Wmutll WmveMitg |f itaeg 
 
 THE GIFT OF 
 
 3;..M..^ASjxryv..-.^otVttraxwjLUr 
 
 Vo. MUSIC IsJliC. 
 
 7583 
 
Cornell University Library 
 ML 112.G48 
 
 3 1924 021 638 634 
 
Cornell University 
 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/cu31924021638634 
 
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 frc 
 
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 ***, 
 
 MUSIC BOOK PRINTING 
 
 WITH SPECIMENS 
 
 Stanbope press 
 
 F. H. GILSON COMPANY 
 
 BOSTON, MASS. 
 
 1915 
 
Copyright, 1915, by F. H. Gilson Company 
 
 ^7 ;*, 
 
CONTENTS. 
 
 Introduction 5 
 
 Historical 5 
 
 Music Typography 6 
 
 Electrotype Plates 8 
 
 Preparation of Copy 9 
 
 Paging Hymn-and-Tune Books . . . .10 
 
 Music Proof-Reading 12 
 
 Specimens of Music Typography: 
 
 Comparative Sizes of Music Types . . .16 
 
 Hymn-and-Tune Books 17 
 
 Shaped-Note Book 21 
 
 Gospel-Hymn Book . . . . . .24 
 
 Harmony Book 25 
 
 School Song Books 26 
 
 Specimens of Music Notation: 
 
 Staff Notation 16 
 
 Shaped Notation 29 
 
 Tonic Sol-fa Notation 29 
 
 Numeral Notation 29 
 
 Gregorian Notation 30 
 
 The F. H. Gilson Company 31 
 
MUSIC BOOK PRINTING 
 
 INTRODUCTION 
 
 This book presents in a concise form information concerning the prep- 
 aration of music manuscript, the correction of proofs, the amount of music 
 which would go on a given sized page, and other matter of interest to those 
 publishing music books. 
 
 There are included several specimen pages, showing styles of music 
 composition and sizes of music type. 
 
 HISTORICAL 
 
 Probably the first book printed in America that contained music type 
 was " Neu-vermehis-und vollstandiges Gesang-Buch Worin-nen so-wohl 
 die Psalmen David," etc., "Germanton: gedruckt und zu finden bey 
 Christoph Saur, 1753." ("New, enlarged, and complete Song Book, 
 wherein are contained as well the Psalms of David," etc., "Germantown: 
 printed and to be had of Christopher Sower, 1753.") 
 
 Christopher Sower 1st of Germantown, Pa., printed the Bible and 
 many other works at an early date. He cast his own type, and doubtless 
 cast the music type which was used in this psalm-book, although the note- 
 heads are of the lozenge shape, which at that time was being superseded by 
 the round form. Below is given a fac-simile of a line of music taken from 
 a copy of this work in the library of music books of Charles W. Harris of 
 Troy, N. Y. 
 
 In 1770 the "New England Psalm Singer," or "American Chorister," 
 compiled by William Billings, was printed in Boston, by Edes and Gill. 
 
 S 
 
6 Music Book Printing 
 
 The next important work is the ' ' Laus Deo ! The Worcester Collection 
 of Sacred Harmony," etc., "Printed Typographically at Worcester, Mass., 
 by Isaiah Thomas," in 1786. 
 
 Several editions of the "Laus Deo" were printed, as well as a few other 
 works, previous to 1800; but publications of music were rare in America, 
 until the beginning of the nineteenth century. 
 
 Below is given a fac-simile of some typography in "A Favourite Selec- 
 tion of Instrumental Music," etc., by O. Shaw, printed and published by 
 H. Mann, Dedham, Mass., 1807. 
 
 Previous to this time all books were printed from the type, for the art 
 of stereotyping, which was invented about 1725, did not begin to come into 
 general use until 1810, and was first introduced in America about 18 13. 
 Stereotyping gave a great impetus to the printing of books of all kinds, for 
 it was no longer necessary to go to the expense of resetting a book when a 
 second edition was wanted, nor to keep the type standing. Electro typing, 
 which was introduced about 1840, has now superseded stereotyping. 
 
 MUSIC TYPOGRAPHY 
 
 The typographic process for producing printed music employs type 
 representing clefs, notes, lines, etc., which are combined to form the desired 
 representation. 
 
 Music books, such as hymn-and-tune books, gospel-hymn books, 
 school-music books, etc., are printed by the typographic process; for by 
 this method several sizes of music type are available, and for the words can 
 be used any size or style of type made. Large editions are printed economi- 
 cally by this method. 
 
 A font of music type consists of about four hundred different characters. 
 Below are given some of the characters used, as they appear separately. 
 
 NOTE HEADS. STEMS. 
 
 15 
 
 £2 
 
Music Book Printing 
 
 PREFIXES. 
 
 i i 
 
 § fe \ \ 
 
 HOOKS. 
 
 SLURS. 
 [ One of four series.] 
 
 TIE PIECES. 
 [ One of five series.] 
 
 •». ^ *» >» 
 
 STAFF LINES. 
 
 CLEFS AND BARS. 
 
 The placing together, or "setting up," of music type into page form is 
 somewhat like the putting together of a puzzle. It requires peculiar skill 
 and judgment, and a knowledge of the rudiments of music is indispensable. 
 
 Before setting up a piece of music the compositor makes an estimate 
 of the amount that will go into a line, and how many lines will go on a 
 page. 
 
 The horizontal lines cast on the characters, with the lines used between 
 them, form five continuous lines across the page, thus making the staff; 
 and by a skilful use of the various characters and combinations the desired 
 representation is attained. 
 
 If words are to be used, the parts of the verses that are to be sung with 
 this line are now added. These verses are set in the same manner as in 
 ordinary reading matter, with the exception that the words are spaced so 
 that each syllable comes beneath the note to which it is to be sung. 
 
