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A COLLECTION OF SACRED MUSIC;
DESIGNED FOR THE USE OF CONGREGATIONS GENERALLY,
CONSISTING OF NEW TUNES, ANTHEMS, AND CHANTS
FOR PUBLIC AND PRIVATE WORSHIP.
TO WHICH IS ADDED AN ELEMENTARY DEPARTMENT INCLUDING A VARIETY of light glEES, CHORUSES, &c., &c.,
F. J. HUNTINGTON, BROOME ST.
J. B. LIPPINCOTT & CO.-PERKINPINE & HIGGINS.
2127 PREFA C E..P4 7 52
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 CHURCHI 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.
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 copyright 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
Stereotyper and Electrotyper, 538 Broadway, New York,
BEING A BRIEF EXPLANATION OF THE CHARACTERS OR SIGNS USED IN WRITTEN MUSIC.
§ VIII. Measures and Parts of Measures may be indicated to the ear by count ing, and to the eye by motions of the hand, called BEATS. Thus we are said to count or to beat the time.
IX. There are four kinds of measure in common use:
1. A measure having two parts, accented on the first, is called DOUBLE MEASURE. It may be indicated by counting one, two; or by a downward beat, and an upward beat. Taking quarter notes as a standard (which are most convenient to begin with), it may be thus represented : ›
2. A measure having three parts, accented on the first, is called TRIPLE MEASURE. It may be indicated by counting one, two, three; or by a downward beat, an inward beat (to the left), and an upward beat. It may be thus represented:
3. A measure having four parts, accented principally on the first, and lightly on the third part, is called A QUADRUPLE MEASURE. It may be indicated by counting one, two, three, four; or by a downward beat, an inward beat, an outward beat (to the right), and an upward beat. It may be thus represented ··
4. A measure having six parts, accented principally on the first, and lightly on the fourth part, is called SEXTUPLE MEASURE. It may be indicated by counting one, two, three, four, five, six; or by two downwara beats (in the first the hand falling half way), an inward beat, an outward beat, and two upward beats. It may be thus represented:
X. Vertical lines (as in the foregoing examples) are used to mark the boundaries of measures in notation or to the eye; they are called BARS
◊ XI. The end of a section or period, or the final close of a piece of music, or
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 Lamed 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 2) 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 degreo of the staff. They are also canceled by a sign, called a Natural. (4)
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 inost common.
XXXVI. 1. The NATURAL MINOR SCALE; Consisting of the following series of tones:
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 SCALE (irregular), as follows:
A, B, C, D, E, FI, G‡, A.
In connection with this form in the ascending series, the Natural Minor Scale
is generally used in the descending series.
XXXVII. Thus far the pitch C has been taken as one, or as the basis of the scale; but this may be changed, and any other pitch may be taken as one. Such a change of pitch is called THE TRANSPOSITION OF THE SCALE.
◊ XXXVIII. When any pitch is taken as one, the scale is said to be in the KEY of that pitch; thus if Che one, the scale is said to be in the key of C; if G be one, the scale is said to be in the key of G, etc.
XXXIX. Each key is noted at the commencement of the staff, immediately after the clef, by an indication of its component tones. Such an indication of the key is called THE SIGNATURE.
XL. As the Model Key (C) embraces none of the intermediate tones (tones named sharp, or flat), so the absence of the characters by which they are indicated (sharps or flats) serves as its Signature.
XLI. The Signature of all other keys consists of such sharps or flats as indicate the intermediate tones [tones named sharp or flat] necessary to constitute the key represented.
XLII. Tabular view of the order of the succession of keys in transposition, with the signatures: