Il I.l^`!. '.l..

A COMPILATION OF
l`!!`l I!lI ^!'!
COMPRISING A GREAT VARIETY OF METRES,
Harmonized for Three and Four Voices:
TOGETHER WITH A COPIOUS EXPLICATION OF
THE PRINCIPLES OF VOCAL MUSIC.
EXEMPLIFIED AND ILLUSTRATED WITH TABLES,
IN A PLAIN AND COMPREHENSIVE MANNER.
BY JOSEPH FUNK AND SONS.
And the ransomed of the Lord shall return and come to Zion with songs and everlasting joy upon their heads;
they shall obtain joy and gladness, and sorrow and sighing shall ee away.ISAIAH
TWENTY-SIXTH EDITION
Goshen, IN
2008
THE HARMONIA SACRA
Edited, designed, and typeset by James Nelson Gingerich.
Copyright 2008 by Harmonia Sacra Publishing Company.
International Standard Book Number: 0-9840601-0-3
All rights reserved.
Printed in Canada by Pandora Press.

TllI.l
WHEREVER man inhabits the earth the power of music is felt and acknowledged. This inuence of sweet sounds, like most
other gifts of our bountiful Creator, may be so used as to be the instrument of much good, or perverted to the purposes of deep
and extensive evil.*
As it would be a most pernicious error to imagine that the love of music is the same thing with Christian piety, so it would
be a mistake of no triing magnitude, to deny the utility of music in awakening and strengthening our devotional affections.
That utility has been demonstrated in every age by the happy experience of those who have aspired to hold communion with
the Father of mercies. And it is a fact as consolatory as it is remarkable, that while Christians are lamentably divided in many
articles of their faith and practice, they all agree that God should be praised in musical strains; and that, when the heart goes
with the voice, this is one of the most delightful and edifying parts of His worship. Hence, in addition to those divine songs
with which it has pleased the Holy Spirit himself to ll many a page of the Inspired Volume, and in imitation of them, a great
number of the servants of God have employed the talent He has given them, in furnishing materials for this branch of worship,
adapted to the manifold situations and emotions of the pious mind. And similar exertions have been made to supply a large
and variegated treasure of music, suited in union with those poetic materials, to express and to heighten our religious desires,
hopes and enjoyments. By these COMBINED MEANS, we feel more intensely and more protably, that in God we live, move, and
have our being; that all our blessings are bestowed by his paternal kindness, and that our everlasting welfare results from his
redeeming love towards us in Christ J esus our Lord.
*MUSIC, though consecrated to the service of the sanctuary, and capable of good improvement in subserviency to devotion, has been, and is often,
wretchedly abused to the vilest purposes. It should, therefore, be used in religious ordinances with jealousy and caution, lest it should produce a false
fervor, and subserve the cause of vice, delusion, superstition, or enthusiasmDR. SCOTT.
TllI.l
4
Since the rst Edition of the GENUINE CHURCH MUSIC was brought before the public, some changes in music have taken
place; among which, the practice of applying seven different syllables to the seven original sounds or notes of the scale has
gained considerable ascendancy, and is worthy of notice. And as this mode of solmization has become so prevalent, we think
it advisable to adopt it.
But as we are well aware that the patent note system is far preferable, and has many advantages over the round, we have had
the three notes, to which the three syllables DO, RE, and SI, are applied, also characterized in a uniform style with the others,
so that the singers are enabled to apply the syllables to them on sight, with the same ease as they do to the four characters. By
this method the repetition OF FAW, SOL, and LAW, in the scalewhich has been objectionable to someis avoided, and may be
deemed an improvement.
Moreover, as the principal motive and intention in bringing out this work is to promote the cause of religion and devotion, and
a solemn, dignied, and expressive style of singing in the Church of God, we have, for the greater convenience of worshiping
assemblies, divided it into two parts. The FIRST PART containing a variety of the most appropriate tunes and hymns of the
various kinds of metres to be sung in the time of public worship. And these are arranged in metrical order, forming a series of
metres from Long Metre, or Metre First, throughout all the different kinds of poetic measures up to Metre Eighty. This order
and arrangement of the metres will be found very convenient for the chorister, in selecting suitable tunes for the psalms and
hymns which are to be sung by the congregated worshipers.
The SECOND PART is composed mostly of longer tunes, set pieces, and anthems, whose rhythmical construction is somewhat
more intricate and difcult to perform. These are more particularly adapted to be sung in Singing-schools and Societies, though
they all abound with solemn and devotional matter, not unbecoming a worshiping assembly in the house of God.
But notwithstanding the different changes and the new arrangement of matter as now presented, the great mass of the musical
and poetical compositions are identical with those in former Editions, to which a number of tunes and hymns of a later date
have been added, which we trust will be found of equal merit with those dignied, solemn, and heart-affecting productions of
musical genius which have stood the test of time, and survived the changes of fashion. Such music, with its sublime, owing,
TllI.l

melodious style and pathetic expression, will never become obsolete IN THE HOUSE OF GOD; it cannot even lose a particle of its
interest, while human nature remains unaltered. No frequency of use can wear out these venerable airs with the Zion traveler;
no fondness for novelty can make us insensible to their sterling merit. Other pieces which are added, will be found, we doubt
not, to possess much attractive beauty, and have been selected with a view to the singing of Psalms and hymns and spiritual
songs, constructed in a vast variety of poetic measures.
The Rudiments and elucidations of the science of Vocal Music, which succeed this preface, have cost us much research and
labor; and for the acquisition of which, many standard works on music, both german and English, have been consulted, together
with our own knowledge and experience, gained from teaching for a long series of years. And no pains have been spared to
lay before our readers, in a plain, familiar, and comprehensive styleillustrated by examples and tablesevery thing that is
necessary in acquiring a practical knowledge of the science of Vocal Music.*
In conclusion, that this work may be instrumental in promoting, in some degree, the praises of Him, the Triune God and
everlasting Father, whom angels adore, and to whom all the redeemed incessantly sing high hallelujahs, is the fervent wish of
THE 19
TH
CENTURY COMPILERS.
*Although this work is principally intended for vocal performance, as the notes are formed in a different gurate manner, to facilitate the learner in
applying the syllables to them; yet its elementary principles are equally applicable to instrumental performance, as they go hand in hand. The pitch of a
note is the same whether it proceeds from the vocal organs, or from the pipe or string of an instrument or any other sounding body. The scales of vocal
and instrumental musictheir tones and semitones, with all their intervals, both major and minor, and the letters which represent them are the same; as
also the common chord with its inversions, and the inversion of all the intervals of the diatonic scale.

l.Ill'
The position of a teacher of sacred church music is an important and highly
responsible one. He should be prepared and qualied to teach and instruct his
class in the elements of music, with correctness and facility, both in theory
and practice, and to do this he should make it his object to become as familiar
as possible with the method of instruction, and of imparting knowledge in
an easy and familiar manner. He should be deeply imbued with the desire
of doing good, and of rening the taste and elevating the affections. Music
should be with him not merely an entertainment, a pastime, or a means of
support; but as a talent to be used for the service of Him to whom angels
sing their high hallelujahs, and who gave it to man therewith to praise Him
who is worthy of all honor and praise. Hence singing-schools of sacred
Psalmody should be conducted in such a manner as to prepare its members
to engage in praising God acceptably in song; and although it is not a direct
place of worship, it certainly is a place where its members should be trained
and prepared for service and participation of that holy place.
A school of sacred vocal music has so far a resemblance to the house of
God, that it is a scene from which all levity should be banished far away.
During a great part of the time spent in our employment, we are singing
words of the most solemn and devotional import. And is such an avocation
to be contemplated as a mere unmeaning form, or to be tried with as a
despicable jest! It is impossible, if the heart possess any reverence for God
and religion. All decent people admit that a light carriage in the church
deserves severe rebuke: and for our part we cannot see that much less
reprehension is due to the same carriage in a school of Psalmody. To have
no ear, no relish for the beauties of harmony, is a defect which those who
labor under it should certainly not be forward to betray. We can at best only
think of it with compassion. But when a stupid contempt of music obtrudes
itself into a school, with the additional deformity of injustice, bad breeding,
and the scorn of sacred things, it deserves the utmost severity of censure.
It is an obvious principle in every department of religious worship, that
emotions should be unfeigned. They should not be suffered to rise merely
through gratied taste, but be made to spring up in the mind while it is
employed in the contemplation of holy things. This important distinction
will not be preserved in the hours of devotion, where it has been neglected
in the seasons of practice. It requires specic religious training in schools
and family circles: and will not be maintained in any other way. Habit has
its inuence in devotion as in other things. The deportment of singers and
teachers during the hours of practice, therefore, becomes a matter of great
moment. To cultivate the praises of the highest God, is a solemn work, and
should ever be so regarded. Volumes would fail to show the importance of
this principle. How, then, can any teacher of devotional music dare to treat it
with neglect! Yet this neglect seems to be almost universal. No wonder that
the friends and cultivators of the art have so many difculties to encounter.
Let their efforts be fully Christianized, and the difculties will be seen to
vanish.
l!l!^l`' .`l ll!!l.!`
I
^.l ^!'!
NOTE.The whole range of human hearing comprised between the lowest note
of the organ, and the highest cry of known insects, seems to include about NINE
OCTAVES, which will extend to sixty-four diatonic intervals.
Sec. 3.There are three distinctions made in musical sounds; 1st, they
may be high or low; 2nd, they may be long or short; 3rd, they may be loud
or soft.
These three distinctions of sound embracePITCH, LENGTH, and POWER.
Pitch regards a sound as high or low; Length, as long or short; and Power,
as loud or soft; and these three distinctions form the essential property and
peculiar qualication of good musical sounds.
On these three distinctions are founded three departments, namely,
MELODY, RHYTHM, and DYNAMICS or Musical Elocution, which departments
will be noticed and treated of in their proper places.
Sec. 4.The doctrine of music may be arranged under six different
heads: 1. Notation; 2. Rhythm; 3. Intonation; 4. Melody; 5. Harmony; and
6. Dynamics or Musical Elocution. But such is the nature of music, that the
different heads or departments cannot be treated separately and apart; but
by their close connection, they will be intermingled in theory and practice,
though in the main they may be considered separately.
NOTE 1.By NOTATION are given or represented all the marks and characters ap-
propriate for the purpose of writing music, with their signication and use.
COME youth, and with profundity explore
This sacred science; ponder and adore
The beauties which in Harmony abound,
And the exalted rapture of sweet sound:
Direct your thoughts to those harmonic lays,
And in poetic numbers your CREATOR praise.
CHAPTER I.

OF MUSIC AND MUSICAL SOUNDS.

Section 1.Music is composed of sounds produced by the human voice
or by different kinds of musical instruments.
These sounds vary in pitch according to certain xed and determinate
degrees.
The pitch and gradation of these sounds from the lowest or most grave to
the highest or most acute, form the whole scale of musical sounds.
A combination and succession of these sounds, sweetly tuned and per-
formed in rhythmical order, have, by their rich, melliuent, melodious, and
harmonious progressiontheir sweetly moving accents and owing num-
bers, a benign, winning, and powerful inuence over the human mind.
Sec. 2.The Natural Scale of musical sounds, though its extent is unlim-
ited, consists of only seven primary notes. For it is found that after singing
or playing these seven notes, if we continue the series, we repeat another
scale similar to the rst, and so on, as far as the extent of the voice or the
instruments will go.
The voice in producing these sounds naturally passes from the rst sound
taken, a step to the second; from the second a step to the third; from the third
a half-step to the fourth; from the fourth a step to the fth; from the fth a
step to the sixth; from the sixth a step to the seventh; and from the seventh
a half-step to the eighth, which completes the Octave, and is the rst note
of the succeeding scale.
l J. ' J4] 7

2. RHYTHM is the division of time into short portions, by a regular succession of

motion, impulses and sounds, with regard to measure, accent, emphasis, and cadence;
and owing numbers, in the union of music and poetry.
3. INTONATION is practising the notes of the scale with the voice, or playing them
on an instrument, according to xed degrees of sound, and giving a correct sound to
all the diatonic intervals, the triads and their inversions, and all the disjoint intervals
in the whole scale.
4. MELODY is an agreeable succession of single sounds in a piece arranged accord-
ing to the laws of Intonation and Rhythm, so as to be musical and pleasing to the
ear. Melody and intonation are closely connected.
5. HARMONY is an agreeable succession of chords, or concordant notes, in two, three
or four parts, moving together according to the rules of progression, which produce
a diversity of owing sounds highly pleasing, attractive, inviting and delightful.
6. DYNAMICS or MUSICAL ELOCUTION consists in giving each tone or note that sound,
stress, and modulation of voice which the subject of the poetry requires, in relation
to loud or soft, strong or mild, and the swelling or diminishing of the sounds or
notes.
QUESTIONS.
Of what is music composed?How do these sounds vary?What forms the whole scale
of musical sounds?Has the scale of musical sounds any limitation?Of how many primary
sounds does the scale consist?If there are only seven primary sounds, how can the scale
be unlimited?What is the order in which the voice produces these sounds?How many
distinctions are made in musical sounds?What is the rst distinction?The second?The
third?What forms the essential property of good musical sounds?What departments
are founded on these three distinctions?Under how many heads is the doctrine of music
treated?What are those six heads?
CHAPTER II.

NOTATION.

OF THE STAFF, CLEFFS, LETTERS, &C.

Sec. 5.The pitch of musical sounds or tones is represented by a charac-
ter called a staff. The scale and music are written on the staff with notes.

The position which the notes occupy on the staff represents the pitch,and
the notes, by their relative value, the length of the sounds.
The staff consists of ve lines and four spaces. Each line and each space
is called a degree of sound; thus there are nine degrees of sound on the staff.
When more than nine degrees are wanted, the spaces below and above the
staff are used; and if a still greater compass is wanted, additional lines are
used, called leger or added lines.
THE STAFF WITH ADDED LINES.
Sec. 6.Each part of music has a separate staff, and these differ in pitch.
Hence to adjust their pitch, and to distinguish them, characters are used called
Clefs. There are two clefs in common use, the F clef and the G clef.
The F clef represents F, the fourth line of the Base Staff, and the seventh
sound of the General Scale of music.
The G clef represents G, the second line of the Tenor staff, and the eighth
sound of the General Scale. It is also used on the second line of the Treble
and alto staffs, representing G also, and the fteenth sound of the General
Scale when sung by female voices.
EXAMPLES OF THE STAFFS AND CLEFS.
Base Staff and Clef. Tenor Staff and Clef. Treble Staff and Clef
NOTE.It is ascertained that the interval between the male voice and the female
is exactly an octave, which is the most perfect chord in the scale of music. Hence,
as the Treble is principally assigned to female voices, it is placed an octave higher in
_
G Clef 15
_
F Clef 7
l!l!^l`' .`l ll!!l.!`
H [l 2. ' .C

_
G Clef 8
I ^.l ^!'!
O l 2. ' 7JO]
the General Scale than the Tenor. From this we learn that the ALL-WISE CREATOR has
implanted between the sexes of the human race. [How happy would all those be who
stand together in matrimonial relation, if they would observe, by a pious life, and a
holy conversation, in Christian love, to ll up the interval of life with sweet harmoni-
ous chords, so that no dissonant or jarring string might vibrate between them!]
Sec. 7.BRACE.When music is written on these staffs, and performed
simultaneously, they are united by a character called a Brace, and form a
Score. The score may, however, consist of two, three or four parts. When
two parts only are united, it is called a Duet; when three parts, a Trio; and
when four parts, a Quartet.
EXAMPLE:
Score of TRIO.

