xt7zs756j613 https://exploreuk.uky.edu/dips/xt7zs756j613/data/mets.xml Kentucky -- Benton Walker, William, 1809-1875 1854 xxxii, 336 pages, music, 23 x 15 cm. Call Number: M2117.W18 S5 1854 Imperfect: Missing pages including title page (Wilcox Collection copy).Provenance: Wilcox, Glenn C. (copy 1) scores (documents for music) M2117.W18 S5 1854 English E.W. Miller Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Hymns, English Sight-singing Solmization Music -- Kentucky -- Benton The Southern Harmony, and Musical Companion; Containing a Choice Collection of Tunes, Hymns, Psalms, Odes, and Anthems, [1854] text The Southern Harmony, and Musical Companion; Containing a Choice Collection of Tunes, Hymns, Psalms, Odes, and Anthems, [1854] 1854 1854 2024 true xt7zs756j613 section xt7zs756j613 ¢- .m

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The undersigned (late of the firm of MILLER & BURLOCK) will conduct the business on his
own account at the Old Stand, Nos. 1102 and 1104 Sansom Street, Philadelphia. He will
continue the manufacture and sale of flag Sgfl'flflfl 3) N fififlm @ NY 3
9963231? QQBQQS and PQKET wasramamm

Also, gaggaaggafi AQBUMS} in great variety. at less than the aver—
age prices, made of the very best material : equal. if not superior in style and finish to any
in the market. '

He is prepared to execute orders for l.’rinting and Binding, or for Binding only, all kinds of
Printed Books in editions, at the shortest notice and on the most favorable terms.

The reputation of the late firm, of which he was the senior partner, and an experience of
34 years in the Book-Binding and Publishing business, is a guarantee for the satisfactory per-
formance of any contract that his friends and patrons may favor him with.
~l‘ll)“iARD W. DIILLER,

Nos. 1 [013 and 1104 Sansom Street,
PHILADELPHIA-

 

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.ACE T0 FORMER EDITION.

__.__.

iolicited for several years by his brother teachers, pupils, and other friends, to publish 1
their solicitations. ‘

[ have endeavoured to lead the pupil on step by step, from A, B, C, in the gamut, to the
3, having inserted the gamut as it should be learned, in a pleasing conversation between

iems, I have endeavoured to gratify the taste of all, and supply the churches with a
-rious metres contained in their different Hymn Books.
1 have not been" neglected, I have endeavoured to make this book a complete Musacal
Those that are partial to ancient music, will here find some good old acquaintances
'asure the scenes of life that are past and gone; while my youthful companions, who
T End a sufficient number of new tunes to satisfy them, as I have spared no pains in trying”
\E ‘3 of the public.
Enew Songs, and printed them under the tunes, which I hope will be found satisfactory.
§ , because the compilers alter the tunes. I have endeavoured to select the tunes from
Sne, and the tune having six or seven basses and trebles, I have selected those I thought
[-
good airs, (which I could not find in any publication, nor in manuscript,) and assigned
ed several tunes wholly, and inserted them in this work, which also bear my name.
to the public, praying God that it may be a means of advancing this important and
' pilgrim on his way to the celestial city above.

WILLIAM WALKER

 
  

 

 

  

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PREFACE TO FORMER EDITION.

...—_.

Tar: compiler of this work, having been solicited for several years by his brother teachers, pupils, and other friends, to publish a
work of this kind, has consented to yield to their solicitations. ‘-

In treating upon the rudiments of Music, I have endeavoured to lead the pupil on step by step, from A, B, C, in the gamut, to the
more abstruse parts of this delightful science, having inserted the gamut as it should be learned, in a pleasing conversation between
the pupil and his teacher. , .

In selecting the Tunes, Hymns, and Anthems, I have endeavoured to gratify the taste of all, and supply the churches with a
number of good, plain tunes, suited to the various metres contained in their different Hymn Books.

Whilethose that are fond of fuged tunes have not been neglected, I have endeavoured to make this book a complete Muswal
Companion for the aged as well as the youth. Those that are partial to ancient music, will here find some good old acquaintances
which will causethem to remember with pleasure the scenes of life that are past and gone; while my youthful companions, who
are more fond of modern music, 1 hope will find a sufficient number of new tunes to satisfy them, as I have spared no pains in trying
to select such tunes as would meet the wishes of the public.

I have also selected a number of excellent new Songs, and printed titem under the tunes, which I hope will be found satisfactory.