 When all the type is set, it is "locked up" in an iron frame, or "chase." 
 By this means the numerous pieces of type are brought together into a 
 compact mass, thus producing a page of music in type. 
 
 A rough print or "proof" of the page is now taken, which is compared 
 with the copy, and any departure therefrom is marked, as well as any mis- 
 takes in the mechanical construction. The proof-reader does not attempt 
 to correct errors in harmony which may exist in copy. 
 
 As soon as the page is corrected, other proofs are taken and submitted 
 to the composer, who corrects any error that may have been made in the 
 preparation of the copy. 
 
8 
 
 Music Book Printing 
 
 Figure I represents a measure in type. Figure 2 shows the type 
 separated. 
 
 Figure i. 
 
 ** 
 
 W 
 
 i 
 
 1. My coun - try, 
 
 2. My na - tive 
 
 3. Let mu sic 
 
 4. Our fa - there' 
 
 S 
 
 m 
 
 § 
 
 Figure 2. 
 
 1. My coun try, 
 
 2. My na - tive 
 
 3. Let mu - sic 
 
 4. Our fa - thers' 
 
 -m- P- 
 
 
 In printing music the page is set solid, and all the unprinted spaces 
 shown on the page are filled in with blank pieces of type called "quads." 
 In setting up the average page of music, a great number of quads are used. 
 Accordingly a large amount of the labor employed in music typesetting is 
 not evident in the finished product. The heavy black marks in Figure 2 
 represent rows of quads brought up type high to show their number and size. 
 
 Including the quads, one hundred and sixteen pieces of type were 
 required to set Figure 1. 
 
 ELECTROTYPE PLATES 
 
 When the page of music has been corrected, it is ready for electro- 
 typing. The electrotype process consists first in taking a mould of the type 
 in wax, to which is applied a film of black lead (plumbago), in order to 
 conduct electricity. The mould is then put into a solution of sulphate of 
 copper, in which are suspended plates of copper, and a current of electricity 
 from a dynamo is kept constantly passing through the solution for several 
 hours. This causes a deposit of copper on the mould. When sufficiently 
 thick, the "shell" of copper is removed from the mould, and backed up with 
 metal to give the plate thickness and strength. The plate is beaten on the 
 back to correct any unevenness on the face, and is then shaved to standard 
 thickness. 
 
Music Book Printing 9 
 
 Errors which may have been overlooked in the type proof can be 
 corrected in the plates by setting anew the faulty portion of the page, making 
 an electrotype of this, cutting out the wrong part, and soldering in the new. 
 In the case of single notes or letters, a small hole is cut in the plate, and the 
 proper piece of type soldered in. 
 
 PREPARATION OF COPY 
 
 The size and shape of the copy is immaterial, but it is desirable that 
 all sheets be of uniform size. 
 
 Reprint copy may be pasted on sheets of the size taken as a standard. 
 Manuscript copy should be written legibly in ink, and on one side of the 
 paper only. In setting music type it becomes necessary to "count off the 
 copy," i.e., by means of figures pencilled in between the notes, to indicate 
 the amount of space necessary to make the tune fill complete lines. These 
 pencilled figures need to be changed until the line counts up correctly; 
 hence the necessity of manuscript in ink which will not be erased. 
 
 In preparing copy for Sunday-school books the words should be written 
 beneath the notes to which they are to be sung, or attached to the sheet 
 containing the music. The same plan is to be pursued in hymn-and-tune 
 books, where each hymn has a separate tune. 
 
 When the book is to be classified by subjects the topic should be written 
 at the top of each piece of copy; but the order in which the pieces are to 
 appear within the section should be left to the printer. It is desirable to 
 have the pages filled with the proper amount of matter so that they shall 
 appear neither too crowded nor too open; at the same time the right hand 
 page should complete a piece, so as to avoid turning the leaf while singing. 
 Very few compilers have sufficient knowledge of the possibilities or limita- 
 tions of type to do this. 
 
 In the case of a hymn-and-tune book having more than one hymn to 
 a tune, the copy should be prepared as above, so far as each tune with its 
 special hymn is concerned. Additional hymns should be placed on separate 
 pieces of paper, with the topic to which they belong and the meter plainly 
 marked, so that the printer may place them on such pages as they will 
 properly fill. 
 
io Music Book Printing 
 
 PAGING HYMN-AND-TUNE BOOKS 
 
 For the guidance of those who desire to page their own books, the fol- 
 lowing suggestions will be found of service. 
 
 The opposite page may be divided horizontally into sixty-six parts. 
 The headlines occupy four parts. A brace of music and separating space 
 occupies thirteen parts. A stanza of poetry with accompanying space 
 occupies six parts of half measure, therefore three parts of the page; occa- 
 sionally more space is required, as in the third stanzas of Nos. 132 and 134. 
 Headings of hymns and accompanying space occupy two parts each. The 
 folio occupies one part. The page figures up as follows: 
 
 Heading 4 parts 
 
 Two braces of thirteen parts 26 " 
 
 Three hymn headings of two parts .... 6 " 
 
 Ten stanzas of three parts 30 " 
 
 Total 66 parts 
 
 By increasing or diminishing the space between braces, hymns, or 
 stanzas, the amount of matter may be made slightly more or less, without 
 detriment to the appearance of the page. When two tunes are supplied to 
 one hymn, the second tune is sometimes crowded into one brace, but at the 
 expense of legibility. 
 
 Horizontally, two lines of poetry, or their accompanying music, fill the 
 page when the meter is ordinary. Hymns in io's and n's must have the 
 whole width of the page, consequently only half as many stanzas can be 
 contained on the page. The music of a four-line stanza in 1 1 meter can be 
 contained in three braces. 
 
