xt7pvm42vs3g https://exploreuk.uky.edu/dips/xt7pvm42vs3g/data/mets.xml McIntosh, R. M. (Rigdon M.), 1836-1889 1867 1866 1 score (296 pages), 18 x 26 cm. Call Number: M2127.M32 T330 1867 Library's copy imperfect: front cover disbound Library's copy imperfect: front cover disbound.Provenance: Wilcox, Glenn C scores (documents for music) M2127.M32 T330 1867 English J.B. McFerrin Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Glenn C. Wilcox Collection Hymns, English Methodist Church -- Hymns Tabor, or, The Richmond Collection of Sacred Music: Designed for the Various Christian Churches and Singing Schools, 1867, c1866 text Tabor, or, The Richmond Collection of Sacred Music: Designed for the Various Christian Churches and Singing Schools, 1867, c1866 1867 1867 1866 2023 true xt7pvm42vs3g section xt7pvm42vs3g  

  

 

  

7 TABOR:

OR, THE

RICHMOND COLLECTION
SACRED MUSIC,

DESIGNED FOR THE VARIOUS CHRISTIAN CHURCHES AND SINGING. SCHOOLS.

'2’

By R. M. MCINTOSH.

 

“ Thou hast made the North and the South, T A301? and HERMON shall rgbice in thy Nam.”

 

COLUMBIA, S. C;
W. J. DUFFIE.

NASHVILLE: J. B. MCFERRIN.

 

 

    
  
  
  
  
   
  
   
 
  
  
   
  
  
   
  
  
 
    
 
  
  
  
  
  
  
  
 
 

 

A.

P B EBA 0 E. TO '1‘ Hurt D ED 1 Thaw,

.4

 

SEVEN months have elapsefiffgince Tfior m first pmentfito the ‘ : . .. 2d”. Murat _ Duggnmrrgfihis comprises all the popular old

public, and during this period two large editions have been ex- tunes in general use, and perhaps a larger amount of NEW MUSIC,
hausted, and we now ofi'er to the lovers of sacred song the third representing all the leading American authors oi the present age.
o-dition. , V than the same department of any similar work. Great care has been
Whe ’i- at the 1. earliest solicitation of humerouS, and perhaps too taken to adapt good music to all the metres contamed in the hymn-
partial .2 rienot, vie widertook the prepanhtion of the work, we con- books of are various evangelical denominations.
£85? flit we had manyImisgivmgs as to our “bum, to meet the re- 3d. ANTHEM DEPARnIENT.—We have endeavored to make this ’
quirements of the public taste. The rapid sale of the work, however, . . . . . Pl
, , , . . as perfect as possrble, and it Will be found to include an unusual
and the many flattering notices it has received from the profession . . .
. . . . variety of new Anthems, Motets, Introrts, Sentences, and Set Pieces,
and the press of every section of the country, induce the belief that . . . . .
suited- to nearly every occasion for which such music is used.

it has been found to answer, in a higher degree than the frienfls of r ,. ,
the enterprise anticipated, the demand; which it wasiour "aim to 14th. GRAN“) dim—Here we have had the 31319 33315‘3‘109 0f oneof
supply. For this liberal encouragement of our first attempt at the leading dwmes 0f the Church and 1t ”5 believed that the Morning

authorship, a kind and indulgent public have our sincere thanks.
we again acknowledge our obligations to all who have contributed Our {celings will not permit us to close this preface without a brief

music to its pages; cheerfully acknowledging th‘ft ‘0 .them, more reference to the death of one who was endeared to us by many ties
. _ we are Specwlly indebted, to (of friendship, and whose invaluable services in the cause of church
Messrs. Mason Brothers for permisswn to use many standard OLD music rendered him an object of profound respect and sincere afl‘ec- .1

compositions 0f their father, Dr. Lowell M330“; tion to all the lovers of sacred song. We allude to Mr. L. 0.
whose whole life was sedulously devoted to the interest!

and Evening services are amply provided for. h:
e e

 

pm An

than to ourselves, its success is due.

tunes, chiefly the
and to the‘Messrs. Everett for the privilege of selecting ad libitum Evnnm'r,

 

 

from their numerous'works, 33 W911 33 for a great amount 0f NEW of I this divine art, and whose voice, we have faith to believe. is now '

MUSIC, never before published, and to which we invite special uniting in the chorus of the redeemed on high. §
,r— attention. ' . . . , . . . . com
;; We solicit a careful examination of the book, by Teachers, Chor- The work u again submitted to £1118 (”115:th P‘Lbhc’ “”3 fl" with
." isters, and musicians generally, with reference to the following dis- hope that It may continue an accepta e aux ry m t e wors 1]) or §
;‘ tinctive features: GOd‘ to a
= R. M. MCINTOSH. I”,

 

lst. ELEMENTARY Dnrsmanmn—This will be-found concise and

perspicuous, yet complete. _ , , . _, i Ricnnom), Jan, 1867. ‘epn

hm mun-dint» Act oi umzreu in no veer is“. by l'. J. HUNTINGTON. in the clam onion M the District Conn «the United But. In: the ma mm all" Yul.

