xt7xwd3q074b https://exploreuk.uky.edu/dips/xt7xwd3q074b/data/mets.xml Showalter, A. J. (Anthony Johnson), 1858-1924, compiler Tenney, J. H. (John Harrison), 1840-1918, compiler 1886 176 pages, 15 x 18 cm. Call Number: M2198 .W6695 1886 scores (documents for music) M2198 .W6695 1886 English Central Conservatory of Music Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Hymns, English Revival hymns Work and Worship: Large and Varied Collection of Hymns and Tunes for Sunday-schools, Prayer Meetings, Praise Meetings, and All Special Occasions of Christian Work and Worship, ©1886 text Work and Worship: Large and Varied Collection of Hymns and Tunes for Sunday-schools, Prayer Meetings, Praise Meetings, and All Special Occasions of Christian Work and Worship, ©1886 1886 1886 2024 true xt7xwd3q074b section xt7xwd3q074b  

 

     
      

  

(a .... 3
m SUBLISHED BY

- V AJSHOWALTERB: 90M mix at ,‘
THETWNSON PUPHSHWG Co ‘4 TH- NSERVAWRYO‘SIC ,

wmm Pa. Columbus rad T» ‘ in 1

l ' v . V “V

_“, 1.; «M' Ij .
. , ' I ~ . ‘ ‘ '- I ,

I? 4 ' .

J ... - .4,,§.x.~,._..,.. Wrfi’fia-Nnju —¢-:~~,. .. sh: , _ . - ... ; DANNJL .'

  

 

 

 

 

 

 

 

 

 1%:W1'1

,,_ THE MUSIC TEACI'IER
. A SIXTEEN—PAGE MUSICAL MONTHLY.

A. J. SHOWALTER, EDITOR.

Brice per year, payable in advance, single subscriptions, 30 cents; four subscribers $51.00. One dozen
~.:0pies will be sent £0111: 111 year, all to the sz's1 ne address, for $2. 50.

Not-withstanding‘ tie fact of this unusually low price, T1111 Music TF 10111111 is a first- class music 11 journal
for the people. Its editor is the acknowledged leader among the Normal teachers Convention conductors,
and popular composer; 1) " the South. He will be ably assisted by such writers as Profs. A. N. Johnson,
Edward Roberts, Henry Sc ellcr and others, each one of whom is a leader in his special line.

The news department will le as full as possible, giving: special prominence to the work of singing school
teachers, who lay the foundation for all future musical great11ess.'l‘1111 Mi'sIC ’l‘111 11111111: aims to help them
to do this work well, and the fact that it numbers among 'its subscribers hundreds of the best of these teach—
ers is evidence that it is succeedingr in this direction.

The music department will consist of Anthems, Hymn—tunes, Sunday School'and-Gospel Songs. Glees.
Part—songs, etc., etc. in this respect, as in all others, T1111 Mnslc ’1‘111101111111 will be pre-eminently the people’s
musical journal. In nothing is it more so than in the price, and notwithstanding the fact that this is so ex
tremely low we make the f ollowing‘

EXTRAORDINARY OFFER:

With every two dollars worth of our own publications that may be bought directly of 11s, we will give one
year’s subscription to THE MUsic TEACHER. This is the most liberal ofi'er ever made by any publishers, but 1":1
make it in the hope of giving the greatest possible number of people the advantages derived from reading a
wood musical journal. L11 t every teacher in the country take advantaWe of this extraordinar1' offer, and also
of 0111 ext1e1nelv libei :11 club rates, and send us a good lone,r list of subscribers from ev e 1y town and countryfg:
community in which het t11a1. hes.

B1 ginning with the March number, 1800, we will publish in each issue a short bioWr 1phi1al sketch of the»

teacher, or other agent. who shall have sent the e‘reitest number of subscr-‘sib11 1 fo1 the month prec11ling/1he
last. so that each y1:‘11 we will publish the bio<111nh1111s of twel1 e of the best workeis in the 1ount1y. A’ the
end of each y 11‘ 111111ill make a pres1nt of a .lhson 1f 111111111721 Four 01ml: 1: ()11/(111,i11 tea1her’s traveling cease,
to the one who has sent in the g1 eatest numb 1r of subscribers (11111111 the entire year

To the one sending in the second largest list for the entire y 1,1111 we will 1 ive $10 00 worth (at retail plfice)
Of our own publications.

Address : }

A. J. SHOWALTER & CO.. ”7 ‘1-
DALTON.GA.

1+ m1 alert-hm 5'6 Ch

 

 

”H

 

  

2'

"Wm

' ~55 «swan-w

   
   
 
 
 
 
    
  
 
 

S

a

In, I“
u ’ '
“ “|!‘.';“

‘HE

PEOPL? AN THEMS.

A." J. SHOWALTER.fi=-‘_-EDWARD ROBERTS.

