The singing master's assistant, or, Key to practical music : being an abridgement from the New-England psalm-singer; together with several other tunes, never before published

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. ~4o the GROUNDS of

7

Se ae

IV.

Ce AR,

Of Time in its various Moods, and how to beat them.

Set. 1. OF the Meafure and Proportion of ComMon-TIME and its various Moods.
+5 meafured by even Numbers, a5 25 4a g, €c, each Bay including {uch a Quantity of Notes as wilt
lled a Whele Time, or the |

: Onumon-Time y,
y amount to anc Seanibrewue, (which 1s the Meafare-Note, and guideth all the reft) it being ca

16
ure of Time, you moftt ufe a conflant Motion w

oN
Time- Nore.
But to give every Note its due Mea/
hich Motion is called Time and Me ofure.
ibreve, (which is the Mea/fure-Note in Common-Time) was fo long:
beat two with your hand doz, and

e and Meafure of the Seri
own by the feveral Marks or Moods

ith your Hand, or Foot ; once down, and

once vp in every Bar 3 W

leifurely tell 1, 2 > 354° therefore the Motion of your Hand, or Foot, is to

ery Bar 5 {0 that you are which fort of ‘Time is kn
called Quadruple Preportion, being meafured by Four.

| The Firk Mocd or Mark, is the Adagio Mood, which denotes a very flow Movement.

asdong down as up 5

The fecond Sort is the Largo Mood,.
being half as quick again, he third Mood, is the Agro Mocd, or Retorted Maod, being as quick again as the fecond ; fo
that you may tell 1,2: 3» 4 im every Bar, almoft as faft as the Motion of a Watch. Jt is fometimes marked with a large
and fometimes contains but two Crotchets in & Bar. See the Examples of the feveral Moods of Time Page
hich, and obferving other Lefions in Common Time you may be able to beat and perform any Leffon in

reat of 23
firlt ;

by the Help of w 1
this Sort of Time, fill dividing the Semibreve into as many lefler Notes as you pleafe, according to.jts Meafure-Nete.

; Syncopation,

ence EES

ee ee pec Rg LOD OT DO

e, and Triple Time. Common Time co
the two firft are to beat with the

ene ED Ta, aS
ntains the quan-

Hand or foot,

Ck DERI I
in Mufick, viz. Commey Tin:

* -There are two forts of Time,
or four Crotchets 4m 4 Dares

tity” of one Semibreve, or twomMinims, \ t
dows, end the wo laft with # up. . The frit Mood or Mark for Common Time, is a imple ©, and. denotes a flow grave
fi. Moad are to be fung in the ‘Time of Seconds ; fo that 60. Crotchets, 3° Minims,

i hich has a Line’ drawn acrofs tha

. Mevement, The Crotchets in t

ibreves, are to be nthe 'Fime of a Minute. The fecond Mood, w
‘ ; ‘ wn > 7 : achat Z

hashes rr

<-

—
} i:

N - ; ?
‘

% Pres, is very difficult for young Beginners, by reafon your hand or foot is either wp or downs)
: fe is founding : But the foregoing Examples are fuflicient to give you a right Underftanding of them, by telling
, with the Hand docx, and 3, 4, with it up.

Sect. 2. Of the Meafure and Proportion of Tripra Time, i#' its wariovs Moods. +f

Rirta Time is meafured by odd Numbers,. as 3, 6, 9, Fe. each: Bar including either 3 Semibreves, 7 Minims,

3 Crotchets, or 3 Quavers ; two of which mutt be fung. or played wich the Hand or foot down, and. one up ; fo chads
you are juft as long again down as up. ,

The firft, and generally the floweft mood.in Triple Time is called Scfquialtera Preportion, being a Triple Meafure of
three Notes to two foch: ike Notes in Common Time, and fung or played in the fame Une 5 which is ove fouth Parr
quicker in every Bar.

