,.;■»• ■ ■' ',:, V -i~-, '',;.''■ ■f^:- ' 'f '^ ■ ■ \ THE TEACHER'S HANDBOOK OF THE TONIC SOL-FA SYSTEM. A GUIDE TO THE TEACHING OF SINGING IN SCHOOLS BY THE TONIC SOL-FA SYSTEM. BY ALEXANDER T. CRINGAN, Graduate and Licentiate of the Tonic SoLFa College, London, England. Superintendent of Music in Toronto Public Schools, TORONTO : CANADA PUBLISHING COMPANY, (limited). • V V"' •-■■ ^ '■' ■ '■ A < .. Entered, according to Act of Parliament, in the Office of the Minister of Agricul- ture, in the year 1889, by The Canada Publishing Company (Limited). ■■■. ,'V'.f PREFACE. THE importance of the study ct Music is n(>w freely recognized, and in numerous Towns a yd Cities it is placed, as a regular subject, upon the curriculum. Progressive teachers throughout the Dominion are now fully alive to the beneficial effects of the study of Music as a refining, moral influence in the schoolroom and the home. Many teachers, are earnestly investigating the various " systems '* ot teaching music, and the majority of those have decided in favor of the Tonic Sol-fa System as being based on true philosophical principles of teaching, such as are now employed in teaching all other subjects. This system is not, as many suppose, a new system, having been before the public for upwards of forty years. In England, it has had to contend with most fierce and prejudiced opposition, which it has gradually overcome by its intrinsic merit, until now it is approved by the leading Musicians and Educators, and is used in ninety per cent of the schools which succeed in passing the Government Examination in Music. In Canada, it has met with the same opposition and suspicion, but as its merits 4 as a system have become known, this has gradually been disarmed, until now it has been adopted by the Educational authorities of the leading Cities and Towns of the Dominion. Improved teaching can only be looked for through an improved knowledge of the subject, and increased skill in the methods of teaching by the regular teachers. The object of this work is to aid the teacher in presenting the subject in a manner which will make the study a source of pleasure and profit to teacher and pupil alike. The author offers his experience in the hope that it may lighten the labours of his co-workers in a great and good cause. The plan of this work deals in detail with each branch of the subject, and explains, by means of Specimen Lessons and appropriate suggestions, tlie simplest and most practical methods of application. A number of exercises are given in each department, which, although insufficient in themselves, will enable the teacher to prepare others as may be deemed necessary. ALEX. T. CRINGAN. ( INDEX. PAGE Accents 17, 35 Act'on Songs Co Beating time 40, 42 Breathing 20,133 Beginning to teach 10 Calisthenics 62 Chromatics 155 Chordal treatment 16, 178 Colors 34, 96, 98 Continuations 45 Division of Lesson 13 Ear Exercises, 52, loi, 119, 124, 130, 162 Expression 108 Expression Marks 186 Eye-Training 32 Finger Signs 7 Interesting Devices 103 Instrumental aid 56 Manual Signs 6, 15 Marks 65 Measure 17, 37 Metronome 40 Minor Mode 149 Modulator 67, 112, 139, 148 Modulator Drill, 25, 79, 90, 112, 121, 128 Morning and Evening 106 Patterning 13 Pitching Keys 138 Postition, Best for singing 11 Principles of the System 14 Pulses 17, 4O PAOF. Registers, The 23 Rests, silences 45, iiS Rote Songs, 60 Running in grooves 27 School Songs 57, 106, 131 Singing softly 11 " with pupils 12 " at sight, ...31, 80, 97, 1X4, 123, 129 " from books 122 Specimen Lessons : — On Doh, Me, Soh 68 " Time 74, 77, 85 " Octaves 87 • Te and Ray 88 " Ear Exercises 102 " Teaching Songs 107 " Transition 140 " StaflF Notation 167 Staff Notation, Explanation of. x66 Syllabus for Graded Schools ...63, 134 Syncopation 161 Time, Hints on, 31, 80, 97, 114, 123, 158 " Chart 8 Time-Names 46 " Signatures 172 Transition 137, 183 Unexpected in teaching 82 Vocalising 28 Voice, The 20 " Training 109, 125, 132 Writing on black-board 36 ' '^' ^; ■^.^ ' MANUAL SIGNS OF TONES IN KEY. As seen from the left of the teacher^ rot as seen from the front. Teachprr should particularly notice this. SOH. The Grand or bright tone. TE. The Piercing or sensitive tone* FAH. . The Desolate or awe-inspiring tone. LAH. TheSi»o T ■weeping tonr ME. The Stbadv or calm tone. DOH. The Strong ox firm tone. RAY. The Rousing or hopeful tonek Note.— "Th^ie proximate verbal ce^cripfions of mantal effect are only trw ^ the tones , of the scale when sung slowly - wbeD the ear is filled with the key, ati* when the e&'«t is hot modified by harmony.'" FINGER-SIGNS FOR TIME. As seen from the Teacher' h point of view, the back of the hand being shown to the pupils. TAA- TAATAI. tafatefe. TAAtefe. TAA-efe. tafaTAl. 8AA. TAAS/iZ. 8 A ATM. •AA. -AATAI Note. — "These Signs are generally given with the left hand to distinguish them from the Hand-signs, whif h a^a gi\en with the right. The back of the hand is toward the pupils, so that the thumb uiay not be seen, for we never divide the pulse into five equal parts. Some Teachers find a difficult}^ in dividing and joining their finders quickly enough. To them it will be of great assistance to use the fingers of the right hand inside the bald-up left hand, for the purpose of placing and keeping the left-hand fingers as they would wish. Teachers reserve their right-hand for beating time j sometimes tapping the pulses on the top of the left-hand ^whicb is held still), and sometimes beating time in the regular way close by. The wooa-cuts are from the Teacher's point of view, not from the side seen by the pupils." 8 THE TEACHER S HANDBOOK. TONIC SOLFA TIME CHAKT, BY JOHN CURWEN. WHOLES. HALVES. QUARTERS. THIRDS :1 :1 ,1 1 ,1 :1 .1 .1 TAA tafatefe taataitee. • :1 .1 ,1 :1 - .) •AA TAAtefe taa-aitee : :1 ,1 :l .1 .- 8AA TAA-fe taatai-ee :1 .1 :1 A .1 : .1 .) TAATAI tafaTAI saataitee :- .1 ,1 .1 ,1 :1 .- . -AATAI safatefe taa-alAef : .1 :1 ,1 .1 f :l . . SAATAl tafatestf tasLsai-ee :l . :1 • ,1 :1 . .1 TAAS.4I TAAsefe taasaitee EIGHTHS. SIXT HS (Threk Accents) : L 1 ,1 1 .1 I ,1 1 :1 1 .1 1 <1 1 tanafanatenefei le tafatefetifl NINTHS. ,i 1 1 J 1 1 J i 1 taralatereletirili SIXTHS (Two AOOBNTS). 3 .S :1 1 1 .1 1 1 taralaterele [NoTK. — "Ai" is pronounced as in maid, fail, etc. "Aa" is pronounced as in father, " a " as in mad, " e " as in led, and " i " , as in ltd. These time-names are copied from M. Paris's " Langue des durtes." The minute divisions are seldom used except in Instrumental Music] . HOW TO TEACH THE TONIC SOL-FA SYSTEM OF MUSIC. PART FI RST. CHAPTER I. THE STEPS OF THE SYSTEM. Since the introduction of the Tontc Sol-fa system, many teachers have adopted the notation^ but have not taken sufficient pains to inform themselves of the grading of the various steps, or the methods of pre- sentation which are peculiar to the system. As a natural consequence, their teaching has been of an irregular and haphazard description, which has too often, though unintentionally, been the means of bringing discredit on the system. " The easy before the difficult," " the simple before the compound." and " one thing at a time," are maxims with which every teacher is familiar, but their application to the teach- ing of music is still far from having become general. The Tonic Sol-fa system is based on the true prin- ciples of teaching, and the methods by which they are applied cannot fail to commend themselves to all practical teachers. In order to secure the best possi- ble results, a careful adherence to the steps of the method is absolutely necessary. - * " lO THE teacher's HANDBOOK. The system is divided into six steps. The two principal subjects, Time and Tune, are taught sepa- rately throughout. The arrangement of the primary steps is as follows : — FIRST STEP. Tune. — The DOH chord (d n s) with all octaves. Time. — Whole pulse tones, half pulse tones and prolonged tones, in two, three or four-pulse measure. SECOND STEP. Tune. — The SOH chord (s t r') with all octaves. Time — Quarter pulse tones, pulse-and-half tones and silent pulses, 'in any measure. THIRD STEP. Tune.— The FAH chord (f 1 d') with all octaves. Time. — Combinations of half and quarter pulse tones, and silent half-pulses. CHAPTER II. OENEBAL HINTS. BlEUINNINQ TO TEACH. Many excellent teachers have been deterred from attempting to teach music by the erroneous impression that only those who are naturally gifted with a good voice or a musi- cal temperament arc qualified to teach music. Such, however, is fortunately far from being the case. On the contrary, teachers who are not so gifted, have a much better appreciation of the difficulties to be over- come by their pupils in learning to sing, and can GENERAL HINTS. II more readily lend assistance when necessary, than the more gifted teachers, who find no serious obstacles in their personal studies of music. Let the teacher, once master the first step and give the first lesson, and difficulties which formerly seemed insurmountable will gradually vanish, to be succeeded by wonder that a subject so full of pleasure and interest to teacher and pupils should have been so long neg- lected. " We learn to do by doing." Let the teacher keep this fact in mind and act upon it. Whenever a step has been mastered, let it be taught to a class, and confidence in teaching will soon follow. No one refrains from teaching drawing, saying, " I am not an artist," or from teaching reading, because he cannot claim to be an elocutionist, neither should any be deterred from teaching singing because he is not a musician. QUALITY OF TONE. All exercises should be sung with a soft ^ pure tone of voice, and the ten- dency to anything approaching loud or harsh singing should be nipped in the bud. A soft pattern should be given by the teacher, and pupils encouraged to imitate it. Every music lesson should be commenced with exercises, in developing a good tone of voice This will be found to exert a beneficial influence throughout the entire lesson. See chapter on voice training. BEST POSITION FOR SINGING. This is undoubtedly standing erect, with the head SiNO Softly. 12 THE teacher's HANDBOOK. well kept up, but not thrown back, and the arms hanging easily by the sides. This is not always conveniently attainable, owing to the construction of school desks, or nar- Sit Easily. rowness of the aisles. The next best position ia sitting erect with the hands hanging easily by the sides, or folded loosely and resting on the desks. The weight of the body must not be thrown on the hands while in the latter position. " Arms folded," [Avoid " Hands I ^^ " ^^^^^^ behind," should be avoided, Behin d." as both tend to obstruct freedom of action of the organs of respiration, which is absolutely indispensable during singing. SINGING WITH PUPILS. There is always a strong tendency to sing with pupils whenever the slightest difficulty occurs, but this ought not to be indulged. Pupils may be " pulled through " in this manner, but the exercise will fail to be of the slightest educational value. No sensible teacher would, for a Do NOT SiNQ WITH Pupils. moment, attempt to teach a child to read by simply repeating the lesson with him. In teaching singing, the same laws should be observed as in teaching reading. The teacher should listen, until help is required, then sing while the pupil becomes the listener. LEARNING BY IMITATION. This is one of the most important features of the Tonic Sol-fa system. Theory and notation are GENERAL HINTS. I3 kept in the back-ground as much as possible, while the thing, music, is studied from a pattern given by the teacher. Pupils will readily imitate whether the pattern be good Avoid Bad Pattern. or bad. Teachers should be careful to avoid defec- tive patterning, and should practise in private until sufficient control of voice has been obtained, to secure correctness in intonation and quality of tone in patterning exercises and phrases. DIVISION OF LESSON. It is impossible to lay down any definite rule regarding length or frequency of lessons. In this matter circumstances must decide what is most advisable. The plan of devoting all the available time to a single weekly lesson is not calculated to produce the best results. The lessons are too long to permit of the interest being kept awake, and the length of interval between lessons entails a strain on the minds of the pupils to remember what has been taught. Where it is possible, a short lesson should be given daily, but when this cannot be done an effort should be made to have the music lesson at least every alternate day. From twenty to thirty minutes daily is the average time that can be spared for music in the public schools. In order to make the most of the time, the lesson should be planned in advance and a specific time H THE TEACHER S HANDBOOK, allotted to each subject. The following- time-table has been put to a practical test and found to work satisfactorily : — Voice-training, Modulator drill - Sight- singing, - Time, - - - - Ear-training, - Practice of pieces, 3 minutes 5 3 / - 4 8 3° minutes CHAPTER III. THE rmTDAMEirTAL PBINCIPLES OF THE TONIC SOL-FA SYSTEM. Music is broadly divided into two branches, viz. : Tunf' and Time. Each subject is taught separately, in accordance with the true principle of teaching " one thing at a time." TUNE. The Key Tone. All tones are studied in their relation to a governing tone or key-tone called the Tonic, irrespective of their position in the scale of abs mte pitch. Each tone of the scale has a dis- tinct character or mental effect by which it can be recognized in any key. The appreciation of mental effect is the most powerful aid to a clear conception of the tones of the Mental Effect. scale, without which it is impossible to sing in tune. FUNDAMENTAL PRINCIPLES. 1 5 When a true conception of the mental effect of tones has been formed, the singer is enabled to sing with a degree of definiteness and accuracy, not easily ob- tained by any method of what is commonly termed " singing by interval." MENTAL EFFECTS. (MAJOR MODE.) TE —Sharp. Piercing. LAH — Sad. Weeping. SOH— Grand. Bright. Bold. FAH— Gloomy. Desolate. Grave. ME — Gentle. Calm. Peaceful. RAY— Rousing. Hopeful. DOH— Firm. Restful. These approximate descriptions of mental effect are only true of the tones of the scale when sung slowly ; when the ear is filled with the key ; and when the effect is not modified by harmony. • MANUAL SIGNS. A set of manual signs have been devised which enables the teacher to face the class while giving an indication of the tones desired to be sung. By com- paring the diagram of manual signs (page 6), it will be seen that each sign gives a suggestive picture of the mental effect of the tone which it represents. They have been found invaluable as a means of concentrating attention in teaching time ; and so strong is their mnemonic power, that pupils will often / 1 6 THE teacher's HANDBOOK. sing, by their aid, difficult intervals, when other means have failed. It must be observed, however, that they are simply a means to an end, and the error of usin^ them to the exclusion of the modulator and blackboard must be avoided. The major scale is treated as being the same in all keys, and has but one representation for one thing, viz. : the initial letters of each note. The following example is written in One Scale. the key of C, but should it be desired in the key of E, all that is necessary is to substitute E for C and change the pitch of the key-tone ; the notation will remain unchanged : — Key C. Key E. d :m If :m.r|d :t d :m If :m.r|d :ti |d :— 11 The tone:: are introduced chordally, not diatonically. This is the method which best ac- cords with the harmony of nature. CHOKaAL Treatment, Tones are niore easily sung when arranged chordally, i. ^., in groups composed of a tone with its third and fifth, (d m s) (f i d') (s t r') and by this means pupils are trained to smg wide intervals from the outset. The practice of singing intervals stepwise only is productive of uncertainty in reading at sight, and is narrowing in its effect. The principle of tuning instruments by chord has been followed by musicians for centuries, and recognized as the only true means FUNDAMENTAL PRINCIPLES. n of securing perfection in tuning; but John Curwen, the founder of the Tonic Sol-fa system, was the first to make a practical application of the principle to the teaching of vocal music. The tonic chord (d m s), the most common chord in music, is composed of the strongest tones of the scale, consequently is the first in order of introduction. TIME. Time is taught apart from Tune^ the exercises in time only being sung on a monotone. The successful teaching of time depends largely on the recognition of three great facts, viz. : The existence of pulses in music. The regularity of pulses. The accent of pulses and consequent grouping into measures. If pupils be requested to clap hands while a lively tune is being sung, Existence of Pulses. it will be observed that their beats will be almost exactly alike, and will seem to fit into some element of the tune. This element is termed the pu/se of the tune. In any one tune, these pulses will be found to be regular in recurrence and Rnuurity of Pulses. duration, although in some tunes they move faster than in others. aooent and Measure. As in poetry, the accents are of vari- ous degrees of strength, so also in music. The regular recurrence of the strong pulse divides the music into measures. When every l8 THE teacher's HANDBOOK. alternate pulse is strong, there will be two pulses in each measure, and when the strong pulse is followed by two weak pulses, there will be three pulses in each measure. Example TWO-PULSE MEASURE. 1st Measure. 2nd Measure. 3rd Measure. 4th Measure. ' ! 1 ' : ^r : ^ 1 : 1 Strong. Weak. Strong. Weak. Strong. Weak. THREE-PULSE MEASURE. Strong. Weak. Ist Measure. 2nd Measure. 3rd Measure . 1 : : 1 : : 1 • • • • 1 Strong. Weak. Weak. Strong. Weak. Weak. Strong. Weak. Weak. Unit of Time. The pulse is the natural unit of time, and by it the length of all tones is calculated. Thus tones are said to be one pulse, three pulses or half-a-pulse in length. The advantages of the Tonic Sol-fa notation of time cannot be overrated. A refer- ence to the above diagram will show Pictorial Notation OF Time. that it gives prominence to the three principal facts referred to : each pulse being separately indicated, represented of equal length, and the various degrees of accent marked by specific signs. The following will serve still further to illustrate the unique charac- ter of this pictorial notation of time : — Whole-pulse tones, . . Id :d Id :d 11 Two-pulse tones, ..Id : — Id : — li FUNDAMENTAL PRINCIPLES. Half-pulse tones, Id .d :d .d Id .d Quarter-pulse tones, .|d,d.d,d'.d,d'd>d| d «9 Pulse-and-half tones, I d :- .d Id d .d II -.d The notes which occupy a full space are one pulse in length ; the dash ( — ) prolongs a tone into the following pulse ; the dot placed in the centre of a pulse divides it into halves, and the comma divides the halves into quarters. The dash followed by a dot lengthens the tone by one half pulse. In the more intricate divisions of the pulse the pictorial character of the notation is preserved throughout. TIME NAMES. In order to convey a correct impression of the rhythmic divisions of the pulse, various "time names" are employed. These are exceedingly useful in intro- ducing any new division of the pulse, as they establish, in the mind, an association of syllable and rhythm^ in the same manner as Sol-fa names establish an association of syllable and interval. For full explana- tion of time names see page 48. FINGER-SIGNS FOR TIME. Some teachers use finger-signs for teaching time, but we do not recommend them except as an alterna- tive means of illustration with very young pupils. For the convenience of those who may wish to use them, a diagram is provided on page 7. ao THE tlacher's handbook. CHAPTER IV. THE VOICE. "Man has sought out many inventions," and has exercised wonderful ingenuity in the devising and constructing of many beautiful and apparently perfect musical instruments, but far above the works of man stands a beautiful and perfect instrument of wondrous mechanism, supplied to every individual by the Divine Maker, who planned it — the human voice. Among the many instruments made by man, there is not one which receives so little care and cultivation, or has experienced so much neglect as the human voice. Many attempts have been ,made to compare the voice to a mechanical instrument, but when pushed to a legitimate conclusion every one has completely broken down. For the purposes of illustration, no ons will serve our purpose better than the reed organ. In it we have the three essentials of vocal tone ; viz., bellows, vibrator. Three Essentials of the voioe. }'.*■--:. and resonator. In the organ, the wind is supplied to the vibrators by the bellows, and according to the pressure of wind from the bellows will the tone be soft or loud, and any irregularity of pressure will result in unsteadiness of tone. In the organ the vibra- tor is composed of steel reeds of various lengths, which, being set in motion by the wind from the bel- lows, emit a steady musical tone. The resonator is THE VOICE. 21 composed of sounding boards and hollow boxes, and likewise of the case of the instrument as a whole. In the human voice, the bellows are represented by the lungs. These are The BEU.OWS. enclosed in the chest, which they fit exactly, and of which they occupy by far the largest portion, leaving but a small place for the heart. They are two in number, and are much wider at the bottom than at the top. Underneath the lungs is the midriff or diaphragm, a muscular, movable partition by which the lungs are separated from the abdomen. It is The Diaphraqm J arched upwards like an inverted basin, and when its muscular fibres contract, it flattens and descends, thus increasing the capacity of the chest at the expense of that of the abdomen. Respiration consists of two acts, viz., inspiration and expiration. Inspiration may be produced in three different ways : — (i) By pushing the chest forward and flattening the midriff, so as to compel the lungs to descend^ and to increase in volume, in order to fill the empty space created by this movement (2) By extending the ribs sideways. (3) By drawing up the upper parts of the chest, viz., the collar-bones and shoulder blades. We will term these (i) Midriff breathing ; (2) Rib breathing ; (3) Collar-bone breathing. Collar-bone breathing is to be con- demned, and should never be used. collar-bohe Breathihq Ihjurious It utilizes only the thin upper parts of the lungs, 22 THK teacher's HANDBOOK. which cannot contain as much air as the broad under parts ; and, as all the parts surrounding the upper region of the lungs are hard and unyielding, much fatigue is occasioned by their use. Midriff and rib- Midriff and Rib- I breathing combined forms at once Breathing de8irable.