Partition complète, New England Harmony. Containing, a variety of Psalm Tunes, en Three et Four parties, adapted to all Metres: aussi, a number of Set pièces, of several verses chaque, together avec a number of hymnes.
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Partition complète, New England Harmony. Containing, a variety of Psalm Tunes, en Three et Four parties, adapted to all Metres: aussi, a number of Set pièces, of several verses chaque, together avec a number of hymnes.

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110 Pages
English

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Visionnez les partitions de la musique New England Harmony. Containing, a variety of Psalm Tunes, en Three et Four parties, adapted to all Metres: aussi, a number of Set pièces, of several verses chaque, together avec a number of hymnes. partition complète, psaumes, fruit du travail de Swan, Timothy. Cette partition classique écrite pour les instruments suivants: 3 voix, 4 voix
Cette partition aborde plusieurs mouvements et est classifiée dans les genres pour 3 voix, psaumes, partitions pour voix, religieux travaux, pour 4 voix, hymnes, pour voix non accompagnées, langue anglaise, hymnes, sacré hymnes
Visualisez dans le même temps une grande sélection de musique pour 3 voix, 4 voix sur YouScribe, dans la catégorie Partitions de musique classique.
Edition: Northampton, MA: Andrew Wright, 1801.

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FROM THE LIBRARY OF
REV. LOUIS FITZGERALD BENSON. D. D. \.
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
Section S^^^Y:
.,flf
NEWENGLANDHARP
CONTAINING,
A VARIETY OF PSALMTUNES, in three and FOUR PARTS, Adapted to all
METRES : Also, a number of SETPIECES, of SEVERAL VERSES each,
Together with a numjber of ANTHEMS>
vV
By TIMOTHY SWAN.
Publijhed According to A£} Congrefs.of
PRINTED AT NORTHAMPTON, Massachusetts,
By ANDREW WRIGHT
iS^
And Sold his Office :—Sold alio at Svjidd,at in Connefticut, by the Author.
l«01.
l^^^^^^^^^^^^^'^s^^%^s^^^s^^—
The RUDIMENTS o^FOCJL MUSIC.
First Scale, with FLATSThe GAMUT, or and SHARPS.
La.
D- -S9I.
¥i,
THIS character ^Vr is called theG ClifF, ft»nding en the fecond line of the Treble,always Counter, r -Mi,
Tenorand {laves.^7, y^ La,
G -Sol,# Fa.
G Sol,
—Fa.
SjGThii Charafter i» called the F ClifF, fourth line, and ufed only in Bsfs.ftanding on the -Sol.
Fa.
-Mi.
La.
-Sol.
Eight Notes in Common Time. Eight Notes in Triple Time.m
tie MI, by FLATS and SPL\RPS.RULES tofind
. If F hijiiarp. ---------- - - - F- - - MI Mi is in3, is called thsmtural place far
- - and C, is CE If F Mi in15ut ifB he. Mi is in - - -fiat,
- F, C and is ------------ - G- A G, Mi inif B and E, Mi is in - - -
D- - D F, C, G and D, Mi it inB, E and A, Mi is in - -
A- - - G F, C, G, D and A, Mi is inB, E, A and D, Mi is in
- - CB, E, A, D and G, Mi is io
thry arecharaflcrs Vocal Mufic, either accidental, or in tranfpofing the Mi. Butare confidered as ufclcfs inFLATS and SHARPS
wiili tofirft bar of each piece of MuCc, to accommodate thofe who wouldinferted work, together with the Cliffs, in thein the following
make ufe of them.
requirethe rules of Counterpoint, when modulations are fo forraed as toAlthough accidentalT^afj mdjliarps may be agreeable tofetting
andrender the melody harmony equally exprefiive'them, might be avoided, and others formed, thai would andyet thole modulations
pleafing.
Mi. The lines and fpaces are flatted and fharp'd accord-Flats andjharps, at the beginning of Tunes, have no efFeft in regulating thefet
between E and F will a whole tone, and betweening to the Mi, Mi it in it will raife it half a tone, thediflancc then befituation of the if F,
tjoarp on F. When iU/is in B, thedillanceF and is mzdc jharp by placing Mi on it, and not by fettingG but half a tone ; thus F
TWis deprelTrtn of caufed other half tene,A and !>li in E, the diftance is but half a tone. B, is by theB, is a whole tone, but when is
will Mi and C will bewhich follows order, not by placing ajiat on B. Thus if Mi i» in F, F hcfnarp, if is in C, Fthe Mi in regular and
,fiarp Mi is in A, B and E will be <fec.