 

 

La

 

 

. _

and bound in handsome style.
es not pro-paid, $6.00 per

‘Brititeéyifiitwo editions, round and shape ,
’ 3531.931, by mail post-paid, 60 cents percopy, $6.7m1' dozen

  

,, eteen the tefifbest of paper,
"‘ ("By exprefig, Charg

   

dozey§g;»2§3’eopies for $12.00. _
ngrtm 3333:1132: 11112; 1211.8 lagge P335931 iii-led 0 . , o coverflwith thegimost smtable anthems for the peo-
. needéffio such/rearfa .‘ .0 ere “1?? ,z‘It‘ 1? e—zvangemeizt of the miiS‘ic of the masters, for their music
' " 1 . ' ngement, n01 ‘5 1‘5 W‘flfitflnlfmfifl' of r’exhibitigg the scholarship of the editors, but
' ‘ 119.14 for the edification of

every piece is just such an anthem or other Seleetion' gaff ryim'zem'gg choir that Si
‘ N ‘ "fate and will enjoy. While this is

 

   

 

 

   

  

. figmple $17111 Seiightf‘to sing, and that averageicoxig, tions can afip
' ‘ "r“ as een no pandering to the taste formexshovvy music",fib enarlthe other hand the editors; have
' ' ’jS'ea. have real character, taking special

ex" fised the greatest care in preparing and 891; ti fl . , V
P313530 “:83ka they as eagy tohsihg :md may as fiefiiflui’figafil‘ifgmmg ‘
the mogguls‘gffilaézp be? 8313691 ally citreful i,“ thi‘h‘ 861051011 Of Scriptfii‘etexts and other words, so as to niake
Ali kinds‘ of: Inle‘EfiQS-eibie- _W€{fih1_111{ they haw sueceeded’ M 113.11 Ewelhin this impoijtaiit direction.
have eachsfin e u ‘ is V3 1355311 Pz'ovideo fink—heme, Solos, Due "Gaugimrtets anti heawer Choruses
think W13???“ ‘1 6: 1&2!)va e3:»ecxa11y good Gosei‘Songs "for ehemgse heme, been inserted, which we
- , ; se ,, ‘9'? 111301. LS8 of music who vish something“ betterthan'the average gospel hymns
'BWE; ’ Eafigfi?“%flk§§ffim ané‘e’éher festiveeacasmns are 111'“: I

3““ 95 «"33“ 0% cnmweltm‘ ‘ ‘ ' ‘ . e? the mist: ’

       
 
   
  
  

 

 

  
 

 

  
 
 

wirided for.

many of the best of church
'dso ofi‘eI it to the public
(1 congregations as. no

  

 

   
 
   

 

      
 
  

    
 
 
 
 
 
 

 

other Anthem’
‘0 cents. Besure and

teen-omit in; ~ , i - . ‘ « ,
state Whiclkno ' 1 my Chow 1“

‘A. J. :SHOWALTER &*Co;;a
DALTON. GA.

    
  

 
 

 “ WRSHI *

A LARGE AND VARIED COLLECTION OF

HYM/VS AND TUNES

FOR 5-1 by "

1

fig ’
’1

Sunday-Schools, Prayer Meetings, Praise Meetings,
and all Special Occasions of Christian

Work and Worship.

BY
A. J. SHOWALTER AND J. H. TENNEY.
PUBLISHED BY

A. J. SHOWALTER & 00.,
DALTON, GA.

‘o—A, M» .

P THE JOHNSON PUBLISHING COMPANY, THE CENTRAL CONSERVATORY OF MUSIC,

MILTON, PA. COLUMBUS, IND.

 

Copyright, 1888. by A. J. Snowumn a Go.

 

 v" " . 124' it w?» "

Ir

 

Copyright, 1886, by A. J. SHOWALTER & 00.

#4:

’ PREFACE.

IN the preparation of the following pages we have tried to collect the greatest number of the
most useful hymns and tunes to be found in any book of like size. How well we have succeeded
a generous publiomust decide. If this book shall serve to advance the cause of our blessed
Master, and be as useful in every department of christian Work and Worship as we have tried
to make it, we shall feel grateful to Him “who worketh in us both to will and to do of his good /
pleasure,” and also to those whose excellent compositions enrich these pages.

THE AUTHORS.

 

  

5.5.5.5.:

 

RUDIMENTS OF MUSIC. ’

 

LESSON I.

l. W’hat is the name of anything audible?
Sound.

2. What is the name of a musical sound?
Tone.

3. How many essential properties has a tone?
Four. '
4. W' hat are they?

Pitch, Length, Power, and Quality.

5. What does Pitch mean?

Low'ness or highness of a tone.

6. Dq‘ine Length.

The duration of a tone.

7. Define Power.

The audibility of a tone.

8. Define Quality.

The kind or character of a tone.

9. The Rudiments of music are divided into

how many departments?

Three.
10. What are they ?
Melodies, Rhythmics, and Dynamics.

 

11. Of what does Melodies treat?
The Pitch of tones.

12. Of what does Rhythmic-s treat!
The Length of tones.

13. Of what does Dynamics treat!
The Power or Quality of tones.

LESSON II.