  
 

, flgflmquvrffl'fwhzxrgyrw.
_ )3" ,
' U.

 

  

tl' old
lusrc.
L ages
3 been

hymn—

:e this
inusual
Pieces,

i one of
flowing

L a, brief

)any ties
f church
are afi'efl'
r. L. U-
; interest!
re. is no“

;, With the
worship 0!

ITOSH.

lab

ELEMENTARY

W

 

CHAPTER I.

PRIMARY SOUNDS, nrsrmcrross AND nEPAErMEN'rs.
§ 1. There are seven primary sounds from which all music is made up.
‘ § 2. These sounds have three essential properties, or, as some authors ex-
press it, there are three natural distinctions existing in them.
, 1. In point of Length, as Long or Short.
'_ 2. In point of Pitch, as High or Low.

3 In point of Power, as Soft or Loud.

;§ 3. From the'fact that these three natural distinctions are found ’to exist
in musical sounds, it becomes necessary, for the sake of system, to divide the
elements of music into three separate departments:

1 Bhythmics, treating of the Length of sounds.

2. Melodics, treating of the Pitch of sounds.

, 3. Dynamics, treating of the Power of sounds.

C H A P T E R. II.
nammcs.

§ 4. All pertaining to movement, length or duration of sound in music,
comes under the department of Rhythmics. Everything, therefore, connected
with regular time in music will be treated of under this head.

§ 5. Time, during the performance of a piece of music passes away ; and
to aid in estimating time as it passes, written music is divided by perpendicu-
lar lines called Bars into equal portions called meaSures, which equal portions
represent periods or divisions of time. Thus :

 

EXAMPLE 1.
Bar. Bar. - Bar
Measure. } Measure. I
l i i

u .AA.

DEPARTMENT.

 

§"6. Time may be'divided into smaner equal portions tnan measures, which
are called parts of measures.

.§ 7. Each measure may be-divided into a. certain number of parts.

§ 8. Each measure is named from the number of parts into which it‘is (I-
vided.

§ 9. A measure divided into twoparts is called Double Time.

§ 10. A measure divided into three parts is'called Triple Time.

§ 11. A measure divided into four parts is called Quadruple Tithe.
§ 12. A measure divided into six parts is called Sextuple Time.

EXAMPLE 2.
Double Timeé '1 ' 2 I l l 2

EXAMPLE 3.
Triple Time. I l ' 2 l 3 I l ' 2 ' 3 J
i i i

H-i-H

EXAMPLE 4.

QuadrUPleTimeE1'2|3|4EII2I3|4

H-i-H

EXAMPLE 5.

SextupleTimeil'2'3'4'5l6¥112I3I4I5|5

 

Norm—The short lines and figures used in the foregoing examples to illustrate the number of was.
into which each measure is divided, do not occur in written music. Other means, hereafter expllh
ed, are used to indicate the kind of time, or number of parts in each measure.

§ 13. To assist in acquiring the ability accurately to compute and count
time, it is found necessary, in singing, to perform certain motions of the’hand,
.called beats, or heating time.

 

 

 

 

ya." emu-3mm “_ .9. r“!
.- is". .. u-v‘m . - ‘
L _ ...a — Aw." “w , .

"(*‘APWJWH

 

,..,;:-m‘;,,»,;.m v w '

 

 ,.4~ . "," ”'*““Y Y"‘"“'""""‘ ""- ""“‘“ “W“? 4% v‘ measures“ «a. ,

__i._. r ’ . 3.2-;

 

41f:

4 ELEMENTARY

§ 14. Each part of every measure has one beat or motion of the hand.
Hence, there are two boats in each measure of Double Time—first, down-—
second, up.

5 15. There are three beats in each measure of Triple Time—first, down—
second, left—third, up.

5 16. There are four beats in each measure of Quadruple Time—first,
down—second, left—third, right—fourth up.

§ 17. There are six beats in each measure of Sextuple Time—down, down,
left, right, up, up. But most music written in Sextnple Time is performed
in Double, three parts being sung to each beat.

