Partition complète, David's Companion, being a Choice Selection of Hymn et Psalm Tunes adapted to pour words et measures en pour Methodist Pocket Hymn-Book, Containing a variety of Tunes to all pour Metres that are now en use en pour different Churches: avec many new Tunes, Principally from Dr. Miller, Leach, et other composers. Selected by J. Evans.

Various

Description

Visionnez les partitions de David's Companion, being a Choice Selection of Hymn et Psalm Tunes adapted to pour words et measures en pour Methodist Pocket Hymn-Book, Containing a variety of Tunes to all pour Metres that are now en use en pour different Churches: avec many new Tunes, Principally from Dr. Miller, Leach, et other composers. Selected by J. Evans. partition complète, sacré hymnes, fruit du travail de Various. La partition de musique classique écrite pour les instruments comme: 3 voix, 4 voix
Cette partition compte plusieurs mouvements et est répertoriée dans les genres Compilations, langue anglaise, pour voix non accompagnées, hymnes, psaumes, religieux travaux, pour 4 voix, sacré hymnes, pour 3 voix, partitions pour voix
Découvrez en même temps tout une collection de musique pour 3 voix, 4 voix sur YouScribe, dans la catégorie Partitions de musique classique.
Rédacteur: J. Evans
Edition: New York: J. Evans, 1808.
Dédicace: the Rev. Messrs. Cooper, Wilson, Bishop, and other Ministers of the Methodist Episcopal Churches in the city of New-York.

Sujets

• Classique
• Voix
• Various

Informations

• Publié par: VARIOUS
• Nombre de lectures: 96
• Licence : Libre de droits
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