| the most natural and easy method of Dreathing, and should be diligently practised by all. The Vibrator is formed by two chords or bands called the vocal ligaments. These are enclosed in the larynx, or voice box, commonly called Adam's Apple.* To give anything like a full description of these liga- ments would necessitate much more space than is available, consequently we will merely analyze the results of their action. Sound " middle C " of the II piano and sing downivards^ when a \ change will be experienced m the larynx and a difference in quality of tone will be at once apparent, when A is sounded. This is caused by a change in the method in which the ligaments are made to vibrate. Continuing downwards no other alterations will be experienced. Starting from C and singing upwards other, changes will be felt between E and F, and between B and C ; still another change takes place between A' and B', but the register above is not found in adult male voices. The term register has been given to each series of notes produced by one mechanism, and the voice has been classified as follows : — * For full information, see " The Mechanism of the Human Voice," by Behnke. (Curwen & Sons, London, Eng.) I'HE VOICE. 23 TABLE OF THE AVERAGE COMPASS OF THE REGISTERS, C B A G' -F' E' -D' C ■} SMALL. A — G F — E D C B, —A, G, — F. E| — D, C, —B, A, ■G, F, UPPER THIN. ■ LOWER THIN. UPPER THICK. LOWER THICK. The names thick^ thitiy and small are given on account of the manner in which the vocal ligaments vibrate. In the thick registers, they vibrate through- out their whole thickness^ but in the thin register, only the thin inner edges of the vocal ligai.:ents are in vibration, and in the small register, only a small portion of the ligaments are in vibration. The forcing of any of these registers upwards past the above limits is highly injurious, but they can be extended downwards without injury, and ought to be cultivated downwards until they blend with the register immediately underneath. The Resonator is formed by the upper part of the throat and the mouth. To illustrate the functions of the resonator, take an ordinary violin string, stretch over an ordinary deal box, and set i*- in vibration. 24 THE teacher's HANDBOOK. A musical sound will certainly be produced, but poor in comparison with that which will be heard with the same string stretched over a violin. There is no difference in the vibrator — the string — but there is a great difference in the resonator. In the same way, let a person sing with the teeth nearly close together, the lips drawn over the teeth, the tongue arched upwards, and the breath kept back in the mouth, and we get a tone as poor in quality as any combination of salt box and fiddle string can make. But let the mouth be well opened and the voice directed well forward in the mouth, and we get a tone equally pure with that of the finest violin. To produce a steady tone, and gain proper control of the breath, breathing exercises must be practised until a fair command of the lungs is obtained. To produce correctly, tones of any pitch, we must study the action of the vibrator, until the registers of the voice are equalized and blended with each other. Purity of tone depends largely on the shape of the resonator, the quality changing with the slightest motion of the mouth or throat. In order to cultivate pure quality of tone, voice exercises should be practised at the beginning of every music lesson. By this means the attention is confined exclusively to the formation of corre^"^ habits in singing, which are thus kept before the mind throughout the entire lesson. \ MODULATOR DRILL. 2$ CHAPTER V. MODULATOR BRILL. In the Tonic Sol-fa notation the modulator takes the place occupied by the staff in the common notation. Like the staff it gives a pictorial representation of intervals, but with more accurateness than is possible with the staff. The exact intervals between the tones of the scale are clearly shown in the first three steps, and in the following steps the true relation of keys, the most important element in the teaching of sing- ing, is clearly set forth. Modulator drill should form the basis of all teaching to read music, and should occupy a prominent place in every lesson. The teacher should have some definite object in view while con- Have an Aim. ducting modulator drill. Some teachers simply let the pointer wander up and down as fancy may dictate. This is, unquestionably, wrong. The object of the drill should be : 1st. To familiarize the pupils with the mental effect of the tones, irrespective of the interval by which they are approached. 2nd. To enable the pupils to gain a clear mental conception of each tone, and to sing them in any desired combination. 3rd. To give confidence and certainty in points where a weakness- has been found to exist. The 26 THE teacher's HANDBOOK. methods of accomplishing this object are explained under modulator drill in the graded lessons given below. Always sing the key-tone as a pattern to your class, and do not commence drill until it has been imitated in correct tune by all. If pupils experience a difficulty in singing any tone, do not tell them that they are ainging too high or too low, but appeal to their sense of. mental effect by questioning — Was that bright enough for soh ? Did you sing that firmly enough for doh ? Point definitely to the note you intend should be sung, and move the pointer rapidly to the note which follows. Do not allow pupils to sing any tone until you have indicated it. A neglect of this rule will cause con- fusion and induce carelessness and inattention. Pupils will anticipate, but they must be trained to sing the intervals indicated by the teacher, not those which they expect. If a pupil should persist in this, either through carelessness, or eagerness, it will be advisable to request him to stop singing for a little. When one voice sings a wrong tone in advance of the others, they are almost certain to follow, unless accustomed to singing with certainty. In order to make modulator drill effective, repetition must be avoided. Avoid Repetition. Inexperienced teachers frequently fall into the error of pointing to the tones in a loose, careless manner, whereby they unconsciously repeat phrases, and teach MODUF.ATOR DRILL. 27 their pupils to anticipate the tones which follow. Such careless habit should be rigidly guarded against as it only leads to running in grooves, and instead of strengthening pupils in reading music, has a decidedly weakening effect. We Running in Grooves. lave repeatedly seen classes singing apparently diffi- cult exercises from the modulator, while their own teacher pointed, but when led by a stranger they failed completely to sing even the simplest intervals. On such occasions the teacher usually expresses surprise, and asserts that, " they always sing that easily for me," and cei-tainly they do, but only when approached in the one manner to which they are accustomed. We have seen an instance of a class which would invariably sing the first half-dozen tones d PI s PI r d, even though iiaming other tones pointed by the examiner. This was certainly running in grooves with a vengeance. Still, the teacher of the class in question had been trying conscientiously to teach her pupils, and was perfectly satisfied with the results, as they seldom made mistakes while following her pointing. Of course she was unaware that she had been giving only a few tones, continuously repeated, and that her pupils had practically learnt nothing from all the modulator exercises they had sung. In order to avoid the error the teacher SiiOuld memorise sections of tunes by various writers, containing a sufficient variety of style, How TO Secure Variety. and introduce them into the exercises given on the modulator. In the same manner difficult phrases in 28 THE teacher's HANDBOOK. any song* under study may be worked into the exercise with advantage. It will also be found of mutual advantage to exchange with another teacher. By this means, both classes are tested by a strange teacher, and any weakness which may exist is quickly discovered. It has been said that " the modulator is to the Tonic Sol-fa system as the sun is to the solar system," but this is only true when the modulator is properly used, VOCALISING. This is the term applied to singing on one voweL The vowel most commonly used is the broad ah^ as it secures the most open quality of tone, and aids correct opening of the mouth while singing. This is sometimes termed laa-ing. Whenever pupils can sing the syllables with any degree of certainty, they should be taught to vocalise from the modulator and hand-signs. This induces concentration, a definite conception of tones, and is an excellent means of mental training. It forms the connecting link be- tween sol-fa-ing and singing to words. Pupils must not be expected to vocalise difficult intervals at first, but should be drilled in singing easy exercises from the modulator, at a slow rate of speed, in order that they may have time to think each tone. When this power of thinking the tones has been developed the syllables may be dispensed with, except in cases of exceptional difficulty. SIGHT-SINGING. 29 CHAPTER VI. sioHT-snronro. Thorough systematic drill in sight-singing should "OnE Thing at a I ^^^^ ^^ important part of every lesson. Time." | During the earlier lessons it will be found advisable to write the notes on the blackboard without any regard to rhythm, in order that undivided attention may be given to the difficulties of tune. As in modulator drill, repetition or running in grooves must be carefully avoided. In order to secure variety, extracts from songs which are un- familiar may be taken and interspersed with phrases of the teacher's own composition As a rule, the exercises should be short and to the point Long exercises containing difficult intervals are dry and unin- Short Exercises ARE Preferable. teresting, and are productive of little else than list- lessness and restlessness. On the contrary, when short exercises, containing each a single difficulty, are used, the interest can be sustained for a much longer period. At the successful termination of each exercise there is a feeling that something has been accom- plished, some difficulty overcome, and fresh difficulties are attacked with vigor and certainty. Individualizing should be encouraged from the earliest lessons. At first nervousness and timidity will prevent pupils from Cultivate Individual Sinoinq. volunteering to sing in presence of their classmates, 30 THE teacher's HANDBOOK. but a little discreet persuasion will soon convince them that individual singing is no more difficult than individual reading. Until a sufficient degree of con- fidence has been developed, it will be necessary to have the exercise sung by the entire class before being sung by individual pupils. When this stage has been reached, individual sight-singing may be attempted. While one pupil is reading the exercise, the others will be watching closely and eagerly listening for mistakes. This will be found an excellent means of cultivating habits of observance and attention in sight-singing. Whenever an exercise has been satisfactorily sung on any one key, change the key, giving the sound of the new doh firmly, and repeat the exercise. Pupils should be trained to Change Key Frequently. sing in any key from the outset. Exercises which strain the compass of the young voices must not be attempted. . In primary classes it will be necessary to use the syllables almost exclusively at first, but the power to vocalise, i. e.y sing on one vowel-sound, should be de- veloped simultaneously. Pupils may sol-fa an exer- cise easily, but unless they can afterwards vocalise, or sing it to words, the exercise will not be productive of the best practical results. Exercises containing exceptional difficulties should not be introduced unless there is a certainty that the pupils have sufficient ability to overcome them successfully. No fixed rule can be given for grading the difficulty of exercises in sight-singing for all classes, but the following will be ■:-i-\-- TIME. 31 found useful as a test. If pupils cannot vocalise an exercise after having sol-faed it three times, it may be safely assumed that it is too difficult. The inter- vals with which the difficulty has been experienced, should then be carefully studied from the modulator before being again introduced into the sight-singing exercises. The use of colors in writing the exercises will be found helpful in many ways. They serve to recall the mental effects of the tones by comparison and contrast, and also concentrate the attention on the difficulties to be overcome. CHAPTER VII. TIME. In children the feeling of rhythm is instinctive and usually active. When a lively air is heard it will be noticed that children invariably in- cline to mark time in some way or Instinctive Feeunq of Rhythm. other ; it may be by stamping with the feet, nodding the head, clapping hands, or, if at liberty to do so, by marching in time with the music. Notwithstanding this fact, the number of classes in which " singing out of time " predominates, is largely in excess of those in which singing in strict time is the rule. Several theories have been offered in explanation, all of which are more or less correct. One is, that 32. THE TEACHERS HANDBOOK. pupils are not all of the same temperament, and those who are of a lively temperament will naturally incline to sing faster than those of a dull, sluggish disposition. This is certainly true, but when pupils are trained to take the rate of movement from the teacher's baton, all such individualities ought to be subordinate to the will of the teacher. This should be , insisted upon from the most elementary lesson. We are of opinion that the true cause of failure in teaching rhythm will be found in the unconscious habit, which many teachers have formed, of teaching mathematics of time, while the thing itself has been left untouched. In examination papers in music, we have frequently met with such questions as the following : " How many eighth-notes are contained in a dotted whole- note ? " and have found pupils who could answer such questions correctly, but who could not tell the differ- ence between the rhythm in " Old Hundredth " and "God Save the Queen," except on paper. Such examples of neglect of the precept which demands that " the thing before the sign " should be taught, are unfortunately by no m.eans rare. In teaching time, it will be found advisable to develop the rhythm by listening to ear exercises, and tapping the pulses (see page 17), until a clear conception of the rhythm El has been formed. When this has YE- RAiNiN . been satisfactorily accomplished, the Mathematics mis- taken FOR Rhythm. pupils will be enabled to give undivided attention to the training of the eye in reading the notation of time. TIME. 33 In order to test the instinctive feeling of rhythm, let the teacher mark the pulses, by tapping lightly, while singing one or two measures containing intri- cate divisions of the pulse. If this be sung on one tone, it will be found that a majority of the pupils will imitate correctly whatever phrase has been sung. This experiment proves that there is little difficulty in singing certain intricacies of rhythm, but recognis- ing them in musical notation, and knowing when to sing them is a very different matter. In the ordinary or staff notation of music this is a matter of consider- able difficulty, and though it has been simplified to a great extent in the Tonic Sol-fa notation, careful attention to eye-training is absolutely indispensable. The most common cause of difficulty is to be found in irregular beating of pulses in the elementary lessons. Teachers should Regularity of Beatinq Pulses. be careful to point to the accent marks only when con- ducting exercises in rhythm, and never on any account to the notes, dots or commas contained within the pulse. The following will serve to illustrate the proper and improper methods of pointing. The * denotes the position of the pointer at each successive tap : — impwr id :r .r I m :- .r I d :ti .ti i d :- Method. |» ♦»'• *|* •♦• Proper I d :r .r | PI :- .r I d :ti .ti | d :— Method. ' ' " Should the above improper method of pointing to pulses be followed, it will be impossible to secure 1 I j^ THE teacher's HANDBOOK correctness in singing in time. In writing on the blackboard it will be found advantageous to use colored crayons for the pulse signa- tures. By this means they are made Colored Crayons Advantaqcous. to stand out distinctly from the notes, (which are written with white), and the eye is unconsciously directed to the sign for each pulse as it is felt or heard. In teaching rhythm all exercises should be sung on a monotone. This does not necessarily imply that only one note should be used, Many teachers make the mistake of using only one note, as follows : — Id :d.d|d :- Id.dtd.dld :- or. II :1 .111 :- 11.1 :1 .1 11 :- 11 The first example is certainly preferable to the second, but both fail in one important respect, viz., eye-training. We have followed the above method for years, but have Use more than One Note in Writing. been compelled to abandon its use for the more rational one of presenting the notation as nearly as possible as it is likely to be met with in singing real tunes. Examples of tunes consisting of a monotone are exceedingly rare. If pupils are trained to sing any new division of rhythm from a notation of one note only, they experience a difficulty in recognizing the same division in an unfamiliar melody. In order to overcome this difficulty, we have adopted the plan of changing the notes with every pulse, which presents the notation in its true form and trains the TIME. 35 pupils to recognize it more readily when singing at sight. In pursuance of this plan the above exercise would be written — 1' d :n.n|8 :— Is.siw.nld and would be taught first by using the time-names, then naming the syllables, on one tone^ and finally singing the syllables in tune. THE NOTATION OF TIME. In a previous chapter reference was made to the educational advantage of the Tonic Sol-fa notation of time, in presenting a picture of the relative length of each tone, and clearly indicating each variation of accent. . MusiCj like poetry, is characterised by a regularity of rhythm and accent To this fact we owe much of the pleasure which we derive from music ; it may be in the mere jingle of a minstrel ballad or the elevating strains of a grand Reovlamtyof Rhythm. oratorio. The influence of rhythm in music is all- powerful ; but without it music would sound insipid and dull. Let the following familiar tune be sung with the strong accent on each note marked with a A and notice the effect Kby F St. Petbr. A AAA A A A Bd'tlssfnnrdfnr : nfnlssfmdPirdtid ^'' It will be apparent that the tune is altered almost beyond recognition by this simple change of accent. 3« THE TEACHERS HANDBOOK. By simply putting the accent on the second note ai^d every alternate note following, the tune will be re- stored to its original form. ' In the Tonic Sol-fa notation, j*ro- vision is made for three gradations of AOOENTI. accent, viz., strongs medium^ and weak. The Jk.gns employed to represent these are Strong I A relatively long upright line. Medium | A relatively short upri>;nt line. Weak : A colon. I .1 MEASURE. The strong accents recur at regular intervals and divide the music into measures, A measure is the space from one strong accent to the next strong accent. In writing, the signs for the various pulses are placed at equal distances apart, and thus present to the eye a picture of the equal length of the pulses as recognized by the ear. Too much care cannot be observed in this particular, as an exercise in which the pulses are represented as of un- equal length is misleading, and is Pulse Siqns Should BE Equivalent. invariably sung in a halting and jerky manner. The most common cause of this error is the habit of writing the notes and the pulse signs simultaneously. In order to avoid this, the signs for the strong pulses should first be writ- How TO Write. ten, then the measures divided into pulses, and finally iimk; 37 the notes inserted in their respective i)laces, moder- ately close to the pulse sign which ptece-fes them. Example: — * (") 1 / 1 II w 1 1 1 1 II w : 1 • • • • • w 1" :r.r n :r.r d :t|.t| d :— 1 The above process may, on first sight, be considered rather slow, but on trial it will be found to take less time and secure better results than the haphazard method previously mentioned. ■ ^ ■ . Measures are broadly divided into two forms, viz., (/up/e and in'p/e. Forms of Measure. In iiu/>/e measure every alternate pulse is accented. In triple measure every third pulse is accented. Two-pulse measure is the simplest duple form. TWO-PULSE MEASURE. : • > ' II Strong. Weak. Strong. Weak. Strong. Weak. Strong. Weak. Three-pulse measure is the simplest triple form. " ' THREE-PULSE MEASURE. 