The Lute of Zion A COLLECTION OF SACRED MUSIC, DESIGNED FOR THE USE OF THE METHODIST EPISCOPAL CHURCH: CONSISTING OF A CHOICE COLLECTION OF NEW TUNES FROM THE BEST FOREIGN AND AMERICAN COMPOSERS, WITH MOST F. J. HUNTINGTON AND MASON BROTHERS, 23 PARK ROW. PREFACE. THE idea of preparing a New Music Book with special reference to the wants of the Methodist Episcopal Church, has grown out of the fact, that notwithstanding the repeated and praiseworthy efforts of our Book Agents to meet the demands of our wide-spread connection, large numbers of other musical publications go into Methodist choirs every year, and that, too, despite the many practical inconveniences to which choristers are subjected by their use. Hundreds of Methodist choirs have all the Book Room music, and several other works beside; and of all these outside publications, no one has ever been so popular with our people as the DULCIMER by PROFESSOR WOODBURY. Probably, not less than fifty thousand copies of this work have been sold to Methodist choirs alone during the last three years. And yet this work is far from being adapted to our use; but the music is popular, and singers will have it. The popularity of Mr. Woodbury's works among our people is probably due, in part at least, to the fact that he was for several years a chorister in one of our churches-knows just what we want; and is, in fact, as much a Methodist in feeling and spirit as any man ought to be, and belong in another communion. It was thought, therefore, that if a book was compiled by the same popular author; and with special reference to all the peculiarities of our Hymn Book; and perfectly adapted to use in our choirs, it would supersede many less valuable publications; would supply a felt desideratum; and would thus tend to promote good and spiritual singing among our societies in the worship of God. With this view the work was undertaken about a year since, Prof. Woodbury undertaking to furnish all the new music, and to make most of the selections; while the writer was to adjust the words of our hymns to the music; to select the material for the Revival and Sunday School departments; and to prepare the indexes, and superintend the stereotyping, and publication of the whole. It will be seen, therefore, that although the name of the writer appears in the title, as having "assisted" Prof. Woodbury; such assistance relates solely to the selections for the departments named; and to the getting out of the work. Professor Woodbury is to all intents and purposes the author of the work; as much so as he is of the Dulcimer, or the Liber Musicus. It should be expressly understood that the writer makes no pretensions whatever in the department of music. The leading features in the plan of the "LUTE" are the following. The work is divided in five parts. PART I. Is devoted to the ordinary Church Music-the short, common, long, and particular metres. 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 may be found together, not ouly in the Metrical Index, but in the book. The same is true of the long, common, and short metres. This part of the work contains 314 tunes, many of which are in Prof. Woodbury's happiest style, and composed expressly for this work. PART II.-Is devoted to Anthems and Select Pieces. In these fifty pages will be found most of the old favorites, with several new pieces, some of which were composed expressly for this work. PART III.-Is a collection of the choicest melodies, old and new, for the Love-Feast, Prayer, and Class Meetings; and especially for use by the whole Church, in times of revival. The hymns (not all from the standard hymn book) are generally inserted in full, in connection with the music. The design of this department is to furnish a variety of melodies that all can sing, and that will neither be stiff and difficult on the one hand, nor low and frivolous on the other. They are such words and tunes as may be sung "in the spirit, and with the understanding also." PART IV. Is devoted to Sabbath-school Hymns and Music, and occupies eighteen pages. Though confined to narrow limits, it is hoped that this department will be found worthy of the noble enterprise to which it is devoted. PART V.