xt72bv79w56j https://exploreuk.uky.edu/dips/xt72bv79w56j/data/mets.xml White, B. F. (Benjamin Franklin), 1800-1879 compiler King, E. J., compiler 1860 475+ pages, music, 15 x 23 cm. Call Number: M2117.W59 S3 1860 Provenance: Niles, John Jacob (Special Collections copy)Bert T. Combs Appalachian Collection books M2117.W59 S3 1860 English Collins Printing House Contact the Special Collections Research Center for information regarding rights and use of this collection Bert T. Combs Appalachian Collection Tune-books Hymns, English Choruses, Sacred (Mixed voices), Unaccompanied The Sacred Harp: a Collection of Psalm and Hymn Tunes, Odes, and Anthems, Selected From the Most Eminent Authors, Together With Nearly One Hundred Pieces Never Before Published, Suited to Most Metres, and Well Adapted to Churches of Every Denomination, Singing Schools, and Private Societies, [approximately 1860] text The Sacred Harp: a Collection of Psalm and Hymn Tunes, Odes, and Anthems, Selected From the Most Eminent Authors, Together With Nearly One Hundred Pieces Never Before Published, Suited to Most Metres, and Well Adapted to Churches of Every Denomination, Singing Schools, and Private Societies, [approximately 1860] 1860 1860 2023 true xt72bv79w56j section xt72bv79w56j MlNY héfé‘fiéifiin object; h: time obse existed, 1 and taste ‘will be 1 sing, or ~ benefit th '7' life, and to a gene ‘.v" -I W." I‘- Hami N. B. all of w} a _ \. Vi MANY eff I . . ' orts navvbeen made-o please the public With a collection of Sacred Music; and none but those who make. the effort, know how difli lt' ' . . v -' on ‘t 13 t0 homplish ll; task. The Compiler of this work 0 accomPhSh this desirable object havin ta . . time ob _ g hught lrsrc for thtlast twenty years, and being necessari servmcr t ,' .t - . . . . . . . D at “as in that C a Variety of church musrc, has in this work endeavoured to supply that defic1ency which heretofore That such a compilation is needed, no person of piety, observation, has spared no labour or pains in trying t ly thrown among churches of various denominations, and all the ex' t ' L’ an: :1: by {fidemg all th\church mtic within his reach, in one bOOk- e , W1 eny, Wile the chUches may be supplied from this work, others have not been forgotten-or neglected; a great variety “5’ "will be fOund - t . sing or d . :luted to Sl‘gmg'SCllols, private societies, and family circles; in fact, the Sacred Harp is designed for all classes who esrre ‘ , . , , ' . . . . . benéfit th bl.Olsmg. Tle .Lompizr has not aimed at greatness or self-aggrandizement, but has desued, in his humble posrtion, to e U . . . . . . . . . p 1c In general .1and theIfore has set out this work in a plain, easy, and familiar style; and havmg passed the meridian of life: and entir ' el v , . . . . . . . ‘. y withdrawn in the usmess of teaching, 15 disposed to leave this work as a specrmen of his taste, and recommend it r' to a enero ' I' i ‘ f (led .' g US PUth» P aylng d that lmay answer in nu the purposes inten . “y i B: F. HXTE- at Hamilton, Harris (70.. Georgia. ril 18 , N B The H - ' ' ar Is a l . . , - P se-ectmn ‘ them; mment authors now extant; together With nearly one hundred tece under our immediate inspection expressly for ' all Of “'Iiiph h . , ave - . been harmonr nd Rug“ ., \ X .. INTRODUCTION. A Strains scnoon, to learn and practise Sacred Music, should be a solemn place—a place of prayer: for it is as solemn a business to learn to sing the praises of God as it is to learn the word of God. A singing-school should be of the same character as a Sabbathschool or a Bible class; it is, in part, of the same class of schools, and should be conducted with the same solemnities. We think it as much the duty of those who have the ability, to learn to sing the praises of God as it is tc learn his word: and no parents or guardians, there- fore. should consider their religious education, nor that of their children, com- plete, without a knowledge of sacred music; nor think they are at liberty to sit silent in the sanctuary, to sing or not, as they please. The gift of a talent to sing, implies an obligation to improve it, and not to offer unto the Lord the halt and lame, but to cultivate the voice that they may sing to edification, and not to be an annoyance to every one near them. Sacred music, when sung in a proper style, will generally produce a religious effect in a greater or less degree. We