HPpi Cornell University iJ hj) Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924075043764 Rudiments of Music, A CONCISE AND THOROUGHLY PRACTICAL COURSE OF INSTRUCTION IN THE ART OF SINGING BY NOTE. 5/C f^y PREPARED BY James R. Murray PRICE 25 CENTS THE JOHN CHURCH COMPANY THEODORE PRESSER CO., SELLING AGENTS 1712 CHESTNUT STREET + PHILADELPHTA + Copyright, 1888 by The John Church Co. Printed in U. S. A. ELEMENTS OF MUSIC LESSON I. TONE, PEOPERTIES, AND DEPAETMENTS. 1. A musical sound is called a Tone. 2. In every tone there is length, pitch, power and qwdity, 8. The duration of a tone is called length. 4. The highness or lovmess of a tone is called its pitch. 5. The loudness or softness of a tone is called its power. 6. The character of a tone is called its quality. Note.— The difference between a flute tone and a violin tone Is a difference ol yuality. The same voice can make a joyful tone and a sad tone, a clear tone and a sombre toue ; and these are differences, not of length, pitch or power, but of quality. 7. Length, pitch, power and quality are called the properties of tones. 8. Rhythmics, Melodies, Dynamics are the names of the Departments into which the science of music naturally divides itself. 9. Hhythmics treats of the length of sounds. 10. Melodies treats of the pitch of sounds. 11. Dynamics treats of the power and quality of sounds. 12. When people speak intelligently of the rhythmic character of a piece of music, they mean something abnnole. J 13 I E^ f^^ 35^^^ m 4 rm I 4 4^ Nine-eighth. Quik/lruple, eighths as beat^uote. QlTESTioirs.— May any kind of note be taken as beat-note? Explaj?: t^e time: figure? With quarters asunitsorbeat^notes, how would triplemeasureb«miTked! (Quadruple with eighths ? etc. LESSON V. PITCH, STAFF AND CLEFS. ( ' 1. The highness or lowness of a tone is called its pitch. 2. Tone-pitches are named with the names of certain letters, til. -■ 4- Bi, C, D, E, F, G. 3. The pitch of tones is represented by a character, called the itaf Ji oonsiats, usually, of five horizontal lines and their spacer. THE STAFF. E ELEMENTS OF MUSIC 166 4. The lines and spaces of the staff are called degrees. 5. The exact pitch representation of the staff is fixed by characters called cUfi. 6. There are two clefs in common use. The Soprano (or Treble), or G clef |K, and the Base, or F clef 2E. In vocal music, in America, the C clef "CT is sometimes used to indicate the Tenor part. 7. The G clef is always placed upon the second line of the staff, which ifl thus made to represent the pitch G, and all other pitches relatively, thus: • i _ffl_ '^^n * t- 8. A staff with this clef upon it is called the Treble, or Soprano staff. 9. In piano or organ music the part for the right hand is written on the treble staff. So also the music for violin, flute, cornets, and other instru- ments of a similar character, 10. In vocal music the parts for women's voices, and sometimes the Tenor part, are written on the treble staff. 11. The F, or Base clef, is always placed upon the fourth line of the staff, thus indicating the pitch F. ESI 12. The Bass staff is used for the left hand notes in piano or organ play- ing, and for the notes for men's voices, and represents pitches an octave, or eight notes, lower than does the treble staff and clef. 13. The C or Tenor clef is placed upon the third space of the stafi in American vocal music. II I, » O F E — — i 14. The tenor and treble staffs read exactly alike, but the former repre* aents pitches an octave lower than does the latter. 15. When other pitches are wanted, higher or lower than are represented by the staff, short lines called added or leger lines are used. ADDED LINES. 166 ELEMENTS OF MUSIC. 16. The base and treble staffs together, as in piano music, indicate the following pitches: 3r: F-g-| TTTf-^-^ rg-T^"-^ -A- Middle C. . 17. It will be observed that Middle C is common to both staffs, being re- presented by the added line above the base staff, which is the same thing in effect, as the added line below the treble staff. 18. The character which connects the two staffi at the left of the clefe is called a brace | . Questions.