14. How many tones in the Musical Alphabet!

Eight.

15. What is the name given to this series 91
tones .9

The Scale.

16. IV hat names are given to these tones in

Do, Re, Mi, Fa, Sol, La, Ti, D0. [singingf

17. What names are used as pitch names?

0, D, E, F, G, A, B, C.

18. IV hat represents the pitches ?

Lines and spaces.

19. What is each line and each space named!

A degree.

20. Taken together, they form what!

The Staff.

 “new!" . .

21. How many degrees has the Staff
Eleven.

22. How may the Staf be enlarged?
By adding short lines, above and below.

THE STAFF.

Added lines. — ——
Sixth space.
Filth line.
Fifth space.
Fourth line.
Fourth space.
Third line.
Third space.
Second line.
Second space.
First line.
First space.

 

 

 

 

 

Added lines. —. —— —-

.. Or, if the teacher prefers the old, but incor—
rect naming of the degrees, they are as follows:

Space above.
Fifth line.
Fourth space.
Fourth line.
Third space.
Third line.
Second space.
Second line.
First space.
First line.
Space below.

 

 

 

 

 

23. that characters determine the pitch of

' tanesias represented by the stafi"?

Clefis.
24. How many Olefs are there in general use?
Three ; the G clef. the F clef, and the C clef.

 

 

G CLEF. F CLEF. O CLEF.

(\0

 

 

   

 

 

 

25. What does the G clef indicate?

That the pitches are so arranged as to fix G
on the second line, with middle C on the added
line below, thus

 

n

U n .E
l B C”
Tm K

W _C_D_E F G

26. I'Vhat does the F clef indicate .9

That the pitches are so arranged as to fix F
on the fourth line, With middle 0 on the added
line above, thus:

 

 

 

 

 

 

B ’0‘

 

 

 

 

 

 

 

 

27. that does the C' clef indicate?

That the pitches are so arranged as to fix mid
dle C on the fourth space, and are read the same
as the G clef, thus:

 

 

 Q

5d

81%

me

LESSON iii. 1'

28. What represents the relative Length of
tones?

Characters called Notes.

29. How many kinds of notes in general use,
and what are their names?

Six. The whole note, the half note, the quar-
ter note, the eighth note, the sixteenth note, and
the thirtynsecond note.

NOTES.
Whole Half Quarter 8th. 16th. 32d.

note. note note. note. note. note.
a ! . P P

f I 5 5 g
30. W' hat characters are used to indicate
Rests. [silencet’

31. .How many rests in general use .9
Six.

 

32. As to duration, rests correspond to what?
To notes of the same denomination.

RESTs.

Whole Half Quarter 8th. ,16th. 32d.
rest. rest. rest. test. rest. rest.

 

"xfiafi

5
LESSON IV.

33. What are pulsations of the mind, produced
by music, called 3
Beats.

34. that is a strong beat called .?
Accented beat.

35. IV hat is a weak beat called 9
Unaccented beat.

36. What is a measure?
A measure is a group of two or more beats.

37. that represents a measure ?
The space between two perpendicular lines.

38. that are the perpendicular lines called .9 ‘
Bars.

39. that does a broad bar usually denote?
The end of a musical phrase, or the end of a
line of words.

40. that does the double bar usually denote?
The end of a composition.

Broad Double

Measure. Bar. Measure. Bar. Measure. Bar.

 

41. IV hat is the name of a measure having
two beats .99

Double measure.

 

 :21 :31. "

. “35W“ .

42. Which beat in double measure is the ac-
cented one?
The first.

43. What means are sometimes used to aid in
developing a sense of the rhythmic flow of the
beats, so that we may learn to sing or play in time?

Counting Time and Beating Time.

44. What is Counting Time?

Indiwting each beat of a measure by counting.

45. What is Beating .Time?
Indicating each beat of a measure by a mo-
tion of the hand.

46. How do we count the Time in Double
measure it
One, two.

47. Describe the beats of the hand for Double
measure.
Down, up.

48. What is the sign for Double measure!
The figure 2.

49. What does the lower figure denote?
The kind of note that is to be sung or played

to one beat.
LESSON V.

50. What is the name of a measure having
three beats.

Triple Measure.

 

l 01. Which beat is accented I

The first.

52. How is Triple measure counted 7
One, two, three.

53. Describe the beats of the hand.
Down, left up; or down, right up. ’

54. What is the sign for Wple measure)
The figure 3.

55. What is the name of a measure having
four beats?

Quadruple Measure.

I

56. How are theaccents in Quadruple measure!
The first beat is the primary accented one and
the third beat is the secondary accented one.

57. How is the time counted in Quadruple
measure.
One, two, three, four.

58. Describe the beats of the hand for Quad-
ruple measure.

Down, left, right, up.
59. What is the measure sign for Quadruple

measure .9

The figure 4.
Double measure. Triple measure. Quadruple measum

   

 

 

 

  

9?
nd

 

LESSON VI.

