THE
SOUTHERN HARMONY, AND MUSICAL COMPANION :
CONTAINING A CHOICE COLLECTION OF
TUNES, HYMNS, PSALMS, ODES AND ANTHEMS:
SELECTED FROM THE MOST EMINENT AUTHORS IN THE UNITED STATES.
TOGETHER WITH NEARLY ONE HUNDRED NEW TUNES, WHICH HAVE NEVER BEFORE BEEN PUBLISHED; SUITED TO MOST
OF THE METRES CONTAINED IN
WATTS’ HYMNS AND PSALMS. MERCER’S CLUSTER, DOSSEY’S CHOICE, DOVER SELECTION, METHODIST
HYMN BOOK AND BAPTIST HARMONY ;
AND WELL ADAPTED TO
CHRISTIAN CHURCHES OF EVERY DENOMINATION, SINGING SCHOOLS AND PRIVATE SOCIETIES.
ALSO, AN EASY
Introduction to the grounds of Music, the rudiments of Music, and plain rules for beginners.
BY WILLIAM WALKER,
Sins; unto God ye kingdomsof the earth : O sing praises unto the Lord — David.
Speaking to yourselves in psalms and hymns, and spiritual songs, singing and making melody in your hearts to the Lord —Paul.
START ANSBURG, S. C.
Sold by «• s- C- i Rev. S. S. Burdett, Plensnui Hill; Matthew Lyon Cheraw;
kobkrts and Waddle, Umou ; William Hilly, Charleston ; J R. and W Conning ham,
Columbia; aod by Merchants generally in the Southern Stales.
1835
Entered according to act of Congress, in the year 1835, by William Walker, in the Clerks office of the District Court
of Connecticut District.
Nathar Whitirg, Printer — New Haven.
PREFACE.
The compiler of this work haviug been solicited for several years, by his brother teachers, pupils and other friends, to publish a work of this kind, has consented to yield to their solicitations.
In treating upon the rudiments of Music, I have endeavored to lead the pupil on step by step from A, B, C, in the gamut to the more abstruse parts of this delightful science, having iuserted the gamut as it should be learned in a pleasing conversation between the pupil aud his teacher.
In selectiug the Tunes, Hymns, and Anthems, I have endeavored to gratify the taste of all, aud supply the churches with a number of good plain
Tunes suited to the various metres contained in their different Hymn books.
While those that are fond of fuged tunes have not been neglected, l have endeavored to make this Book a complete Musical companion for the aged as well as the youth. Those that are partial to ancient music will here find some good old acquaintances which will cause them to remember with pleasure the scenes of life that are past aud gone, while my youthful companions, who are more fond of modern music, I hope will find a sufficient number of new tunes to satisfy them as I have spared no pains in trying to select such tunes as would meet the wishes of the public.
I have also selected a number of excellent now Songs and printed them under the times which I hope will be found satisfactory.
Some object to new publications of music, because the compilers alter the tunes. I have endeavored to select the tunes from original authors. Where this could not be done, and the tune having six or seven basses and trebles, I have selected those I thought most consistent with the rules of composition.
I have composed the parts to a great many good airs, (which I could not fiud iu any publication nor in manuscript,) and assigued my uame as the author. I have also composed several tunes wholly, and inserted them in this work which also bear my name.
The compiler now commends this work to the public, praying God that it may be a means of advancing this important and delightful science, and
pf cheering the weary pilgrim on his way to the celestial city above.
a WILLIAM WALKER.
Spartanburg, S. C., September, 1835.
e
THE GAMUT, OR RUDIMENTS OF MUSIC
PART FIRST.
OF MUSIC.
Pupil. What is Music?
Tkachf.r, Music is a succession of pleasing sounds.
1*. On what is music written ?
T. On five parallel lines including the spaces betweerwthem, which is called a stave; and these lines and spaces are represented by the first seven letters in the alphabet, A, B, C, D. E, F. aud G. These letters also represent the seven sounds that belong to each key note in music ; when eight letters are used, the first is re¬ peated.
