ANTHEMS, SET PIECES, DUETTS, TRIOS AND CHORUSES,

ADAPTED TO THE

PURPOSES OF PUBLE WORSHIP AND THE USE OF SCHOOLS.

BY HENRY EATON MOORE,

EDITOR OF THE N. H COLL. CHURCH MUSICK, MUSICAL CATECHISM, &c. &c.

CONCORD, N. H.

PRINTED AN) PUBLISHED BY MOORE & WHEET.

1834.

By the very flattering success of his former publications, which the Elitor of the present work has received, both from the public and musical societies, he is induced to submit to their indulgence the following collection, consisting of anthems, duetts, solos, choruses, &c., all of which are plain, and consistent with a true spirit of devotion.

Psalmody is a distinct branch, and ought ever to be kept separate from that of set music; and the compiler is of opinion that the time has arrived, or at least is favorable, when such a distinction may be made and carried into effect. Until our common singing schools are classed, according to the several abilities of the pupils, the science of musick will be unlikely to make more progress than it has heretofore done. Would the same benefit be derived, in our primary of elementary schools, if all were jumbled into the same class? And supposing our common school books, which begin with the alphabet, were to include philosophy, astronomy, mathematicks, &c. and end with a few pages of the dead languages, would they not be rendered at once uninteresting, perplexing and deficient? If such a system is wrong in one instance, it must necessarily be so in the other; and the compiler is satisfied, by his own experience, that the endeavor is useless, or nearly so, to inculcate the art of singing in such a way; it has been tested for years, and who will deny that it has lamentably failed in its object? Where there is little or no interest at heart the improvement must be corresponding; and that, which, when simple and consistent, is interesting as well as useful, must, when jumbled into an unintelligible and heterogeneous mass, become as uninteresting as it is useless. Such management, as time has already shown, cannot fail of producing the most undesirable effects; nor need we wonder at the degeneracy of musical taste, when the elementary principles of the art are thus confused, and thereby extensively neglected.

In presenting the following collection to the public, the compiler, while he acknowledges with gratitude the favorable reception he has heretofore met with, feels enabled to say, that neither pains or expense have been spared to render the present work worthy of their approbation, as well as interesting and useful to choirs and societies in general. It will be perceived that a portion is appropriated to original pieces, for which, should they not undergo the fiery ordeal of criticism unscathed, it is hoped there will be apology sufficient found in the consideration, that, in an age of enterprize like this, when improvement is advancing with giant strides to fancied perfection, every attempt to assist its progress, though not, perhaps, highly commendable, may be, at least, worthy of a candid forbearance, even though its success be not commensurate with the hope that engendered such attempt.

MARCH, 1834.

4-in, for, at.

Adagio or Ado.-the slowest time.

Ad libitum-at pleasure.

Fugue, or Fuga-one part falling in after another.

Affettuoso-in a style of execution adapted to express affec- Forzando, or fz.-struck with strong emphasis.
tion, tenderness and supplication.
Air-the leading part, or melody.

Gamut-the situation of letters upon the staff.
Giusto-in an equal, steady, and just time.
Grave, or Gravemente-deep emotion.
Grazioso graceful.

Allegro or Alloa brisk and sprightly movement.
Allegretto-less quick than allegro.

Alto-counter, or high tenor.

Amoroso-in a soft and delicate style.
Andante-with distinctness.

Andantino-quicker than adante.

Anthem a musical composition set to sacred prose.
A tempo-in time.

Pomposo-grand, dignified, lofty.

Prelude-saine as overture, though less in degree.
Presto-quick.

Prestissimo-very quick.
Primo-the first part.

Quartetto-four voices, or instruments.

Harmony-combination of musical sounds
Interlude an instrumental passage introduced between two Quintetto-five voices, or instruments.
vocal passages.

Recitative-a sort of style resembling speaking.
Rippienno-full.

Interval-the distance between any two sounds.
Intonation-making correct tones, or intervals.
Largo-somewhat quicker than grave.
Larghetto-not so slow as largo.

Round-parts following at a given distance.
Semi-half.

Ardito-bold and energetic.

Assai-an increase or diminution of the time of the movement. Lamentevole—in a plaintive, melancholy style.
Base-the lowest part in harmony.
Bis-a repetition of a passage in musick.
Brilliante-a gay, showy and sparkling style.
Cantabile elegant, graceful, melodious.
Canto-the leading melody, or song.
Canto fermo-plain song.

Leading Note-one from which all others are reckoned.
Legate-in a close, smooth, and gliding manner.
Lento, or Lentemente-slow.

Ma-not.

Maestoso-with grandeur of expression.

Ma non troppo-not too much, not in excess.

Canon-a composition so constructed, as to form a perpetual Melody-an agreeable succession of sounds.

Men-less.

fugue.

Chorus-a composition for a full choir.

Chromatic a term given to accidental semitones.
Con-with.

Con furia-with boldness.

Consonants-tones pleasing to the ear.

Forte, F. or For. strong and full.

Fortissimo, Fortis, or FF.-very loud.

an increase of sound.

Crescendo, Cres. or

Con spirito-with spirit.
Da Capo, or D. C.-close with the first strain.
Del segno-from the sign.
Diatonic-regular rising or falling of the octave.
Diminuendo, Dim. or , a decrease of sound.
Dirge-a piece composed for funeral occasions.
Dissonants-the reverse of consonants.
Divoto-in a solemn and devout manner.

Duetto, Duo. or Duett-musick consisting of two parts.
Dolce-sweetness, softness, or gentleness.

E-andr

Expression-sentimental appeal to our feelings.
Expressivo-with expression.

Mezza voce-with a medium fullness of tore.
Mezza-half, middle, mean.

Mezza Forte, or M. For. or M. F-rather loud.
Mezza Piano, or M. Pia, or M. P.-rather soft.
Moderato-between andante and allegro.
Mode-applied to the key.
Motto-much.

Non-not.

Non troppo presto-not too quick.
Notes-characters to represent sound.
Octave-eight successive notes.
Oratorio-a species of musical drama.

Overture-an instrumental strain, which serves as an intro

Piu.-a little more.

Pitch-the highin, or depth of sound.

Poco-little, somewhat.

duction.

Orchestra-the place or band of musical performances.
Organo-the organ part.

Pastorale soothing, tender and delicate.

Perdendosi diminution of tone until entirely lost.

Piano, Pia. or P.-soft.

Pianissins, Pranss, or PP.-very soft.

Sempre-throughout.

Soprano-the treble or air.

Sostenuto sustaining sounds their nominal length,

Soto voce dolce-sweetness of tone.

Staccato—a short, articulate, and distinct style.
Senza-without.

Secundo-the second part.

Siciliano-in a slow and graceful manner.
Soave-agreeable, pleasing.

Spirituoso, or Spirito-with spirit.
Solfagio-application of syllables to notes.

Solo-designed for a single voice or instrument.
Subito-quick.

Symphony, or Sym.—to be executed with instruments.
Tacit-be silent.

Tardo-slowly.

Tasto Solo-no other chords than unisons and octavos.
Tempo-time.

Time-duration of sound.

Tonic-applied to the key.

Tenor-medium.

Trio-a composition for three voices.

Transposition-removing one key to another.
Tutti-all together.

Unison-the same sound.

Veloce-quick.

Vigoroso-with energy.
Verse-one voice to a part.

Vivace in a brisk and lively manner

Voili sullo-tru over dickly.