xt72bv79w56j https://exploreuk.uky.edu/dipstest/xt72bv79w56j/data/mets.xml White, B. F. (Benjamin Franklin), 1800-1879 compiler King, E. J., compiler 1860 475+ pages, music, 15 x 23 cm. Call Number: M2117.W59 S3 1860 Provenance: Niles, John Jacob (Special Collections copy)Bert T. Combs Appalachian Collection books M2117.W59 S3 1860 English Collins Printing House Contact the Special Collections Research Center for information regarding rights and use of this collection Bert T. Combs Appalachian Collection Tune-books Hymns, English Choruses, Sacred (Mixed voices), Unaccompanied The Sacred Harp: a Collection of Psalm and Hymn Tunes, Odes, and Anthems, Selected From the Most Eminent Authors, Together With Nearly One Hundred Pieces Never Before Published, Suited to Most Metres, and Well Adapted to Churches of Every Denomination, Singing Schools, and Private Societies, [approximately 1860] text The Sacred Harp: a Collection of Psalm and Hymn Tunes, Odes, and Anthems, Selected From the Most Eminent Authors, Together With Nearly One Hundred Pieces Never Before Published, Suited to Most Metres, and Well Adapted to Churches of Every Denomination, Singing Schools, and Private Societies, [approximately 1860] 1860 1860 2023 true xt72bv79w56j section xt72bv79w56j  

    
 
 
 
 
 
 
 
  
 
 
  

MlNY
héfé‘fiéifiin
object; h:
time obse
existed, 1
and taste
‘will be 1
sing, or

~ benefit th
'7' life, and

to a gene

‘.v" -I W." I‘-

Hami

N. B.
all of w}

  

 

 

 
 
 
 
  
  
  
   
  
  
 
 
    
      

a _ \.
Vi MANY eff I . . '
orts navvbeen made-o please the public With a collection of Sacred Music; and none but those who make. the effort, know

how difli lt' ' .
. v -' on ‘t 13 t0 homplish ll; task. The Compiler of this work 0 accomPhSh this desirable

object havin ta . .
time ob _ g hught lrsrc for thtlast twenty years, and being necessari
servmcr t ,' .t - . . . . . . .

D at “as in that C a Variety of church musrc, has in this work endeavoured to supply that defic1ency which heretofore

That such a compilation is needed, no person of piety, observation,

has spared no labour or pains in trying t

ly thrown among churches of various denominations, and all the

ex' t ' L’

an: :1: by {fidemg all th\church mtic within his reach, in one bOOk-
e
, W1 eny, Wile the chUches may be supplied from this work, others have not been forgotten-or neglected; a great variety

“5’ "will be fOund - t .
sing or d . :luted to Sl‘gmg'SCllols, private societies, and family circles; in fact, the Sacred Harp is designed for all classes who
esrre ‘ , . , , ' . . . . .
benéfit th bl.Olsmg. Tle .Lompizr has not aimed at greatness or self-aggrandizement, but has desued, in his humble posrtion, to
e U . . . . . . . . .
p 1c In general .1and theIfore has set out this work in a plain, easy, and familiar style; and havmg passed the meridian of

life: and entir '
el v , . . . . . . . ‘.
y withdrawn in the usmess of teaching, 15 disposed to leave this work as a specrmen of his taste, and recommend it

r' to a enero ' I' i ‘ f (led
.' g US PUth» P aylng d that lmay answer in nu the purposes inten . “y
i B: F. HXTE-

at

     

Hamilton, Harris (70.. Georgia. ril 18
,

 
   

N B The H -
' ' ar Is a l . . , -
P se-ectmn ‘ them; mment authors now extant; together With nearly one hundred tece

under our immediate inspection expressly for '

    
 
   

all Of “'Iiiph h
. , ave -
. been harmonr nd Rug“
., \

  
 

X ..

 INTRODUCTION.