have had the pleasure of seeing, at public rehearsals of sacred music, very ~’ pon the singers, deep and strong religious impressions ride, 110‘ 0“ upon the congregation: and when such vrdS as “The Lord is in is place, We see his smng face; Trembling we )W adore 1; Humny we 1).! before hi _ ' f 1 biower, and felt s were sung, it seemed that every one prem ‘3 t tover, very exten '- of the majesty of Jehovah. We hakaOWn, ’their first appear general revivals of religion commeie, and nings follow whenmd u singing-schools. But who ever an SUCh tact of public rehearsal wa music was practised in the school, 0PM“ th/were awake to their duty 0 display 1 We think it is time the 015112111 Pl this subject. OF MUSIC IN GENERAL. Music conSISts of a succession of pleasing sounds, with reference to a pe- culiar internal sense implanted in us by the Great Author of nature. Considered as a science, it teaches us the just disposition of sounds; and as an art, it enables us to express them with facility and advantage. The tones of music differ from sounds in general, because they vary from each other by fixed inter- vals, and are measured by certain proportions of time. There is, indeed, in good speaking, a regularity to be observed, which has some resemblance to this '3: and to the orator we frequently use the epithet, musical; but the inflections he voic ' seech are more variable, and slide as it were by insensible de- » ' r e limited to rule; whereas the gradations of musical . n are brought 3 an uniform standard. 1 Harmony. Melody is the of single sounds. Harmony e time. Mot " c‘ «if ts, I» _ rm and essential qualities of musical harmony Of ““1095 parts. The 0 p nd proportionate duration. The sounds are, relative acuteness tgrav gravity. Bodies of unequal size, first preperty _15 the“: relative $23355 5 respect, and are said to be grave length, or tensxon,emit sounds; d ”30’3“: viz., a man’s voice is more or acute. Human v01ces diffem h ‘1: moves from a grave to an acute , . . . grave than a woman s, and W? t 6 IS term it high or low, sharp or flat,- sound, it 18 said to ascend. K" "Vibe necessary distinction. grave 01' acute: any of ”1”?“ nsi Ollfll continuance; and here, without" “1.9 “3’” property 15 me p1 me, a difference of movement aldne varying the acuteness grd’i‘b usic, such for example is the drum may constitute an "HP teem] he celerity with which they succeed where the tones are. ‘ 1Y ‘11:] "‘ en, of musical sounds, are. e and each other The P” tpal ." these two qualities, is chic ‘ Q?ap -. . tune; ant to the r- y co" _ f muswai art. "- ,4 _' ‘cribe ,1 ' err! . a ' ‘ RUDIMENTS 0F i‘nE Science of Music is divided into three departments, Melody, Rhythm, and Dynamics, which embrace all the elementary principles of music. RHYTHM relates to Length, and represents notes, rests, etc., as long or short. rel-es to Pitch, and represents sounds as high or low. f‘fl represents sounds as soft or loud. SCALE 0F NOTES. ;. Q. How many marks of sound, or kinds of notes are there used in music? M. There are six kinds of notes used in music, which differ in time. They as the semibreve, minim, crotchet, quaver, semiquaver, and demisemiquaver. *v'ng scale will Show, at one View, the proportion one note bears to is equal in time to Minims, Crotchets, Eight Qu avers, Sixteen Semiquavers, Demi- semi- ‘flquavers. MUSIQ Manon! DYNAMICS relates to Force. Q. Explain the preceding scale. .fl. The semibreve #9— is now the longest note used; it is white, without a stem, and is the —‘ measure note, and guideth all the others. The minim :; is but half the length of a semibreve, and has a stem to it. _,__ —. The crotchet? is but half the length of the minim. and has a black head and straight :__—_ stem. The quaver is but half the length of the crotchet, has a black head, and one turn I to the stem, sometimes one way, and sometimes another. — to the stem, which are likewise various. The semiquaver E is but half the length of the quaver, has also a black head and two turns ’ The demisemiquaver :V: is half the length of a semiquaver, has a black head, and three turns to “V.- its stem, also variously turned. Nora—These notes are sounded sometimes quicker, and sometimes slower, according to the several moods of time. The notes of themselves always hear the same proportion to each other, whatever the mood of time may be. Q. What are rests. A. All rests are marks of silence, which signify that you must keep silent so long a time as it takes to sound the notes they represent. 