60. What does the figure 3 placed over or un-
der three notes mean?

That they are to be performed in the time of
two of the same denomination.

61. IV hat is such a group of tones called?

A Triplet. .

62. that is 0; Compound Double measure?

A measure having two beats to which triplets
are sung or played.

63. that is the sign for Compound Double
measure ?

The figure 6.

64. that does the lower figure indicate?

The kind of notes that go to make up the triplet.

65. A measure having three beats to which
triplets are sung or played is called what?

Compound Triple measure.

66. What is the sign for Compound Triple
measure ?

The figure 9.

67. What is the name of a measure having
four beats to which triplets are sung or played .9

Compound Quadruple measure.

68. What is the measure sign for Compound
Quadruple measure.

69. How are the accents of these Compound
measures.
The same as the simple measures.

70; How do we count and beat the time!
The same as the simple measures.

71. When must the figure 3 be used to indi-
cate a triplet.

Only when it is used in a simple measure.

COMPOUND DOUBLE MEASURE.
— W —- ~—

 

I3.d—o‘_a_a.i_fi.Fi——o'—d—_o— .-

 

n
J
COMPOUND TRIPLE MEASURE.

n u '
(ea—3.5_o'—a_m_o'_o‘~a— 44.--”;
J

COMPOUND QUADRUPLE MEASURE.

WWW—4%
@+o3‘44¢m‘ We“ all.” 14 ~-
.1

 

LESSON VII.
72. What is the rule for applying words to

music .9

Apply one syllable of the words to each note.-

73. What is (1 Tie?

A curved line connecting two or more notes
upon the same degree of the staff.

74.. What is a Slur .4'

A curved line connecting two or more note-
upon different degrees of the staff.

 

  

75. What is the rule for applying the words
when the tie or slur occurs. ‘9

Apply one syllable of the words to as many
notes as are so connected.

76 that is a Pause or Hold. 9

A character placed over or under a note,
which indicates that the tone is to be prolonged
at the option of the leader

77. How does a Dot afect a note 07 rest?

It adds to it one half its length. Thus, a dot
after a half note would make it equal to three

quarter notes.
Dot. Tie. Slur. H0111.

1'1..- 1--.? ;1~:I~1..1. 1

fi-Mag- -ni-fy and praise His name! A- MEN,

78. W' hat is a Repeat. 9
Dots placed at the left of' a broad bar, which

indicates that the preceding passage is to be re—
peated.

79. When only a part of the passage is to be
repeated how is it indicated?

By dots placed to the right of the broad bar.

asset _

80. What is meant by theenclosed 1 st. Time. I

..v—n~__‘____~

i2d. Time? l

 

l—A- MEN.

 

 

 

1

It has reference to first and second ending,
and in the repeat omit 1st. time and pass to 2d.
time thus:

 

 

“4— 1: 1
1!;- ——+ 161— ——-&~s——: —
§H,j: :J:€£g;—_;_:~E:[§;C_ :p:EH

Come, come, come, smgawy ful lay;
Come, come, come (Omit... .)’Tis our fes-tal day.

81. that does Da Capo or D.C'. mean?
Return to the beginning.

82. that does Dal Segno or D. 8. mean 3
Return to the sign. fig

83. that does Fine mean?

The place to end after a D. C. or D. S.

84 What is Syncopation. ’9

Commencing a tone on the unaccented beat
and continuing it into the following accented
beat, thereby temporarily changing the usual
accent.

85. What is a Brace?

A character used to connect tWo or more staves
which form a score, and which are to be per-L
formed simultaneously.

86. How many parts in ordinary music and
what are they 5?

Four. Bass, Tenor, Alto and Soprano.

87. Describe Bass ”voices. ’?
Male voices of low pitch and heavy quality.

88. Describe Tenor voices. Q

 

Male voices of high pitch and light quality.

 it

al

1a.,

89. Describe Alto voices .9

Female voices of low pitch and heavy quality.

90. Describe Soprano voices ? _

Female voices of high pitch and light quality.
SOPRANO.

 

 

 

 

 

, a J J i J J l J
l T l '4 ‘. E 1' ' l—Ii-——+‘——
'E—rflAe—ge—aeflmAp—I—g -__.__fim
V'L" .'___V____J_I__- "__._

\ ALTO. '

 

LESSON VIII.

91. How many powers are there, and what are
their names .9

Five. Pianissimo, Piano, Mezzo, Forte, and
Fortissimo.

92. IVhat does Pianissimo mean?

A very soft power.

93. What does Piano mean?

A soft power. /

94. What does Mezzo mean?

A medium power.

95. IV hat does Forte mean?

A loud power.

96. that does Fortissz'mo mean?

A very loud power.

97. How are the powers represented?

By the initial letters, except in the cases of
Pianissimo and F ortissimo, in which cases the
initial letters are doubled.

'A PP . r , , v- r :‘f
l u 2 g l l I g I j I'“—‘..____
I@¥::fi:l:i:-:Fz:¢iz—. ~22EEB
J . r , .
98. IVhat does Crescendo mean?
A gradually increasing power.