Some object to new publications of music, because the compilers alter the tunes. I have endeavoured to select the tunes from
original authors. Where this could not be done, and the tune having six or seven basses and trebles, I have selected those I thought
most consistent with the rules of composition.

I have composed the parts to a great many good airs, (which I could not find in any publication, nor in manuscript,) and assigned
my name as the author. I have also composed several tunes Wholly, and inserted them in this work, which also hear my name.

The compiler now commends this work to the public, praying God that it may be a means of advancing this important and
delightful science, and of cheering the weary pilgrim on his way to the celestial city above.

. WILLIAM WALKER

Marianna: g. S. 0., September 1835

  

I‘HE GAM'UT, OR RUDIMENTS OF MUSIC.

 

 

 

 

 

 

 

 

TENOR OR TREBLE STAVE NATURAL.
PART FIRST' . G solo Spaceabove.
F fawn—f; Fifth line.
OF MUSIC. E law a Fourth space.
D sol~G Fourth line.
. - C faw B Third s ace
1 . , P -
P‘m" Wk“ "_ Wm“ . . _ B me—O Third line.
TIACHIB. Music 18 a succession ot pleasing sounds. A law [3, Second space. .
P. On what is music written ? G Clef ———C sol—o—Sccond line.
T. On five parallel lines including the spaces between them, which is called a F faw E: F?“ space.
stave; and tnese lines and spaces are represented by the first seven letters in the E law-Lr FUSt line-
D sol 0 Space below.

alphabet, A, B, C, l), E, F, and G. These letters also represent the seven sounds
that belong to each key-note in music: when eight letters are used, the first is

y

COUNTER STAVE NATURAL.

 

 

 

 

 

 

 

 

 

repeated.
P. How many parts are there used in vocal music? A law [3 Space above.
1'. 30mmonly only four; viz. Bass, Tenor, Counter, and Treble; and the letter: C sol—O Fifth line.
are placed on the staves for the several parts in the following order, commencing at F ' faw B Fourth space.
the space below the first line in each stave. E law—C Fourth line.
D sol 0 Third space.
C Clef C few-b Third line.
BASS STAVE NATURAL. IE} B me 0 Second space.
A law-J: qecond line.
A B {23% 35:35:13“. G sol C) First space.
G sol 0 Fourth space. F few—E First line.
I Clef @: F few-b. Fourth line. B law ‘J bp ace below.
E law C] Third space.
D gol_0 Third line. You may observe that the letters are named or called by the names of the four
C faw E Second space. notes used in music. You see in the above slaves that F is named faw, C so]. A
B _ me-O gecond line. law, B me. C faw, l) sol. E law, and F faw again; every eighth letter being the first
A law 5 First space. repeated, which is an octave; for every eighth is an octave.

-._.....- G— sol—O—-————-First line. ; F. How many notes are there used in music, What are their names. and how are
F faw B Space below. L they made l

 

   

  

 

 

 

 

 

 

 

      

 

 

 

   

   

     

   

      

 

 

 

 

 

 

 

 

THE GAMUT. OR RUDIMENTS JF MUSIC. V
7 All notes of music which represent sounds are called by four names, and each lumen.
Jote is known by its shape, viz.; the me is a diamond, faw is triangle, sol is round, '
1nd ‘aw is square. See the example. k 0 -B—% ‘_ __
Q P l l l __
EXAMPLE. _ A V l [ A f Y __
me faw sol -law —— [Iv l It] FLO fig Tl l 1 ll
’ " " x l H O I
This is the rule for singing round notes. You must therefore observe that the
natural place for the me in parts of music is on that line or space represented by B.
Diamond. Triangle, Round, Squgrg, Butif Bbeflat,bme ison......................................
. . _ BbandEbitison.....................................A
P. But In some musrc books the tunes are Written 1n round notes entirely. How B b E b and A b it is on. _ . .. . . .. . _ .. . . .. . _ .. _ . .. . . .. . _ .D
30 we know by what names to call the notes in these books?* B 5 E b A b and D b it is on............... ...........G
T. By first finding the me for me is the governing and leading note; and when If F be sharp, # me is on. . . .. . . .. . . .. . . .. . . . . . . .. . . .. . . .. . “F
that is found. the notes on the lines and spaces in regular succession are called, faw, F i? and C 11$ it is on. . . . . . . .. . . .. . . .. . . .. . . . . . . . .. . . .. . . .C
.301, law, faw, sol, law, (twice,) and those below the me, law, sol, few, law, sol, faw, F d? C it: and G 5 it is on. . . ... . .... ... . ... ... . . ...... .. .G
' (twice ;) after which me will come again. Either way, see the following— F 5 C t'r’ GA? and D 5 it is on.. ..... ... . ... . .. . . .........D
9" For singing Doe, Rae, See, seven syllables and numerals, see p. xxxi.
As in the following example, viz. :
ME in its l ME, transposed by flats. ME, transposed by sharps.
l“ ”m“ 5 Place- B flat, me B and E flat B, E, and A flat, B, E, A, and l) flat, F sharp me is F and. c. sharp, me F, C, _G, sharp, nu r, c, G, o, nun-p,
Tenor or treble M8. is in E. me is in A. me is in I). me is in G. in i‘. is In C. Is in G. one n In D.‘
______9__--
Counter ms,
k , :.__. __
U r—
r
k Bass us
‘ ‘_.._ _.._————
B _ - ”—9....“

