xt708k74xh22 https://exploreuk.uky.edu/dips/xt708k74xh22/data/mets.xml Gibson, John, musician Fessenden, L. G.  Gibson, John, musician Fessenden, L. G. 1853 scores (documents for music)  English Cincinnati: Moore, Anderson, Wilstach & Keys  Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection  Hymns, English Choruses, Sacred (Mixed voices, 4 parts) The Prairie Vocalist: A Collection of Church Music, Comprising a Choice Variety of Psalm and Hymn Tunes, Anthems, Choruses, Sentences, Chants, &c., From the Best American and European Composers; Together with a Concise and Progressive Elementary Course of Instruction, the Whole Adapted to the Use of Choirs, Singing Schools and Musical Associations, 1853 text 320 pages 17 x 25 cm. Call Number: M2117 .G53 1853 The Prairie Vocalist: A Collection of Church Music, Comprising a Choice Variety of Psalm and Hymn Tunes, Anthems, Choruses, Sentences, Chants, &c., From the Best American and European Composers; Together with a Concise and Progressive Elementary Course of Instruction, the Whole Adapted to the Use of Choirs, Singing Schools and Musical Associations, 1853 1853 1853 2022 true xt708k74xh22 section xt708k74xh22 MMMMMMNMMMNV in? M MNMMMM
T H E

Eramr .NNN:
COLLNNNNON 0N CHURCH Nm

COMPRISING A CHOICE VARIETY OF PSALM AND IIYMN TUTN’ES, ANTHEMS’, CHORUSES, SEN TENCES,
CHANTS, &G., FROM THE BEST AMERICAN AND EUROPEAN COMPOSERS;

 

TOGETHER WITH A CONCISEIAND PROGRESSIVE

ELEMENTARY COURSE OF INSTRUCTION.

THE W'IIOLE ADAPTED TO THE USE OF

(Waits, @NNNNNNNtiNNN, Singing .%dgflflI:3, Nah imam fiamiatinna.

BY JOHN GIBSON 'AND L. G. FESSENDEN.

CINCINNATI:

MOORE, ANDERSON, WILSTACH & KEYS, 28 WEST FOURTH STREET.
NEW YORK: NEWMAN 61: I'VISON \

 

  

 1853
Gibson, John
The Prairie Vocalist; XE ...together with a
concise and progressive Elementaay course of
instruction....By John Gibson and L.G. Fessenden.
Cincinnati: Moore, Anderson, Wilstach & Keys.

New York, Newman & Ivison, :c1853:
320 p. 16 X 25 cm.

Includes index.

 

 

  

  

COLLECTION OF CHURCH MUSIC,

COMPRISING A CHOICE VARIETY OF PSALM AND HYMN TUNES ANTHEMS, CHORUSES, SEN TEN CES
CHANTS, &C., FROM THE BEST AMERICAN AND EUROPEAN COMPOSERS,

ELEMENTARY COURSE OF INSTRUCTION...

'(IOgnierEnngx’egatinng, Singing $131133”, 3111‘ wnfiiml' fifiantiatinnzf

BY JOHN GIBSON AND L." G. FESSENDEN.

CINCI-zNNATI

MOORE, ANDERSON, WILSTACH & KEYS, 28 WEST FOURTH STREET.
NEW YORK. NEWMAN & IVISON.

 

   

 

 

 

 

 

 

Efitered, aged-ding to Act of Congtess, in the; year 1853, by

 

WILLIAM .H. MOORE, _ - 7 - a
In the Clerk’s Office ‘Qf’ the DistrictOourt of theU‘nited States, for the District of Ohio. .

aimamoriénn BY '
THOMAS B. SMITH,
216 Willaiin st. N. Y.

   
 
   
   

 ,, “.1

PREFACE.

THE increased attention to the study, and the improvements recently made in the science and method of
teaching Music, together with the want of a work containing all the modern improvements, and adapted to the
requirements of the great West, induced us to prepare and lay before the public “ THE PRAIRIE VOCALIST.”

In getting up this work neither pains, labor, or expense have been spared, We have endeavored to select
from the various new systems all that was good and desirable, and reject all that was pernicious or superfluous.
The introduction of the “Pestalozzian” and “Inductive” methods, and the examples for the practice of beginners,
will greatly facilitate the progress iof the pupil. ‘

The large number of new tunes, tunes arranged from the _“old masters,” standard- Church tunes, 'meters of
every variety, and hymns from the books of various denominations, together with the choice anthems, ‘choruses,
and set pieces, render the “Prairie Vocalist” peculiarly well adapted for sacred concerts, and all occasions of
public worship. ~

For the assistance, advice, and contributions of various amateurs and teachers, we return our sincere thanks,

and hope that our joint labor will secure the approbation and patronage of the public.

 

 ELEMENTS

CHAPTER I.
. PROPERTIES-v 0F MUSICAL soUND’s;
Musical sounds have? two distinct properties, viz:l
" ..LEN.GTH AND PITCH.
' DEPARTMENTS.

As musical sounds have two, essential properties, it becomes'necessary to '

divide the subject into two department-s : ,
' 1st. ' MELODY, which'treats of the PITCH of sounds. _
2d. RHYTHM, which treats of the LENGTH of sounds.

