xt795x25f220 https://exploreuk.uky.edu/dips/xt795x25f220/data/mets.xml Bradbury, William Batchelder, 1816-1868 Root, George F. (George Frederick), 1820-1895 Hastings, Thomas, 1784-1872 Mason, Timothy B. (Timothy Battelle), 1801-1861 1853 scores (documents for music) M2062.4.B7 S5 1853 English Mason Brothers Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Choruses, Sacred (Mixed voices, 4 parts) with piano Hymns, English Cantatas, Sacred -- Vocal scores with piano The Shawm; Library of Church Music: Embracing About One Thousand Pieces, Consisting of Psalm and Hymn Tunes Adapted to Every Meter in Use, Anthems, Chants and Set Pieces; to Which is Added an Original Cantata, Entitled Daniel: Or, The Captivity and Restoration. Including, Also, The Singing Class; an Entirely New and Practical Arrangement of the Elements of Music, Interspersed With Social Part-songs for Practice, 1853 text 302, [3]-46, [347]-352 pages, illus, 17 x 25 cm. Call Number: M2062.4.B7 S5 1853 The Shawm; Library of Church Music: Embracing About One Thousand Pieces, Consisting of Psalm and Hymn Tunes Adapted to Every Meter in Use, Anthems, Chants and Set Pieces; to Which is Added an Original Cantata, Entitled Daniel: Or, The Captivity and Restoration. Including, Also, The Singing Class; an Entirely New and Practical Arrangement of the Elements of Music, Interspersed With Social Part-songs for Practice, 1853 1853 1853 2022 true xt795x25f220 section xt795x25f220 rmnv;uwxs ABUVG‘ONH
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LIBRARY OF CHURCH MUSIC

EMBRACING ABOUT ONE THOUSAND PIECES, CONS ISTING OF PSALM AND HYMN TUNES
ADAPTED TO EVERY METER IN USE, ANTHEMS, CHANTS, AND SET PIECES,
TO WHICH IS ADDED AN ORIGINAL CANTATA, ENTITLED

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, ,1 EEEEEE; @E, mEE EEEEEEEEE EEE EEEEEEEEEEE.
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INCLUDING, ALSO.

1’ THE SINGING CLASS;

, AN ENTIRELY NEW AND PRACTICAL ARRANGEMENT OF THE ELEMENTS OF MUSIC,
‘. INTERSPERSED WITH SOCIAL PART—SON GS FOR PRACTICE.

.5 BY WILLIAM B. BRADBURY AND GEORGE F R001}. .. ,

“ ' ASSISTED BY

THOMAS HASTINGS AND T. B. MASON.

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, NEW YORK: » r ‘1‘
:, PUBLES ,. HED BY MASON BRO'I‘HER,S.': 3« "-.-’
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The followmg 1s an adaptation. of all the Peculiar Metres of the Methodist Hymn .Books, as used at the North, these Hymns being

d1fie1cntl y marked from those of other religious denominations

1st P. M. is L. M.; six lines, see Anvern, '77; Shelter, 76.
2d P. M. is L. P. M.; see Nashville, Newcourt, 192.
3d P. M. is H. M.; see Harwieh, 187; Stow, 188, &c.
4th P. M. is C. P. M. ; see Meribah, Ariel, 193. &c.
5th P. M. is 7’5 single; see Nuremberg, 244; Pleyel’s Hymn 212.
6th P. M. is 7’5 six lines; see Hackney, 215 ; Oder, 218.
7th P. M. is 7’s double; see Martyn, 219; Wesley, 215 ; Merrill, 218.
8th P. M. is 8’5, 7’s, and 4’s; see Oliphant, 206; Zion, 203.
9th P. M. is 8’s and ’7’s, double or single ; see Greenville, 201 ;
VVilmot, 200; Cass, 203; &c.
10th P. M. is 8’3, double or single; see Foster, 232; Jora, 225; Gregory,
Madison, 231.
11th P. M. is 7’s and 6’s, Peculiar;

Park, 206;

see Amsterdam, 222; Endor, 221 ; &c.

' 12th P. M. is 7’s, 6’s, and 8’s; see Kison, 223; or Amsterdam, 222, by adding

an eighth note.

13th P. M. is 10’s and 11’s; see Lyons, 264; Portuguese Hymn or Captivity,
292, by occasional ties.

14th P. M. is 10’s and 11’s; or 5’s, 6’s, and 12’s; D010, 266, by singing
through twice , or Captivity, 292, by joining two notes.

15th P. M. is 11’s and 9 (or 6 6 9); see Joy, 246 ; Rowley, 278.

‘IGth P. M. is 11’s, or 11’s and 12’s; Voice of Free Grace, Richford, page 265.

17th P. M. is-lo’s; see Savannah, 256; Herb, 238.