-Is more extended; and is composed of selections designed for the Singing-school, Social Circle, and Concert Room. It contains a variety of pieces, suitable for Temperance Meetings, Fourth of July Celebrations, Agricultural Meetings, Literary Anniversaries, School Conventions, &c., &c. These are offered, not as a part of the "Sacred Music," but as Singing-school Exercises; and as well adapted to special occasions; and if this part is used in the School Room, the evil of carelessly singing Sacred Music will be avoided. It is only necessary to add, that though the work is perfectly adapted to the wants of choirs in the Methodist Episcopal Church, it is not thereby unfitted for use in other churches, as the meters are all designated, not only by their numbers, according to our Hymn Book, but also by lines and syllables, as is usual in other churches. Finally, in the language of our Bishops, "We exhort you, dear brethren, to sing with the Spirit, and with the understanding also; and we shall rejoice to join you in time and in eternity." H. MATTISON. · NEW YORK, October, 1858. ENTERED, according to the Act of Congress, in the year 1853, by F. J. HUNTINGTON, in the Clerk's Office of the District Court for the Southern District of New York. NARVARD COLLEGE LIBRARY THE elements of music may be classed under four heads, or distinctions. Combination of sounds, or HARMONY, forms the fourth distinction, REMARK. These distinctions should be practised separately, until each is thoroughly understood, both theoretically and practically, by the beginner. Perpendicular lines, with the spaces between them, are termed bars and measures, thus: 6. of measure have we ?-6. What figure indicates the first variety? what the second? what the third? the fourth 1-7. Give the name of each variety.-8. Into how many parts is double measure divided? triple, &c.1-9. How many bars and measures have we, in each of these examples? Sing a few tunes by rote from the commencement of the class. LESSON II. In order to perform music with accuracy, a motion of the hand is necessary, called beating time. Double measure has two beats in a measure, thus: 2. | Down, | Up2 | Down, ] Up2 | Dewn, | Up. Triple measure has three beats, thus: 3. Down, Left, | Up. | Down, | Left, | Up, Down, | Left, | Up. Quadruple measure has four beats, thus: 4. Down, Left, | Right, | Up, Down, | Left, Right, Up, Down, | Left, | Right, | Up. 4.1 Sextuple measure, six, thus: 6. | Down, | Down, Down, | Up, Up, Up, Down, | Down, | Down, | Up, | Up, | Up. Triple measure. Or two, thus: Quadruple measure. 川 measure. NOTE. The pupil should be careful to move the hand promptly in beating time, as Sextuple this is indispensable to a correct performance. He should also, from the commencement, make an invariable rule to beat the time, notwithstanding the effort which may be required to acquire this most important requisite to correct mechanical execution. NOTE. Let the teacher turn to different pieces of music, and request the pupils to Some beginners may find it necessary to omit singing for awhile, in order to devote name the kind of time of each piece, until ready answers are obtained. all their attention to the manner of beating time. QUESTIONS.-1. Into how many distinctions do we divide the elements of music 2-2. Name the first listinction; the second; the third; the fourth.-3. Name these perpendicular lines (pointing to them in the book or on the blackboard.)-4. What are the spaces between the bars called 1-5. How many varieties ▸ Some writers designate double measure by the letter C with a bar across, thus ; and quadruple by the letter C. thus Є. No teacher can expect to be successful, unless he insists upon the observance of the above instructions. Let the right hand of every pupil be made to move with accuracy and ease, the motion proceeding from the wrist, with the arm immovable, in all the varieties of measure, before attempting the voice. Exercises, something like the following, should now be practised, pronouncing one word or syllable to each beat. 2. Down, up, one, two, | loud, soft, | roaming, | flowing, &c. 6. Down, down, down, up, up, up, one, two, three, four, five, six, | loud, soft, loud, soft, loud, soft, | in-stru- men - tal-i-ty, &c. QUESTIONS.-1. What do we mean by "beating time ?"