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LESSONS

ON THE
PRACTICE of SINGING,
WITH AN
ADDITION of the Church Tunes, in four Parts, and a Collection of
Hymns; Canons, Airs and Catches, for the Improvement of Beginners.
By Cornforth Gils on. Teacher of Mufic in Edinburgh.
HUMBLY INSCRIBED
To the Right Hon. the Lord Provost, Magistrates, and Council,
AND
The Reverend Ministers of the City of Edinburgh.
Edinburgh, Sold at the Shop of R. Fleming at the Crofs, and by the Bookfellcrs in Town and
Country. M,DCC,LIX.
1
INTRODUCTION.
I
NEED not trouble the Public with any Preface to a Performance of this Kind,
The Utility of fuch Performances is now well known ; efpecially fince the Intro-
duction of the late Improvement in Church Mulic, which now fo happily prevails
in this Country.I mall content myfelf therefore with explaining the different
Terms made ufe of in this little Work, fo as to render it of as general Ufe as poffible.
OF THE GAMUT.
The Ufe and Intention of the Gamut, is to teach the Names of the Lines and
Spaces in the different Cliffs ; and is the firft Thing neceffary for Beginners, and
what they lhould well underfland. It is equally ufeful in Inftrumental Perform-
ances as in Vocal.
OF THE TABLE.
The Table teaches the Names of the Notes, and fhews how they are divided,
from a Semibreve down to a Demiquaver. It alfo fhews the different Proportions,
and the Relation one Note has to another.
OF THE CLIFFS.
To underfland the different Cliffs rightly, is one of the mofl ufeful Parts, both
of Vocal and Inftrumental Performances, as it is by the Cliffs alone that the diffe-.
rent
[ 4 ]
rent Parts of the Performance are known. There are three treble Cliffs ; the firfl
is the Gfolreut, and the other two, the Cfolfaut on the firft and fecond Lines,
The Cfolfaut on the third Line is called the Counter-tenor ; the Cfolfaut on
the fourth Line, is called the Tenor, and the Ffaut on the fourth Line, is called
the Bafs. The principal Ufe of the Cliffs in Vocal Mufic, is to clafs the Voices
proper for the different Parts in the Performance. They alfo enable the Performer
to give the proper Tone to each particular Part of the Compofition. The Gfolre-
ut, or Treble, is the higheft
; the Cfolfaut on the firfl Line is two full Tones, or
a third, lower ;
and the Cfolfaut on the fecond Line, is a fifth lower than the
Gfolreut. The Cfolfaut on the third Line, or Counter-tenor, is a feventh
lower than the Gfolreut ; the Cfolfaut on the fourth Line, or Tenor, is a
ninth lower than the Gfolreut ; and the Bafs is a fifth lower than the Tenor
;
fo that by knowing the Cliffs, you are at no Lofs to find the Tone of each Part in
any Piece or Compofition.
OF KEEPING TIME.
This is one of the niceft and mofl neceffary Parts of Mufic. Without it the
fineft Compofitions are rendered mere Difcord and Confufion. The eafieft Method
to render this underftood and acquired, is by ufing feveral Motions of the Hand,
which differ according to the Movement of the Piece your are to perform. Time
is divided into two different Species, Common Time and Triple Time.
Common
Time
r 5 ]
Time is beat by four Motions, two with the Hand down, and two up, which Man-
ner of beating is continued through all my LefTons in Common Time, except the
26th, which is beat by two Motions, one down and one up. Thefe LefTons are
intended as well for Improvement in hitting the Diftances of Thirds, Fourths, 6^.
as for learning the Time : Befides, the going through fuch a Number of LefTons,
many of which have great Execution, will much improve theThroat, and gradual-
ly teach the Beginner to read.
Triple Time is beat by three Motions, two with the Hand down, and one
up
; which Method is ufed through all the LefTons in Triple Time, excepting
LeiTon 35th, which is marked
J,
which can only be beat with two, one down
and one up; likeways LefTon 36th, marked
|,
which alfo can only be beat with
two; and LefTon 39th, marked
y,
which may be beat either by four or two
Motions. Thefe Marks being always put by the ben: Mafters, as a Species of
Triple Time, I do not pretend to contradict them, but only give the Directions as
to the Manner in which they are ufually beat.
Of GRACES in Singing.
The three laft LefTons, which are numbered
44, 45,
and
46,
are the fame
with one another, and will admit of the fame Harmony; only I have endeavour-
ed to make a Diftinction betwixt the Church Stile and that of Concert Mufic.
The firft of thefe is wrote entirely plain, without any Graces, and when
lung,
will
[ 6 ]
will appear very infipid, for want of the Appoggiature, (or fmall hanging Note;)
unlefs it be fung by a Matter, who will naturally place the Appoggiature, and
adject the Graces according to his own Tafte. I have in the fecond LefTon placed
the Appoggiature> to fhew young Beginners the proper ufe of it
;
and when they
advance fo far, as to be able to fing or play them both Ways, they will eafily be
convinced of the Beauty which it adds to the Performance. The third of thefe
Leflbns is intended to Ihew the Performer the great Difference of Tafte that ought
to be ufed betwixt the Church and Concert Mufic ; the one folemn, and the other
lively, of which I am convinced this fhort Specimen will eafily fatisfy them.
I have altered the Situation of the Parts in the Pfalm Tunes, agreeably to the
Practice of all experienced Writers on Mufic ; for it is certain, that what is vul-
garly called the Tenor, is undoubtedly the Treble, as it is the principal Parr,
and the firft Production of the Compofer. This Part ought properly to be fung
by Women, Girls, or Boys : The Counter-tenor fhould be fung by Men of great
Compafs in the Top of the Voice : The Tenor may be either fung by Men, or
by Treble Voices, as a Tenor Voice and a Treble are fo near Unifons ; but it is
certainly intended for Men. As to the Bate, it is intended to be fung by Men of
great Depth of Voice. But as frequently thefe Parts cannot be diftributed fo pro-
perly as the Mate or Director could wifh, in that Event the Voices you have
mull: bejdivided id the beft Advantage.
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