Partition complète, pour Missouri Harmony, ou a Choice Collection of Psalm Tunes, hymnes, et hymnes, selected from pour most eminent authors et well adapted to all Christian Churches, singing schools, et private societies. Together avec an Introduction to grounds of music, pour rudiments of music, et plain rules pour beginners.

Various

Description

Visionnez la partition de musique pour Missouri Harmony, ou a Choice Collection of Psalm Tunes, hymnes, et hymnes, selected from pour most eminent authors et well adapted to all Christian Churches, singing schools, et private societies. Together avec an Introduction to grounds of music, pour rudiments of music, et plain rules pour beginners. partition complète, psaumes, de Various. Cette partition de musique classique écrite pour les instruments suivants: voix
La partition est constituée de plusieurs mouvements et l'on retrouve ce genre de musique classifiée dans les genres études, Compilations, partitions pour voix, hymnes, hymnes, langue anglaise, pour voix non accompagnées, religieux travaux, psaumes, sacré hymnes, pour 3 voix, méthodes, pour 4 voix
Consultez dans le même temps une grande sélection de musique pour voix sur YouScribe, dans la rubrique Partitions de musique classique.
Rédacteur: Allen D. Carden
Edition: Cincinnati: Wm. Phillips & Son, 1846.

Sujets

• Classique
• Voix
• Various

Informations

• Publié par: VARIOUS
• Nombre de lectures: 35
• Licence : Libre de droits
• Langue: English
• Poids de l'ouvrage: 13 Mo

