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A COLLECTION OF SACRED MUSIC;
DESIGNED FOR THE USE OF CONGREGATIONS GENERALLY,
FOR PUBLIC AND PRIVATE WORSHIP.
TO WHICH IS ADDED AN ELEMENTARY DEPARTMENT INCLUDING A VARIETY OF LIGHT GLEES, CHORUSES, &c., &o.,
AUTHOR OF THE
THE SOCIAL CIRCLE, CONCERTS, AND MUSICAL CONVENTIONS,
BY T. E. PERKINS,
66 NEW OLIVE BRANCH,"
F. J. HUNTINGTON, BROOME ST.
J. B. LIPPINCOTT & CO.-PERKINPINE & HIGGINS.
THE SACRED LUTE is intended for the use of "Christian Congregations generally," and the author has laboured with industrious care to meet the requirements of the multitudes thus designated.
In the matter of selections from American composers, he has not rested content with the fruits of sturdy begging, still less with the meagre concessions of courtesy. The works of Dr. Mason, Mr. Bradbury, and the late Mr. Woodbury have been ransacked for everything which could enrich its pages, or lend interest and variety; while a like care has been bestowed in selections from the standard authors of olden time; yet the magnitude of the work leaves space for an amount of original music, amply sufficient, it is believed to meet the hunger for what is new.
The work contains all the metres of the Methodist Hymn Book, and therefore the metres of all hymn books in use. To meet the wants as well as furnish tunes for the metres of the M. E. Church, the author has had the able assistance of Mr. SYLVESTER MAIN, so widely and favourably known as Mr. Woodbury's assistant in the compilation of the "New Lute of Zion," and subsequently as one of the compilers of the "Methodist Hymn and Tune Book," and whom the agents of the book room, Messrs. Carlton and Porter, in the preface to that work, justly commend as one of our most experienced and popular choristers, selected in view of his known interest in the objects of the work, his attainments in the science of music, and his acquaintance with our denominational tastes."-The Lute is divided as follows:
PART 1.-SINGING-SCHOOL DEPARTMENT.
Consisting of 74 pages, comprising The Notation Department, mostly contributed by Dr. Mason; Progressive Singing School Exercises, written by the author, after the popular plan adopted in the New Olive Branch; and a very large miscellaneous selection of Glees, &c., for the Social Circle and Concert-Room, which contains a variety of pieces suitable for Fourth of July celebrations, Literary Anniversaries, School Conventions, Temperance Meetings, &c., and a choice selection of Patriotic Songs.
PART 2. CONTAINS THE METRICAL CHURCH MUSIC.
Short, Common, Long, and Particular. These last are numbered and arranged in regular order, as in the Methodist Hymn Book, from 1st to 40th; so that all metres of the same kind will be found together. This part of the work comprises upward of 600 tunes, including all the metres in the Methodist Hymn Book and those of other denominations, in every key, and every variety of measure.
PART 3.-ANTHEMS AND SET PIECES.
This department is unusually large, containing 101 pages, comprising most of the old favourites, with a large number of new pieces, composed expressly for this work.
Stereotyper and Electrotyper, 538 Broadway, New York,
Among which will be found all those which are considered standard and useful.
PART 5.-PRAYER-MEETING DEPARTMENT.
This is a collection of the choicest melodies, old and new, for Social Prayer, the Love-feast, and Class Meeting; and for especial use in times of revival. The design is to furnish a variety of melodies which may be sung by all-easy of execution yet not light, words and music that will touch the heart as well as the ear. Many of the old melodies are written out and harmonized for the first time.
PART 6.-OLD FOLKS' DEPARTMENT.
This contains all the old familiar tunes sung by our fathers in days gone by; melodies which stir the heart, and with which many a pleasant association is interwoven, forming a chain of many links, uniting in sweetest harmony the past and the present.
To the Notation Department, mostly the contribution of Dr. Mason, who for such a service is without an equal, are added directions for voice training and culture, followed by cheerful, merry glees, and songs for Musical Conventions, and the Social Circle, in which it is thought teachers will find much to lighten their duties, and pupils equal relief from the tedium of the school-room, while they are in no wise inconsistent with the succeeding and sacred portions of the work designed exclusively for choirs and the sanctuary.
* These gentlemen and the Estate of Mr. Woodbury are in fact parties to, and interested in, the copy-right of the SACRED LUTE.
Entered according to act of Congress. A. D. 1864, by F. J. HUNTINGTON, in the Clerk's office of the District Court for the Southern District of New York
C. A. ALVORD
BEING A BRIEF EXPLANATION OF THE CHARACTERS OR SIGNS USED IN WRITTEN MUSIC.
I. There are three departments in the elements of music, each of which has its respective characters or signs.
1. RHYTHMICS, treating of the length of Tones
2. MELODICS, treating of the pitch of Tones.
3. DYNAMICS, treating of the power of Tones.
RHYTHMICS. OF NOTES.