    

.1-

 

, Erirznnn, according to Act of Congress, in the year 1853, by
. WM. B. BRADBURY, 1‘ w/W'N
In the Clerk’s Office of the District Court. 01' the United States, for the Southern District of New, ",1“

mu 783.9 B7268

Bradbury, William Batchelder, ‘;
The shawm; library of church ’1 1
M2062.4.B7 S5 1755 1. "'1
1 o Teac)
C'lmrc
- _, 1 We res;
1 icularly tc
1,8tl1 P. M. is 10’s, 5’s, and 11’s ; see “Come let us anew,” 16; “All Prmse,” 23$. 1‘: SOMPLET
19th P. M. is 6’5 and 4’s, regular; see Italian Hymn, 228: New Haven, 230, &c. egg-(11;?
20th P. M. is 6’s and 7’s; see Dodd, 238. $1.111 mm“;
21st P. M. is 6’3 and 4’s, peculiar: see “My Shepherd,” 16. may be her!
20d P M _ ‘ 8 d perfo1 med 5
.. . .1s s an 4’s; see Bcine. 281.0110
RISTE]

23d P. M. is L. M. with two lines 7’s, see Shelter, '76; or any L. M. 6 lines, 1“ ianged a 001

by omitting the first note in fifth and sixth lines. , glues ada

24th P. M. is H. M. by repeating the last two lines of the tune; see tuneiMiivelig
Bethesda, &c. humiliation:
PEOULIAR

25th P. M. is 7’3 and 8’s, Peculiar , see “ Head of the Church.”
261h P. M. 7’s and 6’s; see Missionary Hymn, Passaic, &e.
27th P. M. is 11’s; see Goshen, Fredeiick, Captivity.

the Methodis
1‘ We have mad
/ 'the FIRST to 1

28th P. M. is 11’s, Peculiar; Razon, 285; 0r Captivity, 292, by omitting the , us 2“; 'IUNE‘
. e U. 63
first note. ’ . the fainu'l; (iii
29th P. M. is 12 s; see Etna, 235.. ., “' T111: New
30th P. M. is 11’s and 8’s; see Retin, 233‘; “ They have Gone’ .l gefel'ence to t
31st P. M. is 9’3 and 6’s, can be sung to 7’3 and 6’s (see Missionary hymn, 03%; v
AR]

224) by dividing two quarter notes for the two extra syllables' 1n the by slitrhtly en
first and every alternate line. 11 1" bd one old tu
3211 P. M. is 9’s and 8’s; see Felton, 290. ii... ' infifleames‘
33d P. M. is 6’s single and double; see “Sing Pr use,” or “Flurig to the {i HEMS A]

and closing
Headless.” 01ml Festival}
1‘ ill be found

1 j T111: NEW C

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‘ ’ .43 A ..

0 Teachers of Musw, Chmsters, Singers, and all mterested in American
Church Music.

We respectfully solicit for “THE SHAWM” a careful examination, with reference par-
.icularly to the following features, viz.: .
COMPLETENESS OF THE WORK. It comprises the greatest variety of regular Metrlcal
. nes-—Long, Common, and Short, ’73, and 8s 6: 7s—of any similar work within our
Inowledge. It contains also, tunes adapted to more than ONE HUNDRED DIFFERENT PECU-
inAn. METEES. We believe there is no hymn in use in any religious denomination, but
may be here adapted to an appropriate tune. In this undertaking, we think we have
erformed an acceptable service to the chorister. - '
,; CHOnISTEE’S INDEX. TO make this part of our work still more complete, we have ar-
‘ anged a. comprehensive and very copious Chorister’s Index, in which reference is made
0 tunes adapted to the peculiar hymns above alluded to.
l HYMN BOOKS USED BY DIFFERENT DENOMINATIONS. In this adaptation of hymns to
tunes, we have carefully examined all the hymn books used by the various religious de-
nominations Of our country. '
PEOULIAR IVIETERS or TEE METHODIST HYMNS. As the collection of hymns used by
the Methodist churches North, are differently marked from those of other denominations,
we have made a special Index, (see page 2,) for that work, in which all the meters, from
) 'the FIRST to the THIRTY-THIRD, are adapted, and one or two tunes for each suggested.
th ' ; OLD TUNES. These have been selected with reference to their known popularity and
I 0 t usefulness, whether in the lecture room or the social prayer meeting, revival occasions,
the family circle, or the great congregation. .
‘ THE N Ew. TUNES have been composed, compiled, selected, or arranged with particular
1 .l gefe‘rence to their availability and adaptedness to the wants of the 0301a and the SINGING
, .' , ' canon. .
lymb‘, GREAT VARIETY or BOTH OLD AND NEW. By our new and beautiful music type, and
in the by slightly enlarging the size of the page, we have been able to insert two new tunes,
‘ .hd one old tune, upon almost every page of the Metrical tunes, preserving, at the same
_ \ , f-ime, clearness and distinctness in the music. .
1;;th _.- ANTHEMS AND CHANTS, AND SHORT SET PIECES FOR. ALL OCCASIONS, such as the open-
to the r and closing of Public Worship, Missionary Meetings, Installation, Thanksgiving, N a.-
; aogmd Festivals, Dedication, Temperance Meetings, Sabbath-School Anniversaries. the... 610.,
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THE NEW CANTATA of “ Daniel,” we believe will prove acceptable and popular for

