fifty steps in sight-singing

FIFTY STEPS IN SiGHT-SINGING (CURWEN'S EDITION,

5130.)

BY

ARTHUR SOMERVELL, MUS.DOC. (CANTAB.).

FOURTH EDITION

K

LONDON: J.

CURWEN & SONS

LTD.,

24

BERNERS STREET, W.

PRICE First

and Second

sets of exercises (Pupils'

Books) 6d. each.

B18TRE./ONTST

BOSTON "nvn & Son

Mr 870

PREFACE. IT

slowly beginning to be recognised that to be unable to read a single line of

is

music at sight

after

is,

all,

This

rather a sign of ignorance.

and should be made the most

of

who have

all

by

is

encouraging,

heart the spread of

at

musical education, and the consequent advancement of music in this country.

In our elementary schools of

curriculum

the

teaching

of

good

results

although

no reason

is

why

if

obtained

only

in

not a subject demanding special artistic

is

any more than the teaching

of reading requires a special

But putting

here that

we

if

we turn few

find the subject, except in a

In most of them singing where there

for the

is

is

one, exists

with the result that practically no boy

hands

is

;

It

by learning an instrument

unusually intelligent,

;

is

true that the

but for all

all

that

it is

to

needed. ,

to a public school can read

up the barest smattering

him when he comes

* No subject can be treated educationally in the time usually allowed one hour per week.

\

the value

and even then, unless he

of little value to

Fifty Steps in Sight- singing.

is

members

even more generally neglected

who goes on

unless he happens to have picked

is

The singing-

mainly for the practice of music (learned

In boys' preparatory schools the subject

it

places, excellent

educationally*

them, books of the words would in most cases supply

subject

many

gifts,

of literature.

cases, totally neglected.

rarely treated

of the class usually hold the music in their

all,

this

to the secondary schools, it is

most part by ear), for a school entertainment.

music at

knowledge

aside the elementary schools, where, in

being done in this direction,

is

of

teachers could only realise the fact that the

teaching of sight-reading

class,

are

much wider and more thorough knowledge

a

subject should not be fostered,

work

forms part

sight-reading

where enthusiasm backs the requirements of the Board of Education,

places

there

and

;

the

is,

of the

musically,

to sing a part

from half au hour to

PREFACE.

IV

Nor

in a choir.

does there seem to be any attempt in these schools to foster

a love of or veneration for music.

When master

is

not only a first-rate musician, but an enthusiast.

man

such a

come

the boys pass on to a public school they usually find that the music

is

by the

greatly hampered

fact that the large majority of

him, not only ignorant of what music

to

for the study of

practically impossible for

teachers

;

but totally unequipped

is,

them ever

is

heart-breaking

when young to read

never learned

that the boys

is

boys

but the time wasted in grinding through and through

;

a piece of music, in order to teach the bare notes,

This

of

Those who are put into the choir gradually pick up a

it.

vague idea of reading

fact

But the work

really to acquire the

at

power

;

sight to

do

while the

makes

it

so.

a point which cannot be urged too strongly upon parents and

for experience shows that the

younger a child

is

(within reason)

when

he begins to learn sight-reading the more easily will he master the subject.

have often heard whole

classes of

C

the staff in the key of

;

I

children under six years old singing from

and I know one school

in

West Norfolk where every

child over twelve years old can sing almost anything at sight, because they have

been properly taught from infancy.

The time given

to music in this school

is

ten minutes a day.

Many

now beginning

parents are

generation to

to see the folly of allowing the

grow up

are asking that this state of things, at least as regards their

cease to exist.

so

own

numerous have been the enquiries from

and

children, shall

different sources

book which will be a guide in working out a scheme of sight-reading

for a

lessons that I

some

And

younger

ignorant of a subject so easily taught in childhood,

am, to a certain extent, trying to meet

of the results of

my own

Teachers must use their

demand by publishing

experiences with a class of small children.

own

to the next, for, in the case of

this

discretion as to

some

when

children, the

to

same

go on from one lesson lesson

may

have to be

worked through several times, and frequent recapitulation of back work

A

be found advisable.

will

short time (say fifteen minutes) spent on these lessons

every day will be found more valuable than a longer time once or twice a week.

The important songs,

and the

of question of the training of the child-voice, the learning

class of

music to be learned have not been touched upon; but with

Fifty Steps in Sight -singing.

PREFACE.

regard to the

last, it

\

should be remembered that to teach a child, or perform

" for his delectation," a piece of bad music, is as unpardonable as to recommend " " It is unfair to make anyone grind as an example of literary art. Scraps at a subject such as sight-reading, without at the of

what the drudgery

will eventually lead to

see that their children are introduced to a

;

same time giving some idea

therefore

good

it

class of

behoves parents to

music alongside the

sight-reading lessons; exactly as most children learn poetry and have stories

read to them while they are learning to read. " It is commonly asserted that " good music

is difficult,

the impossibility of giving children any knowledge of

one plays the piano classical in

well.

But

there

is

every sense of the word, which

contrary, delightfully easy to learn

Wales, and Ireland.

it

lies

in families where no

a huge storehouse of good music,

not only not

is

difficult, but,

on the

the traditional songs of England, Scotland,

These can be learned and sung (many would say with

and

advantage) without pianoforte accompaniment;

hardly necessary to

it is

point out that children have a right to this great national

Those who have never

and that herein

and natural

heritage.

tried to teach these songs will be astonished at the ease

and pleasure with which children pick them up with large acquaintance

them forms the

which to build, in later

life,

best

;

and there

is

no doubt that a

and most normal foundation upon

a knowledge and appreciation of music in

its

greatest forms.

NOTE TO THIRD EDITION. to the

two Appendices

at the

The

attention of teachers

is

particularly called

end of the book.

AETHUK SOMEHYELL. KENSINGTON, 1904. Fifty Steps in Sight-singing.

FREFACE.

VI

APPAEATUS. A pointer or small baton. A Tonic Sol-fa Modulator (seven keys) A blackboard, blank on one side and ruled (iv) A note-book for each child.

(i)

.

(ii)

(iii)

(v)

An MS.

music-book for each

for

music on the other.

child.

THE STAFF MODULATOE.

A stave should be drawn upon the apart whenever a in

new key

is

being

blackboard with lines about three inches

first

more than the chord of the Key.

or

-&fifty Steps in Sight-ringing,

explained.

It

is

not necessary to write

FIFTY STEPS IN SIGHT-SINGING, STEP The

(i)

should learn the mental

class

me may be added.

(ii)

The

effect of

doh soh doh and afterwards the 1

The hand-signs should

learn to sing these notes in aotes

I (SOL-FA).

any

also

be taught, and the

class

order, the teacher either pointing to the

on the modulator or giving the hand-signs.

following or similar passages should be written on the blackboard and

sung slowly by the Example

class.

:

dmdsmdd'sd'smsdsd'smd'msd (iii)

One

Ear-tests.

syllable laa,

of the four notes should be

and the

This

STEP (ii)

is

and

called

The

doh.

the

a most useful exercise.

II (STAFF).

A short recapitulation of the first part of Step I. A large stave should be drawn on the blackboard, in

to

individual children, should then sing any one

class, or

of the other three asked for.

(i)

sung by the teacher

class

and middle C written

should then count the scale degrees on

the Tonic Sol-fa Modulator from doh to doh\ and then the lines and spaces

C

on the stave from middle found, and in the same

way

upwards.

the places of

The

place of doh* can thus be

me and

soh.

The

class

should

then (using the Sol-fa names) sing these notes in any order as the teacher points to (iii)

them on the

The following

or similar passages should be written on the blackboard

sung slowly by the

(iv) Ear-tests.

The

Staff Modulator.

class

:

teacher should sing very slowly a passage formed from these

notes, using the Sol-fa names, staff

notation in their

MS.

and the children must write them down in the

books.

Afterwards a similar passage should be

sung slowly to the syllable laa and taken down by the children. be found advisable to sing the doh between every two notes. 2

and

It will

2

Fifty Steps in Sight-singing.

STEP (i)

The

class

III (SOL-FA).

should learn the mental effect of ray and

te,

and should sing from

pointing on the modulator, as well as from hand-signs, passages introducing

Ray and

the six notes already learned. skip (ii)

(e.g., soli

ray, soh

The following

te,

me

or

te

first

he taken

by

te).

or similar passages introducing the

written on the blackboard, and sung slowly Example

should not at

by the

new

class

notes should be

:

:

drmsmrdsd'td'smrmsd'td'smrd (iii)

The following or similar down in their note-books. between each

test

(i)

mr

A short recapitulation of The

C

staff

of the

class to write

key must be played or sung

given twice.

ms

STEP IV (ii)

be given for the

:

dm

dr

The chord

and each

test,

Examples

ear-tests should

the

first

d't

sn&c.