Sec.8.NUMERALS.Numerals are used to point out the different de-
grees of sound in the scale of music. They will also be exclusively used in
this work, in a fractional position, to indicate the different measures in the
movements of Common, Triple, and Compound time.
Sec. 9.LETTERSTo represent the seven original sounds of music, the
rst seven letters of the alphabet are used, namely, A, B, C, D, E, F, G. These
letters are placed on the staffs in alphabetical order, counting upwards from
the lowest. The natural diatonic scale of the minor key commencing with
A, that of the major key commencing with C, in the following manner:
A B C D E F G A B
1 2 3 4 5 6 7 Numerals of the Minor Scale.
Numerals of the Major Scale. 1 2 3 4 5 6 7
Sec. 10.But as letters are not calculated to show forth and adjust the
length of sounds, the proper length is indicated by the form of certain char-
acters called Notes. And besides the rhythmical representation of these
notes, they have also a distinct gurate form whereby the syllables do, re,
me, faw, sol, law, and si are applied to them in solmization individually, on
sighttheir form indicating the syllable which is applied to them.
And as these syllables are always used in the scale in the same relation and
invariable position to the key, they form a strong and inseparable association
with the proper pitch of the intervals of the scale which they individually and
invariably occupy. And as they have thus the proper pitch of the intervals
of the scale associated with their names, it is of great service to the vocal
performer, to have them communicated to the mind on sight, as thereby he
will be enabled to strike the proper interval of the scale on sight of the note,
and be relieved of the irksome task of nding the name by calculation, in
every change of key. See those notes with their corresponding Rests, ex-
emplied by the following Table. [See table next page.]
As these notes, by their namesas a whole note, a half note, &c., indi-
cate to the mind, their proper relation of sound; and by their heads, stems,
hooks or dashes, represent to the eye, the same relative length, it is almost
superuous to state, that one semibreve is equal in duration of time, to two
minims, or four crotchets, or eight quavers, or sixteen semiquavers. For it
is evident that as many parts as the whole note is divided into, so many of
these parts it will take to amount to the whole note again. And if we allow
four seconds of time to sound out the whole note, we must allow but two
seconds for the half note, one for the quarter, half a second for the eighth
note, and a quarter of a second for the sixteenth. This is the invariable
l!l!^l`' .`l ll!!l.!`
JO [l 2. ' JO
proportion and comparative relation in which these notes stand to each other;
a strict observance of which is of the highest importance, both to the vocal
and to the instrumental performer.
EXAMPLES:
SI
LAW
SOL
FAW
MI
RE
DO
RESTS

RESTS are marks of silence, and are named after the notes which they
represent.
Whole note,
or
Semibreve.
Half note,
or
Minim.
Quarter note,
or
Crotchet.
Eigth note,
or
Quaver.
Sixteenth note,
or
Semiquaver.
_ ,

,
_
,

_ _ ,
,
,
_
,

,
,
,
_
,

,
,
,
_
,

, ,

,
_
,

, ,

,
_
,

_ _ ,

,
_
,
_ . ,
NOTE 1.Other notes are sometimes used, as a thirty-second and sixty-fourth;
these notes are, however, too quick and short for sacred music, and can easily be
dispensed with.
A note called a BREVE, from which the semibreve derived its namewas also
formerly used, but this note is too long and heavy a sound for any musical expres-
sion.
NOTE 2.Nothing can be more certain than the fact that there is a true and in-
separable union and association formed between these syllables which are applied
to the notes and the proper pitch or sound of the intervals which they respectively
and invariably occupy in the scale. For on this fact is founded the whole doctrine of
transposition, and of transposing with the keys, the syllables with the notes, in their
relative position to the keys. And it is evident that when the diatonic scale, which
consists of tones and semitones, is sung to a series of notes and syllables always
applied in the same order and relation to those tones and semitones, as they stand in
their xed position in the scale, that such an association will unavoidably be formed
between them.
And hence arises the utility of having the notes characterized and formed in
such a manner as to communicate by their different forms, the syllable which is
applied to them, individually, so as to engage the singers to strike the proper pitch
of the sound on sight of the note. And is it not strange that any should deny the
usefulness of the character notes by which the syllables are known by the forms of
the notes, when common sense and sound reason dictate that it opens and paves a
highway for the student of vocal music to travel on, and to pursue his course with
pleasure till he has acquired a complete knowledge of the science of music. And
is this in any wise degrading to the sciencediminishing its valueor robbing it
of its intrinsic merit? By no means. It is adorning it with the vesture of simplicity,
the richest dress in which it and its sister sciences can be arrayed. And in proof of
this, let us cast our eyes to other arts and sciences, and see what has been done by
the use of different characters, to pave the way for instruction, and to communicate
to the mind correct ideas of what is to be inculcated and taught, and we will nd an
almost endless variety of characters, gures, cuts, drawings and delineations used
to facilitate the learner in his progress in gaining scientic knowledge.
Do not the Lexicographers, WALKER and WEBSTER, in their famed Dictionar-
ieswhich are taken as standard worksuse many different characters, to convey
to the mind on sight a correct pronunciation of the words and the proper sound of
the letters, all of which might be acquired by a reference to grammar rules? And
is there less propriety for the singer to have the correct sound of the notes conveyed
to the mind on sight, by characters which might otherwise be acquired by having
reference to the rules laid down in the science: which is, by making a calculation
from the key?
,
,
,
,

,
,
,
, , ,
, ,
3
,
,
,
3
,
,
,
,
,
,
,
3
,
,
,
3
,
,
,
,
,
,
,
I ^.l ^!'!
JJ l 2. ' JJJ]
NOTE 3.Rests are essential to music, in order to keep the accent in its proper place
in the measure; and if sparingly used and skillfully observed, give variety, beauty,
and expression both to music and poetry. When long intervals of silence occur in
any part of the score, let those on the silent part, for their own improvement, notice
the parts which others are singing, and mark the time with them till they arrive at the
place where their own parts unite again. This is far preferable to poring over their
own staff and measures of silence, by which is gained but little improvement.
Sec. 11.Notes become subject to some variation by having additional
characters annexed or added.
A dot ( . ) placed after any note, adds one-half to its original length. Thus
a dotted whole note is equal in length to three half notes: a dotted half note
to three quarters, and so on.
Four dots between the lines of the staff, mark the place from whence a
strain or piece of music is repeated.
EXAMPLES:
Sec. 12.A Pause (U) placed over or under a note protracts or lengthens
it out about one third longer than its original time: though this protraction
may be longer or shorter according to the expression of the poetry, and the
taste of the judicious performer.
A soft, graceful swell given to a paused note, followed by a momentary
rest, is highly ornamental.
The pause is frequently used on the note of the last syllable in a line of
poetry, and agrees with its nal pause, which, in reading is marked with a
suspension of the voice.

, , ,
,

,

,

,

,
_
,
_
,
_
,
The pause is also used over Rests which need lengthening out; as also over
Bars, where it is thought proper to have a momentary pause between two
measures. Some of the most striking effects depend upon this character, and
when well performed, it adds strength and beauty to music and poetry.
EXAMPLES:
Sec. 13.Notes are frequently tied together by a circular line called a Tie:
or grouped together by hooks or dashes. All the notes thus tied or grouped,
are sung or warbled to one syllable of verse.
If three notes are thus tied or grouped together, with the gure 3 above
or below them, they are performed in the time of two notes of the same
kind without the gure, and are called Triplets. Triplets, when smoothly
and skillfully performed, are ornamental to music.
EXAMPLES:
Tie. Group. Triplets

-

-
,
-
,
-
,
_
,
-

-

QUESTIONS.
What character represents the pitch of musical sounds?On what character is the scale and
music written?With what characters is music written on the staff?What does the position of
the notes represent?How many degrees of sound can be written on the staff?What is done
when more than nine degrees of sound are wanted?If a still greater compass is needed?
How many clefs are in common use?Why are they called the F clef and the G clef?How
many sounds does the octave contain?What is a score?How many letters of the alphabet
are used to represent musical sounds?How many original sounds are there in music?How
many notes are in common use?How are the notes named?What is the form of the whole
note?Ans. An open note without a stem.The half note? A. An open note with a stem.The
quarter note? A. A black note with a stem.The eighth note? A. A black note with a stem and
one hook.The sixteenth note? A. A black note with a stem and two hooks.What is the use
of rests?Has each note a corresponding rest?How much does a dot add to a note?What
do dots indicate when placed on the staff?What is the use of the pause?On what note is
the pause most frequently used?What is a tie?A group?A Triplet?
CHAPTER III.

NOTATION.

OF SHARPS, FLATS, NATURALS, &C.

Sec. 14.The diatonic scale consists of ve tones and two semitones.
These are sometimes called steps and half-steps, because the voice steps
along through the scale from one interval to the other; but the interval of a
semitone is only half the distance of the interval of a tone. And to adjust
the semitones and always keep them in their xed position in the scale,
throughout the course of transposition three characters are used a Sharp
(
#
), a Flat (
b
), and a Natural (
n
). A sharp raises a letter or note a semitone;
a at depresses a letter or note a semitone; and a natural restores a letter or
note thus sharped or atted, to its original sound. When these characters
occur, in the course of a piece of music, they are called Accidentals, and
operate only on the notes before which they are placed.
When sharps or ats are placed at the commencement of a tune, they oper-
ate on all the notes or the letters which are thus sharped or atted, throughout
the tune. Thus they prepare and adjust the tones and the semitones for the
new key, and become the signature (or sign for the key note) to the tune. And
when accidentals occur throughout the tune, on the letters thus sharped or
atted, they are raised or depressed , as the case may require, by a natural.

EXAMPLES:
Signature by sharps. Signature by ats.
F sharp. F and C sharp B at B and E Flat
ACCIDENTALS.
Sharps. Flats. Naturals
Sec. 15.BARS.When music is written on the staff, it is divided into
measures by a character called a Bar.
There are three bars in use on the staffthe common bar, the broad
bar, and the double bar. When a short bar is added to a broad bar, it forms
a close.
EXAMPLES:
Common Bar Broad Bar Double Bar Close
The common bar is used to divide the staff into equal time measures ac-
cording to the measure note or notes, of either Common, Triple or Compound
measures.
The broad bar is used, by some authors, at the close of each line in poetry.
But as that frequently falls in the middle of the regular measures of the staff,
it is omitted by others. However, as the last syllable of each line of poetry
is distinguished by the nal pause, which marks the bounds of the metre by
a suspension of the voice, there can be no impropriety in using it to point
out that important syllable or word.
The double bar is used at the end of a strain which is to be repeated from
_
,
,
_


_
,
,
l!l!^l`' .`l ll!!l.!`
J2 [l . ' J4. J
_
,
_
,
,
_
,
,
_
,
_
I ^.l ^!'!
J l . ' JC]
_
_
,

,
,
, ,
,
,
,
,

,
,
,

,

,

,
,
,



.
,
.
, ,
,
,
,

,

,
,
, ,

,
,

,

,
,

,
,
,

from the mark of repetition. (Example Se. 11.) It is also at a change of

measure from Common to Triple, or Compound time, or the reverse. Also at
a change from major to minor, or the reverse. Likewise at the commencement
of a chorus.
The close is used at the end of a tune or any piece of music.
Sec. 16.SYNCOPATED AND DRIVING NOTES.A syncopated note is the
blending of two notes in one,an unaccented with an accented in the
middle of a measure, with the previous accented note of the same measure
tied with it. As this note is struck on the unaccented part, while the hand,
in marking the time, is at rest, and its sound continued over the accented
part, while the hand is in motion, the regular movement in that measure is
thereby thwarted, or broken in upon, which produces a uttering effect on
the note, or on the syllable or word applied.
When a longer note is wanted in a measure than the measure will contain,
the long note is cut through, and one part is put in the next measure, and
both parts tied together across the bar: these two notes compose the driving
note. Thus two half notes sung across a bar produce the same sound with
a whole note in a measure; a half and a fourth note across the bar, the same
sound as a dotted minim in a measure. The same remarks apply to the fourth
notes driven across a bar, and a half note in a measure.
The driving note is sometimes called a syncopea synonymous term
with syncopationboth signifying the division, or cutting through a
note by a bar, or accent expressed or understood. Hence the driving note
may also be termed a syncope, as it is cut through by a bar, and commences
on the unaccented part of the measure, and extends to the accented.
APPOGIATURA.The appogiatura is a note of embellishment. It is a
diminutive note, prexed to a principal note, and is always on the accented
part of the measure. It borrows its time from the principal note that follows
and to which it is tied. As this note produces a uttering sound similar to
that of the syncope, it may be brought in at this place, and classed with the
syncopated notes.
PASSING OR TRANSIENT NOTES.These are also called ornamental and grace
notes. They, too, are diminutive notes, and are used between the essential
notes, where they become intermediate steps on the unaccented parts of the
measure, in passing from one disjoint interval to another, and thus connect,
embellish, and soften those intervals, diminish the roughness of the leap,
and direct an easy and graceful movement.
They borrow their time from the preceding note to which they are tied.
CHOOSING NOTES.Choosing notes are set perpendicularly one above
the other, either of which may be sung: and as there is always a concordant
interval between them, both may be sung at the same time by different
voices.
EXAMPLES:
Syncopated notes. Driving notes. Appogiatures.
_
,
,
, ,
,
,

,

_

l!l!^l`' .`l ll!!l.!`

J4 [l 4. ' J7. JH
CHAPTER IV.

NOTATION.

OF RYTHMICAL MEASURES IN COMMON, TRIPLE, AND COMPOUND TIME

Sec. 17.Among the different writers on music, no less than twenty-six
different measures of time have been brought out, all of which are marked
or expressed by numerals placed in a fractional position. Those of Com-
mon or even time are expressed by the fractions
2
1
,
2
2
,
2
4
,
2
8
,
4
2
,
4
4
,
4
8
,
16
4
. Those of
triple or uneven time are expressed by the fractions
3
2
,
3
4
,
3
8
,

16
3
,
9
4
,
9
8
,
16
9
. And
those of compound timewhich is also an even time, by the fractions,
6
2
,
6
8
,
6
8
,
12
8
,
12
16
,
12
32
,
18
6
,
18
16
,
18
32
,
24
16
,
24
32
. Many of the foregoing measures have, however,
gone out of use; but some are still retained by some authors, which, when
dispensed with, will simplify and improve the science. If we retain seven
different measures of the twenty-six above-mentioned, it will be an ample
supply for all the purposes of music, no matter how intricate the rhythmical
construction may be.
Of the seven different measures which will be retained and used in this
work, three will be in Common time, two in Triple, and two in Compound.
The numerals used for all these different measures will be placed in a
fractional position, to which fractions the whole note will be the integer.
Thus the fractions will at once express the contents of the different measures
to which they are invariably used.
Sec. 18.COMMON OR EVEN TIME.To Common or even time will be
assigned three distinct measures; the rst will be marked with the gures
2
2
; the second
4
4
; and the third
2
4
. Of these three measure, it will, however,
be found that the rst and second, by their connection and co-mingling, are
EXAMPLES:
Passing or Grace Notes. Choosing Notes.

NOTE.Since the diminutive notes in the preceding section are merely ornamental, and not
taken in the account in the harmony; and since other gracesso calledare frequently intro-
duced, in many works, such as the Acciacatura, Cadenza, Grupetto, Mordento, Portomento di
voce, Transient Shake, Continued Shake, Stracino, and the Turn; the only design of the most of
which is, to display the dexterity and the skill of execution of the performer; and when skillfully
performed, they may be tolerated; but they have no place in music designed to exhibit and call
forth the emotions of the heart. They have no soul in them. And when they are reserved for
the ight of some fanciful, injudicious performer, they too often prove the empty wanderings
of ignorance and folly. And rather than simplicity should be so offended, it would be better
to dispense with them altogether. They are rather ornamental than graceful, designed to give
brilliancy, and not to excite emotions. The imagination may indeed be amused, but the heart
remains uninterested. Such an attempt at display exhibits not only want of taste and judgment,
but also want of science. The fact is, that music resembles every other art; the farther a person
advances in the study of it, the more does he delight in the simplicity of manner, and the less
is he attracted by supercial ornament.Porters Mus. Cyc.
QUESTIONS.

Of what does the diatonic scale consist?What are the tones and semitones sometimes
called?How many tones and semitones are contained in the scale?What characters are used
to regulate these tones and semitones?What effect has a sharp on a letter or note?A at?A
natural?What effect have ats and sharps when placed at the beginning of a tune?How is
the staff divided?By what character is the staff divided into measures?What, then, is the use
of the common bar?The broad bar?The double bar?The close?What is a syncopated
note?A Driving note?Appogiatures?Passing or grace notes?Choosing notes?
I ^.l ^!'!
J l 4. ' JH.JO]
identical, save that to the rst may be assigned a slower movement, as it is
mostly employed to the most solemn, devotional, and dignied music for
the church of God. These measures are called even, because they naturally
divided into even partstwo and fourand have feet of equal or even
measured verse applied to them; and in their primitive state will admit of
no other feet of poetry; though they may be so arranged and varied in their
derivatives, that they will admit all the various metres that are contained in
poetry, to be sung to them.
Measures are in their primitive state when they are lled with the notes
which the fraction, by which they are marked, expresses. The upper gure,
or numerator of the fraction, giving the number of notes which a primitive
measure contains; and the lower gure, or denominator of the fraction,
points out into how many parts the whole note is divided, and thus species
whether they be half, fourth, or eighth notes.
Sec. 19.The three foregoing measures will be illustrated in their primi-
tive state, with a number of derivatives, by the following
EXAMPLES:
First Measure. Second Measure. Third measure.
Primitive.
First
Derivative.
2.
3.

_
_
_
_
_
_
_
_

_ _
, , _
_ , ,
, ,
, ,
, , , ,
_ , ,
,
,
_
_ _
, ,

,
,

,
,

,

,

,

,

,

,
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_

_
_ ,
,

,
,
,
, , ,
,

, ,

,
,

,

,,

,

,

, ,

,

, ,
,
,
,

,

,
,
,
,
,
,
, ,
,
,
,
,
_
3
,
,
,
,
3
,
,
,
,
_
_ ,
,

,
,
,
, , ,
,

, ,

,
,

,

,,

,

,

, ,

,

, ,
,
,
,

,

,
,
,
,
,
,
, ,
,
,
,
,
_
3
,
,
,
,
3
,
,
,
,
_
,

,

,
_
,

,

,

, ,

,

,
_
,

,
_
,

,
_
,
_
,

,
_
,
_
,
_
,
_
,

,
_
,
_
,

,
,
,
,

,

,
,
,
,
,
,

,

,
,
,
,
,
,
3
,
,
,

,
3
,

,

4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.