 
   

 

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’, .- ' PREFACE; ~

~

(See Index to Anthems.) .
THE SINGING CLASS, as our elementary department is called, has engaged onr.special
attention, while we have had in view continually the brief space of time usually allotted 31"?
to the study of the Elementary in Adult Singing Schools. We confidently believe, that ‘ l
the novel method of so arranging the elementary studies, as to Intertwine the practical .1
with the theoretical from“ the very first lesson, combining simplicity and progressiveness 511i
with pleasure in study, will meet the approbation of all. The introducflon of’casy Glees 'l
and Part-Songs in the different keys, is a feature which will help to keep in active exer- i
3

Concert purposes. Many of the choruses are also suitable for occasions oi worship u ll
ii
i

cise the interest of a class. ,- ‘lq.
ASSISTANCE FROM ABROAD we have enjoyed by foreign correspondence, and by our ac- ‘
cess to the best German and English composers. But we value none the less our
In this we have had the valuable aid of many of our best Ameri-
can writers and teachers. We believe, that a book of Church Music to be extensively l
useful in this country, should be mainly AMERICAN in its leading characteristics, though i“
it may and should contain much that is foreign. By a special arrangement with “fl
Mr. 'I'OWELL MASON, we are enabled to present a large number of his most popular and 3
g ..
3

HOME DEPARTMENT.

cho unes. This, we believe, will very greatly enhance the usefulness of THE SHAWM, as
9. st rd collection for Choirs. Mr. M. has also kindly sent us many valuable new tunes.

Our esteemed friend and assistant, Mr. THOMAS HASTINGS, has, as will be seen by his
many and beautiful compositions,_rendered us valuable aid in Our editorial labor. To a
Mr. TIMOTHY B. MASON, the Western pioneer in Church Music, we are indebted for
many beautiful WESTERN TUNES, bearing his name as author or arranger.

We are indebted also to many other American and to several German composers for :4."
valuable contributions, some of which appear, while others were received too late for ,.
insertion in this work. The new tunes withgno author’s name attacned, may be ascribed 5 lg
to one of the editors. , w" .

DIVISION OF LABOR. M‘the division of our editorial labor, it has fallen to the lot Of 1‘
ME. BRADBURY to take the principal charge of the Tunes, and the arrangement of the E
Elements, while Mr. ROOT has devoted himself more particularly to the preparation of the .3,
Cantata. By endeavoring‘to keep continually in mind the wants of our Choirs, Singing < l:
Schools, and Churches, throughout the land, we think we have now furnished what our . ’
title page boldly sets forth, a “LIBRARK or CHURCH MUSIC,” accessible and available to
all who sing the songs of Zion. . .

WILLIAM B. BRADBUBJ, ‘

NEW YORK, July 16th, 1853. GEO. F. ROOT.

 

I

 

 

 

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, . "_ THE FOLLOWING ARE EASY TUNES FOR INTRODUCTION IN TO SINGING CLASSES' .
raw."- ’ - ‘ . . , _ l
g [9 ate. Boro ............ 162 Manning ......... 49 Re of D. {A Tabernacle ....... 122 KB ofF, Adario ........... 135 Olive’s Brow..... 94
‘1 j l .....y ....... 35 Abiding Rest..... 204 Masardis ........ 51 Peer ..... y ....... 5 Peru...xf¥.? ..... 64 Lulu ............. 173 Shelter”! ....... 76 Notting Hill ...... 139 Capitalistt ........ 140
. eavenly Peace. 38 . , . . Sherwood ........ 108 57 ' .. 64 Poole ........... '79 Helena .......... L 40 J 3 ’ 1 . ‘ i’) ’, ,’
' 9., arland .......... 40 Harvey’s Chant... 108 :61 65 Xe of E. Tyrone .......... 127 Andora ......... :179 l. ‘ : Xaybf it). » a. i x f .
it evotlon ......... 43 44 Bloomfield ....... 109 y 02 66 Western ‘hant... '71 Wood ........... 175 . , ,. ripest .,3.12.2,. ;. 1 r? +
“ (rower... ........ 98 Lael ............. 166 Mason’s Chant... 114 67 Wessen .......... 7‘ Key of Eb. Adra ------------ 9
; Lmdenvme ...... 100 8me ............ 185 Morris .......... -. 118 68 Canandaigua...” 72 Key ofBb. Myers ----------- 89 l” Omfldllwqhanif 25w .
5.. eokuk ......... 105 Messor ........... 132 E1 Kadcr.‘ ...... 167 Trust ........... 120 Corey ............ 124 Arad ............ 56 Oakdale ......... '80 IAnssinl,.;......n 3 9‘ ~
5 ’. one .......... 159 [(303er .......... 1‘25 Newmarch ..... . 8.9 i 3 -, . ,‘ 1°, ’,’ ,
.. , o o o ’ a o ' ,

