Professional Documents
Culture Documents
By
THEODORE
F.
SEWARD,
assisted by B. C.
UNSELD.
BiGLOW
No. 76 East Ninth Street,
&
New
Main, Publishers,
York, and
81
onris o
Coi'YRIGHT, 1880, BY BlOLOW
& MaIM
has
PREFACE.
presented by the authors of this book to the American public, in the firm belief that tlie introduction of the system will mark a new era in the musical history of this coiintry. The ToMc Sol-Fa System presents two widely different characteristics, either one of which ouglit to commend it to all who are interested in music. Together they constitute an absolute demand for recognition.
ITcountr
in
Eng
methods c awaken a
to
lead th
is
compositic
this
count During
thi
movement
side of
This coun
the difficulties
; atid,
ments."
intelligence
and appreciation
"It
number ha But at
tained clei
is
not only a
making
it
been want
nizcd
System is often called, by those who use it, "the natural method." The steps of progression are so easy and natural that both teacliers and pupils find a pleasure in the study that they
The Tonic
Soi,-fa
and
people, ev
It is
new departure
little
in
based upc
donee in
witness
following respect
an opport
its
with the staff notation, in this way a new class of teachers is developed wherever the Tonic Sol-fa System is introduced, viz: persons of education and culture who love music, but who have heretofore been deterred by its technical difficulties from devoting themselves to it. It has been a cc mmon experience in England for such persons to begin teaching the first steps by the Sol-fa method, and, becoming interested, they have gone on studying and teaching till they were led to devote themselves exclusively to music and became among its most intelligent exponents and successful workers.
Seeing
cational p
ftimself to
Ais return,
wnt grides
idvorable
Try the system fairly. Do not omit the best points and fancy you know all about Sol-fa. The various devices and expedients presented in the system are not matters of theory, but the outgrowth ol years of actual trial and experience by many of the best teachers of Great Britain.
This book is prepared for elementary classes of all grades. It embraces the first four " steps " of the system, and is intended for Singing Schools and the various grades of Day Schools. Even the primary departments can be carried through the first steps by the aid of the modulator, handsigns and blackboard.
One
is
of
1
biings so
that
it
h
1
avoiding
the
mind
diffi(
these
accu;Uome
Tlie fol
1.
important to state that the "Tonic Sol-fa Music Reader," is published and approval of Mr. Curwen, the founder of the system. The first steps were examination and were returned approved, with but few and unimportant changes. of Mr. Curwen, his son, Mr. J. Spencer Curwen, who takes his place in directing land, has examined and approved the MS.
It is
with the
The
so
staff,
2.
To
loci
movement
in
Eng3.
be I twen
Orange,
N.
J.
The
re
plica
in th
an, a
INTRODUCTION.
has been known for some years by musicians
in
tliis
Each degree of the staff is so modified in the use of the various keys as to have more than thirty different meanings.
4.
When
a chromatic tone
it
is
introduced there
is
"accidental."
5.
ic,
in the
I
caiintry.
country.
6.
to
com-
Dgnition.
:tice.
it
only a
steps of
that they
ic,
''
in the
the whole
During what may be called the experimental stage of the movement, it is not strange that the attention attracted on this side of the water amounted to little more than idle curiosity. This country had already been the subject of repeated " experiments." New notations and "easy methods" almost without number had arisen, won a few converts, and passed into oblivion. But at last it became evident that tlie English system contained elements of vitality and usefulness which the others had bucn wanting in. Prominent musicians in that country recognized and acknowledj^^ud its educational value, and thoughtful people, even in America were convinced that the system was based upon true philosophical principles. A two-years residence in England and Scotland gave the author of this work an oppurtunity to thoroughly investigate the method and to
witness
its
The intervals of the scale (steps and half-steps) are in no way indicated or suggested by the staff. The minor scale is not individualized by the staff notation,
and remains
mystery.
to the
7.
movement may be
and
8.
vice versa.
The
up and
to
come
as an abstruse
t)3'-a
favored few,
any v.-onder
is
th.it
ieveloped
ve music,
t.
practical results.
is
music?
The
truth
that
tlie
staff
Seeing
believing.
The
notation
is
It
has
le Soi.-FA
to devote
workers.
-FA.
he resolved to devote ftimself to the special work of introducing it in tiiis country on dis return. A practical use of the s3-stinn with classes of dift'er(nt grades and ages since his return has fully confirmed the kdvorable impression already received.
cational purposes
was so evident
the learner
whether or not
it
will
be overcome.
// is not.
f>I'-
system
1.
It
The
is
One
that
it
why
2^rowth ol
" of the
biings so
quicker and better results than the old method, holds the learner constantly to \}i\c practice of music by
difliculties of tlie
staff notation until
effects.
is
much
2.
the
mind
How great
confounded
imary deboard.
is
hard
for
us
to realize
accustomed
1.
lo
earliest years.
The following are some of the more prominent of them The scale is represented in seven different positions on
staff, or,
with those which lead to a change of key. 4. Changes of key, however remote, are clearly indicated by In the words of an acute musical critic, this notation.
(Dr.
the
W.
S.
B.
M.VTHEWS
of Chicago,)
including both
clefs, fourteen.
:ent death
it
2.
To
upon
the
staff,
thirteen signatures
must
clefs,
Eng3.
or,
including both
5.
to know." There is no puzzling out of notes on added lines and spaces, which is always so confusing to the beginner, (and usually
EWARD,
LD.
The
is
exceedingly comits
plicated.
requires for
representation
:
a$,
a!j,
7.
The representation of time is simple and uniform. By this notation the minor scale is easily sung and understood.
IV
8.
INTRODUCTION.
By
the Tonic Sol-fa notation and the method of teaching which properly accompanies it, the principles of harmony are received almost unconsciously, and can be comprethe Tonic Sol-fa College of London. After his arrival in Boston several years ago, he devoted considerable time to the Kinder,
hended from the beginning. 9. It is the quickest and most thorough means of acquiring the
use of the
ular classes
is
tones by colors.
staff notation.
among prominent advocates of the Kinderjarten system, as adds a new educatirnal element to that work. Mr. Batchelloi;
is
of those
who
teach the
staff"
notation in pop-
an
official
enable the learner to read music, and the difficulties are so great that a very small per ccntage of those who begin the study ever really acquire the ability to sing indt. -^ndently at sight.
country.
this
He
book, and
has taken a deep interest in the preparation of its authors are indebted to him for many valua(see
ble suggestions.
The Modulator,
Sol-fa system, on the contrary, developes the
page VIII.)
As
the
Sun
is
the centr(
The Tonic
general musical intelligence of the pupil his perceptions, his It enables him to think music, listening faculty, his memory.
to
7;'rite
of the Solar system so the Modulator is the centre of the Sol-fa system. The Modulator in the Tonic Sol-fa notation takes the
music
it
comes incidentally as a
^
every note
place of the Staff in the common notation. It stands behind we see in the book. From habitual use of it, thu
matter of course.
Another advantage of this method is that it is really a system, from beginning to end. The pupil's way is marked out by a scries of "steps," and a great incentive to industry and practice is afforded by the giving of certiftcatcs to those who prepare to pass the various examinations. These certificates are issued by the Tonic Sol-fa College of London, and are five in number the Junior, Elementary, Intermediate, Member's and Advanced.
Mind's eye always sees it there. It is our "pictorial symbol of In the first steps it shows us the relations of tones in a single key, and at the fourth and other steps it shows the relations of keys to one another. A complete familiarity
tone relations."
is of the utmost importance, for it is imposunderstand the notation properly until it is printed on in fact, until the letters of a tune become not merely the mind a straight line, but "pointers" which at once carry the mind to
;
taken the Intermediate certificate is entitled after a proper examination (For requirements, see page V.) One who has (if th:j pupil. tiie .Member's certificate is catitled to give the three lower ones. Neat and tastefully printed certificates are supplied by the London College at a nominal price, which can be filled in by the
the Modulator.
It is
of
and Elementary,
used a
few'
it
value
is
in the
means
scale.
It will
teacher as needed.
Sol-fa
at its
present stage
of perfection through the experience of many teachers, yet it has liecn chiefly moulded into shape by the wisdom, firmness
be observed that the syllables are spelled with the English sounds of letters instead of the Italian, as has heretofore been Children are not accustomed to to the Italian the usage. sounds in any other words, and there is no occasion for confusing them with these. The open sound oi soh is preferred to
sol as
is
and orf:anizing qualities of one man the Rev. John Cukwkn, whose life of singular usefulness has ended within a few weeks. The educational part of this book the method proper is drawn from Mr. Curwen's various published works, but mainly from "The Standard Course." The authors claim no originalIt has ity for this book except in the manner of presentation. been prepared with great care, taking in every valuable point of the system, but rearranging and condensing for the special adaptation of the method to the musical needs of this country. The " Standard Course," which is Mr. Curwen's most complete
The exchange
twice,
e.
/'..
(si)
i.
The
usu
has the most should not occur more than once. 3. The change gives an additional consonant, and is useful for practice in articulation. 4. In the Sol-fa notation a
unpleasant sound in the language, and
different initial letter is
The
needed
or
se.
teachers are, at
first,
inclined to
effects are
it is
a subject emi-
Mental
harmony, musical form, etc., etc. The "Tonic Sol-faMusic Reader" presents only the broad facts of time and tune, for the use of elementary classes.
training,
Let not the teacher be discouraged if he does not at once grasp the whole matter. The perception of mental effect is cumulative, the more
to
A new and very interesting amplication of Sol-fa principles is now being made by Mr. Daniel Batcheu.or, of Boston, in the Kindergarten work. Mr. Batchellor was a well known Sol-fa
teacher in England, having taken the
method
it.
much pains
to
Advanced
certificate at
master
INTRODUCTION
and it is certainl}' wiser to utilize than to ignore them. The pamphlet " Studies in Mental Effects" furnish a large variety of examples. Steps of the Methou. One of the most useful features of the method is the arrangement of the course of instruction in a The close of each step is intended as a series of graded steps. point at which the work should be revised, and the standing of each pupil ascertained before proceeding to the next. Anything which is left dimly understood or imperfectly practiced in one step, is only a legacy of so much confusion, weakness and discouragement handed over to the next. How many lessons will be required to teach each step it is difficult to say, without knowing the kind of class. Some classes will require one lesiicognizes
V.
them of
not,
Bring on separate slips of paper the names of three tunes, and point and Sol-fa on the Modulator, from memory, one
of these tunes chosen by
lot.
/<?,
\os.
to 9 of tlie "
Two
i
attempts allowed.
3.
Follow the Examiner in a Voluntary by the Manual Signs, or on the Modulator, moving at the rate of M. 6o, and consisting of at least sixteen two-pulse measures, including
Answer
correctly any
one which
the teacher
in the
{e. i
son and
some
The
teacher should
and 160
for the
to 175), or
any corresponding
exercise.
:
The
Certificates.
At
Ele.mentarv Certificate.
Assistants
1.
Examiners
Teachers or
their
made
who
hold the
"
Intermediate."
Elementary Certificate. The value of the Certificate depunds on the known character of the Examiner for strictness and integrity. A careless examination soon makes the pupil ashamed of his Certificate and of the teacher wiio signed it. The special object of these Certificates is to save the pupil from one-sidedness, and to secure an equality of progress in lime, tune, memory, &c., as well as to promote priThey supply to the teacher vate study and discipline at home. also a welcome test of his own work. If he finds his pupils generally failing in the Time Exercises of the Certificate, he knows where his own neglect has been. If their failure is in the Ear Exercises or in memory or in tune, he learns how to improve his lessons. It has been proved by extensive and careful statistics, that those teachers who make the fullest use of tlie Certificates have, on an iiversigc, /our times the success of other
made
for the
Bring on separate slips of paper the names of six tunes, and point and sing on the Modulator, from memory, one of
these tunes chosen
by
lot.
2.
Sing on one tone to la in perfectly correct time, any two of 'Iwo attempts the " Elementary Rhythms," taken by lot.
allowed.
3.
4.
in a Voluntary on the ModuM. 60, containing transition into one of the side columns on the "better method." Pitcii by help of a tuning fork. Sol-fa not more than three times, and afterwards sing to words, or to the open syllable La, any " part " in a psalm tune, in the Tonic Sol-fa
moving
at
the rate of
but
any passages of
5. Tell
transition, or of the
teachers,
fore
to
it
however
may
be.
Thereis
succession (except
is that, in
taken
put /lonor on the Certificates first, by guarding, as far as posthe strictness of the teaching
;
by ear the Sol-fa name of any three tones in stepwise m r d) the Examiner may sound to the syllable "Sca/i," the Examiner having first given you the key-tone and chord. Two attempts allowed.
and second, by firmly proappearance of any uncertificated pupil at a public concert. Any one who gives his pupils the gratification of taking part in a public entertainment before they have taken the trouble to prepare themselves for a Certificate, does an unkindness to his brother teachers and to our whole movement, and a greater unkindness to his lazy pupils. The Elementary
sible,
hibiting the
Manner
It is
of Tetu'hing-.
hardly necessary to say that the ways of presenting the various subjects in this book are not to be followed mechaniThey are illustrations of the manner in which the topics callj'.
may be
this
have his
own way
of
One
membership
an Advanced
class.
needs to be occupied with is the grand motto of the/ Tonic Sol-faist. The new devices of the system the Modulator, Manual Signs, Time-names, and even the doctrine of Mental
system
is
theory.
"We learn
to
do by doing"
Eflfects
Teachers or their
who
are all expedients for leading the student \o practice in other words, to in;
VI
Aw
as seen bij pupils sitting in front of the teacher toward his left hajid. head, rising a little as the tones go up, aud falling as they go down.
FIRST STEP.
SECOND STEP.
THIRD STEP.
SOH.
The Grand or bright tone, the llnjor Dominant, making with Te and Ray the Dominant Cliord, the Chord S, and' with IHih also the Dominant Seventh Chord,
the Chord
'S.
TE.
LAH.
The PiEEciNO or
jor
sensUive
tone,the Ma-
Leading Tone, making with Ray and The Sad or weeping tone, the Major Mih the weak Chord T. Submediant, making with Doh and Me the Chord L.
The Steady or calm tone, the Major Mediant, making with Soh and Te the rarely used Chord M.
RAY. OOH.
FAH.
The RousiNo or hopeful tone, the Major The Desolate or awe-inspiring tone, The Stuono or flrni tone the Major Superionic, making with Fah and Lah the the Major Subdominant, making with Lah Tonic, making with Me and Soh the Tonic Chord R, in which case it is naturally and Doh, the Subdominant Chord, the Chord, the Chord D. sung a komma flatter. Chord F.
JSUd with
Note. ^, *.. I^ese proximate verbal descriptions of mental efect ar ordy true of the key, and when the effect is not modified by harmony.
the ear is
PROM THE
PUPIL'S (NOT
maktk
TAA.
TAATAL
tafatofe.
the
h
Major
and Me
TAAtefe.
TAA-efe.
tafaTAL
AATAI.
.AA.
%ih ear i$
tiAA.
IkkSAI.
SAATkL
VIU
NOTATION OP TIME.
The loug heavy bar
the spnce between the accent marks. The space from one accent niaik to the next reprcKents a Pulse. (Heat, or Part of the measure). The space between the strong accent marks (.long bars) represents a measure.
a me-
TWO-PULSE
MiCASUKE.
THREE-PULSE MEASUKE.
FOUK-PULSB
AlEASUltE.
=
'
II
IIH
Sol-fa
ill
Method makes
I'nise
is
Mill
Thh Tonic
.c?y
of time.
The
mg is named taa.
tise of a system of Time-names to aid in the the unit of meiisnvement, and a tone one pulse
d
TAA
:d
TAA
Id
TAA
:d
TAA
Tho contimmtion of a tone through more than one pulse is indicated by dash, and the time-name is obtained by dropping the consonant
d
TAA
:d
TAA
id
TAA
-
AA
TAA
AA
AA
AA
A pulse divided into halves half-pulse tones is named taatai, and is indicated in the nota^ tion by a dot in tlie middle, (prou. iaii-tay)
tone continued into tne tirst half of the next pulse a pulse-and-a-half tone- is named and indicated thus:
.d
^
^
[
;
and
A pulse divided into quarters is named iqfatefe, is represented by a comma in the middle of
'
A
IS
named
pulse divided into three quarters and a quarter is ramed ,TAA-efe. and is indicated by a dot and comma.
!
j
)
Thirds of a pulse are named taataitee, and represented by commas turned to the right
Silences (Rests) are named by substituting the letter S for T or f, thus a full pulse silence is named SAA ; a half-pulse silence is named SAA on the first half of a pulse and SAI on the second half. Quarter-pulse silences are named sa on the first half and se on the second. Silences are indicated by the absence of notes in the pulse divisions, e. %., vacant space.
J' J* 5'
measure
^ ^
Minuter divisions of the pulse, sixths, eighths, ninths, are eeldom used except in instrumental music. In the Sol-fa notation no diatinction is made between
ja.
ji.
**<'
give you. lie sings a tone which he considers in his own mind on Doh, or E, clearly the lirst tone of the scale, at about the pitch of D and tirmly to the syllable la.
ples
I
We
it
will
now
is
learn the
er tone
ttiii'j is
You may
The dash
all
sing
it.
command
may be
necessary to
XOTK.In (riving out a new fact or principle tho teaoher shouM albo lod wavr .lUi'Mtiiii' :iu impils, that thoy iir,\y not only hear it stiiltMl but writes or to Htato ' I icmsulviH. The tuaclier, as lie given t'.ie nann', Uinni on tlie blackboard, Hoh above Doh, leaving considerablB "p-iiitH
space between them.
NOTF The
liHteu
amples o. while
"Tlio
best."
first
sltntild iioversiiis iirith his pupils, bnt slve exThey shoiiM iltoruH careriilly wliioli ihey aio to iniitato. Mr. Ciirwon siiys, ho sings, ami ho li.ston wliilo tlioy sing
teacher
Now we
iifter
will
me
the tones
.
give you.
Ho that liatons host, sings sung correctly, the teacher may say
is
to Ihten weU.
Listen to
me
again
fifth
The following exercises are specimens of patterns which the teacher may gi '\ The upright lines indicate how much of each exercise may be gi^m as a pattern. The horizontal dash
sho vs that the tone should be prolonged. For the sake of solitary students, who cannot have the assistance of a tcachei, the exercises are printed in the form of diagrams, the arrow indicating the upward or downward direction of the voice. A narrower tyi>e and somewhat altered form is given to the letter (PI), for convenience in printing.
He now
scale, to
sings a tone a fifth higher, Soh, the the syllable la. The pupils imitate.
after
tone of the
in any order
he
Ex.
I.
KEYB D, F and C.
s s s
SOH
s s s
ddd-
DOH
SOH
dd dEx. 3.
