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MELODIAA COMPREHENSIVE COURSE IN
SIGHT-SINGING(SOLFEGGIO)
THE EDUCATIONAL PLAN BY
SAMUEL W^COLEDIRECTOR OF MUSIC IN THE PUBLIC SCHOOLS OF
BROOKLINE, MASS., AND INSTRUCTOR IN THENEW ENGLAND CONSERVATORY OF MUSIC
THE EXERCISES -WRITTEN AND SELECTED BY
LEO R. LEWISPROFESSOR OF MUSIC AT TUFTS COLLEGE
BOSTONCLiVER DITSON COMPANY
PRl NTED IN U.S.A.NEW YORK CHICAGO
CHAS. H. DITSON & Co.-LYON & HFALV
Copyright 190], 1904, by Samuel W. Cole and Leo R. I ewlsCo|y right assigned to Oliver Ditson Company, 1909
MT70
INTRODUCTORYTHE VALUE OF SIGHT-SINGING
For at least two centuries training in sight-singing
has been recognized in Europe as fundamental to
all technical education in music. Americans have
seemed to set little store by such training ; for, to-
day, the great majority of our professional musicians,not only instrumentalists but also vocalists, need
unerring instrumental support in"
singing at sight"
a part-song or an anthem which has modulations to
any except closely related keys, or which aboundsin the larger intervals. Obviously, inability to read
at sight does not preclude good performance, after
familiarity has been gained by instrumental assis-
tance; but probably no one would deny that the
possibilities of artistic achievement are infinitely
greater when one has acquired the confidence bornof genuine ability to sing at sight which abilitymay be defined as the power to know the units of
rhythm and of relative pitch of any rational musical
phrase, and to prove that knowledge by singing it
correctly at first sight.
MUCH MATERIAL is NECESSARY
Many works on sight-singing have been compiledand written for use in the public schools. But theauthors of MELODIA believe that there is need ofmore and better graded material for use in conser-vatories and by private teachers. The present workis an attempt to meet this need. It represents the
results of many years' experience, and is based onthe belief that, whatever be the method of present-ing the elements of the subject, the surest road to
growth is through actual performance of a greatnumber of carefully graded tasks.
CONFIDENCE MUST BE DEVELOPEDA second fundamental thought has been that a
high degree of self-confidence must be developedbefore one can " stand up and sing
"
alone at sighta somewhat difficult musical phrase, without other
assistance than the sounding of the key-note. Ex-
perience has shown that rhythmical problems are
quite as often stumbling-blocks to musical students
as are tonal problems. Therefore, in MELODIA, the
first eighty pages, which are written without skips
primarily to develop a ready confidence, contain
many and varied examples of each of the conventional rhythm-forms ; and the most deliberate pro-
gressiveness is maintained in the introduction of
new difficulties. In a word, it is a feature of
MELODIA that early emphasis is laid upon rhythmicalproblems.
THE TREATMENT OF LARGE INTERVALS
In the treatment of the larger intervals there is
also a departure from the conventional procedure.Instead of taking them in the order of small to great,the octave is first presented, because experienceshows that it is the only
"
skip"
definitely recog-
nized as such by most beginners. The sevenths,sixths, etc., are then presented both in their relation
to the octave and as composites of the steps and
half-steps with which the student is already thor-
oughly familiar.
GENERAL FEATURES OF MELODIA
A glance at the headings of the successive Serieswill indicate in detail the comprehensiveness of the
plan. The following general points may be noted ;
1, The typographical s 'rangement is such that a very largeamount of material is brought within comparatively narrow
limits;
2, The normal compass of average voices (an octava andfive notes from low A) is seldom exceeded ;
3, Nearly one-half of the unison exercises are written in the
bass clef, thus forcing sopranos and altos to become familiarwith that clef;
4, The two-part exercises are all written so that they maybe inverted, the bass being made the tune, and the tune thebass; or they may be sung by male voices only or by femalttvoices only ; thus, each two-part page represents two pagesof practice material ;
5, Again, the two-part exercises are adapted to use byteacher with pupil in private vocal lessons ;
6, Since all indications of phrasing are lacking, opportunityis offered for constructive work of the highest educi'ionalvalue.
INDIVIDUAL WORK ESSENTIALIt is expected that, even when ths book is studied
in large classes, much work in individual readingwill be required by the Instructor ; for, after all, noone has fully mastered sight-singing who cannot
sing alone, while beating time after the conventionalforms.