(STAFF).

part of Step III.

modulator having been drawn on the blackboard and the chord of

written

in,

the places of

rat/

and

reference to the Sol-fa modulator.

te

may

easily be

When

found by the children by

found, these

may

be written on

the blackboard as small opaque notes to the right of the chord.

The to (iii)

class

should then sing the notes already learned as the teacher points

them.

The following

or similar passages should be written on the blackboard

and

sung slowly by the children.

4fe-^-^ (iv)

Ear-tests.

The chord

should sing to the syllable children should write

key having been sung or played the teacher laa any two of the notes already learned, and the

of the

them down

in the staff notation in their

MS.

books.

3


STEP V The

(i)

class

(SOL-FA).

should learn the mental effect of fall and

fa/i,

and should sing from

pointing on the modulator, as well as from hand-signs, passages introducing all

the notes of the octave.

Fah and

f

ml

skip (ii)

(e.g.,

r

f

The following

f

r

1

lah should not at first

d

Example

1

&o.).

or similar passages, introducing the

written on the blackboard, and sung slowly

the

by

The following

or similar ear-tests should be

down

Example s

f

A short recapitulation of Staff

the

sung

to the syllable laa (or

test,

and each

The chord test

of the

given twice.

:

n

f

si

STEP YI The

be

td'sfmrd

1

in their note-books.

key must be played or sung between each

(ii)

notes, should

:

played) for the class to write

(i)

new

class.

drmrmsfmrdd'tltd'slsfms (iii)

be taken by

1

first

d

1

t

&c.

(STAFF;.

part of Step Y.

Modulator having been drawn on the blackboard with the six may easily be found by the

notes already learned, the places of fah and lah children

by

reference to the Sol-fa Modulator.

When

found, these

may

be

written on the blackboard as small opaque notes to the right of the chord of C.

The

class

should then sing the notes already learned as the teacher points

to them. (iii)

The following

or similar passages should be written on the blackboard,

sung slowly by the children.

-f

c?-

and

4

Fifty Steps in Sight- singing

.

The chord of the key having been sung or played, the teacher should sing to the syllable laa any two of the notes already learned, and the children should write them down in the staff notation in their

(iv) Ear-tests.

MS.

books.

STEP YII (i)

(SOL-FA).

Practice on the modulator.*

Two -beat measure

(ii)

well-known tunes in

The following

(iii)

sung

first

ways doh :

Id

should be explained to the class, and examples of time sung, both teacher and class beating time.

this

or similar time tests should be written on the blackboard

and

time-namest and afterwards to the syllable doh or lah (in some better than lah, as it is an easier sound to articulate sharply

to the is

:

Id

:

:d

jld

Id

:d

Id

:

I

d

:d

Id

:d

Id

:

I]

Exercises 1,

(iv)

3, 4, 5, 6,

and 7

in the

"

Criterion Sight-reader

should be sung, with teacher and class beating time

" (Part I)

:

KEY

jld

(\s

:n

Is

:f

:f

Im

:r

II

:s

In

|d

:r

If

:m

Ir

:m

Id

:t,

Ir

:d

II,

:t,

Id

:m

Ir

:d

Ir

:n

Is

:r

It,

:s'|f

:1,

Is,

:

)

:r

Id

:

II

KEY F:f

jlm

:r

If

:m

||d

If

|r

:f

:n

In

:f

II

:f

In

:r

:

|m

:s

|s

j

:r

Id

:-

:m

if

:

:r

Id

:-

|f

XEY Eb. 1

jld

Jim

:s

im

:f

II

:f

Is

:d

:r

It,

:1

Id

|m

:s

If

:s

It

1

:d

Ir

:m

:s

Im

:f

If

|m

*Each lesson should now begin with a short practice on the Sol-fa or Staff Modulator, be gradually according to the notation in use at the lesson, when the more difficult intervals may mastered. tSee Appendix II.


KEY Cs

Id

:s

r

:n

1

:d

If |f

:1

|s

:f

|r

:m

In |m

:f

|f

:

Is

:d'

:d

s

Is

:s

Is

Id

:f

1

In

;d

:f

:

|r

:m

Id

:f

|n

:

II

|r

EET :n

:n

:r

|d

|n

:r

|d

|n

|s

:

|n

:

|d'

:1

Is

s

|

1

:f

|n

||s

:s

:

:s

|n

:f

In

:r

|d

:

:1

|s

:f

In

:f

|r

:

fd

II

KKY

:f

Id

:r

Ear-tests of

down by

:f

jn

|m

jln

(v)

:r

|d

:t,

two notes

Is

|

:m

|s

(as in

:

Is

:d

:n

|r

|d

:

II

the children in their note-books.

(i)

Practice on the modulator.

(ii)

\

\

|s

Step V) should be sung or played and written

STEP VIII and

:1

(STAFF).

time should be explained to the class and examples of well-known (simple duple) again sung, both teacher and class

tunes in this time

beating time, (iii)

The following sung

first

Z.J.

/I

or similar time-tests should be written on the blackboard, time-names* and afterwards to the syllable doh.

to the

l_f

and

6


The following

(iii)

or similar exercises should be written on the blackboard,

sung slowly by

Ear-tests

(iv)

of

the

and

class.

two notes should be taken down by the

class in the

staff

notation.

STEP IX (i)

(SOL-FA).


(ii)

A

simple piece of two -beat rhythm should be written on the blackboard,

and sung by the children Example,

:

Id

:

:

Id

:d

Id

:d

Id

:

Id

:d

:d

Id

Id

:d

:

||d

j

:d

Id

Id

:d

Id

:d

Id

:d

Id

:

Id

;

||d followed

by a passage

in tune only

Example :

dmsfmrrmf When

these

combined

have

been

:

fmd't

s

1

read

:!-:-

through

Isfrd

td's

1

a few times, they should

be

:

Example :

In

:

||d

i

Id

1

:t

II

:s

If

:m

:t

Id

1

As

If

:1

Is

:f

|r :f

:s

|1 (iii)

:m

:

|r

:

|m :

:

|m

Id

:

|r

j

: |

the children improve in writing the ear-tests correctly the difficulty

be increased, occasionally Example

tests of three notes

being given.

:

dmr

sis

d'tl

msf&c.

||

may


STEP

X

7

(STAFF).


(i)

(ii)

A simple by the

class first to

Example : >T

piece of f

rhythm should be written on the blackboard, and sung the time-names and afterwards to the syllable doh.


8 Example : m s

d

fe

s

s

fe

s

m

1

t

d

1

f

r

d

s

fe

s

ta

1

s

1

t

d

Exercises 26 to 32 in the

(iii)

KEY

jlm

:d,r|d

Mm

:r.m|f

:m

c?

i

,

S|f

c<

I

c?

tS|iS||S|

:m.f|m

* c?

II,

c?

I

:r

|t,

:

o

loi

s,

Is

:1,

|

* c*

:

s,

i

:d

* c;

tS|

:t,

1

t

fe

s

d

s

:-.l,|l,

:f

:r,m|r

In

is,

:t,

|t,.d:r.m|f.f:f

v|r

:s,

|r

:s,

m in

:d

It,

:

:d.r|m

:r

Is,

:

*

*

in IT* trm|r

I

T*

:s,

/i Y* /I .u.iici

|s,

:s,

Is,

Is,

:s,

:

|

|s,

:s,

I

I

:l,.t,|d

|

'4*

t,

si,

j

:s,

I

|

:s,

)

o ,S|

/

*

*4~

I

|i

(

:t,.d

|

:t,

:s,

|t,

:m

|r

|l,.t,:d.r|m

:r

:-iS,|s,

J

:d.r

:r.m|r

|d.d:d

:

|

|r

:s

:s

|r

:

|

I

KEY A. rs.J.ls,

:

Is, :d

:s,

|

|d

s

In

:r.m|f

:

:s,.l,|s,

:

:

If

:s,.l,|s,

:s,.l,|s,

:d

|d

:-,t,ji

1,

:s,.l,|t,

:l,.t,|d

:t,.d|r

:d.r|m

1

Is,

ts.J.ls,

:

|

I

m

|l,:r

|1,

|f

:

I

:

I

It,

|d

I

HI Hs,

:d

Js.J.ls,

(\

:

|d

:s,.l,|s,

I

|r

:

It, :m

:-.s,|s,

:d

|m :m

:-.s,|s,

|d,r:m.f|n

s,

|m

\

5

I

|m.m:m

\

*

I

I

^jd

I

|r

:d.r|d

I

\

Mm

1

:

:d,t,|l,

I

:d.r|m

I

|r

:s,,l,[ t,

|

\

Id

d

ta

Criterion Sight Beader," Part I

:t,

S|iS|iSj

\\

jlr

1

1

Cr.