X and if Mi is in E, B will be/j£, if fiat,
QUAVERS. SEMIQUAVERS. DEMISEMIOUAVERS.SEMIBREVE. MINIMS. CROTCHETS.
Crotchets, or eight Q^iavcrt,intavers, or lixtfixteen Semiquavers, JDetnijemi-A iemttireveSemibrtve is eqial in length of time, to two Minims, or four or thirty-two
quavers, marks of the fame length of time as the Note* for which ihey ftand,Refis aie of filenceEXPLANATION o///^SECOND SCALE.
THE five lines with their fpaces on which Mulic is written, are called a ftavc. Thefe lines and fpaces re reprefented the fevtrjby firil
letters of the Alphabet, The letters on the Tenor, Counter, and Treble ftave,
' E
.. D
C
and thus, B-
A
c
F
and the letteis i>n thus,the Bafs ftave
v. iSe uppri-Which foowsthat G, fpacc of tite Ua^s ftave, ii the fjme pitch with G on the feeondline in.the Tet3or. Counter ii.u Ire'oii.
1',The letters B, MA, C aaa arc placed at the beginnin.^cf Tunes, ufedt) diftinguifh the pans, and pr.irit GUI the Mi. The leltar B, is
for the Bafs, MA, for the Tenor, G, for the Counicr, and forT, the Treblr, and always ftand on the Mi line or fpace. Thele charafters
occupy the fecond bar of each piece of Mufic. When the is partletter A moved from the Tenor flave to anotlier part, it denotes that the
to which it is moved, has the Airof the Tune. The Tenor is confidercd as the leading part, and Ihould always fing where the letter .M
ftands, whetherA it annexed to it not.or
EIGHT NOTES.
iiEiii
ter. TrfC>/(.
zzz^zjiqr^irz~i|rpi®i§ipr:-
V
are oniy feven diftinfl'nat'Ural founds or tones, (Tvery eighth being the fame) five of which are whole tones, the othes tw«TflEKE
ofare between »« aad/a, and ia atid arc half Miis the governing tone in Vocal Mufic, and is placed in different partsw-hich fa,
for fake of variety , the oiher half tone follows in regular order, always keeping the famediflance. In railing the notes fromthe ftave, (he
twice fa, Sol. La. and in f,.]ling, twice La, ^el, Fa. then comes Mi either way.Mi you found
The following SCALE fliows where the two half tones are in every remove of the Mi.
CHARACTERS and EXPLANATIONS.
—/^'~^ j— P———Slur, Shows that all the Notes over which it is drawn, arc lobe fung with one fyllable, -j>pH— p—y—
right hand Ic.ng P—at the of a Note or Reft, makes il half a3 again. A Seaiibrevc pointed, as P-P—J-P—i^—-j^—-^-fi—-i—P ~
' * --—loiij^ as ihiee Minitns, &c. -^rr©v"~T~F~F'~~r'~~~""
""^— P—-°^'^'' ""^ ^r^der any three fluws tJicy at? to be fcundcd as quick as two fuch, —»» *"— —^^ "^Noics, that p*^—
Fitur' 'i
" '* ^ '.without the figure g. [["[ | r*"^rTT" I~'I
VI
Brace Showshow many parts are fung together.
divides the time into equal parts, each divifion contsiaingSiniU Bar, I time equally alike, —"^^I^T^IIIIIII^IIirZZZZIZIZ:and" i i
' accoraing / — — —to the Mood. --g- IJ
Ledger -9-line, is added to accommodate Notes that extend above or below the ftave.
Repeat :S: Shows that the ftrain is to be fung over again, from the Note over which it is r=:5E|rpiZ:pr|zr~Z=ZIZi:Efet.
^^'^ ^'^'^^ ** '^""'^ °"= °^'*'' n=pZi:QZZ^~p:~p:~ZrZZ:;'''« '" '^^e fame ftave.^ '^''^«''i When fuch Notes ocChooftn^ Notes
' """•' '— ''^ cur, the performer takes his choice.