'i' ' ! ^U;i f .v:,.: I = = M • ll Strong. Weak. Weak. Strong. Weak. Weak. Strong. Weak Weak. Occasionally the second pulse in three pulse-meas- ure is sung with a medium accent, but it is always written as above. , 38 THE teacher's* HANDBOOK. FOUR-PULSE MEASURE. jl : I : I : f : || Strong. Weak. Medium. Weak. Strong, \yeak. Medlama. Weak. This is the most common of all forms of measure, and on this account is often termed " common time." The difference between tho medium and strong accents is very slight, and by many performers both are made of equal importance. SIX-PULSB MEASURE. Strong. Weak. Weak. Medium. Weak. Weak. This is sometimes termed double-triple measure, and it is important to note that it is composed of two sets of three pulses, not thrse sets of two pulses. NINE-PULSE MEASURE. H : : I : : I : : j| This is composed of three sets of three pulses each. It is not v«^ry commonly used, except in extended compositi' -1^ TWELVE-PULSE MEASURE. II : : I : : I : : I : : II This is composed of four' sets of threes, and like the previous form is not commonly used. Neither is likely to be found in compositions for school classes. The double line at the end of the examples must not be mistaken for a pulse sign. It is used solely to denote the end of a complete piece of music, or section of such. - ' . TIME. 39 The bracket { denotes the end of a printed h*ne or score, and may include one or more parts. When several parts are included within the ( they are intended to be sung simultaneously by voices divided into a corresponding number of parts. In writing, (unless where a silent pulse follows) a line should never end with a pulse sign, as ||d :m.d |b :m ir :d.r |m :d | B :f m |r :m.f|m :r |d :— 11 but should have the pulse sign placed at the begin- ning of the succeeding line. The reason for this is that a pulse mark denotes the degree of accent to be given to the note which it immediately precedes, hence the pulse sign should not be in one line while the note is in another. When a piece of music commences on the strong accent, as shown in Secondary Measures. above examples, it is said to be in Primary measure^ and when it commences on any other than the strong pulse it is said to be in Secondary measure. EXAMPLES OF SECONDARY MEASURES. r Two-pulse Three-pulse Four-pulse | Six-pulse ( II : I B 40 THE TEACHERS HANDBOOK. The criterion of a pulse is held to be that place in a piece of music where we instinctively beat time. If a piece of music be performed alternately slowly and quickly, it will Rapid Movement OF Pulses. 36 found that in the latter case the stronger accents only will impress themselves sufficiently to be recog- nised as pulses, and the former pulses will be consid- ered simply as sub-divisions of the new pulses. The most frequent use of this method is to be found in connection with six-pulse measure. When sung rapidly this will appear to be two- pulse measure, with pulses divided Beatinq Twke in a Measure. into thirds. In beating time the beats will fall only on the strong and medium accents, thus : — II When it is intended that a piece of music should be sung in this way, directions as to beating time are given. " Beating twice in a measure," "beating twice," or more frequently only the word " twice " is used to denote the method of marking the pulses. In quick nine-pulse measure the pulses are beat " thrice in a measure," and are expressed as above, the word " thrice " being substituted for " twice." In order to denote the rate of speed at which pulses are intended to move Metronome Rate. in a given tune, Metronome marks are placed at the beginning, or at any point where a change in the rate of movement is desired. Metronome is the name / ■ TIME. 41 applied to an instrument which marks the pulses at various desired rates of movement. Metronome 60, abbreviated M. 60, denotes that sixty beats of the Metronome are to be given in one minute. Practically the M. may be taken to mean minute, thus M. 60, M. 70, M. 84, denotes that the number of pulses indicated are to occupy one minute. M. 60 TWICE. ' • • I • • • il This indicates that the pulses are beat twice in each measure, moving at the rate of sixty pulses in the minute. The more elaborate metronomes are supplied with a clock-work arrangement, and pendulum with sliding weight, which regulates the rate of movement accord- ing to a given scale. By means of a series of tooth- and-pinion wheels the pulses are ticked audibly, and some have a bell attachment which strikes the accen- ted pulses also. Such instruments are rather expen- sive for general use, and a cheaper form of instrument is necessary. What is known as the "tape-and- weight" m'='^ronome will be found to answer all ordin- ary purposes. This is easily made by attaching a weight to the end of an ordinary tape measure. This may be held in the' How TO MAKE A Metronome. land, or suspended from any convenient peg, and when in motion each co^nplete vibration will correspond to a pulse. The following table gives the number of inches of the tape required for the different rates of movement. 42 THE teacher's HANDBOOK. The number of inches here given is not absolutely correct, but is near enough for ordinary purposes : — M. 50 Tape 56 inches. «( (( (C 47 38 31 27 24 21 17 13^ M. 56 M. 60 " M. 66 " M. 72 M. 76 M. 80 " M. 88 »♦ M. 96 " M. 120 " In order to gain some idea of the respective rates of movement, it is advisable to memorize one distinct rate, and adopt it as a standard by which to compare all others. M. 60 will be found most serviceable for this purpose. When this rate has once been fixed in the mind, it will be an easy matter to think of M. 1 20 as being twice as rapid, M. 90 one half quicker, and the intermediate rates in proportion. BEATING TIME. Various methods of beating time are employed as : 1. Tapping the blackboard while pointing to the pulse- signs of the tune being sung. 2. Tapping the pulses audibly without pointing to the pulse-signs. 3. Stamping with the feet 4. Simply marking the pulses by a clearly defined movement of the pointer or baton. TIME. 43 The first two methods are necessary in conducting elementary exercises, in which the pupils' attention is concentrated on the notation, but should be dispensed with as soon as possible. The third method is unquestionably bad, and has not one single redeeming feature to recommend it. When indulged in, it induces loud and harsh singing with consequent forcing of voices. Teachers should discourage its use on the part of their pupils, and should avoid setting a bad example. Note. — This is easier said than done. The fourth method is the best of all. Pupils should be thoroughly trained to watch the beat, and no exercise or song should be considered well taught until it has been sung in accordance with the silent movements of the teacher's baton ; in this respect the teacher must be an autocrat, by whose will every pupil must submit to be governed. The ordinary forms of beating time are as follows : TWO-PULSE MEASURE. THREE-PULSE MEASURE. • Weak. Weak. UP. ^^' DOWN « Strong. Strong. Weak. 44 I'HE tkacher's handbook. . FOUR-PULSE MEASURE. Weak. LBPtT^vM RIGHT Medium. DOWM Strong. SIX-PULSE MEASURE. Down, left, left, right, right, up. Sometimes this is beat as for two three-pulse meas- ures. When quicky beat as for two-pulse measure, NINE-PULSE MEASURE. Commonly treated as three-pulse measure. In beating time, the baton should move quickly, and definitely to a "point of rest" at the extremity of each beat The tendency ta in- dulge in cutting ornamental figures Mark Time Definitely. should be carefully avoided. This style of conducting is unfortunately too common. It may seem to be pretty enough when viewed by an audience of specta- tors, but the teacher must remember that Jie conducts, not for the audiencey but for the singers. No style of marking time can rivet the attention of the singers so well as the plain geometrical movement of the baton indicated above. In order to define the rate bf move- ment, it is advisable to beat a silent measure before TIME. 45 the singers commence. As a rule this should begin on the first pulse of the measure, and should the piece begin on a secondary measure the voices will enter when due. LENGTH OF TONES. All duration values are calculated from the pulse as a unit. A note placed between any two pulse- signs is one pulse in length, unless followed by some qualifying sign. Example : — Id :s |m :d Ir :ti Id :d Each note in the above is one pulse in length. When a tone is continued or prolonged, a continuation mark ( — ) is written in the pulse or pulses through which it is intended to be continued. Example :- d :- Is n In the above, d and s are each two pulses, and m is four pulses in length. In writing the notation, the continuation mark Continuation Marks. should be placed equidistant from the dots of the colon, or opposite the centre of the upright bars, but , must not touch either. See above example. The Tonic Sol-fa notation gives a common-sense representation of silence or rests. Where there is nothing to be sung, Rests. nothing is represented, consequently no signs what- ' /, 46 THE teacher's handbook ever are used to denote silences. . The number of pulses or fraction of pulses which is left empty denotes the duration of the silence or rest Example : — d :m Is : I :n id :— In the above the third and fourth pulses being empty, denotes a two-pulse silence. Pulses are divided into fractions by signs placed between the pulse sig^ns. Division of Pulses. A dot placed in the middle of a pulse, on* a level with the lower dot of the colon, divides the pulse into halves. Example : — d :d.r |pi :r.d|r :d.ti |d :— The Yi shows the notes which are half a pulse in length. Notes are frequently continued for one half pulse only ; such continuation is represented by a short continuation mark. Example :- — d : - .r n :- .r d :- .t, d * • % • II Pulses are divided into quarters by placing a comma in the middle of each half-pulse. Example :- ■X i 1"^ :r,ni,s 1 :s,f .n,r d V XX XX • t: 1 ^ i I X XX I A complete time-chart for reference is given on page 8. TIME-NAMES. The above written analysis of time-values cannot convey any correct impression of their effect when sung. This can only be learnt through hearing. Every teacher who has experienced the difficulties of teach- ing Rhythm^ must realise the advantages of a system of " Time-names," which at once gives a clear con- ception of the mental effect of various rhythmic forms, and fixes their conception on the ears and minds of the pupils. The time-names of the Tonic Sol-fa system have been adopted from M. Paris's " Langue des durees," which had previously been successfully used in France in connection with the " Galin-Paris- Cheve" system. This system is in many respects identical with the Tonic Sol-fa system and is based TIME. 49 on the same fundamental principles. The Time-names have been adopted by the promoters of other systems, 6ut have been so improved (?) as to be almost un- recognisable. The beautiful simplicity of the arrange- ment of the vowels has been discarded, and a separate vowel introduced on every accent. The mere effort of memorizing such a complex arrangement of names induces confusion and neglect of the thing. When the founder of the Tonic Sol -fa system, — Rev. John Curwen, — first adopted the French time-names he was induced to improve (?) on them by changing the consonants, and in several instances the vowels also ; but his experience, and that of the large body of teachers of the system, resulted in a return being made to the simple names, as proved and tested by the French for years. In announcing his decision he says, "If names become complex they draw a large amount of attention to themselves, which should be given to the things they represent. In carrying the time-names through a course of lessons, I found that my modifications, simple as they seemed, had intro- duced a practical complexity which became more troublesome than useful, and that increasingly so as we went further on. Therefore it was after long discussions and experiments that we decided to use the French time-names just as they came to us after years of well-tested use." The Time-names have now been in use for sixty years, and, in their original form, are more generally used than ever. " The system is founded on the principle that time is measured to the ear and mind, not by appreciated 50 THE teacher's HANDBOOK. durations only, but by those louder and abrupt deliv- eries of tone which we call accents — both by the stronger accents of a measure and by the more deli- cate accents of a pulse." The time-name for W\g first stroke of a pulse is Taa^ and, should no qualifying sign be added within the pulse, •'o additional syllable is necessary. Consonants indicate the percussion of tones, vowels indicate their duration. The following are the time-names for the common divisions of rhythm : — WHOLE-PULSE TONES. d Taa :r Taa n Taa HALVES. :d Taa Taa - Tai Taa - .d r Tai Taa . QUARTERS. Tai :d Taa . .d Tai V '■ HALVES AND QUARTERS. THIRDS. |d,r .m,f :s ,f .m,r Id .t, :d 11 |Ta fa te fe Ta fa te fe Taa Tai Taa || W .r ,n :f .n,r |m ,f .s :d M |Taa te fe Taa te fe ta fa Tai Taa || THREE-QUARTER AND QUARTER. [I .,r im .,f Is .,f :m Taa . fe Taa - fe Taa - fe Taa li t; l'-. Id ,r ,n rr ,m ,f |m ,f ,s :d || |Taa tai tee Taa tai tee Taa tai tee Taa || TIME. ' . %i The Time-names for silences are formed by sub- stituting s for the initial consonant, thus — d (n . :d . Taa • Saa ' Taa Sat Taa Sai I .d :r . ,m |f ,n . ,r :d 'aa Tai Taa se fe Ta fa se fe Taa Sai The time- names for continued tones arc formed by simply omitting the initial consonant, thus : — d :- |r AA -aa Taa d :- ,r .n ,f |s "^AA -a fe te fe Taa -aa .d Tai -aa .f ,n te fe •aa -ai tt-e d :— ^r *•>►'* To sing to words, a simple song composed of the tones d, m, s, t, r, learnt by note. Voice-Training. — To sing all exercises and songs with softness and purity of tone, the mouth being opened neatly and naturally, and the tone produced well forward in the mouth. Note. — The work prescribed for this grade has been made exceedingly simple, in order that every child may be enabled to accomplish it. Teachers will guard against attempting anything more difficult, as it is important that, at this early stage, the musical faculty, however dull, should be awakened and developed. \ Pupils who sing out of tune must listen attentively for some time, and will soon )x enabled to sing with the others. ■• : ■ I 66 THE teacher's handbook . V DIVISION II. Modulator. — To sing from teacher's pointing easy exercises containing all the tones of the major diatonic scale. Time. — To sing on one tone to time-names, Uia, or sol-fa syllables, exercises containing full-pulse, half-pulse, pulse-and-half, and con- tinued tones, and full-pulse silences, written in two, three, or four- pulse measure. Sight-Singing. — To sing from blackboard easy phrases, con« taining any tones of the major scale. Ear Exercises. — To tell by ear the name of any one tone of a phrase sung to laa, or numbers, the teacher previously sol-faing the tones of the DOH chord. Prepared Song. — To contain the tones of second step of the Tonic Sol-fa system, viz. : d, m, 8, t, r, learnt by note, and may include divided pulses. Attention to be given to accent, enunciation, phrasing, quality of tone, and expression. Voice-Training. — Same as for Division i. DIVISION III. Modulator. — To sing from teacher's pointing, in any key, exercises of moderate difficulty containing leaps to all tones of the major scale, with special reference to fah and lah. Time. — To sing on one tone to time-names, or laa, sol-fa syl- lables, exercises containing divisions of time prescribed for Division II. with the addition of quarter-pulse tones and silent half-pulses. Sight-Singing. — (a) To sing from blackboard, exercises of mod- erate difficulty containing any tones of the major scale. (6) To sing from hooks, any exercises containing the tones of the second step, but no divided pulses. Ear Exercises. — (a) To tell by ear the name of any one tone of a phrase sung to laa or numbers, the key being frequently changed. [b) To sing from teacher's dictation, simple phrases of three or four tones, i e., the teacher says d m r, pupils think the phras'^, then sing in. tune to syllables d m r. (c) To tell by ear, and sing to time- names, a short phrase containing any divisions of time mentioned above. SYLLABUS FOR GRADED SCHOOLS. 67 Prepared Song. — To sing from books any simple school song learnt by note. Attention to be given to accent, enunciation, phrasing, quality of tone, and expression. Voice-Training. — Same as for Division I. and II., with addition of short tuning exercises in two parts. DIVISION IV. Modulator. — To sing from teacher's pointing in any suitable key, exercises containing difficult leaps to any tones of the major scale. To sing from teacher's pointing with two pointers, simple exer> cises in two parts. Time. — To sing on one tone to time-names, laa or sol-fa syllables, and afterwards to sing, in correct tune, simple exercises containing any divisions of time specified for Divisions I, II, III. Sight-Singing. — To sing from blackboard, in correct time and tune, easy exercises containing any tones of the scale, with con- tinued tones, but no divided pulses. Ear Exercises. — (a) To tell by ear the sol-fa names of any three tones in stepwise order, sung to laa, or any other syllable, (b) To sing from teacher's dictation phrases of three or four syllables con- taining intervals of moderate difficulty, (c) To tell by ear, and sing to time-names, a short phrase containing any divisions of time mentioned above. Prepared Song. — To sing from books, in two parts, any easy school song containing the tones of the third step, and easy divisions of the pulse. Attention to be given to accent, enuncia- tion, phrasing, quality of tone and expression. Voice-Training. — To practice exercises in corrett breathing and tone production, with fair command of voice and attention to piano ^luA forte. ' • ,:r Note. — Where the word sing is used above, singing to sol-fa syllables only is implied. The syllabus for Divisions V. to VIII. will be found in Part II. 68 Tii£ teacher's handbook. CHAPTER XI. HOTES OK DIVISIOF I. FIRST LESSON IN TUNE. FIRST STEP jhe following is a condensed sketch of MODULATOR. ^ ^^^^ j^^^^^ .^^ ^^^^ ^^ actually given to a class of pupils in the Primary Grade : in> DOH' Introduction of Subject, (a) Teacher. — We are now about to have our first lesson in music, but before we begin, I want you to tell me just what you think music is. Is it • something you can see ? or taste ? or hear ? Class. — Something we can hear. • Teacher,— Yes ; music is something we can hear What do we call anything which we can hear ? SOH C/aw.— Sound. Teacher.— ^ovi I will drop this pointer on the desk, and you will tell me what you hear. (Drops it.) Was that a sound ? ME Class.— Yes. Teacher. — ^Was it music ? • Class.— ^o. Teacher.— TYieti, clearly, all sounds are not music. ' DOH Now listen while I sing a little piece, and tell me • what kind of sound you hear. (Sings short, familiar air.) What kind of sound was that ? , « /'«J5. — Nice sound, sweet sound, etc. ' T« • Teacher. — Now sing the syllables on one tone. Time-Names. Continued Tones. NOTES ON DIVISION I. 77 (Class sing as desired.) Listen while I sing it and tell me whether I make any change. (Sings on one tone, continuing the first 1 in second measure, and first d in fourth measure.) Class. — You missed some of the boys. You made some longer than others. Teacher. — Quite right. This loh (indicates it) went right into the next room and doh did the same. We will put away the two which I did not sing. (Erases second ■ and last d). When we want a little boy to get through from a noisy room to a quiet room we will lay down a little carpet for him to walk on. (Writes continua- tion mark in empty pulses.) Listen while I sing this and tell me what I sing in the rooms with the carpet. (Sings to time-names.) Class. — You sang aa. Teacher. — Quite right. You will now sing it as I did. (Class sing as desired.) The exercise will now be sol-faed on one tone, then in tune from teacher's pattern. By the above method, the pupils are led from point to point, as in an interesting story, and unconsciously learn the first elements of time, without being bur- dened with their nomenclature. The lesson is given in detail, all the above ans>yers having actually been given by pupils of the infant class. The play-names used may be retained for some time, until the pupils can read from notes, then, as a reward for diligence, they may be told the real names, pulse, measure, etc. The first introduction of a subject only occurs at intervals, and daily drill must succeed every such introduction. As the time available for teaching music is necessarily short, it will be our endeavor to assist the teacher to make the best possible use of it, by giving examples of methods of drilling in all the various topics. .A- / 78 THE teacher's handbook. MODULATOR DRILL. ' Use a first step modulator, which is composed of the tones d m s only. If a printed step modulator has not already been procured, an excellent substitute can be made by writing the names of the tones in colors on the blackboard. If blackboard space is scarce, a movable modulator can be made of black Bristol-board, with letters cut from colored surface paper, and pasted on. The colors recommended are, doh — red ; me — blue ; and soh — bright yellow. In first step exercises doh is always sung without difficulty, soh and me require special drill. The following illustrates the method : — . . Drill on SOH. Teacher sounds doh about pitch of D. (Pupils imitate softly.) Question on the mental effect of soh. Give hand-sign for loh. Teacher sings dmd; smd; mmd; dmm; mdm. After sing- ing each group of three tones, give hand-sign for soh. indicating that pupils will sing soh. In this exercise they confine their atten- tion to the tone being studied, and become familiar with its mental effect. Now point phrases in which loh predominates. Example: — dsmssdsdsnsdsnds. Question on mental effect of me as above. Sing dam; mds; smd; dmi; dds; sid; Pupils sing me from hand-sign after each group Drill On Me. of three. % Now point phrases in which me predominates. Example : — dmmdBmsdmmsmndBmd. Change key frequently, and vary the order in which the tones are approached. When mistakes are made, do not tell pupils to sing higher or lower, but question on mental effect, as, " Was that bright enough for soh 1 " " Did you sing that gently enough for me 1 " If NOTES ON DIVISION 1. 79 this fails, the tone may be sung by the teacher, but not unless absolutely necessary. NoTB. — See " Modulator, Drill " page 25. SIGHT-SINGING. ExAMrLBS OF Method. Teacher writes on board dmdtmdid. Sings doh, key D. Pupils imitate. Teacher. — Now sing from my pointing. Class sing d m correctly, but sing second d like soh. Teacher erases first and second doh's and rewrites with bright red crayon. Can you tell me what color this first doh is written with ? Class (eagerly) — Red. Teacher.