 

 

  

 

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LESSON I.
PRACTICAL EXERCISES, OB. FIRST STEquS' IN SINGING BY NOTE.
To THE Tasman—This chapter may be read and sung at the first lesson by_ almost
any class of beginners with comparative ease, leaving ample time for the practice of a
few “Old tunes.” If “ Bradbury’s Pocket Cards” are used,'le't. No. 1 be given out

during (or previous to) this lesson. Most: of théflaime—‘usua‘lly devoted ‘in thefi t six
lessons to learning the names and - ,. es of the difi‘el‘tmt musical signs W111 he‘

  
 

the class by the use of the Cards, . 1' z r . p 3,-
".i "ran SCALE. ,fi’
l. Ascending. . n, Descending; 9 v. ".if".
.1’ ' ’2 a 0 , .“ ‘- ‘ ‘..», 5" .
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i 2 3 4 5 6 7 8 "3‘ 7-- ‘3‘ y; 4 .3 .2 1,

§ 1. The scale represents, by characters called; ' "tes, a series of eight
musical sounds. To learn to sing these sounds a ectly is the first step
in the art of reading music. ghc “different degrees of the scale are num-
bered from 1 to 8, as seen above. _ ' ‘ W

§ 2. The first sound we call ONE, the next we, the next THREE, lac;

Pupils will repeat the numerals of the scale ascending and descending, flwn practice with
the numerals. 4'
§ 3. Beside the numeralsfivhich are not always convenient for singing,
we employ in learning to sing, the following syllables: .
Written, "Do, Re, Mi, Fa, Sol, La, Si, Do.
Pronounced, Do, Ray, Mee, Fah,‘ Sole, Lah“, See, Do.

3 § 4l'.'Th§ natal: representing the scale, and other musical exercises and
1 tiiries,‘ are printed-or written upon and between five parallel lines, called a
( Sun. ..

 

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‘ THE SCALE UPON THE STAFF.
2. Sing to the syllables.

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1 2 3' 4 5 6 7 8 8 7 6 5 4 3 2 1 1 2

Do, re, Inn, fa, sol, la, (i, do, do, si, la, sol, fa, mi, re, do. Do, re;
~ ere

POSITION OR PLACE OF THE SCALE. :0 11::

§ 5. The scale, as presented above, begins upon the lowest (first) 111.96, Ascem
of the staff. It may begin upon any one, or between the lines; hencp‘
as will be seen, the scale may be changed to any position—higher or log
er—upon the staff. Rules regulating all such changes will be presentt‘*.P:—9-——a
in their proper place. Let‘each member of the class now make himse-Da: ' .76
familiar with the syllables and sounds of the scale. (See scales below.) ly the 1”

 

 

 

 

 

 

 

 

 

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THE SCALE IN ANOTHER POSITION 1,1201»: THE STAFF. (mourn) 7, Three

'3. Sing with the syllables, alsowith“La.” i—.___.-
Do,

 

 

.00 re mi fa sol la si do do si la :01 a mi re do. .

La,’ 1a,, 1a,, 1a: 1a,’ la: 1a’, 1a,’ la: 1a’, 1a; 1a,’ a,’ la,’ la’, la. £1017"
THE SCALE IN ANOTHER POSITION UPON THE STAFF. (Lem) 8. Four D

4.- Sing to the words. ~ _

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Do, re, mi, fa, ‘sol, la, si, do, do, si, la, sol, fa, mi, re, do. ,, 0: 7'9;
That peace on; earth, and joy may reign, To heav’n we praon men. A anon, t “3 I

Nora.——In the above we have added a short line, in orderto write the scale still 10 5 e n...

