The rural harmony, being an original composition, in three and four parts. For the use of singing schools and musical societies. / By Jacob Kimball, Jun. A.B. ; [Five lines from Shakespeare] ; Published according to act of Congress.

The rural harmony, being an original composition, in three and four parts. For the use of singing schools and musical societies. / By Jacob Kimball, Jun. A.B. ; [Five lines from Shakespeare] ; Published according to act of Congress.

Table of contents

Title page

PREFACE.

INTRODUCTION to the ART of SINGING.

Of MUSIC in GENERAL.

Of the GAMUT, or SCALE of MUSIC.

TABLE of the TRANSPOSITION of MI, by FLATS and SHARPS.

The MUSICAL NOTES, with their RESTS.

MUSICAL CHARACTERS and TERMS, with their EXPLANATIONS and USES.

Of TIME, and its various MARKS or MODES.

Of BEATING TIME.

EXAMPLES for BEATING TIME.

Of SYNCOPATION.

Of ACCENT.

Of the KEYS of MUSIC.

LESSONS for TUNING the VOICE.

PARTICULAR OBSERVATIONS.

MISCELLANEOUS OBSERVATIONS.

THE RURAL HARMONY, &c

Preston. C. M.

Chelsea. P. M.

Bradford. C. M.

Berkeley. C. M.

California. L. M.

Weathersfield. P. M.

Bennington. L. M.

Hillsborough. C. M.

Topsfield. C. M.

Charlestown. L. M.

Condescension. P. M.

Invitation. L. M.

Ipswich. S. M.

Dartmouth. P. M.

Woburn. L. M.

Stoneham. L. M.

Dover. S. M.

Wenham. L. M.

Wilmington. S. M.

Beverly. L. M.

Monmouth. P. M. Psalm 121.

Bedford. L. M.

Oakham. C. M.

Portsmouth. C. M.

Reading. L. M.

Portland. P. M. Psalm 104.

Boxford. L. M.

Middleton. S. M.

Salem. S. M.

An Anthem.

Evesham. C. M.

Rowley. L. M.

Stockholm.

Stamford, P. M.

Judgment. P. M.

Malden. C. M.

Marietta.

Haddam. C. M.

Harlem. Psalm 100.

Pennsylvania. Psalm 24.

Severn. Hymn 74. Book 2.

Groton. C. M.

Westfield. C. M.

Zealand. C. M.

Georgia. L. M.

Hadley. Psalm 50.

Methuen. C. M.

Gloucester. L. M.

Funeral Anthem. Rev. 14th Chap.

Milton. P. M.

Loudon. S. M.

Arundel. P. M.

Edinburgh. P. M.

Fairford. P. M.

An Anthem. Words from Isaiah 25th Chap.

Durham. P. M.

Waterford. S. M.

Marblehead. C. M.

Kingston. C. M.

Newington. L. M.

Vermont. C. M.

Queensborough. L. M.

Yarmouth. S. M.

Uxbridge. S. M.

Ashburnham. P. M.

Newbern. Psalm 115. P. M.

Exeter. P. M.

Tunbridge. C. M.

Oxford. L. M.

Leicester. C. M.

Ashby. P. M.

INDEX.

§

§

§

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THE RURAL HARMONY, BEING AN ORIGINAL COMPOSITION IN THREE and FOUR PARTS. For the USE of SINGING SCHOOLS and MUSICAL SOCIETIES.

BY JACOB KIMBALL, JUN. A. B.

The man who has not music in his soul,

And is not mov'd by concert of sweet sounds,

Is fit for treasons, stratagems, and spoils;

The motions of his spirit are dull as night,

And his affections dark as Erebus.

—SHAKESPEARE.

Published according to Act of Congress.

PRINTED, Typographically, at BOSTON, BY ISAIAH THOMAS and EBENEZER T. ANDREWS. Sold at their Bookstore, No. 45. Newbury Street; by said THOMAS in WORCESTER; and by the BOOKSELLERS in BOSTON, and elsewhere.—1793.

PREFACE.

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IN a country where music has not yet become a regular profession, it cannot be expected that a composition of this kind can stand a rigid criticism; but as every attempt to subserve the interest, or to encrease the innocent pleasures of the community, deserves public patronage, the author of the following work, without further apology, presents it to the public eye.

He has aimed at originality in his compositions, and endeavoured to deviate (as far as he deemed it justifiable) from the common style; where he has given into it, he has attempted to improve it by a particular attention to the harmony.

Those who have encouraged the work by subscription, are respectfully thanked, and are assured that the utmost pains have been taken to render the work correct; such errors as escaped observation in the execution of it, are noticed in the errata.

The author sincerely wishes that the purchasers of the work may derive sufficient advantage from it, to compensate them for their expenses; but should the reverse be true, he will as sincerely lament that he and his friends have mistaken his abilities.

TOPSFIELD, Novem. 1793.

INTRODUCTION to the ART of SINGING.

[Page]

Of MUSIC in GENERAL.

"MUSIC consists in a succession of pleasing sounds;"—As a Science, it demonstrates and explains their true relation and just disposition;—as an Art, it teaches their proper expression.

All musick is comprehended in melody and harmony. Melody is a single succession of founds; or, in other words, is the air of a piece of music. Harmony is the combination of several sounds at the same time. Modulation is the just arrangement of the sounds both of the Melody and Harmony.

The primary and most essential qualities of musical sounds are, Time and Tune; upon a due attention to these distinctions, and their judicious management, depends all the pleasing and infinite variety of the musical art.

Of the GAMUT, or SCALE of MUSIC.

There are but seven distinct degrees of sound in the scale; five of which are called whole, and two are called half, or semi-tones. Every eighth from any given sound will be the same, and the degrees of ascent or descent from it, will be in effect a repetition of the former sounds. These seven sounds are represented on lines and spaces by the seven first letters of the alphabet; their places on them are as follow:

Bass.

B |  |  | Mi.
A |  | — | La.
G |  |  | Sol.
F | 𝄢 | — | Fa.
E |  |  | La.
D |  | — | Sol.
C |  |  | Fa.
B |  | — | Mi.
A |  |  | La.
G |  | — | Sol.
F |  |  | Fa.

Counter.

A |  |  | La.
G |  | — | Sol.
F |  |  | Fa.
E |  | — | La.
D |  |  | Sol.
C | 𝄡 | — | Fa.
B |  |  | Mi.
A |  | — | La.
G |  |  | Sol.
F |  | — | Fa.
E |  |  | La.

Tenor, or Treble.

G |  |  | Sol.
F |  | — | Fa.
F |  |  | La.
D |  | — | Sol.
C |  |  | Fa.
B |  | — | Mi.
A |  |  | La.
G | 𝄞 |  | Sol.
F |  |  | Fa.
E |  | — | La.
D |  |  | Sol.

[Page] THE scale is divided into three parts; each part, consisting of five lines, with their spaces, and distinguished with a cliff, is called a stave.