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FROM THE LIBRARY OF
REV. LOUIS FITZGERALD BENSON, D. D
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
3M1
~>1 latrJI
•""Ift-iTVrdBffl'i*?S
DAVID'S COMPANION.
BEING A CHOICE SELECTION OF
AND PSALM TUNESHYMN
ADAPTED THEWORDS AND MEASURES INTHETO
METHODIST POCKET HYMN-BOOK,
-:-'• 'Tunes all in use in the differenceContaining a variety of to the Metres that are>~noto hurches : mth many new {§!•
•s£j: Leach, otherTunes, Principally Dr. Miller, and composers.from
$£m EVANS.SELECTED BY J.
to the Rev. Messrs. COOPER, WILSON, BISHOP, and other Minister! of theRespectfully dedicated Methodist
York.Episcopal Churches in the city of New-
O SING UNTO THELORD A NEW SONG"—VS\LMS.
and Sold by EVANS, No. 222 Greenwich-street Also sold by at Mr. Wilson's bookstore, 2*9 Pearl-NEW-YOR&f Published J. No. ^
I
^i* street, Dando's, No. 11 Maiden-Lane, andby C.Totten, No. 155 Chatham-street.S. J.
•%$ 1808.
:
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1 T i^v*ff.yfyjM»,»it'f»«»,"r*.»»f ,v,»*"iiiitiit iinif\i"iMi 'fH' iiiiiiiFiMirint**vriir**iii**m*f*"f""iiitif"""MifM"i
iINDEX.
7s. Eastwood, 7i767776, 59S 25 8 lines 8s andAngels Song,CommonMetn
£
25* Clarks, 76767876, 60Millicent, 74Complaint,. . 1Melody,
Street, . . . 40 Mystery, 76767776, 61Judgment, 2(5 Jewin2Mount Pleasant,
Leeming, 76767876, 6C3 Bromley, . 27; Tabor,
6 lines 8s.Truro, . 28 ? \4 .Salford,
^
.Pastoral, .... 41 Irene, 667777, . 63285 Magdelin, .Syria, . .
Helmsley, 878747, .63Plymouth Dock, . . 426Cyprus,
of Abraham, 123d Psalm Tunc, . 43 GodShort Metre.Faikworth, 7 64
44 66846684, .Martin's Lane, . . J29Hallelujah, S Ailesbury, . .
Langdon, 11.12.11.12. 65Congleton, 45Falcon Street, 29Weston Favel,
Street, 66Careys West 11.9.11.9,.... 46Lisbon, 3«Bedford, 10.
Charriot ofLove, 1 1 .9. 1 1 66New Bradford, . . 46 .910 St. Ikmard, 30Bethel,
67Derby, 10.5.11, . .31Chimes, 11 Rippon,
s New-Year's-Day, 10.5.11. 686 lines 8s and 6sAppleton, . 31Old Windsor, 12
Willoby, .... 47Watchman, 32-Wisbeach, or 34 Ps. 12
' New Trumpet, 666688, 77St. John's, , . 47.Leeds, Georges, 13 Orpheus, . 32or St.
Edinstow, 666688, . . 79Rochdale, 48. . .Hope, . . 33Frooine, 14
69Lenox, . .Mount Zion, . . . 49Missionary, 14 Alinwick, . 33
Portsmouth New, 666688 70
Abridge, . 15 71Greenwich 666688,10, 10, 11,11.Divizes, 16 4 lines. 7s.
Redemption, 666688, . 72!Portuguese, 80.Irish, , . 13 Mount Hermon, .1
Geard, . . 50Feversham, . 34
Bermondsey, 6646664, 73s Hanover, 51. .Long Metre. Harts, . . . 35
Millicent, 87878787, 74.Harmony, . 52
. Townhead, 36New Sabbath, 17 .
Christmas Hymn, 10s. 75v Supplication, 53.Wells, 17 Cookham, . . 36. . % s
Bristol, 86458, . . . 7S
Stratton, . 53
•; S .Bramcoat, . is
Trumpet, 77S New 666688
Portugal, 18 6 lines 7s. *, s Hope, lines 7s.) 78(6 .
Bridgewater, 19 Rest, . . . 37 8 lines 85.
Edinstow, 666688, . . 70
Fountain, 20 Petersfield, 38* Shepherds Lover, 54
True Elijah, 7718, . 80
Old Hundred, 21 Barnard Castle, 38 Sion, . . . . , 55>
Nortwich, Hope,21 . . . 78 Gildersham, . . , 56?
Quay Street, 22 Middletown, 57?. . Funeral, . . . ,40)
Calvary, .. . 23
Infancy, . . 24, Ilotiiain, 7s.) Amsterdam, 58("8 lines 39 76767776,
s \Plain and Easy
INTRODUCTION.
To the Science, of
M USI C
For the Use of J.Evans's School.Singing
Lesson 1.
The Gamu t.
E-"Scale ofor E The r;f MusicGaaut or Stale-»
Music
&: Sia.es on which arejConfists ofLines
^Er $^ TD iEG.plactdthestSeven Letters viz-A.BC 7;
Ba
C tbeas often asv\hich are repented^-*~
E
^D-
Voice will auir.H..thecompass of-B-.
ofA new, concise,& comprehensive Scale Music.
Notes. Rests. Letters. CommonTime.Tripie mood. RrpeatsJTlatfSharp*Cliffs.
isns, B*^ ^S G3 **$%*witVi \mvz ;#W
\EE
Double SingleNatuiLals. Dot-. Pause. Direct Ortave.s Slur. Trill Tye . . Fifth.Third. Clofe.
- * BarArLX T O-^SS ±s
EC^ m
Lesson 2
Cliffs
G F
The Three Characters the Scale VI »in • "
"i'
Cliff. And always placed onof Treble or Gcalled The First whicn is theare Cliffs,
ihe Second Line,
Fourth Line.The the or Bass Cliff,andis always placed on the is F
brinylnytheThe Third or one, for purpose ofC Cliff, Is a moerable the