'This Mood ‘is called Three to Two, and includes three Minims im a Bar; which ae pofermell im the Gime
Time as two Minims in Common Time; two beat down,.and one up: ;, marked thus.:. 7%

The fecond fort. of Triple Time, is called. Three from four, each: Bar contamimg tthe Cratdhsts, az one pointed
Minim ; two beat down, and one up ; marked thus : 3,

o A
The third fort, is Three from Eight, each Bar including three Quavers ; two down, and! ome wp ; anil are mmtied) thus ¢ 9
: . 3
Thefe being all the Moods that are commonly ufed in’ Vocal Mujick:. Ant

Middle of the C, denotes a‘brifk movement ; the Time is to be beat and fung about half as: faft agzim as im te flow
Mood :-and when the C, is ‘inverted, or turned backwards, or marked. with: a large~ Figure of 2., it: denutessa: very
| quick Movement, | and is to be beafor fung about as quick again as'the floweit Mood.. Ncte, That tie Mood in
| Common Time, which denotes a brifk Movement,, called: the Largo Mood, is: now geierally: fixed! to all’ Palm Lunes
that are in Common Time in which the Crotchets, ‘and fo all other Notes in proportion, have: been from 2 long
and now for the moft Part, are fung in the time of Seconds. $4
Triple Time contains 3 Minims, 3 Crotchets, or 3 Quavers, ina Bar. The whole Bar or Meafure, in® all ‘thefe
different Moods, are divided into three equal Parts, called from that Property Triple Time; the two firt in. each
Bar ateto be beat 20d fung with ‘the Hand or Foot down, and the third or laft with ic up. Three Minims in a
are marked thus 4.and are to be fung near as quick as Crotchets in flow Common Time. Three Crotchetsin 2
3, and.are to be fung about as. quick as Crotchets in brifk Common. Time,ser_ ie Largo Moods,

Time pat,

fare “marked thus 3,

es x

er
ny

—

\ SS

And though thefe Direé#i¢xs import, that your Hand mutt be always own at the firlt Note in every Dore
a prattice to Zzat every Beat down, both in Common Time and in Triple ; But I think it is not very material howa perlom ee
or what Motion he ufes, fo he keeps but a true Movement, to anfwer both Notes and Refs: For, unlefs.a perfon can count
‘Time in his thoughts, as fie {ves it, it is impoftible either to Zeat, or perform in Confort. Te

To A ADE. | AV
Of the feveral Keys in Mufick : And sf Tranfpofition of Keys.

N Mijfick there are but two xatural primitive Keys, viz.«C-faut, the farp and cheerful Key ; and 4-re, the fat and melan-

choly Key : And that no Yuze can be formed on any other Key but thefe two, without the Help of placing either F/ats -or

Sharps at the beginning of the five Lines ; which tranfpofes,B-mi, the Center or Maffer~Note (together with all the reft in their
Order, both above and below it) to be the fame in effect as the evo Natural Keys. For an example of the two zatural Keys,

“ee Table Page 7th.

PRES The Xey-Nore is the laf Note of the Ba/s, by reafon it is the Fundamental Part of all others ; which is taken from B-mi,
suuy he Center-Note, which lies between both the Key-Notes, the one fiat, and the other /barp ; which are fo called, from their
*jeq aaving their Thirds, Sixths, and Sevenths, Mayor or Mizor above. And as the Key-Norte of every Compofition is a certain
wincipal, aid DoMINaNT Tone, faxed on to guide all other Sounds in Order, above and below it ; even fo DB-zai governs

eee hat ; and when Bem for deoas we call it) changes its Place, all,other Notes, in their Order, like fo many Attendant:, re-
HS owe gion ind although, in In/Prémental Mufick, it is not practicable to change their Letters for every Remove of
yunor;: imi, py Alats, Or fharps, (by reafon they always play by Letters) yet they are obliged to fat or /barp all Notes as are order’d
Pre Bbatee the Places of the Semitones, to be the very fame in effeét’s yet it may be practicable in Vocal-Mu/ick, if the per-

~229" Somers are well fkill’d enough to call their Noss by Letters ; but this is tev perplexing for voung Beginners, they generally)
Ading it Gifficltenough, at firft, to /o/-fa then { 5

But I fhall np longer defcanton this Poeiwt ; but fhall, in the next Place, fet down the feveral Removes of B-mi, (as are
ongern’d inthi) Book) whereby you may be able to srau/pofe any Piece from its Natural-Key, to. any of the other Artificial-

