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COLLECTION

OF

CHURCH

MUSIC.

то WHICH ARE PREFIXED

A NEW AND COMPREHENSIVE VIEW OF "MUSIC AND ITS NOTATION;" EXERCISES FOR
READING MUSIC, AND VOCAL TRAINING; SONGS, PART-SONGS, ROUNDS, ETC.

THE WHOLE ARRANGED AND ADAPTED FOR

Choirs, Singing Schools, Musical Conventions

AND SOCIAL GATHERING S.

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BOSTON; CROSBY, NICHOLS, LEE & CO.; PHILADELPHIA: J. B. LIPPINCOTT & CO., AND E. H. BUTLER & CO.;
CINCINNATI: W. B. SMITH & CO.: CHICAGO: ROOT & CADY.

Entered, according to Act of Congress, in the year 1860, by
MASON BROTHERS,

In the Clerk's Office of the District Court of the United States for the Southern District of New York.

PREFACE.

Ir is four years since the subscriber completed and issued the "Sabbath Bell;" since then he has been occupied much of the time in composing, arranging, and selecting music for this work; and it is now offered to teachers, choristers, and singers, with the assurance that it has, at least, been carefully and laboriously prepared.

Attention is respectfully called, first, to the "Singing School Department," which is believed to be unusually full and complete. In this department will be found a new and admirable presentation of "Music and its Notation," by Dr. LoWELL MASON, who is eminently the great philosopher and teacher of this subject, and who has done more than any other man living to render logical and perspicuous the subject, nomenclature, and arrangement of the elementary principles of vocal music. In "Practical Exercises," and in "New Music for Singing Classes," will be found, it is believed, such exercises, songs, part songs, etc., as are calculated not only to benefit but to interest the singing class, and make the work of both teacher and pupils agreeable and satisfactory.

The main topics connected with the subject of vocal training or cultivation of the voice are brought to view in a condensed form, and will, it is hoped, be understood and found useful.

There will be found quite a number of new HYMNS, in company with "The Shining Shore," which are intended for social and home singing. They will, however, no doubt, find an appropriate place at times in the choir and the singing school.

Of the Sentences, Motets, Anthems, Choruses, and Chants, the subscriber can only say that it has been his endeavor, in them, to provide well for the various circumstances and occasions when such pieces are wanted.

Attention is called to the typographical appearance of this work, and the arrangement by which the new tunes are printed, generally with one part on a staff, without diminishing the amount and variety of music in the book.

Attention is called also to the new Index for Teachers, which, it is hoped, will be found useful.

To Dr. LOWELL MASON, and Mr. WILLIAM B. BRADBURY, especially, the editor of this book would express his obligation for valuable assistance and contributions, and he would not neglect to offer also his grateful acknowledgments to other friends from whom he has received aid; much really excellent music that was sent for publication did not find a place in this work simply because there was of that particular meter or style more than

In the Tune Department, practice for the choir as well as worship in the church, has he could print. A pamphlet, by Dr. MASON, entitled "How shall I Teach ?" and a drabeen provided for, and music for "all the people" has not been forgotten.

The odd meters are thought to be unusually complete. They are distributed somewhat irregularly through the latter part of the book, to save room, but are arranged in order in the Metrical Index.

matic cantata, by the subscriber, called "Belshazzar's Feast," or the "Fall of Babylon,” were to have been embodied in the "Diapason," but on account of the pressure of other important matter are printed separately.

NEW YORK, June, 1860.

GEO. F. ROOT.

ELECTROTYPED BY

SMITI

& MCDOUGAL,

82 & 84 BEEKMAN-ST., N.Y.

EDA KUHN LOEB MUSIC LIBRARY

HARVARD UNIVERSITY

PRINTED BY

C. A. ALVORD, 15 VANDEWATER-ST.

In Ward

A522149

BY LOWELL MASON, Mus. Doc., UNIV. N. Y.

CHAPTER I.

ANALYSIS OF TONES.

§ I. Distinctions. (Realities). An analysis of Tones, (musical sounds), will make it apparent even to the untutored ear, that certain differences naturally exist between them, giving rise to the following DISTINCTIONS: they may be 1st. LONG or SHORT.

2d. Low or HIGH.
3d. SOFT or LOUD.

NOTE. The word Tone is always used in this work to denote a musical sound, and never an interval.