i._»......- _.__. M... m_._____v

 

  
 

    

V]
P. How many marks of sound or kinds of notes are there used in music?

'1'. There ere six kinds of notes used in music, which difi'er in time. They are the
semibreve, minim crotchet, quaver, semiquaver, and demisemiquaver

SCALE 01’ NOTES.

The fillowing scale wfll show, st one view, the proportion one note bears to another.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

One Semibreve ———== is equal in time to
Two ’7‘} ‘% Minims,
3:...

° ”—LT
Four Crotchets,
Eight m Quavers,
Sixteen ; “ ‘4' K F‘FF“ Semiquavers,

_ JJWJ A Ti‘éfi

 

 

 

 

Explun the ab'we stale.

THE GAMUT. OR RUDIMENTS OF MUSIC

,.—_

T. The semibreve __ is now the longest note used; it is white, Without a stem,
and is the measure 6- note, and guideth all the others

The minim E is but half the length of a semibreve. and 4a: a stem to it.

The crotchet 3 is but half the length of the minim, and has 1 black head I110
straight stem. ‘

Q ' __
The quaver
one turn to the

is but half the length of the crotchet, has a black head, and
- stem, sometimes one way, and sometimes another.

..._...

The semiquaver 3: is but half the length of the quaver, has also a black hens
and two turns to I the stem, which are likewise various.

The demisemiquaver t is halt the length of a semiquaver, has a black head, and
three turns to its stem, :g— also variously turned.

P. What are rests ! ‘
T. All rests are marks of silence, which signify that you must keep silent so long
a time as takes to sound the notes they represent, except the semibreve rest, which
is called the bar rest, always filling the bar, let the mood of time be what it may.
was news. ‘4'

Demusemi -
ver.

    

Semibreve.

 

 

 

 

 

Two Bars. Four Bars. Eight Bars. __'
I I” [—I
u I - I l

 

 

 

 

 

 

 

‘-:-‘ ‘agyefiwmmmsw" “ .

 

 

  

 

THE GAMU'I', UR RUDIMENTS OF MUSIC

P. Explain the reats.

T. The semibreve, or bar res , is a black square underneath the third line.
The minim rest is the same mark above the third line.
The crotchet rest is something like an inverted figure seven.
The quaver rest resembles a right figure of seven.
The semiquaver rest resembles the figure seven With an additional mark to the left.
The demisemiquaver rest is like the last described. with a third mark to the left.
The two bar rest is a strong bar reaching only across the third space. -
The four bar rest is a strong bar crossing the second and third space and third line.
The eight bar rest is two strong bars like the last described.

N ore—These notes are sounded sometimes quicker. and sometimes slower, accord-
ing to the several moods of time. The notes of themselves always hear the same
proportion to each other, whatever the mood of time mav be.

OF THE SEVERAL MOODS OF TIME.

P. Please tell me how many moods of time there are in music.

T. There are nine moods of time used ; four of common, three of triple, and two
of compound.

P. Why are the first four moods called common time moods?

T. Because they are measured by even numbers, as 2, 4, 8, &c.

P. Why are the next three called triple moods?

T. Because they are measured by odd numbers, having either three minims, three
crotchets, or three quavers, in each bar.

P. Why are the last two called compound time moods!

T. Because they are compounded of common and triple; of common, as the bar is
divided equal, the fall being equal to the rise in keeping time ; and of triple, as each
half of the bar is three fold; having either three crotchets, three quavers, or notes to
that amount, to each beat.

