xt7crj48sq83 https://exploreuk.uky.edu/dips/xt7crj48sq83/data/mets.xml Funk, Joseph, 1778-1862 1876 360 pages, 17 x 25 cm. Call Number: M2117 .F9 1876 Provenance: Wilcox, Glenn C Provenance: Wilcox, Glenn C.Library's copy imperfect: both covers detached scores (documents for music) M2117 .F9 1876 English Glen Pub. Co., Printers Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Glenn C. Wilcox collection Hymns, English Shape note hymnals Music -- Instruction and study The New Harmonia Sacra, a Compilation of Genuine Church Music, Comprising a Great Variety of Metres, Harmonized for Four Voices. Together With a Copious Explication of the Principles of Vocal Music, 1876 text The New Harmonia Sacra, a Compilation of Genuine Church Music, Comprising a Great Variety of Metres, Harmonized for Four Voices. Together With a Copious Explication of the Principles of Vocal Music, 1876 1876 1876 2023 true xt7crj48sq83 section xt7crj48sq83 (

al'nl a”: vx
,L , a

81'

Hr““2.!!!5‘hi‘31‘h'7‘»'>"I"v\I
lulu-Maizxs‘u‘?

lutiun

In u'ni‘l u:
. >_

I
A.

1.5
B. T,
1
1.:
‘11..
n.

F I"

'17 ’ Iii

1m

4

If}

V ‘
5

JO

 

  

. ”rum

"WMWn-W

 

,WWW.~m~euv-“ “V-‘jh ‘9. yr?”

3 fiflfiN-iéi“ SW“?

i -' :J’DQIS m" in“ j‘
5'4»: Hum; win '9
JFK}. ééfir‘gwf ii ‘
“as wiffi-~.5+¢m ‘ - , a

,JV, w-V. J WW<

 

fir

new «a. n. r‘

was": finrn'wvxnzfla - u-» - a.

1" lewfi': :me :wx—-.‘,..~nuv V”VVNWYM1R‘ ~mnr~vbn~ w “a". r:

\

 

 «FL: :rmr-vgr -
V ¥ ' 1

.,A__M'_,__-,,,v_ A . ‘~"\.
New Harmonia Sacra. Singer 1'5‘
l

and sons.
hing Co., 1876. (/SM _. :3

Funk, Joseph,
Glen Publis

Glen, Va.:

U). 719 '24st ~55}

 

 J , . ~ ., . t
‘ . . , . v - » “.m" \ .3 .,...l :. v ‘NM > “ "
‘* H‘mm.§rahwr~v;-m.;"~W1::W.;+, ,.- J A -., “.er » V. ~ , . h » >~ ' ‘ /

   
 
 
    
   
    
  
  
    

, ' A GOMPILATION OP

3, I GENUINE CHURCH MUSIC,

COMPRISING f) GREflT VflRIETY 0F .METRES', HflRMOJV‘IZED FOR FOUR VOICESK
I TOG/ETHER WITH A GOP/008 EXPl/OAT/OA/ 0F

www "EN@BW&3%O @E’ W®@&3¢a MW%H'@9

 

a} ‘ ' Exemplified and Illustrated will: Tables, in 0 Plain and 00mprehenslve Manner.

J k, - MI null. tum Hull. Hull. ".".I ll unn'u'lu I'u'lnflu‘

13 BY JOSEPH FITVK "AND SONS.

3 , "Am; the rausomed of the LORD shall return and come to Zion with sunfishgfidflizeglg;§ng_jfggifi%l their heads; they shall ohmin joy and ghdneu, and narrow tad ugmu‘

 

FIFTEENTH EDITION.

W»; ‘-
. '('

 

¢

 

SING-123’s GLEN; VA.
h @1211 mublislfing QIompany, 1]]rinter5.
3.3 1876.

  

,l.

 

 

v-‘~'~~--r- ~ , _,,v

PREFACE.