5 18. In order to give proper expression to words as well as variety to
music, it is necessary, in singing, to observe accent. By accent, in music, is
meant that one part of a measure should be produced with more power, or
sung louder, than another. The loud part being regarded as accented, and
the soft as unaceeuted.

§ 19. The first part of each measure in Double Time is accented—the sec-
ond part unaocented.

§ 20. The first part of each measure in Triple Time is accented—the sec- '

0nd and third parts unaccented.

§ 21. The first and third parts of each measure in Quadruple Time are ac—
cented—the second and fourth parts unaccented.

§ 22. The first and fourth parts of each measure in Sextuple Time are ac-
cented—the second, third, fifth, and sixth parts are unaccented.

Nut-It ll highly important that teachers training classes suomd not rapidly pass overlthe theory
of time ; but that they should Impreu the subjwt upon the minds of their pupils in various interesting
forms and ways. until they (the When) positively know their eXpIanaliuns to be understood by all.
The Black Board la the place tor these and all other Al'ustrationn, and the only place where they can he
brought‘ont in an interesting way. l need not any to intelligent watchers that their illustrations, in or-
ter to be successful. should be interesting in style and Vlrietv

DEPARTMENT.
CHAPTER UL

MELODY.

§ 23. A series of seven tones, with thefirst repeated, making eight in all,
is termed a scale, provided it be constructed in one of two ways with regard
to the relative distances of its tones.

§ 24. The tones of the Scale are spoken of by the first eight numer-
als, l, 2, 3, 4, 5, 6, 7, 8, the lowest being reckoned l and the highest 8.

§ 25. The distance between any two tones in the Scale is called an Inter-
val. ‘

§ 26. As there are eight tones in the scale, it follows that there are seven
intervals. These intervals are not all alike ; some are larger and some are
smaller.

§ 27. The larger intervals are called steps; the smaller intervals, half
steps.

§ 28. Five of the seven interrals are whole steps, and two of them half
steps.

§ 29. The two half steps occur between the third and fourth and seventh
and eighth tones. Between each two of the other tones the interval is a
whole step.
§ 30. Beside the numerals, which are not always convenient for singing,
we employ in the early cultivation of the voice and ear, the following syllables
in connection with the tones of the scale. ' ~

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

Pronounced, Doe, Ray. Mee, Fab, Sole, Lah, See, Doe.

SCALE, wrrn N UMERALS AND SYLLABLES.

 

Deg
. scale- Si Do Do 5,- 08nd,-
ams \ La 9 La 8 "g 8c
Beef; Y3 ‘33: z ?% 8 3%? g 01 Fa 531.0-
no“ 2%“: 5 3 333's”,
. , 0.,
e 3 5 . 3 3 q

 

 

 

 

 

  

ELEMENTARY
CHAPTER IV.

THE STAFF AND Cars.

5 31. A character composed of five horizontal lines and four spaces called
the Stafi, is used to represent the relative pitch of sounds :

EXAMPLE 6.

 

 

Stafi'.

 

 

 

§ 32. The lowest line of the Stafi' is called the first line. That next above
the lowest is called the second line, &c.

5 33. Each line and each space of the stafl‘ is called a degree. Hence,
there are nine degrees in the stafi—five lines and four spaces.

§ 34. When it becomes necessary to use sounds higher or lower than can
be represented upon the staff, added lines or added spaces are employed
above and below the stafi'. Thus :

EXAMPLE 7.

 

 

Btsfi' with added lines___
above and below.

 

 

 

§ 35. The degrees of the stafl', lines and spaces, are named from the first
seven letters of the alphabet, viz : A, B, C, D, E, F, G, in two ways.
§ 36. Each letter may give names to two or more degrees, provided they

be eight degrees distant from each other, inclusive.

§ 37. A character called a Clef is used to determine which of the two ways
of naming is to be observed.

§ 38. As each mode of naming the degrees in question is determined by
a difl'erent Clef, it follows that we have use for two Clefs~the F Clef and
the G Cle .

§ 89. The G Clef is used to represent the letter G, and locates that let,-
ter on the second line of the stafi'. It appears in written music, lbw:

 

 

 

D E P A R T M E N T .
Exaxrns 8.
G clef with letters on the staff.
1'} .. I e '
n A ' c
u r I

 

 

7 .c. D
Norm—The G Clef is generally used in modern music for three parts, Treble, Alto. and ’l'
but when it is used for the Tenor, a part assigned to male voices exclusively. it represents G an s
(eight degrees) lower than when used for either of the other two parts, owing to the natural din
of an octave in the pitch of male and {emsle voices.

