xt7tdz032h9z https://exploreuk.uky.edu/dips/xt7tdz032h9z/data/mets.xml McIntosh, R. M. (Rigdon M.), 1836-1889 1873 scores (documents for music) M2117 .H440 1873 English J.B. McFerrin, agent of the Southern Methodist Publishing House Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Glenn C. Wilcox Collection Hymns, English Part-songs, Sacred Part-songs, English Hermon: a New Collection of Sacred Music ... Together With a New and Complete System of Elementary Instruction Designed Alike for Singing Schools and Private Pupils, 1873 text 1 close score (320 pages), music, 17 x 25 cm. Call Number: M2117 .H440 1873 Provenance: Wilcox, Glenn C Hermon: a New Collection of Sacred Music ... Together With a New and Complete System of Elementary Instruction Designed Alike for Singing Schools and Private Pupils, 1873 1873 1873 2023 true xt7tdz032h9z section xt7tdz032h9z  

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"Tabor and ,Hermon shall Rejoice in Thy Name.”—Lxxxix Psalm. 18.

 

A NEW COLLECTION OF SACRED MUSIC.

COMPRISING A GREAT VARIETY OF

IIIetetttes amt Harmehtes of the murder/ts periods and Seheets, from Ambrose to Luther, and
from Luther to the present; and remterthg armtltthte for worshtppthg use many of
the finest Tunes, Chart/$139 Anthems amt Chants of every age and of wery
section of the Chrtsttmt Church;
w I
T 0 G E T H E R W I T ‘

A NEW AND COMPLETE SYSTEM OF ELEMENTARY INSTRUCTION,
DESIGNED _ALIKE FOR SINGING SCHOOLS AND PRIVATE PUPILS.

BY R. M. MCINTOSH,

Author of. lTabor, &o.,

> H~_.._ a”. _., V w..." “.17.,

 

ASSISTED IN THE HYMN—TUNE DEPARTMENT
By Rev. THOMAS O. SUMMERS, D. D.,’LL. D.

P‘

NEW'YORK:
F. J. HUNTINGTON AND 00., No. 105 DUANE STREET.

NASHVILLE. TENN:
A. H. REDFORD—AGENT‘OF THE SOUTHERN METHODIST PUBLISHING HOUSE.

   

PREFACE.

THIS is our sixth book of Sacred Music, and in its preparation we have endeavored not to disappoint the reasonable
expectations of a generous Christian public, who have so kindly received each of our productions.
Our thanks are cordially and gratefully tendered to the Rev. Dr. SUMMERS, not only for his excellent dissertation on

lyric poetry, and his able assistance in the Hymn-Tune Department, but also for his kindness 1n reading the proofs of

the entire work.
We are likewise indebted to many other friends, at home and abroad, for valuable professional assistance, as well

as for a considerable number of original contributions, which bear their names and enrich our pages. In this connection
we may especially mention the names of Dr. A. B. EVERETT and Prof. J. N. PARKER. Prof. PARKER is a young author
of unusual promise, and we commend him most heartily to the favorable consideration of our friends. Dr. EVERETT is
too well known to need our commendation. His numerous works, which are in almost every cultivated American
choir, are the best testimonials of his ability.

Nashville, Tenn, August, 1873. ,
R. M. MCINTOSH.

 

Entered according to Act of Congress in the year 1873, by R. M. McINTOSH, in the Office of the Librarian of Congress at Washiwrton.

 

 

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ELEMENTARY

DEPARTMENT.

 

INTRODUCTION.

EVERY impression made upon the mind through the sense of hearing is termed a
SOUND.

All sounds having determinate height or depth are called
TONES ; >

And these, by combination and succession, according to certain laws, constitute
MUSIC.

