xt79057cvr79 https://exploreuk.uky.edu/dips/xt79057cvr79/data/mets.xml Hastings, Thomas, 1784-1872 Bradbury, William B. (William Batchelder), 1816-1868 1851 1 score (352 pages), 16 x 24 cm. Call Number: M2117 .H370 1851 Fine Arts Wilcox copy: All missing before p. 3.Provenance: Wilcox, Glenn C scores (documents for music) M2117 .H370 1851 English Mark H. Newman & Co Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Glenn C. Wilcox Collection Hymns, English Tune-books Choruses, Sacred (Mixed voices, 4 parts), Unaccompanied Psalmista: or Choir Melodies, an Extensive Collection of New and Available Church Music ; Together With Some of the Choicest Selections From the Former Publications of the Authors, for Choir and Congregational Use, 1851 text Psalmista: or Choir Melodies, an Extensive Collection of New and Available Church Music ; Together With Some of the Choicest Selections From the Former Publications of the Authors, for Choir and Congregational Use, 1851 1851 1851 2024 true xt79057cvr79 section xt79057cvr79 #11}ng {it}: .u. . 1

NNN NNN NNNNNNNN NNNNNN NNNN

TOGETIHN R. “1TH SOME OF

THE CHOICEST SELECTIONS FROM Th E IORMER PUBLICATIONS OF THE AUTHORS,

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PUBLISHED BY MARK H. NEWMAN & CO
1851

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, 5,7. :

,Aiau

xed principles of arrangement in music. These conflicting changes

y be conVenient enough for the trade of book-making, but their in-

grass of taste is deplorable. '

rim, in the present Work as well as in former publications, to pre-

9 mean to ofi'er to our patrons such music as will prove the most in— _,
this, withoutpay’ing court to the current eccentricities of style. In—
» a sickly, unsteady appetite, we have endeavored to lead onward to
2, by such gradual steps, as not to leave behind us the multitude
aefited. In pursuing this course we have ' chosen to follow the

       
   
   
   

X 6' I common sense, rather than the dictation of degmatists, who linow
v“ &,) / ' ’ ,2 l ! _ :3 its which should. be supplied.
" J ’ i ,. j, C j :/ _, J." j "1-; , *‘ table materials from the great masters of the art, who never com-
a ,_ 4 h flJJ/Ll/ ’ 7" ‘ ‘V’ ,. J liS department, is a task of great delicacy. The public ought to .2
{J i ‘ , u’ i ‘ i/ ith the humbuggery of mere names, as, if these could give character

' x ‘ I {I i met! The task to which we here refer requires much study, ex-

- 5’} fl (‘0 w W 51 discrimination; and the compiler who should not avail himself

, ‘ would be certain to fail in his undertaking, , .

l. 3 here presented are not hasty prodngtifisg They have been

«7 1‘ tl reference to the various and interesfflg‘eircumstances of reli—
With an eye‘to the improvementxgsfiggoirs end the advancement
dge. To pretend to orders? them after bestowing so much
"encing such continualfigifiq ess: from our patrons, as we have
fi’ectation. We muiihé‘éliowed to say, that in reference to new

#’ I“; in regard to‘seleetih‘ns, and arrangements and adaptations, we

as efi’orts to the undertaking; and we think we have done so with
, sucn ex remes are sometimes more than our usual succeas , ,

W same sources, just as if there were not, and never 3

        
   
   

 
 

    

  

 

    

  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  

 

PREFACE."

Tue special features of the present publication are noticed on the title-page. The
great body of the music is new. We might easily have filled the volume with such
materials, but have done, we trust, a more acceptable thing—that of placing under
each of the principal metres, in a condensed form, quite a number of the best old
tunes, with a few of the more available of our former compositions. The chants and
the set pieces, as well as the psalm and hymn tunes, have been prepared with much
labor and care, and we have now added to the indices a Chorister’s Index, explanatory
of the numerous peculiar metres with which the psalmody of this country has lately
been enriched.

In the midst of increasing quantities of music, new and old, original and selected,
altered and unaltered, amended and mutilated, it has become a matter of some diffi-
culty to make just selections. Everything, in this respect, is in an unsettled state.
Opinions are strangely diversified. Some, without regard to secular associations,
would choose for psalmody fresh cuttings from the modern opera: others would en-
deavor to feast on the fragments of antiquity, which are exceedingly dry and tasteless.
Some, from a love of historic associations, would confine themselves to the melodies of
the sixteenth century, written by ancient worthies, when the art was comparatively
rude : others would prefer the melodies of the last century, which, though once effec-
tive, have, in the progress of the art, lost much of their power to please. Then there
are conflicting extremes as to the harmonic arrangement of tunes. Some compilers,
for the purpose of appearing scientific, will give us harmony too difficult for ordinary
powers of execution: others, in avoiding this extreme, will give us harmony which:
though grammatical, is perfectly tame and insipid. Some, in every successive publi-
cation, are presenting many of the same old tunes in a new harmonic dress: others,
despising such trickery, are endeavoring to adhere to old harmonies, which are de-
ficient in character: and what is still more unfortunate, such extremes are sometimes

 

 

 

seen to follow each other, from the same sources, just as if there were not, and never .

ought to be, any fixed principles of arrangement in music. These conflicting changes
and diversities may be conVenient enough for the trade of book—making, but their in-
fluence on the progress of taste is deplorable.

