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5. THE CANADIAN
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A COLLECTION OF SACKED MUSIC,
CONSISTING OF A CHOICE SELECTION OF
PSALM AND HYMN TUNES, ANTHEMS, INTROITS, SENTENCES, &c,
FROM THE WORKS OF
iandc-1, IJiaDcIiT, Jjjfarf, (Jfaineft, Scarft, Clarft, Jiuftson, Jttason, and other (Eefebrafod (Komuosers.
CAREFULLY SELECTED AND COMPILED
BY J± COMMITTEE.
'Venite exultemus Domino."—Psalm xcv.
-•4r-*^+^-
Toronto
PUBLISHED BY SAMUEL KOSE, WESLEYAN LOOK ROOM,
2STO- 80 KriSTG STREET E^ST.

7. PREFACE.
The ''
Sacred Harmony," with its admirable Supplement, has done good service to the Churches of Canada ; but, for obvious reasons, has
been found inadequate fully to meet the wants of the Church and the public generally. Desirous of supplying this want, and furnishing a complete
Sacred Music Book, to be used by all the Church choirs and congregations under its care, the late Conference appointed a Committee, consisting
of the Rev. Dr Green, President, Rev. Dr. Wood, Ex-President, and Rev. Dr. Jeffers, Editor, with full power to employ competent persons
to compile such a work. The Committee, after addiug several good and popular musicians to their number, applied to the principal choirs in the
Province to aid them in selecting such tunes, from approved authors, as they might wish to have incorporated in the new book. In responding to
this call, several parties have rendered valuable assistance, to whom the Committee would tender their grateful acknowledgements.
The labor of compiling has principally devolved upon the Rev. J. A. Williams, Rev. N. Burwash, B.A., and J. B. Boustead, R. H. Savage
and C. W. Coates, Esqrs., who have been, from their youth, engaged in singing our Church Psalmody ;
and who, by their ability and perse-
vering industry in bringing the work to maturity, have laid the Committee under lasting obligations, and they hereby tender to these gentlemen
their cordial and sincere thanks.
The Committee have now the pleasure of presenting to the Church and public, a collection of Sacred Tunes and Anthems which, it is believed,
will be found second to none now in use, either for purity of style or richness of harmony.
It has not been so much their purpose to present new music to the public as to give anew to the world many pieces hallowed by long use in
the sanctuaries of the family and the Church, and endeared to myriads by their power to please, and warm the heart to praise.
Some of the pieces will, doubtless, be considered difficult, and will require a little more than ordinary perseverance to master them ;
but they
are worth the trouble. Try them ;
and persevere until they are learned. They will bear singing. They are not of the wear-out kind. Many of
them have been devoutly and harmoniously sung by our forefathers.
An effort has been made to correct an evil (loudly and justly complained of ), namely, the alteration, by musical meddlers, of many of our old,
well-known tunes ;
in consequence of which the majority of worshippers in the congregation are compelled to be silent, while they have as good a
right as the choir to sing the praises of God.
Much that is called " Church Music," at the present day, is distinguished by the regularity of its cadences and the chime of its simple harmo-
ny ; but it possesses no power to lay hold of our moral nature, or to inspire us to " sing with the spirit and the understanding also." An attempt
has been made to exclude everything of a tame, monotonous, imbecile character; and to embody grave, touching, and enrapturing tunes, to enkindle
devotion, and cause the spirit of the Christian to glow with piety.
" Let the people praise thee, O God ;
Toronto, January 1?fi4. Let all the people praise thee." Psalm Ixvii: 3.

9. INTRODUCTION TO THE SCIENCE OF MUSIC.
CHAPTER 1.
GENERAL DIVISION.
$ 1. There are three distinctions made in musical sounds ; or musical sounds
differ from one another in three respects, namely
$2. (1) They may be long or short,
(2) They may be high or low,
(3) They may be toft or loud.
$ 3. From the fact that these three distinctions exist in the nature of musical
sounds, arises the necessity of three principal divisions of the subject, or of three
different departments, one department being founded on each of the above distinc-
tions.
$ 4. (1) That department which is founded on the first distinction is called
Rhythm, and relates to the length of sounds.
(2) That department which is founded on the second distinction is called
Melod>y, and relates to the pitch of sounds.
(3) That department which is founded on the third distinction is called
Dynamics, and relates to the ttrength or force of sounds.
$ 5. General view
Departments. Subjects.
Rhythm. Length.
Melody. Pitch.
Dynamics. Strength or Force.
§ 6. Each of these departments requires particular exercises, and should be
pursued separately, until one department can no longer dispense with the others.
QUESTIONS.
How many distinctions are there in musical sounds 7
What is the first distinction ? Second 7 Third 7
How many separate departments are there in the elementary principles of
amsic ?"
What is the first department called 7 Second 7 Third 7
On what distinction in the nature of musical sounds is Rhythm founded?
Melody 7 Dynamics 7
Distinctions.
Long or Short.
Hi-gf or Low.
Soft or Loud. I
To what in the nature of musical sounds does Rhythm rotate t
Melody 7 Dynamics 7
CHAPTER II.
PART I. RHYTHM : or
division of time and length OF SOUNDS.
$ 7. During the performance of a piece of -music, time passes away.
This must be regularly divided into equal portions. •
[For illustrations of this subject, see Mason's Manual of Instruction in the Ele-
ments of Vocal Music, p. 35.]
§ §. Those portions of time into which music is divided are called Measurjs.
§ 9. Measures are again divided in parts of measures.
$ 10. A measure with two parts is called double measure ;
" " three " triple measure;
" « FOUR " quadruple measure,
« «<
six
••
SEXTUPLE measure.
§ 11- The parts of measures are marked by a motion of the hand Tfcia t»
called beating time.
$ 12. Double time has two motions or beats, namely: Downward beat and
§ 13. Triple time has three beats, namely: Downward beat, Hither beat, and
P
™14L. Quadruple time has four beats, namely : Downward beat, Hither be*
Thither beat, and Upward beat.
$ 15. Sextuple time has six beats, namely : Downward beat, Downward beat.
Hither beat, Thither beat, Upward beat, Upward beat-
_
§ 16. The character used for separating the measures is called a bar, and
made thus
ACCENT.
§ 17. Double time is accented on the first part of tho
Triple time is accented on the first part cf the measoia

