“AMBERIC AN ‘Vouan <1 ee aANTHEMS, SENTENCES, AND aYmNs, oup ant Yer cnU bReu, THE VCSTRY, OR VHE PARLOR, ADAEtAD 40 EVZUT VANITY OF 31" 38 coMMO™ Us, aN venOKNIATH FO HVE, Otc ASTON WHEW GOD [S WOUSHIPZED AND NEN AR \D, BINBALL, MORGAN, WOOD, SWAN, 6. Go, AND ER BOSTON: PewLtSiE ys why OATES Th PMIROn REARS RDTHE AMERICAN VOCALIST. TUNES, ANTHEMS, SENTENCES, AND HYMNS, ‘ OUD cay NEw CHURCH, THE VESTRY, OR THE PARLOR ADAFTED 70 EVE 2X VARIETY OF METRE IN COMMON USE, AND APPROPRIATE TO EVERY OCCASION WHERE GOD IS WORSHIPPED AND MEN Aik BLESSED. BILLINGS, HOLDEN, MAXIM, EDSON, HOLYOKE, READ, KIMBALL, MORGAN, WOOD, SWAN, &c, &c, AND EMINENT IN AUTHORS NOW LIVING, AS WELL AS FROM DISTINGUISHED EUROPEAN COMPOSERS EMBRACING A GREATER VARUBTY OF MUSIC FOR CONGREGATIONS, SOCIRTIE AND CHOIRS, THAN ANY OTHER COLLECTION EXTANT. SINGING SCHOOLS, ~ IN THREE PARTS. BOSTON: PUBLISHED BY CHARLES H. PEIRCEPREFACE.} ELEMENTS OF VOCAL MUSIC. CHAPTER 1. ot Dyce tbe ts oaotange, jotta Bee uate ef RHYTHM. atc el tn ween ai aa sere tected sstouch ae the Gost dol) Thos double dated quaves P= in equal (OTHS AND RESTS. — ores represent musical sounds Nore. et bene eet 2. Rests inlets lence, aero a . ; iy, Bisel wont ie a gh the sen wich epreet hom 8; Are a ies ef te ‘4. Thro are sx kinds of note in general uo, ach of which ha it||(W° ERT without the gure. cece || ormatdon Cnt mat? Tomi aa le? ily? Dyan reer cetera ce CHAPTER 1. RHYTHM, ual in length to 2 half nates, 4] a rmetimes used. I 10, Musis ts iis etl egal partine ello STAs i: Matar he pa, Deni otras SUT] 4p, A Bam aud fp purilng nensniELEMENTS OF VOCAL MUSIC. eyontr: suasELEMENTS OF VOCAL MUSIC. v ‘The Diatonie Major: or Natural sce isn sores of sight sounds which eveceed euch other i dierent nerve, but are muabered ia Tegular order, upward, ‘Evom I Yo, 2t0 40,5 00and @ (0.7 evra sa wile tone. Frat Sto 4 apd from to te nterval i Cura are characters used to distinguish the parts, The G cle 1 applied tothe Treble, Ato and Tonok-—the F diet Dr tothe Base, © apliod to the sta as CHAPTER TI. ELODY, 1H STAPP, SAL, & 11, Music is ween upon five parle ines and their spacen called 10. Bach}ine und epuoe i called a Decnee, ‘Thustho saifcontans|| 25. The Buace ix wee to connect staves and sow how many parte sige degrees whieh [ite th linet and spaces ave sumpred wpeard. are smog together. 10. The minor of degrocs may beinoronsed by Aveo Lives either | Nore 1 Serpe ae 1 see ‘mere | 28 Ia singing the scale the flowing Srisantas are ased Writen De, He, Mi Pa, Sol, Tat, 20, ‘The pte of notes represented by tel situation on the ta ‘The leuer, numeral, and 31, The derchee of pitch between aay two nates ie called sa Trek | Sle a fllows ”ELEMENTS OF VOCAT, MUSIC. ||_ 20. he autrence of pitch denoted by the dierent cles is, pact |guggeit Sarees nie writen o the Tbe al when ng degrees ithe Baro sail Butus ther is natural diference of an eo | tate pteh betwcen the malo and female vee thove x am netual iE | tens oinrtece dere, ran eine ahs Sth beta nie ob say degreo i the Dass saifcung by sale voice, and note oo the | stn ‘degree’ in tie ‘Treble sal sung by a male vtec” Thus © note builds C ortho fre added line shove a the Tase, though four {eon degroeshighor wh regard toa sination pon the iff whe sng | by