The first division is called the Bass stave; its cliff is thus marked 𝄢 and is called the F cliff—it is always placed on the fourth line from the bottom.

The second division of the scale is called the Counter stave;—its cliff is thus marked 𝄡 and is called the C cliff. It is commonly placed on the middle line of the stave. This cliff, however, is moveable, and may be placed on either of the five lines or spaces; that line or space which passes between the two transverse strokes, will be C, and all the other letters of the scale will be in regular succession above and below it.

The third and last division of the scale is called the Treble or Tenor stave; its cliff is marked thus 𝄞 and is called the G cliff; its place is invariably on the second line from the bottom.

There are but four names of notes representing sounds, viz. Mi, Fa, Sol, La: of which Mi is the principal, and governs all the rest; and when Mi is found, the order of the notes above it will be Fa, Sol, La, Fa, Sol, La; and below Mi, La, Sol, Fa, and then Mi recurs, either way.

It has been before observed, that of the seven degrees of sound in the scale, two are semi-tones; their natural places are between B and C, and E and F. Their situation, however, is often varied by flats and sharps, which transpose Mi from B, its natural place; in all which cases the semitones will be between Mi and Fa, and La and Fa, as in the natural scale.

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TABLE of the TRANSPOSITION of MI, by FLATS and SHARPS.

| Mi on B, its natural place. | B flat Mi on E. | B & E flat Mi on A. | B, E and A flat Mi on D. | B, E, A & D flat Mi on G. | F sharp Mi on F. | F and C sharp Mi on C. | F, C, & G sharp Mi on G. | F, C, G and D sharp Mi on D.
Tenor or Treble. 𝄞 | [...] | [...] | [...] | [...] | [...] | [...] | [...] | [...] | [...]
Counter. 𝄡 | [...] | [...] | [...] | [...] | [...] | [...] | [...] | [...] | [...]
Bass. 𝄢 | [...] | [...] | [...] | [...] | [...] | [...] | [...] | [...] | [...]

Mi may be transposed to other places by flats, and also by sharps; but the foregoing examples, with a suitable attention to the following rule, will be sufficient to illustrate the matter.

A flat must be placed a fourth above, or a fifth below the one last added; and Mi will be a fourth above, or a fifth below that.—A sharp must be placed a fifth above, or a fourth below the one last added— Mi is always on the letter last sharped.

The MUSICAL NOTES, with their RESTS.

| Semibreve. | Minim, | Crotchet. | Quaver. | Semiquaver. | Demisemiquaver. | Rests.
2 bars | 4 bars | 8 bars
Notes. | 𝆹 | 톹텥 | 톺텥 | 톼텮 | 톼텯 | (demisemiquaver note) |  |  |
Rests. | 𝇄 | 𝇅 | 𝇆 | (quaver rest) | (semiquaver rest) | (demisemiquaver rest) | 𝇃 | 𝇂 | 𝇁

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The following SCALE will shew the Proportion of the Notes to each other.

1 Semibreve — 𝆹 — Contains

2 — 톹텥톹텥 — Minims.

4 — 톺텥톺텥톺텥톺텥 — Crotchets.

8 — 톼텮톼텮톼텮톼텮톼텮톼텮톼텮톼텮 — Quavers.

16 — 톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯 — Semiquavers.

32 (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) (demisemiquaver note) Demisemiquavers.

Rests are notes of silence. The semibreve rest is considered as a bar rest; all the others are of the same determinate length with the notes by which they are called, and which they represent.

MUSICAL CHARACTERS and TERMS, with their EXPLANATIONS and USES.

A flat ♭

A FLAT at the beginning of a tune regulates the Mi; before any note, it sinks it half a tone from its natural pitch.

A sharp ♯

This character also, at the beginning of a tune, regulates the Mi; when it is placed before any note, it raises it half a tone from its natural pitch.

A Natural ♮

This character is never used, unless to counteract the effect of one or the other of the foregoing, and restores a note to its natural piteh. When it is placed in opposition to a flat, it raises a note half a tone; but when it is placed in opposition to a sharp, it finks a note half a tone.

These three are very important characters in music; and their effects and uses should be carefully and critically explained to learners by every teacher.

Point of Addition. ♩·

This point, placed after a note, makes its sound half as long again as it would be without it.

Point of Diminution. ♩ ♩ ³ ♩

A point of diminution placed over or under any three notes, reduces them to the time of two of the same kind.

Single Bars. 𝄀

Single bars are perpendicular lines drawn through the stave; their use is to divide the notes into equal portions of two, three or four beats, according to the mode of time in which the music is composed.

Double Bar. 𝄁

A double bar denotes the end of a strain.

Repeat. :S: or (repeat)

A repeat directs that the music, from the note where it is placed, be sung over again; when it is placed before a double bar or close, it is to remind the performer that the preceding strain, or some part of it, is to be repeated.

Figures. 1. 2.

These figures are used only when some part of the music is to be repeated; the note under figure 1 is to be performed the first time; the second time, it is omitted, and the note or notes under figure 2 performed; sometimes they are connected by a slur, and then they are both performed.

A Slur. 𝅷𝅷ᴗ 𝅷𝅷ᴗ

A slur is drawn over or under so many notes as belong to one syllable.

A Brace. 𝄕 𝄔

A brace shews how many parts move together.

A Hold. 𝄐

A hold placed over a note shews that it is to be sounded longer than its true time. This character, though too generally neglected, when properly attended to, produces a very pleasing effect.

A Direct. (direct)

A direct placed at the end of a stave points out the place of the first note in the next stave.

Ledger Line.

Sometimes the notes extend beyond the compass of the stave; in such cases, short lines are added, called Ledger Lines.

A Close. 𝄀

A close shews the end of a piece of music.

Trill or Shake. tr.

A trill or shake is a quick and alternate repetition of the note over which it is placed, and the note immediately above it (from which the trill begins) so long as the time will allow; thus [...]

A trill may be open or close; if the note immediately above that to be shaken be a whole tone from it, it will be an open shake; if but half a tone, it will be a close shake.

When the note immediately under that to be shaken is inserted just before the conclusion of the trill, it is called a turned shake.

The trill is a very beautiful grace, but as it is very difficult to be acquired, it may not be amiss to propose the following substitute for it, till it can be perfectly learned, viz.

Example. [...]

This manner of performing a trill, if the note be not a long one, and if the note succeeding it be descending, produces a very agreeable effect.

Marks of Distinction, ''' or Stoccato.

These imply that such passages must be sung very distinctly and emphatically.

Choosing Notes. [...]

Choosing notes are placed immediately over each other; the performer may sing which of them he pleases; if there be several performers to the same part, all the notes should be sung.

Appoggiatura. [...]

The appoggiatura is a small note added to the regular notes in the bar to lead the voice more easily and gracefully into the sound of the succeeding note; it should be dwelt upon according to the value of the note; but whatever time is given to it, must be taken from the succeeding note. It is often used as a preparation for a trill.