§ II. Properties. (Realities). Hence tones have three essential PROPERTIES, qualities, or conditions of existence :

1st. LENGTH.

2d. PITCH.

3d. POWER.

§ III. Departments. (Incidentals). As there are three distinctions arising out of the nature of tones, and as every tone, therefore, has three essential properties, so it is convenient to divide rudimental music into three corresponding DEPARTMENTS:

1st. That which treats of length
2d. That which treats of pitch
3d. That which treats of power

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RHYTHMICS.

MELODICS.
DYNAMICS.

NOTE 1. Rhythmics, from a Greek word signifying "to flow,"-measured movement. Melodics from a Greek word signifying "a song or poem,"-a tune. Dynamics, from a Greek word signifying to be able,"-power. The plural form of these words is taken as the name of a department, because in this technical use of them is comprehended every thing that arises out of the property of which they treat. Thus, Rhythmics comprehends all rhythmic things, or whatever may be derived from the pri mary fact that tones may be long or short, or that length is a property of tones, including also rhythm, or the structure of phrases, sections and periods. Again, the term Melodies includes every thing that may proceed from the primary distinction of low or high, or from the property of pitch. The word melody, in its common use, is much more limited, and refers only to a pleasing succession of tones, or to a tune-form. Dynamies also embraces not only the mere force of tones, but also their form of delivery, or whatever in utterance, independent of length and pitch, belongs to musical expression, or has power to move the feelings.

NOTE 2. When the foregoing lesson has been properly given, the intelligent pupil will be conscious that with respect to the distinctions and the properties (both existing in the nature of tones), he has come to the knowledge of the facts through his own powers of observation and reflection. He knows, not because his teacher or any one else has told him, not because he has learned from a book, but bo cause he has heard tones as produced by others (vocal or instrumental) and has himself also produced them. The distinctions are known to him, principally, through the mere sense of hearing. But in coming to the knowledge of properties, he has been obliged to appeal mostly to another power; his examinations, comparisons and decisions, in this department, have been rather the work of reflection and reason. In the departments (existing not in nature, but which are only conventional), a still higher power has been called into action; the facts of usage in relation to these, with their technical appellations, have been learned, not from mere sense, nor from a reasoning process, but have been received on testimony; the teacher has told him and he has believed. Thus, in the first easy lesson an appeal has been made to the three grand avenues of human knowledge, the outward senses, the reasoning power, and faith.

CHAPTER II.
RHYTHMICS.

§ IV. Measurement of Tones. (Realities). The length of tones is measured by a division of time into equal portions.

§ V. Measures and parts of Measures. (Names). (Names). The portions into which time is divided are called MEASURES and PARTS OF MEASURES.

NOTE. Measures and Parts of Measures are to music what days, months, and years (also portions of

time), are to the daily occupations of life, or to history.

§ VI. Length of Measures. (Realities). Measures may be of longer or shorter duration; they have no absolute length.

§ VII. Accent. (Realities). The first part of a measure should be accented, the second unaccented.

NOTE. While it is important that rhythmic accent should be observed, its constant! mechanical, or drum-like recurrence is stiff, ungraceful, and repulsive to good taste. Such an accent belongs mostly to music of an inferior character, or to that which makes its appeal to the mere external sense. The march and the dance are much dependent upon it, though in the better forms of these classes of music, it is often concealed by higher properties, for a short time or as long as the feet may be trusted without it. Rhetorical accent or emphasis, or that which belongs to emotion, expression, or to poetical thoughts or ideas, on the contrary, is essential to a tasteful or appropriate performance, and should receive much attention. The rule, therefore, which has just been given, is one to which there are many exceptions. § VIII. Measures Indicated. Measures and parts of measures may be indicated as follows: first, to the ear, by counting; second, to the eye, by motions of the hand called BEATS, or BEATING TIME.

NOTE. The rhythmle principle may be manifested to another sense, the touch, but this is not needed for musical purposes.

• The pamphlet entitled "How SHALL I TEACH ?" containing Hints and Directions with regard to "MUSIC AND ITS NOTATION," and intended especially for teachers, will be sent to any address, by the publishers, on receipt of twelve cents in money or postage stamps.

§ IX. Manner of Beating Time. (Incidentals). In beating time, (two part
measure), a downward beat is usually made for the first part of a measure,
and an upward beat is made for the second part of a measure.