 

 

A Strains scnoon, to learn and practise Sacred Music, should be a solemn
place—a place of prayer: for it is as solemn a business to learn to sing the
praises of God as it is to learn the word of God. A singing-school should be
of the same character as a Sabbathschool or a Bible class; it is, in part, of the
same class of schools, and should be conducted with the same solemnities.
We think it as much the duty of those who have the ability, to learn to sing the
praises of God as it is tc learn his word: and no parents or guardians, there-
fore. should consider their religious education, nor that of their children, com-
plete, without a knowledge of sacred music; nor think they are at liberty to sit
silent in the sanctuary, to sing or not, as they please. The gift of a talent to
sing, implies an obligation to improve it, and not to offer unto the Lord the halt
and lame, but to cultivate the voice that they may sing to edification, and not
to be an annoyance to every one near them. Sacred music, when sung in a
proper style, will generally produce a religious effect in a greater or less degree.
We have had the pleasure of seeing, at public rehearsals of sacred music, very

~’

 

 

pon the singers,

deep and strong religious impressions ride, 110‘ 0“
upon the congregation: and when such vrdS as

“The Lord is in is place,
We see his smng face;
Trembling we )W adore 1;
Humny we 1).! before hi

_ ' f 1 biower, and felt s
were sung, it seemed that every one prem ‘3 t tover, very exten '-

of the majesty of Jehovah. We hakaOWn, ’their first appear
general revivals of religion commeie, and nings follow whenmd u
singing-schools. But who ever an SUCh tact of public rehearsal wa
music was practised in the school, 0PM“ th/were awake to their duty 0
display 1 We think it is time the 015112111 Pl

this subject.

OF MUSIC IN GENERAL.

Music conSISts of a succession of pleasing sounds, with reference to a pe-
culiar internal sense implanted in us by the Great Author of nature. Considered
as a science, it teaches us the just disposition of sounds; and as an art, it
enables us to express them with facility and advantage. The tones of music
differ from sounds in general, because they vary from each other by fixed inter-
vals, and are measured by certain proportions of time. There is, indeed, in
good speaking, a regularity to be observed, which has some resemblance to this

'3: and to the orator we frequently use the epithet, musical; but the inflections

he voic ' seech are more variable, and slide as it were by insensible de-
» ' r e limited to rule; whereas the gradations of musical
. n are brought 3 an uniform standard.
1 Harmony. Melody is the
of single sounds. Harmony
e time. Mot " c‘ «if ts,

I»

 

 

_ rm and essential qualities of musical
harmony Of ““1095 parts. The 0 p nd proportionate duration. The
sounds are, relative acuteness tgrav gravity. Bodies of unequal size,
first preperty _15 the“: relative $23355 5 respect, and are said to be grave
length, or tensxon,emit sounds; d ”30’3“: viz., a man’s voice is more
or acute. Human v01ces diffem h ‘1: moves from a grave to an acute

, . . .

grave than a woman s, and W? t 6 IS term it high or low, sharp or flat,-
sound, it 18 said to ascend. K" "Vibe necessary distinction.
grave 01' acute: any of ”1”?“ nsi Ollfll continuance; and here, without"

“1.9 “3’” property 15 me p1 me, a difference of movement aldne
varying the acuteness grd’i‘b usic, such for example is the drum
may constitute an "HP teem] he celerity with which they succeed
where the tones are. ‘ 1Y ‘11:] "‘ en, of musical sounds, are. e and
each other The P” tpal ." these two qualities, is chic ‘ Q?ap -. .
tune; ant to the r- y co" _ f muswai art. "- ,4 _'

‘cribe ,1 ' err! .

a ' ‘

 

 RUDIMENTS 0F

i‘nE Science of Music is divided into three departments, Melody, Rhythm, and Dynamics, which embrace all the elementary principles of music.
RHYTHM relates to Length, and represents notes, rests, etc., as long or short.

rel-es to Pitch, and represents sounds as high or low.
f‘fl represents sounds as soft or loud.
SCALE 0F NOTES.

;. Q. How many marks of sound, or kinds of notes are there used in music?

M. There are six kinds of notes used in music, which differ in time. They
as the semibreve, minim, crotchet, quaver, semiquaver, and demisemiquaver.

*v'ng scale will Show, at one View, the proportion one note bears to

is equal in time to

 

Minims,

 

 

Crotchets,

 

 

 

 

Eight Qu avers,

 

 

 

 

 

 

 

Sixteen Semiquavers,

 

 

 

 

 

 

 

 

Demi-
semi-

‘flquavers.

 

 

 

MUSIQ

Manon!
DYNAMICS relates to Force.

Q. Explain the preceding scale.

.fl. The semibreve #9— is now the longest note used; it is white, without
a stem, and is the —‘ measure note, and guideth all the others.

The minim :; is but half the length of a semibreve, and has a stem to it.
_,__

—.

The crotchet? is but half the length of the minim. and has a black head
and straight :__—_ stem.