5 $ Rum “I nus-rs. ' Demisemi- Semmreve Ilium. Crotchet. Quaver. Semlquaver. quaver. - l" "l V V - J l V v V Two Ban. Four Bars. Eight Bars. , I I I I > f! l I Q. Explain the rests. .11. The semibreveror measure rest, is a black square underneath the third line. The minim rest is the same mark above the third line. The crotchet rest is something like an inverted figure seven. The quaver rest resembles a right figure of seven. ‘ The semiquaver rest resembles the figure seven with an additional mark to the left. The demisemiquaver rest is like the last described, with a third mark to the left. The two bar rest is a strong bar reaching only across the third space. The four bar rest is a. strong bar crossing the second and third space and third line. The eight bar rest is two strong bars like the last described. A dot set to the right hand 0 of a. rest, adds to it half its . _. N- length, the sameasa pointed k {K i II F JR .7 Jrv {v a: {It} .31 note, thus: I ‘ 3—; O 2. MOODS OF TIME. Q How many moods of time are there used in this; ‘ ‘l .1}. Seven; three of common, two of triple, and two of compound. The ori- ginal first mood of common time and the third of triple have been dispensed with. they being but little used in the present dav MENTS 'l OF MUSIC. 3. The first mood of common time is known by COMMON TIMI- 12 l 2 1 2 a figure 2 over a figure 2, + + + havmg a semibreve for a n ' 1 measure note, or its equi- _,4 valent in every measure; 0 I: D D sung in the time of 3 se- [ If conds to the measure, 2 du d u d it beats with the hand, one down and the other up. The second mood is 12 1 2 l 2 known by a figure 4 over + + y + ‘ a figure 4, having the A same measure note; sung 3‘ TIE in the time of 25 seconds T J 1 to the measure, two beats 1 l as in the first mood. d“ d u d u The third mOOd is 12 l 2 12 l 2 known by a figure 2 + + + over a figure 4, having :1 a minim for a measure _.6 _ note; sung in the time A of 1; seconds to the measure, and beaten as clu d u du d u d u d u du the other two moods. Tan-u TIME. s 4. The first mood of triple time is 123 I 2 3 l 2 3 1- known by a figure 3 over a figure 2, + l + I having a pointed semibreve for a mea- o D . " sure note, equal to three minims, &c.;fi ‘U D—IZl':L I .4 sung in 3 seconds to the measure, three , l I : I beats with the hand, 2 down and 1 up} ddu , a d u d d u The second mood of triple time is 123 i 2 “ / , 123 known by a figure 3 over a figure 4._ ._ having a pointed minim for a measure 3 note, equal to 3 crotchets, 6 quavers, &c.; ”,1 F sung in two seconds of time to the mea- 1* sure three beats. ? down and 1 up. ddu COXMUHD Till. 6. The first mood 0! compound time is known by a figure 6 over a figure 4. having a pointed semi— ._ breve for a measure note; sung in the time of 25 ‘ " seconds to the measure, two beats with the hand, d u d u d u d n du one down and the other . _ up. The second mood of compound time is known by a figure 6 over a figure 8, having a pointed minim for a measure note; sung " in the time of 1; seconds to the measure, two beats d u d u d u d u d u as in the first mood. Q. What do the figures over the measure, and the letters d and u under it, in the above examples of time, mean? .4. The figures show how many‘beats there are in each measure, and the let- ter d shows when the hand must go down, and the u when up. Q. What general rule is there for beating time? '49. That the hand fall at the beginning, and rise at the end of each measure, in all moods of time. 1212 l 2 12 12 0 1212121 2 12 or THE seven“. moons or TIME. 8. Q. Why are the first three moods called common time moods! .4. Because they are measured bv even lumbers. as 2, 4, &c. Q. Why are the next We called triple n :ods ' .3. Because they are measured by odd numbers, as 3, &c Q. Whv are- the remaining two called compound moods‘! A]. Because they are compounded of common and triple time; of common time as the measure is divided equal; ot triple time as each half of the mea- sure is threefold, havingihree crotchets, three quavers, or their proportion to ’ —-.<.. a .\ >..--F"'~ ., , . RU DIMENTS OF MUSIC. . 7 OF ACCENT. mums or AQCENT. +, full accent. 1, half accent. 