 

 

 

 

 

 

 

  

   
 
  
  

0 ms Tucnsn.-—-In the following Exercises the teacher will give the pitch generally,
indicated by the numeral 1, supposing the clef and signature to be there,) simply
1’. ing to the class, “ Now Do ( ) is on the lowost (or first) line.” “Now between the
t and second lines,” &c. By thus frequently changing the position of .the scale, the
' inner learns from the first to regard the intervals in their relative position, irrespec-
of any given place upon the staff. This we deem of much importance,in teaching
1 art of reading music vocally. (In learning to play upon an instrument the case is
. erent.) After getting some practical idea of what reading music is—by the prepar-

)i'tance of fixed sounds as indicated by the letters and clefs. “ ONE THING AT 11 TIME,”
gst be the successful teacher’s motto.

i5. Ascending a1.d descending One‘Degree of the scale.

 

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2+r,__‘—a::;::a—-—a-—a—r-r‘l a a g a a a a
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re, (10- Do, re, do, re, re, do, re, re, do, re, do, re, re, re', do.

Here we meet with joy to- geth- er, Hereour cheer-ful songs to raise.
1,0 how sweet the hour of sing-ing, Hearts and voi-ces join’d in praise.

 

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(first) 111-6. Ascending and descending Two chtezs of the scale. Sing backwards.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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er or 1011+” 1 a a c-—-— f a a a it

presenter? _ _ ‘5 --'% ‘ G _

e himse'J’o’ ‘ re, mi, on, 'e. do, re, do, re, mi, mi.

1) 1 Elythe is the hour tut we spend here in sing - ing.

6 °W-)Rgni — - gnir yl - - i - raehc si cis - um teews ,cis - uM

an.) 7. Three Degrees. =1-
“_ 4—: — "' '_ " ‘ , :l'l:_
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_""' 1 ' 2 , 3 ‘ 4 4 3 2 1.

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‘ Do, re, ms, fa, fa, mi, re, do.

"a do. Now as - - cend - ing, now de . - scend ~ lng,

la, 13'- All' our voi - - ces sweet - 1y blend - ing.

mm.) 8. Four Degrees.

 

 

 

 

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‘9 ‘ 2 3 4 5 5 5 5 4 3 2 1 1 1.
re do. a, re, mi, fa, sol, sol, sol, sol, fa, mi, re, do, do, do.
3‘ A’- men; t us make our voi - ces ring; N ow’s the time to learn to sing.

 

316 still kiwi - The dots show um the music is to be sung twice—They are called a sum.

 

rim smemo CLASS

y exercises that follow—the pupil will easily understand and appreciate the im- -

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9. Five Degrees.

 

 

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Ma. - ny voi -'c_es seem to say,s¢em to say,“Merry singers here's the

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10. Sixand seven Degrees. '

 

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3‘, 1 2 3‘ 4 5 6 7 8 7 6 5 4 8 2 1.
D0: 791 ‘ mi) fa) 50%: la: Si! (10, 5i: la) 301, fa, mi: re, do-
~ 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- 1y laugh at care.

3

11;. TUNE. Do (1) on the First line. -

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1 2 3 2 3 4 5 ‘ 5 5 6 5 6 7 8
Do re, mi, re, mi, fa, sol, sol, ol, la sol, , la, :12, do,

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Let us, with a joy- ful mind, Praise e Lord, for he is kind;

 

 

 

 

 

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do, St, la, :0 , mi, re, mi, fa, . sol, a, mi, re, do. -
For his mer-cics , 1 en - dure, Ev - er faith- 11!, ev - er sure.
12. TUNE. Do (One) below the first line.—Sing fast.

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Do, do, do, do, re, re, re, mi, re, do, re, re, re, mi, fa, sol, la, 52', do, do, si, si, do, do,
1. We sons of the mountains are happy and free, sir, No bird of the air is more cheerful than we,sir,
2. At morn while the valley is shrouded in nightsh,We bask on the mountains in heav’n’s own light sir,

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i At night when our kine are all safe and at peace, sirs,We seek our own fern beds and set it ourease‘pin.

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: Come here all ye townsmen, be honest and tell, sil‘s, If men in the ci - ties nioré happi y.dwell, this. 3‘

 

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‘ .;-.-‘_:-:_..},-,n 2— ‘

  

 

V'sgippoisedfio“ beid'ivid'ed into two parts, the first being indicated by the count

Securitingitgo the fear), but also" y motions of the hand (to the eye), called
'Bswrs. or Bssrma TME'TIKE ‘

 

6 THE SINGING’OLAss

1’ LESSON II.

ANALYSIS OF MUSICAL SOUNDS, doc.
Q -l A musical sound or tone may be - ,
1. LONG, or SHORT. ' § 2. Properties of somids.—- I. LENGTH.

, 2. HIGH, or Low. A sound has therefore three 2. PITCH.

3. SOFT, or LOUD. . essential qualities, viz.: 3. POWER,
§ 3. Departments in the Elements of Music—As there are three distinctions
existing in the nature of musical sounds, and as they have three essential
properties, so there are three corresponding departments in the elements

of music : i‘ "

l. RHYTHMICS, treating of the length of sounds. If
2. MELonIcs, treating of the pitch of sounds.

