The Young man's instructive companion

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THE YOUNG MAN'S

INSTRUCTIVE COMPANION-

CONTAINING,

I, A Gamut and Explanations of the Rules of Mufic, &c.

II. A Number of plain, eafy and ufeful TUNES, from the best Authors, ancient and modern, and veil adapted tp Schpol's>

Churches and Families, in the United States.

REHERSE his praife with awe profound,

Let knowledge lead the fong ;
Nor mock him with a folemn found,

Upon a thoughtlefs tongue.

In Ifrael ftood his ancient throne,

He lov'd that chofen race ;
But now he calls the world his own,

The Nations tafte his grace.

3 The diftant Realms are all the Lord's,
There Jefus fhall be known ;
While pow'rs and Princes, fhields and fwords
Submit before his throne.

4s Salvation by his matchlefs grace,
Should ev'ry heart inflame ;
And grateful pray'rs and praife afcend,
In his prevailing Name Dr. Wattst

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PRINTED at NORTHAMPTON,
By ANDREW WRIGHT — For the COMPILER,

A n*,. 3- /? X/

GAMUT <W MUSICAL CHARACTERS.

Tenor, at Treble.

Sol.
— Fa.

La.
—Sol.

Fa.
— Mi.

La.
-Sol.

Fa.
—La.
Sol.

Bass:

Counter.

Mi-
-La.

Sol.
— Fa.

La.
-Sol.

Fa.
-Mi.

La.
-Sol.

Fa.

A -

La.

nSol

la.
—La.

Sol.
-Fa.

Mi.
--L«.

Sol.
--Fa.

La.

NOTES ASCENDING AND DESCENDING

Flats and Sharps at the beginning of Tunes are ufed e«/>> as feeon-
dary Cliffs, purely to accommodate the tune to the five lines.

The primary place of Mi is in B. but if B is flatted, B is moved to
the place of E. and all the letters and notes move with it in the fame
connection.

If B and Eare flat B is mov'd to A | If F be fharped, B is moved to

Sol, la, mi, fa, fol, la, fa, fol. fol, fa, Ia,fol,fa, rai, la, fol.

il

If B, E, and A are flat do. to D
If B, E, A, and D are Hat do. to G
If B, E, A, D, and G, do. to C |
IfB, E, A.D.G& C, do. to F |
If 7 letters ari flat, the whole tune
is playd half a tone lower than if
there was no flat, but the names of
the notes are the fame as if there
was no flat at all.

the place cf
F and C - - - - -
F,C,andG - - -
F, C, G, and D - ,
F, C, G, D, and A -
F, C,G, D, A, anl E
If 7 (harps are ufed, the whole
tune is play'dhalf a tone higher,
than if there had been no (harp.

Ssmibreve. IVfinim. Crotchet.Q>uaver.9emiqiiav\Demifemiqa\ A flat. A (harp. Repeat. Slur. Natural. Direct. Grace

Common Time. Compound Tripl

Quick*n»r. Trill. syncope, syncopation. 1234 Time. Tim

Emphafis
— 1 — 1._

.—P-..V , r

.3 — r

Single Bars. Double Bars

Ledger Lines. Double Ending.

Clofe.

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Appoggiatura. Tranfition.

Choofing Notes

A repeat of words.

EXPLANATION 0/" the MUSICAL CHARACTERS.

1st, A Staff, or Staixe, is five lines on which Tunes are printed ; any fhort line above, or below, is called a Ledger, which only
guides the eye of the performer, to the name and found of the note placed on, or near fuch Ledger.

A Cliff, denotes a particular part of Mufic, as, G. Cliff, fignifies Tenor, or Treble, F. Cliff, fignifies Bafs, and C, Cliff, fignifies
Counter : and thefe Cliffs are always placed on the lines where their refpective letters ftand.

A Semibreveyif a round note, and fills a bar in common time, being equal in time to 2 Minims, 4 Crotchets, 8 Quavers, 16 Semi*
quavers, or o i Demifemiquavers. See the notes andrefts under their refpective names.

Flits and Sharps, remove the Mi, or governing note, as you fee in the Table of Characters. An accidental flat, or Jharpy affects
mty the next note at its right hand : a fiat finks the note half a tone, and a (harp raifes a note half a tone.