— What Is the name of the department which treats of pitch ? What is meant by pitch ? What are the pitch names of tones ? How is the pitch of tones represented? What are degrees? Name and define the uses of the three clefs. Wnat is that staff called which has the G clef upon it? That with the F clef? What pitch is represented by the second line of the treble staff? The second space? etc. Upon what line of the staff is the base clef placed ? What piteh is represented by it? What can you say about the use of these staffs for piano or organ playing? How do the tenor and treble staffs differ from each other? How are pitches repre- sented which are not indicated by the regular staff? What is that character called which is used to connect the staffs 7 LESSON VI. KEYS, SCALES AND INTEETALS. 1. A kq/ is a group or family of tones closely related to each other. 2. Tone one, the principle or foundation tone of the key, is called the key-note or key-tone. 3. A scale is the tones of a key in a certain order, viz. : 1, 2, 3, 4, 5, 6, 7,8. 4. There are but seven different tones in a key. The tone eight, which is always included in a complete scale, is but the tone one of the same key ind scale an octave higher. 5. That key which consists of the tones 0, D, E, F, G, A, B, is called the key of C, and when arranged in the order given above, make what is called Hie scale of C. It is represented upon the staff thus : 1 t CDEFGABC 12345678 6. The distance from one tone to another is called an interval. 7. Intervals are reckoned from the lowest note upward, counting the firss and last. El/EmfiNTS OF MUSIC. 167 8. The musical effect of the smallest interval is called a second. There kte. two kinds of seconds, large and small, or Major and Minor. 9. A major second consists of two tones the distance from the first to the ■econd of which is called (for the sake of measurement) a step, as from CtoD. 10. A minor second consists of two tones the distance from the first t* the second of which is called a half-step, as from E to F. 11. Tn Major Diatonic scales (the key of C, represented on previous paga ts one) these half-steps occur between three and tour, and seven and ei>?hfc 12. Here is the C scale, showing the steps and half-steps. X =1- C D 1 2 E 3 4 G 5 A 6 B 7 C 8 step, step, J^step, step, step, step, H^tep. N.B. — Singers need not be troubled about these intervals; they ar« natural ones, and one at all musical can not help singing them correct)/. We speak of them as a matter of theory. Questions.— What ;s a key ? What is tone one called ? Why ? What Is a scale ? How many different tones in a key ? How many are necessary to form a complete scale? Name the tones which compose the key of C. What is an interval ? How are they reckoned ? What is the m usical effect of the smallest interval called 7 How many kinds of seconds are they ? What are there names 7 Of what does a majol tiecond consist? A minor second ? Name an interval which forms a major second. Where do the half-steps occur in major diatonic scales ? LESSON VII. INTERVALS CONTINUED. 1. There are other intervals than those mentioned in the preceding lea- »on. They take their names from the na~ne of the distance between the two lones. For example : from any given tone of a key or degree of the staff to the third from it is called the interval of a third. From any tone to one a fourth from it is called a, fourth. Tones five degrees apart make the interval of the fifth. Six degrees apart, a sixth. Seven degrees apart, a seveniht Bight degrees apart, an octave. 2. There are also major and minor thirds, sixths and sevenths. 8. A major third is as great as two steps, as from C to £. =? :t % A minor third consists of a step and a half-steo, aa from D to P m 168 ELEMENTS OF MUSIC. 6. A major sixth consists of four steps and a half-step, as from tt E. ^ 6. A Minor sixth has three steps and two half-steps, as from E to O. ^m 7, A major seventh contains five steps ane one half step, as from C to R 8. A minor seventh contains four steps and two half-steps, as from D to C ^ 9. Fourths and Fifths are either Perfect, Augmented or Diminished. 10. A perfect fourth contains two steps and one half-step, as from C to F 11. An augmented fourth contains three steps, as from F to B. • • 12. A diminished fourth contains one step and two half-steps. 13. A perfect fifth contains three steps and one half-step, as fron. C to o i: 3= 14. A diminished fifth contains two steps and two half-steps, as from h to F. F==g- '- ' i: 15. An augmented fifth contains four steps. f Question.