As a special and, perhaps, novel help in devel-
oping the sense of individual independence in en-
semble, there have been included, in Series I, exer-cises which may be sung simultaneously. Cases ofthis sort are indicated in connection with each of
the respective exercises. Thus I 233 may be sungwith I 243, I 246 with I 263, etc. Some teachersbjlicve so fully in this method of developing inde-
pendence that they cause exercises in the same key,and with the same number of measures, to be sungtogether, without regard to the tone-content of the
exercises. This practice, artistically unjustifiable,may have, in moderate use, educational value.
"'HE GOAL OF MELODIA
MELODIA undertakes to prepare students to meetthe most difficult tasks in pitch and rhythm set bymasters of choral composition. If suggestions of
phrases from some of the masters have occasionallybeen incorporated in the original exercises, thereader may be willing to waive a charge of unjusti-fiable appropriation, in view of the specific object ofthe whole work.
TlIE MODULATORY STUDIES
Pages 76 to 80 contain Modulatory Exercises,some of which may well be studied earlier than their
position in the book would indicate. The relation-ship between the objective keys and the tonic isindicated by Roman numerals, capitals for majorkeys and small capitals for minor keys. Thus,"To ii " means that the exercise illustrates modula-tion to the minor key based on its super-tonic of the
prevailing scale to D minor, if the piece is in C
major. Such an exercise may well be studied inconnection wuh ai:y earlier exercise which modu-lates to any similarly related key to F-sharp mino'from E major, for instance. Reference to th?seexercises is occasionally made in the earlier pages ofSeries IV
;but the teacher may best judge whether
more detailed study of key-relationship is desirable.
MATTERS OF NOTATION.
There has been no attempt to preserve absolute
uniformity as to the details of notation throughoutthe book. On the contrary, it has been deemedwise to present a variety of forms and usages inorder to accustom the student to the practices c.
various authors and editors.A word is necessary as to the insertion of clefs
and the use of bars, which features, on casual view,might appear to be unsystematic and needlesslyunconventional. As a matter of fact, considerationsof brevity have prompted several departure, c omthe established usage. For the guidance of the
singer, however, but a single direction is necessary :the prevailing key-signature and time-signatureare not cancelled unless a clef or the regulardouble-bar [||] is inserted. The double-thin-bar[||] is therefore not to be regarded as necessitatinga new indication of key or time. The time-signa-ture may change while the key-signature remains.The regular double-bar appears where either a clefor a &ry-s:gnature is changed. The meaning of thesingle-thick-bar [|] or the double-thick-bar [||], as inthe Modulatory Exercises and in connection with
repeat-signs, is, in the respective cases, obvious.
THE SOURCES OF THE SELECTED EXERCISESThe authorship of the selected exercises and of the excerpts, is indicated by letters following the
respective numbers. An asterisk shows that some modification other than transposition has beenmade, but not such as to impair the original character. Below is a key to the indications of the letters.All exercises not so marked have been written for this book.
Ad T. Anderton [1836- ]Ab D. F. E. Auber [1782-1871]Bh J.S.Bach [1685-1750]Be L. van Beethoven [1770-1827]Bt A. Bertalotti [1665-1 730(?)]Bn H. Bonicke [1821-1879]Br J. Brahms [1833-1897]a G. Carulli [1800-1877]Cb E. Chabrier [1842-1894]Ck G. W. Chadwick [1854- ]Ch L. Cherubini [1760-1842]Cn P. Cornelius [1824-1874]J)u F. Durante [1684-1755]Fi C. H. Fischer [1800-1875](?)fr C. Franck [1822-1890]
Gn C.F.Gounod [1818-1893]//]7> W. Tschirch [1818-1892]Vd G. Verdi [1813-1901]Wg R. Wagner [1813-1883]Wb S. Webbe [1740-1816]Wn B. Widmann [1820- ]Wll F. Wullner [1832-19021
TABLE OF CONTENTS
INTRODUCTORY ... ..*"". . ..VBOOK I
FIRST SERIES...... I
One-part diatonic exercises in step--.\ise melody G and F clefs All ,r>ijor keys to B and to D fat inclusiveAll representations of notes and rests of whole-beat length and multiples thereof Elementary presentation
of the divided beat.
SECOND SERIESTwo-part diatonic exercises in step-wise melody Keys to B and to D-flat inclusive - All representations ofnotes as in Fir't Series, with greater variety and length of rests The divided beat in fuller presentation.
BOOK IITHIRD SERIES 41
One-part exercises in step-wise melody in all keys Graded presentation of all chromatic tones, except flat-2and flat-s Development of the minor The dotted note involving division of the beat Triple and quad-ruple division of the beat.
FOURTH SERIES 61Two-part exercises in step-wise melody in all keys Chromatic tones, modulatory and ornamental Develop-,ment of incidental and extended modulation Syncopation Mingling of double and triple divisions of thebeat.
FIFTH SERIES | iOne-part exercises Systematic treatment of intervals, beginning with the larger Skips to and from chro-matic tones having obvious key-relationship The commoner augmented and diminished intervals.
BOOK IIISIXTH SERIES 101
Two-part exercises embodying all intervals treated in Fifth Series More elaborate development of rhythmicaldifficulties, especially of syncopation Lengthy solfeggi from German, French, and English sources Canonand Fugue.
SEVENTH SERIES 131One-part exercises Systematic treatment of skips to, from, and between chromatic tones Introductorystudy of passages whose chromatics "deny" the signature Advanced solfeggi from foreign sources - Speci-men difficulties, without text, from the classics.
EIGHTH SERIES 151Two-part exercises, involving all the difficulties treated in Seventh Series, and fully reviewing the rhythmicalproblems earlier treated Maximum difficulties of mediated modulation Special studies in the de' elopmentof independence of the parts.
BOOK IVNINTH SERIES 161
One-part exercises Typical passages from early and recent composers, with tex , of difficulty rargingfrommedium to great Full exposition of chromatics which "deny" the signature A.'bitrary changes o
"
tonality.
TENTH SERIES . ' 177Two-part exer ises, with text Representative excerpts from early and recent composers, with ; few newexercises, embodying maximum difficulties of pitch and rhvthm, as well as the utmost independenc of parts.
ELEVENTH SF.R1ET"
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Two-part exercises, partly without and partly with text, in the following Church Mod'-:: jEolian, Dorian,Ionian, Mixolydian, Phrygian Canonic imitation, strict and free, in other intervals than that of the octave.
MELODIA - BOOK IFIRST SERIES
One-part diatonic exercises in step-wise melody G and F clefs All major keys, to B and
D-flat inclusive All representations of notes and rests of whole-beat length and multiplesthereof Elementary presentation of the divided beat
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representations of notes as in Series I, with greater variety and length of restsThe divided
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One-part exercises in step-wise melody in afl keys Graded presentation of all chromatic tones,
except l2 and !>5 Development of the minor The dotted note involving- division of the
beat Triple and quadruple division of the beat
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^-
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-.1
261C1*
I ^~^
262Hs*
i
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263Rd
yy L*
r ^tt.r t^^^** rrrLT
rr7
tr. g . ti.
-
5-57-67645-300
101
MELODIA-BOOK IIISIXTH SERIES
Two-part exercises embodying all intervals treated in Feries V More elaborate devel-
opment of rhythmical difficulties, especially of syncopation Lengthy selfeg-gi from Geiman,
French, and Ei.glish sources Canon and Fug-ue
lEn*
m^ m
2Bn
m3 Pn
4Bn'
m
m ** vi
fdt
m iS5-67-B784B-800
1026 Bn*
.i'^-'
I..0f
/f g--F1-
*yf#
*
eg
* *
F^
9*g
14 Wn
15 Ts
104
I
g.17 Wn
it- Q jL p ^
23 Wn
105
ir^~
106
27 Wn
*f ^ ml=i1
i iiPP
PP
J"28 Wn
^29 Wn*
f'
ptz2
30 Wn*
.
ITJr *rt
107
Jh-
108.36
m
m
38t\y
42 Lo*>, \>. 4 o
109
SE SE
fefem?
o e
35:sea*
r?
11044
.* JL
wm=*
f *>-.
^45Na
F- _ P
46 Fd*
/>. . _/v
^
iS5
^S ^gf
r :f-
5-57-6'7645-200
Ill
m
mWb
i=
rr-r
,48 Du
P
5-57-67645-200
5-57-6715-200
113
I*-
55 %m
i '/. >>i/
ffi
-*
115
,59 Wn\fL li r
117
mi
,62Bt
^t*
FT^F as m ^
^^fff^m - ff
53F3
sft ,88
-03-
m m m
65 Pa
3gg^
m
Y\: pj i" ^
119
mf?