7. Accent is a stress of voice or emphasis on one. part of a sentence, strain. or measure, more than another. In the two first moods of common time, the full accent is placed on the first part, and half accent on the third part 01' each measure. (N. B. Each measure admits of adivision intt four parts.) In the third mood of common time the measure is generally divided into two parts. and the accent is on the first part; if divided into four parts, it may be accented as the two first moods. Triple time is divided into three parts to each measure, and the accent is on the first and third parts. Compound time is divided into six parts, and the accent is on the first and fourth parts. In all cases of accents, the first in the measure is full, and the second, partial. The figures which are used to express the time of the several moods, are to be used single; the under figures are aliquot parts of the semi- breve, and the upper figures showing the number of such parts in a measure, 2 to wit: a means two minims in a measure; 3 means four crotchets in a mea- 2 . sure; -, two crotchets, 6w. In a word, the under figure shows into how many 4 parts the semibreve is divided, and the upper figure shows the number of such parts in a measure; and so of all the movements of time that may be expressed by figures. OF MUSIC. 8. Q. W hat is music? A. Music is a succession of pleasing sounds. Q. On what is music written! .12. On five parallel lines including the spaces between them, which is called a stave; and these lines and spaces are represented by the first seven letters in the alphabet, A, B; C, D, E, F, and G. These letters also represent the seven sounds that belong to each key-note in music. When eight letters are used, the first is repeated. Q. How many parts are there used in vocal music? J1. Commonly only four, viz.: Bass, Tenor, Counter, and Treb.e' and the letters are placed on the staves for the several parts in the foltowmg order. commencing at the space below the first line in each stave. .. .. any“, wfifikwi~ {:1 “Magma, . ‘ RUDIMENTS nu STAY! xu-unnn B me 0 Space above. A law—: Fifth line. G sol a Fourth space. F Clef 75 F {aw—g Fourth line. ‘7 E law D Third space. D sol—0 Third line. C faw A Second space. —- B me-—O—Second line. A law E First space. C sol—G First line. F faw A Space below. TENOB 0R TBEBLE STAVE NATURAL. G sol a Space above. F law-5 Fifth line. E law D Fourth space. D sol—Q—Fourth line. C faw A Third space. B me—-O——Third line. A , law E Second space. G Clef C sol—C Second line. $1 F faw E. First space. . E law-Cl—First line. Space below. D sol O COUNTER STAVE NATURAL. ’ A law 1: Space above. C sol—0 Fifth line. F faw [; Fourth space. E law-2 Fourth line. 5 D sol a Third space. 0 Clef ' C faw-b Third line. B me 0 Second space. A law-:J—Second line. G sol 0 First space. F— ‘ faw-k First line. B _ . law D Snace below. A OF MUSIC. You may observe that the letters are named or called by the names of the four notes used in music. You see in the preceding staves that F is named faw, G so], A law, B me, C faw, D sol, E law, and F faw again; every eighth letter being the first repeated, which is an octave; for every eighth is an octave. 9. Q. How many notes are there used in music; what are their names, and how are they made? fl. All notes of music which represent sounds are called by four names, and each note is known by its shape, viz.: the me is a diamond, faw is triangle, sol is round, and law is square. See the following example. me faw sol law Round. Square. Triangle. Q. But in some music books the tunes are written in round notes entirely. How do we know by What names to call the notes in these books? A. By first finding the me, for me is the governing and leading note; and when that is found, the notes on the lines and spaces in regular- succession are called faw, sol, law, faw, sol, law, (twice ;) and those below the me, law, sol, faw, law, sol, faw, (twice°l after which me will come again. Either way, see I the following example. I I a 1 I L -Q. 7;- This is the rule for singing round notes. You must therefore observe that the natural place for the me in parts of music is on that line or space represented by 1! ButifBbeflat,b,meison..................... ‘ .0 “39‘ I HWV l l l ' l L— 0....Cynueutiluoou BbandEb,itison......................................A. Bb,EluandAb,itison................... ..... P Bb,Eb,Ab,andDb,itis on............... ........(1 Ibee sharp,#,meis on . F FeanngJtison..." ......... ....... .. .0 F§,U#,andG#,itison .......... .. ..... ... ..... . .t} F£.C#',Ge andDendsnu... .