15.
16.
17.
18.
19.
20.
21.
l!l!^l`' .`l ll!!l.!`
JC [l 4. ' JO2J

NOTE.In the foregoing examples of the three measures of Common or even time, their
primitives and their derivatives, the learner will readily discover that these measures are alike
in nature, and that the rst and second are identical. For, in the third example of derivatives,
the derivative of the rst is the primitive of the second, and the derivative of the second is the
primitive of the rst; and in all the subsequent derivatives their measures are alike. They are
also the same in their accents, for in many tunes they intermix, having, in some measures, two
minims and one accent; and in others four crotchets, with two accents.
The third measure differs from the rst and second only in that it has a minim for its measure
_
_
_
_
_
_
_
_
_
_
_
_
_
_

_

,
_

_
.
.
,
, ,

,
,

, ,
, , ,

_

,
_

_
.
.
,
, ,

,
,

, ,
, , ,

,
,

,
,
,
,

,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
note, whereas the others have a semibreve; and consequently its rhythmical movement is faster.
Sec. 20.TRIPLE OR UNEVEN TIME.To triple or uneven time will be as-
signed two distinct measures. The rst is marked by the fraction
3
2
; and the
second by
3
4
. These two measures are identical in their rhythmical construc-
tion, and only differ in the length of their measure notes; the rst containing
three minims in its primitive measure, and the second three crotchets; in
consequence of which, the second ows along more quickly in its rhythmical
movement than the rst.
These measures are all uneven, because they naturally divide into three
equal parts; and thus having an uneven number of notes in their primitive
measures, none other than uneven measured verse con readily be applied
to them in their primitive state. But they may be so varied and arranged in
their derivatives, that verse composed of all the various kinds of feet and
metres may be applied to them.
As in Common or even time, so in Triple or uneven time, the fractions
point out or mark the contents of the primitive measures. The improper frac-
tion
3
2
designates by its upper gure or numerator,
3
, that three notes ll the
measure; and the lower gure or denominator,
2
, designates that the whole
note is divided into two parts, and consequently, those three notes which
ll the measure are half notes. In like manner the fraction
3
4
designates that
three fourth notes constitute its primitive measure.
Sec. 21.These two measures of Triple time will be illustrated in their
primitive form, and with a number of their derivatives, by the following
I ^.l ^!'!
J7 l 4. ' 2J. 22]
EXAMPLES:
First Measure. Second Measure.
_

_ _ _
_ _
_
,
,
, , _ _
,
,
,
,
_
,
,
,
,
,
,
,

,
,

,
,

,
_ _
,
,
_ ,
,
,
,
, , _
, ,
, , ,
_ ,
_
,
,
.
,
,
,
,
,
,

,

,

,

,

,

,
,
,
,
,
,
,
, ,

,

,
,

,

,

,

,

,

, ,

,

,

Primitive.
First
Derivative.

2.
3.
4.
5.
6.
7.
8.
9.
_

,

,
_
,

,
_ ,
,
,
_
_
_
_
.
_ _
.
_

,
_
,
,
,
,
,
,
,

,

,

,
_
.
,
_

, ,

_
,

,
. ,

,

10.
11.
12.
13.
14.
15.
16.
17.
NOTE.In the foregoing examples of the two measures of Triple time, it may readily be
discovered, that in their primitives and in their derivatives their rhythmical construction is the
same, save that the rst measure is slower in its movement than the secondthe rst having
three minims in its primitive measure, and the second three crotchets. These measures may
be so constructed and varied, as to take one, two or three accents to the measure, according to
the requisition of the poetry which is applied. This will be noticed and illustrated in its proper
place.
Sec. 22.COMPOUND OR DOUBLE TRIPLE MEASURES.The Compound
measure is an even measure; as two uneven numbers added together make an
even.Two distinct measures will be assigned to Compound time; the rst
of which will be designated by the fraction
6
4
, and the second by
6
8
. These
two measures, like the former, are identical in their rhythmical construction,
and only differ in the duration of their time; as the fourth notes are longer
than the eighths.
These measures are even, because they naturally divide into two equal
parts, and have two accents in each measure.
As in Common and Triple time, so in Compound, the fractions point out
the contents of the primitive measure. The improper fraction
6
4
, designates
that six fourth notes constitute the primitive measure; and the fraction
6
8
,
that six eighth notes are contained in the primitive measure.
Sec. 23.See the measures of Compound timein their primitives, with
many of their derivativesillustrated by the following
EXAMPLES:
First Measure. Second Measure.
Primitive.
First
Derivative.
2.
3.

, , , , , ,
_ , _ ,
_ _ ,
_ _

,

,

,

,

,

,
,

, ,

,
, ,

,
, ,
l!l!^l`' .`l ll!!l.!`
JH [l 4. ' 2

4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.

,
,
, _ ,
,

,
,
,

,
,
_ ,
,
,
,
_ _

,
,
_
,
,

,
,
,
,

,
,
,
,

,

_ ,

,

_
.
,
_
.
_
.
. .
,

,

,

, ,

,

,
_
,

,

,
_
,

,
,

,

,

,

,
, ,

,
,
,
,
,
,
,
,
,

,
_
,
,
,

,
_

,

,

,
,

,
,


,
,
,
,
, ,
,

,
NOTE.In the foregoing examples of the two measures of Compound time, it will readily
be seen that they are the same in their primitive construction, and in their derivatives, save
that the rst contains two pointed minims in a measure, and the second two pointed crotchets,
and, consequently, the second is performed faster than the rst. These measures may be so
constructed and varied as to take two feet of dactylic verse, or two feet of trochaic.
In all the foregoing examples of the primitive and derivative measures, in
Common, Triple, and Compound time, it will be found, that by the various
constructions and rhythmical arrangements of the different notes and ties,
in the various measures, all the different feet of poetry may be applied to
them, and agree with them in time, accent, emphasis and cadence.
QUESTIONS.
How many varieties of measure are used in this work?What are the different kinds of time
and movement of these seven measures? Ans. Common or even time; Triple, or uneven time;
and Compound time.How many varieties has Common time?Triple?Compound?By
what fraction is the rst measure of Common time marked?The second?The third?The
rst measure of Triple?The second?The rst measure of Compound?The second?Is
the Compound measure an even or an uneven measure?Ans. It is an even measure, because
two uneven numbers added together make an even.Can these seven different measures be
so arranged and constructed in their notes that all the different feet of poetic measures may be
applied to, and agree with them, in all their rhythmical construction relative to time, accent,
emphasis, and cadence?
CHAPTER V.

RHYTHM.

OF TIME, ACCENT, EMPHASIS, AND CADENCE.

Sec. 24.Nothing is more essential to the due performance of music than
adjusting the time to the intention and meaning of the poetry.

I ^.l ^!'!
JO l 4. ' 24]

.
_
,
,

15.
Some of the most striking effects of music are produced by the change in
time.
The slow naturally has a solemn, grave, and serious tendency, and the
lively tends to joy and cheerfulness.
Destroy the time, or thwart the measure, and you rob the strain of its
interest and charm.
The less we are sensible of anything mechanical in giving or keeping
time, the more fully will the effect of the melody and harmony be allowed
to operate, and the more deeply will the mind be penetrated with the feeling
to be awakened.
But as notes are used in different rhythmical measures and movements,
as also have different measures of poetry applied, they have not a positive
length, but only a relative; yet it is proper that some denite time should be
xed for all the different measures, in the movements of Common, Triple,
and Compound time, as a standard to guide the chorister to a consistent
movement in all those measures; from which, however, it may be allowed
to vary according to the requirement of the poetry.
Perhaps the most appropriate time which can be assigned to all the forego-
ing varieties of measure, is three seconds to the rst and second measures
of Common, and to the rst of Triple and Compound time; and the third of
Common, and second of Triple and Compound, about one-third faster.
Thus we have six measuresthe rst and second of Common time being
blended into oneall of various rhythmical movements; this being an ample
supply for all the poetic measures that can be written.
All the measures of Common time have two beats in the measure; a down
beat on the rst part of the measure, and an up beat on the second; and when
two feet of trochaic verse are applied to them, they have two accents, but
when only one foot of verse is applied, they have but one accent.

NOTE.Some authors and teachers recommend four beatsdownleftrightupto be
given to the measures of 4
.
4 time; there may be some advantage in this arrangement, and the
l!l!^l`' .`l ll!!l.!`
2O [l . ' 242
judicious teacher will decide for himself between two or four beats.
The measures of Triple time have three beats to each measure, two down
and one up. In their primitive state they have but one accent, and one dac-
tylic foot of verse applied to them; but each measure may be so varied as to
make two, and even three accents to the measure, with two or three feet of
trochaic verse.
The Compound measures have two accents in the measure, whether the
verse be even or uneventrochaic or dactylic, and two beats to each measure,
a down beat on the rst part, and an up beat on the fourth.
Each of the foregoing measures, in their different movements, may be so
arranged, as to take as many accents as it has beats performed to it: but no
accented syllable can properly be sung to a note on which the hand is not in
motion, when marking the time. (See chap. 6.)
The rst and second measures of Common time are identical in their rhyth-
mical construction, as is evidently seen in the examples of the derivatives
in chap. 4, sec. 19. But still it may be of some advantage to music to retain
them both, and use the rst to those pieces, the most of whose measures
contain but one foot of verse and one accent; and the second to those pieces
whose measures mostly contain two feet of verse, and two accents.
NOTE.To measure musical time with accuracy and precision, a vibratory pendulum may be
used, which may be regulated by the length of its cord, to swing or vibrate to any given time.
A pendulum is a heavy body, such as a piece of brass or lead, suspended by a wire or cord,
so as to swing backward and forward. And when it swings, it is aid to vibrate; and that part of
a circle through which it vibrates is called its arc. The vibrations are nearly equal whether it
pass through a less or greater space of its arc; so that there will be no material difference in its
vibrations or oscillations, whether it pass six feet through its arc, or only six inches. Hence,
A ball of some heavy metal of about one inch in diameter, suspended by a ne dense
cord of 39.2 inches in length from the centre of the ball to the centre of its motion, or the
pin from which it is suspended, will vibrate once every second. the length of this pen-
dulum will vibrate to the beats of the measures of the third movement of Common time,
and to the rst of Triple, and the second of Compound: each of these movements hav-
ing one second allowed to each part of their measures, and consequently to each beat.
For the rst and second movements of Common time, and the rst of Compound, the cord
of the pendulum must be 88.2 inches long; this makes one vibration in one and a half seconds,
and vibrates in accordance with those measures which have two beats to the measure, and are
performed in three seconds.
The second movement of Triple time has no equivalent in its measure, as it has three beats,
performed in two seconds; whereas the third movement of Common time has but two in the
same space of time; and, consequently, this requires a cord whose length is but 17 inches, to
vibrate in accordance with the beating of its time.
There is now an instrument constructed called a Metronome, which by a short pendulum,
with a sliding weight, and set in motion by clock-work, serves to measure time in music.
Sec. 25.Accent and emphasis form the essence of versication and mu-
sic. It is from this source that poetry and music derive their dignity, variety,
expression, and signicancy. Without these requisites music and poetry
would be heavy and lifeless: they would be ambiguous and unintelligible.
Consequently, as the accent of the music must exactly and invariably agree
with the accent and emphasis of the poetry, when united, it makes it indis-
pensably necessary for the learner to acquire some knowledge of the nature
and propriety of accent and emphasis, and the rules for applying them, both
to music and poetry.
Accent is the laying of a peculiar stress of the voice on a certain syllable
in a word, or on a note in music, that they may be better heard than the rest,
or distinguished from them. Every word of more than one syllable, has one
or more syllables accented. For example: the words music, musical and
musically have the rst syllables accented; the words become, becoming, and
I ^.l ^!'!
2J l . ' 2C]
becomingly have the second syllable accented; and the words contravene,
contravener, and contravention, have the third syllable accented. Now,
when monosyllables, which, properly speaking, have no accent, are com-
bined with other syllables, and form a phrase, the stress which is laid on one
syllable, in preference to another, is called emphasis: and thus emphasis,
in monosyllables, supplies the place of accent, and is the same with in in
disyllables and polysyllables.
Sec. 26.Time in music and poetry is the quantity or length by which
is assigned to every particular note and syllable its due measure, without
making it either longer or shorter than it ought to be. There are two kinds
of time in music, namely, Common or equal time, and, Triple or unequal
time. These TIMES are regulated by the accent, which is laid on particular
parts of the measure, the regulation of which must agree with the measures
of poetry into feet, where the accent is laid on particular syllables, by means
of which the voice steps along through the verse in a regularly measured
pace, which is delightful, musical, and pleasing.
Poetry is measured by feet. All feet in poetry consist either of two or of
three syllables. Feet of two syllables are equal, and feet of three syllables
are unequal. Consequently, poetry may be divided into two parts, namely,
equal measured verse and unequal measured verse. Verse of equal measure
consists of feet of two syllables, and verse of unequal measure consists of
feet of three syllables. Each of these measures may be subdivided into two
parts; the rst or equal measure into TROCHAIC and IAMBIC, and the second
or unequal measure into DACTYLIC and ANAPESTIC measure.
Verses of Trochaic measure consist of feet of two syllables, having the
rst syllable of each foot accented, and the last unaccented.
Verses of Iambic measure consist also of feet of two syllables, having the
rst syllable of each foot unaccented, and the second accented.
Verses of Dactylic measure consist of feet of three syllables, having the
rst syllable of each foot accented, and the last two unaccented.
Verses of Anapestic measure consist also of feet of three syllables, having
the rst two syllables unaccented, and the last accented.
_ _
_
_

On

Beau-
the

ty
|
_ _
tree

Boun-
of

ty
|
,
,
,
,
life

Kind-
e -

ness
|
,
,

ter -

E -
nal,

ven
|

,
,
Man,

Friend
let

ly
|
_

all

Good
thy

ness
|
_ _
hopes

Ho -
be

ly
|

staid,

Kind
|

Which

Thank-
a-

ful
|
,
,
_
lone

Pru
for

dence
|
_
,
ev -

Love-
er

ly
|

ver-

Du -
nal,

ty
|
_

Bears

End
a

less
|
,
,
_
leaf

Or -
which

der
|

,
,
shall

Con
not

stant
|

_
fade.

Good
|
_ _
_
_
Great

Be-

_
God,

friend
|
in-

Be

_
dulge

come
|
my

At-

,
,
hum-

tend
|
ble

Com
_ _
claim:

pare
|
Be

Com

,
thou

ply
|
my

De-
_
,
,
hope,

light
|
my

De -
_

joy,

lay
|
my

Im
,
_
rest;

prove
|
The

En-

glo -

gage
|
ries

For-
,
,
,
that

give
|
com

Re -
_

pose

mid
|
thy

Re -
_

name

turn
|
Stand

Re-
,
,
,
all

form
|
en-

Re-
,
,
,
,
gagd

main
|
to

Su-
_

make

preme
|
me

Sus -

_
blest.

tain
|
EXAMPLES:
TROCHAIC FEET OF POETRY WITH MEASURES OF MUSIC
IAMBIC FEET OF POETRY WITH MEASURES OF MUSIC
l!l!^l`' .`l ll!!l.!`
22 [l . ' 2C
DACTYLIC FEET OF POETRY WITH MEASURES OF MUSIC
_
_
,
,
_

,


Bright
Daugh -

Che -
|
oer
ter

ru -
thy
of

bim.
, ,
,
_
,
,
hills
Zi -

Pa -
|
dawns
on,

ra -
the
a -

dise.
_
,
,
,

,
,
Day -
wake

Med -
|
star
from

i -
of
thy

tate.
, ,
_
,
, ,
glad -
sad -

Grav -
|
ness,
ness,

i -
A-
A-

tate.

, ,

,


rise,
wake,

Ser -
|
for
for

aph-
the
thy

im.
, ,
,
_
,
,
night
foes

Sig -
|
of
shall

na -
thy
op-

ture.
_
,
,

,
,
sor -
press

Phil -
|
rows
thee

o -
is
no

mel.
,
_
,

_
.
oer.
more;

Man.
| |
,
.
ANAPESTIC FEET OF POETRY WITH MEASURES OF MUSIC
_
_
,
,
,
,
_
_
_
_
, ,
Oh!
O

Ap -
what
how

per -
,
,
,
,
,
tongue
hap-

tain.
|
can
py

In -
ex -
are

ter -
,
,
,

,
,
press
they

vene.
|
The
Who

Im -
sweet
their

por -

,
,
,
_
,
,
,
com-
Sa-

tune.
|
fort
vior

O -
and
o -

ver -
_
,
,
,

,
,
peace,
bey,

flow.
|
Of
And

Mis -
a
have

em -

,
,
,
,
,
soul
laid

ploy.
|
in
up

Vol -
its
their

un -
,
,
,
,

,
,
,
ear-
treas-

teer.
|
li -
ures

Coun -
est
a -

ter -
_
,
,
,

love.
bove;

act.
|
_
In the foregoing representations, where the poetic measures are divided
into their respective feet of two and three syllables, the words used at the
head of each of their divisions represent by their accent, the respective feet of
poetry and measures of music to which they belong. Thus the Trochaic foor
is represented by the disyllables, beauty, bounty, kindness, &c.; the Iambic
by befriend, become, attend, compose, &c., the Dactylic by the trisyllables
cherubim, paradise, meditate, gravitate, &c.; and the Anapestic by appertain,
intervene, importune, averow, &c.
In the example of trochaic feet, it will readily be seen, that the accent of
the poetry, in each division, agrees with the accent of the music. But as the
rst part of the musical measure is invariably accented, and the last part
unaccented, it will be discovered that,
In the example of Iambic measure the feet must be divided by the common
bar, and the rst syllable of each foot put in the last part of the measure, and
the last syllable in the rst part, as may readily be seen in the example. And
thus the accent of the poetic feet and of the musical measures will agree and
be retained in their proper places.
In the example of the Dactylic feet, it will be seen that the poetic feet
agree with the measures of music; they both having the accent on the rst
part; but,
form a line of one accented syllable and two unaccented ones, and thus lose itself in the Dac-
tylic or Anapestic measure. Hence, it is evident that there can be no poetry formed of the four
secondary feet alone; but that they only tend to improve, enrich, beautify, and diversify the
poetry of the four principal feet.
QUESTIONS.

Have notes a positive or only relative length?May not some positive length of time be
assigned to them and to the different measures?What is the most appropriate length of the
rst two measures of Common time, and the rst measure of Triple and Compound?How
much faster should the last measure of their movements be sung?How many accents have the
measures of Common time?The measures of Triple?Of Compound?Have their measures
more or less accents according to their rhythmical construction?How many accents can each
measure take? Ans. As many as it has beats.How many beats are given to the measures of
Common time?To Triple?To Compound?What is accent?What is time in music and
poetry?How is poetry measured?How many different feet of poetry are there in music?
CHAPTER VI.

RHYTHM.

ON MARKING OR BEATING TIME.