 

IN OFFERING this revised edition of the HARMONIA SAan to the public, the publishers desire to call especial
attention to the following general characteristics of the work:
1st. "l‘lie popular character of the tunes. There is not a single tune in the book, as now compiled, which has not

assed the mle of trial. and become housed in the affections of singing Christians everywhere.
2nd. The great variety of its contents, embracnig all the metres, adapted to every phase of Christian experience,

and to :ill (,levotioiial meetings.
3rd. Its siiitalfleness to all denominations.
and music, wedded by years of assocmtion, breathe onl

home—the chief tenets of all evangelicalbelievers.
4th. The unusual variety and quality of its anthem department. A goodly number of new set pieces, motets and

sentences, have been introduced to rneetthe wants of the Church and Singing—school. These will be found well calcu-
lated to enhance the interest on such occasions.

51h. A new Singing-school Department. This has long been a want. felt with teachers using THE HARMONIA
SACRA. it will be found to be progressive in character, entertaining in subject, and pleasing in melody. 'l‘o this is
addel a number of Sabbath-school and social pieces. With a hope that the whole may be found to be an aid to the
Church in devotioi’ial and praise services, and to the Singing-school in developing a broad and appreciative sense of the

beautiful in song, this edition is submitted to the public.

l‘lverythii’ig of a sectarian character has been discarded, and the words
y of Ciiiiisi‘, His love, His great atonement, and HIS heavenly

GLEN PUBLISHING CO.
January 13!, 1576.

 

COPYRIGHT SECURED ACCORDING TO LAW.

 

  

 

 

   
 

 

TO

THE position of a teacher of sacred Church music is an important
and highly responsil le one. He should be prepared and qualified to
teach and instruct his class in the elements of music, with correct-
ness and facilitv , both in theory and practice, and to do this he should
make it his object to become as familiar as possible with the ma thod
of instruction, and ofimparting knowledge in an easy and familiar
manner. He shouhl be deeply imbued with the desire ofdoirg good,
and of refining the taste and elevating the afl'ectiors. Music should
be with him not merely an entertainment, a pastime, or a means of
support; but as a talent to he used for the Service of Him to whom
angels singr their high hallelujahs, and who gave it to man therewith
to praise Him W! o is worthy .of all honor and praise. Hence, sing-
ing-schools of sacred psalmody should he conducted in such a manner
as to prepare its members to engage in praising God acceptably in
song; and although it is not a direct plaCe of worship, it Certainly is
a place Where its members shoull he trained and prepared for the
service and participation of that holy place.

A school of sacred vocal music has so far a resemblance to the
house of God, that it is a scene from which all levity should he ban-
ished far away. During a great part of the time spent in our em-
ployment, we are singing \vowls of the most solemn and devotional
import. And is such an avocation to be contemplated as a mere one
meaning form, or to be trifled with as a despicable jest? It is im-
possible, if the heart possess any reverence for God and religion. All
decent people admit that a light carriage in the church deserves se-

TEACHERS.

 

vere l‘( bake: and, for our part, we canrot see that much less repre-
htnsion is due to the same carriage in a school of psalu ody. To
have no ear, no relish for the beauties of harmony, is a def: ct which
those who lat-or under it should certainly not be forward to betray.
We can at best only think ofit with compassion. But when a stu-
pid contempt of music obtrudes itselfinto a school, with the addition-
al deformity of injustiCe, bad breeding, and the scorn of sacred things,
it deserves the utmost severity of censure.

It is an obvious principle in every department of religious worship,
that emo‘ions should be unfeigned. They should not he suffered to
rise merely through gratified taste, but be made to spring up in the
mind while it is employ ed in the contemplation of holy things. This
important distinction will not be preserved in the hours of devotion,
where it has been neglected in the seasons of practice. It requires
specific religious trainingr in schools and family circles, and will not
be maintained in any other way. Habit has its influence in devotion
as in other things. The deportment of singers and teachers during
the hours of practice, therefore, becomes a matter of great moment.
To cultivate the praises of the highest God, is a solemn work, and
should ever be so regarded. Volumes wmild fail to show the impor-
tance of this principle. How, then, can any teacher of devotional
music dare to treat it with neglect 3 Yet this neglect seems to he al-
most universal. No wonder that the ti'iends and cultivators of the
art have so many difficulties to encounter. Let their efforts be fully
christianized, and the difficulties will be seen to vanish.