Ex, 4.
i-
s J
d a
DOH
d d
d d
\
d
FIRST. STEP.
names on the
to those given
blackboard and without a pattern from me. They Bing, to his pointing, exercises similar
Sing again as
la.
It calling out "Doh," Sob," etc. each tone several times and not to
may
stance
d, d, d, d,
, i, s,
d, d, s, s, d b, d, b, s, d,
eta
Name them once more, and if I sing a different tone from these two, one that is neither Doh nor Soh, you may say New-tone.
He sings as before, the class calling out the names, and after keeping them a little while in expectation, be sings the third tone of the scale Jfe (of course to la), which the pupils at once detect. It is better to let the new tone come in after Soh,
thus,
He points to the names, they sing to la. In all these exercises the teacher will frequently change his keytone, lest the pupils be tempted to try to sing by absolute pitch instead of giving their attention to the relation of tones.
Now
He
I will
I will
sings
sing Doh and you may sing the Soh to it. Doh and then gives them a signal to sing Soh. take a different Doh and ycu may give me the
d 8 -n
it
Soh
it.
to
it.
new tone higher or lower than higher or lower than Sohf The name of the new tone is Me.
Is the
Is
Dohf
SOH
takes a different pitch for Dnh and they sing the Soh to This he does several times, always changing the keytone.
He
What
Where
is its
name
?
it
ME
on the board?
shall I write
You may now name the tones as I sing them, I will ing to la, and when I sing the lower tone, say Doh, and -when I sing the upper tone say Soh. He sings the two tones in various successions, the pnpils
Ex.
5.
See diagram.
DOH
patterns the following or similar examples, singing to the n^mes, which the pupils repeat.
He
KKYH D, F
iind C.
Ex. 6.
SOH
s
n
ME
DOU
0H ME
n
d
\/ n
/\dS
V
\
PI
Ex. 8.
/
PI
DOU
Now
sing as I point.
/
;
The teacher should drill the class thoroughly on these three ^nes, singing them first to the names and afterward to la. The pitch should be changed frequently. Tims far we have been studying the names and relative positions of these three tones, but now I want to call your attention to the most important and most interesting thing about them, and that is their characters, or the effects or feelings they produce upon the mind. One of thera is a strong, firm tone; another is a bright, clear, grand tone; and another is a gentle, peaceful, calm tone. I want you to
find out the character of each
ally to Doh, and then tell me which of these characters it has whether it is ..aim and peaceful, or clear and grand, or strong and firm.
Teacher sings the following phrase or something similar, bringing out strongly the character of Doh.
|d:
|d:d|m:nj|d: |d:m|8:m|8:s|d:
Doh calm and
listen to
II
Is
peaceful, or clear
and firm?
Now
Soh and
tell
me what
has.
You
|d:d|m:d|B:s|B:-|s:in|d:in|8:i|B:
What
kind of a tone
is
jj
may listen
to
me and
Soh ?
FIRST STEP.
him
ikly
to 8in|i for in
Now
listen to
Me.
Id:d|n:diin:8|n:
What What
is
|n:in|8:Pi|d:s!in:
Do f Soh ? Mef
As you
II
you may
and
after
kind of tone
08,
gs the third
xe
I call yofur attention to these characters or mental effects of the tones not as a mere matter of curiosity, but as
pupils at
in after Soh,
a real help
think of
its
in
singing them.
effect
mental
and that
will help
you to sing
it
SOH
correctly.
ME
Let us now learn to sing the tones from signs repreThe strong, firm tone is senting their mental effects. represented by the closed hand thus, (see manual signs). All make it.
DOH
9,
What What
kind of a tone
is its
is
name?
is
singing to
The bright, clear, grand tone hand thus All make it.
'\
n
What kind of a tone does What is its name? And this sign (open hand,
the calm, peaceful tone.
this sign
mdicate ?
What kind of a tone is indicated by this And this? and this? etc., etc,, etc. Give me the sign for the strong tone.
The The
calm tone
Grand
tone.
Strong
tone, etc.
laracters
it
and grand,
ing similar,
s|d:-||
i,
or strong
er
it
has.
II
FIRST STEP.
if
it in full;
the
'^^'
The upper octave of Doh may now be taught by the same process as that used for Me. 'NVhen the pupils have discovered the new tone the teacher may proceed as follows:
Is the Is
it
or lower than
Doh?
Me?
is
^o/i?
The name
of the
new
tone
Doh.
What
is its
name?
Yon may
the
think
it
it
strange that we have two tones with will be explained a little later in the
course.
NOTit. The nature of octaves can be better explained after the complete sc&le has beou taught.
Teacher writes a d in the proper place. In writing, the Upper Doh is indicated by the figure I placed at the top of the letter thus, d', and is called OneDoh. While we are practicing this now tone I want you to be thinking about its mental effect; compare the Upper Doh with the lower and notice whether it has the same effect, or if it is stronger or firmer. Let the new tone be practiced in connection with the others, first by patterns from, the teacher, and then from the teacher's pointing. Then let the teacher by questioning develop the fact that its mental effect is the same as the lower doh, only
stronger or more positive. The manual sign for d' is the some as for d with the hand raised. The foUoNving exercises are given as specimen patterns for the teacher. Sing them first to the solfa syllables,
Where
shall I write
it
on the board ?
and afterwards
to
la.
Ex. 17.
KEYS C and D.
s
d' d' d' d'
d'
d
d'
m
s
d'
n
s
s s
d'
s
d' d'
d'
m
s
m
d'
n
d
n m n
d
di
and
d'
PI
80H
After n thorough drill upon the tones by pattern, from the Modulator, Hand-Signs and so on, the
following exercises may be written upon the blackboard practiced or they may be siing from the book.
Ex. 18.
KEY D.
d
Ex.
19.
m
k:vC.
PI
d
d'
n
s
d'
d'
PI
d
di
ME
d
d'
s
Ex. 20.
s
m
c.
d'
n
S
d'
PI
PI
m
Ki:v D.
p)
d'
m
s
PI
d'
d d
SOH
Ex. 21.
DOH
d'
d'
PI
d'
The teacher may now explain the lower octave of Soh by simply stilting that as we have an Upper Doh, so we may also have a Lower Soh. It is indicated in the notation by the figure 1 placed at the bottom of the letter thus, s,, and is called SohIts mental effect is the same, only somewhat subdued. One. The hand sign for s, is the same as for s with the hand lowered.
Ex., 22-
Let Soh-One be practiced after the same manner as that pursued with the One-Doh, only taking a higher pitch for the key tone.
ME
The
teacher.
KEYS
F,
iiud 6.
11
DOH
II
8,
d d
8| ni
8|
a
8
PI
d i
d
KEY D.
8
S|
d
1]
PI
FIBST STEP.
be
buir
-^le class
is
now ready
Ex. 23.
ignre 1
id
dS|dms8 md
KEY
F.
8l
m
s
Si
d d
d
Onent you
Ex. 24.
KET A.
le
Upper same
d
Ex. 26.
m
KEY G.
d
S|
S|
S|
m
m
d d d
n
8
m
8|
S|
m
8
m
Ex. 26.
d
KEY
F.
m
S|
8{
S|
8|
NOTK.The Tonic
directed to make a downward motion and an upward motion for the weak accent. These motions are not absolutely essential and they are not intended as an exercise in beating time, but merely as a means for the pupils to show to the teacher that they recognize the accents.
pitpils
The
may be
Listen again
to
in the
mind with-
Listen to me, I will sing a familiar tune, and as I sing wish you to observe that tliere will occur in your minds, at regular intervals, a throb or pulsation of some kind that keeps time with the music.
I
In this exercise the teacher will occnsionall^ stop singing measure or two but keeps on tapping in regular time.
The
I will now show you that the accents will or slowly as the music goes fast or slow.
move quickly
Winter,"
Teacher
illustrates this.
is
all these examples that time in music measured by regularly recurring accents.
You
learn from
How
The
cent
is
is
time measured
in
music?
who
may
hold
np hands.
I will sing
time from one stroug accent to the next strong accalled a measure.
is it is
again and
may
indicate
by them by some
is
What What
The
called?
?
a measure
He
pils
sings again, giving a tap for each stronrj accent, the pumaking, perhaps, a downward motion of the hand.
time from any accent, strong or weak, to the next, called a Pulse.
These throbs or heavy tones are called accents. are they called ?
I will sing again
What
What
is it
called?
What
is
a Pulse
each meas-
Listen to me.
and you will notice that after each of these accents there occurs a second pulsation, but of less
force.
He sings a number of measures to la, two tones to ure, accenting distinctly, thus, la la, la la, etc.
After each strong pulse there?
pulses were
sings again, giving a heavy tap for the strong accent and light tap for each weak accent.
II ow
He
etc.
many
The heavy
and
first
li^
weak
accents.
kinds of accents have we ? again and yon may Indicate every accent, ftrong or weak, by some motion of your hand.
I will sing
Uow many
How many
weak
Yes, they were regularly strong, weak, toeak, stroko, weak, weak, etc.
6
Different arrangements of the order of accents
different kinds of measure.
hbbt
makes
step.
What makes
different kinds of
measure?
measure consisting of two pulses, one strong and one weak, is called Two-pulse measure. What is it called? A measure consisting of three pulses, one strong and
weak pulse it is called When is a measthe secondary form. What is it called? ure in the secondary form ? Three-pulse measure may next be practiced with the same process as that just given to the two-pulse measure, or it may be
the measure begins with a
defered until
I will
later.
When When
is
a measure
in the
primary form ?
two weak
near.
is
What is
it
called?
now
write a
number of
:
Listen to
me and
tell
me which
direct.
Teacher sings a number of measures to la, accenting dischanging occasionally from two-pulse to three-pulse measure and back again, the pupils calling out "two-pulse," " three-pulse," at each change. Or he may sing a familiar tune in each kind of mea-sure and require the pupils to tell which kind of measure the tune is in. NoTK 111 tlio Stiimlanl Courseof the Tonic Sol-fa Method the pnpils are not laujilit to beat time until tlielburth stoii. Mr.Ciirwun snya "i'litinctly,
pils Hhotihl not bo allowod to
Taa Taa Taa Taa Taa Taa Taa Taa You may sing them in two-pulse measure commencing
with a strong pulse. Teacher indicates the time by a gentle tap of the pointer on
each pulse.
of time.
* *
"boat" time until they have gaiiieil a sense lU'cauHO no one can well learn two tliiiiss atoiico, antl.cou-
Again, commencing with a weak pulse. Teacher, if he chooses, may have them sung in three-pulse
measure.
seijiirntly, tliose who try to do .so areconstantly toiiuilbeatinj; to their Hi iigjnj; intjtead ol' siiij^inj: to an independent, steady beat. * * * Iieatin(j time can be of no u.se is only a burden to the puniliu keeping time, till it has become almost aiitonuilicnl, until "the time beats itMoil'," and vou know that vonr beallu;: ivill jio ri^ht whatever becomi'sof the voice. Then, and nut till then, the beatiiij; bi'come.t an independent test ut the siuging." American teachers, however, are so accustomed to teaching: counting and beating time I'rom the beginning that the teacher may introduce it here it' he prefers not as a test in singing, liut as a separate exercise as a means or a help ill developing the sense of time. In two-pulse measure the coiinlingH are one two, one two, &c., and the motions ot the baud are do^on up, dinvn ii|i, Sec. In three-pulse liieasnre the countings are onet vo three, one two ihree, &c., and the luutious ate doion left up, doion left up,
You see that as the exercise now stands there is nothing on the board to tell us which are the strong and which are the weak pulses. In the Sol-fa notation an upright bar ) shows that the pulse following it is to have the strong ( accent; the weak accent is indicated by two dots (:) and the Double Bar (||) shows the end. Teacher while he is making the above statement inserts the
I
lengths.
useful to
Taa
I
Taa
the
Taa
Taa
Taa
Taa
Taa
Taa
||
What
pulse long
is
Taa*
is
or Taa-ai.*
fuil
How
to prolong
The "ai"
the tones their
full length.
What
wish to indicate the strong accent we insert the letter R, thus, Traa. This indication of the strong accent by the letter R is useful in the first teaching of accent,
When we
Tlie accent marks are placed at equal distances of spacf and thus represent the equal divisions of time.
and
later
on in
dictation.
You may
pulse thus,
The space from one accent mark to the next, strong or weak, represents the time of a pulse, and the space between the bars represents the time of a measure.
Let this be kept going until all get into the "swing" of the rhythm alternate measures may then be sung by the teacher and class or by two divisions of the class, being careful to keep a steady rate of movement. Then let it be done with a different rate. In this exercise be careful to have each pulse sung fully to the end. If it is not done so, the second vowel, ai, must be added. Later on when the pupils have learned to hold the tones to their full length the ai may be omitted.
What represents the time of a pulse ? What represents the time of a measure? You may now sing the exercise as written.
After it is sung correctlj', at different rates of movement,^ the teacher will write an exercise, beginning with the weak pulse.
thus:
Taa
I
Taa
Taa
Taa
Taa
Taa
Taa
Taa
|1
Let us try two-pulse measure again, but this time begin with the weak pulse, thus, Taa Traa, Taa Traa, &c.
Let this be practiced as above.
at different rates of
movement from
When
*
it is
the teacher's patterns. Then each exercise should be sung to la, teacher writing a " la " under each taa. Then erasing the las and putting a d in each pulse sing doh. Then again with th<following or similiar successions.
What
is it
called?
Aa
aa in fatherai as in psil.
(Taa id
Taa
d
Taa
g
Taa
S
Taa m
Taa m
Taa Id
Taa d
FIBST STEP.
taas.
and
if
make a
;
mistake, you
What
line indicate?
How How
What
Which measure was wrong? How many tones are indicated How many did I sing?
A
What
convenient short name for two-pnlse tones is Two will be a good short name for one-pulse tones ?
^i
in the
second measure
In the lesson now on the blackboard what kind of tone Ones. are required in the first and third measures? In
tiie
Was
it
How
Twos.
long was
it.
Yes, I continued the tone through the second pulse It is called a two-pulse tone. made it two pulses long. What is it called?
tlie
When a tone is continued from one pulse into the next continuation is indicated by a horizontal line, thus,
for continuations
is
prolong the tones their full length, the^ When the lesvowel Ai should be added, thus Taa-ai: -aa-ai. son has been sung correctly to tne time-names and at different rates, it should be sung to la, the teacher indicating la by an J under the time-names.
|
The time-name
obtained by dropping
the consonant, thus, Taa-aa. The teacher, as he makes these statements, changes the second and fourth measures so they appear thus:
Then he may change the measures so as to obtain the folEach exercise should be sung lowing or similar rhythms. several times to the time-names to la and at different rates of speed. They may also be sung in tune, the teacher writing the Sol-fa letters under the time-names as has been already sug-
Taa
I
Taa
Taa
-aa [Taa
Taa
Taa
-aa
||
gested.
Ex 28.
Taa
I
Taa
Taa
Taa
Taa
-aa
Taa
-aa
ll
ll
:1
Ex. 29,
ll
:1
ll
:Taa
|l
:-AA
Taa
1
:
-aa
Taa
1
-AA
Taa
1
Taa
1
:1
Ex.
31.
Taa
I
Taa
|l
Taa
1
Taa
1
Taa
ITaa
11
-aa
-AA
:1
:1
Ex. 33.
Taa
I
Taa
1
-AA
-AA
I
Taa
Taa
1
-AA
Taa
1
Taa
:1
:-
:1
:1
6
Ex.35.
FIRST STEP.
FIRST STEP.
itl
1.
iviug steps.
u,
in two-
:d
:d
10
Ex. 51
FIBST STEP.
KEY
D.
Round
*
is Is
I I
^
ts :8
-
lid'
(
I
8
in
m
Hing
-
:d
ing
t
n
Hal
-
:8
le
-
Id'
llu
-
:d"
jah!
Is
-
:8
-
Is
:
-
Is
-|
:
:
>
)
Join
Hal
le
|lu
jah.'
|A
men.
(In
II
:_
-
In
I
|n
|
:m
-
|m
|
:n
-
Id
|
:m
-
|8
j
m
jah!
d
A
:
-
Id
-I
men,
Hal
le
In
jah!
Hal
le
hi
men.
8 d'.
in three-pulse measure.
If three-pnlse
Ex. 52.
KEY D.
f
d d
:d
:d
:d
:d
KKY
n
d
C.
m m
:s
:
d'
d'
:d'
:d'
: :\
Ex. 53.
d d
:d
:d
:d
KEY Cs
Ex. 54.
d
\
PI
:d :d
Id'
:
:
:-
PI
Ex. 55.
KEY D.
d :n
I
:s
PI
:d
n
A
:s
PI
__
FIRST STEP.
11
first
they
may be
|1
if
the teacher
half
is
Taa
of
of the
the first
is
What
is
the time-name
second half?
in
Second half?
||
:1
it is
:1
|1
:1
|1
:1
The
sign for
|
a dot
the
and after
sung
may
say:
middle, thus,
The teacher changes the measures to obtain the following rhythms. They should be practiced carefully from the teacher's patterns to the time-measures to la, etc.
sing it correctly the first time; with wrong accent the second, and the third time he sin^s two tones in the first pulse of the second measure at which the pupils will say wrong.
He may
Which measure was wrong? Which pulse of that measure ? How many tones are indicated How many did I sing?
in that pulse ?
time (Taa, Taatai and Taa-aa) introduced here with good effect. These signs are generally given with the left hand, to distinguish them from the Hand Signs for Tune, which are chiefly given with the right. Of course the teacher may use his right hand if he finds it easier. The back of the hand is toward the pupils, and the thiimb should not be seen, for we never divide a pulse into five equal parts. The time may be marked either by blight forward and backward movements of the hand, or by the right hand tapping the pulses on the top of the left or beating time in the regular way close
for
may be
Two
Half-pulse
tones sung in the time of one pulse are called Tones or Halves,
by-
What
Taa
also aflfords a most excellent means for It is to Time what the modulator is to
Tune.
12
Taatai-ing in tune.
l>y "tmitain'^'" is
FlIWT
meant
siu>j;iug
STKI'.
to this diMtinct conception of rhythm,
an
it is
exercise (on one tone) to the tiiue-uameH, just as " Sol-fa-ing " is "Taataing in tune " is singing singing to the Sol-la syllablHS. Mr. Curwen says "Ldahv} on one the tUne to the timc-nann's. tone helps to ibrm that nhslrnd idea oi' a rhythm which is deaired. But sueh an idea is n-'ver truly eslablishod until the ear can recognize a rhythm as the sdin", though all the various disTo learn the ahguises which different tune-tbrius put upon it. Btract you must reeotfuize it in miu\ii concretes. A's a help
Exercises 59 to 63 introduce lialf-pulse tones in two-pulsB measure. Eacli cxei'oi.ie biiould be IwUaid on one tone tu secure
correct rhvthui.
^
Ex. 59.
lo.v C,
:d
FIRST STEP.