10. INTRODUCTION TO THE SCIENCE OF MUSIC.
Quadruple time is accented on the first and third parts of a measure.
Sextuple time is accented on the first and fourth parts of the measure.
QUESTIONS.
What is that fact in the nature of musical sounds, from which arises the neces-
sity of a regular division and marking of the time ? What is the most important
requisite in all good performances ? Ans. Correct time.
What is that which is more difficult to acquire than anything else in music ?
Ans. Correct time.
What is that in which singers are usually most deficient-? Ans. Time.
What is that to which those who are learning to sing are usually unwilling to
attend ? Ans. Time.
What are those portions of time called into which music is divided ? J 8.
What are those portions of time, smaller than measures, called ? ft 9.
How many parts has double measure ? Triple ? Quadruple ? Sextuple ?
How do we mark the different parts of measures in music ? What is that motion
of the hand called ?
How many motions or beats has double measure, or double time? Triple?
Quadruple ? Sextuple ?
What is that character called which is used for separating measures ?
Note. Observe the difference between a bar and a measure. Do not call a measure a bar.
On which part of the measure is double time accented ? Triple ? Quadruple ?
Sextuple ?
CHAPTER III
SINGING IN CONNECTION WITH BEATING TIME AND ACCENT.
ft 1§. The teacher gives out a sound to the syllable la (a as in father or in far)
at a suitable pitch, say, E or F—first line or space, Treble clef, (disregarding the
octave between male and female voices,) and after repeating it frequently, calling
the attention of the school to it in various ways, requires those who feel certain
that they cau make the sound right, to imitate him ; afterward he requires those
wlio think it probable that they can make it right, to imitate; and, finally, the
whole.
ft
19. The pupils are now required to beat and sing one la to each beat in dif-
ferent kinds of measure. Mind the accent.
ft
2©. Beat Quadruple time, and sing one la to each beat.
After tills has been done, the teacher may write on the black board as follows :
« , •
,
r r r r
He then points and says,
The characters I have written represent the sounds we have sung; they are
called notes. Notes represent the length of sounds. Made in this form, they are
called Quarter notes, or Quarters (Crotchets.)
Note. The names Crotchets, Minims, Ac, are given here, although it is strongly recommended
.o adhere to the more significant terms, Quarteis. Halves, <fcc
ft
21. A sound that continues as long as four quarters, is a whole sound. Exer-
cise. The note representing a whole sound is made thus, o and is called a whole
note. (Semibreve.)
ft
22. A sound that continues as long as two quarters is called a half sound
Exercise.
The note representing a half sound is made thus, p and is called a half note.
(Minim.)
ft
23. A sound that continues as long as three quarters is called Three-quarters.
Exercise. The note representing this sound is a dotted half, thus :
q ,
I
Note. Dotting a note adds one half to its length.
ft
24. Beat, and sing to each part of the measure, or to each beat, two sounds.
Exercise
We now sing eighths ; the note representing an eighth sound is made thus, and
is called an Eighth note. (Quaver.) ^
ft
25. Beat, and sing to each part of the measure, four sounds. Exercise. We
now sing sixteenths ; the note representing a sixteenth is made thus, and is called
a Sixteenth. (Semiquaver.)
g
ft
26. The teacher may now exhibit all thn notes at one view, showing their
relative length, thus o
r
P
f r r
zs zjt zj>
GET CGCf
ECS ESS
0000
ft
27. Thirtyseconds (Demisemiquavers)
not necessary to exercise on them.
may also be exhibited, but it is
ft 2S. Sometimes three notes are sung to one part of a measure, or in the usual
time of two notes of the same kind. When this is done the figure 3 is placed over
or under them thus, 3 or
J J J and they we culled Triplet*
Exercise on Triplets. II T 3
QUESTIONS
By what characters do we represent the length of sounds t
How many kinds of notes are there in common use ? Ana. Fiv«.
What kind of a note is this 5? (writing the note on the board )

11. Vf bat kind of a note is this p 'i this 1 this
INTRODUCTION TO THE SCIENCE OP MUSIC
this/8>? this 01 this 01 (64)
The teacher will question, fuso, as to the comparative length of notes.
When three notes are sung to one part of the measure, what are they called ?
How marked ?
CHAPTER IV.
VARIETIES OF MEASURE.
$ 29. There are different varieties of Double, Triple, Quadruple, and Sextuple
time, obtained by the use of different notes on each part of the measure. Each
variety of time is designated by figures, expressive of the contents of a measure,
placed at the beginning of a piece of music.
§ 30. If the parts of quadruple measure are*expressed by quarters, the measure
u called four-four measure, and is thus marked :
Note. The characters -£3" or
D" are °^en used to denote quadruple and double measure. It
U, however, recommended to discard the use of them, and substitute numerals in all cases.
$ 31. If the parts of quadruple measure are expressed by halves, the measure
is called four-two measure, and is thus marked:
O O O O O O
r i i
t P i r i
§ 32. In the same manner let the teacher illustrate all the varieties of measure
in mmmon use, as in the following examples :
Double Measure. Triple Measure.
If
O O
i
I
r t
? p
if f f
iee
K »
uu
I I
?
I
c c
Sextuple Measure.
if r ffff
9
8 1
i r
& & i»* *< & *>
EXAMPLES.
i r r r r ° r
i o>
p I p p o
if r r ! p r
I P o
o p Ip
I
o
1 I
o c
.0
I I
o p
o
o
UU 0000
s ? ? i
r r
it kin
.es
t*
r rip
% 33. Different kinds of uotes may also occur in the samn measure, as in the
following examples:
0000 I
P |
MS
I I
1
u
III.
0000
U ±3
i
«
OZ.SD
0000 ?
r
p- &c.
QUESTIONS.
How are different varieties of measure obtained 1 (i 29.
By what do we designate the different varieties of measure? Ans. By figures.
What do the figures placed at the beginning of a piece of music express 1 Ana The
contents of each measure.
CHAPTER V.
RESTS.
§ 34. We are often required in music to count or beat certain parts of a mea-
sure, or a whole measure, or any number of measures, in silence. This is called
resting, and the sign for it is called a rest.
§ 35. Each note has its corresponding rest, which is of equal length with tho
note it represents.
§ 36. Example. Whole rest. tm Half rest. ™ Quarter rest, at Eighth rest, as
Sixteenth rest. J3
The teacher exhibits the rests upon the board.
$ 37. Rhythmical exercises with rests.
QUARTER RESTS.
%f
1
If
r f*
* f
m
I
r f I-
f"f r r»l*
vs. I m m
f f
i* f f i«r
I
f
pi
i
p-

12. nil INTRODUCTION TO TflF SCIENCE OF MUSIC
EIGHTH RESTS.
f'tJLr^s^rtJLf"
tr-C "t
m
t
QUESTIONS.
What is beating in silence tailed ? What is that character called which requires
as to beat in silence ? How many kinds of rests are there in common use? Are
those notes which are suecee'ii-il ' v rests to be sung shorter or longer than in other
circumstances ?
OHAPIER VI.
PAR"' II. MELODY.
THE SCALE.
§ 38. Musical sounds may be high or low. Hence the necessity of that de-
partment in music called Meloi»« which treats of the pitch of sounds.
$ 39. At the foundation of Melodv lies a certain series of eight sounds, which
is called the scale.
$ 40. The scale may be represented by the following notes ; thus,
f*
i* I
12 34 5 6 78
T*.ie teacher should write the above on the bnird
$41. The sounds of the scale are known, or designated, by numerals ; thus we
•peak of the musical sound one, two, three, &c.
The teacher should point to the written scale bv way of illustration.
$ 42. The teachei says, Listen to a sound which I will give you, and which
we will consider us one.
$ 43 The teacher now sings one. two, to the syllable la, and requires tho
pupils to do the same.
QUESTIONS.
What is the second distinction made in musical sounds ? What is that depart-
ment called which is founded upon this distinction ? Of what does Melody treat ?
What is that series of sounds called which lies at the foundation of Melody ? How
many sounds are there in the scale 1 How do we designate or speak of the sounds
of the scale? Ant. By numerals.
CHAPTER VII.
STAFF, SYLLABLES, CLEFS, LETTERS, INTERTAL»
y 44. The scale is written on horizontal lines, and on the spaces between those
lines Five lines are commonly used for this purpose, which together w'th tho
spaces, are called a staff.
EXAMPLE.
Fifth line.
Fourth line.
Third line.
Second line.
First line.
Fourth space.
Ti-trd space.
S«,*«>nd space.
Pnot space.
$ 45. Each line and space of the staff is called a degree ; thus the stafl' contains
nine degrees, five lines and four spaces.
§ 46. If more than nine degrees are wanted, the spaces below ar aboye th«
staff are used; also additional lines, called added lines.
Space above.
-Added line above
Space below.
-Added line be'ow
§ 47. The sound one we will now write upon the first added line bfilow tho
staff, two upon the space below, three upon the first line, and so on.
EXAMPLE.
3=5 12
-8
T f .* *
$ 4§. In singing, certain syllables are applied to each of the different sounds
of the scalo. To one is applied the syllable do. (pronounced doe ;) to two, re.
(ray;) to three, mi, (mee;) to four, fa, (fah, a as in lather;) u> Jive :
sol, (sole;i
to six, la, (lah, a as in father;) to seven, si, (see;) and to eight, do, again.
The scale is now sung ascending and descending with la, and also with the appro] riare svlla
bles.
Note. Those teachers who use seven syllables in solmization will omn section 49, and pass lo
section 50.
§ 49. In singing we apply certain syllables to the sounds of the scale, as fo'
lows:—To one we apply the syllable fa, (pronounced fah, a as in father;) to too
sol, (sole;) to three, la, (a us in father;) to four, fa; to Jive, sol; to six, la; U
seven, mi. (mee;) and to cighi, fa, again.
The scale is now sung both up and down with la. and also with ine appropriate syllables

