xt76t14tmz1t https://exploreuk.uky.edu/dips/xt76t14tmz1t/data/mets.xml Hall, Jacob Henry, 1855-1941, comp Ruebush, J. H., joint compiler 1889 190, [2] pages, 17 x 24 cm. Call Number: M2117.H18 S80 1889 Bert T. Combs Appalachian Collection scores (documents for music) M2117.H18 S80 1889 English Ruebush, Kieffer Contact the Special Collections Research Center for information regarding rights and use of this collection Bert T. Combs Appalachian Collection Hymns, English Choruses, Sacred (Mixed voices, 4 parts), Unaccompanied Shape note singing The Star of Bethlehem. A Collection of Church-tunes, Anthems, Choruses and Glees With Rudiments and Excercises for Singing-schools, 1889 text The Star of Bethlehem. A Collection of Church-tunes, Anthems, Choruses and Glees With Rudiments and Excercises for Singing-schools, 1889 1889 1889 2023 true xt76t14tmz1t section xt76t14tmz1t m

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THE

STAR OF BETHLEHEM.

A COLLECTION OF

CHURCH-TUNES, ANTHEMS, CHORUSES AND GLEES

WITH

RUDIMENTS AND EXERCISES FOR SINGING-SCHOOLS

13Y

J. H. HALL, AND J. H. RUEBUSH,

AUTHOR OF

AUTHOR OF
“ GEMS 0F GLADNESS"

“ SONGS OF HOME ”
ASSISTED BY

ALDINE S. KIEFFER

AUTHOR OF
“ TEMPLE Sun.” “ROYAL PROCLAMATION ” ETC.

WV‘Qb—SL‘SVW

DAYTON, VA.
RUEBUSH, KIEFFER & 00., PUBLISHERS

1889.

 A.

' ii,
:1
‘11

1- {:15

 

 

Copyright. 1889, by RUEBUSH, KIEFFER AND 0011111111117.

 

PREFACE.

HE authors and compilers of THE STAR. or BETHLEHEM are fully :11 are of the fact that the average musician dislikes a preface;
lyet, in this case, the writing of a pieface becomes a pa1 amount duty, fo1 the following 1easo11s \iz .
lst. Because of the notation employ ed in the following pages, known as the Aikin <11 Uhaiactei Note notation, which has
in the last few years acquired Immense popularity and 1s destined to become the uniV ersal musical notation.
2nd. Because its authors have been teachers of vocal music, as well as instrunientaL and ha ve an inherent confidence that they know
What the average singing-mastei, singing- -class and congiegation wish and need.
3rd. In the preparation of this book neithel pains nor expense have been spai ed to please the te111l1e1 the class, the S11ndaV-S1hool
and the choiro The simple, clear and concise R udimental Statements as found 111 this book must w in fol its authois no little honor.
4th. The eighty pages of Singing—School Exercises, which are so thoroughly practical and so nicely graded, must and will
commend themselves to teacher and class.
5th. A large 111ajority of the so—called singing—class books are devoid of solid church and (‘lerotional music. In this collection
there Will be found an unusually large amount of true genuine Church Music which fact, of itself must commend it to the public.
6th. The Sundav- School Department is replete \1 ith cheerful and pleasant songs suited to the rants of the children. successfully
avoiding the “milk and water” charactei of so much known as Sundav- School songs and hvmns
7th. The Anthem Department contains thirty-two pages of sterling merit, not only for the (hoi1 but for use in musical institutes

”and conventions.

J. H. HALL,
J. H. RUEBUSH,

DAYTON, V 11., Nov. 10, 18891 ALDINE S. KIEFFER.

 

F. H. GlLSON, MUSIC TYPOGRAPHER. BOSTON.

 '=\ we? .
. 1

01

10.

11.

12.

13.

QUESTION.
ANSWER.

Q.
A.
Q.
A.

@?@?@?@?9

h

> eroroeo

a.“

THE RUDIMENTS OF MUSIC.

Lesson r.

l‘Vhat is sound ?
Sound is anything audible.
What is a musical sound called ?
A tone.
What is a tone 19
A sound in which pitch is perceptible.
How many essential properties has a tone,
and what are they .27
Four. Length, pitch,
ity. *
What does length mean 9
The duration of a tone.
What does pitch mean 2’
The highness or lowness of a tone.
‘What does power mean :9
The loudness or softness of a tone.
that does quality mean. .9
The character or kind of tone.
Into how many dqmrtments are the rudi—
ments of music divided, and what are they?
Three. Rhythmics, melodies, and dynam-
ics.
Of what does rh yth mics treat 1’
()f the length of tones.
Of what does melodies treat ’2
0f the pitch of tones.
Of 'what does dynamics treat .9
Of the power and quality of tones.
How are the relative lengths of tones
represented ‘9 '
By characters called notes

power, and qual-

 

 

   
  
   

How many kinds of notes are there in
common use, and what are they ?

A. Six. The Whole note. the half note, the
quarter note, the eighth note, the six-
teenth note, and the thirty-second note.

1-5. Q. How is the whole note made 5?

A. Like the letter O, elongated, thus: a

16. Q. How is the half note made ?
A. \Vith an open head, and a stem, thus : [p
17 Q. How is the quarter note made 9
A. With a full head, and a stem, thus : p
18. Q. How is the eighth note made .9
A. With a full head, a stem, and a hook,
thus: f'
1‘) Q. How is the sixteenth note made .9
A. With a full head, a stem, and two hooks,
thus : 3

V
How is the thirty—second note made 2"
A. With a full head, a stem, and three hooks,
thus: '
5

 

 

V
TABLE SHOXVING RELATIVE VALUES
OF NOTES.
Whole Note. 6’
, Half Notes. 19 l9
Quarter Notes. i—m- ~——~ 0-— ————-o~—»——
T I I
Eighth Notes. —l—— ——O———H-~l——- Hl—o

Sixteenth Notes 14%. #3,-mg mg.

’One of the wonderful things about the human v oice is that it can change its quality as no instrument can.

Lesson ll.

 

 

 

 

 

 

a; o.
”A.
so Q.
A.

 

 

 

 

21 Q. How do we represent the pitch of tones 2’
A. By a character called the staff.
22. Q. Of what does the staff consist ?
A. It consists of five lines and four spaces.
23. Q. What is each line and each space called E’
A. A degree.
24. Q. How many degrees does the stafl‘ contain 1?
A. Nine.
25. Q. How is the staff enlarged.
A. By adding short lines above and below.
Added line above. First '1’.“ “b0".
333.33.23.37 _‘ _§§":;”.:if'
his; I» “5-“
Added 1m below. “m '1’” “1°"
26. How many tones in the musical alphabet?

Eight.

What is this series of eight tones called .9

The scale.

How are the tones of the scale named 9

After the first eight numerals, 1, 2, 3, 4, 5,
a7,s

What syllables are applied to the scale in
singing ?

'l‘he syllables D0. Re, Mi, Fa, 801,141,
Si, or Ti, Do.

The names of what letters are used as
pitch names 9

The names of the first seven letters of

the alphabet, A, B, C, D, E, F, G.
(3»)-

 

 4 ,_ THE RUDIMENTS or MUSIC.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