P. How many parts are there used in vocal music?
T. Commonly only four viz. Hass. Tenor, Counter and Treble, aud the letters are placed on the staves for the several parts in the following order, commencing at the space below the first line in each stave.
TENOR OR TREBLE STAVE NATURAL:
BASS STAVE NATURAL.
FCief
First space. •First line Space below.
G Clef
sol O
law □
— sol-O- • faw
law n -sol-O- faw
— law-0 - -I
solO S
Space above - Fifth line. Fourth space* -Fourth line. Third space. •Third line. Second space* -Second line. First space. -First line. Space below.
COUNTER STAVE NATURAL.
, A law □ Space above.
- - — G - sol-O— - Fifth line.
F faw ^ Fourth space.
- E - - law-H - Fourth line
D sol O Third space.
C Clef - C - faw-k - Third line.
B me O Second space.
- A - - - law-JH - Second line
G sol O First space.
- F - faw-J^ - First line.
E lawQ Space below.
You may observe that the letters are named or called by the names of the four notes used in music. You sec in the above staves that F is named faw, C sol, A law, B me, C faw, D sol, E law, and F faw again, every eighth letter being the first repeated which is an octave ; for every eighth is an octave.
P. How many notes are there used in music; what are their names, and how are they made?
THE GAMUT, OR RUDIMENTS OF MUSIC.
v
T. All notes of music which represent sounds are called by four names, and each note is known by its shape, viz : the me is a diamond, faw is triangle, sol is round, and law is square. See the example.
faw
EXAMPLE.
sol
law
.
diamond triangle round square
P. But in some music books the tunes are written in round notes entirely.
|
- t - -r-fcH |
- r , |
|
|
' " ' ‘C " rr |
P-r=F=fl 4 - ! - - J |
This is the rule for singing round notes. You must therefore observe that the na¬ tural place for the me in parts of music is on that line or space represented by B.
How |
do we know by what names to call the notes in these books 1 T. By first finding the me; for me is the governing and leading note, and when that is found, the notes on the lines and spaces in regular succession are called, faw, sol, law, faw, sol. law, ('twice ,) and those below the me, law, sol, faw, law, sol, faw, (twice \) after which me will come again. Either way, see the following
Me in its
NATURAL % place Tenor or treble me
As in the following example, viz.
But if B be flat, b me is on B b and E b it is on B b E b and A b it is on B b E b A b and D b it is on If F be sharp, $ me is on F if and C £ it is on F if C if and G if it is on F # C # G and D # it is on
E
A
D
G
F
C
G
D
Bfo flat, me is in E
Me, Transposed by flats
B and E flat me is in A
Me, transposed by sharps.
i
IB, E aud A flatlB, E, A and D j F sharp me is |F and C sharpiF, C, G.sharplF, C, G, D, sharp ! me is in D I flat me is in G ' in F 1 me is in C | me is in G I me is in D
Counter me.
11
Bass me
W1
--Q-
ZQZZ
~X> —
:bl*-
Mr
b, o
-P=-
-b — o -
— bh-
ME
-o-
VZI
|
r= |
|
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& — O - |
Sfc
»b=
-
O -
-?f — o-
MB
t— O—
—'igtnzzZzz:
vi the gamut, or rudiments of music.
P. How many marks of sound or kind of notes are there used in music?
. ... <i _
T. The semibreve — is now the longest note used: it is white, without a stem, and is the measqge note, © and guide th all the others.
T. There are six kind of notes used in music which differ in time. They are the semibreve, miniin, crotchet, quaver, semiquaver, and demisemiquaver.
SCALE OF NOTES.
The following scale will show, at one rievy, th a proportion one note bears to another-
One Semibreve
Two
is equal in time to
-©-
S'
Minims,
© and guideth 8
The Minim S is but half the length of a semibreve and has a stem to it.
.
