xt71ns0kwj50 https://exploreuk.uky.edu/dips/xt71ns0kwj50/data/mets.xml Fillmore, A. D. (Augustus D.), 1823-1869 1870 scores (documents for music) M2117 .C545 1870 English R.W. Carroll Contact the Special Collections Research Center for information regarding rights and use of this collection Hymns, English The New Christian Choralist: a Collection of Tunes, Anthems, Sentences, Chants, Choruses, Psalms, Hymns, and Songs of Diverse Sentiment, Both Old and New: Designed for the Use of All Good People Everywhere in Promoting Christianity and Education: on a Mathematically Constructed Plan of Notation, 1870 text 316 pages, 17 x 25 cm. Call Number: M2117 .C545 1870 Donor: Prentiss, Rev. G. D. and John (Special Collections copy) The New Christian Choralist: a Collection of Tunes, Anthems, Sentences, Chants, Choruses, Psalms, Hymns, and Songs of Diverse Sentiment, Both Old and New: Designed for the Use of All Good People Everywhere in Promoting Christianity and Education: on a Mathematically Constructed Plan of Notation, 1870 1870 1870 2022 true xt71ns0kwj50 section xt71ns0kwj50 L355»:!: x. 3 a! H 3. ;

 

  

UNIVERSITY OF
KENTUCKY

Presented by

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MNCILIR BINDERY.
as w. COUTRAL PARIWA
C'NC'NNAYv. o.

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i ,

': l A COLLECTION OF

1 a :1

I}; ' TUNES, ANTHEMS, SENTENCES, CHANTS, CHORUSES, PSALMS, HYMNS
3 i?
[7’ AND sows 0F DIVERSIFIED SENTIMENT, BOTH NEW AND OLD,
I I?

E g 1 DESIGNED FOR THE USE OF ALL GOOD PEOPLE EVERYWVIIERE IN PROMOTING

3 CI-IRISTIANITE’ AND ED'UCATION;

A. “mm-41” Ian-n, .mgzhcha A

1
Is .-

, ‘I; ON A MATHEMATICALLY CON STRUCTED PLAN OF NOTATION. U $43,? 37\/
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BY A. D. EILLMORE,

l AUTHOR or “Ckmxsrxm PsAmer,“ “wamzsn. Mtvsxcms,“ “TEMPEBANL‘E MUSICIAX,” "Hum or 21034," “LITTLE .MINSTREL,” “ VIOLET," “CHRISTIAN PBALTERY,” no.

 

TI CINCINNATI:
.Wx, CARROLL & 00.. PUBLISHERS;

117 WEST FOURTH STREET;

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PREFACE TO NEW EDITION.

 

Many things 011 different pages of this work have been prepared by the author, not only While sick, but whiie 0111

his bed of severe suffering. The i11te1est with nhich tens of thousands of foimel editions weie called for by the peo

ple, prompted the author to pro 11111e this new and enlarged edition with confident expectation that, like all his other i

publications, this will be eminently successful.

The lessons are very simple and comprehensive, adapted to the wants of the school or individual learner. and designed 7

to leave every one without excuse who remains ignorant of the principles of vocal music.

The peculiar plan of Notation adopted in this work will enable all to readily comprehend the different transpositions ,

and read with facility and accuracy in every different key.

The great number of popular old tunes, well harmonized, will doubtless make the'book eminently useful to the church.
Many more pages might have been filled with new pieces, difficult anthems, Chants, &c.;
importance to fill the book, almost entire, with that which would be most useful for the people. At the same time, I have
inserted enough new and set pieces to engage the interested attention of the most enterprising novelty-seeker.

If those who use the Choralist praise the Lord with a true heart sincerely, and always “sing with the spirit and with-
it will be a means of hanpifying thein‘Selves and others, and accomplish the end desired by the',‘

the understanding also,”
author.

CINCINNATI, 0., June 1870.

 

. Entered, according to Act of Congress, in the year eighteen hundred and seventy, by,
O

t A. D. FILLMORE,

C

‘ . - In the Clerk’s Office of the District Court of the United States, for the Southern District of Ohio. ' I.