THE SCALE REPRESENTED ON STAFF 37. Q What does a broad bar usually denote .” l 48. Q What 2‘s 0; measure rtactag three heats
ASCENDING. A. The beginning and ending of a line of; called?
words, or the end of a musical phrase. l A Triple measure.
IIL ‘ ‘ n A 3' 38. Q What does the double bar NSHally denote 2 49. Q How do we count the time in triple measure?
'— fir C, e V " J A The close, or end of a composition. A One, two, three.
Numeral names. 1, 2, 3, 4, 5, 6. 7., 8. . v. - 50- Q. Describe the beats in triple measure.
Pitch names. C, D, E, F, G, A, B, C. MEASL‘ RI“ AN D BARS A. Down. left, up.
Syllable names.Do Re. Mi, Fa, Sol La Ti. Do. Douhle Bar . _ . . . .
, , , , . , ‘.1. (i ll.... .‘I‘Célél?
Pronounced. Doe,Ray,Mee,Fah,Sole,Lah,Tee,Doe. Ba" Broad Bar. Bar. 0‘ “0'59 ) ‘ I (W! [WM 2‘ a at I
[F g : fl: _” A The first.
THE SCALE REPRESENTED ON STAFF L L g l I. 52. Q l’Vhat is the Sign for triple measure .9
DESCENDING. Measure. Measure. Measure. Measure. A The figure 3.
E 39. Q. What 2's counting time .9 53. Q What is a measure having four beatscalled?
E A .9 E 1 A. Indicating each pulse. or heat of. a meas~ A. Quadruple measure.
E U V 0 C J “re by counting. 54. Q. How is the time counted in quadruple
Numeral names. 8, 7, 6, 5, 4, 3’ 2. "f 40. Q. What is beating time 9 measure ?
Pitch‘names. C, B, A, G, F, E, I), C. A. Indicating each pulse. or heat of a meas- .i. One, two, three, four.
Syllable names.Do, Ti. La, SOL Fa, Mi, RB, 130- ure by a certain motion 0f the hand. 55. Q. How do we beat quadruple measure .9
Pronounced. Doe,Tee,Lah,SQle,Fah,Mee,Ray,Doe. 41. Q. What 2's each motion of the hand called ;’ A Down, left, right, up.
31. Q. How many kinds of pitch have we in music, 1" E3011 motion 0f the hand i“ called 3 “(Vit- 51‘2 Q. II ow 2's quadruple measure accented .9
and what are they called ? 42. Q. What ts accent .9 A. It. has a primary accent on the first heat,
A. TWO. Relative and absolute. A. A'slight stress upon :1. certain pulsation. and secondary accent on the third heat-
32- Q- What is relative pitch 9 01‘ beat, to mark its position in a ”)7 Q. What is the Sign for quadruple measure .’
A. The position a tone occupies in the scale. measule. A- The figure 4.
33. . ' .. s , . , ' ' , .9 . rs. (. . What is a measure hat-2'); :21): leafs callerl ?
Q What ts ab olutcjntch . . . Lesson IV. . ) Q s 15/ s I
A. The fixed, unchangeable posxtion of a A. Sextuple measure, or compound double
tone, independent of scale relation. 45’». Q. What is a measure hmring hm heats caller]? 11163311!“-
A, Double measure. 59. Q. How do we count the time in sextuple
Lesson ”L 44. Q. How do we com/t the lime in r/mth/e l p measure 9 1 l h
. , >-9 1 :.).,Y—-— ,'9:.)r:
34. Q- W’ha t ’68 a measure :’ measme . l i ( lite t: (h coucotinpre 1cm in t FOL heat»
A A measure is a. group of two or more rev A' One, tWO' I 0 e. C I I
- .( _ . ‘- _ . . . -' ' .- , . ' L...‘ NA: ?
ularly recurringr pulsations, 01- beats.‘ 4.). Q. Descnhe the beats m double measure ? N" (3‘ 11:03“ lb“ the beats m Wilma)?” ”"5“”“1 ts
. k , . ' . . . r 5y 3—“ 1 L A
25. Q. How ts a measure represented ? A- DOW“ and up. , [ 0t“ H. 111p :0“ glgetiellfllgl me 3%
' A B the mace bet 1 t v “M 1 46. Q- Which beat 7'? accent/v7 9 0 eacx mo '10“ 10 in.
' y . ‘ I ' “ L01 “0 PPTR‘EHQW ar “ ' “ ’ ‘ (ll. Q. How is sextuple titeaszn'e accented .9
lines drawn across the stat? cameo oars. A. The first. A. It 1 r'mar) t t1 fii st heal
, - . «a .. . . ~.. / -. iasapi lvaccen on 10 .‘ba
36. Q. What 2.9 a heatg/ bar called .- 44. Q- What 13 the 319'” f0" WWW" measure J’ and a secondary accent on the fourth
A. A broad bar. A. The figure 2. beat.

 

 

 

 62.

63.

(iii.

(37.

($8.

62}.

71.

72.

    

we “no

L” p.
”(a{

Q.

A.

I" The whole note rest is also a whole measure rest.

TV hat is the sign for sertuple measure :/
The figure 6.