-2. What is its use 1-3. How many beats has double measure ? how many triple ? quadruple 1 sextuple 1-4. What distinguis egether, what course ties of measure 1-5. Should the pupil find difficulty in singing and beating time together, what course should be pursued 1-6. What should never be omitted, in order to execute music in time 1-7. Which hand should be used in beating time 1-8. Whence should the motion proceed 7-9. A word of how many syllables represents double measure? triple? quadruple } sextuple? In order to give more expression to music, certain sounds should be sung louder than others. This is usually termed accent, and corresponds to the accent of the words which are set to the music. The accent should be laid on the first beat in double and triple measures; the first and third in quadruple; and first and fourth in sextuple. All these rules are subject to exceptions, as will be shown hereafter. Let the pupil practise all the varieties of measure, using the word loud on the accented, and soft on the unaccented parts of the measure. OF THE CHARACTERS USED TO DENOTE THE LENGTH OF SOUNDS, Long and short sounds are represented by characters called notes, thus: is equal to two halves, four quarters, eight eighths, sixteen sixteenths, 32 thirty-seconds, 224 ·¡¡ (Crotchet,) 66 (Quaver,) 66 (Semiquaver,) 2 REMARK. The stems of notes may turn up or down, and be connected thus: and their value is not changed. A whole rest in a measure alone indicates that it is to be counted in silence; hence the whole rest is also called a whole measure rest. QUESTIONS.-1. What is accent 1-2. Which beat is accented in double measure? triple? quadruple? sextuple 1-3. What are those characters termed which represent the length of sounds 1-4. What 4,* name is given to the longest note the next? the next 7 the next? &c.-5. How many half notes to a whole how many quarters? how many eighths ? &c.-6. How many quarters to one half? how many eighths? how many sixteenths &c.-7. How many eighths to one quarter 7 how many sixteenths? how 8, many thirty-seconds 1-8. How many sixteenths to one eighth ? how many thirty-seconds 1-9. What are characters indicating silence called 1-10. On which side of the line is the whole rest? half? &c.11. Which way does the quarter rest turn? eighth 7 &c.-12. How much does a dot add to the value of a rest or note ?-13. A dotted whole is equal to what three notes? a dotted half? quarter ? &c. 16,* NOTE. The ingenious and careful teacher will vary these, as well as other questions, in many ways, to afford variety and instruction. The pupil will take notice that the lower figure at the commencement of a piece of music, represents the kind of notes, or rather their value in a measure, and the upper, the kind of measure. LESSON IV. ELEMENTS OF MUSIC MADE EASI SECOND DISTINCTION-HIGH AND LOW SOUNDS, OR MELODY. A REGULAR series of eight notes, all differing in pitch, is termed the diatonic scale. The numerals, one, two, three, &c., are used to designate these eight sounds. The first seven letters of the alphabet are also used; C being applied to one, D to two, E to three, F to four, G to five, A to six, B to seven, and C again to eight. There are also seven syllables, namely, Do, re, mi, fa, sol, la, si. 5 Sing the scale with the numerals, letters, and syllables, in all the varieties of mea sure, being careful to accent correctly. QUESTIONS.-1. What is the second distinction ?-2. How many sounds have we in the diatonic scale? 3. What numerals are used to designate the scale ? what letters ? what syllables 1-4. How many lines and spaces has the staff 1-5. What is the use of the staff? It determines the pitch of sounds.-6. How many degrees in the staff 1-7. How are other ones acquired 1-8. What characters are used to determine where one is written 1-9. Where is one written with the G clef? with the base 1-10. What letter to the first line, G clef ? first space? second line ? &c.-11. What letter to the first line, base clef first space? &c. Question the pupils something like the following on the succeeding exercises, before singing them.* What is the first character used? A Clef. Which clef? The treble. What do the figures indicate? The kind of measure and notes. What kind of measure in No. 17 Double. No. 21 Triple, &c. What are the perpendicular lines called? Bars. The spaces between the bars? Measures. How many beats to a measure in No. 1? Two. No. 2 Three, &c. What one note comes to a beat in No. 1? A half. No. 21 A quarter, &c. What are the five lines and spaces called? A Staff. What does the staff indicate? The pitch of sounds. What characters determine where one of the scale is written? The clefs. What is the last character to every piece of music? A close, thus: |