PERHAPS no book of Church Music has had so extensive a circulation in this country as the Carmina Sacra. It is found in use in all the States in the Union, and among all the different religious denominations; and even now, when the press teems with professedly new church music books, Carmina Sacra holds on its way, and is probably at this time more generally used as the tune book in public worship, than any other single collection. Yet, as some of the tunes in Carmina Sacra, from constant use during several years, and others, it may be, from a want of sufficient interest in them, have been laid aside and become comparatively but little used, a revision of the whole work was determined upon, and now the result is presented to the public. In this revision, the attempt has been made to bring up the work, and adapt it more particularly to the wants of choirs and congregations of the present day. The most popular and useful tunes and pieces in the original work have been retained in the new book, while such as have been found less generally useful and pleasing, have been omitted, and their places supplied by a careful selection of the very best tunes from the numerous popular works of the editor of Carmina Sacra, and from other valuable sources. In addition to these works, the publishers (by special right obtained) have selected many of the best tunes from Mr. Charles Zeuner's American Harp, which have been added to the list of tunes in the New Carmina Sacra. They have also increased the size of the work, by additional pages, containing mostly new tunes, composed especially for this purpose, and which they believe to be of a character that will add essentially to the value of the book. Under these advantages, the publishers of the New Carmina Sacra feel great confidence in presenting the work to Teachers of Singing Schools, Members of Choirs, and Congregations generally, as a work of uncommon attraction. N. B. The New Carmina Sacra being essentially a new book, it is not expected that it will entirely supplant the old and favorite Carmina Sacra. That work will therefore continue to be published without alteration, as heretofore. Entered according to Act of Congress, in the year 1850, In the Clerk's Office of the District Court of the District of Massachusetts. PREFACE. Ir the question be asked, “Why add ano.ner to the many books of Church Music now before the public?" the reply must be similar to what would be appropriate, were the same inquiry to be made respecting a new book on any branch of science, art, morals, or literature. Books on all subjects, except there be some unnatural restraint to prevent, will be multiplied in proportion to the number and acquisitions of those who read them; and this very multiplicity, taken in connection with the verv great variety of character and style necessarily involved, tends directly to increase both the number and attainments of their readers. So it is in music. In proportion as the art is extented, an increasing number and variety of books become necessary; while, on the other hand, an enlargement of the catalogue of books will directly facilitate the progress of music itself. What friend of musical cultivation, therefore, and may we not add, what true philanthropist, will fail to rejoice in the publication of any new book of Church Music, which, being founded on correct principles of science and taste, helps to enlarge the boundaries and to extend the knowledge of the art? Every well organized choir, if kept up with interest, must have a constant succession of new music; without this there will be no advancement. The same principle applies in every other case. The progress of things is ever onward, and why should it be expected that a choir of singers must remain satisfied with singing over for an considerable length of time, the same tunes, any more than that a literary community should be satisfied with reading over and over the same books Nor is this constant desire for new music any disparagement to the old tunes of standard merit. Many of these are unrivalled. So is Milton. But is this latter fact any reason why no one should write poetry at the present period? How many poets would have written since Milton if none had been encouraged but those who were as good as himself? The old tunes may be the best,-much the best, if you please, and still the modern tunes may possess some value, and some that is not found in their predecessors, and some that is worth having. To say the least, they increase the variety, and that is, as Cowper says, "The very spice of life, That gives it all its savor." The Handel and Haydn Society Collection of Church Music, by the Editor of this work, was first published in 1822. The Choir, or Union Collection, in 1832. The Boston Academy's Collection in 1835, and the Modern Psalmist in 1839. In this last named work the four parts are printed upon two staves, after the manner of publishing similar works in Germany; but notwithstanding the advantages of this arrangement of the parts, there are many who prefer the common mode of printing. This consideration together with the fact that the Editor had on hand much valuable music recently received from distinguished European composers, which he could hardly feel justified ir withholding from the public, has led to the publication of Carmina Sacra at the present time. The Metrical part of the work will be found to contain not only a choice selection of the old standard tunes, which, though often republished, are always in demand, and which are as necessary to every singing book, designed for general use, as ballast is to a ship,-but also many new tunes, embracing specimens from distinguished composers of the present day in Europe, together affording such a diversity of style, in melody, harmony and rhythmical structure, as cannot fail to be highly interesting to the lovers of sacred song. In the department of Motetts, Anthems, &c., will be found many new and interesting pieces never before published, and also others now first adapted to English words. The variety of Chants is also greater than is usual in similar works. In the Introductory department, containing the elements of vocal music, the general arrangement of the Modern Psalmist has been followed, with this important exception however, that the different departments, (Rhythm, Melody and Dynamics,) are intermingled in the same order as it is usual to teach them in singing schools. The teacher, therefore, will not have to skip about from place to place, but merely to follow the regular succession of chapters as they occur. Unlike the "Manual of Instruction of the Boston Academy of Music,"† which professes to teach how to teach, and with the contents of which every teacher, therefore, should be familiar, this work merely contains in a didactic form those doctrines or principles which are necessary to be taught, leaving the teacher to pursue his own method of explanation and Hlustration. The Codas added to many of the tunes form quite a new feature in a book of this kind, and it is hoped they may add interest to the performance of psalmody. Although they are called codas, yet they are not designed for the close, merely, but may be introduced before the first stanza, or between the stanzas of a hymn, as may be appropriate. In the singing school and choir meetings, they may always be sung, but in public worship the propriety of singing them must depend upon the circumstances of the occasion, hymn, &c. The hymns in which these Hallelujahs may with propriety be introduced, are more numerous than may be at first supposed; for under what circumstances does not the devout heart say, "Praise the Lord?" "Though he slay me, yet will I trust in him." Cárminâ Sacra. The Editor having seen several recent notices of this work, in which it seemed to be taken for granted that he was the author of the mode of teaching which is explained in the Manual, ang which is commonly called the Pestalozzian method.