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filOEEIICAL A5D TECIIICAIi MVSIC B13Boo.1'8 on Musical Theory.

3AKER'S THEORETICAL and PRACTICAL HARMONY 2.00JOHNSON'S NEW METHOD OF'HARMONY 1.00JOHNSON'S NEW METHOD OF THOROUGH BASS 1.00OLIVER'S THOROUGH BASSPETERS' BURROWES' THOR. BASS PRIMER and COMPANION..HICHTER'S COUNTERPOINT. With Appendix by J. C. D. Parker.RlCHTER'S MANUAL OF HARMONY. Translated by J. C. D. ParkerRICHTER'S TREATISE ON FUGUE. Translated by Arthur W. FooteSARONI'S THEORY OF HARMONY *.... 1.25SOUTHARD'S THOROUGH BASS and HARMONY 50WEBER'S MUSICAL COMPOSITION 2 vols., each 3.00WOHLFAHRTS MANUAL OF MOCULATION 50

.67

.75

2.00

2.00

2.00

Text Books a.nd Manuals.OSTON ACADEMY'S MANUAL By Dr. unveil Mason 1.00CALCOTT'S MUSICAL GRAMMAR 75HOODS MUSICAL MANUAL 40HOW SHALL I TEACH ! By Dr. Lowell Mason... 38HOW'TO PRACTICE. A. M. Pupin 50UARX'S GENERAL MUSICAL INSTRUCTIONS 2.50

MATER'A MUSICA. By J. C. Engelbrecht $ .^MUSICAL SCALE. By Horace P. Biddle Cloth 1.50OLIVER'S TEXT BOOK 67OUTLINE OF MUSICAL FORM. By W. S. B. Mathews 60PESTALOZZIAN MUSIC TEACHER. By Mason & Seward 2.00PHRASING, as applied to Piano Playing. By A. W. Marchant. 43PLAIDY'S PIANO TEACHER. Translated by John S. Dwight 34TUNER'S GUIDE. For the Piano-forte, Organ and Meiodeon 66RITTER'S STUDENT'S HISTORY OF MUSIC 2.50

Dictionaries, Primers and Catechisms.MOORE'S ENCYCLOPEDIA OF MUSIC 5.00STAINER &. BARRETT'S DICTIONARY OF MUSICAL TERMS 4.00BUCK'S DICTIONARY OF MUSICAL TERMS 45FIVE THOUSAND MUSICAL TERMS. By J. S. Adams 75LUDDEN'S PRONOUNCING DICTIONARY OF MUSICAL TERMS.... 1.25LENHART'S ELEMENTS OF MUSIC 50JOUSSE'S CATECHISM 20VUSIC EXPLAINED TO THE WORLD. By F. J. Fetis...... 1.50CLARKE'S MUSICAL CATECHISM S3PETERS' BURROWES' PIANO PRIMER MBROWN'S PUPIL'S FIRST PRIMER. By F. H. Brown M

Aftf tfOCK WILL BE MAILED, POSTPAID, FOR RETAIL PRICE.

& KTSOJf fc CO.,9K Broad-wax New York

L1YEI JMTSOI & COHPAlY, BOSTOH.LYON & HEALY, Chicago, (41)

J. *. omos ft Oft*\2M Chestnut S*~ VUla.

BUCKLEY'S@

OOHTAIlTIITa-' THE ELEMENTAEY PKIMPLES OE MUSIC,

. | s - -TOGETHER WITH /}

ANI3 A GREAT VARIETY OP

MANY OF THEM NEVER BEFORE PUBLISHED.

dBOSTON:NEW YORK: O. H. DITSON & CO.

Entered according to Act of Congress, In the year 1868, by Oliver Ditsok & Co., in the Clerk's Office of the District Court for the District of MassachuMtti.

-I

This book will be found lo be greatly superior to any former publication, in the number, variety and beauty

of its melodies.

It has been carefully put together by Mr. James Buckley, (father of " Buckley's Serenaders,") who has had

twenty-six years experience as teacher and player, and. 'lias 'improved the1 .Batfjb/ By applying screws, and in other".

**'* ;*,

ways. .*.::,. ; ...

To perform well upon this instrument, one should' Be* 'able 'both : to -'pick ahd'-tb strike, Hke guitar players.

When the bridge of a Banjo is in the right place, the 12th fret is just half way between the bridge and nut.

Having once found the proper fiosition for the bridge, it would be well to mark the place with a pencil.

Those who wish to make their own banjos, are referred to Mr. Buckley's former work for directions ; it may

be here added, that goat-skin should be used in preference to calfskin, as the latter is liable to shrink.

RUDIMENTS OF MUSIC.All musical sounds vary according to pitch or tone ; and in order to express a

sound that may be high or low, we use what is calledSTAFF

E \This Staff consists of five parallel lines, and all tones are expressed by charac-

.ters written either upon them, or the spaces between them.

The under line is designated as the first line, and the space between the firstand second line, as the^r^ space. There are five lines and four spaces, whichare named as follows :

I-

-fifth line,-fourth line,-third iine.-second line,-first line,

^fourth space._third space,"second space..first space,

When we wish to express a sound that may be higher or lower than those whichoccur upon the Staff, we use what are termed

ADDED OR LEGER LINES.

I 3

These lines are used either above or below the Staff, according to the pitch ortcne we wish to indicate.

At the left hand of every staff we use a character called a Clef. There are twoClefs in general use ; the Treble Clef, and the Bass Clef, which are used as shownin the following examples :

TREBLE, OR G CLEF. BASS, OR F CLEF.

