The Hallelujah

circumstances. It is important to take the right movement, (which, indeed, is not difficult, if one gires attention to the proper reading of the psalm or hymn,) for if it be too fast. anarchy and confusion of sounds, chaotic, will follow; while, on the other hand, a movement a little too slow will lead to a drawling, stupid, and sleepy performance, quite at variance with singing "merrily unto God," and making "a cheerful noise unto the God of Jacob." It can hardly be necessary to say that the movement of a tune is not affected by the variety of measure in which it is represented. Thus, for example, the tune Dundee, p. 175, is written in half notes, and the tune Martyrs, same page, is written in quarter notes, yet both are to be sung in the same. time, unless perhaps Martyrs may be a little the slower of the two, on account of the character of the poetry.

Choir tunes. On these we need not make much remark. Let the choirs try them. | dignity and solemnity, or nearly as fast as they would be appropriately read under simuar They will find tunes in all kinds of time, in many rhythmic forms, variously harmonized, point against point or in reports, in the usual keys, major and minor, for soli, tutti, or chorus. There are tunes appropriate to express all the various feelings from those of the deepest penitence, grief, or sorrow, to such as are jubilant or exultant in the highest degree. There are tunes animating and tunes quieting, tunes of excitement and tunes of repose, tunes of loftiness and tunes of meekness, of energy and of gentleness, of solemnity and of such merriness as becometh the dwelling-place of the Most High. There are tunes for hymns of worship (would that we might have occasion to sing them more frequently), and tunes for hymns of narration, description, instruction, or exhortation (which we have to sing frequently enough). There are singing tunes and speaking tunes, tunes cantabile and tunes recitando. There are tunes short and tunes long, tunes low and tunes high, tunes soft and tunes loud, tunes quick and tunes slow, tunes easy and tunes difficult, tunes good and tunes- -not so good. Indeed, it is believed that there is no emotion that may be classed with the religious for which there may not be found tunes affording a suitable form of musical expression. Again we say, let the choirs try them.

Congregational tunes. These, although much less numerous than tunes for choir performance, are, it is believed, abundantly sufficient. They are generally pointed out in the descriptive table of congregational tunes,* yet there are others not included, some not named, which, under certain circumstances, may be well adapted to congregational use. We had intended to express our views more fully on the subject of congregational singing in this place, but are prevented from doing so by want of room. The subject is dwelt upon at some length in the Preface to the National Psalmist, and though there are points which from their liability to be misunderstood, require further explanation, we must content ourselves for the present by referring our readers to what we have there written. It may be well, however, to repeat here what we have often said on the subject of the degree of time (quickness or slowness) in which the leading class of congregational tunes should be sung. The best rhythmic form for these tunes we suppose to be that of the original of many of the old tunes, which, though it was lost for many years, has been found again by the Rev. Mr. Havergal and others, and partly restored in England, and which is beginning to be understood in this country. It consists of tones of equal length, with the exception of the initial and terminal of each section or period of the music, or line or couplet of the poetry, and these should be about twice the length of the others. See Iosco, Watts, Evan, and many similar tunes. These tunes should be sung about twice as fast as it is generally customary to sing "The Old Hundredth Psalm Tune," or as fast as the words may be uttered consistently with ⚫ See page 95.

5. METERS.-The variety of meters, we doubt not, will be thought sufficient. We are not very friendly to a great variety of meters for ordinary church purposes, and most heartily approve of the course of those clergymen who chiefly confine themselves in their selections to a few of the most common. But we have endeavored here to provide, not only for all such peculiar or uncommon meters as we deem worthy to be sung in public worship, but also for others which we think are not entitled to that distinction. Indeed, we are convinced, that the whole class of peculiar meters might be given up without any serious loss to the cause of Psalmody. In the classification of the meters designated by figures (with the exception of the common Trochaic 7's, 8's and 7's, and 8's, 7's and 4's) we have made four classes, in conformity with the character of the poetic feet in which the hymns are written; Iambic, Trochaic, Anapestic, and Dactylic; yet these are often so much mixed as to render it doubtful to which class a hymn belongs. In some cases Iambic stanzas have been written for well-known Dactylic tunes, the writer having had regard to nothing more than the number of syllables; and nothing is more common than an intermixture of Iambic and Trochaic feet, in hymns which belong principally to the former class. Each class commences with the hymns in which the lines contain the smallest number of syllables, and proceeds onward in regular order. This arrangement, though imperfect, will aid the leader in finding a tune quickly for any particular hymn; or, when, as he ought never to be when the singing is by a choir, he is obliged to do so, without any previous notice. Among the unusual meters will be found a number of new hymns which may be interesting for private or social purposes, or for occasional public worship.

