Partition complète, pour Rural Harmony, being an Original Composition, en Three et Four parties pour pour Use of Singing Schools et Musical Societies

Jacob Kimball

Description

Redécouvrez la partition de musique pour Rural Harmony, being an Original Composition, en Three et Four parties pour pour Use of Singing Schools et Musical Societies partition complète, psaumes, par Kimball, Jacob. Cette partition classique écrite pour les instruments suivants:

• voix

Cette partition enchaine plusieurs mouvements et l'on retrouve ce genre de musique répertoriée dans les genres pour 3 voix, sacré hymnes, pour 4 voix, pour voix non accompagnées, partitions pour voix, méthodes, hymnes, hymnes, psaumes, langue anglaise, religieux travaux
Retrouvez de la même façon tout une collection de musique pour voix sur YouScribe, dans la rubrique Partitions de musique classique.
Edition: Boston: Isaiah Thomas and Ebenezer T. Andrews, 1793

Sujets

• Classique
• Voix
• Kimball

Informations

• Publié par: KIMBALL
• Nombre de lectures: 24
• Licence : Libre de droits
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

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HARMORURAL
BEING ANIf
COMPOSITION,ORIGINAL
PARTS.In THREE and FOUR
and MUSI-CAL SOCIETIES.For theUSE of SINGING SCHOOLS
4£KIMBALL, a. b.BY JACOB Jun.
The man 'vho has not nuilicin his foul,
And is not niov'd by concert of fwcel (biindSf
Is fit for treafons, (Vratagenis, and fpoils
;
motions of his fpirit are dull as nioht,It The
his attentions dark a^ Erebus.—SHAKrsTEARE.And
to aft of €on9Tcf0.lyutJltfljgD accorDing 11
PRINTED, n B S T N,•C?po5"P')iMnjf, ^
BY I S A I A H T HOM A S and E B E N E Z E R T. AN D R EW S. ^\
attheif BnoUrtore, No. Newbury Street; by fjid Thom.<« in Worcester anH by the Bdoksellei; t in Bo»ToK,«nd elfevihere.—lycfj.Sold 45, { ^|^^1<CK)0'<>0<0«0'>g>''0'0°0->C><>Q''0«OBO<'g>«0»OoO-»0«'C>iOi»0'>0'>0>C>')0'>€>'^'>€>'>Oi
PREFACE.
"where notyet become a regularprofejjion, it cannot be expeSfed that a comportionIN a country mufic has of
interejl, thethis kindcanJiand a rigid criticifm ; but as every attempt tofubferve the or to encreafe innocent
pleafures the community, piiblic patronage, the author thefolloiving wori, withoutfurtherof deferves of
apology, prefejits it to the public eye.
Hehas aimedat originality in his compofitions, andendeavoured to deviate (as as hedeemed it able)far ju/iif
the cotnmonjlyle "where he hasgiven into it, he has attempted to improvefrom ; it by aparticular attention to
the harmony.
who have encouraged the nvork are thanked, are ut"Thofe byfubfcriptiony refpedlfully and ajfuredthat the
rfiofl pains have been taken to render the work correal fuch errors as efcaped obfervation in the execution oj;
are noticedj(, in the errata..
The authorJincerely laijhes that thepur the workmay deri'vefujicientadvantage it, to com-chafers of from
penfate them their that he and bisfor expenfes ; butjhould the reverfe be true^ be nuill as fncerely lament
friends have mijlaken his abilities.
TopsFiELD, Novem. 1793.—
ART of SINGING.to theINTRODUCTION
U S I C in GENERAL.Of M
• theirit demonflrates and explains truepleafing founds —As a Science,'A conGfts in a fucceffion ofTUSIC
^ri;,"it teaches their proper expreffion.relation and juft difpofition;—as an
or xnis fingle fucceffion of founds otherand harmony. Melody a ;mufick IS comprehended in melodyAll
founds at the fame time. Moduia-is the combination of feveralthe air of a piece of mufic. Harmonywords, is
of the Melody and Harmony.iuR arrangement of the founds bothtion is'the
attention toupon a due thefemufical founds are, Time and Tme ;primary and moft effential qualities ofThe
art.variety of the muficaldepends all the pleaGng and infinitetheirjudicious management,diainaions, and
MUSIC.or SCALE ofOf the GAMUT,