:r.m|r

Ht

d

:d

|d

ssi.lJs^B,.!,!

:s,

|s,

:s,

Is,

:s,

:

|r

:

Id

:

|l,.t,

|

9

Fifty Steps in Sight-singing. KEY

|:d

|d :d

s

|d'

||

11

:m

:r.m|f

:1

:d'

:-.t|l

:d'

|s

|r

|s

:f

:-.rn|s

:f

|

j

:-.

|m

:f.m|r.m:f

:

|m

KEY

:

|.t,:d

|t,.d:r

Is,

|.s,:s,

Hd

KEY :d

d

t,.t,:t|

:d.d|

1,

1

|m

|r

:l|.lJs,

s,

:1|.1,|

:r.d|t,,d:r.d|

Ir.rrr

:

|l|.li:li

If,

:

*\

i

nt

r*

:

:

I

1

|m.r:d

:-.t|l

\\

:-.d'|t

1

^

d

1

:

:d

:t,

Id

:

:s

|m

:

:r,m|f 01/^1

^"

I

|m.r:d

j-.r'ld

\

|r

|r "P

|

:-.l|s

:r

|d,r:m,f|m.r:d -*i

I

||d.r:n.f|

Uf

:d]

|d

:-.n|r

|d

:d

I

:

|r

|l|.l|.'li

:s,,l,|s,.l,:t,.d|r

1

|d

Is,

t,.t,:l,

f\

I

|d 8 r:m

f\

t\

:-.f|m

II

:-.s| :

|

\ )

I

I

KEY .l:s.f

:r

|m.f:m,r|d

1

|m,r:d.r |m.f:s.l

:

:l.t Id'.tid'J

:m.f

:

|s.n:d.f |r

|s,l:s.l|s

j|s.l:s.l|s

:

|r

1

jd

KEY :

:

||d.s,:d.r|m

:r.d|s

||d.s,:d.r|m

:r.d|f

|f

|r

:-.r|r

:f

t,

:l,.t,|d.r:m I

d

:

Id

|

|n.s:d.m :

f,r:t,.s,|

:-,d|d

:

Id

t,.r:f

|m

|

:t,.d|r.m:f

:s,

|m

:d.d|d

In

:s,

|

:

|d :n

|ni

:r

:

jd :

|d

:

I

|m

:d

:d

I

:r

|m

I

I

I

:

|m.f:m,r |d

s,.d:m.s

:

I

I

s.m:d.s,|d.r:m

|f.s:f.m|r

:-.s|s

|d

i

10

Fifty Steps in Sight-singing. Ear-tests to include fe

(iv)

and

ta

only

when taken

STEP XII (i)

stepwise

(e.g.,

s

fe

d ta 1

s,

1).

(STAFF).

Practice on the modulator, introducing the sharpened 4th and flattened 7th of the scale. Perpendicular lines should be drawn on each side of the

chord of the key, the

F being

to the left of the lines.

right

hand

always

Bb

line is always

sharpened to the right and the

In pointing

FJ

(fe),

B

for the class

F

B

flattened

to the right of the

to the left of the left

hand

line is

(ta).

ta (ii)

The

following or similar exercises should be written on the blackboard, and sung slowly by the class.

Example:

(iii)

Easy

exercises in

A*.

gB-^-H-

SL

Time and Tune

:


3Et

11

^3

1

* *

-I

Ear-tests introducing

(iv)

F$ and

Bfr only

STEP XIII The

when taken

1

stepwise,

e.g.

:

(SOL-FA).

now

learn to sing from the modulator, in the open key, using the syllable laa instead of the Sol-fa names. Practice must be slow at first to ensure the realisation of the mental effect of each note before it

(i)

is

class

should

sung,

The following

(ii)

sung

or similar exercises should be written on the blackboard,

and

to the syllable laa.

dmsmrmfsltd'slsfm Example

r

r

(iii)

:

A

f

s

m

d

t

1

!

s

d

1

m

l

d

r

few easy exercises from the "Criterion Sight Beader" (Part

1623)

sung

to laa

I,

Ex.

:

KEY BbIs,

:1,

:t,

:

:f,

Id

:

II,

:t,

:

:t,

jlr,

:

:

Is,

:f,

:

:

Id,

:

:n,

|s,

|

In,

:

Id,

:r,

Id

:

:

:

KEY G-

(\d

:

Us

:

|d

:

|s

:

Id

:

Is

:

I

|

:

:d

|n

:r

Id

:

:m

|r

:f

in

:

|r

:

If

|

|

:

:

12


KEY F. :m |s

:d

:

:s

.sis

KEX-

|m

|d

||m

|f

:

:s,

:r

:m

|r

:m

If

:1

|s

:

Id

:s,

|1,

:t,

Id

:d

|d

:

:s,

:m

:

:f

is

:s,

:

|f

:m

|r

:

:d

|m

:

Ab-

:d

|r

f

|m

:f

:1,

:r

:s,

|m

|m

If

in

:

:

:s,

|m

:r

Id

:s

:

KKY :f

Sis

~ '

'.

:1,

jls,

If

:r

>

:t.

:m

:d

:r

|m

:d

:1,

It,

:

:

Id

:m

|r

:m

:f

:

:

"

Id

:f

:s

:

|r

:r

Id

KEY E.

(\d

:

:

jlm

|t,

:d

|r

:m

|s

:s

:

|r

If

|d

:r

:

|m

:f

:n

|d

:d

|m

Is

:r

|d

:m

;

|r

|

: |

:f

|r

:t,

Id

:

:r

|m

:f

Is

:1

|

:

II

KEY C. 1

:d'

jld

1

jld

:d'

|s

:s

:m

|s

:f

|d'

:t

|m

|m

:n

|d

:d

:s

|t

:1

|1

:t

|r

|r

|s

: j

sm

|f

:s

II

:s

|d

:

:t

|s

:1

If

:s

|m

:

:1

|f

:s

:r

|d

:

KEY

jld

:s

jlm

(iv)

Ear-tests.

II

!

:d'

|r

From

|d'

Is

this point the tests should

|m

always comprise three notes.


STEP XIY (i)

The

13

(STAFF).

should learn to sing from the Staff modulator in the key of C, the Practice at first must syllable laa instead of the Sol-fa names. using class

be slow. (ii)

The following or similar exercises should be written on sung slowly by the children to the syllable laa.

the blackboard, and

Example:

Z22T

(iii)

A few exercises in Time and Tune sung to laa

:

32tz

_l

X[_

14


STEP

XV

(SOL-FA

AND

STAFF).

Practice on the modulator (Sol-fa). (ii) Three -beat measure and f time (staff notation) should be explained to the class, and well-known tunes in triple time sung, both teacher and children (i)

beating time (down, right, up). (iii)

The following

or similar tests to be written on the blackboard,

and sung by

the class to the time-names and afterwards to the syllable doh. Examples

:

d

:d

:d

Id

d

:

:d

Id

:d

Id

:

:d

Id

:d

Id

:

:d

Id

il

ii

/r

>

:d

:d

:d

15

Fifty Steps in Sight-singing. KEY

m

:f

:s

sj

:f

:m

Urn

In

:s,

:m

:

:

:s,

:m

:1

:f

In

(b) Exercises in

:f

It,

:d

:r

LI,

:t,

:

Is

:t,

:d

II

:s

:f

It,

:d

:

-II, :-:r

Id

: t^~

|r

:f

:n

:

:

|r

:1,

:n

:s

|r

|r

Time and Tune

II,

I

:

I

-$*-

W*^^

2 =(==[=

_

I I

A Q

_

16

1

vT


#j

17

(a) Exercises in Sol-fa (" Criterion

KEY D:d |s

jld

In

:

Music Beader," Part

1

:m

id

:

1

1

:s

|f

I,

:1

Ex. 49, 50, 53, 55)

Is

|n

:

:

: j

f

:m

|r

Is

:

:f

|m

:

Id

:

In

1

|s

:

:m

r

:

Id

:

|d

:

KEY IX

ild

:

|

|r

|r

:

jld

:

:

|

:

|

:

|

j

In

:

:

|d

:

Id

:

sr

|n

:d

In

:d

|n

: |

Hn

:f

|B

:

In

iin

:

|s

:

Id

1

:-

:

I

is

|d'

In

:

:

In

:

1

:

|

:

jld

:

|f

Is

:

:

|

|s

:

:

;

:

|

:

|

:

|

|d KEY D.

ild

:n

|n

:

:|-:-

jld

Is

:s

Id

:

s

|d'

:

I

j-

:

Id

:s

|d

:

Is

:

:

|d

:

Id

:-

|d

:

:

|

KEY D.