§ 40. The F Clef is used to represent the letter F, and locates that l1
on the fourth line of the stafl‘. It appears in written music, thus :

Exer. 9.
F clef with letters on the staff.

9: .. l: ' u

. 0

 

a A

§ 41. Each Clef is used to show that the degree on which it is situated is
named from thatletter, this gives us a clue to the names of the other degrees ;
for, having the name of one degree, and knowing how the letters follow each
other in the alphabet. and that they follow each other in the same order on
the stafl', we can readily ascertain the name of any other degree.

§ 42. In the earlier part of musical exercises for beginners, when the G
clef is used, the scale treated of in Chap. III, is based on C, the first added
line below the staff. That is, one or do is placed on this degree, and the
sounds follow each other in regular order up to C on the third space, the
place for the eighth or octave of the scale. Thus:

EXAMPLE 10.

 

 

Names of the tones 1 2 3
Absolute pitch C D E
Syllsbles Do. re. :11

 

 

v». wmw~..m.»-qm.~«? - inc m, we, w." a '. . i ,

‘L‘ ,

  
 
  
  
 
  
 
 
   
 
 
  
 
   
  
 
    
   
   
  
 
 
 
 
     
    
   

.m» w. :‘\‘V.".'"'~‘~‘~‘"

 “"1”-

, WW, >fWW “(My 115-: "WW“ ' tflrfi‘w," A. "“~“' mu"

0 ELEMENTARY

§ 43. When the F clef is used in these. earlier exercises, one of the scale,
or do, is not found on the first added line below the staff, as in the above
example, but is placed on the second space. Thus :
EXAMPLE 11.

,._§:;.—r- J v u: Tn
Namesofthetonesl 2 3 4 5 6 7 8 8 7 6 5 4 3
Absolutepitoh CDEFGABCOBAGFE
Syllables . Do, re, mi, fa, sol, la, si. do, do, si, la, sol, fa, mi,

§ 44. The letters upon the staff, are never changed from the positiom7 as-

signed them by the clef. They, therefore, represent the absolute pitch of

sounds, independently of any scale relationship to each other.

§ 45. The foregoing arrangements of the scale upon the staff are not per-
manent. The scale may begin upon any given line or space; hence, as will
be seen, from the following examples, it may be changed to any position—
higher or lower—upon the staff. Rules regulating all such changes will be
presented in their proper place .- .

ILLUSTRATIONS OF THE SCALE ON THE G CLEF STAFF.

.- EXAMPLE 12.
One or Do on D, the first added space below.

 

DEPARTMENT.

EXAMPLE 14.

 

 

One or Do on F, the second space.
U s a W
1 2 3 4 5 6 7 8 8 7
D , re, mi, fa, sol, la, si, do, do, 5i,
EXAMPLE 15.
One or Do on G the second line.

In a a n
A
a L,

2 3 4 6 6 7 8 8 7
Do, re, mi fa, 901, la, si, do. do, si,

I:
U

 

l
J
l
l

{1ng

.1

were
L..—

td GD

Ur""
1

fa, mi, re. do

6 §E_figp__yu_igr___

1

do.

ILLUSTRATIONS OF THE SCALE ON THE F CLEF STAFF.

EXAMPLE 16.
One or Do on C, the second space.
A $4 ~0- 9 a

 

E .- n a
gfi—g (I’LL U

 

 

 

 

 

 

 

 

 

 

, a J"%
g - .4. . 74—” _.____
an a 3 a v 1. v a a a
1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1
Do, re, mi, fa, sol, la, si, do, do, si, la, so], fa, ml, re, do.
EXAMPLE 13.
One or Do on E,thehrst line.
,. a La n. A
gs ,. 7 a 'v " [L " 7 a a. -
u .. a [I L w :9
V " .
1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1

‘Do. re. mi. fa. sol. ls. 5i. do, do, si. la. sol. fa, mi. re. do.

 

 

II

 

r—pd-J—

6* WE .

 

1 2 3 4 5 6 7 8 8 7
Do. re, mi, fa, sol, 1n, si, do, do, si,
EXAMPLE 17.

One or Do on G, the fourth to ace.
Ascending. escending.

4‘
.__.,._

1

do.

 

19
gT—j_&—&i 1”*—1,

 

#7“?

 

5

1 2 3 4 8 7 6

Do, re, mi, fa, do, si, la, so],

EXAMPLn 18.
One or Do on D, the third line.