Notes of Transitionn [...]

Notes of transition are also small notes added to the regular notes, and usually slurred to them; the time given to them is commonly taken from the preceding note, and always from the note to which they are tied. Transition is considered as a musical grace, and judicious [Page]performers may introduce it in many places where the notes are not expressed in the composition; but young singers should be cautioned against its two frequent use; for an unskillful introduction of it, instead of gracing, will have quite a contrary effect upon the music; and indeed this, and every other musical grace, had better be entirely omitted than performed in an irregular manner.

Piano.

Directs the performer to sing soft like an echo.

Pianissimo.

Very soft.

Forte.

Loud and strong.

Fortissimo.

Very loud.

The foregoing terms are very frequently contrasted in musical compositions, and ought to be strictly attended to, for otherwise the design of the composer will be obscured, if not wholly lost.

Crescendo.

This implies that the force of the voice must increase gradually till the strain is ended.

Diminuendo.

Means the reverse of the foregoing, and is sometimes set in opposition to it; when properly performed they make no trifling addition to the beauties of music.

Maestoso.

Passages which have this term placed over thern must be performed flow and with majesty and grandeur.

Con. Spirito.

With life and spirit

Vigoroso.

With strength and firmness.

Vivace.

In a lively, cheerful manner.

Moderato.

Somewhat slower than the true time.

Presto.

Faster than the true time.

Andante.

Implies a moderate, equal and distinct manner of performing.

Adagio.

Denotes the slowest movement; and is the proper name of the first mode in common time.

Largo.

Denotes a movement some faster than adagio, and is the name of the second mode in common time.

Allegro.

Denotes a quick movement, and is the name of the third mode in common time.

Grave, or Gravement.

Denotes a slow movement between Adagio and Largo; it requires also a solemn manner of singing.

Largetto.

Is a movement between Largo and Allegro.

A variety of other musical terms might be explained, but as they are not often met within music books in this country, it may not be necessary to insert them.

[Page]

Of TIME, and its various MARKS or MODES.

THERE are three kinds of time made use of in Music, viz. Common Time, Treble Time, and Compound Time.

Common Time is divided into four modes. The first mode is called Adagio, and is thus marked 𝄴 This mode contains one semibreve, or the value thereof in other notes or rests in each bar:—The bar is usually performed in the time of four seconds.

The second mode of common time is called Largo, and thus marked (common time (largro)) It contains the same quantity of notes in the bar as the foregoing, but is performed a quarter faster.

The third mode of common time is called Allegro, and thus marked (common time (allegro)) This also contains the same notes in a bar as the first mode, but the bar is performed in the time of two seconds.

The fourth mode of common time is marked 2/4 and contains the amount of one minim in the bar:—it is performed about one quarter faster than the Allegro mode.

Treble time is divided into three modes. The first mode is marked thus 3/2 and contains three minims in a bar, or other notes and rests to that amount. The bar is performed in the time of three sconds.

The second mode of treble time is marked thus 3/4 and contains three crotchets or their value in each bar, and is performed about a quarter faster.

The third mode of treble time is thus marked 3/8 and contains the value of three quavers in a bar: This mode is performed about a quarter faster than the second.

There are many modes of compound time, two of which only shall be noticed here.

The first mode is thus marked 6/4 and contains the value of six crotchets in a bar. The bar is performed in the time of two seconds.

The second mode is thus marked 6/8 and contains the amount of six quavers in a bar. It is performed one quarter fafter than the first mode.

[Page] It may not be unserviceable to observe in this place, that the first mode of common time is the standard with which all other modes are compared, and by which they are regulated. All modes which are marked with figures have a primary reference to this mode, and are derived from it;—thus, the mark 2/4 denotes that the bar must contain two fourths of a bar in the first mode of common time, or (which is the same thing) of a semibreve; and all other figures distinguishing different modes may be considered as fractions of a semibreve; the under figure expressing how many parts the semibreve must be divided into, and the upper figure shewing how many of those parts are contained in a bar.

When the modes above explained are thoroughly understood, a proper attention to the foregoing remarks will enable any one to acquire an idea of all other modes marked with figures, without any further illustration.

Of BEATING TIME.

BEATING time is an artificial way of measuting the proportionate duration of the notes; the common methods of doing which, are as follow, yiz. For the two first modes of common time, which have four beats in a bar, 1st, let the ends of the fingers fall; 2d, the heel of the hand; 3d, raise the heel of the hand; 4th, throw up the ends of the fingers, and the bar will be finished.

For the third and fourth modes of common time, and for the 6/4 and 6/8 modes of compound time, which have only two beats in a bar, 1st, let the hand fall; 2d, raise it, and the bar will be completed.

For treble time, all the modes of which have three beats in a bar, 1st, let the ends of the fingers fall; 2d, the heel of the hand; 3d, throw up the ends of the fingers, &c.

EXAMPLES for BEATING TIME.

𝄴 | d. d. u. u. | d. d. u. u. | d. d. u. u. | d. d. u. u.
텗텥 텗텥 | 텘텥 텘텥 텘텥 텘텥 | 텟텮텟텮 텟텮텟텮 텟텮텟텮 텟텮텟텮 | 𝅝
1. 2. 3. 4. | 1. 2. 3. 4. | 1. 2. 3. 4. | 1. 2. 3. 4

3/2 | d. d. u. | d. d. u. | d. d. u.
텗텥 텗텥 텗텥 | 텗텥 텘텥 텘텥 | 𝅝·
1. 2. 3. | 1. 2. 3. | 1. 2. 3.

(common time (allegro)) | d. u. | d. u. | d. u.
텗텥 텗텥 | 텘텥 텘텥 텘텥 텘텥 | 𝅝·
1. 2. | 1. 2. | 1. 2.

6/4 | d. u. | d. u. | d. u.
텘텥 텘텥 텘텥 텘텥 텘텥 텘텥 | 텗텥 텘텥 텗텥 텘텥 | 텗텥· 텗텥·
1. 2. | 1. 2. | 1. 2.

[Page]N. B. All Modes of time must be sung faster or slower than their comparative length as explained before, when musical terms expressing moderation or hastening are applied to them.

Of SYNCOPATION.

NOTES of Syncopation are such as have their sound continued through bars, or are placed out of their natural order in them; very difficult examples of such notes may be framed, but when words are applied to them, they induce a forced and vicious pronunciation, and never occur in good vocal music; the common instances are by no means difficult to be executed, and do not merit a particular explanation.

Of ACCENT.

ACCENT is a certain modulation or warbling of the sounds, in order to express the passions naturally with the voice.

Accented parts of the bar are, for common time, the first and third parts; for treble time, the first part only; for compound time, the first and fourth parts of the bar; and emphatical words should be set to those parts; but it will often happen, that such words will occur in other parts, and the accented parts have words of no emphasis; in which cases, every one must feel the propriety of the music's bending to the words, and that the general rule for accenting must be neglected; and from hence, may be inferred, that the doctrine of accent is designed more for the use of the composer, than of the performer.