What is a measure hating nine beats called 2
Compound triple measure.

How do we count compound triple. measure?
()no, two, three.

Describe the beats in cmnpound triple
measure .9
Down, left, up,-— comprehending three

beats to each motion of the hand.
How is compound triple measure accented :9

It has a primary accent on the first beat.
and secondary accents on the fourth
and seventh beats.

What is the sign for compound triple
measure 2

The figure 9. ~

that is a measure having twelve beats
called 19

Compound quadruple measure.

How do we count compound
measure 3?

One, two, three, four.

quadruple

Describe the beats in compound quadruple
measure.

Down, left, right, up,— comprehending
three beats to each motion of the hand.

How is cmnpoand quadruple measure ac—
cented .9

it has a primary accent on the first beat,
and secondary accents on the fourth,
seventh, and tenth beats.

What is the sign for compound quadruple
measure .9

The figure 12.

 

SIGNS OF

0 F

THE RUDIMENTS MUSIC.

Till“. ,l)lli‘li‘l‘lliEN'l‘ KINDS

OF MEASURE.

 

 

i3233i:3:tfi:l‘T-fi:ii:i:12—:l

 

 

 

 

 

 

 

 

 

 

 

 

 

 

73. Q. What are the figures at the beginning of a
conqrosition called 9
A. Time signature.
A. Q. What does the numerator denote .9
A. The number of beats in a measure.
75. Q. What does the denominator indicate :2
A. The kind of note which is reckoned to
each beat of the measure.
TIE. Q. If the lower figure is 2, what will be the
beat note .9
A. The half note.
77 Q. ]f the lower figure is 4, what will be the
beat note .7)
A. The quarter note.
7: Q. If the lower figure is 8 what will be the
beat note .1)
A. The eighth note.
TIME SIGNATURES OF THE DIFFERENT
VARIETIES 0F MEASURE.
DOUBLF MEAsUIu-z. TRIPLE MEASURE.
F u C) l C) e) O l
l 4 [J l e) e) e) I
r n A I n A o I
I: 4 1+ I A I-r O 1
QUADRUPLE MEASURE. SEXTUPLE MEASURE.
I 1 A A I a n I
I er 1-1- H; I u U I
l n A U l A C) l
I a Ii» 0 L ‘1: l
COMPOUND TRIPLE COMPOUND QUADRUPLE
MEASURE. MEASURE.
l n l 1;) 1
I u I 14 I
I o I o 1
L o I Q I

 

 

 

80.

82.

83.

84.

86.

w
‘!

  

Lesson V. ,.
Q. What is the rule for applying words to
music i? - ‘
A. Apply one syllable of the words to each
note. '

Q. What is a slur :7

A. A curved line
notes upon
staff.

Q. What is a tie .9

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

0. What is the rule for applying words when,
the slur or tie occurs .9 .

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

containing two or more
dili'erent degrees 01‘ the

THE TIE.

A
i

o
.I
i

TH E SLUR.

IL..L

[—
l
l
l

h—Uo
‘I-_.l_
Q_J__

 

L
IQ
UT

Q. What are rests ?

A. Characters indicating silence.

Q. How many kinds of rests are there, and
and what are their names 9

Six. The whole rest,* the half rest, the
quarter rest, the eighth rest, the six-
teenth rest, and the thirty-second rest.

Q. As regards duration, rests correspond to
what .9

A. To the notes of the same denomination.

Q. How is the whole rest made .9

A. A block below a line, thus : ~_-

Q. How is the half rest made ?

A. A block above a line, thus: --

Q. How is the quarter rest made ?

A. - Like the figure 7 reversed, thus: \' or *

A .

  

 

 

 

 

 

 

 

 

 

THE RUDIMENTS OF MUSlb.

 

 

 

 

 

 

 

 

 

 

 

 

 

89. Q. How is the eighth rest made 5’ 97. Q. What is meant by middle 0 9
A. Like the figure 7, 111115: ’1 A. The pitch C, which all voices have in
90. Q. How 25 the sixteenth rest made 9 common. It is the middle of the great
A. Like the figure 7 with two heads, thus: :1 vocal c:1npass,baxi'e?9’10?'19?<33’€3?