It has been our aim, in the present work as well as in former publications, to pre—
serve stability. We mean to offer to our patrons such music as will prove the most in-
teresting and available, without paying court to the current eccentricities of style. In-
stead of catering to a sickly, unsteady appetite, we have endeavored to lead onward to
sound improvement, by such gradual steps, as not to leave behind us the multitude
who should be benefited. In pursuing this course we have chosen to follow the
sound principles of common sense, rather than the dictation of dogmatists, who know
little of the real wants which should be supplied.

To bring forth suitable materials from the great masters of the art, who never com-
posed anything in this department, is a task of great delicacy. The public ought to
know this. Away with the humbuggery of mere names, as if these could give character
to every lucklcss extract! The task to which we here refer requires much study, ex-
perience, and practical discrimination; and the compiler who should not avail himself
of these advantages, would be certain to fail in his undertaking.

The original pieces here presented are not hasty productions. They have been
composed with special reference to the various and interesting circumstances of reli-
gious assemblies, and with an eye to the improvement of choirs and the advancement
of elementary knowledge. To pretend to undervalue them after best-owing so much
labor, and after experiencing such continual kindness from our patrons, as we have
done, would be mere afi'ectation. We must be allowed to say, that in reference to new
productions, as well as in regard to selections, and arrangements and adaptations, we
have given our best efforts to the undertaking; and we think we have done so with
more than our usual success

 

  

   

“Willi Elllfllt‘.

 

PART I.
NOTATION.

1 . MUSICAL SOUNDS are repreSented by characters with respect to their

0]?

LENGTH, their PITCH, and their POWER.

2. Characters which relate to the length of sounds are called RHYTHMIC.
Those which relate to the pitch of sounds are called MELODIC.
And those which relate to the power of sounds are called DYNAMIC.

szsrroxs—On the three classifications, Rhythmic, Melodic, and Dynamic.

SECTION I.

. 0F RYTIIMICAL CHARACTERS.
NOTES, RESTS, &c. an.

3. The relative length of sounds is indicated by characters called NOTES,

of which there are six kinds in common use. These are——
. Semibreve, Minim, Crotchet, Quaver, Semiquaver, Demisemiquaver,
; . ' or 02' 01‘ (J). 01' 01‘
Whole Note. Hal{ Note. Quarter Note. Eighth Note. Sixteenth Note. Thirty-second Nate.
, l 1 1 l
1 a 4 s 16 32
' l
v
I . v , w

0 I n o v
4. The proportional length or duration is as one to two, 1n the order here
presented ; that is, one whole note is equal to two half notes, one half note
:5 equal to two quarter notes, &c

|

’1‘ \
V _ .' L.

{h

   
 

 

5. There are also six kinds of RESTs in general use, which indicate pro- ,

portional periods of silence. Their names and proportions are the same as
those of the notes above described.*

Whole rest, half, quarter, eight/t, sixteenth, thirty-second.
2:: 3.. r; 9‘3 3 E)
*1 s

6. NOTES and nnsrs may in general be described as consisting of open
and closed heads, and of stems and hooks.
QUESTIONS—0n the names, the proportional lengths, and the shapes of the notes and rests.

The Teacher will draw them upon the black-board, or call attention to them in tunes in
the body of the work.

7. The time of notes and rests is measured by equal motions of the hand I

in BEATXNG,1‘ or by counting one, two, 650., as in the following examples:

0- e .0 .9 r r r
(1) Count one, two, 1 2. l——-— ——
Beats, down, up. (I. u d.—-——— u.-——
0 D 9 O O 9 D O 0 a 9
l I, I, I g l l l
l———— 2————-— 1 2 1 2.
l I a l l l l l l l l
"0-- MO 0"" a 0 a 0 U a a 0 C
(2) Count one, two, three. 1 2 3. l 2 3. 1-— 2— 3—
Beats, down, left, up. d.l. u. d. l u. d.—-— l.—— u.—

 

f
* The breve Hall, or double note, and the demiquaver :, or sixty—fourth note, are not much
v ,

used in Psalmody. The breve is twice the value of the whole note, and the dcmiquaver is half
the value of the thirty-second.

t The Teacher will explain to his class the different motions of the hand in beating, and
exercise them thoroughly therein. Previous to this exercise, however, let the pupils count
while the teacher sings the above and similar examples. They will thus obtain correct ideas
of the comparatlve length of notes or duration of sounds.