\ w~w~r ,. ,5,“ . _ , , . _ - RUDIMENTS OF MUSIC. 9 As in the following example, viz.: Mr. 1n its NATURAL it place. Tenor or treble all. ME, transposed by flats. B and E flat, B, E, and A flat, me is in A. me is 1n 1). ME, transposed by sharps. F and C sharp, ma F, C, and G sharp, is in C me is in G. B, E, A, and D flat, . . F' sharp, me is me 1s m G. ' III F, C, G, D, sharp, ms is in l). Counter ME. Bass 11:. 13. The G Clef stands on G, second CHARACTERS USED IN MUSIC. line of the tenor or treble stave, and 554m crosses that line four times. It is always 10. A Stave 01‘ staff is five parallel lines, Leger “ne—— —— used in tenor and treble, and sometimes \J} on which notes and other musical charac- in counter. “31's are wrltten. 24f .. 1%,; £5:Z£.‘.i“.i:.fif£§l§ :32: $125? on c .1... :—~- ~ ' —-—— - , line4 is used onl in counter. :- brace such notes as may transcend its x ”5“““9 ’ y boundary. a | - —— 12, A Brace is drawn acrosg the first . 15. The F Clef 18 placed on the fourth if'l' \ end of a tune. showing that all the parts 11119 0f the stave, and belongs to the bass v enclosed are to ac sung together; and the (‘1‘ lower part In musm. order of thmc parts 18 as follows: the lowest is Bass; next above, Wl‘enor , and, if but tl ree parts. the third 13 Treble; out ‘v‘~g it the Counte1 is added, the fourth part is Treble. and the third. Counter 16. A single bar is a plain line or mark across the stave, and divides the time into equal parts, according to the mood of time and measure note. 10 RUDIMENTS VI. A measure note is a note the: fills a measure; i-e. from one bar to anomer, without any other n te or rest. 18. A dot or point set to the right hand of a note, adds to that note half its length; and if placed by the first note in the measure, it diminishes from the succeeding part of the measure, by reducing the next note to a smaller denomi- nation. If the point° is placed last in the measure, it reduces the preceding note to a smaller denomination. The point never extends its influence out of the measure in which it is placed. EXAMPLE. A pointed semibreve is equal to three minims; a pointed minim to three crotch- ets; and a pointed crotchet to three qnavers, &c. 19. A Flat' set immediately preceding or before a note, sinks it half a tone; i.e. causes it to be sung half a tone lower than it would be without the flat. c.- 20. A Sharp set before a note, raises it ‘half a tone; Le. causes it to be sung half a tone higher than it would be without the sharp. -IJT' 21. A natural restores a. note from flat or sharp to its natural sound. 22. A Slur over or under any number of notes, shows that they must be sung to one syllable, gliding softly from one sound to another. The tails of the notes are often joined together, which answers the same purpose as a slur. T we V3: O We recommend singers to omit accidental flats and sharps. unless they understand them properly. OF MUSIC. A —\ _ 23. A figure 3 over or under three notes, _ 3‘ ——T kTF'T -—-——§———~ is a mark of diminution, and shows that ' 1 -l—l— | - J_§_ they must be sung in the time of two of l .' l I I the same kind, without a figure. 3 0| d 'r 5.....2 ______tr thus . m...— 24. A Trill shows that the note over ':F:;:F_' ‘ which it is placed should be warbled with l I . I a soft roll. . ' ‘ ‘ i 25. A Direct shows the place of the ‘W' succeeding note on the stave. — - , 26. A Staccato is seldom used in vocal music. The notes over which it is placed should be sounded distinct and , __ emphatically. 27. Appogiatura, or grace notes, are P _ small extra notes added and set before or L I after regular notes, to guide the voice more ‘ gracefully into the sound of the succeed- ing note. -28. The Double Bar shows the end of a. strain or line of poetry, and sometimes where to repeat. ' .— 29. The Hold is without definite bounds; the note over which -t is placed is always _.___.____-A _ ._._._ _‘-- . .. held longer than its usual sound, and is to 3:” be swelled with strength to the centre of T‘”""‘:: the note, then the voice to echo of into -- _. soft tone. to the end of the note or sound. ~:; ‘4. ‘~>« RUDIMENTS OF MUSIC. 1 I so. A Repeat shows that the tune is to be sung twice from it to the next double : bar or close. \ 31. Figure 1,2, or double ending, at the end of a strain, or at the end of a tune, shows that the note or notes under 1 are to be sung before you repeat, and those under 2 after omitting those under 1 ; but if the notes are tied together with a slur, both are sung the second time, as in the second example. 