D8, Cfi7, B6, A5, G4, M3, E2, D1. Bb1,02, D3, Eb4, F5, G6, A7. BbS.
Transposed to KEY 0F A—Three Sharps. Transposed to KEY OF Eb“ Three Flats.
-—fi——1)———————— -——.L—~— ,E,__ --
. f : 7 z ————9——— —
fiH—4~+—+—<—6——=—F—~ ~
A w l A l L
T‘ U M U V I ‘ I
a H
Al. BZ, 0133, D4, E5, F136, G37, A8. Epl, F2, G3, Ab4, Bb5, CG, D7, EbS.
T ransposed to KEY OF E—Four Sharps. Transposcd to KEY 01“ A £1erer Flats.

     
 
       

 

M I 1 J I ,__B___
J— __1___:},,,7 I»
Ebgji:6::

El, F32. 633. A4. 85, (3116. mm, E8. , Ab1,]§h‘l, 03,1)“. ms. F6. G7 Ab;

 

 

 

  

THE sixolxo-scnoon 11

44. In the above illustrations it will be seen that
sharps raise a fifth in the transposition of the scale.
Thus, in the scale of C we count C 1, D 2, E 3, F4, G 5;
and, by writing F sharp as the signature, we find that DO
occupies the same position on the staff that Sol did in the
scale of C. In each arcceeding remove we find Do oc-
cupying the posing-«5. of Sol in the former scale. In
transposition by flats we find they remove a fourth in the
scale, Do occupying the position in each succeeding scale
that Fa did in the former. Thus Cl, D2, E3, F4;
flat B, and we count F 1, G 2, A 3, Bi? 4; flat B and E,
and we commence with B17 1, C 2, D 3, El? 4, and thus
throughout the various removes.

 

CHAPTER VI.
CLASSIFICATION OF VOICES, AND RANGE OF PARTS.

45. Of Voice. —Although the compass of the
human voice, if we include the highest female voices with
the lowest male voices, extends through three or four
octaves, yet it rarely happens that individual voices have
a compass of more than one and a half or two octaves.
Hence the necessity of parts, each of which is limited to
the compass of a single voice or class of voices.

46. The Parts—The Base is the lowest part in
music, and Should be sung by male voices which are
pitched low.

The Tenor is suited to male voices which are pitched
high.

The Alto is adapted to female voices having a low pitch,
and to boys before the change of voice.

 

The Soprano, Air or Treble, should be sung by female
voices of the highest range. Many female voices are
equally adapted to Alto and Soprano. The Soprano and
Alto are frequently written on the same staff.

RANGE OF PARTS.
TENOR—Mule.

   
   

75t-

ALTO—Female and Boys.

    
    

TREBLE—~Female.

 

 

 

 

 

 

 

a To—§*F"r

 

C5-.-“

 

fir

7-5.0

"T71

“We

 

(L- .

BAsE—Male.

47. By the above illustration it will be seen that the
Base voices should have a run from G, lower line, to E,
second space above the Base staff. The Tenor voices
have a range from C, added line below the staff, to G,
first space above the Tenor staff. The female voices have

 

  

12 THIS SINGING-SCHOOL.

the same range, commencing and ending on the same the same order for Alto and Treble. Attention to
letters; with this exception, Gin Alto is an octave higher ““5 fact “”11 enable 11”“ t0 aVOId many 0f the harsh

V . . . . . . ) grating sounds occasioned by Base voices attempting
than (I in the Base, and C 1n Treble is an octave high“ Soprano, or the weak, faint sound occasioned by high

than C in Tenor. voices attempting parts below their range.

NOTE 4.—The teacher should aim as far as practicable . , ,
to classify his scholars in this order securing low Wlth thlS ends our theoretical department. The next

voices for Base, and high voices for Tenor, observing chapters are devoted to practical exercises.

 

CHAPTER VII.
(PRACTICAL EXERCISES.

EXAMPLE I.—Sca.le Exercises.
Two beats to each measure. First note in each measure loud, the second note in each measure soft.

 
   

do do, re re, mi mi, fa fa, sol sol, la 13., Si si, do.

EXAMPLE II .flOne beat to each Quarter note.
FEMALE.