13
taatni in ium.
It is a
the same
intendefl to be HRetl for time-volunwiiy that the Modulivtor in uHed for tnnp-volin
cise
great advantage
when
The Hand-Signs iu connection with mental effects are be uflecl at every leHson. Thfi Finrjer- Signs for Time are also couHiderod very useful for exerciHes in time.
to
tho answers to these ear exercises can be written bv the pupils and aftcnvard f>xamined by the teacher or liis assistants. The answers should come from nil the juipils, not merely from a few. See pamphlet " Hintw for Ear Exorcises."
Mental Effects shonld be frequently reviewed, accompanied with fresh illustrations. It is only in this way the impresBJon can be deepened. The perception of mental effect is at first very dim, but it is cumulative and the more attention Riven to it the clearer and stronger it becomes. See pamphlet "Studies in
:^Iental Effect."
Writing Exercises. Notation is best taught by writing, tiio thing imted is more <iuiokly and easily practiced when the notation is clear and tuiuiliiir to tho mind. Hence the value of writing exerc'isos. The teacher instructs his pupils to draw on slate or paper four (or eight or sixteen) measures in the primary (or secondary) form, thus:
and
I
:
I I
:
I
:
I
''tc,
or
||
and then
every lesson the teacher will exer<'iso his class in naming the tones he sings. There are several ways in which this may be done. First way, teacher sings several tones to figures and requires the pupil to tell him to which Tims, "Tell me to which figure or figures he sung b or n etc. figure I sing s"
sings d n n 8 d
Ear Exercises. At
may
dictates the notes to be written in each pulse, or write them on the blackboard for the pupils to copy.
he
Dictation. The time-names furnish a means of dictating, by very brief ordei-s, o)tn pulse at a time, "Accent" "Time" and "Tune" at once. The following example would be dictated
thus:
"Taa
"Taa
"Twixi me
"Taa
:d
etc.
'i
"Tell
me
to
which
8
figure I sing
s
d"
B
sings
d m
or n
1
d n d
4
.5
m
7
etc.
12
3 4.')
2 3
The same process is given to other tones. Another way, the teacher sings the tones to la and the pupils make the manual sign for the tone required. Again, the teacher gives the keytone and chord and after a slight pause sings to la, lo, loo, lai or any vowel either d n s d' or s, and requires the pupils to tell him what tone be sung, thus
:
I
close of ouch lesson the pupils should take pride in showing their tea(!lier how many of the previous exercises they can point on tho Modulator anil Sol-fa from memory, ilusittal memory should be cultivated from the first, because it will greatly facilitate tho progress ol the pupil in future stops, and will be of constant service in after life. To encourage this exercise the pupils should be provided with small modulators upon which they can practice pointing at home. Where it is feasible the whole class should be supplied with "Hand Modulators" and point and sing together, holding their modulators in such way that the teacher can over-
Pointing from
Memory. At-tho
?
loo
'
look
all.
II
Again, the teacher sings to la and the pupils name or give the hand signs for all the tones. Again, the teacher sings two or three or four or more tones to la, as, d n d 8, etc., which the pupils repeat after him, first to la, then to the Sol-fa syllables. When the pupils can do this quite readily they will then be required to simply give the names without singing the tones. The teacher may then sing to different vowels, as
8
le
PI
d
loi
Pupils should also be well Writing from practiced in writing tunes from memory. Even where it is diflScult for a whole class to point on their modulators from memory at the same moment, so as to be seen by the teacher, it is not difficult to engage a whole class at the same moment in writing from memory the tunes they have learned. At the close of every lesson, one or two of the exercises should be chosen for the memory exercise of the next meeting. The pupil (at home) should copy that exercise six or ten times from the book, until he finds by testing himself that ho can write it from memory.
teacher must fully underthese exercises he must keep within the step at which the class is engaged. All the topics of the step should be mastered before the next step is entered. For instructions in Voice Training, Breathing etc., belonging to this Step the teacher will consult the Standard Course.
Memory.
lo
la
stand that in
14
FIRST
STEl'.
Wlmt
ai'e
Wliat
is tlie is its
mental
effect of
noh-OM t
29.
20.
thiiH furl
t.
What
t)io
liand-sipnf
Wliiub of thnHe
liif{liurt
lowest touef
Thu
iioxt
T)i lilKbiiHtf
3
4.
Which
in thn more iinportniit, the relative position of IhoHe t4)iieH or tlieir mental etlVclst
How is it indicated in tlio notation < How is time in iniLsic measured? How many kinds of accents have you
What
is tlio
the stronenccent imlicated in the no Tlin weak accent / represents Wliat the time of a pulse? Of a
is
How
tation
measure?
27. AV'hat is the
'28.
AVluit is
tlie
I
Of Mef
Of Soh
5
6.
are these uieutal effeetH reproHenteil to the eyel BesitleH tJie liaiut-si^is and the iiioilulator wliat otlicr way Imvo we of inilicatins or wrilinj; the tones ?
How
learned time from one strong accent to the next stmui; accent called? What is tliu time from any accent to the next
calle.U
How
tlie
is tlie
/
naiiies
29.
When
Is tliero hut
30.
How
a tone is continued from one pulse into next, how is the crjitiniiation marked? are the time-names for continuations obtones are siini: in the time of one are they called? time-name of the first halt" of a
cents or
may
different
urrauso31.
tained?
7.
tj.
What
Mel Sohf
i)Osi(lo
9.
What other
ine,
doh,
oh
10.
11.
What is
Wliat
of une-dohl
is its
liandsijin
Vi.
How
is it iuiliouteil iu lliu
notatiou
ments? What do <liireront arraugomouts of accents produuo? How many kinfis of measure have you learned and wliat are they? Wliat is the order of accents in two-pulse measure* Three-pulse measure? When is a lueasuru in its primary form ? Secondary
I
When two
pulse,
what
tlie
.32.
What
is
33.
How
tation
34,
How
is
PRACTICE.
3.'i.
Sliiir
to
?(T
43.
36.
37. 38.
3it.
Sing in the same manner the Soh-one. Sing in the same manner the One-Doh. Sing iu the same manner the Jfe. Sing in the same manner Soh to any One-Doh
JIfe.
Taatai in tune one of the Exs. 50, 60, or til, but not the same as in the last requirement, chosen by the teacher.
Ditto Soh.
IJitto
Doh.
tell
la.
Ditto Soh,
44.
Point on the modulator from memory anv one of the Exs. 50, 51, 52, 54, 56, 58, chosen by the
teacher.
or write
down
51
45.
46.
Sing in the same manner the Doh. Xaatai the iipjier part in one of the Uxs.
60, or 61.
59,
this step), sung to figures, tell your teacher, or write down, which figure was sung to Me.
Follow the teacher's pointing on the modulatoi in a now voluntary, containing Doh, Me, Soh. Doh^, and Soh,, 'I*aa, Taa-aa and Taatai.
52.
KEY D.
Round
in four part.s.
Ess ET Ykw.
d
II Now
.d
the
II
11
16
SECOND STEP.
In (ulditiivi to the tonex d, n, s, four-pulse and six-pulse measures. tones in their simplest forms.
d'
and
a,
to recognize,
Te,
the
medium
accent ami th
The whole-p\Use
.13
Ray and 7'e the teachor may proceed Bomewhat After reviewing the tones already tauf^ht, and a short drill from the Modulator or hand-signs, he may say:
To
introdxico
follows.
doh,
Xanie the tones I sing and if 1 sing a different tone from tlwse you have learned, one that is not d, n, or 8, you may say new tone.
The teacher next brings up in review the mental effects of me and soh, and then proceeds to dovelope the mental effects of ray and te, somewhat as follows. Now give your attention to the mental effect of ray in the examples I shall sing, and notice first whether ray
rt is
The teacher sings the tones to la, pupils calling out "Doh," "Soh " and so on, and after keeping them a moment or two in
expectation he sings /la;/, the second tone of the scale, (of course to to) which the pupils at once detect as a new tone.
Is the Is
it
gives a feeling of rest, of satisfaction, or whether reverse of that, is restless, expectant, imsatisfied.
exercises,
the
Teacher sings in any key suited to his voice, the following making a slight pause before the last tone.
/Tv
or lower than
Doh ?
Id'
:s
Me ?
All sing
it.
If the
be repeated.
Are you
satisfied
?
to
-io
you
ex-
upper Bay, and there is also an npper Me and an upper Soh. They are called one-Bay, one-Me and one-Soh.
The name of the new tone is Bay. He writes it on the board or shows it on the Modulator. As we have an upper Doh so also we can have an
:s
:s
Id'
:r'
Tp,'
He
writes
on the modulator.
s'
more so?
Name
Listen again.
Teacher
sings.
d'
it.
:
He sings the tones to la as before, pupils calling out the names, and after a moment or two he sings Te, the seventh tone of the scale. He questions the class as to the position of the new tone, writes its name on the board or shows it on the modulator, and also its lower octave. See diagram. He then patterns and points on the modulator
fluch exercises as these
m'
r'
fr'
!l
All sing
DOH'
Satisfactory or expectant?
TE
Listen again.
Teacher
sings.
d'
it.
:
tn'
I
r'
fd'
II
Ex. 63.
KEY C.
II
SOH
All sing
Satisfactory or expectant?
KK\ F.
8|
t,
I
t|
I
s,
n
n
II
Ex. 65.
{|
KKv A.
:
ME BAY
You learn from these examples that ray is a restless, moving, expectant tone, that it leans upon doh or me. But listen again and notice whether it has a depressing, desponding, hopeless effect, or whether it is hopeful, rousing, animating.
m d
I
8, |t,
1,
8|
8,
S|
II
DOH
t,
may
.
repeat.
d'
Ex. 66.
KKV
:
F.
{|8
:n Id
Ex. 67.
njs
K
^
:r
U.
:t,
|t,
:r is
tmis
:8,
|d:
|l
:8.d'
Ir'
:d'.t
is its effect,
d'
d'
r'
m'
r'
What
'l|in:d|m:s
|r
rislmrsr
:s|d:-||
rousing, animating?
WKm
. .
viMiinpiiiiPMIill
16
It will
SECOND STEP.
be well to Ring the exercibe again, substituting doh
for
rut/,
thuH,
All
rs.dMd'
:d'.t
Id'
:8.d'
this will clearly.
!d'
:n'.d'|d'
||
The manual sign for the rousing, hopeful tone is this. make it The sign for the sensitive, piercing tone is this
aud again with ray as at first; will mako my stand out very
it
so strongly leans.
make
it
will illustrate the mental efifect of te. The teacher may use them in his own way, to show that le is a restless tone, with an intense lonping fjr doh, an urgent, sharp, sensitive piercing effect.
The teacher now proceeds to drill the class thorouE;hly in the new tones by means of the modulator, hand-signs, ear exercises, etc., during which practice he will have the tones d m
sung together as a chord. This may be done by dividing the class into three sections, one section to sing doh, another me, and another soh. First let doh and soh be sung together, then (io/i and me ; then ms and soh, and then doh, me and soh all at once. The tcachewill explain that when tones are combined in this way, the combination This particular chord, formed of the tones of is called a chord. d n 8 is called tb chord of DOH, or Tonic Chord. The chord of DOH may be taught in the first step, if the teacher The tones 8 t r* should next be combined in the prefers. same way. They form the chord of SOH, or Dominant Chord. The class is now prepared to take up the :;tudy of the following
8
d
:
m
i
d'
t
t 1
s
d'
:i
d'
d'
1|
m and
produce
a contrast.
:
d'
m
t
m
as
d'
||
Sin"
it
amiin with
:
and then
!
follows
d'
d'
PI
and
exercises.
K\ 68.
Kiiv F.
ound
(Id On
I
d
ward
PI
d
the
s
lent
I
n
riv
:d
er,
t
It,
I
d
imd
night
m
we
to
Day
r
Old
r :r wend our
d
way;
(In
(
I
m
and
KKv
Id
|
m
dens
In
|
m
der
m
er,
n
and
d
idl
t|
t|
d
'
Men
ilx.
mai
won
ev
young
pass
WHY.
69.
F.
(Id
]
I
:d
ter
m
dy
Af
stu
r we
s
shall
find,
n Mu
:d
to
8|
PI
-
r
will
:d
re
sic
.}
(It,
( I
d
the
'
8
.\nd
t,
8|
d
bind.
lieve
mind,
lii'und for four parts.
t
our
hearts
goth
Ex. 70.
KKY 6.
S
Siot
-
d
lands
I
:d
-
>i
|
:s.
-
:d
|
* r
I
on
n
out.
t
V)urn
iug,
Scot
lauds
burn
ing,
Look
r Look
8
I
Is
I
Is
I
t|
:r
d
wa
-
:d
ter,
|t|
I
:r
on
ri.:-.-:
Fire!
Fire!
Fire!
Pour
pour
SECOND STEP.
e
is
17
A. L.
t
this.
Ex.72.
is
Ki
D.
Round
this
(Id
/ I
t,
I
d
go,
)ugly leans.
r
sure
:r
and
PI
m
Says
r
the
J
(
n
tui
-
:d
tie
"Here
Blow,'
d
down
Kx. 73.
S
t|
Id
I
""'
IS
I
s
so
s
I,
.d'
tones d
:n
By,"
.s
:s
.3
id'
|
n>
I I
be
low.
"Not
Mwittly
Sin,L!H
the bird on
high.
then
77ie
and
.S
-
KKY C.
Hound
in four parts.
T. F. S.
beBwill ex-
jombination
the tones of herd. The the teacher
8
now,
Hur
ry
following
re
:d
ter.
n
We d
Tes.
.JIl)l,<J,MIUUU.I.
mmmmmmm
IS
Ex. 77.
SECOND STEP,
KEY
C.
Ex. 78.
KEY
F.
M written. Second time, Soprano and Tenor change parts. Third time, Soprano take Contralto Contralto take Tenor, Hinging instead of Tenor take Soprano.
Vint
t
t,
Second tlmo. Soprano take Tenor Tenor take First written. Third time. Contralto, singing s instead of s,, Contralto take Soprano. Soprano and Contralto change parts. Soprano singing s instead of s,
d:-
'Tenor tak
Third time,
lof
tl
s,
m^WB^Bsmmm
20
SECOND
Sl-EP.
]-:x.
84.
.
K1.Y Ei?.
SECOND STEP.
21
.d
unci
[
and and
When the pupils have distinguished the medium accent and produce it, the teacher will explain that the medium accent changes two two-pulse-measures into a fotir-pulse measure, and two three-pulse measures into a six-pulse measure. In four-pulse measure the accents are arranged in the order strong, wealc, MKpnJM, weak, (as in the words " mo-men-XA-///, " "plan-e-TfL-ry.") In six-pulse measure the accents are arranged in the onler strong, weak, weak, medium, toeafc, weak (as in the words "8pir-i<-u-AL-iThe medium, accent is indicated in the ty," \m-mu-ia-Jiiii-i-iy.") In the time-names, the medium notation by a short, thin bar.
ctai
.d .d
accent is indicated, when necessary (as in dictation exercises) by In Taataing, the L is not the letter L, thus, Tlaa, Tlaatai, etc.
Ex. 85.
22
Ex, 92.
:
SECOND STEP.
Kk\
F.
Round
:
in four parts.
In
I I
n
are
Now
n
met
r
let
we
d
mirth
:d
a
Id
bound,
:t,
d
let
:s,
the
and
Id
catch
:r
and
glee
go
round,
Ex. 93.
KET A.
:d
Sweet
d
sum
-
S|
I
s
pleas
mer
:
n
ant
crowns the
:d
Si
Id
:d
:d
And
u
oiear
S|
Id
skies,
PI
blue
:
with
:d
Si
Id
:d
SECOND STEP,
Ex. 99.
KEY
:
F.
Konnd
Is
way,
in three partK.
go
round.
(Is ; s ] I Come ye
s n
In
I
n
a
ir
way,
Come ye
Id
I
:d
is
:d
a
This
ve
:t, ry
rt,
fine
:
11 sum
-
:d
mers
Is, day,
d
Come
m
a
|r
way.
d
Come
:d
a
t,
WHV.
Ex. 100.
Kiv
D.
Round
in four parts.
d :d
II Mer-ri
-
:d Id :d
ly,
:d
-
irn
|
:r
the
Id
:
:
mer-ri
ly,
sound
horn;
s
I
Cheer-i
ly,
cheer-i
ly,
o'er
the
lawn;
s il Let
:s
It
Is
ring
:8
Is
|
:s
|s
now
loud
and long;
On
ward.
Ex. S
iv^l
101.
KEi
C.
me.
-}
24
Ex. 102.
SECOND STEP.
KEY
G.
M.
C. S.
:
B. C. U.
:S|
:
n
S|
beiini,
nil
nil
the
flay
H*m'H
blight
when
shiul
the
snii
fall,
nitiK
ows
;
:d
:
d d
d d
d
Si
S|
SECOND STEP.
t.
25
u.
c. u.
Ex. 107.
KET G.
s,
Round
:
in fotir parts.
=)
d
II March,
d
march
:S|
d
-
march,
:
way,
* d :d Who are
S
t,
d
for
read
S read
d
fray;
:
m
II Fal
m
ter
r
not
:r
for
n
foe
-
:r
man's
n
ire,
:s
S
-
8|
Now
make
y,
aim
and
shoot!
Ex. 108.
KEY C.
Round
in
two
purts.
T. F. S.
s :d< : II Cuc-koo,
is :d> : Icuc-koo,
It
|
:t
to
:t
the
list
|d> : song;
|
is :n I Sweetly
:d
it
Is
|
:m
:d Ir
the
|
floats o'er
:r :r meadows a
In
|
long.
Ex. 109.
KEY D.
:
Round
:t
on
in three parts.
B. C. U.
d
II See
Ustinguish itaing, the the timeto
|s
|r'
lea,
d'
|s
his
::s
it.
n :song
the bee.
the
hear
s
his
1
raer
t
ry
Id'
I
m :s
I
d<
r
yes,
s
I
:s
it,
In
|
whisper
II
is
Song,
hear
hear
be Taataid
Ex. 110.
KEY C.
:
TAA
/
:d' Who's
:t
I'm
:1
there?
d' sure
:
I
:d' /
:
t
/
:t
vrd
d'
soHnd,
m
:d
:
V
|s
speak,
PV
Id
still,
:s
Don't
:d
keep
:s
hush,
|s
hush.
4 o
n
YES,
:8
'tis
mmm
26
Ex.
112.
xT E^
d d
:::
n
d
un
-
n
to to
:d
Come Come
m
d
an
s
:s
::
:d
n d
wea
that
n
rj'
1
s
ti
:d
-
road,
give,
:8
:
n
Now
s
m
let
Henv . y
:s
:d
28
exerciseB teiMher writes the following
SECOND STEP.
taught foUowB. Pulse and half tones may be on the board.