***
m
fz* +=M *
'
*
I J IIf* 0- -Z-.
69 Sb -Wll
70 Sb _WU
e
^
,8* ^ ^
^ ew U
121
n-JH-
12272 Pa*
f
ii mHi
af &W* * m
m *w
H
^ ^d^ea^^ J- ir P
P ^6-57-6764B-200
123
f\73Fa
76
m 1=^&o *
i77
S^
=*
IPP
fl
^ iB-57-fi7645-200
125
Hereafter the modern method of cancellation of double -flats and double- sharps - -by a
single character, omitting the i]will be used.
1
^*\ptF
I79
m
i m^ Q'
? f5-57-67C45-200
126
it
g 1p
5-57-67(545-200
12782
& ~^ ,n .
128
f-m4*3
fe^Ej;pip
Pr r PT
g
5-57-67645-200
87 Mi Canon for two voices129
. i__ L
m
88 Mi Canon for two voices
rft\flh\rt
89 Mi Canonfor two voices
m
130 90 fugue for two voices
^
m
mipp mtmg
?
F^*P* :>*
-:-
^
B-B7-7645-200
131
SEVENTH SERIES
One-part exercises Systematic treatment of skips to, from, and between chromatic
tones Introductory study of passages whose chromatics"
deny'the signature Advanced
solfeggi from foreign sources Specimen difficulties, without text, fromthe classics
g3
^ *=d
fr j^riHjJw^iTErrir^rtj 3P 3f
8
9.
^*^J_ U**
^ w-
5-57-67645-200
132
13
~M
133
32m=sm F
3f^
PS6-B7-67fit5-200
13433
I I
upa^ 3
Hpr . , =& I | P Mf i pin
r'
^r "*
* "
* f.35
Q-I^JiiJ^
r'r Ju J i
K^i
38 / or r
o
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B-67-6784B-200
IS 5
41
42
-*-
43
46g): ;{
136
50 A--f-. f
'
3
i fV52
g^ffigfflF^fffppE m
m 53
57137
s 0-^
58-=-
i^^
59
T-
60
^TC*rriirt^rrir-^l'r^ r Trr=^
61
J-/ r-
^. . '.k ry'r*^f if'Fn ri|rir / i
i
rrrirf^
isSar^^125
{.'^J.^^
-+-4 j. f
!*
149
A 128 Bh
*'*w
*4
$ i
bd
^
HW-r"yL,,. i m^
f
150132Bh
f
piS ^-& S-i^=?
151
EIGHTH SERIES
Two-part exercises, involving- all the difficulties treated in Periet VII, and fully reviewing- ;he
rhythmical problems earlier treated Maximum difficulties of mediated modulation Specialstudies in the development of independence of the parts
m^
3=T ^
S?
P^ ^
5-57-fi7fi4R-IOO
1ft?
=3=1%* J*y
1'
=35^
rf^=*i&3E P
to =i7 ^ESS
154
f.-5'7-fi7645-200
155
Ti^
6-57-67615-200
156
M5-67-67645-200
15?
#**=
158
m ***^
i f
jFG
i'>t, r!rf r~r~ i i-
rf> r fr^rff* ^ ^N0:
*
139
20
ilt*? ^
160
1 ^-1m' **
^
21 Ch*a.^M
r
^ ^ ^^=? ^
=5 r^i S ' *
S K^ r^ > JT^!^
*? hv. TE=3
? *?
161
MELODIA - BOOK IVNINTH SERIES
One-part exercises Typical passages from early and recent composers, with text, of difficulty
ranging1 from medium to great Fwll exposition of chromatics which -deiiy^'Uie signature Arbi-
trary changvs of tonality
IHn
throiyh - out the world. Springs up at
yM
1627Gn
Let me but sit co-zyanddry Un- der the trees with my daugh ter,
And while raft and boat travel by I drink to the folk on the wa - ter!
8CkFFi
g! ha ha! hLet Israel perish never, Let Judahs gods prevail! Ha! ha ha! ha ha!
I
ha! In shackles live forever, Nor cease your plaintive wail. Ha! ha ha!ha ha! ha ha! ha ha!