 

 

99. How is it represented fv’

By cres., or by two diverging lines, thus: —-<
100: IV hat does Diminuendo mean .7

A gradually diminishing power.

101. How is the Diminuendo represented :9
By dim, or by two converging lines, thus : >-
102. What does Swell mean f?

A union of the crescendo and diminuendo.

103. that does Sfortzando mean?
A very suddenly diminishing power.

104. IVhat does Legato mean ?
That the passage should be played or sung in
a very smooth and closely connected manner.

105. IV hat does Staccato mean .9
That the passage should be played or sung in
a short, detatched, disconnected manner.

106. I'Vhat does Semi-Staccato mean .9
The medium between Legato and staccato.
SiElGCflill.
v ' '

Semi-Staccato. LBHRIO.
J I n O O I M

Hi" n l l I ._Q+_+_.‘_
‘* —i——-l ' ‘ 24—9-—9~-A—-{——4 —+I~Z~fl

 

 

 

 

 

 ”‘QW‘ ' . -

 

LESSON IX.

107. What is an Interval .9

The difference of pitch between two tones

108. How many kinds of Intervals in the
Scale, and what are their names ?

Two; the larger called steps, and the smaller
called half steps.

109. Between which tones of the Scale do we
find IIalf-steps .9

Mi and Fa,Ti and Do.

110. Between which pitches do the Half—steps

occur .9

Between E and F, and B and C.
“ 111. Between all other tones of the Scale there

are what kinds of Intervals ?

Steps.

112. Between what tones of the scale may we
have intermediate tones ?

All those which form the interval of a step.

113. What are the intermediate tones called .9

Chromatic tones.

114. IV hat are the principal tones called?

Diatonic tones.

115. What then is the name of the scale com-
posed of the Diatonic tones ?

Diatonic scale.

116. that is .a Chromatic Scale?

A scale in which all the tones, diatomic and
chromatic. occur in successive order.

 

 

 

117. What are the syllable names of the wro-
matic tones ascending!

Di, Ri, Fi, Si, Li.

118. What descending?
Te,lLe, Se, Me, Ba.
1 1 9. How are the Chromatic tones represented!

By the same degrees that represent the diaton-
ic tones, modified by Sharps (l3): Flats (12), Nat-
ural (h), Double sharps (x), and Double Flats (biz).

120. What are such characters called when
used at any other place than in the signature
place? '

Aocidentals.

121. What is the rule for the continuance of
Accidentals .9

Accidentals continue their significence thro’-
out the measure in which they occur, and effect
only the staff upon which they are written and
ought to effect but one part of the music.

CHROMATIC SCALE ASCENDING.

 

 

 

9—1‘ H
I§::TfiT—fi:_flmgg_ __-__

Do, Di, Re, Ri, Mi, Fa, Fi, Sol, s1, La, Li, Ti, Do.
o, 01;, D, Dfi, E, F Ft, 3., of}, A. Afi, B, o.

 

  

i 9
on-
'at-

2h)-

hen
ure

eof

.ro -
{feet
and

CHROMATIC SCALE Dnsonnnme.

. 3:4. .
[@J9'ng-y .

 

 

 

¢V¢ WW 1&-
Do, Ti, Te, La, Le, 801,8e, Fa, Mi, me,Re,Ra,Do.
c, B, 13h, A, All, G, on, F, E,E£z, mph, 0.

LESSON X.
122. What does movement mean?
The rate of speed at which a piece sounds best.
123. What does Moderate mean 1?

A movement that is neither fast nor slow—-
a medium movement.

124. What is the name of a slow movement .9
Andante.

125. that is a fast. movement called .9
Allegro.

126. A movement between M'oderato and An-
dante is what .9

Andantino.

127. that is a movement between JlIoderato
and Allegro calkd .9

Allegretto.

128. ll’hat is a very fast movement called ?
Presto.

11

129. What is a very slow movement called?
Adagio. .. '
130. What does Tempo mean 9
Time, or movement.
131. What does Accelerando man!
Gradually increasing the tempo.
132. What does 'Rz'tardando mean!
Gradually slackening the tempo.
133. W hat does Ralentanolo mean f .
Slower and softer by degrees.
134. What does Solo Obligato mean!
A. solo that is necessary, indispensable.
135. The Quality of tones is divided into how
many general classes, and what are they?
Two. Clear tones and somber tones.
136. What are some of the various emotion:
expressed by nwdefication of the clear tone 1’
Tranquility, Checrfulness, Gayety, Joy, Ex-
ultation, Boldness and Courage.
187. that are some of the various emotions
expressed by modification of the somber tone?

Plaintiveness, Sadness, Grief, Fear, Awe,

 

Reverance, Solemnity and Devotion.

 

 «at v my» ‘

 

LESSON XL

138. What is a Ifey?

A. family of tones bearing a certain fixed re-
lationship to each other, which makes them
sound natural to the ear.

139. that is the first, or principal tone of a
key called .9

Key—tone.

