Partition Complete Book, pour New York Selection of sacré Music; containing a great variety of plain, repeating, et fugue tunes. en Two parties. , partie First contains 120 tunes, of that plain, solid, et devotional style, which is best adapted to congregational use. , partie Second is composed of plain, repeating et fugue tunes. pour whole arranged et intended pour pour divers metres en Wattas, Dwight, Dobell, Dutch Reformed, Rippon, Tate et Brady, Sternhold, Hopkins, et others. Carefully compiled from pour best European et American authors by F. D. Allen

Various

Description

Pratiquez la partition de morceau pour New York Selection of sacré Music; containing a great variety of plain, repeating, et fugue tunes. en Two parties. , partie First contains 120 tunes, of that plain, solid, et devotional style, which is best adapted to congregational use. , partie Second is composed of plain, repeating et fugue tunes. pour whole arranged et intended pour pour divers metres en Wattas, Dwight, Dobell, Dutch Reformed, Rippon, Tate et Brady, Sternhold, Hopkins, et others. Carefully compiled from pour best European et American authors by F. D. Allen Complete Book, psaumes, fruit du travail de Various. Cette partition classique écrite pour les instruments tels que: voix, instruments (some instrumental passages)
La partition se constitue de plusieurs mouvements et l'on retrouve ce genre de musique répertoriée dans les genres partitions avec ouvert instrumentation, psaumes, pour voix non accompagnées, pour voix, orgue, langue anglaise, religieux travaux, hymnes, pour 3 voix, sacré hymnes, hymnes, Compilations, pour voix avec clavier, partitions pour voix, partitions pour orgue, pour 4 voix
Visualisez dans le même temps d'autres musique pour voix, instruments (some instrumental passages) sur YouScribe, dans la catégorie Partitions de musique classique.
Rédacteur: F. D. Allen
Edition: New York: F. D. Allen, 1826.

Sujets

• Classique
• Passages
• Música instrumental
• Some
• Instrument
• Voix
• Various

Informations

• Publié par: VARIOUS
• Nombre de lectures: 41
• Licence : Libre de droits
• Langue: English
• Poids de l'ouvrage: 8 Mo