If
I

s
c
‘19 .
a

but I deemed it of far greater] -;

 

 

A. D. FILLMORE. . g

« «‘rw

9

  

“refer 3‘

 

‘ .o. What
The la

’ Q. How:

’ I articulate
‘ . In utte
vation—tt

, a high, or
e sounds.

the teacher wi

------

HQ Into hi

. ”‘* ,A Four, —
“Q What 1

. Time t

C ,5 Q What
7 f ‘ Melody

 

The word tom

roperly applie

 

        
  
   
      
      
         
      
        
     
    
     
     
  
    
  
     

ut while 011
by the peo-

 

 

111‘ his other _ _ _ _
' ' . vation—the same altitude; whlle the veice varles from a low

.nd designed ,

ranspositions
' .2 ate them :—

) the church.
hf far greater
time, I have

irit and with.

esired by thel

 

QMORE.

 

     
 
       

PRINCIPLES OF VOCAL MUSIC.

 

LESSON I.

‘ i . Q. \Vhat does the science of music teach?

The laws, or principles, which pertain to musical tones.*

Q. How are musical tones, or singing sounds, distinguished from com-

"l articulate sounds?
-. In uttering musical tones the voice continues on the same

a high, or from a high to a low altitude in uttering the articu-
e sounds.

in teacher will give the following and other examples, and require the pupils to

:1 - $13“

. Time treats of the length of tones.
Q. What does Melody treat of ?
Melody treats of the pitch or altitude of tones.

 

The word tone is derived from the Greek tonos, signifying tension. It is very often

 

6. Q. What does Harmony treat of?

A. Harmony treats of the union or combination of tones.

7. Q. Of What does Style treat?

A. Style treats of the manner of uttering tones, as loud or soft.

8. Q. \Vhat is the first principle observed in reference to tones?

A. They are long or short: hence the department called Time.

9. Q. What is the second law or principle pertaining to tones?

A. They are high or low: hence the department called Melody.

10. Q. What is the third principle observed in the use of tones?

A. They may be used singly or combined: hence we have a
third department, called Harmony.

11. Q. What is the fourth principle observed in the use of tones?

A. They may be loud or soft: hence the department called
Style, which treats of the manner of uttering tones.

12. Q. How are tones represented?

A. By various characters, called notes.

13. Q. \Vhat characters are mostly used as notes in music?

A. The first seven Numerals, the first seven Letters of the
alphabet, and dots on a staff.

14. Q. What is a staff in musical science?

A. Five horizontal parallel lines, as follows :—

, i

..__._...

 

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3)) ’—!——_“‘—-"-,
,1». 01‘ V >
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4 PRINCIPLES OF VOCAL MUSIC.

15. Q. Of what use is the staff?
A. By placing notes in a high or low position on the staff,

they will thus represent high or low tones.
16. Q. How many degrees of altitude may be represented on the staff?
A. Nine, counting each line and space.
17. Q. Are more than nine degrees of altitude used?
A. Yes; very often.
18. Q. How are they represented?
A. By adding lines below or above the staff, called ledger

lines; as follows:—
1edger lines.

 

 

 

 

 

ledger lines.

LEssON 11.

TIME.

1. Q. Into what 1s every tune divided?
A. Every tune is divided into parts, called measures.
2. Q. How are the measures marked?
A. By perpendicular lines, called bars.
EXAMPLE I.

Bar. Measure. Bar. Measure. Bar. Measure. Bar. Measure. Bar. Measure. Double Bar.

 

3. Q. What is as use arithiaéd‘oubie bar?
A. It is placed at the en’d‘of a tune, and at the end of a strain.

.
I l
A

 

4. Q. What is a strain in music?

A. It is generally that part of a tune adapted to one line
poetry, or sentence.

5. Q. Are the measures of equal length in difierent tunes?

A. They are not.

6. Q. How is the length of each measure determined?

A. By the number of beats it contains.

7. Q. \Vhat is a heat?

A. A motion of the hand, marking the time of the music.

8. Q. How many beats has double measure?

A. TWO.

9. Q. How are they made?

A. Down and up.
EXAMPLE II.

Down. Up. I Down. Up. I Down. Up. I Down. Up. I
10. Q. How is the length of tones represented?
A. By certain marks attached to the notes.

EXAMPLE 111.

Whole Note. Half Note. Quarter Note. Eighth Note. Sixteenth Note. Thirty-second No , ‘

  

corresponding with
ITI l1 E
corresponding with
:1 . 1 1 1 1

9 9)

11. Q. What is the relative length of the whole tone?

A. It occupies as much time as 2 half tones, 4 quarter ton

8 eighth tones. 16 sixteenth tones, or 32 thirty-second tones.

