xt7p5h7bw55m https://exploreuk.uky.edu/dips/xt7p5h7bw55m/data/mets.xml Root, George F. (George Frederick), 1820-1895 1872 scores (documents for music) M1495 .G58 1872 English John Church & Co Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection John Lair Music Collection Choruses (Mixed voices, 4 parts), Unaccompanied Hymns, English School songbooks The Glory: a Collection of New Music for Singing Classes, Musical Conventions, and Choirs, 1872 text 400 pages of music, 17 x 25 cm. Call Number: M1495 .G58 1872 Provenance:  Wilcox, Glenn C Provenance:  Wilcox, Glenn C.Donor: John Lair Music Collection (copy 3) The Glory: a Collection of New Music for Singing Classes, Musical Conventions, and Choirs, 1872 1872 1872 2022 true xt7p5h7bw55m section xt7p5h7bw55m  

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A COLLECTION OF NEW MUSIC

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gittging @1awtefiflézésfifiE mammous anti @Ijoirs.

BY GEO. F. [3007.

PUBLISHED BY JOHN CHURCH 85 CO. CINCINNATI.

 

 PREFACE.

The Singing-School Department of THE GLORY is founded on the system of teaching that is set forth in

3-193 .1." -— 'V-V-"_':.'V:A -:_:"- 347‘? ,

5?;

THE NORMAL MUSICAL HANDBOOK.

THE GLORY is for the class—THE HANDBOOK exclusively for the teacher.

THE GLORY shows results—THE HANDBOOK the modes by which the results are reached.

THE GLORY furnishes music for practice——THE HANDBOOK, theory, analysis, methods of teaching and
meanings of technical terms.

Books of this kind are renewed as often as new music is wanted— THE HANDBOOK is once for all, so
far as it is founded upon the truth.

The music of THE GLORY is more thanr IiSual'l‘Y'TlCW,: the Editor being especially responsible for that
to which no author’s name is attached. I i .|

The words not generally known are a‘l‘sO. mostly he‘w and some well known hymns and poems are
newly arranged, either with choruses added, Or with- additio :1al stanzas.

Those engaged in the profession of authorship, and the business of publishing, will readily recognize

our right to what has cost us so much labor, and will, we trust, refrain from making use of our work without

1
1
1‘

permission, and especially from setting our words to new tunes.

Having, before the fire, arranged some pieces from our former Sheet Music Catalogue, for this book, we are

indebted to Messrs. S. Brainard’s Sons, its present owners, for permission to print them. :
\Ve are indebted to many friends, whose names appear with their compositions, but especially

to DR. LOWELL MASON, who, notwithstanding his advanced age, has yet given THE GLORY some of its

brightest rays.
GEORGE F. ROOT.

 

  

mu 784.8 R678

The Glory : a collection of n
M1495 .G58 ‘31 1

 

ELEMENTARY COURSE.

[The lessons should be given, practiced, and under—
stood aefore t/ie questions upon t/zem are asked. This
being done, the questions and answers will aid .the
pupils in remembering the lessons, and will at any time
serve for reviewing them. For the author’s mode of
giving these lessons see NORMAL MUSICAL HAND-
BOOK]

CHAPTER I.
PREPARATORY.

[Give a lesson here to bring out the voices]

I. Is a sound visible or audible? Audiole.

2. Next to the audibility of a sound that we hear
what do we notice? l’V/Eat kind of sound it is.

This applies to any noise. ‘

3. What is a musical sound called? A tone.

4. What is the technical name of the audibility of a
tone? Power.

5. \Vhat is the technical name for the peculiar sound
of a tone that makes it pleasant or unpleasant, sad, joy—
ful or otherwise? Quality.

6. What should we do to help our voices to good
quality? Attend to position, Meat/ting and giving out
the voice, and avoid straining it.

7. Are voices alike or difl‘erent in quality? Difler-
mt.

8. Is a flute or violin alike or different in quality?
.Diflierent.

9. A trumpet and clarinet? szerent.

10. A piano and organ? szerent.

II. Can a tone exist without quality? It cannot.

It will be remembered that we do not take room here to give
reasons for the new things that are done. Those who desire to

know them more fully are referred to the NORMAL MUSICAL
HAND—BOOK.