 

dt
qr

  

1'O~
P r
1e 3.8

>pen

ests.
nes in

land

m...‘

much I’

5 half i

g, and

count
ideas

I , ELEMENTS 0F
........ 9...... 9 9 9 9' " .l 0'
(3) Count one, two, three, four. 1 2 3 4. l 2 3 4. l 2 3 4.
Beats, down, left, right, up. (I. l. r. u. d. l. r. u. d. l. r. u. ,

8. A dot afiixed to a note, adds one half to its nominal value :’* thus, a.
dotted whole note equals three half notes, a dotted half note equals three
quarter notes. The rule also is extended to rests.

Adotted 0 ' equals F ,0 ,0 or f f f ,9 ,9 ,9 doc.
Counts, 1 2 3. 1 — ——- ——
Beats, d. l. u. d l. u. d.-— l.—— u.—

' Dotted Rest.

A dotted cl . equals J J J or an or: a 0 ——--'—~

Counts, 1 2 3. l 2 3. 1—- 2— 3—— 1 2 3.

Beats, d. l. u. d. l u. d.~—— l.—-— u..—— d. l. u.

9. The figure 3 is employed to shorten notes, so that any three notes are
reduced to the value of two of the same denominationl' Notes thus abbre-
viated are called TRIPLETS.

Triplets. Their value.
0 g 0 O 3 O 9 D D O
l I l l l l I l l l
..._._ 2___._ 1.... ___..
d.‘ u. d.—— u.———

 

 

QUESTIONS—0n beating and counting; and on the influence of the dot, and of the figure 3.
N. B.—-This subject is resumed in Section III., and furnished with practical exercises.

SECTION II.

01“ MELODIC CHARACTERS.

THE SCALE.

10. THE most obvious division of sounds with respect to pitch, is that
which is found in the Scale or Octave, numbered
1 2 3 4 5 6 7 8.

 

‘ The dot itself is sometimes dotted, which adds half to its power: thus, a twice—dotted
O - ,for example, equals ,9 F ,9 1’. The double dot seldom occurs in psalmody.

VOCAL MUSIC.

1 1. To the difi'erent sounds of the Scale are often applied, for the conve-
nience of practice, the following syllables :

Do, Re, Mi, Fa, Sol, La, Si, Do.
Pronounced, Do, Ray, Jl/Iee, Foh, Sol, Lola, See, Do.
Ascending Scale. Descending Scale.
6‘2“ 1—6'
€_<2_'§_2 21912.9-

-—9— —- ,
12345678. 87654321.
Do, re, mi, fa, sol, la, si, do. Do, si, la, sol, fa, mi, re, do.

12. The difi‘erence between any two sounds of the Scale, is called an
Interval. In the order of the Scale, 1 to 2, 2 to 3, 3 to 4, &c. &c., there
are two kinds of Intervals—large and small. The large Interval is called a.
TONE, or STEP; the small a HALF TONE, or HALF STEP.

1 3. The order of Intervals in the Scale is as follows, viz:

Froni 1 to 2, . . . . aTONE. I From4to 5, .. . aTONE.
2t03,....aT0NE. 5to6,....aTONn.
3t04,....aHALFTONE. 6to7,....aT0NE.

From 7 to 8, a HALF TONE.
QUESTIONS—On the above.

To the Teacher.—-The order of Intervals may be explained at any convenient time—it
will be better understood after considerable practice upon the scale. When the scale has been
fully mastered through the aid of oral instruction,* the various ascending and descending por-
tions'ofit will be sung with little difliculty.

Sing the followmg exercrses With syllables, numerals, and the syllable La.

EXERCISESf
1-_6_Q_9_QQ_5.Q_5_| agfiffifiggagiiflfigi
12,12,2l,21. 123,321,12,12,32,321.
Do re, do re, re do, re do. do re mi, mi re do, do re, do re, mi re, mi re do.
La la, la la, la. la, la la. la la, (Sac.

 

* It may sometimes be best for the teacher to give oral instruction, before the book! are
opened, after some such manner as the following:
ABC-ENDING AND nnscnxnme.

Do, re, followed by It‘s, do,
do, re, mi, “ mi, re, do,
do, re, mi,fa, “ fa, mt, re, do,

do, re, mi, fa, sol, “ sol, fa, mi, re, (10, 4‘5.

do, re, mi, fa, sol, la, 4%.

 

1’ In secular mulic two triplets are sometimes united, and expressed by the figure 6.

t The syllables in this case, bring to mind, not the absolute, but the relative pitch of scandal.

/.1

  

 

3 ELEMENTS or

 

 

 

 

 

 

‘ ———- - 9‘ _——— _. “9-—
J-bztgpéjfigvjfi —7- ‘2‘“"5—195—7‘9 *:
La. r
-6241?"
.. ————- — —6—J—-9—:9— ——~—————-——~——~7-—.9‘ —_——
“'5ggfi‘§_fi:”‘—j*9—a ,. “JP-‘9’ -_————~——-
La.
_Q Q. -2 - H 5, __-~__.__.-_-- 9.
6 #:3331946 a 5 a—a-e~~ee*:§__——
D0 5i, d0,si, let, (3‘6.
La.