1’. Please explain the several moods of time in their order.

M0003 0F COMMON TIME

. 1234 12 8 4 1234
I‘he first mood is known by a plain C, and has a —

semibreve or its quantity in a measure, sung in the '
time of four seconds—«film beats in a bar, two down
and two up.

    

dduu dd 1 n dduu

 

,.,__ win-“wfq‘. ,1. s.

V1)

:234 l 2 .54 .2 :31_

 

 

 

 

 

 

The second mood is known by a C with a bar " ‘ “”— err"
through it, has the same measure, sung in the time T115; .:“7r 3“ .. -
of three seconds—four r\eats in a bar, two down and —T_’-——- -5 J . l—E-
two 11 . ' ’ T
3 dduu d d nu dd an
The third mood is known by a C inverted, some- ‘ 1 2 l 2 12

times with a bar through it, has the same measure
as the first two, sung in the time of two seconds—
two beats in a bar. This mood is sometimes _

marked with the figure 4 above 4, thus, i

The fourth mood is known by a figure 2 over a

figure 4, has a minim for a measure note, sung in gE:EF:Ii"—‘—‘:
l; l

the time of one second—two beats in a bar, one down —'

and the other up.

MOODS 0F TRIPLE TIME.

The first mood of triple time is known by a figure

  
    

dududu

12121212

 

 

LL_._L l_l

g9
__...___-. __ - ~i-l- T
du d u d u du

 

 

 

 

 

12312312.!

3 over a figure 2, has a pointed semibreve, or three .

minims in a measure, sung in the time of three
seconds—three beats, two down and one up.

The second mood is known by a figure 3 over :14,
has a pointed minim or three crotchets in a measure,
and sung in 2 seconds—three beats in a bar, two _._..

down and one up.

 

dduddu ddu
123 123123

 
 

ddndduddu

123'12,3 123

The third mood is known by the figure 3 above %_ _ 1E1 ' "

figure 8, has three quavers in a measure, and sung » 5:?— I:
in the time of one second—three beats in a bar, two __ ““1

down and one up

 

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dd‘utfluddu

 

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A g “Mafirwiiswisfifihfi 1.. a. 46%.... , M,

. Jim -.'

viii l‘fllfl GAMUT, UR_.RU.DIMENTS OF MUSIC.

10005 01 COMPOUND TIMI

i2121_2

 

 

fi-
0

 

 

The first mood of compound time is known by ' "fl”:fig
the figure 6 above figure 4, has six crotchets in a WEE—ad L
measure, sung in the time of two seconds—two 4T— . _
beats in a bar, one down and one up. (1

 

 

 

 

 

 

ududu

.

The second mode of compound time is
Known by the figure 6 above an 8, has six
quavers in a measure, sung in the time of
one second and a half—two beats in a bar,
one down and one up. d u d u d n

P. What do the figures over the bar, and the letters (1 and a nude it, in the above
examples of time, mean i

7'. The figures show how many beats there are in each bar and the letter a
showa when the hand must go down, and the u when up.

P. What general rule is there for beating time '!

'1'. T hat the hand fall at the beginning, and rise at the end of each bar, in all
moods of time.

P. [)0 you suppose those moods, when expressed by figures, have any particular
signification, more than being mere arbitrary characters?

7‘ [think they have this significant meaning, that the lower figure shows how
many parts or kinds of notes the semibreve is divided into, and the upper figure signi-
fies how many of such notes or parts will fill a bar—for example, the first mood of
compound time, (6 above 4,) shows the semibreve is divided into four parts—i. 8. into
crotchets, (for four crotchets are equal to one semibreve;) and the upper figure 6
shows that six of these parts, viz. crotchets, fill a bar. So of any other time expressed
by figures.

1’. How shall we with sufficient exactness ascertain the proper time of each beat
in the different moods!

'I‘. By making use of a pendulum, the cord of which, from the centre of the ball

to the pin from which it is suspended, to be, for the several moods, of the following

ham:—

 

 

? ”or the first and third moods of common time, the amt ot mote

and first of compound, [all requiring second beats]. . . . . . . . . . . .
For the second mood of common, second of triple, and first of

compound, .. 221W
For the fourth ofcommon . l2 4 -0
For the third of triple time, . . . . .