 

CHAPTER II.
PROPERTIES.

[Give a lesson on properties]

12. Can you imagine a tone without length? 11/?
cannot.

I3. Can you imagine a tone without pitch? IV:
cannot.

14. Can you imagine a tone without power? lVe
cannot.

I5. Can you imagine :a :tone without quality? We

cannot; _ 5 .. s c» 3. 5.1- 3' 1 ; ‘ .

16. Then .wnat are essential propedies of every tone?
Lengt/z, pitr/z, poet/grand gigalijju'. , i. . .

I7._i()ar you giue either; property withoutthe others?
lVe cannot. -, , , \ ‘ f 4,.

I8. \Vhen one is given must all be given? 772:)!
mart. ' ' 1
19. Are length :zndyitch alike (grvdifi'erent? Difler—
ent. ”" i r i

20. Are power and quality alike or different? Dif-
ferent.

21. Are length, pitch, power and quality four things
or one thing in a tone? They are four, out inseparable
and .ro one.

CHAPTER III.
DEPARTMENTS.

[Give the lesson first, and after the lesson, these
questions]

22. What do these four properties that every tone
has, give rise to in our musical system? Departmentr.

23. What are the names of the Departments? A’lzyt/z-
mios, file/odie: and Dynamics.

 

24. What is treated of and included in Rhythmics?
All t/mt relate: to length.

25. \Vhat in Melodies? All that relate: to filtclz.

26. What is included in DynamiCS? All tlzat re-
late: to power and (/mzlity.

27. Why does Dynamics include both power and
quality? Became tlzere two properties are so connected
t/mt out}; are often included in Me meaning of one maxi-
6le term.

It may be said in illustration that Aii'etuoso means both a soft
power and a pathetic quality, and that Maestoso means a louder

power and a majestic quality, but for a fuller explanation sec
NORMAL MUSICAL HAND-BOOK.

CHAPTER IV.
TECHNICAL TERMS.

[After the lesson, these questions]

28. \Vhen a word has a peculiar meaning, in music or
any other science, what is it called? A tee/mica] term.

29. \Vhat is one of the common meanings of the
word pile/I .9 T/ze gum of a pine tree.

30. \Vhat is the technical meaning in music?
particular degree of lug/mew or lowner: of any tone.

31. What is the common meaning of the word power 5’
Strengt/I, influence or loudness.

32. What is its technical meaning in music?
degree of audibility
loud or roft.

33. Is it any objection to these terms that their com-
mon meanings are so different? It i: not. '

34. What do printers call the steel or brass instru-
ment into which they put type while at their work? A
stir/c.

35. Why would you not object to this name, and tell
those who use it that it is not a stick? Because we

The

T It:
wlzit/z any tone liar, w/zet/zer it lie

 

 4

recognize their right to give the word any meaning they
choose, and when all understand it we hnow it becomes a
technical, term in their occupation.

36. \Vhat then is right about the technical terms used
in the science of music? To find out their meanings in
music and not regard as of any importance what their
other meanings may be, or whether they have any other
meanings at all.

Ifthis doctrine oftechnical terms be true it is not wise nor even
sensible to find fault With “half step," because half a step can-
not be taken. or with “ natural,” because all tones are alike in
naturalness, nor With any other technical termpn account of.its
common meaning, for these terms are .not used in music to we
common meanings any more than “ stick ” is in the art of print-
mg.

CHAPTER V.

BEATS.

[Give the lesson that includes beats, accent and
measure]

37. What do we observe in order to produce regular-
ity in music? Beats.

38. What is one way to manifest beats?
is technically called counting time.

39. What is another way to manifest beats? Beat-
ing time.

40. What is another ? Singinga tone with every beat.

41. What are the motions of the hand called in heat-
ing time? Beats.

42. Is the real beat in the hand or in the mind? In
the mind.

43. If the mind thinks the beat irregularly will the
hand move irregularly? It will.

44. What connection, then, have counting, beating
and singing with beats, and of what use are these pro-
cesses? They are the outward manifestation of beats,
and help to mahe them regular.