a mute voice, isthe sine in pltch ae leon the fst added line ber wi the Trcbl, ou by fea oie, ‘ 2, Thove eight sound Gomplete the aeale. When sounds above ight are sung, eit becomes One of higher sale, and ‘when aouads|[, ort hel Bab one ur wang, one becomes eight off lower sale . “The human soiog may be divided into for eases, vin. tho low meget lee i encyclo ‘alto, sd the highest female or Preble vice ee ekELEMENTS OF VOCAL MUSIC. vii HAPTER IV. || exencisns, DYNAMIC TONES. A sof is called Ptawo, and is marked p. | Z 39. Aloud ton ialed Foun; ad in make ae 34. Avera yo dete eld Proms, mased pe | © oe er a eetepecaes ay eiode tira bed fn Pe CHAPTER V, MELODY. Seu INTERVALS ele of accent || 42. two sounds ofthe same pitch are ait be in Ustao 41, ‘Aone sek suenly with reat fre nd instantly ninibed|| 49. Tye intervl om any nota tata he west degee of th a is cied an Burnonive Tana ono} {lies Sacomn as or onto wo, tw te+ Fawkes oe Ke, orfromany nate sang ang riers "An interval of tone and a bal is « Minor Third. 48. An interval oftwo tones is a Major Third i 49. An intorval of to tones aqd a half isn Perfect Fourth i 50, An intoral of throe tones is Sharp Fourth. \ S51, An interval of two tonss and (wo semitones is « Flat Fit HA ineralo fur tone aot one sentoe a Major Sih | 4" Fm Ope pe over eae te eshned a harmony 9 aN ( ‘35, An interval of four tones and two semitones is a Flat Serenth. | two or three oesaves from it, they are still reckoned to be tb Unison. 5 So Anuunalerie tarp Serenth_ |The rash ae et eth he Tis, 2, An intreal f three tonce aad a seatone ee Perec Fit Both the Seconds, the Sharp Fusz, the Fat Fh, and both the 1, The Fourth, Fith, sd Octave canaot be sered without becom: ing dessa, aa are thersfore called Pract itera. Th THis = and Siaths tre consonaot, wholher major or minor, an are therefor etn mere One oa. clad a Tame always the iene inthe Bano, and shows whetonr th hey ajor or Minor, Iritbe Do the key irae.” ICL, the key ie mors 3. Tho peniet Sih i alled the Dovusase ofthe hey. 4 The perfect fourth is called the Se=-Dowasy. 65. ‘The sharp seventh is the Leanine Nove to tho Tonic, which re-ELEMENTS OF VOCAL MUSIC ix 6. Thirds aa Ssh ae th aly inrvale which are alowed by | Tle Datwoo them scale which form the intra the rler af Compan, to proceed Ia conseutve ard, oF ana be. an intermedinte tone. "Thues between sod trp news etode: ale cae bees eres Eve oad ee auEsrions, fom one 11 i lnceted on ont chan ashary before it adi called ‘Shaan ono, or C sharps It-an Mo, H hase fat elore it andi aled Futrtwo, or fat The interval between any letter and ie sharp or fst ix miner o- Cumawaste semitone. “Tho interval between aleter sbarped oF fated and the letter onthe port dagrve its major or Distaicsertene, Ths, fiom Cea. GH tea Chromatie reritsnetfom Cf to. Dt Diatons somitone,| From D te Db is « Chromatic soifone—itom D loC i 73._ Tn applying the syllables to the shared nots the vowel sound i hanged,” ‘Bhae “De becomes Di, (Dee) The, Ri (Res) Fa, FY Wee) Sot Si (See) La, Li (Lee), 74, When applied tothe dated notes Mi becomes Me (May) Sol, 80 (633) Lay Le (Lay) Sh, Be (8 29, The Crnontaie Seat consists of hirton sounds and has twelve aS intervae ofa semitone cach CHAPTER VI. 51, A Guns # rine soos has fone 