    

-fl. -
See the shin-ing dew-drops On the flowers strewed,1£oving, as they sparkle,_God is ev- er good

MALE.

In these examples the teacher should enforce time, countings, beatings, until each pupil can time correctly.

  

TH E SI NGr I NG—SCHUUL. 13

EXAMPLE II I. _ Quadruple Time.

Four beats to each measure. Down, left, right, up. First note in each measure, loud ; second, soft ;
third, loud: fourth, 30ft.

- —A+
1. Shotdt across the si-lent sea, Ship a—hoy! Ship ahoy ! Oh, What sight could gladder be, Ship ahoy! Ship 3 - boy!

2. Days and nights alone we sail, Ship a-hoy ! Ship ahoy !. Cheer her on the ris- ing gale, Ship ahoy! Ship 3. - hoy!

 

EXAMPLE IV.——Trip[e Time.

Three beats to a measure. First note in each measure, loud ,- second and third, soft.

 

 

  

14 THE SINGING-SCHOOL.

EXAMPLE V.—Compomtd Time.

Two beats to the measure.

First and fourth parts accented.

 

48. In the foregoing examples we have given two of
Double Time, one of Quadruple Time, one of Triple
Time, and one of Compound Time. These are deemed
sufficient to illustrate the movement of each kind of Time.
The subdivisions of these movements have been treated
upon in Paragraph 19, of Variety.

The marking of the Time should claim particular at-
tention, and is performed in the following manner, viz:
the measures of Double Time must have two beats or
countings of the hand, down, up—a down beat on the first
part of each measure and an up beat on the second part.
In measures of Quadruple Time we have four beats or
countings of the hand, down, left, right, up—a down beat
on the first part of each measure, left beat on the second,
right beat on the third, and an up beat on the fourth. In
the measures of Triple Time we have three countings or

 

beats of the hand, down, left, up—a down beat on the first
part of the measure, a left beat on the second, and an up
beat on the third part. In measures of Compound Time
we have two beats or countings of the hand, down, up—
a down beat on the first part of the measure, and an up beat
on the fourth part.

The accent of these measures has been treated upon
under Chapter IV.

We have adopted the name Compound Time instead
of Sextuple Time as it is generally called, from the
simple fact that it is 21 Compound measure. Two prim—
itive measures of Triple Time added will make a prim-
itive measure of Compound Time. Few authors instruct
the giving of six beats to the measure in this movement,
as it has been found almost impracticable, and, whenever
attempted, leads to dull and lifeless performance.

 WW, "I‘M a, , " t'. — k- ' ' “'99: , ~.
.1. “gimme v m.- ‘ I “"4; » L. . ‘

THE NEW STARRY CROWN.

THE STARRY CROWN.
”I.

A. S. KIEFFER.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

l CHORUS. 1 J J
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1 I How sweet will be the welcome home When this short life is o’er,

} When we shall wear the
I When. we shall wear the

When pain and sor-row, care and grief, Shall dwell with us no more.
When we that brightand heav’nly land, \Vith spir - it eyes shall see,
And join the ho - ly an - gel band, In

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praise, dear Lord, of thee.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

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Starry Crown, In yon bright home on high,

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3 0 may we live while here below,
In view of that blest day,
When God’s bright angels shall come down,
To bear our souls away l—Ohorus.

The Starry Crown, the Starry Crown, In yon bright home on high.

W

Starry Crown, In yon bright home on high, home on high, The Starry Crown, the Starry Crow
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n, In yon bright home on high.

  

4 When we shall walk the golden streets,
In garments white and pure;
And sing an endless song to Him
V Yho made our souls secure—Chmw.

 

  

 

16 HOME TO MY M0 THER IN HEAVEN. m5: efé‘éfizfiw

   

        
    

 

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1 O fa -ther, come kiss me once more, And watch by my bed just to-night ; Your Nettie will walk thro’ the
2 O fa- ther, what news shall I take, To Jesus and mother, for you? I’ll tell him to send holy

        
    
  
  

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Val-Icy of Death, Ere dawn of the sweet
an-gels of light To bless and to comfort you,

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light. 0 father, I’m g0 - ing to mother, so dear,
too.