 A shorter method of computation, derived from the above, is to divide 
 the available area of the page into eighteen sections; each stanza of four 
 lines with its share of headings and space equalling one section, and each 
 brace of music equalling four sections. The page then figures: 
 
 Two braces of four sections 8 sections 
 
 Ten stanzas of one section 10 " 
 
 Total 18 sections 
 
 The above rule would apply to any page which preserves the same 
 ratio of size between its different parts. When the balance between stanzas 
 and braces is disturbed, a corresponding difference must be made in the rule. 
 
Selected Jtfgmna. 
 
 DUKE STREET. L. M. 
 
 J. Hatton. 
 
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 4 
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 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 18 
 19 
 20 
 21 
 22 
 23 
 24 
 25 
 26 
 27 
 28 
 29 
 30 
 31 
 32 
 33 
 34 
 35 
 36 
 37 
 38 
 39 
 40 
 41 
 42 
 43 
 44 
 45 
 46 
 47 
 
 g— f 
 
 3£ 
 
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 1. God of the earth, the sky, the sea, Mak-er of all a - bore, be low, 
 
 sn 
 
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 ffrp i" ip Pu 
 
 13 
 
 s 
 
 Cre - a -tion Hyes and moves in Thee ; Thy present life thro' all doth flow. 
 
 N^f 
 
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 II 
 
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 13 
 
 \o2i God of All. 
 
 1 God of the earth, the sky, the sea, 
 Maker of all above, helow, 
 
 Creation lives and moves in Thee ; 
 Thy present life through all doth flow. 
 
 2 Thee in the lonely woods we meet, 
 On the bare hills or cultured plains, 
 
 In ev'ry flow'r beneath our feet, 
 And e'en the still rook's mossy stains. 
 
 3 Thy love is in the sunshine's glow, 
 Thy life is in the quick'ning air : 
 
 When lightnings flash and storm-winds 
 
 blow, 
 There is Thy pow'r ; Thy law is there. 
 
 Rer. Samuel Lonqtbllow. 
 
 3 For life of changeful, earthly bliss, 
 For life in heav'n's unfading day, 
 
 Sing to our God, and say He is 
 Himself, our Guide, Life, Light, and Way. £_ 
 
 Rev. J. S. B. Mo«»BLL. 
 
 134 
 
 133 
 
 A Joyful Song. 
 
 1 Sing to the Lord a joyful song ; 
 
 Lift up your hearts, your voices raise ; 
 To us His gracious gifts belong ; 
 To Him our songs of love and praise. 
 
 2 For life and love, for rest and food, 
 For daily help and nightly care, 
 
 Sing to the Lord, for He is good, 
 And praise His name, for it is fair. 
 
 God is Everywhere. * 
 
 1 Father and Friend, Thy light, Thy love, 
 Beaming through all Thy works we see ; 
 
 Thy glory gilds the heav'ns above, 
 And all the earth is full of Thee. 6 
 
 2 Thy voice we hear, Thy presence feel, 
 While Thou, too pure for mortal sight, 
 
 Involved in clouds, invisible, 
 Keignest the Lord of life and light. g 
 
 3 We know not in what hallowed part 
 
 Of the wide heav'ns Thy throne may be ; 
 But this we know, that where Thou art, 
 Strength, wisdom, goodness, dwell with 
 Thee. 7 
 
 4 Thy children shall not faint nor fear, 
 Sustained by this delightful thought,- 
 
 Since Thou, their God, art ev'rywhere, 
 They cannot be where Thou art not. 
 
 T JOBM BOWBISO. 
 
 50 
 51 
 52 
 53 
 54 
 55 
 56 
 57 
 58 
 59 
 60 
 61 
 62 
 63 
 64 
 65 
 66 
 
12 Music Book Printing 
 
 MUSIC PROOF-READING 
 
 The music typographer usually sends to the composer four proofs: 
 first, an original and duplicate type proof; and second, an original and 
 duplicate final proof. The composer marks on the original type proof such 
 corrections as are necessary, and returns it. The duplicate type proof is 
 retained for the purpose of making an index, or such other use as the com- 
 poser cares to make of it. 
 
 The heavy black lines which appear on the proof around the page are 
 the guard lines, placed there for the protection of the face of the plate 
 during the process of manufacture; they are trimmed off before the book 
 is printed. The rules which connect the braces are trimmed to proper size; 
 it is needless, therefore, for the composer to mark these. 
 
 A study of the opposite page will give a fair idea of music proof -marking. 
 
 The following is an explanation of the symbols and abbreviations used. 
 
 1 
 
 move over 
 
 -"n close up 
 
 s 
 
 take out 
 
 3& space 
 
 9 
 
 turn over 
 
 xnT. £.. wrong font letter 
 
 M/ 
 
 transpose 
 
 .0^ lower case 
 
 Cancelled errors are connected by lines with corrections in the margin. 
 
 Notes are indicated by their position on the staff, not by their names, 
 A, B, C; etc. 
 
 The value of notes is indicated by a fraction. 
 
 Slurs are drawn in, and indicated by the word "slur." 
 
 Dots are encircled with a line to give them prominence. 
 
 Notes are moved to the right or left by the usual sign employed in 
 letter-press proof-reading. 
 
 The placing of words to their proper notes is indicated by connecting, 
 lines. 
 
 It is of great importance that the type proof be corrected and returned 
 to the printer without loss of time. A delay in the transmission of type 
 proof may mean cessation of work on the book, entailing loss to the printer 
 and delay to the customer. 
 
^ 
 
 Selected J^gmtw. 
 
 at 
 
 / 
 
 DUKE STREET. L.M. 
 