Extrait

FROM THE LIBRARY OF
REV. LOUIS FITZGERAUD BENSON. D. D.
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL.:OLOGlCAl. SSEMINARY
•*^. ^WtjorIFOUETU STEHEOTYPE EDITION.]
SEP ?0 1932
THE
NEW-YORK SELECTIO
•OF
SACRED MUSIC;
co^'TAI^I]S"G
PLAIN, REPEATING, AND TUNES.A GREAT YARIETY OF FUGUE
IN TAVO PARTS.
ilart iPfrst
CONTAINS ONE HliNDKED AND TWENTT TUNES,
WHICH IS BEST ADAPTED TOOF THAT PLAIN, SOLID, AND DEVOTIONAL STYLE, CONGREGATIONAL USE.
SeconUiiart
OF PLAIN, REPEATING, AND FUGUE TUNES.IS COMPOSED
TKE WHOLE ARRANGED AS'D INTENDED FOR THE VARIOUS METRES IN WATTS, DWIGHT, BOBELL, DUTCH REFOR3IE0,
RIPPON, TATE AND BRADY, STERNHOLD, HOPKINS, ANB OTHERS.
FROM AUTHORS.CAKEFCLLY COMPILED THE BEST EUBO^EAN AND AMERICAN
t^lZ—
BY F. D. ALLEN.
JVEJF-TORK.-
FOR SALE BY F. D. ALLEN, 66 CHATHAM-ST. AND 169 DUANE-ST. ; ALSO, BY THE PRINCIPAL BOOK AND MUSIC SELLEBS IN THE CITY.
1826.Southern DiitrUt of rftTv-YorSc, if.
IT REMEMBERED. That on tlifi tcu;i! • r.y ni A[.iii. in u.*- i^ity.^ixui vr.K fi t:ie iiiJcpend.^.c; oi t.,e l :.!ie-E ^ta^e3 of America, Kf.AXcis U. ALtF.N, of the said Difitrjct, hatli
otlice he n^bt RliertiolB dopositeJ in this the title of a book, I lie claims as propuctor, in the words fullowioe.to T,it:
'• The New-York Selection of Sacred Music; containing a great variety of Plain, Repealing, and Fu^iie Tunes. In Two Parts. Part First coqtaios one hundred and twenty tunes, of that
andidevotional style, which is adapted to congregational use. Fart Second Plain.Ui[i. soliiJ, best is composed Of Kepeating, and Fugue Tunes- The whole arranged and intended for the various
letreiiu Watti. Uwight. Dobell, Rippon. Dutch Reformed, Tateand Brady> Sternhold, Hopkins,andothers. Carefully compiled from the best European and American AuthofS. By F. D. Alien."
"conformity to the Act of Congress of the United ?tnte.s, entitled An Act for the encouragement of Learningby spcuriagIn the copies of Maps, Charts, and Books, to the authors and pro-
And also to nn "rieiors of such copies, during the time therein mentioned." Act entitled An Art, supplementary to an Act, entitled an Act for the encouragement of Learning, by securin'^
'.ecopiesofMaps. Charts, and Hooks, to the author; and prupii«lor* of snuh copies, duiiii.L' the tinoes thereiu meutionediacd cxtendJDj to the arts of designing,the benefits thereof engravingT
and prints.*'•J clcliiDij historical otherA FEW GENERAL OBSERVATIONS.
a good singer, tlic first requisite is a correct ear ; secoiidl}', a quick susceptibility of the efl'ect the poet and com-To coustitute
produce ; and, thirdly, fine voice and capability of expressing the subject.poser wi.^h to a
degree of applause is always bestowed on power and sweetness of tone but to produce eflect on others, the performerA certain ;
the passion with whicli he wishes to inspire his hearers.must feel
who get at the force and meaning of the words,.and pronounce them with the same sensibility of expression as theyThose
in speaking, possess an accomplishment in singing beyond what all the art in the world can conve3'.would
solo singer would always find it to his advantage to read over the words until he understands the meaning of the authorA
he sounds a note by so doing he would seldom fail to give eflect to the whole piece.before ;
Singers, especially in the performance of psalmody, are too apt to neglect the important duty of pronouncing accurately and
intelligibly. Hence we so often hear such mouthing and chewing of words, together with a certain nasal intonation, by which the
subject is frequently rendered as uninteresting to the h^rcr as so many empty sounds. Such singing may very properly be com-
" "pared to those pictures, under which it is necessary to write, This is a Dog," and This is a Horse."
Articulation- and expression form the chief excellence of music without these it may amuse the ear—it may give a little exer-
;
cise to the mind of the hearer-—it may, for a moment, withdraw his attention from the anxieties of life—it may show the per-
former's dexterity, the skill of the composer, and the excellence of the instruments ; and in all or any of these ways it may aflbrd
a slight pleasure : but without engaging the affections it can never yield that permanent, useful, and heartfelt satisfaction of which
it is capable, and which is expected from it. In fact, it is in articulation that vocal music has the preference to instrumental—for,
iswhile the ear delighted, the mind is informed.
music,Ill church great care should be observed in adaptation if the words be cheerful, letthem be sung to a lively or) cheerful