14. Sounds proceeding by regular degrees or steps as above, may be
sung with the same facility, when commencing differently, between the lines.

 

 

 

EXAMPLE.
-- +5
_ ____,,_..._-. -g-.0..9-_ _9_§__Qg_ .._-,_._‘-__I-
nta‘a‘a'afi'r’) <9 5 a "a” fi§;&" ‘
1212321234543456543‘2121.
D0, 712,612

La,
PRACTICAL EXERCISES,

Arranged as DIelodies or Tunes.
l 5. The Scale.
1. -6- .Q. .52. -5-

9-2 Q

_0_ h '5- .Q. -9-

6- 2 ‘9‘ .Q -5~
12345678 87654321.
That peace on earth, and joy may reign, To heev’n we pray A - men, A - men.
‘2. Rising and falling One Degree of the Scale.
__9__Q_.6._Q__f(_ 5._Q__Q_9_Q_5_0__LQ_ 9—H _
l ‘2 l 2 2 1 2 .2 1 » 2 l ‘2 2 2 1.

Here we meet with joy to— geth — er, Here our cheer-ful voi — ces raise.
0, how sweet the hour of sing-ing, Hearts and voi-ces joined in praise.

 

. * NOTE To THE TlsAcHER.—As it would be out of place to introduce the subject of transposition,
ugnatures, etc, at this stage of the school, the following exercises, extending to several plain tunes,
ore nnted Without signatures, etc. The Teacher will give the key note of the different exercises pre-

cise y_ as it the signatures E, _F, G, are, &c.,were written. By this method, pupils will at once got some i —
practical idea. of reading music in different Keys, though they know nothing theoreticallr. as yet, or” the .

lubject of transposition.

 

 

VOCAL MUSIC.

3. Rising and falling Two Degrees of the Scale. Sing Backwards.

 

;‘5::5:”9 :: €::a:“gf:a_._ a~ __a__?_._2__.l
l ‘2 3 3 2 l 2 1 ‘2 3 3
Blythe is the hour that We spend here in sing - ing.
.gni - gnir yl — i - reehc si cis - urn teews ,cis - uM

 

4. Three Degrees.

r
:g::a_;2: w__.;.4::g_:,§::§_f:§:‘:“ ff’9'6""“

1234'432112344321.

Now as— cend—ing, now de-sccnd- ing, All our voi - ces sweet-1y blend-ing.

 

5. Four and five Degrees.

- .Q- -- .Q. .Q._. _
_____ _ _Q_§’____2_€;_€L___§LQ~ -. __-__e_ ____
we- @fi______..._____._._____.~_~._.§__éw_9_ €9.__ 91.
1234565565654 35211211.

Man - voi - ces seem to so seem to 5‘0? . “ Merr ' sin crs here’s the war licre’sthc 16cm.”
7 A 9 .. 7 .

6. Six and seven Degrees.
_ _Q_.._-

_g_’,i_.é_____2_9_.v§_ a

__.. 5-- _ _

Q._9_J_

l 2 3 4 5 6 '7 8 7 6 5 4 3 2 l
Hap—py days are glid-ing o’er us, Life is fresh, and earth is fair;
Sor-row swift-1y flies be - fore us, And we gai- ly laugh at care.

1 6. Exercises in Skips. Sounds proceed by ships as well as by degrees.
The skips however, may be readily measured, by considering What degrees
or steps of the scale are to be passed over.

1. Skip of a Third. ‘2. Skip of a. Iibzzfl/L.

__..._.__- .._i _.____. _.__.__. .. w. _ #_H___. _...- _Q-#__‘Q_---._Q_~ -
W 5_§__¢9__9__§-5 _2__L figj ?.,w.-§___._g.___i
l ‘2 3 l 3 l 3 l 2 3 4. l 4 1 4.

Come and skip this third with inc. Now skip a fourth, no more, no more.

 

3.Sl’i1‘i0f{t I‘liflh.
__._ 7 .._ 4£;c__€°:3:”:§:2_2_ .. -_. w-.. ,"‘:'7_;.___,;9;_ -
19 (42‘ & a 9 L9 5 G” 0~e 61
l e 3 4 5 1 5 5

 

1 5 Af — ter wis- dom let us strive. let us strive.

 

 

 

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lllll

lllllk.

 

  

5:!

"3-

5?}.

say.”

recs.
recs

ELEMENTS 0F
4. Skip of a Sixth.

