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Partition complète, pour moderne Collection of sacré Music: containing pour Rudiments of pour Art, et a choice collection of hymnes, et Psalm et Hymn Tunes, of every Metre; carefully selected from ancient et moderne authors. Adapted to pour Use of Schools et Worshipping Societies. By an American.

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Pratiquez les partitions de morceau pour moderne Collection of sacré Music: containing pour Rudiments of pour Art, et a choice collection of hymnes, et Psalm et Hymn Tunes, of every Metre; carefully selected from ancient et moderne authors. Adapted to pour Use of Schools et Worshipping Societies. By an American. partition complète, psaumes, de Various. Cette partition de musique classique dédiée aux instruments suivants:
  • 3 voix
  • 4 voix

La partition est constituée de plusieurs mouvements et est classifiée dans les genres pour 3 voix, partitions pour voix, langue anglaise, pour voix non accompagnées, Compilations, psaumes, pour 4 voix, hymnes, hymnes, religieux travaux, sacré hymnes
Visionnez encore tout un choix de musique pour 4 voix, 3 voix sur YouScribe, dans la catégorie Partitions de musique classique.
Rédacteur: 'An American'
Edition: Boston: Isaiah Thomas & Ebenezer T. Andrews, Nov. 1800.

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FROM THE LIBRARY OF
D.REV. LOUIS FITZGERALD BENSON. D.
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
Btctfaa (1(0*1& THE/
MODERN COLLEC
F
acted jWttftc:
CONTAINING
The RUDIMENTS of the a ChoiceART, and Collection of
and and every Metre^tttljCmS, of$falttt ^pmtt XttltCS, ;
CAREFULLY SELECTED FROM ANCIENT AND MODERN AUTHORS.
theAdapted to Use of SCHOOLS and WORSHIPPING SOCIETIESgj
By ^American'
publifljeD according to aat of CongreOs.
Printed, rrpoGRjpmcALir, at BOSTON, ^|&
By ISAIAH THOMAS and EBENEZER T. ANDREWS: M'V
1
Sold by them at Fauft's Statue,"•*'-, No. Newbury-Street•»#«!»"" 45, *.*. ^ -m» ._».* ; byi*j i«iufaid Thomas,» nu,nA», in111 ¥* vr'.t/iir ,- hyny Tuomas,iui'^i.^>, /\iiURtn»Andrews rPi.nniman,1- ^ Mtar.tji , Worccfieri &w n ; by Thomas,s ^1<A
Andrews Butler.BuTler,t^l!f Baltimore:,Baltimore ;. and bvby the BookselleusHook-., T.E.*ns in Town nndand PmintrvCountry. vnv.vov. iRrii-i.1800 H-.\A/PREFACE.
HE of thisJL Publifhers Collection of Sacred Music have only to promife,
that, fhould the Modern Collection meet the reception they wifh, the future editions fhall be as
good, anylarge, as correct, as cheap, and as as mufic book extant. To enable them to fulfil fa great a;
promife, they refpe&fully folieit the patronage of all Ma/lers Compofers of mufic.and
Original.Pieces, accompanied with the Authors' names, and any hints on improvement, will be grate-
fully received by the Public's obliged Servants,
THE PUBLISHERS,—
RUDIMENTS of MUSI C.
LESSON
Tenor and Treble ftave.Bafs Have. Counter (lave.
AFTER the fcho'ar has become familiar with his letters, as they are Above me, the notes afcending are, faw, fol, law, faw, fol, law be-;
recursaffixed to the feveral lines and (paces on the ftave, he may proceed to low, defcending, are law, fol, faw, law, ibl, faw, and then me
<<?//the notes names ofthe letters which they reprefent, beginning way.by the either
.and ending at G, repeating them up and down, alternately, untilhe can Obferve, that the always found between me and faw,femi-tones are
recite Inthem readily without the book. the next place it will be necef- and law and faw.
fary to jh:v them by the names of the letters, cbferving at the fame
III.LESSON
time that between B and C and between E and F, is but one degree or
4
Quiver. Semiqu.iver. Demiftmiquaver.half a tone. —N. B. This it ofpreat iwportatree to ihe beginner, andjliould be Notes .&teflon
underjlood as 'foundation ail mujicai'knowledgeandimprovements. —tfe ttf Refts f>—^-:^rrt-rm
LESSON II. THE notes and refts thus arranged, explain, at one view, the pro-
portion they bear to each other the ift being twice as long as thefhnrps, is ;WHERE there are no flats nor me in B.