140. From what tone of the hey is a key named .9
From the one that is taken as key tone.

141. What is the sign of a key called?
Signature.

142. What is the signature of the key of 0?
All the degrees natural.

143. What is the signature of the key of G ?
One sharp. F#.

144. What is the signature of the key of F .9
One flat. Bil.

145. What is the signature of the key of D?
Two sharps. F1; and Cg.

146. What is the signature of the key of Biz?
Two flats. Biz and Eb.

147. that is the signature of the hey ofA ?
Three sharps. 171$, Cg, and Gil.

148. What is the signature of the key of E12 ?
Three flats. Biz, Eh, and Ab.

149. What is the signature of the key of E .9
Four sharps. Fg,‘ Cfi, Gfi, and D13.

 

 

 

150. What is the signature of the key Qf All?
Four flats. Biz, Eh, Ab, and Db.

151. What is the signature of the key of B ?
Five sharps. Fit, 0;, G#, D#, and Ail.

152. What is the signature of the key of Db '
Five flats. Biz, E12, Aiz, Db, and Gh.

153. What is the signature of the key of F#?
Six sharps. Ffi, 01;, Gig, Dfi, Ag, and E#.
154. What is the signature of the key of Gk?
Six flats. 13h, Eh, All, Db, Gig, and Ch.

LESSON X”.

155. Changing the key of the scale, or of any
other exercise or tune, is called what?
Transposition.

156. Changing the key during the course of a
composition is called what?
Modulation.

157.1 A very short Modulation is sometimes
called what?
Transition.

158. So far what tone of the scale has been
taken as key tone ?

Do.

159. that is the name of this key I
Major key.

 

 160. What other key is sometimes used ?
Minor key.

161. What is key tone of the Minor key?
7 La.

162. What tone of the Major key must be omit-
ted for the Minor key?
Sol.

163. What is taken instead of that tone?

Si.

164. What is the order of the intervals in the
.Minor key. 9

Step, half— -step, step, step, half-step, step and
a. half, half-step.

1 65, TV hat 18 this form of the Minor key called?

The Harmonic minor key.

166. IV hat other forms are sometimes used?
The natural minor and the melodic minor.

167. What tones form the natural Minor key?
In, Ti, Do, Re, Mi, Fa, Sol.

 

 

13
168. What tones form the melodic Minor key?
La, Ti, D0, Re, Mi, Fi, Si.
169. What is peculiar to this form!
It is never used descending.

170.1Vhy is the minor key said to be related
to the JVIajor key. ‘9

Because it has so many tones in common with
it.

171. What signatures have the Minor keys?

The same as their relative major keys.

HARMONIC MINOR SCALE.

 

 

 

Li I-Iv
Ir; . .__5‘.__.. 2—:—
{(87 4. 1. G 0 R H
I :1 V n

 

 

MELODIC MINOR SCALE.

4 u Ll
:mm : _ o ss—W———
IV 4; A V H

I D V I

 

 

 

"sea-31!.

 

 34 The Seats; ‘wnh Laaence, in all the Major keys, and two of the Minob Keys.
KEY C. KEY G.

—_.——-
HH—————-———‘I

Do Re Mi Fa. Sol La Ti LE).

    
     
   

  
 
   

._.,_.. ‘,._..

 

   

Du?)— Re Mi Fa Sol La. Ti Do.
1‘2:-

 
 

Do Re Mi FaSol LaTiDo.
43A

Do Re Mi Fa Sol LaTi Do. . Do Re Mi Fa Sol LaTi Do.

JEAWi

 

I
Copyright, 1887, by A. J. Snowuxrnn 8: Co.

 

E
.2

 

 

 

  

 

i Do.

F

.__—-——

.._———-
i

——

    
    

KEY B

73 5
Do Re Mi Fa. Sol LaTi Do.

 

KEY Ffi. ' KEY F.

Do Re Mi Fa Sol LaTi Do. Do Re Mi Fa Sol La Ti Do.

KEY Bb.

T, ”9‘
Do Re Mi Fa Sol La‘ Tl Do.

« Copyright, 1m-by A. J. Snowman & co.

 

 «flint

 

KEY Eb. KEY Ab.

      
 

Do Re Mi Fa. Sol LaTi Do. Do Re Mi Fa. Sol LaTi Do.
5-9—13:

KEY Db.

   

Do Re Mi Fa Sol LaTi Do.
9A

KEY A MINOR.

  
 
  

 

€717.13-
La. Ti Do Re Mi Fa Si La.

 
  

Do Re Mi Fa Sol LaTi Do.

‘obydszhL 1887. by A. J. snown'rnn & On.

 

O
I

 

  

UJJESLEJJ

17

51w E MINOR.

 
     
     

La Ti Do Re Mi Fa Si La.
'5—
"Er —

GRADED EXERCISES.

N0. 1. N0 .20

_“.r .23.:
ul voices sweetly sing. Onward to the si-lent riv-er,
No. 3.