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,pted to one line o

it tunes?

   

.ed ?

  
 

ne of the music.

  

 
 

  

 

  

EXAMPLE IV.
One Whole Note equal in duration to

0
Two Half Notes,

  
 
 

01' Four Quarter Notes,

Or Eight Eighth Notes,

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0r Sixteen Sixteenth Notes,

 

 

    

Up. I

Down.

 

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V V V V V V V V
Or Thirty- -two Thirtrv- Second Notes.

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LESSON III.

 

mth Note. Thirty-second No - . l

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y-second tones.

      

  

 

TIME.

  

V. 1. Q What part of a measure always has a downward beat?

A. The first part.

I. 2. Q. What part of a measure always has an upward beat?

A. The last part.

3. Q. If the Whole note have four beats, how many will the half note have?
A. TWO.

  
  
 

‘ 4. Q. How many will the quarter note have?
"‘79 A. One.

   
 

5. Q. How many eighth notes will be required for one beat?
A. Two .

 

PRINCIPLES OF VOCAL MUSIC.

 

6. Q. How is the kind of measure known?

A. By two figures placed at the beginning, one above the
other.

7. Q. What does the upper figure show?

A. The kind of measure :—as 2, double; 4, quadruple, &c.

8. Q. What does the lower figure denote?

A. The kind of note for each beat :—-as 4, a quarter note; 8,
an eighth note, &c.

DOUBLE MEASURE.

EXERCISE I.
Sing the exercises with the syllable La, beating time with care.
D I D I I I D U I U I D U I D U I
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EXERCISEII.

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EXERCISE III.

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7

me me me

11I1}1

9. Q. How many beats has quadruple measure?
A. Four.

10. Q. How should you beat in quadruple measure?
A. Down and up twice, or down, left, right, up.

QUADRUPLE MEASURE.
EXERCISEIV.
UDU
1 1 1 1l1111l1111l1111l1111l1111I
EXERCISEV.
1111|.1.1|111 1I.1.1I1 1.1I.1.1|:_1|

  

 

11. Q. How many beats has triple measure?
A. Three.
12. Q. What is the manner of beating in triple measure?

A. Down, left, up.

_ .u

TRIPLE MEASURE.
EXERCISE VI.

DL
11

poo

p ' EXERCISE VII.

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111|.11|111|.11|1i1|.11|111|.1

EXERCISE V111.
1|1;|1;1|11|1

EXERCISE IX.

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LESSON IV.
MELODY.

1. Q How many primary tones are used in music?

A Seven.

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2. Q. What do the seven tones, With the first repeated, constitute?

_ A. The Octave, or Natural Scale, called Diatonic, because in
_,. ~. singing it through we step from one tone to another.

3. Q. Are the tones placed at equal or unequal distances apart?

A. Unequal.

 

H

"H

 

6 PRINCIPLES OF VOCAL MUSIC.

Do
Se

La

Sol

Faw
Me

Ra

 

1 Do

4. Q. How many whole intervals in the scale?

A. Five.

5. Q. Where do they occur?

A. Between 1 and 2, 2 and 3, 4 and 5, 5 and 6, 6 and 7.

. 6Q. How many half-intervals 1n the scale?
A. Two.
7. Q. Where do the half-intervals occur?
A. Between 3 and 4, 7 and 8.

8. Q. What syllables are sometimes applied to the tones of the scale?
A. Do, Ra, Me, Faw, Sol, La, Se, Do.

In practising the following exercises, use the names of the numerals, the seven
syllables Do, Ra, Me, 810., and the single syllable Lu.

EXERCISEX.
12|12|12|12|12|21|21|21|21|21|

EXERCISEXI. .
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EXERCISEXII.
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EXERCISE XIII.
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EXERCISE XIV.
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EXERCISE XV.

 

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EXERCISE XVII.
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EXERCISE XVIII.
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EXERCISE XIX.

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EXERCISEXX.
.12|.34l.56|.78|.87|.65l.43l.21l.12l.1I
EXERCISE XXI.
.1.3|.5.S|.8.5|.3.1|1358|8531|1358|8531I
l EXERCISE XXII.

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. The class may be divided and Sing Exercises XXI. and XXII. together, one part
of the class Singing XXL. and the other XXII., illustrating Harmony.

PRINCIPLES OF VOCAL MUSIC.

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LESSON V.
STYLE.