It has been demonstrated that there are but
SEVEN PRIMARY TONES

in nature, from which all music is derived. But these seven tones can be pro-

cured on any key, and may be repeated ad infinitum, or to the utmost limit of our

appreciation. They are also susceptible of an illimitable variety of combinations

and progressions, so that the number of musrcal compositions essentially differing

in their character and effect which it is possible to originate or compose from these

seven primary tones and their replicates, is absolutely beyond human computation.
Tones have three essential properties, viz :

LENGTH, PITCH,AND POWER ;

and are susceptible of three fundamental distinctions, as
LONG on snonr, men on LOW, LOUD on sorr.

Hence we shall classify the elements herein to be explained under three general
heads, according as they may relate to one or another of these tonal distinctions,
viz :

RHYTEMICB, MELODICS, DYNAMICS.

Each of these general divisions, or headings, we will term a
DEPARTMENT.

Every thing relating to the length or duration of tones will be explained under
the head of Rhythmics; whatever concerns the pitch of tones will be found
under the head of Melodies ; and all that pertains to the power or force of tones
will be treated of under the head of Dynamics.

To render this department of our work more convenient as a text-book for
learners, we shall not take up and pursue the departments separately, disposing of
one fully before proceeding to another '; but shall combine them somewhat as they
are usually combined in the instructions of good teachers: for in teaching, the
diflerent departments should be blended together and taught in conjunction.

But, whilst we shall have some reference to the order in which the elements are
generally brought out in singing classes, it is no part of our design to lay down a
plan of instruction to be followed by the teacher, but merely to explain the princi-
ples of musical notation in such a systematic and classified form as will render
them convenient for reference. We act 11 on the presumption that no teacher
worthy of public confidence needs any ot er method to guide him than that

 

stereotyped upon his own mind by long and diligent study of the subject. _

CHAPTER I.

RHYTHMICS.
DIVISION or TIME—~BARS, MEASURES, AND “BEATING TIME.”

giame, as it passes during the execution of music, is divided, by vertical lines
ca e
BARS,
into equal portions called
MEASURES ;

 

thus 2—- _
Bar Bar. . Bar.
Example 1. l Measure. ! Measure. I

The horizontal line in the above example is intended to represent time. We
have divided it into two equal portions, and supposing that it occupied eight
seconds to draw the line, each division will represent four seconds of time. ‘

The vertical lines are bars, and the spaces between the bars are measures.

Measures are subdivided, and thus smaller equal portions of time are obtained,

which are called
PARTS OF MEASURES.
Every measure is divided into two or more parts, and each measure is named
according to the number of its divisions.

Bar. Measure. Bar. Measure . Bar.
1 l 2 I 1 I 2 I

In the above example each measure is divided into two parts, by the use of the
short line standing between the bars. A measure thus divided, into two parts, con-
stitutes what is called

— DOUBLE MEASURE, on, DOUBILJ Trina.“

We have employed figures to represent the parts of measures, and shall continue
to do so at present, though they are not thus employed in music, as will be seen
hereafter.

All measures are not divided into two parts only, as in Example 2, because all
music is not written in double time. We will now illustrate another kind of time.

 

Ex. 2.

 

it Some musicians object to the use of the word time in this sense contending that the word measure
should be strictly adhered to in this connection ; as double measure, triple measure, etc. We are no
sticklers for set words or phrases, and have no hesitation in using any word which we think will
enable our pupils to grasp our meaning. We therefore employ the words measure and time, in this
connection, indiscriminately, and in doing so we believe we are following the example of the best
writers on the subject.

  

ELEMENTARY

4

 

Bar. Measure. Bar. Measure. Bar.
1 ’ 2 3
Ex.3.lll2'3II'J|

In Ex. 3, each measure is divided into three parts. A measure thus divided, or
consisting of three divisions, is called ‘
TRIPLE MEASURE, on, TRIPLE TIME.
. . . b .
Below are the two other kmds 01 time commonly used, v1z :—

QUADBUPLE TIME AND SEXTUPLE mIE.

QUADBUPLE TIME.

Bar. Measure. Bar. Measure. Bar.
1 2 3 4 1 2 3 4
EL 4.} I I I i I I I l
SEXTUPLE TIME.

