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Partition complète, pour Union Harmony, ou Universal Collection of sacré Music. en Two Volumes. Vol. , - Containing, , pour Rudiments of Music laid down en a plain et concise manner. , A grand et valuable Collection of Tunes, suited to all pour metres now used en pour divers Worshipping Societies en America, many of which were never before published. Vol. , - Containing, A grand et valuable Collection of hymnes, Odes, et Psalm et Hymn Tunes, en Three et Four parties. Adapted to pour Use of American chœurs, et other Practitioners; a great , partie of which were never before published.

De
124 pages
Travaillez les partitions de la musique pour Union Harmony, ou Universal Collection of sacré Music. en Two Volumes. Vol. , - Containing, , pour Rudiments of Music laid down en a plain et concise manner. , A grand et valuable Collection of Tunes, suited to all pour metres now used en pour divers Worshipping Societies en America, many of which were never before published. Vol. , - Containing, A grand et valuable Collection of hymnes, Odes, et Psalm et Hymn Tunes, en Three et Four parties. Adapted to pour Use of American chœurs, et other Practitioners; a great , partie of which were never before published. partition complète, psaumes, par Holden, Oliver. Cette partition classique célèbre écrite pour les instruments comme: 4 voix, 3 voix
La partition propose plusieurs mouvements et est répertoriée dans les genres
  • psaumes
  • religieux travaux
  • sacré hymnes
  • hymnes
  • Odes
  • hymnes
  • pour 3 voix
  • pour voix non accompagnées
  • partitions pour voix
  • pour 4 voix
  • langue anglaise
  • Compilations

Redécouvrez en même temps une sélection de musique pour 4 voix, 3 voix sur YouScribe, dans la catégorie Partitions de musique classique.
Rédacteur: 2nd edition
Edition: Boston: Isaiah Thomas & Ebenezer T. Andrews, 1796.
Dédicace: To the Lovers of Sacred Music in America
Voir plus Voir moins

'%:F46m
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FROM THE LIBRARY OF
REV. LOUIS FITZGERALD BENSON. D. D.
''V
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
JLHiHsioii <S<^0
Section ^SSI
'^#<?^^'^^S$S^S$^^^S$S$B$^^S$^^$^^^%S$S$$$S$^^^^
THE
IONUN A
o II
^mtierfal Colleftion of ^acrrtr
I^jTWOVOLUME S.—V O L. L
Tie Rudiments of Music laid down inContaining 1. a plain and concife manner.
large and valuable Collection of11. i* Tunesj luited to ail the inetres now ufed in tl»e Various worfliipiiinc
Societies in America, many ot which were never before publiflied.
By O L 1 V E k H O L iD E Nf
' Mufick's the cordial of a troubled breaft, The gentle fpcll tliat charms our cares to reft.
The fofteft rtmtdy that grief can find. Add fu'ells witli licaveni)- hope the penfive mini."-^Harrii.
SMCOND EDITION, Vith GoRREc'rioNs and Improvements.
iPu'olilJjeti accorDmg tom of Congrcfe.
PRINTED, ^pjpograjpiitcaUB, &t B S T N;
.V ISAIAH THOMAS and EBENEZER T. ANDREWS,
'i>kftf're. No. Nc-wbury Street, and liy the other BooksellersSold at their 45, in Bojltn ; by Thomas, Son tS" Thomas, ia f*'
the Editor,
I at his Store in Cbartrjlawn ,- and by Tubmas, Anouk »-s ^ Penniman, in AHiany. dec. 1796.
