xt7fqz22g21b https://exploreuk.uky.edu/dips/xt7fqz22g21b/data/mets.xml Kieffer, Aldine S. (Aldine Sillman), 1840-1904 Tenney, J. H. (John Harrison), 1840-1918 1881 scores (documents for music) M2198 .C75 1881 English Oliver Ditson & Co Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Glenn C. Wilcox Collection Shape note hymnals The Crown of Praise: a Collection of Music, Consisting of Hymn-tunes, Gospel Songs, Anthems, Glees and Part-songs: for Singing Schools, Choirs and Conventions, 1881 text 1 score (176, [1] pages), 18 x 25 cm. Call Number: M2198 .C75 1881 Provenance: Wilcox, Glenn C The Crown of Praise: a Collection of Music, Consisting of Hymn-tunes, Gospel Songs, Anthems, Glees and Part-songs: for Singing Schools, Choirs and Conventions, 1881 1881 1881 2023 true xt7fqz22g21b section xt7fqz22g21b _ _ ._v-......»__;.gu..»m' wumwmysw ‘4“fim‘“3¢w.W> - ‘ ' Q ' “it

 

 

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’Qééfl

.. ‘ ‘ CROWN OF PRAI E

A COLLECTION QF MUSIC, CONSISTIN G OF

HYMN TUNES GOSPEL SONGS ANTHEMS,‘

-‘ . GLEEIS AND PART SONGS.
m. B 1 , PR SINGING SCHOOLS, CHOIRS AND CONVENTIONS,

BY

ALDINE S. KIEFFER AND J. H. 1‘ENNEY.

 

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ii €33

 

  

% ‘ EBCDEKDCDIQ‘

j '2 ..... ’ OLIVER DITSON & CO. _ i

LYON & HEALY. . ' J. E. DITSON '&_c.o..’ .
................ “f _ PHxLADELPmA. “”1” I

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I

 2.13533. 44,14,1fi3c c.....(a‘.‘. $3.4“ , T.
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SINGING, SCHOOL.

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NOTE 1.——- It has been the object of the author of the following brief chapters
to present the most important things necessary to enable the pupil to gain sufficient
knowledge to read music correctly. These should be studied closely, however, as
nothing is contained in them which is unimportant to the learner. They are di-
vested of all unnecessary terms, and the teacher, it is hoped, will use his influence
to secure good discipline upon the subject, remembering that, “repetition is the
MOTHER of improvement.”

CHAPTER 1.
GENERAL DIVISIONS.

Every musical tone has three essential properties, without which it cannot
exist, viz z—Pitch. Length. Power.

Hence these three grand distinctions into which elementary instruction is
naturally divided;

lst. MELODY, treating of the pitch of sounds.

2d. RHYTHM, treating of the length of sounds.

3d. DYNAMICS, treating of the power of sounds.

Under these general heads will be noticed all marks, signs, and characters and
everything necessary to assist the pupil in learning to read music.

  

 

CHAPTER II.
MELODY.

1. The Scale—«At the foundation of music there lies a series of sounds
Called the Scale It consists of an ascending series of eight tones, which are counted
from the lowest upwards, as one, two, three ,four, f ve, six, seven, eight, and to which
the syllables Do, Re, Mi, Fa, Sol, La, Si, D0, are applied.

2. The Stafi‘.——The tones of the scale are written upon 9. Stay with Certain
characters called Notes. The staff consists of five lines and four intermediate Spaces.
On this staff we can write nine degrees of sound, although the compass of the staff
may be increased by the addition of lines and spaces. These are called added lines
above and added lines below. Also spaces above and spaces below. Each line is called
a degree. Each space is called a degree.

Added lines aboVea : :

x I
K

 

 

,_

Added lines below. _-~ —

       
      
   
  
   
   
  
 
 
 
  
 
 
     
        
   

  

, _ WW , _ yaw , wrest- 2 r ,_ ' ) ~~

3. Clefs.——The stafi‘, of itself, is a meaningless character, and valueless
until we prefix other characters to it, called Clefs. Of these there are three in
general use :—The G Clef, the F Clef, and the C Clef, as follows :—

C Clef. Hi

s—s

G Clef. F Clef. 9i

 

With the use of the foregoing characters, the stafi‘ with its lines and spaceS,——
and the clefs, we can form a starting point for writing music.