Of the KEYS of MUSIC.

THERE are but two keys in music, viz. 1st, the major or sharp key, and 2d. the minor or flat key. The first of these is adapted to express the cheerful passions, and the latter is expressive of the solemn, the mournful and the pathetic.

The key note is that sound upon which a tune may be said to be built:—It is the predominant tone, to which all others have a particular reference; it is commonly the concluding note of the tenor, and always that of the bass, [Page]In reckoning from the key note, if the semitones in the octave be between the third and the fourth, and between the seventh and the eighth, the tune is in the major or sharp key; if they lie between the second and third, and between the fifth and sixth, it is in the minor or flat key.

In the natural scale the key note of the major key, will be C; of the minor it will be A.

EXAMPLES.

C, Major Key. [...] The regular places for the half tones are between B and C, and E and F, an examination of the octave as laid down above, shews that they lie between the third and fourth, and between the seventh and eighth, consequently it is in the sharp key, &c.

A, Minor Key. [...] An examination of this octave shews that the semitones are between the second and third, and between the fifth and sixth, of course it is the flat key, &c.

No tune can be regularly composed on any other letter besides C and A, without the assistance of flats or sharps; but, by a proper placing of them on the lines and spaces, every semitone contained in the octave may be made the foundation or key note of a tune: For in stance, if the letter C be taken for the key note of a tune in the major key, one of the semitones will be between the sixth and seventh, whereas it should be between the seventh and eighth; now, by placing a sharp on F, the sound of all the notes on that letter will be a semitone higher than in the natural scale, and consequently leave but half a tone between the seventh and eighth from G; by which mean, G then becomes regularly the key note for a tune in the sharp key.

It would be no difficult task to extend this explanation through all the semitones contained in the octave, but perhaps it may be sufficient for learners to be taught to distinguish the keys, in the first place, by the following rule, viz. if the key note be the Fa immediately above Mi, a third from it will be a major third, and the music will be in the sharp key; but if the key note be the La immediately under Mi, a third from it will be a minor third, and the tune will be in the fiat key.

N. B. A. major third contains two whole, or four semitones. A minor third contains but three semitones.

[Page]

LESSONS for TUNING the VOICE.

Lesson in the major key. [...]

N. B. This lesson should be well learned, and the relative distance of each note from the key note, (as distinguished by the figures placed over them) understood so as to be sounded readily, before tunes in the major key are attempted.

Lesson in the minor key. [...]

N. B. This lesson also should be well understood before tunes in the minor key are attempted. Whichever of these lessons a teacher chuses his pupils should first attend to, it is recommended that they be made to practise upon tunes in the same key, before they endeavour to acquire a knowledge of the other, &c.

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PARTICULAR OBSERVATIONS.

IN the following work, when tunes have but three parts, the treble is placed between the tenor and the bass; when they have four parts, the tenor is placed next to the bass, the counter next to the tenor, and the treble next to the counter.

Flats, sharps, and naturals, are not considered as having influence (excepting at the beginning of tunes or strains) upon any note but that immediately succeeding.

The pitch of all the parts should be taken from the key note.

MISCELLANEOUS OBSERVATIONS.

EVERY person should sing that part to which his voice is best adapted; to determine which, learners should submit to the judgment of their teacher.

The tone of the bass should be full and majestic; of the tenor, bold and manly; of the counter, soft yet firm; of the treble, smooth and delicate.

High notes in every part should, in general, be sung softer than the low.

In a company of fingers it would have a good effect for some of the performers on each part to be silent when passages marked piano, occur; the additional strength of their voices in the forte, which generally precedes or succeeds the piano, would mark the contrast more distinctly, and give peculiar force and energy to the performance.

The various inflections of voice and tone, which render one air more expressive of one passion than another, cannot be taught by certain and infallible rules; a performer should endeavour to form a proper idea of the author's design in a piece of music, and his own judgment and taste must be his principal directors in doing justice to it.

A good and graceful manner of singing is best acquired by imitoetion. A teacher cannot by precept alone instruct his pupils in the art of modulating different airs to express different passions; but by example he can.

Every note of every part of an excellent piece of music may be founded, strictly speaking, right, and the composition, nevertheless, appear dull and trifling. It is the expressive manner—the realizing the passion—and giving particular emphasis to those words which contain the force of the sentiment, which give rise to the inexpressible delight derived from hearing good musical performances.

The voice, the looks, the gestures of the performers, are severally necessary to give music its full energy, and are respectively the sources of pleasure or disgust to the observing hearer.

[Page] Besides the artificial graces of music, such as trills, appoggiatura, &c. there are innumerable others which never have been, nor ever can be, defined; but must be learned (as was hinted before) by imitation, or suggested by a discerning judgment.

Few graces, however, if any, are admissible in full chorusses, unless they are expressed in the composition; in strains of two or three parts, they may be frequently introduced; but solos are the proper field for their full display.

A vulgar, inarticulate pronunciation—a heavy, lifeless manner—sudden and unmeaning explosions of sound, are totally inconsistent with good singing; on the other hand, a clear and spirited tone—a just and accurate pronunciation—and occasional swells upon the notes, judiciously introduced, are distinguishing characteristics of an elegant performer.

In good music, as well as in good poetry, or in any other species of good writing, there are different styles; some of which, though they may not, at first hearing, command a very favourable opinion, upon being often performed, and rendered familiar, will please more, and longer, than others which were thought superior; hence, the impropriety and injustice of hastily rejecting, as worthless and insignificant, such music as may be composed out of the common style.

In composition, it is an essential point to adapt the tune to the subject of the song. Subjects of penitence, prayer, sorrow, &c. require tunes in the minor key; and those of cheerfulness, joy, thanksgiving; &c. the major key; but this rule is often violated; and with the most unhappy and ridiculous effect. Can that joy, or praise, or thanksgiving be thought sincere, the expression of which is accompanied with sighs, and groans, and tears? Can his sorrow or distress appear otherwise than farcical, whose relation of it is interrupted by sallies of pleasantry, and peals of laughter? If this be not an unjust representation of the effect of disregarding the foregoing rule, (and it is presumed it is not) it must be considered not only a transgression against all musical propriety, but an outrageous affront to common sense.

In churches and congregations this rule demands a still more particular attention; for an injudicious application of tunes to the psalms or hymns, will make the performance appear a profane burlesque upon a very important duty.

A decent and regular demeanor in a band of singers, adds much to the pleasure arising from their performances; in worshipping societies, a contrary behaviour is altogether inexcusable, and well deserves the censure of every sober mind; for it argues a total insensibility to those solemn impressions, which every one should feel when in the more immediate presence of the Supreme Being, and employed in one of the highest acts of his worship.

THE RURAL HARMONY, &c

[Page]

Preston. C. M.

Forte.

[...] Thou art my portion, O my God; Soon as I know thy way, My heart makes haste t'obey thy word, And suffers no delay.