:i m j

All music preceded by the Treble Clefcan be used by the Violin, Flute, Accor-

deon, and other high-toned instruments : it is used, also, for the right hand in all

music written for the Piano Forte. The Bass Clef is used only for the Violon-

cello, Bassoon, and other low-toned instruments, also for Bass voices in vocal

music, and for the left hand in music for the Piano Forte. Thus, it will be ob-

served, the Bass Clef is used to indicate the low tones, and the Treble Clef to

express the higher sounds.

Music that is written for the Piano Forte is always connected by a Brace, the

Treble Clef always being situated above the Bass.

The Brace is also used to connectany number of staves that may berequired to constitute a score, andtherefore two or more Treble Clefsmay be connected, as well as anynumber of Bass parts.

I

NOTES, OR CHARACTERS USED TO EXPRESS THE LENGTH OF SOUNDS.

As every sound varies in regard to duration, we are required to express the

same by characters called notes.

The longest sound in general use is called a whole note, which is expressed by

this character {& ), the sound of which is continued while we can count four.Other notes, with their relative value, names, etc., will be found in the following

table.

RUDIMENTS OF MUSIC.Semibreve, orwhole note. Minim, or half notes. Crotchets, or quarter notes. Quavers, or eighth notes,

T5>"-JZt

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1234 12 34Count four to each. Count two to each.

12 3Count one to each.

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or eight Semiquavers, or sixteenth notes

iZZTi41 2Count one to every two.

4 at

emiquavers, or sixteenth notes.

1 2 ,Count one to every four.

A.11 notes of shorter duration are expressed by an additional bar across the

stems, thus jjH thirty-second notes : and thus for HH Sixty-fourth notes.

A single eighth note is written thus, N or f ; a Sixteenth thus, 5 or S00J V. / 4

s

it is only when a succession of similar notes appear that they are tied with bars

from stem to stem, thus, ["""l^^i or ^J4 4 4 4 S=

It. matters not whether the stems be made to turn upward or downward. Thesituation of the body of the note determines its tone. We frequently observethem written as in the foregoing examples, but in vocal music each syllable is par-ticularly provided for by a precise division of the stems or ties.

HOW TO STRING THE BANJO.The strings should be the same distance apart as on a Guitar. For the first

strinc get a very fine 1st Violin string ; for the second a very small 2d ; for thethird get either a small 3rd, or a large 2d ; for the fourth get the smallest 4th youcan ; the fifth must be a little thicker than the first string. If. would be better,where practicable, to get harp strings, the violin strings requiring more care inselecting, owing to the thickness not varying so much, from the fact of the violinbeing tuned in 5ths, whereas the Banjo is tuned in 3rds and 4ths.

HOW TO FRET THE BANJO.Great care must be used in doing this. The distance between the nut and

bridge must be divided into 18 equal parts. After putting your first fret on, then

again divide the space between this and the bridge into 18 parts ; putting your

second fret on, then again divide from the second fret to the bridge into 1 8 parts,

and so on until you have as many frets on as you require. The bridge, of course,must alway be kept stationary. The frets are all to be put the entire width of thefinger-board, with the exception of the 2nd, which only crosses the 2nd, 3rd and4th strings. On the 1st string you must have a small fret, an eighth of an inchnearer the first fret.

POSITION AND METHOD OP HOLDING THE BANJO.The performer should sit in a natural, easy, and erect position. The hoop or

body of the Banjo should rest on the right thigh, close to the body, so that thewristof the right will come directly over the bridge, the thumbover the fifth string,

and the first finger bent over the first string. The arm at the joint of the wrist

must be held still ; the hand must be limber at the joint of the wrist. The neck,

or handle of the Banjo should rest in the left hand, between the thumb and ftrstfinger, usually termed the fork of the hand.

Like all other instruments the Banjo can be played in all keys ; but some aremore particularly adapted to it than others. The most suitable are the keys Aand Eij : F Minor is also a very good key : and C$ Minor.

HOW TO TUNE THE BANJO CORRECTLY BY EAR OR NOTE.The first thing particularly requisite is to have the Banjo in tune ; to get the

correct tone and volume of sound, and have it best adapted to the voice It u

pitched to play in the key of E, four sharps, and A, three sharps, which are the

natural keys for the Banjo, although it can be played in any other key, but not

with the same ease.

The bass, or fourth string, must be A, the third string E, the second string Gsharp, the first string B, the fifth or thumb string, E, an octave higher than the

third string, and is the same note as the first string on the Violin.

Commence tuning the short, or thumb spring to E, or as near as you can get

it. Then place the second finger of your left hand on the first string at the fifth

mark, or fret, from the nut across the finger-board, which is E, (and is marked

for the second finger,) and tune it to sound like the short string.

EUDIMENTS OF MUSIC.

Place the second finger on the second string, at the third mark across from thenut, and tune it to the first open string, then your second, first, and fifth stringswill be in tune.

Place the second finger on the third string, at the fourth mark across, and tuneit to the second open string.

Place your second finger on the fourth string, or bass, at the seventh mark,and tune it to the third open string, and your banjo will be in good tune.

When the banjo is in tune, the following no'es are made on the open string.

A E Git BEIfllllll

-9-3rd open.

12nd open. lit open.

4th string open.

5th open.Thumb string

To play in the keys of D and Gr, tune the thumb string to D, and the otherstrings accordingly ; which will bring Gr, D, F sharp, and A, at the nut.