— Name the other intervals of the key. How many kinds «f thirds 9»e Siere ? What are they ? Of what does a major third consist ? A minor third ? J\ major sixth 1 A minor sixth ? What is the difference hetween a major and minor seventh ? What can you say of fourths and fifths ? How many steps and half-stepi) has a perfect fourth ? An augmented fourth 7 A diminished fourth ? A perfect ^th ? A diminished fifth ? An augmented fifth ? LESSON VIII. THE SHAEP, FLAT AND NATURAL. INTERMEDIATE TONES. J. The Sharp, Flat and Natural are used to modify the staff and caust It to represent other pitches, higher or lower, than those already indicatad ELEMENTS OF MUSIC. 169 2. Between the regular tones of a key are other tones, called intermediate tones. 3. These intermediate tones are represented upon the staff by the use of the signs named above. 4. The sharp (tt) placed upon a line or space of the staff indicates a pitch a half-step higher, than is indicated without it. Thus in this example the __fl second line in the first measure indicates tha ,- ifcc -tt ^^ ^ - pitch G. In the second measure the meaning '~^^- ^* of the line is changed by placing a sharp upoa it, and a pitch a half-step higher then G, between G and A is indicated, to which is given the name G-sharp. 5. '^heflat (\?) modifies the degree upon which it is placed and causes it to represent a tone a half-step lower than before. Thus the third line in the first measure indicates the pitch B. In r- the second measure the flat causes the line to indicate a pitch a half-step lower than B, be- tween A and B, called B-flat. 6. The Natural (t[) is never used except upon a degree that has a sharp or flat upon it, and is used to change the degree back to its original signi- ficance. EXAMPLE. T ^^E^^^BJ^^ G G-sharp G. A A-flat A 7. Sharps, flats and naturals occuring in the course of a piece of music >re called accidentals. 8. Accidentals aflect only the measure in which they are written. 9. Sharps and flats placed at the beginning of a piece of music, just after the clefs, afiect the degrees upon which they are placed throughout the com- position, unless modified by accidentals as above, and are called the signa- ture or sign of the key. 20. The rules of Harmony often require the use of two other signs, called the double sharp (>}j), and the double flat (Iz^). These signs are always placed upon degrees that have been "sharped," or "flatted," (that is, had sharps or flats placed upon them), and indicate tones a half-step higher, or lowet than before, as will be seen from the following example. 52 d= ^==zj: U G, G-sharp, G double sharp. B, B-flat, B double flat. 6. The intermediate tones of a key are called chromatic tones, and with the reguiar tones of a key, wliieh are called diatonic tones, make what ie called the chromatic scale. 170 ELEMENTS OP MUSIC. Ascending. ^;p=^:^^^ E^^ g^^^=^^ Pitch names. C, CJ}, D, D#, E, F, F^, G, G#, A, A| B, C. Mumeral Lames. 1, sharp 1, 2, sharp 2, 3, 4, sharp 4, 5, sharp 5, 6, sharp 6, 7, 8. g Dames. Do, di, re, ri, mi, fa, fl, sol, si, la, li, ti, do. Deeeending. ^i -^^^^^^^ ^=3=zrr^ C, B, Bl7, A, A|7, G, 01?, F, E, E^, D, D>, U. 8. 7, flat 7, 6, flat 6, 5, flat 5, 4, 3, flat 3, 2, flat 2, 1. Do, ti, te, la, le, sol, se, fa, mi, me, re, ra, do. Questions.— Define the use of the sharp, flat and natural. What are intermediatt tones ? How are they represented upon the staflf ? How does the sharp modify the staff? The flat? The natural? What are accidentals ? What is meant by the sig- nature or sign of the key 1 How far does the influence of an accidental extend ? How do sharps or flats in the signature place effect the staff? What can you say of the double sharp and double flat ? What are chromatic tones 1 What are the regu- lar tones of ^he key called ? What is meant by the chromatic scale 7 LESSON IX. KEYS WITH SHARPS. 1. Ally tone may be taken as the basis of a key, but all major keys must have the same order and kind of intervals as shown in the scale of C, in Lesson IV. That is, the half-steps must come between 8 and 4, and 7 and 8. 2. The key of C is the only one in which the proper order of intervals can be represented without the use of sharps or flats. This is one reason why the key of C is often called the " natural key," but it is no more natural than any other. 