TAATiU TAA
:l
.1
11
TiiA
The
TAA
the second nu to
TAA
:1
TAA
II
TAI TAA
TAA
:1
.1
11
TAA
1
TAA
:1
TAA
TAATAX TAA
:1
.1 |1
TAA
:1
and explains
and
TAA
1
TAATAI
:1
.1
TAA
:1
|1
TAATAI
:1
.1
TAA
11
TAA
:1
P^lsV^^l" i?iJ Thf exercise exercise w half lon^. The ond, making the tone a pulse and a from the teacher's pattern. The two la-ed and then to be tiitaid
^^Y^^^^^'^^^'^Pl^^'^^
e?cSes
|1
are to be taataid
sung alternately. rX then belaed '^^^^^^^^Z taataid in tune. on one tone and
and
Ex.
115.
TAA
SECOND STEP.
A. S.
Ex. 120.
8|
Pil
1.
KlEFFER. KEY Q.
.8|
GENTLE SPBIVa
:d :d
is
IS
HERE AGAIN.
:-
|d
spring
:- .mi|8|
-
(jen
tie
2.
:).
Years
All
a a
go
lone
1
ber she
:
:- .d
pi
:-.d|d
:- .8| |d
:d :d :d
-
8|
nil
:- .piilSj
tbo sing
life's lot
And
/Vnd
inj,'
WHS
-
And
the
bare
PI
bells
d d
r
t,
:- .d
:- .d
:d
;-
.r |r
her face
;-
r
8|
.r |r
:- .8||s,
S|
:-
.S|
|d
mi
Hi
30
SECOND STEP.
TAA
ta
41
-
fa
te
fe
TAA
1
ta
fa
te
fe
ta
fa
te
fe
TAA
1
m
mustf
:1
:
,1.1
,
,1
,
.1
.
:1
:8
:
|1
,1 .1
,1:1
,1 .1
,1
,in
.d
s
:
fe
m .d
r .r
s
8
8
Ir
,i*).d ,in:s ,r .r ,r
:
,m.d
,8.8
)pe8 are
,r
.8
igth shall^
.
.d
n
n
S|
no
.d d .d
i
Tmnmiammmgmmmmm
S2
s
SECOND STEP.
33
THIRD
tunes.
STEP.
The Standard Scale, To pitch Ttu VTQ'ninent topics of the Third Step are as foUowsThe tones Fah and Lah, completing the Scale. Various combinations of Quarter-pulses. Syncopation. ModifiGlasaification of wicea. The Metronome. The Half-pulse Silence.
of merUal
effects.
>ation
The tones Fah and Lah are now to be taught. The method for doing this need not be described, the same process which was used for r and t will be used for the new tones, see p. 15. The mental
f
n'
effect of Fah, a gloomy, serious, desolate tone and of Lah, a sorrowful, weeping tone, may be shown by the following examples.
KEY C or
d
their list of ;unes for Ibo
it
r'
In
fouvpr.lsfc'
oto,
ieptt.d.
m]j,
F<-r bd-
DOH'
le
StaudtircJ
TE
LAH
jDt pulse f
SOH
Ion?
ilflu-and-a-half-
.ion
quarter-pnls*
I'Rt (|iiarter
i
FAH
of
third?
The
9(1
In the n*tar
li.kY
two meMure*
h the tt-aoher glvu you the t\t by tuatainK in^r tho accent ne, but the twcv
u
DOH
ti
wiilHimplylO'
at
loant tw'
itp,
which,
afv-
li
rate as abore^
34
TUIRD STEP.
scale
is
The Scale. After the tones drnfsltd' have been song in successive order, the teacher will explain that this Each tone of the scale series of tones is called the Scale. dififers from the others in pitch. By "pitch" is meant the highness or lowness of tones. It may be observed that the eighth tone above or below any given tone has the same mental effect and the same name. The two tones are so nearly alike in character that the ear accepts them as relatively the same notwithstanding the difference of pitch.
called
The Standard
Sc^le,
(commonly
They
one of the other. The word octave sometimes means a sel of eight tones, sometimes the eighth tone and sometimes the difference of pitch or distance between the two tones. The teacher
will question the
class
us Natural Scale). The particular degree of pitch which is taken as the key-tone of the Standard Scale is named C, liay is D, Me is E, Fah is F and so on as shown in the diagram. These pitch-names (letters) of the Standard Scale should be thoroughly committed to memory. The correct pitch of this scale may be obtained from a piano or organ, or any of the common musical instruments properly tuned, or, for ordinary vocal purposes from a C tuning-fork. It is a great advantage to have one tone in absolute pitch fixed on the
'
known
d'
"The fifth tone?" Soh. "Which is the third tone?" Me. "The second tone?" Ray and so on.; also questions in regard
memory and it is more easy to do this than is commouly supposed. The teacher will frequently ask
in a man's voice is tlie tuning-fork. In this way the power of recollection is soon developed. In estimating the chances of certainty, ho vever, we should always bear in mind that any
C (which
to the
mental
effects
and hand-signs.
He
C) and then
tests
them with
d n and
a are readily distinguished as the strong, bold tones of the scale, and r f 1 and t as the leaning tones, t and f have t)ie strongest leaning or leading tendency, t leading upward to d and f leading downward to n. The most important tone oft;
bo
the strongest, most restful, the governing tone, is callo the Key-tone. A key-tone with the tones related to it or belonging to it is called a key. A distinction is made between "key" and "scale". A Key is a family of related tones consisting of a key-tone with six related tones and their replicates. A scale is the tones of a key arranged in successive order ascending or descending. The intervals of the scale, large and small steps, &c., will be exjilained in the Fourth Step.
scale,
or mental depression has a tendency to flateven our recollection. Any pitch of the StandScale may be taken as a key-tone. A scale or y iH named from the letter taken as the key-tone, xiie different keys are indicated in the notation by
lily
m
r
the signatures
"Key C," "Key G " and so on. To pitch tunes. Up to this point the teach-
The Standard
tical
Scale.
The teacher
examples that the scale may be sung conceivable pitch may bo taken as the key-tone, und the other related tones will readily take their proper places. It is aeoessary to have one particular scale of pitch as a standard This from which all the othei-s are to be reckoned.
Any
er has fixed the pitch of the key-tone. The pupils themselves should now learn to do it in turn. The tuning-fork and taking the pupil strikes the tone it gives, sings down the scale to the tone he wants. This tone he swells out, i \A then repeats it to the syllable doh, and perhaps sings the scale Farther or chord of DOH to confirm the key. instructions on pitching tunes in the Fourth Step.
Ex. 132.
KV.Y G.
II
THIRD STEP.
Ex. 135.
85
U.
KET D.
Botmd
:f
fare
in two parts.
d Now
:r
In
say
S
well.
f
Our
pleas
-
:8
ant
U
work
:t
18
Id'
[done;
:s
we
Good
d< bye,
:s
then,
:s good
lt|
I
:r
then,
|s
All
:8
1
til
:s
to
If
inor
:r
row's
d
sun.
bye
an
Ex. 136.
KEY
:1
F.
Hound
in three parts.
11 With
the
Is Spring
:
-
:n |s
time
|
:~
:1
comes
the
8 rob
:m
in
Is :f Singing
I
:m
his
|r
:n
:f
re
-
Im
|
oheertui
frain,
*
jl
{
I
:f
a
-
In
way
:d
you
In
I
:
-
Sing
hap
:f py
n
bird
:d
ling,
In :r
I
gain.
r-D
|d
Id
!d
S|
:S|
:S|
|S|
-
II Hark!
hark!
|hark!
hark!
:8| di
:S|
-
Id
I
ous
strain.
d-0
Ex. 137.
KEY D.
Round
in
two
|1
I
parts.
*
ts
in
:
-
:t
ful
id'
I
:8
Shall
Id'
I
;t
:d'
ll
|
:s
the
f
har
:n
-
:r
vest
id
j
fruit
loam.
bear
with
joy
home.
Ex. 138.
d'
:-.d'|t
we
I
f
peace
:-.f|n
a
-|
:-
.dlf
witli|
:m
the
t
grvte
:-.t|d
-
11 While
:s
meet
gam.
Sing
joy
ful
strain.
We
Ex. 139.
KEY D.
:t
Round
d' pleas
in three parts.
S il Hark!
:d'
-
how
ant,
.d' the
It
|
.1
:8
.f
In
|
.r
the
:d
bells.
:s
8
peal
:n
ing.
merry
chiming
of
Sweet
Ex. 140.
KEY D.
Round
in two parts.
r. F. S.
:n
to
n
I
:n
the
:n
|n
keeps
:n
so
:n
n
and
:n
the
f
rain
:n
|d
:r
like
In in
(that, | that.
|8
I
:s
ahall
If
weath-er
storm - y
comes down
-S
:8
ilL
er
|8 have
:8
the
1>.
I
:8
i
:8
lege
pnv
of
wear
:8 ing
in my
:8
d'
Lai.
new
s.
d>
Ex. 145.
KEY C.
\nd \nd
w .n
s.
:-)
FINE.
D.
C*
38
TumD
s
ETTEP.
89
FINE.
.1
to
-
.f
be
as
n
cheer
:r
ful
.
.r
and
can
.t,
d
gay;
tell;
way
max
im,
ma
ny
:t,
ful
n
way
:m
to
.r
be
d
cheer
Si
d
gay-
and
.S|
d
f
do
tri
-
:d
.d
:si
Ex. 150.
wsmmm
40
Ex. 153.
THraD STEP.
KEY
EI2.
Ex. 154.
KEY
F.
d:-
"TS
42
KET
s
F.
TKIBD STEP.
C.
G. AujsN.
I
:s
11
:s
:f
n
tie,
n
d
:r
|1
:n
:d
t,
:d
r
It, die;
m d
:f
:d
:d
where
d
1.
:d
Id
:d
:d
ii
Id
::-
2.
earth- ly
:t, Mera'ries
|r
:d
:r
m
still
charm
while,
0th
s
S|
er
smile;
Breathing Yet we
mur - mur
|s
n
d
:n
:d
|f
:n
:d
:1
Is
:s
:S|
Is
|S|
:s
:S|
f
si
:n
:li
Is
s,
:
:s
:n
Id
:d
n
d
fond
s
:d
Id
:1
Is
d
e'er
MS
:d we we
:f
:li
Id
roam, roam,
f
r
:r
m
Id
cliild
-
:s
m
d
:r
:t,
d
|d
::
:m
t|
:r
|r
qar
-
:f
|s
:-
:t|
:d
hood, hood,
:ni
:d
of
:t|
:d
-
Id
prize,
:-
child
Green the
All
den
where we
ly
played,
joy
s
I
wo
:s
:si
f
fi
|m
Id
m
li
:s
:S|
|s
s
S|
:f
:8,
m
d
1
s
S|
:s
:S|
:r
|m
Id
|d
:-
::f
|d
:-
:d
::1
S|
I
d
:s
:d
:-
:s
|s
:n
:d
jr
lt|
n :f
d :r
|s
:d
d :r
m :r
d
:-
n :d
:d
Id
:-
:t,
Id :d
In oxir dreams how oft they come, roam. Sa - cred still where- e'er wo
s
friends
and h
:m
:d
Is
It,
:s
:t,
:s
|s
Isi
::-
:s
Is
:m
:d
:f
n
d
m
li
:s
:S|
|s
:m
:d
s
S|
:f
:S|
|m
|d
:d
d :d
Id
jd
.s
.
n
pret
greet
m
ty
.f
:r
:t|
well,
r
t|
.n
.d
:f
:r
la
-
.s
:8
s
PI
.s
.PI
-
PI
n
1.
:d
.d
-
Oh! the
Fair the
r .r way - side
on
face
.n
b'rer
f
ro
to
-
:n
ses,
:d
gen
peas
-
.d
tie -
2. 3.
vor
the
as
-
ing
sward, cends,
Comes the
Like
s
S|
thee,
ter,
When be Free as
When the
d'
guiled with
-
na
:s
:S|
lad
daugh
d'
ant
d>
.d'
:s
.s
s
S|
.s
.S|
:s
:S|
.s
.S|
.d'
.S|
:d>
.d'
:s
.8
d
f
.d
.f
.r
or
sie
:d
:r
:t|
spell,
.d
d
f r
:d
.f
:r
:
d
.r
.
.d
.f .r
:d
:8
.d
r
t|
.8
.t|
:t
.8
!8
PI
:r
foot
.r
re -
r
pos
tm
es;
.r
t|
t|
sooth-ing
man
las -
lord,
bends
:s
:8|
thee;
ter.
With a wel - come fresh and Thou from parch-ing lip dost When she leans up - on her
v
.
:pi green,
earn,
pail,
:
s
8|
.8
.8t
o
8|
.8
:8|
.8
.t]
d'
tt
.8
.
.8
d*
.8
:8|
8|
.d
:d
44
s
THIllD STEP.
:
:
:s
:m
It
But
And And
:d :d
d'
n
sir.
-)
sir.
sir. sir.
-!
SBMAN.
:d
46
G>
THIRD STEP.
may now proceed
Classification of Voices. The teacher to a more definite classificaall musical instruments. The diagram on the left will show the usual vocal compass, male and female. The
nearly
pi E'
D'
C
B
A
G.
tion of the voices. He will first explain the difference of pitch between the voices of men and the voices of women. This may be done by having the women sing the scale of several times alone, and then let the men sing it alone. Most of the men will think they sang the same tones the ladies sang. To prove they did not let the ladies sing d (C) and sustain it while the men sing from their d up to d', when they reach their d' they will be in exact unison with the ladies. It will thus be seen that the voices of men are naturally an octave lower than the voices of women. This pitch C, which was just sung in unison, and which stands high in a man's voice and low in a woman's is called Middle G. It is about the middle tone of the usual vocal compass and is common to
teacher may find it useful to draw this diagram on the black-board and have the tones sung at their proper pitch to his pointing. Let all begin at Middle C, the voices of the men and women in exact unison, then as the teacher points sing up the scale together. At the
men will stop, many of them will have to stop before reaching that tone, the
continue up to G'. Then descending the men will join in at G (at the proper pitch) and together descend to G at this tone the women will stop, the men continuing down to G,. Returning upwards, the women will
join in at
women
G and
so on.
Ex. 155.
Kr.Y
c.
Ladies.
:d
C
B. A,
Middle
-G,
Fitj
E,
-5
>
CO
"b
C,
B.
A,
G.
THIBD STEP.
'
d'
47
F>
t
1
<
1)1
c
B
18
THIRD STEP.
CHRISTMAS SONG.
XBT C.
:8
n
ingt
d'
:1
:f
.j:.,mmsm
50
EST D.
:d :d
1. 2.
3.
How A With
THIBD STEP.
MY MOUNTAIN HOME.
KEV D.
M.
90,
beating twice,
S.
Kibfteb, by per.
:m
:d
ly
:s
ing a -
:s
:d
:t :r
The He To
:s
:s,
I.
Doo.
:t,
:r
...'...
im.'^^mm*
52
Second Verse and Cbonis by T. W. KEY A. M. 72.
S| ,f|
THIRD STEP.
D
.d
,1|
SUN SHOWER.
T,
:S|
S| ,S| .S|
,S|
W. Demminoton, by
,r
per.
.Hi ,f|:8|
.d
,t|
:d
.d
.S|
-
r
S|
.n ,n :r
.m\ mi,ri .d| ,ri:ni 1. Sparkling in the sunlight, 2. Clouds are flying swiftly,
Ii ,1|
.1|
,f|
:mi
hills,
Dancing on the
dow.
ing,
shin
,d .d ,d :d
.d
.d|
d
fi
,d
>fi
d
d|
,d .d ,d :d
.d
.
}t|.d ,d :t|
,S|.d ,d :8|
fi >fi
pii
S|
s ,f .m ,f
S| ,S| .S|
:s
:S|
.m
.S|
d ,d.d ,m :f
p\\
f
li
,f .f ,f
,1|
.1| ,1|
:n
:si
.r
.S|
,t|
.m
,r
:d
:
,S|
,pi|.n|,S| :1|
moun
tain,
While
pi,r .d ,r
:n
:d
.d .d
.n
-
,d .d ,d
:d
d,d
fi ,f|
.d ,d
.f| ,f|
:d
:
.f
.
m,r
.d
,t| ,S|
:d
:d|
d,d
8
Put
-
.d ,d
8|
S|
S|,S|.S|
.m
ter,
:8
pat
d
hear
.1,
:d
rain,
,1|
S|
.d
-
:n
,S|
.8
ter,
the
Gen
tie
spring has
f .n come a
t|
,t|
:r
-
gain;
:t|
,d .d ,d :d ,d .d
.8
- ter,
,d
li
,1| .1|
:S|
rain,
Putter, patter,
patter, patter,
Listen to the
n|,m|.S|
.d ,d
m
Pat
:n
pat
-
.s
ter,
f
hear
,d|
f|
.f the
f|
:n
rain,
d
Gen
-
.m
tie
:8
.m
spring has
r .d come a
S| S|
t|
gain;
:8|
f|'f|
Jd|
rain,
.8|
,8|
patter, patter,
Listen to the
8 Pat
.m
-
:8
pat
-
.m
ter
d
soft
1|
.1,
:d
,1|
Si
.d
-
;n
on
ter,
re
froin,
Tap
ping
.r the
d
win
-
.t,
:d
pane,
dow
,d .d ,d
.8
- ter,
:d ,d .d ,d
,1| .1|
:8|
n|,n|.8| ,8| :8| ,8| .1| ,1| :8| 8| ,8| .S| 8| Tapping, tapping, tapping.tipping on the window pone.
m
Pat
:m
pat
-
.8 ter
,d|
f
soft
fi
.f
re
-
:n
frain,
.f|
d
Tap
-
.m
ping
:8 on
.f the
fi
n
win
-
.r
:n
pane,
8|
dow
.8|
,f|.f|
:d|
S| ,8|
KEY D.
Hound
|8
for
for
two parts
d
II War
:m
-
:8
us.
d>
ble
ech
1
:d> o
:1
It
:1
-
|8
f
Soft
:f
-
m
now
:n
our
:r
-
Id
peat.
sweet,
ech
sweet,
ly
song re
8
clear
:f
-
n
ech
:m
- o,
|8
w Gen
its,
(
tie
woke from
sleep.
f :f Gen tie
m
ech
:m
o,
r
clear
:r : Id and deep.
:8 and
n
deep.
KXT 8.
Bound
8
I
I
*
For
:8 health and
:f
m
dai
:m
In
food,
:r
:d
Id
name.
:t,
d
Lord.
strength and
We
praise thy
THIRD STEP.
KKi A.
68
M.
72.
SERENADE.
:d
:mi
est,
!m
liSi
.m
.S|
n
dear
:d .d
while a - round of her dwell ni^ht wind bears
.1|
S|
:s,
:S|
:
.S|
.