Sec. 27.For the purpose of performing music in its proper time, as it
steps forth with its owing numbers through the various rhythmical move-
ments, it is necessary to measure the time as it ows along. This measure-
ment is performed by the singers with a motion of the hand down and up,
in regular process of time, principally on the accented part or parts of the
measure. For this marking of the time, the right hand should be used, and
the motion of it should be so quick as to allow the rest to be equal with the
motion. The rst part of every measure, in all the various movements, has
a down beat. In the measures of Common time which contain four fourth
notes, there is a down beat on the rst, a rest on the second, an up beat on
I ^.l ^!'!
2 l C. ' 27]
In the example of Anapestic feet it will be discovered that the foot of
poetry must be divided by the bar, and the rst two syllables of each foot
put in the last part of one measure, and the accented syllable the accented
part.
The preceding are the principal feet and measures, of which all species
of English verse wholly or chiey consist. These measures, however, are
capable of many variations, by their intermixture with each other, and by
the admission of secondary feet. From this intermixture it is, that we have
such a variety of metres
NOTE.The Secondary feet of poetry are
1. A SPONDEE, having both the words or syllables accented, as in the words A-men, pale
moon.
2. A PYRRHIC, having both the words or syllables unaccented, as on the high rock.
3. AN AMPHIBRACH, having the rst and last syllables unaccented, and the middle one ac-
cented, as in the words, de-light-ful, a-mend-ment.
4. A TRIBRACH, having all its syllables unaccented, as in the words, nu-me-ra-ble, va-ri-a-
ble, con-quer-a-ble.
The Spondee and Pyrrhic are both feet of two syllables, the one having both syllables ac-
cented, and the other both unaccented; and the Amphibrach and Tribrach are both feet of three
syllables, the one having all its syllables unaccented, and the other the rst and third unaccented,
and the middle accented. Hence,
No piece of poetry can be formed by the secondary feet alone, which is evident from the
fact that the Spondee has both its syllables accented; and the Pyrrhic and the Tribrach have all
their syllables unaccented; consequently the Spondaic measure would form a line in succes-
sion of all accented syllables; and the measure of the Pyrrhic and Tribrach would each form
a line in succession of unaccented syllables. The Amphibrach measure, as it has the rst and
third syllable unaccented, and the second accented, would, by a regular succession of its feet,






l!l!^l`' .`l ll!!l.!`
24 [l C. ' 2H
the third, and a rest on the fourth; and when these measures have but two
notes, the rest of the hand should likewise be equal to the motion.
In the measure of Triple time, where there are three beats in a measure,
two down and one up, the rest of the hand should likewise be equal with its
motion. And in the measures of Compound time, the rest of the hand should
be double to that of its motion; for where there are six quarter notes in a
measure, there is a down beat on the rst, a rest on the second and third, an
up beat on the fourth, and a rest on the fth and sixth; and in all the various
forms of the measure, the rest should be double to the motion. And as there
is a down beat on the rst part of every measure in all the movements of time;
so all the measures in the various movements and rhythmical constructions,
have the rst part accented; and thus the hand and the accent of the voice
move together.
When the measures of Common time contains but two parts, with one
foot of Trochaic verse, they have but one accent, which is on the rst part;
but when they contain four parts, with two Trochaic feet of verse, they have
two accents, which are on the rst and third parts of the measure, being the
same parts on which the hand is in motion. And thus the hand and the accent
of the voice still move together.
The measures of triple time, when in their primitive state, have but one
accent, which is on the rst part; and in that state they take one foot of Dac-
tylic verse. But they may be so constructed as to take two and three accents
and two and three feet of Trochaic verse. For where the measure contains
two crotchets and two minims, and has two feet of Trochaic verse applied,
it has two accents, one on the rst part, which falls on the rst crotchet,
and the other on the second part, which falls on the rst minim; and when
it has six crotchets, and three feet of Trochaic verse applied, it has three
accentsone on each part of the measure, which is on the same part the
beat is performed in marking the time. In marking this measure we have a
down beat on the rst crotchet and rest on the seconddown on the third,
and rest on the fourth,up on the fth, and rest on the sixth; thus it has an
accent to every beat, and the hand and the accent still move together.
The measures of Compound time have two accents and also two beats,
which fall on the rst and fourth parts. They contain either two feet of
Dactylic verse, or two feet of Trochaic, according to their construction.
Sec. 28.The Compound measure is an even measure; it can take two
threesor two feet of unequal measured verse; but cannot, like Triple
measure, take three twos, or three feet of equal measured verse. And not
withstanding the equal quantity of notes which ll their measures, they dif-
fer widely in their rhythmical movements,the one taking two threes, with
two accents and two beats; and the other three twos,with three accents and
three beats, as in the following
EXAMPLE:
In the above example, the rst Triple measure contains six quarter notes,
and has three Trocheessix syllablesapplied to it; and the rst Compound
measure has the same number of quarter notes and two Dactyls applied to
italso six syllables; but in their rhythmical movements there is a
_ _

, , , , , ,

1

2
Three Trocheesthree twos.

3

One Trochee.

, ,

Two Trochees.

A Dactyl

, , , , , ,

1

Two Dactylstwo threes.

2

One Trochee.

, ,

Two Trochees.

, , ,

A Dactyl

I ^.l ^!'!
2 l C. ' 2O.O]
wide difference in this and the following measures, as indicated by the ab-
breviatures.
Sec. 29.Since a practical knowledge of time and accent, and of beating
time with accuracy, according to the movements of the various measures,
lies at the foundation of correct performance, and is the most important
requirement we will illustrate it more clearly by the following examples.
In these examples will be used the following abbreviations, viz.: d will
stand for down beat; u for up beat; and r for rest. The dash () marks the
accented note, and the semi-circle ( ) the unaccented. The numerals point
out the parts of the measure according to their divisions. For the poetic
feet written in each measure, and their respective accents, see sec. 26, with
examples.
_
,
,
, _
_

,
,

1
d
Hith -
|

3
u
er,
Dactyl.

4
r
ye

1
d
faith-
Trochee.
|

2
u
ful,

,
,
,

1
d
haste
|

2
r
with
Two Trochees.

3
u
songs

4
r
of

,
,
,
1
d
tri-
|

3
u
umph,
Dactyl.

4
r
To

,
,
1
d
Beth -
|

3
u
le-
Dactyl.

4
r
hem

,
,
,
,
1
d
go
|

2
r
your
Two Trochees.

3
u
Lord

4
r
of

,
_
1
d
life
Trochee.
|

2
u
to

1 2
d u
meet.
|

,
1
d
To
|

3
u
you
Mixed.

4
r
this

_
,
1
d
day
Trochee.
|

2
u
is
|

,
,
,
,
1
d
born
|

2
r
a
Two Trochees.

3
u
Prince

4
r
and

,
,
,
,
,
1
d
Sa -
|

2
r

3
u
vior,
Dactyl.

4
r
O

,
,
,
,
1
d
come
|

2
r
and
Two Trochees.

3
u
let

4
r
us

,
,
1
d
wor-
|

3
u
ship,
Dactyl.

4
r
O

,
,
,

1
d
come
|

2
r
and
Two Trochees.

3
u
let

4
r
us

,
,
,
1
d
wor-
|

3
u
ship,
Dactyl.

4
r
O

,
,
,
1
d
come
|

2
r
and
Two Trochees.

3
u
let

4
r
us

,
,

1
d
wor-
|

3
u
ship
Trochee.

4
r

,

1
d
at
Trochee.
|

2
u
his
|

_
_
1 2
d u
feet.
|

EXAMPLES OF COMMON OR EVEN TIME. (See Sec. 30)

Sec. 30.In the foregoing example of common time, the movement is
marked for two half notes to the primitive measure; and yet there are six
measures with four quarter notes. Now the measures which contain two
half notes have one accent, and one foot of trochaic verse; and those which
contain four quarter notes have two accents, and two feet of trochaic verse,
and yet they move smoothly and seetly together throughout the whole tune.
Each of these measures have two beatsone down and one up. There is an
accented down beat on the rst part of every measure, in all the movements
of time; and when the measure contains two half notes, there is an unac-
cented up beat, as in that state it has but one accent, and one foot of trochaic
verse; but when it consists of four quarter notes, it has an accent on the up
beat lso, and contains two feet of trochaic verse. All the measures can take
as many accents as they have regular beats; and no measure should have
more beats than it can take accents.
Throughout this example are found measures containing one, two, three,
and four syllables of verseall combined in one piece of music, moving
in succession. Moreover, some of these measures have but one accent, and
embrace one foot of trochaic verse, and others one foot of dactylic. Other
c
l!l!^l`' .`l ll!!l.!`
2C [l C. ' J
measures have two accents, and two feet of trochaic verse. hence we see
how various the measures, in the self-same tune may be formed, in their
rhythmical construction, to answer the purposes of the various kinds of
poetic numbers, and still retain a uniform movement and regular beat on all
the accented parts of the measures. Hence also the propriety of giving only
two beats to the measures of all the movements of Common time, which
are nothing more than primitives and derivatives to each other, and should,
in all cases, be treated as such. (See examples, Sec. 19)
NOTE.It is proper here to observe, that when a measure in
2
4 time has a pointed crotchet
in the rst part of the emasure, the point is swelled out, as it falls on the second part of the
measure, which is frequently accented; but when in
4
4 time there are pointed crotchets in the rst
or second part of the measure, they are not swelled, but smoothly lengthened out, because
they fall on such parts of the measure as cannot be accented.
In poetry and music the greatest attention is due to accent: for it is by a due observance of the
accent that the poet is led and guided through the measures of his poetic numbers and sweetly
owing lays: and the musician, in the construction of his musical measures and rhythmical
progression.
Sec. 31.In the rst example the movement is in Triple time, where the
measure has one accent, and three beats, two down and one up. Some of
the measures are primitive, and take one foot of dactylic verse; others have
a slight variation of notes, but the same verse and rhythmical numbers; and
others have one foot of trochaic verse, by uniting the two crotchets of the
rst and second parts of the measure into one minim.
_
,

3
u
Thy
|
, ,
,

1
d
mer -

2
d
cy,
A Dactyl.

3
u
my
|
,
,
,

1
d
God,

2
d
is
A Dactyl.

3
u
the
|

,
,

1
d
theme

2
d
of
A Dactyl.

3
u
my
|
, ,

1 2
d d
song,
A Trochee.

3
u
the
|
, ,
,
,

1
d
joy

2
d
of
A Dactyl.

3
u
my
|
,
,
,
,

1
d
heart,

2
d
And
A Dactyl.

3
u
the
|
,
,
, ,

1
d
boast

2
d
of
A Dactyl.

3
u
my
|
_
_

1 2
d d
tongue.
EXAMPLES OF TRIPLE OR UNEVEN TIME. (See Sec. 30)
EXAMPLE FIRST.
EXAMPLE SECOND.
_
,
,
, _

3
u
O
|
,
,

,

1
d
hap-

r
py

2
d
day
Two Trochees.

3
u
that
|
,
,

,

1
d
fixed

r
my

2
d
choice,
Two Trochees.

3
u
On
|
,
,
_

1
d
thee,

r
my

2
d
Sa-
Two Trochees.

3
u
vior
|
,
,

1
d
and

r
my

2
d
God;
Two Trochees.

3
u
Well
|
, ,
_

1
d
may

r
this

2
d
glow-
Two Trochees.

3
u
ing
|
,
,

1
d
heart

r
re

2
d
joice,
Two Trochees.

3
u
And
|
,
,
_

1
d
tell

r
its

2
d
rap-
Two Trochees.

3
u
tures
|
_
,
,
_

1
d
all

r
a-
Mixed.

2 3
d u
broad.
I ^.l ^!'!
27 l C. ' J]
In the Second example the movement is also in Triple time, where the
measure has two accents, and two feet of trochaic verse applied to it. By
the abbreviatures the pupil will see that one foot of verse is sung to two
crotchets, and another to the two minims which are in a measure; and thus
the rst crotchet, which occupies the rst part of the measure is accented,
and the second unaccented; and the rst minim, which occupies the second
part of the measure is accented, and the second which occupies the third part
is unaccented. In this measure there is a down beat on the rst crotchet, and
a rest on the second, and again a down beat on the rst minim, and an up
beat on the second. When the hand beats a minim, its rest should be equal
to its motion.
In the Third example we have the same movement as in the second save
that the measures vary in their rhythmical construction; some of which have
three accents and three feet of trochaic verse; and others one accent, and
one foot of the same verse contained in them: all of which is clearly seen
by the abbreviatures in the examples. Sec. 29.)
In the fourth example, we have the same Triple movement and measure
as in the rst, except that in these measures the rst and second parts of the
measure are united in one note and sung to one syllable; thus including one
trochaic foot, whereas in the rst example the measure is in its primitive
state, and embraces one foot of dactylic verse. Both these measures are,
however, subject to the same accentuation. Hence we see that the Triple
measures are subject to three varieties of accent, to which may be applied
various feet of poetic measures.
EXAMPLE THIRD.
EXAMPLE FOURTH.
_
,
,
,
,
_

3
u
What
,
,
,
,
,
,

1
d
less
|

r
than

2
d
thy
Three Trochees.

r
al

3
u
might

r
y
,

1 2
d d
Word,
Trochee.
|

3
u
Can
,
,
,
,
,
,

1
d
raise
|

r
my

2
d
heart
Three Trochees.

r
from

3
u
earth

r
&

1 2
d d
dust,
Trochee.
|

3
u
and
,
,

,
, ,

1
d
bid
|

r
me

2
d
cleave
Three Trochees.

r
to

3
u
thee,

r
my
,

1 2
d d
Lord,
Trochee.
|

3
u
my
, ,
,
,
, ,

1
d
life,
|

r
my

2
d
trea
Three Trochees.

r
sure,

3
u
and

r
my
_
_

1 2
d d
trust.
|
_
,
,

3
u
The
Iambus.
,
,

1 2
d d
Spir-
|
|

3
u
it
Iambus.
_
,

1 2
d d
of
|
|

3
u
re -
Iambus.

1 2
d d
deem-
|
|

3
u
ing
Iambus.
_
,

1 2
d d
grace,
|
|

3
u
Give
Iambus.
,
,

1 2
d d
us
|
|

3
u
in
Iambus.
,
,
,

1
d
faith
|

2
d
|

3
u
to
Iambus.
,

1 2
d d
claim;
|
|

3
u
To
Iambus.
,
,

1 2
d d
wres-
|
|

3
u
tle
Iambus.
_
,

1 2
d d
till
|
|

3
u
we
Iambus.

1 2
d d
see
|
|

3
u
thy
Iambus.

1 2
d d
face,
|
|

3
u
And
Iambus.
,
,
,

1
d
know
|

2
d
|

3
u
thy
Iambus.
,

,
,

1
d
hid -
|

2
d
|

3
u
den
Iambus.
_ _

1 2
d d
name.
|
l!l!^l`' .`l ll!!l.!`
2H [l C. ' 2
Sec. 32.In the rst example is given the rst movement of Compound
time. This measure has two accents, and always two beats; a down beat
on the rst note of the primitive measure, and an up beat on the fourth, and
in its primitive state, has two feet of dactylic verse applied to it, as in the
examples. When this measure contains two pointed minims, and one foot
of trochaic verse, it has in that form, but one accent, which is frequently the
case at the close of one line of poetry, ad the commencement of another.
The pupil will readily discover by the abbreviatures, (Sec. 29,) that the rest
of the hand, in marking this measure, is double to that of its motion, which
should be duly observed and practiced.
In the second example, the movement is also in compound time, with the
measures varied and constructed with notes and ties, in such a manner as
to apply to two feet of trochaic verse to some, and one foot and a half to
others. The motion of the hand, in beating time, should be as quick on a
long note as it is on a short one, so that a regular and uniform motion and
rest be sustained throughout all the measures of a whole piece of music.
NOTE.From the foregoing examples and denitions, it is evident, that accent and emphasis
adjust and regulate the time of the measures in music and of the feet in poetry, and also the
motion of the hand in marking the time of the various measures, in all the different movements.
And from this fact, as well as the fact that the two movements of Common time are identical, as
shown in the examples, Sec. 19, we can nd no use for four beats in any measure of Common
time. And it is strange to us how the idea should ever have occurred, of introducing six beats
to the measure of Compound time.
EXAMPLES OF COMPOUND OR DOUBLE-TRIPLE TIME. (See Sec. 32)
EXAMPLE FIRST.
_
,

2
u
How
Sweet
,
,
,
,
,
,

1
d
te -
prospects,
|

2
r
dious

3
r
and
sweet
Two Dactyls.

4
u
taste-
birds

5
r
less
and

6
r
the
sweet

1
d
hours,
flowrs,
|
Trochee.

2
u
When
Have
,
,
,
,
,
,

1
d
Je-
all
|

2
r
sus
lost

3
r
no
their
Two Dactyls.

4
u
lon -
sweetness

5
r
ger

6
r
I
to

}

1
d
see;
me;
|
Trochee.

2
u
The
,
,
, ,
,
,

1
d
|

2
r
midsummer

3
r
Two Dactyls.

4
u
sun

5
r
shines

6
r
but
_
_

1
d
dim,
|
Trochee.

2
u
The
,

, ,

,

1
d
fields
|

2
r
strive

3
r
in
Two Dactyls.

4
u
vain

5
r
to

6
r
look
_
,

1
d
gay.
|
EXAMPLE SECOND.
_
,

,
,
,
,

,

1
d
An -

2
r

3
r
gels,
Two Trochees.

4
u
roll

5
r

6
r
the
|
,
,
,

1
d
rock

2
r
Mixed.

3
r
a-

4-6
u
way;
|
,
,
,


,

1
d
Death!

2
r

3
r
yield
Two Trochees.

4 -
u
up

6
r
the
|

,
,

1 -
d
might -

3
r
Mixed.

4 -
r
y

6
u
Prey;
|
, ,

1
d
See!

2
r
he
Two Trochees.

3
u
ris -

4-6
r
es
|
,
,
,

1
d
from

2
r
Mixed.

3
r
the

4-6
u
tomb,
|
,
,
,
,
,
,

1
d
Glow -

2
r

3
r
ing
Two Trochees.

4
u
with

5
r

6
r
im -
|
_

,
,

1
d
mor -

2
r
Mixed.

3
r
tal

4-6
u
bloom.
more uniform with all the other beats in the different movements, and less subject to lead
singers to a disorderly habit in the motion of the hand.
QUESTIONS.
How many beats are in the measures of Common time?How are they performed?Which
part of the measure has invariably a down beat?What part of the measure is invariably ac-
cented?Has the measure but one accent?If the measure has four notes and two accents, on
what parts of the measure do the accents fall?Are the beats then performed on the accented
parts of the measure?How many beats has the measure of Triple time?How are the beats
performed?How many accents are in it when in its primitive form?Can it take more
than one accent in its derivative measures?How many beats has the measure of Compound
time?How many accents?On what parts of the measure do the accents fall?Are the
beats performed on the accented parts of the measure?Must the accents of the measures of
music and the feet of poetry always agree?If the measure of Triple time contains six quarter
notes, and the measure of Compound time contains the same number, will they agree in their
movement?Why not?
CHAPTER VII.

INTONATION.

MELODYMUSICAL INTERVALS, SCALES, &C.

Sec. 35.As letters represent the seven original sounds on the staff of
music, (Sec. 9,) it is of great importance that the student be well acquainted
with their situation, and commit them to memory, as on the following,
SCALES.
BASS STAFF. TENOR AND TREBLE STAFF.
I ^.l ^!'!
2O l 7. ' ]
Sec. 33.The motion of the hand, in beating time, should accompany
the accent. And although the hand must in some measures, beat on an
unaccented part, yet in other measures, in the same tune, that part may be
accented: and thus the hand is always in motion on the accented part of
the measure, and should be at rest on the unaccented. To have a continual
motion of the hand, in marking the time, shackles the singers, and produces
heavy and lifeless performance. The more natural and easy the singers can
move along, in marking the time, the more charming and powerful will the
effect of the melody and harmony prove, and operate on the minds of the
performers and the audience.
Sec. 34.Decency and order should characterize the marking of the time.
The hand should be kept open, and move perpendicularly up and down, with
a quick motion, but not too high. The rest of the hand should always be equal
to its motion, and in slow movements about double. In triple time, the hand
has two down beats and one up; in all the other movements the motion of the
hand is simply up and down. All contortion, closing, twisting, or irregular
motion of the hand should be carefully guarded against, and avoided, and
an easy motion and rest sustained throughout.
NOTE.Some authors arrange the measures of the different movements into four divisions,
namely; Double, Triple, Quadruple, and Sextuple, and give two beats to the rst, three to the
second, four to the third and six to the fourth. This arrangement seems to have, at rst sight,
a good deal of consistency; since the rst has two parts to the measure, the second three, the
third four, and the fourth six, in their primitive form. But when we take into consideration the
accentuation of the different measures of those movements (Sec. 26)the commingling of the
measures of the rst and third, (Sec. 30)the different rhythmical constructions and movements
of the measures of the second and fourth,(Sec. 28)and besides this, the four and six beats
which those authors directthe propriety of this arrangement vanishes away.
The mode of beating the triple measure with the second beat horizontally seems to have
gained some practice: though we decidedly prefer two down beats and one up. This mode is
A
F
D
B
G
G
E
B
C
A
Space above . . . . . . . . 10
Fourth space . . . . . . . . . 8
Third space . . . . . . . . . . 6
Second space. . . . . . . . . 4
First space. . . . . . . . . . . 2
First line
Second line
Third line
Fourth line
Fifth line 9
7
5
3
1
?
F
D
B
G
E
E
C
G
A
F
Space above . . . . . . . . 15
Fourth space . . . . . . . . 13
Third space . . . . . . . . . 11
Second space. . . . . . . . . 9
First space. . . . . . . . . . . 7
First line
Second line
Third line
Fourth line
Fifth line 14
12
10
8
6
&
Sec. 36.As musical sounds may be high or low, (Sec. 3,) a scale is used
to represent them in their different pitch.
In the following scales of the major and minor modes, is represented the
gradual succession of the tones and the semitones, rising by steps and half-
steps, counting from the lowest upwards, and thus forming the diatonic scale
in both keys.
DIATONIC SCALEMAJ OR AND MINOR.
Each of the above scales is made up of seven sounds, (Sec. 2) with the inver-
sion of the rst, which becomes an eighth, and thus completes the octave,
and commences a second scale.
These scales consist of ve tones and two semitonesor ve steps and
two half-stepswhich are distinguished on this scale, by the lines and
spaces, the spaces of the semitones being half as wide as those of the tones.
By this the pupil will discover, that the semitones lie between B and C, and
E and F; they also lie invariabbly, between the syllables Si and Do, and Mi
and Faw. The letters and notes are placed on the lines, in the above scale,
in the same order in which they are placed in their natural positions on the
lines and in the spaces of the staff.
Sec. 37.By comparing the sounds C, D, E, F, of the major scale above,
with G, A, B, C, we nd that the distance of each of these fourths consists
of three tones and a semitone; therefore any tune formed by one will be
similar to that of the other.
These four sounds are termed a Tetrachord; they composed the ANCIENT
GREEK SCALES, and the enumeration of all the sounds of their system; though
it appears in GARDINERS MUSIC OF NATURE, that their music was all writ-
ten in the minor scale. The two Tetrachords, taken in succession, form the
diatonic scale; the chief sound or key of which is taken from C; it being the
letter from which the natural major key proceeds.
TETRACHORDS OF THE MAJ OR SCALE
First Tetrachord Second Tetrachord
In both these Tetrachords the semitones or half steps lie between the third
and fourth intervals; and thus they are alike in their sounds, except that the
rst commences on C, and the second on G.
TETRACHORDS OF THE MINOR SCALE
First Tetrachord Second Tetrachord
The Tetrachords of the minor scale are unlike in the location of the semi-
tones, the rst of which has the half step between the second and third; and
the second has it between the rst and second of the scale. They also differ
with the tetrachord of the major, owing to the fact, that those of the major
proceed from C and G, and the minor from A and E. Both the major and
the minor, however, have the semitones between B and C, and E and F; as
also between Si and Do, and Mi and Faw.
l!l!^l`' .`l ll!!l.!`
[l 7. ' C.7 O
MINOR SCALE
C
B
A
G
F
E
D
C
B
A
z
s
w
v
E
g
g
g
E
v
w
s
Z Z
g
z
v
E
g
Z
z
s
w
v v
w
s
z
Z
g
E
v
1st note of a second octave
1st note of a second octave
8
7
6
5
3
4
2
1
8
7
6
5
3
4
2
1
MAJOR SCALE
_ _
_


,

,




_

_ _

_

_ _
_
_

_

_

_

,
_

_ _


_
,
I ^.l ^!'!
J l 7. ' H.O]
NOTE.In counting intervals in this work, both the extremes will be counted and taken into
the number. Thus, C, D, E, F, form four intervals of the scale, reckoning from grave to acute;
though there are only three intervals, or spaces between them. The term INTERVAL is applied
both to the distance between the notes , and to the notes themselves. Thus E is not only said
to be at a distance of a third above C, but is itself called the third above C; G is not only said
to be at the distance of a fth above C; but is itself called a fth above C; in both which cases
the extremes are taken into the number. So when the voice gradually ascending or descending
by intervals, is compared to steps and half steps, the rst sound will of course, be its rst step,
the second sound its second, the third, its third, &c.; and as the scale is unlimited, whatever
sound or letter the voice or instrument may strike, there are still intervals below it or above,
from which that step proceeds. In the scale of music, the half steps are taken into the number
of intervals as well as those of the steps.
Sec. 38.Two disjoint Tetrachords, one arranged above the other, form
the diatonic scale. Those two Tetrachords, the rst of which proceeds from
C, and the second from G, form the major scale; and those two, the rst of
which proceeds from A, and the second from E, the minor scale.
NATURAL MAJ OR SCALE
_ _
_


Pronounced, doe,
Written, Do,
1
ray,
Re,
2
,

me,
Mi,
3
faw,
Faw,
4

_
sole,
Sol,
5
law,
Law,
6

_
see,
Si,
7
doe,
Do,
8

_

doe,
Do,
8
see,
Si,
7
_

law,
Law,
6
sole,
Sol,
5

,
faw,
Faw,
4
me,
Mi,
3
_

ray,
Re,
2
doe.
Do.
1
_ _
_
_

_

,
_

_ _

_
,

_
_
_
NATURAL MINOR SCALE
NOTE.It is very desirable that the singer pronounce the syllables clearly and distinctly in
solmization: it adds greatly to the beauty of music, and will lead to correct pronunciation of
the poetry, when applied to music, which is of the greatest importance.
Sec. 39.The following rhythmical exercises should be practiced in a
school, with a full accent, and a regular marking of time, until the pupils have
acquired a ready motion of the hand, and a command of voice, in striking
the accented notes with strength and rmness, and with a clear voice; and
the unaccented in a soft, smooth, and easy manner. In training a school, no
pain should be spared in the intonation of the voice, and in a regular mark-
ing of the time, as thereon depends wholly, all future success in bringing
out music in rhythmical order, and with taste and elegance.
EXERCISES IN RHYTHM
_ _
_
_ _ , , _ , _ , _
.
_ , , ,

, _ , , , , _

,

,
.
, , ,
.
, , ,
_
_
_

, , , , _ _ _
.
,

, , , , , ,

, ,

, ,

, , , _ ,

,

, ,

,

, _ ,

, , ,
_
_
l!l!^l`' .`l ll!!l.!`
2 [l 7. ' 4O
Sec. 40.The following exercises should be practiced till the pupils have
acquired rmness in sounding, with precision, and with a smooth and clear
voice, every interval in the diatonic scale, ascending and descending, both
in the major and the minor keys: also till they have gained a thorough
knowledge of the location of the semitones in their different positions, in
both keys.
_ _
_

, ,
, ,

, ,
, ,

, , , ,

, ,
, ,

, ,

_
_
_

, ,
, ,
, ,
, ,
, ,
_ ,
, ,
, , _

, ,
, ,
_

, ,
, ,
,
_
_
_
,
_

,
_

_

_

, _

_


,
_
,


_
,

_ _

,
_
_
EXERCISES IN MELODY
_
_
,

,

, ,

,
,

,

, , ,
,

,

,

,

,


,

,

,

,

,
,

,
_
, ,

,
_
,

,
_
,

,

,

,
_
,

, ,

,
_
_
_ _

_ _ _ _ , , _ ,

, , , , , _
.
, , , , , , , , _ _ _ _ , , _
.
, , ,

, , , _
. .
, , _
_
_ , ,
.
_

, , ,

,

,

,

, , , ,

,

, _


,

,

,

,

,

, _ ,

,

, _ _

,

,
. ,

,

,
_
,

,
_
,

,
_
, ,
,

,
_

,

, , ,
_

, , , , , , _ _ , , , _ , _
.
_ , _ , _ , , , _ , , , ,
.
, , , ,

, , ,
_
_ _

_ _

,

,

,

,

,

, , , ,

,

,

,

, , ,
,

,
_
,

,

,
_
,

, ,

, ,

, ,
, ,
,

,

,

, ,
,
,

,

,

,
_

,
_
,

, ,
,
_
,
,
,

,

_
1
1
3
position.
5 8 |

,
_
1 5
2
3 8 |

,
_

1 3
3
8 5 |

_

,
1 8
4
5 3 |

_
,
1 5
5
8 3 |

_
,

1 8
6
3 5 |
,


_
3 1
7
5 8 |
,


_
3 5
8
1 8
_
,
,
,
,

_

3 1
9
8 5 |
,

_

3 5
10
8 1 |
,
_


3 8
11
5 1 |
,
_


3 8
12
1 5

,
_
5 1
13
3 8 |

,

_
5 3
14
1 8 |

_
,
5 1
15
8 3 |

_
,

5 8
16
3 1
_
,
,
,

,
_

5 3
17
8 1 |

_

,
5 8
18
1 3 |
_

,

8 1
19
3 5 |
_
,


8 3
20
1 5 |
_


,
8 1
21
5 3 |
_


,
8 5
22
1 3 |
_

,

8 5
23
3 1 |
_
,


8 3
24
5 1
_
,
_

,
_
1
1
3
position.
5 8 |
_
,

_
1 5
2
3 8 |
_

_
,
1 3
3
8 5 |
_
_
,

1 8
4
5 3 |
_
,
_

1 5
5
8 3 |
_
_

,
1 8
6
3 5 |

_
,
_
3 1
7
5 8 |

,
_
_
3 5
8
1 8
I ^.l ^!'!
l 7. ' 4J]
_
,
_

_
,

,

,
,
_

_

, _

_
,


,

_ _

,
_ _


_
_
_
,

,
,
,
_
,
,
,
_ _ ,
,
,

,
,

,

_ _
,
_

Sec. 41.As the Tonic or key note is the most important interval in the
musical scale, and the chord based on it is the principal one in every piece
of music, it will be proper, in this place, to give exercises on the intervals
of this chord, and on the various positions and changes in which these in-
tervals may be sung, having the tonic of either the major or minor scale for
the fundamental note.
Exercises on the Intervals of the Common Chord.
INTERVALS PROCEEDING FROM THE MAJ OR TONIC.
INTERVALS PROCEEDING FROM THE MINOR TONIC.
QUESTIONS.
How many letters of the alphabet are used to represent musical sounds?How are these
letters placed on the Bass staff?How on the Tenor and Treble?Are the Tenor and Treble
alike in pitch?How many tones are in the scale of music?How many semitones?Between
which letters do the semitones lie?Between which notes do the semitones lie?How many
modes are there in music? Ans. Two, the major and the minor.Wherein do these modes
differ? Ans. In the location of the semitones.How many sounds form a Tetrachord?How
many Tetrachords compose the diatonic scale?How many notes are applied to the diatonic
scale?What syllables are applied to these notes?In how many different positions can the
intervals of the common chord be sung?
CHAPTER VIII.

MELODY.

OF INTERVALS, CHORDS, AND THEIR INVERSION.

Sec. 42.The intervals of the scale are seven, (Sec. 2,) the rst of which
is called
l!l!^l`' .`l ll!!l.!`
4 [l H. ' 42
_
,

_
_
,
3 1
9
8 5 |

,
_
_
3 5
10
8 1 |

_
,
_
3 8
11
5 1 |

_
_
,
3 8
12
1 5
,
_

_
5 1
13
3 8 |
,

_
_
5 3
14
1 8 |
,
_
_

5 1
15
8 3 |
,
_

_
5 8
16
3 1
_
,
,

_
_
5 3
17
8 1 |
,
_
_

5 8
18
1 3 |
_
_

,
8 1
19
3 5 |
_

_
,
8 3
20
1 5 |
_
_
,

8 1
21
5 3 |
_
,
_

8 5
22
1 3 |
_
,

_
8 5
23
3 1 |
_

,
_
8 3
24
5 1
The Tonic, which is the key note or principal sound, and which governs
all the rest.
The second is called the Supertonic, because it is next above the Tonic.
(Superabove.)
The third is called the Mediant, as it is half way between the Tonic and
Dominant. It varies with the mode, being the greater third in the major, and
the lesser third in the minor.
The fourth is called the Subdominant, being next below the Dominant.
But the term arises from its being a fth below the Tonic, the same degree
that the dominant is above. (Subunder.)
The fth is called the Dominant, from its importance in the scale, and
from its immediate connection with the Tonic; and as it is heard in the Bass
immediately before the nal perfect cadence, it is said to govern the Tonic
in both the major and the minor scales.
The sixth is called the Submediant, from its being halfway between the
Tonic and the Subdominant descending. Like the Mediant, it varies with
the mode, being the greater sixth in the major mode, and the lesser sixth in
the minor.
The seventh is called the Leading note, from its leading to the Tonic. It
is also called the Subsemitone, from its being a semitone below the Tonic.
Moreover it is called the sharp seventh, from its being of a sharp sound in
I ^.l ^!'!
l H. ' 4]
the major scale, and is frequently sharped in the minor.
The eighth is the inversion of the Tonic and is the same note with it though
it is an octave higher in the general Scale.
Sec. 43.In the following scale is exhibited the connection of the three
parts of music, Bass, Tenor, and Treble; with the degrees of sound of all the
letters expressed by numerals, on the staffs, as they rise in acuteness, on
the scale. The Treble staff is the same with the Tenor, except that it rises an
octave higher in the scale; owing to the fact, that the female voice is more
acute by one octave, than that of the male. Hence there are represented on
the scale 22 musical sounds, from G, the rst line of the bass staff, to G, the
space above the fth line of the Trble staff; this being the ordinary compass
of the human voice, including male and female: though the ordinary compass
of either sex is only fteen sounds. (See note on Sec. 6.)
The two natural keys, major and minor, with their intervals, as represented
above, should be well understood. Of the seven intervals, of either key, ve
are steps or tones, and two are half-steps or semitones. In the major key the
semitones always lie between the third and fourth and the seventh and eighth
intervals of the scale; and in the minor key they lie between the second and
third and fth and sixth intervals. (See on this, Sec. 36, with scale.)
?
A
F
D
B
EE
G
CC
B
G
E
C
A
FF
DD
v
s
Z
E
z
w
g
E
w
z
g
v
s
Z
B
a
s
s
S
t
a
f
f
F
D
B
G
E
G
E
C
A
F
s
Z
E
w
z
w
z
g
v
s
T
e
n
o
r
S
t
a
f
f
&
F
D
B
G
E
G
E
C
A
F
s
Z
E
w
z
w
z
g
v
s
T
r
e
b
l
e
S
t
a
f
f
&
v
E
g
v
5
6
7
8-
s
Z
E
w
E
w
z
g
v
s
Z
s
Z
E
w
z
g
w
z
g
v
2
4
3
5
6
1
7
8
2
4
3
5
6
1-
7
8-
2
4
3
5
1
v
5
6
7
s
Z
E
w
E
w
z
g
v
s
Z
s
Z
E
w
z
g
w
z
g
v
2
4
3
8-
2
4
3
5
6
1
7
8
2
4
3
5
6
1-
7
8-1
7
Notes in ALT,above the ordinary compass of the human voice
2
4
3
5
6
1
7
8
9
10
14
16
15
17
18
13
19
20
21
22
7
9
8
10
11
6
12
13
14
15
2
4
3
5
6
1
7
8
9
10
11
12
13
14
16
15
17
18
19
20
21
22
C
o
m
p
a
s
s
o
f
t
h
e
F
e
m
a
l
e
V
o
i
c
e
T
h
i
r
d
O
c
t
a
v
e
F
i
r
s
t
O
c
t
a
v
e
S
e
c
o
n
d
O
c
t
a
v
e
C
o
m
p
a
s
s
o
f
t
h
e
M
a
l
e
V
o
i
c
e
{
{
{
{
{
Notes in double letters, the ordinary compass of the human voice. BELOW
Natural major key
Natural minor key
THE GENERAL SCALE OF MUSIC.
l!l!^l`' .`l ll!!l.!`
C [l H. ' 4
From the fact that there are but seven original sounds in the scale of music,
and that it takes eight sounds to complete the scale, some difculty seems to
arise, in nding out the eighth sound. But when it is taken into consideration
that the key note of either the major or the minor scale is always taken as
one, and is the rst interval in the diatonic scale; and that it occurs or comes
round again every eighth interval, [like the Sabbath, which is the rst day
of the week, and comes round every eighth day; though there are but sevn
days in the week,] it is easily perceived, that the eighth is nothing more than
the inversion of the rst; and with the same sound that commences a suc-
ceeding scale, the preceding is completed: thus the Tonic is the rst sound
in the scale, and is also the last.
By the three braces which include the octaves in the above scale, it will
be seen that the rst brace includes the rst note and the eighth; the second
brace includes the eighth and the fteenth; and the third includes the fteenth
and the twenty-second. Thus it is manifest that the last note of a preceding
octave, is the rst note of a succeeding one. The same method is perceivable
in the braces of the double octaves; the rst of which includes the rst and
the fteenth, for the compass of the male voice; and the second includes the
eighth and the twenty-second, for the compass of the female voice; thus still
including in the braces, the last note and the rst of each octave.
Although the ordinary compass of the human voice is limited to three
octaves, comprising twenty-two musical sounds; yet there are some voices
which can surpass this limitation;the instruments have yet a much wider
range; and the musical scale knows no bounds. Hence we see in the scale,
notes in double letters below, also notes in Alt above; these might form new
octaves above and below; and be continued octave upon octave, without
nding to them any limitation.
NOTE.It is found by a mathematical calculation, based upon the number of vibrations to
a second of time, that the ve intervals of the diatonic scale termed steps are not exactly equal
to each other, while the two half-steps are each of them a little more than half-steps, and the
one between 7 and 8 is greater than the one between 3 and 4.
Dr. Calcott, in his musical Grammar, divides the scale into tones of 9 commas and tones
of 8 commas; and the two diatonic or natural semitones into 5 commas, and the chromatic or
articial semitones into three or four, according to the magnitude of the tone.
Thus the scale is divided into major tones of 9 commas, and into minor tones of 8; and
into natural or major semitones of 5 commas, and into articial or minor semitones of 3 or 4
commas.
According to this theory, if we suppose a string on an instrument which sounds out one Do
of the scale, to have 24 vibrations in a second of time, then one-half of its length, vibrating at
the same tension, will sound eight of the scale, and will vibrate just twice as fast, or 48 times
to the second. Preserving this ratio, the relative number of vibrations to every sound of the
present scale will be as follows:
C D E F G A B C
1 2 3 4 5 6 7 8
24 27 30 32 36 40 45 48
Now, in order to give the length of a string which will make the proper number of vibra-
tions to each of the intervals of the scale, we must take 24, the number of vibrations for the
fundamental or 1, for a numerator, and the other numbers, which give the vibrations of the
other intervals for denominators, and the fractions will stand thus:
These fractions express what part of the length of the whole or fundamental string is required
to give the proper number of vibrations to each interval of the scale. And here we nd that
the Octave takes one-half of the string, the fth two-thirds, the third four-fths, &c. See the
following
EXAMPLES OF VIBRATIONS
Unisons ....... . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fundamental . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Octave......... . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fundamental . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24
27
8
9
= ;
2.
24
24
1
1
= ;
1.
24
30
4
5
= ;
3.
24
32
3
4
= ;
4.
= ;
24
36
2
3
5.
= ;
24
40
3
5
6.
24
45
8
15
7.
= ;
24
48
1
2
8.
= .
1
1
2
1
I ^.l ^!'!
7 l H. ' 44]
Fifth............. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fundamental . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Third........... . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fundamental . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3
2
5
4
The foregoing examples of the unison, octave, fth and third will sufce as specimens of all
the rest of the intervals of the diatonic scale, which are the second, fourth, sixth and seventh,
the length of whose strings are expressed above.
from the foregoing examples, we see that the proportion of the vibrations for each interval
of the scale is xed. And according to this theory, if we suppose the distance from 1 to 2 of
the natural scale, or from C to D, to be 22, then the scale will stand as follows:
From 1 to 2, 2 to 3, 3 to 4, 4 to 5, 5 to 6, 6 to 7, 7 to 8,
22; 20; 12; 22; 20; 11; 13.
Thus when we take 22, the distance from 1 to 2, as the standard of a step, then from 2 to 3
will be a step of 20, and so on, as in the above diagram.
Now if the intervalsof the scale could be performed according to this mathematical standard,
which is based on the number of vibrations of a string to each interval as represented above,
it would produce the most perfect harmony. But as the scale in this arrangement could not be
transposed to other letters of the scale, it would in this xed position, like the purest honey,
soon cloy. Hence,
In order to adjust the scale to an even temperament, all the distances, as just given in the
mathematical diagram, are added together, the aggregate of which is 131; this number divided
by 12, the number of semitones in the scale, will produce 10
12
11
as the distance of each half-step;
and making each step twice as great, will give 21
10
12
as the distance of a step. Thus all the tones
of the scale are equalized, and so are the semi-tones also, and made just half the distance of a
tone; and in this equal temperament it is transposed to all the letters of the scale, and to all the
chromatic semi-tones.
Sec. 44.The intervals of the scale are used both in a conjoint and in
a disjoint manner. They are used conjointly, when they follow each other
in the order of the scale; and disjointly when they are separated, and form
longer intervals or skips, such as the third, fourth, fth, sixth, seventh, and
eighth. (See exercises, sec. 41.) These skips may also include their octaves,
as the tenth, twelfth, fteenth, &c.
Disjoint intervals are consonant or dissonant, according to the degrees of
{{{{{{{
sound they are distant from each other. The combination of sound produced
by the rst, third, fth and eighth intervals of the scale, major or minor, called
the Common Chord or harmonic triad, (exercises, sec. 41,) are consonant
intervals, and when sounded together, form a delightful chord, producing
the most sublime and pleasant harmony; but the second and seventh are
discords, (See table, sec. 50.)
A Common Chord or harmonic triad, consists of a fundamental note, and
its third and fth, and usually its octave: and notwithstanding the chord
which proceeds from the key note is the most perfect, yet every letter of the
scale may be made the fundamental note of a common chord, major, minor,
or imperfect.
Every consonant triad must have a perfect, or major fth. A major triad
has a major third from the rst to the third, and a minor third from the third
to the fth; and a minor triad has a minor third from the rst to the third,
and a major third from the third to the fth. (Examine the scale.)
SCALE OF TRIADS
In the foregoing scale are exhibited six consonant triads and one disso-
nant. Three of the consonant triads are major, and three are minor. In the
dissonant triad, both the thirds are minor, and so is the fth, in consequence
of which, the chord is dissonant.
C
B
A
G
F
E
D
C
8
7
6
12
10
11
9
1
G
F
E
D
5
3
4
2
T
\
T T

\

T

W

W W
Chord of E
Chord of C
Chord of F
Chord of G
Chord of A
Chord of B
Octave of the chord of C
Chord of D
In the foregoing inversion of Major and Minor intervals, are exhibited
fourteen, namely minor and major seconds, minor and major thirds, &c., with
unison and octave. These will be farther noticed in treating on Harmony,
Chap. 10.
QUESTIONS.
How many intervals are in the diatonic scale?How are they called as they ascend?How
many sounds does the general scale contain?How many octaves?Is the musical scale
limited to 22 sounds?What is the difference between the pitch of the Tenor and the Treble
staff?Between the major and the minor keys?Between which of the intervals are the
semitones located in the major scale?In the minor?What different effects do the different
locations of the semitones in those keys produce?What is to be understood by conjoint in-
tervals?What by disjoint?What is a common chord or Harmonic Triad?What is a Major
Triad?A Minor?A dissonant?Are the major and the minor Triads both consonant?Why
are they consonant?What is meant by inversion?How many different intervals are produced
by inversion?
CHAPTER IX.

MELODY.

TRANSPOSITION OF THE SCALE.

Sec. 46.There are two modes of keys in music, the major and the minor,
(Sec. 36 and 43.) In their natural state, the major has C for its fundamental
note or key, and the minor has A. But were the keys conned to these two
letters alone, their bounds would be too limited. Consequently, there is a
much wider range provided for them by transposition. For this purpose ats
and sharps are used as signs, to modulate the sounds, by means of which not
only every musical letter, but every chromatic semitone may be made the
tonic or key note both major and minor. Hence there are twenty-four keys
in the scale of music, twelve of which are major and twelve are minor.

l!l!^l`' .`l ll!!l.!`

H [l H. ' 4.4C
Sec. 45.INVERSION OF INTERVALS.When the lower note of any interval
is placed an octave higher, or the higher note an octave lower, the change
thereby produced is called inversion. Any interval and its inversion complete
the octave. Thus let C and D form a major second, then invert C by plac-
ing it an octave higher, and it will produce, from D to C, a minor seventh,
which, with the major second, completes the octave. Moreover, let B and
C form a minor second, then invert B, by removing it an octave above, and
it will broduce from C to B a major seventh, which, with the minor second,
completes the octave.
INTERVALS AND THEIR INVERSION.
_
,
, ,
A Unison becomes an 8th;
, ,
_
,
, ,
An 8th becomes a Unison.
, ,
_
,
,
,
A Minor 2nd becomes a Major 7th;
,
,
_
,
,
,
A Minor 3rd becomes a Major 6th;
,
,
_
,
,
,
A Minor 4th becomes a Major 5th;
,
,
_
,
,

A Minor 5th becomes a Major 4th;

,
_
,
,
,
A Minor 6th becomes a Major 3rd;
,
,
_
,
,
,
A Minor 7th becomes a Major 2nd;
,
,
_
,
,
,
A Major 2nd becomes a Minor 7th;
,
,
_
,
,
,
A Major 3rd becomes a Minor 6th;
,
,
_
,
,

A Major 4th becomes a Minor 5th;

,
_
,
,
,
A Major 5th becomes a Minor 4th;
,
,
_
,
,
,
A Major 6th becomes a Minor 3rd;
,
,
_
,
,
,
A Major 7th becomes a Minor 2nd;
,
,
I ^.l ^!'!
O l H. ' 47]
In the scale of the major and minor modes, (Sec. 36,) the half-steps or
semitones lie between B and C, and E and F; and in the major scale they lie
between the third and fourth, and seventh and eighth intervals; and in the
minor they lie between the second and third and fth and sixth intervals;
and in both scales they lie between the syllables MI and FAW, and SI and DO.
Now in this, their natural position, the tones and semitones of the letters
and the notes of the major and minor scales agree; but as the letters are im-
movably xed in the scaleand the intervals of the scale, when transposed,
also keep their xed position in relation to the tonic or key note, there is a
disunion produced by their removal, between the xed scale of the letters,
and the moving scale of the keys, which must be adjusted and modulated
by the use of ats and sharps on the letters, so that they yield to the new key
according to its requirement.
In order to make each one of the twelve semitones in the chromatic scale
the key-note of a major scale, and also of a minor, it is requisite to use ve
sharps and six ats, or six sharps and ve ats, as follows:
In the natural scale the major key is on C and the minor on A; but when the signature is
F sharp,.......................... the Major key is G......... the Minor E
F, Csharp,....................... " " D....... " " B
F, C, G sharp,................. " " A....... " " F
#
F, C, G, D sharp,............ " " E....... " " C
#
F, C, G, D, A sharp,....... " " B....... " " G
#
F, C, G, D, A, E sharp,... " " F
#
...... " " D
#
B at,.............................
"

"
F........
"

"
D
B, E at,.........................
"

"
B
b
......
"

"
G
B, E, A at,....................
"

"
E
b
......
"

"
C
B, E, A, D at,...............
"

"
A
b
......
"

"
F
B, E, A, D, G at,..........
"

"
D
b
......
"

"
B
b
B, E, A, D, G, C at,.....
"

"
G
b
......
"

"
E
b

When the keys are transposed by sharps, they rise a fth in the scale, and
the dominant of the former scale becomes the key note of a new scale; and
when they are transposed by ats they are lowered a fth and the subdomi-
nant of the former scale becomes the key-note of a new scale. Thus every
additional sharp or at removes the scale in like manner next to the dominant
or subdominant.
In the remove of the scale, there should never more than six sharps or six
ats be used. For either six sharps or six ats will remove the key to the
same interval, as in the above scale, six sharps remove the major key to F
#
,
and six ats to G
b
: which is the intermediate semitone between F and G,
and the self-same interval of the scale.
It is a very singular fact,which evidently arises from the division of
the scale into twelve semitones,that if we take any number of sharps to
transpose the key, the complement of twelve of ats will transpose it to the
same interval. For instance, seven sharps bring the major key on C
#
, and
ve atsthe complement to twelvebring it on D
b
, the same chromatic
interval. Seven ats transpose the key on C
b
; and ve sharpsthe comple-
ment to twelvetranspose it on B, which is the same chromatic interval of
C
b
. This will hold good with any number of sharps and the complement of
ats to twelve; or of ats, and the complement of sharps to twelve. But in
such cases double ats and double sharps would have to be used, which for
the facility of execution, should be avoided in all cases.
The two keys stand in relation to each other. The relative minor is a third
below or a sixth above the major, on the scale; and the relative major is a third
above or sixth below the minor, on the scale. When the scale is changed,
and the keys removed to other letters, higher or lower, they always stand in
the same relation: and thus we have the fundamental notes of both keys, in
every scale. (See Table, page 42, 43.)
Sec. 47.Besides the diatonic scale, which is composed of tones and
semitones, there is another called the Chromatic Scale, which is composed
of semitones alone. The chromatic scale is, however, nothing more than a
subdivision of the diatonic into semitones; which is effected by the use of
l!l!^l`' .`l ll!!l.!`
4O [l O. ' 4H
ats and sharps. This scale ascends by sharps and descends by ats, as seen
in the following scale:
CHROMATIC SCALE.
_

,
,
,
,
,
_ _ ,

_
Do,
Ascending by sharps.
do, Re, re, Mi, Faw, faw, Sol, sol, Law, law, Si, Do.
_

_
,
_ _ ,
,

, , ,
,

Do,
Descending by flats.
Si, si, Law, law, Sol, sol, Faw, Mi, mi, Re, re. Do.
NOTE.The doctrine which holds forth that the semitones are produced by a change in the
vowel sounds of the syllables applied to the notes seems to be somewhat doubtful and uncer-
tain; for if the slender sound of a vowel in the syllable applied to a note would raise a note
a semitone; and if the broad sound would depress it, what would be the consequence where
words or syllables of both broad and slender sounds are sung to the same letter and sound of
the scale?Which is evidently the case in many tunes, and for the proof of which it will only
be necessary to refer to the following tunes, namely, Sterling, Miles Lane, Martyn, Bozrah,
Tavoy, &c. Now by giving proper attention to the above named tunes, it will be found when
the poetry is applied to the notes, that in many measures there will be broad and slender vowel
sounds applied to consecutive notes of the same soundof the same letter; and yet no deviation
from the self-same sound heard or discovered, by the application of the different vowel sounds.
And even when vocal and instrumental music are performed together, there is no discordance
of sound discoverable on these notes; but all the sounds, both from the vocal organs, and from
the strings and pipes, mingle and ow together, in sweetest unison and harmony.
From the foregoing remarks, it is evident, that if the different sounds of the vowels by their
broad and slender sounds, have the power to change the pitch of a note a semitone higher or
lower, in one instance, they have the same power also in other instances; and if such be the
case, will it not be best to guard against their changing the sound of the notes in every case;
and to get the proper pitch of the accidentals of the semitones by a change of sound, and not
by a change of syllable? as by far the greater number of notes that would be affected by that
change, would thereby become discordant and unharmonious.
A proper knowledge of the Chromatic scale will lead to a more full and
extensive knowledge of the Diatonic, in its different positions when trans-
posed. For by the ats and the sharps used in the Chromatic scale, the keys
of the diatonic are modulated, and the tones and the semitones xed in the
proper intervals in the new keys, in every change of key, and it will be obvi-
ous to the student that the Chromatic scale is nothing more than a division
of the diatonic into semitones; where the lower letter of a tone is sharped,
or the upper atted to produce the intermediate semitone, and thus form a
scale of semitones alone.
Sec. 48.It should be well understood that the letter of the key note or
tonic is always taken as ONE, and that the tonic may assume any letter or
chromatic semitone as the key note, either of the major or of the minor key,
and that in the major scale the order of intervals must always be from 1 to 2
a tone; from 3 to 4 a semitone; from 4 to 5 a tone; from 5 to 6 a tone; from
6 to 7 a tone; from 7 to 8 a semitone. And in the minor scale, from 1 to 2
a tone; from 2 to 3 a semitone; from 3 to 4 a tone; from 4 to 5 a tone; from
5 to 6 a semitone; from 6 to 7 a tone; and from 7 to 8 a tone. To this order,
in the minor scale, there may be some exceptions: for wherever the seventh
leads to the key, it is sharped, and thus produces a semitone between the
seventh and eighth.
This is the order of the keys, in their intervals, in every position, which
is manifested in the scales of Table of Transposition. In the rst scales,
major and minor, the intervals are natural, as the keys are in their natural
positionthe major key on C, and the minor key on A. But so soon as the
scales are transposed to other letters, more or less ats or sharps must be
used, to modulate the sounds in their new position. For instance
I ^.l ^!'!
4J l O. ' 4H]
Let G, the dominant of the natural major scale be taken as the key-note
or tonic of a new major scale, according to the scale of G, in the following
Table: then G to A is a tone, from 1 to 2 a tone; from 2 to 3 a tone, from A
to B a tone; from B to C a semitone, from 3 to 4 a semitone; from 4 to 5 a
tone, from C to D a tone; from D to E a tone, from 5 to 6 a tone; from 6 to
7 a tone, from E to F naturally a semitone, which must here be a tone, and
consequently F must be sharped; then F sharp to G a semitone, and from 7 to
8 a semitone. Thus we nd that in the major key of G, F must be sharped.
In like manner as sharps raise the keys a fth to the dominant, so ats
lower them a fth, (Sec. 46, to the subdominant. For by making F sharp,
the major key will be transposed from C to G, the dominant, a fth higher;
and by making B at, the major key will be transposed from C to F, the
subdominant, a fth lower.
NOTE.By inversion the fth above will become a fourth below; and the fth below will
become the fourth above.
As the major and the minor scales stand in relation together, and invariably keep their
relative position, in every remove, the minor being a relative to the major, a third below or a
sixth above; and the major being a relative to the minor, a third above or a sixth below; and as
they are alike in the intervals of the dominant and subdominant, they are subject to the same
order, when transposed, also in the inversion of the intervals.
Let D, the subdominant of the natural minor scale be taken as the key-note
or tonic of a new minor scale, then from D to E is a tone, and from 1 to 2
is a tone; from 2 to 3 is a semitone, from E to F a semitone; from F to G a
tone, from 3 to 4 a tone; from 4 to 5 a tone, and from G to A a tone; from
A to B a tone, but from 5 to 6 only a semitone, therefore B must be made
at; then from B
b
to C is a tone, and from 6 to 7 a tone; from 7 to 8 a tone,
and from C to D a tone. Hence we see the necessity of making B at, in
the key of D minor or F major.
NOTE.In all the foregoing changes, of keys by ats and sharps, the vocal performer has
no difculty in making the at and sharp sounds of the letters, seeing that the syllables of the
scale have the proper sounds of the scale associated with their names; and the natural rise
and fall of the voice is the same in every change of key; and thus the singer performs them
without being aware of it, except when accidentals occur. But the case is different with the
instrumental performer, where on keyed instruments, the keys of the chromatic semitones are
short keys, constructed between the long keys of the natural scale; thus between the long keys
of A and B, is a short key to strike the semitone A sharp or B at; and as there is naturally but
a semitone between B and C, also between E and F, there are no short keys between B and
C, and E and F, because they are the natural semitones in the diatonic scale; but between C
and D, D and E, F and G, G and A, there are also short keys to strike the semitones C sharp
or D at; D sharp or E at; F sharp or G at; and G sharp or A at. Hence the player on an
instrument must observe to strike the short keys on all the letters that are sharped or atted
in the signature, throughout the whole piece of music. From this fact it follows, that the less
number of sharps and ats that can be used in the signature, the easier will be the execution
to the instrumental performer.
The necessity and use of the Chromatic Scale, at the front of the following
Table of Transposition, is because the keys are movable and changeable in
their position, and the letters of the scale are permanent and xed. Here the
student will see at a glance, how the semitones run out from the chromatic
scale, through all the movable scaleswhich are represented in this table
in the form of a ladderpreparing and adjusting the intervals of the new
scales for their assumed key, both major and minor. But,
For want of room on this table, we have given only two examples of the
minor scale in connection with its relative major, which, if due attention be
given to this, it will be amply sufcient to give the learner a due knowledge
of the minor scale in connection with the major; as the relative minor is
always a third below or a sixth above its relative major; and the relative
major a third above or a sixth below its relative minor.
l!l!^l`' .`l ll!!l.!`
42 [l O. ' 4H
The minor scale has of late been too much neglected and set aside, and
we think every effort should be made to revive it again. We have as much
need now to express our sorrow, humility, and penitence by the minor key,
as those in former ages. (see more on minor scale, page 43.)
DI ! --II
SCALES WITH SHARPS.
In these Tables, it will be observed, that we have ascended in each suc-
cessive scale a fth, or descended a fourthaccording to the order of in-
version,and that in ascending scales by sharps, one additional sharp was
required in each successive transposition; and in the descending scales by
ats, one additional at was required. This is the regular order of transposi-
tion, both by sharps and ats.
Dnatural
E natural
F natural
Gnatural
A natural
B natural
Dsharpor E flat
C natural
F sharpor Gflat
GsharporA flat
A sharpor B flat
C sharpor Dflat
Dnatural
E natural
F natural
Gnatural
A natural
B natural
Dsharpor E flat
C natural
F sharpor Gflat
GsharporA flat
A sharpor B flat
C sharpor Dflat
C natural
A 8
7
6
5
4
3
2
1
G
F
E
D
C
B
A
Do
Si
Law
Sol
Faw
Mi
Re
Do

E 8
7
6
5
4
3
2
1
D
C
B
A
G
F
E
Do
Si
Law
Sol
Faw
Mi
Re
Do

B 8
7
6
5
4
3
2
1
A
G
F
E
D
C
B
Do
Si
Law
Sol
Faw
Mi
Re
Do

F 8
7
6
5
4
3
2
1
E
D
C
B
A
G
F
Do
Si
Law
Sol
Faw
Mi
Re
Do

G 8
7
6
5
4
3
2
1
F
E
D
C
B
A
G
Do
Si
Law
Sol
Faw
Mi
Re
Do

D 8
7
6
5
4
3
2
1
C
B
A
G
F
E
D
Do
Si
Law
Sol
Faw
Mi
Re
Do

C 8
7
6
5
4
3
2
1
B
A
G
F
E
D
C
Do
Si
Law
Sol
Faw
Mi
Re
Do
A 8
7
6
5
4
3
2
1
G
F
E
D
C
B
A
Si
Law
Sol
Faw
Mi
Re
Do
Law
Scales of F#.
CHROMATIC SCALE. SIX SHARPS.
Scales of C Maj. And AMin.
NATURAL.
Scale of G.
ONE SHARP.
Scale of D.
TWO SHARPS.
Scale of A.
THREE SHARPS.
Scale of E.
FOUR SHARPS.
Scale of B.
FIVE SHARPS.
I ^.l ^!'!
4 l O. ' 4H]
MINOR SCALE.
We hardly know why it is, but tunes written in the minor scale have been exceedingly
rare in some of the singing-books that have been published for a few years past. Our
fathers, we know, used this scale much more extensively than we have been accustomed
to do. Have we become degenerate plants of a strange vine? Has the very decided
prominence given to the major scale been owing to the fact that we have come to be a
very joyful and happy people; and that we have no occasion for sorrow, humiliation,
penitence, sadness and grief? Many of the psalms, if the sentiment contained in them,
and the feelings expressed therein, be a criterion for judgment, were sung in the minor
strain. This is the natural expression of emotions of sadness, penitence and grief. And
certainly our Creator has established the laws of the minor scale as really as he has the
major scale. He has adapted that to our natures, and our natures to that as really as
he has our natures and the major scale, the one to the other. And in a world like ours
there is certainly a demand for tunes written in the minor scale. As long as we live in
a world of sorrowas long as we are sinful beingshave transgressions to confess,
and mercies for which to supplicate, we shall have need to do it in strains, and in a
manner corresponding to the feelings of the heart. But so little has this key been used
Dnatural
E natural
F natural
Gnatural
A natural
B natural
E flat or Dsharp
C natural
Gflat or F sharp
A flat or Gsharp
B flat orA sharp
Dflat or C sharp
Dnatural
E natural
F natural
Gnatural
A natural
B natural
E flat or Dsharp
C natural
Gflat or F sharp
A flat or Gsharp
B flat orA sharp
Dflat or C sharp
C natural
E 8
7
6
5
4
3
2
1
D
C
B
A
G
F
E
Do
Si
Law
Sol
Faw
Mi
Re
Do

A 8
7
6
5
4
3
2
1
G
F
E
D
C
B
A
Do
Si
Law
Sol
Faw
Mi
Re
Do

D 8
7
6
5
4
3
2
1
C
B
A
G
F
E
D
Do
Si
Law
Sol
Faw
Mi
Re
Do

G 8
7
6
5
4
3
2
1
F
E
D
C
B
A
G
Do
Si
Law
Sol
Faw
Mi
Re
Do

F 8
7
6
5
4
3
2
1
E
D
C
B
A
G
F
Do
Si
Law
Sol
Faw
Mi
Re
Do
B 8
7
6
5
4
3
2
1
A
G
F
E
D
C
B
Do
Si
Law
Sol
Faw
Mi
Re
Do

C 8
7
6
5
4
3
2
1
B
A
G
F
E
D
C
Do
Si
Law
Sol
Faw
Mi
Re
Do
D 8
7
6
5
4
3
2
1
C
B
A
G
F
E
D
Si
Law
Sol
Faw
Mi
Re
Do
Law
Scale of G .
CHROMATIC SCALE. SIX FLATS.
Scales of C.
NATURAL.
Scale of F Maj. & D Min.
ONE FLAT.
Scale of B .
TWO FLATS.
Scale of E .
THREE FLATS.
Scale of A .
FOUR FLATS.
Scale of D .
FIVE FLATS.

SCALES WITH FLATS.
44 [l O. ' 4H
of late, that many choirs know not how to perform a minor tune creditably; and many
singers are highly prejudiced against it. And the reason is not that their natures do
not, at proper times, require it; but because they have been educated to execute major
music solely, and have no taste for anything else; so that education and taste here do
not answer at all to the demands of nature. Seldom do we hear a tune sung anywhere
in that key, on the Sabbath at public worship, or in the social circle: and when such
tunes have been selected, it has been a somewhat difcult thing to execute them, so
little has the voice been accustomed to sing in this scale.
The following exercises are designed to illustrate the subject of Transposition
still farther. Each scale is here written out in full. The teacher should exercise
his class in these scales, and instruct them in the same, until they become
familiar with each key.
_
_

,
,
,
,
,
,
,

,
,
,
_
,
,
,
_
,
,
,
,
,
,
,
,

,
,
,

,
,

,
,
,
,
,
,
,
,
,

,
_
,

,
_
,
,

,
,
,
,

,
,

,
,
_
,
,
_
RELATIVE MINOR MAJOR
KEY OF C.
_
_
,
,
_
_
_
_

,
_

_

_

_ _
_ _

_

_

_

,

,

_
,

,


,

,
_

_ _
_ _

_

,

,


,

_
_
RELATIVE MINOR MAJOR
KEY OF G.
_
_
,
,
,
,

_

_
,
,
,
,
,
,
,
,

,
,
,
,
,

, ,
, ,
,
,
,
,
,
,
,

,
,
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,

, ,
, ,
,
,
,

,
,
,
,
,
,
,
,

,
,
RELATIVE MINOR MAJOR
KEY OF D.
l!l!^l`' .`l ll!!l.!`
I ^.l ^!'!
4 l O. ' 4H]
_
_
,
,
,
,
,
,
,
,
_
_
_
_

_

,

,


_

_

_

_ _
_ _

_

_
,

,

_
_
_
,

_

,

,


_

_ _
_ _

_
,

,


,
_

_
_
RELATIVE MINOR MAJOR
KEY OF E.
_
_
,
,
,
,

,
,
,

,
,
,
,
,
,

,
,
,
,
,
,
,

,
,
,
,
,
,

,
,

,
,
,
,
,

,
,
,
,
,
,

,
,
,

,
,
,
,
,
,

,
,
,
,

_

RELATIVE MINOR MAJOR
KEY OF B FLAT.
_
_
,
,
,
,
,
,

,
,
,

,
,
,
,
,
,

,
,
,
,
,
,
,

,
,
,
,
,
,

,
,

,
,
,
,
,

,
,
,
,
,
,

,
,
,

,
,
,
,
,
,

,
,
,
,

_

_

RELATIVE MINOR MAJOR
KEY OF A.
_
_
,
,

,
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,
,
,
,
,

,
,
,
,
,

,
,
,
,
,
,

,
,
,

,
,
,
,
,
,

,
,
,
,

_
RELATIVE MINOR MAJOR
KEY OF F.

l!l!^l`' .`l ll!!l.!`

4C [l JO. ' 4O
_
_
,
,
,
,
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,
,
,
,
,
,

,
,
,
,

_

_

RELATIVE MINOR MAJOR
KEY OF E FLAT.
_
_
,
,
,
,
,
,
,
,

,
,
,

,
,
,
,
,
,

,
,
,
,
,
,
,

,
,
,
,
,
,

,
,

,
,
,
,
,

,
,
,
,
,
,

,
,
,

,
,
,
,
,
,

,
,
,
,

_

_

RELATIVE MINOR MAJOR
KEY OF A FLAT.
QUESTIONS.
What do we understand by the word mode? Ans. A certain disposition of the tones and
semitones of the scale, with respect to the tonic or key note.How many modes are there in
music?What are these two modes called?Wherein does the major mode differ from the
minor?What characters are used in transposing the keys?What effect does a sharp, placed
on a letter, produce?A at?When we have one sharp as the signature, where is the tonic
or key note?When two sharps?When three sharps?When four sharps?When one
at?When two ats? When three ats?When four ats?Of what does the Chromatic
scale consist?How many semitones does the Chromatic scale contain?In what intervals
do the major and minor scales differ?What is the position of the relative minor key to any
major?The relative major to any minor?Do the major and minor keys always stand in the
same relative position?
CHAPTER X.

HARMONY.

OF CHORDS, THEIR INVERSIONS, &C.

Sec. 49.For the purpose of music sounds must be agreeable in them-
selves; they must have that clearness which distinguishes them from mere
noise, and that sweetness which distinguishes them from harsh and disagree-
able sounds. A succession of single musical sounds forms MELODY; and a
I ^.l ^!'!
47 l JO. ' 4O]
succession of combined melodical sounds forms HARMONY. In other words,
melody consists in the agreeable succession of single sounds; and harmony
consists in the succession of a combination and accordance of different
sounds.
Not only may single intervals be inverted and changed, (Sec. 45,) but also
the combined intervals of chords may be inverted. The common Chord or
Harmonic Triad, which is based on each letter of the scale as its fundamental
note, (see Scale, Sec. 44), may, by inversion, assume three different positions
on each letter; the rst being a direct chord, and the other two inverted
chords.
These Triads or Common Chords, in the following scale, are close chords;
as no chord can be formed closer together than a third. Every chord is known
by its fundamental sound; thus the rst chord presented in the following
scale, is called a chord of C, because it has C for its fundamental sound. The
chord of D has D for its fundamental sound: the Chord of E has E, &c.
The rst position of each of the following chords has its fundamental
sound the lowest, the third in the middle, and the fth the highest.
The second position has the third the lowest, the fth in the middle, and
the fundamental the highest; because the fundamental is inverted.
The third position has the fth the lowest, the fundamental in the middle,
and the third the highest, because the third is inverted.
Thus every letter has a direct chord, and two inverted chords. The
fundamental note of each letter is taken as one, from which the degrees of
pitch of all the others are counted. Thus when the rst or fundamental note
is inverted, it becomes an eighth; and when the third is inverted, it of course
becomes a tenth from the fundamental note; but as the fundamental note by
inversion, becomes one of a new octave, so the tenth may in like manner,
become a third in the new octave. (See keys on general Scale, Sec. 43.)
In the following scale, the triads which are based on C, F, and Gbeing
the tonic, subdominant and dominant intervals of the scaleare major triads;
and those which are based on D, E, and Abeing the supertonic, mediant,
and submediant intervalsare minor triads. The triad based on B, the sharp
seventh, is a dissonant triad, and its inversions produce major fourths and
minor thirds.
_
,
_

,
,
_

1 position.
2 3
_

_
1 pos.
2
3
,

,
,

1 pos.
2
3
_
_
_
_
_
_
_
_
_
1 pos.
2
3

1 pos.
2
3
,
_
_
_
,
_
_
_
,
1 pos.
2
3

_

_
1 pos.
2
3
INVERSION OF THE HARMONIC TRIAD OR COMMON CHORD
Chord of F. Chord of G. Chord of A. Chord of B. Chord of E. Chord of D. Chord of C.
Chords of disjoint intervals may be dispersed into greater degrees or
leaps, and passing in different ways, over many intermediate intervals in
proceeding from one note of the chord to the other, as in the following
examples of
13
12
11
10
9
8
7
7
6
5
4
3
2
1
A perfect chord.
A discord.
A discord.
An imperfect chord
An imperfect chord
A perfect chord.
A discord.
A discord.
A concinnous sound.
An imperfect chord
An imperfect chord
A discord.
A discord.
The most perfect chord.
14
13
12
11
10
9
8
7
6
5
4
3
2
1
An octave
Maj. seventh
Min. seventh
Maj. sixth
Min. sixth
Maj. fifth
Min. fifth
Maj. fourth
Min. fourth
Maj. third
Min, third
Maj. second
Min. second
A Unison
Intervals.
No. of
Intervals.
Concords and Discords. No. of
Semitones.
l!l!^l`' .`l ll!!l.!`
4H [l JO. ' O
_
_