That which

CHAPTER VI.
ACCENT.

45. Are beats alike, or do they differ? They dij‘er.
46. How do they differ? Some have more prominence
of stress than others. ‘

 

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ELEMENTARY COURSE.

47. Do these beats occur regularly or irregularly?
Regularl '.

48. \Vhat are such beats called? Accented beats.

49. How are accented beats manifested? By more
audibility in counting, by a downward motion in beating,
and by more power in singing.

5o. \Vhat is the manifestation of an accented beat

called? Accent.
51. What are the other beats called? Unaccented
beats.

52. How are they manifested? By less audibilz'ty in
counting, an upward motion in beating, and less power
9 u n O
m smgzng.

CHAPTER VII.
MEASURES.

53. What do suecessionsofaccented and unaccentcd
beats form? Ilfea'cures. ' | . ', ‘ ' ~

54. What constitutes a measure? «An;acce1:ted and
an unaccenjed beat, . _

55. M'hagbegimfihe measure 'r ".Anmccentea’. beat.

56. \Vha't ends the measure? 1"); unaccentegl beat.

57. By what means are mea‘sute‘s 'manifested to the
eye? By medias of am. ' f , ' g '

58. How? Bars ore upright lines “at cL'rtain distances
from each other, and the spticc‘s between them represent
measures. Ex.

59. “that is the technical name of the space that re-
presents a measure? fl/easures.

60. How many things is measure the name of?
T 70o.

61. What are they? The group of beats and its
sign.

62. “that represents a beat to the eye? A part of
the space that stands for the measure.

63. What is the technical name of this representation
of the beat? Part of measure.

()4. W'hich part of measure stands for the accented
beat ? The first part.

65. Which for the unaccentcd part? The secondpart.

66. \Vhat kind of a bar is used to close with? A dou-
ble bar.

67. Manifest these beats and measures by counting
time. Ex.: one two I one two I one two I one two I I

 

68. Manifest these beats and measures by heating time.
Ex.: down up I down up I down up I down up I I

Question as before.

69. Manifest these beats and measures by singing a
la to each beat. Ex.: la la I la la I la. la I la la I I

Question as before.

The reasons for this view of measures are fully given in the
NORMAL MUSICAL HANDBOOK.

The design is to have the following lessons sung at different
pitches, in order to prepare for the lesson in pitch which follows,
but the pupils not knowxng the names of pitches yet, the teacher
starts each lesson. The letters in brackets give the writer's
idea of the pitches that the teacher should use. First G, then
E and C below; then A, B and C just above G.

(G- F? I? PII' PIP!“
Votc - es rea - dy. Firm and stea— y.
(E) rem-PIP mg 1:
Gen - tly oer us Floats the c o- rus.
C
( ) go it: Iwgn-dcr,[ I? w: lblfn-dzr."
“0 L51 .5: '13.. It, I o .5 It; I: I
(B) I'PIPI'IHI’II’I'II
Loud - er swell- mg, Vorc - es tell — mg.
(C) f’t'lr' PIP PIP I'II

I\ow still high- er, Shouts the cri - erl

CHAPTER VIII.
Noras

[Give the lesson and sing these exercises]

70. What properties do we give with every tone?
Length, pitch, power and Quality.

71. What is the name of the first length we have
practiced? Quarter note.

72. What is the name of the character that stands for
this length? Quarter note.

73. How many things is “quarter note " the name
of? Two.

74. What are they? A certain length and its sign.
(G)? PIP PIP PI f’ IP PIE’ I’IP I’I PII

Are we right or are we wrong, In po—st-tion,breath and song?
(A)? I’Ifip IPF’IPIPPIF PIPFIF’II

Sll - ver wmgs, Pret — ty things, 0 what Joy the summer brings!

(B)? IF’ IF PIF’IgwclrtIlP PIP PIPII

e voices of our throng.