NOTE 1. When the pupils are learning to beat the time, it is well for them to count and beat simul-
taneously; or, while they make the proper motions of the hand, let them also describe those motions
by repeating the words downward beat, upward beat, or, (for a quicker movement), down, up.

NOTE 2. It is also an excellent practice in beating time to dispense with the common form, (move-
ment of the hand in different directions), and to substitute a single vibratory motion, being the same
for each part of a measure. This is frequently done by the conductor of an orchestra, who is often seen
indicating each part of a measure by a double beat, or vibration, consisting of a quick downward motion
and an instant rebounding of the hand or baton to its original position.

§ X. Notes. (Signs). The relative length of tones is represented by characters
called NOTES.

NOTE. The word tone is always used in this work to signify a musical sound. The word note is never
used to signify a musical sound, but always to signify a character representing a musical sound. A tone
may be heard but can not be seen; a note may be seen but can not be heard.

§ XI. Representation of Measures; Bars. (Signs). Measures are represented by
interspaces between vertical lines, or BARS. Bars mark to the eye the bound-

aries of measures.

NOTE 1. The term bar is often used to signify a measure.

NOTE 2. In simple vocal music, as common psalmody, in which, being syllabic, measures are clearly
Indicated by the poetic feet, it is not important that this usage in barring should be observed, or that
written measures should be always separated by bars; it may be cften more pleasant to see a page less
filled with unnecessary characters, and to preserve a correspondence between the barring of the notes
and the stanzaic form of the poetry. It may be convenient, also, to bar the notes in accordance with
meter, so that two, three or more measures may be included, representatively, between two bars; e. g.,
in the ordinary common meter stanza the notes may be thus barred in accordance with the lines of the
poetry, so that in some cases between two bars may be found, perhaps, six notes (three double meas-
ures) and in others only four notes (two double measures.) The rhythmic form of the tune in such
cases is so very simple that an indication of measures to the eye is not needed; guided by the poetry
(always a good guide in vocal music) there is no danger of error. From the grouping of tones into
measures comes rhythm, a reality, indispensable; but this lies back of the signs of measures, and is in
felt and accurately observed, although not indicated by barring.

no way dependent upon notation, Measures, and the relations of measures, (rhythm,) may be quickly

§ XII. Resting. (Realities). A part of a measure, a measure, or more than

measure may be passed over in silence, and this is called RESTING.

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§ XVIII. The Staff. (Signs.) The scale is represented to the eye, or the

relative pitch of tones is indicated, by a character consisting of five horizontal

lines together with their four intermediate spaces, called THE STAFF.

§ XIX. The Staff. (Signs.) Each line, and each space of the Staff, is called

a DEGREE; thus the staff contains nine degrees, counted upwards from the

lowest, there being five lines and four spaces.

NOTE. The word degree, as applied to the Staff, is used to mean point, place, or position; thus there

are nine degrees, by which pitch may be indicated, or on which notes may be written. The word is

also used in connection with the Scale; thus the Scale is said to proceed by successive degrees, or di

grado.

§ XX. Additional Lines and Spaces. (Signs). The compass of the Staff may be

extended by additional lines above or below, called LINES ABOVE, OF LINES

BELOW, Or SPACES ABOVE, or SPACES BELOW.

NOTE. Added lines are also sometimes called LEGER LINES,

§ XXI. Notes. (Signs). In addition to what has already been said of notes,

(§ X), they are used to indicate the order of the succession of the pitch of

tones.

§ XXII. The Scale Represented on the Staff. (Signs). The scale may be repre-

sented (written), on the staff in various positions; thus either line or space
may be taken to indicate the tone One, but when the degree of the staff indi-
cating One is determined, the other tones must follow in regular order.

NOTE. It should be fully understood that the scale has not necessarily any fixed position on the
staff, and pupils should become practically familiar with it in various positions. But in singing from
these different positions, let the same pitch (C), bo retained: 1st, Because it is highly desirable that the
pupil should become familiar with absolute pitch. 2d, Because it is desirable that he should not be
erroneously taught that a change of position necessarily implies a change of pitch. 8d. Because it
is desirable to prevent in the mind of the pupil the association of absolute pitch with the staff.

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§ XXIII. Syllables. (Incidentals). In elementary instruction, especially as as represented, one of the letters indicating absolute pitch is used as a clue or aids to those who are beginning to learn to sing in classes, the following key, and when thus used is called a CLEF. syllables are used in connection with the tones of the scale, for the purpose of suggesting relative pitch:

Written-Do, RE, MI, FA, SOL, LA, SI, Do. Pronounced-Doe, Ray, Mee, Fah, Sol, Lah, See, Doe.