8. In forming new keys the common method is to take the fifth of the preceding key for the first of the new one. The fifth of the key of C is G. A series of tones in scale form, with G as one, will appear as follows : G A B C D E F G 1 2 3 4 5 6 7 8 The half-steps are indicated by the curved lines, and, as will be readily seen, the second one does not come in the right place according to the rule, viz., between 7 and 8, but between 6 and 7. This is corrected by substi- tuting for F the tone between F and G, called F-sharp, which changes the interval from 6 to 7 to a step, as it should be, and at the same time maken but a half-step of the interval between 7 and 8. ' ELEMENTS OF MUSIC. //I G A B D E n 1 2 3 4 5 6 7 G 4. The key of G differs, therefore, from the key of C in the substitution )f F-sharp for F. The sharp which indicates the new tone is placed at tha _# . beginning of the music written in this key, and by it the —I key is recognized. One sharp placed as here is said to be the sign of the key of G. 5. The tones, then, which form the key of G, are G, A, B, C, D, E, and F-sharp. The scale in G, properly represented, is as follows; i =1= ^- G A B D E n G 1 2 3 4 6 9 7 8 Do re mi fa sol la ti do Q,<7TsSTi0NS.— May any tone be taken as a hash', or starting-point for a key? What rule must be observed? What can yov say oi the representation of the proper order of intervals in the key of C? Is the key any more natural than others? la forming new keys, what method is customary 'i What tone would this give us for our first new key? Do the intervals come right when G is taken as one? Where do the half-stepji occur? Where should they be ? How is the difficulty remedied T How does the ftiiy of C differ from the key of G? How is the staff fixed to repre- sent ths nuw kej-7 What tones constitute the key of G? LESSON X. ] The next key In order is called the key of D, because D is taken as ihe key-note. 2. To pieserve the order of intervals, a new tone is substituted for one of the old ones, hs in the key of G, and the following group of tones is the resviJt : D, E, Fjjf, G, A, B, C^, constituting the key of D. 3. The sign of the key is two sharps, r| and C^, placed as follows : :| ¥ 4. The pitch names of tones are alwaj s the same in all keys, and are therefore called absolute names. .3. The numeral and syllable names change with the key, the key-note al- i»ay8 being one, and Do. These are called relative names, and serve to show ^e relation of the tones in the key. 172 ELEMENTS OF MDBia SCALE nr THE KEY OF D. aL)_ , i J J jEE^^:gisa D E n G A B ct D J 2 3 4 5 6 7 8 Do re mi fa sol la ti do J N.B. — It is just as easy to sing in one key as another. Singers xnnst noi Se troubled about the presence of sharps or fiats in a key. If one can sing the scale in the key of C, which has no sharps or flats, he can sing it just as easily in the key of Cjf, which has seven sharps in it, and of which thf following is the signature : There is, however, at first a little difficulty in getting familiar with tne new place for " one," or Do, but the difficulty is soon ovtrcome, and the change gives a pleasing variety to the study. The other keys with sharps which are in common use are a.* follows: 6. Xey of A. Signature, three sharps (FJJ, C| and Gjf). Tones of the key. A, B, C| D, E, Fjf, Gjf. F^lt SCALE IN THE KEY OF A. J = i It A B c| D E n «it A 1 2 3 4 5 6 7 S Do re mi fa .sol la ti do 7. Key of E. Signature, four sharps (Fjf, C|, GJ| and DJ{). Tones of th« iey, E, F#, G#, A, B, C#, Djf. SCALE IN THE KEY OP E. ^ ^ A-^ J j^^^r— t^H E n ^ A B c« D« E 1 2 3 4 5 6 7 8 Do re mi fa sol la ti do tEeyofB. Signature. €ve sharps (F|, Cj|, Gj|, Dj| and Ajj) Tones of the key. B- qjf, D# , E, Ffl; Gj^ Ajj. ELEMENTS OF MUSIC. 173 :iA SCALE IN THE KEY OF B. m 1- =F m B C# D# E F# G# A# B 12345678 Do re mi fa sol la ti do QjErfTiONs.— Name the tones which form the key of D. What is its signatured i)o the pltoh names change with the kev 1 What are the pitch names called ? Whafc names do change, as the Icey changes? What tone is always "one" and ''Do"? What do the numeral or syllable names show ? Is a key with sharps or flats more difficult to sing in than the key of C? Name the tones which form the key of A. What is its signature? What tone is " one " ? What is its syllable name? Name the tones which form the key of E. What is its signature ? Where is " do " ? Nauia the tones which form the key of B. What is its signature ? Where is " do " ? LESSON XL KEYS WITH FLATS. 