N. B. In playing banjo style, the notes must not he picked up with the fin-ger; they must be made by striking down with the back or side of the finger nailof the first finger, the side next the middle finger.

D sharp, on the first striug, is sometimes made with the little finger, and some-times with the first of the left hand, as the tunes may require.

This mark ^ is called a Sign, when it occurs for the second time, we mustreturn to where it previously occurred, and proceed to the paused which is placedover a double bar at the conclusion of the piece. The word Bis over any num-

ber of bars, signifies repeat ; it is sometimes accompanied with dots at the bars,

always with a line that embraces the entire strain which needs repetition, thus :

Bis.

iES =1: mNOTES, CHARACTERS, &c, USED IN MUSIC.

Musical sounds are expressed by certain characters called notes. These notes,seven in number, are denominated by the first seven letters of the alphabet, viz :A, B, C, D, E, F, Gr, and are placed on a stave composed of five lines andfour spaces, either on the Hue or in the spaces between the lines. Sometimes thenotes extend above or below the stave; the additional lines that are used are calledledger lines above or below the stave.

NOTES ON THE LINES. NOTES SPACE.

Si=N=i=^SADDITIONAL, OR LEDGER LINES.

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3

A Semibreve. Minim. Crotchet.

mw :sz =stQuaver. Semiquaver. Demisemiquaver.

6 RUDIMENTS OF MUSIC.THE LENGTH AND PROPORTION NOTES BEAR TO EACH OTHER ARE AS FOLLOWS.

A semibreve

is as long as two minims, r

or as four crotchets, I

or eight quavers,

I I

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~

y ~|A crotchet as two quavers,

I it: :?: pz -I -P- , ~~| A quaver as two semiquavers,or sixteen semiquavers,

w thirty-two demisemiquavers.

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Demisemiquavers.

DOTTED NOTES.A dot increases a note half its length, for example :A dotted r-

ffi~| is equal to | y

~~ n

semibreve, thus : R&v

^---I 3 minins : \~fc\

~^~~^ (^"H A dotted crotchet-I h

A dotted minim,thus: s^ is equal to3 crochets jz^iil A dotted quaver

is equal to 3 quavers

is equal to threesemiquavers.

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TABLE OP RESTS.The Rest implies silence to the performer, agreeable to the quality of duration of the rest.

Hemibreve rest. Minim rest. Crotchet rest. Quaver rest.

3F &~-

Semiquaver rest. Demisemiquaver rest.

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RUDIMENTS OF MUSIC.

MEASURES AND BARS.Every piece of music is divided into short and equal portions called measures,

by small bars drawn perpendicularly across the stave, or staff.

Repeat this bar.

i: iBar Measure Bar

__^_

Bis. Repeat.

i^=si-pz: ,A piece of music is divided into strains by the use of the double bar. When

dots are placed before the double bar, they show that the previous strain is to be

repeated. When after the double bar, that the strain following is to be repsated.

Double bar. Double bar with dots before. Double bar with dots after.

iiiia iiili lHiiTIME.

There are three kinds, of time, viz: common time, when each measure containstwo, or four equal parts, and triple time, when each measure contains three equalparts, and compound time, when each measure contains six, or more parts. Com-mon time is marked by the letter

_t and by figures. Triple and compound timeby figures only. The letter

.*. signifies that each measure contains the value ofa whole note.

When figures are used, they signify that each measure contains such fractionalpart of a whole note as the figures indicate, thus :

''ft:. 1

The upper figure shows the nnmber of parts, or counts ; the lower figure thekind of note to each part, or count.

1234EXAMPLES OP TIME.12 3 4 1 2

THE SHARP,(jf)

PLAT,(l2) AND NATURAL. (Jj)

The sharp is a sign which raises a note a semitone,andthe/?a< lowers a note asemitone, and the natural restores a note that has been effected by a sharpor flat toits original sound. A sharp or fiat placed before a note, is called an accidental,and affects all the notes of the same name throughout the measure in which it oc-curs. When sharps or flats are placed at the beginning of a piece of music, theyeffect all the notes of the same name throughout the piece. The sharps or flatsat the beginning of a piece, are called the signature.

There are as many sharps and flats as there are notes.

The sharps are placed, beginning with F sharp, by fifths ascending and byfourths descending. The flats are placed, beginningwith B flat, by fourths ascend-ing, and by fifths descending.

THE PAUSE, &c.

The pause ^ is placed over notes and rests, and denotes that the performermay dwell upon the note as long as he thinks proper. When a pause is placedover a double bar, it shows the end of the piece. Da Capo, or D.C., indicatesthat the performer must begin the piece again, and end at the first double bar, orcontinue to the word fine. The sign, $J1 indicates that the performer must re-turn to the first sign and end as in the DC.

THE FINGERING.

The X has reference to the thumb.The figures and letters above the staff have reference to the right hand, and

those below have reference to the left.

8 RUDIMENTS OF MUSIC.GAMUT IN THE KEY OP A, THREE SHARPS.

m

Fifth string.Left hand. Open.

A ft__mJq. MS

Open.Fourth string.

2d. f. 2d. 4th.Third string.Open. 2d.

I Second string.|Open. 1st. Open

First String. Second position. I Third position. (n. 2d. 4th. j 2d. 4th. ! 2d. 4th. I

"-

Right hand-X thumb,

-a-A

lt.'finger,B

3= -4- :;e} 5EEJ: t=":0-

C# D E F# G# A B C#GAMUT IN" THE KEY OP E, POUR SHARPS.