\ fator faarp ; and to be the very lame in Effect, though higher, orlower, &-. which Table you may fee

x

had

mete:

= 3

po nee ee,
mm ner: Vi.

eras CONCORDS, and Disconns ; both Perkc& and Imperfe@: And of the Figares, a/edin the TuokoveuBaae ae
With fome general Rules thereunto. ; : 3
4 ‘HERE are but Four Concors in Mujfick, viz. the Unifon Third, Fifth and Sixth; (their Eights or Ofae+ ate aife
meant) The Unifon is called a Perfec? Cord ; and cammonly th: Fifth is fo called ; but the Fifth may be made ay
perfe, if the Compofer pleafes. The Third and Sixth are called Dnper/e@; their Sounds not being fo full not fo fiveet a9
the Perfe@ : But in four parts the Sixt# ia ufed inflead of the Fi/th. in foms certain Places, when the Fifthis ete ou “s
in Effeét, there are but three Concords. | it pda
The Meaning of the Word ImperfeG? lignifes, that it wants a Semitonr of itsPer/zion, to what it dors when it is per :
fe& ; for asthe Lefer, or Lmperfect, or Minor-Third, includes but three Mal/-Tones : the Greater or Perfel, ot Mosate
Third, includes four Half Tones, Ge. 5
The Discorns, ate a Second, a Fourth, and aSeventh, and their O@aver: though fometimes the Greater Foyrit ebmag
very near to the Sound of an Imperfect Cord, it being the fame io Ratio as the Minor Fifth: tur will fer you
An Example of the feveral Concorns and Discorbs, with their OGaves under them,
CONCORD S. | DISCORDS.,
Gi he Did Leo 2. 429. ;
8 j 10] 312 | 13 9 PL 4 : ‘
ra hs Pek ES —— | pret: € $ i
Their Ofavect, or Lights— 15} 17} 19 | 20 16} 181.2% & { :
ML SEY Shia EES HS pees Rabaa 1487 .
22 | 24 | 26 | 27 23 i a5. bras | j
N. OB. That if a Voice or Infirument, could reach to Ten Thoufand OFave:, they are all CO fe

The Table of Corns, Mayor, and Alinor, are inferted. Page 8h ; By which you will fee how Concorde tio a VS \ |
wnade either Greater ot Lefer, ( Perfect? or Tnperfe? ) without the Help of either Flats or Sharps (tkceps the/ Lay or 4h :) ‘\ f
But they may be made io Compofition either Greater or Lefer, by adding ither Flats or Sha ps vo one of dhe: Lats, thay 9
flands joincd with another ; and that Di/cords may be ufed in Compoftion, if.mixed with Jedgneot, &e. | birt a ii if
—— Tere g Bob sistl tated sanayst fh Ih ba FAL? oH ome tppeas Ub

hy i

-

bh CCENTS, The empbatical noves
— in, rutic.

rn! of tice,

JAcCENTOR. The leader, ‘or chorif-
swho is expected to pracounce diftin®ly.
i ALLEGRO. Very quick, being 2s quick
| }in as Adagio, I, ¢. two bars in Ai legro,
pes‘ormed in the fame time, as one in
“fagio.

A Mufical ovens:

ne Explanation ofthe moft ufeful Terms that ate u

co N TAINING
fed im Mufic ‘
in Alphabetical order. .

ANONYMOUS. The» Authors name | efteemed among ut:

not known. BAR-SINGLE Which divtd es the time:
ASSAYING. Trying if voices are in | of the tune intocquil parts, and alfo disetia”

} tfue tone. | whiere to place the accents. Ms
ANTHEM, ‘A divine fog; generally; N, B. A mof dignificd charadter Ce eee

in a very great utility.

BAR FULL. When there is a fuffici-
FQREVE, An ancient note. iwice the | eas.q) wantity of notes included in cach Bars |
length of a Scmibreve, to anfwer the time of the tune, viz, if the }

rN B. The’ moderns have droped this \rime be Adagio, Largo, cr Allegro, one

if Pee Oso: Tender nd aff :Aio- note entirely.