[Page]

Chelsea. P. M.

Slow.

[...] Come thou Almighty King, Help us thy name to sing, Help us to praise.

Con Spirito.

Father all glorious! O'er all victorious, Come and reign over us, Ancient of days!

For.

Come and reign over us, Come and reign over us, Come and reign over us, Ancient of days.

[Page]

Bradford. C. M.

[...] How short and hasty is our life! How vast our souls' affairs! Yet senseless mortals vainly strive, To lavish out their years, Our days run tho'tlessly along, Without a moment's stay, Just like a story, or a song, We pass our lives a╌way.

[Page]

Berkeley. C. M.

Vivace.

[...] Come let us join our cheerful songs, With angels round the throne; Ten thousand thousand are their tongues, But all their joys are one. Worthy the Lamb that dy'd they cry, To be exalted thus; Worthy the Lamb, our Lips re╌ply, For he was slain for us.

[Page]

California. L. M.

[...] Thou whom my soul admires a╌bove All earth╌ly joys, all earthly love; Tell me dear Shepherd, let me know, Where doth thy sweetest pasture grow, Where doth thy sweetest pasture grow.

[Page]

Weathersfield. P. M.

[...] No burning heats by day, Nor blasts of ev'ning air, Shall take my health away, If God be with me there, :S:

Cres.

Thou art my Sun and thou my Shade, To guard my head by night or noon,

Dimin.

Thou art my Sun and thou my Shade, To guard my head by night or noon.

[Page]

Bennington. L. M.

[...] The Lord did on my side engage, From heav'n, his throne, my cause upheld,

Adagio.

And snatch'd me from the furious rage

Largo.

Of threat'ning waves which proudly swell'd. Of threat'ning waves which proudly swell'd.

[Page]

Hillsborough. C. M.

[...] Come saints adore Je╌ho╌vah's name, Your loud Hosannas raise, Thro' all the world his works proclaim, Thro' all the world, Thro' all the world his works &c. And sound his glorious [Page]praise, And sound his glor'ous praise. And sound &c.

Topsfield. C. M.

[...] Lo! what an Entertaining sight, Are brethren who a╌gree, Whose [...] with cheerful hearts unite In bonds pi╌e╌ty, When [Page]streams of love from Christ the spring, Descend to ev'ry soul, And heav'nly peace with balmy wing, with balmy wing, Shades and be╌dews the whole, Shades and bedews the whole.

[Page]

Charlestown. L. M.

[...] My shepherd is the living Lord; Now shall my wants be well supplied; His providence and holy word Become my safety Become my safe╌ty and my guide.

[Page]

Condescension. P. M.

[...] God's temple crowns the holy mount; The Lord there condescends to dwell, His Zion's gates in his account, Our Israel's fairest tents excel ,His Zion's gates in his account, Our Is╌rael's fairest [Page]tents excel. Fame glorious things of thee shall sing, O City of th' Al╌mighty King.

Invitation. L. M.

[...] Come my beloved haste away, Cut short the hours of thy delay, Fly like a youthful Hart or Roe, Over the [Page]hills where spices grow. Fly like a youthful Hart or Roe, Over the hills where spices grow, Over the hills where spices grow.

[Page]

Ipswich. S. M.

[...] Welcome sweet day of rest, That saw the Lord a╌rise :S: Welcome to this revi╌ving breast, And these re╌joic╌ing eyes, And these re╌joicing eyes. :S:

[Page]

Dartmouth. P. M.

[...] My feet shall never slide, Nor fall in fatal snares, Since God my guard and guide, Defends me from my so [...]s. :S: Those wakeful eyes that never sleep, Shall Israel keep when dangers rise, Shall Israel keep when dangers rise. :S:

[Page]

Woburn. L. M.

[...] Firm was my health, my day was bright, And I presum'd 'twould ne'er be night. :S: Fondly I said with╌in my heart Pleasure and peace shall ne'er depart. :S:

[Page]

Stoneham. L. M.

[...] Thy praise, O God, in Zion waits; All flesh shall croud thy sa╌cred gates, To offer sacrifice and pray'r, And pay their willing homage there.

[Page]

Dover. S. M.

[...] Not all the blood of beasts, On Jew╌ish al╌tars slain, Can give the guilty conscience peace Or wash a╌way, Or wash a╌way the stain.

[Page]

Wenham. L. M.

[...] Jesus shall reign where'er the sun, Does his suc╌cessive journeys run; His kingdom stretch from shore to shore, 'Till moons shall wax and wane no more.

[Page]

Wilmington. S. M.

[...] Shall we go on to sin, Because thy grace abounds? Or crucify the Lord again, And open all his wounds?

Beverly. L. M.

[...] O come loud anthems let us sing, Loud thanks to our al╌migh╌ty king, For [Page]we our voices high should raise, When our sal╌va╌tion's rock we praise.

Monmouth. P. M. Psalm 121.

Dr. Watts.

[...] Upward I lift my eyes; From God is all my aid; The God who built the skies, And earth and [Page]nature made. God is the tow'r to which I fly; His grace is nigh in ev'ry hour, His grace is nigh in ev'ry hour.

[Page]

Bedford. L. M.

[...] Thou Lord by strictest search hast known, My rising up and ly╌ing down; My se╌cret thoughts are known to thee, Known long be╌fore conceiv'd by me.

[Page]

Oakham. C. M.

[...] I love the Lord; He heard my cries, And pity'd ev'ry groan; Long as I live, when troubles rise, I'll hasten to his throne.

Portsmouth. C. M.

[...] When all thy mercies, O my God. My rising soul sur╌veys, Transported with the [Page]view I'm lost, In wonder, love and praise. O how shall words, with equal warmth, The gratitude declare, That glows with╌in my ravish'd heart?

Stocatto.

But thou can'st read it there, But thou can'st read it there.

[Page]

Reading. L. M.

[...] Sweet is the work, my God and King, To praise thy name, give thanks and sing; To shew thy love by morning light, And talk of all thy truth at night. Sweet is the day of sacred rest,

Piano.

No mor╌tal [Page]cares shall seize my breast.

Forte.

O may my heart in tune be found Like David's harp of solemn sound. O may my heart in tune be found Like David's harp of so╌lemn sound.

[Page]

Portland. P. M.
Psalm 104.

Dr. Watts.

[...] My soul thy great Cre╌a╌tor praise, When cloth'd in his ce╌les╌tial rays, He in full majesty ap╌pears, And like a robe his glory wears.

Melloso.

Great is the Lord, What tongue can frame An equal honour to his name.

[Page]

Boxford. L. M.

[...] The lands which long in darkness lay, Now have beheld a heav'n╌ly light;

tr.

Nations which sat in death's cold shade,

Vivace.

Are blest with beams divinely bright, Are blest with beams, &c. Are blest, &c.

[Page]

Middleton. S. M.