'0~l~W- iD F# G#

I Second string. I First string.! Open. 1st. ' Open. 2d. 4th.

Second position.2d. 4th.

Third position.2d. 4th.

-0-

=E=tEt 1D# E F# G# A B C# D# E F# G# A

As the thumb of the left hand is never used, when the first finger and thumb is mentioned, the performer will know it is intended for the right hand.

FIRST EXAMPLE, LEPT HAND.To make a strike, fingers down ; the first finger atthe first mark, or fret, marked A on the second string, the second finger on the second fret and first string, marked

C sharp. Right hand : have the wrist directly over the bridge, touch the first string with the back of the nail of the first finger, and the thumb-string immediately afterwith the end or ball of the thumb,Xraise *be fingers up and repeat the strike.

To the first strike count one two; to the next three four, and so on. To the half strike, count one, two, or three, four.A strike. A strike. A strike A strike. A strike. A strike. A strike. A strike. A strike. A strike,down. Up or down. down. down. down.

JS Open \ 2*1 \ .J^LJ^ 3d |^ Up ^ 21 |S Up \ 2d \ - Up \_

l8t XCount 1 2

SECOND EXAMPLE; A STRIKE AND A HALF.Give the strike the same as in the last example, first with fingers down ; make another nota with the first finger of the right hand on the first string, 4 raise

the fingers up and repeat, at.

iA strike Half

Left hand. Down.A strike Half.

4r-tlUshr li .nil. lfing X

Count. 1 21 St3 4

RUDIMENTS OF MUSIC.A scale, generally speaking, is a succession of seven notes ascending or descending, which consists of five tones and two semitones.

Tone. Tone. Semitone. Tone. Tone. Semitone.

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36 G. SWAIN BUCKLEY'S CELEBRATED MINOR JIG.Dedicated to S. Thalbeeg.

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Fked. Buckley.

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LET ME KISS HIM FOR HIS MOTHER. 39

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40 JACK IS THE LAD.

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42 NIAGARA POLKA,-T5

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7th po, PACIFIC SCHOTTISCHE.

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BANDUEAND POLKA.

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43

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4 4illilSiS^i

&iNAPOLEON W. QOTJLD',3 POLKA. JAMES BUCKLEY.

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A MINOK.UNION JIG: I. BUCKLEY. 45

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BUCKLEY'S HORNPIPE,

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STOEM GALOP. Arr. by james bdcklet. 47

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5th position.

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48

If:

n ! JJLY. (MAZUEKA.) JAMES BUCKLEY.**

i-g-'-ptt'-p-

- tfi

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Let

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*aH^-g^-{--tg-x-ly since ray moth-er died,not deem it brave or strong,

-0-

not a word or act give pain,

| N-fr-ft-N-N

But cher - ish, love her with your

tet!^i:g:=: :=|:&:Though Friends and kindred gather near,To let these tears so often flow,

I

Butcan - not check the ris-ingthose, who've lost a mother's

01.-0 -j J._a 1

q 1 B S, 1-0 m X

ilife, You ne'er will have the like a - gain, Then when she's called from you away A-cross Death's dark and troubled

i

,)_._.

sigh,

love.

OrCan

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i

tide,

f.

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In

the silent heart-felt tear,the pain ofmy sad woe.

*E*=aHN-N-Ni 1$ht*i -&- -0 tt:

-*-N:N1zJz1VN::iafc X

stay

tell

Of earth - 4y friends she was the best,Could I but call her back a - gain,

My er - ring, youthful steps toAnd kneel once more down by her

i I

-o-

pain

i%^Pl^l^%^yiii^^guide

:

side,

q3:

Oh doI'd love

you need not with me say,

E3333 ::^s^z:not smile because I weep,her bet-ter than be - fore.

V- -&- 1I'm lone

tiH" 4 th Barre.

ft-fi 1-

#

t#=-x*!--*-

EEE=p$!E3ES^I oS 0-TF- W- I ** -0-

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ly since my mother died.

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i

H I'M LONELY SINCE MY MOTHEE DIED. Concludedi > CHORUS. SOPRANO, or AIR.kWr-i-iI!V^

-j h j-p-j

* n gi-d--ALTO.--j-a-g-1

PADDLE TOUR OWN CANOE, Concluded. 55

*:bor - row is dear Yoa

=efc|=3F*=tej:

,

I

Pad - die my own ca

L #__, #_T_L_#__a, L_#_4_

nev - er will sigh if you - On - ly try

'zz'zz'zftzzfzdrive a - way strife in theCare-leas of wealth, If I've

o - cean of life, while Ion - ly the health to.IS .N

Pad - die my own Then love your neigh - bor

i : ami- m 1:

S-

yourself, as the

-#- *-

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^ 1|~H

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world you go trav-el

-,Mling through,

> -I > -IAnd nev -er sit down with a tear or

\--i-H3:3--'I#- I-

-frown, but pad die

_

afc=PI

your own noe.

tt" S

i-

s

4 If a hurricane rise, in the mid-day skies, and the sun is lost to view,Move steadily by with a steadfast eye, and paddle your own canoe

The daisies that grow in the bright green fields, are blooming so sweet for you,So never sit down with a tear or a frown, but paddle your own canoe.

Cho.

L 0-

56 WOULD I WERE A BIRD.Composed by Chas. Blamphin. Arranged by N. "W. Gould.

i

2*~ %rANDANTING-.