  

 
      
  

   
     
       

 
 

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I dream’ that I saw her last ni ht: And 0 - ver the riv - er, sweet voic-es
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V, f" home, home to my mother in heaven.

- ., And when I am gone to my mother in heaven,
- O father, please give up your drink—Chorus
: 5 O father, dear father, once more,

Please read in my Bible, and think:

I, 4 0 father, dea. “ No drunknrd shall enter the kingdom of heaven,”

' Of Jesus I pray J O God, keep my father from drink l—Chorus.
1 From “TEMPLE CHOIR.” bUJ..- z- _S- M- J. H TENNEY.

  

1. Go to thy rest, my child: Go to thy dreamless bed, While yet so gentle, undefiled, With blessings on thy head.
2. Shall love with weak embrace, Thy upward wing detain? N o : gentle angel, seek thy place A - mid the cher-ub train.

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HOME TO MY MOTHER IN HEAVEN. Concluded. 17

     
       

    

call me to mansions of
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Home,

     

home, home to my mother in heaven,
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‘3 Our home here is lonely and dark, I And when I am gone to my mother in heaven,
And 0ft we are hungry and cold ; _ I O father, please give up your drink—Chorus

But I shall go home to my mother to-night,

\Vhere pleasures are purer than gold.——-Ohorus. 5 O father, dear father, once more,

Please read in my Bible, and think:
4 O father, dear father, once more, V “No drunkard shall enter the kingdom of heaven,”
Of Jesus I pray you to think ; O God, keep my father from drink l—Chorus.

From “TEMPLE CHOIR." BURBER- _S- M- l J. H TENNEY.

 

          

 

          

   

 

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1. Go to thy rest, my child: Go to thy dreamless bed, While yet so gentle, undefiled, With blessings on thy head.
2. Shall love with weak embrace, Thy upward wing detain? N o , gentle angel, seek thy place A - mid the clier-ub train.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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A S KKEFFER.

   
  

  

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1. When thestorm in its fu - ry on Gal - 1i - lee fell, And lift - ed its wa - ters on high,
2. The storm could not bu - ry that word in the wave/Twas taught thro’ the tem-pest to flv

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And the faith-less dis - ci - ples were boundinthefipell, e - susw ispered,“Fear not, it is
It shallreach his dis - ci - plea in ev - er — yclime, Say-ing,“Be not a - fruid, it is

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Fear not, trembling one,
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“IT IS I!” Concluded. 19
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In the midst of the storm in the midst of the loom “ ear not tremblino one. it is I.”
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\Vhen the spirit is broken with sorrow and care, ' \Vhen death is at hand, and this cottage of clay,
And comfort is ready to die, Is left with a tremulous sigh,
Then the darkness shall pass, and the sunshine appear, The gracious Redeemer will light all the way,
By the life—giving word, “ It is I.” Saying, “ Be not afraid, it is I.”

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When the rim-r is past, and the glories unknown
inrst forth on the wondering eye—

He will welrome, encourage, and comfort his own, 2
Saying, “ 3e not afraid, it is I.” ‘

CLEMENT.

1. Is this the kind return ? And these the thanks we owe ‘? Thus to a—buse e-ter-nal love. Whence all our blessings flow 2
2. To what; a stubborn frame Hus sin reduced our minds! What strange rebellious creatures we ! And God as strangely kind.

 

 

  

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20 REV. R. TURNBULL. THE NEW BY’A ND" B Y- A s. KIEFFER.

     

            

    

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I 1. There is :1 place of sa - cred rest, Far, far be-yond _the skies, Where beau . tv smilm e-
‘ Z My F:1.-tllel"slnmse, my heavenly home, Where man—my nlmmons stzmd, I’l‘o . pzll'ml by lmmlsdl
3. In llmt pure home of tear- less joy, Earth‘s severed fnemls shallmeet, “1th ' sm1les of love that,

 

 

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vine for all Who love the bet-ter land.
- or fade, And bless - ed. - ness com-plate.

         

 
      

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1 ter - nal - ly, Where pleas - ure nev - er (lies. and - by, by - and - by, We sh