1. Another method of forming new keys is to take the fourth tone of the preceding scale as the key-note of the new cne. The fourth of the key of C is r. A scale beginning with F would appear as follows : ^ m F 1 G 2 A 3 B 4 C 5 D 6 E 7 F 8 Here, also, the half-steps come in the wrong place ; the distance between 3 and 4 is too great and is too small between 4 and 5, By the use of the tone between A and B, called B-flat, (discarding B) the difficulty is ovei^ come, and we iiave a perfect scale in F, as folilows : P ^ E G A B-flat G D E F 1 2 8 4 5 6 7 8 2. The tones in the key of F are, therefore, F, G, A, B|7; CD £., aiiw the signature one fiat. lEi It it ^ F G A B-flat C D E F 1 2 3 4 5 6 7 8 Do re mi fa sol la ti do 3 1.74 ELEMENTS OF MUSIC. 3. Key of B-flai. The fourth of the key of F is B-flat, which become* the key-Dote of the next new key. 4. In tb^s key £ is dropped and E-flat substituted, giving the tones Bt^, 0^ D, E|7, F, G, a, with two flats, B|7 and £|7, as the signature. KEY AND SCALE OF B-FLAT. I ffc w Bb C D Eb F G A B^ 1 2 3 4 5 6 7 8 Do re mi fa sol la ti do 6. Key-notes have tones above and below them ; they are considered in 'ones" in relation to the tones above them, and "eights" in relation t» the tones below them. 6. Key of E-fiat. In thi§ key A is dropped and Ab is substituted, mak- ing the tones of the key E|7, F, G, A|7, Bt», C, D. Sign of the key, tlirk^ flats, Bl7, E>, At*. KEY AKD SCALE OF E-FLAT. ifefag A- ^m G A> B> C D E> 3 4 5 6 ■ 7 8 mi fa sol la ti do E> F 1 2 Do re 7. Key of A-flat. In this key D is omitted and Db sub»tituted, makib^ the tones of the key A>, Bb, C, Dt?, Eb, F, G. Sign of th*- key, four flats. Bb, Eb, Ab, D|7. KEY AND SCALE OF A-FLAT, i u s X i Aj7 Bb C Db E> F G Al7 1 2 S 4 5 6 r 8 Do re mi fa sol la ti do 8. Key of D-flat. Tones of the key, Db, Eb, F, Gb, Ab. B)?, C Sigir at (ihe ksy, five flats, Bb, E, Ab, Db, Gb. KEY AND SCALE OF D-FLAT. ^ m Db Eb F Gb Ab Bb C Db 12345678 Do re mi fa sol la ti do ELEMENTS OF MUSIC. 176 N.B. — ^There are other keys, but the preceding ones are all that are in Bommon use. Q,TrKSTiON3.— How are keys formed with flats 7 What are the tones which make the key ot F 7 What is the sign of the key 7 Name the tones which make the key Bf B-llat. What is its signature 7 When is a key-tone considered as " one " of the key? When Is it considered as "eight"? Name the tones which form the kny oi B-flatr What is its signature 7 What tones make the key of A-flat 7 What i» »' ■ignatnre? D-flat? Signature? Are there other keys than these? LESSON XII. MINOE KEYS. 1. Each major key has a minor key founded upon its tone "six". 2. These keys have the same signature as the major and are therefore called relative keys. 3. The intervals of the minor keys are as follows ; Half-steps between 2 •nd 3, 5 and 6, and 7 and 8, and a step and a half between 6 and 7 ; all ftthers, steps. 4. Tone "six " of the key of C is A. A minor scale founded upon A ia tepresented as follows : SCALE OF A MINOE. i 4-^^ A B C D E F G# A 1 2 3 4 5 6 7 8 step, ^step, step, step, }^step, step, 3^tep. '^ La ti do re mi fa sol la Note. — This is called the Harmonic Minor. There are other forms, but this is the proper minor scale and the one in common use. 5. Tone "seven " (in this key it is G^) is always represented as an acci- dental and doej not appear in the signature place. Q,TTESTiONS.— Ho w are minor keys formed ? Why are they called relative keys T Where do the half-steps occur In the minor keys? What new interval have we in minor keys? Where does it occur? What are the tones which form the key of A tninor ? How is tone seven always represented ? What Is the name of this form or >uiuor scale 7 LESSON xm. EXPRESSIONS. DYNAMICS. 1. A tone that is neither loud nor soft, but medium, is called Mezzo; its tign is m. 2. A loud tone is called Forte; its sign is/. S. A very loud tone is called Fortitnmo; its sign is_^. A A sof' tone is called Piano: its sign isjai 176 ELEMENTS OF MUSIC. 