Long, long, good and strong

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< )siigrfr‘ji'y: I r9

meme F’I PIP elau

sing for joy ! Glad and rec with-out al - on.

 

ingl
ercrs

 

 

 It will be remembered that most of the exercises, especially in
vocal- culture in this part of the course, cannot be put in here for
want. of room, but the teacher is making use of them constantly
1n hxs practice with the class. See NORMAL MUSICAL HAND—
Boox.

75. Vt’hat other length have we practiced, named and
represented, beside quarter note? I/alf note.

76. How many times as loug as the quarter is the
half note? Twice a: long.

77. Have we named or represented the pitches, pow—
ers and qualities that we have to sing with each length?
We lzazle not.

78. What power and quality should we try to give
with the words we sing? T/uu‘ w/zz'e/z is most appro-
prim‘e. '

79. How do we know what pitch to give ? T lze teacher
gives 27, and we z’mz'loie.

CHAPTER IX.
PITCH AND STAFF.

. [Give the lesson that these questions refer to, includ-
mg base and treble clefs, and sing this and similar ex-
ercises.]

WHERE THE SILVER WATERS.

Pile/z, Stafl“, C left.
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v.8}. l-f'l :lr:l . .
do 0 re re mi mi fa sol sol la la 51 51 do
Where the sil-ver wa~ters flow, Where the summer breezns blow,

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do do si si la la sol {a fa mi mi re re do
Hear the murmur,hear the song,From the happy woodland throng

 

 

 

 

 

la sol fa
80. What properties do we give with every tone?
LengI/I, pile/z, power and qualify.
81. How do we name the pitch of any tone? By t/ze
name of a letter.

 

ELEMENTARY COURSE.

82. What do we call the first pitch that we have
named? zl/z'rltlle C.

83. Is middle C a high pitch or a low pitch for men’s
voices? A lzz'gll pile/1.

8.1.. Is it a high pitch or a low pitch for ladies' voices?
A low pile/z.

85. Why is the same pitch high for one and low for
the other? Became of Ilze Ila/11ml dryereuee between
f/ze mole and female voice.

86. How is middle C represented to the eye? B}! o
lmrz':ou.’.zl line.

 

Example:

87. \Vhat is the name of the pitch next above middle
C? I).

88. \Vhat represents this pitch? lee .r/meejust above
Me line.

89. \Vhat is the name of the pitch next below middle
C ? .

90. \Vhat represents this pitch? lee .rjjaeejmt l/elow
[11: line.

91. What is the technical name of each place that
represents a pitch? Degree.

92. How many degrees are here? Three.

93. How many of these three degrees are lines? One.

94. How many are spaces? Two.

95. What do the one line and two spaces form? A
.rlafl:

For historical facts in regard to the staff see the NORMAL MU-
SICAL HAND-BOOK.

96. Name the two pitches next above D. E and F.

97. How are these pitches represented? Amn‘lzer line
olmwe l/ze first represent: E, and (lie new space it came:
reprerem‘r F.

Example :

 

98. How many degrees has our staff now? Fire.

99. How many are lines? Two.

100. How many are spaces? T/zree.

101. \Vhat has the space become that was above the
first line? It 1101 become tlze .r/mee between Ille two lines.

102. \Vhat does every line that is added in enlarging
the staff bring? A space.

103. How wide is the space that the line brings? A:
wide as llze spare lie/tore); two liner.

104. Name the two pitches in descending order be-
low B. A and G.

 

5

105. \Vhat is required to represent them? Another
line below, and llze space it brings.

 

 

Example:
106.
107.
108.

 

How many degrees has our staff now? Set/en.
How many are lines? T/zree.
How many are spaces? Four.

109. Name the eight pitches next above F in ascend-
ing order. G, A, B, C, D, E, Faml G.

110. \Vhat will be required to represent these pitches?
Four line: alioz'e z‘lze degree represem‘iug F, will; t/zez'r
spacer.

 

Example: :; ;

 

How many degrees has our staff now? Fifteen.
How many are lines? Seven.
How many are spaces? [fig/11.