Lesson V1.

What is an interval ?

The difference of pitch between Y-‘VO
tones.

How many intervals have we in the major
scale ?

Seven.

Ilow many kinds of intervals in the scale.
and what are they called .9

Two. Steps and half-steps.

IIow many steps have we in the scale 2

Five.

How many halfisteps have we in the scale 2

Two.

Between "what tunes of the scale do are jind
half-steps .9

Mi and Fa, Ti and Do, or3 and 4, 7 and 8.

Between ichat pitches are the half-steps .9

E and F, B and C.

Between all other tones of the sr'a/e, are
what kind of intervals 9

Steps.

What other names are amflied to intervals 5’

Seconds, thirds, fourths, fifths, etc.

that is a major second 9

An interval as great as one step.

What is a minor second 9

An interval as small as one half—step.

What is a major third ?

An interval as great as two steps.

What is a minor third ?

An interval as great as one stop and one
half-step.

that are intermediate tones ?

Tones which occur between the regular
tones of the scale.

What are the intermediate tones called ?
Chromatic tones.

.i': “am“ ’«

 

111E RUDIMENTS OF MUSIC.

121. Q. How are intermediate, or I-lu‘o/natz'c tones
represented P
A. By the aid of characters called sharps (25).
flats (b). naturals (5,), double-sharps
(x). and double-flats (ht).
For what is a. slut/'1) (3;) used 9
A. To make a degree represent :1 tone :1
half—step higher.
12:}, Q. For what is a flat (b) used :9
A. To make a degree represent a tone :1
half—step lower.
124. Q. For what is a natural (1:) used 2
A. To cancel the eil'cct of a previous sharp
or flat; that is. to make a sharped
. degree represent a tone a half—step
lower, or to make a flattod degree
represent a tone a half-step higher.

THE EFFECT OF A SHARP LlNCELLED.

 

 

 

 

 

l'—9"A "WV J—" > n 4' l f 7::
l‘ —~—4——as~—-:4, _ #vi—~*W* I
" —"’ V 11V UV _L_,e.#__i
1f *7 ’
G, G, F 3, F, E.
Sol, Sol, Fe, Fa, )li.
THE EFFECT OF A FLAT CANCELLED.

fl J l J
:%:;?:: ‘47:: fi:§d:f?:!
(1

C, B 17,
DO,

 

A ,
La,

B, ,.
Ta, ’l‘i, Do.

H
(C:
C!
A

(.4

For what is a doable-sharp (x) used ?

L
y, .

To make a degree already sharpcd rep-

resent a tone a half-step higher.

126. Q. For what is a doable-flat (biz) used ?
A. To make a degree already flatted, rep-

resent a tone a half—step lower.
What is a chromatic scale 9

A scale in which all the intermediate and
diatonic tones, occur in successive
order.

 

 

128. Q. How many tones are there in the rhromui :1"
scale 9
A. Thirteen.
129. Q. How many inter-rats in [he chronmtic saw .2
A Twelve intervals of a half—step each.
Why is this scale walled chromatic 23’
Because ilw intermediate tones \thl‘t‘
formerly written in colors.

130. (

 

 

CHROMATIC SC‘ALE. ASCENIHNG.
F ::.:".:#—“‘ “ :1 ”1::;—'.4-:_“*;_"__;;
t —~ —~, ,, agree 3:»
'—:5_§,;“C'fic 0*“ “PM ,W

Numerals. 1, £1, 2,1:2, 3, 4, 34, 5, $5, 6, #6, 7, S.
l‘eunaneutfl, Ci, 1), Di‘r', E, F, F3, (l, G33, A, A11, B, C.
Syllables.1’)o, Di,Re,Ri,Mi,Fa, Fi,Sol,Si,La, Li, ’l‘i,Do.
l‘r-onoun’d. Due, Dee, Ray, Ree, llee, fall, Fee, $019, See, lah, lee, Tee, Doe.