13. INTRODUCTION TO THE SCIENCE OF MUSIC
{ 50. We bare written the sound one upon the added line below, but it is often
placed upon the second space. The whole scale is then written thus :
-8-
1S1
-1-
Practise as before
$ 51. The sounds of the scale are also named from the first seven letters of the
alphabet, namely : A, B, C, D, E. F, and G.
EXAMPLE I. EXAMPLE II.
^- o *
"
CDEFGABC D E G A B C
$ 52. When the scale is written as in the first example above, a character call-
ed the Treble Clef is used at the beginning of the staff! This is also called the
G Clef, and fixes G upon the second line of the staff.
When the scale is written as in the second example above, a character called the
Base Clef is used at the beginning of the staff. This is also called the F Clef, and
fixes F upon the fourth hue of the staff.
EXAMPLE OF THE CLEFS.
v 53. The distance or step from any one sound in the scale to another is called
1U INTERVAL.
§ 54. In the regular ascending and descending scales there are two kinds of
intervals, namely: whole tones and half tones.
§ 55. From one to two, and from two to three, are whole tones ; from three to
four is a half tone ; from four to five, from five to six, and from six to seven, are
whole tones, and from seven to eight is a half tone. Thus there are five whole
tones and two semitones in the scale.
Note. It is very important that the pupils should become thoroughly acquainted with the scale,
Ui numerals, letters, syllables, and intervals, before proceeding any further.
QUESTIONS.
What are those lines and spaces called on which the scale is written 1
The teacher points and asks, Which line is this 7 Which space is this ? &c.
What is each line and space of the staff called ? How many degrees does the staff
contain t When more than nine degrees are wanted, what is used f
2
The teacher should now write the scale upon the board both in the Treble and
in the Base Clef, and point as he asks the following or simmu questions :—To wliicb
sound of the scale do I now point? The answer should he given by numeral*.
What syllable is applied to one? to two? &c. What letter is one? two? &c.
What syllable is C ? D? &c. What numeral is Do ? Re? <fcc. What numeral is
C 7 D ? &c. What is the distance from any one sound of the scale to another
called ? Ans. An Interval. How many kinds of intervals are there in the scale ?
What are they called 7 How many whole tones ? How many half tones 7 What
is the interval from 1 to 2 7 from 2 to 3 7 from 3 to 4 7 Su:
CHAPTER VIII.
OF THE DIFFERENT SOUNDS OF THE SCALK.
$ 56. Having become familiar with the scale in its regular progression, we must
now learn to strike each sound separately, or in connection with any other sound.
In order to do this, we must pay attention to each particular sound. We com
menee with three in connection with one.
$ 57. Three. The pupils sing by syllables 1, 2, 3, and repeat three several
times. After which the teacher should write lessons like the following, and require
the whole to sine them.
Hife^lgg
-0-G-
5§. Five. The pupils sing I, 2, 3, 4, 5—repeat 5. Sing 1 3 5, 1 5 3, 3 1 5,
3 5 1, 5 1 3, 5 3 1, &c. The teacher sings similar successions to tb.3 syllable la;
the pupils determine what they are, and answer by numerals.
The teacher writes lessons like the following :
1, 3, 5, 8. Sing these four
§ 59. Eight. Sing the scale and prolong 8.
sounds in the following order :
1358 3158 5133 8135
1385 3185 518J 8153
1538 3518 5318 8315
1583 358 1 538 1 835 1
1835 3815 5813 8513
1853 3851 5831 8531
The teacher writes examples with 1 3 5 8 in one and two ptirn

14. INTRODUCTION TO THE SCIENCE OF MUS^
EXAMPLE in TWO PARTS.
O-0-0- -©--- O 0-
3S1
•9-H-»-r-r-
VtWW*
^ 7C
r:
zzpqt
t=H=
In singirg the above and similar lessons, let the male and female voices be formed into separate
classes, and sing each of the parts alternately.
§ 60. Seven. Sing the scale and prolong 7. Seven naturally leads to 8, or after
7 we naturally expect to hear 8. It is perfectly easy to sing 7 in connection with
8, or immediately succeeding to 8. In order, therefore, to strike 7 correctly, and
separately, we must think of 8. This will serve as a guide to 7.
$ 01. The teacher gives out similar lessons to the following: 5 8 7 8, 3 8 7 8,
1 S 7 8, 1 3 8 7, 3 5 8 7, 1 5 8 7, 1 8 7, 3 8 7, 5 8 7, &c. Also, 1 7, 3 7, 5 7, &c.
Lessons like the following may be written and sung in one or two parts.
^ -0-V-0- I III -0-0- -o-
i i r i
i 62 Four. Sing the scale and dwell on 4. Four naturally leads to 3, as 7
does to I. Three, therefore, is the guide to 4.
$ 63 The teacher gives out, 1 3 4, 5 3 4, 8 3 4, &c., also 1 4, 5 4, 8 4, &c.
0- "£: -l
~?~* f2"£~
:pp4f=±±£::
$ 61. Two. One or three will either of them guide to two.
example.
.0.
3=fapzstes|:
} 65. Six. Sing the scale and prolong 6. Five will guide to 6
EXAMPLE.
Note. The teacher will spend more or less time upon the toregoing chapter, according to cir-
cumstances. It is however quite important ; and if sufficient time be spent upon these exercises,
the easier will all that follows be acquired.
QUESTIONS.
When we have learned the scale in its regular progression, and when we desira
to learn each sound separately, With what do we commence in connection witn
one? Ans. Three. Sing one. Sing three. What sound do we take after one
and three ? Ans. Five. Sing one. Sing three. Sing five. What sound do we
take next ? Ans. Eight. (Sing as before.) What sound do we take after eight ?
Ans. Seven. What is the distance from seven to eight? To what does seven
naturally lead—or what does the ear naturally expect after seven? Ans. Einlit.
If we would strike seven correctly, what must we think of as a guide to it?
Ans. Eight. (Practise.) After one, three, five, eight, and seven, what sound do we
take? Ans. Four. To what does four naturally lead ? Ans. Three. What is the
distance from three to four? What is the guide to four? (Practise.) After four
what sound d we take? Ans. Two. (Question and practise.) Alter two what
sound, &c. Ans. Six. (Question and practise.)
CHAPTER IX.
EXTENSION OF THE SCALE AND CLASSIFICATION OF THE DIFFERENT KINDS OF VOICE.
§ 66. We have thus far become acquainted with the scale of eight sounds ; but,
generally, every one has a greater compass of voice than is required to sing the
scale, and can extend it upward above eight ; or downward, below one.
§ 67. When we sing above eight, we consider eight as one of a new scale
above; and when we sing below one, we consider one as eight of anew scale, below
§ 6§. Example of the scale extended above and below.
do
1
/ 6,
» sol
4 5
-JSISL
V~*1 8
5 6
sol la si do
» b o
4 5 6 7 8