1. Q. How should all musical tones be uttered?

A. In a firm.free, and clear manner.

2. Q. What is accent?

A. Laying greater stress on some tones than others.

3. Q. \Vhich is the accented part of the measure in double measure?

A. The first.

4. Q. Which in triple measure?

A. The first; also the second, when the music is written with
two notes for the first part of the measure.

5. Q. Which in quadruple measure?

A. The first and third.

The third part of the measure should not be accented where one tone makes the
time of three beats.

6. Q. With how many different degrees of strength are tones uttered?

A. Five.

7. Q. What is atone called when uttered with ordinary force or strength?

A. A medium tone. It is marked m.
A 8. Q. \Vhen uttered forcibly, What is it called?

A. A loud tone. It is marked f.

9. Q. When uttered with full force or strength, What is it called?

A. Very loud. It is marked 1?.

10. Q. When uttered faintly, what is it called?

A. A soft tone. It is marked p.

11. Q. When sounded very faintly, What is it called?

A. Very soft. It is marked pp.

12. Q. Do the above principles of loud and soft utterance of tones some-
times apply to Whole strains?

A. They do, and are marked accordingly.

  

  

PRINCIPLES OF VOCAL MUSIC.

In ordinary church music the singers ought to exercise discernment enough to

determine from the words the proper style of execution.

TIME.
13. Q. How many beats has Sextuple measure?
A. Six.
14. Q. What is the manner of beating Sextuple measure?
A. Down, left, up; twice for each measure.
EXERCISE XXIII.

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EXERCISE XXIV.
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EXERCISE XXV.
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99” ’9 9 9’

9 9 i i i 9

15. Q. May Sextuple measure be marked in any other manner?
A. It may be marked with but two beats,—down and up.

EXERCISE XXVI.

.............................................

16. Q. What is the above kind of measure called?
A. Double-triple.
17. Q. May Triple measure be written with three notes for each beat, or
each part of the measure?
A. It may, according to the following :—
EXERCISE XXVII.

................. , 1;1}11;};};}};}4I

What is this kind of measure called?

 

LESSON VI.
MELODY.

1. Q. How are the difi‘erent altitudes of tones represented?

A. By placing notes on different degrees of the staff.

2. Q. What particular names have been adopted for the lines and spaces
constituting the degrees of the staff ? '

A. The first seven letters of the alphabet.

3. Q. Are the letters always in the same position on the staff?

A. They are not. .

4. Q. How, then, is their location determined on any particular stafi‘ ?

A. By certain characters, called Clefs, as follows :—

   

 

This is called the Treble or G
Clef, and fixes the letter G on the
- second line. Then C comes on the
ledger line below.

13‘ ‘F—jg

 

 

 

This is called the Base or F
Clef, and locates F on the fourth
line. Then G comes on the ledger
line above, which is the same as the
ledger line below the Treble Clef.
Both together are as represented
below.

 

 

 

 

 

 

G

P.— _______

 

hi

E,
C—D

 

 

 

 

~—

 

 

 

B—A——« —-——

 

5. Q. Are any other Clefs used?
A. Yes: sometimes Clefs are made use of for all the different

parts, showing the location of C for each part.

 

6.1

altituc

 

 

the posi

     

tafl'.

ms and spaces

tfl‘?

zular staff ?

_—

1e Treble or G
.etter G on the
C comes on the

he Base or F
P on the fourth
as on the ledger
the same as the
[he Treble Clef.
as represented

 

,-

 

the different

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TENOR CLEF. 0— ALTO CLEF.
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{xii} n 4: 5’ 5 4.- .. “
7 U 0 2

+ 2 +

6. Q. When the first sound of the scale is written on the letter C, what
altitude or key is it called ?

A. First altitude, or key of C.

7. Q. May the compass of the staff be extended?

A. It may, by the addition of lines, either above or below.

+ as-

    
   
   

  

 

 

4:“

The whole vocal compass, for both low and high voices, may be thus represented :—

4 5

 

 

 

 

 

 

 

 

 

 

 

 

 

03* ‘
Am 11‘

_ ’6'

1 234 a

_,, n7

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@1433;
"'_7“6‘y

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It is indispensable that the learner should acquire a thorough acquaintance with
the position of every letter on the staff, as represented by both the above clefs.

LESSON VII.
TIME.