The quaver is but half the length of the crotchet, has a black head,
and one turn I to the stem, sometimes one way, and sometimes another.

— to the stem, which are likewise various.

The semiquaver E is but half the length of the quaver, has also a black

head and two turns ’

The demisemiquaver :V: is half the length of a semiquaver, has a black
head, and three turns to “V.- its stem, also variously turned.

Nora—These notes are sounded sometimes quicker, and sometimes slower,
according to the several moods of time. The notes of themselves always hear
the same proportion to each other, whatever the mood of time may be.

Q. What are rests.
A. All rests are marks of silence, which signify that you must keep silent so
long a time as it takes to sound the notes they represent.
5

 

    

        

   

$

Rum

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“I nus-rs. '
Demisemi-
Semmreve Ilium. Crotchet. Quaver. Semlquaver. quaver.

- l" "l V V

- J l V v

V

Two Ban. Four Bars. Eight Bars.

, I I I I
> f! l I

 

 

 

 

Q. Explain the rests.

.11. The semibreveror measure rest, 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.

 

A dot set to the right hand 0

 

 

 

 

 

 

 

 

 

 

of a. rest, adds to it half its . _. N-
length, the sameasa pointed k {K i II F JR .7 Jrv {v a: {It} .31
note, thus: I ‘ 3—; O

 

2. MOODS OF TIME.

    

Q How many moods of time are there used in this; ‘ ‘l

.1}. Seven; three of common, two of triple, and two of compound. The ori-
ginal first mood of common time and the third of triple have been dispensed
with. they being but little used in the present dav

MENTS

'l

 

 

OF MUSIC.

3. The first mood of
common time is known by

COMMON TIMI-

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

12 l 2 1 2
a figure 2 over a figure 2, + + +
havmg a semibreve for a n ' 1
measure note, or its equi- _,4
valent in every measure; 0 I: D D
sung in the time of 3 se- [ If
conds to the measure, 2 du d u d it
beats with the hand, one
down and the other up.

The second mood is 12 1 2 l 2
known by a figure 4 over + + y + ‘
a figure 4, having the A
same measure note; sung 3‘ TIE
in the time of 25 seconds T J 1
to the measure, two beats 1 l
as in the first mood. d“ d u d u

The third mOOd is 12 l 2 12 l 2
known by a figure 2 + + +

 

over a figure 4, having :1
a minim for a measure _.6 _
note; sung in the time A
of 1; seconds to the

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

measure, and beaten as clu d u du d u d u d u du
the other two moods.
Tan-u TIME. s

4. The first mood of triple time is 123 I 2 3 l 2 3 1-
known by a figure 3 over a figure 2, + l + I
having a pointed semibreve for a mea- o D . "
sure note, equal to three minims, &c.;fi ‘U D—IZl':L I .4
sung in 3 seconds to the measure, three , l I : I
beats with the hand, 2 down and 1 up} ddu , a d u d d u

The second mood of triple time is 123 i 2 “ / , 123

known by a figure 3 over a figure 4._ ._
having a pointed minim for a measure 3
note, equal to 3 crotchets, 6 quavers, &c.; ”,1 F
sung in two seconds of time to the mea- 1*

sure three beats. ? down and 1 up.

 

 

 

 

 

 

 

 

ddu

  

 

 

 

 

COXMUHD Till.

6. The first mood 0!
compound time is known
by a figure 6 over a figure
4. having a pointed semi— ._
breve for a measure note;
sung in the time of 25 ‘ "
seconds to the measure,
two beats with the hand, d u d u d u d n du
one down and the other . _
up.

The second mood of
compound time is known
by a figure 6 over a figure
8, having a pointed minim
for a measure note; sung "
in the time of 1; seconds
to the measure, two beats d u d u d u d u d u
as in the first mood.

Q. What do the figures over the measure, and the letters d and u under it,
in the above examples of time, mean?

.4. The figures show how many‘beats there are in each measure, and the let-
ter d shows when the hand must go down, and the u when up.

Q. What general rule is there for beating time?

'49. That the hand fall at the beginning, and rise at the end of each measure,
in all moods of time.

1212 l 2 12 12

  
       
  
    

 

0

1212121 2 12

       

or THE seven“. moons or TIME.
8. Q. Why are the first three moods called common time moods!
.4. Because they are measured bv even lumbers. as 2, 4, &c.
Q. Why are the next We called triple n :ods '
.3. Because they are measured by odd numbers, as 3, &c
Q. Whv are- the remaining two called compound moods‘!