9Fr
When our hearts are op-j-rest_ in the midst of our pleasure, And despair
iwithout meas - ure Has fill'd us with dread; Say, where, Say, where
J. I J' /Tf J. I J^shas gladness fled?
10Mn:ip3
ay, where. Say, where has 'gladness fled?
Take all the prophets of Baal, and let not one of them escapeyouJSring- them down to Kshon's
brook, and there let them be slain. Not a trespass g-o un-smit-ten;Nothing-
^ j- Jv r I J-*- *
longer shall be hidden. Not a trespass.Nota tres . pass go un - smitten.go un
smitten, Not a tres-pass,uot a tres - pass go un - smit.12 Gn
ten.
This rare cup so ten-der-ly rherishd,This rare cup so ten-der-ly cherish/d, Aye at his
163
E-vil our arms as- sailing, Gainstthe powrsof E- vil ourarms as - sail-ing. Strongest
earthly might must be un-a-vail -ing Strongest earthly might must be un-a-vail - ing!
14Hn
-f-\
And the An-gels struck their ini-mor-tal harps, and ilie wonders, the wonders
]5Hn
Ei p it^ nr
of the fifth day sung-. Aii d God said : Let the earth bring- forth the living- creature afterhis
r r
kind, cattle, and creeping- thing1, and beast of the earth after his kind.
* innn2feE
16*20 Rs k
fl - ter fons a - mo - ris , me sen - ti - re vim do - lo - ris fac~ 21 Hd
rrrrit'T**-* or
,il ==
ut te - cum la ge - am. He trusted in
7=p
165
God, deliver me, God, deliver me, de - liv- er me from death^ death e -
25 Frp I t.\ I cr(9-=-
tor - nal iu Thy day of Judg ment. I gath-er in each soul im-
mv'n's flamimor-tal. Death's dark angel. I. Widely opens Heav'ns flaming portal. Seethe throne on
^r1
tt N f 3=tr r " i r r
high! >nd which of you,. _ frail sons ter - restrial, Put which of you Can view undis-
J I f f y f fmayd God enthrond in light ce - les-tial, -All His mig-ht dis - playd?
?Nte^
16629 Gn f
. \>.r
Lo! his Empire is un - dy- ing. Pope and Po-et join the ring. LaureUd
chiefs his tri - umph sing, Dancing round his pe - des tal -
30 Hn
Now swarms the vil-lage o'er the mead, Therus-tic youth, Hie rud-c"y
M mmaid: The breathing-harvest spreadsaroundJVhose fragrance scents the air;From dale to dole making- the
ibreeze. Resounds the voice of happy labor, Of jo - cund mirth and so - cial
31Vd. _
PIFle - i - son, chri ste e - le i
mson, chri
32 Fr
ste e - le - i - son, _ e -le-i - sen, e -le -i - sen.
P I
tlewealthof the earth Is our de - sire, is our de - sire, is our de sire.
,33Hn
And onward as he bravely toils, In deep-er er - ror plunges still, In
tt
36 Fr167
& ^And as of yore, And as of yore See us kneeling, trembling, a - dor- ing,
JL_ A i37Gn
trembling, a - doring. Bow down once more And I, the
38 Fr
%;nrrrrfrail - est of the frail,Have most need of your for- giveness! The gods our offrings
$? *=&-*+ sat
spurning. Scorn each bit-ter cry; To souls all dark withdoubts dis-maying, To
^' f . f' ^fr ^(* ' * ^ * . t>*
souls all dark with doubts dis - maying, O blessed Truth, light re -veal. Hess-
f. f. . Pi r r i
ed Truth! The skipper he blew a whiff from hispipe, the skipper he blew a
S3 [i'ff rr^4^whiff from his pipe, the skipper he blew a whiff from his pipe And a scorn- ft'l laugh laughed
he, And a scornful laugh laughed he, And a scoin-ful laugh laughed he40 Mn
Is not his word like a fire? And like a ham -mer that break -eth the
rock? A ham-merthatbreaketh the rock, that break eth the rock in-to pieces?Likea
J- ^^fire, like a fire, and like a ham - mer that break - eth, that hreat-eth the
rock. His word is like a fire and like a ham - mer,A ham - mer that
168
Irn rLord wUlwhet His sword, will whet His sword-.andHe hath bent his bow, and
imade it read-y, and made it read-y. read-y, Is notHis word like a
r r i *r F F
'
P F i r r
'
r IT^ ffire? and like a hammerthat breaketh the rock, and like a hammer that breaketh the
j
rock? Is notHis word like a fire,andlike a ham - mer, a ham - mer that
break- eth the rock?That break- eth the rock, that break- eth the rock;andlike a
fire like a ham -mer that break- eth the rock; is not His word like a
^ 3hammer that break eth the rock, is notHis word like a hammerthat breaketh
J J
_the rock in -to pie-ces?