use.by ModernMusic within the Compass of the Five Lines, but is out of'
Cliff.Composers, And Counter and Tenor fing from the Gthe.
3
Lesson 3.
Staff.
C DEFGA3CDEFG
Five Lines tnd intermediateThe Spaces compose
or Staff of Music, on which placedthe Stave areJJ
rrr,ijuJJ^ Letters, which is the firstthe Cliffs and thing to
The short linesplacedbelearned, through the
the stave^JJrrrrrjjjj above or below are calledNotes
CGABC Liiie*i.C DEFGAB Ledger
Lesson 4*
Names the Note s andtheir Proportion.of
"~ ~ ContainsSenfibreve 1 - - ~1 -©
Notes&their Rests.
1/ Minify?2 ;Contain 64,J I- 2 -821 4 8 16
- ~ - Contain*4 Crotchets ( [- J., .1 ^
-~C™™unsQuavers±*L1J.9 ft fr-
A Rest denotes silence tobe hel?«fc
16Semil
as long its respectiveNote Sounded.is
32 Demi Semi Qaavers
!Lesson .5.
Vlats Sharps & Naturals.
A Sharp placed before any Note makes it half$ a Tone higher than.it naturally is.
A Flat make-!*p a Note half a tone lower.
A Naturaltjbrings »them to Sound.their Original
Repeats.
Repeats are marked ftj^jthus ,*S*. or ^ST. or they tell you the Strain from
where they ar placed must re be Repeated.thi s ma;!;''//' is whentlic words ire to be
',Repeated. Bars.
Bars the Single to devideBars areput theTime. The Double^F* Bars are
<** "n *~*>placed at the End of any Strain or Verse tye. A Slur two or more Notes
together that may be Sungthey to one fyllable. A Pause O lenghtens a Note
over which it is placed beyond its ordenary time*
Lesson 6\ Of Time.
divided are different degrees of SwiftnessTime is into Common and Triple,but there to each,
which is denoted by marks set at the beginning of Tunes called Moods.
Marks Commonof Time. Marks of Triple Time.
Slo* Quick reryQuick QuKkest
3E SS K£ 3 ^^ A S 5i CommonTime contains an number in Bar, AllEven number,TripleTime anOdd ai
to a Semibreve,Thus Common Time contains one femibrevethese marks haVt reference or
Notes top time tells youor Rests equal to the lenghtthof one femibreve, The figure in triple
Q
the number; the tellsthe under figure the nature of the notes in a bar. thus. 2 you'tts§
of aMinims because 2 minims make one femibreve,the 3 tells you there are3 them in
femibreve,bar, Crotchets, crotchet make oneThus thtS4 tells you 'tis because four s|
and the Quavers called3 three ofthemtoabar and so three in a bar &c: a^ o* VIf
time, Note. A Semibreve is founded as moderately count four, along as you^iffi*
*Dot Note makes itadded to a half as long again.n
E xample s
1'.* mood.mood. 2? mood. 3? mood. 4^
Commoi
Figure 3 placed
1 A
1 "*''^'rrTi r'"'*rfrrfrt" any three Notesover
Triple 2
t cgjyTime 'lHrrrllfl rcMBi flTfW
ofExample I Dotted Notes \. Denotes they aretobe^
Tri the t ofSungin ime
Ti Two.
Lesson Time.7 of BeatingCommonTime.
Time.Triple
XJD U£— TT tj^^ D /> D TT D-fl— TT D ttff_ P ." U
. • .*? _. p?__ r m .. .? „
'
r^Tr r
inrr i^u i | ir-c.firnrrri'P
iM|J|InCommonTime thehand or foot mu*t go ?Townat thebegining of a har&v7?at the'.
6
middle, In Triple Time the hand must go down at the beginning and vrp at the end or
third •note,
Oc t ave s»
These Seven letters contains the Sum isof Mufic,and called Octave, if theVoicean ascend
afecond Octave, the letters and founds are Repeated the fame the first.as
Lesson8.Tones& Semitones.
^Hbo' the octave ofconsists eight tiotes yet they arc not all wholeTones,Two ofthem
*Te only Semitones Vi z ; The Fourth and Eight ascendsExample Ascending.
ing,as in the Example,where the halftones are feen bythe
half black andTreble white notes, An nice Ear25 will, discover
where they are by hearing eight Bells Ting,And the
Voice in Ascending and Decending, 1 2 5 64 7 83
will naturallyBass strike them, in their proper pi stc-es
Descending they—.j fall.. v..on the ">„ tut seventhICMU1 IIUUHIQ,andV third, 111fcll the\
reSt are ^nole tones,Example this isDecending, called the Major Key.W— In theQ. 4— Minor Ke/ the Semitones-— are on the third &
ipTreble «i*th ascending and on the fifth and second descend*I I
jJ '"•"• Ing. Note:-inff. in r,scendin<r in thUK»v«h» «w + >. «^,iascending In this Key the sixth and
seventh must be raised by placing an artificial
fharp before them.Bass
Example,
±
)!or !M in r r'r.'fJJ nmmeble Bass