  

 
 

 u—‘.~ ,“__...—..__.._.... __,fi,
‘ ._ W»..- .‘- — ._.. m...-

 

a.

A—an Italian preposition, meaning to, in. by, at. 81c.

Accelerando—accelerating the time, gradually faster and
faster.

Adagio,.or Adagio—stow.

Adagio Assai, or Malta—very slow.

Ad Libitum—at pleasure.

Ajfettuoso—tender and afl‘ecting.

Agitato—with agitation.

Alla Capella—in Church style.

Allegro—quick. Allegro Assai—very quick.

Allegretto—less quick than Allegro.

Allegro ma non T ‘oppo—quick, but not too quick.

Amabile—‘in a gentle and tender style.

Amateur—:1. lover but not a professor of music.

Amoroso, or Con Amara—affectionately, tenderly.

Andante—gentle, distinct, and rather slow, yet connected.

Andaulino—somewhat quicker than Andante.

Animoto, or Con Animal—With fervent, animated expres-
alon.

AninLO, or Con Animo—with spirit, courage and boldness.

Antiphone—music sung in alternate parts.

Ardito—with ardor and spirit.

Arioso—in a light, airy, singing manner.

A Tempo—in time.

A Tempo Giusto—in strict and exact time.

Ben Marcato—in a pointed and well—marked manner.

Bis——twicc.

Brillante—brilliant, gay, shining, sparkling.

Cadence-«closing strain; also a fanciful, cxtemporaneous
embellishment at the close of a song.

Cadenm—same as the second use of Cadence. Sec Cadence.

Colorado—softer and slower. [ody.

Cantabile—graceful, singint.r style; a pleasing, flowing mel-

Uanto—the treble part in a chorus.

Choir—a company or band of singers; also that part of a
church appropriated to the singers.

Chorist, or (,‘Iiorister—a member of a choir of singers.

Col, 0r Con—with. Col. Area—with the bow.

Comodo, or Cur/Huntlll—Jn an easy and unrestrained manner.

Con {mettle—with cxpression.

(Ion Docessa—-wiih delicacy.

(Yon Dolore, or (for). Doom-with mournful expression.

Conductor—one who superintends a. musical performance;
same as i‘IlhiP Director.

Con Eneq-gico—with energy.

Con ExpreSsiom—with expression.

Con Fuoco—with :trclor, fire.

Con Grazia—with grace and elegance.

Con Impeto—with force, energy.

Con Fusto—witlr chaste expression.

Con Moto—with emotion.

Con Spirito—with spirit, animation.

 

Cora—Chorus.

Da—for. from, of. 1m Capo—from the beginning.

Decani—the priests, in coniradistinction to the lay or ordi-
nary choristers.

Declumtmdo—in the style of dcclamation.

Decreecendo—dhninishing, decreasing.

Deroztone—devotional.

Dilettamte—a lover of the arts in general, or a lover of
music.

.Di Malta—much or very.

Divoto—devotcdly, dexjoutly.

Dolce—sot‘t, sweet, tender, delicate.

Dolcemenie, Imlcessa, or Dolcissimo. See Dolce.

.Dole'nte, or Doloroso—mournful.

Doloroso—in a plaintive, mournful style.

E—and. Elegmitc—t-lcgancc.

Energico, or Con Energia—with energy.

Esprecsi’co—cxpressivu.

Fine, Fin, or Finale—the (and.

Forzando, Forz, or .z—stiddcn increase of power<.

Fugue, or Pogo—a composition which repeats or sustains,
in its several parts throughout, the subject Willi which
it commences, and which is often lcd oil' by some one of
its parts.

Fuguto—in the fugue style. Fughetto—a short fugue.

Giusto—in just and steady time.

Graziozo—smoot hly, gr Lccfally,

Grave—slow and solemn movement.

Impressurio—manzur(-r of Concerts or Operas.

Lacrimmulo, 0r Lucr/Tmoso—mournful, pathetic.

Lamc’ntel‘olc, Lamensando. Lumentubz‘lr»—niournfully.

Larghetto—slow, but not so slow as Largo.

Lurghz‘ssirno—exlrcmcly slow.