m^m^]^^^^^m¥$^^m^<^^m^-0<0<0<©<0<<3<<3<0<0<0»0'0<0<<2><0^0<0"0«^J0<0'0<%.>0<C«0<<=><0<«e><0''<2^0<
E. A e:R
for Schools and \v»orfliipping Societies, it was thought VnneceflaryIn a work intended only to infert a treatife on
piefeiit practice is adopted,"which, it is expeded, with the afWanceMufic. An improved plan upon the of an able teacher, will be
found fufficient of this work. Since tlie publication of the firft edition of the UVionfor the purpofes Harmony, the Editor in
publiflied a work, entitled "The MassachusettAEflbciation with Meffrs. ami Holyoke, has CompilerGram Theoreticalof and
containing the moft efiential and intereding informationVorPrnilual Elements Sacred Vocal Mufic" conipofers,of teachers and
where no regular profcihon of Mufic has been adoptedj^fuchpraftitioners. In a young country, like ours, a work,^ compiled from
matters, was deemed neceflary.the moft eminent European
expreffing diiterentThe greateft exception in the prefent mode of teaching, is the manner of the pits of the {lave hy/ol,fniv ;
neceflary enable the pupil at all times towhich by no means affords thofe accurate diftin£l:ions to coLirehend the ftate of the
to above -, and the Editor hopes that a.more g?nera\odlave. This evil is remedied in the work alluded acquaintance therewith
the piefent praiflice. \will foon fuperfede the necefilty of continuing
fupply the deficiicyedition are appropriated to original Mufic^ defigneutoA number of pages in this of tunes which cm-
the numerous practitionerschoice of materliJs,. the tafie and- improvement of omjuficbrace two verfes. In the has been a prin-
tl\e pieces which compofe fo large a colleftion, willcipal motive. is not prefumed, however, that all Wt theIt approbation of
of genius and enterprife, it is expecled that. the timea learned reviewer: But as the prefent is an age i^ot far diilant when
improvements, will alfo excel in this fublime art.Americans, fo juftly celebrated for other
encourag-ement given to this work, in the xapid fale of the firft.edition, tlVEditgrGrateful for the uncxpcGcd pledges him»-
defervigtVlf that utmoft endeavours fhall be exerted tq render all future cditi,oiis worthy the patronage of ahis community.
Ckarlistown, '.!') December, 1796."}J.jJjd:'fR U D I M E N T S of MUSI C.
LESSON i.
Tenor and Treble ftave.Bufs ftave. Counter ftave.
o
AFTER the fchoiar has become familiar witli his letters, as LESSON ILthey are affixed to the leveral lines and fpaces on the flave, he
may proceed to ca/l the letters u-hichnotes by the names of the WHERE there are no flats nor fharps, me is in B.
they reprefent, beginning and ending at G, repeating them up
be fharp, me is inBut if B be flat, me is in E IfF p
and down, alternately, until he can recite them readily without
IfB ,ind E be flat, me is in A IfF and C be (Iiarp, rae is in C
the book. In the next them byplace it will be necefliry to Ji/!); If B, E andA be liat, me is in D If F, C -andG be (harp, rae is in O
is in If F, G andD be Iharp,me is inthe names of the letter--, obferving at the fame time that between If B, E, A and D be flat, me G C, D
B and C, and between E and F, is but one degree or half a faw, fol, law, faw, fol, lawAbove me, the notes afcending are, ;
tone. below, defcending, are law, fol, fa^w, law, fol, faw, and then me
N. B. TZi/j- /ej/i)ii 'is great importance to the beginner, and recurs either way.of
befcauld underjlood as the foundation alt inufical knowledgeof Obfcrve, that the femi-tones always found between me andare
and improvements. faw, and law and faw.
LESSONThe clifFis the firft charafter affixed' ta a>LESSON
tune, It is confidered as the key to o,)en theTenor
fcaie of charaflers, and fuHy determines theirScmibre treble
AiTiport. If the cliffbe n-ioved from itsG— ufualKolei—
Counter place (which in fome inftaiic-s it is) it tranf-
Rcfts. ^liiigiil? cliff pofes the whole ftave, by carrying the letter
it naturally (lands on with it. In genei-al theTHE notes and refts thus arrtinged, explain, at one view, the
tenor and treble chtf ftand on G the coun-Bafs cliff ;proportion they bear to each other the
; ifl being twice as long as
ter ortC
; and the ba& on F. In this.Zj"the 2d, the 2d twice as long ns the 3d, tha 3d twice as long as the
collection t!ie cliff is moftly ufedG in all4th, &c.-r-The refts are called notes of filence ; wh never they
the upper parts, being moll convenient inoccur in a tune, the performer is to reft as long as he would be
vocal Mufic.founding the note it reprefenrs.
Set before a note ferves to lower the found-
B.N. According to ancknt tradition, the A flatfimilrevi rejl a iar it:filts one degree, or femi-tone.
all moods.