15. QUESTIONS.
When we sing higher than the scale, what do we consider eight? When we
•ing lower than the scale, what do we consider one ? What letter is applied to
one of the upper scale? To two? &c. What syllable? So also question with
respect to the lower scale.
§ <>9. The human voice is naturally divided into four classes, namely, lowest
male voices, or base; highest male voices, or tenor; lowest female voices, or
alto; highest female voices, or treble. Boys, before their voices change, also
sing the alto.
INTRODUCTION TO THE SCIENCE OF MUSIC d
Here the Alto unite, and the three parts sing together
i
221
a-fi
S- This is called the middle C.
-O-
SE SE
-o-
Tenor from
Alto from
&
IZ22I
2E?:
-©-
$ 70. Practise the foregoing example as follows. The Base commence with G,
the lowest sound ; at they are joined by the Tenor, and both proceed to-
gether to -*Z.i-
On this note the Base stops and the Treble begins The Treble
Alto, and Tenor go on to ^y, , when the Tenor stops ; the Treole and Alto go
on ^3 Here the Alto stops, and the Treble jroes on alone. In descend-
ing, let the/ »*vera. parts unite on tnat note on which they stopped in ascending,
and stop on that note on which they commenced in ascending.
§ 71. The Treble or G Clef is commonly used fcr Tenor and Alto; but when
used for Tenor it always denotes G an octave, or eigr. notes lower than when used
for Treble.
EXAMPLE.
Tenor. Treble.
The same sound, or unison, namely: middle C is here represented by the Tenor
Clef on the third space, and by the Treble Clef on the first added line below.
§ 72. The teacher should here explain the difference between the male and
female voices, showing that the latter naturally sing an octave higher than the
former. In order to prove this, let him give out the middle C as a pitch,
namely,
& , and require the female voices to imitate him. They will, in
almost all cases, sing an octave higher, namely, , unless they have been
already taught to distinguish between the two. To make it evident to them that
they do sing an octave higher, the teacher should require them to dwell upon tho
aound
-&-
, while he,beginningwith - , sings the whole scale, ascending

16. INTRODUCTION TO THE SCIENCE OF MUSIC.
When he has done this, they will perceive that he now sings the same sound
with them, or that his voice is in unison with theirs. It is important that this dis-
tinction should lie clearly and practically understood.
See " Manual " Aoofindix for the Teacher, chap. 37.
QUESTIONS.
Into how many classes is the human voice naturally divided ? What are the
lowest male voices called? Highest? What are the lowest female voices called !
Highest? What part do boys sing? Which Clef is used for Tenor and Alto?
When the Treble Clef is used for Tenor, does it signify G an octave higher or lower
than when used for Treble ? What is the natural difference, or interval, between
male and female voices I
CHAPTER X.
CHROMATIC SCALE.
fi 73. Let trie teacher write the scale on the board, and review what was said
in chap, vii, by asking questions similar to those found at the end of that chapter.
In writing the scale, leave room between the whole tone intervals for inserting
the semitones.
EXAMPLE.
.. =5 a.
* 74. Between any two sounds, a tune distant from each other, as from one to
two, &c., another sound may be sung. Thus all the whole tones may be divided,
and a scale be formed of semitones only, called the chromatic scale.
$ 75. The semitone between any two sounds, a whole tone distant, may be
obtained either by elevating the lower of the two, or by depressing the upper.
(S 74». In ascending, the semitones are usually obtained by elevation. The sign
of elevation is made thus J£, and is called a sharp. A note thus elevated is said to
be sharped.
The teacher may now introduce the sharped notes, so as to present the following
example :
-a %o o frs^'fc71
% 77. In descending, the semitones are usually obtained by depression. The
man of depression is made thus |j, and is called a Hat. A note thus depressed is
•aid to be flatted.
Exhibit the following example, in connection with the other.
-kg—S-frzT -e-b&- ~g -
o Iv?-
§ 78. In speaking of the altered notes (sharped <»• flntted) by numerals, we
always say, sharp one, sharp four, flat six, flat seven. <fcc. j but in speaking of them
by letters, we say, C sharp, D sharp, E flat, B flat, $uz.
§ 79. A sharped note naturally leads upward, or after a sharped note the ear
naturally expects the next note above it ; hence, the note above is always tne guide
to a sharped note.
§ 80. A flatted note naturally leads downward ; hence the note below is always
the guide to a flatted note.
§ 81. When a note is sharped, the syllable appropriated to it in solmization
terminates in the vowel sound e—thus Do becomes when sharped, De ; Rae be-
comes Re ; Fa, Fe, &c. m
§ 82. When a note is flatted, the syllable appropriated to it terminates in the
vowel sound a (as mfate)—thus, Do becomes Da; Si Sa; La (lah) Lay, &c.
fl Hit. When a sharped or flatted note is to be restored to its natural sound, the
following character H, called a natural, is placed before it, A natural takes away
the torce of a flat or sharp.
QUESTIONS.
Which of the intervals of the natural scale (Diatonic) may be divided ? 4ns. The
wttole tones. What is that scale called which is formed wholly of semii >nes ? In
how many way6 may the semitones be obtained ? In ascending how do we obtain
the semitones ? What is the sign of elevation called ? In descending, how are the
semitones obtained ? What is the sign of depression called ? Does a sharped note
lead upward or downward ? What note is the guide to a sharped note ? What is
the guide to sharp four ? 6liarp two ? &c. Does a flatted now lead upward or
downward ? What note is the guide to a flatted note ? What is the guide to flat
six ? flat three ? &x. When a note is sharped, with what vowel sound does the
syllable applied to it terminate ? What syllable is applied to sharp four ? sharp
six? &c. When a note is flatted, with what vowel sound does the syllable appro-
priated to it terminate ? What syllable is applied to flat three ? flat seven ? &c.
When a sharped or flatted note is to be restored, what character is used ? What is
the use of a natural ?
CHAPTER XT
TRANSPOSITION OF THE SCALE.
§ 84. In all our exercises, hitherto, we have taken C as one of the scale, or at
the key note, or tonic When C is thus taken for one, the scale is said tc be in it*