88. A Far p loners a note half stone 69, A Naronis gcnncels ether «fat or sharp and restores & note (ineeasieae | 10. Flas and sbarp ar called rasesvist. when placed atthe begin ot whe fa sharps or maura oxen ue corso hoy ao calied Aveipentacs, and their eet, unless Cahecled,eatenda to every note on tho sume degree thoughout the ‘meaeote, bat never eyo“The mt comuinentranaponions ae fom 110 5 and fom 1 to 4 ita fom 1 te Ais ony aig 80, The fated or sharped ote i cll tho nore oF Moo tation uring the progrest of pines of] thietraneponition hes plans Bie wel sounds, a a woven it may be wel fr lenonens to ELEMENTS OF Any ofthe notes in the above seal teside C may be, mado th ion ofa now nai, in which ease the scale is ald to b ‘hs maptn fo fo ae by sarin eh | A transient modsltion int another key may take place in any estate niece of | piece of must, at, according tothe rales of Componton, the tne mar Fetorn and end inthe principal ey. erm he lal, perhapay tnt to 4 greel aoriy questions. CHAPTER VIL. MELODY. ‘TRANSPOSITION, ‘The intervals ofthe Diatonic sete are natural tothe human vice itis therefore, called Ilo ofthe nara Natural eal.” Cis assumed ‘ax the foundaa ELEMENTS OF VOCAL MUSIC. rT of wooo he pitch ic mare mural, and consoquently, the scale io eung | WFFH A SONATORE OF HARES, WITH 4 slGNarenE OF rLATK. Snore sary n'C than i any ber Key 1 sharp, dhe kay it 1 lt the ke i im, Toya tree tae in es ee 2 ahurps te hay ie Dy 2 fat | Seharpe dhe key is 5 fat 185, When it bocomes convenient to adopt, permencnly, any oth ey than Gyn order that the interval the nallral sale aay ep 4 sharps the key is E. fats Sed itis necasary ta inrodaee Nats sharp and, to veld the convenience afwring tem balore etary ‘oto tht ie to be fated. oF "ABLE OP THE PRINCIPAL KEXS, tharped, theyre placed atthe eginaing, sad affect evesy note nthe - {une upon the doprses where they are "Tene fate or sharps TEC rWe ron oF Rau sats tndlete the key, ad ar therefore eallod tho Srxarns no change tho key som C to ame actor inthe Seal of Now bebrecn 7 and 9 there st theater! of semitone. But azuwing G atone, and second Find tho seca, to he (according tothe scale of C.) only itone fom of, but whofe tone from cght—both of whieh introns are ‘wrong, To femedy thin -pecernny that abould be ahaapedy {hie isthe oly diference Between the hey of nod he ky of This sharpie phced awoodistely ner the elt aad i called the eg tare the key of 87. Ire change the kay ftom © 10 F, aren in the ele of © will become four in the now zeal of Fo to there ast be oly The iver sone weaning Fs one a ering the cal Vesselgct) 2 bcke tod als te ong be tho only irene B tout be fated and this ‘oiweou the kay of C and ti hey a 8. Every shar added oho signature rss the key afl or (hic | nth sen hing) lowers a fourthxi BLEMENTS OF VOCAL MUSIC ev oF A Ker oP Ep. CHAPTER VII. MELODY ‘THE MINOR SCALE od the Chromatic sale there ia soetior, called the Alison Scatty which dfs fom he’ Major wih ret {urd interrals, andthe appiaton of te slabs 22. Ta the minor scale, aicending, sx and sven ate eharyed, and the femnitones occur tween and 3, a2 and 2 Tn decent, all the | glen are renee mgt, andthe ios are betwen © and 91, Besides the Diatonie Ms 85. When a major and minor key have the same sigosture