A Repeat, (hows that the Tune, or Anthem, is to be fung over again, from the beginning, or as far back as another Repeat.

A Slur, or 77?, {hows that all the notes in faid Jlur, mult be fung in one fyllable.

A Natural, (hows that the note at its right hand, is to be founded (in proportion to the lines on the Gamut) as if there had been
no flat, or (harp, at the beginning of faid tuns. A Natural cannot be ufed in Tunes where the Mi is not removed.

A Di>"<:t, is placed at the end of a ftave, to point to the place of the firft note in the next ftave, of the fame part.

A Gmce, or Point of Add t ion, placed on the right hand of a note, makes it one third longer, and often, in notes afcending, or
defcending, beautifies a tranfition.

An Ewphafis or Alnrk of Ditlinclion, {hows that the conflrutlion of the tune, or the importance of the word, requires a double farq;
©f voice on the notes fa marked.

A Mark of Diminution, is a figure 3, placed over, or under three notes, and fhows they mud be fung one third quicker.

A 2 rill, is a regular warbling of the voice on that note, fet directly under the tr. — No trill fhould be fung without the mark.

A Syncope, is a long note in the middle of a bar, with fhorter notes on each fide, and is generally occafioned by an important fyJ*
lable.or word which requires it. Sometimes it fuits beft to be fo made as to anfwer the chords in compoGtion.

Syncopation, is a found carried through a bar, by aflur, in order to lengthen the fyllable.

Single Bars, divide the time, acording to the meafure note, and (how where to place the accent and cadence.
Double Bars, were ufed lor the end of lines in poetry, to read the Pfalm by ; and fome authors ufe them at the end of a drain ;
but Refts anfwer the purpofe much better.

Braces, are ufed to determine the number of parts which move together.

A Hold, vs ufed by fome aut-hprs ; but as there is no exact time affigned to it, 'tis to be confidered as ufelefs, at this day.
A Double Ending, fhows you are to fing the note under figure I before the repeat, and omit it when repeating, and fing that under
figure 2, unlefs connected with a flur, in which cafe both muft be fung at the fecond time.
A 6/cfe, is two or more bars together, and denotes the end of a tune.

An jippoggiatura, or leading note, is a character of little ufe, and confidcred as fupe'rfiuous.

A Tratifttton, is an accurate afcent, or dejeent of the voice, in a flur, or other notes, according to the time and degree of diftance.
Choofmg Notes, are placed directly over each other, and one or all may be fung together, and cfpecially at the clofc of a fiafs-,
they fhould be founded clear and very loft, which is one of the noblefl graces in Mufic.

OF TIME.

IN beating time, 'tis neceffary to learn of a fkilful teacher, or ufe a Pendulum, to eftablifh a regular habit of keeping time. A pen-
dulum of light wood hung by a thread, 39 inches long, will meafure the 1st mode of common time, the 1st of triple time, and the
1st of compound time. A thread of 22 inches will meafure the 2d mode of common lime (viz. crotchets,) and the 2d mode of
triple time and the 2d mode of compound time, (viz. minims,) with accuracy. And a thread of 6 inches, will meafure the 3d
mode of triple time. And a thread of 9 inches, will meafure 2-4, with two accents in a bar.

N. B. Old Hundred and Delaware, have 4 beats in a bar, (viz.) 2 to each minim. Aylefbury 2 beats to a bar, one down and
one up. St. Martin's 3 beats in a bar. Little Marlboro' 3 beats in a bar. And tunes of the 4th mode of common time,
have 2 beats in a bar, one down, and one up. The modes of compound time have one beat down, and one up, each bar and
ij crotchets fill a bar of b-4, and 0 quavers a bar of 6-8 : equally divided (viz.j^ three dow^, am^hree_up, each beat.

b BETHANY. L. M. Inserted for the sentiments of the following Hymn.

When Jotephhis brethren beheld, AftonilVd and trembling with fear; His heart with companion wasfill'd, From weeping he could i.oitorbear. 1 rom, &c.