NOTE TO TEACHER—Question the claés on the preceding chapteri'

 

l

CHAPTER II.~

: MELODY.

The STAFF and-CLEFs are .used to’represent the pitch of sounds, and are
called MELODIC characters; ~ - - l . : « '

 

 

 

 

 

STAFF.
5th Hue.
4th line. gahsfigfigf.
33 lg}? 2d space.
lst lihe. 15!; space.

~» ,0 F. M U810} ‘

 

Each line and space of'the stafi‘Lis called a degree, making nine; and
are connted from the lowest upward. f More'degrees may be added by using

' the spaces, and short (or added) lines, above and below.

CLEFS. _ l \
TREBLE on G CLE'T, E AND-BASE on F CLEF, @

That we may readily comprehend the definite - pitch of soundslathe first

' seven letters of the alphabet are applied to the staff as names of the degrees.

The above Clefs are used to fix the letters upon the Stalin!theufollowing
order: - _, w ..V . ‘

 

 

 

 

 

 

 

 

 

 

 

 

n - l ' , - , . n_§ '34".-
T I " '= . " A "*1, p E' :41» 7-11
xvii c D E F C ' i

-A; ‘3‘: I " . ‘
‘ ,‘IVI: A.

4‘1: . E F G
v A B (1—1.)

l‘ A ‘ VA 7“.
__ —E— F u‘ ' ‘
. 43- 7)—

NOTE To TEACHEns.—Here the Teacher must insist that all ther'tnembers of‘his class
become pefiectly familiar with the situation of the letters on both etaves, as the letters
never change. _ . , . v _ H _ , .

 

  
   
   
  
 
  
 
  
  
  
   
  
  
 
 
 
 
   
    
    

  

 

 

 

 

ELEMENTS

55,:

CHAPTER 111.
RHYTHMLOR: TIME;

The length of musical soundslis represented by characters called NOTES.
Seven kinds of notes are in common use, as follows:

Whole Half Quarter Eighth Sixteenth Thi -second - Sixty-fourth
Note. Note. Note. Note. Note. ote. Note.
a F r t a g a
. - j V
The Whole Note, , , ,V
9

is equal induration to Two Half Notes,
l or Four Quarters, l

r or Eight Eighths, _ 1
.P- Ft-f At“;- 1'. . .3 ,J,»

t ‘ 5 ~ er Sixteen Sixteenths,
e 9.9 r n p 9.! on: o ! !.e_e.r~

.., J

or Thirty-two Thirty-seconds,
genres!!!pepyrpeprnppgyrprprrerey

[—F'r | -1 . 1

““7 V I or S -f'our fourths."

     

   

corresponding with the length of the notes.

Whole Half Quarter Eighth
Rest. Rest. Rest. Rest.

Sixteenth Thing-second Six ~fourth
Rest. est. est.

1 ‘1 = .193. "tri’

 

.37 H

Norm—Teacher will question his class on the preceding chapter.

, "Characters are also used which are called RESTS, or marks of silence,_

 

OFIMUSIC.

CHAPTER 1v.
TIME—Continued.

During the performance of music the equal division of time‘is indispensable.

Norm—Without a. proper knowledge of the mechanical division of time, no person
Can be a. good musical performer.

Notes and other musical characters are divided into equal portions, called
Measures, by the use of a perpendicular line drawn across the stafl‘, which is
called a BAR, thus : p

The space or distance betweentwo bars is called a. MEASURE.

EXAMPLE .

 
   

   

     
    

 

—— Measure. ' '

Measure.
., h , ,, _ I
Measures are divided into smaller portions, called Ramp? MEASURES,
and are marked by motions of' the hand, called_BEATING TIME. Measures

may have two, three, four, or six parts or beats. ‘ ' ‘

N era—Teacher will question his class on the preceding chapter.

\

 

CHAPTER v..- .
DIFFERENT VARIETIES OF TIME.
A measure with tWo parts is- called Deuble Measure‘or double time and

is designated by the figure 2 , accented on the first part or downward beat.

EXAMPLE.
Dom, Up. -

2 l 1 2-11 2

l 2"Vl'2l'1 2|

 

   

 ‘ m

ELEMENTS

5]

NOTE. —The Teachei will Write the following? and other similar examples on the black- -
board, for the practice of his class until they are familiar with beating time; describing
the motions of the hand, as, down. up down, up, and also 1, 2, 1, 2, die; and he will insist
on every member of his class beating and _d_esc1ibing time. ,

A measure with three parts is called Triple‘ Measure, and is designated by i

the figure 3 , aCcented on the first.

, EXADIPLE.
Down, Left, Up. I

.311 2. 3'

N orE.—Te‘acher will write examples for practice as above.

12311323]

 

 

123

A measuie with four pa1 ts is called Quadruple Measure, and is designated
by the figure 4, accented on the first and thiid.

EXAMPLE

Down, Left, Right, Up, D. L. R. v , U; ,
411 2" 3 4" [1,1’2' 3 411 as 4

A measuie with six parts is called Sextuple Measure, and is designated
by the figure 6 , accented on the first and fourth.