NOTE. The principle is that of mental association; after a little practice each syllable becomes so strongly associated with the pitch of the tone to which it is applied as to recall it or bring it up quickly

NOTE, Clef is a French word signifying key; thus the clef-letter is a key to the representation of absolute pitch upon the staff.

§ XXIX. Clef letters. (Signs). The letters most commonly used as Clefs are G and F.

§ XXX. The G Clef. (Signs). The G Clef is placed upon the second line, to the mind, and thus the pupil is enabled to produce the tone with ease and accuracy. This use of the and determines the pitch of that line to be G; consequently C, (One of the syllable has been peculiar to England and America, though it has been introduced in Germany, where C scale) must be represented by the added line below. See Examples 13 the one syllable, LA, principally prevails. In Italy and in France the same syllables are used for a very different purpose, or for the same purpose for which letters are used in Germany, England, and America, viz.: to indicate absolute pitch. The Scale names, ONE, TWO, THREE, etc., may be used instead of the syllables, but the latter are preferable on account of their more euphonious character. The use of the syllables in singing is called Solfaing, or singing by Solfa, Singing to the single syllable la, or ah, or to any open vowel, is called vocalizing.

CHAPTER IV.

MELODICS.

and 14.

§ XXXI. The F Clef. (Signs). The F Clef is placed upon the fourth line, and determines the pitch of that line to be F; consequently C, (One of the C scale) must be represented by the second space.

NOTE. It should be understood that a Clef is merely a letter differing in shape from its ordinary form.

§ XXXII. The C Clef. (Signs). The letter C is also used as a Clef, and when thus used it is applied to different degrees of the staff, especially to the

8 XXIV. Absolute Pitch. (Realities). Abstract pitch, or that which is inde- first, third and fourth lines. See Practical Lessons 17, 18, 19.
dent of scale relationship, is called ABSOLUTE PITCH.

NOTE 1. The G and F Clefs, in modern music, are always placed upon the lines mentioned above
(Secs. 81, 82), not being removable like the C Clef.
NOTE 2. Originally all the seven letters were used at once as Clefs, being all placed at the commence-

§ XXV. Absolute Pitch. (Names and Signs). Absolute pitch is named from. the names of letters, and is indicated by the letters themselves, as A, B, C, D, ment of the staff. E, F, G.

§ XXVI. Model Scale. (Realities). The primitive or MODEL scale (by which is meant the first in the order of classification), is based upon the pitch C, or C is taken as One, and the order of tones is as follows:

C is One, D is Two, E is Three, F is Four, G is Five, A is Six, B is Seven, and C is Eight.

NOTE 1. C is repeated for eight because when the scale is extended the tone, which in its relation to those which are below it is eight, in its relation to those which are above it is one. This will become plain when the scale is extended, or repeated at a higher pitch.

NOTE. 2. This has been called the natural scale, but the name is inappropriate, since the pitch C is no more natural than any other. It is called by some writers the Normal scale, and by Spinola the Typic scale.

§ XXVII. Common Position of the Scale. (Signs.) There are two positions in which the scale is most commonly written upon the staff: First, The tone One being represented on the added line below. Second, The tone One being represented on the second space.

NOTE. In instrumental music various other positions are required; the two here mentioned are suf. ficient for the common purposes of vocal music.

CHAPTER V.
RHYTHMICS.

§ XXXIII. Prolonged Tones. (Realities). A tone may be prolonged so as to occupy two parts of a measure, and thus a new form of measure is obtained. § XXXIV. New Note. (Signs and Names). The prolonged tone is represented by a note differing from the one which is already known, and may be called a LONG, or a LONG NOTE. The previous one may be called SHORT. § XXXV. Form of Measure or Rhythmic Classification. (Incidentals). The first the PRIMITIVE FORM. form of measure, having one tone to each part of the measure, we may call

§ XXXVI. Rhythmic Classification Continued. (Incidentals.) The second form of measure, or that in which one tone is so prolonged as to occupy the full measure, may be called the DERIVED FORM.

§ XXXVII. (Incidentals). Derived forms of measure are obtained from § XXVIII. Clefs. (Signs). To determine the position and pitch of the scale primitive forms, by uniting the different parts of the measure in a longer tone.

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