The Crotchet ■ is but half the length of the minim, and has a black head and struight Btern. —
The Quaver F is but half the length of the crotchet, has a black head, and one turn to the stem, W sometimes one way, and sometimes another.
Four
Eight
Sixteen
-•iHp-PtTi-
-rrrrmwn-
The Semiquaver g is but half the length of the quaver, has also a black head and Itwo turns to the “ stem, which are likewise various.
Crotchet .| rp^ Demjsemjqliaver ^ is half the length of a semiquaver, has a black head, and three turns to its stem, g also variously turned.
j P. What are rests ?
Quavers, T. All resisare marks of silence, which signify that you must keep silent so Ion, a time as takes to sound the notes they represent, except the semibreve rest, whii is called the bar rest, always filling the bar, let the mood of time be what it may.
- . j ■ i ..
Semiquavers,
Thirty two —I
Demi-
semi-
quavers,
THE RESTS.
Semibreve. Minim
3
Demisemi-
|
1- ■ " |
1 |
a |
|||
|
1 |
1 |
||||
|
1 |
'i |
Two Bars,
Four Bars.
Eight Bars.
IE
P. Explain the above scale.
THE GAMUT, OR RUDIMENTS OF MUSIC.
P. Explain the rests ?
T. The Semibreve or Bar rest is a black sauare underneath the third line.
The Minim rest is the same mark above the third lino.
The Crotchet rest is something like an inverted figure seven.
Tho Quaver rest resembles a right figure of seven.
The Semiquaver rest resembles the figure seven with an additional mark to the lett. The Deraisemiquaver rest is like the last described, with a third mark to the left.
The two bar lest is a strong bar reaching only across the third space. .....
The four bar rest is a strong bar crossing the second and third space and third line. The eight Bar rest is two strong bars like the last described.
Note.— These notes are sounded sometimes quicker, and sometimes slower, ac¬ cording to the several moods of time. The notes of themselves always bear the same proportion to each other, whatever the mood of time may be.
OF THE SEVERAL MOODS OF TIME.
P. Please tell me how many moods of time there are in music.
T. There are nine moods of time used : four of Common, three of Triple, and two of Compound.,
P. Why are the first four moods called Common-time moods ?
T. Because they are measured by even numbers, as 2, 4, 8, &c.
P. Why are the next three called Triple moods?
T. Because they are measured by odd numbers, having either three minims, thred crotchets, or three quavers, in each bar.
P. Why are the last two called Compound time moods?
T. Because they are compounded of Common and Triple ; of Common as the bar is divided equal, the fall being equal to the rise in keeping time ; and of Triple as each half of the bar is three fold ; having either three crotchets, three quavers or notes to that amount to each beat.
P. Please explain the several moods of time in their order.
Tho second mood is known by a C with a bar through it, has the same measure, sung in the time of three seconds— four beats in a bar, two down and two up.
The third mood is known by a C inverted, sometimes with a bar through it, has the same measure as the two ^
first, sung in the time of two seconds — two beats in a -
har.
The fourth mood is known by a figure 2 over a figure 4, has a minim for a measure note, sung in the time of j —
one second — two beats in a bar, one down and the other up.
MODES OF COMMON TIME
The first mood is known by a plain C, and has a “ _
semibreve or its quantity in a measure, sung in the
time of four seconds — four beats in a bar, two down -
and two up.
1234 12 3
1234
X
dduu dd u
)♦ -
dduu
12 1
1 2 12
:±zEEh!
du d u
u du
MOODS OF TRIPLE TIME.
_ 1 2 3 1
The first mood of triple time is known by a fig- _o 1_ZZQJ tire 3 over a figure 2, has a pointed semibreve or — i
three minims in a measure, sung tu the time of - : —
three seconds — three beats, two down and one up.
d d u d d 1 2 3
The second mood is known by a figure 3 over a 4, _o _
huso pointed minim or three crotchets in a measure, p*
and sung in two seconds — three beats in a bar, two \ — j— down and one up.