1. Q. How is a Best, or cessation of sound, represented?
A. Bv certain marks used instead of notes, as follow :—

PRINCIPLES OF VOCAL MUSIC.

 

whole note half quarter eighth sixteenth thirty-second
V
b , ._,
corresponding with
whole rest half quarter eighth sixteenth thirty-second
_- q
‘ F 'l q 3

l
2. Q. May other marks be attached to the notes to mark their relative

duration?
A. Any of the above notes or rests may have a dot placed on
the right, which will make it one-half longer.‘( r ) 2r t

3. Q. Two dots on the right add how much to the length?
A. Three~fourths. ( ' ') 0 F P
l t 5
4. Q. How may a note be marked indicating that it may be prolonged
indefinitely? ‘

 

 

4‘
A. By a hold, or prolong, over it (‘0 )

5. Q. When three notes should be sung in the time of two of the same
denomination, how are they marked?

A. With a tie over them, embracing a small figure 2 or 3,
thus :—

r73? °r FF? 3 r r

6. Q. When figures are used, how is the rest represented?

A. The same as when other notes are used; or the letter R,
marked with periods or commas, will answer the purpose.

7. Q. Double measure has how many varieties?

A. Two :

2’ ‘ ifi

II]!

 

 PRINQIPLESOF'VOCALIMUsrd

8. Q. Triple measure has how many varieties?

A. Three :

 

9. Q. Quadruple measure has how many varieties?

A. Three :

 

 

 

 

 

10. Q. Sextuple measure has how many varieties?

A. Two :

 

 

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fiamaifiaz
11. Q. How many varieties has Double-triple measure?
A. It is always written the same as the second variety of
Sextuple measure, and only differs from it in being sung faster
and marked with two beats instead of three.

 

 

 

 

 

12. Q. How many varieties has Tri-triple measure?

A. Two:

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E:Fr’l_—Fl_- F
Fr??? F

 

 

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4—f—
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13. Q. \Vhen a tone commences on an unaccented and continues on an
accented part of a measure, what is it called?

A. A syncopated note.

14. Q. In what manner should a syncopated note be sounded?
A. It should always be accented.

EXERCISE XXVIII. ,
41'1.11‘.11111|1.111l11.11l.1.1|11.?l
4 9 9. 9’ ”

 

15. Q. How should you beat for the time of a note with a prolong over it?

A. Beat the time according to the other marks, and then
suspend beatin'g during the time of the prolong.

16. Q. How many different degrees of movement in time are commonly
observed ?

A. Five :—Common, Slow, Very Slow, Quick, and Very Quick.

17. Q. How much time is required for each beat in the common move-
ment?

A. About one second of time.

18. Q. How much slower is the slow and very slow movement?

A. Each about one-third slower than common movement.

19. Q. How much faster is quick or very quick movement?

A. Quick movement is about one-third faster than common;
and very quick, about one-third faster than quick movement.

20. Q. Are there other terms and other movements sometimes designated?

A. There are, as follows. Adagio—slow. Allegro—quick.
Allegro assai—very quick. Allegretto—not so quick as Allegro.
Andante—rather slow and gentle. Andantmo—a little faster than
Andante. Grave—solemn and slow. Largo—slow. Larghetto
——not so slow as Largo. Moderate—in moderate time. Presto—-
quick. Prestz'ssimo—very quick. Rallentando—slower and softer
by degrees. Ritard—retarding the time. Vivace—quick and
cheerful.

LESSON VIII.
MELODY.
1. Q. Which is the governing tone of the Scale?

A. The first: that is, all the tones must be at a proper degree
of altitude from One.

saesspeaaps

 

     

folong over it?
:s, and then

are commonly

Very Quick.

common move-

uent?
ovement.

t if

an common;
iovement.

nes designated?
Negro—quick.
: as Allegro.
le faster than
N. Larghetto
ne. Presle—
’er and softer
z—quick and

proper degree

 

\

PRINCIPLES OF

2. Q. What is the distance from one tone to another called?

A. An interval, or step.

3. Q. From 3 to 4 and from 7 to 8, What is the step called?

A. A half interval, or half step.

4. Q. What is the interval from 1 to 2 called?

A. Interval of a second.

5. Q. What is the interval from 1 to 3 called?

A. A third.

6. Q. Is the position of the written scale of letters fixed?

.A. It is, by the clef used in each case.