— \nd is the second doh of the same color ? Class. — Yes. Teacher. — If the color of both doh's is the same, do you not think that the sound of both should be the same ? Class. — Yes ; they should have the same sound. Teacher. — Now try again, and be careful to give the second doh the same sound as the first. Class sing correctly until second ■ is reached. Teacher writes both soh's with bright yellow crayon and reasons as before. Also dfaws attention to bright character of soh. When the exercise has been correctly sung by the entire class, the boys and girls may be asked to sing separately, next by one row at a time, and finally by individual pupils. When the exercise has been correctly sol-faed, it should be sung to laa. Key Exercises. — Keys C to G. dssmsdmmd m d s m d B 8 n B d d n d 8 m d d m d B In teaching sight-singing, Tune and Time may occasionally be combined in such a manner that only one topic will demand attention. d B B d d n B m B B d d n d B m 8o THE ftACHER S HANDBOOK. Example : — Teacher |^ >jv\ writes 8 :m Id II Class sing to time-names, then to syllables in tune, making 8 only one pulse in length. This is a common mistake with young pupils. Teacher shows that 8 should be continued through the fourth pulse, and sung sok oh. It may be useful to write oh under the continuation-mark. When th»'j has been sung cor- rectly the tune should be changed, the time-form is retained. Exam PLE :- — a. d :m 8 :-r B :n d 1 b. d :s n :— m :8 d ■ • 1 1 r. m :d 8 :— 8 :d m d, s :m s : in :d n ; — Note.— See •• Sight-Singing," page 79. TIME. The object of time-exercises at this stage should be— 1st. To develop an appreciation of the regularit)- of pulses and accent '. in music. 2nd. To enable pupils to distinguish between tones of one, two or more pulses in length. 3rd. To train the eye to read the notation of above divisions of rhythm. NOTES ON DIVISION L . 8l EXAMPLES OF MH . ")D. Pupils clap hands softly while singing taa^ taa^ taa on one tone, taken at any rate indicated by teacher's pointer.* When a change is made to a faster or slower rate of speed, the singing must cease while the teacher counts a few pulses at the rate required. Vary the exercise by changing the measure fre- quently. Pupils count ONr, two^ one, two ; or ONE, twOy three, ONE, two, three, with emphasis on ONE. When this has been sufficiently well sung, pupils may be requested to sing two-pulse measure or three-pulse measure, the teacher simply indicating the rate of movement without giving any special sign for the strong accent. Short exercises containing few difficulties will be found the most useful in training the eye and ear in teaching time. Write the following exercise on the blackboard : Ex. I. Key D. d :m Is :b Ib :in Id :— Question on Measure, Accent, Length of Tones and Time-names. Direct pupils to sing to Time-names on one tone, to sol-fa on one tone and to sol-fa in tune. When this has been sung successfully, intimate that a change will be made, and request pupils to watch closely while this is being done. Alter the exercise into Ex. 2. Key D. Id :m Is ;— Ib :m Id :— 83 . THE teacher's HANDBOOK. Question on alteration. Direct pupils to sing to Time-names and sol-fr,, as r.bovc. Whenever the exercise has been correctly su:;;, it should be altered and taught as above. The Time-names may be grad- ually discontinued, as the pupils prain confidence in sol-faing at sight. The orcicr in which the tones are first given, should be preserved throughout (repeated tones excepted), in orcicr thfit no difficulties of tune may interfere with th? sliidy of time. The " unexpected " will be the chief source ^f difficulty in this form of exercise. It has been said that "the ear remembers and expects'* This truism will serve to explain one-half <^^ the difficulties to be met with in teaching mu^ic. Lot the above exercise be altered into |d :m |b :— In :— |d :— ii and note the result. It will, almost invariably, be noticed that the m in third measure will receive one pulse only, and displacement of accent will conse- quently ensue. The explanation of this is to be found in a comparison of the first two with the last two I measures. Every tune, however sim- THE Umexpeoted. ? pjg^ divides naturally into at least two sections, which should be combined according to a definite rhythmic or melodic form. In the^frj/ section of the above exercise, we have an example of the rhythm taa^ taajaa^ aa^ which is followed by a change of rhythm in the second section. In singing this, the ear remembers the rhythm of the first section and ex- pects the same in the second section, hence the surprise NOTES ON DIVISION I. 83 TnlaTorr^ ""'r "" "'^" ^-' - ^^ -t with S used t oT f."'""" "' ^''^ ^^^^ ^^-"^d be tree y used in order that pupils may form the habff "l^ •'^ (8 :8 Is :m M ^- Id :— y, but as we only use the initial in our notation, we will write r only. (Writes r between d and m on modulator.) g You will now practise this new tone from my pointing. (Points to the tones in the following order, smsdsrrir m m r d r.) You seem to have some^ difficulty with the new tone, but I think you will find it as easy as the others when . you have studied its character. Listen while I sing, and tell me what kind of a tone you think ray is. (Sings ■ m ■ r r Mental iffeot op Ray. r ■ r m d r, emphasizing r.) Can anyone describe its character ? Class. — Loud ; noisy. Teacher. — Yes, I did sing it rather louder than any of the others, but any tone can be sung loudly equally well. Let me try and help you with a little illustration, One day last summer, while passing a nice lawn, I saw two boys.* One was running around playing with his ball, but the other was lying asleep. The boy who was playing did not seem to care about playing alone, so he went up to the other and tried to rouse him up, but the other boy was too lazy, and just rubbed his eyes a little and said, " Just leave me alone, will you, I want to sleep." Here we have two boys, one dull and lazy, the other lively and rousing. Which of the two do you think ray is most like ? Class. — The rousing boy. Teacher. — Yes, ray is a rousing tone, and if you think of it as such you will find little difficulty in singing it when required. (Writes the word rousing opposite r, and drills on the modulator, giving prominence to the new tone.) The next tone to be introduced is te, which is immediately below doh. Adopt same method as in introducing ray, being careful to approach it from soh. The mental effect of te is sharp and piercing, and may be illustrated by a steam whistle, a pen, or a scream. The tones s t r will now be practised in the same manner as d m ■, to which they are closely allied, the intervals being exactly similar. (See Chordal Treatment, page 16.) THE teacher's HANDBOOK. MODULATOR DRILL. The intervals d' Pi and B| ri are the most difficult in the first step, consequently should receive special attention. In a modulator voluntary intended to teach these intervals the mental effect of m should be clearly established, and the tone itself repeatedly sung, in order that it may be clearly fixed on the ear and mind before being approached from d' or B| The effect may be intensified by a pause being made on PI wherever it occurs in the exercise. Examples of Exercises: — Key D. dmdsnmsnsd'PiPid'PiBd Kby g. dmdsidmmsimBPiBdBimmd It will be advisable to frequently contrast the effect of m with 8, as b is the tone most frequently sung in I place of PI. Care must be observed i to keep the exercises within the com- pass of the young voices. The extreme upper note which may be taken is E', but until pupils have acquired the habit of using the upper thin register (see page 23) the limit may be placed at E'fe or D'. The lowest which can be taken easily by an average class will be about C. From this it will be seen that the most suitable keys in which to practise exercises containing upper d' are C, D and Elj, and for B| keys E, F and G. The key should be changed frequently and B| and d' should not be included in the same key. NOTES ON DIVISION I. ft Difficult Phrases. The more difficult intervals should be noted, and one or more introduced into each lesson and practised thoroughly. The following are among the most difficult phrases to be found in the first step : — d' s d ; d' n B ; d i*i d' ; m d' d ; 8| m s ; 8| m d ; m si d ; Bi s d. The introduction of the SOH chord will permit of much greater melodic The Seoono Step. variety than is possible when the tones of the DOH chord alone are available. When the tones are judiciously combined, many beautiful and pleasing melodies can be formed, which will serve to create a renewed interest in the study of the music lesson. Necessarily, new difficulties will also be introduced, but these need not cause any feeling of apprehension, provided the First Step has been thoroughly taught. At each lesson, one of the new tones at least should receive special treatment, in order to establish its mental effect irrespective of the interval by which it may be approached. The following will illustrate the method of "driving home" or "rubbing in," as it is sometimes termed : — Teacher questions regarding the mental effect of ray, sings s r*i 8 r, gives manual sign for ray and directs "Rubbinqin"Ray. pupils to sing ray only whenever the manual sign is given. The teacher will then sing the following, or similar phrases, giving the sign for pupils to sing ray after each phrase : — s mdr; rsrn; dnrs; sd'sm; d'td's; nrdtt; rnds; a t t B ; r d t| d. By this method pupils will 92 THE teacher's HANDBOOK. t become familiar with ray approached from any of the tones already studied. The next process will be to imitate phrases similar to the above, singing ray from the manual sign after each phrase, thus : — Teacher sings r n d S, pupils imitate ; teacher gives sign for ray, pupils sing ray. When this has been sufficiently practised, pupils will be prepared to sing exercises of moderate difficulty from the modulator. At first it is advisable to return to the new tone frequently, pausing slightly or repeat- ing the tone to allow its effect to be clearly felt . Example: — v , . '■' KeysC, D. dm d s Ir — m d Ir — 8 m Id — r — In s r r drrtilrrsn Ir— — — |m d r — lsnr — |sd'td'|Brr — |dmr — Ir ndtildrtidlrrd- The same method applies to the teaching of te, the manual signs, etc., being first given, then modula- tor exercises w' -i te predominating. It will be noticed that the Longing of to will unconsciously lead to the anticipation of the doh above. This leading tendency is found in other tones of the scale, but is most strongly felt in te. From this peculiar characteristic te has been Leamno Tone. termed the " leading tone " of the scale. The ear can- not be satisfied with a tune or phrase which ends on te. In order to satisfy the ear, and secure a feeling of completeness at the close of a phrase, te should NOTES ON DIVISION L ^• : ' ■■-/-^^ invariably be followed by the doh immediately above. This leading tendency must not, however, be too freely indulged in throughout the exercises, as the thing to be taught is not ^ow to sing t d', but how to prevent its being sung when another interval is required. The best means of accomplishing this will be found in dwelling on the SOH chord. This makes the singing of s t r' as simple as d ni s, the intervals being exactly similar. Example : — Key C. dm d sis s r r Istr' t Itr' s — t t s t Id' t d' r' It r' r» d' |t— d' d' 8 m s Is r ti r |t| d r ti Id n r rst s|srtir|dmrt||d The following are a few of the more difficult phrases to be found in the second step, for subsequent practice : V B n r, m s t, t m, t| m, m t, s t|, d' r, n r d', r t, t r, d t d'. * SIGHT-SINGING. First Step. In teaching Sight-Singing the same difficulties have to be met as in Mod- ulator Drill. At each lesson, one or more of the difficult intervals of the step should be introduced and practised thoroughly. The following exercises must be preceded by the exercises on d m S and the , lesson on Octaves : — / 94 THE teacher's HANDBOOK; - ' ?' Kkys C, D, e|?. Range d to d'. dsnsd'd'snac[8!*>d nmdsrndi'nsdd^smd dmdsmd^dris/nssd sd'swd'sindsd'sm d' s m w d' A s s d' 8 PS s d' ; ^ PI d 8 s*i d' lO d s d' m 3 8 d' Ke'«s EI? , E, V, Ct. Kange s, to 8. . >^ ^ % > ^ dMd8|ds|dm 8m 8 8|d 4 (*i d S| S| d S| d m r 8| m m d d m s 8| d S| d 8 PI m Si m d ; d 8| d m 8| S| d m si P! s 8i d The * denotes the points of difficulty. Exercises containing several varieties of tune now be combined under one rhythmic form. Ex. I. Keys C, D, Ej?. Range d to d'. rt Id :n Is :— Id' :s in :— 1." *• may ^. jrn :s Id c. Ib :n Id PI :s e. Id :d> — |Pi :d Is' :— - Id' :8 Id' :— d' :m Is :— || PI :d' Id !— II ■"■v. • '> V .?;■•> ■ ' - NOTES ON DIVISION I. Ex.2. Keys Eb, E, F, G. Range ■, to i. ^- :d Is, :s,.s,id :m Is is.sld 11 ^- :si jd :d.d|m :d Is :m.n|d 11 , ^^ :w|d :d.m|s :n |s ;s.m|d 95 ^ :d|in :s,n|d :s, Id :m.s|d I B :m.s|d II '• :m!8 :m.d|s :n ,y ' f SECOND STEP. ^ ^" *^^^ ^^^P *^^ same methods will L J t>e adopted as in the previous step the exercises being preceded by modulator drill on the new tones te and ray. KbysC, D. Range t, TO r«. dnssstr'td'smrd smrsrmdrtidsrd dsmsrsdt, dsrt, d "drrt, rs-srt, rd Keys E|?, E, F, G. Range a, to ». dt|dsidrt|dsrnsd " d s s, d t, r d s t, d r n Keys G, A, B|7. Range m, to m. d 8, n, s, d t, d s, t, r s, t, d 8i d t, d r t| S| d m, m, s, S| d drndsiPirdsirnrtid 96 THE TEACHER S HANDBOOK. Keys E7 to G. Range i, to 1. a. :d |m :r.r |d :s |d :t|.ti|d * <^. :m Id :ti.d|r :ti Id tsi.sild II il c. :d Is :m.r !d :r Isi :d.ti Id d. :s In :d.r Im :d Ir :n.r Id rroiiEs REPRESENTED I Amotig thosc who havc investigated j BY C0L 0H8. the matter, there can be no doubt regarding the advantage to be derived from the use of colors in teaching sight- singing. The object of a color-scale should be to convey, through the eye to the mind, a distinct impression of the effect of the tones represented. We have discussed the appropri- ateness of certain colors, with a large number of artists and teachers, and, as a result, have decided to adopt the following scale : — . . , t— Purple. ' •■ • i J , V 1 — Indigo. ■. ■'-' '' s— Yellow. ■ .. U^:.;^'-.-'^^'^--: ; f — Greea >l: n — Blue. > ; r — Orange. ' v d—Red. It will be noticed that the prismatic colors have been selected, with a slight modification of their natural order. Some writers have advocated the retaining of the natural order, but we cannot reconcile the calm, gentle effect of me with the brightness of yel- low ; or the bright, bold effect of soh with the peaceful -1. -» I. NOTES ON DIVISION L ^f effect of blue. In practice it is not advisable to write all the tones by means of colors, but only those which occasion a difficulty in singing. ■ Example : — ' V d m d s d> m B d. Suppose the above exercise written with ordinary white crayon on the I Comparison of I Colors. blackboard, and pupils have made the mistake of singing s instead of m. Let each m be written with blue crayon, and pupils led to notice the oneness of color and the oneness of sound. When the second m is reached the color will recall the impression of the first, and almost invariably will lead to its being Contrast of I correctly sung. The same result may Colors. be obtained by contrasting s with M. Let s be written with yellow, and n with blue. Con- trast the colors, and show pupils that thev have actually been singing the same sound for the blue note as for the yellow. They will thus be put on their guard, and will not be liable to sing the same sound for two notes differing so widely in appearance. The same methods will apply to all other tones, " '^■' ■■■■'---='■■•-■"--■ -:'■■■■ -^ TIME. ■ ■- " .■•:,■■'■-..-•-■■■-:■■■ When pupils have been well drilled in exercises containing whole-pulse tones and continued tones, and have received the first lesson in divided pulses, exercises containing divided pulses should be freely introduced. These will at first be taught on one tone only, but should be combined with melody as soon '--:.-- - ■'- . ;- '.V, „'-..■■' :^'-'-^ A ( 9S THE teacher's HANDBOOK. . as practicable. The simplest form of melody is that • in which the same note appears in each half of the divided pulse, as : — . -v . d .d II jm .m In blackboard exercises it will be found advantageous to us^; colored crayons for writing the pulse-signs. One uniform color should Color in Pulses. be used for all pulse-signs — strong, weak and medium. " ' This directs the eye to the signs which represent the pulsations or beats which are felt in singing, and materially assists in overcoming the common tendency to give a full beat to each tone. The half-pulse sign ( , ) may be colored, but must be of a different color from the pulse-signs. The hints given on page 82 • will apply equally to the following exercises. See also "Time," pages 17 and 31. Ex. I. Keys D TO A. .1 ;.;;.• a. Id :r.r|m :r.r|d :t|.ti|d :— b. Id :r.r|m :r |d.d:t|.ti|d : c. Id :r |m.m:r |d.d:t| |d : ^ Id :r.r|m.n:r Id :t|.ti|d : tf. |d.d:r |n.n:r |d,d:ti Id II '-: II / |d.d:r.r|m.m:r.r|d :t|.ti|d :— 11 g. |d,d:r.r|m.m:r.r|d :t|.ti|d :— I 1 .>r * . NOTES ON DIVISION I. Tx. 2. Same Keys as above. a. Id :d.d:r,r[m :n :r.r Id :ti A Id :d.d:r |m :m.m:r Id :t|.ti ^. Id :d :r.r|m.m:n :r.r Id :t| d. Id :d :r.r|n.n:m :r.r |d :t|.ti ^ e. Id :— :r.r|m :— :r.r Id : ti.tild t, Id t,.t, I d t, Id ti.ti I d :— :— Ex. 3. Same Keys as above. (With change of tones). a. Id :d.r|m :— |m :m.r|d :- A Id :d.r|m :n.r|d :d.ti Id :— c. \\ d.r :in d. Id :r Im.r :d «?. Id'.tiid .r in r.d:ti Id |m.r :d.t| |d »5 t ,, -. '. - ■, 1 *■■- w . ■- |r.d:ti II: 11: IL 1: J Any of the above exercises may be converted into secondary form, by commencing on the weak pulse and deducting one pulse from the last note in order to equalise the form, thus : — :d Id :r.r|m :r.r|d :ti.ti|d Ordinary six-pulse measure may Six-Pulse Measure. 1 ,. u*. u ..u i.u j I be taught by the same method as three-pulse measure. At this stage quick six-pulse lOO THE TEACHER S HANDBOOK. measure (see page 40) may be introduced with advan- tage. Its lively rhythm will tend to brighten the exercises and songs, and will add much to the pleasure of the music-lesson. The Time-names for thirds of a pulse will be rather confusing for the pupils of this grade, and should be deferred till later. The most suitable plan will be to teach the exercises as in ordinary six-pulse measure, and then gradually in- crease the speed and beat twice in measure Pupils will readily perceive that the beats occur on the strong and medium accents only. Ex. 4. Same Keys as above. d :ti :d Ir :d :r |m :r :m d :ti :d |r :— :— |r :d :r In d :ti :d.d|r :d :r.r|n :in :r.r|d . ;■ i .. "1 ■»-' ■ .■ "I, =-|l Dictation. d.d:ti :d |r.r:d :r |m.n:r :n |d Id :d :t|.d|r :r :d.rlm :n :m.r |d :— :— 11 In addition to the above, exercises in writing from dictation should fre- quently be given. These will assist in training the eye to read the notation of time. The primary exercises should consist of writing measures only, thus : — Teacher will direct pupils to write two two- pulse measures, explaining the relative length of the bar and colon. (See page 36.) Three and four-pulse measure may then be dictated. The next process NOTES ON DIVISION I. lOI will consist of writing notes of various lengths, thus : — Teacher directs pupils to write two four-pulse meai>- ures, then dictates slowly :- -First pulse doh ; second pulse, ray ; third, me ; fourth, ray, with Taa-tai, etc. When all have finished, the slates may be examined, and the more common mistakes pointed out and corrected by judicious questioning. When pupils succeed in writing an exercise fairly well, they should be rewarded by being allowed to sing from their own written copy. This is usually considered a reward worthy of their best efforts. EAR EXERCISES. In conducting ear exercises, the teacher should carefully avoid taking answers from the few sharp jupils only, but should endeavour to make the exer- cises so simple and interesting that all will be able to take part The Imitation IXEROfSES. simplest exercises for training young pupils to listen well are those in which the teacher sol-fas a short phrase to which the pupils listen, and afterwards imitate. These should consist only of the tones which have been studied. ; ■ i ' i i' Examples : — d m d s s m d Si m d s m d 8i n d First Step. • smsdllnBdm II "' Ih d d' d Bi n m s II II II B d' s B m d d' B d II B d s m II II t • 102 THE teacher's HANDBOOK. ,, f. ..•,,);•.«' Second Step. I d m d r H r s r m II d r ti d :mtlB r t, ||r s t, d IJ d t, r d 1 8 t B d> II d> t d' s II d' s m r II I d< t B d> II m d< B t II d< m r d il Variety of rhythm may be introduced with advan- tage as it helps to make the exercises more interesting and lively. , , ! Examples: — •..-■■■■ :> '::■,' .:•:. ....<■■ >'r j.-.^ ;;5 |d :d.d|m :— II |d :n.d|B :— || ^ ^^ ; ; |s :d' |t.d':B || |m :s |r.m:d ./ (. 4- jn.r:d |r :— || |s.m:d |s :— || :bi |d :Pi.r|d || :si Ir :d.r|m 11 ;^ic^^ In all the above the key must be adapted to the compass of the voices. The next method is that in which the attention is concentrated on one particular tone surrounded by several others. EXAMPLE OF METHOD. Teacher. — Can you tell me what kind of tone doh is ? Class, — Strong and firm. NOTES ON DIVISION I. lOj Teacher. — I am going to sing several tones, and I want vou to listen very carefully, and tell me which one sounds like doh. (Writes on blackboard 1,2, 3, 4, gives the key- tone, then sings s m b d to laa while pointing to the numerals.) Raise hands all who can tell FiNDiNQ Doh. me on which number I sang doh. Tommy will come up and point it out. (Pupil points number two.) Teacher. — I will sing it again, and you will listen and find out whether that one is firm enough for doh. (Repeats with soft emphasis on me and strong on doh.) Now, what do you think of number two ? - Class. — It was not firm enough for doh. Teacher. —Quite right ; but where was doh ? Those who think it was on number one, raise hands, on three, on four. I see you all now think it was on four, that is correct. You will now try and find doh again, and will write what you think is the correct number on your slates. (Sings m d s m to laa, while pupils listen and write.) Those who have number one will raise hands; number two ; three ; four. Number two is correct. ^ The act of writing the answers compels each pupil to think for himself, and is a sure means of ascertain- ing whether they are equal to the exercises. With very young pupils Writing in Ear Exercises. it is advisable to use some well-known objects in place of the numerals. Four little boys may be brought to the front, or an equal number of birds may be drawn on the blackboard, to which the teacher may point while singing the exercises. The remaining tones of the step will 3e treated by the same method as described for doh. After the above have been given it will be an easy matter to concentrate the attention on one particular number, and find out to which tone it is sung. Example. — Write on board i, 2, 3, *4. Direct pupils Interesting Devices. 