Then for every swing or vibration of the ball, count one heat, accompanying the
motion with the hand, till something of a habit is formed, for the several moods of
time, according to the different lengths of the cord, as expressed above.

30 2-”) inr'ue

. 5 l-2t

N ore—If teachers would fall upon this or some other method, for ascertaining and
keeping the true time, there would not be so much difficulty among singers, taught
at different schools, about timing music together; for it matters not how well indi-
vidual singers may perform, if, when several of them perform together, they do not
keep time well, they disgust, instead of pleasing their hearers.

0F ACCENT

P. What is meant by accent'

T. Accent is a particular emphasis or swell of voice on a certain part of the mea—
sure which is according to the subdivision of it, and is essential to a skilful perform-
ance of music, as the chief intention of accent is to mark emphatical words more
sensibly, and express the passions more feelingly. If the poetry be good, and the
music skilfully adapted, the important words will fall upon the accented parts of the
bar. Should emphatical words happen on the unaccented part, the music should
always bend to the words.

P. What part of the measure is accented in the several moods of time?

T. The first three moods of common time are accented on the first and third notes
in the measure when the bar is divided into four equal parts ; and the fourth mood is
accented on the first part of the measure when only two notes are in a bar; it leur,
accent as in the first three. In triple time, when the measure is divided into three
equal parts, the accent is on the first and third ;. if only two notes are in a bar, ti.
accent is always on the longest note. In compound time the accent is on the first
and fourth notes in the measure, when the bar is divided into six equal parts.
Couplet accent is when two notes are accented together, as two quavers in the first
three moods in common time, or two crotchets in the first mood of triple time. M
In keeping time the accent is alwavs strongest with the down beats.

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

THE GAMUT. 0R RUDIMENTS OF MUSIC ix
r NAMES. xxnu-Ln IXPIANA'I‘IOE.
DIRECTIONS FOR BEATING TIME,
Is placed on the fourth
P. How must I beat time? ‘ m “"9 0f the stave, and
T. In the first two moods of common time, for the first beat, lightly strike the end The F 0191' V4. belongs to .the b3.“ °.'
of your finger on whatever you beat upon: second, bring down the heel of your' lower W.‘ in mustc; ."
hand; third, raise your hand a little and shut it partly up; fourth beat, raise it up 15 somenmes used 1“
even with your shoulder, and throw it open at the same time. which completes the counter.
bar. The third and fourth moods, for the first beat let the hand fall; second, raise it
up. The first two beats in triple time are the same as in the first of common time; Stands on G, second
third beat. raise the hand up. Compound time is heat in the same manner as in the line of the tenor or tre-
third of common. Be careful that the motion of the hand should be always gentle, fi hie stave, and crosses
graceful, and regular, and never raise it much above a level with your shoulder. The G Clef 1: that line four times. It
. fl is always used in tenor
CHARACTERS USED IN MUSIC. V and treble, and some-
times in counter.
NAKKI. sxaerns. EXPLANATION.
Ledger line — {sithfivsheiiarflel hues Stands on C, middle .
, paces, on The C Clef line; is used only in
which notes and other counter. 1'
A Stave Ledger musical characters are
line ~ written, and the ledger . . '
Ledger lino iino is added when notes Is a plain line or marl;
ascend or descend be- acsosstttxliet.stav‘e,tand d;
., . v1 es eimemoeu
yond the 5m 1e. A smgle b“ parts according to qthe
’ Is drawn across the first mood 0f time and men.
end 0" Que staves, and sure note.
show» how many parts ‘

__ .. 5m? sung together- If Ia . note that fills a
it include four parts. the, measure; i. e. from one
order of: them are as fol- A measure note bar to another, without

A ”I.“ 2"": P1611???“ “Sid any other note or rest.
rs par 15 e ass, e
second is tenor, the third
counter, and the fourth Anyquantity or music
...._._ r and upper part is treble; g B written between two 0"
if only three parts, the are, these marks or bars, 1.
third is treble. " called a bar of music.

 

 

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:5

,‘ie’ ,:._§

see

A slot. 0 pomt

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ot addition,

' i) B

A Flat,’ 1
A Sharp, i l3

. l

A Natural l

/"—'\

A Blur Q PE!

1 l r Ffi‘t:

 

 

To raise

its length, or causes it to
be sounded half as long
again as it would be
without the dot; thus,
a pointed semibreve is
sung as long as three
minims, &c.