Extrait

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T0 OR A COLLECTION OF
PSALM AMD HYMN TUNES, AND ANTHEMS,
itFROM EMINENT AUTHORS: •?
ITH AN INTRODUCTI^ONTO THE GROUNDS AND RUDIMENTS OFMUSIC
.BY ALLEN D. GARDEN.
TO WHICH IS ADDED 1
A SU P PLE M E N T,
'JTAtUfNG A NUMBER OF ADMIRED TUNES OF THE VARIOUS ANDMEJRES, SEVERAL CtOICE PIECES, SELECTED FR03
SOME OF THE MOST APPROVED COLLECTIONS OF SACRED MUSIC. i
BY AN AMATEUR.
it
CINCINNATI:
PRINTED AND PUBLISHED BY WM. PHILLIPS & SON.
STEREOTYPE EDITION.
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y^:
H^ NY;OR A COLLECTION OF
PSALM AND HYMN TUNES, AND ANTHEMS,
FROM EMINENT AUTHORS:
WITH AN INTRODUCTION TO THE GROUNDS AND RUDIMENTS OF MUSIC
BY ALLEN D. GARDEN.
TOWIIICHISADDED
A SUPPLEMENT,
CONTAINING A NUMBER OF ADMIRED TUNES OF THE VARIOUS METRES, AND SEVERAL CHOICE PIECES, SELECTED FROM
SOME OF THE MOST APPROVED COLLECTIONS OF SACRED MUSIC.
BY AN AMATEUR.
CINCINNATI:
PRINTED AND PUBLISHED BY PHILLIPS AND REYNOLDS.
LATEST IMPROVED EDITION.
1846.Entered aecording to Act Ciiiigri-?s,of in tlie year 1936,
By MORGAN AND SANXAV,
in the Clerk's Office of the District Court of Ohio.—
PREFACE.
solemn tunes, in unison with the spirit and design olThk objeoi of this setectiop is to supply the churches with a competent number of slow and
acquainted with the selections in common use, will deny.worship. That sa?h a compilation was needed, no person of piety and taste, who has been
exercises, so delightful and becoming, it seemsAs the great author ofour existence has been pleased to favor the human family with devotional
times, and under the Jewish dispensation,reasonable that they should be encouraged and supported th'-oughout ail our divine assemblies, in former
honor dwelleth. Nay, they seemthose expressions of homags were directed by the holy spirit of God, as peculiarly becoming the place where his
: — nnto the Lord all the earth—i-vcn to have called on their fellow worshippers to join in this important duty O sing unto the Lord a new song sing
who dailyit is agood thing to give thanks vnto the Lord, and to sing [iraises vnto thy name,O thou most high." IIow astonishing to behold ! people have
and sit,opportunities ofopening the sacred volume and contemplating the delightful raptures of the worshippers of o'd, come into the house of God,
Redeemer,either with their mouths shut, or grinning at some vain and idle speculation, while the devout are singing the praises of their
heaven, isft was the remark ofan eminent writer, too applicable to the present day,that "the worship in which ws could most resemble the inhabitants of
churches; toothe worst performed upon earth." Tliere appears too much trulh in this observation; too often does a disgraceful silence prevail in our
haaoften arc dissonants and discord substituted for the charms of melody and harmony. True it is, that there are individuals among us, that providence
greatnot blest with singing faculties; but will not truth oblige the most of us to confess, that the fault rests not in the want ot natural abilities, but in a
carelessness and neglect of our own?
This booji will be offered to the puljlic in three parts— first containing all the church music now in use; the second, the more lengthy and elegantthe
pieces, commonly used in concert or singing societies; and lastly the Anthems. Teachers would do well to begin with the first tune in the book, and
pursue them regularly as inserted.
None but those who have made the attempt, know how difficult to compiler had higher aim; an effort to benent tficchurohit is satisfy all. The has a
ind discharge his duty. lie now leaves the work with serious dedicates to the service of Himthe and candid, andhumbly it
"Whose eye is on the heart;
"Whose frown can disappoint the proudest strain
""Whose approbation prospereven mine—
•niK UA.MUT, OR GKMiRAI. tCAl-i:.
22 G space above sol
31 fifth-line-K -faw
SO fourth space
19 -sol
18 C third space faw
17 B* —third-line —rai
16 - A I second space lav7jj
15 G space above"S ^—second-line —sol
14 F Sfth-Une first space fawfi
13 spacefourth -first-Iine-of-Treble-Stave- -law
12
11 -ill
10 space above
fifth-line A- law
fourth space G ral
-fourth-line F fawm
third space E* law
—third-line D— sol
C second space J^alural key Vie Majorof mode. faw
B*— second-Hue
Erst space Jfatnral key ofthe Minor mode.
la- -first-line-of-the-Bass-Stave Ecl
tZiThe foregoing scale comprises three octaves or 22 sounds. The F cliif used on the fourth line in the Bass, shows that that line is the 7th sound in the general ecale
TheG cliffWg used on the second line in the tenor and treble, shows that that line, in the tenor, is the 8th sound in the general scale, and in the treble (when
pei15 sounds bercefermed by a female voice) the 15th sound ; for if the treble, as well as the tenor, were performed entirely by men, the general scale wou^d comprise only :
the treble stave is only raised an octave above above men's, and females the treble is usuall)that of tenor, in co'.isequence that female voices are naturally an octave to
assigned. The stars (*) show the natural places ofthe semitones.
When theC cliff is used, (though it hasnow become very common to write counter on either the G or F cliffs) the middle line in the counter is in unison with fli«^9
third ipatfe in t&uor, (C) and a seventh above the middle line in Uie bass &,cMUSIC.GROUNDS OF 5
Three octaves being more than anycommon voice can perform, the bass is assigned to the gravest of men's voices—The tenor to the highest of men's, and the treble to
?he female voices.femnle voices ; tlif! coimler (when used) to hoys and the gravest of the
Two sounds f?c|iially hi^h, or eiiually low, however imcqiial in their force, are said to be in unison, one ivith the other. Consequently E on the lower line in the treble
stave, octave belovIis in unison with E on th? fourth space in t)ic tenor; and E on the thini space in bass, is in unison witli Eon the first line of the tenor, and an E the l.iwer
Unr in the General scale, another of the same name, the interval is an octave—as from B to B. DtoU,&c.treble. (f^'See the General Scale. From any one letter in the to ,
Ai-teeiihly cliffs Scale, a note on any line or space in the bass, is a sixth below a note on a corresponding line or sp:ce in the tenor,to the V and G H=ed in the General
and a 13th below a note in the treble occupying the same line or sjiace, (when the treble is performed by females.) QrJ^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 eitlier
iiseending or descending, as the case may be.
EXAMPLE.
Treble. ^S-A
Unison. Octave. Double Oct.Glh.
and B six.Iioth sixth the above example,D is one, Eis two, Fis three,G is four,A five,In counting intenils, remember to include notes or letters—thus in counting a in
voice*, (as 19above example, the treble and air, in unison with each other. But assigning the treble to female voices, and the air to men'sIn the the notes in are placed
more acute a man's,] the interval theucustomary,) an octave must be added to the notes in the treble, [as previously observed of a woiuan'o voice being an octave than
note B in the treble, a thirteenth above Din the bass, i,c. Observebeing the bass and treble—in the first bar, would bo a Cflcentli or double octave -in the third bar, the on
octave fcninth; an octave a tenth; an octave and a fourth make an eleventh ; an octave and a fifth, a twelfth; anthat an octave and a second make a and a third make
Treble, ""•a sixth, a thirteenth ; an octave and a seventh, a fourteenth octaves a fifteenth, &c. always including both the first and last note. .g- ""'"^ '"
; two
the bass stave,When a ledger line is added to a treble stave, a note occupying it is said to he in all; and when the notes <lescend below J Bass,
•they are termsil doublet.
' Double-^ F. Double -^-E.f^
INTRODUCTION TO VWV.6
TERMS Mir WHICH THE DiFFEKEXT INTERVALS IN THE GAMUT ARE UKNOMCSATED.
1. An intervul coiii|Xi3ed of a tone anil a semi-tone, as from B to D, is called a minor IhirJ.
Si. An interval composed of two full tones, as from faw to law, i3 colled third major.a
:^=i:
'i. An interval composed of two full tones acd a semi-tone, as from mi to law, i. frcm Be. to E, is called a fcurth.
i. An inter\ul composed of three full tones, as from faw to mi, i. e. from F to B, is called a tritoi'. or fourth redundant. ^
5. An interval composed of three tones and a semi-tone, as from faw to sel, i. e. from C. to C, or from G to D, is called a fiftli :aa^
fi. An intenal composed of three tones and two semi-tones, as from law to faw, i. e. from E to C, is called a sixth
minor.
^-7. An interral composed of four tones and u semi-tone, as from faw to law, i. e. fromC to A, is called a sixth major. ^^
^ or
\
'''8. An interval comnosi d of four tones and two semi-tones, a; from s,d to faw, i. e. from D to C, i? nall-j,! ^^i 7t!i minor. | See ntxl c