‘BASS: The lowett, or. foundational
part; the mot miaj-ftic part in mufic, ge-
nerally fet in the F cliff.

BINARY-TIME. Up and down, both
equal.

BAR-DOUBLE.. An jake ibcack cha-

t ‘LLELUIA. Praife ye the Lord, - the
@ a3 ‘Hallelujah, and is eftecmed as
4 the i word in mufic.

\|LTUS. The Counter,

CUTE.” When the noes are high: and

Bw a5 Paty >.

KOptEL ers Be!

rater i in churea saree ; therelore bus Rive | in Keeping 2.

Semibreve, or the fame quantity of lefs
notes are required, to filla bar; if the time

is ¢, three Minims fill a bar; if 2? them —

three Crotchets, &c,
BAR-EMPTY. When the bar cone
tains no notes ofSound, but notes ofSilence}
BEAT. Onemoiion of the hendjor foot _ g

a in; ba and ; 4 XC,

ss the beauty and variety of Cznons, im fug
: -dbg mufic, and with this apparent advan-
©, tage, viz. that all the performers may fing

» €apnotbe done .4n canons ; for they par-
+ Qake of the height of the counter, and tke

' . ganee 5 therefore I thi:

» Cand G

CHORUS, An ent moving saetbeet aT
For a beat,vi>. a Minim is theBeat-Not: in| CHORO- GRANDO, ‘The grandeft

AAllegr o, and 3, a crotehet is a Beat-Note | chorus,
Rohe ty CLAVIS. Or cliff, or tay See cliff. |

| CONCORD. An agrecabic or mutes
found.
CKOTCHET.. A note, half the length

PEAT-NOTE. The on whieh goer

AROL. A fong, or hymn of § foys 0 on

a feat, or birth day.
CANON. A perpetual fuge.
~~ N. B. Canons are not’ eftccmed with us
~ fo much as formerly, and 1 think not with

Quaver,
CHOIR A company of muficians. _

@ut good’ reafon ; for we can exprefs all COUNTER, A part between tenorand
treble, ;

A=CAPO, End with the firft ftrain.

[tis often fet in minuets, jigs, mar-

ches and for gs, atthe end of a tune, and

refers the periormeér back to. the firft itrain.

N. B. Sometimes the word is wrote at

» the part moft fuitable to their voices etl
5 length, ana fometimes only D, C,

depth Of the bafs, and unlefs the} perfor-
micrs have fuitable voices for every part,
whey cannot fing a car on with exfe, orele-
kothe contrivance of
Canons is more curious than ufeful
we CONSONANCE,, Sounds whith are a-
reeabie, rauch the Jame as Tonton int nt.

CLIFF... The kcy'to w
bese ot mutic, confiting’ of Aree, va. B

DISCANT. Yne art ol compofition. .

DISCANT-DOUBLE. Or double=dif-
cant, is when whe bals and tenor pafs by
éach othey, fo that the bafs becomes highcit
aud the tenor loweft. In iuch compoliti-
ons the bafs and tenor exchange .charac-
ters forthe time being.

N. B, Particular care fhould be taken on
fuch notes to found the bafs foft, and tenor

I

Sires tas as alia Be

OCK, orcp

Pe ee ae

ofa Minim, aad twice the length ot a}

full; jatheanite the upper pai will over-

power the lower, hie’,
DISCORD. A dif. agreeable Jevack,
DISONANCE, A difagreeing noi fe,
DISONANTF. » The fame as difeord.

DICTIONARY, A tagazine'of words)-\

together with the explanation, _
DiAPENTE. Afifth, a fweet concord.
DOMINANT. TONES. Such as the sy

note, the greater third, greater fixth,.
DIVISION. eye 8 fi inging.a

of quick Notes. .
DOXGLOGY. Gloty toGod, er a Fi

to the trinity.

