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THE OLIVE-BRANCH:

A COLLECTION OF SACRED MUSIC,

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A COLLECTION OF GLEES, QUARTETS, AND SECULAR CHORUSES, FOR A LARGE COLLECTION OF METRICAL TUNES, FOR THE CHOIR AND CON-
SINGING-SCHOOLS, MUSICAL SOCIETIES AND CONVENTIONS.
ANTHEMS, CHANTS, &c.

ALSO

GREGATION.

A COURSE OF INSTRUCTION FOR THE VOICE-SOPRANO, ALTO, TENOR AND BASS.

By CARLO BASSINI.

NEW YORK:

F. J. HUNTINGTON, BEEKMAN STREET, CORNER OF NASSAU.
FOR SALE BY MASON BROTHERS, 5 & 7 MERCER STREET.

BOSTON: BROWN & TAGGARD. PHILADELPHIA: J. B. LIPPINCOTT & CO.

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successful practical teacher of singing, and the most eminent author of instructions for the voice, in this or any other country; one who has originated a perfect system for vocal practice, which insures the improvement of the voice in quality, flexibility and power, and preserves its beauty and healthfulness, because it is founded on true physiological principles. The contributions of Mr. Bassini, then, we regard as a most

Regarding our own work, we shall not labor to remind the public that a new book is all-important to their musical well-being; and moreover, there are plenty of new ones besides ours. But applying the second proposition, that ours is the one to sup-valuable feature of our work. ply the present want, we think we can say more. With the public the questions are, "what are our wants, and which book will best supply them ?" If we have been more successful than others in giving the proper matter to accomplish this object, then, we think, we have reason to offer to the public a new book. Let us inquire, then, what the wants of the musical public are. Firstly, they always want new music. Not because it is any better than the old, but it is our nature to want new things, and we are happier when we are gratified by obtaining them; and so long as this desire is not abused, we should strive to gratify it in the best way. This will apply to both the Choir and the Singing-School.

Secondly, the Singing-School is now becoming more and more important in our country, and its wants enlarging. It is so intimately connected with the church choir, (whose members it furnishes and afterwards improves,) that it is desirable to give in our books such music as is needed by both. This we have done very fully, of secular as well as sacred music, both of which are needed for practice.

Thirdly. Proper instruction for the voice is greatly needed. Thousands of singers are yearly losing or impairing their voices by improper use of the vocal organs, the consequence of incorrect teaching. Few are aware to what an extent this is true, and of the importance of a correct knowledge of the vocal organs.

This is a subject which has received but little attention in works of the character of ours. Indeed, but few authors of such works are competent to give the required instruction. It has been our rare good fortune to have associated with us the most

Upon the whole, we think that we present such matter as is needed at the present day, and we ask an examination of our work by teachers, choristers, and musicians generally. We do not deem it necessary to give any lengthy description of the various tunes, anthems, &c., but propose to let the public judge for themselves. We have made every effort to present a collection of good tunes, in all meters, and of a good variety. Our anthems we think will prove useful. We call attention to our excellent, clear type, and hope it will prove acceptable to the many who do not enjoy the benefit of gas-light. The small, indistinct type so much used of late, has done much to injure the eyesight of thousands.

In the division of labor, we thought it best for each of us to take charge of separate departments. Mr. Perkins had superintendance of the Tunes, while Mr. Cook had that of the Anthems, Glees, and Singing-School Exercises. Mr. J. M. Pelton, (a popular composer), at the request of Mr. Cook, prepared the Notation department; and although the time for its accomplishment was very limited, we think he has admirably done his work-presenting in a plain, yet logical and philosophical manner, the elementary principles of music. We have to express our thanks to many kind friends for contributions to the work.

Our book, such as it is, we send forth to the world, trusting that a candid public will give it an impartial examination, and accept it according to its merits.

T. J. COOK.

T. E. PERKINS.

ELECTROTYPED BY I. HERMANN,

206 WILLIAM-STREET, NEW YORK.

Entered, according to Act of Congress, in the year 1860, by
F. J. HUNTINGTON,

In the Clerk's Office of the District Court for the Southern District of New York.

HARVARD COLLEGE LIBRARY

BY EXCHANGE
Vec 25, 240

PRINTED BY C. A. ALVORD,

15 VANDEWATER-STREET, NEW YORK.

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CHAPTER I.

pitch. This difference arises from the long string vibrating more slowIf we strike a key forcibly, we get a loud tone; if gently, a soft tone. Therefore we say, Tones differ in LENGTH, in PITCH, and in POWER.

Music, like speech, is addressed primarily tothe ear. Both, we know, are composedly than the short one. of sounds; and that all sound is produced by ibrations of the air falling upon the car, which vibrations are the result of power or foce of some kind. Speech is composed of articulate sounds-music of musical sounds. A musical sound is produced by some body of a regular shape, giving out a regularaumber of vibrations in any given period of time, as for example so many vibrations ina second.

§ I. Notation. If we are to undersand music without hearing it from the human voice, or from an instrument, we must have some way of indicating it to the eye. This is done by "Musical Notation." Therefore what letters and their attending aaracters are to speech, notes with their attending characters are to msic.

§ II. Tone. A musical sound ater it is compared with our musical system, and its place therein ascertained, is called a Tone.

§ IV. Departments.-Hence the division of elementary musical instruction into three departments, shown below in tabular form:

Department.

Subject.

Distinctions.

RHYTHMICS, treating of LENGTH, with its distinctions of LONG and SHORT.
MELODICS, treating of PITCH, with its distinctions of Low and HIGH.
DYNAMICS, treating of POWER, with its distinctions of LOUD and SOFT.