6. A very soft tone is called Fianissimo ; its sign is pp. 6. An increasing tone is called Cretcendo ; its sign is Ores, or -■ '-' ^, 7. A diminishing tone is called Diminuendo; its sign is Dim. or ;;::;=—, 8. An increasing and diminishing tone is called a Swell; its sign is sw. ai 9. A suddenly diminishing tone is called Forzando; its sign is/z. or »», Qdeotions.— Explain the following terms and give their signs : Mezzo- Fortf ^rtissimo. Piano. Pianissimo. Crescendo, r^imiiiuendo. Swell. Forzaffiito. LESSON IV. MOVEMENTS. 1. The speed ai which a piece of music sounds besl, is called H» Mmemen 2. A moderate movement is called Moderato. 8. A slow movement is called Andante. 4. Between Andante and Moderato is Andantino. 5. A fast movement is called Allegro. 6. Between Allegro and Moderato is Allegretto. 7. A very slow movement is called Adagio. 8. A very fast movement is ealled Presto. 8. All these things are in Fhythmies. QUKSTIONS.— What is the movement of a piece of music f Xlzplaln Moderntc- Andante. Andantino. Allegro. Allegretto. Adagio. Presto. In what departs ment Is movement? LESSON XV. COMPASS. 1. The extend of a person's voice is called its compois. 2. Vocal music is usually divided into four parts, called Soprano, Alto. Tenor and Base. 3. Women who sing high tones easily are called Sopranos or Trebles. 4. Women who sing low tones easily are called Altos. 5. Men who sing high tones are called Tenors. 6. Men who sing low tones are called Bases. 7. Children sing either Soprano or Alto. VOCAL COMPASS ILLTJSTEATED. Nopruno. Alto. Tenor- K- , T^rr rff^ =?^ YTTi^^ W 1 — h -r1=i'=i tP=P=f: 1 ^--.^ H — H 1 ^=^ Tovial comPiuB- i» FGA B CDEF GAB CDEFGABCDEA'OA ELEMENTS OF MUSIC. 177 N.B. — Since pitches that are an octave apart have the same letter name, it follows that in the whole range of tones there are many Cs, Ds, Fs, etc. To distinguish these names one from another the words " large," "small," 'once marked C," " twice marked C," etc., are used. Once marked C is Oso called " Middle " Questions. —What is meant by compass 7 What are the common divisiotis In focal music? Who sing Soprano? Alto? Tenor? Base? What do children slngt Yhat is the compass of Base voices as shown in the illustration 7 Tenor ? Alto f •oprano 7 What is the whole vocal compass ? How are pitches, having the sam letter name but which are in different octaves, indicated? LESSON XVI. MieCElLANEOUS. 1. Modulation is the pfissing from one key to another. It may be tran sient or extended. 2. Transposition is the singing, playing or writing of a piece of music in some other key than thp.t in wh/cb it was originally composed. 3. A Slur is a curved line y— used to connect notes which are to go to one syllable. It also indicates a smooth, connected singing or playing, called Legato, 4. A Tie is a curved lii^e ' " like the slur, but is used only with notes on the same degree of the staff, binding them together, as it were, causing them to represent one conti'Wous tone. Slur. Slur. Slur. Tie. 33^3;: m Hap, py day, .... hap - py day. 6. (SV'*i*'/'- means short, detached ; its sign is a point. WRITTEN. =t=r:l iS=t ;|:;=t SUNG OR PLAYED. -?—".—?- ±=*Z±^Z^ F^ =?=¥= 6. Marcato is not quite so short as staccato. Its sign is a dot over or un- 4er a note. J J J 7. A Pame /rs means that the tone may be prolonged at the pleasure at iie performer. 1!7£ ELEMENTS OP MUSIC. 8. Bepeat Marim are dots placed in the spaces of the staff, thus : ; I ana show that the music just played or sung is to be repeated. I "Jj 9. D. C, or Da Capo, means that the music is to be played agaiu from ■uie beginning to the close, or to the word Fine, which means " end." 10. B. S., or Dal Segno, means that the music is to be played agaiu front 'he sign J^ to the word Fine, or the close. 11. Syncopation is a change of accent from the usual beat, to that whicfr t generally a weak one. 12. A Triplet is a group of three tones played or sung in the time of tw& Its sign is a figure 3. Questions.— What is modnlatlon 7 What Is transfiosition? Whatlsasl'ir? 4 tie? What is meant by staccato? Marcato? What' is a pause? What d.