long long as the 4th, &c.2d, die 2d twice as as the 3d, the 3d twice as"But ifB be F be fharp, is inflat, mt is in E If me
The refts are called notes of Illence whenever they occur in a tune, theIf B ;and E be flat, me is in A If FandC be (harp, nie is in
performer is to reft as long as he would befoundingthenote it reprefents.ifB.Eand iharp,A be flat,me is in D If F, C and G he me is in G
3£B,E,Aand 1) be fi.it.nw is in C IfF,<3,G and D be me is inD B. ancient nils bar in allmoodi.ifcarp, N. Aca rffingH tradition,thejsmibr-eve reft aIV
nected together with a flur, in which cafe bothLESSON IV.
fhould fung laft time.be the
'.. ™IS five lines and their fpaees, calculated to con-A hold Gives the performerfiberty to continue the found'
Aftave tain founds refers, itsthe twelve different or degrees in of the note, to which it beyond com-
~—f — mufic. mon length The influence of this char-cj"
Aledgerlinc or plealing.Is added when notes afcend defcend beyond the after, if righdy managed, is very
limits of ftave. Whenever ft occurs, the fchool or choir fhouldthe
difcontinue beating time, dwelling fweetly on~ Imply that as many as are tied together ihould
r
Tied notes - time in its,the found, until the mailer refumes the
'. fyliable.be fung to one
proper order.
The cliff is the firft character affixed to a tune. theA mark of Direfts the performer to fmg and pronounceTenor and-J
is confidercd as key to open die fcale ofIt the note to which it points, emphatically.diftinftiontreble cliff.
V:
characters, and fully determines their import. If Figure Diminifhes the three notes, to which it is affiled,,
from its u'fual place (which inthe cliff be moved the two.to time of
Counter ||
fome it is) it tranfpofes the whole (lave,inftances
cliff. J Adds to a note at the right hand of which it (lands,by carrying the letter it naturally ftands on withA point
half its original length.one ofIn tenor and treble cliffHand onit. general the
Bais cliff. £
counter on and the bafs on F.G ; the C whichi Directs the performer to fing all the notes
A flur
it fyllable.includes to oneAflat ferves to lower the found oneb Set before a note de-
or femi-tone. rirft not*gree, At the end of a ftave, lhews where theA direct
raife foundA iharp Set before a note ferves to the one degree ihuidsin ftave.the fucceeding%
Nf. B. beginning a tunc, have the above in-Bot&jfdh andjh.irps fit at the of
partt.Divides the time into equalA barthrough the tunc, unlep co/itradicledby the intervention a natural.fluence of
A natural Reftores a note, made flat or fliarp, to its primitive§
{°mdt
' Shews the end of a ftrain.Adoublebar1-|
""^"" Directs the performer to finq the fame word ora » * >. c
-A repeat :S:
:: .ftrain twiccp— Is affixed to the end of a tune.A clofe
i die end of a drain, direct the performer back tojFlfettfi a At
with the An.-fmall notes which (bare the limefigure Area repeat, leaving the note under 2 unfung
according to the:ceeding or principal note,the time, and the note under figure I un- Apoggitura:Srft
principal.
• length and fttuation of theiltt) the Lift time: unlcfs hodi figures arc con-j.
L E 8 <i N V.S
quavers in bar and accented likeContains three a —beatgF
j
Third,TIMECOMMON MOODS. j- the fecond—nearly one third quicker.
THIS mood is the ftowcft now in ufe. Crotchets are
COMPOUND TIME MOODS.£~Fii It, performed, in the time of one fecond to aaeh. One fem-
— ihreve, or its quantity in other notes or reds, fills bar,'a y THIS mood contains 6 crotchets in a bar, of two equal
which requires four beats, two down, and two up. Theifjfft requiresbeats, three down, and three up. Each motion2
accents fall on firft and thirdthe parts of the bar. -£ Tt is accented principally on firftone fecond of time. the
~r~ This mood requires a little quicker movement. The and fourth parts of the bar.
Second, fame quantity of notes and refts fills a bar. It is beat and£f|
quavers in likeContains lis a bar—beat and accented-E accented like the firft, exceptingwhen the tune is principal- Second,
Q- the laft—about one quarter part quicker.
ly compofed of minims and crotchets, in which cafe the
method of performing it with two beats in a bar is to be theC/*In beating time, the hand lhould fall in the firft, and rife in
preferred.
laft part of.the bar, in all moods.~ This mood requires
; p. quicker movement than the laft,
:Third having but two beats in a bar; one down,~2. beat and one LESSON VI.
up. The fame number of notes, or refts, are required to
each bar. The accents fail on the mufic is the principal note or tone to which the wholefirft and third parts of A KEY in
onthe bar, hut principally en the firft. piece is accommodated, which the bai's always ends, and from which
This mood requires ftill fhould taker.. two keys in mu-a quicker movement, having the pitch of the tune be There are but
i.utfourth one minim, or its quantity of other notes, in bar,'iic, viz. the major and the minor. The major key is "adapted to ex-a
± which are beat and accented like the laft, only one third'prefs the cheerful pailions, and the minor is expreflive of the fclemn
quicker. [and pathetic."