In

:d

:

:r

|

:

:n

|

:d'

|s

:n

Id

:

:

|d

:

Id

:

Id

:m

jll

1

jld

jls

id

1

|s

:n

|f

|

|s

:

:f

|

:

:

|r

:s

Id

|d

1

:

|

:

:r

:

|s

Id

:

|d'

s

|n

:d

:

|

|d :m

:s

|

[n

|s

|d

:

:

|d

|

:m

18

Fifty Steps in Sight-singing,

(b) Exercises in Staff

~^-

/L

:

*3r

\ J

19


(iii)

Ear-tests containing

Examples

KEY D.

d'mr

difficult intervals

d'fm

sdl

d

d

s,

f

t,

1,

m

STEP XVIII (i)

The

Staff

key

(sin

d f ). 1

t

:

KEY G. f

d

more

fmt

td's

1

d

d

f

s,

f

r

s,

r

t,

1

r

m

(STAFF).

Modulator should now be extended to the right so as to include the

of GK

;

~i

1 Explain the formation of the scale, showing why F becomes FJf in the new Practise transitions from C to Gr and vice versa. key. Only the notes of

(ii)

the chord of Gr should be taught at first. similar exercises, in tune only, should be written on the blackboard, and sung slowly by the class to the Sol-fa names.

The following and

I (iii)

Exercises in

Time and Tune

in Gr major.


.yT

*

j

21


M.

KEY F-

Us

160.

:n

:

In

:d

:

:d

:

:

|r :

:r,

:

KB,:

:

:1,

:t,

;|d

^B.lf,

:

M.

:

:d

II,

:t,

:d

:-

:

Is

:

:m

ta

.a,:!,

|

:r

:t

:d'

id

|m

:f

:f

,f

In

:

:-

M.

:t,

:

|r

|s

:r

:

:d

I

:-

:

II

:f

|f

|f

|t,

|m

:

jf

|s

:f

:f

|f

:f

is

:

:

|d

:

|d

l

>

|

m

:

:t,

i-.s,

:

Id

:

|-

:

138.

:f

:- |- :-

|m

d |

:

j

Id

:r

:t,

:

ni

:r :|r

|s

KEY G. :

:f

Is

:

:f, j

In

|-.*s,sl,.s,jf

f

s

pm

i-.s.sl^sJt,

:

.s,|

:

,r, :m,

|r

pi

:d

|d

I

jlm

s

:r

152.

i.8,:l,.8||d

:

:d

|r :d

:d

It,

|d

^.l.jt,

|f,

KEY G-

:m

:r

,l,:t,

:

:s,

jpt,:!,

n

It,

|

|t,

jd,

jlm,

:1,

|t,

:f

s:-|f dl

:t

ds

|"1,:

:-

|r

:f

:d

|r

:f

:

:

|

If

-.|_._

:|n

|t,

s

ni |:

:

|s,

:f

In

:

t,:r

|1,

:t,

Id

:

|

:r

|f

ds

:m

:r

|f

|

(iv)

fe

:m |

An

easy piece of rhythm should be played or sung two or three times, and The teacher should the children should write it down in their note-books. the class in what pulse-measure the test will be, and the books should be barred beforehand. tell

Example :

Sid

:

id

:

Id

:d

Id

:

II

22


STEP (i)

Modulator practice in the key of

(ii)

XX

(STAFF).

including all the notes of the scale, The following and similar exercises should be written on the blackboard, and sung slowly by the class, to the Sol-fa names. Gr,

Example :

^

-g

(iii)

Exercises in

Time and Tune.

-elr

==

23


zt=

A

H*

*

f^

24


STEP XXII (i)

The

Staff

(STAFF).

Modulator should now be extended to the

left so as to

include the

key of P.

Explain the formation of the

scale,

showing why

B

becomes Bb in the

key. Only the notes of the chord of F should be taught at first. The children should now evolve for themselves the important rule that when doli is a line the me and so/i are the next lines above, the upper doli being a

new

Modulator practice in C and F. The following or similar exercises, in tune only, should be written on the blackboard, and sung slowly by the class to the Sol-fa names. space,

(ii)

and

vice versa.

Example :

JLJL

is:

(iii)

-

/r

Exercises in

k

a

Time and Tune.

25


EJ^

3 An

easy piece of rhythm should be played or sung two or three times, and written down by the children in the staff notation.

(iv)

STEP XXIII

(SOL-FA).

Modulator practice in three keys.

(i)

(ii)

The following or similar passages should be written on the sung slowly by the class

blackboard, and

:

Example

:

KEY C. r m

d

G.t. s

f.C.

d

r

t,

d

s

1

1

t

s

m

r

"1

Time and Tune

(36,

d

IP. dl

s

f

t

d

m

nt

d

f

m

r

1

s

1

C.t.

s

m

1

f

Exercises in

(iii)

37,

1

d

and 38 in the " Criterion Sight

Header," Part IV).

M.

KEY F.

If

:1

152.

:f

:m

:s

|m

|:m

dl

:t

d

s

1

:s

:

:d

:m

It,

|r

:d

:r

It,

:

:f

In

:t

Id

1

:s

:

Id

:t

1

:f

:s

:*s,

:

nl

|m

m

:f

:1,

:t,

:f

:1

:r.m|f

II,

:s,

:1,

Id

:t

1

r

:r

:s,

:n

st

:d

Id

st,

1

:t

:r'

j-d'ir dl

s

:f

:m

:m

|r

",!, :t,

:d

Id

:d

It,

8 :

:s,

,r,

:m,

:f,

If,

:

:m,

|

:t,

:m

:d

jr

:f

If

:m

:r

Id

:r

:t,

Id

:

l

26

Fifty Steps in Sight-singing. KEY D. M. 160. : :d :

||d

:s

s

:r

,r

:m

|r

|f

|m

:-:-|ni

:f

:m

:s

:f

:t

:d'

:

:

j|

Kd

:

:-:s

d

:

:d

Ir

:

:t,

:d

It,

:-:!,

pi,

:n

|

:r

:m

If

:

:

:

:

in

:

:

In

:

:

I

:

:

;

:

:f

|

nl

I

:

|t

f

If

In

:

:

It

Id

:t

:1

1

n l,

|

|

:1,

:t,

:- :-

Id

jit,

:r

r

:d

jln

d'

:d'

:

It

:1

s :

r If

s

If

:s

:

|

:m

:r

In

:r

:

jld

Is

II

160.

:

|r

:m

it,

:

|d

:

II,

:

|t,

:d

Is,

:

:

|r

:m

It,

:

|d

:

Ir

:

|m

:f

Is

:

:

|1

:t

:

|d

:

II,

:

|t,

:d

Ir

:

:t,

|d

:1,

Is,

:

|t,

:

Id

:

8

,d

M.

:

:

|d

|

KEY G.

j|

f j

dl

s

:

|

:

|

1

|

H

s

d'

:t

|d'

s

:1

d

:

|

|

(iv)

Ear-tests, in tune only, should

keys.

Before each test

it

now be given

will be well to let the class sing the

STEP XXIY (i)

to the children in a variety of

new

doh.

(STAFF).

Modulator practice should be extended so as to introduce the other notes of the key of F.

(ii)

The following

or similar exercises, in tune only, should be written

blackboard, and sung slowly

by the

class, to

the Sol-fa names.

on the

27

Fifty Steps in Sight-singing. Example

(iii)

(iv)

:

Exercises in

Time and Tune.

Ear-tests of three notes, occasionally one with, four notes one) should be given to the children, staff

-/nr^

notation (in the key of C).

\

(if

it is

an easy

and written down by them

in the

28

Fifty Steps in Sight- sing ing.

Recapitulation of Steps

STEP XXV XVII and XIX.

STEP XXVI Recapitulation of (iii)

Exercises in

(i)

and

(ii)

in Steps

(SOL-FA).

(STAFF).

XVIII and

XX introducing CJ and Ffl.

Time and Tune.

-4

..

:= i

-=!--

I

29

Fifty Steps in Sight-singing. (iv)

The

ear-tests should

the key of

new key

Gr.

It

be given to the children, and written down by them in most important that children should write with the

is

signature.

STEP XXYII Eecapitulation of Steps

XXI

(SOL-FA).

and XXIII.

STEP XXVIII Eecapitulation of (i) and (ii) in Steps in Time and Tune. (iii) Exercises

XXII

(STAFF).

and

XXIY,

introducing Bfl and

o

tfc

=3-

-1-

I

I

?E

-fe

I

30


at

-=}-

The

(iv)

ear-tests should

the key of

F

he given to the children, and written down hy them in

in the staff notation.