-A}-N- -A'r—t‘-
Pleasant is the hourof singing,

   

Lie} us with a joy-fu1m1nd,PraisetheLord Hols kind;

N0. 4.

~ ‘- ~k
Bay and night we wendour way.

v

 
 

For his mer-cy eu- dure, EV - er faith-ml ev - er sure. for good you've taken

 

111,

 
   

— 73*
0h. be kind and gen-{fa still; us not re . sent.but wait, And our triumph will be great.
,. ' Copyright, $87, by A. J. Snowman; & Co.

 

 No. 5

 

_ mg

Now be - gin, be- gin with care, Tho’ts right here and not else-where; Let no one his neighbor View.

No. 6.

 

 

Till we’ve sung this 168- son through. Ros - es bloom and then they wither,Cheex(s are bright,then fade and die ; ‘——
N0. 7. '

 

. 19:- 1M—
Hopesof lightare waited hith-er, Thenlike visions hur-ry by. Mar-tial let our bear-lug be.

 

 

 

 

72%
Form 0 - rect and voi- ces free; Stoop-lug is a foe to song, See to this let none be wrong.

No. 8. N0. 9.

     

Do Re Mi Fa. Sol La Tl Do. T1 La. Sol Fa MiRe Do. Gai—ly go-ing, stoutly rowing,

 

 

Bwflt-ly glides our boat a. - long; High en - deav - or, this shall ev - er Be the bur-den of our song.
Copyright, 1887, by A. J. SHOWALTER & Co.

   

  
 
 

ldle;

 

lOIlg.

 
 

g-w , m,“ 5.-..va A...“ egm. U -~-. why-v s-r-=-~.~.!w ”‘0 V , «M1; , y. - ‘V. a.“ a

my! ,4 V

No. l. .WORK FOR THE MASTER.

In. I. 0. ILLSWORTH. “Go work many In my vmeyard.”—~Mm'r. 21: 28. N 1.1. MOWAM'EI.

 
   

 
 

. war—r—

U“?
v

new» er too late to be sow-lng the seed, While n anJ the sun-shineshall last,

.lev - er too late to be gath- er - lug grain,While calls for the reap-ere we hear,
nev -er too late to be work—ing for God, While souls are 111 per ~11 by sin.

-|r

  
             
            

 

{fl . FINE.

       

 

 
    
   
      
    

For somewhere or oth- er is al-ways a field Where seed can with rot -it be cast.
For somewhere or oth- er ls rlpemng thewheat, And homeward a 3 eat we may bear.
For somewhere or oth- er IS one we may save, l’er - chance,there are ma - ny to win.

-P—+.~

'k- fir -I:-

   

D.S.—For somewhere or oth - er is al-ways a field, And work there is wait-mg for you.

CHORUS. D.S.

Then work es. work There al-ways is something to do;
to 40:

Y .
Then, work for the Mas-ter,while Work can be found,

4— 4L #— 4— 1. 4L -p. 4- -p- 4 4L L

 

 

 (A fit,» “

E
i
,.

 

No.2. WONDERFUL LOVE.

In. 3. A. now. ‘As the Father hath loved me, so have I loved you.”—Jomt 15: 9. I. I. I.
___¢s, _ -

     
    
         

U

1. Love of the Saw - iour, ten - der and preeiousDeep- er and broad-er than 0 - cream or sea,
2. Out of the liv . ing- heart of the Sav-logr Swellsthe rich stream of his mer - cy so free,
3. Nov - er a. heart so warm with af - fec - tlon,Will-ing to die that our souls may be free;

A

 

Stron—ger than death,so pure and so gra- cious, Oh, in thy full - ness flow sweet-1y to me!
Like a deep foun- tain, flow-ing for - ev - er, Oh, that this mer - cy may reach 9 - ven me!
Oh. for this love let earth and let heav- en Join in a song of thanksgiv-ing with me!

A

  
      
 

 
  
    
  

V

CHORUS. h

   

       

Won-der-ful love, the love of 'the Sav-iourIWon-der- ful love, rich and so tree.
VA A

In."8mbkht."byncniuboolo.bmh 0A

 

 

 

IKLDI

é

—_

MD

 

 WONDERFUL LOVE. Congiuded.