^° determine the key of a tune, find the laft note of the bafs, and ifTRIPLE TIME MOODS
feini-ioues it if it is mimr. Se«(the ^d above contain i:> major, but4 3,
THIS is the fioweft movement in triple time. Three
tjle following examples.-1
Jirft fill bar, which requiresminims a three motions ofthe hand,
*Ex. 2. Ex. Ex.Ex. 1 j. 4.two down, and one up. Minims, in this mood, fhould be
MinorMajor Key. Minor Kc Key. Major Kcv.
performed the timein fame ab crotchets in the firft mood of
common time. The accents fallon the firft part ofthe bar
;^llgiliiliiilliiillthree crotchets inContains a bar—beat and accented
r.
'..•'.tcond. l,iv. itil raw. mc faw. ilaw Id law, few I
like the firlt—about one third part quicker.± 2 2 2 i 2 I 2 'iVI
The cyphers the notes dillance of the have more than one half the voices on the bafs. Where this is notuniler {hew the eachTrom
i.preceding, e. C to I), and from to E, in the rirft ex. are two practicable, a bafs viol would be of great fervice, if it be judiciouflyfrom D
lemi-lones played.each, which conftitute the major 3d. But E being flatted
in the 2d ex. the 3d is reduced one degree, makes the minor 3d. Of PRONUNCIATION.which
In the 3d ex. from B to C is but one femi-tone, ofconfequence the 3d is GOOD pronunciation is one of the firft and principal beauties of
: 1 1-
: 1 1 1 1 but in the is which
' ; 4th ex. C (harped, adds one degree to its
Tinging. The mouth fhould opened freely, not wide eitherbe but ;
nd diftance from the key note, and is conftituted the major 3d.
extreme would deftroy a good tone, and prevent jult. exprellion. Ma-
.' !ms oetavethe is fuhjeeted to a continual change, at the pleafure of
ny fingers erroneouswho read and fpeak tolerably well, are extremely
the compofer, the ftate of which fhould be comprehended by the pupil,
in their manner of pronouncing ibme particular words, when they are
nordcr to perform with fatisfaction to himfelf and pleafure to them
.
fet tomnflc for inftancCr the ivords mr/^, hearitn, token, &c. which
who hear,
have to-k.'r, which isbut one accent, are often fung rea-zov, bear-ken,
Observe, that whatever letter the is tranfpofed to,me the fame rule
very difagrceable and improper. Words which end in pie, ble, &c.
is to be obferved in determining the key, aa in the foregoing exam-
thus,are often falfely accented on the laft fyllable, renders them
amples and long-; as as the prcfent mode of fol-faw-ing exiils, the ma-
pel, Words ending in v, with a few exceptions, lhould bebe/, &c-
jor key may be known by the name offaw next me,above and the mi-
pronounced as ending in c, or ihort i. The /fhould be (ilent in -wall,
;//.•.nor by law next below
which given is thistalk, calm, &c. In fine, the bell direction can be ;
N. B. The note in each /vr ;.•?.'.-. let every word be fung dilHn^lv, fmoothly, and gracefully, every wayfitjl example is the
conformably to the belt rales of Ipcaki.i .
Of A C C E N T.
in-THOROUGH knowledge of the preceding leflbns is indifpen- ACCENT is another very import.m' part of mufic, which is
fabl" neceli'.iry will fufficienlly It is an agree-; the 'attainment of them qualify feparably connected with good prbrfnhciatioh : properlyA
the pupil for practice. the next place he may proceed to fome voice it often errcneonily applied toIn plainable fwell or force of the ; but is
tune, on the rhajoT key. Teachers of mufic lhould take great care'the notes, more like mark'; of diftincti 1 tiia.11 othenvife. If the po-
inthe out, their fcholars the accents will fallfirft letting that contract no difagrceable hab-'etry be good, and the mufic well ad ipted to it,
its becaufe much cftheir future proficiency and manner of perform- on thole parts of the bars, the different mood-, of time, which are; in
ance, on rruiiic docs not eoinc'dedepends flic firft imprefiions. Performing by the words pointed out in the fifth lefton bur. v.hcre the
;
fhould not be introduced until the fchool has emphafis words, it lhould give way, or bendattained to a jnft notion with the proper of tils
of time and found, and can. read any tune by note and letter, without to the words. Nothing is more common than ralfe accenting,»th«
embarraliment. principal occafion of which is harfh or loud Gnging. Many
note inNo performer fhould a folo, or any other drain which belongs two accents on one note, move particularly on .1 pointedGng make
or repeat, which theyto a different part, without particular defire. A fchool or choir fhouldjbinary time, which immediate!;, precedes a fugc