Being the Chants Used in the Colelgiate Chapel of S. Mark, Chealsea, in the Ordinary Course of the Festal and Ferial Services, for Each Morning and Evening Portion of the Psalter or Psalms of David, Pointed as They Are to Be Sung in Churches
Being the Chants Used in the Colelgiate Chapel of S. Mark, Chealsea, in the Ordinary Course of the Festal and Ferial Services, for Each Morning and Evening Portion of the Psalter or Psalms of David, Pointed as They Are to Be Sung in Churches
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1863 Excerpt: ...observed as the best for the like purpose in ancient times. PREFACE. For the Ancient Ecclesiastical Melodies a claim to great antiquity is frequently made: some writers supposing them to be as old as the time of the Holy Apostles, while others place their date as far back as the age of King David and the first building ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1863 Excerpt: ...observed as the best for the like purpose in ancient times. PREFACE. For the Ancient Ecclesiastical Melodies a claim to great antiquity is frequently made: some writers supposing them to be as old as the time of the Holy Apostles, while others place their date as far back as the age of King David and the first building of the Temple. Before speaking of the structure of the Old Tones in question, and of the other Chants contained in the following work, it may be well to describe, in ns few words as may be, the ancient Systems, Modes, or Scales, in which those several melodies were written. The foundation of the early Greek Scale of seven notes consisted of a series of The Tetrachord or Fourth, four consecutive sounds, as E, F, G, a, the semitone falling between the lower two notes. Tt., ...... This musical Fourth was called a Diatessaron or Tetrachord. The primitive Greek 1 ne foundation of the v1----. Primitive Musical Sys-scale was composed of two such Tetrachords, conjoined; as E, F, G, a, b?, c, d; the Minor'setcnih11'" " " highest note of the first Tetrachord serving also as the lowest one of the second. The "a" was in reality the key-note. To this "System" of seven notes a third lit, development into a Tetrachord was afterwards added, below, extending the compass down to B, and System of an Octave and.... r.. '..S. r i j -i. a half in compass. increasing the number of the notes to ten. This improvement supplied the lower D, and completed an Octachord resembling the modern scale of D Minor.-s v---r-s. B, C, D, E, F, G, a, b7, c, d. Later, again, the low A was inserted, which in its turn supplied the bass note to the Octachord corresponding with the modern scale of A Minor. A, B, C, D, E, F, G, a, b?, c, d. The elev...
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