We can now write the Scale in the following manner:

    

£—
Do, Re, Mi, Fa, Sol, La, Si, Do.

With the use of the F clef the Scale would stand thus upon the stafl‘:———

 

Do, Re, Mi, Fa, Sol, La, Si, Do.

4. Steps and Half-stepS.——The intervals of the scale are seven. Some
of these are greater than others. The greater intervals are called steps; the lesser
intervals are called half-steps. Their order is, from Do to Re, a step ; from Re to
Mi, a step; from Mi to Fa, a half-step ; from Fa to Sol, a step; from Sol to La, a
step ; from La to Si, a step ; from Si to Do, a half-step.

 

THE SINGING SCHOOL.

5. Numerals—Numerals are used to designate the difi‘erent degrees of the
scale series, as 1, 3, 5,8 of the scale. One always designates Do, two designates
Re, five designates Sol, etc. Numerals are also used to indicate time measure, and
when thus employed are written on the staff, fractionally at the beginning of a. tune.

6. Letters—Letters are also written upon the staff. They occur in regu-
lar order, counting upward from the lower line of each stafi‘. Their position is
fixed. Notes may be written on different degrees of the stafi', but letters occur al-
ways in the same regular order. The Clef fixes the position of the letter, but the
first sound of the scale may be written on either line or space of the staff by the
use of characters which will be given in due time. The letters on the staff stand

thus :—

G Clef. 5,-

 

 

7. Sharps, Flats, and Naturals.-—These are characters which afi‘ect
the pitch of tones on the stafl'. A Sharp (fl) is a character which, when played be-
fore a note, raises its pitch a half-step; a Flat, (i2) placed before a note, lowers its
pitch a half-step; a. Natural (h) is used to cancel the effect of a previous sharp or flat.

 

 

 

 

 The effect of a sharp, flat, or natural, continues to operate on all the notes on the
same degree of the staff in that measure in which it occurs. By the aid of these
characters we can introduce intermediate tones between one and two, two and three,
tour and five, five and six, and six and seven. No intermediate tone can be intro-
duced between three and four, and between seven and eight, as a half—Step is the
smallest practical interval known in musical notation.

Natural.

Sharp. Flat.

 

8. Diatonic IntervalS.——In addition to the regular steps and half-steps
of the scale, and the intermediate tones already mentioned, there are yet other
intervals occasioned by skipping. A second from 1 to 2 of the scale; a third from 1
to 3 of the scale; a fourth from 1 to 4 of the scale, etc. A second is always the
interval made by any one given scale-tone to the next above it. A third, from any
given scale-tone to the second one above it. A fourth, a fifth, a sixth, a seventh, are
found by a similar course of reckoning. For example:—

Seventh.

Third. ‘

Second. Fourth. Fifth. Sixth.

 

NOTE—These illustrations of intervals may be varied to a great extent by
the teacher, and no pains should be spared in repetition until all the pupils
comprehend the subject.

  

THE SINGING SCHOOL.

 

 
 

CHAPTER III.

NOTE 2.——In practicing a Singing-School in Rhythmics, the teacher will find
a black-board indispensable. Let him illustrate time-measures, notes, rests, etc.,
until every pupil can answer correctly. Questions are not appended to these
several chapters. A teacher should frame his own questions, as it will enable him
to so vary them until he is satisfied that his class understands the subject.

9. N0tes.——Music is written on the staff with characters called notes.
Notes have two shapes or forms in the seven character notation. 1st, 3. figurative
form, which represents the syllables applied to them. 2d, a rhythmical form, which
represents or indicates the relative length of sounds. There are seven figurative
forms corresponding to the seven sca1e~tones, thus :—

-—-*-——U O—k— -————I———n——

( F7 1 l .-

Do, Re, Mi, Fa, Sol, La.‘ Si.

There are five rhythmical notes in common use. They are named Whole, Half,
Quarter, Eighth, and Sixteenth note.

10. RestS.—There are rhythmical characters called Rests. Each note has
its corresponding rest, which is named after the note whose rhythmical value it
represents. Rests are marks of silence, and should be observed as particularly as
the notes themselves.