 

VGCAL MUS":
3. Tune with Skips. ONE below thefirst line. '

 

 

 

 

 

 

 

  

 

 

 

 

 

 

’1 0 0 0 r3 1 l 1
c a " “’ a 5 a '. j , 1 l 2‘ —l ’ -i
6? a 5’ =9 C9 1' 1 3 “1 ,1 a ,1 ‘9'“:
1 2 3 4 5 6 1 6 1 6 5 4 3 2 1. 0* a .9 O V V 0
From our qui - et slum- her spring-mg, Cheer- ful - ly we pass the day; 1 3 2 3 4 5 4 3 6 5
Each sue- ceed- -ing mo- -ment bring-ing, New de- light and pleas- are gay. I love the Lord, h heard my cries, And pit , ied ev _ ’ry groan;
5. Sing at first the small notes; afterwards omit them. ; n a f) g ,1 ,1 ,' i g , ,
. u J ['3 m J_l J 9 O a ll 1 l L f’ i" a i [1 l l l
._a...;J_.-.4_a aavavaac 5 al 111.}; 9’05!me
Long as I live, when tron - bles rise, I’ll hast - on to his throne.

0
12313 l,&e.

I 7. Plain Tunes and Melodies.
1.

1 v

1 l I
— l l J l l __.___ _ _.
:aLa‘ F'QWch 9_Q__£::Q:{E_E..r.. 6 1"" :QWZEg—PWT:

”—4 .— —— ._.._ —.__. I

11321223134543213435

Do do, mi re. do re, 7e, mi, do. mi,fa, sol ,fa, mi, re, do, mi,fa, mi, re,
Mortals can you 1efrain your tongues, While nature all around you sings , O for a shout

“5"?”‘mw‘1‘ ” W" _ _.. _&;'*:T:::"
:—_s:s:a—~é——e—s as; a 23 5.. o'er—Em? 5—33,

 

 

_~_il—' i l l
17123171512313454321.
do, si, do, 9‘6, mi, do, si, do,sol,do, Ire, mi, do, mi, fa, sol, fa, mi, re, do.

from old and young, From humble swains and lofty kings, From humble swains and lofty kings.

2.’ Tune proceeding by degrees, or without skips. Numeral ONE on the
first line.

 

 

 

 

4 A plain Melody or Tune ONE on tleirst line.

 

l _l l i i
l 1

 

__ ,__ 1 1 i V 3 5 '1
fingZd—LJT 9—J~d—~J—¢— "ttgfi'fi“
1 1 2 3 2, c.

 

5. The same Melody—Rhythm altered by substituting eighth notes for
quarters in several places.

 

Kingdoms and thrones to God be - long, Crown him ye na-tions in your song;

 

His wondrous name and power re — hearse, His hon-ore shall ex - alt your verse.

 

 

 

 

 

 

 

 

 

 

 

 

 

. 1 { -» g 1’ ‘ f ,9 a“ 6 A plain Melody or Tune ONE above tkefirst line.

“’ ”3‘ i a —a 62” 6:9 -P "Ewe—'rzww—w . 1 1 . - .
W... ,;:»,___ a——- —-—- —~ ——§-~ — L I l ‘r | ‘1". j—g—l—fll l T I I i l l
WJW W _ 1 W - 1 . 1 61 51 1 1 1 _l a a 19 1 1 I 1

1 :2 :1 2 3 4. 5 5 5 6 5 6 7, SLC. _a<._.<2._a 0 .59 9’ 0 g } ,———¢£—é~fl——é~

Let- us, with 1'. joy - ful mind, Praise the Lord for he is kind, "" 0 ' l

l 3 3 4 4 3 2 ‘ l o :3, &e

“’—~ I 1 I I .—
:r‘:.r-9: w—~ l E 1 1 . 1 1 1 . I
__.L:_ m "37;— __ - 1 1 7 1 a r- 1 1} ,1
W : ‘. angwi—a—a—G a a g r; a , _ r

For 1113 mer — mos shall on - dure Ev - er faith - ful, ev - or sure. W“ ‘ f ’

 

 

  

.m. ;.
.A ”WM.“

,‘.-fi‘..."i.

,0 ,9.»
o

Sing the following degrees or steps of the scale to their appropriate syl-
lables :

(l)._Degreesl 2 21:12 3 3 21:12
Do re, 73 do, ($0.

34:4321

(2) Degrees 1 1 2 2 3 3 2 : 3 4 5 4 3 2 1
8 8 7 7 6 6 5 : 6 6 5 4 3 2 1
(3). Degrees 1 l 3 2 1 2 2 3 : 1 3 4 4 3 2 1

N. B.—This subject will be resumed in Section IV.

SECTION III.
llllYTillllCi-lL CHARACTERS llE-SUllED.

1 8. In Section I. we considered the relative length of sounds. as indi-
cated by the dilferent forms of the notes, 8:10., but the time of a movement
may be slower or faster without interfering with relative proportions

\Vhen, for example, we apply four beats to the whole note, we must allow
two boats to the half note, and one heat to the quarter note, 5:0. ; but when
we apply only two boats to the Whole note, we must allow but one beat to
the half note, &c.