EXAMPLE

,1 Down, Down, Left, Right, Up, ,Up, n._1)._ .L. R. ‘U. ,U‘.‘
6‘123456‘123456

Measures may also have nine 01 twelve parts, but are not necessaiy to
be intioduced into a. w01k of this kind, as they aie seldom used.

A Double Bar, thus, _EE shows the end of a stiain.

. A Close, thus, — shows the end of a'tune;

11:11

 

 

 

or M U s I o 7

. CHAPTER VI;
DIFFERENT VARIETIES or TIME—Continued.

, In addition to the figure already introduced at the commencement of a
tune, to designate the number of parts or beats in‘each meashré,-ahother fig-
ure is used to designate the kind of notes on each. part of the measure, as,

—-,. meaning two fourths of a whole note (two quarter notes) or notes equiv-

alent, thus:

thus :

2‘.
8

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

ELEMENms

 

. MELODY.

INTRODUCTION OF THE SCALE.

:‘l ‘The Séale.i‘s_I-comnosed_ of 'a' series of" eight sounds, to which is .applied ,
,numeralsand Syn-ables, as in the following example :

' 'is'CAL'E.‘ a '?

0 .0 I J

, a U 0 u o

- ,. 19' . .9 I 1 I . 1 I
. . i ." ¢ I ml“. 0 i c o o a
, ,1 2 3. ~ 4' ’ 5: 6; 7 8
.1.--“ ,. .Do :‘- '16 . m5 fa‘ ' sol la 31 ‘ do.
Pronounced Do r9. me fah sole lah se do.

I C'ITThe'nbovesbale isteChnically tenmedthe Dia‘tonic Scale; ' f
I-Thhdistahce from one. sound “to another is called- an InterVal. 'In the 3
regular su'éCeSSiOh of s0u‘nds in the scale, there are two’ kinds of intervals,
Vin: steps and halfisteps. The interval from 1 to 2 is a step, from 2 to 3 ,
. esters; frorfi’f3f16i14' if‘h'elf‘fs'tepffrom 4 to '5 "a step, frame to ‘6‘ a‘ step, from '6 .
to 7 38. step, “andx‘fromfggtoss ‘a, halfijstep, as represented above, making seven

intervals in- the scale, there being live ste-ps‘and two half-steps.

Engage-Practise therscslevsscending and descending, with numerals, syllables, and with
La, until the-elm is able to sing readily from any one 'sound to any other, in the follow-
jugj‘or similnmordbr:1sing~1,sing*2,~sing 1, sings, sing 3,,sing.». 1, 2. 3,vsing"-8, 2, 1, sing
1.2. 3, sing 3, 3._3,.aing. 1, 3, 1. sing 1, '13, 2, sing 1', "sing 2, sing 1, 2, ageing 3, 2, 1, sing
8, 1, 8, sing 1, 2, 1, sing I, 2, 3, 8, 2, 1. Practise the following exercises:

 

 

 

 

 

 

 

 

 

i: ‘ "some Son" The ' .STAI‘F4d * cm: .
.__._. .._.. J 1’ a ,1 ‘
é‘zaia‘r’9*a:?“v -- .- ~~ _- 2 .» , 5’. ran—atgff
i firs-'58! 4-,1-5‘ "6- 7, .8 , - e '7’ 6- ,5 4 3 2

 
  

“meme-4 sundae- "do , dare r-za agar-firm ‘rej (11.0 -

. .w—W a- - ..'_...bw.r._..n . 1

"OF: MUS I G.

    

 

  

. SCALE ON: THE STAFF—~F CLEF.
' 19 ’ ~94 '* -

    
  

‘ —5_6._ -.___..__._..'_.'.__.

    

12345678 876514321

Do Ire mi fa sol la sz' do do 'sz' la sol ' fa mi re do. ‘

EXERCISES IN TIME ‘AND MELODY.
No. l.

 

Norm—The Teacher is referred to miscellaneous" exercises for further examples in

time and'melody.

 

-' -CHAPTER VIII.
MELODY.—'Continued.

N arm—The Teacher will here question the class on all thepreceding lessons. Class

i, will then sing the scales as in’ Chapter VII, ‘and' repeat themvggnnmbter of ‘times,'then

 

 ELEMENTS OF MUSIC. 9

sing 1, 2, 3. 4, 5, Sing 5, 5,5 ,sing 1, sing 5, sing-1, 5, 1, sing 5, '1, 5, sing 1, 3,5, sing 5, 3,
1, sing I, 2, >3, 4, 5, 6, 7, 8, sing 1, 3, 5, 8,sing 8, 5, 3,1, singl, 3, 5, 8, 8, 5, 3, 1.
N0. 5‘. I .. EXERCISES IN TIME AND MELODY.

 

No. 6. I ’ I INTRODUCING RESTS.

    

A Dot after a note adds one halfto its length, making a dotted half equal
to three quarter notes.

No. '2'.

    

 

l

 

CHAPTER IX.
MELODY—Céntinuefl.
N OTE.—-Practise the Scales as in Chapter VII., as before.