CHROMATIC SCALE, DESCENDING.
{%—*”jfi’&:fiza:g5;: :g::::::l
‘ u ***** ‘5' °"Ui7U';-
Numerals. s, 7, 127, c, be, a) 12.3, 4, :3, ta, 2, b2, 1.
Permanentc, B, 1317, A, Ab, G, (1113,19, E, Eh, D, D12, (‘.
Sylluhles. Do, 'l‘i,Ta,La,Le,Sol,Se,Fa,1\Ii,Me,lie,Ra,Do.
Pronoun’dlhe, Dee, lay, lab, lay, Solo, Say, lah, lice, Slay, Hay, Rah, lmv.

 
 

 

131. Q. What are accidentals 2

A. Sharps, flats, or naturals, used through—
out a composition for the purpose vt‘
introducing chromatic tones or :;

modulation. _
What is the rule. for their continuance 2
A. Accidentals continue their significanc»
throughout the measure in which they
occur, and affect only the degree upon
which they are written.

 

  

 

Lesson Vll.

Q. What is a brace, and what does it indicate 1‘?

A. A brace is a character used to connect
two or more staffs, and generally in-
dicates the number of parts which are
to be performed simultaneously.

THE BRACE.

133.

 

What do staffs form, when thus connected .9

A score.

What is the efiect of a dot placed after a
note or rest 9

It adds one half to the rythmical value
of the note or rest after which it is
placed.

What is the efiect of a second dot placed
after a note or rest ?

A. ,The second dot adds one half to the

value of the first dot.

ya
1"
P’ @?’0

136.

{0

THE DOT.

      

 

 

           

 

 

Efl‘ect. Effect.
THE DOUBLE DOT.
I
Has —+s— s—se!
Effect Effect.
137. Q What is a repeat, and what does it mean .9

A. A repeat is dots placed in the spaces of
the staff, and shows that the passage is
to be repeated.

 

THE RUDIMENTS OF MUSIC.

138. Q. What does D.0. mean ?
A. Return to the beginning.

 

 

139. Q. What does fine mean 9
A. The place to end after a D.C.
Repeat. FINE. Repeat. D. 0.
wwéefil
T “‘1‘-‘
140. Q. What does D.S. mean ?

A. Return to the sign (:59 to fine.
141. Q. What does the hold, or pause, (m) denote .9

A. That the tone indicated is to be pro-
longed at the option of the conductor

FIVE.

Wflfififflfi

142.

 

Q. What does the figure 3placed ozer 01 3111-
der three notes mean 5’

A. That they are to be performed in the
time of two notes of the same denom-
ination.

What is such a group of notes called :9
A triplet.
What is a unison passage .9

A. A passage in which two or more parts
sing the same tones.

THE UNISON PASSAGE, AND TRIPLETS.
3

143.

0?“:0

144.

    
    
  

   

un - to the Lord, all ye lands.

   

 

145. Q. What is meant by the inclosed?
r—w—f—fl Fur—““7
| Zst tinie.12nd time. 3
A. It has reference to the first and second
endings. and in the. repeat, omit
time, and pass to 2nd time. thus :

V
1151;

 

 

I .Zsttime. V Oman-232?
j 1.111 flr‘TZEjEEj: _ is.
_ :.'.——6 jib—J.“ _/ -i7 1”

 

 

Come, come. come, sing a joy fnl Ilav;
Come, come ,come, ( ()mit. ) . . .

146. Q. Whatzs syncopation?

A. Commencing 011 an unacccntcd heat
and continuing it into the followingr
cacented heat. thereby temporarily
changing the usual accent.

’l‘is our firs—1:11 day.

SYN C0 1’1 1TION.

rate; j:j iii-“j“:"j Em

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the notes.

Singwith flim ac — cent and

Lesson Vlll.

147. What is a key 19

A. A family of tones bearing a certain fixed
relationship to each other.

148. Q. What is the difi‘ercnce between a Si'ftz’l‘.
and a key ?

A. A scale consists of eight successiw
tones, While a key has only seven. and
may be used in any possible order.

11‘) Q. What is a key tone 9

A. The tone from which all other tones arr-
reckoned; the point of repose, or
home tone.

150. W hat syllable is used for the hey— note in

majm ke3/s .9
A. The syllable Do.

y 3.45“"

 151 Q. What is a major key ?

A. One in which the interval from one to
three is a major third, consisting of
two steps.

152. How is a key or scale named ?

A key or scale is named from the letter
that is taken as the key tone.