subjecttune—if the be confession or sorrow, a plaintive or minor nir should be This selection, however, cannotchosen. always
with certainty,be made inasmuch as the H\'mns or Psalms are frequenth' written without suflicient regard to unity of subject. It
is not uncommon to find two or three subjects introduced in many verses of the Psalm ; to meet this, it would beas same necessary
to introduce as many diflerent tunes, which would be improper in congregational worship. But still the errors in adaptation
which so often occur in Churches, and which are absolutely ridiculous, arise, either from the carelessness ortoo frequently igno-
rance of the Chorister, "in the choice of his tunes. I have heard the Show pity. Lord, O Lord forgive,"51st Psalm, and
" Lord, I am vile," Sic. "sung to Old Hundred and the 1; 17th Psalm, From that all that dwell below the sky," sung toWindham.
Such toselections, say the least of them, are injudicious.MUSICAL TERMS EXPLAINED.
•Icconh To agree in pitch and tone. The greatest part of these semitones not being in a diatonic
and embellishment. and process, causes, every instant,Adagio. The slowest, with grace form at some discords,
Ad Libitum. At pleasure of the performer. which suspend or interrupt a conclusion, without altering the
order other parts.Allegro. Gay, quick. diatonic in the part or
a soft andAffetuoso. Tender and affecting, requiring delicate Da Capo, or D. C. Close with the first strain.
piece of music consisting of two parts.style of performance. Duett. A
.indante. Somewhat slow, and a performance distinct and Diatonic. That species of music in which both tones and semi-
used.soothing. tones are
Articulation. There is no word in the whole vocabulary of mu- Deminuendo. Decreasing or softening the sound.
loud.sic of more importance than articulation. It applies equally Fort. Strong and
to vocal and instrumental performance; to words and to notes; Fortissimo. Very loud.
between andante and allegro.and includes that distinctness and accuracy of expression, Moderato. A movement
vocal pieces composed in awhich gives every syllable and sound with truth and perspi- Oratorio. A collection of sacred
cuity, and forms the very foundation of pathos and grace. dramatic style.
of musical performers.Allegretto. Not so quick as allegro. Orchestre. The place, or band
strain, which introduces the suc-Appogiature. A small note of embellishment. Overture. Is an instrumental
Alto. Counter-tenor part. ceeding strain.
Air. Generally means wiiat the ear realizes from the melody, Piano. Soft.
parts, in which each part isor harmony. In a special sense, it is the subject or leading Quintett. Music composed in five
part, and should be sung female or treble voices. concertant.by
isin which each partCrescendo. A term signifying that the notes ofthe passage over Q^uartett. Music composed in four parts,
which it is placed, are to gradually swelled.be
voice.f^hromatic. This scale consists in a succession, or continuation Solo. A part composed for a single
of melody that proceeds semitones, as well in descending Trio. A composition for three voices.by
as ascending, which surprising effect in harmony.produces aRECOMMENDATIONS.
with considerable attention, "Having examined, a publication, entitled, The New-York Selection of Sacred Music," by F. D.
we, subscribers, being desirous of promoting uniformity in the Psalmody of the Churches,Allen, the as far as practicable ; and
being persuaded that this "Selection'' has been made with much care and judgment, and wellthat.it is adapted to promote
the important object which the Compiler professes to have had in view, viz. the improvement of the public taste as to style of Sa-
cred Wusic for congregational use, verj' cheerfully recommend the work to the notice and patronage the public.of
Ivev Mii-ledolee, D.D. James Milnor, Armitage, Earle,PmLLrp Rev. D.D. Mr. Benjamik Mr. John
Rutgers College, Rectorrresidenl of N. J. of St. George's Cliapel. President of the New-York Handel Clerk of .St. 'rhonias's Church.
•aud Haydn Society.Gardiner Spring, D.D. 11. J. Feltus, D.D. J. L. Cregier,
Harris Sage,Rector of St. Stephen's Church. Clerk of St. John'sM. Mathews, D.D. Churcli.JAMES
Chorister of the North Dutch Church.Thos. M'Aulet, D.D. L.S.D. S. Cl.\RK,Joseph Mc Elrot. Samuel Earle,Pastor of the Presbyterian Church Chorister of Canal-street Churcli.
W. W. Phillips. in Ruigers-atreet. Chorister of the Middle Dutch Church. Moran,P. K.
Alexander IVI'Clelland, ^VM. Patton, E. W. Morse, Organist of Grace Church.
Professor io DicI;insnD College, Pastor of Broome-street Church. Chorister of the South Dutch Church. Julius Metz,
Carlisle, Fen. Stafford,W. M. Alden, OrganiJrof Christ'