Class sing in the following order:
3 5. 8 6

6665 85687783553543

12121 1343445 1878551

1122665 1343243 1358542

6622551 1444321 1358181

1358 1324665 1246878

5588778 1358642 8765421
DMELODY

EXERCISES IN TIME AN

 

Do do re re‘

 

 

  

 

 

 

ELEMENTS

 

.__

Sing second tune on page 30.

 

CHAPTER X.

MELODY.‘—Gontinued.

NOTE—Class practise the Scale‘as in Chapter VII.
No. 12. TWO EIGHTHS TO THE DOWNWARD BEAT.

   
 
 
  
   

 
 

No.913». 'TWO EIGHTHS TO THE UPWARD BEAT.

TWO EIGHTHS TO THE LEFT BEAT.

jNo1). i4.

 

  

_ -9- _
No.15.

‘Dots iplahedhy the side of a bar show that the music is to be sung twice, If

and are. calledi'mflsmxr. »

 

 
  
 

Repeat.

   

 

   
       
   
   
  
   
 
  
 
 
 
  
   

OF MUSIC".

EXERCISES IN DOTTED' NOTES.

No. 16.

   
 
 
    

 

No. 17.

A group of three notes of equal length is sometimes writtento one part

of a measure, and is marked with the figure 3. When so marked, they are
called TRIPLETS, and are performed in the time of two notes of the same

kind without the figure, as in the following example:

3, .7 3

    

v

N arm—It will be observed that three eighth notes with the figure 3 over them are to
be sung in the time of one quarter note,‘etc. ' ,

 

CHAPTER XI.
THE SCALE EXTENDED.

MIDDLE SCALE. UPPER SCALE. 6:

 

LOWER SCALE.

 

 

 

 

 

 

 

 

 

n - r) _
Lu n (j '0' QQZ—W—i:
77“ n n U
33’ 30" L

__~_,__9_o?79-03 5_6 '7 8 1 2 3 4 5’6 "(8

.. -0 6 7 ‘1 2 mi fa sol la 32' do .00 're mi fa Sol la 3i do. _'

_ -9- 4 5 - do Do re ' :

la, sz ,
1 2 g a sol

m

 ELEMENTS

If we sing lower than 1 of the middle scale, 1 Will be regarded as 8 of I

the lower scale. If we sing higher than 8 of the middle 'scale, 8 will be re-

garded as 1 of the upper scale.
No. 18.

2 2

 

No. 19.

 

 

”No. 20.

Ca

 

N0. 21!

 

Sing first tune on page 29. ’ '

 

 

" “‘ .' :mz‘“mrmfi~

OF MUSIG. 11
CHAPTER. XII.

V MELODY.
INTRODUCTION OF THE CHROMATIC SCALE;

NOTE. —The Teacher Will examine his class on the Scale, as in Chapter VII, until they
th01 oughly understand the intervals, lettels, etc.

A Sha1p, thus, #,’is used to laise the pitch of a sound a half-step."

A Flat, thus, b, is used to lower the pitch of a sound a half- -.step

A Natulal, thus, h,1s a cancelling cha1acte1, and is used to annul a
sharp or flat pleVlOUSly used. ,

The 1nte1vals of the chromatic scale we all half steps, as in the following
example:

CHROMATIC SCALEi—AsoENDING BY SHARPS.

   

   
 

     

  

           

   
   

0- . , . 4 r #4 5 #5 G #6 _
<13 3; 12) if): E F Ftt G Git A A1? 125 i 0
Do ole e re we mi fa fee sol see la lee 81, fig,—

       
       

CHROMATIC SCALE.—DESCENDING 13y FLATS.

  
  
     
 

      

          

   

     

         

s 7 b7 6 be. '5 b5 4 a 3 b3 2 b2 -?-
C B Bb A Ab G Gb F E Eb D D C
' say la lay sol say fa mi may re mg do

  

mm“? ‘3'352w'3f 1" '

 

  
  

  
    
    
 
  
 
  
  
 
 
 
   

 

 

 

    
 

 

 
   

ELEMENTS
When a sharp or flat is placed before a single noteit is called an accidental.

N0. 23.

   

EXERCISES‘ INTRODUCING ACCIDENTALS.

Sing tnne‘onv page 146 (Dan).

 

CHAPTER XIII;
THE MINOR SCALE.

; The crd-erlpfiptervals .in the miner scale is as follows: ‘fi'om 1 to 2 is'a

0 F: M U SIC!
: 6 a half-step, from-6 to 7 a step and‘a. halfiifrcmfl to 8 a half-step, as in’ the
following example: . ' V _, ‘ .
MINOR SCALE.
'6- -9-

456’788’7‘65432'1

742' mi fa see la, la see fa mi re do si la.

The scale presented in Chapter VII is called a. Major Scale.

‘ Every major scale has its relative minor, which is based on its ‘sixth.’
When they. have the same signature they are said to be‘related. -

Norm—Another form of the-minor scale is sometimes used, in which the half-steps-
occur between 2 and 3, 7 and 8, the other intervals being whole steps. ‘

1%. L26.

 

D

No. 2‘7.

.Lado 're mi , _. .

 

 

stagwfrom 123933 “a shelf-step, from\3 to_ 4' a step, from 4 to '5 a step, from 5 to

Sing first tune on page 30, and second 611 page 98.