Largo-«slow.

Legato—close, gliding, connected style.

Lentaano—cradually slowur and softer.

Lento, or Lc’n'i‘rtquota—slow.

Jim-but. illitcsloso—mzijvstic, majestically.

Maestro Di C'(l})elht~—~cli:l.1lt‘l master, or conductor of church
music.

Maroon—strong and marked style.

fiIessu. Di I'oce—mmlcratt- swell.

Morlerutopr .llorlrzrrztmnenta—modcrately, in moderate time.

Mo/to—much or very.

JIItho Vow—with a full voice.

Mormrlo—gradually dying: away.

Mordente—a beat, a transient shake.

Mosso——e1n.olion.

Mata—motion. Amhmte (Ton Moto——quicker than Andante.

Nam, Now ’I'roppo—not too much.

Orchestra—a company or hand of instrummital phi-form-
ers; also tha t part of the theatre occupied by the band.

 

Postoralk—applied to graceful movements in scxtuplo
time.

Perdendo. Perdendosi—same as Lentando.

Piu—more. Piu Mosso—with more motion, faster.

Pizzicato—snapping the violin strings with the fingers.

Paco—a little. Paco Adagio—a little slow.

Poco a Paco—by degrees, gradually. .

Portmnento—the manner of sustaining and conducting the
voice from one sound to another.

Precentor—conductor, leader of a congregation.

Presto—quick.

Prestissimo~very quick.

thllentmnn‘o, or Allentando, or Slentando—slower and softer
by degrees.

Recitzmdo~zi speaking manner of performance.

IfeClitUTLl‘v—in the style of recitative.

Recitatire~mu.

Sicilmnu—a movement of light, graceful character.

Sniorc‘mio, Smorzomic—dying away.

Scone, Smwemcnt—swcet. sweetly. See Dolce.

So’feggio—a vocal exercise.

Solo—for a single voice or instrument.

Susienuto—sustained.

b‘otto—undcr, below. Sotto Vocu—with subdued voice.

Spil'ito, or (Ion Npirtto—with spirit and animation.

Stuccdo—short, detatchcd, distinct.

Subito—quick.

Tm; , 0r Tweet—silent, or be Silent.

Twrrio—sloW.

Tasto Solo—Wilhout chords.

Tampa—tune. Tampa (I Piucere—time at pleasure.

Tmzpo Giusto—in exact. time.

Tun. Twnuto—diold on. See Sostcnuto,

Tutti—the whole, full chorus.

UIl-—-.l,2 as, V41 (ircsmmio—coutinue to increase.

Ve’rs‘z “same as Solo.

Vigoraso—hold. energetic.

Vimcr—quick and cheerful.

Virtuoso—at proficient in art.

You: .DL‘ I’dto—thc chest voice. ' G

Voce n’i Testu—the head \‘oicc.
Voca Solo—voice alone.
Volti Subito—turn over quickly.

 
   

. fig-5:33

u ,

 

 

 

 M,”,T:rphmhrfl"l:fiw~v‘ .7 mu. m

RUDIMENTS AND ELUCIDATION OF VOCAL MUSIC.

 

COME, youth, and with profundity explore
This sacred science : ponder and adore
The beauties which in Harmony abound,

C H J? P T E R I.
0F MUS/0 A/VD MUS/CAL SOUNDS.

SEWI'ION I.-—Music is composed of sounds produced by the human voice or by differ-
ent kinds of musical instruments.

These sounds vary in pitch according: to certain fixed and determinate degrees,

The pitch and gradation of these sounds from the lowest or most, grave to the highest
or most acute, form the whole scale of musical sounds.

A combination and succession of these sounds, sweetly tuned and performed in rhyth-
mical order, have, by their rich. n'1ellitluent, melodious, and harmonious progression—
their sweetly moving accents and flowing. numbers, a. benign, winning, and powerful in-
fluence. over the human mind.

SEO. If.—The Natural Smile of musical sounds. though its extent is unlimited, consists
Of only seven primary notes. For it is found that after singing: orplayiiu‘r these seven
notes, if we continue the series, we repeat another scale similar to the first, and so on, as
far as the. extent. ot’ the voice or the instruments will no.