 J.HatUm. 
 
 P^ft l fftl^Mj/ 1 /,,/ I J 
 
 1. God of the earth.the 
 
 ^fr 
 
 sky, the sea, .Mak-er of all a • bove, lie A low, IS -/ 
 
 Cre - a - tion lives and moves lo Thee ; Thy present life thro' all dotb flow. 
 
 
 A.. 
 
 i. 
 
 132 God of All. 
 
 1 God of the earth, the sky, thesea, 
 Maker of all above, below, 
 
 Creajion lives and moves in Thee; 
 Thy present life through all doth flow. 
 
 2 Thee in the lonely woods we meet A 
 On the bare hills or cultured plains, 
 
 In ev'ry flow'r beneath our feet, 
 And e'en thef still rock's mossy stains. 
 
 3 Thy love is in the sunshine's glow, 
 Thy life is in the quick'nlng air : 
 
 When lightnings flash and storm-winds 
 blow. , 
 
 There is thy pow'r ; Thy law is there. 
 
 Re.. Bambil LoKSFitww. 
 
 loO A Joyful Song. 
 
 1 Sing to fhe Lord- a Joyful song; 
 Lift. up your hearts, your voices raise; 
 
 To us His gracious gifts belong ; 
 To Him our songs of love and praise.' 
 
 2 For life and love,/festl|orJand food, 
 For daily help and nightly care, 
 
 Sing to the Lord, for He is good, 
 And praise His name, for it is fair. 
 
 3 For life of changeful, earthly bliss, 
 For life in heav'n's unfading day, 
 
 Sing to our God, and say He is 
 Himself, our Guide, Life, Llght,.and Way. 
 
 B«r. }. 8. B. Hokmu. 
 
 1 o4e God is Everywhere. 
 
 1 Father and Friend, Thy light, Thyloye, 
 Beaming through all Thy works we see ; 
 
 Thy glory gilds the heav'ns above, • 
 And all the earth is f #11 of Thee. 
 
 2 Thy voice we hear, Thy presence feel, 
 While Thou, too pure for mortal sight, 
 
 Involved in clouds, invisible, 
 Reignest the Lord of lif § and light. 
 
 3 We know not in what hallowed part 
 
 Of the wide heav'ns Thy throne may be ; 
 But this we know, that wfees-Thou art, 
 Strength, wisdom, goodness, dwell with 
 Thee. 
 
 4 Thy children shall nof faint nor fear, 
 Sustained by this delightful thought,— 
 
 Since Thou, their God, art ev'rywhere, 
 They cannot be where Thou art not , 
 
 
 Sir Jon Sowftnra. 
 
 13 
 
 V 
 
SPECIMENS 
 
 OF 
 
 MUSIC TYPOGRAPHY 
 
COMPARATIVE SIZES OF MUSIC TYPES 
 
 EXCELSIOR ROUND. 
 
 m 
 
 ^TTTTJ j J I -3 i d 
 
 EXCELSIOR OVAL. 
 
 J3 , . , J | , I I J [ J| g=f 
 
 EXCELSIOR EXTENDED. 
 
 "'J i - ,-M i~TTJ I J li " r l J 
 4 J-J'M J = ^-L* "i-^-ti l-H 5 — 
 
 THREE-AND-ONE-HALF POINT. 
 DIAMOND ROUND 
 
 V M .U i J l ^^Tr r i J I 
 
 m 
 
 !£» 
 
 i 
 
 DIAMOND OVAL. 
 
 i 
 
 P3 
 
 ^m 
 
 DIAMOND EXTENDED. 
 
 £ 
 
 AGATE ROUND. 
 
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 -<s*- 
 
 -N — N 
 
 -<s>- 
 
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 AGATE OVAL. 
 
 * 
 
 st 
 
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 AGATE EXTENDED. 
 
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 16 
 
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227 
 
 PSALM 111. C. II. 
 
 Gbe Wonderful "UCloths ©t <3oo 
 
 W. W. GILCHRIST 
 
 1. Praise ye the Lord; with alF 
 
 2. Je - ho-vah's works are ver 
 
 3. His work most hon or 
 
 4. His works of won - der 
 I 
 
 t jr ' — r t • ' ~ — —^t_ 
 
 my heart I will God's praise de - clare, . 
 
 y great, The won-ders of His might ; 
 
 ble is, Most glo - ri - ous and pure, . 
 
 hath made To be re - mem - ber'd well ; . 
 
 a 
 He 
 
 E'en where as - sem - 
 Sought out they are 
 And His un - taint 
 In grace and in 
 
 A 
 
 blies 
 of 
 ■ ed 
 com 
 
 of the just 
 ev - 'ry one 
 right - eous - ness 
 pas - sion great 
 
 And con-gre - ga tions are. . 
 
 Who in them takes de - light. 
 
 For - ev - er doth en - dure. 
 
 Je-ho-vah doth ex - eel. . 
 
 Copyright 1901 bj United Preeb yterian Butd of Publication 
 
 5 The Lord provideth food for all 
 
 Who truly do Him fear, 
 And evermore His covenant 
 He in His mind will bear. 
 
 6 He did the power of His works 
 
 To His own people show, 
 That He the heathen's heritage 
 Upon them might bestow. 
 4 His hands' works all are truth and right, 
 All His commands are sure, 
 And, done in truth and uprightness, 
 They evermore endure. 
 
 8 He to His chosen people sent 
 
 Redemption by His pow'r ; 
 His covenant He did command 
 To be for evermore. 
 
 9 His name alone most holy is, 
 
 In fear to be adored ; 
 Of wisdom the beginning is 
 
 To truly fear the Lord. 
 10 Good understanding have they all 
 
 Who carefully obey 
 His just commandments ev'ry one ; 
 
 His praise endures for aye. 
 