8|
S|
8| S|
:8|
:s,
8|
:S|
:
.8|
:mi
thee
-
mi
All
f|
:s,
si
mi
lence
/l.filMp 01,
is
)2.To
/3.
the chain
her ing
:8|
ing,
them
Wliere my Far a -
wi wrapt in love in
deep;
lieu:
mi . Hi While thel
Thro' the?
slum
ber
tant
way
o'er dis
p\
PI] is
plain;
And
theV
:d
:d,
:d .r
n
d| All
m
:S|
:r
.S|
in
o'er
d
.S|
-
:d,
:d,
.d
d,
:S|
fii
wrapt in
d, lence deep;
lies;
slumber
dis-tunt plain;
/
.d
chains
trees
:t|
.1,
S|
Dim.
:d
thee, ing,
dream
fi
:
sleep have bound of love - tones tell in hears ing fair one
.1,
.f
en
ly
:m
lad
.1'
-
m
keep.
rise.
:m
.m
]
stant vig
ils
Con - stant
As on Sweet -ly
der
them,
dreams a
gain.
S|
:8,
.f,
m,
:mi
:s,
thee,
:mi
.S|
t|
.t|
:d
:
.S|
.
d .d
.d
:d
.d
.r
:r
t|
d
keep,
rise.
f;ain.
While the chains of sleep have bound Thro' the trees in love -tones tell And the dream-ingfidr one hears
fi
stant vig
- ils
them,
:d,
.fi
fi
.f,
:f|
.f|
d,
,S\
:S|
.S|
:S|
.S|
d,
:d
vig lad
-
d
keep.
rise.
-
ils
:d .d Con - stant
As on Sweet - ly
s,
ders
dreams
f,
a
:1|
-
gain.
.f,
.1
.f|
lis
m,
keep.
rise.
"aia.
S|
.li
:d
:f|
.d
.f|
:t|
:fi
fi
.f|
d,
64
THIRD STEP.
CANON.
KET
Bt2.
M.
104.
May
PALLS.
m
Now
r
the
1.
No
fl
Pll
foot
steps
r
bird
ri
falls.
d
of
S|
V
THIRD STEP.
EVETTINQ PRAYER.
KT
AiZ.
56
THIRD STEP.
JOWIBT.
Is
:;-
m
|s
rrab!
Id
Id
sky,
tall,
:-
o'er,
fair.
n
d
Id
K6
SET D.
d>
TUIBD STEP,
M. 112.
|d>
:t
:-.l
m
S
:f
the
|8
song |8
Woke
:8
:r
In
THIRD S7RP.
69
8
join
: I
:
::t
!t
8
Je
.8 |8 BQB is
:8
Uie
d'
itA :tj
it
8 8
:n
:8 .f
s .f
|n
I
:
:
>ng
n
und
f
sing,
:m
the :d'
d'
:n
:pi
m
of
id'
join
Let
d' d'
sound from
1
shore to
1 1
shore,
;I
t 8
join
:d'
|r'
itA
:t
.1
:~ I-
:s .f
8 Je
:-.8|8
:s
the
|8
:m
n :8.f|n
:-
BUS
is
ing
:8
11
:r"
Id'
:t
|d'
d
Je
1
:d
BOB
Id
If
If
:f
:1
\n
ev
-
:f
er
-
In
more
Is
inaso.
reigns for-
:8
8 8
:s
:8|
B,
:n
:r
Id
d Now
n
the
n.r|d
ti
Id
m
londi'
do
Bert
lands re
joice.
And
the
meuo,
t,
d
the
|r
whole
I
:n
Yeo,
8 gns with
n
join
|8,
n
Yea,
their voice,
the
Ir whole
ere
60
THIBD STEP.
is an instrument for regulating the It is a penaulum which in a piece of music. M. 60 at various rates per minute. (Metronome CO), in the Tonic Solfa notation means, "Let the fnUaen of this tune move at the rate of 60 in a minute." In the nMe of very quick six pulse measure, the metronome rate is maile to correspond, not with pulses, but with half measures "beating twice in the measure."
The Metronome
movement
rate of
substitute for the costly clockwork metronome is a with a weight nttached to one end a common pocket tapeUieoHure is the moHt convenient. The following table gives the number of inches of the tape required for the dififerent rates of movement. The number of inchcH here given is not absolutely correct, but is near enough for ordinary purposes.
iitring
A cheap
M.
fix
ila
M. 60
in
to begin
smpemment
^n
be conlake us sing
the teacher
3asure, thus:
onome, bo as
e while they it again, on
immediately
the blank
y
)
whispering
62
TUiuD STEP.
Ex. 165.
63
TAA
iSWABO.
te - fe
TAA
:1
te- fe
TAA
1
efe .,1
.,1
TAA
:1
:s
efe .,1
.,1
TAA
1
'
efe
TAA
:1
:pi
TAX
D. C.
.1 .r
,1
.1
.PI
,1
,,1
.,f
.,8
.1
d d
,n :f
:d
,f
,pi
8
1
.PI ,r
.r
F.
.,Pl
:f
:f
Ex. 166.
Key
-
Bound
.r
-
in four parts.
*
:d
sing,
d
II
All
.r
to
:n
geth
Id
I
.t|
n
We d
Sing,
er
let
ua
8 ,8 .8 {I Geutlo-men,
Ex. 167.
.8,
in,
S fS
gentle -men,
8 ,8 .8 gentle -men.
:8
sing,
KEY F.
:
Hound
.
in four part8.
.
He
.S|
d
II Come,
d
come
,r m to the I King
m
ing
:d
school,
.d
Let
in,
He
*
PI
:8
oome,
.m
.d
i
come,
II Come,
8
.8
we'll
n
Ring
.n
the
II There
.d
la
,r
la
:n
la
.n
la
,f
la
8
la
II La
Ex. 168.
KBT
F.
Bonnd
in four parts
^
II
II
tone luid a Bomiua placed
B
L^
8At
64
THIBD STEP.
M.
104.
p
m n
I.
'I.
:J.
:di
:s
.,f
d
child
:n
hood! beams, hood!
Swaying
d'
.,d':d'
.,d
.,d
.,d
d'
:d
:d
d'
:1
Md' s
..f
n
Hap Hap Hap
d'
. -
:f py py py
id'
m
free;
free;
free;
d<
:d
.,d
r'
.,d':t
.,f
.,1
:t
:f
.,f
Swinging *neath the old Swinging 'neath the old Swinging 'neath the old
s
.,1
:t
:s
.,d'
r>
,s
.8
:d>
:di
n
Swing Swing
d'
-
:n
ing,
-
18 swing
ing.
:n
ing.
|8
id
THIRD STEP.
B.L.
EST G.
iya
OAT.
B. LowBT, by per.
.m
8|
1.
.,f
PI
.r
.t,
:r
:t|
glee,
8|
8|
.r
:r
:t,
.,P1
r
t,
.d
.d
:d :d
be?
well,
8|
.PI
:pi
.d
:d
fnll
.,d
of the
to
.,1
d
fnu
tor
t,
Who
80
and
Hap-py
08
2.
toiHe shell,
therg
love
.,d a the
can white so
cat
set
3.
When the
.8
boys,
make her
8
run,
Call the
dogs
and
.,8
them on,
.PI
:pi
m
d
:s
.8
.8|
:s
:s,
8
8|
.8
.S|
:8|
f
S|
.d
:d
..d
.,8|
.d
:d
6
A. S.
XHUID STEP.
Ejtnma.
THIRD STEP.
67
(O.
TO THE MOUNTAIN.
0.
:d'.,r'
d*
PI
:8
:8
.,1
:m
:d
r .n
f .8
.8
.pi
-
n
PI
:8
:n.,f
2.
:m
:in.,f
to the
:d.,d
t|^
:rj]i
tain
;f
a
a
:d
l.Tothf moantain,
)
mooDtoin, mountain,
d>
To the moontain,
vyB
to the
way,
woy. S
tain
:di
:d'.,d'
:8
8 t)8
:s
:
:8
:
:d .,d
:d
:d.,d
:d
:d
.,d
68
TUIKD BTKB,
or C.
f
I
8
:n .,r|d :n .,r|d
thro' the
:m :m
pro
8
8
claim
.-I:
:
:di
:r'
d<
:n
Je :8
r
ho
8 8
-
:f
vah's
Load
8 8
world
:n .,r|d
:m M^ld
:m :n
| I
:8 :8
:d
mo.
:8
ni
:n
Je
I'S
:n
:d
ith
the
:t
:f
Is
70
'
THUID STEP.
ASCRIPTION. S.M.
Exxkt
TBIBD STEP.
the anticipntion of accent It reqnirea an accent to be strnck before its regularly recurring time, elianging a voeak pulse or weak part of a pulse into a strong one,
ia
71
Synoopstion
and the immetliately followinn strong pulne or part of a puis* It niuHt be boKlIy ntnick, and the strung accent on tbe immediately following pulse must be omitted.
into a iceuk one.
Ex. 169.
:T
TAA Hi
Il-iA
:1
:1
II
:1
:1
AA
:1
-AA
:1
TAA
TAA
TAA
TAA
-AA
TAA
TAA
TAA
TAA
TAA
I' TAA
I
'^ TAA
ft
If
Ex. 170.
1
X
TAX
:Ai
C.
.1
TAI
.1
TAI
-
:AA
.1
TAI
.1
TAI
{I TAA
TAA
TAA
:1 TAA
.1
TAI
:1
TAA
SAI
TAA
SAJ
Ex. 171. 8 II
Come
:8 now,
^XKT Bound
I
in two parts.
T. P. S.
:8
II
:r
now,
:I
:t
shall
|8
oh.
come
Or
we
:t be
d'
Lite,
:d'
I
!d'
fear.
(In
1
1
f
we're
If
-
s
right
d
long.
Yes.
com
ing
Ex. 172.
XST C.
Bound
in two parts.
Wk
II
d'
"
If
no,
:-
n
no.
|r
no,
d>
no,
::8
yes.
It
no.
::f
yes,
|s
no,
:n
ye^
no.
tr
yes,
IKXT C.
:d'
yea,
I|
:t
yes,
:1
yes,
:r be
:f
yes.
m
late;
In
yes.
Ex. 173.
Bound
.t
in two parts.
.r
.n
no.
:-
II
.T
now,
II
Come now,
O
:n
no.
come
.8 Or
f
we
.n
shall
.f
too
PI
f
no,
.f
no,
:f
no,
n
And
I
.d'
you,
too,
{| No,
.t must
wait
Ex. 174.
KZT F.
:ni
Bound
in three ports.
(In
i|Cnll
:d
n
call
man.
:-
.d
In
I
:s
.1
roars tbe
Is tem
I
:n .d
pest
j.
and
:n
I
I
.,1^
|d
.d
John
:d .d
is
Id
I
:-
.d
he
Id
I
:t|
.1|
-
|si
|
:-
.t,
fust
foils
the] rain.
sleep,
sleeps
ve
ry
sound,
His)
d
II oom
8 .8 II rap- id
:d
are
.d
at
Id
j
:d
and
.d
his
In
|
:8
is
rest,
boat
.,f a
In
-I
:8
.n
the
:d
xoors
ground.
Loud
.n
er,
.d
so
j.
:-
.1
and
deep;
:n .f
you
coll
Is
I
John,
Is .8 :8| sounder he I
.,8||d
will} sleep.
72
T. P. S.
kkyC
M.
Skwabd.
:t,
74
THUU) STEP.
new
Si).
Miint the acnle alwnyn he Niin<r at the ^ami^ pitcli or may il he .sun;: alililt'eruiit pitclient
46.
IIow
fa
thia tone
f
la
marked
47.
20.
What
the
is
Itrtwi-en
iUh'h
Lah
toiiio!
27.
'iiiici'!)
In the
Key
the
.Scale is dtih.
Whiil
in is i
i.s
6.
7.
Whul What
AVhiil
Fah to Doht ihe ruladvu ixi.sitioii oC Lah to Duht the iiii'iilal fll'.rt of Fah! Of Laht thtt iiiaiiiial Hi;iii tor Fahl For Lah't
itoHitioii ol'
What
the naineof tin- |iitcli that is taken as the Ui'Vlono of the Stamlai il Scale I
IS
iiniiinrked E.'
18.
4!).
How
IIow
would
tliat
marked?
is.
29.
Name What
tlie
i.itch
Soht
Ilaiif
Laht
(The
Willi what octave marks are the IJase and Tenor pai ts wrilteu/
is
8.
Whiil
I'horil Ik I'oniivil
is llio
of the loneH f
dt
s
1
Himilar
i|iieslioii!).)
I
I
50.
9.
What
Huriea uf luuua,
d r
d',
30.
callt'.lf
10.
AVIiii h is tlio flOh tone of the Brnlof Tlie lhir<lf 'I'hitxi^th? ti'at'hcr will nii|i( Thu )ily Mililiii ij;il i|iii'stiuiis, mill al.io i|iiL>liuiid
In the aliscnce of n iiiiisical iiistninient, how may the ciiriecL pilcli of iho Standard Sea \m ulitaiiicd (
regiiiateill
51.
i
What
IIow
lire
52.
is
31. 32.
From what
is
ii
aciilo
or Vey nnineilf
marked
on
11
III
lliu loi-itlai
cH'uctH
ami
Uow
haiiil-Mi;;iis.)
tlill'urH
What)
is iiicniit is
ilin
liiiic
What
is vhe time-nnme nfa nileiice on tlie first half of a pulse? Uii the aecoini liaUW 54. How are hulf-piilso ailencea iKilicuted in the notation?
53.
What
19
13.
Wliat
What
IIuw
till!
34.
What
55.
the
name of
What
two
is
the pilch
that
ntiiiiila
i|iiarler.s
):lvi'ii
calU'il
14.
is tliM
iioialioiil
JH
is
miiMIe
voice
I
a high or a
lo\r
tone in a man's
57.
tet a_l
l.").
IIow
Ifi.
How
octave ImlicattMlT
uf the acalot
.IG.
Is
it
in
a woman's votcot
58. 59.
17.
Iti.
Whlcli
Wlilih
Wliiili
III
37. 38.
39. 40. 41.
the
Iraiiiiij;
lU.
twd
iiiiifH
IrailillU IflliliMIC.vf
30. 81.
To wll;lt To what
loliu iloos
Irail?
W
3.
thPKtrongcat, the
calli-il
I
42.
What
toiK
AVIiiMi
Ih a
family of
loiics, coiislstiii),'
uf a Icey-
43.
aiiil ni.x
S-i.
the toiii-H of II key Hie arraiitied In anociv^nne oi'ih-i, iwcuuiJiug ur duecuiidiug.whut Uu iLey luukut
What are the high voicoa of women cnlledf What is the iisiini coiiip.-isl of the Sopranot What are the low voices of women called f What is the usual compass of the Contniltot What are the high voices of men called What is the usual compass of the Tenor I What are the low voices of men callodt What is the usmil compass of (he llasef
>
What
a
is
llii'ce-4uaiter-]nil.su
CO.
Gt, 02.
now am tliey
What What
What By
is
is its
syncopntioii?
ed'ect
piii.su?
part of a
G3.
is
strong
C4.
what,
nioililled?
65,
I
the Slainlard Scale la the pilch uf the iieyuulu uf uuy key lukunl
The
PRACTICE.
66.
Sin? from memory the nitch of d' ofthe Standard Scale, and sing down the scale.
Strike, from Ihe liiniiiii fork, the jiitch of d' of the Slainlard Scale, and .ling duwu the scale,
77.
Tliu ratu<uf
78.
I.''i7
U.
67.
\.M.
Toint and Solfaon the modulator, from memory, any one of the followiiii; four ICxi'icisea 133, l:ii, 137, 138, chosen by the uxamiiier,
Write, f^iim iiiemnry, anv other of these four UxurciHcs, chosen by tlie examiner.
Tell which istaA,- wliicli
ta
73.
Taatal, from
to
liiO
us above.
8.
Key
D O A r.
tlie
anil Hi'l III li'i.'i. cliimeii by the lirst lueiisurti being naiiiuil,
74.
tbu teacher,
70,
li^xa.
/ah, as directed,
on page
Tuntal on one tone any one of the to Ili8, chu.seu by thu ieticher.
lOG
80.
69. SiiiL'
FaK
to
any hoh
teacher
gives.
70.
TJilfo 7>iA,. Ditto any of ill] tonea uf the acaie the luacbof may choose.
75. Taalai, in tune, any one of the 173, clioauu by the teacher.
76.
Exa.
167, 1G8,
ei.
71. Tuatai,
with accent, a fnnr-pnlae meaanre, at the rate of M. (iO, ftvui memory. At tha rau of M. 120.
Follow the examlner'a poliitinir. in a new voluntary coiilainin:: ail the lolieH of the NCllle, but no ditliculUea uf time greater than the
M>tf atop,
83.
ia sung to la, aa at page 32, i|uestioii 32. Toniai liny ihythni of two fonr-pnlse meaaiirea beloiis io the step, which Ihe examiner shall ia tu you, are page 32, i|iioMtioii 33. Taatal, In lunn, any rhylhiii of Iwo foiir-niifa* nieiuiiiivs iH-loiiKing to this step, whicli Iha exiimlner SuU'iui tu yutl. 8ee page 32, q ! tiwu34.
Ihe scale
75
FOURTH
nM
r
STEP.
boT
It
7b.
The Intervals nf the Scale. Trnnaition io the T^iritt Sharp and the Fir/^t Flat Keys ; Us proeeaa and menial tffed. The tonea Chromatic effects. Cadence, Passing and Exlemled D-ansition. Pitching Tunes. Thirds of a Puise. Beating Time.
A and
ilie Stnndftrtf
ikudAt lb*
liiR
The Intervals
snliject is
is
not
it
t)io
JiaAo
and
leut of a tun
ix- pulse
measfirHt
directed immediutelj' to the clmracter nnd mental effect of a tone ia the Bcale, rather than to its distance fr<nn any other tone. In an elementary cluss tiie Rubject need not be dwelt upon merely the main facts briefly i)resented. The teacher or student who wishes an exhaustive treatment of the matter, is rel'ered to Llusical Theory, liook I., by John
Btti'ntion
now
those who have studied the mental effect of each tone, the study of "transition" becomes very interesting. At the call of souin single new tone cliaracterisiically heard as it cntem the uuisic, the other tones are seen to ucknowlodge their new ruler, ami, suddenly assuming the new offices he requires, to milliliter in their places aroiunl hiiu.
Curwen.
u-c>
<i
on the
ill
The Tonic
lows:
liiiU'i
licaliiil
the
into
10
iliviiled
lotntiont
t to d 1 to t 8 to 1 f to 8 in to f. r to m d to r
TliTiB
5
.
.'.
. . . .
Smaller .Stop. Greater Step. .Little Step .Smaller Stop. Greater Step.
.8
.1)
5
. .