DUODECIMO. A twelvethy an Oc-_

tave above Deepal confequently a Con-
cord.’
ECIMQ. A tenth; a grand Concord,
an Octave abpve the third, or Trio.” .
DEMI. » [Io mufic] is the half of a hal ~
i.e, a Demifemi udver is the fourth o
Quaver, andthe half of a Semiquaver, _
DLAPASON. An eighth, the next per
fect Concord to the Unifom = :
DISDIAPASON, A fiiteonth, Con”
coide anOctave above Dispafon, . tro
Ostaves above Unifon. ©

Meee Bok

DIVOTO. asics sees to .

as all SS as

3
*
©

x

bove Unifon.
DLIVOTO, in a devout masner:
DOUBLES, ali Note,that defcend below
Gamut, viz\the lower line in the Bafs are
called doubles, as double Ff, double E, dou-
ble D, donble C, double B,* double G, and
all below double G,all called doubledouble;

as double double F, &c.
NB. But few voices re
eacept it is done by blowi

Be.

NOTES,

below double
Cc

a MPH ATICAL-
4 fing the accen is placed.
ok MPEIASIS, the fame as accent.
ELEGY, a funeral hymn, or fong.
EN! CORE, fing it again the dame as re-
ot
ERRATA, errors in the publication or
inting.
“ETYMOLOGY, the fir derivation,
om whence a word, or found is taken.
EXPLORE, to find out by-ftudy,

where

are

Bafs, fixed on the upper

: Mine but one.

N. &. It is one whole tone below the G
iff, in the Tenor.

POURTH, a _Difcord,

b
|

C 25 j

FORTE, loud and full
FORTISSIMO, .very lond.
BUGE, or Fuging, Notes, flying after
ea h other, altho’ not always the fame found.
N.B . Mufic ts faid to be Puging, when
ne pa art c comes in after another, its beauties

2 nt umbered, it is fufficient to fay,
tis. unit fally pleafisg.
FL a Chara¢ter ufed to fink a Note
half a tone lower, and to reg: Ree the Mi,

in tranfpofition.
FIF TH, fee

rer
vei

Di iapente,
Scale of
the lower

suo

NAMUT, the Arctinian
%_Z Mufic ; alfo the name of
line in the Bafs.

GRAVASONUS, ve ry grav and folid.
GU IDO Aretinus, the inventor, or at
leaft the improver ofthe prefent Scale of
Mi ific,
GLOSSARY, much the fame,asDiftionary
GRAVE E, flow in Time, or in Vibration.
N.@ Grave and Acute, are oppofite to
each other.
G. Cliif, fdr the Treble
on the lower line b le one.
N. B. G. in the Treble is an O&a
ghave €. in the Tenor.

os

and Tenor §xed

ae

7 ARMONY, the agreement
H refult from pra¢tical Mufic.
HARP, a ftringed infrument.
HARPSICGRD, a wire lJafrumen
with Keys like an Organ.
HE XACHORD, p fixth; an imperfe;
Concord.
HARMONIC, fee Harmony.
HALLELUJAH, fee Hallelujah
HOSANNA, by fome Authors,
‘* fave we befeech thee,’’-a

* a

it 4
and according ¢

others, the fame as Hi alelaiah
N. B.. ‘Lufe.it for Hallel Ae
MITATION, 4s when one part
tates, or mimicks another.
N, B. This is it done in Fi

ing | peices.

INHARMONIC, AL, fo unds difag

INTONATI ON, Art af
ching a Tune, fee Pitcn-pipe.

JARGON, the wort of founds, feeDilt

cord,

the

pite

K EY, :the Dominant) er. principh
a Nore, or tone.on whith the Tune j
founded:

KEY, natural, or natural Key, viz, A.

an Ge

ADC oh

KEY, artificial, or artificial Key,is when
_.Mi, is tranfpofed by Fiats, or Sharps.

ONG, aNote containing two Breves;
now viet of ufe.
LARGE, a Note containing twoLongs ;
aow out of ie
LEDGER- Lines, Lines which run above
5p below the five ives.
~. B. All Notes that run more than an
Oétave above the G. Cliff, in the Treble,
are fai fl to be in Alt.
LARGO, a middle moment of Time,
between Adagio and Allegro.
NB. According to the = Pendulums you
mutt perfo sm five Bars in Largo, to four

SIANT, in a languifhing

a fringed Inftrument.

a Note containing
In Adagio,

Bar of Time.
il is the

4 Prue RA a Semi!
Meafure > Note ; b vecaute it fills a Bar'of it
felf, and in ?, 4 Crotche t is the
Wote 5 F ae Ms é fame re afc on.
MIN a Note as long-as two

reve

UM,

e meafure |

OR BH! 1)

Crotchets,' and half as long as aSemibreve.
MO OD, the mark or meafure of Time.
MAJOR, the greater.