[...] When overwhelm'd with grief, My heart within me dies! Helpless and far from all relief, To heav'n I lift my eyes. O lead me to the Rock, That's high a╌bove my head; And make the cover [Page]of thy wings My shelter and my shade, My shel╌ter and my shade.

Salem. S. M.

[...] And must this body die, This mortal frame decay? And must these active limbs of mine Lie mould'ring in the clay?

[Page]

An Anthem.

[...] O come sing un╌to the Lord, unto the Lord, O come sing un╌to the Lord, unto the Lord, Let us heartily rejoice, in the rock of our salvation, the rock of our salvation, the [Page]rock of our sal╌vation, Let us heartily rejoice in the rock of our sal╌vation, in the rock of our salvation. We will come into his presence with thanksgiving, we will come into his presence with thanksgiving, we will come into his presence with thanksgiving, we will [Page]make a joyful noise unto him with psalms, we will make a joyful noise For the Lord is a great God! For the Lord is a great God!

Pia.

And his merciful kindness, his merciful kindness is ever,

For.

evermore towards us. [Page]

Pia.

and his merciful kindness, his merciful kindness is ever,

Forte.

ever more towards us.

Piano.

And the truth of the Lord, the truth of the Lord, the truth of the Lord endureth for╌ever, the truth of the Lord, the truth of the Lord,

Forte.

en╌dur╌eth for╌ever.

Pia.

the truth of the Lord,

Forte.

the truth of the Lord, en-dur-eth for-ever. [Page]

Minore.

Tho' his wrath, tho' his wrath may endure for a moment, tho' his wrath, tho' his wrath may endure for a moment,

Major.

Yet in his favor, in his favor is life, yet in his favor, in his favor is life, yet in his favor, in his favor, in his favor, [Page]is life. Glory be to the Father and to the Son and to the Ho╌ly Ho╌ly Ghost, As it was in the beginning, as it was in the beginning is now and ever

Forte.

shall [Page]be and ever shall be, World without end amen, world without end amen, a╌men, amen, amen.

Evesham. C. M.

[...] Sin hast a thousand treach'rous arts To practice on the mind; With flatt'ring looks she tempts our hearts, But leaves a sting be╌hind.

[Page]

Rowley. L. M.

[...] The saints shall flourish in his days, Drest in the robes of joy and praise; Peace like a Peace like a river from his throne,Peace like a river from his throne, Shall flow to nations, flow to nations yet unknown.

[Page]

Stockholm.

[...] Ah lovely ap╌pearance of death, No sight upon earth is so fair, Not all the gay pageants that breathe, Can with a dead body compare. With solemn delight I survey The [Page]corps when the spirit is fled, In love with the beautiful clay, And longing to lie in its stead.

Stamford, P. M.

[...] O come let us join, Together combine, To praise our dear Saviour, Our Master divine.

[Page]

Judgment. P. M.

[...] Our God shall come, and keep no more, Misconstru'd silence as before;

For.

But wasting flames before him send; Around shall tempests fiercely rage, While he doth heav'n and earth engage, His just tri╌bunal to attend.

[Page]

Malden. C. M.

[...] Now shall my head be lifted high Above my foes around, And songs of joy and vic╌to╌ry, Within thy temple sound, Within thy temple sound.

[Page]

Marietta.

Words by Addison.

[...] The Lord my pasture shall prepare, And feed me with a shepherd's care; His presence shall my wants supply, And guard me with a watchful eye; My noonday walks he shall attend, And all my midnight hours defend

[Page]

Haddam. C. M.

[...] Now shall my inward joys arise And burst in╌to a song, Al╌migh╌ty love inspires my heart, And plea╌sure tunes my tongue And pleasure tunes my tongue.

[Page]

Harlem. Psalm 100.

Dr. Watts.

[...] Ye nations round the earth rejoice, Before the Lord the sov'reign king; Serve him with cheerful heart and voice, With all your tongues his glory sing, With all your tongues his glory sing. The Lord is God! 'tis he alone [Page]Doth life and light and be╌ing give; We are his works and not our own, The sheep that on his pastures live, The sheep that on his pastures live. Enter his gates with songs of joy, With [Page]praises to his courts repair; And make it your di╌vine employ, To pay your thankful homage there.

Fin.

The Lord is good the Lord is kind; Great is his grace, his mercy sure; [Page]And the whole race of man shall find, His truth from age to age endure, His truth from age to age endure.

N. B. Conclude with the strain,"Enter his gates" &c. &c.

Pennsylvania. Psalm 24.

Dr. Watts.

[...] Rejoice ye shining worlds on high, Behold the king of glo╌ry nigh, Behold the king of [Page]glo╌ry nigh. Rejoice ye shining worlds on high, Behold the King of glory nigh, Behold the King of glory nigh. Rejoice ye shin╌ing worlds on high, Behold the King of [Page]glory nigh. Who can this king of glory be? The mighty Lord, the Saviour's he! The migh╌ty Lord, The Saviour's he, The Saviour's he!

Forte.

Ye Heav'nly gates, your leaves display, To make this King of glory way, [Page]Laden with spoils of earth and hell, Laden with spoils of earth and hell, The Conq'rer comes, the Conq'rer comes with God to dwell. Rais'd from the dead, he goes be╌fore, He opens heav'n's e╌ter╌nal door, He opens [Page]heav'n's e╌ternal door,

Pia.

To give, to give his saints a blest, a blest abode,

For.

To give, to give his saints a blest abode

Cresendo.

Near their Redeemer and their God,

Diminuendo.

Near their Redeemer, Near their Redeemer and their God.

[Page]

Severn. Hymn 74. Book 2.

Dr. Watts.

[...] Is this the kind return? And these the thanks we owe, Is this the kind return, And these the thanks we owe, And these the thanks we owe? Thus to abuse eternal love, Thus to abuse eternal love, Whence all our blessings [Page]all our blessings, all our blessings flow? To what a stubborn frame, Has sin reduc'd our mind? What strange rebellious wretches, What strange rebellious wretches we, And God as strangely kind! What strange rebellious wretches we, And God, and [Page]God as strangely kind! Turn, Turn us, turn us, mighty God! And mould our hearts afresh, Break sov'reign grace these hearts of stone, And give us hearts of flesh. Break, sov'reign grace these hearts of stone, And give us hearts of flesh. Let [Page]old ingratitude, Provoke our weeping eyes; And hourly as new mercies fall, Let hourly thanks a╌rise. Let old ingratitude, Provoke our weeping, weeping eyes, And hourly as new mercies fall, Let hourly thanks arise, And hourly as new mercies fall, Let [Page]hourly thanks a╌rise, Let hourly, hourly, thanks arise.

Groton. C. M.

[...] Arise my soul, my joyful pow'rs, And triumph in my God; Awake, my voice, and loud proclaim His glor'ous grace abroad.

[Page]

Westfield. C. M.

[...]

Moderato.

My God, my portion and my love, My ev╌er╌lasting all! I've none but thee in heav'n above, Or on this earthly ball, Or on this earthly ball.