II. The relative length and duration of tones is represented by characters called NOTES.
III. The following notes are in common use; their names indicate their representative length.
NOTE. The same characters are also used for a Melodic purpose. See § 23. IV. Characters, corresponding to the notes, are used to indicate silence, called RESTS.
V. A dot (.), immediately following a note or rest, adds one half to its representative length.
VI. A figure three (3) placed over or under any three equal notes, reduces the length represented by them to that of two of the same kind without the figure, Tones thus represented, and notes thus written are called TRIPLETS.
RHYTHMICS. OF MEASURES.
VII. The length of toncs is measured by a division of time into equal portions, called MEASURES and PARTS OF MEASURES.
XV. The scale consists of a regular succession of eight tones. These are
named from the names of numbers; ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN,
XX. Each line and each space of the staff is called A DEGREE; thus the staff
contains nine degrees, there being five lines and four spaces.
XXI. When more degrees than nine are needed, lines and spaces above and
below the staff are used, called LINES ABOVE, or SPACES ABOVE, or LINES BELOW,
NOTE. These added lines are often called Leger Lines.
XXII. Any degree of the staff may be taken to indicate the tone one;
when this is determined the others must follow in regular order.
XXIII. The melodic succession of tones is indicated by notes written upon
MELODICS. ABSOLUTE PITCH, SCALE PITCH, AND CLEFS.
XXIX. That pitch which is independent of scale relationship is ABSOLUTE
PITCH. It is designated by letters, and is named from their names, as A, B, C,
XXV. The primitive or MODEL scale (by which is meant the first in the
universally received order of classification) is based upon C, or C is taken as one;
XXVI. Letters are used to show the pitch of the scale, and its position as
written upon the staff, and when thus used they are called CLEF-LETTERS, or
XXVII. There are two clefs in common use, G or
XXVIII. The G clef is placed upon the second line; it is used for Treble
and Alto, and frequently for Tenor voices. The F clef is placed upon the fourth
line; it is used for Bass, and (when the two parts are written on the same staff)
XVI. The difference of pitch between any two tones is called an INTERVAL.
XVII. There are two kinds of intervals, larger and smaller, in the regularly
progressive scale, called STEPS and HALF-STEPS; thus the intervals between
three and four, and seven and eight, are half-steps; all the others are steps.
◊ XVIII. In elementary singing exercises the following syllables are used in
connection with the tones of the scale:
One, Two, Three, Four, Five, Six, Seven, Eight.
Syllables as Pronounced, Doe, Ray, Mee, Fah, Sol, Lah, See,
XIX. The relative pitch of tones is indicated to the eye by a character con-
sisting of five parallel, horizontal lines, together with their intermediate spaces,
MELODICS. CHROMATIC SCALE.
XXIX. There is another scale formed by intermediate tones between those tones of the Diatonic scale which are separated by the interval of a step. It consists of thirteen tones, and twelve intervals of a half-step each; this is called the CHROMATIC SCALE.
XXX. The intermediate tones are named from either of the tones of the Diatonic scale, between which they occur, with the addition of the word sharp, signifying higher, or the word flat, signifying lower, prefixed or surfixed. Thus the intermediate tone between one and two is named with respect to relative pitch SHARP ONE, or FLAT Two, and with respect to absolute pitch, C-SHARP, or D-FLAT.
XXXI. Characters are used as signs of intermediate tones, i. e., of the tones Launed sharp or flat, called SHARPS and FLATS.
XXXII. An intermediate tone is indicated by the same degree of the staff as is the Diatonic scale-tone from which it is named; but with the character ( or) affixed to that degree.
XXXIII. Sharps and Flats (signs) continue their significance troughout the measure in which they occur, and also from measure to measure, when the same tone is repeated, or unless canceled by an intermediate note upon some other degree of the staff. They are also canceled by a sign, called a NATURAL. (1)
MELODICS. MINOR SCALE.
XXXIV. There is another Diatonic scale, consisting also of eight tones, but arranged according to a different order of intervals from that which has already been explained, called THE MINOR SCALE.
XXXV. The Minor scale is used in various forms. The following are the
XXXVI. 1. The NATURAL MINOR SCALE; consisting of the following series
A, B, C, D, E, F, G, A.
2. The HARMONIC MINOR SCALE, (called also regular), as follows:
A, B, C, D, E, F, G‡, A.
3. The MELODIC MINOR
In connection with this form in the ascending scries, the Natural Minor Scale is genorally used in the descending series.
SCALE (irregular), as follows: A, B, C, D, E, F, G, A.
two flats, or By and E.
three flats, or By, Ez and Ab.
four flats, or B, Ez, Az and Dr.
NOTE.-It is not supposed necessary to extend this tabular view beyond the present