 228 
 
 PSALM 112. L.M 
 
 Zbe "Rewards ©f Erue flMetB 
 
 HENRY BURTON 
 
 How blest the man that fears the Lord, And makes His law his 
 A - bounding wealth shall bless his home, His right-eous-ness shall 
 The goodwill fa- vor show, and lend, And his af - fairs dis - 
 No e - vil tid - ings shall he fear, His heart doth on the 
 
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 chief 
 still 
 creet 
 
 Lord 
 
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 light; 
 dure, 
 guide; 
 pose; 
 
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 His seed shall share his great re - ward, And on the earth be 
 To him shall light a - rise in gloom, He's kind, com-pas - sion 
 Un - moved he stands till life shall end, His name and hon - or 
 He stands un- moved by dan-gers near, Till he shall see his 
 
 men 
 ate, 
 shall 
 pros 
 
 7^ 
 
 of might, 
 
 and pure, 
 
 a bide. 
 
 trate foes. 
 
 Copyright 1001 by United Presbyterian Board of Publication 
 
 5 Dispersing gifts among the poor, 
 
 His lib'ral hands their wants supply ; 
 His righteousness shall still endure, 
 His pow'r shall be exalted high. 
 
 6 The wicked shall his honor see, 
 
 Consume with grief, and gnash and wail; 
 Their hopes shall disappointed be, 
 
 And their desires forever fail. 
 17 
 
 Excelsior Ooal Music Type 
 
94 
 
 ttbe jFatbet 
 
 BEN RHYDDDSG S. M. 
 
 Alexander R. Remacle 
 
 SUf 
 
 ^IJ: i J l j j J nJ mi 
 
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 i. My soul, re- peat His praise, Whose mer-cies are so great; 
 
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 Whose an-ger is so slow to rise, So read - y to a -bate. 
 
 A-MEN. 
 
 M i f P f F ' f f /iJ i f [ [ Pfi' i a 
 
 2 High as the heavens are raised 
 
 Above the ground we tread, 
 So far the riches of his grace 
 Our highest thoughts exceed. 
 
 3 His power subdues our sins ; 
 
 And his forgiving love, 
 Far as the east is from the west, 
 Doth all our guilt remove. 
 
 4 The pity of the Lord, 
 
 To those that fear his name, 
 
 95 MELCOMBE L. M. 
 
 Is such as tender parents feel ; 
 He knows our feeble frame. 
 
 5 Our days are as the grass, 
 
 Or like the morning flower : 
 If one sharp blast sweep o'er the field 
 It withers in an hour. 
 
 6 But thy compassions, Lord, 
 
 To endless years endure ; 
 And children's children ever find 
 Thy words of promise sure. 
 
 Isaac Watts 
 
 Samuel Webbe 
 
 4*a J i j i i j i j i JU i J i i j i % ^ 
 
 X. Whenls-rael, of the Lord be -loved, Out from the land of bond-age came, 
 
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 Her fa-thers' God before her moved, An aw-ful guide,in smoke and flame. A-men. 
 
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 z By day, along the astonished lands 
 The cloudy pillar glided slow ; 
 
 By night, Arabia's crimsoned sands 
 Returned the fiery column's glow. 
 
 3 Thus present still, though now unseen, 
 When brightly shines the prosperous day, 
 
 18 
 
 Be thoughts of thee a cloudy screen, 
 To temper the deceitful ray. 
 
 4 And O, when gathers on our path, 
 In shade and storm, the frequent night, 
 
 Be thou, long-suffering, slow to wrath, 
 A burning and a shining light. 
 
 Walter Scott 
 
 Three-and-one-half Point Music Type 
 
Gbe ifatber 
 
 94 BEN RHYDDING S. M. 
 
 Alexander R. Reinagle 
 
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 i. My soul, re peat His praise, Whose mer - cies are so 
 
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 £ 
 
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 Whose an - ger is so slow to rise, So read - y to a - bate. A - men. 
 
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 2 High as the heavens are raised 
 
 Above the ground we tread, 
 So far the riches of his grace 
 Our highest thoughts exceed. 
 
 3 His power subdues our sins; 
 
 And his forgiving love, 
 Far as the east is from the west, 
 Doth all our guilt remove. 
 
 4 The pity of the Lord, 
 
 To those that fear his name, 
 
 95 
 
 MELCOMBE L. M. 
 
 in 
 
 Is such as tender parents feel; 
 He knows our feeble frame. 
 
 5 Our days are as the grass, 
 
 Or like the morning flower: 
 If one sharp blast sweep o'er the field 
 It withers in an hour. 
 
 6 But thy compassions, Lord, 
 
 To endless years endure; 
 And children's children ever find 
 Thy words of promise sure. 
 
 Isaac Watts 
 Samuel Webbe 
 
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 Her fa-thers' God be - fore her moved, An 
 
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 iiiii 
 
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 2 By day, along the astonished lands 
 llie cloudy pillar glided slow; 
 
 By night, Arabia's crimsoned sands 
 Returned the fiery column's glow. 
 
 3 Thus present still, though now unseen, 
 When brightly shines the prosperous day, 
 
 Be thoughts of thee a cloudy screen, 
 To temper the deceitful ray. 
 
 4 And O, when gathers on our path, 
 In shade and storm, the frequent night, 
 
 Be thou, long-suffering, slow to wrath, 
 A burning and a shining light. 
 
 Walter Scott 
 
 19 
 
 Diamond Round Music Type 
 
249 BERA L - M - 
 
 learnings an& flnvitations 
 
 John E. Gould 
 
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 i. Be - hold, a Stran - ger at the door! He gen -tly knocks,has knocked be - fore; 
 
 
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 Has wait-ed long, is wait-ing still; You treat no oth - er friend so ill. A -men. 
 