.8 .9
The musical /net, thus didactically state d, may be set before Fimt the minds of pupils in some such way as the following bring up the scale in review, questioning the class as to the mental effects of the tones, the intervals and the two most marked charactcriutio tones of the 8cule. The teacher may then
;
Buy:
Listen to
I
mo
while
.-^iii)^
stay
ill
tlio
it
same key
all
go out of
at uiiy point.
la.
iliviilcil
<|il;il
Into
Two Small
A..
{i
II
tf.rt
lotatluuf
Two Little Steps. The difference between a Greater Smaller Step is called a Komiua: a Greater Stej) conhisfcing of nine Kommas; n Smaller Step, tight Kommas, and a Litripps ami
SET C.
md
It
:m
:8
Is
:m
:t
.1
|1
:!'
Is
::
tle
pulse, or
weak
distinction is made between the Greater and Smaller Stejis, tlioy arc simply called Steps, and the Little Step is commonly called a Hall-Stop.
Step, live
Kommas.
(Jrditiarily,
no
{|8
Id'
Is
:f
In
go out
feel
next following
effect of tones
ITi'ct
Ihb strong
tiuuul loiiutit
also named Seconds, Thirds, Fourths, Sevenths, Octaves, and so on. The interval lioiii any lone to the next in the scale is called a Second; from 'uiy tone to the third tone is culled a Third; to tlu! tb\u-tli tone l'"ourth, and so on. A Second that is ecpial to a Stop is called .^bljor Second; a Second that is eqnii] to a Little Step is called a Minor Second. A Third that is eijual to two Stoiis is called a Major i'hird as from d to n f to 1 or b to t. A Third that is cfpial to one full Step and one Little Stej) (a Step and a Half) is called a Jlinor Third as from r to f n to s 1 to d -or t to r'.
Intervals are
Sixths,
Fifths,
of
it
all
wbcu you
the
key
lias
Teacher now
la,
example B.
B.
{|d
{|8
SET C.
:n
!s
:pi
II
:1
Is
|s
::
tor.
from memICxiTcises
ioiir
lit)
oxiiiiiiiiiir.
h,
as Jiroted,
7'e and Fah are separated by a peculiar interval, called the Tri-tone equal ti> three full Steps it is the only one found in the Scale. Tims f and t become the most marked chamcteristic tones of the scale. From their mental effects t may be odled We sh.ill prethe sharp tone of the scale, and f the Jiut tone. sently see how the whole aspect of the scale changes when f is omitted and a omitted and a new t put in its phice, or when t is new t is taken instead.
id'
:t
.1
Is
:fe
||
the toucher strikos the tone ftr the pupils will, withhold np till ir liunds if they do not, then both examples innst bo repeated.
When
out
diiulil.
Yon
key.
sung
to la, a>
pulse monsnrea
KXiiiiiluur shall
III :i:i.
two
il<|i,
I
fiiiir-nii(
which tb
put{e
M,
i|
IM
the "passing over" of the music from one key into another. (Heretofore this has been called modulationbut in the Tonic Sol-fa syBtem -'modulation" has a different meaning.) Sometimes, in the course of a tune, the music seems to have elected n new covorning or key tone; and the tones gather, for a time, around this new key-tone in the same For this purpose relationship and order as around the first. one or more new tones are commonly required, and the tones, which do not change their absolute pitch, change neverthelesB, To their *' mental effect " with the change of key-relotionship.
Transition
is
feel that the mnsic lins "n.T^^ed over'' into n now This change of key during the progress of a tuue is
now
to repeat the
two examples to
la,
pupils
Let MS now learn what lias caused this transition, change of key. You may sing (solfu-ing) as I point. The teacher points on the modulator the example
above.
76
Did yoa make a transition then, or stay kej? Trj it again, as I point
This time he changes second phrase, thus:
io
FOURTH STEP.
the sa'^e
Teacher sings, and points on the modulator, example B, which the pupils may sing after bim.
E.
{jd
KEY
C.
1
:m
:8
:rn
|1
:1
|8 .8
: :
O.
{|d
{|8
a.Ei C.
:m
:s
|s
:m
:t
.1
II
:1
|8 8
{|8
^1
:b
.1
it
:1
If
||
Id'
Is
:?
Have we made a
same
transition or not?
Has
Listen again, and in place of te we will put a called ta* now notice the mental effect of fah.
;
new tone
of te
Tciicber singfl exuinple to la, pointing as he sings; he points iofah, ou tho modulator, but sings ft.
I
and
E, singing
ia in
the
placf.
Did
new tone?
Was Was
fe;
it is
the
new tone
is
it liiglier
is
called
point,
exactly Avhat If, is to doh. Now sing as I listen to the mental eiVect of aoh, and tell me
it still
mh
whether
sounds
like
mh.
example B, above.
has become doh, soh has become ray, lah ha.s is a new /nA, and so on. have mado a transition into a now key, but a different new key. Tindixlinr/uiKhing tone of this new key is la. It is called the "Fah Key," or (on account of the JIat effect of its distinguishing tone), the First Flat Key. The Fah Key is represented on the modulator on the left of the old, or Doh
Fah
We
Pupils
Wiiiit
Hol-fii,
Key.
Teacher will now pattern and point exam Av the side column, as indicated in euimple F.
(lid
What
did the_/e
E,
i-oing into
sound like?
Yes wh has oluuiged into doh, fern a. new te, lah is changed into rai/, U: into inc., and so on. The teacher may illuHtrate thifi further if he thinks best. You see that Uic tniiisition is caused by omitting /*a^, \\cjlal tone of the old key, and taking fe, the t^harp tone if a new key, in its phice. Fe thus becomes the dixlingui^Jniig tone of the new key. The new key is called the "Soli Key," or (on account of iha sharp elTect of the distinguishing tone), the First Sha7'p Key. The new key is shown ou the modulator on the right of the old key. You see the new doh is placed opposite the old o/i the new
;
IT.
{|d
f.
KKV C.
:n
F.
|s
:n
:r
|1
:1
|s
{|8r
:r
It will
.m |f
:n
.r
|d
|'
bo interesting
now
to review
examples A, B, D, h
andF.
Snch
transitions iw
new me opposite
the old
te,
will now pattern and point on the modulator example B, going into the side column, as indicated in exam-
D,
following.
have just been studied are called trauKitions of one remove, becanse only one chiingo is made in the jjitcli tones used. When ! said to go into the first shnrp key, or 8 becomes d the uins or key of the Dominant. When f becomes d the n-nsii; is saiil l.> key, Eighty go into the first fiat or key of the Snb-Dominant. per cent, of all tho transitions of music are to one or the other of thcKe two keys, and that to the Dominant is tiie one most The relation of these two adjacent keys should be very used. clearly understood by the pupil, and he should be led to notice how the pitch tones change their mentid effect, as described iu
the following table:
jy.
KEY c.
:tn
1
{|d
G.
:m
II
:1
:Id
Piercing t Sorrowful 1
hecomes
"
'*
Calm Rousing
n.
r.
t
:d
for
Grand
{I'd
;m .T Id
:t,
:-
Desolate
Calm
Rousing
Strong
*
m
r
Instead of putting a another experiment. aharj) tone under aoh, in place effah, let us put Ajlat tone under doh, in place of te, and see what the effect will be.
Now
Orand
Desolate
For
FOURTH
eiample B,
d>
STEP.
77
:~
t
t-ta
Returning Transition. Ah h mle, nil tnnes go back again to their principal key, but the returning tronsitioa in not always taken in so marked a manner as the departing transition, because th* principal key has already a hold on the mind, and the ear easily acoeptK the slightest hint of a return to it. Commonly, also, it is in the departing transition that the com poser wishes to produce uis most marked effect, and in which,
he therefore makes his chords deciKive. and his distinguishing tones emphatic. Let it be carefully noticed, that the return to the original key is the same thing in its nature, as going to the hrattlat key, so that a study of the luutuid relatiou of these two keys is the ground work of all studies hn tninsitiim. The pupils should be taught to driiw a diagriim of a ])rin('ipal key, with its first sharp key on the right, and its first, flat key on the left, observing earefully the shorter distances between in f and t d', and to l"am liy rote, the relations ol tlieir notes. Thus, let him say aloud, reading from the middle column to the right, "d f, r s, n 1, fe t, s d," iiud so on: and from the middle column to tiio (ft. "d s, r 1, in t, and so on. It may be interesting to mention, that in i)assing to" the trst sharp key the old 1 requires \o l)e raised a koinma to make it into a new r; and in passing to the lir^^t fiat key the old r is loworcd a kouuii.-i. to inukc a new These changes need not trouble the learner, 1. his voice will naturally make them without any
I
:;hangcd?
t
ft
new tone
of te
h.
a placf
.
'aif,
lah has
ifive
\v is
mndo
Till'
tin-
koy.
called
of
1
its distinis
Key
rop-
old, or Doll
E, ^oing
into
special effort.
:I
:-
I'
leB A,
B, D, h
trnnsitionB iw
10
I
remove, be-
UHCtl.
When
or .nsie \H sniil to
t
.shitrp key,
Notation of Transition. Ton' ^ .Sol-faists always prenotes should correspond with the nioutal elfect of the tones they represent. We therefore adojjt the plan of giving to some tone, closely preceding ;he distinguishing tone, a double ?wim. call it by its name in the old key as well as by that which it assumes in the new, p.-onouncing tlie old name slightly, and the new name emphatically, thus: H' Duh, Jin/, 7" Me, etc. Tliese are called brhlfjc-tows ; they are indicated in the notation by doiiWfl notes, called briJije-notcs, tlius: sd, Ir, "n, etc.; the small note on the left giving the nutne of the tone lu the old key, and tlie large note its uame in the uew key This is called the "proper" way of indicating transition, lint when the transition is very brief, less than two measures long, it is more convenient not to alter the names of the tones, but to write the new t as fe, and the now fas ta.
fer that their
We
tlie
one
luost
is placeii over every written in the "I'l-opor" way. If it is a .iharp (e. i. to the r'ujIU on the modulator) the new distinguishing tone is placed on the ritf/U of the key name, thus, 6. t. If it is tijlat key (e. i. to the left on the modulator) the new distinguishing tone is placed to the left, thus, f F., and so on. By this the singer knows that be has a new t or a uew f to expect. More distant removes would have their two or three distinguishing notes similarly placed, for which, see Sixth Step.
New Key
transition,
key
from the distinguishing tones which ore used. Transition to the first sharp key naturally expresses excitement and elevation; that to the first flat key depression and seriousness.
mmmmm
7s
FOUKTH
STEP.
the same way, and so on with each exercise, singing by the proper " notjition. The oIect of this is, to acquire the ability to U(ip to the 1>ridge-tone. It is needless to sav the teacher may invent his own exercises, in phic of these, if he so prefers.
thns, the first part of ExeroiHe 175 and the second port of ExerciHe 17G. The first part of Exercise 175 and the second part of Exercise 177, and so on. Then take the first part of Exeroiae 170 and connect it with the second part of the others, in
After they hava is indicated for all these exerciaes, it will be better to chanKo the key occasionally to D or E|,. Although key been well practiced, they may be sua<; through ooutiuaously as oue exercise. The small notes indicate the tones as they are named in called the "improper" notation. key
Ex. 175.
KEi C.
:di :d>
8.
t.
Id Id
:m |8 |8
It
:1
|8
I
:d
|t|
fa
:d
:s
In
It
:r
:1
Ez. 176.
SBY C.
8. t
:r
Id
:m |8
:f
|n
"1,
:t,
:n
:t
:r
:1
Ex. 177.
KBY C.
G.t
:r
|m
:d
If
:n
|r
'8,
:1,
:
Ex. 178.
KKY C.
:d'
ir'
in
:f
Is
:d'
It
6.
t.
tn :f
t
|n
It
:r
:1
:d'
Ex. 179.
ttiT C.
G.t.
:f
In
I
:s
|d'
:t
jl
Mr :n jf
1
:r
:1
r
n
-r
k
Y C.
:s
|1
:t
Id'
Ex. 180.
:f
is
:t
|d'
FOUIITU STEP.
inging by the lire the ability lO teacher may
10
7a
Ex. 184.
d>
KKT C.
first flat
key.
:8
II
:ta
II
:f
im
in
:f
:ta
II
:t
d'
!I
prefers.
rter
Ex. 185.
EBT C.
Id'
:m
:t
:d'
:ta
:f
:r
11
:Ex. 186.
KEY A.
r
d
:r
Id
:t.
:1>
8|
Id
:tai
i: ill
:r
:t.
Ex. 187.
KET
1
0.
:m
:fe
Is
:f
:8
fe
:8
:r
II
:Ex. 188.
KET
D.
id
:m
I''
-"
I
:fe
:n
11
=
I'
'
l^'
I"
'-
Ex. 189.
EBT A.
|d
:~
8|
:m
Ir
:d
ta
li
Hi
:tai
:d
:r
:-
Ex. 190.
KEY
F.
|d:|d:tuples of it
:fe
:n
:1
:d
:ta,
11
:t,
:-
Ex.
s
191.
EST
C.
:f
im
:1
:fe
Id'
:ta
II
:r'
d'
:t
d'
:-
Id'
Pitching Tunes. In the thivd Ktep the pnpil vus tanght to pitch the key tone of a time by RingiuR down tlie Standard Scale, stepwiHe, to the tone required. A shorter way may now be taught. In pitching key G the prpil need not run
to G stepwise, but will pitching key F he will take
down
|d'
:~
is pitched bv falling to 1, thus D. thuB,'C' d r' i* d'. the key may be pitched a Uttlo-Rtep higher (sharper), or a little-step lower (flatter), than anv tone of the Standard Scale. The tones thus reijuired are mnined "C shurp," "D sharp,' 'E flat," D flot." etc., and the
Kev E Kev A
upon it at once from a, and fall to the key may be piched by falling to n,
full
C as
In
tone, thuK,
d'
1-ld.
Kev
A sharp bears no is used for "sharp," and \f for "flat." relation to the tone below it, and after which, for convenience, named, but its relation is to the tone above it. It is to the tone above it the same that t is to d, or fe to i. In order to strike it correctly, sing the tone above, and then smoothly deBtend a little-step to it. A flat beara no relation to the tone above it, and after which it is named. Its relation in to the ttm^ below it, to which it is the same as f to m, or la to 1. To pilch it correctly, in the cases of Gb, AJj and Dtj, we should sing the tone below, and then rise to it a little-step. In the Key llo take as 1. thus, C' -1 1 d'. as 3, and sing f- fd. In Key Eb take
sign t
it is
w
C<
KIT
F.
1
FOUBTH STEP.
:d
il.
d
ev
love
: :n
-
Is
:d'
CoBt
back,
-
(2.
As
|3. I
:d
FOURTH STEP.
KBY A.
81
G. B.
8WAnn.
-:
:d
S|
:d
:d
:p1i
|d
PI)
:d
:
:d
:
t| ri
:r
:f|
:r
:f,
|r
Ifi
S|
fi
:r
:f,
-
:r
tbe
to
|r
Ifi
:r
:r
d
nil
:n
:S|
:n |n
:8|
The/
Thro*'
PI)
Hi
-: :d)
am Up in 3. No i
l.I
2.
a tbe die
|si
: :
:-
way.
we,
vor
blos-soms tbe
-
tbe day,
:S|
s,
d, :d|
:d|
:d|
S|
:si
No time
B|
squander in
|S|
:S|
:S|
:S|
:S|
d| :d|
jdi
:-
:n
Once
S|
Pii
:d
:
:d
:mi
tbe tbe
is
|d
I
:d
:d
t| S|
:r
:t|
:r
:t|
r
t,
till,
r
t|
:r
:t|
:r
:t|
1
:d
1|
:t
:S|
li'
:t|
:
:1|
:
|S|
|
Pii
Ou
.
Now
in
:l|
fei
fei
fei
S|
drinkinfj
my
Waking
ers
ing,
at
:d
Summer
/
d| :d|
and
dawning of we must be
S|
day,
sure
S|
Now wbere tbe ro - bob bloom un-dcr tbe bill; Ere tbe brigbt sun kiss tbe dew-drops a - way; Food for tbe win-ter at once to Be - cure:
S|
:d,
d|
:d|
:mi
:S|
:S|
:S|
:S|
|S|
:S|
:S|
r,
:r,
:ri
|S|
:d
Oncei
Wbilei
Fill,
S|
:si :8,
:s,
:8|
If
Ir
fly,
:n
:d ir : we fly. we Bing,
a
:s,
hive,
:8,
s,
S|
fei -
:8, :si
:si
:S|
n
8|
I,
::-
:r
:f|
d
ni
r.
:
:
8|
:d
we we
a
:si
sing, bive,
:d we wo
a
:8|
t.
fly.
:8,
:r
:fi
n
S| I;
My
lows and
and
and
sing, bive,
8|
:-
wing,
live,
we
a
-
wing,
live,
we
a
-
wing;
live;
:si
|si
|8|
:8,
:8,
d,
I
:-
:d,
d,
:-
:d,
d,
:-
pi:n :n
f :-
:r
ant
8
"7-
II
in
Si
FOUBTfl STEP.
FOUBTH STEP.
d
1.
:d
:'ii
:d
:1|
f
:1|
-
:f
:n
:d
en
::
r-td
:f
:f
n
d
dny
n
Hun,
Shin
ning bright
er
till
: :n :-:d
is
-
In
: : :
:
Up
Chil
-
a
ly
bove UB winds
flut
-
the
gold
Hura
the
done;
grain;
-
nier ruin
Nev
blighted
our
the
:f,
gold
See, with
ter
and
:fi
whirl
they go,
|fi
:fi
:-
:d
Id
Down
the
:f,
bnnk
If,
to
:f,
brook
en be
low;
:d
Id
1:1
d :d
:1
:8
:8
:-
:d
:d
:d
Down be - low iind beHe who feed -eth ns Some for a bath nnd f :f :f |n :n :m
04
FOVBTH
KBX
STEP.
ANYWHESE.
EIZ.
FOURTH
8
STEP.
86
:d'
:d
of
onr
will
:1
:f
wmnmm
wsmmmim
86
Kbi
s
FOURTH STEP.
F.
M.
ONWARD CHRISTIAN
120.
SOLDIERS.
:s
js
:s
FOURTH
rlUS.
STEP.
DOO,
:d>
PATHEB OF MERCIES.
Beknabd Schmidt.
Is
Id
cross
d
your
(
:-.d
t|
:d
oura
:n
In
^mim
68
Fanmie Cbosby
FOUBTH STEP.
m
Hi Hur('2. Oh!
11.
.n
,f
:n
:
r
bells,
.d
>
:s,
S|
rail!
.St ,1|
S|
p\\
here
in
we
choras
now
'11
tlie
time
for
bells
miHh and
Id Id
/3.
We
Ld
,d
d d
.d ,d :d
.d ,d :d
.d
.d
.d
.d
p.
Sewabd.