Measure. Bar. Measure. Bar.
1|2|3|4.|5|6|1|2|3|4|5|6|

It will be observed that there are four parts in each measure of Quadruple time,
and six in each measure of Sextuple.

BEATING TIME.

To enable us to keep the time accurately in singing, and to distribute it properly
among the various notes in a piece of music, so that each note shall have its exact
relative duration, it is customary to aid the mind in its rhythmic computations by
certain motions of the hand, which are called

BEATS, on, BEATING TIME.

In double, triple and quadruple time, there is one motion of the hand, or one
heat, to each part of the measure. Hence there are just as many beats in each
measure of these kinds of time as there are parts. In sextuple time, Where the
movement is not required to be very slow, the effect is generally better if three parts
are perfornwd to each beat, in which case there would be but two beats to the meas-
ure—-performed the same as in double time. But when a slow movement is de-
sired. it is usually indicated by the word pastorale, and then each measure requires
sis: beats ; the first and second, downward; the third, left; the feurth, right; and
the tfifth and sixth, upward; or there may be three downward and three upward

ea s.

In nine and twelve part measures (marked 3 and 182), which are but little used,
three parts of the measure are invariably sung to a heat, while the beats are performed
the same as in triple and quadruple measures.

In double time there are two beats to each measure, the first part havin0 a down-
ward motion of the hand, and the second part an upward motion——d0wn, tip.

 

Bar.
Ex. 5 .

 

 

  

 

  

DEPARTMENT.

In triple time there are three boats to the measure, the hand moving down to the
first division, left to the second, and up to the third—down, left, up.

There are four beats to each measure of quadruple time, and may be performed,
first down, second left, third right, and fourth up——down, left, right, up. In elemen-
tary classes, however, where but fifteen or twenty lessons are given, we would
recommend that the beats be performed the same in this kind of time as in double—
down, up, down, up,to each measure.

This answers every purpose, and saves the learner a good deal of trouble.

MOTIONS OF THE HAND IN BEATING TIME.

 

 

 

 

 

Double Measure. Triple Measure. Quadruple Measure. Sextujle Manure,

p.
Q1 0

S De

‘8; GI Q 3' g 9-. '3 5

a 5 ° 5 b D s m

:3
I left left 3:]
left right right

Nam—The pupil should be particular to make each beat promptly, and to name the beats belong-
ing to each part of a measure in exact time.

CHAPTER II.

DYNAMICS .

Amman—Every measure in music has one or more strong parts ; that is, one or
more parts that are required to be sung with a greater stress or force of voice than
the other parts.

This stress, or force of voice, is called

ACCENT,

and the part or parts of a measure receiving the distinctive stress are said to be
, ACCENTED.
t1113yéiccent, then, is meant singing one or more parts of a measure louder than the
0 er .

In double time the first part of. the measure is accented, and the second is un-
:gggrlitied~that is, the first part 18 sung with a greater stress of voice than the
pai'Itl trir'ilfi tigettherj is one atcciented part in each measure, and two unaccented

s. e rs par is accen ec , the second (1 th' '—
loud, second and third soft. an 1rd parts are unaccented first

unIgthelil‘ggfplfl measure the first and third parts are accented—second and fourth

 

 

    

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ted—first

1d fourth

In sextuple time the first and fourth parts are accented—the others are unaccented.
In a nine part measure the first, fourth and seventh parts are accented, and in a
twelve part measure the first, fourth, seventh and tenth parts are accented.

Note.—It will be frequently found necessary, in order to give expression to the words, to vary
from the general rules of accent as above laid down ; but every good reader will be able to determine
when such variation is demanded. .

CHAPTER III.

MELODICS.

THE MAJOR DIATONIO SCALE, ITS CONSTRUCTION, ETC.

A series of seven tonesfwith the first repeated, making eight in all, bearing cer-
tain relations to each other in point of pitch, is termed the

MAJOR DIATONIO SCALE, or simply the MAJOR SCALE.