A]. Because they are compounded of common and triple time; of common
time as the measure is divided equal; ot triple time as each half of the mea-
sure is threefold, havingihree crotchets, three quavers, or their proportion to

’ —-.<.. a .\ >..--F"'~ ., , .

RU DIMENTS

 
    

 

 

OF MUSIC. . 7

OF ACCENT.
mums or AQCENT. +, full accent. 1, half accent.

7. Accent is a stress of voice or emphasis on one. part of a sentence, strain. or
measure, more than another. In the two first moods of common time, the full
accent is placed on the first part, and half accent on the third part 01' each
measure. (N. B. Each measure admits of adivision intt four parts.) In the
third mood of common time the measure is generally divided into two parts.
and the accent is on the first part; if divided into four parts, it may be accented
as the two first moods.

Triple time is divided into three parts to each measure, and the accent is on
the first and third parts.

Compound time is divided into six parts, and the accent is on the first and
fourth parts. In all cases of accents, the first in the measure is full, and the
second, partial. The figures which are used to express the time of the several
moods, are to be used single; the under figures are aliquot parts of the semi-
breve, and the upper figures showing the number of such parts in a measure,

2

to wit: a means two minims in a measure; 3 means four crotchets in a mea-

2 .
sure; -, two crotchets, 6w. In a word, the under figure shows into how many

4
parts the semibreve is divided, and the upper figure shows the number of such
parts in a measure; and so of all the movements of time that may be expressed
by figures.

OF MUSIC.

8. Q. W hat is music?

A. Music is a succession of pleasing sounds.

Q. On what is music written!

.12. On five parallel lines including the spaces between them, which is called
a stave; and these lines and spaces are represented by the first seven letters in
the alphabet, A, B; C, D, 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 repeated.

Q. How many parts are there used in vocal music?

J1. Commonly only four, viz.: Bass, Tenor, Counter, and Treb.e' and the
letters are placed on the staves for the several parts in the foltowmg order.
commencing at the space below the first line in each stave.

.. .. any“, wfifikwi~ {:1 “Magma, .

   

 

 

 

 

 

 

 

 

 

‘ RUDIMENTS
nu STAY! xu-unnn
B me 0 Space above.
A law—: Fifth line.
G sol a Fourth space.
F Clef 75 F {aw—g Fourth line.
‘7 E law D Third space.
D sol—0 Third line.
C faw A Second space.
—- B me-—O—Second line.
A law E First space.
C sol—G First line.
F faw A Space below.

TENOB 0R TBEBLE STAVE NATURAL.

 

 

 

 

 

 

G sol a Space above.
F law-5 Fifth line.
E law D Fourth space.
D sol—Q—Fourth line.
C faw A Third space.
B me—-O——Third line.
A , law E Second space.
G Clef C sol—C Second line.
$1 F faw E. First space.
. E law-Cl—First line.
Space below.

D sol O

COUNTER STAVE NATURAL.

 

 

 

 

 

 

 

 

 

’ A law 1: Space above.
C sol—0 Fifth line.
F faw [; Fourth space.
E law-2 Fourth line.
5 D sol a Third space.
0 Clef ' C faw-b Third line.
B me 0 Second space.
A law-:J—Second line.
G sol 0 First space.
F— ‘ faw-k First line.
B _ . law D Snace below.

A OF MUSIC.

 

You may observe that the letters are named or called by the names of the
four notes used in music. You see in the preceding staves that F is named faw,
G so], A law, B me, C faw, D sol, E law, and F faw again; every eighth letter
being the first repeated, which is an octave; for every eighth is an octave.

9. Q. How many notes are there used in music; what are their names, and

how are they made?

fl. All notes of music which represent sounds are called by four names, and
each note is known by its shape, viz.: the me is a diamond, faw is triangle, sol
is round, and law is square. See the following example.

me faw sol law

    

   

 

Round. Square.

   

Triangle.

Q. But in some music books the tunes are written in round notes entirely.
How do we know by What names to call the notes in these books?