[Page]

Zealand. C. M.

[...] How vain are all things here bellow! How false and yet how fair! Each pleasure hath a poison too, And ev'ry sweet a snare. The brightest things below the sky Give but a flatt'ring light, We should suspect some danger nigh, When we possess delight.

[Page]

Georgia. L. M.

[...] Hark! hark, hark what news the angels bring, Glad tid╌ings of a newborn king. Born of a maid, a virgin pure, Born without sin from guilt secure, Born of a maid, a virgin pure, Born without sin from guilt secure.

[Page]

Hadley. Psalm 50.

Dr. Watts.

[...] The God of glory sends his summons forth; Calls the south nations and awakes the north; From east to west the sov'reign orders spread, Thro' distant worlds and regions of the dead. The trumpet sounds; Hell trembles; Heav'n rejoices; Lift up your heads, ye saints, With cheerful voices.

[Page]

Methuen. C. M.

[...] I sing my Saviour's wondrous death; He triumph'd when he fell, Tis finish'd said his dy╌ing breath, And shook the gates of hell.

[Page]

Gloucester. L. M.

[...]Give to the Lord immortal praise Mercy and truth are all his ways! Wonders of grace to God belong Repeat his mercies, Repeat his mercies in your song. Give to the Lord of Lords renown, The King of kings with glory [Page]crown, His mercy ever shall endure, When lords and kings are known no more.

Funeral Anthem. Rev. 14th Chap.

[...]

Pia.

I heard a great voice from heav'n,

For.

I heard a great voice from heav'n, saying unto me,

For.

saying unto [Page]me,

Pia.

write from henceforth,

Forte.

write from henceforth, write

Pia.

blessed are the dead,

Forte.

blessed are the dead, who die in the Lord.

Pia.

Even so, even so, saith the spirit, for they rest from their labors,

Forte.

they rest from their labors, they rest from their [Page]labors,

Pia.

and their works do follow them,

Forte.

their works do follow them,

Adagio.

their works do follow them.

Milton. P. M.

[...]

Presto.

Ye servants of God your master proclaim, And publish abroad his wonderful name; The name all victor'ous [Page]of Jesus ex╌tol; His kingdom is glor'ous and rules over all.

Loudon. S. M.

[...] Blest are the sons of peace, Whose hearts and hopes are one. Whose king designs to serve and please Thro' all their actions run. Whose kind designs to serve and please Thro' all their actions run.

[Page]

Arundel. P. M.

[...] Along the banks where Babel's current flows, Our captive bands in deep despondence stray'd; While Zion's fall in sad remembrance rose, Her friends, her children, mingled with the dead.

[Page]

Edinburgh. P. M.

[...]

Moderato.

O tell me no more, Of this world's vain store. The time for such trifles with me now is o'er, The time for such trifles with me now is o'er.

[Page]

Fairford. P. M.

[...] Jesus, who dy'd a world to save, Revives and rises from the grave, By his almighty pow'r; From sin and death and hell set free,

Mod.

He captive leads cap╌tiv╌ity. He captive leads cap╌tiv╌ity, And lives to die no more.

[Page]

An Anthem. Words from Isaiah 25th Chap.

[...] O Lord thou art my God and I will exalt thee,

Con Spirito.

And I will exalt thee, And I will exalt thee, and I will exalt thee,

Pia.

And I will praise thy name, and I will praise thy name, and I will praise thy name, For [Page]ever and ever, for╌ever and ever.

Maestoso,

For thou hast done wonderful things, done wonderful, wonderful things; Thy counsels of old are faithfulness and truth, thy counsels of old are faithfulness and truth, thy counsels, thy counsels of old are faithfulness and truth. [Page]Thou hast been the strength of the poor and needy, thou hast been the strength of the poor and needy in all their distresses in all their distresses; A refuge from the storm,

Fortisimo.

When the rage of the mighty arose as a tempest against them, When the rage of the [Page]mighty arose as a tempest against them. Thou wilt swallow up death, in victory Thou wilt swallow up death,in victory, in victory; and the Lord God shall wipe away the tear, the Lord God shall wipe away the tear, the tear from ev'ry eye, the Lord God shall [Page] wipe away the tear, shall wipe away the tear, the tear from ev'ry eye;

Grave.

For the mouth of the Lord hath spoken it! Lo! this is our God; We have waited for him and he will save us; this is the Lord: we have waited for him, we have waited [Page]for him, We will be glad and rejoice in his salvation, we will be glad and rejoice in his salvation, we will be glad and rejoice in his salvation will be glad and rejoice in his salvation. Blessed be the Lord God Almighty, blessed be the Lord God Almighty, [Page]from everlasting, to everlasting, Blessed be the Lord God Almighty, from everlasting, to everlasting, from everlasting, to ev╌er╌last╌ing. And let all the people say a╌men, and let all the people say a╌men, a╌men.

[Page]

Durham. P. M.

[...] How pleasant 'tis to see, Kindred and friends agree, Each in their proper station move, And each ful╌fil their part, With sympa╌thizing heart, In all the cares of life and love.

[Page]

Waterford. S. M.

[...] To bless thy chosen race, In mercy, In mercy Lord incline, And cause the brightness of thy face, On all thy saints to shine, On all thy saints to shine.

[Page]

Marblehead. C. M.

[...] In╌dul╌gent God! with pity'ng eyes, The sons of men survey. And see how youthful sinners sport In a destructive way, And see how youthful sinners sport, In a Destructive way.

[Page]

Kingston. C. M.

[...]

Moderato.

In╌fi╌nite grief! a╌mazing woe! Be╌hold my bleeding Lord! Hell and the Jews conspirehis death, And use the Roman sword. Oh the sharp pangs of smarting pain, My dear redeemer [Page]bore, When knotty whips, and ragged thorns, His sacred body tore.

Newington. L. M.

[...] How pleasant how di╌vinely fair, O Lord of hosts, thy dwellings [Page]are! With long de╌sire my spirit faints, To meet th'assemblies of thy saints.

Vermont. C. M.

[...] I'm not asham'd to own my Lord, Or to defend his cause; Maintain the honour of his name, The glory of his [Page]cross. :S: Jesus my God! I know his name, His name is all my trust; Nor will he put my soul to shame, Nor let my hope be lost. :S:

Queensborough. L. M.

[...] Join all the names of love and pow'r, Which ever men or angels bore; All are too mean to speak his worth, Or set Immanuel's glory forth.

[Page]

Yarmouth. S. M.

[...] My soul repeat his praise, Whose mercies are so great; Whose anger is so slow to rise, So ready to abate.

[Page]

Uxbridge. S. M.

[...] And will the God of grace, Per╌pet╌ual silence keep? The God of justicehold his peace, And let his vengeance sleep? And let his vengeance

tr.

sleep.

[Page]

Ashburnham. P. M.

[...]

Vivace.