The voice in producing these sounds naturally passes from the first sound taken, a
step to the second ; from the second a Nfl’p to the third ; from the third :1 Izrr’jlstep to the
fourth; from the fourth a .Vfl‘]; to the fifth; from the fifth a 8pr to the sixth; from the
sixth a. step to the seventh; and from the seventh a huff-step to the eighth, which com—
pletes the Octave. and is the tirst note of a t'llCCPt ding- scale.

SEC. [TL—There are three distinctions made in musical sounds: 1st. They may be
high or 1010. 2nd. They may he Irma or Is/IU’I‘I, titd. ’l‘ht y may be low] or soft.

These three distinctit ns of sound (nibrace P1101, LENLTU, and POWER.

I’itt‘h regards a sound as biz/l; or I'tm' _- Lt ngth, as Long or short ,’ and Power, as loud
or soft; and these three distinctions form the essential property and peculiar qualifica-
tion of good musical sounds.

On these three distinctions are founded three departments, namely. 1V1EI.”DY,R,HYTHM,
and DYNAMICS or Musical Elocution, \\ hich departments xvill be notict d and treated of in
their proper places.

SEO. Iii—The doctrine of music may be arranged under six ditl‘erent heads: 1. No-

 

, scale of musical sounds?
. primary sounds does the scale consist ?

And the exalted rapture of sweet sound:
Direct yOur thoughts to those haimonic lays,
And in poetic numbers your CREATOR praise.

tation. 2. Rhythm. 3. Intonation. 4. Melody. 5. Ha rmony. 6. Dynamics, or Musical
Elocution. But such is the nature of music. that the different heads or departments can-
not be treatt d separately and apart: but by their clOse connection. they will be inter~
mingled in theory and practice, though in the main they may be considered separately.

NOTE-43y NOTATION are given or represented all the marks and characters appro-
priate for the purpose of writing: music, with their signification and use.

RHYTHM is the division of time into short portions, by a regular succession of motion.
impulses and sounds. with regard to measure, accent, emphasis, and cadence; and flow-
in;r numbers. in the union of music and poetry.

INTONATioN is practicing.r the notes of the scale with the voice, or playing: them on an
instrument. according: to fixed decrees of sound. and giving: moorrcct sound to all the dia-
tonic intervals, the triads and their inversions, and all the disjoint intervals in the whole,
scale.

MELODY is an agreeable succession of single sounds in a piece arranged according- to
the, luvs of Intonation and Rhythm, so as to be musical and pleasing to the ear. Melo-
dy and Intonation are closely connected.

IIARMONY is 1‘ n agreeable succession of chords. or concordant notes, in two, three or
four parts. moving.r together according to the rules of progression, which produce a diver-
sity of flowing sounds highly pleasing. attractive. invitim: and delightful.

DYNAMU'S or lVlUs‘ltiAL lCLocL'i‘It'N consists in trivia;r each tone or note that sound.
stress, and modulation of voice which the subject of the poetry requires, in relation to
loud or soft, strong: or mild, and the sWt-lltng or diminishing of the sounds or notes.

QUESTIONS.

Of what is music composer]? How do these sounds vary? \Vhat forms the whole
Has the scale of musical sounds any limitation? Of how man‘:
If there are on‘:y seven primary sounds, how can
the scale be unlimited? \Vhat is the order in which the voice product-s these sounds '1
How many distinctions are made in musical sounds ‘3 \Vhat is the first distinction? The
second ‘? The third? “’hat forms the esst‘l’lti'tl property of root} musical sounds? W'hat
departments are founded on these three distinctions? Under how many heads is the
doctrine of music treated? \Vhat are thOse six heads?

, - ~~r —>**‘—WM£P;5§7 n‘a‘lfitswgq ' "

,I ..,._,....._,a,,_.... ,..._,_..,

 

  
      
    
        

rl—w‘_\~ ., _

-._
«m.» ;.; ,

'(l.

"in" Is. ...

‘jhv‘h‘m' a .

“M
'.; .3. A ."

 

‘M
2- 51.2.1.

--7~—-—-—_‘ _ _.
' 2 ‘1'in «s i

 

CIlflPTER II.