1 2 3 4 5 6 7 8 8

Do, re, mi, fa, 801, la, si, do, do,

EXAMPLE 19.
One or Do on A, the fifth line.
a fit £2 2:

3mm

2w

5‘03 Q5

V.

 

l 2 3 4 5 8 7 6
Do. re mi. {5. so). do. Ii. lo,

'1!

 

 

 

  

ELEMENTARY
CHAPTER v.

surnames—continued.

§ 46. The kind of Time in which a piece of music is written, is generally
indicated by a figure placed at the beginning, immediately to the right of the

Clef, and on the upper part of the stafi'. Thus :
Exanris 20.

\Double time. “Quadruple time.

Triple time. Sextnple time.
———+

EH .———1? EH

Norm—Four double measure! will make an Eight part measure, {our of triple 3 Twelve part meas-
ure. and three of triple, in N inc-part measure. These forms of measure are seldom used.

§ 47. There are two figures placed at the beginning of a tune always: the
use of the one we have just explained, the use of the other will be explained
presently.

 

* 48. As tones have no positive or absolute length, duration, or value,
characters called notes are used to represent their relative length.

§ 49. There are six notes commonly used for this purpose, each of which
has its peculiar shape or appearance, by which it is known and distinguished
from the others.

The following are the six notes most commonly used.

EXAIPLE 21.
Whole note. Half note. Quarter note. Eighth note. Sixteenth note. Thirty-second note.
l i‘
G a d d 6‘

§ 50. Any note may be used to represent a long tone, or any note may be
used to represent a short tone; but the relation which their names implyn
must always be sustained. For instance, if, in a piece of music, a quartei
note be selected to represent a tone to which one beat is to be given, a half
note will represent a tone having two beats, a Whole note will represent a
tone having four beats, &c.

§ 51. In our illustrations of time, its divisions, and subdivisions, Chap. II,
we represented each part of a measure by a figure, because we had not then

DEPARTMENT

explained tue notes.
ed by a note.

111 music, however, each part of a measure is represent-

§ 52. In every piece of music a certain note is taken as the standard of
measurement. That is, a certain note is assumed as having the time of one
heat, and is called the primitive note ,- and all the other notes in the piece
must be dwelt on according to the relations which they sustain to this note.
Therefore, when we speak of the primitive note, it must be remembered that
we mean the note which represents such part of the measure, or which is ta-
ken as having the time of one beat.

§ 53. As figures are used to represent the different kinds of time, so they
are used to represent the difi'erent varieties of time.

§ 54. The primitive note, or the note which occupies the time of one heat.
and from which all the other notes in the exercise receive their actual value
as to time or duration, is indicated by a figure placed at the beginning of the
music on the lower part of the staff, and immediately to the right of the
Clef.

§ 55. In every kind of time any note may be taken as the primitive note.
Thus :

EXAMPLE 22.

 

 

 

3m MW
Emmi—:31... mm

 

 

D_;—6:—_ “— _ 7 — . __

§ 56 Any one note that has the time of one heat is to be dwelt on as
long as any other note that has the time of one beat.

 

For instance. when an

 

 

 

 

 

 

 8 ELEMENTARY

eighth note has one beat it is to be dwelt on as long as a quarter note when
it has one beat, or a half when it has one beat. Therefore, the difi'erence
in the various kinds of time is sensible only to the eye; their efi'ect upon
the ear is the same.

§ 57. It will be perceived that when a half note is primitive, two quarter
notes will be sung to one beat; and when a quarter note is primitive, two
eighth notes will be sung to one heat, &c. Thus :

 

 

 

EXAMPLE 23.
Down up, Down up, Down up, Down up.
r I g A
__ I D I I D I
. i J 1 FJ l .‘ L
f I I T J l L“ l I l I) l7) Fr) '1 Jl

 

DEPARTMENT

§ 60. In the above examples all the measures contain the same value of
notes. The first measure in each example is in primitive form, while the
other measures are all in derived forms. Similar arrangements can be had
in all the varieties of time.

§ 61. A dot (.) or period placed to the right of a note adds to that note
one half of its original value, or in other words it makes the note one half
longer than it was before the dot was introduced. For instance, a dotted
whole note is equal to three half notes ; a dotted half note is equal to three
quarter notes, kc. Thus:

 

 

 

C H A P T E R V I .
annuities—continued.
Primitive and derived forms of measure.

§ 58. A measure filled with primitive notes, as are all the measures in
Ex. 22, is said to be in its Primitive Form, because it is the simplest form in
which it can appear.

§ 59. A measure filled with, or containing any other kind of notes than
primitive, is said to be in a Derived Form.