Set before a note ferves to raife the found-
A {harp * one degree.LESSON IV.
N. B. Both and at the cvginnirg a tune, have tlsJlats fiarpsfet ofIS five lines and their fpaces, calculated to
above iitflnerice thi-cugh the tune, itnlefs contradicfed hy the inter-,
ftave contain the twelve different foundsA or de-
-jerition tUitHral.agrees in ofZZ^ZZZ mufic.
added when^^ notes afcend or defcend be- Reftores a note made flat or fharp to its.A ledger line
^ A nafjral ^yond the limits of the ftave.
primitive fo-and.
Direfts the perfornier to fixig the fame word
Shows how many parts jnove togttlier. A repeat :S:
or [train twice.
Figures At the end of a ftrain, diredt the performer
Imply that as «iany as are tied together underback to a repeat, leavings the note
fliculd be fung to one fyllable. and the notefigure 2 unfung the jlrit time,
un(J?rlaftunder figure i unfung the time, unlefs
Shews the end ofa ftraiii.Adouble bar^iboth figures are connedted together with
a flur, in which cafe both (hould be fung
the laft time.
aflixed to the end of a tune.clofe IsA
hold Gives the performer liberty to continue th?A
found of the note, to which it refers, be- with^^^ fmall notes v/hich fliare the time"iZ"
in-yond its common length The Apoggituras note, according^oj" the fucceeding or principal-^^
fluence this charatter, if rightly man- —of — iituation of the principal.to the length and
-I
aged, is very ple-.ifing. Whenever it oc-
LESSON' V.curs, the fchool or choir fhould difcon-
tinue fweetly onbeating time, dwelling COMMON TIME MOODS.
the found, until the mafter tefumcs the
•— THIS mood is the floM'-ell now in ufe. Crotchets
time in its proper order.
of one fccond toFirfl, are performed, in the time eacli.^2pronounceA mark of pirefts the performer to fing and'
quantity in other not.-s or reds,One femibreve, or its
diltinftion ' the note to which it points, emphatically.
which requires four beats,Jwo down, andfills a bar,
Figure Diminilhes the tiiree notes to which it is3
up. The accents fall on the fail and tiiirdtwo
affixed to the time of two.
parts of the bar.
Adds to a note at the right of which it requires a little quicker movement.A point ~T~ This moodmz
{lands, one half of its original length. fame quantity of notes and rcfts fills a bar. ItSecoud,H2 The
•-^ is beat and accented like the firfl, excepting wheiiDireft^s the performer to fnig all the notes/--^*A flur
principally compofed of minims andwhich the tune isit includes to one fyllable.
in which cafe the method of performing itA direft j^ At the end of a flave, (hews where the fi.fl crotchets,
two beats in a bar is to be preferred.note ftands in the fucceeding {lave. with
movement thanThis mood requires a quicker th?
A bar T Divides the time into equal parts. two beats in a bar; one beat down,Third, lafl, having butQ
one The fame number of notes, or refls, areand up.
* The common mtthodof fliirrirgis fupcr/luous an^! inconvenient ; it is there- fall therequired to each b-u". The accents on firfl:
ioie dilcmitinucd \\'hcri- the notes are tied togethtr. And where a ch;iin of tied but princip.dlv on t'fie firll,:\:iJ third n.irtj of the bar,
notes include a fuccctding note in the fame fj-Uablc, a ijitrt ii.ur i. to cunt11(1.4
^ Tiiistheiji. . - 'niA'
'}~r This iricod requires a ftill qiiicker movement, LESSON VI.
Fourth,^ having but one n>iaim, or its quantiiy of other notes, A KEY in mufic is the principal note or tone to which the
-^ in a bar, which are beat,and accented like lait,the whole piece is accommodated, on which the bafs always ends, and
only one third quicker. from which the pitch of the tune fliould be taken. There are but
two keys in mufic, viz. the major and the minor. The major keyTRIPLE TIME MOODS.
'<is adapted to e^prefs die cheerful andpafllons, the minor is ex-
THIS is the floweft movement in tripb time.21
preflive o? the folemn ami pathetic."^Firfl;, Three minims fill a bar, which requires three motions
To determine the key of a tune, find the lafl rote of the bafs^ of the liand, two down, and one up. Minims, in and if the 3d above contain femi-tones it is major, if but it is4 3,
this mood, fliould be performed in the f>^,me time as
minor. See the following esamples.
crotchets in the firfl: mood of common time. The
Ex. I. Ex. 2. Ex. 3. Ex. 4.
accents fa!! on the firfl; part of the bar.