V-J ^

1/

h*-lOh ! would I were a bird,Oh ! would that I could fly,

j-iz**

-Nfr--*i=M 3 Z3Z

-0-:^::-?-p:3tfctcThat I might fly to thee,This bright and glorious day,

h f-q__;n=i=i=3t=

!*- ---#

At "Nr:*N--

N-Tfe=Jr*E*33fi

And breathe a loving word, ToTo give a sigh for sigh, To

fczfct-7 >

one so dear tothee so far a

me,

way,HowMy

-*-*

e -fIJi*-T

I-hii-J3 J

3-

happy I would be,heart would beat with joy,

Oar - ol - ing all the day,To see thee once a - gain,

-v-V-

If on - ly blest with thee, Be - guil-ing time a - wav, ThenThy sor-row to al - loy, For cherish'd is thy name, And

life would be a pleas-ure, My mind would be at rest,when the moon is beam-ing, O'er dis-tant grove and lea,3d B Al! liE

-

r_^

yi/

j

If with my on - ly treas-ure, This heart was ev - er blest, Oh,And joy - ous stars are gleaming, Then would I were with thee

2d B \ HUH.

i*- L-J i*~ -* \ *r~ u Li !* lj i ** a*-

i*WOTTLD I WERE A BIRD. Concluded.

*E33*hhjFt Er :^i^would I were a bird,

-/*V-That I might fly to thee,

1=*-^

zzzfzfzazzzzz'z- tzz fztzzz

i**ft-zTzzlzzz^zziz*

r^i j^j *^- -^ -^- *- i^j rj #j-THE LITTLE BROWN COT ON THE HILL.

Composed by B. B. Isiacs.Stm.

Ip33z^tzZlSi-M-i.?

-

And breathe a lov-ing word, To one so dear to me.

:rj=;zrc

3= zzCTzzz^zizzffqzzizzi-j

**- -*-

Arranged by N. "W. Gould.

i

- v\

*

T-

?jzfaqfel>_:-^izE^jz^z^rizzr^zzj

3=izz:==l=l^z=izz=fc^dr

I

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ar-

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v

*:-:fcJZZZzziz*zz^z;j|zlz*z zzzzz'i:

*zz^ztezizzzzzr^z:$iizzj^zzftzz-Nz^z: ;JizzzbztEirfzzfczzfzzfzz*jz

1. I re - mem-ber the lit - tie brown cot on the bill,Where T lived in the bright long a - go, And the mu -sic - al sound of the2. Long a - go in the lit - tie brown cot I was born, And there passed all my boyhood a - way, On its porch I would sit from the

It is years since I part - ed my friends at its door, When I left them to wan-der a - way. And I sigh when I think that they'd

A^dLz

-y-e1=*=^ih->- * =-'-1 *zzizz?z Mr. :ta

ir-fci* rr~

zgzzgzzzzzz^zzzjzzzpzzzjzzzzzzNzzN-zzziiQzzzzbzzz**zzz=zzzt

mur-mur-ing rill. That be - 6ide the brown cot used to flow :first blush of morn, Till the close of the long summer day,meet me no more, For they sleep in the churchyard to-day

;

Tho' to oth - era no beau - tyOr I'd play in the cool shaBut al-though in this world I'll

in it might ap - pear, That coulddy woods that were near, And mynot meet them a - gain, I will

_i jzzzpzjzzz=i-i=!-pzj 9#_. :zpqzz;zzi :zzzzz m z zzz

"

-i- 5s? lLj =p ir- i===== i i iii i.i i'f a=a=a btaa=i

58 THE LITTLE BROWN COT. Concluded

-sMf NN- T -^v N~:fc* -**V/sv rt-9=9*

wake in tbeir bo-soms a thrill,shout would ring merry and shrill,

cher-ish their memo - ries still,

Yet there's nothing on earth to my heart was so dear, As thatTill fa - tigued I'd re-turn to my Moth-er so dear, In theAnd re-membrance for- ev - er for me will remain, Of the

lit - tie brown cot on the hill,lit - tie brown cot on the hill,

lit - tie brown cot on the hill.

Buff

i '

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T

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0M--=*zse

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-

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CHORUS.

^^T^r^"M"t"^T^^~M~ir~^T"r~r~r^^~rr^

z~*t f* ^ f* !l i^zfczftzzzfdEr^fei?rc . jvfr rlii

It was low and was cold,And in winter was drear, And the winds could assail it at will,Yet there's nothing on earth to my heart was so dear,As the little brown cot on the hill.

1 0.0-0 0-#-fH Ji

? -0~

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l/-/~L0-0-0-0-0.-0.- 10-0-0-0-0-0/. K i 1 1 1 1 L -0-0-0-0-0-0

i^Mii^iiizlz:. zzzz: zzMzzzzrzizziz:

;

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*** +

r -#- 0-0-000

Iflfe?

PRETTY LITTLE SARAH. ARR. BY J BUCKLEY. 59

--*-9 ^-A^?

1. My heart is like a pumpkin, Swol-len big with love, The fair - est girl in all ere2. The first time that I met her, In a pouring rain, I proffered her my arm and nm-be

a

rel

tion, She is too good for man, Andla, She took them with a smile, I

-#

j

3

J-9^

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'

ought to he above : Her beau-ty is a credit to a nasaid I'd see her home, She thanked me with a voice so low and mel

- tion. Her fa - ther has a,low. When we ar-rived at

farm outhome, she

on the Brighton road, Andsaid she'd ask me in, Her

AN Ji00-

I-s- 22d Barre

zjzjjjz-

-z*-h-$r-ztez* r* -Nr-WV^-

F^Z?Z^Z$Z^l9^ S3ffor this pretty Sarah, of lovel'vegot a load, I'd spend a fortune on her, Ofthat I needn't speak, For what a for - tunc I must have on seven dol - lars a week,

parents they were poor; said I poverty's no sin. No doubt she thoughtme rich, Ofcourse I needn't speak, For I was doing my heav - y on seven dol -lars a week.