32. A Close shows the end of a tune or anthem. 33. A Prisma denotes a repetition of preceding words. \ H" 34. Choosing notes are notes set one immediately over another in the same stave, either of which may be sung, but not by the same voice. If two persons are singing the same part, one may sing the upper, and the other the lower notes. 35. A Syncopation is where notes are driven out of their common order, by commencing in one measure and ending in the next, and tied across the bar with a slur, representing the same letter; but if they vary from the same letter, it comes under the denomination of a slur. [n all syncopated notes both notes are sounded, and but one called by name; (that is the first.) 'called, viz.: if they all represent the same letter. ‘» 36. A Uouplet is where two or more notes are tied together in the same mea. sure, embracing both accents (due to the measure) Within its limits. (it there be two ;) in this case all the enclosed notes are sounded, and but the first one But if thev varv trom the same letter, it breaks the couplet. and is denominated a slur. + v Examples of Coup‘ets. 37. Q. What is meant by syncope or syncopeed notes? A. It is when a note is set out of its usual order, requiring the accent to be upon it, as though it were in the usual place of the accent, as in common time, . having half the time of the measure in the middle; as a minim between two crotchets, or a crotchet preceding a pointed minim, or a crotchet between two quavers, 65c. ‘ OF THE CLIFF OR CLEFJ‘S. 38. This character derived its name from two Latin words, (Clavis signata,) signifying a sealed key, and is set at the beginning of every piece of music, and serves as a key to open the scale of characters, and fully determine their im- pert. If this character is set high on the stave, the music runs low; while, on the contrary, if set low, the music runs high; because the letters of themselves are independent characters, and are thrown above the cliff which stands low or. the stave, and below the cliff which is set high on the stave, (for instance :) the F cliff stands on the fourth line of the bass stave, and is a third from the top 01 that stave; and the G cliti‘ stands on the second line of the tenor and treble stave, and is the third from the bottom of that stave; the alto or counter, occu pying the precise centre between the other two; thus we see the bass assigned to the gravest of male voices, and the tenor to the highest of male voices; the treble to the most shrill female voices; the counter to the gravest of female, and boys voices; unless the counter be written on the G or F clef, and if so, take the best and most acute voices of both male and female, and perform it on the octave pitch. r ,x ; , ' RUDIMENTS ( )l41 M USIC’, THE GENERAL SCALE, AND RULES FOR PITCHING OR KEYING MUSIC. 22 . .. . .................. . ............ .......... ......... Alt G space above 501 21 ... ..... . .................... .. ........... F——-—fifth1me——— faw 20 ...... .............. g E' fourthspace law 19 . ........ . ........... . ............ 53 —————-——D——fourthiine sol 18 ................ . ............................... ....... . ...... CD 0 thirdspace faw 17 .................. .......... . ............................. .......... ...... B’ thirdline —— me 16 ........... .. ...................... . ........... . .............. . ........ A 2 secondspace law 15 . . . . . . ..... . .............. . . . . ............................................ space above G E second line sol 14 .. . .. . . .. . . .. . ....... . ..... . ................ t———————- fifth line F—————Eq first space faw 13 .. . .......................... :3 fourth space E’ first line of Treble stave —— law 12 ......................................... 53 ,_____ fourth line—D ........ ..... ..... . ........ . sol 11 ....................... . ................. m thirdspace C ....... ........ . faw 10 ......................... space above B' —— thirdline ....... .. ...... me 9 fifth line A-—‘5 second space ...... ..... ..... . ...... law 8 fourth space G 5 secondline . sol 7 g g——— fourth line F-——E"‘ firstspace .. faw 6 g thirdspace E" firstlineofTenorstave————-———-— law 5 m third line—D .................... . sol 4 3 secondspace C NuturalkeyoftheMajm-mode' faw 3 g -—secondline-—-B‘ ——————-——— ....... . ............ ..... me 2 A firstspace Naturallieyofthefllinormode ............. . ....... ....... law 1 ~G—firstlineoftheBass stave-—-— .......... . ...... . ...... sol 39. The above is a representation of the general scale, showing the connection of the parts, and also what sound of the general scale each letter, line. or space in either of the octaves, represents; for instance: A, the minor key, occupies the 2d, 9th, and 16th sounds of the general scale; C, the natural major key, the 4th, 11th, and 18th. Thus it will appear that every octave being unison, are considered one and the same sound. Although the last in the bass is the key- note, and in case the me is not transposed, will either be on the 2d and 4th de- grees as above stated, yet with the same propriety we may suppose them on the .‘th, 11th, 6L0. degrees; for when we refer to a pitchpipe for the sound of either or the foregoing keys, if it be properly constructed, it will exactly correspond to the 9th. 11th, &c. degrees of the general scale. Then by descending the octave, We get the sound of the natural key; then by ascending a 3d, 4th, or 6th, as the tune may require, we readily discover whether the piece be properly keyed. If we find, after descending the octave, we can ascend to the highest note in the tenor or treble, and can pronounce them with ease and freedom, the piece may bx said to be properly keyed: but if, on the mmtrarv. after descend- ing, we find it difficult to ascend as above, the piece is improperly keyed, and should be set lower. Nona—This method of proving the keys is infallible to individuals, and will hold good in choirs, when we suppose the teacher or leader capable of judging for the commonality of voices. The above scale comprises three octaves, or twenty-two sounds. E used on the tourth line in the bass, shows that that line is the The F clef, . . __ seventh sound in the general scale. used on the second line inthe tenor and treble shows that mm _ line, in the tenor, is the eighth sound in the general scale. and The G clef, in the treble, (when performed by a female voice.) the fifteenth .sound; for if the treble as well as the tenor were performer entirely bv men, the general scale would comprise only fifte" ll le RUDIMENTS OF MUSIC. - 13 sounds; nence. the treble stave is raised only an octave above the tenor, in'con- seuuence of the female voice being naturally an octave above the male’s. and to females the treble is usually assigned. The stars (*) show the natural place of the semitones. 0 is used, (though it has now become very common to "write counter on either the G or F clefs,) the middle line in the counter is in unison with the third space in tenor (C), and a seventh above the middle line in the bass, &c. Two sounds equally high or equally low, however unequal in their force, are said to be in unison, one with the other. Consequently E, on the lower line of the treble stave, is in unison with E, on the fourth space of the tenor; and E, on me third space in bass, is in unison with E, on the first line of the tenor, and an octave below E, the lower line'in the treble. (TSee the General Scale. From any one letter in the general scale, to another of the same name, the interval is an octave—as from B to B, D to D, &c. Agreeably to the F and G clefs used in the generalescale, a note on any line or space in the bass, is a sixth below a note on a corresponding line or space in the tenor, and a thirteenth below a note in the treble occupying the same line or space, (when the treble is performed by females.) fi See the General Scale. Suppose we place a note on D, middle line of the bass, another on B, the middle line of the tenor or treble, the interval will appear as just stated; and to find any other interval, count either ascending or descending, as the case may be. When the O clef EXAMPLE. Treble EH5 ”stave Dims. 6th. 5th. 4th 34 2d Unison. Octave. Double Oct. In counting intervals, remember to include both notes or .etters, tons: in counting a sixth in the preceding example, D is one. E is two, F is three, G is four, A five, and B six. -» In the preceding example, the notes in the treble and air are placed in unison with each other. But assigning the treble to female voices, and the air to male voices, (as is customary,) an octave must be added to the