Majar Key. Minor Key. Minor Kej-. M:ijor Key
Contains three crotchets in a bar—beat and ac-
J3(J S~i:Q:lS=£=i:Qll3:EE:=fl3:|EL -5
cented like the firfl.—about one third part quicker.\^
:£:-z:ii—±iz:±=:=ii-:o;§r^ji=::i;Q:9:?J
2-1rp, • , ^ Contains three q.uavers in ab'.r—beat and acceijt- 2 2 2 1 2 2-
'
' ' Xi ed like the fecond—nearly one third quicker. The cyphers under the notes fliew the diftance of each from the
preceding, ex.i. e. from .C to D, and from D to E, in the ift
COMTOlTNj:) TIME MOODS.
are two fctni-'ones each, which confl;itute the major 3d. But E
THIS mood contains 6 crotchets in a bar, of two being flatted in the 2d ex. the 3d is reduced one degree, which
equal three Eaclr motionr^^'^j beats, down, and three up. makes the minor 3d. In the 3d ex. from B to C is but one femi-is!
requires one fecond of time. It is accented princi- tone, of confequence the 3d is minor ; but in the 4th ex. C is
pally on the aril: and fourth parts of the bar. fiiarped, which adds one degree to its original diftance from the
key note, and is conftituted the major 3d. Thus the o£lave is—Contains fix quavers in a bar ^beat and accented
the pleafure of the compofer,fubjefted to a continual change at'& ^^^^ ^^^ 1"'^—about c^ne quarter part quicicer.
the ftate of which fliould comprehended by the pupil, in orderbe
CTi" In beating time, the hand fhould fall hi the Crft, and rife in to perform fatiefadion to himfelf and pleafure to tliem whswith
the lafl pitt of the bar, in all moods. kear.
•Obferv^Obferve, that whatever letter the me is tranfpofed to, the fame rule Of PRON NC I T IO N.U A
determining the key, as the foregoing exam-is to be obferved in \^ GOOD pronunciation is one of the firft and principal ber.uties
and as long as the prefent mode of fol-faw-ing exifts, theples ;
of finging. The mouth ihoukl be opened freely, but not wide ;
major key may be known by the name of faw next above tne^ and
either extreme would dellrov a good tone, and prevent jull ex-
belowthe minor by law next me.
fingerspreffion. Many who read and fpeak tolerably well, are
exampleN. B. Theji>-Jl note in each is the key note. extremely erroneous in their manner of pronouncing fomr" par-
ticular words, when they are fct to mufic for inilance, the words
;
token,renfoii, hearken, &c. which have but one accent, are, often
THOROUGH knowledge of the preceding leflbns is indif- fung rea-zoti, hear-ken, to-ken, v.'hich is very difagreeable and im-
neceffary the attainmentpenfably ; of them will fufliciently proper. AVords which end in pie, hie, &c. arc often falfely ac-A
qualify pupil for pra£iice. In the next place he proceedthe may cented on the Lift fyliable, which renders them thus, pel, hel. Sec.
•tofome plain tune, on the major key. Teachers of mufic il'ould Words ending iu with a. few exceptions, fhould be pronouncesl-,^y,
fetting thattake great care in the flrft out, their fcholars contract as ending in e, or fliort /. The / fliould be illent in ivalh, it^y
difagreeable habits ; becaufe much of their future proficiency ;no calm, &.C. In fine, tlie beft dire^lion which can be giver, is this
and manner of performance, depends on the firft impreffions. let every word be fung diftinctlv, fnioothly, and gracclLilly, evelT
Performing by the words (hould not be introduced until the fchool way conformably to the belt rules of fpeaking.
attained to a jaft notion of tmie and found, andhas can read any
Of ACCENT.tune by note and letter, without embarraflrnent.