Exams: 24.

 

 

-_p:;:p_p_p___a__1_l_:a____.a___L+:a ___1

L‘lgl

W Mir-1.4
__ J IJ:#_J

 

 

 

 

 

Emma 25.

”T r r Er'=rrrEr°=c cc “we!

§ 62. When three notes (sounds) occupy one part of a measure, two of
which are, sufiicient to fill said part they are called Triplets ; and are writ

 

 

 

 

- ten thus:
EXAMPLE 26.
A A - ’ L
‘ V r T :‘U I . . ‘V5 I . j
. s—E—H— H—i-twfi'j-F—filgri—F—H
'91 l l V___.L L lamp—LT I ' L [L 1

of Vocal Music, Harmony, and Versifleation.”

§ 63. A piece of music may commence on any part of the measure.
§ 64. When the first measure of a piece is not full, there will usually be
found enough in the last measure to fill it. Thus:

 

 

 

 

EXAMPLE 27.
$2 r: d 3 ‘f i % fiL ; 1
—&—-0-l—1-——r—h-3— ‘r J. i 1LT }

 

 

 

 

WEE—:4

Nm.~—Fnrther explanations of Rhythmic arrangements may be obtained from “ Everett's Elena!“ I

 

 

 

 

 an

ELEMENTARY

C H A P T E R V I I .
Rasrs, runs, sums, AND omen cmmcrnas.

5 65. It is sometimes desirable to pass over one or more parts or fractions
of a measure—sometimes whole measures are left silent. This is indicated
by characters called rests.

§ 66. Each note has its corresponding rest, and each rest has its peculiar
shape or form by which it is known.

§ 66. The following rests correspond to the six notes that have been ex.
plained. '
Exams 28.
Whole note rest. Half note rests. Quarter note rests. Eighth note rests. ,

$—¥ij—7‘—#—-‘¥—¥—#—7:§

Thirty-second note rests.

 

 

J 1

L - _ [p Q
l LIA—T
i

Sixteenth note rests.

    

vvvvvvv

 

§ 68. The terminus of a period or strain of music, or of a line of poetry,
is denoted by a Double Bar, (f).

§ 69. Twodouble bars standing together (If), show the endof a tune, or
composition;

§ '10. When two or more notes on the same degree of the stafi, are to be
performed as one sound, and to one syllable, they are connected by a char-
acter called a Tie. (A). '

§ '11. A character made thus, (A) is used to connect notes on defer-
mt degrees of the staff, which are to be sung to one syllable—it is called a

Star.
§ '12. Whena strain or any portion of music is to be repeated it is de-

noted by a row of dots (5) across the staf, called arepeat. Sometimes the

 

DEPARTMENT. '9

§ 73. A Pause or Hold (5‘) over a note or rest, denotes that its time is
to be prolonged beyond the usual length ; and in performing the beats, the
hand during such prolongation must remain at the point it may have reached,
in describing the legitimate time of the note or rest.

§ 74 The letters D.C., which stand for Da Capo, placed at the end of a
piece of music, over or under the stafl’, direct the performers to return to the
beginning.
§ 75. When a degree has already been sharpened or raised a half step
above its natural position, by a sharp in the'signature, it may still be raised
another half step by the use of the Double Sharp, made thus : (96).
§ 76. A degree already depressed a half step, by a flat in the signav
may still be depressed another half step by the use of the Double Flat, made
thus : (bb).
§ 77. A Double Sharp is cancelled thus : mg), and a Double Flat
thus: (ab).
§ 78. The Brace shows the number of parts that move together or for-
the score. Thus : 6

EXAMPLE 29.

n Tenor. For high male voices.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

l l _

[fl 9 ,- 1: ,- 9 l 'me—Zi
Bu '1: i i Ii i lb in 17 2) LT _l
U l f I V V 7 7 r

Alto. For low female voices.
i l I
l j 1 l l L k k k L.L j I
ls l —l l 7 I L .‘Y H 4" l‘ l T l
Wi—i—LH—o—FLL—l

3m” Treble. For high female voices.
‘2' r l l l l J L L L L I j 1
1—, l l 1 :I l 11 JY JY fiT ] ‘I 1
——o———-c ov—o——l__o-—o——-o——o:¥—6~———q
. 0

Bass. For low male vorces. ,

' s a ‘rw i J 1" i J in #5 5 ii i i j
q. 3 i i 7 L j J ' J_L ii . l

1 U U l ' U L. J U U i .
l 4__I, 1 4. AI .

 

 

 

"partial, of a 31mm passage is indicated by the word Ba.