STEP XXIX (i)

rz:

(SOL-FA).

Modulator practice in three keys, introducing various accidentals,

Easy exercises in Time and Tune introducing "bridge-notes, should be able by this time to write down ear-tests (iii) The class (ii)

with

of four notes

tolerable ease.

STEP

XXX

(STAFF).

Modulator practice in the keys of C, Gr, and F, introducing various accidentals. in Time and Tune in the three keys. (ii) Exercises (i)

I-

,

i

*

3H

^

4t^

*

-1

31


\ I

|

i

t=fz (iii)

The

class

should he ahle to write

down

in the staff notation ear-tests of four

notes in the three keys already learned.

STEP XXXI (i)

(SOL-FA).

A short practice with the modulator, introducing various accidentals.

(iii)

Time and Tune, introducing "bridge-notes. Half -heat notes should he explained to the children in two-,

(iv)

The following

(ii)

Exercises in

three-,

and

or similar passages should he written on the "blackboard,

and

four -heat measure.

sung

to the syllable doh, both teacher

Examples

Jd

:d

|d,d:d.d|d I

I

Id

:

:d

:d

Jd.dld

j|d Id

:d

|d

:d

:d

:d

|d

I

||d

:-.d|d

:d.d|d.d:d

|d.d:d.d:d

sd.dld

:-,d|d

class

II

:d,d|d

I

:d

and

:-.d|d

Id

beating time.

|d.d:d

|d.d:d.d|d

I

I

:d

:d

:d.d|d

Id ,d :d .d :d .did

:d

,d :d

:d

:

:-.

:d,d|d

Id

:

:-,d|d.d:d.d|d

II

II

:d.d|d

:d,d|d.d:d,d|d

:-

I

|d

:

I

32 (v)


A

short rhythmic phrase on one note, introducing one or two half -beat

notes, should he played

Example

Id

(vi)

The

two or three times.

:

:d ,d Id .d :d ,d Id

Id

:d

children should heat time while the teacher sings or plays the phrase

they should then sing write

it

down

it

themselves, and when they can do

A

short

;

this should


STEP XXXII (i)

:-

practice

on the modulator

(STAFF).

in three

keys,

introducing various

accidentals.

Quavers and dotted notes should be explained to the class, or similar exercises should be written on the blackboard, and (iii) The following sung first to the time-names and afterwards to the syllable doh, both teacher

(ii)

and

class

beating time

Examples:

rn

r "f

A

J

J

-i

J

:

33

Fifty Steps in Sight- singing. (iv)

(v)

Exercises in

Time and Tune.

A short rhythmic phrase on one times to the

class.

One

or

note should be played or sung two or three two quavers should be introduced, but no

dotted notes.

Example

:

!

The

children should beat time while the teacher sings or plays the phrase.

They should then sing it themselves, and when they can do write it down in the staff notation in their MS. books. 4

this,

should

34


STEP XXXIII (i)

(SOL-PA).

Practice on the modulator, in the minor mode, introducing

fse

should be avoided at

I

first.

The following or similar exercises should be sung slowly by the class.

(ii)

but the passage

se,

written on the blackboard, and

Example:

Lah

A.

is

d

t

1

1

t

se

1

n

1

m

f

t

1

se

1

m

1

drmld'tlmflmltsel Exercises 38, 39, 42, and 41 in the "Criterion Sight-Reader," Part III

(iii)

Lah

jld

Um

:m

Lah

M.

F.

is

:d

|m

:

|r

:

132.

M.

G.

is

|1,

:m,

:d

|1,

:d

Lah

m

jlr

ill,

:

id

:d

|t,

:

II,

:d

|m

:

1,

:d

|n,

:-f,

:

:m

:

:d

It,

:

:

jld

,

{<

|t,

:d

:m,

|1,

:d

:t,

|d

:f,

|m,

|r

1

1,

:f

|m

:

It,

:1,

|1,

:

:1,

Id

:1,

|t,

:

:1,

d

:t,

|1,

|r

|r

:-

D.

is

II

jll,

%*

|d

:m

Lah

them

:1,

:f

:f

:t,

:d

II,

132.

:m,

jll,

,

:

is

:

JE.

:d

:t,

:1,

:~

:

:r

:

:r

In

:

:

II,

:

:t,

:f

:m

1

1

:

:m

Id

:

:r

:d

:

II,

|t,

M.

If the Tonic

as set out

|m

|m

:t,

Id

:

id

|r

:r

:m

:m

: j

:-

108.

It,

:

:

:1,

:

|r

II

In

:

:

:

:

:

:

Id

:t,

:1,

It,

:f

In

:d

:t,

II,

|r

:-

Minor Method

In

:

is

If

|m

:r

:m

:

:r

:d

:- :-

adopted the teacher should omit Steps XXXIII to XL, and take On no account should both methods be taught."

on pages 64 to 76 in Appendix III.

35


The

class

should at

teacher considers

Easy

(iv)

ear-tests in the

Examples

d

1

1

it

first

sing the tune only, without the time,

JD minor. se 1

se

1

1

key into prominence.

d

m

1

1

se

This

may

1

m d m

1

The following

1

so as to bring the notes of the

be done as in the illustration

A

by the

Exercises in the

I

minor

:

minor when

class.

^

e\r3gj-

se

or similar exercises in tune only should be written on the

blackboard, and sung slowly

=-Q

t

(STAFF).

The teacher should only point to the right of the chord of he wishes to indicate GrJ.

(iii)

1

:

The modulator should now be drawn

(ii)

the

minor mode.

STEP XXXIV (i)

if

advisahle.

Minor Key

:

f^

^T-

36


h

-I

)

4 4

r

:*=

iE^Êî r

(iv)

V

i

Ear-tests in

A minor should

1

be given to the

and written down by them

class

in the staff notation*

STEP (i)

Practice

and//i
on the

XXXV

(SOL-FA).

modulator, in the minor mode, introducing ba

se

lah,

se lah.

The following and similar exercises should be and sung slowly by the class.

written on the blackboard,

37


Example :

G Imd'tlsfmmselmbaseld 1ml sfmdrmfsel sel Lah

is

1

t

Time and Tune

Exercises in

(iii)

Sight Keader,"

(

:m,

M.

Lah is F. In :

d

:m

Lah

is

]).

and

55,

in the

60,

"Criterion

126.

In

:m,

I

|d

52,

(48,

Part, III).

:

:

:r

t,

:m,

|

|t,

:n

|m

:

:d

l,

:f

|r

:

|t,

:

|n

1

:r

|

1,

:

II

|

M. 104. II

:1,

:

:s

in

:f

Id

:r

:

:t,

:1,

:

|t,

:

:

:

II

:

:

:-:

:

|m

Lah

||n

m

C.

is

:1,

Id

:1

Id

II,

|m

M.

:m

II

It

:d'

:1

In

:d

Lah

(iv)

C.

is

:1

|m

:1

Jll

In

:1

:

|m

:m

:m

If

:m

II

:1,

Id

:n

|m

M.

:

|m

100.

:m

:n

Id

:d

Id

:d

Ear-tests in the minor

written

:d

|1

|1,

ill

:

96.

II

:

:

down by them

|1,

|1,

It,

:

It,

:

:t,

:d

mode should be sung

|d

|r

:f

:r

|m :n

|m

:

|

If

:m

|1,

II

:

or played to the children,

and


Examplts:

A. minor. 1

se

1

d

1

d n

1

se

se

d t 1

1

se

1

f

m

1

se

t

1


38

STEP XXXVI (i)

Practice on the modulator, in the

\

J\

A

minor, introducing F, Gjf, A, key of the two of minor scale, and make the forms Explain FJf, Gfl, class sing them to the Sol-fa names.

A.

and

(ii)

(STAFF).

Exercises in the

A

!

Minor Key

:

39


STEP XXXVII

(SOL-FA).

Modulator practice in the minor mode. " Criterion Exercises 8, 9, 18, 19, and 22 in the Sight Keader," Part (ii)

(i)

M.

KEY D.

jld

Hd

:-.s,|r

:

116.

:m

:s,

|r

:s,

IY

Id

1

:1

|d.r:m.f|s

:d'

:s,

:

Id

:-.

|

|l.,s:m,d|r

j

1

:fe.l|s

|d,r:n.f|s

:

:

|

:r.n|d

|

'

:m

|f.f:m.f|l

:m

:s

jld

is,

|r

is,

|d.r:m.f|s

Jld

:s,

|r

:s,

|d.r:m.f|s

:

Us

:f

Ud

:t,

ils

:f

:

M.

jt

Id

:1

r

.s

:fe.l|s.

js

:

|

:

\

:

I

:s,.s,|d.r:m.f

:r.m|d.

