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Entered according to Act of the Parliament of Canada, in the 
 
 year One Thousand Eight Hundred and Ninety-Mne, 
 
 by Hannah Dore, at the Department of Agriculture. 
 
Pl^ACTICAL HINTS 
 
 ON 
 
 PLAYING AT SIGHT. 
 
 A well-known musical authority has said, " You 
 miist fix your eyes carefully on the noten and not trust to 
 the 7aemory, otherwise you vrill never learn to play at sight." 
 
 The training of the eye should therefore go hand in 
 hand with technical develo^jment, as it is in the ability 
 to take quickly an account of stock that success in the 
 art in large measure depends. 
 
 Musical students as a rule trust to the memory (rather 
 than to the eye), after a due amount of familiarity with 
 a study has been obtained, hence, altho' the piece may 
 be before the pupil, it is probable not more than -^ of 
 the notes is observed, the performance being for the 
 most part mainly an affair of the memory. 
 
 To overcome this tendency (»vhich is the basis of 
 failure in sight reading), the autlior ha.s in his own ex- 
 perience found an invaluable aid in an extended analysis 
 of intervals ; and trusts that the few suggestions herein 
 offered may prove equally as advantageous to those into 
 whose hands this little manual may fall. 
 
Practical Hints on Playing at Sight. 
 
 IN rfiRVALS. 
 
 "Intervals, or the distances between notes are 
 reckoned, * Inclusively,' and by the number of names of 
 notes they contain." 
 
 By " inclusively " is meant counting in both limits, 
 thus, — C to D is a Major second, because both notes 
 are counted in the interval. 
 
 C to E is a Major third. 
 
 C to F 
 
 
 
 fourth. 
 
 C to G 
 
 
 
 fifth. 
 
 C to A 
 
 
 
 sixth. 
 
 C to B 
 
 
 
 seventh. 
 
 C to C 
 
 
 
 eighth or octave 
 
 Note. — '• If the upper note is in the Major scale of the lower 
 note, the interval ia Major," e. jr., G to B would be a Major 
 third, because B would be the third degree of the scale of G, 
 B to E would be a Major fourth because E would be the fourth 
 degree of the scale of B, and so on. 
 
 An interval a semitone less than Major is called 
 Minor, thus — 
 
 C to Dj? is a minor second. 
 
 C to Ei? 
 
 
 
 third. 
 
 C to FJ? 
 
 
 
 fourth. 
 
 C to G> 
 
 
 
 fifth. 
 
 C to aU 
 
 
 
 sixth. 
 
 C to BJZ 
 
 
 
 seventh. 
 
 C to Cfi 
 
 
 
 octave. 
 
 i 
 
i 
 
 \ 
 
 i 
 
 Practit'cU Hints uu Plaijintj at Sit/lit. 3 
 
 An interval a somitone greater than Major is called 
 augmented, thus, — ■ 
 
 C to Im is an augmented second. 
 
 C to Ejt •" " 
 
 C to fJJ •• "' 
 
 C to OJ " " 
 
 I •" third. 
 
 I II fourtii. 
 
 i II fifth. 
 
 I II sixth. 
 
 I II seventh. 
 
 An interval a semitone less than Minor is called 
 diminished. The most important diminished interval 
 is the diminished 7th. 
 
 N B. — Let the student write out intervals for practice in 
 all the various keys. 
 
 C to Aj 
 C to M 
 
 INTERVALS— Their Appetirance. 
 
 Even numbered intervals, i. c, 2nd3, 4ths, 6ths and 
 8ths, are dissimilarly placed, i. e., if the first note of the 
 interval is on a line, the next will be on a space, and if 
 the first note is on a space the next will be on a lino. 
 
 Odd numbered intervals, i. e., 3rds, r)ths and 7ths are 
 similarly placed, i. e., if the first note of the interval is 
 on a line, the next will be on a line also, and if the first 
 note is on a space the next will be on a space. 
 
Pradiral UiufH on Phmmj at Si>iht. 
 
 \^\ NODI: or /\M/\LV.SIMG. 
 
 THE RELATION OK NOTKH TO EACH OTHEU. 
 
 Select any Htu.ly (profemhly one witli which you aro 
 not fanuhar), in which tlicro aro a number of .skips, thirds 
 fifths, etc. ' 
 
 Suppose, o.ig., a bar to contain these notes :— C E 
 G, C, F, A, G. 
 
 Prc^cee.1 by analysin<< thus :-C to E (a third), 
 J^. to G. (a minor third), G to C (a Hfth), and so on. 
 ^ In this way each note is struck and considered twice 
 m Its reh^tlon to the note preceding and the note fol- 
 lowing. 
 
 On reaching the end of the stave (which will fi-rnish 
 a convenient stoj.ping place), play the music harkward 
 to the beginning, analysing the relation between the 
 notes as you proceed. 
 
 After practising in this way a few times, repeat the 
 mv,nc as written without consciously analy.»ing, ,)layin<' 
 as rapidly as possible. i ^ « 
 
 . ^■j.'^'T^" analysing in this way forwards and backwards 
 tach tiand ^v to he played neparately. See N0U6. *'''''^''"''' 
 
Prartiml Hints on Pfai/iw/ nf Si<il,f. 
 
 21X1 riODI: or /\NALY5IMG. 
 