 

vfl'n—P". ‘3‘. .-

gynwrww i a.

/ <
3
1.,

 

  

  

ELEMENTARY

 

 

 

' :3._I___,¢ J elf—Cir“ I n__¢_1 __,ofi j._____,]
gtfifill $4.4; 43%;“!

L L l
iT H l

 

Bruce. E

 

 

WW—‘JW‘T—Cl: 5135 i‘ 7“ f“! i 1
9 T ' ‘ a a a he i

L J
. § 79. Sometimes two parts are written on one stafi' as in the second of
the above examples. When the Treble and Alto are both written on the
same stall, the Treble takes the upper and the Alto the lower notes. When
Tenor and Base are written on the same staff, the Tenor takes the upper
and the Bass the lower notes.

CHAPTER VIII.
nlLonY—sounns IN ANOTHER ORDER.

§ 80. The difi‘erent tones of the scale, thus far, have been made to follow
each other in their regular order of progression ; but this is not always the
case : sounds may proceed by skips as well as by degrees, and after a. little
practice, are easily measured by the eye.

§ 81. Rule for reading notes in all Clef: and Keys.
Observe that when Do, or one of the scale, occupies a. line, Do, Mi, Sol,
and Si, will occupy lines ; placing Re, Fa, La, and D0 (eight) on spaces.

When Do occupies a space, Do, Mi, Sol, and Si will occupy spaces ; pla-
cing Re. Fa, La, and Do (eight) on lines. Thus :

EXAMPLE 30.

 

 

 

 

n P . J - L"
I] j 1 1 I (‘9 l ._ . ' T? l —-—I
q 1 2 . . L A l *1. : f? I _ - r I *l
4 v _.l I ' J I 1 I Li L ‘4'— L. I
u v » y I l * r I I I
[

 

DEPARTMENT

YLLUSTRA'TIONS IN SOUNDS RY SKIPS.

 

 

 

One, three. One. three, five.
2 3 1L1 ll— 11! 1% I‘E‘TL Ii Tiff]
i:n::l:|:;6__9_3—;’—i::l:éj fl... @fiZE'j-Hfl‘l- -1
'9 '9' '9 19 'f 4

One, three, five, eight One, three, five, eight, seven.

72A—_Li_fi WbJP‘B_2 r_11“'_l_a__‘l
4—; 314—? flsgfiEfi—qu—J

One, three, five, eight, seven, four, twu.

 

 

 

 

W ‘19“

One, three, five, eight, seven, four.

 

 

 

 

 

 

 

 

n _.
T2 1 n n I l I 1 1 9'2 J . l I j l 1 WI 1
_ .... tfififi ,__.. ._.. _.__ j: t e-
"O '9
One, three, five, eight, seven, four, two, six.
fifi .I I L L I n_I ] 1 1 I J
I ‘1 1—1 I TI 1 I T "L L 1 I- - IJZZJ
E 5 n n I 'I 1, l .‘ 2 l I I I _—. l_L 4' 1 I! r I .
1r i i I 2 - I ' - l l I '7 LT ' 1L L L: J
7 4’- 4 ' ' ' F l

One, three. One, three, five.

________”‘”2LJT_LLL “L

i

One, three, five, eight.

L + 6 ' I n +
QWiEiig—a—‘Lfi Eilfififiifi—fifii‘ibqflfl
‘I I .r l I Lw—l 4 I L I L L11: . L

One, three, five, eight, four.
4-

 

] J I 2 L
Norm—Exercises similar to the above may be practiced In all the keys, without the signature

Too much attention cannot be paid tothil subject by teachers. Accuotom your pupils to read the
notes in any and every position on the Mal, and when you introduce tranposition proper. you will

have no trouble in getting them to read the notes readily.

C H A P T E R I X.
EXTENDED sc'ALn.

§ 82. It has already been intimated that sounds of the scale may be ex.
tended above eight or below one.

§ 83. When sounds lower than one occur, one will be treated or regarded
as eight of a scale below.

§ 84. When sounds higher than eight occur, eight will be treated or r.

 

T 2
.1 ' '
Bo. mi. sol. Ii. re. fa. la. do. Do. mi. Iol.si. re. fa, la. do.

garded as one of a scale above.

 

 

 

 

 

 $1

 

 

 

 

E L E M E N T A R Y
EXAMPLE 31.
fififirrH~ EH: .- ET"!
J7!— ' ' L‘L I] ' L l I J

 

551122332878

, EXAMPLE 32.

