The Sunday school music book

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FROM THE LIBRARY OF

REV. LOUIS FITZGERALD BENSON, D. D.

BEQUEATHED BY HIM TO

Section

THE LIBRARY OF

PRINCETON THEOLOGICAL SEMINARY

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THE

SUNDAY SCHOOL

BY E. OSBORN.

PHILADELPHIA .

PUBLISHED BY THE AUTHOR,
AND FOR SALE AT THE DEPOSITORY OF THE AMERICAN SUNDAY SCHOOL UNION",

NO. 13, NORTH FOURTH-STREET.

1S26.

PREFACE. _

Is presenting this little Selection of Music to the Public, the Compiler does not deem it
necessary to make many remarks. He believes, that the collection will be found not only suf-
ficiently large, but so carefully adapted to the Metres of the SUNDAY SCHOOL HYMN
BOOK, as at once to render it worthy the approbation of Teachers and Friends of Sabbath
Schools.

The Compiler would here observe, that he is well aware of the objections so frequently urged
against the use of characters; and in reply, would say, that his experience in teaching children,
has convinced him of this fact, — that by their aid children may be taught much sooner, and with
more satisfaction to themselves. THOUSANDS of both Teachers and Scholars, who otherwise
would remain ignorant of Music, will, by the help of these characters, together with a little at-
tention to the following Rules, render themselves sufficiently acquainted with the tunes to enable
them to participate in the exercises of the School, and join in Harmony with the Church.

In justice to himself, however, he would observe, that if he has erred in the Selection of proper
tunes, the Difficulty as well as the Novelty of the task must plead his apologv.

E. OSBORN.

^

INDEX.

Common Metres.

Rochester * -

- 10

Short Metres.

Annapolis *

3

St. Mary's 6

i

Evening Hymn * - 30

Bowerbank * -

- 8

Warwick * -

- 10

Hants * - - 19

Clifford or Victory*

12

Long Met)

res.

Little Marlborough b 24

Charlesville b -

27

Antigua* -

5

Matthias * - - 14

China * - -

27

Alfreton *

- 5

Northampton * - 26

Contrition *

30

Creation * -

18

Peckham * - 8

Devises *

2

Italy* -

- 6

St. Thomas * - 13

Duffield * -

28

Luton*

16

Silver Street* - 14

Fountain o -

30

Limehouseft -

- 13

Shirland* - - 12

Harleigh *

11

Munich 6 -

16

Sicily* - 9

Harborough *

26

Malmsbury *

- 17

Wirksworth b - 17

Mear*

Old Hundred *

4

Hallelujah Metres*

Mount Calvary b -

30

Paley* -

- 7

Amherst* - - 19

Mount Pleasant *

3

Portugal *

9

Columbia * - 25

New Cambridge *

11

Shoel * -

" - 15

7's.

Pickering *

2

Supplication b

30

Benevento * - - 24

Plympton b ■

4

Sophronia b -

- 15

Cookham * - 22

Reading b

1

Windham b

28

German Hymn * 27

Hotham *

23

8's.

Eaton *

20

Savannah b •

30

8,7.

New York b

20

Dismission* -

21

8, 7, 4.

Helmsley *

22

Tamworth* -

21

8, 8, 6.

Repose or Ganges *

24

6 lines 7's.

Georgia * -

25

ll's.

Portuguese Hymn *
Particular Metres

29

•

Amsterdam *

28

Pilgrim's Farewell *

29

INTRODUCTION.

1. OF THE STAFF, CLIFF, &c.

MUSIC is written on and between parallel lines, five of which constitute a Staff.

The lines and spaces of the staff are called DEGREES.

When notes ascend or descend beyond the Staff, a short line called a Ledger Line -
is added.

The degrees of the Staff, and their appropriate sounds, are designated by the first seven letters
of the Alphabet, viz : A, B, C, D, E, F, G ; their names being determined by the Cliffs, of
of which there are but two used in this work, viz :

G Cliff. F Cliff.

IB '■' ii mm -

For Tenor /f ' ' — ~ ""• ForgHr
and Treble. C5 Bass

2. NOTES, RESTS, GAMUT, &c.

Notes are the representatives of musical sounds. Rests are marks of silence.
There are but four different names used, viz : mi, faw, sol, law ; and each of these names have
five varieties, and are represented by different Characters, Thus :

XZ INTRODUCTION.

#> 12 3 4

mi faw sol law Rests .

£ E* G B The Semibreve is 5

^ © H sounded as long as 2 m Minims,

£ f i E or45 Crotchets.

| 1 I I or8f Q

jE JiZ W. ■. or 16 5 Semiquavers.

t t b fc ±

The diamond ^ is mi, the quarter diamond g*. is faw, the round g is sol, the square g is law.
Rests require a silence of the same length of time as is given to the notes they represent.

uavers.

INTRODUCTION.

The Gamut is the application of the letters and syllables to the staff. — Example.