6. INTERLUDES.-It will be seen that these have been written for a great portion of the tunes. They have been prepared, not for the organist who is able to play his own

PREFACE.

Impromptu interludes, but rather for the purpose of furnishing other instruments with something better than the constant repetition of the last line; and also for the purpose of furnishing a pattern of what we suppose interludes ought to be; not long detached pieces of music, but a few chords immediately connected with the tune, and leading in regular time to its re-commencement for the succeeding stanza. The interludes in this work are often mere cadences, sometimes full, or perfect, closing on the Tonic chord; and sometimes half, or imperfect, closing on the Dominant chord. They usually commence on the last chord, and close on the first chord of the tune. It will be desirable in such cases, or where the interlude does not in itself come to a full close, that the last chord or two be played a little retardando, so that the voices may come in easily on the first chord of the tune. We would not advise that even short interludes should be invariably played between the stanzas of a hymn; on the contrary, we think it better, as a general rule, to proceed directly from stanza to stanza without delay. With respect to interludes, we agree entirely with the Rt. Rev. Bishop Wainwright, of New York, as expressed in his introductory note to "The History of the Old Hundredth Psalm Tune," which we cordially commend to organists and others. Those who play the tenor part in the interludes in this book must remember that they are represented by the G clef, as that clef is used for the tenor, and not as it is commonly used in instrumental music, or for treble voices.

7. CHANTS.-In this department will be found the usual canticles from the Prayer Book, and also portions of the Bible Psalms, marked for chanting, with suitable chants. This form of church music seems to belong legitimately to the Psalms, and it has been used almost exclusively in connection with them until within a few years. The editor of this work was the first (so far as he knows) to apply chanting to metrical hymns; yet he has done this only so far as to chant such hymns as hardly admit of a tune form of expression; or such as, because of their length, require a more speedy utterance than they can find in any common church tune. More recently (and unhappily, as we think), truly excellent hymns of lyric character, admitting, and indeed requiring tunes of a rhythmic form corresponding to the metrical character of the poetry, have been set to chants. But if metrical hymns are chanted, we think the above distinction should be kept in view, and such hymns only should be thus treated as cannot be well sung to ordinary tunes, such hymns as express but little emotion, or such as are so irregular in their structure that they cannot, in justice to their meaning, be subjected to a regular rhythmic delivery. We have confined the chant in this work to the Bible Psalms, except in the last two selections. These have become very popular, and both are truly beautiful when well declaimed in chant, yet both are far

5 inferior in loftiness and grandeur to almost any of the selections from the Psalms; and we cannot but think that the true idea or spirit of church musie is wanting in that per son whose soul is not expanded, enlarged and moved upwards by the chanting of these sublime compositions. We desire most earnestly to recommend to teachers, to leaders, and to all, the introduction of chanting the Psalms into choir practice. We do not say into church service, for that must depend upon the clergyman, and the desires of the people. But, until one knows in his own experience what the chanting of the Psalms is, he can hardly be said to know the truly grand and sublime in the musical declamation of poetry. We have not here given the common double chants, like those of Dupuis, Mornington, and others, for many books contain them, and besides, they really do not deserve the name of chants; they are pretty, tasteful tunes, beautiful, elegant it may be, but yet vastly below the dignity of such real chants as Tallis's, Farrant's, Purcell's, Turner's, and others of like lofty character.* We have given some of the very best English chants.

8. ANTHEMS This department is uncommonly full. We do not know any similar work containing so many available pieces of this kind. This portion of the work may also be divided into two classes, one of which is appropriate to the ordinary Sabbath-Day worship, and the other to the practicing hour of the choir, or the concert room. We have spared no exertions to supply both classes, but especially the former, and such choirs as need pieces appropriate for the opening or close of the service, will find a large supply. They are generally short and easy, and since the words are principally from the Psalms, they will bear frequent repetition. Such pieces must be sung many times, or until they are well known, and instantly recognized by the people, before they will be truly appreciated, or before they will really do the work for which they are intended. When they

are only occasionally sung, they are thrown away; again we say, they must be oft repeated to be understood, to be admired, and to be truly useful. The concert or choirpracticing anthems, although not suited to ordinary occasions of worship, may still be sung with propriety on many public religious and other occasions.