-j--i2d Barre.

EfeJ3*-

A24-ZZzlzZZ

.ZTMl

60 PRETTY LITTLE SARAH. Concluded.u ik /T\ AIR. V fc fcffij N fr "gfr-frT ^T"iT~frfriT C~ N

N ft-

ft; ft 1-

_:j-E_^_S_.g__^ Jg If /

lit - tie Sa - rah, Love-ly gold - en hair, Her man - ner gives to oth - er gals ing, She

gjjTiTSU FZ r>? g

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"TV

12;

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g

g

g

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BASS? zzjz zi zz]z zzj: m-

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izjzzzz^ izjzzzzzzzzzd:

fg

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-fcN*rJra'is jj. jJZC f> T^ *Z ZF IE Z3. i> g S_g_EIg ^ ^S ZZ

11z*z~^ziv_zfc:_:*vzz!~ zzzfc^z~^_zB:z^~z" "Tzr~ft"Ngzaz^j*' ~-ziz^3zzttzzzzgzzzqrzi^iz^izjzz^ztziiiz'zzqziiiqzzNfz^zNgzizazazgzgzizJzz^zzrtzzii

-9 . -j- jpr -w- -9- -^- *r -- -*. *-tt- sri- -s- -9""*

ought to he an an - gel, Miles up in the air, To marry her I'd like to-morrow morn ing.

^-^zzNzzfczpz-zNr-^-^-^-ifezNifeT-^^^i^^^^rtjjizizzgiz^zzfc^i^^

I L -*- zdz zzzjzzt in* # **-**-+ *

r=a-: 1p*lpr " mrwT '^

^pj=S==^^zzp^z^==iJziJ-HJ l, i-j-T7^1=^5Z^zzfcnE^E"-? ... . ..

3 She's got a little ancle, she's got a little foot, her pretty little fingers running taper,The waist is round and small, her mouth is best of all, with ruby lips not twice as thick as paper,She's always drest in silk, her notions they are high, altho' her stature's small, her bearings in the sky

When she belongs to me, of course I never speak, what lots of silks she'll get from me on seven dollars a week.Cho.Oh, &c.

4 Her parents they are poor, but she's a milliner, and earns large wages in the city.Some she gives her mother for her keep and board, the rest she spends on clothes to make her pretty.She never saves a cent, tho' to me she says she will, to save the expense of marriage is a sugar-coated pill.And should we have a family, but too soon I must not speak, a wife and fourteen children on seven dollars a weekCho.Oh, &c

I'LL MEET THE AT THEE LANE.by BLAHPHIN.

Sym. 5th barre. ....Arranged by napoleon w. GOULD.

61

Z000 *0*-_ 4p_-* 3-Iff- %0

20 -ris

U

b

**

-E-rrr3. I'll leave thee at

-

a-f-

62 I'LL MEET THEE AT TEE LANE. Continued.As thee my moun - tain rose.

=EEz^==Ez=[i=z^z^=zzz:=rzigiizMiig=irzfz=* -zzzzLEzz: izvThe hap - py hours a - way.One hap - py hour with thee.

I'll meet thee in the lane, when the clock strikes nine,

i=p *=m==*^=F=E^-*r=?=f=^==fc:=5^^te=5=i^=il--=i* zlizizzzzpzzSzz*

In

x_ _

Rilard.

ex-ta-sya gain, love, to call thee mine, My heartfor thee is burn- ing, My brain is almost whirling, thro' lov - ihg thee so madly, my sweet mountain rose.

0-0-0a-#--+T|= L--39-0-0-00-0-0

$--20^0^0*20 0-0-0pt^iS-iriU.

-0-\r~\-

CHORUS, AIR.

I- fi P l-5-^ 1

*- H- K I-H-aJ \-\-m

\

H

1

l\ " d" * ' zH

I'll meet thee in the lane when the clock strikes nine, In ex - ta - sy a - gain, love, to call thee mine. My heart for thee is bum - ing, MyU TENOR. S \

Ir1^-^-*-^^-^---^1 p-f-v^zzMzzirzzL-zj-ZZZp-4-

-0-BASS.

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at a**

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t*zz*z:**za 11 -0- -0- -0-

V

I'LL MEET THEE AT THE LANE. Conclude*.

brain is al - most whirling, Thro' lov - ing thee so mad - ly, My sweet mountain rose.N I fc N S tV\ /T\

3~nmi^i3

i

zlzz]-zi3-s

63

31

I^SI

,

SYM. 81 ,,9 lO i I I I I

-3z ^-f-=5r--zqz-dzTi-1--^-^-^-"3d barre. 5th bane. 5th barre. 3d barre. 5th barre.

THE YELLER GAL THAT WINKED AT ME.Music by A. M. Hernandez.

1 2 3

Arranged by N. W. GotTU).