they are faid io bo related. Thus in the wisor hoy of A, the wal x aid tobe {nis natural postion, because of ts reation toh natural key of C major D1. To fod the key of aay minor scale having the stim signtane with any given mjor scale, you wil ascend a siathy of descend thd om the key othe jor 95, The mnjr Key, relative o any mor, i based upon it thi Ses Re SAO fe | Sae-meapy ae noone leeSTS OF VOCAL MUSTO. xiii QUESTIONS, CHAPTER IX, i 6. The prnciral satel ‘introduced in muse to heighten the ee ogee (reten peal eae ° an esto note i ealed om 4 ct the ieasira, When i Note and oars onan ly, to, the jd Tk 28, The toner nat dintiaty and equiren alt the Thureod, But performedxiv ELEMENTS OF VOCAL MUSIC. 100. When a sharp, fat, or natural je placed over or under a turn it lenotes that th hight ar Laven note ia be sharp, a o mara. 10s ADe ge Eas ee een Is neat entre ion eon ouaresncs tat hope 106. A Rarear | requresthe repetition ofatrain oriore, Kryaced ufo a double bar, repeat the preceding. mic, or fare 0 former ipa Ar ers dee bar Topct Matton: a lis Wena |jout where thee smo double bar an ld uni) rpeat what flows. TOT, "A Pause + overa note requires that tbe prolonged beyond is ustallie, cers double ba, donate tha the nest tn i ot come [Rise acces etme aes ce tng rnp areal aes eee at ee eg 101, Tho Suaxe (r]donctes a rapid iteration of two sounds 102, Seaccaro passages; masked 1 1-4-1 aro to be performed in a very pointed and Sistine mane. cts prop coca nc TOS 10S. Porsrso passages, marked + are performed gently and die ip ent tine. TOL Aue is edo canst sent ae ee whieh ae ot separated in sound 2, to connect notes on deren Segre that sre Sgt ne syle 9, 6 dost te neu peo nngiog—s cos idl snneer,EXPLANATION OF MUSICAL TERMS. avREMARKS 1s a part of public worship should, if possible, be porformed by the whole congregation, But if there are any ‘who cannot, or will not fearn to sing, they ought not to mar the devotion by attempting to sing in public 2, Brery singer should have a tun book; but he ought to commit so thoroughly to memory ay not to be entirely depend ent upon it in a public performance. ‘The singer who is obliged to refer constantly to the music ho is performing, wil pro- duce but little effet, 3. Musical tho sweetness or effect of the tuning them. 4. If there is a seloct choir, the members ofit should receive theit places with reference principally to their singing abilities, and not with rofaronco to their wealth, station, or general talent 6. The tune must be keyed to suit the singors. Tt is supposed to he written whero it ean generally be performed with the greatest ffoct. Some choirs may requite ita note higher ot lower. 6. If undet a dispensation of grace, sinnors may eome into the “ congregstion of the Lord to hear and ro of the gospel, no person who is profune or vieious, should be permitted to abuse the worship of God. by the choir, Tt ia a many who assume this responsible part of public worship, fol themselves. at liberty to disturb tho remaining exereises, by taming over their hooks, reading, whispering, &e, &y us if every thing of importance way. doe wien they hud geno through with their houghless nd miscrible apology for SINGING PIRATSE 10 GOD, and they wore not at all interested in the great truths of the gospel ‘| Remember then, my young singing friends especially, your duty. Why ar you permitted to sing?