Set immediately pre-
ceding or before a note,
sinks it half a tone; i. e.
causes it to be sung half
a tone lower than it
would be without the
flat.

Set before a note, raises

.it half a tone; i. e. causes

it to be sung half a tone
higher than it would be
without the sharp.

Restores a note from flat
or sharp to its natural
sound.

Over or under any num-
ber of notes, shows that
they must be sung to
one syllable, gliding soft-
ly from one sound to the
other. The tails of the
notes are often joined
together, which answers
the same purpose as a
slur.

 

" We recommend singers to omit accidental flats and sharps, unless they under-

md than propenv

 

 

 

 

 

Figure 3,

A Direct

A Hold:

A Staccato

Appogiatura, or
grace notes,

 

E

 

s..___

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

0
NW
1
as
o
l”
V l I i
F9 P
.l l l
Po -
Ll” l'
l l

 

 

 

 

2: TH E GAlVlll'l‘. OR RU DIMENTS OF MUSIC
73 Set at the right hand of \ Over or under three
3‘ any note, adds to it half l m notes, is a mark of dimi-

nution, and shows that
they must be sung in the
time of two of the same
kind without a figure.

Shows that the note over
which it is placed should
be warbled with a 509
roll.

Shows the place of the
succeeding note on the
stave.

Notes thus marked are
sounded one fourth long-
er than their usual time.

Is seldom used in vocal
music. The notes over
which it is placed should
be sounded distinct and
emphatical.

Are small extra notes,
added and set before 0:
after regular notes. to
guide the mice .nora
gracefully into the sound
of the succeeding I.

  

is accented in each mea-
sure.
1 Shows the half accent.

Mark of accent
and half accent

 

Shows the end of a
strain; it also shows

Double B” when to repeat.

 

Shows that the tune is

o to be sung twice from it
Repeat ' to the next double bar or
— close.

 

 

 

 

 

 

 

At the end of a strain, or
at the end of a tune,
shows that the note or
notes under 1 are to be
sung before you repeat,
and those under 2 after
omitting those under 1;
but'if the notes are tied
together with a slur,
both are sung the se-
cond time, as in the se-
cond eiample.

 

Figure l, 2, or
double ending.

Second. 1A2

    

.1— Shows the place which ii

 

 

THE GAMUT. ()R‘RUD-IMENTS OF MUSIC. . xi

Shows the end of a tune

A Close or anthem.

 

Denotes a repetition m

A zPrisms . -ii : preceding Words

OF CHOOSING NOTES.

P. What are choosing notes, and how must I sing them!

T. They are notes set immediately over each other on the same stave; either of
which may be sung, but not by the same voice ; (in bass the lower notes are termed
ground bass.) If two persons are singing the same part, one may sing the upper
notes, and the other the lower notes. See the example on the bass stave.

EXAMPLE OF CHOOBING NOTES.

 

OF SYN COPATION.

P. What is meant by syncopation, or syncopated notes?

T. Syncopation is any number of notes set on the same line or space included by
a slur; sometimes driven across or through the bar, and sometimes in the middle;
one of such notes only are to be named, but sound the time of all the notes. whether
driven across the bar or not, swelling the voice a little at the usual place of the
accent.

EXAMPLES OF SINCOPATIOK.

    

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xii THE GAMUT, 0R KUDIMENTS OF MUSIL

0F SYNCiOPE OR SYNCOPEED NOTES.

P. What is meant by syncope, or syncope-ed notes?

 

 

upon it, as though it were in the usual place of the accent. as in common time
haVing half the time of the measure in the middle; as a minim between tw_.;
crotchets. or a crotchet preceding a pointed minim, or a crotchet between two

'I‘. It is when a note is set out of its usual order, requiring the accent to be I] quavers, 6:0. .

EXAMPLE! 0" SYNCOPEED NOTES.

    

OF THE KEYS OR KEY NOTES.

P. What is meant by the keys in music, how many are there, and how are they
known ?

T, The key note of every correct piece of music is the leading note of the tune,
by which all the other sounds throughout the tune are compared, and is always the
last note in the bass, and generally in the tenor. If the last note in the bass be faw
immediately above me, the tune is on a sharp or major key ; but if law immediately
below me, it is a flat or minor key.