NOTE. These names of departments are from Greek words. Rhythmics, from a word signifying "to flow," comprehends all with regard to the measured movement of music. Rhythm, from the same, less comprehensive, is used when speaking of some particular movement or movements. Melodics, from a word meaning "a song or poem,"

speaking of a pleasing succession of tones forming a tune. We say of it, it is a good or bad melody. Dynamics, from a word meaning" to be able,"-power, covers everything relating to power, whether of loud or soft, or of accent or emphasis; and generally, of everything relating to the delivery of music independent of length and pitch. CHAPTER II.

§ III. How Tones Differ.-Let us row examine some tones of the Piano-tune, comprehends everything relating to Pitch. Melody, from the same, we use when Forte. Suppose we strike a keynear the middle of the key-board and hold it down. We get a tone tht continues long. If on striking the key we raise the finger at once,we have a short tone. If we strike a key far to the left, we get a tane deep and grave, from a long, thick string. It is called a low tone. If we strike a key far to the right, we get a sharp, shrill tone, called high tone. These are said to differ in

* In these elements we shall not so much grive to build up a system, as to make our remarks in a far as possible, as the short time classes areisually held will admit. We shall therefore begin with

familiar style that shall be practically usefuln advancing individuals and classes as rapidly, and as the assumption that each person, likely to ue these lessons and exercises, has heard music, and seen

printed musical characters like the abovi In short, then, it is proposed to assist the learner to understand and sing the music he hears or sees represented by "Musical Notation"--and to leave the teacher free to teach in his own way. J. M. P..

This and other keyed instruments ae now so common, frequent reference will be made to them by way of illustration.

RHYTHMICS.

As the rhythm of a movement can be easily appreciated either by the ear, by counting, or by the eye, by beating, or by marching, rhythmics may be taken first in order.

§ V. Measurement of Tones.-If a series of tones is to be produced in any regular manner, some way must be found of measuring their duration, that any given tone shall be made at the right point of time. To do this, we divide the time passing during their performance into equal portions. This division may be indicated to the ear by counting regularly, and to the eye by motions of the hand, called Beats, or Beating Time.

§ VI. Measures and Parts of Measure. Suppose the following line of poetry to be sung to a series of tones of the same pitch and length: Overseas and over mountains.

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Here we have eight tones divided by the regularly falling accent the vowel a should contine to the second note, and thus the word into four equal portions, as indicated by the points between the words. take two counts or beats. Bt this takes too much space, and we thereThese portions are called MEASURES. These measures we see are divid-fore use a note taking two ounts, called a half note. ed by the syllables into PARTS of measures.

§ 7. Double Measure.-A measure with two parts is called DOUBLE MEASURE. The usual way of counting double measure is one, two; one, two;-regularly for each measure. The way of beating, is by a downward beat on the first part, and an upward beat on the second part of each measure.

NOTE.--Let each count be firm and decided, without drawling, and let each beat be made in a right line, with decision. Beating and counting together will be found a most useful exercise.

§ 8. Notes.-Tones are represented to the eye by NOTES; thus,

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Measure, Bar, Measure, Bar, Measure, Bar, Measure, Double bar. We had eight syllables sung to eight tones, all of like pitch. This we indicate by eight notes, written on a horizontal line. They made four measures, which we separate from each other by bars.

§ 10. A Tone may extend over a whole Measure.-Above we have two notes in each measure. But suppose the line contained but seven syllables. Thus: Over hill and over dale. If we apply this to the same music, we will have the last note left without a syllable. But it is quite natural for us in singing it to hold the last syllable longer than the others; even twice as long. This we may indicate thus: to show that

dale

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Thus :

By COUNTING: One,
By BEATING: Down,

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dale.

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One,

Two, On, Two,
Two, One, Two.
Up, Dom, Up, Down, Up, Down, Up.

§ 11. Accent.-Double Measue is accented on the first part of the

measure.

NOTE. This is the RULE, though frequent exeptions occur.

§ 12. Rests. During the perfomance of a piece of music we sometimes find it best to leave a part o the whole of a measure silent. Silence is represented by RESTS. Thus: " &c.

Take the words Hark! Hark! Yes, they come! In singing them it would be quite natural to make pause after each word “Hark!” and, perhaps after the word "come". let us write the notes and rests, representing our way of singing it. Hark!

Thus:

Hark!

Yes, they come!

Tone, Silence, Tone, Silece, Tone, Tone, Tone, Silence. This character represents the sane amount of time as a quarter note, and is therefore called a quarter rest. This is a half rest, and is equal in time to a half note.

$ 13. Triple Measure. Let us take the words "Tripping so cheerily, singing so merrily," and repeat them as before to tones alike in pitch and length. We readily see the accent divides them into four measures of three parts each; each part having on syllable. These notes and bars will represent these tones, measures, and parts of measures. Trip - ping SO cheer - i ly, Singing

Thus:

SO

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One Two Three, One Two Three, One Two Three, One Two Three. Down Left Up. Down Left Up, Down Left Up, Down Left Up. Triple measure then has three parts to each measure, and the accent falls on the first part of each measure. The usualway of counting triple measure

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One, Two, Three, Four, Five, Six, Seven, Eight.
With one on the second space, ending on the Leger line above:

One, Two, Three, Four, Five, Six, Seven, Eight.
With One on the added or Leger line below:

NAMES.

One, Two, Three, Four, Five, Six, Seven, Eight,

SYLLABLES. Do, Re, Mi, Fa, Sol, La, Si, Do.
For exercises in the scale see page sixteen and onward.

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