17. INTRODUCTION TO THE SCIENCE OF MUSIC.
natural position, the natural key being that of C. But any other letter may be
taken as one of the scale j and when this is done, the scale is said to be transposed.
Thus, if D be taken as one, the scale is said to be transposed to D, or to be in the
key of D ; if E be taken as one, the scale is said to be in E, &c.
85. In the transposition of the 6cale, care must be taken to preserve the rela-
tive order of the tones and semitones ; that is, from three to four, and from seven
to eight, must always be semitones, and the rest whole tones, whatever may be
the key.
KEY OF G; FIRST TRANSPOSITION BY SHARPS.
The teacner writes tne scale in C, on the upper staff, on the board, and says :
$ 86. We will now transpose the scale to G, or take five of the C scale as one
of a new scale.
He writes the scale, beemning with G, on the lower staff, directly under the C scale, and then
fays :
$ 87. We will now proceed to examine the G scale, and see if the semitones
•re right.
Note. In order to find out the proper interval from »nc sound to another, in the scale in any
key, we must examine it by numerals : thus, from one to two must be a whole tone : from two to
three a whole tone : from three to four a half tone, &c. : but in order to ascertain what is the
actual interval from one sound to another, we must examine it by letters : thus, from B to D is a
whole tone, Ac.
EXAMINATION.
Q,7ics. What must be the interval from one to two ? Ans. A tone.
Quel. What is the interval from G to A ? Ans. A lone.
Pointing at the same time to the letters on the C scale.
Thus we see the first interval is right.
Ques. What must the interval be from two to three ? Ant. A tone.
Ques. What is th« interval from A to B ? Ans. A tone.
Pointing as before.
Ques. What must the interval be from three to four ? Ans. A semitone.
Ques. What is the interval from B to C ? Ans. A semitone.
Ques. What must the interval be from four to five ? Ans. A tone.
Ques. What is the interval from C to D ? Ans. A tone.
Ques. What must the interval be from five to six ? Ans. A tone.
Ques. What is the interval from D to E ? Ans. A tone.
Ques. What must the interval be from six to seven 7 Ans. A tone.
Ques. What is the interval from E to F ? Ans. A semitone.
The teacher now observes,—Since the interval from six to seven must be a tone,
and since from E to F the interval is but half a tone, we must sharp F, in order to
E
reserve the proper order of the intervals in the scale of G. He writes a sharp
efore F, and pointing asks,
Ques. What letter is seven now ? Ans. F sharp.
Nerer allow the pupil to say F foi F sharp or C, for C sharp, <fec. He proceed*.
Ques. What must be the interval from seven to eignt? Ans. A semitone.
Ques. What is the interval from Yifc to G? Ans. A semitone.
§ 88. The teacher observes. In transposing the scale to G, we have found one
sharp necessary, namely, before F. Instead of writing this sharp before every F
which may occur in a piece of music in this key, it is placed once for all, at the
commencement of the piece, on the letter altered. It is then called the signature
of the key. Thus one sharp, or Y$f is the signature of the kpy of G. When there
is neither Hat nor sharp in the signature, it is said to be natural : it is then the sig-
nature to the key of C
§ 89. A sharp or flat in the signature affects all the notes on the letter on which
it is placed ; not only those which are written on the same degree of the staff, but
also those which are written an octave higher or lower.
§ 90. The scale being now transposed, the numerals and syllables applied to
it have all changed their places ; but the letters remain as before, with the excep-
tion that Y$f is substituted for F.
§ 91. In the transposition of the scale from C to G, it is carried a. fifth higher
or a fourth lower. Thus, afifth above is the same tiling as a. fourth below.
Explain and illustrate
QUESTIONS.
When the scale is in its natural position, what letter is one ?
Where any other letter than C is taken as one, what is said .of the scale ?
Ans. It is transposed.
In transposing the scale, of what must we be particularly careful ? Ans. The
order of the intervals.
In transposing the scale to G. what sound ib it necessary to alter ? Ans. Four.
What must we do to it? Ans Sharp it. What does the sharp fourth become in
the new key ? Ans. Seven
What is the signature to the key of G ? Ans. Y#. Why is F# necessary in the
key of G? Ans. To preserve the relative order of the intervals.
What is the signature to the key of C ? Ans. Natural.
How much higher is the key of G than that of C ? How much lower is the key
of G than that of C ?
Note. Tunes in the key of G, whose rhythmical construction is not too difficult, may now bo
introduced and practised
KEY OF D; SECOND TRANSPOSITION BY SHARPS.
§ 92. The key of D is examined in connection with that of G, in the same man-
ner as was G with that of C. A new sharp will be found necessary, namely, on C,
which having been found as before, the teacher removes it to the signature, and
then presents to the school the key of D with two sharps.
QUESTIONS.
In transposing the scale from G to D, what sound must we alter? Ans. Four,
What must we do with it? Ant. Sharp it. What does th* sharp fourth becotna

18. INTRODUCTION TO THE SCIENCE OF MUSIC
'u the new key ? Ans. Seven. What is the signature to the key of D ? Ans. Two
sharps. What letters are sharped ? Ans. F and C. Why are these sharps neces-
sary in the key of D ? Ans. To preserve the proper order of tone3 and semitones
in the scale. I low much higher is the key of D than that of G ? How much lower ?
Tunes in the key of D may now be introduced.
KEY OF A; THIRD TRANSPOSITION BY SHARPS.
v 93. Examine the key of A with that of D ; and investigate the scale by the
same process as before.
Questions, after the same manner as at § 92.
Introduce tunes in A.
$ 91. It will be perceived, that if the fifth of any key, natural, or with sharps
in the signature, be taken as one of a new key, a new sharp must be introduced,
namely, on the fourth ; which sharp fourth becomes the seventh in the new key.
KEY OF E; FOURTH TRANSPOSITION BY SHARPS.
$ 95. Examine the key of E in connection with that of A, and proceed as
before.
Questions after the same manner as at Q 92 —Sing tunes in E.
9 96. It is not necessary to proceed further in the transposition of the scale by
sharps, as others very seldom occur.
CHAPTER XII.
KKY OF F; FIRST TRANSPOSITION BY FLATS.
§ 97. In the transposition of the scale, we have hitherto always taken five as
one of a new key ; we will now take four as such.
$ 9§. The teacher writes the C scale on the upper staff, and the F scale (with-
out the signature) below it,' and investigates as before. It will be found that from
three to four is a whole tone; and a Hat must be introduced on seven, of the C scale
on B, in order to preserve the relative order of tones and semitones in the new
key of F.
$ 99. The teacher may explain in relation to this transposition after the same
manner as at J 88.
§ 10©. In the transposition of the scale from C to F, it is carried a fourth higher,
or a fifth lower) thus a. fourth above is the same as affth below.
QUESTIONS.
In transposing the scale from C to F, what sound must we alter? Ans. Seven.
What must we do with seven 'I Ans. Fiat it. What does the flat seventh become
in the new key? Ans. Four. What letter is seven in the key of C ? Ans. B.
What letter is four in the kjey nf V ! Ans. B.D. What is the signature to the key
ofF? Ant. One Hit What letter is flatted? Ans. B. Why is BD necessary in
the key of F ? How much higher is the key of F than that of C I How much
lower?
Tunes in F may be introduced. *
KEY OF B), SECOND TRANSPOSITION BY FLAT!
§ 101. The fourth from F (BD) is taken as one, and the scale investigated aa
before. They will find that E, the sevenih in the key of F, must be Hatted.
Questions as at I) 100.—Sing tunes in BD-
KEY OF F.D; THIRD TRANSPOSITION BY FLATS.
§ 102. In examining the scale in ED, it will lie found necessary to flat A.
Questions after the same manner as at (/ 100.
§ 103. If the fourth of any key (natural, or with Hats in the signature) be taken
as one of a new key, a new Hat must be introduced, namely, on the seventh ; which
flat seventh becomes four in the new key.
Introduce tunes in BD-
KEY OF Ap; FOURTH TRANSPOSITION BY FLATS.
§ 104. In examining the scale in Ap, it will be found necessary to Hat D.
Questions after the same manner as at <i 100. —Sing in AD.
§ 105. Further transposition by Hats is unnecessary. Others, however, may
be exhibited and explained, if the teacher thinks proper.
For further remarks and ;..ustiatlons, see " Manual."
CHAPTER XIII.
MODULATION INTO RELATIVE KEYS.
§ 106. Preparatory exercises.
1. The scholars sing the C scale; then assume tioo as one of another scale, which
they also sing through ; then three ; then four, and so on. A scale is formed upon
each, as far as the voice extends.
2. They take eight, seven, six, &c, as five, and complete the scale, ascending and
descending.
3. Similar exercises should be practised, until the scholars can immediately take
any sound which is given them, and consider it as any other sound, and from that
form the scale, upward or downward.
§ 107. When, in a piece of music, the scale is transposed, such change is called
MODULATION.
FIRST MODULATION, OR FROM ONE TO FITS.
From C to G.
§ 108. What is the signature to the key of C?
What is the signature to the key of GT