The third mood is known by the figure 3 above figure o _
8 has three quavers in a measure, and sung in the time of one second — three heals in a bar, two down and one ■8+4
dd u
d d u dd u ddu
Vlll
THE GAMUT, OR RUDIMENTS OF MUSIC.
MOODS OF COMPOUND TIME.
The first mood of compound time is known by [T* j ~ the figure 6 bove figure 4, has six crotchets in a v3 S • > measure, sung in the time of two seconds — two --4U beats in a bar, one down and one up
For the first and third Moods of Common Time, the first of Triple and first of Compound, fall requiring second beats,] . . 39 2-10 incJus.
For the second Mood of Common, second of Triple, and first of
Compound, . . o*2 «i*10
For the fourth of Common, . 12 4-10
For the third of Triple time, . 5 ff21
Then for every swing or vibration of the ball, count one beat, accompanying the motion with the hand, till something of a habit is formed, for the several moods of [time, according to the different lengths of the cord, as expressed above.
Note. — If teachers would fall upon this or some other method, for ascertaining and keeping the true time, there would not be so much difficulty among singers, taught at different schools, about timing music together; for it matters not how well indi¬ vidual singers may perform, if, when several of them perform together, they do not keep tiiue well, they disgust, instead of pleasing their hearers.
OF ACCENT.
1 2 1
The second mode of compound time is known by the figure 6 above an 8, has six J quavers in a measure, sung in the time one second and a half — two beats in a bar,
one down and one up. d u d u d u
P. What do the figures over the bar, and the letters d and u under it, in the above , examples of time, mean ?
T. Tl.e figures show how many beats there are in each bar; and the letter d shows when the bund must go down, and the u when up. I „ .... . ,
... | P. Wh >t is meant by accent?
P. \V hat general rule is there lor beating time ? T. Accent is a particular emphasis or swell of voice on a certain part jf the meas-
T. That the hand fallal the beginning, and rise at the eud of each bar, in all moods ure which is according to the subdivision of it, and is essential to a skillful perform- of time. ance of music as the chief intention of accent is to mark emphatical words more sen-
P. Do you suppose .hose moods when expressed by figures have any particular ?.nd „ If,l,e Poelr-v be *®°d- »"d "iu»e
c ■■ 1 .1 I i . i ° skillfully adapted, the important words will fall upon the accented parts of the bar.
signification, more than being mere arbitral,- charade, » ? Should empirical words happen on the unaccented part, the music should always
T. I think they have tins significant meaning, that the lower figure shows how ma- bend to the words, ny parts or kinds or notes the semibreve is dirided into, and the upper figure sign,-: p whot , of the mmmn is accente(1 in lhe 8evara, moods of limc , fies how many of such notes or parts will till a bar — lor example, the first mood ol '
compound time above 4.) shows the semibreve isdivided into four parts— i. e. into The first three moods of common lime are accented on the first and third notes crolchels, (for four crotchets are equal to one semibreve;) and the upper figure 6 >" **>« measure when the bur is divided into four equal parts ; and the fourth mood is shows that 6 of iliese parts, viz. crotchets, fill a bar. So of any other time expressod|acc<inle<l «'> '•><» first part of the measure when only two notes are in a bar ; if four bv figures. accent as in the first three. In Triple time, when the measure is divided into three
* ’ , „ . ... .... .equal parts, the accent is on the first and third ; if only two notes are in a bar, the
P. How shall we with sufficient exactness ascertain the proper time of each beat|accent is always on the longest note. In Compound time the accent is on the first in the different moods ? and fourth notes in the measure, when the bar is divided into six equal parts. Coup-
T. By making use of a pendulum, the cord of which, from the centre of the ball to the pin from which it is suspended, to be, for the several moods, of the following lengths: —
let accent, is when two notes are accented together, as two quavers in the first three moods in Common time, or two crotchets in the first mood of Triple time, &c. In keeping time the accent is always strongest with the down beats.
THE GAMUT. OR RUDIMENTS OF MUSIC.
IX
DIRECTIONS FOR BEATING TIME.