114. Name the eight pitches next below Gin descend-
ing order. F, E, D, C, B, A, Gaml F.

115. What will be required to represent these pitches?
Four line: (Below l/ze degree representing G, and tlzeir
spare-'5.

111.
112.
113.

 

 

Example: _

116. How many degrees has our staff now? Twat/’1'-
tlu‘ee. *
117. How many are lines? Eleven.

118. How many are spaces? Twelve.

119. Which part of this staff represents the pitches
that ladies’ voices give? T/ze upper.

120. Which part of this staff represents the pitches
that men’s voices give? T/ze lower.

121. \Vhat would be the trouble in representing
pitches by a stat? of this size? So many degree: would
molce it zlzfliezzlt to a’islinguz'slz lllt'lll ouz'el'ly.

122. How is this remedied in our musical system?
zllz'rlrlle C is only represented, a: it 2': wanted, by a slzort
line, and fill: leaner two flows of five longr line: ear/t—
one above for Me lu'glzer voices, am! one (Below for tlze
lower.

 

 

 

 

 

 

 

 

 

 

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123. Why are five lines chosen? Because we can dis—
tinguish any degree among them at a glance without
counting.

 

CHAPTER x.

CLEFS.

[After the lesson these questions]

124. \Vhat is the upper staff called? The trehle stafi".

125. What is the lower called? The hose strmj’.

126. What indicates the treble staff? The character
called the trehle clef.

127. What indicates the base staff? The hose clef.

128. \Vhat are the names of the degrees of either
stafi? The long lines are named from lower to upper,
first line, second line, third line, fourth line and fifth
line. The spaces caused hy the long lines are named space
helow, first space, second space, third space, fourth space,
and space ahoc'e.

129. Does the short line represent a pitch as well as
either of the other degrees? you as well.

130. How is it named? I f it is considered as helong-
ing to the trchle staff it is called the line helow; if to the

131. Are C, D, E, etc., the names of degrees of the
staff? T hey are not.

132. \Vhat are they the names of? Pitches of tones.

133. What connection have the degrees of the staff
with these letters? The degrees of the stagfl~ represent
the pitches that are named hy the letters.

Now if any one understanding this chooses to put letters on the
staff he can do so.

134. How many pitches do the two staves represent
all at once when the short line is used? Twenty-three.

135. Is any particular pitch indicated for you to sing
by the staff alone? No one.

136. How can one be indicated? By pointing to the
degree that represents the pitch wanted.

137. What is the common way? The common way is
to put a note upon the degree wanted.

137. \Vhat does a note do when put upon a degree
of the staff? It shows which pitch to sing, when to sing
it, and how long to sing it.

138. How does it do this ? Its position shows which
degrecof the stoflr is wanted, and .when to sing, and its

 

form shows what length to give.

ELEMENTARY COURSE

139. How many different pitches named C have we
sung while we have been developing these staves?
Three.

14o. \Vhat do we call them? fliiddle C, upper C and
lower C.

141. What represents middle C? The short line.

142. “that represents upper C? The third space of
the trehle stafi-C .

143. What represents lower C? The second space of
the hose stafl‘.

144. How many D's did we sing? Th‘ree.

145. How many E's? Three.

146. How many F’s, etc.?

147. If lower C and middle C are heard at the same
time, or the two D’s next above them, or the two E's
next above, w at do they make? Octar/es.

148. D0 tones that make octaves agree or disagree?
They seem almost to have the same pitch when they are
heard together.

149. How are pitches named that‘ make octaves?
I V ith the same letter.

150. \Vhat is the name of the character that joins the
two stavcs in the following representation? Brace.

151. What is the brace for? To show how many
states are to he used at the same time.

152. How are the pitches and measures of the tune
represented? The pitches hy means of the horizontal
lines and the measures hy means of the perpendicular
lines.

In giving out the syllables do, re, mi, etc., it maybe well to say
that these syllables and many of the words and terms used in
music are from the Italian language, and retain more or less of
their original pronunciation,which is for a, ah ; for e, a as in day;

for x, e as in me, etc. Observe this particularly when you come to
the syllables that are applied to chromatic tones.

