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Hymn Accompaniment - Musical Terms

Hymn Accompaniment - Musical Terms

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Published by Church Organ Guides
A 'standard reference' for musicians generally.
A 'standard reference' for musicians generally.

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Published by: Church Organ Guides on Feb 25, 2008
Copyright:Attribution Non-commercial

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11/19/2012

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^MUSICAL
TERMS:
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.
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85
BOSTON:
OLIVER
DITSON
&
CO.,
277
WASHINGTON
8T
NEW
YORK:
C.
H.
DITSON
&
CO.
 
A
New
Epoch
in
Piano-forte
Playii
METHOD
FOR
THE
PIANO-FOR'
BY
WILLIAM
MASON
&
E,
S,
HOADLY,
The
most
Interesting
and
Practical
Musical
Work
ever
iss;
MR.
MASON
has
long
been
esteemed
the
leading
pianist
in
this
try,
arid
in
this
new
work
offers
attractionsto
tenchers
and
pupils
havenever
before
been
published.
It
contains
charming
Gems
of
ation,
both
simple
and
classical,
from
many
of
the
finest
works
of
nent
composers.
Published
with
American
and
Foreigrn
Fingering,
ia
separate
editic
PRICE,
"
It
great
features
are
the
manner
In
which
tlie
learner's
difficulties
are
antici-
pated,
and
the
clearness
of
the
direction*
that
enable
him
to
surmount
them."
London
Musical
World.
"Thi
'Method,'
for
comprehensiveness,
perfection
of
detail,
and
clearness
of
treat-
ment,
exceeds
any
thing
of
the
kind
within
our
knowledge.
It
is
really
a
grand
work."
Sunday
Times.
$4.00.
"This
is
the
best
Method
for
the
forte
yet
published
;
the
clearness
of
t
rangements,
the
simplicity
of
the
direc
the
admirable
selections,
and
the
thor
ness
of
progression,
together
with
the
1
ful
typography
and
generalneat
app
of
the
whole
work,
recommend
it
for
j
use
among
our
teachers."
Amtr.
.
Journal.
MASON
&
HOADLY'S
fot
The
Latest
Instruction
Book
for
the
Piano-Forte.
UNEXCELLED
IN
ITS
PROGRESSIVE
LESSONS,
EXERCISES,
AND
RECKEATIO
FOR
YOUNG
PUPILS
AND
BEGINNERS.
JUST
WHAT
TEACHERS
NEED,
TO
INTEREST
AND
ENCOURAGE
THEIR
PUPILS
IN
THEIR
EARLY
LESSORS,
PRICE
IX
BOARDS,
$3.0O
 