.; ‘ ‘ 1— 3..

v

1
Flow—ing so free-1y, flow-ing for- ev - er, Flow-ing in full-mess to you and to mi

    

 

 

lil'i

lo
Fin-H
2

0:3 WHO ARE THESE IN BRIGHT ARRAY? A.N.JOWSON,bypor.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I
l h b I _
11 4:1 E 4____.__1_#;: *fio’rj ; m . I . k, .
*' fiP‘bJ‘ ”—3 5' ‘. “L: Adv—E“ {LT ‘r—j E J“ J E 7‘ 3': !
l 1 n . ' 'VI I g l 1 v1 1 . '5 T“ _“ "_‘
1: ‘7” .3: ' A a a re 5 £3 3 5' a. w—fi—Afb—Nug—l- —T-»:1——'—A
' v

1. Who are these in bright ar - ray, This ex - ult - ing, hgp-py throng? Round the al - tar
2. Clad in mi - ment pure and white, Vic - tor palms in ev- ’ry hand; Thro’ the reat Re-
8. Hun - ger,thirst, dis - ease un- known, On irn-mor - tal fruits-they feed; Then the amb, a.-
4. Joy and glad-ness ban-ish sighs, Per—feet love dis - pels all fears; And for-ev - er

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

__ 2 . 0 , . 1_;_ __ 1-; _p__p_.
—°- 0 I n-F o I no! lJ .P o 1 _-__ r: . . L
E: 9&2: 1'5 1A 2A Lug 2a 1%.? ;. :A wy‘t :! fl IL
tr" ‘ “1. LI 9L EL '9 9 i ag—L‘i it L1 9 F" If?" P“
"' l 9» pl I

    
  
       

 

night and day Hymning one tri- umph-ant song Hymning one tri . umph - ant song!

deem - er’s might More than con - quer - ors they stun , Morethan con - quer - ors they stand.

omidst the throne, Shall to liv - ing fountains lead, Shall to liv - mg fount - ains lead.

from their eyes God shall wi 21 - waytheirtears, God shall wipe a. - way their teart
9

  
    

 

 

 No. 4. JESUS WILL GIVE YOU REST.

mm CROSBY.

“ Come unto me,—and I will give you l'eSB.”—(-—MATT. 1]: Ye. M. 3. SWENEY. by pox.

 

 

  
 
 

 

 

 

 

 

 

 

 

- h 4 . a f»: lS-T
« .3 .1 i *fi"*!_C.—£‘élL—£ ’ .‘u ‘J 1“ i— ““
,«—-——— ————1—-—«—-—— ——--———— ----+—--—
*t—EC‘L—‘fi— kfl:*:‘L—*—%Ci%‘ “4:“ 6* Ex‘ ? l f? 3‘
g‘g U 1.3— U r— J‘; — _— MU_—QTU‘ ‘3‘!—
I I
1. Willyou come, will you come With yourpoor brok-en heart.Bur— den’d and sin - rp - rress’d? Layis
2. Willyou come, Will you come?There is mer - cy for you, Balm for your ach - ing breast; On-ly

3. Will you come, will you come? You have noth- 111% to pay; Je - sus who loves you best,

4. Will you come, will you come? How he pleads wit

 

‘ _ By his
you now;Bly to 1113 lov - 11’ breast And what-

-9. 4 -e-e—-e- #4 o.

'l-
b

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

9 o l .
1—3—3 :1 :A l‘ .A 3‘73 ‘9 l l e l ' 1-4- $232:
iii—A, : l .' e L l fr l D—D—I-w : l (r e
A 11 .1 1 l1 :1 l 1 L J . l . . . I .1 «A
:1 r r l r r W V r r 1* [r1 IL! E F—-— f lr r
I V V r
y’ b. a J. M—é‘é—l—«N—A—i—jfiv—m FINE' “£93313 ' ‘ a
g A ; 1 .- fi—ra—a—~a———l—-+—q— ”4'7 41—m— —a——4. ‘ 7 h : 1.
————1~—«,j—+———4—0 % 4 Men + —G-!—-d~1~_-—— r—‘%’ ——l—— —a—§—_a——+—d~—+—-—
—— a l A} : seaefi ¢—»-L—&- —-t . r-A'VL-w- —g— ‘ it 51 AF l 13'
i "do *‘ #11?“

down at the feet

 

 

 

 

 

 

 

 

(g your Saviour and Lord, J e - sus will give you rest.

come, as on are, and be- lieve on his name,Je - sus will give you rest.
death on t e cross purchased life for your soul, Je - sus will give you rest. 0119 happy rest, sweetmapp)’ rest,
- ev - er your sin or your sor-row may be, J e — sus Will give you rest. -

”A33“ 1

 

'5‘ la 1“ 1.4—1“ “1: 0- _p_p_a_ 'P“ 7&0
A .

.. Hg

 

4+:
H—fi—t—rfi

l

—J.__

 

 

““‘F'

‘11
V

 

 

 

 

 

7

 

WAR??? 'L-mi’m ,AHA'A
‘lfi i1 % '_'"'l'"—“l'—‘—F—"_§: :':'—' Fx‘ _l _«L _‘r _‘
LL—¢—V—}l— { _l'— W [t— F—t—t— I'— ¢ ¢ F”.

 

 

 

 

 

 

e . sus will give

.3.

 

i Q . a_ _l‘_ d

 

l l l l l
D. S.—Je - sus will give you rest. V 7

_*___4__‘l_

d‘wr“

rest, (haP-DY I‘es’m why won’t you come in sim- ple,trusting faith?
I

 

 

 

 

 

 

IND!

II N31

  

No. 5,.

PRECIOUS NAME.

39v. 1. BALTZELL, by per.