THE generous reception of the "Harp of Judah," as well as the favor manifested by the public towards the Author's former works, removes all necessity for an apology in presenting another volume of Church Music. This is not an old book with a new name, since the pieces are, with few exceptions, entirely new, having been written expressly for this work. For years it has been our aim to elevate the standard of Church Music, which has greater claims upon us than any other; and the time spent in the preparation of this work will not have been wholly lost, if successful in this effort, and if we shall have assisted any in their honest attempts to "PRAISE THE LORD." IN THE SINGING SCHOOL DEPARTMENT Will be found a great variety of exercises arranged in a progressive manner, which we think will prove to be both interesting and useful. This department also contains a good variety of light music for the use of CHOIRS, MUSICAL ASSOCIATIONS, and the various occasions where such music is needed. In the HYMN TUNE, and ANTHEM department, we have labored long and earnestly to present such music as, when properly rendered, tends to make the services of the Sanctuary both sublime and impressive. The odd metres have received especial attention, and there are a large number of short Anthems, Sentences, and Chants suitable for opening and closing of service, funeral and other special occasions.⚫ The Appendix contains the most familiar and favorite standard church tunes for Congregational use. L. O. EMERSON. Entered, according to act of Congress, in the year 1866, by O. DITSON & CO., in the Clerk's office of the District Court for the District of Massachusetts. A. B. KIDDER'S MUSIC TYPOGRAPHY 1467 54-132 30 MUSICAL NOTATION. CHAPTER I. 1. The prime elements of music, are RHYTHM, MELODY and HARMONY. RHYTHM is the regular measurement of motion in the movements of music, or the regular recurrence of accent, which gives character and expression to it. MELODY is a succession of pleasing Musical Sounds. HARMONY comprehends all the relations and combinations of Musical Sounds. § 2. Music is represented by certain characters called NOTES. § 3. Characters indicating silence are also used, called RESTS. Every note has its corresponding rest. 13. There are four kinds of measure used in music, each kind deriving its name from the number of parts into which it is divided. Thus a measure having two parts, accented on the first, is called DOUBLE MEASURE. It is indicated by the figure 2,* and requires two motions of the hand, or beats, called beating time. The first a downward beat, the second an upward beat. § 14. There may be as many varieties in all the different kinds of measure as there are kinds of notes. EXAMPLE. What kind of measure? Which variety? How many beats? Which is accented? No. 1. PIPPIPPI Down, up, Down, Up, Down, Up, Down, Up. One, Two, One, Two, One, Two, One, Two. No. 2. 2 Down, up,down,up,down, up,down,up. One two, one, two,one,two,one,two. NOTE 1. The above exercises are performed in the same manner; they differ only with respect to the kind of notes with which they are represented. 4 THE SINGING SCHOOL, THEORETICAL AND PRACTICAL. Which variety of measure? § 15. A measure having three parts, accented on the first, is called TRIPLE MEASURE. It is indicated by the figure 3.* and requires three beats; the first down, the second left, (to the left,) the third up. No. 8. 4 ; One. two, three, four, One, two, three, four, One, two, three, four, One, two, three, four, Down, left, right, up, Down, left, right, up, Down, left, right, up, Down, left, right, up, NOTE 3. The above exercises in Quadruple Measure, differ to the eye only. § 17. A measure having six parts, accented on the first and fourth, is called SEXTUPLE MEASURE. It is indicated by the figure (6*) and requires six beats; the first and second, downward beats, the third, left, the fourth, right, the fifth and sixth upward beats, or there may be three downward, and three upward Down, Left, Úp, Down, Left, Up, Down, Left, Up, Down, Left, Úp. One, Two, Three, One, Two, Three, One, Two, Three. One, Two, Three. NOTE 2. Triple Measure is the same in effect, whether it be represented with half, quarter, or eighth notes. § 16. A measure having four parts, accented on the first and third, is called QUADRUPLE MEASURE. It is indicated by the figure (4,*) and requires four beats, the first down, second left, the third right, (to the right,) the fourth up. THE SINGING SCHOOL, THEORETICAL AND PRACTICAL. § 20. The SCALE is a series of eight tones in a particular order of succes- sion. These tones are named from the names of numbers; ONE, Two, Three, FOUR, FIVE, SIX, SEVEN, EIGHT. The Italian Syllables, Do, RE, MI, FA, Sol, LA, SI, Do, are also applied to the SCALE. § 21. The difference of pitch between any two tones, is called an INTER- VAL; as from 1 to 2, from 4 to 6, &c. 22. The distance from any tone, to that next above or below, is called a SECOND; as from 1 to 2, from 3 to 4, from 4 to 5, &c. 23. As the scale is composed of eight tones, there must necessarily be seven Seconds; of these, five are large, and are called MAJOR SECONDS; the remaining two are small, and are called MINOR SECONDS. The MINOR SECONDS occur between 3 and 4, and 7 and 8, or their corres- ponding Syllables, MI, and FA, and SI, and Do, all the others are Major. § 25. When more than nine degrees are wanted, short lines above and be low the STAFF are used, called added lines. § 24. The Pitch of tones is represented upon the STAFF, which consists of five parallel lines, which, as also the spaces between them, are called DEGREES, shows the end of a strain of music, or a line of poetry. D 1. C. Re, Do. is used to connect the parts designed to move together. § 34. A Close denotes the end of a piece of music. CHAPTER IV. PRACTICAL EXERCISES. No. 1. Commencing on one. F E D C C 6 7 7 8 5 5 5 6 D E F G G G G A A Do, do re, re, mi, fa, sol, sol, sol, sol, la, la, 1. Music, source of boundless pleasure, Give us, give us 2. On the pil-grim path before us, We would join the 3. Till we enter thro' the portal Of the home of No. 2. Commencing on three. 59 |