__.__—

NOTAT/0IV.-0E THE STAFF, OLEES. LETTERS, (20.

SECTION V—The pitch of musical sounds or tones is represented by a character
called a staff. The scale and music are written on the stall‘ with notes. The position
which the notes occupy on the. staff represents the pitch, and the notes, by their relative
l value, the length of sounds.

The staff consists of five lines and four spaces. Each line and each space is called a
3 degree of sound; thus there. are nine degrees of sound on Ihe stafl‘. “Then more than
t nine degrees are wanted, the spaces below and above the staff are used; and if a still
I greater compass is wanted, additional lines are used, called leger or added lines.

THE STAFF “'lTH ADDED LINES.

 

 

 

 

____ a ‘f” ___-__ __. _,___
._— I L __.. .. ,,..____.l___'._——1___
”Fl—~l———l——!———- —‘ !l ! ~—l :5”—
--——l-————l——————————-- ———i~—— -—;——— —:9———r —————-
.___,_______.______.__. _ _.. ____ __ .________________._.
__,._ 0
SEC. VL—Each part of music has a separate staff, and these differ in pitch. Hence
There

to adjust their pitch. and to distinguish them. characters are used called Clefs.
{ are two clefs in common use, the F clef and the G clef.
> The F clef represents F, the fourth line of the Base Staff, and the seventh sound of
. the General Scale of in uric.
1' The G Clef represents G, the second line of the Tenor Staff, and the eighth sound of
the general scale. It is also used on the second line of the. treble st-tll'. representing G
also, and thejzj‘tea'nth sound of the general scale, wln n sung by a female voice.

‘ ' EXAMPLES or THE STAFFS AND CLEFS.

Base Stall" and Clef. T1 nor Statl‘ and Clef. Treble Staff and Clef.

 

 

A; \I.l-;r‘1'~»--—-——r__—-

 

Q, U

M) TE.——It is ascertained that the interval between the male voice. and the female is
exactly an octave. which is the most perfect chord in the scale of music. Hence, as Ihe
Treble is principally assigned to female voices. it is placed an octave higher in the Gen-
eral Scale than the Tenor. From this we learn that. the all-wise Creator has implanted
harmony between the sexes of the hum‘m r'tce. [How happy would all those he who
stand together in matrimonial relation. if they would observe. by a pious life and a holy
conversation, in Christian love. to fill up the interval of life With sweet harmonious
chords, so that no dissonant or jarrinl.r string might vibrate between them !]

SEC. VIE—BRACEI-J‘Vhen music is written on these staffs. and performed simul-
taneously, they are united by a character called a. ”raw. and form a Score. The score
may, however, consist of two. three or four parts. When tWo parts only are united, it is
called a. Duet; when three parts, a Trio ; and when four parts, a Quartette.

RUDIMENTS AND ELUCIDATION

 

 

  

EXAMPLE!

 

 

.__.._—.

 

 

 

 

 

 

seem: or TRIO '

 

”——

 

SE". VTU.—-NUMEI:Ans—Numerals are used to point out the (liil‘erent degrees of

sound in the sc tle of music. Th w' will also be exclusively u~ ed in tlti: work. in a frac-
tion Ll po"".‘4‘/'.:.

 

 

 

  

'e.~..,,..w(>.~.~ mam-..«s.x:y-j.~,.,w‘ w >1u.¢‘- ‘ .. ,. . . .. . .- v. . “u.

0F VOCAL MUSIC. :7

éornmraiiye. relation in which these notes stand to each other: astrict observance of

. . . ‘ NOTE [IL—Rests are, essential to mu sic. in order to keep the accent in its proper
which is of the. highest importance, both to the vocal and to the instrumental performer.

place in the measure: and if sparingly used and skillfully observed, give variety, beauty,
and expression both to music and poetry. When long intervals of silence occur in any
EXAMPLES _ part of the score, let those. on the silent part, for their own improvement, notice the parts