What these relations are will shortly be explained.

The tones of the scale are named from the first eight numerals, 1, 2, 3, 4, 5, 6,
7, 8, the lowest being called one, the next above it two, and so on :—the highest is
called eight, the next below it seven, and so on. In applying the names of numer—
als to the sounds of the scale we use the cardinal numbers, one, two, three, etc.,
and not the ordinal numbers, first, second, third, etc.

The difference of pitch between any two tones of the scale is called an

INTERVAL.

There are seven intervals in the scale.

These are of two kinds, large and small.

The large intervals are called STEPS, and the smaller being just half as great as‘
the large, are called half steps.

Nata—The term scale is derived from Scala,the Latin word for ladder; hence the aptitude of the
terms steps and half steps for the intervals.

Tv§o8of the seven intervals are half steps, and they occur between 3 and 4, and
7 an .

The other five are whole steps.

The order of the intervals in every major scale, then, is as follows, viz :——from 1
to 2 a whole step ; from 2 to 3 a whole step ; from 3 to 4 a half step; from 4 to 5
2 vlvfhole step ; from 5 to 6 a whole step ; from 6 to 7 a Whole step ; from 7 to 8 a

a. step. '

Bantams—To aid the learner in getting the correct pitch of the tones, a certain
syllable is applied to each. The syllable Do is applied to 1, Re to 2, Mi to 3, Fa to
4, Sol to 5, La to 6, Si to 7, and Do again to 8, which is the same sound as 1, for
the eighth sound of the scale is obtained by repeating the first.

We represent the scale below,with the numerals and syllables adapted, ascending

ELEMENTARY DEPARTMENT.

THE MAJOR SCALE.

Ex. 6, . Ascending Scale. Descending Scale.
half half
ste step step ste

half ste step pp»? ?\0 p step t half

step p a67 7 Do Do 7. ? S ep step t
ste Step a? La 81’ ’ ,Sl’ La 0%B‘epstep
0P? 3 a Sol, ’ ’80], F a
1 Re Mi, ’ a’Mi, a 1
Do, ’ , 9' Do,

The syllables are pronounced, .
Doe, Ray, Mee, Fah, Sole, Lah, See.

CHAPTER IV.

MELODICS, CONTINUED.
THE STAFF, LETTERS, AND cums.

oIn music the scale is represented on a character called 3
STAFF,

Which is composed of five horizontal parallel lines, and the four spaces coming
between them, thus :—

STAFF.

__ s
EX. 7. _______ space

space

 

The lines and spaces are counted from the lowest upward. Each line of the stafl
is called a degree, and each space is called a degree. There are, therefore, nine
degrees in the staff—five lines and four spaces. When it is necessary to write
music lower or higher than the staff, which Is very often the case, short lines above
and below the staff are used, called lines above and lines below ,' and the spaces below
them are called space: above and spaces below, thus :—

Sevond line above, —

First line above,—Sec°nd space above.

First space above.

 

Ex. 8. l
I

l ._ .__.
. . First space below.
First lme below -— ~
Second line below:_bccond space below.

H-IH

Any number of these lines and spaces may be employed, and if they were made
long like the others, their multiplicity would frequently so confuse the eye that it

 

and descending. I

would be impossible to read the music

         
    
     
   
  
 
    
  
  
  
  
   
   
   
  
   
   
    
 
   
  
   
  
  
  
   
    
   
 

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-fi‘m—w _.

     

 3 ELEMENTARY

The degrees of the staff, lines and spaces (including the lines and spaces above
and below), are named from the first seven letters of the alphabet, A, B. C, D, E,
F, G. In order to name all the musical degrees from but seven letters, these have
to be repeated. ‘ Every eighth degree, counting the degrees consecutively, is named
from the same letter as the first—just as every seventh day is called Sunday.