^ lepe* marks indicate? What is D. C, or Da Capo? What D. S., or Dal Seppo» Wha* does Fine mean 7 What is syncopation 7 What is a triplet 7 What is )x Sign 7 DICTIONARY OF MUSICAL TEEMS. Accelerando; accelerating the time, gradually filter and faster. Adagio, or Adaaio; slow. Ad Libitum ; at pleasure. Allegretto; less quick than Allegro. Allegro; quick. Allegro ma non troppo ; quick, but not too quick. indante; gentle, distinct, and rather slow, yet connected. Andantino; somewhat slower than Andante. A Tempo; in time. Ben Marcato; in a pointed and well- marked manner. Con Brio, or Brioso; with brilliancy, brilliant. Con Affecto ; with expression. Son Dolcessa; with delicacy. Con Fuoeo; with ardor, fire. €hn Mote ; with emotion. Con Spirito; with spirit, aiuimation. •Jiminuendo; gradually diminishing the sound. Dolce; soft, sweet, tender, delicate. Puloroso; in a plaintive, mournful style. tjhravt; slow and solemn. Larghetto; slow, but not so slow aa Largo. Largo ; slow. Lento, ot Lentamcnte ; slow. Maestoso; majestic, majestically. Piu; more. Fiu Mosso; with more motion, faster. Pizzicato ; "inapp'ng the violin string with the fingers. Poco a Poco ; by degrees, gradually. Portamento; the manner of sustain- ing and conducting the voice from one sound to another. Presto; quick. Prestissimo; very quick. Ballentando, Allentando, or Slentandoi slower and softer by degrees. Becitando ; a speaking manner of per- formance. Einforzando, Bin/, or Binforzof sud denly increasing in power. Biiardando; slackening the tima. Semplice; chaste, simple. Solfeggio ; a vocal exercise. Sostenuto; sustained. Tutti; the whole, full chorus. Vigoroto; bold, energetic. Vivace; quick and cheerfu' PRACTICAL EXERCISES. These exercises are designed to accompany the preceding Theory Lessons, and when used in connection with them will be found to form a complete course of elementary instruction in the art of reading and singing by note. 1. Lesson in tone lengths. Halves and quarters. Double measure. ir r ir ; ir r \r \r \r ir r ir ■■ Syl. La la la Beats. Down.Hp. d la la, etc. 2. Anothev form of the above. Beat time. la la u, etc. ir r If ir r ir ir r ir r \f \r \ Mer - r y May, mer - ry May, With her pret - ty flow - ers, r r ir Comes a - gain r I r r I r r ir ir ir to bright -en AU our hap - py hours. 8. Triple measure. What motions of the hand ? riple irrnr r rif r nr'ir nr nr rnr- 4. Quadruple measure. What motions? What kind of a rest? t^ ' ' ^ \f r 1 r r r r I r •'ii 5. Sextuple measure. What motions? jr r r r r r|f r r r r r|r- f\fr\\ M«r-ri - ly, mer-ri - ly, cheeri - ly, cheeri - ly on we go. 6. The treble staff and clef. Pitches and lengths indicated. i I A- re do do re do re do Do 7 Three tones. \± ^ 8. Four tones. QSB£ ^g^j"=4g d (179) 180 PRACTICAL, EXERCISES. 9. Five tones. Ep±^ E^ :t 4= ^E^^. ^^4^ drmmrm sss Morn-ing bright, morninp; bright, Brings a-gain its bless -ed light 133 ^ S -I- 5^ s f m Now to work, do not shirk. Now to hap - py, healthtul work. 10. Six tones. Triple measure. Always " beat time." P I I I ^.. :i=i=t 4=i ^^ ■^—w —^ -\ — -I — — t- dm s 1 11. Base staflf. All practice reading from this staff. m ii*: 1-- hF :F d d d d 12. What measure? Beats? Best? ^ f=r^=H r m m r* Now we sing Do. Do re re mi, We can sing Base if we ? t=R: ^=^ I 7^=^ 1^. ^ ±==t: want to, you see 1 Yes, if we want to, you see. 13. What key ? What measure ? ^ X ^ \Az :t d r m f s Hap - py, hap - py morn - ing, All the skies a - dorn • ing, m f^-E3E=E ^ 1 s With its gen - tie, uxellow, beauteous, bless-ed gold - en light. ' 14. Key of G. What pitch is key-t(?»»e. It is just as easy to sing in one key as another. i -*—!-*- ^^m T do ^m PRACTICAL, EXEECISES. 181 £5. Triple measure Skips. i k s =i=f-j— j — f -i=g=i^ -0—^- :t=P ^EB <— #- :5a: d m s d Life is a see-saw, now upward we go, up, down, so we all go. 16. Tones below and above the key-note. •> A r A 1=^1= 3=P ^ d r d t d t 1 t d All our days are bright with blessings, From a lo v-ing Father's hand ; ::i 1 — 'A- z=^-^ 1=T r d t d r m f Let us then, these gifts possessing, Harken to his blest command, f^^^^^^ i i 'Fol-low me, fol lew me. Come, ye chil-dren, fol-low me.' 17. Base staff. ai 2-t is x=^ \=t ;^^ =t: ^ d t 1 s 1 s Thro' the scale in hap-py measure. Sing we in the key of G. 18. Key of D. *«:a- T ^ :t=t: ^^ d r m rm f mrd Key-note now is space be -low, As we thro' the keys do go. 19. Skips. Whz.t intervals in the skips? mS^ ^^^^ 1 — r T ^^ i: d rm dr mf dm f Oh, how the merry winds blow thro' the forest trees, Sending out ff^^^Ep T 3=5 F3=T smd rmr d dms sms msm d music sweet on every breeze, What more enchanting than fancies like theM* 182 PBACTICAL EXERCISES. 