7. Q. Is the key note located in a fixed position on the staff?

A. It is not: the key note, or governing tone, may be placed
upon any letter, either low down, as in the Base staff, or up
higher on the Treble.

8. Q. When tones lower than 1 are sung, how is it (1) regarded?

A. As 8 of a lower octave.

9. Q. When tones are sung ascending higher than 8, how is it (8) regarded?

A. As 1 of an octave above.

10. Q. Voices are divided into how many classes ?

A. Four :——1. Low male voices, BASE; 2. High male voices,
TENOR; 3. Low female voices, ALTO; 4. High female voices,
TREBLE or SOPRANO.

11. Q. Is there a difference really between male and female voices when

. they seemingly give the same tone?

A. There is: the female voice is an octave higher than the
male v01ce.

12. Q. What is the usual compass or extent of Base voices?
A. From F below to 0 above.

Sometimes the Base clef faces to the right, and sometimes to the left.

 

VOCAL MUSIQ. ll
EXAMPLE I.

  
 
    

..

 
   
     

 

GABCDEFGABC

13. Q. What is the usual compass of Tenor voices?
A. From 0 below to G above.

 

 

EXAMPLE II.
A ._ _.
‘ —_"" P
U r_'__!_ _.._____ _
__:::_:_.__—_..:—‘__._' I I *—_—_—'I '

 

 

 

__ ___.‘_.._.'__
+
C D E F G A. B C D E F G

In case the Treble clef is used, as above, the tones when sounded by male voices
are really an octave lower than they seem to be. The Tenor is often written. and
more correctly, as below. '

EXAMPLE III.
_, .91

m a 9 ' ’
. - _ ‘
Xv'-—r:' "1 - ‘

 

 

 

 

C D E F G .A B C D E F G
14. Q. What is the usual compass of Alto voices?
A. From Gr below to 3d space Treble clef, C.

EXAMPLE IV.
A

__ a
.._.+ _
GABCDEFGABC

15. Q. What is the usual compass of Treble voices?
A. From middle 0 to G above.

 

 

 

  
  

 
  
    

19
16. Q. What is the middle 0?
A. It is the C which occurs on the middle line between the

two clefs. -

  
 
  
  
 
 
  
  
 
 
  
 
  
 
 
 
 
 
  
 
 
 
 
 
   
   
   
   
 

EXAMPLE V.

 

 

 

 

 

 

 

 

 

C D E F G A B C D E F G

Church Music is usually written in four parts, and named as above, for the four
difl'erent classes of voice.

LESSON IX.
HARMONY.

1. Q. What constitutes Harmony?

A. Properly constructed chords, and proper succession of
chords. '

2. Q. What makes a chord in music?

A. Any combination of two or more tones.

3. Q. How many kinds of chords are there?

A. Two :-—-Concord and Discord.

4. Q. What is a Concord?

A. A combination of tones which is agreeable to the ear.

0. Q. How is the Concord. constructed?

A. By combining any tones that are an interval and a half
apart, or more than an interval and a half apart.

6. Q. What is a Discord ?

A. A combination of tones disagreeable to the ear.

7. Q. How is the Discord constituted? ‘

A. By making a combination of tones with less than an in-
terval and a half between any two of them.

D

PRINCIPfiES OF VOCAL MUSIC

 

EXAMPLE II.

Discords.

EXAMPLE I

. Concorde.

     
   

6‘— +
8. Q. What does the common concord consist of?

A. Tones 1, 3, 5, to which 8.1nay be added.

9. Q. Do any combinations of sounds which bear the same relation to
each other, constitute the same chord?

A. They do.

10. Q. What constitutes the common discord?

A. The tones 5, 7, 2, and 4.

Q. When a piece of music consists of but one part, what is it- called?
A Solo. .

. Q. When a piece of music consists of two parts, what is it called?
A Duett, or Duo.

. Q. A piece of three parts is called what?

. . A Trio.

1-1. Q. A piece of four parts is called what?

. A Quartette.

' . Q. What is a composition of five parts called!

A Quintette.

Q. Of how many parts does the harmony usually consist?

Four :—-one part for each of the four classes of voice.
5

      

-6-

>apses

P3»

P5

LESSON X.
STYLE.
1. Q. When two or more tones are united by a slur, or tie, how are they
sung ?

A. To one syllable of words.

5. Q
callcd ?
* A.

   

      
    
      
     
     
  
   
   
   
  
  
     
     

iPLE II.

:ords.