1Vhat is transposition 9

Singing or playmg a scale, exercise, or
tune, at a lower or higher pitch.

1Vhat is a signature ?

The sign by which a key is known or
indicated.

What is modulation 1’

Passing from one key into another with-
out changing the signature.

What is a very short modulation sometimes
called .9

Transition.

How do sharps transpose the scale 9

By fifths.

ll’hat is meant by transposing the scale by
jifths 9

Taking five of the old key for a key-note
of the new key.

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EXAMPLE.
A I fig“ A
,,_ _. _g_—¢
1 .4_n.__—.__.. _ _ AB-
I U 9 —l
V A B ‘9 l‘éw, I

 

 

vigor U N
1, 2, 3. 4, 5. l, 2, 3, 4, 5, 6, 7, 8.
C, D, E, F, G. G, A, B, C. D. E, Fii,G.
Do,Re,Mi,Fa,Sol. D0,Re,Mi,Fa,Sol,La,Ti,Do.

159. Q. l/Vhat is the rule for finding the key-note 9
A. The syllable Ti or Si, occurs on the
same degree occupied by the last or
right hand sharp, and the key-note,
Do, is always found the first degree
above the last sharp.
‘ See table of scales.
(21

"111E RUDIMENTS OF MUSIC.
KEY-NOTE ‘WITHG GCLEF. KEY-\(‘ITE WITH F CLEF

M——“M— s .1 Elf—"‘1

 

 

 

 

 

 

 

 

 

 

 

 

—aw -w—+w- 1
7Q How do flats transpose the scale 9
A. By fourths.
161. Q. What is meant by transposing the scale by
fourths 9
A. Taking four of the old key for akey-
note of the new key.
EXAMPLE.
4 I A
r 1 I 5 <7 ._. I
FT I 01 11;; a E
HEB A m 1 231 '3 I
u -A_ U N
1,2,3,4.1,23,4,06,1,8

.,D,E,,,,,,,.F.FGAB12,CDEF
Do,Re,Mi, Fa. Do, Re, M1, Fa Sol, La, Ti, D0.
Q-

What is the rule for finding the heg- -note 1?

A. The syllable Fa always occurs on the
same degree occupied by the last or
right hand flat, and the key-note, Do,
is found four degrees below, or five
degrees above the last flat, counting the
degree occupied by the flat; and when
there are two or more flats the key note
will be found on the same degree occu-
pied by next to the last flat.

KEY-NOTE WITH G CLEF. KEY—NOTE WITH F CLEF.

162.

 

 

 

 

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163. Q.

 

What is the rule for finding the key-note

when there are neither sharps nor flats ?
A. The key-note is found, in the G clef, five
degrees below, or four degrees above
the clef line, counting the clef line, and

 

in the F clef, it will be found four de-

 

9

grees below or five (h grees above the
clef line, counting the clef line.

KEY-NOTE WITH Gr CLEF. KEY-NOT E \VITH F CLEF.

('l

 

164. Q.
A.

165.

166.

167.

168.

169.

vs .
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What is 5the0 signature of the key of «(7", 9 *

The absence of sharps and flats, 01 all
the degrees of the staff natural.

What is the signature of the key of (r' 1‘?

One sharp; Fit.

What is the signature of the key of D 1?

Two sharps; Fit and Cit.

1V hat is the signature of the key of A 9

Three sharps; F11, Cit, and G1.

What is the signature of the key of E 9

Four sharps; F11, Cit, Git, and D11.

What is the signature of the key of B 19

Five sharps; Fit, Cit, Git, Dii, and Ait.

that is the signature of the key of Fit?

Six sharps; Fit, Cit, Git, D13, A11, and E it.

What is the signature of the key of F 9

One flat; B12.

What is the signature of the key of B12 9

Two flats; B12, and E12.

What is the signature of the key of E12 9

Three flats; B12, E12, and A12.

What is the signature of the key of A12 9

Four flats; B12, E12, A12, and D12.

What is the signature of the key of D12 9

Five flats; B12, E12, Alz, D12, and Ch.