^ — — ^ ^ ^ | i— - ^ ~" ^ - -^-^^ — p~ i n ^ . n I ■ i ~\i 1 . . . A II - SLrr-

A while, his behaviour was rough, To bring their paft fins to their mind ; But, when they

were humbled enough, Hehaflen'd to fhew bimielf kiud. He, &c.

How little they tho't it was he, Whom they had ill treated and fold ; How great their confution muft he. As foon, as his name, he had told ? As four,, &.C.

I'm j.-leph, your brother, he laid, And ftill to my heart, you are dear ; You Idjd me, and tfo't 1 was dead, But God loryour lakes, lent rotbere.
Tho' greatly diilreffed, before, When charg'd with purloining the cup ; They now were confounded rrfuch more-, Nor one ot them durftto rook op.

PHILADELPHIA. C. M.

_ ^ 1 Additional page. I

Happy the heart where graces reign, VHiere love infpires the breaft : Love is t! a brig-htefl of the train, And ftrengthens all the icft.

ilSliiii

Knowledge, alas] 'Tis all in vain, And all in vain ©ur fear; Our ftab>>orn fins will fi^ht and reign, If 4ove be abient there.

■*—(•<— -I

N. B. The tune Dublin, mentioned in the index at the end, is omitted in this book, and Delaware is page 4lh, and Hatfield page 5, and
Filchburg and Madrid page 2.

HOPKINTON. L. M.

g. g . j ^ A* Wood- 5 Additional. 5

Death like an • - ver -flowing ftream, S weeps us away, oar life's a dream, An empty tale, a morning flow'r, Cut down and wither'd in an ijo»r.

PLYMOUTH. C. M.

Now let our lips with holy fear And mournful plaafure, fmg The filff'ring* of oar great High-Prieft, The forrows of our King,

JORDAN. C. M.

W. BillinffS.

6 Additional.

There is a land of pure delight, Where faints im - mortal reign, In -finite day excludes the night, And plealures banifh pain.

ints im - mortal reign, In -finite day excludes the night, And plealures banifh pain.

] Sw«et fields beyond the fwelliog flood Stand diefs'd ia living green, So to the Jews old Canaan Rood, While Jordan Toll'd between.

WMMmmimmmmimmmm

©ALADONIA. (5. M. 7 Additional.

Joy to the world !. the Lord is come ! Let earth receive her King : Let cv'ry heart prepare him room, And' heav'n and m - ture Ting.

§ jg BENNINGTON. L. M. S Additional,

Svvetit is the work, my God, my King, To praile thy naukegive thanks and fing ; To fhew thy love by morning light, And Ulk of all thy truth at night.
Sweet is the day °f facred reft, No mortal cares fhall feize my breaft ; O may my heart in tune be found, Like David's harp of folemn found.

LANCASTER. C. M.

Once more, my soul, the rising day, Salutes tliy waking eyes : Once more, my voice, thy tribute pay, To him who rules the skies.

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Night unto night his name repeats ; The day renews the sound, Wide as the heav'n on which he sits, To turn the seasons round.

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All artificial trills, shakes,
or trembling of the voice,
ought to be carefully avoided,
as they add no grace to vocal
music; but are disagreeable
to every nice and judicious
ear, & often injure the chords
of the other parts. In instru-
mental symphonies.or inter-
ludes they are admissible ;
but not in vocal concerts.

As youth is vastly the best
time to acquire useful knowl-
edge, it is highly important
that Parents and Masters im-
prove that time, for the bene-
fit of their children. Minis-
ters and Professors ought to
feel deeply interested in a
Matter, which has a great in-
fluence on the improvement
of the rising Generation, foe
social entertainment, and
more especially as Music fits
persons for utility in Devo-
tion, and is a part of the di-
vine employ of saints in glory.

10 * HAMPTON, or OLD HUNDRED. L. M. * RICHMOND. L. *

My soul thy great Creator praise ; When cloth'd in his celestial rays, He in full majesty appears, And like a robe his glory -wears.

12 * TRENTON. S. M.

Behold! what wondrous grace ! The Father has hestow'd; On sinners of a mortal race, to call them Sons of God.

b WHEELER'S POINT. C. M.

14 * PITTSBURG. C. M.

MISSISSIPPI. C. M.

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