 

,me relation to

bat is it called?

is it called?

.ist?

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W.

9, how are they
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P R I N C I P L E S
EXERCISE XXIX.

’ 9 9

A A A A A
}?|‘45|376|§%3 2|.1l 5|567|§7§ , elsasalnl

#05

There is a. land of pure de—light, Where saints in glo -------- ry reig‘n.

2. Q. When two or more tones of the same pitch are united by a slur,

how are they to be sung?
A. As one tone.

EXERCISE XXX.

6; 3‘3? 5’75? 8‘73? we??? 1‘1
8 A - - way, a - - way, a - - way, a— -way to the hills, 3 — - way.

3. Q. When a tone begins, continues, and ends with an equal degree of
force, What is it called?
A. An organ tone.
EXERCISE XXXI.

2 .1|.2.3|.2.1|.6.5|.3.5|.3.1|.2.4|.3.2|.1|

2 Film as a

4. Q. When a tone commences softly and increases in force to the end,
what is it called ?
A. An increasing tone.

EXERCISE XXXII.

rock thy truth shall stand When roll-ing years shall cease to move.

< A < A < <
4 12a-g1 .5-a4 "rs-salsa. .3-2 :1
Go, ye nies-sen-gers, spread the joy - ful tid -ings far and wide!

5. Q. When a tone commences loud and decreases in force, what is it
called ?
A. A decreasing tone.

EXERCISE XXXIII.
4 as l 5|};- 5 l :§|.2.4 l :5|.5>- 6'3-

>
3 I 5 5 4 2 l :1 I
4 Happy home. far a - way! Friends and home! Oh. I long to see my happy home!

 

0F VOCAL MUSIC. I3

6. Q. When a tone commences softly and gradually increases to the
middle. and then decreases to the end, what is it called? '
A. An Eolian tone, or Swell..

EXERCISE XXXIV.

3 O f 3?.
§§|555 .5—I111 .-|222|.-
4: ’Tis a voice from the sky! Loud thun-ders roar, Loud thun-ders roar.

7. Q. Is the swell, or eolian, ever applied to more than one tone?
A. Sometimes to several in succession.

EXERCISE XXXV.

Increase. Decrease.

_.I M.
l67.8|.8-8|7654|32.1l.1-l

mer—ry heart, No diff’rence what the world may say.

4 1 | 2 3 4 5
4: There’s wisvdomin a

8. Q. \Vhen a tone is struck forcibly and full, what is it called?
A. Explosive, or Sforzando; sometimes marked sf or fz.

EXERCISE XXXVI.

> > > > > >
Z 5 5 R 5 5 6 6 6 5 3 R 5 I; S} I 1 I
Hark! hark! hark! I hear his foot -steps nowl There! at the doorl

9. Q. How should breath be taken?

A. So as to avoid disconnecting words or syllables which
naturally stand closely connected.

10. Q. How should emphatic words be sung?

A. In very distinct and detached ,style, as is often deno~~
minated staccato.

EXERCISE XXXVII.

:5} g i- 1, 5 5 1- I

U - nlon and]

9
join the U -nion bandlthe

2
4 %

I I I I o o
1 3 2- g 2- g l a 2
0 hail ! hail! hail! I come to
11. Q. What are passing or transient notes, sometimes called Appoggiatura .9

A. They are small notes, sometimes preceding, sometimes

www-mfi... . MW.

 
  

-__;_..v_‘A—_..'._..._..__....;--_

'7
.

  

I4 PRINCIPLES OF

succeeding, essential notes, from which they take a little time,
giving opportunity for the gliding or portamento style, independent
of the proper harmony. -

12. Q. What is a Shake, or Trill ?

A. It is a rapid alternation of a tone with the next above it.

13. Q. What is 8. Turn?

A. A rapid alternation of a tone with the one both above and
below it.

14. Q. How are commas and other marks for pauses in the words to be
observed in singing?

A. By taking a small amount of time from the notes.

15. Q. How should accent be observed in singing words ?

A. Carefully, as in reading or speaking.

16. Q. How should vowel sounds be uttered in singing words?

A. They should be sounded in an open, clear style, and
occupy the whole time of the tone, except what is necessary to
speak the consonants distinctly.