ImIii.I-t 1 5

:-_fc: zz:zzzz -"zJLzz2d3fcjfcfc&==fcitat3t;d:d==3=X;sp3fc3==fcYour at - ten-tion I ask for a while,

im - me-diate - ly asked her name,O you should have seen her on her wedding day,

:-;

t=Uprj

To a song I'm go - ing to sing you, Its a - bout a pret-ty yel - low gal, IAnd she said it was Lu - cin - da, She said I was a stunner, And thatShe was as handsome as Ve - nus, When the par-son made us one, Ah

'faZ2~

tit -* :

64 THE TELLER GAL THAT WINKED AT ME. Concluded.

ii5=p-p_p===i -p-m*E&E&=!=tt=F=?-&P9/M-t

fcOid-#3?-

:-F*-

*^-#-Hft--f inmet while I was walking, And she threw such a glance at me,I for life had won her, And mar - ried we should be,

then the thing was done, And I never felt so happy in my life,

3r* 4S- ;:g

I

She was pret-ty, and as sweet as a flow'r,So I dress up and walk to her house,So I bought a lit - tie place up town,

-a- **-

--H-

i

-0-

tr- 1J-

SuchEveryIf you

i>msr

x

]#->-

###- *:- #-

-y?*? v**-clothes you nev-er did see, She'd a dar-ling lit - tie bon-net With a flow er garden on it, Had the pret-ty gal that winked at me.

af - ter-noon a - bout three, And I glanc-ed up at the win-dsr for to see my dear Lucinda, She's the yel-low gal that winked at me.go by, stop in and see, You'll be welcome by a wife, That is dear to me as life, She's the yel-ler gal that winked at me.

=j=l!

CHORUS,

my, she look'd so sweet, And she dressed so neat, With her tilt - ing hoops and

--fj:ir-^

+

rP

*r~-

:=l==t*=*

iirjd=3razzza=^z=zq>zi

THE TELLER GAL. Concluded. 65

U-gutf-K\-N> IVi,

;

NN-tt, z=

pret-ty lit -tie feet, As she went skipping a - long. Pret-ty lit - tie yel-lar gal I met while I was walking, And she

000-^/ /-

i:=11=: :ti=pr qTlr*i

urn

#

:q--0--0--0- 9= =:

^-f-^H-r--#-:s$=$=fei=N ^-k\i-

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f

66 MAGGIE MAY.Composed by Moors.

ait

1, _d_^_.

-1:

J:

=t#r-^ ~ ii

---33=

*=3=&v3e^

Arranged by N. "W. GOULD.

-I-E3=aEa5S=fc5Eg3^p||-t

1. The spring had2. The years rolled3. May heaven pro

%-% s

come,

on,

- tect

the

Yetme,

flowers in bloom. The birds sung out theirstill I loved. With heart so light andFor her sake I pray both night and

Down by the lit - tieAnd nev - er will thisThat I ere - long may

singingdeath would take athough I'm far a way

MAGQIE MAY. Concluded. 67SOPRANO & ALTO.|:fe^r*-F*=PJJfzz^t:g-g=^-5-5zzgr|zg^zfe^rigz:^g= izzNzzrizzzzjzzzJv

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IISTI3EX.Abraham's Daughter 21Andrew Leavitt's Jig *

.

13Annie Lisle 21Anvil Chorus 32Aunt Dinah's sauce-pan 30Bandurand Polka 43Ben Cotton's clog dance 52Billy Morris's Jig 14Blue bell Valse 28Boby Nickles' Jig 12Bolton Clog Hornpipe 14Budworth Jig 45Buckley's Hornpipe 46Bully for All 22Charleston gals 19Chickahominy 29Chimes on the bells 40Clog Hornpipe. .... 11Congo Jig 27Contraband Jig, 29Converse Jig 42Cure 37Dan Bryant's Jig 46Dan Emmet's Reel 46Darling Nelly Gray 20Dearest Mae 18Dick Sand's Hornpipe 38Dont you hear the bulgine 35Do they think, 17Empire Hornpipe 49Excelsior Rondo 48Fandango 16Fisher's Hornpipe 39Fred. Buckley's Hornpipe 51Gen. Burnsides Jig 37

Gen. Pope's Jig 13Glory Hallelujah 12G. Swaine Buckley's minor Jig 36Hayes' clog Hornpipe 52I'll meet thee at the lane 61I'm lonely since 53Jack is the lad 40Jedediah's clog Hornpipe 38Jim Lee's Jig 39Joe Murphy's Jig 49John Anderson Jig 17Johnny Campbell's Jig 37Kate Kearny 26Kettle drum Polka 41Jubilee 15Ladies in de parlor. Reel. 18Lazy Joe. Jig 26Let me kiss him 39Lily Mazurka 48Little brown cot on the hill 57Lon Morris' Jig 15Lor bless de Ladies 23Maggy May 66May flower Schottische 34Napoleon W. Gould's Polka. 43Nelly was a lady 18Niagara Polka 42Nigger's frolic 24Nine o'clock bell. Jig 20No one to love 38Old lame horse 23O would I were a bird, 56Pacific Schottische 42Paddle your own canoe 54Pat Malloy's Jig 14

Pat the boy's Jig 40Pea-nut girl 25Pearl waltz 28Picayune Butler 20Pretty little Sarah 59Ring, boys, ring 21Sally come up 35Savory's Jig 13Scotch Jig.... .'.. 33Sheridan's Hornpipe 51Soap fat man 19Snapping turtle Jig 33Spalding's Jig 50Storm Galop 47Sugar in the gourd 24Sylpbides Mazurka 25Tenpenny bit 23Tiger Jig 17Toe de mark Jig 34Tonawanda Hornpipe 27Turn up Jack. Jig 19Uncle Ned 19Union Jig 45Varginny tobacco plant, 28Villikins 22Viva la America 49Von Bonhorst's Jig 44Waltz 12When I saw sweet Nelly 11Willie, we have missed 22Wood up Quickstep . . 31Wrecker's daughter 30Yeller gal 63Ybrktown Polka 34

-HNTH1 BOOKS FOR CHOIRS, CHORAL SOCIETIES AND CONVENTIONS:"

($1.25.) By Johnson, TenneyAMERICAN ANTHEM BOOK,and Abbey.A fine collection of more than one hundred Anthems, which can be sung by any-

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ANTHEM HARP. ($1.25.) By W. O. Perkins.A general collection of new Anthems, Motets, Sentences and Chants, for the use

of Chorus and Quartet Choirs. The music is, in a large number of cases, original,while the selected pieces have been gathered from the best sources, making a bookwhich is thoroughly musical, thoroughly good, and, in svery way, fitted for effectivework by choirs.