41 Vd \*t
Is notHis word like a ham-mer that
(5>
breaketh the rock? Grace onwhomthou wiltbe- stowing' Save me Lord withmercy
^
flowing, with mercy flowinglSave me, Lord.save me, Lord, save
42 Gn
.me, _ lord!
*-
9 '
What weatthis here, what wealth out-bidding gt)ld, Of peace and love^and innocence untold!
PWhat wealth is here,
43 Ckof peaceand love.whatwealth out - bidding gold!
Tis a Jewishwomar taken in thevale.And she is passing
ti
fair!
I ZJCShe is fair? Tiswell! Let her approacMFairJewishwomen may my mer - cy gain!
169
Day of an-
ger, Day of an -ger.
i >
fe
Day of trouble, Time shall
k*.-i" L-^ -i^" ta
nfrTrper- ish, per -ish like a bubble.Day of an-ger,Dayof trouble.TimeshaU
~ ' * ^d^ t^ L* * -^^^^ ^ ^ 45VdW Iff 9
perish like a bubble, So spake- David and the Sibyl . When thou shalt
come in the midst of fire to judge the whole world, in the midst of
46 Ck
fire to judge the whole world . A - las! A -
tlas! Thou might'sthave saved our lives! A las! our children, our
tetschildren and our wives! But now no hope! All hope is gonetBut
lii_k -h
^^==ES?=i*= mnow no hope! allhopeis gone.The blaz - ing sky no pitying raindrop sheds!
4* Bh*fffl r 'FC' ?iSE
How swiftly the flames of a wrath, all-compel -ling-Rise forth from a heart where Gods
love hath no dwelling-, And man's dearest treas
r Pg r F r i r- uretoru-in is huil'd.To
'
fix the af-fec -tion on wealth in pro-fu - sion Is
^E M r rbut a de-lu- sion! Take heed, sin-ful world, Is but a de-lu-sion, Is
Sg Pk ibut a de-lu-sion, Is but a de - lu -sion! Take heed, sin-ful world! Take
rTrr r i frw (ip^!2_ H-O &heed, sinful world.take heed, sinful world!
17048Bh*
ES
Tis he, 'tis he, 'tis he who all a - lone, 'tis he who all a
lone, a - lone, who
all a - lone,
ff rifff Tfif. -.itralone hath trod-den the winepress,all alone hath troddenthe winepress,a - lone,yea, all a -
line,
all a - all ._ ._ a - lone, to save
f ffri r .us, erring' mor - tals, by cost-ly sac-ri - fice, to save us, err- ing
mortals, bycost-ly sac- ri - fice. Ye Prin ces, ye Prin
T in fFir T *- ces,uow be-stir ye crown him Lord of all! Ye princes now bestir ye.crownhim
Lord of all, crown him Lord of all! Ye Princes, now be -
stir ye, andcrownhhnLordof all, and crown himLord of all! Ye Prin -
m m
- cs, now be- stir ve, crown him Lord, O crown him
stir ye, crown him Lord, C crownhimLord of_ all!5-57-67645-200
49 Bh*171
be - hold. In vis
hold now he. at Godls right hand.with lightuings.smites the foe howhe,at Gods right handwith lightnings smitestin
foe! In vis ion I be - hold, in vis - ion I be-
with lightnings smites thehili,how he, at God's right hand.
foi-. to free his faith ful peo
-f-
pie from wast - ing care and woe. from wast- ing care and woe,
^.
r\ QI
E ^to free his faithful peo - pie from wast ing care and woe. I
stand here by the way. and lift my yearn - ing- eyes.
Lord in heav'n a - bove re-ceive my50 Be
sac -
fice! In - car-nate fiend,
what willst thou now"]
5&i h h h .