104 THE TEACHER'S HANDBOOK. to think of four only, and tell to which tone it is sung. Sing d S d m, intensifying the mental effect of the fourth tone, and question as above. A number of exercises may be given consecutively and the answers written, and examined at the close. Young pupils will be interested by having a bird drawn in place of num- ber four, and will readily tell which tone the bird sings. In all cases corrections should be made by question- ing on the mental effect, but the answer should never be told by the teacher until the pupils have found it for themselves. Wb^chisd? B m s d II m d s n 11 s m d s I d s m m 11 Which is s ? dmds||dsdn||dmsd|lsmmd|| Which is PI ? dsdm||dndsl|dsmd||mssd|| Which is S| ? d m d s,|| d s,d m II m d S|d jj s,d m d II r Which is d'?"- d m s d' |[ s n d' d II d' s m d jj s d' m s || It is unnecessary to multiply examples here, as any teacher should be able to prepare them without assistance. ' ■\ ' NOTES ON DJVISION I. j^^g Which tone is sun . The writer has received as many as sixteen difterent answers to this question, all tending to show that pupils had grasped the idea of the mental effect of the new tone.) Teacher. — There seems to be a difference of opinion regarding the character of fah. Let me try to help you. Just suppose that you are at play in the yard, when a boy comes up to one of you and tells you that there is a policeman in the schoolroom wishing to speak to you. How do you think you would feel about it ? Class. — We would feel rather serious. Teacher. — But suppose this same boy should run up to you and tell you that ♦• Teacher says you are to have a half-holiday," how would you feel about it ? Class. — We would feel happy. Teacher. — Now that you see the difference between these two situations, perhaps you will be able to tell me which one fah most resembles. Class. — The serious one. Teacher. — Yes, fah is really a very serious, gloomy tone. Now practise singing from the modulator, and think of the effect of fah each time you sing it. - i- As soon as possible after fah has been taught, lah should be introduced, as fah is more easily sung when in connection with lah and doh. The same ' method as above will be used, being careful to approach lah from fah, thus : || d f f s || d f f 1 || The men- tal efifeet of lah is sad and plaintive. Great care must be taken to impress the difference in the mental effect of the tones fah and lah, as they resemble each other to a certain extent. 113 THE TEACHER S HANDBOOK. " Pupils should not be kept too long on this lesson, as the mental effect of the new tones is so depressing that they will quickly become dull and even unable to respond readily to your questioning. The intro- duction of some bright song, previously learnt, will serve to counteract the depression. MODULATOR DRILL. The introduction of lah and lah com- pletes the scale and permits of an almost endless variety of melodic combinations. As in the previous steps, the new tones should receive special attention until their mental effect has been firmly estab- lished. Owing to the marked leading tendency of fah towards me there is always a danger of flattening in pitch when practising the new tones. This must be guarded against from the outset, as the habit once formed is exceedingly difHcult to rectify. The effect of fah and lah can be more clearly impressed when contrasted with the brighter tones of the scale, as :— d PI d *S || d m d *f || sd'tM'||sd'tn!d'td'*s||ditd'*l|| In Division II. simple exercises only are given, the more difficult intervals being reserved for Division III. The method described on page 90 should be employed in modulator drill at this stage. THIRD STEP MODULATOR. ml r' ■ DOH' TE LAH SOH FAH ME RAY DOH t, S| f. m, i . NOTES ON DIVISION II. I13 SIGHT-SINGING. %• vr Dunng- this stage the teacher may unconsciously introduce unnecessarily difficult intervals, unless the lessons have been previously prepared. The simplest form of approach to the tones f or 1 is from the tones of the Fah chord, thus ;— d nsdfld'l fm rrd. The following rule will serve as a g^ide in composing exercises for sight-singing. Approach f and 1 by chordal leap, or by step, from the tones immediately above or below, all other tones may be approached by leap. Exercises. Keys C to E^. Compass t, to d*. ' •. ■ d m d s PI f 1 d' 1 f n f r d d B n f r n f s 1 8 d' 1 t d' m d f r s m f f 8 1 8 1 s d s d r t, d m f r 8 1 f 1 t d' d n f s s 1 1 8 d' 1 1 8 f m d* t 1 s d< t d' 1 1 f r 1 1 8 Exercises in which the tones move by step followed by a sudden leap occasion a slight difficulty. They are useful in checking the tendency to anticipate, and in cultivating close attention. Exercise i. Key C. '' " ■> d r m f 8 d< t 1 8 m r d t, d Exercise 2. Key F. ^>, ;'•; m d r 8 f m r ti d r t, d r d Exercise 3. Key G. d t, 1, ti d r m 8 f m r d 1. d '\ 114 THE teacher's HANDBOOK. Exercise 4. Key G. m d f m r d 1| S| 1| ti r d t| d Exercise 5. Key A. • d ti d S| f| n, f, si ti r ti d S| m, Exercise 6. Key "&). d S| m, d| f| S| li ti d f r d S| d The methods of employing rhythmic exercises, and colors, described in the previous chapter, apply equally to this step. ;, -ri ,-;/-.•/' " ■>/■ TIME. Lesson on Half-Pulse Continuations. Prepare blackboard with two four-pulse measures. d :r |m :m.r|d :d.ti|d :— Review. Teacher. — You have already learned how to sing whole-pulse tones, half-pulse tones, and prolonged tones, and to-day we will study some new combinations in rhythm. In this exercise, can you tell me how many tones we have which are only one pulse long ? Class. — Four. r^acAcr.— How many are two pulses long ? Class. — One. ..>■.• Teacher. — And how many pulses are divided into halves ? Class. — Two. ,: p i^' 'j, . ' .- ■ ■;■■ • i ' <• - ^r . i. j ■■> Teacher. — Now tell me the time-names for each pulse as I point to it. Class.— TsMf Taa, Taa, Taa-tai, Taa. Taa-tai, Taa-aa. Teacher. — You will now sing the time-names Introduction of AA Tai. as I point. (Class sings as desired.) Now sing to laa while I beat time. (Class sings as desired.) You can sing that correctly, and will now be able to tell whether I sing it without any mistake. (Sings it correctly to laa while pupils listen.) Did I make any mistake ? Class. — No. y NOTES ON DIVISION II. ,. w IIC , . Teacher.— Listen once more. (Sings as before, prolonging third tone half-way through fourth pulse.) Did you notice any mistake ? Class. — Yes. ^ Teacher. — In which pulse was the mistake made ? Class. — In the fourth pulse. Teacher. — Did I sing both of the tones in the fourth pulse ? . Class. — No ; you omitted the first one. Teacher. — I did omit the first one ; but, can you tell me whether - I sang anything in its place ? Class. — You continued the third tone into the fourth pulse. Teacher. — Quite right. The time-name for this rhythm is taa-aa- tai. Please sing it after me. (Gives pattern, tsa-aa-tai, and class sing it repeatedly, in order to catch the effect of the new rhythm. )• You can now sing that nicely and I think will be able to tell me how to wn.te its notation. We will rub out the first note in the fourth pulse. What sign do we use to express a continued tone ? Class. — A dash. Teacher, — Yes ; we usually have a long dash for the continuation through a full pulse, but as this tone has only to be continued through half a pulse we will use a short dash. (Writes I {[ ;— ,d L ) You will now see how we get the tim^ ■ ,■■ .•:!': ' Teacher. — And for the last half of a pulse ? . ".' ; . • • « ' \ Class. — Tai. (Writes from' pupils' dictation M ;- ,d I *' -' j '* ' Taa-ka-Tail) ^ '' * Teacher. — We will now practise singing this new rhythm in tune. Please sing it to the time-names ; now to the syllables on one tone. (In the latter, pupils will probably fail. Some will sing ray at fourth SiNoiNQ IN Tune. beat instead of continuing me. This may be overcome by slightly accenting the continuation at fourth pulse, or by using colored crayons as follows : — ^Teacher writes the m and the dash in blue, and the r in orange.) What is the color of m ? Of the dash ? Class. — Blue. Il6 THE teacher's HANDBOOK. Teacher. — If both are of the same color, does it not indicate that they should have the same sound ? Class, — Yes ; they should be the same. ^ * Teacher. — Is r of the same color as the others ? ^ . v Class. — No ; it is orange. ' ' v > : • Teacher. — Then if the color is changed we should certainly change the sound. Does the color change at the beginning of the pulse or at the middle ? Class. — At the middle. ' " " Teacher. — Then you must be careful not to sing ray at the begin- ning of the pulse, but to prolong me half-way through, and then sing ray. -'■■^\i\' • .;■, ; ; .'. ; ■, .. : .•C.^arv 'n^.•:.|«. f j7 When the exercise has been correctly sung it should be followed by ear exercises in which the teacher sings phrases of several measures in length while the pupils listen for the new rhythm, and tell the number of times it occurs in each phrase. In practice it will be found neces- sary to employ various means of Praotioe. securing correctness in singing the new rhythm. The color method will be found the most useful for training the eye. This may be supplemented by the empha- sizing of the prolongation of the vowel sound, thus : — Im :— .r Id :— .mis :-~.f In :— 11^ JMe e JDoh oh jSoh oh I || It should also be pointed out that the ear naturally expects the last half of the pulse to lead and connect with the pulse which follows. Ex. I. Keys D to A. a. Id :d.r |n :— .r Id :d .t| |d :— 11 b. Id :~.r In :— .r Id :d .ti |d :— ^■' ,'-■' 117 NOTES 0.\ hIVfSION II. /I* •-•' I" :".rjd :d.t, Id ''jd :-.r In j-.r |d :-t, |d ' jd .-.r I PI :in.r Id :-.t, |d A fresh difficulty will be experienced when -aa L IS immediately followed by Taa-Ta,. Ex- 3. Sams Kkvs AS ABOVE :'.!'■ " \^ =-•' 1" ,---f |B.f :n.r |d * jd :-.r |n.f :a .f .„ ^ |^ II ^ |d.r:P..f Is :_^|„ .„^ ,^ ''• I d .r -.m '• I d J :i«i f :— .8 If :n.t |d — :— .f Is .f :n.r |d II II II thlt^'^f '' exceptionally difficult when'it occurs in three-pulse measure. The most common error is to rut: ' '"'" -nfnuation followed by half! Ex. 3. Keys C or D. '^|d :r :n jf j-.g-i u .__ |w :-.f:B 11 :- - jd :-.r:m |f :_ .__ jg .. j ^•|d :~ ;~jr ^jnj js :-.i ^ |d :-.r:in |f :-.g:i jt ._.t d' d' |d. t id> t Id I 11 W Il8 ' '^ THE teacher's HANDBOOK. ' ( ' ' The preceding may be converted into secondary measure by commencing on the weak accent, and deducting one pulse from the length of the last note. SILENT PULSES. (RESTS.) ^•^- '* " In teaching a first lesson on si/ent pulses, the same methods as described in the foregoing specimen lessons may be adopted, viz.: — The new rhythm introduced in ear exercises by the teacher, detected and imitated by the pupils, and developed by appro- priate interrogation. Theoretically, it seems an ano- maly to use a time-name to express a silence, but, practically, it will be found exceedingly valuable. The sensation of pulses in music is so powerful that unless something is provided to be sung on the stroke of the silent pulse, untrained pupils will invariably sing the succeeding tone. The act of whispering the time-name involves a certain degree of restraint which compels the singer to observe the silence when singing in tune. The pupils should at first sing all the time-names, then the teacher may sing those for the silent pulses, and finally the pupils will sing all but the silent pulses, merely thinking t\\Q time-names as they occur in the exercise. Ex. 4. Keys C to A. i a. Id ::r In : If :m.r Id \: '^r^ II ^. |d.r :n | :f ,m|r : jd :- c. Id : |r .m :f .nlr : jd :~ II NOTIiS ON DIVISION II. 119 d. Id :r :n f :m .r I d ;— ^ Id :- .r |m :f .m|r : Ex. 5. Keys C or D. ^ i-i a. Id : :r jm : :f is :1 ^ Id :r : |m :f : |s :1 II ^ Id : :r |m :f :s |1 :t ^. Id :r : :m :f Is :1 e. Id :r :m :f :s II : t |d< t ld< t Id t Id • =, II EAR EXERCISES. \i These will be conducted by exactly the same methods as prescribed for Division I. Care must be observed in impressing the mental efifects of f, 1 and m, as, owing to their seeming resemblance, one is frequently mistaken for the other. This difficulty may readily be overcome by frequent comparison of the tones, as :— d S d *m || d S d *f || d S d *1 || d> s dinild' s d'^'mlld' s d> f II Exercises in finding fah : — • ' *' .i\ } I 2 3 4 5 I 2 3 4 5 d t, d f m 8 d f r d m d 1 f 8 8 1 8 f m d f r s d d t, d m f s m 1 8 f d f r m d (r I20 S 1 THE TEACHERS HANDBOOlC. Exercises in finding lah ■ '■i- .^;. '.(;'', i? I s d 2 d' m s 1 d f 3 4 5 t d' 1 r 1 e 1 f B r f 1 I d d' B d' 2 3 4 5 B m 1 S 1 s f m d- t 1 s B 1 t d' Exercises on all tones of the scale. Which is last ? I 2 d B d t m d s 1 3 4 5 d n r d' s 1 f r B f B m • I 2 3 4 5 B n f r d d B 1 t d' d< n 1 1 t B 1 S m f The above will be followed by exercises in naming any one tone sung to a/t or o/i. The teacher will soi-/a the chord d' B n d, then sing to a/i or o/i any one tone. Pupils will then give the sol-fa name of the tone. , . , ; . PREPARED SONG. ^IH -"i This will be taught in the manner described for Div. I. Seepages 57 and 106. . , , , , u ■ ■ X ■ f''.. '■ i^ i , -'■'.» ■■," ■' f ; [■' ■ > '' ,'/■ ^ ' ■■^A' ., i:. c >..'' ::.|. , ', ■ :(i NOTES ON DIVISION HL "■ ■'■■ i 121 CHAPTER Xill. NOTES ON DIVISION lU. MODULATOR DRILL. In this Division pupils are expected to sing any tones of the scale, irrespective of the interval by which they may be approached. The simpler intervals having been taught in the preceding division, the more diffi- cult intervals will now demand attention. The inter- vals which usually occasion the most trouble are sixths, as d 1, 1| f, t r, and fourths, as f d, Pi t|, n 1. When two such intervals are given in succession, as S| d f, r S d', the difficulty is considerably increased. The following are a few of the more difficult intervals included in this step : — m 1, 1 n, d f, d 1, 1 r', 1| r, r' 1, m t„ ti m, t, f, f t, r t, t r, 1 d, f 1,, 1, f. In every lesson one or more of the above should be specially taught, but should be intermingled with simpler intervals in order that the pupils may not be discouraged by too many difficulties. The method described on page 78 for teaching soh should be freely employed in teaching fah and lall. Examples of exercises for Modulator Drill and Sight-Singing: Key C. " ■:>^l.^'' \ "/v. ■:;•■?■..?■ • ;.■■/, dnsd'tllsflfmnllmrrlfrdtid s d' t 1 d' 1 1 d' r' r' 1 r' m' 1 1 8 1 f 1 f r 1 t d' dsffnrfmdfslflttftd'fmfrd dfnlffslfd'fmdfrfmrfdfrt, d 122 THE teacher's HANDBOOK. ' Key E. d s 1 m f r 8 d. f m r 1 t Ts d' t 1 f r d t| d Key a. d S| n, Si li fi B| d r f m d 1| tj Si d fi m, 1, S| d ti d Key F. dt|dsil. dfnlfsmfrtidsmlfsrd SIGHT-SINGING FROM BOOKS. When music books are introduced into the school- room for the first time, teachers are frequently sur- prised at the difficulty which pupils experience in singing exercises less difficult than many which they have previously sung from the blackboard. The explanation is simple. In blackboard exercises the teacher usually points to each pulse as it is sung, consequently every eye is concentrated on a particular point, and "losing the place" is an impossibility; but when books are used pupils have to find each pulse for themselves, hence the confusion which usu- ally results. At this stage special gymnastics in " eye training " should Eye Training. be given, both from blackboard and books, and the practice of pointing to the pulse signs should be discontinued. ;/ • EXAMPLE OF METHOD. Write on the blackboard an exercise containing continued tones and divided pulses, as : — I :m Is :n.d r :d.ti|d :— I n :r.r |d :— 11 Teacher.— I will now tap the pulses of this tune, and you will watch each pulse as I tap. Should I stop before reaching the end ;— I n :d.r r ■ Vi • -'H NOTES ON DIVISION III. • I23 you will show me on which pulse I stop. (Taps audibly without pointing to the pulses, ending on the seventh pulse.) Tell me on which pulse I finished. . - , . Class. — On the second pulse of the second measure. Teacher. — Will someone point to the last pulse that was tapped ? (Pupil points to d in the pulse previous to the correct one.) No doubt you think that is the correct pulse, but you have been watching v -*es, not pulses. Try once more and watch the pulses only, no matter how many notes they may contain. if This will invariably lead to correct answers being given. The same method should be followed with simple exercises in printed books, or the teacher may II i sing the exercise to /aa while pupils potni to each pulse. When the teacher stops singing, each pupil should be ji able to point to the exact pulse on which the pause ^' is made. Exercises containing full-pulse tones only should be used at first, and gradually increased in JI difficulty until the books can be used with the same ^s freedom as the blackboard. ,■ <■- ■■ -. ' -. ■• ' * TIME. The division of the pulse into quarters may be taught by the methods described on page 86 for half- pulses. No difficulty need be experienced when singing on one tone ; but when singing in tune is attempted, there will be a decided inclination to slacken the tempo whenever quarter-pulses make their appearance. This may be overcome by sol-faing on one tone previous to singing in tune, and also by directing pupils to aim at singing in strict time the first note of the pulse which follows the divided pulse. If this habit is once formed the divided pulses will soon be found to take care of themselves. 11 M 124 * THE teacher's HANDBOOK. *■,■ ■■': Exercises in quarter pulses : |d :r .r |m :r^.r,r|d :t, .t, |d :— N W :r,r.r,r|m :r .r Id :ti,t,.ti^,|d t; | C. e. ■fv, ' * ■,•,:■/,'■■{ EAR EXERCISES. , ■> :r,r,r,r|m :r |d,d.d,d:t, .ti |d :— || M :r |m,m.m,m:r .r Id :t,ti.t„ti|d it:, || ift :r ,r |m,m.PT,n:r |d,d.d,d:ti .ti |d ' :— 11 With change of tone : — |i :r .r |m :f |s :s,f.m,r|d ;— || .|l :d,r.m,f|s :— Is :s,f.n,rld :- || :d,r.m,f|s :s,f:n,r|d :t, .t, |d :— II Id :d,r.m,f|s ^ j8*t^€ |s,f;n,r:d .t| |d :— [I |d :— !d,r.m,f:8,f.m,r|d :t, |j| :- ii The first class of ear exercises prescribed for Div. III. are similar to those prescribed for Div. II. The second class comprise the simplest form of exercises containing more than one tone. In prepar- ing for those exercises it must be made clear to the NOTES ON DIVISION HI. I2i pupils that only three tones in stepwise order will be given. They may also be required to name three such tones, beginning with any tone indicated by the teacher, thus : — Name three tones ascending in step- wise order from d ; descending from s ; ascending from 1, etc. The teacher may now sing several such phrases to laa^ pupils 'being required to tell only whether the phrase ascends or descends. This should be followed by similar phrases in which they are required simply to name the first tone. When they have learned to distinguish between ascending and descending phrases, and to concentrate their attention on the first tone, there should not be much difficulty experienced in naming any of the phrases required. Previous to singing each phrase, the teacher must sol-fa the DOH chord, in order to clearly define the key. When incorrect answers are given, the attention should be directed to the mental effect of the first tone, and pupils questioned regarding its resemblance to the corresponding tone of the correct answer. When this has been discovered by the majority of the pupils the exercise should be sol-faed by aU. It will be noticed that exercises which begin with d, n or s will be more easily named than those which begin with the other tones of the scale. ,, = ^ >. d r m m r d d t, 1, s f m s 1 t d> t 1 d' r' ml m f s f n r r n f r d t, f s 1 1 s f 1 t d' t 1 s t. d r B| 1| ti li t, d r' d't t| li Si 126 THE TEACHER S HANDBOOK. Exercises in which the tones move by step, but not. continuously in one direction, may now hn given. d s r f t, f m s d d r d d d r d d t, m r m s sis s s 1 m r r m f m r r r d r d r t 1 t t t d' f s f f 1 t 1 d' t d' 1 s 1 «»': Singing from dictation may now be proceeded with and will be found an excellent auxiliary to ear training and sight-singing. The teacher may indicate by the manual signs which tones are to be sung to laUy or may simply SiNCINQ FROM Dictation. name them, thus : — Teacher sings d S n d and tells class to sing Pi r d, or any of above phrases which may be desired. In all exercises the pupils who display feast natural ability to tell tones by ear should receive special attention and should be encouraged to persevere until they compare favorably with the others. See pages 52 and 10 1. PREPARED SONGS. -^ These will necessarily contain greater difficulties of tune and time, and be of a superior character gener- ally than those prescribed for Div. II, but should be taught by the same methods. See page 106. VOICE TRAINING. Tuning exercises in two parts should now be intro- duced. It is advisable to teach the lower part thoroughly before touching the upper part, as young f> NOTES ON DIVISION III. 127 pupils are invariably inclined to sing the latter, to which the ear is unconsciously attracted more strongly than to the former. The pupils should be divided into two sections, according to the quality of the voice. A trained ear will easily distinguish the soprano from the con- CLAS8IFYINQ V010E8. tralto by the quality of the speaking voice, but the ordinary teacher should not attempt to classify voices without first testing each voice in singing from the modulator. This may be done by singing up and down in the key of C. If the best tones are found in the upper-thick register, the voice may be presumed to be contralto ; but if in the lower and upper-thin registers, soprano will be the most suitable part for that particular voice. See page 23. Each part should be practised separately, beginning with the softest possible tone and endeavoring to have all voices in a part blended Beqin Softly. as one. Pupils who will persist in singing loudly should be prohibited from singing for a time. The most suitable vowel for elementary tuning of voices is 00. When the voices in each part have been fairly well blended, the two parts may be combined, and the vowels ah^ oh^ ai and ee introduced individually in the order given. ' Examples of Tuning Exercises : — ^ ^ KeyG. PI :f d :1, 81 :r :t, n :— d :- 128 THE TEACHER :, HANDBOOK. KeyG. i d :r m :f m :r d :- d :t, d :1. B| • d :- > y i >- CHAPTER XIV. ^ > i fV . KOTES ON DIVISION IV. !; ■ V" MODULATOR DRILL. * ;' ' The first modulator drill for this Division is exactly the same as prescribed for Division III. ' In order to conduct two-part exercises successfully it is necessary that the teacher should have a know- ledge of the elementary principles of harmony, in order that ungrammatical harmonic progressions may be avoided, and those only introduced which are calculat- ed to produce a pleasing harmonic effect. The most pleasing *intervals are t/ttrds, as : — d m ||r f || 1| d || f 1 II S tlL When thirds oxAy are used they become too sweet and insipid, and a new combination is necessary. This is supplied by sixths, which are simply inverted thirds, as : — d 1 1| r 1 1| m d' || 1| f || t| S ||. A strong binding effect is produced by the employ- ment oi fifths, as :— d S |j r 1 1| f d' II, or their inversions termed fourths, as :— S| d ||1 r' ||d f ||. These, how- ever, must be employed with extreme caution, and on no account should Avoid CoNSEOUTiVE Fifths. * Intervals are calculated from the lower to the higher tone, both being included. NOTES ON DIVISION IV. 139 two fifths, as in suc- i . '■ cession. The effect of such " consecutive fifths '* is harsh and unpleasant. As a rule, four or five thirds or sixths in succession will be suflficient, and a fourth or fifth should be added to give variety to the harmony. The following will serve to illustrate : — Key Et7. ^ d PI s ni r f m f s 1 f f n f s 1 ) d d t, d t, t, d - t| d r t| ■ '-■/■ ■'' - ' d r m f j t t d' - d' t 1 s f 1 s It d'- f f n - m f f n r f f n r f m -^ I Before attempting to conduct two part exercises the teacher should carefully prepare a definite plan by writing a number of exercises similar to the above until familiar with the more common harmonic pro- gressions. A few short and simple exercises only should be used in the class until pupils have developed ajnoderate degree of steadiness* in maintaining their own against another part. -'...■: *■:.., w. vi •.-■-■-;.;:.■■:■■«"- TIME. In this Division no new divisions of rhythm are introduced, but those' already taught should be thon oughly reviewed until they can be easily sung at sight. SIGHT-SINGING. The exercises prescribed for this Division are intended to enable pupils to sing at sight any ordinary . ;^ "ii; ■' /. ' ' ''■■.■■■ 130 . THE teacher's HANDBOOK. ' • hymn tune or song of moderate difficulty. When tune and time are combined for the first time, one is certain to receive more attention than the other. Before singing each exercise, the attention should be directed to the difference in length of the notes. Each exercise should be vocalised, after sol-faing not more than three times. ' ' Exercise i. Key G. d :m |r :s If :— |m :f Is :1 |f :r la :— |n :— l f :r Is :— Is :m |1 :— Ir :s Id :f |m :r |d :— 1| Exercise 2. Key D. ' m :d If :r Is :— |m :— 11 :r |m :f If :— |m :— i s :d' If : -11 :di |s :— |n :d |r :s |t| :r |d :— 11 Exercise 3. Key A. d :ti Id isilm,:— |f| :— Ir, :si 11, :t| 11, :— |si :— I d :m||f|:-|r :d |si:— 11, :d |m:r If :t, |d :--|| Exercise 4. Key E. ''''";--■';: '7^';'.,. '•■;.:, J d :m |r :t||d:f |m :— 11 :r |s :d|t :r |si :— ) Id :— |r :— jti :si |d :m|f :» |1 :m|f :s jd :— 11 EAR EXERCISES. Exercises containing stepwise progressions should still receive attention. Dictation exercises containing intervals of greater difficulty will prepare for more NOTES ON DIVISION IV. X3I advanced ear exercises. In conducting the following exercises the teacher will sing the tones of th 3 DOH chord, then name the tones to be sol-faed by th( class : m r d s r m f 1 ';'Vi f s d> s t 1 1 f B d f m r s d< s 1 f 1 d' f m alts d> t d> 8 B m B r B n d B| d' t [ m n f f d B 1 f d d S| t| d In the following the teacher will sing on one tone to iaa while beating time, while the pupils listen, then sing the time-names on one tone : d II ld.d :d Id.d d d :d .d Id :- A Id d :-.d |d,d.d4:d |d.d d d.d :- .d Id .d d.d:d d.d|| Id d II Id d d d.d II :d,d.d,dld :d4*d,d|d :d .d PREPARED SONG. The study of two-part songs is usually a more difficult matter than is generally supposed. The upper part is usually more " catching " than the lower, and even when the parts have been thoroughly mas- tered when sung separately, it frequently happens that the alto voices are unconsciously singing with the soprano. This may be overcome by frequent rt$2 THE TEACHERS HANDBOOK. practice of tuning exercises and modulator drill in two parts. As a rule it is advisable to teach the lower part before the upper, until sufficient skill has been developed to permit of both parts being sung simultaneously. * . • -V VOICE TRAINING. If a reasonable amount of attention has been paid to voice training, pupils should enter this Division with a fair command of voice, an increased compass, and a tone, which if not large in volume, should at • least be pure and soft in its quality. A strict outlook should be kept for voices which are apt to be strained particularly among boys, who usually incline to force the lower-thin register upwards in preference to using the upper-thin. Train Downwards. The upper registers can best be cultivated by singing downwards. Exercises for this purpose should begin above D' which will compel the use of the upper thin The sweetness of this register should be noticed, and pupils directed to carry it down as far as possible withou* changivg. Th: owel oo is the most congenial to this register and should precede all others. Voice £xbrcises for Upper Registers. Ex. 1. Keys A, At?, G. F % js :f |in:r|s:f tw:r|«:f |w :rtwif |fi ^-^| Ex. 2. Keys F, E, e!?, D. .% jd'it II :b |d':t |1 :s |d':t |1 :b Jl :t ld':H| Ex.3. KSYS C, B, Bl7, A. 1^ tn':f |«':r'|n':f |n':r'|ni:f |n'n-'|d'it (d' :-tj| NO IKS ON J )I VISION IV. 153 For Whole Compass of Voice. Ex. 4. Keys C. D, E. m :d |8 :n|f :1 |d>:l Ex. 5. Kbys C, D. d jn :r .f I n .s « s :t Ir' :t |d':-|- :f .1 Is .t :1 .d> .r' :d «» t m'.d' :'r.t IdM :t .s II .f :s .m If .r :d Cymnastics in Breathinq. II The above should first be sung to koo with neatly detached tones (siaccata)y then smoothly (/egato) to oa, auy aiy ee and oh, breath being taken at the points, marked *. Breathing exercises should be given frequently in connection with the above. It is inadvisable to multiply exercises. A few simple gymnastics conducted by a careful, obser- vant teacher, should be sufficient for all practical purposes; Exercise ist. — Pupils stand erect, take breath by expanding the lower part of the chest while the teacher counts four slowly ; retain the breath by keeping the chest expanded for a similar length of time, then let the breath go suddenly. Repeat three or four times. Exercise 2nd. — Inhale by expanding the chest suddenly ; retain the breath for four seconds as above,, then sing the vowel 00 while the teacher counts four. The attention must be concentrated on securing a smooth, steady tone. The period during which the breath is inhaled, or the tone sustained, may gradually be increased to eight seconds ; but it is not advisable to retain the breath be\'ond four seconds.. 134 THE TEACHtR^S HANDBOOK. (,;' .' 'P PART SECOND. i}\ ■ j. ,( : if. -.■ ■ • ' ,; .-, CHAPTER XV. . ,; gylLABOS JOB SEHIOB BIVISIOKS. ■ X' ' y In Part First the three primary steps of the Tonic Sol-fa method only are treated. The subject-matter of the remaining steps is as follows :— ,\.^; .,^,^...J r ,, FOURTH STEP. .^^^n^ s Tune.— The standard scale of pitch. Transition to the " ^.,(S first sharp and first flat keys. Simple chromatic / > ! tones. Musical expression. Time.— Quarter-pulse silences. Pulses divided into thirds. :^ ' Beating of time. '• -; . S : .-. . :/■'•'"'" ■■^■■... • ■ FIFTH STEP. ' - ' .'^'■^' r- ■"-■-'- ''"'^^^ Tune.— The minor mode. Transitional modulation. . ., ^ Time.— Pulses divided into sixfAs, eighths and ninths. -,^; ^.■^, SIXTH STEP. ;-^''.^>i-j^':;^-;''-'' '"■■'■'■ '-. Tune.— Transitions of two or more removes. Transitional modulation. Exceptional chromatic progressions. Time.— Rare divisions of rhythm. In pursuance of the plan adopted on page 63, the following syllabus is recommended for use in the senior divisions : . ' . . ,,, ,, , ,.^ ., ■ ■ ■ ■- y ^ ' ' : ■ SYLLABUS FOR SE^fIOR DIVISIONS. ■ 1 35 DIVISION V. Modulator. — (a) To sol-fa from Examiner's pointing on the fourth-step modulator, exercises containing transition of one remove in the perfect method. (6) To sing as above, exercises containing the tones fe and ta in stepwise progression used thus: — s fe 8, d' ta 1. , Sight-Singing,— To sol-fa at sight a written or printed exercise including all tones of the Major scale, wiih fe and ta as above, but not necessarily containing any divisions of the pulse less than half- pulses. - . , ,. > -,; ." .-,■ . ,;■,,,........• Time. — To sing on one tone to time-names and laa, exercises containing combinations of quarters and half- pulse tone*. Ear Exercises. — To imitate and afterwards name the tones of a simple diatonic phrase of five tones the Examiner may twice sing to laa, the tones of the DOH chord being first given in each case. Prepared Song. — To sing in two parts, with due expression and fair quality of tone, a school song set to words. f ^ ■ ' , ■ , ' '■' 'division VI. Modulator. — (a) To sol-fa from Examiner's pointing, exercises containing transition of one remove and modulation to the relative minor, including the tone se used thus, 1 se 1. (b) To vocalize, from the Examiner's pointing, simple exercises including all tones of the major diatonic scale. ;\ ,ri; .' . : >r! i Sight-Singing. — To sol-fa at sight a written or printed test inclu< g any tones of the major scale and easy transitions of one remove, indicated by bridge-notes. •: ^ Time. — (a) To sing on one tone to laa or time-names, exercises including various combinations of thirds, (b) To sing as above, exercises in quick six-pulse measure. Ear Exercises. — To imitate and afterwards name the tones of a simple phrase of five tones, including fe or ta. Prepared Song. — Same as for Division V. ■»1 ^ 136 THE TKACHKk's HANDBOOK DIVISION VII. Modulator. — (a) To sol fa from Examiner's pointing exercises coxrtaining transitions of two removes, (b) To vocalize as above, exercises containing easy transitions of one remove in the perfect and imperfiect methods. -v ,; SfGHT-SiNGiNG.— (a) To sol-fa at sight a written or printed test of moderate difficulty, including transitions of one remove indicated by bridge-notes, (b) To sol-fa as above a test including modula- tion to the r^ative minor writh the tone se used thus, 1 se 1. Time. — To sing on one tone to laa or time-names, exercises con- t^biiing any divisions of rhythm previously specified with the addition of quarter-pulse silences. Ear Exercises. — To write in correct time and tune a phrase of four measures,^ including whole pulse tones and continuations, but no divided pulses, the Examiner singing the DOH chord and indi- ' eating the rate of movement by beating one complete measure prior to singing the test. Prepared Song. — To include transition 0/ one remove, and divided pulses, sung to words with a fair command of voice, expres- sion and clear articulation. DIVISION VIII. Modulator.— (a) To sol-fa from Examiner's pointing exercises containing trat^sitions of two and three removes, and phrases in the minor mode, including the tones ba and se. {b) To sol-fa as above, exercises containing any chromatic tones in stepwise pro- gression, thus : — m re m, 8 la s, r ma r. Sight-Singing. — (a) To sol-fa at sight an easy test including transition of one remove indicated by bridge-notes, and modula- tions to the relative minor, including the tones ba and se in stepwise progression, (b) To vocalise at sight an easy test including tran-^r sition of one remove. Time. — To sing on one tone to laa or time-names exercises of moderate difficulty, including any divisions of rhythm previously specified, with the addition of simple syncopations. ••., ■■•";'■; ^ • ;■ (,-"',■' ■■'■■, .;',•-■. \ ■ ;;_■'•■ — ~ ■ ■ . .,^ '-V'. TRANSITION. ' \ ^l}t ,' ^ ' — ■■ I37 Ear Exercises.— To write in correct time and tune a phrase of four measures containing half-pulses and the tones fe and ta, the examiner first indicating the rate of movement* and giving the tones of the DOH chord. In order that each topic may be more clearly understood, a separate chapter is devoted to the discussion of each individually. The methods of teaching any one topic are identical in all classes./ . CHAPTER XVI. TRANSITION. In order to clearly understand transition, C'— d' it is necessary that the standard scale of R_t pitch should first be studied. The Tonic t? # Sol-fa notation makes no attempt at express- ^ 1 ing absolute pitch other than intimating \> t the key in which a piece of music is written. G — S This is done by means of the first seven ^ ^ letters of the alphabet. The scale of C has ^ ~^ ' been adopted by musicians as the standard E— •*» by which the pitch of all. other scales is ^ t governed. By referring to the annexed D~r diagram it will be noticed that the intervals of this scale correspond exactly with those ^^^ of the third step modulator. Musicians have not yet 138 r THE teacher's HANDBOOK. agreed upon any definite standard, but the majority favour 256 vibrations as the standard for Middle C. In teaching, it is advisable to use an ordinary modulator (third step) PiTCHINQ THE KEY. suspended by a cord of sufficient length to permit of its being raised or lowered to ^ny desired position. The seven letters being written on the blackboard on a line with the corresponding notes of the modulator will illustrate the scale of absolute pitch, while the movable modulator will illustrate the scale of relative pitch, with its movable doh. The lesson may be illustrated by referring to the standard of weights and measures, by which all others are measured. In pitching the key the modulator should be moved until d is opposite the letter which represents the required key. Then take the sound of C from the tuning-fork or other instrument, and sing downwards to the letter required, and sing doh on exactly the same pitch. The keys most commonly used may be readily pitched by singing the note which is on the same pitch as C, and then downwards to d, thus : — To pitch G : move the modulator until d is opposite G. Fah will now be opposite C ; sound C, call it fah, and sing f m r d. The d will then indicate the key of G. We have hitherto changed key frequently in sing- ing different exercises, but have not as yet changed key within any one exercise or tune. When this takes place it is called Transition. It serves to add increased interest to a musical composition by introducing V- TRANSITION ' 139 FOURTH STEP MODULA OR. d' .;;„.;;#-. '.. t ml 1 re' se 1 - t^ S se '»' *^' ba s DOH' f ba TE m f ta ^ m LAH . r la ,,.•., ■.;.,-.. r - SOH " d d > FAH: t, IVIE 1, °^* '• se, 1, RAY s, se, " ** ba. s, DOH ,,, fi ba, ||[ m, I ta, .■:::V:..^::.. . n, ^ -^r-^v,:/ r, '- se, r, • -.ii d, ba. '•' *2 d, f, t:, rn, L variety and freshness. Tran- sition in some form is used in about ninety per cent, of the tunes in common use. The commonest of all tran- ; sitions is that in which soh of the old key becomes doh of the new key. Soh being technically termed the Dominant of the scale, a transition, in which soh becomes the key-tone, is called a ** Dominant Tran- sition." When in transition fah of the old key becomes doh of the new key, this is called a " Sub-dominant Transition,"asfahis known as the Sub-dominant of the scale. In comparing the tones of the old and new keys in either of the above transitions, it will be ob- served that only one note is altered, viz., in one fah is sharpened to make te, while in the other te is . flattened to make fah. No transition can be made without the displacement 140 ' THE teacher's HANDBOOK. of at least one tone. When only one tone is thus displaced, we have the form of transition which is most easily sung, the difficulty increasing in proportion to the number of tones which are of necessity dis- placed. Before introducing the subject of transition, it is necessary that the. construction of the scale be clearly understood in order that a proper conception may be formed of the real nature of a " change of key." FIRST LESSON ON TRANSITION. Write on blackboard an ordinary third step "^ modulator with short horizontal lines opposite each note. Direct attention to the lines as indicating the intervals between the tones of the » — scale. Introduce the subject by ear exercises f _ in which the expectant, leading effect of tc is m— contrasted with the firm, restful effect of doh. Teacher. — (Gives key-tone, then sings to laa d r d t,.) Can you tell me the names of those four tones ? d — Class. — d r d t|. t' — Teacher. — Quite right. Can jrou describe the effect just produced by ending on te ? Listen once more and try. (Repeats the phrase.) Class.— It is restless. It is unfinished. It expects doh to finish it. Teacher. — Now let us compare it with an ending on doh. (Sings d r d t^ — d, pausing on t| to intensify its expectant effect.) How did that sound ? Class. — It seemed mcHre finished. It was restful. Teacher. — Listen again and tell me what tones you hear. (Sings 8 I I fe — 8, which is simply the previous phrase repeated a fifth higher.) v v C/a«.— It is d» r' d« td'. 8 1 8 f 8. Teacher. — A. number seem to think it was the same phrase repeated an octave higher, I will sing it as such. (Sings d' r* d' t d'). Is that the same as before ? Class. — No ; it is too high. TRANSITION. I • 141 Teacher. — If the phrase is not an octave higher than the first, we must try to find out what it is. (Repeats 8 1 ■ fe ■.) * Class. — It is like the first phrase. It is s 1 s f s. , Teacher. — You do not seem to be able to agree about it yet, still you are both partly correct. Let us take one tone at a time and perhaps we will succeed better. (Sings one tone at a time, eliciting correct answers until fe is reached.) Some say the fourth tone is fah. I will sing fah this time. (Sings • 1 t f s.) Is that the same as before ? Class. — No ; it is too gloomy. It is too low. Teacher. — What is the interval between soh and fah 7 • • Class. — ^A foil tone. ' Teacher. — -And what between d and t, ? . Class. — A semitone. Teacher.— V/e find that this fourth tone is below loh, though not quite so low as fah, and you have told me it sounds like te. Let us change foh into doh and sing. (Writes K opposite to the right and points while class sing d r d.) You can readily recognise that as being the same as I sang before, but where shall we place t| ? Class. — A semitone below «. Teacher. — Quite correct. Now sing both phrases from my pointing. (Points d r d t, d "d r d t| d while pupils sing.) Yon will now observe that both phrases are alike, but the latter is in a new key. We will now build the remainder of the new scale. (This is done from pupils' dictation.) You will notice that all the tones are not on the same lines. How many tones are altered ? Class. — Fah is the only one. Teacher. — Yes. We find in this change of key only one tone which requires to be displaced, all the others remaining on precisely the same pitch as the tones of the old key. Te being the new tone introduced by the tran- sition is termed the distinguishing tone. In making the transition we crossed over on soh, bnt we might have done so on any other tone but fah. The tone on which we cross from «iny one key to another is termed the bridge-tone. We will now pfiactise changing key on various d'-f t m 1 — r s — d a — 1| T • d-f, t,— «l| l.-r, Briooe-Tones. 142 THE TEACHERS HANDBOOK. bridge-tones, and I would ask you to make sure that you sing the bridge-tone and the tone opposite, without altering the sound. (Practise as indicated.) ' ' I will now show you how transition is indi- cated by the notation. We use a small note for the bridge-note, thus : sd, but you must not Notation of Transition. measure its importance by its size, as it is really the most important note in the transition. Key C. ■:■■'•■■■.■':■ ■-' '"• '■■'•■■ Writes: dmrdt|d>dmrdt|d In singing this you must be as careful of the bridge-tone as when singing from the modulator. (This is practised, a pause being made on the bridge-tone to catch the correct sound of the new key.) , When the key is changed for a few pulses only, it is not consid- ered necessary to alter the tones or use a bridge-note, but simply to substitute a new tone for fah on the same pitch as te of the new key. This new tone is called fe. (Writes fe between 8 and f on the modulator and practises.) The method of denoting transition by bridge- The Imperfect Method. notes is termed the perfect method, and that which substitutes fe for fah the imperfect method. Exercises in translating from the perfect to the imperfect method, and vice versa^ should now be frequently employed The teacher points to the modulator and sings d ti d, S|. Pupils imitate in the imperfect method by singing s fe S r. ♦ * S -r^ Transition to the first flat key may be — t taught by the same process as above. In *, * , this, fah becomes doh, and te of the original key is displaced by fah of the new key. In the imperfect method the new d — f tone is named ta (pronounced taw). It t — ni should also be noticed that when a transition li — y is made to a sharp key, i.e. where the dis- J tinguishing tone is formed by sharpening n-1 r — 8 ■%>^-. ' TRANSITION. j^x the corresponding tone of the original key, as f becoming fe, the mental effect of the tune is bright- ened and intensified. This may be accounted for by the fact that soh, the tone of brightness, becomes the foundation tone of the new key, and so adds color to all the others; When the transition is made by flattening te of the original key, the opposite effect is produced, and the tune becomes depressed and gloomy through the influence of fah, which becomes the foundation tone of the new key. Exercises for modulator and black-board practice : Stepwise progression, s fe S. Imperfect Method. Keys C to E. dndrssfesmfrdtid ndfrsfeslsd'mrrd drfmsfesnsfesfrd slinflsfesmrftird d m r f m 8 fe s d m f r t| d . .s m 1 s fe s 1 f r s d r t, d Stepwise progression, 1 ta 1, d' ta 1. ' d s m f 1 d' ta 1 s f 1 s t d' ■ ^ d' t d' 1 m f 1 s 1 ta 1 s t d' , d f ir s d' ta 1 s t d' m f r d m r s f 1 s 1 ta 1 d' t 1 s d' d' t 1 s d' ta 1 s d' s t 1 t d' ^Jwrfmsfltalsd'td' 144 THK TKACHER S HANDHOoK. Fe and ta approached by leap : — ; Keys E to G . m d m r s 1 f e B m f r 8 1 f r d 8 m d r f e s 1 f r s f e 8 m f f m dtidsmlfesmfesfmrsd d Si r t| d m r fe 8 d f r d 1| t| d d r ti d 8 1 fc 8 m d fe 8 1 r r d r«ir8fe8rdt|fe8dm8frd Keys C to E. dfnrsd'talstaldsffm nrfm8tal8d'fnr8ft|d d' t d< 8 1 ta ta 1 8 f ta 1 8 d' t d< d f m r 8 d' ta 1 8 d' m f ta 1 t d' PERFECT METHOD. In denoting transition by the perfect method, the name of the new key, with its distin^juishing tone, is always written immediately above the bridge-note. '\ ♦ Transition TO First Sharp Key. ' "^ KeyC. G.t. f.C. dmrd8l8»dmrddt|ddsmfrdtid KeyD. A.t. f.D. dt|dmrr8irdt|dl|8|dd8lfmfrd KeyG. • D.t. f.G, / / d Si 1| ti d m r '8 d t| d m r 8 "r m f m r 8 d KeyBI?. r F.t. - f.Bt>. ' V d S| m, si 1| f| 8| m.l, 8| d r ti 1| S| «.ri S( f| n, 1, t| d KEYAb. Eb.t. f. Ab. dt|d8|dmrr8mfrt|dsimmfrdt|d KeyF. C.t. f.F. m d 8 n r f m ir' d' t d' 1 t d' d's n 1 f n r d ; TRANSITION. 