A. By first finding the me, for me is the governing and leading note; and
when that is found, the notes on the lines and spaces in regular- succession are
called faw, sol, law, faw, sol, law, (twice ;) and those below the me, law, sol,
faw, law, sol, faw, (twice°l after which me will come again. Either way, see

I

the following example.
I
I
a 1 I L
-Q. 7;-

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 1!
ButifBbeflat,b,meison..................... ‘

 

 

 

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I

 

 

 

 

 

HWV

 

 

l
l l
' l

 

 

 

 

 

 

 

L—

0....Cynueutiluoou

BbandEb,itison......................................A.
Bb,EluandAb,itison................... ..... P
Bb,Eb,Ab,andDb,itis on............... ........(1
Ibee sharp,#,meis on . F
FeanngJtison..." ......... ....... .. .0
F§,U#,andG#,itison .......... .. ..... ... ..... . .t}

 

 

 

 

 

F£.C#',Ge andDendsnu...

.\

   

 
  
  
   
  
 
   
  
  
 
  
 
 
 
   
  
   
  
   
  
 
   
   
 
   
 
   
  
  
 
 
 
      
    
   

 w~w~r

,. ,5,“ . _ , ,

 

. _ - RUDIMENTS OF MUSIC. 9

As in the following example, viz.:

   
   
 

 

 
        
    

   
  

Mr. 1n its
NATURAL it place.
Tenor or treble all.

ME, transposed by flats.

B and E flat, B, E, and A flat,
me is in A. me is 1n 1).

ME, transposed by sharps.

F and C sharp, ma F, C, and G sharp,
is in C me is in G.

  
 
   
 
    

  
 
  

   
 
   
   

  
   

  
    
    

   
 
 

B, E, A, and D flat,

. . F' sharp, me is
me 1s m G. '

III

F, C, G, D, sharp,
ms is in l).

     

   

 

 

          
    
 

 

Counter ME.

Bass 11:.

13. The G Clef stands on G, second
CHARACTERS USED IN MUSIC. line of the tenor or treble stave, and

 

 

554m

crosses that line four times. It is always

10. A Stave 01‘ staff is five parallel lines, Leger “ne—— —— used in tenor and treble, and sometimes \J}
on which notes and other musical charac- in counter.

“31's are wrltten.

 

 

24f

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

.. 1%,; £5:Z£.‘.i“.i:.fif£§l§ :32: $125? on c .1... :—~- ~
' —-—— - , line4 is used onl in counter. :-
brace such notes as may transcend its x ”5“““9 ’ y
boundary.
a | - ——
12, A Brace is drawn acrosg the first . 15. The F Clef 18 placed on the fourth if'l'
\ end of a tune. showing that all the parts 11119 0f the stave, and belongs to the bass v
enclosed are to ac sung together; and the (‘1‘ lower part In musm.
order of thmc parts 18 as follows: the

 

lowest is Bass; next above, Wl‘enor , and,
if but tl ree parts. the third 13 Treble; out

‘v‘~g it the Counte1 is added, the fourth part is
Treble. and the third. Counter

16. A single bar is a plain line or mark
across the stave, and divides the time into
equal parts, according to the mood of time
and measure note.

 

 

   

 

 

 

     

    
 
   
   
  
   
 
  
  
  
  
  
   
  
 
  
 
 
 
 
 
 
  
  
  
 
    

10 RUDIMENTS

VI. A measure note is a note the: fills
a measure; i-e. from one bar to anomer,
without any other n te or rest.

 

18. A dot or point set to the right hand of a note, adds to that note half its
length; and if placed by the first note in the measure, it diminishes from the
succeeding part of the measure, by reducing the next note to a smaller denomi-
nation. If the point° is placed last in the measure, it reduces the preceding note
to a smaller denomination. The point never extends its influence out of the
measure in which it is placed.

EXAMPLE.

A pointed semibreve is equal to three
minims; a pointed minim to three crotch-
ets; and a pointed crotchet to three
qnavers, &c.

 

 

19. A Flat' set immediately preceding
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.

 

c.-

 

 

 

20. A Sharp set before a note, raises it
‘half a tone; Le. causes it to be sung half
a tone higher than it would be without the
sharp.

 

 

 

 

 

 

 

 

-IJT'

21. A natural restores a. note from flat
or sharp to its natural sound.

 

 

 

22. A Slur over or under any number
of notes, shows that they must be sung to
one syllable, gliding softly from one sound
to another. The tails of the notes are
often joined together, which answers the
same purpose as a slur.

T

 

 

we

 

 

 

 

V3:

 

 

 

O We recommend singers to omit accidental flats and sharps. unless they understand them
properly.