19. INTRODUCTION TO THE SCIENCE OF MUSIC
What is F in the G scale? Ans. Seven.
To what does F# lead ? Ans. To G.
$ 109. F# is the note op modulation from the key of C to that of G. The
•harp fourth is always tne note of modulation from any key to its fifth.
Questions. What is the note of modulation from C to G 7 From D to A ? From
A to E 7 From F to C ? &c.
$ 1 10. When modulation occurs, the melodic relations of the sounds, and often
the syllables, applied in solmization, must be changed according to the new key.
$ 111. Wheu a modulation occurs from C to G, C appears no longer as one;
but, according to the G scale, as four; A as two; D as five, &c.
$ 112. H'jt.i 1 If several notes, on the same degree, occur before the note
of modulation, the change is most conveniently made on the last.
See the ihove example, where the second note on D is changed to five.
y 1 >3. Rule 2. If »o two notes, on the same degree, precede the note of
modulation, the change should be made on a note somewhat longer than the rest.
^ -©-
25
^—0
6
#t
-o h- -
5,
sol
y 114. Rule 3. If long notes are not to be found on which the change can be
made, we must quickly regard the second or third note, before the note of modula-
tion, as belonging to the coming key.
EXAMPLE.
i^f m.
6
ol
Notk. The teacher will be able to point out numerous examples, as they occur in almost every
Bee of music. ™ ~
piece of inunc
SECOND MODULATION, OH FROM C T*> F.
y 115. What is the signature to the key tf C 1
What is the signature to the key of F?
What is B t> in the F scale 7 Ans. Four
y 116. BD is the note of modulation, from the key of C lo that of F. The
flat seventh is always the note of modulation from any kev to its fourth.
Questions. What is the note of modulation from C to b 7 From F to BP?
From G to C ? &c.
§ 117. See y 110.
y 11§. When a modulation occurs from C to F, C appears no longer as one;
but, according to the F scale, as five, D as six, Sua.
example.
3
:5±~*=¥=%+- =t
at ±=zt.
8 5
sol £
y 119. Rules the same as at y 112, 113, 114.
% 120. These two modulations are the most common. It is not thought neces-
sary to speak of others in this place. Further remarK.8 may be found in the
" Manual."
§ 121. In such changes as usually occur in Psalmody, extending only to on«
or two measures, it is not advisable to make any change of syllables, but merely 10
alter the termination of the note of modulation ; but in longer pieceB, or where the
change is continued for some time, not only that part which has the note of modu-
lation, but also the other parts, should adopt the solmization of the new key.
QUESTIONS.
When the scale is transposed, what is such change called 7 What is the most
common modulation 1 Arts. From one to five. What the next 7 Ans. From one
to four.
When modulations occur, what must be done with the syllables 7 Ans. Changed
according to the new key.
CHAPTER XIV.
MINOR SCALE
§ 122. Hitherto we have sung semitones between three and four, and between
seven and eight, and this is the order in which they must always occur in the natu
ral scale. But there is another scale, not natural, but artificial, in which the seail
tones arc ditferontly placed.

20. INTRODUCTION TO THE SCIENCE OF MUSIC.
Ascending.
EXAMPLE.
Minor Scale.
Descending.
3.
bo-
gEgEto =22-^©:
§ 123. The teacher should sing the Minor scale slowly, carefully, and repeat-
ediy, until the pupils can tell him what sound he flats in ascending, and what
sounds he flats in descending ; and where the semitones occur.
§ 124. In ascending (Minor scale) the third is flatted; in descending, the
seventh, sixth, and third are flatted.
§ 125. In ascending (Minor scale) the semitones occur between two and three,
and seven and eight ; in descending, between six and five, and three and two.
§ 126. This scale is called the minor scale or mode, (by the Germans moll,
soft,) because it moves on more softly and gently than the other which we have
hitherto practised, and which is called the major scale, or mode, (by the Germans,
dur, hard.)
See " Manual," 4 449.
$ 127. Instead of marking the flatted sounds of the Minor C scale, one by one,
with flats, as in the above example, we mark them in the signature.
>JUl_ ip?zS?:
•" -9- v v -O-
$ 128. As six and seven are not flatted in ascending, we are now obliged to
alter these two sounds from the signature, by the sign of elevation; in this case a
natural.
§ 129. It will be perceived that Eb Major has the same signature as C Minor,
namely, three flats.
§ 130. Every Minor scale has the same signaturo as the Major scale, which is
based on its third. Hence these two are said to be related. C Minor is the rela-
tive Minor of ED Major; and ED Major is the relative Major of C Minor.
$ 131. The letters and syllables are the same in the relative modes, but the
numerals are changed. Thus, the syllable Do is applied to Eb in both cases,
although it is one in the Major, and three in the Minor mode.
$ 132. If the signature is three flats, the music may be either in ED Major, or
C Minor In which of the two it is, however, can only be known by an examina-
I
tion of the scale or chords, or by the ear, which, w'len practised, immediately dis-
tinguishes the one from the oilier.
§ 133. If the Minor scale is practically understood in C, it will be easy to trans-
pose it to any of the other letters. Some of the most common Minor modes should
be written upon the board, examined, and practised.
QUESTIONS.
In the ascending Minor scale, what souwl is flatted r
In descending ?
In the ascending Minor scale, where is the first semitone T
Ans. Between two and three. Where the stnond ?
In descending, where is the first semitone found ?
Ans. Between six and five. Where the second ?
What two sounds of the ascending Minor scale must be altered from the signa-
ture 1 Ans. Six and seven. What must be done to their* ? Ans. They must each
be raised a semitone.
What is the relative Major scale to C Miror ? To D ? To E 1 &c.
What is the relative Minor scale to C Major ? To G ? To D ? Sre.
What syllable is applied to one in the Major mode ? In the Minor ? 6fcc.
Which mode is the most common, Major or Minor ? Ans. Major.
Which is the most brilliant or lively ? Which is the most mournful ? N^hich bes-t
expresses joy or praise ? Which best expresses sorrow, grief, penitence ?
CHAPTER XV.
INTERVALS.
§ 134. We have hitherto spoken of the intervals of a tone and semitone, but
there are also other intervals, namely, seconds, thirds, fourths, fifths, &c.
examples.
1. Unison.
Note. Althougn tne unison is not strictly an inteival, yet, in the theory of music, it is spoken
of and treated as one.
2. Seconds.
3i^& *—*—* J*—*
wm

21. INTRODUCTION TO THE SCIENCE OF MUSIC
3. Tliirds.
4. Fourths.
S. f7/Ms.
6. Si*/**.
j=—I- 1rferraP?i=F3
-#- -^ g-
^—-#- *-*-H
^^
-^-
7. Sevenths.
^ m
0-
+e
8. Eighths, or Octaves.
N. B. Practise all the above.
Questions. What is the interval from one to two called ? From two to three ? &c.
From one to three? &c. From one to four? &c., &c.
$ 135. Major and Minor intervals.
Seconds. A second, including a semitone, is called a minor second: a 6econd,
including a whole tone, is called a major second.
Note. The teacher vrntes the scale »n the board, points, and questions.
What is the second from C to D ? Ans. Major. From D to E ? An*. Majo*
From E to F ? Ans. Minor, &c.
Thirds. An interval, including a tone and a semitone, is called a minor tnird :
one including two tones is called a major third. Questions as before.
Fourths. An interval, including two tones and a semitone, is caTed a perfect
fourth : one including three tonesja sharp fourth. Questions as before.
Fifths An interval, including two tones and two semitones, is called a flat fifth:
one including three tones and a semitone, a perfect fifth. Illustrations and ques-
tions.
Sixths. An interval of three tones and two semitones is called a minor sixth : one
of four tones and a semitone, a major sixth. Questions, &c.
Sevenths. An interval olfonr tones and two semitones is called a flat or minor
seventh: one oifive tones and a semitone, a sharp or major seventh. Questions.
Octaves. All the octaves are equal, including_/S#g tones and two semitones.
§ 136. If the lower note of any Minor interval be depressed, or the upper one
elevated, the interval becomes Major.
§ 137. If the lower note of any Major interval be elevated, or the upper one
depressed, the interval becomes Minor-
13§. If the lower note of any Major interval be depressed, or the upper note
elevated, there arises a superfluous or extreme sharp interval.
§ 139. If the lower note of any Minor interval be e' >"ated, or the upper note
depressed, there arises a diminished, or extreme flat in. "<<1.
For further examples and illustrations, see " Manual "
CHAPTER XVI
PASSING AND SYNCOPATED NOTES, AND MISCELLANEOUS CHARACTERS.
§ 140. Passing notes. When notes are introduced which do not properly
belong to the harmony or chord, they are called passing notes.
§ 141. When passing notes follow the essential notes, they are callod after
NOTES.
§ 142. When passing notes precede the essential notes, they are called appo-
giatures.
EXAMPLE.
After notes. Appogiatures
* J s
^=P^3
Performed