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 2 O lovely attitude! he stands 
 
 With melting heart and loaded hands: 
 O matchless kindness! and he shows 
 This matchless kindness to his foes. 
 
 3 But will he prove a friend indeed? 
 He will; the very friend you need; 
 
 250 FERNLEHURST s. M. 
 
 The friend of sinners — yes, 'tis he, 
 With garments dyed on Calvary. 
 
 4 Rise, touched with gratitude divine; 
 Turn out his enemy and thine, 
 That soul-destroying monster, sin, 
 And let the heavenly Stranger in. 
 
 Joseph Grigs 
 
 From the Church Hymnal 
 
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 2 The world can never give 
 
 The bliss for which we sigh; 
 'Tis not the whole of life to live, 
 Nor all of death to die. 
 
 3 Beyond this vale of tears 
 
 There is a life above, 
 Unmeasured by the flight of years; 
 And all that life is love. 
 
 4 There is a death, whose pang 
 
 Outlasts the fleeting breath: 
 O what eternal horrors hang 
 Around the second death! 
 
 5 Thou God of truth and grace, 
 
 Teach us that death to shun; 
 Lest we be banished from thy face, 
 For evermore undone. 
 
 James Montgomery 
 
 Diamond Round Music Type 
 
249 BERA L - M - 
 
 Warnings an& flmrttations 
 
 John E. Gould 
 
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 2 O lovely attitude! he stands 
 
 With melting heart and loaded hands: 
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 3 But will he prove a friend indeed ? 
 He will; the very friend you need: 
 
 250 FERNIEHURST S. M. 
 
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 The friend of sinners — yes, 'tis he, 
 With garments dyed on Calvary. 
 
 4 Rise, touched with gratitude divine; 
 Turn out his enemy and thine, 
 That soul-destroying monster, sin, 
 And let the heavenly Stranger in. 
 
 Joseph Grigg 
 From the Church Hymnal 
 
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 ei - ther pole. 
 
 A -MEN. 
 
 1 
 
 2 The world can never give 
 
 The bliss for which we sigh; 
 'Tis not the whole of life to live, 
 Nor all of death to die. 
 
 3 Beyond this vale of tears 
 
 There is a life above, 
 Unmeasured by the flight of years; 
 And all that life is love. 
 
 4 There is a death, whose pang 
 
 Outlasts the fleeting breath: 
 O what eternal horrors hang 
 Around the second death! 
 
 5 Thou God of truth and grace, 
 
 Teach us that death to shun; 
 Lest we be banished from thy face, 
 For evermore undone. 
 
 James Montgomery 
 
 Diamond Shaped Music Type 
 
Ube Xor&'s Suppet 
 
 555 CROSS OF JESUS 8.7.8.7 
 
 Sir John Stainer, 1887 
 
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 Life, and health, and peace pos-sess 
 
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 2 Here I rest, forever viewing 
 
 Mercy's stream in streams of blood; 
 Precious drops, my soul bedewing, 
 Plead and claim my peace with God. 
 
 3 Truly blessed is this station, 
 
 Low before His Cross to lie, 
 
 While I see divine compassion 
 
 Floating in His languid eye. 
 
 556 
 
 DORRNANCE 8.7.8.7 
 
 4 Here it is I find my heaven, 
 
 While upon the cross I gaze ; 
 Love I much ? I'm much f orgiven,- 
 I'm a miracle of grace. 
 
 5 Love and grief my heart dividing, 
 
 With my tears His feet I bathe ; 
 Constant still in faith abiding, 
 Life deriving from His death. 
 
 Kev. Walter Shirley, 1770 
 
 Isaac B. Woodbury, 1848 
 
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 1. From the ta - ble now re - tir - ing Which for us the Lord hath spread, 
 
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 May our souls, re - freshment find - ing, Grow in all things like our head. 
 
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 2 His example while beholding, 
 May our lives His image bear; 
 Him our Lord and Master calling, 
 His commands may we revere. 
 
 3 Love to God and man displaying, 
 Walking steadfast in His way, 
 Joy attend us in believing, 
 Peace from God, through endless day. 
 
 John Kowe, 1812 
 
 Diamond Round Music Type 
 
4-l8 Xgmington 7. 6. d. 
 
 OUR COUNTRY 
 
 Robert Jackson ( 1841- ) 
 
 ^ 
 
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 k^ l r 1 flf 1 r' l ^J^JLXuE: 
 
 
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 up The man - hood of the poor j 
 
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 3 O Beautiful, our country! 
 
 Round thee in love we draw; 
 Thine is the grace of freedom, 
 
 The majesty of law: 
 Be righteousness thy scepter, 
 
 Justice thy diadem; 
 And on thy shining forehead 
 Be peace the crowning gem ! 
 
 Frederick L. Hosmer, 1881 
 23 
 
 2 For thee our fathers suffered, 
 
 For thee they toiled and prayed; 
 Upon thy holy altar 
 
 Their willing lives they laid: 
 Thou hast no common birthright, 
 
 Grand memories on thee shine; 
 The blood of pilgrim nations 
 
 Commingled flows in thine. 
 
 Diamond Ooal Music Type 
 
57. Onward, Christian Soldiers! 
 
 Gould. Sullivan. 
 
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 2. Like a might - y ar 
 
 3. On - ward,then, ye peo 
 
 - diersl March-ing as to 
 
 Moves the Church of 
 
 Join our hap - py 
 
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 God; 
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 Broth - ers, we are 
 Blend with ours your 
 
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 Go - ing on be 
 Where the saints have 
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 fore, 
 trod, 
 song. 
 