OF MUSIC.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A —\
_ 23. A figure 3 over or under three notes, _ 3‘ ——T kTF'T -—-——§———~
is a mark of diminution, and shows that ' 1 -l—l— | - J_§_
they must be sung in the time of two of l .' l I I
the same kind, without a figure. 3 0| d 'r
5.....2
______tr thus
. m...—
24. A Trill shows that the note over ':F:;:F_' ‘
which it is placed should be warbled with l I . I
a soft roll. . ' ‘ ‘ i
25. A Direct shows the place of the ‘W'
succeeding note on the stave. — - ,

 

 

 

26. A Staccato is seldom used in vocal
music. The notes over which it is
placed should be sounded distinct and , __

 

 

 

 

 

 

 

 

 

 

 

emphatically.

27. Appogiatura, or grace notes, are P _
small extra notes added and set before or L I
after regular notes, to guide the voice more ‘

 

 

 

 

gracefully into the sound of the succeed-
ing note.

-28. The Double Bar shows the end of a.
strain or line of poetry, and sometimes
where to repeat. ' .—

 

29. The Hold is without definite bounds;

 

 

 

the note over which -t is placed is always _.___.____-A _ ._._._ _‘-- . ..
held longer than its usual sound, and is to 3:”

be swelled with strength to the centre of T‘”""‘::
the note, then the voice to echo of into -- _.

soft tone. to the end of the note or sound.

 ~:;
‘4.

‘~>«

 

 

RUDIMENTS OF MUSIC. 1 I

 

so. A Repeat shows that the tune is to
be sung twice from it to the next double :
bar or close.

 

 

 

\

31. Figure 1,2, or double ending, 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 second time, as in the
second example.

32. A Close shows the end of a tune or
anthem.

33. A Prisma denotes a repetition of
preceding words. \ H"

34. Choosing notes are notes set one
immediately over another in the same
stave, either of which may be sung, but
not by the same voice. If two persons are
singing the same part, one may sing the
upper, and the other the lower notes.

35. A Syncopation is where notes are driven out of their common order, by
commencing in one measure and ending in the next, and tied across the bar
with a slur, representing the same letter; but if they vary from the same letter,
it comes under the denomination of a slur.

 

[n all syncopated notes both notes are sounded, and but one called by name;
(that is the first.)

 

 

 

'called, viz.: if they all represent the same letter.

 

 

‘»

36. A Uouplet is where two or more notes are tied together in the same mea.
sure, embracing both accents (due to the measure) Within its limits. (it there
be two ;) in this case all the enclosed notes are sounded, and but the first one
But if thev varv trom the

same letter, it breaks the couplet. and is denominated a slur.

+ v

Examples of Coup‘ets.

 

37. Q. What is meant by syncope or syncopeed notes?
A. It is when a note is set out of its usual order, requiring the accent to be
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 two

crotchets, or a crotchet preceding a pointed minim, or a crotchet between two
quavers, 65c. ‘

    

OF THE CLIFF OR CLEFJ‘S.

38. This character derived its name from two Latin words, (Clavis signata,)
signifying a sealed key, and is set at the beginning of every piece of music, and
serves as a key to open the scale of characters, and fully determine their im-
pert. If this character is set high on the stave, the music runs low; while, on
the contrary, if set low, the music runs high; because the letters of themselves
are independent characters, and are thrown above the cliff which stands low or.
the stave, and below the cliff which is set high on the stave, (for instance :) the
F cliff stands on the fourth line of the bass stave, and is a third from the top 01
that stave; and the G cliti‘ stands on the second line of the tenor and treble
stave, and is the third from the bottom of that stave; the alto or counter, occu
pying the precise centre between the other two; thus we see the bass assigned
to the gravest of male voices, and the tenor to the highest of male voices; the
treble to the most shrill female voices; the counter to the gravest of female, and
boys voices; unless the counter be written on the G or F clef, and if so, take the
best and most acute voices of both male and female, and perform it on the
octave pitch. r ,x ; ,

'

   

 
  
  
 
 
  
  
   
   
    

 

 

 

RUDIMENTS ( )l41 M USIC’,

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

    
   
  
  
    
  
  
  
    
 
 
 
 
 
  

