The Glorious Cause: A Collection of Songs, Hymns, and Choruses for Earnest Temperance Workers (Classic Reprint)
(Excerpt from The Glorious Cause: A Collection of Songs, H...)
Excerpt from The Glorious Cause: A Collection of Songs, Hymns, and Choruses for Earnest Temperance Workers
Now to heaven our prayer as-cend-ing, God speed the right; In a no ble cause con-tend-ing, God speed the right.
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(Excerpt from Model Organ Method
No. 2.-sit in front Of t...)
Excerpt from Model Organ Method
No. 2.-sit in front Of the center key-note dle Put the thumb of the right hand on the C next above middle C; let the first finger be over D, the second over E, the third the fourth over G.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Songs of the Assembly: A Collection of Practice Lessons, Part Songs, Glees, Anthems and Choruses for Classes, Conventions and Assemblies (Classic Reprint)
(Excerpt from Songs of the Assembly: A Collection of Pract...)
Excerpt from Songs of the Assembly: A Collection of Practice Lessons, Part Songs, Glees, Anthems and Choruses for Classes, Conventions and Assemblies
The Practice Lessons in this book are mostly in one and two parts. Should four-part lessons and songs be wanted to go with these Elementary Exercises, they may be found in the body Of the book, beginning with page 26. From that page on, every point in the Practice Lessons may be supplemented by suitable four-dart music.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
George Frederick Root was born on 30 August 1820. He was a music teacher and composer. As a song writer he found particular fame during the American Civil War.
Background
George Frederick Root was born on 30 August 1820 in Sheffield, Massachussets, the son of Frederick Ferdinand and Sarah (Flint) Root, and a descendant of John Roote who was one of the first settlers of Farmington, Connecticut. When George was six the family moved to North Reading, Massachussets
Education
In 1838 he went to Boston for study with the choirmaster and organist, A. N. Johnson, and soon he became his instructor's assistant in teaching, and also his assistant as organist at the Winter Street and Park Street churches.
Career
After beginning his studying at A. N. Johnson's, Root soon became his instructor's assistant in teaching, and also his assistant as organist at the Winter Street and Park Street churches. While in Boston he met Lowell Mason and helped him in his work at the Boston Academy of Music. In 1844 he moved to New York to become singing teacher at Abbott's school for young ladies, and organist of the Mercer Street Presbyterian Church. He was soon invited to teach also at the Rutgers Female Institute, as well as at Miss Haines's school for young ladies, the Union Theological Seminary, and the New York State Institution for the Blind.
In the autumn of 1850 Root went abroad, where he remained until the following summer, studying in Paris with two singing teachers, Giulio Alary and Jacques Potharst.
Following his return to America he established in 1853 the New York Normal Institute, in association with William Bradbury, "to afford thorough musical instruction, and especially to qualify teachers of music" (advertisement in Dwight's Journal of Music, January 22, 1853). The principal teachers at the first session were Lowell Mason, Root, Bradbury, and Thomas Hastings; the assistants were Root's brother-in-law, J. C. Woodman, and John Zundel, organist of Brooklyn's Plymouth Church. Root's success in training teachers led him to follow Mason's example in holding "musical conventions, " gatherings of teachers in various parts of the country, who came from different towns in their districts to learn the latest methods of class instruction in singing. For many years this was one of Root's principal activities, and in many ways it was his most important contribution to the musical development of America. In 1859 he moved to Chicago, for he had already taken a financial interest in a music store (the firm of Root & Cady) which his younger brother, E. T. Root, had founded the year before.
The fire of 1871 ruined the firm, and its book-catalogue, plates, and copyrights were sold to the John Church Company of Cincinnati, with whom Root maintained connections in Chicago under the firm of George F. Root & Sons.
He continued his normal courses, principally in the summer months, when teachers were on vacation.
In 1886 he took another trip abroad and spent most of his time during a several months' visit in England, observing the English tonic-sol-fa methods.
Root's career as a composer was more spectacular than his work as teacher, even though his most permanent cultural contribution was made through his "normals" and his teachers' conventions. His first composing was undertaken to provide a musical playlet for the pupils in his classes. To this end he wrote "The Flower Queen" in 1851, for which the verses were supplied by Fanny Crosby, then one of his pupils at the New York Institute for the Blind.
The cantata was soon published, and much to the composer's surprise, met with a ready sale.
Impressed with the success of Stephen Foster's songs, and newly aware of his own facile gift for melody, Root tried writing songs of his own, in similar vein. Under the pen name of "Wurzel" he published "Hazel Dell, " and "Rosalie, the Prairie Flower. "
Later, as he became further involved in musical education for the people, he dropped his nom de plume and did not hesitate to associate himself with a style of music that was frankly popular. In the years between 1853 and 1855 he composed "The Shining Shore, " an evangelical hymn that has been the best known of his sacred songs.
His first Civil War song, "The First Gun is Fired, " was unsuccessful, but his second venture, "The Battle Cry of Freedom, " composed within a few hours after he had read Lincoln's proclamation calling for troops, was sung throughout the North. "Tramp, Tramp, Tramp, the Boys are Marching" was almost equally popular.
He also composed sentimental songs relating to incidents in the war, such lyrics as "Just Before the Battle, Mother, " and "The Vacant Chair. "
His work as a composer belongs to a past generation, yet it exerted a powerful influence in its time.