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4 5 6

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WM. MAONAB, mmun. HAUfAX.

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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

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.

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.

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."

'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