22 . .. . .................. . ............ .......... ......... Alt G space above 501
21 ... ..... . .................... .. ........... F——-—fifth1me——— faw
20 ...... .............. g E' fourthspace law
19 . ........ . ........... . ............ 53 —————-——D——fourthiine sol
18 ................ . ............................... ....... . ...... CD 0 thirdspace faw
17 .................. .......... . ............................. .......... ...... B’ thirdline —— me
16 ........... .. ...................... . ........... . .............. . ........ A 2 secondspace law
15 . . . . . . ..... . .............. . . . . ............................................ space above G E second line sol
14 .. . .. . . .. . . .. . ....... . ..... . ................ t———————- fifth line F—————Eq first space faw
13 .. . .......................... :3 fourth space E’ first line of Treble stave —— law
12 ......................................... 53 ,_____ fourth line—D ........ ..... ..... . ........ . sol
11 ....................... . ................. m thirdspace C ....... ........ . faw
10 ......................... space above B' —— thirdline ....... .. ...... me
9 fifth line A-—‘5 second space ...... ..... ..... . ...... law
8 fourth space G 5 secondline . sol
7 g g——— fourth line F-——E"‘ firstspace .. faw
6 g thirdspace E" firstlineofTenorstave————-———-— law
5 m third line—D .................... . sol
4 3 secondspace C NuturalkeyoftheMajm-mode' faw
3 g -—secondline-—-B‘ ——————-——— ....... . ............ ..... me
2 A firstspace Naturallieyofthefllinormode ............. . ....... ....... law
1 ~G—firstlineoftheBass stave-—-— .......... . ...... . ...... sol

 

 

39. The above is a representation of the general scale, showing the connection
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 18th. 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 transposed, will either be on the 2d and 4th de-
grees as above stated, yet with the same propriety we may suppose them on the
.‘th, 11th, 6L0. degrees; for when we refer to a pitchpipe for the sound of either
or the foregoing keys, if it be properly constructed, it will exactly correspond
to the 9th. 11th, &c. degrees of the general scale. Then by descending the
octave, We get the sound of the natural key; then by ascending a 3d, 4th, or
6th, 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 bx said to be properly keyed: but if, on the mmtrarv. after descend-

 

 

ing, we find it difficult to ascend as above, the piece is improperly keyed, and
should be set lower.

Nona—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.

The above scale comprises three octaves, or twenty-two sounds.

E used on the tourth line in the bass, shows that that line is the

The F clef, . .
__ seventh sound in the general scale.

used on the second line inthe tenor and treble shows that mm

_ line, in the tenor, is the eighth sound in the general scale. and

The G clef, in the treble, (when performed by a female voice.) the fifteenth

.sound; for if the treble as well as the tenor were performer

entirely bv men, the general scale would comprise only fifte"

 ll

le

 

 

 

RUDIMENTS OF MUSIC. - 13

sounds; nence. the treble stave is raised only an octave above the tenor, in'con-
seuuence of the female voice being naturally an octave above the male’s. and to
females the treble is usually assigned. The stars (*) show the natural place
of the semitones. 0

is used, (though it has now become very common to
"write counter on either the G or F clefs,) the middle
line in the counter is in unison with the third space in
tenor (C), and a seventh above the middle line in the
bass, &c.

Two sounds equally high or equally low, however unequal in their force, are
said to be in unison, one with the other. Consequently E, on the lower line of
the treble stave, is in unison with E, on the fourth space of the tenor; and E, on
me third space in bass, is in unison with E, on the first line of the tenor, and an
octave below E, the lower line'in the treble. (TSee the General Scale. From
any one letter in the general scale, to another of the same name, the interval is
an octave—as from B to B, D to D, &c.

Agreeably to the F and G clefs used in the generalescale, a note on any line
or space in the bass, is a sixth below a note on a corresponding line or space
in the tenor, and a thirteenth below a note in the treble occupying the same line
or space, (when the treble is performed by females.) fi See the General Scale.
Suppose we place a note on D, middle line of the bass, another on B, the middle
line of the tenor or treble, the interval will appear as just stated; and to find
any other interval, count either ascending or descending, as the case may be.

When the O clef

EXAMPLE.
Treble EH5

    

”stave Dims. 6th. 5th. 4th 34 2d Unison. Octave. Double Oct.

 

 

 

 

In counting intervals, remember to include both notes or .etters, tons: in
counting a sixth in the preceding example, D is one. E is two, F is three, G is
four, A five, and B six. -»

In the preceding example, the notes in the treble and air are placed in unison
with each other. But assigning the treble to female voices, and the air to male
voices, (as is customary,) an octave must be added to the