145 Transxtion to First FLAxiUy. Key a. f.D. A.t. dnrdfrmmtd'lfrrs 'dtid S| 1| ti d KbyC. f.F. C.t. 8 m 1 B f f m : 1 '■'» •d ti d 4 ■m • :'.t f d's m • -• w- '%■■■ 's, d d ■ t 1 ■r w The process may be reversed with advantage, the teacher writing the exercises on .he board and requir- ing the pupils to point them on the modulator. iS THE EXTENDED MODULATOR. BoH^b A!?.Eb Bt? F G D A E B i-.- ^m F G Q D A 1 ■i? ^ .M • ■ '-;■ ..' ■■ '«• ba i.t ^ri 1 ' 't m \ T *^B C DOH' CI rf ■e •• ba B TE B m 1 ^ B d 1 ' 86 .B d f ba 't| ^m ^A ta •le LAH A kT > 86 B .d ba t| f B A f •I? la «e j( ba *t| 'nn *1| ba t| "Tl 1, '^ 861 G SOH fe ba G d t, "Tl 1| Be, >r .B| m 1| r Bi d ibai t| F E FAH ME F E ll *M| r 'Bi .ba, d f, r B| ba, d f, I? T> ma ve RAY D 'B| ' ba, d ifi ti mi d f , Be, 1? de t ba, ti pii I, " iti W| .1, '' "• i<«ei >tet C Jb DX)H C B, •fl f1| .1 " •Bei Bi di TH»' MINOR MODE. T ^ 149 Exercise f6r>TTToduktor and blackboaxad practice : • ' Two Sharp RtnovBS^ Kby C. D.t.m. d.f.C. d; m-r d f^N r'd'tfd^m'firf as 4is f>i f r d Kkv G. A.t.m. f.d.O. dA ti d s ' 1 f B' "f PTTf f r- di r t,. *r m fi r d U^M ds s^ 1,1 rrtrr Bv^'S^l^tld'^ f n r 'n,ri f, IrSitjd.^. Key F. G.t.m. d.£.F. dl mf r sfld;f mir,4itj. din rr s. ^t 1 s. r f ti.d.> - Two FLat Removbs. .' ; • ./ ::'^- KtYC. d.f.Bt>- C.t.iii., Bin l.rrf m Lit, d.B*;ni, f, i^ r^ »rr n f r. d t| d; KkyA.. d.f.G:; , i Ait-m.; "^ ^ ditpdiSi Ijifi d.dr n fi r tr r, S| "if^ n| rrsf tr rr d< Key El? d.f.Dl?. EtJ.t.m.. d n f 1 r t, d^'^n r f n d r t| % Ud n r s d • : ■ i ■ CHAPTER. XV 1 1: •"'■ .■ i^ ■•»y ft In the forgoing chapters Mve- have used oirLy one mode of treatmg the tones of the scate, viz., that in which dohris recognized as the fundslmental or ke>r tone, btit now othbr modes fail t be studied and j explained. Thb ear- ?s never satisfied with • a tune in which it cannot find some prominent ton© upon: which to re.t as on a centre of gravity. DOH is the 150 THE teacher's HANDBOOK. tone most commonly used in this respect, but it is possible to treat any other tone in a similar manner, and some of the Ancient Modes have actually done so with a very pleasing Anoient Modes. effect However, with the exception of the Lah Mode all others have fallen into disuse, this being considered best adapted to modern ideas of harmony. Modes are termed Major or Minor according to the nature of the chord upon which they are built ; thus the DOH chord being Major, />. having a Major third from the root, with a Minor third above, is termed a Major chord, while the Lah chord having a Minor third from the root with a Major chord above, is termed a Minor chord. Practically, then, we have now only two modes Foundation Chords. in general use, viz. : — '^ ' ' • ., The Major, or Doh Mode, and x The Minor, or Lah Mode. In teaching the Minor mode, the first matter of importance is to impress the effect of the Lah chord by practising the tones 1 d i^ only. If this is dwelt upon sufficiently it will soon be felt that the mental effect of the tones is strongly in- fluenced by the effect of lah. The Alteration of Mental Effeot. sad effect of lah will be intensified, and a restful feeling will also be experienced when ending on lah ; doh will lose its strong, reposeful effect, and will be almost as sad as lah ; no will gain in breadth and grandeur without losing its former plaintiveness. The Minor mode is never so easily sung as the Major, V , THE MINOR MODE. I5I even by the best singers ; still, practice will soon estab- lish the new mental effects, and the Minor mode will become comparatively easy. Introductory Phrases in thb Minor Mode. li d m 1 1, m d 1| 1 m d 1| li d 1| m 1| d m d 1| 1| d 1| m d 1| Indl 1, mndml, Idmdml, When the effect of the Minor mode has been established by the use of the above exercise, the construction of the Minor scale may be studied. The Ancient or Historical form, so called because of its employment in old national melodies, consists of the tones of the scale The Angient Minor. arranged in precisely the same order as in the Major. Many fine specimens of this form still exist one of the best known being the old Scottish air, "John Anderson, my Jo." Modem harmony, however, re- quires that the Tonic of any mode should be supplied with a leading note, ?>., a note placed a semitone below the Tonic to which it leads, as J This is t|. formed by displacing s and substituting se> which is written a semitone below 1. This is termed the Harmonic Minor, because of its adapt- ability to the requirements of har- The Harmonic Minor. mony. In singing, it will be felt that there is an awkward gap between f and 86, being a semitone greater than any other interval of the scale. In order to obviate this difficulty another new tone, named ba» 15^: THE teacher's HANDBOOK. , (pronounced bay\ is introduced between f- and s/ This is termed the Melodic Minor on account of the more pleasing melody Titt Mftoote Minor. formed by the introduction of ba. r Minor. Harmonic Minor. Melodic Minor. i . .1 - 1 ■ ' ' , ' \ 86. ' ' ' ' se^ f ba m . » n w ■ ■ r^ r ■ *.• " *.■. ■ C: . . % t, ' t, ' ■ r- ^ ii ir Musical theorists have drawn some fine technical distinctions between the manner in which the various modes are to be sung ascending and descending, but their opinions differ so widely that they would only tend to confuse the inexperienced teacher. The point to be kept in view is not how to sing the whole scale stepwise, but how to sing the tones in rtw;' order.* It wiH be observed that the difference between the various, modes lies between the sixth and seventh tones only; They may be briefly described as follows : Sevenths I ^ Essential to the Modem Minor. ( Sok. Seldont used. Sixths I!*, Occasional. ( Fah Essential. THE MINOR MODE. »53 In teaching, it is advisable to build up the Ancient Minor side by side with the Major on the board, showing the fundamental point of difference to be in the interval of a third from the Root, then show the necessity for a leading tone (se) and finally for the sharp sixth (ba). In the Melodic Minor the intervals ^ between the four upper tones correspond g exactly with the Major, the third being 1 — ba the only interval in which there is any ^ essential difference. In all exercises in the Minor mode, the tones 1 and d should be frequently intro- duced, and the Minor chord 1| d n should be given as the key chord before commenc- ing. As doh is the key-tone of the Major, so lah is the key-tone of the Minor. To prevent confusion in octave marks and the relation of tones in absolute pitch, the name of the Major key is retained 8 — n f-r m r-t, d-1, Minor Key-Signature. and the pitch of lah indicated in addition, thus, — Key C, Lah is A ; Key G, Lah is E. .. Major mode exercises : For Modulator and Blackboard Practicb. Kby F. Lah is D. li d ti d 1| d m r m d t| r d t| 1| - m d 1 1 f r m d 1, d ti m d ti 1| : d. m 1, d t| r d m 1, t| d r m n 1, lidmllmfmlfmrtimli V 154 . THE ■ ■ < , » ■ teacher's handbook. .• Key D. Lah is B. 1 n d r ti m 1, t d m 1 1 d' t 1 n d 1 PI f. 1 r t d' 1 f r m m 1 d m 1 m 1 t 1 d' 1 t m r d t, 1 1 f n r 1 t m 1 d' m 1 d' r' t 1 With Essential Seventh (se) in stepwise progression. Key C. Lah is A. 1 d' t 1 n 1 se 1 t d' r' t 1 se 1 d'tld'lselnrnfnlsel m 1 se 1 d' t r' t 1 t n d' 1 se 1 d n 1 t 1 se 1 1 d' 1 f r 1 se 1 m 1 se 1 m 1, sei 1| Key E. Lah is CJ. 1, d m d 1| sei 1| d m 1 t mdfmlselnfrti d ti li d t, li sei 1, d n 1, d li sei 1 lmldnlselfrmdliseili With se approached by leap. ,' i;^ Key G. Lah is E. d 1| sei li d t| sei 1| ti d m r d t| 1| li d li PI 1 se 1 PI »^ se 1 d r ti li li d ti sei 1| d n r d sei 1; r m sei 1| m f m 1 se 1 f m se 1 PI d ti sei li Key a. Lah is Fjf. d ti li d ti 1| sei 1| d r ti sei 1 sei 1| PI d r ti d 1| ti sei l fi ^\ T\ m, sei 1| )i d li n d ti li sei 1| p1| sei 1| d t 1| li Pi| li d t| n li sei li d ti sei li d 1| CHROMATIC TONES. I55 With ba and 86 in stepwise progression. Key D. Lah is B. 1 86 1 m ba se I t d' m 1 86 1 t 1 m 1 86 1 d' t 1 86 ba 86 1 t m 86 1 m m ba 86 1 t di 1 86 86 ba 86 1 ml 1 86 ba m ba 86 1 t d' 1 m d' t 86 1 Fah is frequently required in the Minor mode. Like the other tones it is influenced by the effect of the Minor and becomes more solemn than in the Major. It should be frequently contrasted with ba in order to establish its mental effect. , -. Exercises with fah and ba contrasted : Key D. Lah is B. ' ' 1 n d 1| f — r*i 1 m ba 86 86 t 1 1 d' t 1 86 bam Id' 1 f m r m 1, d' 1 t m ba 86 1 t d' m f r d t, 1| CHAPTER XVIII. CHEOMiiTIC TONES. - The scale, composed of the unaltered tones d r m f 8 1 1 d' is termed the Diatonic scale. The term Chro- matic is broadly applied to all tones which lie between the tones of the diatonic scale. Chromatics are named from the notes immediately above or below in the diatonic scale for which they are substituted, thus, — f f6 ; 8 86 ; r ra ; d d6. Sharp chromatics are indicated by the vowel e, as d6 16 fe 86 l6 ; and 156 THE teacher's HANDBOOK. flat chromatics by the vowel a (pronounced aw\ as ra na la ta. All chromatics suggest a change of key, and as a rule have their model in the distinguish- ing tones of the key suggested. By comparing ther' tones in the various columns of the Extended Modu-» lator it will thus be seen that fe is t of the first sharp remove ; ta is f of first flat remove ; re is Be of the first sharp remove; Model of GlWOMATIOS. ma- is f of the second flat remove, etc.; the sharp chromatics being related to te of some s/tarp remove; and the flat chromatics to fah of some^at removei A knowledge of these facts will aid materially in • teaching chromatics. The time at the disposal of the ordinary school teacher will not admit of a thorough? investigation of this somewhat complicated subject,' and, unless in cases where the teacher has Lad special . advantages in musical training, it is not advisable to attempt to teach difficult chromatic intervals.^ The- simplest form of approaching and quitting chromatics is by stepwise progression, as s fe S, m re in, r Pia r, 1 ta 1. Se being an essential of the Diatonic Minor scale is not considered as being chromatic. All chromatics follow the leading tendency. of the tones upon which they are modelled^ thus sharp chromatics have an up- Uainno Tenknov of chromatio8. ward inclination like te, and flat chromatics a down- ward inclination like fah. In teaching,, the chromatics should be compared with feh.or te> as the case may be, and their resem- blance noted. One chromatic only should be studied at a time, and its effect established by frequent CHROMATIC ICJNES. 157 repetition. The following method may be applied in teaching all chromatic tones : THE TEACHER SINGS r f d' f m f f '^ > PI '8 I d' THE PUPILS RESPOND : n «d n s 8 n d n d m r m 8 1 f r 1 f 8 PI r d ta :-|l By the above means the attention is concentrated * on tal, and pupils become familiar with its effect as aapproadhed from any tone of the scale. This should "be followed by the pupils singing the above or similar r^exercises, ta 1 being introduced at the close of each. The sharp chromatics are most easily sung when approached . from the tone above, as m re l*i,(t le t, r?^ /d!/ /^^. a. d :r,r,r|i»! i :r,r^r|d :t|,tut||d ^. I d4«d :r | m,m,m :r Id AA :tutut, | d |d :r,r> |n,n,n:r Id :tuti,ti|d a. I d Ad :r «r,r | m :r Id ,d4 :tuti TIME. idl but should be frequently reviewed and combined with the others in suitable exercises. The Elementary Rhythms, contained in Book II., and Intermediate Rhythms, in Book III. of the "Canadian Music Course," afford an excellent series of exercises for this purpose. ' ' Syncopation is the term applied to rhythm in which the regularity of the accent is interrupted or disturbed, as : — d :-.r |-.m :-.d || Taa -aa tai -aa tai -aa tai. M The time-name for syncopations is formed in the same manner as for ordinary continuations, viz., by dropping the consonant and retaining the vowel of the time-name that would be used for a note struck on the same part of the pulse, thus : — d :d .r [r .m :m .r Ir .d :d .ti | d :— |Taa Taa tai Taa tai Taa taiJTaa tai Taa tai Taa aa Becomes : — d :- .r I - .m :- .r I— .d :d .ti | d :— Taa aa tai aa tai aa tai I aa tai Taa tai Taa aa a. Id ^. Id c. id d. Id EXERCISES IN SYNCOPATION. :- .r i-.m :f Is :~ .m |-.r :d :- .t| |-.d :- .r Id :r .ti |d :— :- .n I -.8 :d' Id' :- s |-.m ;d :- jr |-.p» :- j: Id :- .n |-.r :d U II l62 THE TEACHER S HANDBOOK. (^ < !-' j,«' t CHAPTER XX. EAB EXEKCI8E8 FOB SENIOR DIVISIONS. In introducing Ear Exercises at the commencement of a new session, the work of the previous session should be carefully reviewed, in order that the teacher may be enabled to Reviewinq Ear Exercises. gain a correct estimate of the individual ability of the various pupils. This can easily be accomplished by means of written exercises. Let each pupil Lo sup- plied with slips of paper on which to write the names of the tones of at least three exercises, similar to those used in the previous division. If each pupil's name or number be signed to the slips when returned the teacher will be enabled to form a correct estimate of the degree of difficulty which may be safely intro- duced into the succeeding exercises. The difference between tones approached by leap and those ap- Droached by step should be carefully studied and contrasted. Phrases of three tones in stepwise succession, followed by a Leaps in Ear Exercises. leap, should be given for this purpose. The pupils should be told to give most attention to the last tone. sltr' fmrs mfsd'lsfr n r d f 8 1 B m m f m 1 f n r B r n f 1 f m f 1 d r df n f B d' B f m d r PI r 8 B 1 s d' B d't 1 f d't d'f n r n d An interesting exercise may be given by the teacher intimating that the tones of the scale will be sung EAR KXEKCIS£S FOR SENIOR DIVISIONS. 163 upwards or downwards, but that one will be omitted. The pupils will listen with interest for the point where the leap is made. ' *. ? Example: — * ' d r n f 1 t d', or d' t 1 B m r d If any exercise should be found too difficult, it should be analyzed tone by tone. The name of the first tone being discovered, the teacher will add the second, then the third and fourth. Pupils will thus feel that they have mastered the exercise, instead of feeling discouraged by having the answer told by the teacher. EXERCISES OF FIVE TONES. Analysis of OiFFiouLT Exercises. d r m r B m f B 1 r f m r B n 1 t d' B m f B 1 f n r n d r m B 1 t d'l 1 t d> 1 f B m r f m d t, li d B| n f r r d r m f r d The tones fe and ta should be introduced frequently after the lessons on transition have been given, each being treated separately. Exercises in elling on which number fe or ta is sung are best adapted for the first lessons. The key must be clearly defined by first sol-faing the tones of the Don chord. Which is fe ? I d 2 n 3 s 4 fe 5 8 I f 2 m 3 r 4 fe 5 B 8 fe B f m s d> 1 B fc d m fe B d f B 1 fe B i64 THE TEACHER S HANDBOOK. Which is ta ? ; -, ■ • I 2 3 d m s 4 ta I I d' 2 t 3 d' 4 ta f s 1 ta 1 B B ta 1 B d< f n d' ta 1 m f ta 1 B d< ta 1 t d' d' t 1 ta 1 The brightening efifect of transition to the first s/tarp key may be contrasted with the depressing effect of transition to Mental Efffot of FuT AND Sharp Keys Contrasted. the first y?tf/ key by exercises, in which pupils h'sten and tell which is used. In this also the key must be clearly defined as above. Whether is a transition to a sharp or fiat key suggested? PI r d sis f PI r PI B fe B m d' ta 1 d PI f e B d> t 1 ta 1 B f d, d d B t d< B 1 ta 1 PI r B B fe B f PI B fe fe B t d* ta 1 t d' Exercises in writing in correct time and tune should be preceded by exercises in telling how many tones are one pulse, two pulses, or a half- pulse in length. Short exercises only Tune and Time comrineo. should be used at first, and each should be sung once to /aa, to enable pupils to catch the accent of the measure. The form of composition known as the Single Chant furnishes a convenient variety of exer- cises for this purpose. As they are to be found in EAR EXERCISES FOR SENIOR DIVISION'S. 165 every Church Tune-book, a few examples only are necessary. The « reciting tone " usually occupies a complete measure without any definite duration sign but for our purpose it should be written as a two- pulse note. The double bar is usually placed at the end of each section, but it is unnecessary to do so in writing ear exercises. Key G. |d :-|t, :1, |8, :-||f :-jm :r Id :t, Id :-(| Ke- G. I I » II p:-|8 :f |n:-j|r :-(f :" |r :r |d :-Jj |8 :-jl :1 |b :-||8 :-|I «ijn ;, jd :- || Key F. ' ' U |d :-Jr :n Jf :- j|f :_|„ .^^^ .4, .^ ._ Key C. ■ '• |d :-|n :8 |d' :- ||d' :-|s :m |r :r Id :-|| Kev G. '• ' W |n:-|r :d jf :- ||f .- jm :r |1, :t, |d :-|| In giving the above, a pause should be made at the end of the first section. The tones of the Lah chord should be sung as a preface to all exercises in the Minor mode. 1 n d' t 1 d' t 1 se 1 n d' 1 t se p' 1 t sen| 1 d' 1 se 1 1 se 1 f m n 1 se t 1 1*1 1 tsel w f nsel 1 d' 1 t m d t, n d ijll, f nseil] 1 66 THE TEACHERS HANDBOOK. CHAPTER XXI. THE STAFF KOTATIOIT. ' / The objection most frequently urged against the Tonic Sol-fa system by its opponents is that "it pre- vents pupils from learning the Staff Notation." This objection can be met with an unqualified denial and proved beyond dispute. In England, where the Tonic Sol-fa system has had a fair trial for the past twenty- five years, "it has made more readers of the Staff Notation than all other systems combined.** The truth of this statement, made several years ago, has never once been challenged. In the examination for the Elementary Certificate of the Tonic Sol-fa College, the Staff Notation is not required, but in the Inter- mediate examination there is an optional requirement that candidates sing at sight from the Staff Notation. Of those who pass this examination, statistics show that about eighty per cent, pass in both notations. The difficulty of teaching the Staff Notation to young children is admitted by the majority of teachers, and all of the so-called improved systems of teaching employ some kind of introductory notation — in some cases numerals, in others, patent character notes, which serve as a medium of instruction until the Staff is introduced. The multiplicity of those systems only tends to prove that there are inherent difficulties connected with the Staff which necessitate a simpler system of notation for elementary instruction. The THE STAFF NOTATION. . 167 simplicity of the Tonic Sol-fa Notation has already b,*2n alluded to. While sufficient in itself for all practical purposes of vocal music, and furnishing an almost illimitable repertoire of choral music, it pro- vides the most successful means of introduction to the Staff Notation. The stage at which the transi- tion from Sol-fa to the Staff should be made, depends largely on the degree of ability attained in the use of the former. For general school purposes we would recommend that the transition be made not earlier than Division V., and better results would be secured by delaying until that has been fully mastered. The two notations should then be studied concurrently, the more difficult steps being first studied by the Tonic Sol-fa system, in one Division, and translated to the Staff in the next If the thing has been thoroughly learnt by the Sol-fa system, the signs only require to be learnt when the Staff is reached. This can best be accomplished by written exercises in translating from one notation to the other. In the Tonic Sol-fa method of teaching the Staff Notation, the arrangement of topics is identical with those already described (see pages 9 and 134). Tune and Time are studied separately, and the same educa- tional principles which characterize the methods of the Tonic Sol-fa system are employed in teaching the Staff: FIRST LESSON IN THE STAFF NOTATION. ' Teacher. — What is this ? (Points to doh on first step modulator.) Clan. — That is doh. i68 - THE teacher's handbook. Teacher.— U that is doh what do you call this ? (Sings doh.) C/a£5.— That is doh. Teacher. — I do not think that both answers can be strictly correct. Is doh something that we can hear or simply something that we can see? Class. — Tt is something we can hear. Teacher. — Then your second answer must be correct, and your first is wrong. This (pointing to doh) is simply the sign for doh. Any other signs might have been taken for doh and the other tones, but we have taken those which have been found most useful. Suppose we take this desk as the sign for doh ; this chair, for me ; and this map for M>h. Can you sing from a notation of desks, Chairs and maps ? C/a45.— We'll try. Teacher. — (Points a first step exercise from the articles indicated while pupils sing, and enjoy it.) You sang that very nicely ; but as a notation of such articles would be rather awkward to use, we will try something simpler. I will draw lines opposite d m and s, and you will sing from my pointing as before. (Draws lines as indi- cated ; class singing as directed.) This group of five lines and four spaces is called a staflf, and the notation in which they are used is known as the Staff Notation. ^ 2ZZ We will now move the modulator a little higher. d (Places d m b opposite the three lower spaces. Pupils sing from pointing as before.) In this exercise we have d in a space, where are m and ■ ? Class. — They are also in spaces. Teacher* — Let us place d on a line. Where are m and • now placed ? Class. — They are also on lines. Teacher. — From this we get our first rule for reading from the Staff, viz.: That doh me and soh are similarly placed. DOH, Me, Soh, Similarly Placed. Exercises in singing the tones d M B from the staff with doh in any position will now be given. It is a mistake to suppose that any one key is simpler than another. The rules given apply irrespective of key. ' THE STAFF NOTATION. 169 Teacher. — (Place the modulator as before with doh opposite the lower line.) Here we have d, m and ■ on lines, but where is the octave of d placed ? , •' C/a55.— It is ina space. • . Teacher.