These letters are generally applied in two ways to the stafl‘. For instance, in one
way of applying them the second line is called G, in the other way it is called B.

To determine which of these two ways of applying the letters is to be observed in
any special instance, we must look to a character called a

CLEF.

A clef is simply the representative of a letter, and was originally the plain Roman
capital letter itself. It has gone through many changes, however, until it has
assumed a form but little resembling that of the letter it is used to represent.

There are two clefs in common use.
Each clef, as above intimated, represents a particular letter, and fixes its position

on the stafi‘. This is termed the
CLEF LETTER,

and from this it is easy to find out the places of the other letters, as they follow each
other in alphabetical order. One is called the

G CLEF.

and is made thus :—
G CLEF,

Ex. 9.

 

Q,
or fixes G on the second line of the stafi‘, where the body of the
01', rather, it determines that that line shall represent the tone
G in our tonal system. In this clef the letters are applied thus, commencing with
the first line below the stafi‘.

It represents,
clef is situated.

a '0-

Ex. 10.

    

E
-0-

The other is called the ,F clef, and is made thus :—

Ex. 11.

 

antd represenfsdor fixezhifi.‘ or; tfhehfmlirth line of the staff, where the body of the char-
ac er rs s1 ua e . n is c e t e etters are a lied s f 11 ' "
the second added line below the staff. pp a o 0W8, commencmg Nth

 

 

 

Inn .A .. I .. Amunum‘- .‘n (Mu.

DEPARTMENT.

B ‘0"

Ex. 12.

    

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Note—In this country the G clef is used for three parts, Treble. Alto,and Tenor. But when it is
used for the tenor, which is intended to be sung by male voices, it represents G an octave lower than
when used for either of the other two parts, which are designed for female voices, owing to the
gatural difference of an octave in the pitch of male and female voices. The F clef is used for the

ass.

Between the letters E and F there is but a half step—also between the letters B
and 0. Between each two of the other letters, taking them consecutively, the in-
terval is a whole step.

Letters represent POSITIVE, ABSOLUTE pitch—that is, the same letter always repre-

sents the same tone.
THE NOTE.

The note, this a character, is used, melodically to point out to the performer
the tones that are to be sung. If the note stands on G, for instance, the tone G is
to be sung; if it stands on A, the tone A is to be sung—for tones, considered in
relation to absolute pitch, are named from the letters which give names to the
degrees of the staff on which they are represented. ,A tone indicated by a
note standing on G is called 0, and so on.

The note is written on every line or space representing a tone belonging to a
piece of music, and it is by its use that the singer knows what tones are intended.

In the earlier part of musical exercises for beginners, when the G clef is used
the scale treated of. in Chap. III, is based on C, the first added line below the staff:
That IS, one or do 1S placed on this degree, and the sounds follow each other in
reglulafhorder up to C on the third space, the place for the eighth,or octave of the
sea e, us :—— ’

THE SCALE ON THE G CLEF STAFF.

          

Ex. 13. 3
g I
6‘ 2 '9-
Namesofthetonesl 2 3&4 5 6 7&8 857 6 5 453 2 1
Absolute pitch 0 D E F G A B C C B A G F E D C

Syllables D0, re, mi, fa, sol, la, s1, do, do, sx, la, sol, fa, mi, re, do.

When notes occur higher than 8, then 8 is regarded as 1 of a scale above, and the
notes tollow each other in the same order that they do in the scale below, thus :—
A SCALE ABOVE.

&0.

NOTES ABOVE 8. 8 REGARDED AS ONE OF

Ex. 14.

 

C D E F G
(8). 1 2 3 4 5
D0, re, mi, fa, sol,

   

 

  

     

when it is
ower than
n: to the
led for the

letters B
', the in-

'ys repre-

)erformer
:one G is
sidered in
es to tho
ted by a

ging to a
itendcd.

f is used,
the staff.
1 other in
we of the

:1

 

 

, re, do.

'e, and the
, thus :—
OVE.