CHAPTER XI.
DIVISION or vorcns AND TENOR CLEF.

[Give the lesson, then sing.]

Before singing each tune questions will be in order as to the
names of the clefs, the size of the staff, the tones ofthe key used,
and the quality and power that would be appropriate, as well as
the proper places to take the breath.

[Always give the lesson first.]

153. What are those ladies’ voices called that easily
sing the higher pitches represented by the treble staff?
Trehle or soprano voices.

154. \Vhat are those ladies’ voices called that sing
lower pitches represented by the treble staff? Alto or
contralto voices.

155. What are those men’s voices called that sing the
higher pitches than those which are represented in the
base staff? Tenor voices.

156. \Vhat are those men’s voices called that sing
the lower pitches represented by the base staff? Base
voices.

157. In order to represent the pitches of the alto
without using the base staff, what is done? The star/es
are put further apart, and the treh/e stafl" is made larger
hy short lines and the spaces they hring.

158. How are these degrees named? First line he-
low, second line hclow, third line helow, etc. Space [it's/(71”,
second space helow, third space ire/ow, etc.

Question about the names of the pitches that these degrees rep.
resent, 0‘0.

159. \thn we wish to avoid the confusion of having
the treble and alto sing from the same staff, what do we
do? I/Ve have a stafl‘ for each.

160. When we wish to avoid the confusion of having
the base and tenor on the same staff, what is done?
Each has a stafl:

161. Why is not the base staff used for the tenor
voices when each part has a separate staff? [feature
the tenor pitches would reouire so many short lines that it
would he diflicult to read them readily.

162. What staff is used for the tenor voices? The
tenor stafl”.

163. What indicates this staff? The tenor clef.

164 \Vhat is the difference between the tenor clef
and the treble clef? The trehle clef mahes the first line
helow stand for middle C.

165. While the tenor clef represents middle C by the
third space, what degree of the base stati stands for the
same pitch? First line above.

166. How many lines has the alto staff in “ Now in
one united band ?” Six.

 

Glory to the Lord. Page 21.
Now in One. .“ 21.
In the Silent. “ 22.
Must we part. “ 22.

167. Then how many degrees? Thirteen.

 

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168. How many lines has the alto staff in “ In the
silent depths ?” SJ’Z’EIZ.

I69. How many are long lines? Five.

170. How many are short lines? too.

171. How many lines has each of the other staves?
Five.

I72. \Vhat, then, can be said of the size of the staff?
I t i: oariaolt.

Although the treble is the highest part, it is put next to the
base for the accommodation of players. ‘

The pitches represented should be named, and also
the degrees of the staff that represent,them, and in
singing the voices should not be strained. The tenors
should be taught to use the falsetto.

Although the figures indicating measure and beat-note are not
yet needed, the book looks better with them, and they are in—
serted. To explain them, it is only necessary to state that 2
stands for two-part measure, and 4 for a quarter note, and that
both figures mean two quarters or their value in each measure,
leaving the more full explanation until other kinds of measure
have been introduced.

CHAPTER XII.
KEY.

[Give the lesson including “ Key—note and other rc-
lationships " and “ absolute and relative names of
pitch]

Then sing.

Now we call.

Mu51c, mUSIC.

Who are these?

The pitches of this key should be somewhat practiced in scale
form and by the simpler skips before these tunes are sung, and the
parts should be named (pitches, notes, etc.) and sung separately
before the tune is sung by all. These rules should be observed
until the class read well in any key.

In calling for tunes from the book the writer would not, after
naming the page, say first score orfirrt tune, or second, or third,
but would give the name of the tune—as, for instance, “page 23,
Now we sing.”

173. How many pitches have we practiced thus far,
including the treble, alto, tenor, and bass voices ?
Twenty—two.

174. How many letters are used in naming these
pitches ? Sea/on.

 

ELEMENTARY COURSE.

175. How can seven letters name so many? T/zorc
tlmt are an octave apart are mzmal will; t/zc mm: lot/or.

I76. \Vhy are they named with the same letter? 15’s-
causc tlzey :ouml :o muclz ali/st.