_
,
_

_


,
,
_
_

_
,
_

_ ,

_ _

_

_
_
_
DISPERSED CHORDS
Sec. 50.As intervals or chords are consonant or dissonant, according to
the degrees of sound of which they are composed; and as there are fourteen
intervals in the diatonic scale, (Sec. 45,) it will be expedient to give a
representation of them, and of the number of semitones of which each of
them is composed, as manifested in the following.
TABLE OF CONCORDS AND DISCORDS.
The UNISON, or the same identical sound, although it cannot properly
be reckoned an interval, is always considered as such when employed in
harmony. And as the scale of music is unlimited, we cannot see that it could
be otherwise; for there are always intervals or steps below and above, from
which every interval must proceed or step, no matter where it is found in
the scale. (See note on Sec. 37.) And when the voices of the different parts
of music, throughout a piece, sweetly harmonize, on the different chords,
and close on a unison, must they not close on an interval of the scale?
The unison is an accordance or coincidence of sound proceeding from an
equal number of vibrations of sounding bodies in a given time, and is the
most perfect of all the musical sounds in the whole scale of music. (See
note on vibrations, page 36.)
Next to the unison is the octave, which consists in a double number of
vibrations in a given time, and is so sweet a chord with the unison, that they
are scarcely distinguishable from being the self-same sound.
Next to the eighth is the perfect or major fth, which in its vibrations is
as three to two, and is a perfect chord of a sweet and charming sound; and
next to the fth in sweetness, is the major third, which in its vibrations is as
ve to four.
These four sounds, the unison, eighth, fth and third, form the common
chord, being the most essential sounds in every piece of music.
The minor third is also a consonant interval, and is the third of a minor
triad in the minor scale; in its vibrations it is as six to ve.
The minor fth and the major fourtheach containing seven semitones
are discords; and so are the major and minor seconds; and also the major
and minor sevenths.
The minor fourth is termed a concinnous sound; it is not a very disagreeable
discord; neither is it, by itself, a concord: one and four are rather dissonant,
but when six is added they become consonant.Also ve and eight do not
perfectly accord; but when three is introduced, they become concordant.
The major and minor sixthsthe one containing ten semitones and the
other nine, are both imperfect chords, though they are frequently used in
harmony.
The foregoing order of consonant and dissonant intervals, in the diatonic
scale, is applicable to all the octaves in the scale of music, no matter to
I ^.l ^!'!
4O l JO. ' J]
how many octaves the General scale may ascend or descend. For in like
manner as 1, 3, 5, 8, in the rst octave, harmonize, so will 8, 10, 12, 15,
harmonize in the second; 15, 17, 19, 22, in the third, &c. All the octaves
are the same, except as they differ in gravity and acuteness. If 1, 8, 15 and
22, the fundamental notes of four octaves rising in acuteness, were sounded
together by musical voices, it would produce a volume of sound which could
not easily be distinguished from being the self-same sound proceeding from
one voice. The same effect will be produced by striking four keys of the
same letter at once, on a well-tuned instrument.

Sec. 51.The chief excellence of harmony, or music performed in different
parts, consists in a proper succession of the fundamental chords of the scale;
a due order of the different notes in their inversions; and the enchaining and
binding together the chords in their harmonical progression.
The tonic or key note is the most important, and the chord based on it is
the principal one in every piece of music, both in the major and minor keys.
Regularly every tune both begins and ends with the tonic chord.
Next to the key note, the dominant or fth of the scale takes rank. It
occurs more frequently in a piece of music than any other note, as by far the
greater number of chords in ordinary tunes contain it. For this reason, and
because it is the base note which regularly leads to a nal close, it is called
the dominant. The chord based on this note is also called the dominant chord,
which occurs more frequently than any other except the chord of the tonic.
In modulation by sharps, the dominant is also the key note of the nearest
relative key.
The subdominant is the next note of importance in the scale, because its
chord has the tonic for its fth. In modulation by ats, it is the key note of
the second relative key, having the original key note for its dominant.
NOTE.As the dominant is a fth above the tonic, and is the nearest relative key in the
ascending scale, and to which the tonic is transposed by sharps; so the subdominant is a fth
below the tonic, and is the nearest relative key in the descending scale, and to which the key
is transposed by ats. Hence the name sub-dominant.
The submediant is the third in relative importance, as its chord has two
notes in common with the tonic chord, and must hence intimately blend, as
also enchain with the other chords. This note is also the principal chord or
tonic of the relative minor key. (See inversion of the Harmonic Triad, &c.,
Sec. 49.)
In the minor key, the third of the scale, or the tonic of the relative major
key, frequently occurs. These chords have likewise two notes in common,
which sweetly blend together in harmonical progression.
What is the quality of good musical sounds?In what does melody consist?In what
harmony?How many positions can the common chord assume by inversion?Can
each letter of the scale be made the fundamental note of the common chord?What
is the rst position of the chord of each letter called?What are the inverted positions
called?What is the difference between the major and the minor triads?What is a close
chord?A dispersed chord?Is the unison an interval in the scale of music?How can
it be an interval when it is identical? Ans. Because wherever it is found in the scale there
is an interval below or above from which it takes its step.Which are the intervals of the
scale that compose the common chord?Are the minor fth and major fourth concords or
discords?How many semitones does each of them contain?How many intervals does
the diatonic scale contain?If there are but eight intervals in the octave, how can you get
fourteen?Are the major and the minor sixths consonant or dissonant intervals?Will the
consonant intervals in one octave be consonant throughout all the octaves in the General
Scale?What is the chief excellence of harmony?Which is the most important chord?
The next of importance to the tonic?The next of importance to the dominant?The next
to the subdominant?
QUESTIONS.
l!l!^l`' .`l ll!!l.!`
O [l JJ. ' 2
CHAPTER XI.

DYNAMICS.

MUSICAL ELOCUTION.
Sec. 52.A good quality of tone is an essential property to dynamic
expression; and that quality consists in purity, fullness and rmness.
A tone is PURE when it is clear and smooth, having no extraneous sounds
mixed with it, such as hissing, screaming, or mumbling sounds. Impurity
of sound is often produced by an improper position of the parts of the
mouth.
A tone is FULL when it is delivered in a free and unconstrained use of the
appropriate organs of sound, and with a good volume of voice. Faintness of
sound is often produced by a careless or negligent use of the vocal organs.
A tone is FIRM which is correctly given, and held steadily, without change
during the whole length of the note; being perfectly under the control of the
performer.
Hence, striking below the proper sound and sliding up to it, as from ve
to eight, &c. A wavering or trembling of the voice, and a change just at
the close of a tone, produced by a careless relaxation of the organs, which
should always be held rm and immovable in their proper position until the
sound ceases, should be carefully guarded against and avoided. Moreover,
the voice may be rendered disagreeable by being too nasal, labial, dental
or guttural: that is, it may be forced too much through the nose, the lips, the
teeth, or be formed too deeply in the throat. All these disagreeable sounds
should be carefully corrected.
The most effectual way to correct these errors in producing sounds, is to
let the pupil sound on the syllable awe, frequently, by marking the position
of the vocal organs while sounding, and then proceed sounding the syllables
which are applied to the notes, keeping the vocal organs, as much as possible,
in the same position while sounding them. By this process the voice will
acquire both strength and sweetness, and free itself from every disagreeable
impediment. Care, however, should be taken that the voice be not made too
guttural by this process.
A blending of the words when applied to music is an injury to good
performance, and impairs and lessens the power of music. And, as many
who read with a clear and distinct articulation, are apt to slide into this error
when singing, it is deemed expedient to give a few examples, to show where
the blending of words not only debases the sentence, but, in some instances,
perverts the meaning of the phrase. For instance:
Example 1. A storm that last . . still morning,}
For . . . . A storm that lasts till morning.
Ex. 2. He is content in . . neither place,}
For . . . . He is content in either place.
Ex. 3. Over waste . . sand deserts,}
For . . . . Over wastes and deserts.
Ex. 4. Who ever heard of such a . . notion,}
For . . . . Who ever heard of such an ocean.
Ex. 5. Swee . . tis the da . . yof sacre . . drest,}
For . . . . Sweet is the day of sacred rest
Ex. 6. O com . . man . . dlet . . tus worship,}
For . . . . O come and let us worship.
Ex. 7. My hear . . tshall trium . . phin the Lord,}
For . . . . My heart shall triumph in the Lord.
Ex. 8. Call whil . . e may be foun . . doh see . . kim whil . . es near,}
For . . . . Call while he may be found, Oh seek him while hes near.
Ex. 9. Ser . . vim wi . . thall thy art . . tan min . . Dan . . dworshi . . pim with fear,}
For . . . Serve him with all thy heart and mind, And worship him with fear.
Ex. 10. He by hi . . zown almighty wor . . Dwill all your fear . . sremove, }
For . . . . He by his own almighty word Will all your fears remove.
Besides this, we sometimes hear the words when, where, while, &c.,
pronounced in singing, as if they were written whe..en, whe..are, whe..ile, &c.
All such incorrect and corrupt pronunciation and articulation have a tendency
to obscure the expression and destroy the beauty of the sentence.
I ^.l ^!'!
J l JJ. ' .4]
NOTE.Whenever the teacher discovers a fault, let him rst point it out and imitate it
himself, and afterwards give the true style of performance; then let him require the pupils to
imitate both the correct and incorrect examples. It is not enough for the teacher to say that a
fault exists; he must actually point it out, and exhibit it by his own performance, and this over
and over again, until the pupils obtain a clear perception of it, and know both how to produce
it, and how to correct and avoid it.
Sec. 53.One of the greatest excellencies of sacred vocal music, is that
strict union which should ever subsist between the words and the music.
Hence the rst object of the chorister is, to choose a tune to which the
words are suited or ally themselves, both in sentiment and quality. Much
of the beauty and strength of sacred music depends upon this. For psalms
and hymns of prayer and supplication a minor key should generally be
chosen, because it is of a plaintive, soft and melting quality; and for those of
praise and thanksgiving, a major key, because it is of a cheerful, lively, and
animating quality. This may be considered a general rule, yet there may be
some exceptions, as some tunes of the major key partake, in some measure,
of the soft, gentle, and subduing qualities of the minor, and some of the
minor key, in some degree, partake of enlivening and cheering qualities of
the major. Hence, as there are psalms and hymns which contain devotional
matter, of both prayer and praise intermingled, so there are tunes suited
for all those poetical productions which are adapted to the emotions of the
pious mind. Now, when the poetry is truly expressive, and thus adapted to
music, there is something grand and subduing in the harmonious progression
of full chords, which brings a calm over the soul, rivets the attention, and
enraptures the feelings in view of the sentiment, and thus produces a frame
of mind, in the Zion traveler, which is highly devotional.
Sec. 54.In the connection of words with musical sounds, good elocution
is necessary, as well for the vocal musician as for the orator. Every word to
which music is applied, should be pronounced distinctly and grammatically.
The sound should be prolonged entirely on the vowel, and the mouth kept
open in one xed position from the beginning to the end of the sound, and
the consonants before and after the vowels forcibly and quickly, yet distinctly
articulated. Without this, little expression can be given to vocal music; and
for good and dignied performance it is indispensably necessary that it be
strictly observed.
Every word and every sentence should be pronounced, in singing, with a
clear voice, and with the same distinctness as when spoken or read; so that
the sentiment of the poetry when united with the sound of music, be well
understood. For to sing with the Spirit and to sing with the understanding
also, those heaven inspiring words in unison with the sweet strains of
music, with their soft and soothing accents, is what has such a benign and
powerful inuence over the human mind. And when singers can realize the
subject, and enter into the proper feeling and spirit of the poet, there is but
little danger of not producing dynamic expression and musical elocution.
And nothing can compensate for a want of feeling, and the realization of the
expression of the poetry, because in the performance, the tone, the graces in
the modulation of the voice, and sound, should all be suited to the subject
which the poetry expresses, which is the only true guide to dynamical
expression and musical elocution.
NOTE.Writers have attempted with great ingenuity, to lay down rules for the varieties of
expression; but whoever undertakes to follow rules in giving expression, presents us with a
mere skeleton, without life and animation. Every appearance of effort disgusts us. . . . True
expression clothes her song in characteristic display of grace, majesty and pathos; not a single
note will be breathed in vain. She wisely considers that ornament should ever be subordinate
to the sentiment, and that the grand end of the composition is to speak to the judgment as well
as the hearing. The most common mistake with composers and church choirs is, in attempting
to express words and not ideas.Singing the word small with such softness as scarcely to be
heard, or exerting all the powers of the lungs on the word large, is punning, not expressing;
triing with the words and neglecting the sentiment. Instead of considering how this or that
word should be executed, the rst object should be to study the true meaning and character of
the subject, so that effect may not only be given to a word here and a word there, but the sense
of the whole sentence expressed, so as to be understood and felt. It is true the expression of

the whole is conveyed by appropriate emphasis on particular words, but it is not simply the
words which demand emphasis, but their connection with the sentence. Religious feeling is
full of dignied and placid joy, of which the gentle swelling of the emphatic words gives the
most appropriate idea.
Many terms are prexed, by composers, to the several strains, as directions for the performer.
These terms are usually Italian, such as Andante, Affetuoso, &c. In following such directions
there is danger in attempting to express what the performer does not actually feel. In such a
case the effect will often be ludicrous; and at best can but astonish us with the art and dexterity
manifested. In true expression, the composer and performer are lost sight of; the attention is
riveted, and the feelings enraptured in view of the sentiment.
[Porters Musical Cyclopedia.
In all vocal performance of sacred music, singers should enter into those
emotions which are expressed by the poetry. They should avoid a dull, heavy,
unfeeling style of performance, and cultivate that which comes from the
heart, which has some soul, some meaning, and which is appropriate to the
words and music. There is something in the nature of musical tones, when
combined with sacred poetry, which is heavenly and divine; and in the pious
mind produces that lowly prostration of soul, and those pure affections with
which we ought to approach the throne of the Deity.
CHRIST, there appeared to the shepherds a multitude of the heavenly host praising God, and
saying, Glory to God in the highest, and on earth peace, good will towards men. From this
we may readily infer that these heavenly songsters were no strangers in Eden, in that day when
the Creator himself walked and talked with his earth-born children in Paradise, and that the
sound was prolonged by them in that blissful and happy place.
Hence sacred song is coeval with the creation; and the rst music of the human voice must
have been a holy exercise of a joyous ascription of praise to the bountiful Lord and Creator. And
how consoling and heart-cheering has this heavenly science ever since proven to the people of
God, both under the Old and the New Testament dispensation, in awakening and strengthening
their devotional affections, when holding communion with the Father of Mercies!
What a high rank did music obtain under King David, that sweet singer of Israel, and his
son Solomon, who not only cultivated it to a high extent, but by the inspiration of the Spirit of
God, furnished material for the devotional exercises, which are highly valued by the people of
God, and have been added to the inspired volume. How great must their inuence have been,
in promoting this heavenly science, when, at the dedication of the Temple, there were about
four thousand singers and players on instruments, (according to 1 Chron. 23:5,) who performed
together with so much accuracy, that their sound was as ONE SOUND to be heard in praising the
Lord. And when they lifted up their voices, with the trumpets and cymbals, and instruments
of music, and praised the Lord, the house was lled with a cloud, even the house of the Lord:
so that the priests could not stand to minister by reason of the cloud: for the glory of the Lord
had lled the house of the Lord. 2 Chron. 5:7-14.
We can scarcely enlarge our thoughts to conceive the effects which these high praises of
God, sung by so vast a multitude, with harmonious elevation of heart and voice, on these joyful
occasions, must have produced. It naturally leads us to consider the songs of the redeemed of
the Lord in glory: and perhaps we are not, in this world, capable of more just and spiritual ideas
of them, than are suggested by these subjects, though we may be sure that they are unspeakably
more sublime, enlarged and rened.
Hear I, or dream I hear their distant strains,
Sweet to the soul, and tasting strong of heaven.
How holy, how glorious is the God we worship! How wonderful are his perfections! It is
good to sing praises unto his name, from the affections of an overowing heart. What can be
more delightful than songs of joy issuing from lips that taste the love of God! Such were the
Psalms of David, and such the songs of the primitive Christians, the martyrs, and the reformers.
Such are the songs we should cultivate. They will prove a rich foretaste of joys unseen and
eternal.
ORIGIN AND UTILITY OF MUSIC

The capacity of the human mind for poetry and music has been common to every age and
nation; and though too generally perverted to evil and sinful purposes, it was doubtless
originally implanted by the CREATOR, for wise and holy reasons, and should be consecrated to
His service and glory. Accordingly hymns or songs or praise form a considerable portion of the
Sacred Scriptures, some of which were composed on particular occasions, and sung as a part
of solemn worship at the time or afterwards, in commemoration of the transactions celebrated
in them.Ex. 15; 1 Sam. 2; 2 Sam. 22.
But it was not with man that this heavenly science originated. It claims to have descended
from the skies. For when the Lord laid the foundations of the earth, . . . the morning stars
sang together, and all the sons of God shouted for joy. J ob 38:4-7. And at the nativity of
l!l!^l`' I ^!'!
2 [l JJ. ' 4