11. Daigram of Notes and Rests :—

Rests, thus : "

The whole note is written thus: a
The half note is “ “ F
t'

The quarter note is “ “

 

 

 _. ' " J WmmWrwra '- ‘7’" ”J“

 

  
  
     
     
   
     
  
 
    
  
  
 
       
  
       
 
   

The eighth note is written thus: rest, thus: .7

p
U
- “ The sixteenth note is “ “ g H u q

12. Notes and Rests—Notes and rests have not a positive, but only a
relative length. The Whole note is the governing or ruling power in Rhythm. If
we sing the Whole note in six seconds of time, the Half note must be sung in three
seconds, the Quarter note in one and one-half seconds, the Eighth note in three-
quarters of a second, and the Sixteenth in three-eighths of a second. If we allow
four seconds to the Whole note, then the Half note must receive but two seconds
for its time, the Quarter note, one second, etc.

13. MeasureS.——Notes and rests, when written on the staff in a piece of
music, are divided into equal portions, called Measures. Measures are represented

to the eye by the interspaces, separated from each other by perpendicular lines,
called Bars.

To illustrate:—

Broad
Bar.

Double
Bar.

Measure. Bar.

Close.

 

14. Bars—There are four kinds of bars in use. The Common Bar, used
to divide the staff into measures of equal time; the Broad Bar, used for marking
the end of a musical sentence or line of poetry; the Double Bar, used to mark the

end of a Repeat, the beginning of a Chorus, or at the change of time; and the Close,
used at the end of a tune.

15. Holds or Pauses.—There are rhythmical characters used within
the compass of the staff, and for the purpose of prolonging the length of notes.

 

V! THE SINGING SCHOOL.

 

in a piece of music, relative to the Whole note.

 

  

A Hold or Pause over or under a note protraets it about one-third its original length,
though it is not an absolute character, and the time to be given to a hold or pause
is left to the judgment of the performer. Sometimes it requires a much greater
length than at others. There should always be a momentary suspension of the
voice after the hold has been duly given the note.

16. Dots or PointS.—The length of notes and rests is often increased <3
by writing Dots or Points after them. A point adds one-half to the length of a.
note or rest after which it is placed. See following illustrations of the two pre- ‘7'
ceding paragraphs :—

EXAMPLE. ’4.
Paused Notes. Pointed Notes.

MM

Pointed notes.

    

thy-ah? _- 4‘.“ «1-; _.

- . is." &M«t3f§

 

Thus the learner will see that the pointedIWhole note equals Ithree Half notes
in length; the pointed Half note equals three Quarters in length; the pointed
Quarter equals three Eighths in length, etc.

    

17. Of Time.——Time in music is that length which we give to each note

 _...,,; "a. .= fift'.

 

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18. Of Movement.———There are three movements of Time, Common or
Even Time, Triple or Uneven Time, and Sextuple or Compound Time. Common or
even time is divided into double or quadruple measures. Measures having two
parts are called double measures. Those consisting of three parts are Triple meas-
ures. Those consisting "of four parts are quadruple measures. Those having six
parts are sextuple measures.

19. Of Variety.——The various measures used in this work are expressed
in the following manner, viz:

Double Measures.

 

Quadruple Measures.

 

Triple Measures.

    
    

Sextuple Measures.

By the aid of notes, dots, rests and other rhythmical characters, an endless
combination of. time-measures may be written in the above indicated movements,
but a yet wider range of time-measures can be had, some of which are indicated by
such fractions as

THE SINGING SCHOOL.

 

      

20. Primitive Measures. —A measure is called primitive when it con-
tains the number and kind of notes which the fraction expresses. For instance,
in Double Time the measure must contain two Half notes or two Quarters; in
Quadruple Time, four Half notes or four Quarters; in Triple Time, three Half notes
or three Quarters; and in Compound Time, six Quarters or six Eighth notes.

21. Derivative Measures.—Measures which do not contain the num-
ber and kind of notes called for by the fraction expressing the time, are Derivatives.
Derivative measures must contain the quantity expreSsed by the fraction in other
notes and rests.

22. Of TieS.—It is frequently desirable to sing one word or syllable to two,
three, or more notes. These notes are then tied or grouped together by curved lines
or dashes, over or under them. These notes are then called Grouped or Tied notes.

23. Triplets.—Three notes tied together with the figure (3) over or un-
der them, are required to be sung in the same time as two of the same denomina-
tional value without the figure 3. Illustration of the Tie, Groups, and Triplet.