It is not necessary here to speak of the way that musicians dis—
tinguish the different octaves—large, small, once marked, twice
marked, etc. Our compass is so small that simply lower and up—
per C, D, E, etc., will be sufficient.

I77. \Vhen these pitches are thought of in their rela—
tion to each other, what do they form? A family called
a A'oy.

CHAPTER XIII.

KEY-NOTE AND OTHER RELATIONSHIPS.

178. What is the most important relationship that any
tone sustains in the key? Tlmt of l’ty-note.

179. What is a key-note? A tone llzot i: wort :ati:-
factory a: an endinm

180. How are the other pitches of the key named as
to their relationships to each other? T/zc key-note i:
namzd on: or eig/zt, and M: otlzerpitclzc: two, t/lrc’t’, four,
five, :ix, and :evzn.

181. \Vhat syllables do we use to aid us in fixing these
relationships in our minds, so that when we know how
the key-note sounds, the sound of two, or four, or six,
or three, or any other pitch, will be there, and we be
enabled to give it with our voices? Do, 7’8, mi,fa, sol,
la, :i.

182. How are these syllables applied? Do to flat lazy-
not! or one, re to two, mi to tlin'e, fa to four, :ol to five,
la to six, :i to seven, and do to rig/1t.

183. What other service do these syllables render us?
T lioy lie/p us to goodtnuuciation, pronunciation, and ar-
limitation.

184. Which of the pitches that we have been singing are
key-notes or do? T11: C’s.

185. W hich have the relationship of two or re ? T lit
17:.

186. Which three or mi?

187. Which four or fa? lec' F’:.

188. Which five or sol? .771! 6'5.

189. Which six or la? lee A’:.

190. Which seven or si? let B':.

191. Which eight or do? 7712 C’:.

T11: E’s.

 

7

192. Why is the pitch C both eight and one? B:—
muxc it i: sometime: t/zt key-note of ill: filo/26: oelow it,
and sometime: tlze key-note of tlzt filo/ac: allow it.

CHAPTER XIV.

ABSOLUTE AND RELATIVE NAMES OF PITCH.

7193. How many kinds of names have our pitches now?
too.

194. What are they? Aluolutt and relative 11am“.

195. What are the absolute names of pitches? Tlt:
name: of let/fen.

196. What are the relative names of pitches? The
name: of numécm. '

197. What are absolute and relative names for? Al—
solute name: to name wluzt tlzg pin/15: an, and relative
name: to name tlzz way in wlzic/z [lie-y are u:ea’.

198. Can you illustrate this absolute and relative
meaning by something beside tones? Your aluolutt
name i: “ Gm. F. Root," out in your relation to t/zi: cla::
you are “ T eat/tor." You lzola’ in your lzaml a “ lzirlcory
:tick," out in tlze use you male: of it it i: a “ Pointer."

199. How do you apply this illustration to a pitch?
The pilclz wlzose (16:01:12? name i: C i: u::d a: one or key-
note of tlzz l’ry, t/ic filo/z D i: u:ed a: two in M? by, etc.

200. If by and by we find some other relationship for
this pitch which is now key-note, will it still be C? It
will.

201. Can you illustrate this? If you walk will; 11;:
“ llivt’my :tict’ " it will become a “ MIN," [ml it will :tz'll
o: a “ lu'rl’ory :tz'tlc.” To your rlzilrlrm you are “fat/zen”
to your chair “ clwri:tcr,” to your rity “ titizcn,” out it i:
alway: “ Geo. F. Root" 'ZU/lo :mtuin: tlzex relationL

CHAPTER XV.

SCALE.

[Sing the scale] and
Now 1n union,

Page 24.

202. If we put the tones of this key in the alphabeti-
cal order of their pitch names, what will they form? A
Joule.

 

 i
t:
t"
5,;
5
t
t
a,
t
l
i
I
l.