There are but two natural places for the keys, A and C. A is the natural place
of the flat key, and C the natural place of the sharp key. Without the aid of the
flats and sharps at the beginning of the stave, no tune can rightly be set to any other
than these two natural keys; but by the help of these, me, the centre, leading and
governing note, and of course the keys, are removed at pleasure, and form what are
called artificial keys, producing the same effect as the two natural keys; i. e. by fixing
the two semi or half tones equally distant from the key notes. The difference
between the major and minor keys is as follows; the major key note has its 3d, 6th,
and 7th intervals, ascending half a tone higher than the same intervals ascending from
the minor key note; and this is the reason some tunes are on a sharp key, and others
on a flat key This also is the reason why music set to the major or sharp key is
generally sprightly and cheerful; whereas music set to the minor or flat key is pen—
Give and melancholy. Sharp key tunes suit to sing hymns and psalms of praise and
hanksgiviug, and flat key tunes those of prayer and supplication

 

 

+

0F TONES AND SEMITONES.

P What is meant by tones and semi or half tones?

T. There are said to be but seven sounds belonging to every key note in music,
every eighth being the same, and is called an octave. Therefore these sounds are
represented by only seven letters. These sounds in music are called tones; five of
them are called whole tones, and two of them semitones or half tones. The natural
places for the semitones are between B and C, and between E and F, and they are
always between me and few, and law and faw, find them where you may.

P. Are the semitones always between the same letters in every tune!

T. No; although the natural situation of semitones are between B C and E F,
yet their situations, as well as the two keys, are very often altered by flats and sharps
set at the beginning of the tune. You therefore remember that the natural place for
the me is on B, but if B be flat. me is on E, &c.: and if F be sharp, me is on F. are.
Of course, if the me is removed. the semitones are as the semitones are always,
between me and faw, and law and faw.

.P. Well, my good teacher, I am very much obliged to you for this explanation
for I have studied a great deal about them, but it is nowplain to me.

T Well, my studious pupil. as you understand these rules mettv well. Von at

i now proceed to alumna.

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THE GAM UT, OR RUDIMENTS OF MUSIC x111

(up SOUNDING TIIE EIGHT NOTES. l the fifth line, which is an octave; then descend. falling softly from one sound to Ln.

* other till you end at the close. Then commence on law, the mmor or flat key note.

P. Please tell me how to sound the eight notes. and where I must commence? ascend and descend in the same manner till you come to the close. Bv this you
- learn the difference between the major and minor moods or keys.

’I‘. Commence first on faw, the major or sharp key note on the tenor and treble After having sounded the eight notes several times, you may go on to s‘ng the

stave; than ascend softly from one sound to another till you sing the eighth note on other lessons for tuning the voice, and then some plain tunes.

LESSONS FOR TUNING THE VOICE.
Eight notes. MAJOR KEY. Common Time. Eight Notes. MINOR KEY.

        
   
      

Triple Time, Manor Key.

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 nv THE GAMUT 0R RUDIMENTS OF MUSIC.
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THE GAMU'I‘. 0R RUDIMENTS OF MUSIC x,

.

PART SECOND.

INTRODUCTION TO THE GENERAL SCALE, AND RULES FOR
PITCHING OR KEYING MUSIC. '

Par. following is a representation of the general scale, showing the connexion of
the parts, and also what sound of the general scale each letter, line, or space in either
of the octaves represents: for instance, A the minor key, occupies the 2d, 9th, and
16th sounds of the general scale: C, the natural major key, the 4th, 11th, and [8th.
Thus, it will appear that every octave being unison, are considered one and the same
sound. Although the last in the bass is the key note, and in case the me is not

H transposed, will either be on the 2d and 4th degrees as above stated, yet With the

same propriety We may suppOse them on the 9th, 11th. «Ste. degrees; for when we
refer to a pitchpipe for the sound of either of the foregomg keys, if it be ’roperly
constructed, it will exactly correspond to the 9th, 11th, &c. sounds of the general
scale. Then by descending the octave, we get the sound of the natural key; then
by ascending a 3d, 4th, or 5th, as the tune may require, we readily discover whether
the piece be properly keyed. If We find, after descending the octave, we can ascend
to the highest note in the tenor or treble, and can pronounce them with ease and
freedom, the piece may be said to be properly keyed; but if, on the contrary, after
descending, we find it difficult to ascend as above, the piece is improperly keyed,
and should be set lower.

N ore—This method of proving the keys is infallible to individuals, and will hold
good in choirs, when we suppose the teacher or leader capable of Judging for the
commonality of voices.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

22 .... Alt. G spaceaboVe sol
21 ......................... .