:

|

-

:-

Is

)

:

:

:m,r.m,fs

.f

:m

r

.s

:m

:r

.f

:r

.f

st,

.d,r:m

:m

.f

|d,r,m,f:s

.f

I

s

:m

:r

,,

j

.,r|d

.m

:n

:d,r.m,f

:S|,l,.t|,d|

:m,r.m,f|s

.m

:r

|l.,s:m.,dlr

:m

:S|,l,.t,,d|

.m

In

1

d'

:

:f

:m,r.m,fs

:f

Hd,r.m,f:s

1

jd

:

100.

.,d|d

jls

:d'

:f

:t.l|s

:

:- I-

:t,,d|r

j

1

:B,.8,|d.r:m.f|8

:- I-

KEY G.

:m

Id

id.

:

|

|

Id

Jf.f:r.r|s

|f.f:m.f|l

||r.r:d.r|pi

Is

:m

:s

J|r.r:d.r|m

:f

:m,r.m,f

)

:t,

:

,t,

)

:s

.s

I

|d,r.m,f:s

.s

40

Fifty Steps in Sight-singing. :m

.s

.d

It l9 d.r 9 d:t,

ll.jt^t,:!,

:s,

)

l,,t,.d,r:m

sn

)

s

:f

:m,r,m,f

)

,,r|d

:t,

:1,

i|8,1.8,f:m

:m

Ul,,t,.d,r:m

||n

:m

.f

Jf

Lah

is

E.

M.

,t,

Id

.t,

:d

.r

:m

.f

:1,

:m

.f

s

:m

|d.t,:d.r:m

|r.d:t,

|r.d:t,

:

1,

:-.t,:l,

Id

M.

:m

:

|f .m:r.d:t,

1

I!

:

.rnlr

:1,

:

:

:t,

:d

|m .r:d.t,:l,.d|

|r

t,.l,:se,

,d:r.d:r .nlf

1,,!,:!,^,^.!,! t,.d:t,

:-.m:r,,d|m

:

:

I

:-.r:d.,r|s,

:-.l

:- ,m:r

:-.l|l,

:

:

:

:

.8i:l|t8,:t,. 9 dim

:

s,

:

Is,

:r

:

I

.s,:l,.s,:t|.d/

SS.MS.JS,,,!,! s,

:

:

Is^s.js,.!,:!,.^!

:

:

|

I

:s,.l,:t|.d|r

.Bi:l|.t||d.,ti:r

:

>

126.

:f ,m:r.,m|f

:

.d:r.m:f

:

Id

:t,

|r

:

:

:d

t,

t,|

:t,.l,|se,

:d.t,[

:

f

:8|.8,:l, M

:S|.l,.t,,d|

144.

|d.t,:d.t,:d.r|n

i|

:m

.f

:d,r.m,f|

:

:

j|n.,r:d

SI

I

:

:

KEY G.

Urn

:d

.s :m

||r.d:t,.d:r,m|d

jls

.r

:s,,l|.t,,d|r

||d.t,:d.r:m

Id

:m

:m,r.m,f|s

J|r.s:m

(II,

.t,

,f

|

jls

jd

:d

.r

In

.mlm

:

:-.rsd,,r|m

:

:s,

:s

I

:f.n:r.,m| :d

I

.s,:l|,t,:m.,r|r

:

41


Lah

is f

m n

.

I

__

1

x

Id

:r

:se II

:t

1

tsl

u

v r

:r

:m

:

l

:m

I

:m

1

:f

In

:s

:f

In

:

:

1

I

1

:

se

:

i

se

j

:

_. ~-~

m in I

-

II

:-:

:ni

Id

||1

(iii)

1,

:

:

1

The as

"

class

God

should practise writing out well-known tunes, in easy time (such King "). Time and tune together should not at first be

save the

The notes of a tune might be written one day and put into attempted. the proper time the next.

STEP XXXVIII

(STAFF).

Modulator practice in the key of A minor. Exercises from the " Simplex Music Eeader," to be selected by the teacher, (ii) for practising the class in any points in which he thinks they are specially

(i)

deficient. (iii)

Exercises in the Minor

Key

:

42


S5^ê e N4

W

J

43


(ii)

The following and similar exercises should be written on the blackboard, and sung slowly by the class :

Example :

^3

(iii)

Exercises in

zz:

E minor.

:*a

1

1-

44


=S

(iv)

Four

or eight bars of a well-known tune to be written out

by the

children

in staff notation.

STEP XL. (i)

Practice on the modulator in the key of

introducing both forms of the minor

Bjtfe

(ii)

The following and similar sung slowly by the class. Example

:

1/^^r

^

\

D

minor

(see

Step

XXXIY,

i),

scale.

5T-fi

exercises should

be written on the blackboard, and

45

Fiffy Steps in Sight-singing. (iii)

Exercises in

D

minor.

t

t:

m

I

^

i

1

?^*

f?r^

if::

(iv)

Four or eight bars the staff notation.

of a

well-known tune to be written out by the

class in

46


STEP XLI. (i)

Practice on the modulator in the key of D.

extended so as to include the

new key

with advantage be introduced. at

;

and

Only easy

The modulator should now be transitions

from

D

to Gr

may

intervals should be practised

first.

*=p? (ii)

The following and similar sung slowly by the class. Example

exercises should be written

on the blackboard, and

:

C?"

(iii)

Exercises in

D major.

*=1

^F^

1


m

tit

Easy

(iv)

ear-tests should

in the

be played or sung, and written down by the children,

key of D.

STEP XLIL (i)

Practice on the modulator introducing

D, (ii)

also

G#

and

more

difficult intervals in

the key

Dfl.

The following and similar sung slowly by the class



:

Example

(iii)

of'

:

Exercises in D, including /e and

ta.

?L

-*

!_

48


dl

(iv) Ear-tests,

written

Examples

including Grjf and Cfl, should be sung or played to the class, and in the key of D.

down :

49


STEP XLIII. (i)

Practice on the modulator in the key of Bb. The modulator should- now be extended to the left, so as to include the new key ; and transition from Bt? to

F may

with advantage be introduced.

practised at

Only easy

intervals should

be

first.

-|_0-

(ii)

The following and similar exercises should be and sung slowly by the class

written out on the blackboard,

:

Example

:

^~j

^~1 ^ -^

zi2:

(iii)

i

Exercises in Bt7.

IZ2I

C^y ^*r^|

50


=&

i

EEE

:*:=*

^=

-^

^

/

Easy

(iv)

ear-tests should

in the

key

Examples

-^-

be played or sung, and written down by the children

of Bb..

:

L

I

_I^2

&-\n-& ^3

.^3

J

--^-nn'r^"^^

STEP XLIY. (i)

Practice on the modulator, introducing B!?, also Efl

(ii)

Example

:

Exercises in Bt7 including/^ and

ZT5Z2 -

difficult intervals in

the key of

and Ab.

The following and similar exercises should be sung slowly by the children :

(iii)

more

|*

fa.

written on the blackboard, and

61


(iv) Ear-tests,

written

including Efl and Ab, should be played or sung to the

down by them

in

class,

and

Bb.

Examples :

021

1

52


STEP XLY. Practice on the modulator in the

(i)

The modulator should be new key and transition from A

key of A.

extended to the right so as to include the to may with advantage be introduced.

D

practised at

;

Only easy

a=B=

m (ii)

The following and similar sung slowly by the class


:

Example

:

-aj&-$

_

_,

3-

(iii)

intervals should be

first.

Exercises in A.

f



=1-

"-yH

=tf*

4-

Easy

(iv)

ear-tests should

be played or sung, and written down by the children

in the key of A.

Examples

:

STEP XLYI. on the modulator in the key of A, introducing more intervals, including DJf and GrH.

Practice

(i)

(ii)

difficult

and following and similar exercises should be written on the blackboard, class sung slowly by the

The

:

Example

:

m (iii)

Examples

in

A, including /e and

fs

54


r#n

F*-

1

1

I

1

1

=s^=

F^* ri

-jMjj

I

i

-S*

(iv)

Four

or eight bars of a well-known tune to be written

by the

down

in the key of

A

class.

STEP XLYII. (i)

Practice on the modulator in the key of

extended to the to

left so as to include

Bb may with

practised at

first.

the

Eb.

new key

advantage be introduced.

The modulator should be ;

Only

and

transitions

from

Eb

easy intervals should be

55

Fifty Steps in Sight-singing. '(ii)

The following and similar sung slowly by the class.



Example :

V

rxz

Z2I 221

(iii)

i

Exercises in

fr-rr 1-

atttf

e

1

56


I

Easy

(iv)

ear-tests should

in the

key

Examples

be played or sung, and written

down by

the children

of E!7.