 
   
     
 
 
 

 Fr—T—Fl ,

sea.

ELEMENTS

‘ CHAPTER XIV;
DIATONIC INTERVALS.

The intervals in the preceding scales have been reckoned from the lowest

sound upward, in their regular- order. There a-re other intervals than steps

and half-steps, occasioned by skips, called seconds, thirds, fourths, fifths,

sixths, sevenths, and octaves, as, from 1 to 2, 1 to 3, 1 to 4, etc.

The interval from 1 to 2 is called a second, from 1 to 3 a third, from 1 to
4 a fourth, from 2 to 4 a third, from 3 to ’7 a fifth, etc. Intervals are always
reckoned from the lowest sound upward,'unless otherwise expressed.

 

V CHAPTER XV. .
1 ' ' ‘TRANSPOSITION or THE FSCALE. '
Nora—The Teacher will examine the class in reference to the intervals of the Dia-

tonic Scale in Chapter VII.

In all our examples heretofore D0 has been placed on C. In the major

scale C is called the key-note ‘or tonic; and when *the': "scale commences on

C it is said to be in its natural position. In examining the intervals of the
scale we find the half-steps to ocCur between 3 and‘ 4, 7 and 8. From the
fact that they occur betWeen those numerals, and the scale commences on C,

.it necessarily makes a half—step from 'E to F, and from B to C. Between all

the other letters are "whole steps, and this order of intervals between the let-
ters is permanently fixed, so that if we change the key-note, or 1, to any other
letter,'it will be necessary to examine and‘ compare the intervals, and make
such alterations as will correspond with its changed position; Such change

‘is termed TRANSPOSITION. '

KEY-NOTE, on 1, CHANGED FROM 0 rec.

 

fi——9—‘—

’0' a 0""
2 3' 4 5.7.6. 7' 8,

1

 

 

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OFVMUSI'CL 13

_ In examining the foregoing scale, We find the intervals from 6 to 7, and
from 7 to 8, imperfect, it being a half-step from E to F, and a whole step
from F to G, consequently F must be sharpened, which will give a whole
step from 6 to 7, and "a half-step from 7 to 8, and will make the scale perfect,
as in the following example: '
0 a «v

I". 0
U

0 Q

 

$5?“

The sharp in the above example is written before the single note, on F,
but usually is placed at the commencement of the tune, and when so placed
is called the SIGNATURE, or sign of the key, and sharps all the notes on that
letter, on whatever part of the staff F may be found.

SCALE IN THE KEY OF G.—F MADE SHARP.

 

 

 

 

 

##‘m n r) O O

1“ n r) u _____

rm n 0 ' V

\w U ~ _

"7 ,1 2 3 ,4 5 - 6 7 . 8 .
1):) re mi fa sol la 82' do- -

 

CHAPTER XVI.

EXERCISES IN THE KEY OF G.

No. 28.

    

Do re m7} fa sol, etc.

 

No. 29.

   
 

 

      
 
 
 
  
  
  
 
  
  
 
   
  
 
 
 
   

‘14: ELEMENT-S OF' MUSIC.

CHAPTER; XVII.
SECOND TRANSPOSITION- BY SHARPS’

It will be remembe1ed that when we t1ansposed the scale fiom C to G,
we were obliged to sharp the fourth of the scale of C (F), to preserve the o1-
der of intervals 111 the key of G, and the sharp fourth became ‘7 of the new
key.

RULE. ——If We sharp the fourth of any scale, we transpose a fifth h1ghe1,‘
and the sharp foulth becomes 7 of the new key.- ,

SCALE IN THE KEY OF D.-—F AND C MADE SHARP.

The following character, called a BRACE, thus, or thus, is

 

 

placed at the commencement of a tune to connect as many parts as ale to be

performed together. ~76- .2.

    

.1 No. 31. Ladies sing the upper staff, Gentlemen the lower,

 

 

 

No. 32. EXERCISE IN THE KEY OF 1).
Treble. _ , V _

    

>'.<
Children of the heavenly king, As ye jour-ney sweetly sing,

Sing your Saviour’s war-thy praise, Glo-‘rious in his works and ways.

   

* A SLUE or TIE, thus, r-\, is used to connect as many notes as are
sung to one syllable p , NOTE. —Let the whole class sing each part of the above exercise separately, then together.

Sing Alpine, on page 32. v 7 - . - ’ , ' _ Sing first tune on page 36.

 

 

 

 

 

 mmmmfii‘fi

      
   
   
   
  
   
   
  

ELEMENTS OF .MUSIC.

" CHAPTER XVIII. - CHAPTER XIX.
THIRD TRANSPOSITION BY SHARPS. . *‘ . FOURTI-Ii TRANSEOSITION BY SHARES,
2 _ House-Teaoher will explain upon the black-board, as in the preceding transpositions

- , ._ . SCALE IN THE KEY OF E.
, - SCALE IN THE KEY OF A.——F, C, AND G MADE SHARP. *

      
 
    

      
 

 

2 6 7
1’6, etc.
—e— 12-

ll'll

No. 33. , , EXERCISE IN THE KEYY OF A. '
. '. . No. 34. EXERCISE IN THE KEY OF E.

lllll

Sing as at No. 32. _
Sing as at 32.