Tie. Group.

Triplets.

 

24:. RepeatS.—A line of dots placed across the stafl‘ indicates that the
strain following is to be repeated to the Double Bar. Da Capo (D.O.) means repeat
from the beginning, closing at the word Fine written above the stafi‘.

ILL USTRA TION.
Repeat. Fine. D.C.

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CHAPTER IV.
DYNAMICS 0R POWER.

NOTE 3,—Hitherto we have regarded tones as being merely high and low, and
long and short. We now come to the third distinction and regard them as being
loud and soft. No teacher can drill his class too much in expression and in accent,
for these are the soul of music. Without these all-important requisites, singing is
a dull, lifeless performance, unworthy the name and devoid of the power of music.

25. Accent—Accent is a particular stress of the voice given to certain
notes in a measure of music, and to certain syllables in a line of poetry.

26. Accent in Measures of Double Time.——The first note in a
measure is invariably accented. In primitive measures there is but one accent—the
first part is accented, the second is unaccented; though measures may be arranged
in this movement so as to take as many accents as beats.

27. Accent of Quadruple Measures.—Primitive measures contain
four notes, expressed by the fraction, and the accent is on the first and third, the
second and fourth being unaccounted. These measures may also be arranged to
take as many accents as beats.

 

28. Accents in Triple Measures.——The first note in each measure
is accented, the second and third are unaccented, but may be so constructed as to
require three accents in each measure.

THE SINGING

 

 

  

SCHOOL.

 

   

29. Accent in Compound MeasureS.—In primitive measures of
Compound Time the accent lies on the first and fourth notes of each measure, the
second, fifth, and sixth, are unaccented.

  

1.x, ‘
.

30. Degrees of POWer.—For the purpose of varying expression accord-
ing to the character of the music or the sentiment of the poetry, certain degrees of
power are used. Some of them, with their abbreviations, are given in the follow-
ing list, which may be applied to single notes or to entire measures and passagesz—

MEzzo, abbreviated m, a medium degree of power.
PIANO, abbreviated pic or p, soft; pp, very soft.

FORTE, abbreviated f, loud; fl”, very loud.

17,“..«4', . ._ _ ~
,.»._ _ _, ~3s,

CRESCENDO, or <, increasing in power.

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saw ”mamas enema

DIMINUENDO, or >, decreasing in power.
STACCATO, or V V l ', separate and distinct.

RITARANDO, abbreviated Bit, gradually retarding the movement.

The sentiment of the poetry should be the main guide to dynamic expression.

  
  
          

 

  

31.—As a general rule, where we have an ascending series of tones in a piece
of music, the voice should increase in volume, and where a descending series
occurs, the reverse is generally a safe guide for expression.

              

88

  

Ext-n...“ 019%.»,-

THE SINGING SCHOOL. IX

CHAPTER V.
TRANSPOSITION.

32. Key of C.—'-When the scale begins with C, it is said to be in the
Natural Key or Key of C; but the scale may be transposed so as to commence on
any of its seven letters, in which the letter, taken as one, is called the Key-note.
Thus, if G is taken as one, it is called the Key of G; if D is taken as one, it is
called the Key of D, etc.

33. Key of G.—In transposing the scale, the proper order of intervals,
with reference to steps and half-steps, must be preserved. In this key we have to
substitute F sharp for F in the former scale, as we must have a step from 6 to 7 of
the scale.

34:. Key_0f D.—In transposing from C to D we have to use two sharps.
In order to preserve the agreement of intervals between 3 and 4, and ’7 and 8 of
the scale, F and C are sharped.

35. Key of A.——In writing music in this key, three sharps have to be
used for the same purpose, viz., that of adjusting the intervals.

36. Key of E.—Four sharps are found to be necessary in transposing
the key to this letter, F, C, G, and D sharp.

37. Key of B.—In the fifth transposition by sharps five sharps, are
needed to adjust the natural order of scale tones, viz: F, C, Cr, D, and A sharp.

38. Key [of F#.-—This is the same key as Gb, and it is necessary to use
six sharps, viz: F, C, G, D, A, and E sharp.

 

 

 

39. Key of F.—The place of disagreement, when the scale is transposed
to F, is between 3 and 4 of the scale. To correct this it is necessary to flat B.