17! 52 Rs
!73
foes, in rage, must van- ish. Ye who have His message heard, Yc
5.6 Bh*
who haveHis message heard, E\ - Ty worldly longing- ban - ish
Thro' waves that rage.antiwinds that blus - ter, -ver the wat-Yy waste I rov ;What
respite? That I cannot tell thee, Scarce do I counthow seasonsmove.I can-not name,
nam .Shouldst thou de-mand it. The man - y seas Ive wander 'd o'er: The shore a -
"HF"
17458Wg -(9-
Out from the depth of darkness g-azing- upward.Sore have I long'd a love likehersto
-)!fjL
175
mThe sin-ful hopes within me throng-ing, Be- fore thy blessed feet I lay; 111
mus te, lau - da muste, ben-e - di-ci-muste, ado-ra-muste,g-lo-
ri - fi-ca-mus te.lau - damus te.benedi *wo for my child! O Irish maid! my winsome, mar- vellous m?id!
5-67-745-200
177
TENTH SERIES
Two part exercises, with text Representative excerpts from early and recent composers,
with a few new exercises, embodying maximum difficulties of pitch and rhythm,as well as the
utmost independence of parts
for sportive play we now pre
for sportive playwe now pre-
2Hd
pare. Thou heedestbutthy fan-
Thouhpedeatbut thy fan
cy,heedest but thy fan
jJy J tcy.but thy fan
A o rid $cy, but thy fan - cy. men, a
f
cy, but thy fan - cy. men,
men, a - iren.a -
5-B7-67645-200
lhg> , I =
7Hd179
3
3Age un-to age telleth forth all the wonders of thy glo
Age un-to age telleth forth all thewonders of thy glo
B > s B^ry, and re - joic
- eth in thy might .
_ Age un-to age tell-eth forth all thewonders of thy glo
4
might, and re - joic eth in thy n.ight, in thy might.
ry.and re -joic
,-
re-joic - eth, re
-joic - eth in thy might,
r i r y rthy"eth in might, and re -
UJr-1
ISO
i_
guage,there is nei - ther speech nor Ian
h h h h ji^
ther sj-eechnor Ian - g-uage. there is nei - th< speech nor
language.there is nei- ther speech nor Ian
9Hd
- guage their voice can
cannot be heard . The dove
3=E3P rr_
not cannot be heard. Pin
ters, his plaint soft
long- -
ut - ters; he's cal --
ling, hes
plaint gen - tly ut - ters; he's cal - ling his lovtJ one, The
r^
i>Tr-cal - ling his lovd one, The dove, as he flut - ters his
dove as he flut - ters, his
plaint
J * J'
plaint soft- ly ut ters, he's cal ling, he's
5-B7-fi7fii5-200
181
cal - ling- his lov'd one, he'scal ling
10 Hd
his lovd one. Love now u - nit
- eth,Love now u - nit -
py pair. Love now u
- eth a hap py pair, Lovenowu - nit - -eth,Love
eth, Love eth, u -nit- eth, Love now u -
now u - nit - eth,Love now u - nit - eth, u- nit - eth,
3*-nit -
* fLovenow u - nit - eth
eth a hap - - py pair.
-t
fa- nit - eth a hap - py pair.6-57-67645-200
182
Chri-ste e - le -
Ky - ri - e e - le i- son. e - le -
Iff*- i . son, Ky ri e e le i
-
son,- e- le
i - son,e - le -i- son.Christee - le
-i - son.e - le - - - i- son.
12 Be*
fflo -
us:
In
mIn jrlo - ri-a Dei pa - tris, a - - - men. a
A , M 13 Bh
m- ri-a Dei, a - - men.
^men a men Ky ri-e e - le
- i - son,Ky - ri-e e le i- son, e
fW*>i s:>n.Kv ri - e e - le i - son, - le - i - son.
-
i- son.e - le son .
5-5?
183, 14 Bh*
Ky-ri - e elei - son,ele- i -
Ky.ri - e e- lei - son,e - le-i-son, *. le
- i - son, Ky - - n-
f\
184
[#=*=
JS5
-nus De* - i, Fi -li-us Pa - tris, Domine De-us,ag-nus De-i. ag-nus Dei. Domine
B5a - gnus De - i. Fi- li-us Pa - tris, Domine De-us,agiius De-i, agnusDei, Dominr
De-us, a - gnus De - Fi- li - us Pa tris.
f p %De-us,
18 Bhgnus De-i, Fi - li-us Pa
- tris.
r N h hij ^j'* 1 * ? j -**
Et exPatr. -x Patre na - - turn, ct ex Patre, ex Patre na - turn ante
^Plvff r[- s-ftEt ex Patre, ex Patre, na turn et ex Patre, ex Patre, na
- mnia Sae - - cula, an-te omnia saecula .
twwt- turn, ante o - -minia sae - cu - la.