' which others are singing, and mark the. time with them, till they arrive at the place
where their own p'trts unite again. This is far preferable to pouring over their own stat?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Wholer note. Half note, Quarl‘”: note, Eight: "0‘6. Sixteenth 110“. and measures of silence, by which is gained but little improvement.
0 ‘DI‘ ] .
Sevnib-‘eva. Min‘rn. Crotchet QIl‘lVHF. Sem‘qunver. ‘ .
__ 7 , SEO. XI.——Note.s become sthect to some variation by having additional characters
5—— —- C——— ————-.——— ———*!-—— —. annexed or added. A dot or pomt _( . ) placed after any note, adds one-half to its original
DO~ —— -- ———-~ -— #L— ‘ —}_-—; __——W— length. Thus a dotted whole note is equal in length to three half-notes; a dotted half,
______: “it: "“ ', . ,4 ’_ —_‘J ' ' note to three-quarters, and so on. Four dots between the lilies of the staff, mark the
‘ V r place from whence a strain or piece of music is repeated.
l Basra. —-——m——-» —-J-L——» EXAMPLES :
.i , :;__s2.'.-__ __--Q:.._ ._ 7 _ ;_. _E;___..
. Rnsrs are marks of silence, and are named after the notes which they represent. _;____.__ __..L._.__._ _ -:-——-:——l—————
-.'__________ ___... ____.__ _ t id
- , r
NOTE [.-—Other notes are sometimes used. as a thirty-second and sixty-fourth; these —'” ’

~ notes are. howmw-r. too quick and short for sacred iiiiisic.:iii{1 can easily be dispensed with.
A note called a BREVE. from which tho semibri-vu (It‘l‘th’lt its mono—was also formerly -- IT
used: but this note is too long and h -avy a sound tor any musical expression. — L :. ~—

.444

 

NOTE I[.-—Notliin{: can be more certain than the fact that there is a true and insepa—
rable union and association formed between tli‘esc 1sylllalliles which are.1 applitid to the
-. s an the no )er iitch or sound of the intvrva s w iic i i icy respective y an invari- .
‘ :8}; occulpy inl tliile smile. For on this fact is founded the wholedoctrino of transposition. 33(7- )XU-j-A PTESO (Va-3‘) placed overor Eudora note protract‘s or lengthens it out
and of transpminur with the, keys. the syllables \\’llll the notes, in ”1011‘ relative position {lbOUt om ‘thlld longu than Ills ffrllrmfl time, t omit! this protiaction may belong” 01'
to the. keys. And it. is evident. that when the (liaionic scuiv, which consists of tones and “1‘3.“"1' according ‘0 thi“;*jxl)1‘\‘S-‘10n 0t ”1” poetry, and the taste 01 the JudlClQ‘lS performer.
semitones, is sum.r :0 a series of notes and syllables always applied in ihe same order and A *OfL {INCM‘UI 5W9” L‘l‘ 9" {0 a Plug“l “0‘", fOHOVV“d by 3' momentary ”St. 1-“ highly oma~

 

 

 

 

 

 

 