— Quite right. Notes may be placed either on lines or spaces. In this case we would have lah and t a'bove soh, conse- quently d' must be in a space. From this we get the second rule, viz.: That Octaves are dissimilarly placed. If a note be on a line OOTAVE8 ARE DiS- 8IMIURLY PUOEO. where mnst its octave be ? Class. — In a space. Teacher. — And if a note bo in a space where must its octave be ? Class. — On a line. The octaves of b and m will now be taught in a similar manner, the above rules being referred to for explanation. Modulator voluntaries similar to those : used in first step lessons should now be given, the position of d being frequently changed, and pupils required to remember its location throughout each exercise. It is necessary that they become familiar from the outset with the notes in any key. No mention should be made of key signatures, sharps or flatSy until the third step is reached, as this would only tend to confuse. Singing from notation will next be introduced. A staff of five lines being drawn on the black-board, .f with a square note to indicate the position of d, exer- cises similar to the following will be sol-faed from * the teacher's pointing : .y . ., , . --• — •— — •— , „ ^^L_ —0— / -i— ,- — -— -• — — — #~ — •— ■ '< - -•-*- « « _*;_ ff ~#— « « Z~9.-. 17© THE TEACHERS HANDBOOK, — — — __ :--* * *■ * — _JB IT /< //T - i • • — — ■ — • — ■ . ... . ,. ,_. _^ ^ — ■ — #--— — « #— • ■ ■ ».'■■ <- -,__i -^_# When it becomes necessary to have more than five lines, short lines named Ledger lines are added, as : — — • ' — — — — m ZM P » — * r M •'- M The exercises in sight-singing should be followed by exercises in writing translations from the Tonic Sol-fa to the Staff Notation. By using the first step exercises in the " Canadian Music Course," Books I. and III., which are adapted to this purpose, much time may be economised, as it will only be necessary to indicate the numbers of the exercises to be translated. Tim. THE STAFK NOTATION. 17 I Time is indicated in the Staff Nota- tion by the shape of the various notes. The notes in common use are as follows : — Breve. Whole note. 1/2 note. 1/4 note. 1/8 note. x/i6 note. 1/33 note. li^li « f f f ^ . f The Breve is now seldom used. ' ; , , r It rfiust be ob-served that there is no connection between the terms note and pulse. A whole note is never equal to a whole Terms Note AND Pui IE. pulse, m fact it never indicates less than two pulses, and frequently is equal to as many as eight pulses. The relative values of the whole, half, and quarter- notes should first be explained. Simple exercises should then be translated from pupils' dictation, and written on the blackboard. Example: — Write: M .^ M ;- Id id Id :~ Teacher. — In this exercise we will take the half.note to represent the pulse. As there is only one tone indicated, one line will be sufficient. How many pulses have we in the measure ? Class. — We have two. Teacher. — Which sign denotes the Strong pulse ? ..v -> Class. — The upright bar. ' ' Teacher.— We use the same sign for the strong pulse in the Staff Notation, but no sign is given for the medium or weak pulses. I Teacher.— "Which note will we take to represent the first d ? Class. — The half-note. T^flcA^r.— (Writes half-note in first measure.) And which for the second d? lya THE teacher's handbook Class. — Another half-note. Teacher. — As the next d is two pulses in length we must use a different note. Which shall it be ? Class. — The whole note. Teacher. — What reason can you give for taking the whole note ? Class. — If one pulse is represented by a half-note, a two-pulse tone must have a note that is equal to two half- notes. Proceeding by this method to build up the remain- der of the exercise, it will now appear as, — \r r\"—\ r r -«'- The value of the notes is not affected by the stems being .turned up or down. When the notes stand above the middle line, the stems are turned down, and when below, they are turned up. When placed on the middle line they may be turned in either direc- tion. The time-names should also be applied to the Staff in teaching time. The following shows the time-names when the pulse is represented by a half- pulse, quarter-note, and eighth-note respectively : Half-note Quarter-note Eighth -note to a pulse, to a pulse. to a pulse. One-pulse note, TAA. r P P Two-pulse note, ri4i4 i4i4. ^ P f Two half. pulse notes, Taa tat. • ^ f f 5 5 A dot placed immediately after a note increases its length by one-half of its own value^ thus : — "• ^"r r-f[ r-rt t-n Time signatures are used to denote the number of pulses in a measure. Time Sionatures. THE STAFF NOTATION. «73 The upper figure gives the number, and the lower the quality of the notes in the measure. Two half notes in a measure. Two quarter A^ noies. Three quarter notes. I Three half notes. Three eighth notes. iFour quarter 1 notes. Six eighth notes. The sign Q is frequently used to represent four- pulse measure, being unfortunately substituted for J and also for §• The sign Jl is also used to repre- *sent two-pulse measure. The time signatures indi- cated by either ^ or JB are usually termed Common Time. The following exercises are to be sung on one tone to the time-names, then to Icuii — - • -M- QUARTER-NOTE TO A PULSE. FouR-PuLSB Measure. --4— #^^f^ J X -m — # taa taa taa taa taa taa taa-aa taa taa taa-aa taa-aa taa-aa 4 4- M^^^^k^ -A±Eiii taa-aa taa-aa taa taa taa-aa taa taa taa taa taa-aa-aa-aa. ^ 4-4- ^^^^^ ^—^ bk i kk^~U I -t5»- ^M Thrbe-Pulsb Measurk. ^E^ i 174 THE TEACHER S HANDBOOK. HALF-NOTE TO A PULSE. I P ■i9- ■i9-^ (5>- r — r :i?: ■i9- P^¥" -i9- n?- m^ — ^-i. HALF-PULSES. if^=PFf^ g^^E^^^ «>■ taa taa taa tai taa taa taa tai taa tai taa taa-aa-aa-aa. -I- m ^^^M W4 -M «-l5?^ 1— -| ' -i9 ^ ^ kr±jrnfjvi N ^ — I- -l-« -# - 4- - i.^4^::^^i#if^^^ TUNE AND TIME COMBINED. B^ pS^Sag g H ■>- 4- 3E&3 ^^i^S s cz ^^^ — iC :i!: i^ -4- -5t i t*- --f5> a ■f9- -^ -JSL M — '5' — -J I * f' THE STAFF NOTATION. -l-r 175 1 l-^L. -iSf -i9- -tf»- i -t5>-^ ssga C3M ^ ^H ^ ?f=1^ :fnc ^ WITH HALF-PULSES. B^ ^T^f^^ ijiipjia B E2=l: li^ 3^ :T £E^ -«5> -3 a- ^-^: >-^-,ni=l-^S Ml *■ L ^ » ' L-j i 1_« 5, «— «-l SECOND STEP. Before introducing the tones of the Second Step, the tones of the DOH chord should be thoroughly practised in every available position on the staff. Ray will be easily recognized as occupying the next position above Positions OF Te and Ray. doh, and te the next below. Exercises adapted to this step (see page 92-93) should be sung from point- ing on the blank staff of five lines, in various keys. The object of exercises at this stage is not to aid to a conception of the tones, this has already been done, but to teach their correct location in any key. 176 THE TEACHER S HANDBOOK. The necessity of changing the key frequently will be obvious. The position of the key-tone must also be kept before the mind throughout each exercise. EXERCISES IN TUNE. ^ te J 3 z g3^^ ^ -m—0 i :p=t- :^#- --t^ ^ ^^m 3^^ ^. E^^^^^fe ^ s I £ L 4—^ W- ^zj- -j ^p--"^ 3± :iJ: E i5»- ii T m T ^ ■a>- -Of- -32 -- :- i ^— r- 5^S -«»- taa taa taa-tai taa taa ta - fa - te - fe taa-aa •— I 1 m^^^^^^m^m^ ^^m ^-^^^^ -«5»— ■ ii -^- ^ -«•- -«>- ^ ^i LI f=rfc=fc p^m^m^ :{?iir-: r- ^f^ff^ ^m^ f^fff ■<«?■ THIRD STEP. In this step fah and lah are added and the scale IS now complete. Fah occupies the next position below soh, and lah the next above. In practice, we have found the most satisfactory method of treating the complete scale to be that of teaching by Chord. It has already Teaohinq by Chord. been shown that a Chord consists of a note with its l/iird and ^///, which is simply two thirds in succes- sion. It will be noted that the lines or spaces of the Staff are arranged in thirds respectively, consequently the notes of a chord must be similarly placed on lines THE STAFF NOTATION. I 79 or Spaces, and the octaves of either must be dissimi- larly placed, thus : — If d Pi S be on the lines, B| l*l| d| must be in spaces. These facts should be clearly understood by the pupils before drilling on the com- plete scale. The names of the notes of each chord should now be thoroughly memorized, reading upwards as follows : — d 1*1 B, n 8 t» 8 t r', t r' f . All of the above must be similarly placed with doh» whether it be on lines or spaces. The chords which are dis- similarly placed with doh should now be memorized, thus :— r f 1, fid', Id' Pi', d' Pi' 8'. This may be done by reading from the modulator at first, but latterly the modulator should be kept out of sight, and pupils trained to name the tones of any chord without any aid whatever, thus : — Tbachbr. Class. Read the tones of the Doh chord upwards. d n s «• " Fah " " fid' 4 u Ray " »* r f 1 •• •* SoH "downwards. r' t 8 « " Lah " " w d' 1 Exercises in which all notes are on lines, or all on spaces should now be sung from pointing on a blank staff, until the relative positions of the notes in any key are thoroughly taught. These should be followed by sight-singing from the blackboard. "".^.^ exercises on page 113 may be translated for thi ^, jrpose. i8o THE TKACHER S HANDBOOK. mi CLEFS. The Staff Notation represents the absolute pitch of notes, by means of signs called clefs. The clefs in general use are three in number, viz. — G CLEF 2k F CLEF ^ C CLEF -Wl- The Great Staff is composed of eleven lines, natned as follows : — •r — - e Owing to the difficulty in reading from such a karge staff, it has been found necessary to divide it into two parts, with middle C as a ledger line between. The following represents the staff as usually written for vocal hiusic, with the clefs in their proper places. Notice that the fourth line passes through the %,entre of the F clef, and that the G clef turns on the s^ond line of the upper section of the staff. i @= ji_A. :ez:^ rxi_o — , THE STAFF NOTATION. l8l The G and F clefs are always written in the above positions, but the C clef is placed in various positions, to adapt the staff to the compass of different voices and instruments. When placed on the first of a group of five lines it is called the Soprano clef; second line, Mezzo-Soprano clef; third line, Alto clef; and fourth line, Tenor clef. In the following exercises notice the position of the key-tone in the respective clefs : — ^^^ ^PP^^^ -^~ ^^^^^^^ f f r-g 3C i i ^ i =f I BUS -i=^ p{^Tirrf^ 'Mzuns ^ m KEY SIGNATURES. The staff is always understood 8 to be in the key of C, unless marked otherwise. Pupils who \ have studied transition from the Modulator will understand that, y when we wish to write a tune in the key of G, it becomes ^ necessary to sharpen fah of the t| old key, in order to have te of the ■. new key just a little step below ' doh' Likewise when we change B| c B d' t C f B m A 1 A r G F E s f G d E 1, D r D 8| C d C f. l82 THE TEACHER S HANDBOOK. from the key of C to F we flatten te, to have fah of the i new key just a little step above me. (See diagram at side). When a tune has to be written in the key of G, the sharp is placed on the F line, and every note on that line must be sung or played a semitone higher - than in the key of C. This will not cause any diffi- culty to the Sol-fa pupil, who will simply think of the note as te. In the key of F, a flat is placed on the B line, and all notes on that line are sung or played a semitone lower than in the key of C. Pupils will easily recog- nise that the note on which the flat is placed is fah. . By studying the transitions on the Modulator it will readily be seen how the sharps or flats are suc- cessively added to form the signatures for the more remote keys. The following table gives the order of the sharp keys on the right, and the flat keys on the left of C, which require no signature : — TABLE OF KEY SIGNATURES. Read from centre, either left or right At> Et> B> F C G D A E B if: Rules for finding Doh. — The last sharp to the right is te ; the last flat to the right is fah — or the second last flat is always doh. ■ • THE STAFF NOTATION. 183 FOURTH STEP. In the Staff Notation the key signature is seldom altered when a transition to a new key is made. In this respect it is certainly ambiguous and confusing to the learner, and even the best singers have to pause and study the music before definitely comprehending the nature of the transition. This can only be accomplished by a careful study of the various key signatures, and the manner in which they are affected by the various accidentals. When fah is sharpened it becomes fe, and wjien te is sharpened it becomes ta. A sharp or flat placed immediately before a note is termed an accidental. An accidental affects all notes on the line or space on which it is placed, within the measure^ unless contradict«?d by a sign called a natural (jf). If a note ha.s been raised a semitone, a natural will lower it to its original pitch ; if it has been lowered a semitone, a natural will raise it to its original pitch. EXERCISES IN TRANSITION. Impbrpbct Mbthod. ^^^rr^-^^BS^j^j t=t- ^^^m SE? ^ ^ ^^^B 1^ — ^ ■:si:szi. ^hj^^=f^=^^^^^ 1 84 THE TEACHERS HANDBOOK. Bettbr Method. "1, «(lf iipi ^^^^^s^ -«5>- ».t, 4. PM 3:^tJEjz|:jLJ4^ ^•t •.d ^^m^m ^tj ES^ P FIFTH STEP. Exercises in the Minor Mode. SoH sharp is Se, and Fah sharp is Ba. f ^ X Si ^^^^^^:^S :Sl: ^^^lE Jl J ^ ^^ ^ j j^^^ fe fe^^J^^^^^^g^N^ -Oh ^^m^m^^ 19- THE STAFF NOTATION. >8S l%^jjj.F-4"?-j;^ ^a^5MNI |>Trnrfi¥^m ;;gp^^ifefe^ As indicated in the Preface, the exercises are not intended to be sufficient in themselves for all practical purposes, but simply to serve as examples to be imitated by the teacher in preparing the daily music lesson. Space will not permit of a full discussion of the many technicalities of Theory and Notation. Teachers who wish to gain a more complete know- ledge of Musical Theory, are recommended to study the undermentioned text books, any of which can be obtained direct from Messrs. Curwen, Warwick Lane, London, E.G., or ordered through local booksellers : " The Staff Notation," price 8d.; " The Staff Notation Primer," price 6d.; " Musical Theory," Books I. and II., price 4d. eacii. The latter are specially useful. A complete course of exercises and songs for the school- room are contained in " The Canadian Music Course," published in three books, specially adapted to the requirements of Canadian Public and High Schools. i86 THE teacher's handbook. MARKS OF EXPRESSION. NAMB. SIGN. Mezzo (tnetso), medium m. Piano (peeahno), soft p. Forte (jfortay), loud ./. Fortissimo, very loud ff. Pianissimo, very soft pp. Crescendo (creshendo), getting louder cres. Diminuendo (deemeenooendo), getting softer dim.-. Decrescendo same as Diminuendo decres.z Slur, a sign denoting that two or more notes are to be ^^^- Sol-fa. sung to one syllable . . .* f r ^ ^ Pressure Tone, rapid cres. on single tone <: Sforzando {sfortzanndo), rapid dim. on single tone begun loud >-, or sf. Rapid Swell, like pressure tone A Da Capo, repeat from the beginning D.C. Dal Segno, repeat from the sign D S. :g: TEMPO OR SPEED. I. — SLOW. ITALIAN TERM. LITERAL MEANING. Largo (lahrgo) Broad, large. Grave (grahv) Heavy, grave. Adagio (adahgio) Slowly. Lento (lehnto) Sluggish, tarH y. Larghetto (largetto) Less slow th i Largo. II. — MEDIUM. Andante (andantay) Moderate. Andantino (andanteeno) Less slow than Andante. Moderato (modderahto) Moderate, sober. Allegretto {allegretto) Diminutive of Allegro. III. — QUICK. Allegro (alleggro) Cheerful, brisk. Vivace (veevahchay) Sprightly, lively. Vivacissimo Superlative of vivace. Presto (pressto) Quick, nimbly. Prestissimo Superlative of presto. IV.— CHANGES WITHIN A PHRASE. Accelerando Getting faster. R.iardando ) ' r^ **• „ i Rallentando } Gettmg slower. APPENDIX. ROTE SONGS. KeyF. Mc meet again togetber. :si I. We l2. A :8| We And d :m |r :d meet a -gain to - ring of hap - py d :m |r :d gladly greet each , thus we stand u-| ni - ted, t| :r |— :m gether, With children, Each f :f |n :r faces bright and holds anoth-er's A. T. n :— I sweet, hand, C. -I ti :r I— :m |r :s |fe :1 oth-er, Our I teachers dear we A I mer-ry lit - tie s :-|- greet, band, [:b 11 :s If :n I We're I ready for our V All ' things are fair a- :s 11 :i r :n |f :s 1 :s If ;m work and play, We're ready for our singing, l round us now, While| working or whilej singing, J PI :r | — singing. I s If :n Our fiiands are clean now, Out I eyes are bright with :si Id :m |r :d Then I as we meet to- gether, ^ Then I as we meet to- gether, r im If :s seethem, pray. And hap-pi - ness. Our it| :r I— :m 1 :s If :r We We / * :b, That I That d :m |r :d we'll be kind and we'll be kind and t| :r |— :pi patient, patient, That That hear our voi-ces voi-ces glad are f :f |m ;r cheerful-ly will cheerful-ly will r :f It, :r we'll be good to we'll be good to- r :d I — ringing, ringing, m : say, say, d :- day. day. i88 KeyG. *B| ..Bi I. Oh a >2. When THE teacher's HANDBOOK. Ube Donest t^oa^♦ :d .d I d :ti .d queer lit- tie chap is the win - ter draws near, Master A. T. C. r .r :t|.(ti)|d :r honest olu toad, A i Toad goes to bed, And ) \ n.m :d .d |f .f VP\S^ funny old fellow is sleeps just as sound as a d :d .d Ir :r .r un - der the stone by the J May blos-soms fol - - low :- I- :bi .Si he, Liv-ing top, But when m :r .ni |f .f :n .r ) side of the road, Neath the soft April showers, He comes d :ti .1| |si :ti ,r shade of the old wil-low out with a skip, jump and tree, hop. :- I- :t, .d He is He :r .r :d .r dressed all in brown from his chan - ges his dress on - ly n toe once :m .m in :m .m j to his crown, Save his 1 I con - fess, — Ev' - ry ) \t ,t I m :d .d vest that is silv spring ; and his old takes trou :d.d 'ry worn-out :r .r white, coat . . a long nap in the sers and waist - coat, he n heat rolls d :ti .li |8| :ti .r walks in the cool dew-y stuffs the whole thing down his — — :si of the day, in a ball, :- I- He With :r .m If :n .r And And :bi night "Raup, throat "Krruk. ROTE SONGS. THE HONEST TOAD.— continued. d :si .S| |d :ti .d yaup," says the frog, From his krruk," says the frog, From his he says nev he says nev :d .d Ir 1. :li .t, Id toad toad tries tries seen, seen, :r .r er er a a to to be good, be good, :ti .li Is :r .r like the like the :ti .r home home 8| word ; , word ; . m chil - chil - in the bog, in the bog, :- I- 189 :ti .S| Id :d t I But the But the ) :si He He :r .m If :n .r dren who should Be dren who should Be but but nev-er be nev-er be d :- heard, heard. tTbe Summer IRatn. Key E^ n .m :m .m |r .n :f 1. Patter, patter,! comes the rain, 2. See it coming | down the hill. r .r :r .r Tapping at my In a lit-tle 1 .t :d' .8 |m .f :s On the roof and I on the ground, Leaping.laughingj bright and gay, 8 .f :m .8 Patter, patter. Much I love the d'.ta:8 .f To the fields of Mak-Ing bright each 1 .1 :1 on the street, gen-tle rain, n .f :8 waving grain, tree and flow'r, 1 .t :d' .f Patter, patter, Pleasant words it 1 .8 :f .1 Making mus-ic Tapping at my 1 .t :d' .f Welcome is the In the wood and A. T. C. n.l :8 window pane, sparkling rill, m .r :d all a - round, seems to say. t .t :t low and sweet, win-dow pane, m .r :d summer rain, garden bower. 190 THE teacher's HANDBOOK. Bi :ni :n Si :m :m 1. Under the ap - pie - 2. On her brown a - prdn 3. Gravely she sits with 4. "Z>asA,"fullof joy in 5. Sunshine and soft sum~mer tree and a the ^n^cr tbe Hpplc XTrcc* Key G. Beating twice. n :r :r spreading and thick, bright drooping head, se - ri - - ous look, bright sum-mer day, bree-zes a - stir, A. T. C. S| :r :r |S| :r :n Hap-py Showers Mak-ing Zeal-ous • While she with on - of pink lieve be ■ ^y cha • IS bu . ly a and white she's a ses the sy are m :s :s |m :s :s On tbe soft grass in the Tied to a branch that seems Sun - dry brown splash-es on Barks at the squir-rels or Cheeks ro - sy glow - ing and 8 :m :d Is :in :d r :d :d Id :— :— Our lit - tie Fan- Dan-ces and flut • Show that our Fan All the while Fan Bring they to Fan - ny while ny ters ny •ny IS her is is Ean and a stick, los-soms are shed, real pas - try cook, ro - bins a - way, bu - sy with her, d :ti :d |r :— sha - dow that lies, made just for that, fore - head and eyes, snaps at the flies, bright sparkling eyes, r :m :r Id :— mak-ing lit - tie mak-ing mak-ing mak-ing mud pies, straw hat. mud pies, mud pies, mud pies. ym a Xittlc 3Busi? J5ec. KeyF. Si .d :d .m | m .r :r d ti :d .n j m .r I.I'm alit-tle bu-sy bee, 2. I'm a lit-tle bu-sy bee, S|.d :d .n |r»i .r :r Here I go, There I go, All the day I'm bright and gay. A. T. C. Roaming in the clo-ver, In the mea-dows roaming, 8 .r :r .n |r .d All the mea-dows o - ver. Where the flowers are blooming. KeyF. d :n.r l d :t.d SECOND STEP SONGS. r :si Id :— I 191 1. Lit-tle chil - dren 2. Do not vex or in their play, teaze a child, n :s r :— good should be, play-mate sad, d :t|.d |r :d.m s :r m :n Ve - ry But be care - ful, lov - ing, Then their sports we Love will make each r :t| Id :— love to see. heart feel glad. A. T. C. d :t|.d |r :d.r Al - ways kind and Do not make a j s :r m too, each day, kind and mild, "dp in tbe nDorntng Earls. Key G. C. M. S. Twice. ( :(si) I. Up 2. 3- m :r :d :d :ti A. T. C. up in the morn - - ing Wake with a glad " Good All through the day He will - Is, - ly. - ing you. n r t :8| And To .From f:(si) And a . So /:Si Who ,And m :r :d Id :t| :d ear . ly to bed at sis - ters and bro - - thers sin and the temp • - ter's " :r :d |r :d :t| That is the way to be thank - ful heart to dear child re - mem - ber God d :- ear - . morn - keep • * • • night, dear, snare, d :— :— |bi :— heal Je sees thy, sus, you, i Si :d :pi :d :ti Hap-py good chil - dren and all night has been so is pre - sent ev' - - ry d :~ :- I- :~ bright. near. where. 192 THE TICACHER S HANDBOOK. XTbts May anD tbat Mai?* Key A. C. M. S. d :r .m 1 . This way and 2. Bus - i - ly 3. When work is r :d .r March-ing and we are as we has-ten :si .(S|) that way, work - ing, We end ed, And m :d ,(d) sing - ing With hap - py As home- ward To d :t| .d Left foot and rest when we play - time is r :m .r fa - ces so birds on the pa - rents once right, smg, o'er, bright. wing. more. A.T.C :- .(r) \ And Then } Key D. C. M. S. 8 .m :s .m 1. Tell me, little 2. Pretty child, I 3. What I gather! is so sweet, My Ube JSuci? JSce. m .r :r .(r) bus-y bee, fly a - way, s .m :s .d' Are you go - ing But I ga-ther d'.m :s .(s) mar-kei-ing, all the day From pretty playthingsl I bring home,My r .r :d .r Wheie are you I'm a „ jol-ly time it is my s .r :r .m Pretty playthings all the flow'rs and child they're combs of A. T. C. m .8 :- .(8) ] flying ? rover, money, r .d :— buying ? clover. honey. The J KeyG. d :d flow (Boo^ "Wigbt 8 :m r.d :r.m I r :d 1 1. Now good night, now 2. Lightly here day 3. One will watch us t :— I— : night, may, keep, 8.r :r.m |r :r One and all good night to Singwe now good night, good Now to all good nighti good all good night, af - ter day, while we sleep. Adapted. d.d:d.d|s :d ' :r 8 :i*i Teachers dear and All our hearts are Soon will dawn the d :- Now to all a kind good Learning what of good we For He nlways watch doth r.d:r.mlr :d schoolmates too, free and light, morn-ing light, you. night. night.