ELEMENTARY

When the F clef is used in these earlier exercises, One of the scale, or Do, is not
found on the first added line below the staff, as in the above example, but is placed
on the second space, thus :—

THE SCALE ON THE F CLEF STAFF.

Per-6'1
2 2

   
    

Ex. 15. g

         

Namesofthetonesl 2 354 5 6 7&8 8H 6 5 443 2 1
Absolute pitch 0 D E F G A B C C B A G F E D C
Syllables Do, re, mi, fa, sol, la, si, do, do, si, la, sol, fa, mi, re, do,

And when notes occur lower than 1, then 1 is regarded as 8 of a scale below,
thus :—
NOTES BELOW 1. 1 REGARDED AS 8 OF A SCALE BELOW.

 
    

Ex. 16.

   

1
2-9~ ~—
o t B A G F g E ‘8‘
(1). 8 5 7 6 5 4 i 3 1
BOA si, la, sol, fast mi, re, do,
When notes ascend above 8 and below 1, as in examples 14 and 16, the scale is
said to be extended, and it is spoken of as the
EXTENDED SCALE.
One (1) of the scale is called the
KEY-TONE, on KEY-NOTE.

So also is the octave of 1, or 8.

In the major scale the syllable Do is always applied to the key-note, and One, Do,
and key—note all mean, or apply to the same thing—the lowest note in the scale.
So that when we speak of the key-note it will be understood that we allude to One,
or Do.

Note.—1t may be well to remind the learner of the fact that the lowest tone of example 13, exactly
corresponds, in absolute pitch, with the highest tone of example l5; and that the two staves are con-
nected by the introduction of a single line, thus :—

and“.

Do, re, mi, fa, sol, 13., Si, do,
1 2 3 4 5 6 7 8

       

 

 

 

 

Ex.17U ...______.__._._
l/.\- n a v u_D 3
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are
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0

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an
own

1, 1a, si, do,

DEPARTMENT. 7
CHAPTER V.

RHYTHMICS.

NOTES, BESTS, TIME SIGNATURE, TIE, PERIOD, AND DOUBLE BARS.

Norris—The note is used for another purpose besides that explained in Chap. IV.
.It IS used to represent the relative lengths of tones.

For this purpose it is made to assume various shapes or appearances, in order to
represent tones of difl‘erent length.

This is its rhythmic use. It usually assumes about eight different appearances,
which we give below :

Double Note. Whole Note. Half Note. Quarter Note. Eighth Note.
Ex. 18. flag a p r r
| v

Sixteenth Note. Thirty-Second Note. Sixty-fourth Note.

a o o
5 » E E
The names of the notes imply their relative lengths. The whole note is equal to

two half notes, or four quarter notes. The half is equal to two' quarters, or four
eighths, etc.

TIME SIGNATURE. ~The kind of time in which a piece of music is to be performed,
is generally indicated by a figure placed at the beginning, immediately to the right
of the clef, and on the upper part of the stafl, thus :—

Double Time. Triple Time. Sextuple Time,

Quadruple Time.

EX. 19.

    

o

The figure 2 placed above indicates double time.
“ ‘ ‘ 3 “ “ “ triple time.
u u 4 H (l ‘(
“ “ 6 “ “ ” sextuple time.
u “ 9 “ “ indicates a nine-part measure.
“ “ 12 “ “ “ a. twelve-part measure.

quadruple time.

and a

Note.—-In many collections of Psalmody, a 4 measure is marked thus:—

&

 

2 measure thus, —-

2

In every piece of music a certain note, as the half note, or quarter note, for in-

 

 

stance, is selected as the standard of measurement, or to represent each part of the

  
 

  
  
    
    
  
    
 
  
  
  
    
   
     
   
 
 
  
 
     
  
  
  
   
    

.WA - .w

wager”... a, ,_

  

  

 
 

ELEMENTARY

time of one beat, and all the other notes are dwelt on ao-
they sustain to this. Any note may be chosen to represent
The note having the time of one beat is called the

anrrvs NOTE.