9. CAROLS.-On pages 349 and 352 will be found specimens of the old Christmas and Easter Carols. This species of poetical and musical composition is of Italian origin. It spread widely, and was for a long time very popular all over Europe. Afterwards

* See a most excellent collection of chants in the " Anglican Chant Book," published by Novello London, and New York.

+ See Table of Anthems, p. 96

carols were sung mostly by itinerant holiday minstrels. Many of the early carols possess great beauty and excellence. A collection of them has recently been published by Novello, edited by Rev. T. Helmore and Rev. J. M. Neale, with the design of reviving their use in England. We thought that the three we have inserted, which are among the most popular pieces contained in that work, would be pleasing and useful in singing-classes, and in social circles. The words to the Christmas and the Easter Carols are free translations from the old copies; those of the Spring Carol are by Rev. Mr. Neale.

10. THE SINGING SCHOOL-The elementary department, which custom makes a necessary part of a book of church music, has been prepared with more than ordinary care. The principal text consists of an abstract statement of facts, or of scientific truths, expressed axiomatically, being freely interspersed with explanatory or illustrative notes. Forty years' constant experience in teaching is enough to enable one to learn that he really knows but little; we dare not therefore assert that these definitions are always expressed in the most clear and intelligible language, or that they are always complete, or free from error. This, indeed, can hardly be expected in didactic elementary works on any subject; and much less on that of music, which seems to have received less attention with respect to classification, definition, and nomenclature, than almost any other elementary branch of knowledge. This part of the work is designed especially for the teacher; it will bring before the mind of the intelligent teacher the facts, or by it he will be reminded of those things which he is to teach. It is not supposed that the pupil will be required to commit to memory these definitions, or explanations, or any part of them; nor that it is possible to teach well by presenting truth in any abstract form. On the contrary, it is quite necessary that the pupil should be first taught the reality, or the thing itself, in a practical manner, and according to a natural concrete growth and relationship. It is only after one has thus learnt what a thing is, that he will fully comprehend a definition of that thing, be it ever so clear. Although "The Singing School" presents but a brief course of instructions, yet it is supposed that it may be too long for some of the very short terms for which such classes are held, and during which the teacher is expected to bring the whole subject before his pupils. For the special convenience of these short terms, we have prepared the "Musical Notation in a Nutshell." In the use of this, a "skillful teacher" will be able to furnish "apt pupils" with a good commencement, or a basis upon which they will be able gradually to build in safety as there may be further opportunity.

11. ELEMENTARY EXERCISES.-In these the pupils will find enough to do; this is prop erly their field of labor, or their play-ground; they cannot be kept too closely to the training implied in this part of the work. The teacher will, of course, select such exercises as will best accord with the capacity of his pupils, and the length of his term. Tunes adapted to the progress of the class, should be used in connection with these exercises from the very first lesson.

It is a great and difficult work to teach well, and we hope we may be pardoned for urging every one who proposes to assume the arduous employment, to avail himself of every possible means of improvement. Those who design to teach music should give attention, not merely to their own art or science, but to general improvement, and especially to such things as may lead to good taste, gentlemanly deportment, and to a generally pleasing and winning demeanor and address.

12. Part-Songs.—We have added at the close of the vocalizing exercises a number of Part-Songs, for singing-schools, domestic circles, social gatherings, and choirs. Some of these are very easy, and others more difficult; some are very cheerful, and others more grave. We recommend the use of all the different varieties; the cheerful, joyful, and exciting, and also the more serious, for song is designed for the exercise and strengthening of all the good affections; but especially do we recommend (since it is too apt to be neglected) the frequent use of that class of songs which are of a mild, soothing, and pacific character, like "Evening Song," No. 325; "Night Song," No. 326; "God is Love," No. 315. One of the most beautiful specimens of this kind will be found on page 59, "Charming Little Valley." Try it, ye sons and daughters of song; let it be oft repeated, until the true idea is brought out in your souls, until every unhallowed and turbulent passion is conquered, and peace and quietness reign within, until you know in your own hearts the meaning of those beautiful words of the Psalmist, "thy gentleness hath made me great."

And now, having finished a work which has cost us no little labor, as every intelligent person who examines it will readily acknowledge, we commend it to clergymen, choirs, schools, and people, in the full belief that if they will receive it and make proper use of it, they will derive strength from it; it will afford them pleasure, and do them good.

"Let the people praise thee, O God, Yea, let all the people praise thee."