Ml

A- J3 — First ledger line above
J Q^ First space above

-C — fee — First ledger lino abo\'e

— Fifth line

Fourth space
Fourth line —

Third space

—Third line

Second space
Second line —
irst space
irst line-

D © First spare below
■C — &r — First ledger line below

B ^ First space above
— A— S— Fifth line—
G © Fourth space
F — fcr — Fourth line—

5 S

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C br Second space
B — ^ — Second bne —

Tliird Bpace
Third line-

— B-A

A 3 First space
•G—O— First line

br First space below
{3 First ledger line below.

A Dot
or Point

m

Choosing
Notes

£

- at the right hand of a note, adds one half to its length of time.

I are those which are placed directly over each other, either of which

- may be sung.

Sometimes two parts are written on the same staff, in the manner of Choosing Notes ; either,
or both, may be sung.

Grace "~Pt>ZT^; are small notes placed before or after other notes, from which they
Notes ZpjZxp borrow their time.

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INTRODUCTION.

t t f *

Marks of n
Distinction

- are placed over such notes as are to be sung as distinct as possible.

-tr rr-

A Trill S=£~

^j1-,*- shows that the note over which it is placed should be gently warbled.

A Hold P gives the performer liberty to continue the sound at his pleasure,

1 commonly about one beat.

A Slur — pFr" — connects such notes as are sung to one syllable.

:.H t

When quavers or semiquavers are connected by their hooks they are to be sung as if slurred.

The Single Bar

Double Bar

i

divides time into equal portions. Those portions are called Measures.

shows the end of a strain or line in Poetry.

INTRODUCTION. IX

A Close -H or III shows the end of a tune.
A Brace shows how many parts are sung together.

ilfcE

\ Repeat ■— tTT™ denotes the strain is to be sung again.

or :||: denotes a repetition of words.

3. OF SINGING BY NOTE, &c.

In the practice of singing by note, the syllables used are mi, faw, sol, law. In a scale of
Natural sounds, the syllable mi is placed on B; but it may be removed to any other letter of
the Staff by means of Flats and Sharps set at the beginning of the tune, which in this situati
is called a Signature : they have influence to the end^inlesslheir effect is destroyed by a Naiur;

When Flats, Sharps or Naturals, occur in the course of a movement, they are called Acci-
dentals, and affect the notes which they immediately precede.

A Sharp .#. set before a note raises it half a tone. A Flat ■& sinks it half a tone. A Natural -^
set before a note, previously made Flat or Sharp, restores it to its Natural Sound.

W hen faw, sol, &c. are sharped, or elevated by a natural, they may be called fee, see, &c.
and when mi is flatted it may be called faw.

INTRODUCTION.

The situation of the syllable mi may be further explained by observing, that when there i^
neither Flat nor Sharp at the beginning of a tune, then mi will be on B, but if there be a Flat
placed on B, or,

If B be Flat mi is removed to - - - - E.
B and E be Flat mi is in - - • - A.
B, E and A be Flat mi is on - - - - D.
B, E, A and D be Flat mi is on - - - G.

If F be Sharp mi is removed to - - -
F and C be Sharp mi is in - - - -
F, C and G be Sharp mi is on - -
F, C, G and D be Sharp mi is on

F.
C.
G.
D.

In ascending from mi the syllables faw, sol, law, occur twice, and in descending, by inversion,
they become twice law, sol, faw, and then mi occurs again either way.

OF TIME.

Time, with respect to the Measure of Music, is divided into three Species, viz. Common,
Triple, and Compound. The two first of these species have three principal Varieties, and the
other, two: which are distinguished by appropriate signs. These however are not indicative of
the general slowness or rapidity of the movement, as that depends chiefly on the nature and de-
sign of the composition, or the subject sung, to which there should be great attention paid.

COMMON TIME.

i * v -^r TT requires the quantity of a semibreve in each measure, and is sung in the time
1st. v anery j— of four beats^

2d. Variety

has the same quantity as the first, but is sung in the time of two beats.

INTRODUCTION Xi

A. Variety ^r has the quantity of a minim in each, measure, and requires two heat?.

TRIPLE TIME.

ist. Variety ?? has three minims for a measure.
2d. Variety *£■ has three crotchets fur a measure.

3d. Variety ^5 has three quavers for a measure. Each of these varieties require three beai^

COMPOUND TIME.

1st. Variety *£ has six crotchets in a measure.
4

2d. Variety i£ has six quavers in a measure. Each varictv requires two beat?

Xll INTRODUCTION.

The hand falls at the beginning of every measure in all varieties of time. The Pronunciatic
and Emphasis should be as near as possible like that which is heard in good speaking, regard b<
ing had to the sound. Quavers and slurred notes should be sung open. Great care should I
taken to pronounce the last letter in each word, if a consonant, as distinct as possible. The lai
note in the bass is always immediately above or below mi ; if above, the tane is a Sharp key c
lively air ; if below, a Flat key or mournful air.

MUSICAL TERMS.

Allegro, — brisk, say.

Aifettuoso, — affectionately, tenderly.

Andante, — with distinctness.

Chorus, — all the voices.

Da Capo, or D. C. — Close with the first strain. [Spirituoso, or Spirito, — with spirit*

For. or F. — strong and full.

Largo, — the slowest degree of movement
Larghetto, — quicker than Largo.
Pomposo, — grand, dignified.
Pia, or P. — soft.

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