:

1221

STEP XLYIII. (i)

key of Eb, introducing more difficult and DJX intervals, including Aj| The following and similar exercises should be written on the blackboard, and

Practice on the modulator in the

(ii)

sung slowly by the

(iii)

class.

Exercises in Efr, including

,

b

/^

and ^.

57

Fifty Steps in Sight- singing. 1-

_r_Lt

--1

(iv)

Four

or eight bars of a well-known tune should be written

down by the class.

STEP XLIX. Compound duple time should be explained to the children, and well-known tunes sung by them (e.g., " Come, lasses and lads"). Time (two beats in each bar) should be beaten by both teacher and class. (ii) The following or similar exercises should be written on the blackboard, and sung by the children, who should also beat time. (i)

Example

:

tf ^J-^v^ J-N

,T

I

I

j

I

58 (iii)

Fifty Steps in Sight-singing. Exercises in

time.

5

t

fct=g*z =*

3rf

(iv)

Ear-tests should consist of

children should

write down.

first

short phrases in

learn to sing

by heart

Time and Tune, which the to the syllable laa,

and then

59

Fifty Steps in Sight-singing. Example :

or.

STEP

L.

The semiquaver and dotted quaver should be explained to the class, (ii) The following and similar exercises should be written on the blackboard, and (i)

sung, both teacher and class beating time.

-cq

I

3

atatrat:

By removing the alternate bar marks the phrase can be changed into and the class should sing it beating 4 in a bar. (iii)

Exercises in dotted quaver.

0-

ts

?*.

| time,

60


^^ &

(iv)

Ear-tests as in Step

IE =E

îr-tl

XLIX.

A few keys and

times only remain to be learned but it is unnecessary to in which these should be taught. The indicate further the methods or order children should be able to sing moderately difficult passages in C, D, Eb, F, Gr,

A, and Bb, and the

;

adjusting themselves to these tonics with For instance, if they can sing in Eb with the

difficulty of

different signatures is not great.

Tonic Sol-fa names, they will find, when they know the signatures, that Efl with four sharps is just as easy. Many small points are sure to arise incidentally during the lessons which must be left to the teacher to deal with ;

for it is manifestly impossible in a

book of

this size

and nature

to provide for

every contingency, or to predict the questions arising from the ingenuity of the juvenile mind.

61


APPENDIX A TABLE OF HAND The diagrams show

.

the

as seen from the front.

SIGNS

I. (with Illustrations).

hand as seen from the left of the teacher, noi Teachers should particularly notice thin.

SOH. The GRAND

or bright tone.

TE. The PIERCING

or sensitive tone.

ME. The STEADY

or calm tone

DOH. The STRONG

or firm tone.

RAY. The ROUSING

FAH.

LAH. The SAD NOTE.

or weeping tone.

or hopeful tone.

The DESOLATE

or awe-inspiring tone.

These proximate verbal descriptions of mental effect are only true of the when sung slowly when the ear is filled with the key, and when the effect is not modified by harmony. For Fe, let the teacher point his first finger horizontally to the left. For Ta, ditto to the right. To the class these positions will be reversed, and will correspond with the Modulator. For Se let the teacher point his forefinger straight towards the class. tones of the scale

62


APPENDIX

^

II.

TIME NAMES. This book was originally intended for teachers

who had

learned the Sol-fa

Notation, in order to give them a method for connecting the two notations from

But

the beginning. Sol-fa

is

unfamiliar, that, in response to

notation are latter

the book has been so widely taken

now

included,

to

whom

requests, certain essentials of that

many

the Hand-signs

viz.,

up by those

and the Time-names

the

with instructions as to the Steps in the book when they should be used. the immense

It is impossible to overrate

teaching of time

;

for the system

is

value of these names in the

not based upon an intellectual arithmetical

learning of time and accent, but upon the sense impression given

by the

pattering sound of certain monosyllabic names for notes of different value, the

combined sound (i)

of

which reproduces the pattern of the music,

A note occupying may

be

taa. (ii)

Thus

:

In

If a note

|

a single beat

taa

When

a beat

is

-

is

aa

Thus

taa

-

aa

time each crotchet

^

time each dotted crotchet

taa

-

aa

sai

(e.g.,

is

(the

called aa.

is

worth a

each beat

crotchet,

together a complete beat, are also called taatai.

is taa.

Thus

sound used for a

equal parts the time-name

in times where

is

is

dotted, tied, or

is

:

rest)

taatai

a minim, two

forming together a complete beat, are called taatai

same way, when each beat

M^

In

dropped and the next beat

divided into two

(pronounced taatay). crotchets,

In

is taa.

is taa.

prolonged beyond the length of a beat

doubled), the consonant

(iii)

called taa, whatever the length of the beat

in J time each crotchet

time each minim

is

is

;

and, in the

two quavers, forming

taa

taa

taa

The same time-names would

of dotted beats

Examples

(iv)

When

taa

-

a beat

is

taa-aa

taatai taatai taatai

used for the following

:

:

taa

aatai

also be

taa- aa- aa

taatai

-

taa taa-aatai

taa-aatai taa

aatai

divided into four notes of equal length the time-names are

tafatefe.

taa

tafatefe

In the same are

called

way

(vi)

a half and two quarters

taatefe,

time-names are

taa

tafatefe

I

J~S

tafatefe

I

taa

j^

I

while for two quarters followed by a half-beat the

ta/atai

For any beat divided

H""i n VW^^'^W^'

I

I

'!

I

)

jf*-*)

into three equal notes the time-names are taataitee.

(These names apply both to triplets and to the natural subdivision of a

compound

beat.)

64


APPENDIX There

always been a difference of opinion between orthodox Sol-faists

lias

and advocates

III.

of the Staff Notation regarding the treatment of the

minor

scale

;

has probably been one of the reasons why many The Tonic musicians have been unwilling to adopt the system as a whole. Sol-faist treats the minor scale as merely the relative to its major ; while the

and the Sol-fa treatment

of

it

large majority of musicians treat the minor scale as a self-existent scale with its own tonic, &c., obeying its own laws which, in most respects, are the same as

those of the major scale.

The

late Dr.

Sawyer's Sight-reading book, embodying this view, while at the same time using many of the excellences of the Tonic Sol-fa system, is well

known

most teachers, and has been used at many of the best-known There is therefore nothing new in the -alternative institutions for many years. system advocated in this Appendix, which has been added in response to to

requests from teachers

who

treatment of the minor

There

is

those students

find the

book

useful, but

who

dissent

from the Sol-fa

scale.

one obvious advantage in the Sol-fa treatment of the minor for

who

are not likely to proceed to instrumental

work

;

for, if

the

minor tune does not modulate beyond the

relative major, the key, so far as the does not From a musical point of view, concerned, syllables change. it is a distinct disadvantage that singers should be unaware that a however, modulation has taken place and this is likely to be the case with all but the

are

;

specially gifted.

t

\ / |

Again, through the adoption of the relative instead of the tonic minor the whole case for "mental effects" (the basis of the Tonic Sol-fa method) is to a

The

Tonic, instead of being the firm note, is merely the sad note (lah of the major scale) the third note of the scale, instead of being the calm note, becomes the /?/7 note (i.e., the real tonic of the key); while the

large extent stultified.

;

%

note of the scale, instead of being the bright note, becomes the calm note, " and its special dominating character is denied by the " mental effect given to it. " " The difficulty of adjusting the ideas to these new mental effects is shown in irresistible an almost various ways by the pupils one of the most usual being fifth

;

inclination to sing doh for lah

;

especially

when

most natural and musical mistake to make.

it

is

taken by skip, in reality

65


In teaching the tonic minor it is advisable to let the class look through the tune before singing it, and point out any modulation to the relative major, and The singing of such tunes with the place where it returns to the original key.

names sometimes entails the use of bridge-notes (which do not tend simplicity), and it is therefore recommended that children should, as soon Sol-fa

to

as

The great advantage of this possible, sing the minor tunes to the syllable laa. is that children minor realise from the first that the Tonic the of treatment key minor is doh just as it is in the major, and this is a knowledge that will be of great service to them in their instrumental work, and especially so in in the

transposition.

" mental effects " are

The

the same in both major and minor keys.

MENTAL EFFECT.

MAJOR.

Doh

now

MINOR.

Doh

Firm

1

1

Te Lah

..Piercing

Sad

Te La (pronounced

Soh

Bright

Soh

Fah

Desolate

Fah

Me

.

Ma

.Calm

Ray Doh

law ")

"

(pronounced

maw ";

Ray Doh

Rousing

Firm

In the ascending minor

"

scale (melodic form) the sixth note

becomes

lah (as

so in the

minor

in the major).