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 foe; 
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 King; 
 
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 Christ, the roy - al 
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 Leads a - gainst the 
 All one bod - y 
 Un - to Christ,the 
 
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 For - ward in - to 
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 See His ban - ners go I 
 One in char i ty. 
 
 Men and An - gels sing. 
 
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 On-ward,Christian sol diers I Marching as to war, 
 
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 24 
 
 Diamond Round Music Type 
 
Par. 102. 
 
 INVENTION WITH CHORALE. 
 
 EXERCISE 29. 
 
 A. Two examples of the Invention with chorale (minor and major, respectively), 
 according to the above directions. Cantus firmus in the Soprano; 4-voice; the 
 Motive at least one or two measures long ; fairly strict manipulation. 
 
 B. One example for 3 voices, preferably for manual (without Pedal-bass). 
 
 C. One example for 5 voices. Review par. 81. Pedal-bass low. 
 
 Cantus Firmus in Bass. 
 
 102. When used as lowermost part, the c.f. is written for the Pedals, 
 of course. The final tone of each line must be a chord-root. Especial 
 care must be taken to avoid implied dissonance for a beat or more after 
 the cessation of each final tone (review par. lood, last clause). All 
 other details correspond precisely to those given above (pars. 100, 101). 
 
 For general illustration (chorale 22 of the Table): 
 
 Lento. 
 
 M._ 
 
 Ex. 
 131. 
 
 I 
 
 p? 
 
 Man.*l *I) 
 
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 §33 
 
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 Ped . 
 & : V, tacet. 
 
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 Episode. »| 
 
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 Diamond Round Music Type 
 
THE STAR-SPANGLED BANNER 
 
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 Solo 
 
 Arranged 
 
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 i. Oh! say, can you see by the dawn's ear- ly light, What so proud- ly we 
 
 2. On the shore dim- ly seen thro' the mists of the deep, Where the foe's haughty 
 
 3. And where is that band who so vaunt-ing-ly swore 'Mid the hav - oc of 
 
 4. Oh! thus be it ev - er when free-men shall stand Be - tween their loved 
 
 i 
 
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 hailed 
 host 
 war 
 home 
 
 at the twi-light's last gleam-ing ? Whose stripes and bright stars, thro' the 
 in dread si - lence re - pos-ing, What's that which the breeze o'er the 
 and the bat - tie's con - fu - sion, A home and a coun - try they'd 
 
 and the war's des - o - la - tion, Blest with vie - fry and peace, may the 
 
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 per - 
 
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 heav'n 
 
 il - ous 
 er - ing 
 us no 
 ■res-cued 
 
 fight, O'er the ramparts we watch'd were so gal-lant-ly stream-ing? 
 
 steep, As it fit - ful-ly blows, half con-ceals, half dis - clos - es? 
 
 more? Their blood has wash'd out their foul foot-steps' pol lu - tion. 
 
 land Praise the Pow'r that hath made and preserved us a na - tion. 
 
 U4=&s 
 
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 From Whiting's School Song Book, copyright, 1901, by D. C. Heath & Company. 
 
 By permission of D. C. Heath & Company. 
 
 26 
 
 Diamond Oval Music Type 
 
NEW SECOND MUSIC READER 
 
 is 
 
 r JJr JJ | J J3J g 
 
 * J » 
 
 439 
 
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 440 
 
 441 
 
 i g fe-t-JjJ-JqJ J i ] J | J r t?b~t J t J 
 
 i 
 
 Celia Standish 
 p Moderate) 
 
 JUNE 
 
 Emil Karl Janser 
 
 u 
 
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 1. From each rose and fern and dai -sy, From each dew-drop sparkling clear, 
 
 2. "Come,"it says,"The winder's o - ver, And the sum-mer'scome at last, 
 
 3. Green the grass on ev - 'ry hill -side.Brooks are laughing, skies are blue, 
 
 442 
 
 i 
 
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 Comes a voice this sum-mermorn-ing, Bring-ing mu-sic to my ear. 
 
 O be mer-ry in the sun-shine, Hap -py June will soon be past." 
 Child-ren, come, when birds are singing, Moth- er Na-ture calls for you. 
 
 
 **= 
 
 w 
 
 JU j i j ' J 
 
 T^~2 
 
 mf 
 
 From the " New Second Music Reader," published by Ginn & Co. 
 27 
 
 Diamond Oval Music Type 
 
TaTa 
 
 TaTa 
 
 J- 
 
 THREE QUARTERS AND QUARTER BEATS 
 
 fc^J|J *J*«MJ*J* N s 
 
 Ta za. fa na Ta za fa na 
 
 Ta za fa na Ta 
 Ta - na Ta 
 
 .* J* J * J J* J* J* J* 
 
 Ta 
 
 na Ta 
 
 J* * 
 
 na 
 
 «LU 
 
 1 
 
 Ta fa Ta 
 
 TaTa 
 
 Ta 
 
 na Ta 
 
 Ta- 
 
 na Ta 
 
 na 
 
 Ta fa, Ta 
 
 Note. As a general rule, take a short note in connection with a longer note following it ; 
 thus, the time-names above should be read : — 
 
 Ta Ta Ta na Ta Ta na Ta na Ta fa Ta 
 
 Ta. Ta za fa na Ta na Ta Ta na Ta na Ta fa Ta 
 
 Sme-iU-JI 
 
 Ex. 12. 
 
 i 
 
 I 
 
 I 
 
 ^^ 
 
 Ta fa Ta fa To no Te Ta na Ta na To fo Te 
 
 § 
 
 fe* 
 
 * 
 
 -*-#- 
 
 i^^^TO^b fl 
 
 28 
 
 .4 gale Round Music Type 
 
SHAPED NOTATION 
 
 EXCELSIOR. 
 