:z—dzit
Cbje Denotes the tune is ended.^^J
Sour.ds, confifling oF feveral parts of a Bar, that begin with an unaccented part, are Syncopated Notes. Two n&tes that are tiedcalled
v.'ith a Slur acrofs ihc Bar, and are on ihe tame line or fpace, are founded as note, Continued, or Protracted Notes. Whenon« and are called
\rxQ\e. Notes commence with an unaccented theypart ate Syncopated.
SYNCOPATED NOTES. NOTES.PROTRACTED
;3iii^EEElEiiiii|iiii;vuTIME.MOODS InCOMMON
Mood,Second Mood, Third Mood, Fourth ^^
Refts,contain one Semibreve, or other Notes orCommon Time, is meafured by even numbers or beats in a Bar. The thre; hrft Moods
and theThe Second Mood in three feconds,equal it, in each bar. The Firft Mood is p^rfo-med in the time of four feconds in a bar :to
equalthat, or other Netes or Reftsthird Mood in twolecondi. The fourth Mood has a Minim for a meafure noie, each bar con-tainiiig
it, is perforraed in the lime of about one iecond aad a half.to and
TRIPLE TIME MOODS.
3:Firjl Mood, Mood, Tliird Mood,Second ^
note, containingodd pointed Semibreve for a MejfureTriple Time, is meafured by numbers or beats in a bar. The Firft .Mood has a
Second Mood, has ait, lime of three feconds. 'i hethat or other Notes or Reds ecjual to in each bar, -nd is commonly performed in the
for a meafu^rea pointed Crotchetpointed Minim for a meafurcnoie, and is beat a third quicker than the Firft Mood. The ThiidMood has
note, and ii beat a third ouicker than the Second Mo<Nd.
GOMFOUND MOODS.
Firjl Mtod. Second Mood,^
each bar con-Rtfts equal to ihcm,Firft Mood Compound Time, has two pointc-d Mnims, or fix Crotchets in a bar, or other Notes or
Notes orimoant in oihertaining two feconds of time. The fix Quavers in a bar, or theSecond Mood h<is two pointed Crotchets, or
R.pft5, and is bc« a third qaicker.--— »-— mif
Vlil
TIME.BEATING
Time in beating are divided into four equalBARS in the firft and fccond Moods ofCommon parts and
of the fingers fall fomebeat in this manner. In the firft of the bar, let the ends on fixed place, then the
then open the hand, raifing it a little at theheel of the hand, thirdly, dole the fingers gently, fame time.
Common Time, the twoMoodsThis completes the Bar. The third and fourth Moods in and ofCompound
the other up. Triple Time is beat by letting theTime, have two beats in each bar, one down, and ends of
part ofthe bar, then the heel of the hand, thirdly raifcthe fingers fall as in common time at the firlt the
beginning of every bar, in all Moods of time,hand, which finifhes the bar. The hand falls at the and
Ihould never rife but once in a Bar.
Time, that it is extremely difficult to fay what fhall beBut, fuch is the diyerfity of opinion, concerning
move in the different Moods of Time. This, thcic-the flandard ; that is, how quick or flow we fhould
performer who will be dilated by the fubjefl, and move infore muft be left to the judicious Teacher or
of hisjudgment.the different Moods of time according to the beft
fliould beERRATA P. 2d Counter (lave, 20 bar, for crotchets on G & A, fingB & A.—P. Tenor,3d bar, a crotchet on D, on31, 39,
Miniia E,C— 2d Tenor ftave, 6th note Troin the clofe, (hould be on A.—P. 2d Treble ftave, 7th note from dole, foi a on infertP. 41, 46,
fhouldCiotchct on E. Counter ftave, on A, fhould be on G. id Treble ftave, 4th note from ihe end. bea —P. 6o, ift 1 jth bar, a Minim
— ftave, 3d note, Tenor ftave, fiiould be A. isdEafs ftave, nth bar, for a Quavwon D. P. 64, \h Treble fhould be on A. xft 7th note on
on E, infett one on C.— ad Teaor ftave, .4th note, ftiould be on A.P, 79,