are calledcalled whole, and twoin the fcale five of which arebut feven diftinft degrees of found ;There are
delcentthe degrees of afcent orfound will be the fame, andfemi-tones. Every eighth from anv givenhalf or
ipacesare reprefented on lines andfounds. Thefe feven foundsin eflPea a repetition of the formerfrom it, will be
plaoes on them arc as followletters of alphabet theirby the feven firft the ;
Tenor, or Treble.
Sol.La. GMi.
-Fa.Sol. F-La.
La.Fa. ESol.
-Sot..La. D— -F»'.m Fa.Sol. CLa.
. Mi.
• Fa.-SoJ,
La.Ml.
Fas ri
-Sol.-U.i-Mi.
Fa.Sol.
La.
-La.-Fa.-Sol.
Fa. TH8fcale is dividedTHE into three parts ; each part, con fifling of five Hnes, with their fpaces, and diftinguifhed
with called a flave.a cliff, is
firft is »iThe divifion called the Bafs Have ; its cliff is thus marked and is called the F cliff—it is always placed
—on the fourth line from the bottom,
The fecond divifion of the fcale is called the Counter flave ;—its oliff is thus maiked is called the cliff.M^nd C
It is commonly placed on the middle line of the ftave. This cliff, however, is moveable, and may be placed on
eithtr of the five lines or fpaces that line or fpace which paffes between the two tranfverfe ftrokes, will and
; be C,
all the other letters of the fcale will be in regular fucceffion above and below it.
The third and laft divifion of the fcale the Treble or Tenor ftave its cliff is isis called ; marked thus and
fy
called the G cliff ; its place is invariably on fecond line from the bottom.the t^ ,
There are but four names of notes reprefenting founds, viz. Mi, Fa, Sol, La ; of which Mi is the principal,and
governs all the reft and when is of
; Mi found, the order the notes above it will be Fa, Sol, La, Fa, Sol, La ; and
below Mi, La.Sol, Fa, La, Sol, Fa, and then Mi recurs, either way.
It hasT»een before obferved, that of the feven degrees of found in the fcale, two are femi-tones their naturalj
places are between B and and fituation, however, and Oiarps, whichC, E and F, Their is often varied by flats
tranfpofe Mi from B, its natural place Fa,; in all which cafes the femitones will be between Mi and Fa, and La and
as in the natural fcale.
TABLE—• e
SHARPS,MI, by FLATS andof the TRANSPOSITION ofTABLE
Mi on B, its
C,& GA & F (harp F and C F,natural place. B, E and B.E,
(harp Mi C, G and Dflat Ml Mi on fharpMi F.Tenor or Bflat Mi B&Eflat A flat Mi D
on G. (harp Mi on D.on Gj, F. on C.Treble, on E. Mi on A. on D. Q-*=——— .»-*-9- —
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examples, with fuitableflats, and alfo by (harps but the foregoingMi may be tranfpofed to other places by ;
to illuftrate the matter. *attention to the fo'lowing rule, will be fufficient
be a fourth above, or afifth below the one lafl added and Mi willA flat nk ift be placed a fourth above, or a ;
Mi Js always on theabove, or a fourth below the one laft added—fifth below that.—A fliarp mufl be placed a fifth
letter laft (harped.
MUSICAL NOT^S, with their RESTS.The
bars Reits.De'miremiquavcr. 2 Wars 4 bars 3Mini Crotchet. Quaver Semiquaver.Semibreve.
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thiThe following the oY the minate length with the notes by which they are callediScale will fhew Proportion
other. and which they reprefent.Notes to each
- . Contains MUSICAL CHARACTERS and TERMS, withSemibreve
their Explanations and Uses.
b of a tune re-A flat A FLAT at the beginning
Minims. note, finks itgulates the Mi ; before any it
half a tone from its natural pitch.
beginning offtiarp This charafter alfo, at theA «
it is placedCrotchets. a tune, regulates the Mi ; when-4
tonebefore any note, it raifes it half a
•from its natural pitch.
toNaturJkl This charafter is never ufed, unlefsA k- - -- - *niini ofcountera6l the efFeft of one or the other
na-the foregoing, and reftores a note to its
tural pitch. When it is placed in oppoG-
- S