, I'lll

 

E l; *"A PAUSE is used ”to denote the continuation of a sound beyond its usual
- - ength. . . ' ‘ ' ’

 

 

91" Sing second tune on page 72. » ~ __ ‘ ‘ ' Sing HErkei‘, on page 44.

      
   
   
   
   
 
 
  
   
   
 
  
  
    

 

 

 

 

 

ELEMENTS

CHAPTER XX.

FIFTH, SIXTH, AND SEVENTH TRANSPOSITIONS BY SHARPS.
SCALE IN THE KEY OF B.

 

    
  
  
 

OF MUSIC.

In examining the foregoing scale, we find the intervals between 3 and 4,
and between 4 and 5, imperfect, it being‘a Whole step from A to B, and a half.
step from B to C. Consequently, B must be made flat, which will give a half-
step between 3 and~4;, and a whole step between ‘4' and 5, and will render the
scale perfect, as in the following example: ' '

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

     

 

.. "-6 n a. a be 0 V
.v ~0- 9 u i" 5 ‘ 6 p 7 8 1 2 3 4 5 6 7 s p
D1 i ii, etc. - The flat, in the above example, is placed before the single note, on B,Ibut
V p o _ ‘ usually is placed at the commencement of the tune, and when so placed is call-
‘ SCALE IN THE KEY OF EFF. ‘ ed the signature, or sign of the key, and flats or lowers all the notes on that
i ' é . . ' letter, on whatever part of the stafl'B may be found. ”
_. n f) e —" ' .
‘gfifig n a a 0 U — SCALE IN THE KEY OF F.-—B MADE FLAT.
U u () u G n (I
1 2 3 4 5 6 7 8 [Eb () O 0 U
.Do re mi, etc. ‘ _ 31’ O .(1' .0 p ' . p ‘
~~ -. - , ,- « ‘ 1 2 3 4 . .5- 6 7 =8
. SCALE IN THE/KEY OF 0113-: Do , Ire mi fa sol la 3i .f do.
g_ g} No. 35. EXERCISE IN THE KEY or F.
E .. it n r) ,
® " :1; -rr n () U - 6 ' » -
,. ,. . 0‘ r) U
u . . :9— (271' 3* , 4' 5 6 . 7 8
1 - » ’ mi, etc. v
110 ' Ire ‘ Sing as at 32.
1 CHAPTER XXI.
TRANSPOSITION OF THE SCALE BY FLATS.
’ TH‘E KEY—NOTE, OR 1, CHANGED FROM 0, TO F. ,
Q ‘~ ' I ' -‘n ' ()i 0
a a 'o ‘0' ‘5 ‘
EA! (1 O
I 2 3 , 4 5 _'. 6- . , ., 7 . t 8 Sing first tune on page 47.

 .____._...._ , ,, _ V _ .-.. WW1 _-._v~ri .. v . . --_ -.1.‘“7“=Ja* 7‘35. 3;} "2");

ELEMENTS

CHAPTER XXII.
SECOND TRANSPOSITION BY FLATS,

It will be 1emembe1ed that when we t1ansposed the scale f1om C to F, we
We1e obliged to flat the 7th of the scale ofC (B) to p1ese1ve the o1der of in-
telvals 1n zDthe key of F, and the flat 7th became 4 of the new key.

RULE. ——If we flat the 7th of any scale, we t1 anspose a fourth highe1, and

the flat 7th becomes 4 of the new key.
SCALE IN THE KEY OF Bb.

 

 

 

 

 

W9
:51:
CD

 

 

 

 

 

I 0 '9 n
"U ‘97 U effi—
1 2 3 4 5 6 , 7 8
Do re, etc. _ A Q
e: b. o o 0 V
,Vb V o ' 0 0
N0. 36. EXERCISE IN THE KEY OF Bb.

Sing N 0. 3 2

 

Sing tune on page 48 (VI/ave.)

 

0F MUSIQ-

CHAPTER XXIII

THIRD TRANSPOSITION BY FLATS.

l7

NOTE.—-Teacl1e1 will explain upon the black-boa1d,as in the p1 eceding transposition.

SCALE IN THE KEY OF Eb._~

 

 

 

 

 

 

 

 

 

 

 

F6 b
lL” b n r) 0 0 O (1
e a a v
= 1 2 3 4 5 6 7 8
Do re, etc. ' ..
m n a .9. .a 2.
‘6): b r) 0 ()
\'h I
U D
N0. 37. 1 EXERCISE IN THE KEY OF Eb.

Sing as at No. 32.

Sing tune on page 52 (Leland.)

  

 

   

CHAPTER XXIV.

FOURTH TRANSPOSITION BY FLATS.
SCALE IN THE KEY OF Ab.

ELEMENTS

 

N0. 38. EXERCISE IN THE KEY OF Ab.

    

Sing as at No. 32.

Sing tune on page 114_ (Gorton.)

 

 

 

 

         
   
   
    
 

OF MUSIC.

CHAPTER XXV.