When a half note is primitive, a whole note must have two beats, two quarter
notes must be sung to one beat, and so on. .

If a quarter note is' primitive, a half note will have two beats, and two eighths
must be sung to a beat, and so on. .

The primitive note, or the note that is to have the time of one beat IS usually
indicated by a figure placed under that used to express the kind of time. The
figure 2 placed below, thus,

Ex. 20.

measure, or to have the

cording to the relation
the time of one best.

 

shows that a half note, (P) is to have one beat. Two half notes, therefore, will

fill a measure, as the upper figure says it is double time, in which there are but two
beats in a measure. The figure 4 placed below expresses a quarter note, and the
figure 8 expresses an eighth note. These are the notes almost exclusively used as
primitives ; and the different representations of measure arising from their use,
are called .
” vmmrms or MEASURE.

As before intimated any note that has the time of one beat is to be dwelt on as

long as any other note that has the time of one beat, thus :———

Down, up, Down, up, Down,

up,

Ex. 21.

 

When a half note is primitive, two quarter notes will be sung to one heat ; and
when a quarter note is primitive, two eighth notes will be sung to one beat, etc.,
thus :—

Down, up, Down, up, Down, up, Down, up,

                 

 

Ex. 22.

(3IIELIVFIEI{ N71.

RHYTHMICS. CONTINUED.

. Risers—Sometimes it is intended that one or more beats shall be passed over in
silence—without singing-and sometimes whole measures are designed to be passed
over in this way. These silent beats are indicated by characters called

RESTS.

  

 

DEPARTMENT.

  

 

Each note has its corresponding rest, and each rest has its peculiar shape or ap.
pearance, by which it is known, and distinguished from the others.

The following are the rests corresponding to the six kinds of notes that have been
explained.

Double Rest. Whole Rest. Half Rest. Quarter Rest. Eighth Rest.
Ex%. I -- " 1 P
Sixteenth Rest. Thirty-second Rest. Sixty-Qurth Rest.
-1 ‘1
q ‘1 q
'1 ‘1

Each rest is named from its corresponding note, thus z—double note rest ; whole
note rest ; half note rest ; quarter note rest ; eighth note rest ; sixteenth note rest.
The whole note rest is also used as a whole measure rest, being employed to express
the silence of a whole measure, in every kind and variety of time. Every rest must
have as much time as the note has from which it is named, and whose place it oc-
cupies.

Psmons on Dora—A period or dot (.) standing to the right of a note or rest,
adds one-half to its original time or value. Hence a dotted whole note is equal to
three half notes : a dotted half note is equal to three-quarters, and so of the otherS,
thus :—

 

Mm? F F EF'=rrrir'=::C3:‘=EEfl

When a measure is filled with primitive notes, it is said to be in its

rmrrrvs roam;
and when it contains any other kind of notes than primitive, it is said to be in a

DERIVED FORM.

 

Thus :—
PRIMITIVE FORM OF MEASURE.
Ex. 25.
And thus :—
DERIVED FORM OF MEASURE.
Ex. 26.

 

A primitive note always receives one beat—a dot adds to it one-half of its original
value ; therefore a dotted primitive note, theoretically, is entitled to receive exactly
a beat and a half. But, practically, we give it two beats, and when a short note

 

 

  

hole
rest.
tress
nust
t oc-

rest,
II to
lets,

\“

Ill

 

ELEMENTARY

follows, we sing it at the point of rest after the performance of the second beat,
thus :—

DOTTED PRIMITIVES.

Ex. 27.

 

A note which represents a tone half as long as that represented by the primitive
note, is called the half primitive. For instance, when a half note is primitive, a
quarter note is half primitive ; when a quarter note is primitive, an eighth note is
half primitive, and so on. _

Dotted half primitives are easily performed by giving them the accent or heavier
pulsation, thus :—

DOTTED HALF PRIMITIVES.