, .349r‘11w-(4h‘auhh-

«v:

«nu 52;".1' ‘3‘

 

9.!”15flfliw'fl-1fsfifgz’if2 an"? “ A

8

203. What is the least number of tones that will make

a complete scale? [fig/it.
204. What is its most satisfactory form? VV/zen it be-
gin: will; one and ends with eig/zt, or begin: wit/z eig/tt
and ends wit/t one.
205. Why? Because in t/zz': way it oegim and end:
will; a key-note.
206. “that is the difference betweeen the scale and
the key ? T/ze key eomixt: of t/zese file/1e: in any porri-
ole order or combination, w/zile t/ze .n‘ale is only one of the
tune: or form: in w/zz'e/z t/ze tone: of the key may be lzeard.
See NORMAL MUSICAL HAND-BOOK.

CHAPTER XVI.

RESTS.
[When Rests and Tie have been explained and prac-
ticed, sing:

When the Choir began, page 25.

List! List! List! 25.
Saviour, breathe, “ 305.
The Busy World, “ 28.
Hark! Hark, along the Valley, “ 26.
The Spring has come, “ 27.
Amen, Amen, “ 303.
How the Chorus sweeps, “ 28.
Redeeming Love, “ 213.

If this or any of the following lists, contains more
pieces than are needed, before going to the next lesson
select those best adapted to the work.

207. \Vhen a beat has no music to it, what takes
place? A rest.

208. What is the name of the character that indicates
a rest? Rest.

209. What is the name of the rest that is as long
as a quarter note? Quarter rest.

r r'lr' rlr rlr PH

210. What is the name of the rest that is as long as
the half note? Ila/frest.

ELEMENTARY COURSE.

CHAPTER XVII.

TIE.

211. What character makes two notes stand for one

sound by joining their lengths together as it were? A
tie.

1'? H9 ltg [tell
la. ...... la ......
”-f’l‘eme
a l l

A
l P
..... a a.-._.

fit 3- 5/179”? P’TP n

212. How many tones are represented in the first
three examples? Two.

213. \Vhat length has each? Four hat: or two meas-
um.

214. How many notes are used to represent each of
these tones? Two.

2I5. In the second example, how many tones are rep-
resented? Four.

216. How long is the first? A: long a: t/zree beats.

217. In the third example, how many tones are in-
dicated? One.

218. How long? A: [orig a: eig/zt beat: or four
measurer.

CHAPTER XVIII.

DYNAMICS.

[After the lesson, these questions]

219. \Vhat properties must we give with every tone
we sing? Lengt/z, file/z, flower and quality.

220. \Vhat are the names of the departments in which
these properties are fully treated? It’fiyt/zmics, melo—
(tie: and dynamics.

221. What have we done in rhythmics? I’Ve have
practiced, named and represented oeatr, measures, notes, etc.
222. What have we done in melodies? IVe have
practiced, named and representedpite/zer.

223. \Vhat have we done in dynamics? We liar/e
practiced power: and gualities, out have not named nor
reprerenteo’ t/zem.

224. \Vhy are we not obliged to name and represent
powers and qualities as we are lengths and pitches?
[Jerome our word: and tune: genera/1y :lzo'w wfiatfower:

 

.—-_ l _-_ l _..-.. l _.-_u

225. When ‘a composer Wishes to make sure that the
performer Will give the powers and qualities that his
piece ought to have, what does he do? He mar/c: it
wit/z word: and sign: that indicate t/zem.

The following table shows the principal dynamic terms. It
will be seen that some refer exclusively to power, some exclu—
sively to quality, while some include both power and quality in
their meanings. The teacher should draw out, by questions, the
names of the dynamic degrees and their abbrevnations, and the
names ofthe different forms of tones and their abbreviations.

Pianissimo (15).), very soft.

Piano (15.), soft.

Mezzo (7:1,), medium.

Forte (f), loud.

Fortissimo (fl), very loud.

Crescendo (erer. or <), gradually increasing.

Diminuendo (dim. or >), gradually diminishing.

Swell (no. or ), increasing and diminishing.

Forzando (fz. or $), a sudden burst of any power.

Clear tone, atone