19. For greater convenience in computation, music is divided by the
BAR into small, equal portions, called MEASURES.

Bar. Bleasure. Bar. I'vIeasurc. Bar. BIeasure. Bar.
i a 9 p e ' a Q G l
l l I I l I a
20. The time of a movement is further indicated by large figures
placed at the beginning, which denote fractional portions of the whole not-e;

thus, ' - designates the value of four quarter notes in a measure; and .2

the value of two half notes, &e. The upper figure shows also, in general,
the number of parts or times which are reckoned in a measure.

 

mv ; “in.” _ * :.;.:::: ., >77 ~

M4 , v W~<,- \ ":

 

V a» , ~‘ , '~“~ 24 . —'-'.v;~x.,- '

ELEMENTS 0F VOCAL MUSIC.

VARIETIES OF TIME, AND MOTIONS OF THE HAND IN BEATING.
DOUBLE MEASURE
has two beats; the upper figure is 2. There are three varieties,% 2 g
The motions of the hand are down, up ; accented on the first part.
TRIPLE MEASURE

has three beats ; the upper figure is 3. There are three varieties,% ’3
The motions of the hand are down, left, up; accented on thlé. first. part.

QUADRUPLE MEASURE ‘ 5
has four beats ; the upper figure is 4. There are three varieties, fil 4; {k

(2349

Q0

The motions of the hand are down, left, right, up; accented on the first and
third parts.

SEXTUPLE MEASURE"

5
has six beats ; the upper figure is 6. There are three varieties”;6 ‘6 {f
, . 3 1% be
The motions of the hand are down, down, left, fight, up up; accented on
the first and fourth parts.

EXAMPLES. .
Sing with the syllable [a or do, and beat time.
(1). Quadruple Zl/Ieasure.
l 2 3 4 1 2 3 4 l 2 3 4 l 2 3 4
4f 9 ,5? a 0 i c: a , c9 . a I o 0 _.L
s 1 2 1 l 1 I I
d. l 1‘. u. d. l. ’r. u. (Z. l. r. u (Z. Z. 7 u.
1 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
7‘35 e a a a g a a 0 ; ,0 - ,0 p A
if i l l l l l '5 1 s E ta
d. l. 7‘. u. d. l. 7'. u. (Z. Z. 7'. u. Li. Z. '7'. u. d. l. ,3 u.
A 1 2 3 4 1 2 3 4 l 2 3 4 l 2 3 4 l 2 3 4 I
We??? egrrgv‘sg";
8‘ iv v w it a i l l w l ‘ i
(Z. Z. 7'. 1/. (l 142'. u. d. l. 7', u. d, l. 7'. u d. Z. 7 u

 

* When the movement in Sextnplc Measure is rapid, it may be beaten the same as Double

 

Measure. When it is slow, heating may also he performed with three motions repeated.
when this method is prelerrcd. A

 

  

55

(rob

a uble
sated,

(2). Double Measure.

1 2 12 1 2 l2 1 2

2 a '9' o la 0' a '0 ___u

-2‘I I I I I I

d. u. d. u. d. u. d. u. d. u.

1 2 12 1 2 12 12
‘2 n n Ia In n Ia In Fl
"4.:I I I I I I I

1 2 12 1 2 12 12

%, I'I'I' tI'IMI

‘8 w a I I! I v
(3). Triple M'easure.

1 2 3 12 3 123 1 2 3

*3 a a 9'6 9'0 - l9 0...!

%I I I I I I

1 2 3 123 12 3 12 3
3‘ n n _n la - la n '9 Fl
4—I I I I I I I

1 2 3 123 12 3 12 3

3‘ F '9 F in I I9 ‘0 l9 ql

8 v v w I I In I
(4). Sextuple flfeasm‘e.

l 2 3 4 5 6 123 456 12 3 456
8' 0 0 0 D 0 0 IO 0 - a 0 LE
4—I I I I I I I II I ' I

l 2 3 4 5 6 123 456 123 45 6
G In In n n I' n In - n - n - F c,
8 h—h—J ,, I I II ' I

When the movement is very quick, three parts or times of a measure are
taken to one beat; thus,

 

 

 

 

 

 

 

 

 

G 15 0 O S 0 1 2 1 2

I O O ' a ' O 9 .n. —
eIIIIIIIIIIIII'I
d. u. d. u. d.——-— u.————-

6 In 9 n 3 n n g 2 1 2——
n ' 1 a n c
s . , I ..._.._J II I II I‘ =I
~—— —~ u. d. u. d. 1/ --—-—-

 

SECTION IV
MELUDIC CHARACTERS RESUME”.

21. The different sounds of the scale are named after the first seven
letters of the alphabet; viz.

ABCDEFG.

The teacher will explain, and sing or play the sounds of the above letters, naming them,
and especially drawing the attention of the pupils to the fact that musical sounds are distin—
guished from each other as to given pitch, or diti'ei‘ence of pitch, by the letters, not by sylla-
bles or numerals.

22. The scale may begin on either one of the letters.
however, to commence on the letter 0.
NOTE. The reason for commencing on C may be explained at some future period.
23. The character used to designate the pitch of sounds is called
THE STAFF.