Ex. 28.

Where three notes occupy one part of a measure, two of which are suflicient to fill
said part, they are called

 

 

 

TRIPLETS;
and are written thus :—
/"\ I’
ll 8: ‘— n 3L h
Ex. 29. ‘- .23 :34; __ :: :9‘23‘: L::'*‘_. “4}. H: —._
fié—r—tlj— j—e—E— —- ._._-_E E—
J | v V v If

Six notes are sometimes sung to the time of four of the same denomination.

Such groups are called
srxns,

and are indicated by the figure 6 placed over them.

A piece of music may commence on any part of the measure ; and when the first
measure is not full, there will usually be found enough in the last measure to fill
it, thus :—

 

 

DEPARTMENT. . 9
CHAPTER VII.

MISCELLANEOUS CHARACTERS.

When two or moremotes standing on the same line or space are intended to be
sung without separation, or as one note, and to the same syllable of the poetry, it
is indicated by a curved line (A) drawn over or under them, which is called a.

 

 

 

TIE.
Thus:—
.. {L J A l 4
use A. i .L E t J. .E H
Ex— 31- FEB-Q—Efiel—t—Q—Fa—G-k-e—jl

 

”I

When notes are connected by the tie, as above, the first only is named, and
dwelt on for all connected with it.
All the notes united by the tie are sung to the same syllable of the poetry,

thus :——
/_—_—\

    

Ex. 32.

1.

Praise ye the Lord ..... . ..........

When two or more tones, represented on different degrees of the stafi‘, are in-
tended to be sung to the same syllable in the poetry, the notes representing the
tones to be sung to one syllable are connected by a character called a

BLUE, (h or V)

Thus :—

Ex. 33.

 

Glo - ry be to Thee, O God.

When eighth, sixteenth and thirty-second notes are thus used, they are joined
as follows :—

Ex. 34.

.1- _, m

1

“er Mama,” _.

  

ELEMENTARY DEPARTMENT.

When a portion of the music is to be repeated, it is indicated by a row of dots
across the staff, thus :—-—

J

_- n______r er nliiliiliu
EX' 30‘ E Iife—HZf?—EQ—a:t6—;E:§:a:tg:;:t:g:fi

r

|
I
n
]

 

c
which is called a.
REPEAT.

When two rows of dots occur in a piece of music, the first to the right and the
second to the left of a bar, the portion lying between them is to be repeated, thus:—

Ex. 36.

E 2::1—1: '
C.

Or the same performancezmay be indicated by the word “ Bis,” (signifying twice),
enclosed by a line and placed over the part which is to be repeated, thus :—

To be repeated. |
tfigi‘fin‘tmi‘e'ifi'a—it‘iai'a'FEFQ'H
' ' FF]: l JP. 0 I d: I I g H

.'|'I..
rngligL-ng L‘JTLI

i Bis. I

Ex. 37.

The letters D. 0., stand for Da Capo, an Italian term, signifying “from the be-
ginning,” and which, when placed over the end of the stafi', directs the singer back
to the beginning, to end at some interior point, usually designated by the word
Fine.

The words DAL SEGNO, or their initials, D. 8., signifying “from the sign,” are
used to indicate a return to the sign, (:8:) That part of the music between the
sign (’85,) and Fine, is the closing part of the piece.

This character, (a) when placed over a note or rest, signifies that its time is to
be prolonged beyond the usual length ; and in performing the beats, the hand during
such prolongation must remain at the point it may have reached, in describing
the legitimate time of the note or rest. And when it is thus used we call it a

HOLD ;
but when it is placed over a bar or between two notes, we call it a

PAUSE ;
for the simple reason that it includes a pause in time—a silent suspension of move-
ment—not a prolongation of sound.

The period bar ( i ) or double bar ( H ) is used to show the end of a period

or strain of music, or the end of a line of poetry. It is difi'erent _from the measure
bar, and sometimes occurs in the mid