THE SINGING SCHOOL:

OR THE

ELEMENTS OF MUSICAL NOTATION, ILLUSTRATED WITH NUMEROUS EXERCISES, ROUNDS, PART-SONGS, ETC.

Entered, according to Act of Congress, in the year 1854, by MASON BROTHERS, In the Clerk's Office of the Southern District of New York.

CHAPTER I.

INTRODUCTORY.

PROPERTIES OF TONES DEPARTMENTS IN THE ELEMENTS OF

MUSIC.

CHAPTER II.

RHYTHMICS

MEASURES-BARS-NOTES-RESTS.

NOTE 1.-In accordance with the example of some of the best German writers, the subject of Rhythm. ics is here presented first in order. A reason for this may be found in the fact that this department in its § 1. A TONE (musical sound) has three essential properties,-LENGTH, first steps, is easier for the pupil than either of the others. It is, however, a matter of little consequence whether instruction begins with Rhythmics or Melodics, since the two departments must soon be united, PITCH, and POWER. and proceed together.

NOTE 2.-The place where Dynamics may be introduced has not been indicated--but since the cultithis department, it is clear that it should not long be delayed.

§ 2. Hence, elementary musical instruction is naturally divided into three vation of taste, which should receive a careful attention from the beginning, is essentially dependent upon departments:

1. RHYTHMICS, treating of the length of tones.

2. MELODICS, treating of the pitch of tones.

3. DYNAMICS, treating of the power of tones.

NOTE 1.-Khythmics, from a Greek word, signifying "to flow,"-measured movement. Melodics, from a Greek word, signifying “a song, or poem,"-a tune. Dynamics, from a Greek word, signifying "to be able,"-power.

NOTE 2.-Rhythmics, in this technical use of the term, comprehends all that belongs to the length or duration of sounds; but the word rhythm, in its common acceptation, is more limited, and refers principally to the relations of phrases, sections, and periods. Rhythm, in music, is analogous to metre in poetry.

Melodics comprehends the whole subject of pitch; but the word melody refers principally to a pleasing succession of sounds, or to a tune-form.

Dynamics comprehends the force or power of sounds, and their ferm of delivery, utterance, or enun

ciation.

NOTE 3.-The subjects have been arranged, and the two departments of Rhythmics and Melodies have been connected in a convenient succession, though their exact order is not supposed to be important. Indeed, no good teacher will always follow the same routine or disposition of subjects, but will adapt himself to the circumstances of his class.

NOTE 4.-In the department of Rhythmics, the teacher will naturally commence his instruction by giving his pupils an idea of the principle of measurement, or of the division of time into equal portions. This may be done in different ways, but perhaps in none better than by something like the following graduated steps:

1. The teacher counts regularly before his class, thus:-one, two: one, two: one, two: one, two. 2. The pupils are required to count in like manner.

3. While the pupils count as before, the teacher sings la, thus
Pupils count, one, two: one, two: one, two: one, two.
Teacher sings,
la, la, la, la, la, la.

calm, and not that of a in law, all, or fall.
The a in la should receive the open Italian sound, as in far, father, lark, park, smart, part, balm, o

4. The teacher counts while the pupils sing.

THE SINGING SCHOOL.

83. Measures. The length of tones is measured by a division of time
into equal portions; these portions of time are called MEASURES, or PARTS
OF MEASURES.

NOTE 1.-The portions of time called measures, or parts of measures, are to music what the portions

of time called days, months, and years are to history, or what seconds, minutes, and hours are to the

daily occupations of life.

NOTE 2.-Measures may be of longer or shorter duration; they have no absolute length.

§ 4. Measures expressed; counting and beating time. Measures and parts

of measures may be manifested or expressed as follows: first, to the ear, by
counting; second, to the eye, by motions of the hand called BEATS, or BEAT-

ING TIME.

NOTE. The rhythmic principle may be manifested to another sense, the touch, but this is not needed

for musical purposes.

§ 5. Double Measure. A measure having two parts is called DOUBLE

MEASURE, or Two-PART MEAsure.

§ 6. Manner of beating time. In beating time, in double measure, a

downward beat is usually made for the first part of a measure, and an up-
ward beat is made for the second part of a measure.

NOTE.-When the pupils are learning to beat the time, it is well for them to count and beat simulta-
neously; or, while they make the proper motions of the hand, let them also describe those motions by
repeating the words downward beat, upward beat, or, (for a quicker movement,) down, up.