As keys,

in the case of the major keys,

it is

best to take

C minor

C major was

taken

first

;

first.

In the following Steps the Sol-fa tunes have been translated into the tonic minor, or

new ones

substituted.

In order that children

learn to find the right signatures of the minor the (after discussing with them the places where

may

a good plan semitones occur as compared with their position in the major scale) to write up on the blackboard the two forms of the minor scale in (say) C minor, and get the

scales,

it

is

children to say which signature would be most likely to fit them. They will soon see that the signature of three flats comes nearest to what they want.

Another

scale

find one sharp as the signature

E

minor, and they will soon Other examples might be given.

might be written up

for them,

e.g.,

66


STEP XXXIII

minor key, taking Doh as the

Practise on the modulator in the

(i)

ma

instead of me,

avoided at

and

la

(SOL-FA\

instead of

The passage

lah.

la

tonic, using

dott should

te

be

first.

The following or similar exercises should be written on the blackboard, and sung slowly by the class.

(ii)

Example

:

drmardmas

lasd'td's lasd's

f

la s

la

f

s

ma r d

Exercises in time and tune.

(iii)

F minor. \\m

:ma |s

Id

:

(\

:d

|ma

If

:

:s

j|s

|f

:ma If

:ma |r

:la |s

:

j (

I

I

I

:

Ima :ma

:s,

Id

|r

:

Id

:s

|d

:ma |s

:

If

:r

:ma

:

I

-

:~

:d

|d

|ma :d

Ima :d

|r

:

:d

Ima :r

|d

:

:ma|r

mnor. |d

:s,

jld

:ma Id

:ma |d

jld

|s,

la, :la, |s,

minor.

:la

jls

id

:s

1

:s

:

Ima

:

Is

:f

:

:

Id

:r

:

j

:f

jima jlma

if

:s

:ma

:

Is

:

:

:la

|r :f

:

jEJ

d

If

:s

:

Id

:r

:s

Id

1

:s

:

j

:la|

s

s

:f

|r

2

:

:ma|d

:

minor.

:r

:ma

:r

:d

r

:

:d

Is

:

:

Is

If

:

:

If

:

:

Ima :r

:

:

I

la :s

:f

jl

Uma :

id

:

:

:

Is

:f

:la|s The considers (iv)

Easy

class it

should at

first

:ma:r id

:d

:

:mad

sing the tune only, without the time,

:ma

:

|r

if

:

:

the teacher

advisable.

ear-tests in the

down by them

minor key should be given


to the children,

and written

67

Fifty Steps in Sight-singing. Examples

nia

J> d

:-

minor. t,

d

d

t,

d ma

s

d

1

t

STEP XXXIV (i)

The following

d

1

s

ma

d

1

s

la

s

d

1

(STAFF).

or similar exercises should be written on the blackboard, and

sung slowly by the children (C or C$ minor).

- --t !

(ii)

s

Exercises in time and tune in

-^ C minor and Qf

r

minor.

68


I

introducing the new notes learned, should be sung or played to the children, and written down by them in the Staff Notation in the key of

(Hi) Ear-tests,

C minor

or

CJ

minor.

XXXV

STEP (i)

(SOL-FA).

Practise on the modulator in the minor key, introducing (the melodic minor

Example

class

:

:

d d ta la s d 1

t

1

1

Exercises in time and tune

F

1

ta la s

J)

d

t

1

1

la s

s

ma r d

minor.

na :s

d

s

:

I

U

d* ta la s

minor.

d ma r d s

(iii)

and

scale).

and sung slowly by the

D

$

or similar passages should be written out on the blackboard,

The following

(ii)

sit

|ma

:f

:

|r

|r

s

:s

Id

:

:la is

|f

:ma

|r

:f

:

Id

:

:

minor.

:ta

:

:s

:

I

la

:ma

:s

I

:

:ma

:ma

:r

Is

:t

:1

||d'

.

C minor. :ma

:~

Is

jld

|ila:s

Id

1

:s

:s

Id

1

:

Is

:1

it

:d

!

Ita :la Is

:

jma If

j

:lajs

:ma Id

:s

II

:t

Id

1

:

Id

:

II


69

C minor. '

:ta

:- :-

:1

:ma

:s

jjd

Ima

:f

:

:-

If

:d'

:t

Id

|la:s

|s :t

:-

:d'

|1

:

|t

|

:las :- :-

:ma

:r

\

:-

:s

)

1

|r'

:t

:ta

:las

:

:ma|d (iv)

;-:-

II

Ear-tests in the minor key should be sung or played to the children, a ad written down by them in their note-books.

Example : A. minor.

d

t,

d na

ma,

s,

d

^

STEP (i)

t,

d ma r

XXVI

(ii)

la

d

s

ta,

la,

s,

(STAFF).

Explain once more the two forms of the minor

them

d

t,

scale,

and make the

class sing

to the Sol-fa syllables.

The following

or similar passages should be written on the blackboard, and sung slowly by the class (C minor and CJf minor).

C-/


minor and

CjJ minor.

Ki=F^F

70


^J

~"U~

^P-

it

new notes learned, should be sung or played to the down by them in the Staff Notation in the key of

Ear-tests, introducing the

(iv)

children,

and written

C minor

or CJf minor.

STEP XXXVII (i)

(ii)

(SOL-FA).

Modulator practice in the minor key. Exercises in time and tune

:

(*).

C minor.

Us

:l.t|d'

jif

:la.f|s

:d,ma|r

:d

la:d',la|s

:f

:ta.lajs

:d.ma|

I

la :s.f|s

:r :d'.sjla.s:f.ma|ma 1

:s.ma|d

Ima.rJd.rlma.sJl.tld

:

G- minor.

Jld

:ma.r:d.t,|d

jls,

:-.l,:t,.d|r

:s

:s

:ma

:d

is

:s

|la:s Is

:

|la,f:ma:r

:f

Is

:-.ma:d

Id

:

Is

:r.ma:f

I

|d:s

:d,na|pia,r:d

:ta,

:

ma :rîa:

:t||d:-:

71

Fifty Steps in Sight- singing. mnor.

ma :d

:

jl

|ma.r:ma.f:s

j|ma,r:ma,f:s

|f.ma:r

ta s :f.m

jr.mld

:

d

(iii)

:

jr.dlt,

:

Is

:

:r

:l.t

:d'

:ma.r|

:

j|

l|la:s.f:ma Is

|f,ma;r

ps

:fjna:r.nâ!d

I

ma :d

|d':ta.la:s;

:l.t

:d'

Id

:s

:

|f.la:s.ma:rj>ia|d

1

:ta.la:s

:

|ma:f.s:la :

:

The

class should begin to practise writing out well-known tunes in easy time (such as " north country rnaid")- Time and tune together need not be attempted at first. The notes of the tune might be written out one day,

A

and put into proper time the next.

STEP XXXVIII (i)

(STAFF).

Exercises in time and tune, introducing modulation to the relative major. This may be practised on a modulator which introduces both minor and side. The best bridge-notes are (where possible) me in the relative major and ma changing to doh (minor), changing in the relative major, and vice versa. The first note is very often fa (changing to soh] for fa may mean merely the descending melodic minor, or it may mean a modulation into the relative major.

relative

major keys side by to

so/i

;

;

(ii)


C minor and

should be bridge-notes are marked with a

~~n

'

Qjf minor.

star).

(The notes which

72


I

i

r=r^

^î^rgEfcEgJzg^zF

1

Efc


^

JA~^z=îqzz=p^:r_^_

(iii)

The

class

g^zr

:

qsj=z

should continue to practise the writing out of well-known tunes,

following the recommendation in Step

XXXVII

(iii).

STEP XXXIX. (i)

The following

or similar passages should be written on the blackboard, and

sung slowly by the

class.

Key

Gr

minor and Gr# minor.

I

(iij


G

minor and

G$

minor.

74


:=*:

^

-*

^r.

fe

75


(iii)

Four

or eight bars of a well-known tune to be written out in the Staff Notation in the key of Gr minor or Qjf minor.

by the

children

STEP XL. (i)

The following and similar passages should be written out on and sung slowly by the class (F minor and FJf minor).

the blackboard,

s=

ÎZ2.

*&=

$ 122: -Qi

(ii)

Exercises in time and tune in the keys of

gÛ^LQ^

F

minor and FJf minor.

76


ft

fl

tt

f5a.

_

.

.

*^

-.

ps^

P3-r

I

*=:*&* ;-*

(iii)

Ear-tests as in the last Step.

i

Somervell, (Sir) Arthur Fifty steps in sightsinging

UNIVERSITY OF TORONTO

EDWARD JOHNSON MUSIC LIBRARY

fifty steps in sight-singing

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