It is customary,

 

 

 

 

 

 

24. The staff consists of five horizontal lines with four intermediate
8 aces.
p 25. Each line and each space of the staff is called a DEGREE.

26. There are two kinds of staves in general use: one called the Tm;-
BLE STAFF, the other the BASE STAFF.

27. The different staves are distinguished by characters placed at their
beginning, called CLL‘FS.

Stuff “run the Treble Clef,
called the Treble Slqfl'.

Stafi’ with the Base Clef,
called the Base St‘cyfi

 

 

m- _
VI
‘7

 

6W

 

28:] Each clef is intended to designate a certain letter of the above
serves.

29. The treble clef represents the letter G on the second line of the
staff, counting from the lowest upward.

30. The base clef represents the letter F on the fourth line of the stat};
counting from the lowest upward.

Qimerrous on the thregoing,

 

  
   
 

I; 0 ELEMENTS 0F

3 1. When more degrees are required than are represented by the stall,
ADDED LINES and SPACES above or below are written.

32. Every degree (line and space) of the staff is named after one of the
seven letters.

THE STAFF WITH ITS LETTERS.

TREBLE STAFF.
First added line above;A_

 

 

 

 

 

 

n 1“ First space above.G
‘1 D c E I
3' _____ B A I
#:E‘G " -.._F }
—"— D First space below. 7

'C 'First added line below.
BASE STAFF.

 

 

 

 

 

. -c-

. B

, 2-» r A G r

_. . ‘u. D E

\' B A C I‘

9 ~—-————~—~G F _[
‘ -E—

NOTE. The teacher should be particular to impress upon the minds of the pupils, that the
letters, representing the given pitch of sounds, are permanent: also, that the order of inter-
vals must always be the same as represented in Section II., No. 13.

33. Notes placed upon either degree of the staff receive their (melo-
dic) name from the letter of the line or space on which they are placed.
Thus, a note on the first line of the treble staff is called E' on the first
space, F, duo.

Norm. Practise reading tunes and exercises by the letters.

34. The scale now under consideration is founded on the letter 0, com.
‘ mencing on the added line below of the treble stafi' ; or on the second
space of the base staff.

934‘.» N

_,t ’. Order of Intervals, xvitb. Numerals and Letters.
1 ' if. ‘ 1 2 3 4 5 6 7 8
' Tone, tone, f tone, tone, tone, tone, 3 tone.

0 I) E F G A B 0.

Tone, tone, i tone. tone, tone, tone, 1 tone.

35. This is generally termed the DIATONIC SCALE. = MAJOR.

 

* Dmmmc—from two Greek words, signifying through the lnnt’ns‘,—~CALCGTT

 

 

VOCAL MUSIC.

SCALES FOR PRACTICE,

W’ith Directions-fir beating or counting the Time to each Exercise.

3 6. Quadruple Measure.

Four beats or counts to each whole note.

   

-&
1 2 3 4 5 6 7’ 8 8
Do Re Mi Fa Sol La Si Do Do Si

La la la la la la la la la la la

37. Triple Measure. Three beats to each dotted half note.

'6‘
7 6 5 4 3 2 1
La. Sol Fa. Mi Re Do.

la la la.

la la

 
  

     

   
   

        

 

 

  

         

1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1
Do Re I‘li Fa. Sol La. Si Do Do Si La. Sol Fa. IVIi Re Do.
La la la lu- la. la la la la la la la la la la, la.

One beat to each half note.

3 8. Double Illeusm‘e.

 

39. Double Measure. One beat to each quarter note.

 

Two beats to each quarter, and one to each
eighth note, or beat the same as in double measure, singing a quarter and

40. Sextuple Jl/Ieasure.

eighth note to each beat.

 
    
 
     
      

    

ia' n;

I'LDJLBL:

l

 

 

 

 

 

 

4
" a

 

 , t . .~ ~».. “‘5‘ V
,..— z ’ “av .. , __‘»_V 'Q‘ h ,
, 3,“... , i. . . .7 _, ’ , '"'

 

ELEMENTS 0F VOCAL MUSIC. I]

41. Quadruple Measure. One beat to each quarter note. 45. Quadruple Measure. Two eighths to the down beat; two to the
left beat; one quarter to the right beat, and one to the up beat.

  

 

     
 
    
  
 

46. Quadruple flIeasure. One beat and a half to the dotted quarter
note, the remaining half beat to the following eighth note. The dotted
eighth and sixteenth to one beat.

a t 42. Quadruple Measure. Two beats to each half note.

 

   

47 . Quadruple Measure. TRIPLETS, three to each beat.
"— 43. Quadruple Masure. Three beats to each dotted half note.

L— . . .
I I u o

i D C
each I 44. Double Measure. Sing two eighth notes to each beat.

   

 

 

 

 

 

 

 

 

 

 

 

      
 

ELEMENTS 0F VOCAL MUSIC.