17. Q. How should unaccented syllables be sung?

A. With much less stress and less time than those which are
accenmd, so as to avoid stringing the words together.

LESSON XI.
MELODY—THE PLAINTIVE 0R MINOR SCALE.
1. Q. What other form of the Natural Scale is used, besides that pre-
sented in Lesson IV.?
A. The former has half intervals between 3 and 4, 7 and 8;

the half intervals may be placed between 2 and 3, 5 and 6, which
makes the character of the music plaintive. -

 

VOCAL MUSIC.

2. Q. What are these two forms of the Octave called?

A. The first is called Grand, from the character of the music
written in that form; and the other, Plaintive, because the chap
racter of the music is mournful, or plaintive.

3..Q. What other names are applied to them?

A. The first is called Major, and the second Minor, because
the first has two whole intervals from 1 to 3 and the other but

an interval and a half,-—Major implying a greater 3d, and Minor ,

a lesser or smaller interval of its third.

 

I. II. III.

Sol

Faw
Me 5

Raw 4

Se 2

   

7

 

6

No. I. in the above illustration represents the Minor scale with half intervals
between 2 and 3 and 5 and 6, with the syllables as usually applied in singing by
note. _ .

No. II. represents the Minor scale\as consisting of part of two octaves of the
Major, from the 6th below to the 6th above the key note.

No. 111. represents the Minor as generally used ascending, and No. IV. the usual
form descending.

No. V. represents a form sometimes used ascending, and No VI. descending, with
half-intervals between 2 and 3, 5 and 6, and 7 and 8, and from 6 to 7 an inter-Yul
and a. halt. ‘ ’

 

    

   
 

 
 

 

  

4. Q.
terval h
A. l
6 and ’.
5. Q.
how is t

A. l
6. Q.

mediate]

A. ]
same 1
stores i

 

 

 
 
 
 
  
 
  

1. Q.

intervals

 

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.. .....;..vf‘m—;¢-,fy 'fi‘

 

PRINCIPLES OF VOCAL MUSIC.

4. Q. How is a note marked when the tone is to be sounded half an in-

[5'

   
 

 

 

 

 

 

 

 

 

 

 

 

 

. 4. Q. How is each intermediate tone, where the whole interval occurs,
the music .4; terval higher than ordinary? designated 2’
Ti A. It is marked with a sharp (14F). Thus, in the Minor scale, A. By a sharp, ascending, or a flat, descending.
se the cha- ,, , . . .
4 6 and 7 W111 be marked With a sharp, 1n ascending to 8. i
_ 5. Q. When a tone is to be sounded half an interval lower than ordinary, CHROMATIC CHROMATIC SCALE ASCENDING. i
" how is the note marked? SCALE. i
)r, because ‘ A. It is marked with a flat (b). 8
3 other but a. 7
an d hiin or . 6: Q. Does the sharp or flat affect any note other than the one it im- 6
r mediately precedes? C 0*? D Dfi‘ E F F# G (3;; A A# B C
A. It applies to all the other notes of the same altitude in the 5 Do De Ra Re Me Faw Fe 801 Se Law Le Se Do
same measure, unless contradicted by a natural (L1), which re- 4
I stores it to its ordinary elevation. 3 _ CHROMATIC SCALE DESCENDING. g
EXAMPLE OF THE SHARP. FLAT, AND NATURAL. 2 ._ A -————— ‘ ll 4“ I 'r 4 ——~ 5-
1 awaken-2:4; "ww- 3:
a 1 7 3 "3 2 02 ii i
CBBbAAbGGbFEEbDDbC
3 c 01* D 1),, E B B Bb A A4,, F1? F Do Se Sa Law La. Sol Sa Faw Me Ma Ra. Ra Do : é
' 5. Q. What is the key note? ‘
, LESSON XII. . A. It is the first note of the scale, or that on which the tune I! ‘_
is mainly based. . 1:
: CHROMATIC SCALE, INTERVALS, ETC- 6. Q. What influence or power does the key note seem to have? ‘ , 3.
half intervals % 1. Q. May the scale be divided so as to make all the steps consist of half A. It is the governing note; that is, the Whole scale or tune , i
in singing by . intervals? is high or low according as the pitch or altitude of One is high i
: A. It may, by making a tone half-way between each of the or low. ' l i
oc‘aves 0f ‘he sounds where a whole interval occurs in the Diatonic scale. 7_ Q, What do the lines and spaces of the staff represent? 1! i
IV. the usual ‘ 2. Q. Of how many tones will the scale then consist? A. The ‘Vritten Scale of letters, according to Which the