Ill
iimuiiuR'T*
"^^^^^'^'^msfmmm
90
F0X7BTH STEP.
RISE,
KZT
EtZ.
:
CYNTHIA, RISE.
li 100 twice.
Rise,
r :d :r Cyn - thia,
:-
nee.
d'
tip
PI
:
-
d'
toe stands
: jn : :d'
-
In
Is
To :d
:
:s
view
thy
d :- :d
s
:s
:s
: :8
-
tip
toe stands
To
view
thy smil
t|
ing
:d Id:-
n:
:
: :d
:-.f:r In
: :d n
:s
ers
Phoebus on
fleet - est
coura
sd :-.r:t| |d
: :S| d : :n
t
all
;pi :r
his
^s
Eb-D.C. j^ : 8
Th
;f :8
'.ace.
rir - cling
S|
: :f|
|".t|:
n njr :n
1
The
r ;d :t||<^8
all
:
?
1
cir
:-:l
-
his race.
cling
81
: :s,
r^si
d,H.
ll
:-: |r
in
ah!
Hook.
11
:-:t mom on
Id
: :f
jd': :s
If
mom on :-:r
jd
: :-
borne,
[n
:s
in
fair
: :S| : d :m
S|
fair
in
d|
: :d|
|n
5
: :S|
Then
eye;
8
J
eye;
wmmgm
92
FOURTH STEP.
94
FOUBTH STEP.
BEST,
KKT
Bi2.
WEABY
|d
FILGBIM.
From
S. S. 0.,
or T. T. B., or B. C.
be
li
Domzxm
I
V
8,
I.
2.
May
sung
in key 0, by S. C. T.,
loveest
re
;
1
n
8,
:r
:lai
ro
-
n
8|
|d
|8|
-
n
d
And
8|
|8|
:S|
-
fei
:
from
till
I
|lai
toil
:
-
: :
:
:m
:r
-
|r
Rest, Rest,
wea weo
|di
ry ry
pu pu
d,
grim!
poB
ing, ing,
flight's
dark'-ning
birda a
Isoi
grim
Id,
mora-ing's
If.
:fi
break
d|
d|
:
:
:-
:d|
::r
Imi
:se.
n
d
abnd
If
|r OWB
thee
|r,
r
t,
ere*.
\n
Id
ibee
d d
clos
Id Id
ing;
ing;
I
r
ti
:n
?-
:
I
round
blithe
8|
:
are
Drear
round
li
songB are
1
wok
Pli
Hark
S|
:-
8,
:8|
Hi
FOURTH STEP.
KKT 6.
.8|
I
9f
THE MILLEB.
ZoiiLNzm.
,8|
DoNiniTXX.
:pii
.f|
.}li
:8|
:
.d
:m
:r
-
|r
ll.
To
won
see
der
it
is
dark'-ning
birds a
Isci
from
al
.
We
thia
-
U. Oh!
won
d'r
ing
mU
flow
in
is
ler's joy.
.d To
In d
wan
lenmt
see
-
.,r
:d
is
.r
.fi
n
8.
.,f
.,li
:i*i
.d
v8| :ni
der
it
:8|
.d
ing the
stream, We've
wheehi, We
joy.
from
al
-
this
d'r
y
J
Ob!
wan
ing
mil
flow
in
is
ler's joy,
To
ing the
stream, The
wheels, the
joy,
:
my
:
Oh!
.PI
:sei
:
.d
.8,
Id
Hi way
est
II.
n
d
wan
flow
..
'
:r
:t,
.
d d
.
.8,
r
t|
.r
.t|
:n,r .de,r
:t|
oil
ti
.r
.8|
.8,
.t
8|
:si
S|
der.
The
It
ing
stream, wheels,
ing.
bus
y
der
Which
Tare
.8
-
rests
do by
a
-
love
to
roam,
night,
To
Its
day
lone
nor
turn
wan
8
my
.8
.8|
pa
rents,
by friends and
.8
.8|
day,
IJut
home,
Let
.8
.8,
:f
Sl|
f
8)
:f
:8|
.8
.8,
f
8|
:f
:8|
-Id
jsi
r
theet
i
.t|
:n, r
tU
fol
de,r
lage,
t|
.r
.3i
:8|
.8,
i|
.t,
.t,
:d :d
vil
.r
ingi
JPI,
:
ti
.ti
8|
:8|
light,
.ai
1|
leave
their
it
coarse
lows
all
home, To
-
leave
conrs?!
their
it
it
Its
fol
keep
it
np
-
gay,
But
.8|
.S|
keep
up
-
me
f
on
.8
.8|
to
the
.8
.8|
wide world
roam, Let
me
1| 1|
un
.t,
to
:f
:8|
f
S|
.8
.8|
:f
:8|
:d
-|~:
8
.t,
:d
8
:8|
t,
8
t|"
:si
-I-:
wan
flow
der, ing.
By.
bn wan
der.
der,
-
wan
flow
ing.
By.
mg.
By.
der,
bu wan
If
tlie
r
I
It
:8
J8|
r
S|
:f
:8|
:n
iu
KKT
8 II Soh,
d'
C.
.
Bound
fe
:
in fonr parts.
8
Isoh,
.fe
fe,
:8
soh.
ilftf
fe,
soh,
me,
re,
me.
.i
:8
-
.n
and
[I
Now
be
ware
d* sing
.1 with
:8
care.
.n
And
d
keep
d
ev
,d
-
m
voioe
s
in
'ry
96
FOURTH STEP.
MURMURING BROOKLET.
Mart
KBT
s,
BI?.
G.
Sewabd.
Bcpeatpp. D.O. 5^F.
t.
Schumann.
n,:Loo
:- :-
FOURTH STEP.
Bl?.
t.
97
3HUMAKN.
: :
: :
PI
:
.
Loo.
If :-
:-
"|ijjr'":d*
pure
as
:-
:-
:d
not
s
when
:m :d
;pi
s
not
s
:d
when
:n :d
Si
:-
done.
S|
;;-
;s
S|
;8
done.
S|
:-
:s
i;
TrS!?l!S!!!mHtS!!!9''*1!"^SR99
96
T. P.
a
:fei
KET
8|
AiZ.
Sbwabd.
:n
:8|
flowers,
)i
ids peep,
:d
:d
FINE.
:8
:n
-
long,
id
'
low,
:d'
:d
/T> D. 0.
:f.
:r
100
FOUBTH
STEP.
KEY
I
Biz.
.S|
8|
1,
.d
.ri
S|
.n
sweet
evening
fi
hour,
o
.8|
Pll
Hi
S|
n,
S|
S|
8|
S|
S|
Sweet
d,
eve
d,
ning
d,
hour,
d,
Sweet
d,
eve
.t|
:d
qui
:
.1|
-
calm and
fi
et
.f|
eve
.S|
rii
S|
p. Sewabd.
.n
o
.8|
:s,
102
Beating Time.
It
fOXTBTH BTEP,
waa recommended in the flnt step
motion
thicker
to tbe is
line.
The
(see note, page 7) not to allow pnpils to bent time nntil tbey have gained a senKe of time. If the teacher wiBbeR,,he may now teacb beating time according to tbe following diagrams. The beating Bhould be done by one hand (palm downwards) chiefly
arm.
by the motion of the wriut, and with bnt little motion of the The hand should pass swiftly and decidedly from one
poitit
of the beating to the next, and it should be held steadily at each point as long as the pulse lasts. The direction of the
pnlne of threo-pniM mMMiire than (oa Rome <lo) towartU the lrt, lM<eaiiH ii tlnia rorrethe niediuiii bnt of the I'oiir-piiUe iiK'nMiiie, and the iM-cona piilHuuf thpje-piilMoiiieaHnrviii/ii< a iiie<liiiiii piiUe. It In voiiimioiiIv tr-nti^ (both rhythnncully and hiirniiinivHlly) aa a coiKiniiniimi ufihe firrt piilne Similar reanona ahow a pr(>prit<ly In the niodtt of b4-aiiii|! a als-piilHe iiiraa ure; but when Ihia nieaaiiru niorpH very <|iilrkly, it la beuiaa like a twa pulse lueaaiire, giving a beat ou each aucuuted pulae.
rijibt,
apomU with
TWOPtTLSB
MASDJt.
up:
TITREE-rULSB
MEASURB.
rouR-ruLSB MEASUKB.
up:
STXPULSB MEASOUB.
txww
following table shows the names of the ditl'ereut (le^rees of power; the nbbreviutions ami ninrks by which Uiey aro known, ami their delinitions. The teucher will ozplain tliefie topioH, as may be required, at convenient points in hiH courHC of lesKons. 'j^he full treatment of the subject belongs in the Fifth Step.
Expression. The
silences,
pultie.
Silent Quarter-pulse is indicatpd, like Ihe other by a vacant 6|)ace among the pulKo-diviKJons. It is named sa on the accented, and se on the unaccented part of a
Ex. 192.
TAA
1
Tho
PnOXOUXCKD.
Makkxo.
-
Meaxiko.
PUNISSDIO
Pe-fth-nisfiimo
PUNO
Mezzo
FonTE
Pe-a/t-no
Ifci-zo
-
Four-tay
pp
Very
'
Soft.
FonTissnio -
Four-^tssimo
ff
-
.
-
-Very Loud.
-
Crescendo
Cre-s/ien-do
ere*,
or _*;-
Increase.
Diminuendo
Dim-in-oo-en-do
dim. or
-
~^
Diminish.
SwELt
Sfoutzando
Sfort-zan-do loiy-fjah-to
-
sf.
>-
Explosive.
Leoato
Staccato
Smooth, Connected.
f t t -
Stock-ZcaA-to
Short, Detached.
The Hold
at the option of
tlie
be prolonged
Da
Capo,
Dal Segno,
Fine
oi D. S.,
*f^.
after a D. 0. or D. S.
FOITBTH STEP.
each line.
pulse.
103
The
hreo-pniM mMumre
aiiHO
IN
III
.,8|
:S|
!
.,8|
ii
iliim
I
Id
:8|
.,8
^r
8|
\n
Is,
riirre-
M
:8| <S|,8|
S|
la,
la.
,r ,r
481
me, and
he iM-cnna
voiiiiiMiiilv tr<-ntMf
ni.,pii
1.
2.
Hi .,ni In,
at at
i|!
beuUa
like a twa
3.
;8,
:8|<8i
break
of
day,
call,
air,
mom mom
d
nil
ing ing
:t,
la
la
la
la
la la
la.
la In
la la
la la
:d
:
.,d
|d
|
:d
:
.,d
.,d|
id
Id
:d (d
(d
t.
d| .,dt
d| .,d|
d|
d|
:s,
:8|
,8| ,8|
8|
la.
Tra
la la
S|
.,S|
:S|
.,S|
I
d
Hi
:si
:mii
8|
:r
:si
>-y
\m
1
PI <piPi
n,
la. la.
1ft.
mi.,ni
tpii .jPii
81
:S| (S|<S|
sings
her
ers,
mor
one ua
lay.
all,
Beau
1
- ty,
and
ture
:t,
in
fair,
la lu
la la
la la
d
p(i,
.,d
:d .,d
:d| .,d
|d
|
:d
:d,
d
Hi
Id Id
(d (d
-(liviKioDn.
d| .,d
d|
18,
cenled port of a
s
VAX
:1
ITAI
:r
8|
la,
,r ,r
j8|
Pll
r <r,r :r ,S|
^r
S|
|f
Is,
la,
I
.1
:suS|
,SuS|:S|la la la
:d
:8
.d
.8
Tm
la la
Tra
la
tl
t| (t| (t
d
:
t,
:t|
la
t| jt| (t|
t|
la.
Tra
S| ,S| <S|
I
la
I
la
la
8|
la,
d| <di <d|
la la
d|
I
8|
:si
S| <S| <S|
S|
tft-fa
te
fie
Tra
la
la
Tra
la
:1
;
,1 ,r
.1
.
D.
s.
:m
,f
:s
d
to
jd jd
d
la
4- d
n
8,
la,
:
(S (S
n
|lul|Ji:li
Tra
la la
la,
(d d :t|<tut|
:
d
S|
la.
immnn turned
llie
uB
mi,m'i(ni:rni<-,ni
SitS|(S|:S|
S| 4S1 <S|
S| 8| 481
KiluuceH before.
and
Tra
la la
la
Tra
la la la,
Tra
la la
la
la la
d
Tra
:d
la
|d,dd:d
la la la
(d <d
|r,r
Tra
<r
:f
la,
n^m^n
Tra la
la
:r <r
la
:
^r
I
PI
la.
la
Tra
la la la,
la la
la la
(8,
TAA
:1
TAI
:d
Bound
:d<
ring,
|d<d<d:d
in three parts.
dudid|:d|
fi.fufi:fi
8|(8|(S|
.1
8,481
d,
:r :f
.d
.PI
xn C.
(Id'
Hing, (llli
T. F. S.
d<
|d>
ring,
TAI 1 8
:t',d'.r' beautiful
:8
are
Is
Ting
ing,
m
Sing,
:m
sing,
in
sing,
:r 4m if I
cheer-i
-
chimes
ly J
.1
.m
m
!l birds
In
are
sing
:d
-ing,
8 Per
:8 fames
|8 sweet
:8
|8
(8
1
:d>
are
Id'
fling
:8
ing.
II
flowers a
broad
3.
UKSXIiD.
n :
ber,
tm.f
d : :d^
But
ing,
era,
The
We'll
Id
: :
:8
:d
:-
irrea
106
KEY
AIZ.
d ::f
:8|
that
:t,
light.
8,
II
: : I
light.
d,:- I-
:d
and
:8,
:d
and
:mi
:r
And
:s,
:t,
And
:si
|n
and
Is,
:r
my
:li
Is
:f
and
I
my
:fi
Hi
108
Os&OB J.Fbamoss.
FOUBTH STEP.
:n
:f
|s
I
:d'
:d<
:d
\l. I
d :d :r
carcH of voice in
m :m
I
life
'2.
The
)3. That
my my
in
heart I
I
:m
:d
m :s :s d' :s d :d :d Id :d
FOURTH BTtP.
I
11
:t
:d>
by
pes
f Oh!
d>
fi
UT
Bt?.
n
I
Sweet
:
d/
Sweet;
Sweet
tice,
n
>ice.
110
OEonas Bbnmbtt. Key AtZ.
S|
nil
1
POUKTH STEP.
P. I^Iaxn,
by
per.
:si
:
|S|
|f|
-
:S|
:f|
1|
.t Id
|
::
nil
:fi
jn,
part,
1|
fi
:li
:fi
It,
|f|
'tis
Id
Once a
gain
far
we're
2. 3.
When I'm :d
:d|
Doem
O'er
thee,
not the
is
o
ev
Is,
we
have,
Ood
d
d,
:t|
d.r
Id
Hi
:-
d
f,
:d
:f,
|r,
:ri
:s,
:-
|r,
FOURTH STEP.
e. H. Hatdkn. M. 108.
Ill
IKET D.
:si
-
ed en
the
:d
:mi
'd
I
mi
row.
row. row.
Id
Id,
.8
.d
I'd,
AxlaS
rd|
.n
.d
112
FOURTH
KIT C.
STEP.
aOOD NIQHT.
GUSTATI CaBDUiL
di
:1
.1
d>
It
m
Bim, Bim,
:1
.1
d>
:di
m
1.
:f .f
:f
.f
2.
Bim, Bim,
:re now
ye
:I
.1
:1
.1
:fe
:1,
:f .f
:f
.f
D.C.
d'
.d>
.
:r'
.t
d'
:le
n
S
:f
.r
r
Hark!
8|
8|
S|
8|
8|
Bim,
lU
FOURTH STEP.
SLEEP, BELOVED.
m
d
Dark
Clouda
s
:
:
re
fe
^p
r
:
10. F.
SawARa
116
8.
fOUBTH STEP.
KET G.
M. 100.
-AATAL
:t|
|1|
(:8|
d
TAA
:
'AA
:t|
:d
TAA
Ir .n
TAA
I
:f
.m :r .d |d
TAATAI
:t
TAA
:r
TAA
TAA
TAA
TAATAI
TAATAI
XAA
:-
.f
-AATAI
:n
XAA
1,
,r
TAATAI
:d
TAA
:t,
TAA
TAA
SAA
Jlymn Tuue, "Simeon.
9.
KEY E.
M.
I
100.
s
TAA
:s .f
TAATAI
n
TAA
:- .f
-AATAI
In
|
:r
TAA TAA
Id
TAA
:-.d|f
-AATAI
|
:-.m|l
TAA
-AATAI
:-.8|t|
TAA
-AATAI
I
:d
TAA
|r
TAA TAA
:-.rl
-AATAI
j
m
{I
TAA
:r.d|f
TAATAI
:n.r
TAA
TAATAI
Is
I
:1
TAA
TAA
js
TAA
r-.sls
-AATAI
I
:- .1 Is .f
TAA
-AATAI
:n.f
n
TAA
;r
TAA
|d
TAA
-AA
TAATAI TAATAI
10.
KK7
D.
M.
100.
J.
B. Thomas, "Picnic.
:
m
d
.f :r
.mjd
TAA
m.f :r .m jd
TAA
TAATAI
TAATAI
:s
TAA
TAATAI
TAATAI
TAA
:t,
l.s:f.m|r
TAATAI TAATAI
t|
-AA
'
TAA TAA
:d
TAA
Id
TAA
:ti ^1
d
TAA
:d
TAA
jd
TAA
d
TAA
TAA
:d
TAA
|m
TAA
:d
TAA
:d
TAA
.|S|
:
-AA
:
TAA
TAA
TAA
:8
:8
:s
TAA
:s
f .8 :1 .t
TAA
TAATAI
TAATAI
SAA
I r
TAA
:
TAA
I
SAA
rn
:
SAA
r
:
TAA
SAA
TAA
|d> TAA
:n
TAA
r
TAA
:s
TAA
:t,
|d
TAA
SAA
M.
TAA
SAA
TAA
SAA
In: SAA
talatele
f
TAA
:r
TAA
|n
TAA
:d
TAA
d
TAA
Id
TAA
-AA
TAA
-AA
II.
KEY C.
72.
Tafiitefo.
Bugle Qill
"Walk and
Drive." Altered
d,d.d,d:d
II
tatatet'e
.d
In
j
.d
:d
taa
n,m.n,m:n
.n
Is
|
.n
ta,\tai
:n
taa
|d',d'.d',d' rd'
|
.d'
taatai
taatai
t.vatai
tafatele
taatai
j|s,s.s,s:s s,s.s,s:s
( I
.n |d,d.d,d:n |(
j
.s
Im .d
|
:d
taa
i
:a
t/va
ta.v
n .d
taatai
:d
taa
n
TAA
:n
TAA
tafatefe
taatai
tafatefe
taatai
taatai
s .n II taatai
12.