20. Beginning on tone three. i It AS j=p -^^ -1= It -F If. ,^ 5- w\ 1 m rdms fmsd Storm and blessings, calm and strife, Mingle in this bus - y life^ i ^ T: S ^^ £1 ^s>- • — * ' t 1 s f m r d With a constant change 'tis rife, With a constant change 'tis rife,. 21. Base staff. Eighth notes. ■I Ji ^! « «_ ^ ■• f^ ES^ d t d r ni f s Now with voic-es clear and strong We will this happy strain prolong. a— »■ ^^=F5^ ^ 3=T l=F=t It ••-,(■ itzt*: d t 1 t d D's a good key for our song, D's a good key for our song. 22. Key of A. M. 2H — !- q=t ^ T i "4- §^ :<£: drdrm rmd Let us with a joy-ful mind Praise the Lord, for he is kind. 23. t=t ^ — • — F — »■ =t ■ J • '^ - d t 1 s With an ear-nest purpose striving For the truth let each one be, m ^ For the truth shall make you free, shall make you free. y 24. Key of E. ^ T=?q ^ m f ^ m t =^ ^ ^ PRACTICAL EXERCISES. 183 25. Eighth as beat-note. Eepeat, etc. tt mm ^ Mer - ri ly, mer ri ly on ward we go, i :tt » fr — fs — -F^k-ft — N — !s- ^f^?E3^E^$ESE^ ■m — P-!-f- ;t=Lz3: sis ltd O - ver the snow, o - ver the snow, Over the beautiful snow. 26. Key of F. ^ l^=E 1— r t=^- Y-f=i d r d r m f m Gai - ly sing as on we go Thro' this earthly life be - low. 27. [-S ^ tE^^S 3:- dtls drms Hap-py and free, Oh, who so mer-ry and hap-py as we. 28. ^^^ 1— - I \—f-^ f g c -X-ft — • — ?= 1 I h :t=t d t m r Evening shadows gather round us now, At our Father's throne we ]=rt=q= -«i— +«■■ i g Ig2= e^ ■?= :p- f r hum - bly bow, At our Father's throne we humbly bow. 29. Keyof B-flat. -^2 J I -J— J — ^ — 1 r- 1 — r d — ^- :^d- 7^^ :A^2-4._'_^_ ..*_>_. . J_J_ -^. .,L_J_ .«i_j_. ,•__?_. ^p 1 d t 1 s 1 t d r Come, thou ho - ly Spi - rit come. And from thine e-ter - cal home -^P- t^ I ^^^^ q=:=l: ■s — &- m r d t 1 Shed the ray of light di - vine. Bless our souls and make them thine. 184 PRACTICAL EXERCISES. 30. Beginning on Five. i fa I ^^ It;* E^EE£=fc s 1 t Welcome, sweet day, welcome, sweet day,Drive all the darkness away. j 31. All learn to sing from the Base staff. m^^& i ^^ 32. Key of E-flat. i :fc i m ^ 13: m f s 1 33. -J^ — j^ — r -i'—f'-i'—^ -J" — ^ — r~ -^^^*^— p=t=5- -• « J— -i — i « — ? — • J. — J-L. s 1 f Keep me, Savior, near thy side. Let thy counsel be my guide, I i S3E 3^ m ltd Let thy coun - sel be my guide, my con stant guide. 34. Make two divisions of the class and sing Nos. 33 and 34 together, after practicing separately. -t^Hr-4^-^ — ' — ■ — b^ -/« » ^ -# — • — • — f— -0 a m fmrdr mrdt Keep me. Savior, near thy side, Let thy counsel be my guide, ^i s- d r m f r d f Let thy coun -sel be my guide, my con stant guxde. 35. Key of A-flat. i 1^3 -4 iS' ~ < o -*■ §^ m j-t d r d r m Heav'n-ly Fa - ther, lead us O'er life's storm-y sea, PRACTICAL EXEEC1SE8. isa i fefet m ^ ^ sfmrd msfmr Guide us, guard us, keep us, feed us. For we trust in thee. 36. Skips. m ^p ^^ m=:^^ '^---'r fei ^ sfe 37. m^^^^^^ :5=P ^ drmdrmfrmfs 38. KeyofD-flat. What measure ? 1 t d m i T: I M I - 1 ^=1= fc^=l= r=^=^ d r m f 39. What measure ? teg ^ — ;-j- t=t r :^ :^ Join in our song. Join in our song, C• -0- ■»- -F 1 1 — M'"r^F=r | ^=^=J E fe;^^J^5^B=S i last part-ing lay, Slow - ly the day light fades a - way, l'~J *- *- 19-' iS>- ■0- *■ tS*- -«- -12- 42- -,»-' I E3 ^^i^ F=?-^ ^ ^—^ ^ =^ Fades a way, ^izJ^E^i;: a - way, fades, fades. ^-^ ^ ife I i -r-?- -y-?- i ^=^ ■Z5*- fades a =^ 122= way. fades, fades, fades a - way. -r [ 1^ ^ ^-^^"=^=^ ^ PRACTICAL EXEKniSES. my HS. L.OVING Father. J. B M. P J. R. MoEBAY, by per. ^ » * TT ■*■ <^ ■* -i- ♦ ^ I I 1. Lov-ing Fa-ther, bear thy chil-dren Kneeling low be-fore thy 2. Ask-ing not from pain to save us, But from sin, the cause of m T rr r::=ifc X i: q= 4= ■sf ' '" r ' ' ^^ "-S^ tt •*■ throne; O ac - cept our hum - ble wor-ship, Je - sus, pain ; Cleanse our souls and make us ho - ly, Lead us 1^==F= ^ Sav - ior, God a lone. Give us hearts to love thee in thy way a - gain. Give us here thy sweet sup- ; , F !• i m. t&- ^=r- :fe^ ii tj ^ = ' tru - ly, And to love each oth er too ; Make us port - ing, Help us all to do thy will; That at S^S fe i: ± ^ -y- m T t^ 4-lr I --■»--#--*--*-f--»-#-»--3:^ gen - tie, kind, o bt-dient, In all things we say or do. last in heav'nly mansions We may love and serve thee still. =f=P= :5=5z±-=:p: EE t- W