un-
lied
.in
ipl<
.cd
C
ith
e's
eeis
is;
.Kill
o's't
fter
e
I
del
IDE
imb
1.00
Op
ue
c
usi
ffen
uch
Jluis
int.
tig
ra
<
I
A
1
1
1
n
11
M
A
1
1
W
A
c
'
e
vo
'd
of
melody,
and
in
speaking
of
them
inUlllU
llnlUMAn,
calling
one
piece
"
more
classical"
than
1
music,
other
than
that
written
for
dances
3.
Rolling
Stock.
m
so-called
"classical"
programmes,
pieces
,"
and
even
the
"Bohemian
Girl!"
We
,-ritten
to
the
Montreal
Star
for
a
definition
oon
of
C
MONDA^
TWENl'
that
the
compositions
of
Mozart,
Handel,
iY
instant,
for
the
immedi
assical.
Of
course,
the
Star
is
not
a
ig
Rolling
Stock
:
-
s
to
know
everything,
but
we
think
it
would
:
ars,
all
than
to
have
spoken
authoritatively
on
a
Baggage
Cars,
niliar.
Our
object
in
mentioning
thematter,
rs
.
v,
but
to
show
that
even
in
enlightened
and
ining
of
the
term
is
not
understood,
in
fact
hcations
may
b
sen,
and
ot
c
v-
c
r>
>
a
r\-
,.-
r
-M
on
application
at
the
office
of
ehnitlon
>
from
Grove's
"Dictionary
of
Music
icific
Railway,
Ottawa,
and-Tiusicians,
but
to
amateurs
:
Intercolonial
Railway,
Monct
s
much
the
same
signification
as
it
has
in
to
be
delivered
on
the
Peml
tne
'
r
P^
ace
m
general
estimation
for
acon-
cific
Railway,
on
or
before
erally
considered
to
be
of
the
same
type
and
5y
order
l
^
a
Ppl'
e
d
to
works
in
the
forms
which
were
F.
BRAUN
^
tne
'
ast
century,
as
instrumental
works
in
Secretar^
rece
'
ve
d
traditions
;
and
in
this
sense
the
.
'n
the
controversy
between
the
musicians
who
hose,
like
Schumann,
who
wished
music
to
be
~~
e
free
inspiration
of
the
composer,
and
less
Pacific
Railway
'lece
ost
ilC
ll
,
llt.S110
1<
lew
unit:
Isclu
Juad
.'loth
,
|
^
music
is
not
classical,
and
would
be
out
of
cond
ioomiles
section
Was
1
on
wnat
principle
they
make
these
distinc-be
received
by
theundersij
un
der
distinctive
titles,
but,
as
in
literature,
AY,
the
29thof
March
nexi
tnese
distinctive
titles,
and.
perhaps
without
tend
from
the
end
of
the
mOre
com
P
are
R
ssini
to
Beethoven,
or
Balfe
estern
boundary
in
Manitolf
Thomas
Moore
and
Shakespeare,
or
plain
side
of
the
valley
of
Bird
follows
:
the
printed
fonn,
which
,
thov
?!V
Spohr
Schubert,
Mendelssohri.
'
a
may
be
had
at
the
Pacific
V"',
*%?h
G
Un
d
'
s,
in
Ottawa
and
Winnipeg'
alIaCC
'
Balfe
>
^
erdl
''
^
C
'
f
March
next.
classical
music,
in
fact
they
knew
no
other
y
Order
^
s
were
developed,
and
many
of
the
modern
F.
BRAUN,
times.
Much
of
Mendelssohn's
music
should,
Secretar'
;
and
although
Verdi's
"II
Trovatore
"
and
Canals,
)
i
>
i
i
,.
>.
c
,8S
iida
may
be
considered
"romantic
if
not
i
least
consistent,
his
operas
are
all
of
the
"at
her
lips"
an<l
tin-
"
Power
of
love"
could
"DAPTPTP
D
A
TT
W
even
^'
er
di>
is
beyond
our
comprehension.
.tat-rAlurib
HAlLi^
eras,
and
his
instrumentation
is
much
nearer
j-
Rollins'
Stock'
PP
u
'
ai
"
and
sometimes
humourous
composi-
'
)r.
Sullivan,
who
has
written
"The
Prodigal
,1"
and
many
ballads
of
the
popular
order,
and
nvited
for
furnishinei
CT>-
i
u
i
-\/i
c
t
-^
quired
to
b
delivered
or
1
r
'"
ial
b
>'
J
L
'
r
>'-
Man
>'
f
the
compositions
*-ay
within
the
next
four
yn,
and
others
of
the
present
day,
may
be
con-
ry
m
eachyear
of
aboui
b
t>le
ofthe
earlier
masters;
at
the
same
time
hich
would
be
out
of
place
r.t
a
"classical"
'
:oncerts
given
under
the
above
title
these
few
rs
(a
proportion
befng
slcei-
i
c
,.
i
Cars,
do
r*
ica
'
opera
is
fast
dying
out,
Beethovenand
aggage
Cars,
erdi
;
even
Weber's
grand
operas
have
given
are
8
Ckrs
'
s
f
Wagner.
We
must
confess
that
we
do
not
resources
at
command
and
thestage
itself
has

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