--- title: Improvement Era description: Monthly periodical of the Mormon church, 1897 onward. This library holds the issues of November 1897 to December 1930. authors: - Kimball, Edward P. collections: - periodicals tags: - magazine - improvement-era periodical: Improvement Era volume: 27 number: 4 published: 1924-02 publisher: Young Men’s Mutual Improvement Associations publisher_place: Salt Lake City language: en type: magazine reference: "Edward P. Kimball, “Church Music Committee: Choristers’ Manual—Lesson V—Notation (Continued),” *Improvement Era 27, no. 4 (February 1924)*: 378–380." source: url: https://archive.org/details/improvementera2704unse transcription: Transcribed from the Internet Archive scan of each issue (the item for each issue is named in the issue's own source); unnumbered advertising leaves are omitted, printed page numbers are kept as page markers. identifier: improvementera2704unse start_page: 378 end_page: 380 rights: status: public-domain basis: US publication 1930 or earlier (published 1924-02) source: https://archive.org/details/improvementera2704unse publication_year: 1924 note: The Internet Archive item metadata carries a blanket "© Copyright by Intellectual Reserve, Inc." notice. The library owner judged it inapplicable because this issue was published in 1924, before 1931; a scan-level notice does not restore copyright. --- # Church Music Committee: Choristers’ Manual—Lesson V—Notation (Continued) CHURCH MUSIC COMMITTEE Choristers' Manual — Lesson V — Notation (Continued) by Edward p. Ktmbat.t. Note: The recommendation is made again here that where possible a capable and trained musician, one who is able to give an authoritative explanation and treatment of this lesson, be secured to take charge of the class, in instances where the chorister is not able to so do the work. (This lesson is based on Gehrken's Music Notation and Terminology) . I. Embellishments. (Ornamental tones, either represented in full, in the printed score, or indicated by certain signs) : 1. Trill (or shake) a. How to play when the sign "tr" is given, b. How to play when the principal note is preceded by a grace note. c. the perfect trill, (in all music since Haydn, except when asked for by the composer for special reason or effect) finishing with turn. d. The imperfect trill, (in all music pre- dating Haydn, in Bach and Handel for example) finishing without turn. 2. The Mordent. Its rhythmic value. 3. The Double or Long Mordent. 4. The Inverted Mordent. 5. The Turn. a. Over the note. b. Following the notes, c. In slow tempo. d. In fast tempo. e. Accidentals above or below, or both above and below, the sign for the turn. 6. The Inverted Turn (rare). 7. The Appoggiatura (grace note). a. Long appoggiatura (note how written. b. Short appoggiatura (note how written). c. Importance in the classics. d. The acciaccatura (unaccented grace note). One authority has said that one's music knowledge may be judged more easily from the manner of playing embellishments than from almost anything else. The subject should not be passed until thoroughly understood. II. Scales. The scale is the foundation of music, and a knowledge of scales is indispensable to reading, intonation, etc. Too much time need not be spent on the subject, but the difference between major and minor scales must be understood. 1. Definition. 2. How Formed? a. Derivation of key signature. b. Meaning of word "key." 3. Major Scale, a. Distance of tones apart, b. Key signature resulting. 4. Minor Scale. a. Meaning of term "relative." b. How formed. c. Dis- tance of tones apart, d. Use of "b" sharp and "e" sharp, e. Use of double sharps. 5. Introduction of Accidentals into a Piece. (Usually means that key [scale] has changed for the time being. Reading becomes simplified if new scale is determined. This is important.) 6. Chromatic Scales. a. Same in all keys. b. Proper way of writing in ascending and descending. 7. Whole-tone Scale. (Rare, but should be understood, so that persons will not think music has been erroneously written and will attempt corrections to make it agree with major or minor scales as understood) . III. Measure. 1. Definition. 2. Time signatures, definition. 3. simple and compound time. 4. Duple and triple rhythm. 5. Time versus rhythm (discussion of the difference, illustrating by application of directions, 3 and 4 under "Measure" Important!) CHURCH MUSIC COMMITTEE 379 IV. terms. V. VI. 3. Motet, Libretto. Tempo. 1. Definition. 2. Finding correct tempo. 3. Tempo Dynamics... 1. Terms relating to. Terms Relating to Vocal Music: 1. Anthem. 2. Acapella 4. Choral. 5. M ss. 6. Cantata. 7. Oratorio. 8. Opera. 9. 10. Recitative. 11. Aria. 12. Lied. 13. Ballad. 14. Folk song. 15. Madrigal. 16. Glee. 17. Part-song. Note: There is much more concerning notation than is contained in these two lessons, but much of it can and will be treated in greater detail in subsequent Lessons, because of its application to subjects that are to be con- sidered. Borglum's Memorials One of the greatest pieces of work perfected by the famous sculptor, Gutzon Borglum, is the Lincoln Memorial in the grounds of the Newark. Borglum's Lincoln Statue, N. J. N J., courthouse. This wonderful figure of Lincoln in bronze, is said to be a perfect physical likeness, and radiates something of the grand and 3 80 IMPROVEMENT ERA noble simplicity and friendliness of the martyred President. As the picture shows, and as was the nature of the man, the artist has made this memorial accessible to any who may care to come. Standing beside Lincoln's figure, to show the comparative size, is one of our young missionaries who reports that almost at any time children may be seen playing about the statue, and admiring the kindly face of the great patriot, friend, and liberator. Fifty-six years ago the artist was born on the shores of Bear Lake, in Idaho, in the shadow of the beautiful Wasatch mountains, amid rugged scenes, wild Indians and horses, and surroundings that brought out all his sense of drama, independence and courage. He has had a wonderful and fascinating career in the United States and in Europe, and among his works of world-wide fame, besides the above named memorial, are an enormous bust of Lincoln in the Capitol at Washington, and the Twelve Apostles in the Cathedral of St. John, the Divine, New York. Other noted art works, are the marble figures,, "Conception," and "Wonderment of Motherhood," "The Wooing of the Centaurs;" General Sheridan on horseback; the seated figure of Ruskin; two mounted Indians called "The Pursued," etc. For the past eight years he has been engaged in what is called the "most ex- tensive sculptural undertaking in the history of the world," — the carving of a Confederate Memorial on Stone Mountain, near Atlanta, Georgia, a solid granite monolith seven miles in circumference at its base, with a surface of rock, uncracked and perfect, 5000 feet wide. There will be 2000 figures in relief carved in the solid sides of the mountain, and the central group of General Lee and six or more leaders of the Lost Cause, will be as high as a sixteen story building. "A horse's head, in this central group will measure 50 feet from ear to nostrils, and the nostrils will be seven feet in diameter." An account of Borglum, and his gigantic project, behind which stands the Stone Mountain Monumental Association and the southern people, is found in the January,. 1924, American Magazine, New York. — A The Boy Scouts Oh, boy band, oh, joy band, March on and blaze the trail, For in your great endeavor, boys, There's no such word as fail. Oh, boy band, oh, joy band, Life's path is rough and long, But stem the tide, and forge ahead With happy shout and song. Oh, boy band, oh, joy band, Fame's mountains all are steep, And while you struggle to the top, A stalwart purpose keep. Oh, boy band, oh, joy band, ; Your laws are heaven's laws: When living by your noble code, Who could on sin's brink pause? Oh, boy band, oh, joy band, Press forward heart and soul, Climb on and on, for on the heights Awaits your sought-for goal. Ogden, Utah. IVY HOUTZ WOOLLEY-