 

3. DYNAMICS, treating of the power of sounds.
§ 4 General view :—'— , i?
Distinctions. Properties. Departments,
LONG, or. SHORT. LENGTH. RHYTHMIcs.
HIGH, or Low. PITCH. MELODIcs.
SOFT, or LOUD. POWER. DYNAMICS.
RHYTHMICS.

DIVISIONS OF TIME. MEASURES. PARTS OF MEASURES. COUNTING AND BEAT-
' INGTIME. ACCENT.

§ 1. The length Of sounds is measured by ‘a man time into equal
portions. This may be indicated or illustrated, by untiIIg equally, thus:
one, two ; one, two. . .

§ 2. The portions into which time is thus divided arekcalled Mnispnrs.
The perpendicular lines are called BARS. " ‘ .

§ 3. Measures are divided into smaller portions, called PARTs of Mn-
soars.

§ 4; When the counts are made as above represented; the measuies are
are. and the t‘sleictind 5an by twa-
, ..§.5. ,Measures and parts 0 ' measures, may be indicated not only by

. or Semibrm.

 

§ 6. In beating time, a downward motion of the hand is usually mad Name 1
for the first part of a measure, and an upward motion for the second part

,§ 8. Examine, count, and sing the following.

. . SONGOF PRAISE.
13. Measures of TWO Beats,
Down, Up, D. U. D. U. D. U. D. U. n. U. D. U. n.
“ r l l I.
TTl—a—Ti'a—a—‘l—a— , § 15. '1
Do, do, re, re, mi, - mi, re, re, mi, fa, sol, fa, mi, re, do. NhOIG .N 0
Praise the Lord, ye heav’nsa »- dore him, Praise him an - gels in the high“; § 16 I
Sun and moon re - joice be . fore, him, Praise him all ye stars of nigh r‘, ~ '

. fTo THE '1‘;
Norm TO THE Tasman—1‘ One thing at a time” must be kept in mind. Trainii the note:

 

 

the voice to follow written characters representing different degrees of pitch is n 6 time of

. the principal business in hand. We have always found it much less difficult for t Bung, hm

pupil to understand the subject of Rhythmics than that Of Melodies, in Musi 115’ sound
Notation. How printed characters placed upon different degrees Of the staff Ootes and 01
so indicate the exact pitch of sounds as to be a sure guide to the voice, is always ates as 800
the beginner a mystery, and the mystery can only be solved by systematic and pea

severing practice. Who ever learned to read music by studying the ‘Elements v? § 17. S
“Rules ’i” or who ever learned to read by being told how ? Little theory and mu -
practice is best. We have often wished to whisper in the ears of some of your excelle.’
teachers—“ Less talk and more sing,” and have, perhaps, often needed the same gen f 18 v1
hint ourselves. .1 § '

More Best.
’ NOTES. RESTS. ;

§ 9. The length of sounds is represented by written characters call: ‘Ungzr
N orns. Notes are signs, representing to the eye the comparative leng, ° e'
or duration of sounds. 1Quasi-Ions

NOTES.
- . '9‘
§ 10. Six different kinds of notes are in general use, viz. :-—- .,

a r D O f ’ .
l I» t g
The Whole Note, Half Note, Quarter Note, Eighth Note, Stewart}; Note, flirty-second N

or Minim. or Crotchct. or Quaver. or Semiquaver. or Demtaesstqua

§ 11. Pupils should examine the preceding notes until they are gel 6 19. N

familiar with their form and shape. , veg. fou

 

  

 
 
   
 

“Y mad Name the following notes: - _
“d P.“ , 2, s, 4, s, e, -- 1, a. ‘ e, , lo; 11, ~12.

f C D a . p .
mm” . v | 9 F , g F 5 g 9 g
§ 12. The WHOLE NOTE represents a long sound. '1 .
§ 13. The HALF NOTE represents a sound half as long as a. Whole Note.

, § 14. The QUARTER NOTE represents a sound aquarter as long as a.
’ hole Note. -

fi§ 15. The EIGHTH No’rn represents a sound one eighth as long as a
do. Whole Note, doc.

re, .
3}" 21§§3§ 16. Name the notes in any of the tunes in the body of this work,

l’l‘o run Terrorism—Question on the proportionate duration of sounds as represented

Traini the notes; as, for example, How many half notes, think you, should be performed in

itch is n e time of one whole note '1 How many quarters ’l Eighths ’l &c. If one whole note
:ult for ti} sung, how many sounds are made? Ans. ONE. If two half notes are sung, how
in Musicflny sounds are made? Ans. Two. What then is the difference between two half
no staff ootcs and one whole note ? Most pupils will understand the relative proportions of the
,3 always iotes as soon as they are able to distinguish one from another.
ic and pr
lements f
V and mu;
1r excellefi
’ame gen ?§ 18. Their names and proportions are the same as the notes.