O praise ye the Lord, Prepare your glad voice, His praise in the great As╌sem╌bly to sing; In our great Cre╌a╌tor Let Israel rejoice, And children of Zion Be glad in their King.

[Page]

Newbern. Psalm 115. P. M.

Dr. Watts.

[...] Not to our names, thou only just and true, Not to our worthless names is glory due: Thy pow'r and grace, thy truth and justice claim, Immortal honors to thy sov'reign name. Shine thro' the earth from heav'n thy blest abode, Nor let the heathen say, and where's your God?

[Page]

Exeter. P. M.

[...] Think, mighty God, on feeble man, How few his hours! how short his span! Short from the cradle to the grave! Who can secure his vital breath Against the bold demands of death, With skill to fly or pow'r to save? With skill to fly or pow'r to save?

[Page]

Tunbridge. C. M.

[...]

Moderato.

Our sins a╌las! how strong they be! And like a rag╌ing flood, They break our duty, Lord, to thee, And force us far from God.

Forte.

The waves of trouble how they [Page]roll! How loud the tempest roars!

Pia.

But death shall land each wea╌ry soul, Safe on the heav'nly shores.

Oxford. L. M.

[...] Thy mercy Lord to me extend, On thy protection I depend; And to thy wing for shelter haste, 'Till this outrageous storm is past. To [Page]thy tribunal Lord I fly, Thou Sov'reign Judge and God most high, Who workers hast for me begun, And wilt not leave thy work undone.

Leicester. C. M.

[...] Not from the dust af╌fliction grows, Nor troubles rise by chance; Yet we are born to cares and woes, A sad inheritance! As sparks fly out from [Page]burning coals, And still are upwards borne; So grief is rooted in our souls, And man grows up to mourn.

Ashby. P. M.

[...] To spend one sacred day, Where God & saints abide, Affords diviner joy. Than thousand days beside; Where God resorts, I love it more, To keep the [...]

INDEX.

[Page]

N. B. ♭ denotes the minor, and ♯ the major Key.

♭ ARUNDEL, P. M. 86

♯ Ashburnham, P. M. 105

♯ Ashby, P. M. 111

♭ Bedford, L. M. 40

♯ Bennington, L. M. 23

♯ Berkley, C. M. 20

♯ Beverly, L. M. 37

♯ Boxford, L. M. 46

♭ Bradford, C. M. 19

♯ California. L. M. 21

♯ Charlestown, L. M. 27

♯ Chelsea, P. M. 18

♯ Condescension, P. M. 28

♯ Dartmouth, P. M. 32

♭ Dover, S. M. 35

♯ Durham, P. M. 96

♭ Edinburgh, P. M. 87

♭ Evesham, C. M. 55

♭ Exeter. P. M. 107

♯ Fairford, P. M. 88

♯ Georgia, L. M. 78

♯ Gloucester, L. M. 81

♯ Groton. C. M. 75

♯ Haddam, C. M. 62

♭ Hadley, P. M. 79

♯ Harlem, L. M. 63

♯ Hillsborough, C. M. 24

♯ Invitation, L. M. 29

♯ Ipswich, S. M. 31

♯ Judgment, P. M. 59

♭ Kingston, C. M. 99

♭ Leicester, C. M. 110

♯ London, S. M. 85

♯ Malden, C. M. 60

♭ Marblehead, C. M. 98

♯ Marietta, P. M. 61

♯ Methuen. C. M. 80

♭ Middleton, S. M. 47

♯ Milton, P. M. 84

♯ Monmouth, P. M. 38

♯ Newbern, P. M. 107

♯ Newington, L. M. 100

♯ Oakham, C. M. 41

♯ Oxford. L. M. 109

♯ Pennsylvania, L. M. 66

♯ Portland, L. M. 45

♯ Portsmouth, C. M. 41

♯ Preston, C. M. 17

♯ Queensborough, L. M. 102

♯ Reading, L. M. 43

♯ Rowley, L. M. 56

♭ Salem, S. M. 48

♯ Severn, S. M. 71

♯ Stamford, P. M. 58

♯ Stockholm, [...] 57

♯ Stoneham, L. M. 34

♯ Topsfield, C. M. [...]5

♭ Tunbridge, C. M. 108

♭ Uxbridge, S. M. 104

♯ Vermont, C. M. 101

♯ Waterford, S. M. 97

♯ Weathersfield, P. M. 22

♯ Wenham, L. M. 36

♯ Westfield, C. M. 76

♭ Wilmington, S. M. 37

♭ Woburn, L. M. 33

♯ Yarmouth, S. M. 103

♯ Zealand, C. M. 77

ANTHEMS.

I heard a great voice, 82

O Come sing, &c. 49

O Lord thou art, &c. 89

§

§

ERRATA.—Page 9, 2d. line for two read too. Page 13. 11th. line from bottom, for C, read G. Page 26, 1st. slur in the second tenor stave should include the first note in the next bar.—ibid. 2d. tenor stave, last note but three should be a crotchet.—Page 27, 1st. treble stave, instead of the character of the second mode of common time, insert the G cliff.—Page 31. 1st. note in the bass should be a semibreve.—Page 42. bass, after the double bar erase the first point of addition.—Page 69. first bass stave. the last note but five should be on E.—Page 76, 2d. tenor stave, insert a point of addition after the first crotchet on D.—Page 95, 2d. brace, erase the third bar in each part.

Information about this book

Title statement

The rural harmony, being an original composition, in three and four parts. For the use of singing schools and musical societies. / By Jacob Kimball, Jun. A.B. ; [Five lines from Shakespeare] ; Published according to act of Congress.

Kimball, Jacob, 1761-1826.

Publication

Publisher

Text Creation Partnership,

Place of publication

Ann Arbor, MI :

Date

2012-01.

ID [DLPS]

N19676

ID [TCP]

N19676

ID [STC]

Evans 25695

ID [NOTIS]

APX5272

ID [IMAGE-SET]

25695

ID [EVANS-CITATION]

99022054

Availability

This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal. The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission.

Series

Early American Imprints, 1639-1800 ; no. 25695.

Notes

(Evans-TCP ; no. N19676)

Transcribed from: (Readex Archive of Americana ; Early American Imprints, series I ; image set 25695)

Images scanned from Readex microprint and microform: (Early American imprints. First series ; no. 25695)

Source

— The rural harmony, being an original composition, in three and four parts. For the use of singing schools and musical societies. / By Jacob Kimball, Jun. A.B. ; [Five lines from Shakespeare] ; Published according to act of Congress., Kimball, Jacob, 1761-1826..

Extent

xvi, [1], 18-111, [1] p. : music ; 14 x 23 cm. (4to)

by Isaiah Thomas and Ebenezer T. Andrews. Sold at their bookstore, no. 45, Newbury Street; by said Thomas in Worcester; and by the booksellers in Boston, and elsewhere.,. Printed, typographically, at Boston, :: --1793.. (Errata statement, p. [112].)

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