 J * ' <.? g ' S : " J J ~ T f 5 
 
 DIAMOND. 
 
 #Wrj 
 
 ^ 
 
 j 3 ' sj ^ ' ^:" ' j g * i ^r 
 
 Sd 
 
 AGATE. 
 
 i 
 
 * 
 
 i 
 
 M 
 
 mm 
 
 *±3 
 
 ^±p 
 
 Two sets of plates, one in shaped notes and one in round notes, can be made 
 at one time much cheaper than at two separate times, by changing the note-heads 
 in the type page and making an extra electrotype. 
 
 TONIC SOL-FA NOTATION. 
 
 BREVIER. 
 Key of G. 
 
 /Is :ki :d 
 \|d :s< :si 
 
 r :d :t, 
 
 li :s, :si 
 
 d :- :- 
 Si :— :— 
 
 :r :m \ 
 :si :d J 
 
 (I 
 
 SMALL PICA. 
 Key of G. 
 
 :s, 
 
 :d 
 
 :s, 
 
 :d 
 
 1, :s, 
 
 :t, 
 :s, 
 
 d 
 
 :r :n \ 
 
 :s, :d J 
 
 (I 
 
 SMALL PICA. 
 Key of G. 
 
 5 :3 :1 
 1 :5, :5, 
 
 NUMERAL NOTATION. 
 
 2 ]l :7, 
 
 6, :5, :5, 
 
 1 :— :— 
 5, :— :— 
 
 29 
 
 Shaped, Tonic Sol-Fa and Numeral Notation 
 
 1 :2 :3 \ 
 5, :5, :1 / 
 
How to Sing the Choral Service. 
 
 There - fore with An - gels and Arch - an gels, 
 
 7^ " B ~ ff g"]o ^^ °-i 
 
 jy$-* p g= fg 
 
 3=E 
 
 and with all the com-pa-ny ofHeaven,we laud and mag- ni-fy thy 
 
 w c r t^-$- 
 
 =f ^-f^ 
 
 t=t= 
 
 -^- ... 
 
 
 glo - ri -cms Name ;e - ver- more prais-ing thee, and say-ing: 
 
 =1 
 
 tTbe proper prefaces. 
 
 UPON CHRISTMAS DAY, AND SEVEN 
 DAYS AFTER. 
 
 -•ft— I- 
 
 ■ p ■ f 
 
 — ■ — 
 
 
 
 m | 
 
 Be- 
 
 cause thou didst give 
 
 &- -&- -&- -&- 
 
 — i — - 
 
 j<= ■ 
 
 -Z 1] &_ 
 
 sus Christ, thine 
 
 _fl L. 
 
 on - ly 
 
 Son, 
 
 to be born as at this time for us; who, by the operation of the Holy Ghost, 
 
 was made ver - y man of the sub-stance of the Vir - gin Ma - ry his 
 
 30 
 
 Gregorian Notation. Excelsior Music Type 
 
The F. H. Gilson Company 
 
 The business of the F. H. Gilson Company was established in 1878. 
 From a very small beginning it has grown to be one of the largest printing 
 and binding plants in Boston. This company has all the facilities for the 
 complete manufacture of books from manuscript to bound book, thereby, 
 saving the publisher the numerous vexations and delays which occur when 
 dealing with several houses in bringing out a publication. For this reason 
 the F. H. Gilson Company offers a service no other establishment in Bos- 
 ton can. A brief description of the facilities and organization follows: 
 
 MUSIC COMPOSING ROOM 
 
 This department has the largest group of trained music compositors 
 in the United States. The greatest variety of sizes and faces of music 
 type is carried. Many of the characters are especially designed in order 
 to give a more nearly perfect balance in the printed page. The largest 
 amount of music type may be found here, thus making it possible to give 
 the best service. 
 
 BOOK COMPOSING ROOM 
 
 In addition to the Music Composing Room there is maintained a 
 Book Composing Room, which is equipped with a large battery of mono- 
 type machines, in addition to many faces of foundry type, and other modern 
 composing room machinery. Trained workers with long experience in 
 intricate composition enables us to offer an unexcelled typographic product. 
 
 ELECTROTYPE FOUNDRY 
 
 The Electrotype Foundry of this company is equipped with all the 
 modern machinery necessary for turning out the best grade of printing 
 plates. It is operated by a selected group of workmen who fully appre- 
 ciate what is required in an electrotype to make it possible to do good 
 printing economically. The product of this department is not considered 
 a finished product to be sold, but as a first step in the make-ready of the 
 
 forms to be printed. 
 
 3 1 
 
32 F. H. Gilson Company 
 
 PRESSROOM 
 
 The Pressroom has many modern high-speed cylinder presses of the 
 very best make. Each machine is equipped with an automatic feeder. 
 The pressmen are well trained, and have a thorough appreciation of good 
 presswork. Altogether, this department can print music books and other 
 publications promptly and in a first-class manner, with a minimum of wear 
 on the plates and a minimum spoilage of stock. 
 
 BOOKBINDERY 
 
 The Bindery, occupying three floors, has all the best modern ma- 
 chinery necessary for economically binding any kind of book, — paper, 
 cloth, or leather. 
 
 FIRE-PROOF STORAGE 
 
 Connected with the workrooms are the largest fire-proof vaults in 
 Boston for the storage of plates. This, coupled with the lowest insurance 
 rate for this line of business in the city, testifies to the safety of work en- 
 trusted to the care of this house. 
 
 ORGANIZATION 
 
 The entire establishment of the F. H. Gilson Company is thoroughly 
 systematized and organized. This makes for a distinct advantage to the 
 customer in the handling of any work, from the making out of the orders 
 in the office right through to the shipping of the completed product.