 
 

12

50. Scales wzth Rests. EXERCISES. 5
NOTE. Previous to singing the written exercises, the various sounds of the scale may be ,3:
profitably practised orally-the teacher calling the numerals, and the pupils singing by syl- ~11

lables or [a in some such manner as the following.

Sing with the syllables (or [(1) the numerals: 1 2 —— 2 1 — 1 1 2 2 ~—
221 1—212—121—1-2 3—3 21,&c.,&c.

55. Exercises should, in general, be read or recited by the SYLLABLES, .
NUMERALS, LETTERS and NOTES, previous to their being sung. Thus, for or f
ample :— ‘

 

(i

QUESTIONS (referring to N0. 56).—How many measures are in this exercise ’1 (Pupils answer, .1
Foun.)——In what kind of time or measure is this example? (Ans. Quadruple measure.)—
_. What variety of quadruple measure? (Ans. Four-four.)~How many beats in quadruple “2
measure? (Pupils answer.)—-What is the motion of the hand? How many, and what
-5- kind of notes in the first measure of this example ”.1 In the second measure ’3 Third ? Fourth ’1
How much time must be given to each quarter note in this example? (Ans. ONE BE AT.)—
To each half note 7. To each whole note 2 Name the syllables of this exercise. Name the
numerals. The letters.

56.

 

53. When two or more parts are to be performed together, a. character,
called a BRACE, is employed to unite the staves.

  
  

- r r r r 5;; 1,;

That peace on earth and joy may reign, To heaven we pray, A-men, A - men.

 

   

w

3‘} 14.5—‘5‘7h‘7! “ n‘u‘n‘n“
—~-2—e—&——3—;ea:a:—e:

 

Jr

 

8..

@3237:

OJ

 

 

 

 

 

 

. r 1* rr J/r' r"?-

That peace and joy on earth may reign, To heaven we pray, A - men, A - men.

Bruce.

 

 

 

 

 

  

ELEMENTS 0F VOSAL MUSIC. 13
’ 66‘.

   

 

 

 

  
     

I
my be i - i
.y syl- : l
2 -— l
lBLEs, , I
or ex~ ’
‘ Sing in the following manner, viz. :‘
mswer, Teacher sing I, and scholars sing 5
ure.)~l— “ cc 3, cc cc (4 5
idrup e ’ '
1 what (4 ( 5’ l. (C H 5.
ourth’l u u 27 4: (4 cc 5.
EAT-lg- ‘ SKIPS OF THIRDS. “ “ 4, “ “ “ 5
me ‘ e , 2 n . _ (4 cc 3 a a cc 5
Sing 1 o, dwell on 3. Sing, 1 3—3 1—1 1 *8 3—3 3 1 I. Sing, “ “ 1’ “ (a “ 5
2234—42—24—42—1. . . ’
62 Then mce versa, Viz. :
1—2:; Teacher sing 5, and scholars sing 1.
q: (C (C 5 CC (C K 3, 6:10. 650.
'E- Nona. After this let the school be divided into two sections- ~the first section sing the part
here assigned to the teacher, the second section the part assigned to the scholars, and vice
DOTSCE.
__P- Sing with the syllables the following numerals: l 3 5 —— 1 5 3 —- 3 1 5
I: ——35l—-—513—531—1135—~l553——-5331——1351
:* —-5 1 3 1,&.c.
67.

 

 

 

  
  
    

   
  
  
 
   
  
  
   

'v
~

 

72.

 

 

ELEMENTS 0F VOCAL MUSIC.
74. ‘

Teacher sing 1, Scholars sing 8.
‘6 (C 3 ‘6 ‘4 8

. 7 '

“ (C 5, U (C 8.

1‘ (C 3, fl (4 8

CC 4: 1 (C (C 8.

And was versa. See note on page 12.
Sing with the syllables (and also with the syllable ah) the following nu-
merals:
1358—1385—1538—1583—1835—1853

 

3158—3185—3518—3581—3815—3851

 

5138—5183—5318—5381—5813—5831

 

8135—8153—8315—8351—8513—8531
76.

 

 

 

ral

  

 

 

 

ll

h:
-3-

 

1g nu-

 

 

 

ELEMENTS 0F

77. Two or more sounds heard at the same time, form a. CHORD, and a l
succession of chords constitutes harmony. .
Let the two sections of the school sing the followmg chords :

First section sing 1, Second section sing 3.
‘4

a u 3, “ “ “ 5.

u c: u 3, a u u 8.

u u u 57 u u u 8.
u u a 8 u u u 5

, .

. u u u 5, u u u 3.
u ‘4 u 3 u u u 1

, I
Norm. Divide the school also into three or four sections, and practise together the nume-
rals, 1 3 5 8. ,
This combination of sounds is called the COMMON CHORD.
7 8. In harmony the notes that are to be sung together are written over
or under each other on separate staves or on the same stafi‘.

COMMON CHORDS.