NAMES.
EXAMPLES.
EXPLANATION.
P. How must I beat time 7
T. In the first two moods of common time for the first heat lightly, strike the end of your linger on whatever you beat upon ; second, bring down the heel of your The p d0f hand; third, raise your band a little and shut it partly up; fourth beat, raise it up even with your shoulder and throw it open at the same lime, which completes the bar. The third and fourth moods, for the first beat let the hand full ; second raise it up. The first two beats in Triple time are the same as in the first of Common time ; third beat raise the hand up. Compound time is beat in the same manner as in the third of Common. Be careful that the motion of the hand should be always gentle, graceful, and regular, and never raise it much above a level with your shoulder. The q Clef
CHARACTERS USED IN MUSIC.
NAMES. EXAMPLES. EXPLANATION.
m
Is placed on the fourth line of the stave, and belongs to the bass or lower part in music; it is sometimes used in counter.
Stands on G, second line of the tenor or tre¬ ble stave and crosses that line four times. It is always used in tenor and treble and some¬ times in counter.
Leger line
A Stave Leger ~
line _
Leger line.
A Brace
Is five parallel lines j with their spaces on The C Clef which notea and other musical characters are written and the leger line is added when notes ascend or de¬ scend beyond the stave.
A single bar
Is drawn across the first end of the slaves, and shows how many parts are sung together If i; include four parts, the order of them are as fol¬ lows. The lowest and first partis the bass, the second is tenor, tho third counter, and the fourth and upper part is treble; if only three parts, the third is treble.
A measure note
Bara
B
Stands on C, middle line ; is used only in counter.
7 - - 1 - p — V"
- - - - nn
- Is a plain line or mark
across the stave and di¬ vides the time into equal - porta according to the mood of time and meas¬ ure note.
mu
a note that fills a - measure ; i. c. from one ■ bar to another without Zany other note or rest.
Any quantity of music written between two of these marks or bars, is called a bar of music.
X
THE GAMUT, OR RUDIMENTS OF MUSIC.
A dot or point of addition
A Flat*
A $har:>
A Natural
zz=zzzzfc=£:
Set at the right hand of any note adds to it half its length or causes it to be sounded half as long Figure 3 again as it would be without the dot; thus a pointed semibreve is sung as long as three minims, &c.
Set immediately prece- A Trill -ding or before a note,
“sinks it half a tone : i. e.
[[causes it to be sung half -a tone lower than it would be without the ^at* A Direct
Set before a note raises ” it half a tone ; i. e. catxs- -esit to be sung half a - tone higher than itl ■ would be without the A Hold sharp.
_ Restores a note from flat -or sharp to its natural “sound.
Over or under three notes is a mark of dimi-
_ , _ : , nution, and shows that
Z3 _ glU they must be sung in the
O time of two of the same
kind without a figure.
thus.
- - _ — _ — - Shows that the note over
- ZjZ ? - which it is placed, should
be warbled like a soft
Id
~P~w~~|S -
I_ roll.
- Shows the place of the
- — succeeding note on the " stave.
O
A Slur
Over or under any mini
- s berof notes shows that
- a - - they must be sung to
~Pl _ it _ one syllable, gliding soft*
J _ ! _ P 1-1— - ly from one sound to the
- — other. The tails of the To raise notes are often joined
together which answers the same purpose as a slur.
* Wo recommend singers to omit accidental flats and sharps unless they under¬ stand them properly.
-Notes thus marked are -sounded one fourth long¬ er than their usual time.
A Stacato
Appogniature < grace notes
1 1
Efc
Efe.
g
_ Is seldom used in vocal
_ music. The notes over
— which it is placed should
— be sounded distinct and omphatical.
Are small extra notes
- added and set before or
after regular notes to
_L _ guide the voice more
- gracefully into the sound
of the succeeding note.
THE GAMUT, OR RUDIMENTS OF MUSIC.
XI
Mark of accent and half accent
Double Bar
Shows the place which A Close — is accented in each meas¬
ure.