§ 17. Signs indicating silence are used in music. They are called

nears.

Mole Best. Half Rat. Quarter Rest. Eighth Rest. Simth Rest. flirty-second Rest.
- - r ‘1 .7

ms calm Under bver Turned to Turned to
'i t line. the line. the right the left. Two hooks. Three hooks.

.ve lengtl;

Quasrrons.—Upon the rests. Name them in different tunes.
a

A ~ "J
J J~ ,J J
F? 71-1"? W
fissis'flal 55:3

1, 6 19. Name and describe the above—as, one whole note is equal to two
Ives. four quarters, 85s., 8m.

  

l , THE SINGING

 

 

M < x— ”m .1“, r~a~~ r~~~—-— « m- 7-. ~,—-- 7., , ’2...

CLASS.

LESSON» Ill.

MELODY OR MELODICS.
EXERCISES IN SKIPS.
Norm-If Bradbury’s Cards are used, give out N o. 2.
§ 1. Sounds proceed by Skips as well as by Degrees. The Skips after
a little practice, are easily measured by the eye. ‘

14. Skip of a. Third. 15. Skip of a Fourth. '

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

reps

 

 

 

IE u
,. .. a ' fl
1 2 3 T’ 3 T’ 3. 2 3 4 T’ 4 1 4.
Come and skip this Third with me. Skip a Foo/rm now, no more, no more.
16. Skip of a Fifth. .
l) I) A In H.
. 1: Q I, w r ‘ .37: " [‘1
——f—-:1 " s r; 'L
2 3 4 5 1 5 - » 6 1 5.
‘ Af - ter wis - dom let us strive, let us strive.
l7. Thirds—Fourths, Fifths—Sixths.
JV " 4 a r i .i j 3 3 LL: -
a "I c r; a c ”I 'l" n “—9 " a a ll
1 2 3 1 3 1 2 3 4 T’ 4 1' 2 3 5 1 5 1.
Do, re, mt, do, mi, do, re, mi, fa, do, fa, do, re, mi,fa, :01, do, sol, do.
1 l .L I
1 r l :l a 5 4 r i r l I) n I
l .1 7 ' l .1 a a 1 ..' a " " l
n y J I! 6 " I! a 7 " n c l
T’ e T’ 6 T’ 4 T’ 4 1 5 T’ 5 1.
Do, la, do, la, do, fa, do, fa, do, sol, do, sol, d0.

18. Tune with Skips—0N! below the first line Two un'r (Double)

measure.

3:1inlinljil' '14:; l.‘
'J "' AltéjfiiilLW—Hz.k
L9 all? "1 '1;

Do, mi, re, mi, fa, sol, fa, 'mt, la, sol, a, mi, re, mi,
1. I love the Lord, he heard my cries, And pit - red eve - ry grm;

 

 

 

 

r I1:

 

 

 

 

 

if a i 0'" a i l i i i ‘ [[fi 1 L n.
a I :5" l I L l l 3%; E 1.- 9' 2’ 1:73:ij IZE

I 1 l l L l I L L l I

1 ' - I p 1 .
sol, la, u, do, st, la, la, sol, m1, a, m, 'n, ”02., ao.
Long as I‘ live, when trou- bles rise, I’ll as - ten to his throne.

 

  

“a,

 

19. Tons. ONE between the first and second lines. (Fir‘sAt space.)

 

 

 

 

 

 

J . r [4. I I l I ‘ I Ll anI_I 114
W 11‘, I J I I I If! 0‘ L1 dfiléw—l I L
I . i1, [’1 ; Lid—Q’ELPLH‘H" __

0, do, :1, la, sol, do, re, mi, mi, mi mi, re, do, fan mi, re,
1. With one con-sent let all the earth To God their cheerful vox.ces raise;

 

 

 

 

 

 

THE SINGING CLASS.