22. xviV INTRODUCTION It) THE SCIENCE OF MUSIC
9 143. Syncopated notes. When n note commences on an unaccented, and is
continued on an accented part of a measure, it is called a syncopated note.
$ 144. Pause. When a note is to be prolonged beyond its usual time, a cha-
racter called a pause is placed over or under it. Example : *.
$ 145. Staccato. When singing is performed in a short, pointed, and articulate
manner, it is said to be staccato.
Written. Performed.
:(=t fe
l—W—W- ::^=lzpz^=*=^=^z^=T=p=^
-t-
Epm
$ 146. Legato. When singing is performed in a smooth,
said to be Legato
gliding manner, it is
Note. The distinction between Staccato and Legato is very important, and should be well and
practically understood.
§ 147. Tie. A character called a Tie is used to show how many notes are to
be sung to one syllable. The same character i6 often used to denote Legato style.
Example : '
§ 148. Repeal. Dots across the staff require the repetition of certain parts of
the piece.
Question on this chapter.
CHAPTER XVII
PART III. DYNAMICS.
$ 149. Musical sounds may be either soft or loud. From this fact, in the
nature of musical sounds, arises the necessity of the third department in the ele-
ments of music, called dynamics, which treats of the force or strength of sounds.
$ 150. A sound, be it loud or soft, must still be of a good quality. It must
never be so soft or so loud, as to injure the quality of tone.
DYNAMIC DEGREES.
$ 151. Mezzo. A sound produced by the ordinary exertion of the organs is a
medium or middle sound : it is called mezzo, and is marked M.
$ 152. Piano. A sound produced by some restraint of the organs is a soft
aound; it is called P'Ano, (pronounced pcano,) and is marked P.
§ 153. Forte. A sound produced by a strong or full exertion of the organs la
a loud sound ; it is called forte, and is marked F.
$ 154. Mezzo, Piano, and Forte are Italian words, which, by long usage, haye
become technical terms in music, and are used by all nations.
$ 155. Applications of the three principal Dynamic degrees to the scale.
EXAMPLE.
F.
^zfz
¥ r r | P -»
1
=t
*-*-;
-r-p
I
§ 156. Pianissimo. If a sound is produced by a very small, but careful exer-
tion of the organs, softer than piano, yet so loud as to be a good audible tone, it is
called pianissimo, (pronounced peanissimo,) and is marked PP.
§ 157. Fortissimo. If a sound is delivered with a still greater exertion of the
organs than is required for Forte, but not so loud as to degenerate into a scream.
it is called fortissimo, and is marked FF.
§ 15§. The five Dynamic degrees, applied to the scale :
FF. FF. P. PP.
.0-9 i i a _^_
See further exercises, &c, in " Manual.'
CHAPTER XVIII
DYNAMIC T0NKS.
§ 159. Organ tone. A tone which is commenced, continued, and ended with
an equal degree of force, is called an organ tone.
Note. The organ tone should be exclusively practised in the first stages of a musical educa-
tion. It is difficult to acquire a firm, steady, equal tone. Until tliis is acquired the pupil should
not attempt any other Dynamic tone.
§ 160. Crescendo. A tone commencing soft and increasing to loud is called
a crescendo tone ; and is marked cres. or _.
—^.
§ 161. Diminuendo. A tone commencing loud and gradually diminishing to
soft is called a diminuendo tone -
, and is marked dim. or ~
===^.
$ 162. Swell. A tone consisting of a union of Crescendo and Diminuendo is
called a swelling tone, or a swell. It is marked -«—zj. —
§ 163. Crescendo, Diminuendo, and Swell, are not only applied to individual
tone*, but also to passages in music.
Sing the scale in Crescendo, Diminuendo, qnd Swelling tone*.

23. INTRODUCTION TO THE SCIENCE OF MUSIC
{ 164. Pressure tone. If a singio short sound is sung with a very sudden,
forcible Crescendo, or Swell, there arises the pressure tone—marked <; or <>.
It is often applied to syncopated passages.
y 165. Explosive tone. A single short sound which is struck suddenly, with
very great force, and instantly diminished, is called an explosive tone. It is
marked >, or iz. (forzando,) or sf. (sforzando.)
Practise the explosive tone to the syllable Hah, as in the following example.
>> >>> >> >>>
P5
>2-»
'-ttQT-
EtS
-»—»—»-
> > > > >
±=* t=t:
> >
t-~ I
The practice of this tone is calculated to give great power and strength to the voice.
§ 166. Expression. The proper application of Dynamics to music constitutes
essentially that which is usually called expression. Dynamics should be much
practised ; no other exercises have such a powerful tendency to bring out, strengthen,
and improve the voice.
See " Manual," for more particular instructions.
CHAPTER XIX.
expression of words, in connection with sounds, and miscellaneous directions.
§ 167. Besides the Dynamic designations of the last chapter, vocal expression
depends essentially on Articulation, Accent, Pause, and Emphasis.
§ 168- Vowel sounds. The vowel sounds only should be sustained in singing.
It is on these alone that the voice should dwell. They should be delivered with
accuracy, and carefully prolonged, without being changed. To insure this, the
organs of sound should be immovably fixed from the beginning to the end of a
sound; not the least change should be allowed in the position of the lips, teeth,
tongue, or throat ; nor indeed of the head or body.
$ 169. Consonants. Articulation is almost entirely dependant on the conso-
nants. These should, therefore, receive veiy particular attention, and be delivered
or articulated very quickly, smartly, forcibly, distinctly, and with the greatest pre-
cision. The neglect of a careful utterance of the consonants is a principal cause of
indistinctness in singing.
§ 170. Accent. Accent is as important in singing as in speaking. If the poe-
try be regular in its construction, and is properly adapted to the music, the accentu-
ation of the two will correspond. If otherwise, that of the former must, in general,
be attended to. and the musical accent made to conform to it.
y 171. Pause. Pauses, both grammatical and rhetorical, are also essential to
good singing. In general, when necessary, they must be obtained, not by a pause
in the time, the computation of which should be regularly carried on, but by short-
ening the preceding note; as in the following example, namely:
Written. To be sung.
tn
O- t
zfc
m -W^
I
*s -S>- -Gh '
Joy to the world—the Lord is come ! Joy to the world—the Lord is come
y 172. Emphasis. Emphatic words should be given with a greater or less de-
gree of the explosive tone, (sf.,) without reference to rhythmical accent. In com-
mon psalmody its application is often very difficult, from a want of a proper adapta-
tion of the poetry to the music, or appropriateness of one to the other. The effect
of Emphasis may often be increased by a momentary pause.
y 173. Opening of the mouth. The mouth should, in general, be so far opened
as to admit the end of the fore finger freely between the teeth. Singers do not
usually open their mouths sufficiently wide to give a free and full passage to the
sound.
y 174. Taking breath. (1) In taking breath make as little noise as possible.
(2) Let it be done quickly, and without any change in the position of the mouth.
(3) Never breathe between the different syllables of the same word.
(4) When several notes come together, to one syllable, do not breathe between
them, except in long running passages, or divisions where it cannot be avoided.
(5) Words which are intimately connected in sense, as the article and its noun,
or the preposition and its noun, should not be separated by taking breath.
(6) The practice of breathing at a particular part of the measure, or of rhythmi-
cal breathing, should be avoided.
(7) Take breath no more frequently than is necessary.
(8) Exercises on the explosive tone (fz.) will greatly assist in acquiring the art
of taking breath.
y 175. Quality of tone. The most essential qualities of a good tone are
purity, fulness, firmness, and certainty.
(1) A tone is pure, or clear, when no extraneous sound mixes with it; impi re,
when something like a hissing, screaming, or huskiness is heard. Impurity is
usually produced by an improper position of the mouth.
(2) A tone is full, when it is delivered in a free and unconstrained use of the
appropriate organs of sound. A tone is faint, when it is produced by a careless or
negligent use of the organs.
(3 and 4) A tone is firm and certain, which, being correctly given, is beld
steadily, without change ; and which seems to be perfectly under the control of the
performer. Hence the following are faults, namely :
( 1 ) Striking below the proper sound and sliding up to it, as from five to eight, &c.
(2) A wavering, or trembling of the voice.
(3) A change just at the close of the tone, produced by a careless relaxation A
the organs, which should always be held firm and immovable in their proper po*i
tiou until the sound ceases