! Shows the half accent.
-Show's the end of 'strain ; it also shows _when to repeat.
Repeat
2 Shows that the time is _to be sung twice from it -to the next double bar -close.
:>-E=iC
I Shows the end of a tune or anthem.
A Prisma
Denotes a repetition of preceding words.
OF CHOOSING NOTES.
P. What are choosing notes, and how must I sing them ?
T. They are notes set immediately over each other on the same stave; either ol which may be sung, but not by the same voice ; (in bass the lower notes are termed ground bass.) If two persons are singing the same part, one may sing the upper notes, and the other the lower notes. See the example on the bass stave.
EXAMPLE OF CHOOSING NOTES.
THE GAMUT, OR RUDIMENTS OF MUSIC.
Xll
OF SYNCOPE OR SYNCOPEED NOTES.
P. What is meant by syncope or syncopeed notes 1 T. It is when a note is set out of its usual order requiring the accent to be upon it
as though it were in the usual place of the accent as in common time, having half
the time of the measure in the middle, as a minim between two crotchets, or a crotchet preceding a pointed minim, or a crotchet between two quavers, &c.
F.XAM PLES OF SYNCOPEED NOTES.
+ _ I _ + _ _ _
| \ ~ G ^ P Pit- k. k ^ i }
+
cP:
OF THE KEYS OR KEY NOTES. j OF TONES AND SEMITONES.
P. What is meant by the keys in music, how many are there, and how are they] P. Ik hat is meant by toner and semi or halftones? known? I -p There are said to be but seven sounds belonging to every key note in music,
T. The key note of every correct piece of music, is the leading note of the tune every eighth being the same, and is called an octave. Therefore these sounds are by which all the other sounds throughout the tune are compared, and is always the, represented by only seven letters. These sounds in music are called tones: five ot lit note in the bass and generally in the tenor. Ifthe last note in the bass be faw'them are culled whole tones and two of them semitones or half tones, the natural immediately above me, the tune is on a sharp or major key; but if law immediately places for the semitones are between li and C and between L and i . amt they are below me, it is a flat or minor key. ‘
There are but two natural places for the keys. A and C. A is the natural place of the flat key, and C the natural place of the .sliurp key. Without the aid of the flats and sharps at the beginning of the stave, no tune can rightly be set to any other than these two natural keys ; but by the help of these, me, the centre, leading and , governing note, and of course the keys, are removed at pleasure, and form what are s called artificial keys producing the same effect as the two numral keys; 1. o. by fix- , mg the two semi or half tones equally distant from they key notes. I lie difference , between the major and minor keys is as follows; the major key note has its dd, Oth , and 7th intervals ascending half a tone higher than the same intervals ascending from the minor key note ; and this is the reason some tunes are on a sharp key, and others on a flat key. This also is the reason why music sol to the major or sharp key is generally sprightly and cheerful ; whereas music set to the minor or flat key is pen¬ sive and melancholy. Sharp key tunes suit to sing hymns and psalms of praise and ]
thanksgiving, and flat key tunes those of prayer and supplication.
always between me and faw and law and law, find them where you may.
P. Are the semitones always between the same letters in every tune ?
T. No : although the natural situation of semitones are between B C and E F. yet their situations as well as the two keys are very often altered by flats and sharps set at the beginning of the tune. You therefore remember that natural place lor the me is on B. but if B be flat me is on IS, &c. and if F be sharp uie is on r , Ac. C)t course if the me is removed, the semitones are as the semitones are always, between me and faw, and law and faw.
. . Well my good teacher, I am very much obliged to yon for this explanation, for I have studied a great deal about them but it is now plain to me.
T. Well my studious pupil, as you understand these rules pretty well you may
now proceed to singing
THE GAMUT, OR RUDIMENTS OF MUSIC.
xiii
OF SOUNDING THE EIGHT NOTES.