 

 

 

 

 

L L
1 1 u 11. 1 1 1 11 1. 11——|
9;} i1 11F 11 11 A 1. F11 TIJ 1
E a (4!- .' 1' 111 U '___L[ 111 716 l
a 1' '1' a L’s—1 Lf—L 1' g 1 l
8 8 7 7 6 6 5 1 2 3 4 5 5 1

CHAPTER X

CHROMATIC SCALE.

§ 85. A sign is used in music which, when placed immediately to the left
of a note, indicates a tone 8. half step higher than the letter upon which the
note is written would otherwise represent. This 1s called 3 Sharp (#). An-
other sign is used, which, when placed immediately to the left of a note in-
dicates a tone a half step lower than the letter upon which the note is written
would otherwise represent. This is called a Flat, (5) .

§ 86. By the use of flats and sharps we may divide all the intervals of the
scale, that are a whole step distant from each other, into half steps, thus
forming an entire scale of small intervals or half steps, called the Chromatic
Scale. Thus:

 

 

 

 

 

EXAMPLE 33.
Ascending.
I
1
E . if 1W fiW$+esWi=El
egg W4 4 6 #6 8
E Pg G of: A A#7 0
D00 ‘di, re, ri, mi, fa, fi, sol, si, la, li, si, do.

I I I

E“ WiWiKH—aw i—a—‘i—‘—i§;l——’ib5—:l__j

 

 

 

 

sl7_llb76p-6_5b543b32b2‘f
CB BbAAbGGbFEEbDDbC

Do. si se. la, 1e, 801, cc, fa, mi, me, re re. do.

 

DEPARTMENT. 11

§ 8’1. All of the whole steps (tones) of the scale being thus divided, either
by means of the sharps or flat, we find the Chromatic Scale to consist of
thirteen sounds, and twelve intervals. '

§ 88. In singing by syllables, whenever a note occurs with a sharp, or
flat before it, the vowel sound is changed. When a sharp appears, the sylla-
ble ends with ee; when a flat, with the long a or ay: thus, when one is
sharped or raised a half step, Di, (pronounced Dee) is substituted for Do ;
when seven is flatted, Se (pronounced Say) is substituted for Si, &c.

§ 89. A sharp or flat continues in force throughout the measure in which
it occurs ; also through successive measures, whefl the same tone is continu-
ously repeated ; but not otherwise.

EXAMPLE 34.

 

n
T 7 l 1 I 1 1 _1 f I
L j l

1 1. r1 a L J. I
(£9+-0~—gd—t—l-t——r—-r—i+9 —']

§ 90. The effect of a flat or sharp is cancelled by a character called I
Natural, (n). .

 

 

EXAMPLE 35.

\\ 11 '1 — i 1 :afi-t TC_ J! {_i_.a___——i
a} ' ' ' I I 1

 

 

 

CHAPTER XI.

TRANSPOSITION OF THE SCALE.

§ 91. A Scale is said to be based on that letter or degree which is taken
as one, and the other tones proceeding from one must be represented on con:
secutive or conjoint degrees.

§ 92. When the scale is based on C, the first added line below, (G clef)
as in Chap. IV, Ex. 10, it is said to be in its natural position ; because the
intervals, (steps and half steps), as represented by the letters, correspond to
the intervals which nature has established in the scale, and which are repre-

 

sented by the numerals.

 

 

9...”!

 

   

ELEMENTARY

§ 93. This relation, or order of intervals, between letters and numerals
must always be preserved, which is done by the use of sharps or flats, intro-
duced upon certain letters.

§ 94. When one or Do is placed on any other letter than C, the scale is
said to be transposed, and the letter taken as one of the scale is called the
key. Thus, if one be on C, the scale is said to be in the Keyof 0'; if one
be on G, the scale is said to be in the Key of G, and so on.

§ 95. There are two ways of transposing the scale ; one way is by fifths,
in which the sounds are all carried a perfect fifth higher, or a fourth lower,
and the other is by fourths, in which the sounds are all carried a perfect
fourth higher, or a fifth lower.

§ 96. When the scale is transposed by fifths, sharps are introduced to pre-
serve the proper order of intervals between six and seven, and seven and

eight of the scale.

Norm—It is not our intention. in a book of this kind. to enlarge upon the theory of transposition. We:
' do not suppose it to be necessary. Every intelligent teacher will be able to explain the subject according
‘to the wants of his pupils; and if persons desire to try self instruction. we advise them to use works
written expressly for their wants. There are many such published.

§ 97. These sharps are placed immediately after the clef, and are called
the signature or sign of the key.

§ 98. Each key has its signature or sign by which it is k