CHORUS CHOIR. ($1.50.) By Dr. Eben TourjerThis is a collection of Anthems, Motets, Chants, etc., selected from the best

works of the most eminent composers. It is more particularly intended for choirs,but can be used to great advantage by choral societies and conventions.

CLARION. (50 cents.) By L. Marshall.This is a book which contains, in a compact form, quite a large number of

Am hems, Motets. Sentences, etc., chosen from the works of eminent composers,and designed for the opening and closing of Church service.

GEM GLEANER. ($1.00.) By J. M. Chadwick.A collection of Anthems, Motets, etc., adapted for Chorus Choirs. The greater

portion of the numbeis are by the author, although there are a few compositionsand arrangements by writers of equal ability and reputation.

EMERSON'S ANTHEM BOOK. ($1.25.) By L. O. Emerson.A new anthem book, embracing a great variety of new music, much of which is

original, while a goodly portion has been selected and arranged from the composi-tions of the best known authors and writers.

DANKS' ANTHEM SERVICES. (Boards $2.00 ; Cloth $2.25.)This is a collection for Choirs, which contains a great variety of Anthems for

Church service, to which the most celebrated composers have contributed, andwhich has been compiled with care and with due regard to the wants and tastes ofChorus and Quartet Choirs.

PERKINS' ANTHEM BOOK. ($1.50.) By W. O. Perkins.This is another book of Anthems, preceding the publication of the "Anthem

Harp," by the same author. It contains a choice collection of Anthems for theopening and closing of service as well as for all public occasions where such abook is needed.

SABBATH GUEST. ($1.50.) By Emerson and Morey.This is a first-rate collection of good Anthems and Choruses, of moderate difficulty,which are all adapted for general church service. There is a large variety ofopening and closing pieces, of moderate length. Chants, Responses, pieces for satoccasions, besides selections for occasional use in concerts and conventions.

THE CHURCH OFFERING. ($1.38.) By L. O. Emerson.This book was originally compiled for choir use in the Episcopal service. It cob-

tains a hundred Anthems, Motets, etc., of the best order, is a good book for anychoir, and as an Anthem book is extensively used. It has the greatest variety ofAnthems, Venites, Cantatas, Jubilates, Glorias, etc., which has ever been

INSTRUMENTAL INSTRUCTION BOOKS.The following books are among: the best of the very larsje number of instruction books published by Ditson & Co. The smaller and cheaper booki

contain good introductory courses to the larger and higher priced ones, which ;^re thoroughly first-cjass methods.Any book mailed, post-free, for retail price.

FOR THE PIANO-FORTE.Richanl.onn Slew Method $3.25H*. E. Conservatory Method 3.25Peters' Eclectic Piano School 3.25Eebert and Stark's Piano School. Farts 1 and 2, each $3; PL 3, $4 ; Pt. i, 6.00Mason and Hoadley'a System for Reginners 3.25CSrone's Sew and Progressive Method 2.50

Large ami complete methods.

Relink'* Analytical Method Paper 75 cts.; Boards 1.00Sydney Smith's Piano Method. 1.50Clarke's (W.H.) Dollar Instructor 1.00Winner's Mir School for tbe Piano 75

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Mason's System of Technical Exercises 2.50An excellent companion to any instruction book.

FOR PIPE, REED or CABINET ORGAN.Clarke's (W. II.) Ha- qsnic School for the OrganClarke's (W. M.) Slew Method for Reed OrganClarke's (BC. A.) Improved School for/ Parlor Organ.Emerson (The) New Method for Reed Organ

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Bellak's Method for the Org-an .Paper 73 cts.; boards, |UIClarke's (W. II ) Reed Organ Companion .. 2.0*Johnson's Parlor Organ Instruction Rook. (Abridged ... 1.0CMack's Dollar Analytical Method for Cabinet Organ 1.00Stainer's Organ Primer 1.00Winner's H'ew School for Melodeon 73

Flementary instruction books for hpginneis.

FOR THE VIOLIN.David's Violin School Part 1, boards, $2.60; Part 2, paper, $3.00Hill's Practical Violin Method 2.50Eistemann's Method of Violin Playing 3.00Wichll's Voitng Violinist, (English, German and French text)Eessenden's Modern School for ViolinClarke's Dollar I not ractor for ViolinWinners Vew Nchool for the Violin

FOR THE VIOLONCELLO.Erles anil Suck's Violoncello InstructorRomberg- Violoncello SchoolWinner's Easy System for tbe Violoncello

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FOR THE CORNET.Arhurble's Cornet Instructor ..92.58Eaton's Sfew Method for Cornet 1.08Winner's Jfew School for Cornet 71

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843 Broadway, New York.LYON & HEALY, Chicago.

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