P. Please tell me how to sound the eight notes, and where I must commence?
T. Commence first on faw the major or sharp key note on the tenor and treble •tave ; then ascend softly from one sound to another till you sing the eighth note on
the fifth line which is an octave; then descend falling softly from one sound to the other till you end at the close. Then commence on law the minor or flat key note, ascend and descend in the same manner till you come to the close. By this you learn the difference between the major and minor moods or keys.
After having sounded the eight notes several 'times, you may go on to sing the other lessons for tuning the voice, and then some plain tunes.
LESSONS FOR TUNING THE VOICE.
Eight Notes. MAJOR KEY. Common Time. Eight Notes. MINOR KEY.
XIV
+
+ '
THE GAMUT. OR RUDIMENTS OF MUSIC.
+ + + + + +
+ ' + '
+
—
:c>_:
c-s:
|
h-r-K |
— !©-(♦- |
1*- |
or — ■ ■ '! |
|
1 1 |
1 1 r |
( i i
+ 1 + 1 _ + _ [ _ + ' +_ + ' _ _+ _ i _ + _ t_ •
+
+
|
1 1 |
l J |
|
|
r_ i |
||
|
i 1 i |
. i_ 3- <& |
|
|
1 ' 1 |
+ +
+
+
+
< «*
» * j
+ +
^-y-
— — p-~
+ + + +
+
♦ — , — N-
+
+
+
mmmm
£f
~u=-r
* ^ 0
+ ! + !
+ T +
+ ! + + + + + +
I
THE GAMUT. OR RUDIMENTS OF MUSIC.
xv
PART SECOND.
INTRODUCTION TO THE GENERAL SCALE. AND RULES FOR PITCHING OR KEYING MUSIC.
posed, will cither be on the 2d and 4th degrees as above stated, yet with the same propriety we may suppose them on the 9th, 11th, &.C. degrees; for when we refer to a pitchpipefor the sound of either of the foregoing keys, if it be properly construct¬ ed, it will exactly correspond the 9th, 11th, &c. sounds of the general scale. Then by descending the octave we get the sound of the natural key ; then by ascending a *3d, 4th or 5th, ns the tune may require, we rendily discover whether the piece bo properly keyed. If we find after descending the octave we ran to the highest note in the tenor or treble, we can pronounce them with ease and freedom, the piece may bo The following is a representation of the general scale.-shovving the connection of said to be properly keyed; but if on the contrary, after descending we find it difii-
- - -:*u— cult to uscend as above, the piece is improperly keyed and should be set lower.
. . . __ _ ^ ^ / Noth. — This method of proving the keys is infallible to individuals, and will hold
Thus it will appear that every octave being unison are considered one and the same. good in choirs when we suppose the teacher or leader capable of judging for the sound. Although the last in the bass is the key note, and in case the me is not trans-| commonality of voices
the parts, and also what sound of the general scale each letter line or space in either of the octaves xepresents: for instance, A, the minor key, occupies the 2d, 9th and 16th sounds of the general scale: C, the natural major key, the 4th, 11th and 18th
21
20
19
18
17
1G
15
14
13
12
11
10
9
8
7
6
6
4
3
2
1
Alt.
space above B*
— - fifth lino - A —
fourth space G -fourth line - F -
third space -third line - D-
A £
G space above -F - fifth line - Z,
G space above
■F - fifth line -
fourth space
third line-
- D — fourth line-
C third space
C
- third line-
second
F.* fourth space
-D - fourth line -
third space
- first line of Treble Stave-
pace ■second line-
first space — first line of Tenor Stave-
— B* - second line-
first space
-first line of the Ba6s Slave-
second space Natural key of the Major mode
Natural key of the Minor viode
sol
faw
law — sol faw — tne law' — sol faw — law sol faw me law' so! faw law col faw me law sol
XVI
THE GAMUT, OR RUDIMENTS OF MUSIC.
The foreg™,s ecele Com;, rise, three octave, or .wemytwo sounds. ble, the interval will appear a, jus, stated ; aud to find any other interval, conn, either
The F clef S3 used on