:n
taa
d',d'.d',d':d'
tafatefe
t^va
s,s.s,s:s
tafatefe
|d,d.d,
taa
tafatefe
d:n
Bugle
.s
In
|
.d
rd
taa
taatai
taatai
KEY
D.
M.
72.
TAAtefe.
Call,
"Hay up
or Litter down."
d
II
w
.d
TAAte<"0
,d :d
.d
.S|
:d
TAATAI
TAATAI S
.S| TAATAI
n ,n
.d
TAATAI
:n
.d
TAATAI
TAAtefe
TAATAI
t
..
d>
w
13.
>\
.8
:d'
.8
TAATAI
Id
I
.d ,d :d
TAAtel'e
.d
TAATAI
d.
TAA
TAAtef
TaJ
TAATAI
SAA
Call,
KEY r.
.8)
I
Ibil.
:tafr 'AI.
Bugle
8|
I
I
"Defaulters."
d
I
,8|
:d
,8|
8 yS
TAATAI
tofaTAI
tnftiTAi
TAAtefe
S TAATAI t
,8|
:d
,8|
.p
jd
TAA
tofaTAI
tafaTAi
"
FOUBTH STBP.
14.
117
Bugle
Gall,
EET G.
M.
100.
TAA-efe.
'Wain Wright"
k|
d
TAA
:d.,dj3|
TAA-efe
I
:S|.,S||d
TAA-6fe
|
:d.,djd
TAA-efe |
td.d :m.d
SAA
I
Itn.s
|
:n.d|8|
|
:r
TAA
100.
TAA
TAA
TAATAI TAATAI
TAATAI TAATAI
TAA
SAA
15.
KIT C.
.,s
I I
M.
Bugle
.,8
(M,
"Officers."
5
AA
SAA
"Simeon."
:s
a'
:s
:8
.,s
|
m
taa
:s
TAA
d>
TAA-efe
TAA
TAA-efe
TAA-efe
TAA
TAA
tfo TAA-efe
tS
t)8
18
|
~"~
-aa
TAA-efe
taa
tie,
:s
:8
TAA
.,8
:8
.,8
I
m
I
:8
n
TAA
:d
TAA
.d
:d
.d
Id
|
-AA
|r
A.
:-.r
-kATU
TAA
TAA-efe
TAA-efe
TAA
TAA
TAATAI
TAATAI
TAA
Call,
TAA
16.
KEY F.
.,S||d
I
M. 100
Bugle
"Orders."
Id
A.
:TAA
I
:si
I
:
TAA
-AA
|n
:S|.,S||d
TAA TAA-efe
I
:
-AA
|n
TAA
:S|.,S||d
TAA-efe
|
:8|.,S||n
TAA-efe
:S|.,S||d
TAA-efe
|
:
-AA
|n
TAA
) )
-AA
TAA-efe
TAA
TAA
TAA
TAA
>HAs, "Picnic.
:si
|d.,Si:n.,S||d.,8|:m.,S||d.,8|:n.,8||d
I
:m
taa
U
I
:
taa
-aa
|
-aa
:n.,d( S|
TAA-efe
|
:- .d jn
-AATAI
m|r
AI
:
TAA TAA
-AA
TAA
.
taa
TAA
TAA
.Is,
:-AA
17.
(
KEY C.
M.
100.
d
TAA
:n.,f|s
TAA-efe
:-.s|l
-AATAI
|
:t
TAA TAA
|d'
:- .s Id'
TAA
-AATAI
|
TAA
100.
TAA
:8 TAA
|f.n:r.d|f
TAATAI TAATAI
I
:n
TAA
Call,
|r
TAA
TAA
SAA
Id
A
:TAA
18.
KEY F.
M.
-AA
Hugh
"General Salute."
:S|.,S||S| TAA-efe TAA
Id
A
:TAA
-AA
:si
Id
I
:d .,d|d.m :s
TAA-efe
.mid
|
:d .,d|d
TAA-Cfe
:S|.,d|pt
TAA-efe
|
:d.,ni|s
TAA
TAA-efo
TAA
TAA
TAATAI TAATAI
TAA
TAA
TAA
rive." Altered
:S|
Id
TAA
I
:d .,d|d.n :8
TAA-eff* TAATAI
.mid
|
:d .,d|d
TAA-ei'o
:S|.,d|m
TAA-efe
I
:d.,m|8
TAA-efe
:8|
Id
TAA
|
:d.,d|d
TAA-efe
TAA
TAATAI
TAA
TAA
TAA
TAA
TAA
TAA
'
19.
KY
F.
M.
100.
-AA-efe.
I
Bugle
Call.
"ARsembly."
.,S|
:TAA
.,n :d
TAA
TAA
AA-efe
.S| TAATAI
Id
I
.,S|:d
TAA
-AA-efe
.S| TAATAI
Id
|
.,S|
:d
.S|
jd
:d
.8|
TAA:efe
taatai
TAA-efe
taatai
d
Ll
rd
TAA
TAA
20.
:n
TAA BET F.
TAA
100.
.,n :d
.S|
id
I
-AA-efe
TAATAI
TAA
-AA
SAA
2'iine,
M.
Ifymn
"Serenity."
Litter
down."
rpT
.d
TAATAI
:d
TAA
21.
|t|.,d:r
I
:8
TAA
100.
8
TAA
-AA
TAA-efe
TAA
fe TAA
\s
I
:
TAA
-AA
:d.,t||l|
TAA-efe I
:-.t|:d.r|n
TAA -AATAI TAATAI
I
-AA
:r
TAA 1
Id
I
:-
TAA
TAA
KEY F.
M.
SAA
"Defaulters."
:d
TAA
im
I
:r
TAA
:1
Id
I
.,d
:d
TAA 8
TAA
:r
TAA
:d>
n
r
.8
:f
TAA
:in
m
TAA
TAA
:r
TAA
TAA-efe
TAATAI
:f
TAA
In .,m:n
I
8
TAA
^98
.f
:n
TAA
:r
TAA
d
TAA
:
.AA
'I
TAA-efe
TAA
TAA-efe
TAA
TAATAI
TAA
118
22.
8 KEY F. -
FOUBTH 8IBP.
M.
100.
Barnett,
"Hark! sweet
.,t| :8|
echo.'
.m
M.
:f
.1
.,nrd
TiA>efe
.d
:d
TAA
TAA
:-
.8
TAATAI
11
TAA 23.
KEY
-AATAX
F.
72.
TAATAI
TAATAI
-AATAI
TAA-efe
JUazzinghi,
.8| TAATAI
TAA
"Tom
I
Starboard."
m
(
TAA
:8
.ff TAA-efe
:r
.,m :d
.S|
:r
TAA
m
TAA
.,f:8
.,m :l,s.f,m|r
tafatefe
TAA.efe
taatai
8AA BAA
TAA-efe
TAA-efe
taa
BAA
m
TAA
KEY. F.
TAA-efe
:d
.S|
:t|
Id
TAA
I
.r
:n .s,f:n .r
TAAtefe
taatai
TAA
TAATAI
TAATAI
TAA
BAA
24.
M.
;d
TAA 25.
|m.,f:f .,s|s.,n:n
I
|f.,n:f .,r|n
I
:n
taa
.s If .,n:f .r Id
|
TAA-efe TAA-efe
TAA-efe
taa
TAA-efe TAA-efe
taa
TAA-efe TAA-efe|
taatai
J.
TAA-efe taatai |
taa
KEY C.
M.
fiO.
E. Thomas, "Picnic."
s,f.m,f:s
tofutefe
.1 TAATAI
.m
:d'
Ir'
.,d':t,l .s,f
tafatefe
In
|
|s,f.m,f:s
taa
tafatefe
.1
TAATAI
TAA
TAA-efe
taatai
.m'
taatai
:d>
t
TAA
.d>,t:l
TAAtefe
.t.Ils
TAAtefe
II
TAA
BAA
Hymn
Tune, "Prestwick."
:
26.
I
KEY
F.
:
M.
100.
:8 .f m |:8.f|
(
rr.nlf
-AA TAATAI TAA
:
-AA
:n
TAA
m
TAA
:r
TAA
:d
TAA
|d
:t|
:t|
Id :-.r:n |n.r:d
:t|
Id
I
:
-AA
-AA
taatai) TAA
TAA
BAA SAA
remove. TLeHe slioixUl not bo made too difficult by wide and unexpected leaps on to tbe distinguishing tone; nor too easy by fthviiys approaching the distinguishing tone stepwise. While the effects of transition are in process of being learnt these exercises may be sol-fa-eJ, but the teacher cannot now be content with sol-fa-ing. Every exercise should also be sung to la,
laa-voluntaries are really sight-singing exercises, if the teacher does not get into self-repeating habits of pointing. See p. 12. But, at their best, they give no Therefore the absolute necespractice in reading time at sight. sity of sight-laa-ing from new music from the book or the black-board.
and it is important to exercise the memory of tune and rhythm. For these reasons our teachers give long pa>rns extending to two or more sections including some of the more delicate rhythms. These patterns are given laa-ing but pointing on the modulator. The pupils imitate them, wUhoui the teacher s point ing, first sol-fa-ing and then laa-ing.
Sight-laa-ing.
The
Memorizing in three keys. The pupils should now know from memory, not only what is above any one note on the modulator and what below it, but what is on its right and what on its left. The one key no longer stands alone on the mind's
on the
It has an elder brother on the right and a younger and each of its tones bears cousinship to the other 'wo families, and may be called to enter them. Therefore, at all the later lessons of this step, exercises should be given in committing to memory this relationship, p. 77. The pupils must learn to say these relations, colleotively and each one for
practice of singing whole pieces to the order "Close books: eyes on the baton is a very enjoyable one. The sinp;er enjoys the exercise of subordination to his conductor along with a sense of companionship in that subordination, and delights in the effects which are thus produced. This practice is very needful at the present stage in order to form a habit, in the singer, of looking up from his book. This should now be his normal position. But, as from necessity, the learner's eyes have hitherto bof .. much engaged with his book, he will have to make a conscious effort to form "the habit of looking up." Occasional "Memory Singing" will make him feel the use and pleasure of
to words, from
Memory
Singing. The
memory in obedience
modulator.
this.
left,
Ear Exercises
new
(which will now include fe and ta, ami difficulties of time), Diciaiion, Pointing and Writing from
Memory
of time
Patterns. It is difficult to indicate divisions by the motions of the pointer on the modulator with
Memory, should still be practiced. Writing from memory doea not at all take the place of pointing from memory. There have been pupils who could write from memory, but could not point the same tunes on the modulator. It is important to establish in the memory that pictorial view of key relationship which the modulator gives, especially now that the study of Transition added to that of the scale.
is'
FOUBTH
sweet echo."
I
STEP.
11
'Si
!8|
lATAI
TAA
Starboard."
rAA
8AA
How many
How many
tn^ater itpa are there ia the scale, and butwmin which tones do they occur t
13.
What
is
te
called?
33.
"What
ia
is
chang
14.
a.
FAA
BAA
3.
How many
are they 1
From
little
and where
16.
efifcts,
33.
to
now
tion?
34.
jweet home."
4.
What
ITnw
8II1I1.
What
and
What is
on
,n:f .r Id
efe TAATAI I
AS, "Picnic."
5.
lor
17.
Which
what
is
the meaning of the little notes placed lul't of the key signature lu
is its
mental effect?
flat
85.
What
efl'octs
of transifirst fiati
TAA
6.
7.
By what other names are intervals called! TVhat is the interval from any tone to the
uexl in the scale culled?
18.
Which
what
is
the
key?
To the
Is
it
is its
mental effect!
key?
19.
On which
shurt)
8.
What
key ?
i,f:s
fe
.1
9.
side of the modulator is the first On which side is the first flat
Wljat
is
a Cadence Transition?
written
in the "proper" or
87. 28.
key?
"improper" way?
?
TAATAI
\\niat is
a Second called that is eoual to one step? a Second called that ia equal to a
(half-stei>)
?
In
10.
\Sniat is
lit-
poinjt to the first sharp key what does the lohoi the old key become In the new? What does the old lah become? What does tlie old te liucome? (The teacher will supply addi-
What is
What is Extended
"What
Uow written T
Ue step
11.
tional questions.)
21.
29.
IS.
to
to
slept
In doing to the first flat key what tone of the old key becomes doh in the new? What tone becomes ray f (The teacher will supply additional questions.)
is the name for a silent qnvtor-pul.so on the strong part of a pul.sel On llio weak part? liow is it indicated in tlie notation ?
30.
"What
is
the
Prestwiok."
thirds ?
Uow
name
-:-|
X
f
-AA
SAASAA
PEACTICE.
II
tune and rhythm. prns extendinf; to the more delicate 3ut pointing on the
the teacher 8
inging whole
le
point
Teacher singins to nRiires, Exercise ns, lot llio impil toll to what figure the distinpiii(*liinji tout! of the li rut sharp key was
suiig.
35.
Taatai from racmorv any one of the Exercises 11)2, lyj, 194, 195, the hist pulse being named.
40.
pieces
32.
The
Miinio willi
17(i.
36.
In the
same maimer
Iti-J
ilistiiiKiiishin^
lot the pnpil name the tune of the hrut tiat key, in
Taatai any part of "Merrily sings the Lark," or the liouud, "King, ring, ring," page 103.
41.
Sing to
not more
Exercisi'8
33.
and
18J.
37. IJoat n
\u'i
and
delights
Tonrher
110.
sliicinji to fljrnres, "Langdon," page (uacli line li('.>iiMiiiiig with 1) let the pii|iil uuiiie hy itu li;;iiro, first, the dlstin;
llie
number of two-pulse measures describinotion.s of thu liutid. The same The same with
42.
which
is ta,
as directed,
page
43.
32,
question
31.
Tell
a habit, in the should now be his learner's eyes have e will have to make jg up." Occasionnl se and pleasure of
ide fe and ta, and and Writing from
Kiii.sliin;;
anil,
iliuu,
[34. Pit<:h,
Follow the examiner's pointing in a now voluntary coutaiuiujj transition, both to the first shai-p and l&st flat keys, and singing
tola.
44.
withont a tnnlng fork, the keys B, B Hut. E. flat, and A flat. The pupil has not HutiHtied this requirement, if, when teste<l, he is found to he wrong so much
step.
Taatai any riiythm of two or three four-pulse measures, beloiiiring to iliis stoj), which tl>& examiner shall la to you. See page 32. question 33.
39,
I'oiut
and sol-fa on the modnlator, from memory, any one of the pieces on pages 80 to 86,
chosen
l>y the
45.
examiner.
Taatai in tune, any rhythm of two or thre four-pulse measures, belonging to this stop, wliich the exauiiuer sliull tol/a to you.
,/
-1
INDEX
X 4
FAOB
After Rtady we shall find. (Honnd)
All ilmt now All tojretlicr. (Round) Aiit\vvr|>. L.
PAOB
tAOk
97 6S
31
16 36
Hark the
!
53
(K3
Aiirwhure
Ariiiitoii. A8ci'ii)tion.
CM
S.
84
55 Oh, Wipe away that Teu 72 Old Ulack Cat, The 17 One, two, three. (Round)... 81 Onward Christian Soldier 37 Onward to the silent river. (Bound)
110
86
16
M
May
66 70 29 36
31
71
Sweet to
Me
86 98 SG
91 90
12
Wood
Bouuty
Call
in the
t)ie
woodland. (Round)
John
boatman. (Round)
Tf happiness. (Round)
99 Out in the Shady Bowera 50 Over the Suow 66 88 Rest, Weary Pilgrim 17 Rise, Cynthia, Rise Roaming over Meadows. (Round) 34 Rubbius. L.
47
109 GO
IG
19
Clu-ei-t'iilly
22
19
'i5
101
diiiiio
Apiin
Cliiit|i('rce
dice
Sweet
the
1110.
CliMstiniiH Carol
ChriMtiiiiin Soiij;
Come
Come,
liiick,
May
(Rouud)
ooiiio to
Coiiiu follow
Hin^fin;;. (Koiiiitl)
Come
Come,
let'H lu;;)i.
(Round)
let
UH all bo .Merry
(Roiind)
Come
now. (Round)
'Come now.
89 Join in Singing. (Round) 10 82 105 Kingdom. 7s 50 48 80 Langdon. 110 03 L<>urn to sing. (Round) , 28 22 Let us endeavor, (liound) 16 22 Let us sing. (Rouud) 18 72 Lilienand Roses 94 34 ijongingH .>.. . .......... liv Sleep lieloved 71 LoltbeOlad May Morn 44 Song of the Autunm 71 Loud through the World Proclaim 68 Sound the straiu again. (Round) 82 Lovely Land, The 84 S|teak Kindly.
CM
Sabbath Evening Says Williaui to Julia. (Round) Si-otluiid'H burniu";. (Round) Seek the tender Shepherd See the bee. (Round) Serenade Sileut Vale Sing every One Singing Cheerily Sing we now. (Round) SkatinjT Olee
93
S,i S-l -lO
34
98
S8
i'i
IM
41
(iil
G'2
26
106
2^1
Lovely
May
31
Still
Like
Dew
27
6'2
No. 2
(Rouud)
Mai vem.
40 wi 25
37
May
(Rouud)
9 70
?.
1
Elementary Rhythms Kvan. Evening on the Luke Evening Prayer Ever blooming. (Rouud) Every Day hath Toil
CM
15-1 IB
53
Ill
55
21 107
here 22 Men-ily, merrily dancing. (Round) Merrily, merrily sound the horn. (Round) 2:1 103 Alerrily Sings Merrily the bells. (Rouud) 31 Merrily the Ciu-k(M> 45 MeiTy May. (Rouud) 60 95 Miller, The Morning Ilnnn 49 Mother, Chllilhood, Friends and Home... 42 96 Munuuring BrtNtklet 43 Music Ever^rhere
Sun Shower (SI Sweet Evening Hour il!i Sweet Sunnner Crowns 85 Sweet Voice, The
Sweil the
100
'" 103
I'i
Authem
39
54 80
C7
The
To To
Twilight
Stealing
66
My Mouutam Home
Never Say Pail
Fnr out in the Wildwood Vut her of Mercies For Health and Strength.
Centle Snring is here again Ouutly Lvening heudetk
36
87
Virtue would Gloriously Wake the S<ing of Jubilee 48 Warble for UH. (Rouud)
51
92
58
53 42
12
(Round)
52 29
83 112
Good
Nitflit
Grwtaud Qood
n*Pr7 loppy ITov '^w- (Bound) Hapuvlluiuu
flarki
9
S2 23 35
No, no, uo. (Round) 71 Now beware. (Rtnind) 95 Now the Evening Falls 54 , Now the Si'cond Step is coming. (Round) 14 93 Now the Wintry Storms. Now we are met. (Roiuidl 22 35 Now we May farewell. (Round) 104 Nutting Song
Wayside
W.'ll,
The
(Round)
What What
34 3 25
91
While we
^; 3o 38
35 64
6\