—God is merciful. Prise Him! Why areyon called togother on the holy Subbath? JESUS CIMRIST HATH DIEDIC-AND IS RISEN! Praiso Him! 0 praise ‘Him! What influence is that which moves so sweetly upon your hearts while you hear tho blessed | gospel? "Tis the Holy Ghost! He would win you gently hack to God! Praise Him! Sing praises! ‘Think what tho gospel fers yon, — ‘vo, useful where singers are not thoroughly trained, but if they are, no instrament ean ada to sic. If instruments are used, great earo should be taken uot to disturb the congregation in ive the benefits 1 & place ing } Sing thn, Thor seme fr py nNtOYeteth mann mann } Phiise Farm, Sox, ano Hox GnowJ TRE AMERICAN VOCALIST. “PART I. OLD HUNDRED. L. M.WELLS. “L. M. 2 fl a ZzORLAND. L. M.MONMOUTH. L.HEBRON. M. _ 7PARK STREET. L. M. 9 MUNICH. L. M.M. ‘i MORTALIT‘TRURO. L. M.4 4 eB 5 ae 3 SI a EI B a eLUTON. L. M.HAMBURG. 1. M. 19BROOKFIELD. L. M WOBURN. L. M.= 4 A a < 5 & 7 9 &STRATFIELD. L. M.COWPER. L. M. eeiee tatPLYMOUTH. C. M,DURHAM M.3 6 z a 3 aTISBURY. C.MBANGOR. ©. M.NEW DURHAM. ©. M.CANTERBURY. NEW. C.M aeFLUVANNA. C. M.PSALM HUND:KNARESBORO’. C. M.ABINGTON. C. M.WOODLAND. C.M. [ify WOODLAND.= 6 4 g ei a 5 aEDOM. ©. M.,S a z 2 aAYLESBURY. 8. M2 3 z S z 8 eDUNBAR,WATCHMAN.a 5 a 3 A 3CONCORD. 8. M. faa Efe HARTFORD. 5S. M.PLYMOUTH DOCK. L. M. 6z = g 2 aSALISBURY. L. M.YOAKLEY. L. M.a oS &CARMARTHEN. H. M.DELIGHT. H. M.PORTSMOUTH. H. M,HADDAM.CORYDON. 8s,UNION HYMN. 8».MACHIAS. 8. P.HOTHAM,th a repeat and Da Capa,MISSIONARY HYMN. 7s & 6si. 8, (Peculiar) oF 7, 6,CHRISTMAS. 8, 4. ereeEBERMONDSEY. 6, 42 zLEONI. 6, §, 45s & 6s. 2 3 5 g 2 2SYMPHONY. 10sWILTON. 10s ——4 za! HINTON, 11THE LAST BEAM IS SHININGDENMARK.ARK. Continued, ieZ z 5Continued.FUNERALi. YE DISCONSOLATE.TO THE GRAVTHERE Is AN HOUR OF PEACEFULHOLY LORD GOD OF SABAOTH.DISMISSION.I WILL ARISE$ OF THEEAVENLY VISION. Contimed,THE AMERICAN VOCALIST.HE HEARS THY SIGHS. L. M. y WITH THY=f a a a = ay© FOR A CLOSER WALK WITH GOD. Cc. M.COMPASSION. L. P.M.THE CHURCH'S WELCOME, Is & 128FAR FROM MY THOUGHTS. L. M| HYMN. €. M. epSERAPH-LIKE MUSIC. IIs,x zg Hi 2SAILOR’S HYMN. HINGS V‘THE ROYAL PROCLAMATION. &, =f ROWER OF PRAYER,COME FOR ALL THINGS ARE NOW READY. L. M.DYING Rov.WEET HOME. 11THE DYING YOUTHHE RESTORETH MY SOUL, ©.M.ON THE BANKS OF JORDAN. C. M.CHRISTIANS REQUT|a Tn the Tock of the seatI WOULD NOY LIVE ALWAY. 1s.‘THR AMERICAN VOCALIST. PART III, CANAAN. L. M.HYMN. ©. P.M. ease0 TELL ME NO MORE. 5&6.R JORDAN. 8 & 7.ON THE WAY TO CAYM A PILGRIM,= a S l : © iVOYAGTHE PURE TEST! © Tat the ene Spit 0 Baxi! by one Spins into the one body, Inthe pret ‘Two it ec tag who ark tn Aico Wet wo hg Th rs rin ‘hewn the ve ‘The anion are gathering rounds nuke you bis privy sya By suadersy reposthes, and le perseuton,TILTON. L. M.GABRIEL'S TRUMP THE OLD CHURCH YARD.THE OLD SHIPCOME MY BRETHREN. 7s & 6sBBATH SCHOOL HYMN.CHILD OF PROSP!52 aoe {sons iwc pos atin de Ba pees oa penoet oP Wen Jo Brom ner ‘Hatasoned 9 chow faneelé kinds | Andra ofen ava” Me probe hitPART 1. GENERAL INDEX,PARTI. METRICAL INDEXPARTS I AND IM—GBNERAL AND METRICAL INDEXINDEX OF FIRST LINES TO THE PRINCIPAL HYMNS:NON Cay TING