 
 

 

 

 

_ . _ _ I . fl *4" 1 ~ at four quarte
- 2 _' 0 9 a: ' ‘rrmv J 5, = = .1 3 a showsthattl

 

  
  
  
 
 

o HALF NOT]
~' § 5. To aid i-
QUESTION.-HOW many quarter notes should be sung to the time of one half note 'l I ench mechani
f me. It has

do, do, re, mi, re, mifa, mi,re,mi, mi, mi, mi, re, do, re, mi,re,dn.
Who hates the place wherea-theists meet, And fears to talk as scof-fers do.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

i % 4:1] JI_ 1+, J +1, i fie? J, i l é :5?) I I It 23. diurnal One (Do) on the second line. | 1 . t l
WJ'jls a J J [I I7 I L a' I 5' I 5’ I a ;L 1 , , 1 j, _ _ ,, A I _, j“ 4f I , “ta-f 11.1 “Pm-t5
. ’ ‘7.— . . -———L—— ’— ' w ' l *’ " =‘ —L—0——d' —— I a
Do, re, mt, re, do, la, 5:, do, sol, 1m, do, re, {4, mt, N, do, a ‘ ' 6‘ ,L ,L 1, [L = r Lt {1 lls,t1n i3!"
Glad hom—age pay, with aw-ful mirth, And sing be - fore im songs of praise. . . r , .m P a e 01' a
1. A - wake ,my soul to sound his pralse! A - wake, my harp, to sing! he Pendulum .
20. A plain Melody or tune. ONE (Do) on the first space. 2. A - mong the peo - ple of 1115 care, And thro’ the na - tions round, Int put the wei;
a j 1 i 1' j I . j i 1 I V i I I I I I re in equal time,
4. a g‘ 5* c‘ a j. 1. a} P 9 (if 5' d 0‘ ! fij ‘ 7. 1 l E e a a 1 q 7' j 11 [I .’
:1 1'" 0' ,r 'F a *3 3' = = 5’ g [L [L iC i, 3 g a El 5 in § 6. In the p
1 3 3 4 4 3 2 1 3 5 5 4 3 2 3 2 . . _ _ ‘Houldbc comp
Do, mu, m, ja, fa, mi, re, do, mi, sol, sol, fa, mz, re, mi, re, Join all my pow’rs the song to raise, And morn-mg 1n - cense bring. ronome or a ch
, , Glad songs of praise will I pro-pare, And there his name re - sound. I,
—? JI j :1 JI l 1' f 11 :1F 4 :1 J 1' I I'r VARIETIES
é a 5' " a r." a‘ a r," a .r " “—51% :H: 3
2 3 1 4 3 2 '2 3 2 3 '5 4 '3 2 1. LESSON IV § 7. There a
re, mi, 40, fa, mi, re, re, mi, re, m1, sol, fa, mi, re, do. - .as THREE VAR

21. The same Melody as No.20.
quarter for half notes in several places.

 

 

 

 

 

 

 

 

 

a . I . .
,I I I 1 l I I . r I i l i r
”‘Zl'fi—‘i’d g a l 4 r ,I In 1 I; I :gq
I. l I a I l " a
a v a L ,r 1
Lord, in the morn-ing thou shalt hear My voice as - cend-ing high;
1 I I j . 1 ' :I 111 1’ 1 ' .
1 1 I .I (if i 1 i i 4 l i In :L i 7I l FF
i—d—F—l—i—L—s—I—afl—Lc—C—k—Acga—a—H:
. . v :
To thee Will I d1 - rect my prayer, To thee . . . 11ft up mine eye.

Qussrron.—How many eighths should be sung in the time of one quarter ’1
22. TUNE. One (Do) on the first line.

L 1 I? N 7 I l I; I; h
l l 4" j J ' l 7 l I j Jl H ' ‘l j 1
~€_-——;‘—J—~3—J4~1—7-J:9-:l—4—J—J~——J — _ _
rv

~—I

Do, do, re, mt, re, mi, fa, mI,re,mi, mi, mi, mi, fa, mi,re, do, si,do,re,
Hap~py the man, whose cau-txous feet Shun the broad way that sin- ners go; ,

 

0 When two or

th notes are 'olned b the hook the 3 etc be an to one
unable of the r: ) J y ' y r "g ,

 

RHYTHMICAL CHARACTERS RESUMED.

1. In aformer chapter we considered the length of sounds as indicatedkis _tW0 beats ;

by the different forms of the notes, 660., but the time of a, piece of musiolot‘IOns 0f the 1
may be slower or faster without interfering with relative proportions. .

§ 2. When, for example, we apply four beats to the whole note, welis three beatI
must allow two beats to the half note, and one bent to the quarter noteg}l e m -

. otions of

&c.; but when we .apply only two beats to the whole note, we must allow
but one beat to the half note, «Sec. '

Q 3. There may be various kinds of notes in the measures, but therelSOfoul‘ b63365;
must be an equal amount in every measure; that is, one measure niustlfitlons 0f the
contain as much in the aggregate as anotherfi“ lnrd parts.

Examine, also, tunes in the body of the work. Question on the relative duration of j
the notes, &c. , '

§ 4. Large figures placed at the beginning of a piece of music
the fractional proportion of the whole note, thus, for example,

s six beats; 1

denote ,, tions of the I

shows .d fourth part:
II

If: When the movem
1n it a flow, heath

 

first and last measures of