40. Key of Bik—WVhen the scale is transposed to B flat, there are found
two places of disagreement. For the tones B and E we must substitute B flat and
E flat.

41. Key of Eb.——In writing music in this key, we have to use three
flats, B, E, and A flat, in order to adjust the intervals.

42. Key of Ail.—In transposing the scale from B flat to A flat we have
to use four flats, B, E, A, and D flat.

43. Key of DfZ.—In the fifth transposition of the scale by flats it is
necessary to make use of five flats, viz: B, E, A, D, and Gil.

44. Key of GEL—In this transposition of the scale six flats are used,
namely, B, E, A, D, G, and C flat.

For illustrations of these several scales and keys see section 46.

45.—The difficulty of reading round—note music lies in the fact that any line
or space of the stafi‘ may be taken as One, and, as there is but one sharp for all the
tones of the scale in round-note notation, the syllables have to be found by calcu-
lation. In character-notes this serious difficulty is avoided, as each note of the

scale has a distinct shape which represents a given syllable, and this identity of

shape and syllable is preserved thrOughout all the changes of transposition,
rendering the reading of music in any key an easy matter.

_ .._M-.~._. .

 
    

     
       

THE SINGING SCHOOL.

 

          
       
  
  
   
  
 
 
  
    
  
 
 
     
      
      
     
      

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46. Illustrations of the Scale Transposed by Sharps and KEY OF C—Natural.
, 4.5 Flats. “ . J, _ l'
_ ‘1 KEY 0F C—N a.tural ______1 4| 4 3 A, . Q (.1
3— ' ~ * 1 —1 : <1 6’ 1r +———~
, " #——‘1 d O I f '
A; —_:4_1 a a M- ,. , 4
*’ <1 , c 1, D 2, E 3, 1« 4, G 5, A 6, B 7, c s.
D 02’ E V3, G 5’ A 6, B 7 C 8. ‘Transposied to KEiY OF F—One Flat. Q i). i .
1” Transposed to KEY OF G’ Ono Sharp. 6 A — ————4: (-3 6]) a, IQ—————F~——-—- 1L———l:
g j E n a v g i \ d V g a
' 3 1' .0 P F’ T '1 '1 ‘
as Q '5 L .[ 1 Fl F 1, G 2, A 3, 13b 4, C 5, D 6, E 7, F 8.
G 1’ A 2’ B 3' C 4’ D 5’ E 6’ Ffi 7’ G 8‘ I Transposed to KEY 0F BfZZ—Two Fiéats. -9- 7A-
’ Transposed to Key OF D—Two Sharps. Lil) U :0 lb 1 L i} 2; i
A l l l l l
u "r ‘1 1 '1 ‘ f
F 1 1 F L

 

B121, 02, D3, Eb4, F5, G6, A7, Btzs.

D 8 C 7 B 6 A 5 G 4 F 3 E 2 .
’ g ’ ’ ’ ’ # ’ ’ D 1 Transposed to KEY OF Ell—Three Flats.

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

a, 4i Transposed to KEY 0F A—Thrce Sharps. <7 13-
igégfin : a P :4, f
‘ } r-1 0‘ '1 I ' _.____
:fi A V E E F‘ L I
2' 1; ‘ , I ,
.. ‘7 A 1, B 2, C# 3, D 4, E 115, 31$ 6, 01? 7, A 8. L121, F 2, G 3, At: 4, B125, 0 6, D 7’ Eh 8-
’ & Transposed to KEY OF 13— Four Sharps. n l 1 1 Transposed to KEY 0F All—Four FE ts. <7 .9. 7
“fig 4, a n A r i919- ? j 0 :3 ,0 1H 3 I
«- ——4,——,+ A——~q—-—a P i 1 : HEW—‘3 , 1 — , E
' V / l E l l { l 2“
fl" I 1 '—,-———*l |_ U" I v
L 1, Fl} 2, G# 3, A 4, B 5, Ci; 6, D4,; 7, E 8. Ah 1, 13b 2, C 3, Db 4, Biz 5, F 6, G 7, All 8-
p a, TmDSPOSBd to KEY 0F B—F 1'1“? Sharps- Transposed to KEY OF Df2—-Five Flats.

 

 

 

 

 

 

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