MINOR, che he {s.

MEDIUS, the Lay fung an Octave,
below irfelf, with a fenor Voice.

MUS8iCO Theorico, aCompofer, aMaf
ter, or teacher of Mofic

MAESTUSO, withMcjefty and Grandeur

an Ofave above
te ly a Di ft rd.

B rH.
bb. @ ark wek

TONA ninth,
Secundo, confequ

NOTA-BENE, or Nd

ibrating,

Mufical

past

tunes a proper pic confifiing of,

CH-Pipe,
' if
—_ ~

the Chett, or hollow Tube ;
or Stider, on W hich the le

2d the Regitter,

tters are marked,

untill you get to the letter ; then by

wing 2 gently, } you obtai

an Inftrument to give

|
rs aL being puthed in, or ae n out of the

nthe true found,

Obferve not-to blow too hard for that will
caufe a faife found ; nor too weak, for that
will emit no four d at all.

WN. B. moft of the Pirch- pipes in the
country are fet too bigh, they should be!
reguiated by. an Organ.

PLANO, foft, ae an E.ccho-

PRE Si O,

E HILO: Mufic co, a lover of Mufic.

0) UA

or

Sema1g

RTA, four parts in Score.
QU AVI ER, a Note containing two:
avers,and half as long 48 a Crotchet.
R KE CTE and Retro, forwards and

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REPEAT, @ certain part to be performed

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REPLICA, fee Repeat.

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Some: of ch” firh-frultssof-theint lobe tahs A Lang
burnteéfteri ing tothe Lor pe béfere which fime
yeeres fruits, woich atthargme in ate Gowttries es bead
iPhilo..tud, de knowledge G om the giuerthereof. f Philo faith, Thay
vila Mofl.4, therwil fe broughtix i his Sacrifice to the Drieft, dackifices
p Mind te owne hands: and eliewhere g hee affirmeth the fame
filudcy, ° the Synedrium, ordayned: three hundred a ind fifty y re
Oaldonat.ia that the Paffe-ouer fhould not be folemnizéd en th
Mat26. weeke. and therefote when it fell on the fixe des, y

red to thefeugnth,at the time of Chrilts Pafhial

night before, according tothelaw ofGop,

Thtis Eleazarus ot dayne d; thatthe Feaflt offers hau
fecoyd, fourth, or feuenth : Or Pentecoft on the third, &
Tabernacles.on the firft, fourth, and Gxe:Orthe Bates
orfixt: Or their New-yeeres day, on the firft, fourth anes
the booke'of@amaliel Pauls Matter, which# ey did i

Sabbaths, (in fo ftrict a reft together, and carryingDOu
fe Aft fell 2 her@on and on other fuch reafonlcflexeatonsul
After thisdixtetnth day ofthe moneth, opfegond-da
whych fist pf b fi ckle was thruft into the Harnebths age
toGopn, were bred feuen tntire Mekes, “and the
tieth, (accountin on Wlufiuely)\ was celebrared the Fi
uing his name of that reckoning’ of fifty: aid Schefaa
caufe of thisreckoning of fevien weekes , itis jeatted
f Exd7.23-160 of the firft fruites: the i rites: thereof are Pieenbeam
was in re{pectofrhe Law then giten on M@iity Sina f
licall Law, which Qu r:1 s T, -hajting alcetidediyp ioe
bles of Rone, butin Aethie Tables of the | heey when’
the holy Ghokt to his Difciples, as a réemétbrabee az
Harueft-fruits, and of theit pofleffion of chapel whe:
uit which in the wildetneflethey wantedy sas
WAU tie feuentinday if cha weeke; forhe (euetmone
part fettiuail: fttett for that puny sofe, asthe fries of thy
Thefirtt day ofthis moneth ent befidegithe orditiq

=e ThefeNew- Afoone k, the Feaftiof Trumpetsy inre fpedtiar thatri rite