FIFTH, SIXTH, AND SEVENTH TRANSPOSITION BY FLATS.
SCALE IN THE KEY OF Db.

 

 

SCALE IN THE KEY OF Gb.

 

SCALE IN THE KEY OF Cb.

 

   
    
   
      
                
   
 
 
 
 
  
  

EL E M E NIT S o E M :U S I 0 1:9

MEz‘zo FORTE,- marked ngf, . . . Rather loud.

' CHAPTER XXVI I ' CRESCENDO, . marked Cres.,,.or <, Increasing lhe sound. .1
MUSICAL EXPRESSION. . 2_ ' -_ 'IDIMINUENDO, marked Dimulot>3 Diminishing,'tlre'sou‘nd.

SWELL, . » . marked <>, . ‘Iiie-reasi‘ng'and dim'inis'hilig'the errand."
FORZANDO, . marked fz or >, . A sudden, forcible sound.

STACCATO, . . marked . or r, . . Short and distinct. "

LEGATO, . . marked A, . Connected .and'smoo'th.

PIANO, . I . . . . . i'narked p, . . . . . . . Soft.

PIANISSIMO, . . . . marked 32]), . . . . . . Very soft.
_ FORTE, . . . . . marked f, . . L . . .‘ . Loud.

FORTISS'IMO, . . . , . marked 1?, . I. . . . H . ,. Very loud;

. r . . . T I n > o ‘ I ' l j . V (
MEZZO, . . . ' _ ' marked 7n, . _ . . . . . Medium. NOTF.f—1\O person can ever acqmre that; delicacy 1n musm represented by {he aboye
_ ' _ Dynamic characters and terms, but by the aid of a'competept teacher. The relalwe power

MEZZO PIANO, . . . . marked 771]), . . . . . . A llttle soft. of each degree in vocal music must; be acqun'ed by listening to a well cultivated. voice.

IIJII

 

lllll

 

CHAPTER XXVII.
Hméa :_ . ' ' EXERCISE IN QUARTER RESTS; ' ' __ - " . , f

    

lllll

a-

No, 40.

Illll

 

No. 41. ' EXERCISE COMMENCING ON THE THIRD PART OF THE" MEASURE.
‘ . —9—

   

 No. 42.

No. 44.

 

No. 45.

 

N0. 46.

 

No. 47.

Sing as at No. 32.

  
  

    

ELEMENTS OF MUSIC.
TWOVBEATS IN A MEASURE.

 

* A dot after a rest adds one-half to its length, the same as a dot after a note.

 Wham-Y jairW: hm _ai§.§;fi_“-L , 3+ :1“? "~."“:','.

    
      

ELEMENTS OF - MUSIC.

 

No. 52. ' ' - TWO BEATS IN A MEASURE.

 

I

SIX BEATS IN ’A MEASURE.

   

ELEMENTS OF MUSIC.

N0. 54' 3: 6"

 

No. 58.

 

EXERCISES IN THE MINOR KEY.
No. 59. KEY OF A MINOR.

 

No. 60. KEY OF E MINOR.

 
      

* Double Note—equal in duration to two whole notes.

 
  

  
 

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[llll

 

-—-~ Wfiz'fifihhwmm LC "

ELEMENTS OF MUSIC.

  
   
  
  
  
  
 
 

No. 61'. . , KEY OF B MINOR, . '

 

N0. 62. KEY OF F-‘f-F MINOR.

       

N0. 33. . KEY OF C??? MINOR. . ’1 '. .. «1

 

No. 64. 4 . , a ’ KEY OF D MINOR.

 

N6. 65. . KEY OF G MINOR.

 

No. 66. KEY OF C MINOR.

KEY OF F MINOR.

    

  

 EXPLANATION OF MUSICAL TE

A, signifies in, for, at, with, &e.

Adagio, a slow movement.

Ad libttmn, or ad lib. at pleasure.

Afiettuoso, in a style of execution adapted to express afi'ec-
tion, tenderness, supplication, or deep emotion.

vAir, the leading part, or melody.

Allegro, a brisk and sprightly movement.

Allegretto, less quick then Allegro.

Alto. Counter, or high Tenor.

Andante, with distinctness. As a mark of time, it implies
a medium between the Adagio and Allegro movements.

Andantz'no, quicker than Andante.

Assai, generally used with some other Word to denote an
increase or 'minution of the time of the movement; as,
Adagio assai, more slow; Allegro assai, more quick.

A tempo, in time.

Base, the lowest part in harmony.

Bis, this term denotes a repetition of a assage of music.

Calando, a. diminution of time and soun .

Cantabile, an elegant, graceful style of performance.
Canto, song; or, in choral compositions, the leading melody.
Chorus, a composition or passage designed for all the voi—

ces and instruments.

Chromatic, a term given to accidental semitones.

Coda, the close of a composition, or an additional close.

Con, with; as, Con Spirito, with spirit, &e.

Crescendo, or Cree, or <, with an increasing volume of
sound.

E, and; as, M'oderato e Pianissimo.

Da Capo or D. 0., close with the first strain.

Del Segno, repeat from the sign.

Diminuendo, or Dim, or >, with a decreasing volume
of sound.

Divoto, in a solemn and devout manner.

Dolce, sweetness, softness, gentleness, «he.

Duetto, or Daett, music consisting of two parts.

Expression, that union of qualities in a composition, from
which we derive a sentimental appeal to our feelings.

Expressive, with expression.

Forte, or For., or F., or f., strong and full.

Fortissimo, or FF, or 1?, very loud.

    

Forzando, or fz., the notes over which this term is placed,
are to be boldly struck and continued.

Fugue, or Fage, a piece in which one of the parts leads,
and the rest follow in different intervals of time, and in
the same or similar melody.

Grave, Gravemente, slow and solemn.

Grazioso, graceful; a smooth and gentle style of execution,
approaching to Piano.

Gaisto, in equal, steady, just time.

Harmony, an agreeable combination of musical sounds.

Interlude, an instrumental passage introduced between two
vocal passages.

Interval, a musical sound. Also the distance between any
two sounds, either in harmony or melody. .

Largo, a slow movement. A quavcr in Largo equals a
minim in Presto.

Larghetto, quicker than Largo.

Legato, signifies that the notes of the passage are to be
performed in a close, smooth, and gliding manner.

Lentando, or Lent, gradually retarding the time.

Lento, Lentemento, slow, smooth, and gliding.

Afa, not; as, .Ma non troppo, not too much, not in excess.

illastoso, with grandeur of expression.

Illelodg, an agreeable succession of sounds.

jlfezza race, with a medium fullness of tone.

Jlfezzo, half, middle, mean.

ilfoderato, between Andante and Allegro.

iVon, not; as, lVon troppo presto, not too quick.

Oratorio, a species of Musical Drama, consisting of airs,
reeitatives, duetts, tries, choruses, dzc.

Orchestra, the place or band of secular musical perform-
ances.

Overt-are, in dramatic music, is an instrumental strain,
which serves as an introduction.

Pastorale, a composition generally written in measures of
6—4 or 6-8, the style of which is soothing and delicate.

Piano, or Pia, or P., or 1)., soft.

Pianissmo, or PR, or pp, very soft.

Poco, little, somewhat.

 

Pomposo, grand and dignified.
Presto, quick.

    

HMS. '

Prestlssimo, very quick.

Prime, the first or leading part.

Quartetto, a composition consisting of four arts,
which occasionally takes the leading melo y.

Recitattve, a sort of style resembling speaking.

Secondo, the second part.

Semi-Chorus, half the choir of voices.

Sempre, throughout; as Scmpre Piano, soft throughout.

Senna, Without; as, Scnza Organo, without the organ.

Siciliano, a composition written in measures of 6-4 or 6-8
time, to be performed in a slow and graceful manner.

Soavve, agreeable, pleasing.

Soli, plural of Solo, but denoting only one voice to each of
the several parts.

Solo, a composition designed for a single voice or instru-
ment.

Soprano, the Treble, or higher voice part.

Sostenuto, sustaining the sounds to the utmost of their no-
minal value in time.

Soto Voce Dolci, with sweetness of tone.

Splriz‘uoso, with spirit.

Staccato, the opposite to Legato; requiring
late, and distinct style of performance.
Distinction in the rudiments.

Subito, quick.

Symphony, or ng., a passage to be executed by
meats, while the vocal performers are silent.
species of musical composition.

’hsto Solo, or 13S, denotes that the passage should be
perfa'n'mcd with no other chords than unisons and oc-
tavcs.

Tacit, be Silent. .

Tenor, a high male voice.

Treble, the female voice.

Trio, a composition for three voices.

Tutti, all together.

Veloce, quick.

Verse, one voice to a part.

Vigoroso, with energy.

Vivace, in a brisk and lively manner

each of

a short, articu-
See JlIarks of

instru~
Also a

 

Volta", turn over.

  

        
        

OLD HUN DRE. L. M.

_ m

LUTHER

      

glo-ry fills the sky,
' m

   
      
     

Be thou, O God; e: - alt- ed high, And as thy
ALTO. '

 

So let it be on earth dis-played,’l‘ill thou art here as there 0 - beyed.
‘ ' m

  
     
 

—Be “thou, O God, ex - t- ed high, And as thy glo-ry fills the sky, So let it be on earth dis-played,’l‘ill thou art here as there 0 - beyed.

TR BLE. f'.‘ m

   
 

          

Be then, 0 God, ex- alt- ed high, And as thy glo-ry fills the sl‘y, So
BA E. - "’

    

let it . be on earth dis-pluyed,Till thou art here as there 0 - beyed.

     
   

    

LEGA'I‘O.

   
  
  
    
  
  

 

 

 

 

 

 

 

 

Loud swell the peel-into;

   
  
   

 

 

E Loud swell the peal-ing

 

     

Loud swull the peni-ing

 

 

 

 

 

 

 

KYLE. L. M.

  
 

O

i 1. While filled With sadness and dis - may, To see the Work of God de -; elinegMethonghtIheard the Sa-viour say, Dis - miss thy fear, the ark is mine.

     
   
 

 

¥ '9‘ . K k a

f—

‘ , \J, - ' g
i 1. While filled with sadness and dis - may, To see the work of God de - Cline ; Methought I-heard the Saviour say,