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NO. 47, WASHINGTON STREET.
781 Z 62an. 1838
New York Sacred Music Society.
AND TO THE
Wandel and Haydn Society of Boston,
THIS WORK IN MOST
ADVERTISEMENT TO THE FIFTH EDITION.
je fifth slition of the Ancient Lyre is now presented to the Públic. The work was originally undertaken at
solicitation of many individuals. They urged the imperative wants of the public for such a work as an induceunt to the undertaking; and the favor with which it has been received has encouraged the Editor to bestow upon his untiring industry in its supervision. The patronage extended to the work has caused him to make a thorough levision of every part of it, in order that its merits may keep pace with the improvements of the day. He should ieel dissatisfied with himself not to meet the flattering testimonials he has received with a corresponding desire to maintain the credit of his labors. In presenting this new edition, it is proper to state what are considered its improvements. It will be seen,
that every Note has been carefully examined, and that corrections have been made, to render the harmony of each piece as perfect as possible. A great number of new pieces have been substituted, and will be found under their former titles, as follows:
New Ralston, page 16. Zion's Hymn, 23. Withington, 39. Blue Mountain and Marblehead, 56. Chester and Portland, &?. Capitol, or Allenton, 90. Evening Hymn, 91. Florida, and Bera or Rickmansworth, 97. Spiter, new, 127. Danville and Plympton, 167. Morning Hymn, 182. Richmond, 196. Hillsboro', 205. Front Street, 209. Pilgrim's Hymn, 254. Wilton or Arne, 279. Kilby Street and Elam, 283. Salvation Belongeth, 296, 297. Thanksgiving Anthem, 298, 299, 300. Lord of all Power, 301, 302, 303. All ye on Earth, 349. National Hymn, 358.
Twenty-seven Original Tunes and Anthems, composed expressly for this work, are thus embraced within the improvements of the present edition.
Having thus stated the general features of the Fifth Edition, the Editor respectfully submits it to the consideration of the Public.
Boston, November 17, 1836.
INTRODUCTION TO THE ART OF SINGING.
Melody, is the air or tune of a composition, or the most conspicuous and flowing, and generally the highest part.
Harinony, is the combination of several sounds at once, by which an agreeable effect is produced on the ear, and the connexion existing between different Chords, (whether Conchords or Discords,) in a whole composition.
Notes, signify all signs by which the different sounds are expressed, recognised or represented; also the Cliffs, Rests, Dots, and all other necessary characters. The notes are placed higher or lower on the lines or spaces, according to the height or depth of the sounds which they indicate.
On these lines and spaces of the staff are placed the notes of music, (musical notes are expressed by white and black signatures, thus o or .; they have stems occasionally attached to them, which may run upwards or downwards, it is quite immaterial,)
which are only seven in number, and they are named after the first seven letters of the alphabet: A, B, C, D, E, F, G. Should a melody or tune exceed these seven, the same series of letters are repeated.
As it is of great importance that the situation of the letters upon the Staff should be perfectly known, the student is advised to commit to memory the following Scale or
GA MU T.
-C–First leger line above
B First space above
G Fourth space
E Third space
C Second space
A First space
F First space below
-E-First leger line below
TREBLE OR G CLEF.