 TUB HELATION OV NOTES To THEIU KKY-NOTK. 
 
 Commence witli the Major scule, taking each one in 
 connection with its Relative Minor {i. e. the Minor 
 Mcule built on tlie xuih degree of the Major). 
 
 Taking, e. g., the scale of C, proceed as follows :— 
 C (1), I) (2), E (3), F (4), and so on, naming first the 
 note, next the degree of -the scale to which it helongs. 
 
 In analysing in the Minor mo<le, proceed as if reading 
 in the Major with same key signature. (See Curwen in 
 " How to Read Music") 
 
 Thus, in the .«cale of A Minor relative ISIinor to C 
 Major, you would i)roceed in this niaiuicr ;— 
 
 A (6), B.(7), C (1), D (2), E (3), F}f (sharp 4), 
 Off (sharp (5), A (6). 
 
 „...^T"*"~J^*''^" the slmrp 4th and 5th of the Relative Afajor 
 ^rd"n\"^cLnding^^^ ""'' " '^^""^^"^ ^'"''^"'^'^ ^^'"^ (S---"y 
 ini^midTnT'" ^°'''" ^^^ the sharped fith and Major 4th used 
 
 When the scales have been practised as directed, 
 select any studies, atmh/mig the relation of every note 
 to its key-note. 
 
 Play slowly at Hrst (each hand separately), analysing 
 as you proceed, then rapidly, both han.ls together" h^i 
 without consciously analysing. (See Note G, also 
 Note 3), also 115, page 4.) 
 
Prachc 
 
 ral Hints on Playm «< ^^0^'*- ___ 
 
 THE CHROMATIC SCALE. 
 
 The Chromatic Scalc~la by sharps, descends by 
 
 '"'Analyse thus C (1), ^%^f;i^:^l^\^^^ 
 (sharp 2), etc. In descending, C (1), B ^/), pv 
 
 "';:: -The fir. ae.ree of a.y scale is a„al,sea ^^ 
 .heSin the higher or lower octaves. 
 
 , • f thp .Ipcirees of the Chromatic Scale 
 The analysi? of the degrees oi meeting of 
 
 furnishes an excellent preparation for the meetin, 
 accidentals when they occur in music. . 
 
 3rcl MODE or AWLY51NG. 
 
 .HK KK.AXIOK BB^WKbTTo^^S OK B.SS AN. XKKBI. 
 
 STAVES. 
 
 Thisex.rcUei.o,« of the •"»' ™r,t'' j te^- 
 H l»te the pupil in moving the eyes qu.ckly, and tep 
 
 inq hath staves in mew. 
 
 , „ „ Ml" n"te in the Bass stave be the 
 Suppose, ;„f' JV-jheTr=U.,the Brst line (1,), 
 
 ;ra:eaTn:te^'Vlea lid ««t, then «».„. .. .,. 
 
Praciical Hints on Playing at Sight. 
 
 up take in the note for right hand. Strike both together, 
 analysing thus an octave and a third and so on. 
 
 n' ?,^'^J?;T^". ^■nalysing the relation between notes in Bass and 
 Ireble Clefs, both hands are played together. 
 
 Intervals greater than an Octave, such as tenths, 
 twelfths, fifteenths, etc., are best analysed as an Octave 
 and third, an Octave and a fifth, etc., which gives a more 
 definite idea regarding i . distance. 
 
 NOTES. 
 
 1 In polyphonic music, such as Fugues, etc., pick 
 out each individual voice for practice. 
 
 2. Hymn tunes and anthems written in full score 
 (see "Dulcimer," "Bradbury's Anthem Book";, are 
 excellent training for the eye. Commence with Bass, 
 adding on successively Tenor, Alto and Soprano voices. 
 
 3. In playing both hands together, always read 
 frovi tJie Bass stave up to the Treble. This rule is 
 important and must he strictly observed. 
 
 4. Always endeavor to keep the eye and mind in 
 advance of the fingeis. 
 
 5. A good practice will be found in looking at a 
 bar or two attentively, then close the eyes and endeavor 
 t<3 see in the mind's eye the music as it appears on 
 paper. 
 
8 
 
 Practical Hints on Plai/inr/ at Sir;hi. 
 
 6 The objective point in all theses exercises beintf 
 the training of the eye, students may practice onaly 
 sing the relation between notcn when not at the 
 instrument. In time, and with practice, the eye will be 
 unconsciously impressed by the relation. oxiHting be- 
 tween the notes without any conscious analysis taking 
 
 7. If any error is made in the performance of any 
 passage (t.e., in reading exercise), do n.,t stop to correct 
 It, the, object being to go forward. 
 _ 8. Practice skipping about the page, as e. g., play- 
 ing the first bar of a stave, then the last b«r-^second 
 bar and the first of the following stave, and so on. 
 
 9. Finally, k-t the studenc remember that these 
 
 exercises are but the means to an end-the end being 
 
 the abihty to use the eyes (if I may so express it), which 
 
 IS of such importance if one wo.dd acquire the art of 
 
 Playing at Sight." 
 
M 
 
 'cises being 
 (!ti(;e an.'ily- 
 lot at the 
 eye will l)o 
 xisting be- 
 ym taking 
 
 mce of any 
 » to correct 
 
 '• fr, play- 
 ir— second 
 • on. 
 
 hat these 
 end being 
 it), which 
 the art of