-a method now so generally adopted,-takes this opportunity to correct this error; and for this purpose refers to the Manual itself, p. 14, §3. addition to which he would also state, that the work of Kübler there mentioned, was mostly followed, so much so indeed that to a great extent the Manual may be called a translation of that work How many distinctions exist in the nature of musical sounds?-What is the first? Second? Third? -How many departments are there in the elementary principles of music ?-What is the first depart- ment called? Second? Third ?-What is that distinction in the nature of musical sounds, on which Rhythm is founded? Melody? Dynamics?—What is that department called which relates to the Length of sounds? Pitch 1 Power 7-In how many ways do musical sounds differ?--How many essential properties have musical ›ounds? What are they?-What is the subject of Rhythm? Melo- dy? Dynamics -If sounds differ from one another only as it respects their length, is the difference Rhythmical, Melodic, or Dynamic -If sounds differ with respect to their pitch, is the difference Rhythmical, Melodic, or Dynamic ?—If sounds differ with respect to their power, is it a Rhythmical, RHYTHM. DIVISIONS OF TIME, BEATING TIME, ACCENT. SIV. The length of sounds is regulated by a division of the time occupied in the performance of music into equal portions. SV. The portions of time into which music is divided are called MEAsures § VII. A measure with Two parts is called DOUBLE measure. §VIII. The character used for separating measures is called a BAR—thus, | NOTE. Observe the difference between a measure and a bar Do not call a measure, a bar. IX. To aid in the computation and accurate division of time, certain NOTE. Every person learning to sing should give strict attention to beating time. Experience § X. Double measure has two beats: first, Downward; second, Upward. XI. Triple time has three beats: first, Downward; second, Hither; S XII. Quadruple time has four beats: first, Downward; second, Hither, third, Thither; fourth, Upward. Accented on the first and third parts of XIII. Sextuple time has six beats: first, Downward; second, Downward; hird, Hither; fourth, Thither; fifth, Upward; sixth, Upward. Accented on downward beat, in Sextuple time, let the hand fall half the way, and for the second, he remainder XIV. One measure in Quadruple is equivalent to two measures in Double time; and one measure in Sextuple is equivalent to two measures NOTE. The most important requisite in all good performance is accuracy of time. It is this that binds a choir together, and carries them safely through the most difficult rhythmical combinations. To acquire the habit of keeping good time requires much patience and perseverance; and it is in this that those who commence learning to sing are most likely to fail. The school should now be exercised in beating time, and in singing one sound to the syllable LA to each part of the measure. called into which music is divided?-What portions of time are smaller than measures ?-How many kinds of measure are there ?-How many parts has double measure? Triple? Quadruple? Sextu- ple? On which part of the measure is double time accented? Triple? Quadruple? Sextuple ?- What is the character called which is used for separating the measures?-What distinguishes one kind of time from another?-In beating time, how many motions has double time? Triple? Quadruple? What are those characters called which represent the length of sounds ?-Are notes rhythmical melodic, or dynamic characters ?-How many kinds of notes are there in common use ?-What is the longest note called? The next? &c.-How much does a dot add to the length of a note ?-What do 6 ELEMENTS OF VOCAL MUSIC CHAPTER V. MELODY. THE STAFF AND CLEFS XXVI. The pitch of sounds is represented by a character called a STAFF, on which the scale, or other music, is written in notes. XXVII. The Staff consists of five lines, and the spaces between them. § XXVIII. Each line and space is called a DEGREE; thus, there are nine degrees: five lines and four spaces. XXIX. When more than nine degrees are wanted, the spaces below or above the Staff are used; also additional lines called ADDED lines. NOTE. The scale should be sung to the class slowly and distinctly, to the syllable la, or to numerals, beginning at a suitable pitch, ascending and descending several times until they may be supposed to have a clear idea of it, when they may be required to sing it themselves. A few will almost always be found, say from five to ten in a class of a hundred, who cannot at first get the sounds right. These cannot go on with the others with advantage to either party, but if they can practise in a separate lass they may, probably, by extra exertion, succeed. As the difficulty in such cases is almost always with the ear, listening to the singing of others is of mucn greater importance to such persons than any attempt to sing themselves. § XXIII. The difference of pitch between any two sounds is called an INTERVAL. Thus, from one to two is an interval, &c. § XXIV. In the scale, there are five larger and two smaller intervals, the former called STEPS and the latter HALF-STEPS. XXV. The half-steps occur between the sounds three and four, and seven and eight; between the other sounds the interval is a step. QUESTIONS. What is the second distinction in musical sounds ?-What is the department called, arising out of this distinction?-Of what does Melody treat?-What is that series of sounds called, which lies at the foundation of Melody ?-How many sounds are there in the scale ?-How do we designate, or speak of the sounds of the scale? Numerals.-What is the first sound of the scale called? One. What the second? Two, &c.-What letter is one? Two? Three? &c.-What syllable is sung to one? To two? &c,-What letter is one? What syllabie ?-What numeral is C?-What numeral is Do? &c.What is the difference of pitch between two sounds called?-How many intervals are there in the scale ?-How many kinds of intervals are there in the scale ?What are the larger intervals called? Smaller 1-How many steps are there in the scale? How many half-steps?-What is the interval trom one to two? Two to three? Three to four ? &e Second space. First space. Space below. Added line below. |