Every performer flioukl have that part afligned to him v/hich he ACCENT is another very important part cf i-iuHc, which ii
perform witli the greatefteale othcrwifecan ; tlie performance infeparably connerted with good pronunciation It is properly
will be unnatural, and confequently unpleafing and no
; performer an agreeable fwcll or force of the voice ; but it is often erroneoul
(hould fing a folo, or i'.ny other flrain Vidiich belongs to a different ly applied to the notes, more like marks of dtftinihon ih^.n other-
part, without particular defire. One voice en a high part, gener- wife. If the pDeti*y be good, and the miific well adap:ed to it,
ally requires two or tliree on the bafs, i. fchoole. a or choir ihouk't the accents will fall on thofe parts of the bars, in the diiiereat
have more than one half the voices on the bafs. Where this is moods of time, which are pointed out in tiie fifth leflen but;
not pradlicable, a violbafs wouki be of great fervice, if the perfon where the rnufiC does not coincide with the proper emphaf.s of
who ufes it is thorough in the knowledge of the i.iftrument.. the. words, it ruQiild give way^ or bend to the words. Norhinircommon th.ni fa'fe accenting, the pri-'cipal occafion ofis more Of SYNCOPATlOIil.
"vhich is harih or loml fmging. Many fingers make two accents
IT is very difficult to do juftice to the compofition where notesmore piiitlcularly on pointed note in binary time,Oil one note, a
are driven through bars, and otherwife interfere with the natural
immediately precedes a fuge or repeat, which they breakwhich
courfe time nnd accent, withoutof an able inftruf'jor. The com-
off with Uich violence, as is truly iljocking to a delicate ear. This
mon praftice is very injudicious and erroneous. In the 3d
tetuis prevent and gracefulinjudiciouj praftice efletlually to /oft
.rmood of com.r, : time, where a minim (lands between two crotch-
and renders the moft pleafing conipofitions difguil;ful tofinging,
it is commcn to perform like fourets, them crotchets, which de-
fhc au.iience. Were it poilible for a performer of cofn/nan tafte,
ftroys the intention of the author, and greatly injures the words
;of har-t<> hear hLnifelf at a dillance, thus violate the niceft rules
particularly where the firft crotchet and fuccceding minim are
be guilty of it a fecond time. A pointedinon-', li-^ would not
flurred togetlier, the^' fliould fung asbe fmooth as poffible, in or-
which fills tln-ee fourths of a bar, notwithltanding it includesnote
der to prevent a fecond accent on the word or fyllable to which
femi-tv.'O bar accents, caniwt confiftently receive but one. A
they are adapted. The fame precaution is neceflary in all moods
gently fwelled to the centre, and di-brcve fliould be ilruck jbff,
whereverof time an inftance of this kind occurs.
the endi number of long notes, driven throughminilhed to A
bars, Ihould be founded full 3.xiAfmooth to the end. A chain of Of SOFT SINGING.
apart untilnotes be fung/c,'?, keeping the lips and teeth
IN a fchool, or choir, where foft mufic is fuccefsfully incul-
hniihed.the fiur is
cated, it would be difficult for an attentive obferver to point out
Of TIM E. many mufic is accompanied withimperfections. Soft always
care is neceflary that the liand do not graceful motion, juft expreffion, proper accent, and captivatingIN beating time^ great
voice, b) creating mifplaced accents, which is al- harmony. On the other hand, harlh linging is attended withirtfluence the
pronunciation, Jnifappiied accent, and a.moft r.n univerfal error. To prevent this, avoid all violent mo- convulfive motion, bad
the hand or finger fufficient to pre- difguftful jarring. The latter is too jull a defcription of thetion the Icafl motion of isj
No ilrain fliouJd ht fung any fafter in the quickefl preient mode of finging, occafioned in a great meafure by a mif*ferv'i time.
confilts prin-mood of time, than will admit of plain, diltintl pronunciation. taken idea, which many entertain, that good mufic
are to fing harjh and cipally in finging loud but jull the reverfe of this is the cafe.By hurrying a piece of mufic, performers apt ;
confequencc of which, the beauty of the fubjeft is ob- In performing fortes and fortijfimos, the voice fhould not be ex-uneven, in
in performing pianos thefcured, and confufion introduced. Hence vi>e learn tliat the tended beyond its natural elevation ;
as will juftitibjecl and occafion ilio^i'd govern the movement* voice Ihould be reduced to as fmall 3, degree of found,

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