^^To battle haste, to battle haste.OlastelThe
To battle. to battle, O haste! .The foe lurk - ethnigh.
Smite him to earth, yea , smite him to earth!
Smite him, smite him, smite him,. yea, smite him to
*F#ir2 ;^E nTo battle haste, to battle haste,f Tf
O haste! The foe.thefoe, lurk-eth,In
earth! To battle haste, to battle haste, hastf ! The5-57-67646-200
186 20FrnjLJtr- f _ ' rr
IS?
Vision of heav'n, O stay!-
friif.r frShed en - tranc - ing radiance
f TVision of heav'n,O stay! Shed en - tranc - ing radiance
*
as of end -less day. Like a dove Like a dove
fe
as of endless day! hov'rest thou,
33EEa 2Ah! Dream of de - light, en - kiridlingthe soul,
hov'rest thou, Dream of de-
light, en - kind-
ling the
soul, O.why canst thou not ling er? Thou hov'rest a- bove
|-fr-
188
Hear thv childr.-n, Lord,heartheirpe - ti - tion!
We hope.O Lord.in thee, we hope, we hope. Lord we hope. O
With richest bonn - ty hast thou blessed thy faith - fu1 people!
Lord in thee. With bounty bast thou blessed thy faith - ful .people! Wex
IH3
Hear thy children, O heed their pe-ti tion! We hope,
dhtejmhope, O Lord in thee, we hope, we hrpe, O Loic*.
i*,25in we
3iwe hope.O Lord, in thee!
I -)-MI *~*
Sail a - way, sail a - way.
Vf^hope- m thee! Nowto the east, now to the
^
have nocareof the morrow. wind, blow
^ ^west, All is one to themen of the sea. Stormbeat, and wind, blow!
26
Stormbeat,andwind,blow! We de-fv ye! Swift ad -van - cing-,
ban-ners streaming-, sa - bres gleaming-, coursers prancing', comes the foe!
ban - nersstreaming-, sa - bres gleaming, coursers prancing-, comes . the foe!
5-B7-fi7fi4B-200
18927
^
Ho! ve chieftains, ye I scorn! Ho! ye chieftains, yeI scorn!
INaynay.thfydarenot,nay.theydarenotheedthe call'.Nay.nay.theydarenotheedthe
^^fide not in dread, cowards all'. Here be
- hold me ready! Hide not,-
W^r
call! Hid" not in dr^ad. Our cha npunr
Their so - ber wish - es ne - ver learn'd to stray
I? J
191
ELEVENTH SERIES
Two-part exercises, partly without and partly with text, in the following- Church Modes: Aeolian,
Dorian, Ionian, Mixolydian, Phrygian Canonic imitation, strict and free, in other intervals than
that of the octave
1 Mixolydian Bt
Il/r A o -**
192
ijjpjL
193
i)
3
194
Iff
La 195
r P ft/ ]
196
*J
10 Afixolydian Ls197
II
Q,1. [. 4
198 12 Afixolytttan Ls
y|T k
14 Ionian Hn199
ru-ci-fi-xus e-ti-am pro no Pi la
Cru - ci - fi - xus e-ti-am pro no - bis bubPonti-o Pi-la-
2:opas-sus et se-pultus est . Ft re-sur- re
- xit ter-ti-a di - e secundum
i5to pas-sus et sepul-tus est . Ft re-sur -re
- xit ter-ti-a di - e
P *A Irib ** r +
^scri ptu - ras.Etascen -dit et ascen-dit in coe
=gH=lum se-
m
I
se-cunaumscriptu - ras. Et ascen-dit, et ascen-dit in coe - lum,
15 Phrygian La
2det ad de - xteram FP
-0 . (= r o
- tris
ftdit ad de - xte-ram Pa tris Audi-tu -i me-
n Q i \>
200 16 Mixolydian LsJLr
MT870C65
Cole, Samuel WinkleyMelodia
PLEASE DO NOT REMOVECARDS OR SLIPS FROM THIS POCKET
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