1-15 relation to those tones and semitones, as they stand in their fixed position in the scale, mental. Th"; pause is froquently used on “I“ noteoof “1" last 53"“:le in a line, 0f poetry.
is? that such an :tsgociiuion will unavoidably be formed bctwuon them, and agrees With its final pause, which, in reading is marked With a suspenSion of votce.
And hpnce arises the utility of havinz 111p notes ('hfll‘flCU‘TlZf‘d and formed in such a The pause is also used over Rests which need lengthening out; as also over Bars.
ii manner as to communicate by their dim-rem forms, the, syllable which is applied to them, where it is thought proper to have a momentary pause between two measures. Some of
g- individually, so as to t‘llitlflt? the singers to strike the. proper pitch of the sound on sic-ht the most Sll‘lklll; effects depend upon this cha ‘acter, and when well performed, it add;
i: of the note, And is it not strange that any should deny thou useiulness oi the (:11 ricter strength and beauty to IDUSIC and poetry.
notes by which the syllables are known by the forms of tzn.‘ n )tes, when common sinse
’ and sound reason dictate that it opens and paves u. lllfl'lHVELY tor the student of vocal mu- MP1 E .
sic to travel on. and to pursue his course, with plo-tsxire till lie, has acquired a complete » EXA 1 -
knowledge, of the scirnco of music. And is this in any wise degrading to the seienc‘e—-
diminishing: its vzilutt-“or l‘(1)hhlngti‘l, of its intirlinsic .mcriti‘.’ hily iioliiiitczinis.u 1hr: :ggirncmli m AK A a“ ’5
‘ ‘ tho vesturv (1' sin i iritv. lé‘. l'l<‘ili’.\ tress in w i c l rim s s s A‘ s 9 es -; _, __ -————~/.. __ __ .s__._.. _ __”
fiefirtigiyed. And in proofloi‘ this, let us cast our eyes to Olher arts and sciences, antisec —Q __5___ --—)-i—__.l—_ _§_t _j_...j__:_1.___
- what. has been done by the use of (lill'orent ciiai'acters, to pave the. way tor instruction, —— E—fi— . V -l—:l——— — __ _..\_.._4t_.-
"l and to communicate to the mind correct ideas of what is to be inculcatcd and taught: and :~———— —-** -—-————.: —i- i—— :C—O——— ::
. 3’ we will find :in almost rndless variety of characters, figures, cuts, drawnigs and delinea- W
l 'fi tions used to facilitate, the. learner in his progress in gaining SCi?nllfiC knowledge. 1 h
’ 3“ x " * ~ ‘1 i u s. immit and ‘vVlClKS'I‘ER in their 'ainvd dictionaries—«w iic . ' _
' “g are 123$: at): lglilfrifiilll‘sl‘,1\l\:(li‘l'k::‘llsv man; dull-rent clizt‘acters, to convey to the mind on SEO. XML—Notes are frequently tied together by a circular line called a Tic. or
I I sight :3. correct pronunciation of the words and the proper sounds of the letters—all of grouped together by books or dashes. All the notes tans tied or grouped, are sung or
I which might be acquired by a reference to grammar rules ? And is there less propriety warhled to one syllable of verse. If three notes are _t us tied or grouped togeftht r, With
t ' for the singer to have the correct sound of the notes conveyed to the mind on sight, by the figure 3 above or below them, they are, performed in the time of two notes 0 th; sardine ‘
1 characters which might otherwise be, acquired by having: reference to the rules laid down kind Without the figure, and are. called Triplets. Triplets, when smoothly an s. 11‘
1 in theseiencc; which is, by making a calculation from the key 1 fully performed, are ouiamental to music. . .
v

-_ . :. _.;. ._'.>_,....---..._. M “has; Efi».§;;..;.;fl;

 

 

 RUDIMENTS AND ELUCIDATION

EXAMPLES 2

/‘

e——~a~

Triplets.

_,4____ __
:;2::§:1
it; i r‘E.‘

 

A. -i——£—
——1~ ~———l—-—l—
___"’"&_:_’ :d__—_ 1:3:

 

 

 

QUESTIONS.

W'hat character represents the pitch of musical sounds? On what character is the
scale and music Written? With what characters is music written on the stail‘t VV'nat
does the position of the notes represent ? How many degrees of sound can be written on
the staff? What is done when more than nine degrees of sound are wanted? It a still
greater compass is needed 7 How many t’ll‘fH are in common use ? Why are they called
the F clef and the G clct' ? How many sounds does tht.~ octave contain 1? What is a score?
How many letters of the alphabet are used to represent musical sounds? How many
on'ginal sounds are there in music :7 How many notes are in common use ”R How are the
notes named? \Vhat is the form of the whole note? Answer. An Open note VVthOlll a
stem. The half-note? Ans. An open note with a stem. The quarter—note? Ans. A
black note with a stem. The eighth note? Ans. A black note with a. stem and one hook:
'I‘he sixteenth note ? A ns. A black note with a stem and two hooks. What is the use of
rests? Has each note a corresponding rest? How much does a dot add to a note ‘!
What do dots indicate whenplacrd on the staff? What is the use of a pause} On
what note is the pause most frequently used? What is a tie? A group “I A. Triplet ‘!

C HA P T E R I II.
N07AT/0N.—0F SHARPS‘. FLATS, NATU/MLS, cfic.

SECTION XIV—The diatoni