24. EXPLANATION OF MUSICAL TERMS
Adagio [or Ado.) signifies the slowest time.
A ! libitum, at pleasure.
4 ffctiuoso, in a style of execution adapted to express affec-
tion, tenderness, supplication, and deep emotion.
Allegro, a brisk and sprightly movement.
Allegretto, less quick than AJlegro.
Alto, Counter, or high Tenor.
Amoroso, in a soft and delicate style.
Andante, with distinctness. As a mark of time, it implies
a medium between the Adagio and Allegro movements.
Andantino, quicker than Andante.
Anthem, a musical composition set to sacred prose.
A tempo, in time.
Bass, the lowest part in harmony.
Bis, this term denotes a repetition of a passage in music.
Cantabile, elegant, graceful, melodious.
Canto, song ; or, in choral compositions, the leading melody.
Chorus, a composition or passage designed for a full choir.
Chromatic, a term given to accidental semitones.
Con furia, with boldness.
Crescendo, Crcs., or -=cc;, with an increasing sound.
Con sfirito, with spirit.
Da Capo, or D. C, close with the first strain.
Diminuendo, Dim., or ;;==-! with a decreasing sourd.
Dirge, a piece composed for funeral occasions.
Divoto, in a solemn and devout manner.
Duello, or Duel, rr. jsic consisting of two parts.
Dolce, sweetness, softness, gentleness, &c.
Eiprcssivo, wilh expression
Forte, strong and full.
Fortissimo, very bud.
Fugue, or Fuge, a piece in which one or more of the parts
lead and the rest follow m dilfarent intervals of tune
Forzando, [or fz.~ the notes over which it is placed are to
be boldly struck with strong emphasis.
Giusto, in a'n equal, steady, and just time.
Grave, Gravcmente, deep emotion.
Grazioso, graceful ; a smooth and gentle style of execution,
approaching to piano.
Harmony, an agreeable combination of musical sounds, or
different melodies, performed at the same time.
Interlude, an instrumental passage introduced between two
vocal passages.
Interval, the distance between any two sounds.
Largo, somewhat quicker than Grave.
Larghetto, not so slow as Largo.
Legato, signifies that the notes of the passage are to be ner-
formed in a close, smooth, and gliding manner.
Lento, Lentcmente, slow.
Melody, an agreeable succession of sounds.
Mezza voce, with a medium fulness of tone.
Mezza, half, middle, mean.
Moderalo, between Andante and Allegro.
Oratorio, a species of musical drama, consisting of airs, re-
citatives, duets, trios, choruses, &c.
Ovei ture, in dramatic music, is an instrumental strain, which
serves as an introduction.
Orchestra, the place or band of musical performances.
Pastorale, a composition generally written in measure of
6-4 or 6-8, the style of which is soothing tender, and
delicate.
Piano, or Pia, soft.
Pianissimo, Pianiss., or PP., very soft.
Pomposo, grand, dignified.
Presto, quick.
Prestissimo, very quick.
Ouartetto, a composition consisting of parts, each of which
occasionally tanes the leading melody.
Quintetto, music composed in five parts, each of which occa-
sionally takes the leading melody.
Recitative, a sort of stvle resembling speaking.
Rippienno, full.
Sempre, throughout ; as sempre piano, solt throughout.
Soprano, the treble or higher voice part.
Sostenulo, sustaining the sounds to the utmost of then
nominal length.
Staccato, the opposite to Legato ; requiring a short, ««ticu-
late, and distinct style of performance.
Siciliano, a composition written in measure of 6-4 or 6-8,
to be performed in a slow and graceful manner.
Soavc, agreeable, pleasing
Soto Voce Dolce, with a sweetness of tone.
Spirituoso, with spirit.
Solo, a composition designed for a single voice or instrument.
Vocal solos, duets, &c. in modern music, are usually ac-
companied with instruments.
Suhito, quick.
Symphony, a passage to be executed by instruments, while
the vocal performers are silent.
Tempo, time.
Tasln Solo, denotes that the movement should be perf onued
with no other chords than unisons and octavet.
Trio, a composition for three voices.
Tulti, all, all together.
Veloce, quick.
Vigoroso, with energy.
Verse, one voice to a pait.
Vivace, in a brisk and livel)
Volti. turn over.

25. THE CANADIAN
CHURCH HARMONIST.
HYMN 540. Old Hundred. L. M. LUTHER.
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26. 22 IIYMN 2JS.
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27. HYMN 28S. Mamre. L. M. HANDEL. 23
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28. 24 HYMN 225. Hannathon. L. M.
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29. HYMN' 338. Meleombe. L. M. WEBBE. 25
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30. 26 J1YMX 25. Wareham. L. M.
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31. HYMN" 203. Alfreton. L. M.
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32. 28
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33. HYMN 714.
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Duke Street. L. M.
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34. so HYMN 586. Kothwell. L.
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The firsi four notes of this tune may be sung in unison,

35. HYMN 57. Job. L. M. W. ARNOLD. 31
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sung as one semibreve.

36. 32 HYMN 46
-Kir
32=fc3S -C2_
Rockingham. L. M.
m
" Dr. E. MILLER, 1780.
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37. HYMN 714. Daniel. L. M.
p
33
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39. HYMN 46. Wilton. L. M. STANLEY. 35
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40. 36 HYMN 05.
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42. 38 HYMN 181. Melbourne. L. M. Hev. D. E. FORD.
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44. 40 HYMN 757. Morning Hymn. L. M. F. BARTHELEMON.
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45. HYMN 758. Evening Hymn. L. M. TALLIS.
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46. 42 HYMN 714. Daventry. L. M. LAMPORT.
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47. HYMN 732. Angel's Song1
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48. 44 HYMN 127. Wakefield. L. M. J. STANLEY.
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49. HYMN 246. New Haven. L. Rev. G. BUEDEB. 45
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50. 46 HYMN 0».
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53. HYMN II.
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54. 50 HYMN 586. Loughborough. L. M.
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59. HYMN 676. Tranquility. L. M. W. MATTHEWS. 55
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60. 56 HYMN 450. Canada. L. $L T. CLARK.
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61. ilYMX 571. Warrington. L. M. R. HARRISON. 57
With glory clad, with strength array'd, The Lord that o'er all nature reigns, The world's foundations strongly laid, And the vast fabric still sustains,
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Awake, our souls! away, our fears! Let every trembling thought be gone! Awake, and run the heavenly race, And put a cheerful cour - age on.
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62. 58 HVSIN 577. Peru. L. M. LEACH.
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Je-sus, the Sinner's Friend, to thee, Lost and undone, for aid I flee, Wea -ry of earth, my - self, and sin ; - pen thine arms and take me in.
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67. HYMN 337. Hamburg: L. M.
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On all the earth thy Spir-it show'r ; The earth in right-eousness re - new ; Thy kingdom come, and hell's o'crpow'r, And to thy scep-tre all sub- due.
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69. HYMN 225. Perseverance. L. M. 65
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