W'hat is the signature of the key of G12 9

Six flats, B12, E12, A12, D12, G12 and 012.

How many difi‘erent major keys are there
in general use ?

Thirteen; a scale may be formed upon
each tone of the chromatic scale.

 

  

 

10 THE RUDIMENTS OF MUSIC.
TABLE OF SCALES “51TH THEIR SIGNATURES. ., _

LETTERS ON THE STAFF. G _7_ '_ SCALE OF (1. 2 SCALE 011 G. .1, -, A

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2, 3, 4, 5, (1, 7, 8. 1, 2, 3, I, 5, G, T. 8.
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* It will be noticed that the keys of 3:3 and (35 h u e tne same pne'; 1es, but di flcrelz t 10,11L5c1114u7n7 Such keys are called Enhzu-monic Keys.

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THE RUDIMENTS OF MUSIC. ll
Lesson IX. t THE Hlnmosic MINOR SCALE, SCALE or A MINOR. e—
DESCENDING. , 9 _ 0 ~._._ 30 «3!
174?. Q. What is a minor scale ? E_ i 1% FZE—xr—v 1“ ' ' ‘1!
A. One in which the interval from one to {fiwfiQ—“EM%_Q ,_. , 1_ ‘— —-»“
three is a. minor third, consisting of a uflrn ' A——‘g~@‘-‘fi:j 1, 2, 3, 4. 5, 6, 7, 3-
step and a half-step. lb” 8 ,. y 4- L , Ti, Do, Re, Mi, Fa, Si, L3.
179. Q. How many tones in the minor scale 9 ‘ ’ ‘1 G: 0’ 4’ 3’ 2’ 1' ,
A Fiorht i3: g3, £1, 15% g, 8' ti}, II: 186. Q. What is the relative minor to G major e
' J b . 3:, i1 3'1 i, ea 0! ii a' A. E “fluor-
HO. . ll’hat s llable is used or the he - ‘ . . . . .
Q mino}2f keys 9 f 3/ note m 183. Q. What is meant by relative major and minor 187' g gvfigéglfhe relative mmor to D mayor P
,' ' hers, 0' c] . ' . ' . . .
A. I‘he syllable, La. , A Each] ma" srokes h , t 1 ti re m'nor 188. Q. What is the relative minor to A mayor 9
1M. Q. What is the order of intervals in the minor ' kav anlcl) eaclfifnina 81.;{8 £38: it‘s rela'tive A- Fit minor. . _ .
scale ? major key belongfilg :3 it go'caued 0n 189. Q. giant 28 the relatzve minor to E mayor {2
A- Steps (major seconds) must occur bc- account of the close relation the two A- minor. . ' -. ~ ,- , l
Wtwefen 1 and _2, 3 and4, and 4 and 5; keys bear to each other. 190' E égligtirizfihe relative minor to B mayo: 2
£3,353$31,025:???glgugtaglgfgx; 184. Q. What is the ruleforfinding the hey letter of 191. Q. What is the relative minor to Fit major 9
iwhile from G to ’7 must he a step ané the relative major and minor keys .9 A- Di: “1190f- . . _ _
,.'.;...a half-step, (an augmented second) A' Six Of 9301‘ major scale is taken as one 192' E 1'; figfirme relattve minor to Fmaym ?
and 7 of this form of the minor scale of its relative minor scale, and three ' . ' . .4 . ' ‘
. '.:'.». ‘ is always sharper]. of each minor scale is taken as one of 193' E gffiititngsrthe relative minor to 3'2 ”Wm ‘9
1‘2; . Q. What is thisform of the minor scale called .9 Its relative mayor scale, both scales, or 194 Q' W hat is the relative minor to FIZ ma’or 9
' A" "The harmonic minor scale * keys, have the same Signature. A' C minor " ' l J ' '
* . ~ 185. Q. ll’hat is the relative minor to C major ? l 195. Q. What is the relative minor to All major ?
'l‘llE HARMONIC MINOR SCALE ASCENDING. 2‘» A mmor- A. F minor.
A ' ’13 E E- SCALE OF C MAJOR. 196. :12 1'3"; hat is the relative minor to Db major E’
I K--.-n_x-;~_1 a o gar Q