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GENERAL LIBRARY
—— O F--—
UNIVERSITY OF MICHIGAN.
PRES E N T E D BY
- - - 24, 22, 1892—.



NOVELLO’S TONIC SOL-FA SERIE
EDITED BY W. G. McNAUGHT.
150, Achieved is the glorious work (I and 2) Haydn
2I9. #. Dei hef. b(i. jud º
glory to the Lamb(Last Judgment
. I4I, {#. honour, glory, and power ºf }Sp ohr
53. All men, all things (Lobgesang) Mendelssohn
54, All ye that cried ,, . ... Mendelssohn
52. And then shall your light (Elijah) Mendelssohn
133. Arise, shine, for thy light is come Sir G. Elvey
139. As pants the hart ... ... ... Spohr
117. Ave verum ... ... ... Ch. Gounod
148. Awake, the harp (Creation) ... Haydn
44. Baal, we cry to thee (Elijah)... Mendelssohn
49. Behold, God the Lord (Elijah) Mendelssohn.
135. Behold, I bring you good tidings Sir John Goss
,202, Be not afraid ... s s a tº g tº . S. Bach
46. Be not afraid (Elijah)..... . ... Méndelssohn.
43. Blessed are the men (Elijah) Mendelssohn
Blessed be the God and Father S. S. Wesley
. Blessed is the man ... Sir John Goss
. Blessing, glory, wisdom, and thanks B. Tours
. Blest are the departed (Last Judgment) Spohr
. Break forth into joy ... . ... . . J. Barnby
. But the Lord from the north Mendelssohn
42. Cast thy burden (Elijah) ...
137. Christ is risen from the dead Sir Geo. Elvey
128. Come, and let us return' . ... . W. Jackson
173. Come unto Him, all ye who labour Gounod
146. Despairing, cursing rage (Creation) Haydn
143. Destroyed is Babylon (Last Judgment) Spohr
93. Fear not, O land ... ... Sir John Goss
158. Fixed in His everlasting seat ... Handel
132. For His is the sea ... Mendelssohn
. Give ear, O Lord
. Glory be to God...
T. Mee'Pattison
, God hath appointed a ãay © tº
S. S. Wesley
227 ... ... B. Tours
74. God said, Behold, I have given Macfarren
145. Great and wonderful (Last Judgment) Spohr
16. Great is the Lord . . . ... • * * Dr. Hayes
118. Hallelujah Chorus (Messiah) Handel
208, Hallelujah! for unto us ... W. H. Monk
199. Happy and blest are they ... Mendelssohn
48. He that shall endure (Elijah) , Mendelssohn
47. He, watching over Israel (Elijah). Mendelssohn
104. Hearken unto Me, My people Sir A. Sullivan,
58. Hearts feel that love Thee..., , Mendelssohn
190, Hearts feel that love Thee (Trio) Mendelssohn
57. #. º #. *
iſ Holy, holy, holy (Last Judgment • *
I40. {{..., His awful Name , Spohr
50. Holy, holy is God the Lord ... Mendelssohn
ro8. Hosanna in the highest J. Stainer
Sir G. A. Macfarren
21. Hosanna to the Son ... e
204. I am Alpha and Omega ... ..... J. Stainer
26. If we believe that Jesus died... Sir John Goss
5. I waited for the Lord ... . . ... Mendelssohn
189. I waited for the Lord (Trio)... Mendelssohn
71. I was glad when they said ... C. E. Horsley
. I was glad when they said
. I will give thanks unto Thee
27. I will magnify Thee ... . . ... Sir John Goss
183. I will mention ... ... ' ' ... Sir A. Sullivan
185. I will sing of Thy power ... Sir A. Sullivan
63. In Christ dwelleth ... ... Sir John Goss
. Incline Thine ear to º (Stah t) " Himmel
In sempiterna sacula 3 bal * -
{ .#. glory } j} ... Rossini
. In tears of grief (The Passion) J. S. Bach
. Judgeme, O God (Psalm xliii.) Mendelssohn
. f.et all men praise (Lobgesang) Mendelssohn
. Let us now go ... ... ... E. J. Hopkins
. Lift thine eyes (Elijah) ... Mendelssohn
Lift“up thine eyes ... Sir John Goss
6 * tº
Mendelssohn
... Sir Geo. Elvey ,
J. Barnby
I
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O
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O
O
O
O
O
O
O
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O
O
O
O
O
O
O
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For Secular Numbers see other List,
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SACRED,
I02, Lift up your heads. ... . ... J. L. Hopkins
134, Lord, for Thy tender mercies' sake Farrant
I42. Lord God of heaven (Last Judgment) Spohr
66, Lord, let me know mine end... Sir John Goss
196, Lord Thy arm (Fall of Babylon) Spohr
225. Now on the first day of the week H. Lahee
90, Q clap your hands. . ... ... . . .J. Stainer
87. O come, all ye faithful... Arr. by V. Novello
51. Q come, every one (Elijah)... Mendelssohn
I9. O come, let us worship ... ... Himmel
power Handel
210. Q Father, whose Almighty
23. Q give thanks ... ... " ... Sir Geo. Elvey
28. Q give thanks ... ... ... Sir John Goss
75, Q God, Thou art worthy Sir Arthur Sullivan
2I4. O Holy Ghost ... ... Sir G. A. Macfarren
22. O how amiable ... * - ... . . . J. Barnby
82. O how amiable ... . ... ... V. Richardson
88. O Lord, how manifold tº a tº J. Barnby
18I. O Lord our Governour ... Henry Gadsby
32, Q love the Lord... ... Sir Arthur Sullivan
47. O rest in the Lord (Elijah) ... Mendelssohn
I. Q. taste and see ... ... ... Sir John Goss
184. Plead Thou my cause ... ... Mozart
24. Praise the Lord... & º e ... Sir Geo. Elvey
IoI. Praise the Lord, O Jerusalem ... J. Scott
226, Praise the Lord, Q my soul... H. Lahee
92. Praise the Lord, O my soul ... Sir John Goss'
53. Praise thou the Lord Mendelssohn
58. Promised joys (Athalie) Mendelssohn
25. Rejoice greatly.... ... . ... Henry Gadsby
I38. Rejoice in the Lord ... J. Baptiste Calkin
77. Rejoice in the Lord ... Sir Geo. Elvey
179. Seek ye the Lord Dr. J. V. Roberts
174, Sing a Song of Praise e - © J. Stainer
I29. Sing, O heavens ... ...Berthold Tours
I51. Sing the Lord (Creation) ..., ... Haydn
136. Sing unto the Lord ' ... Vincent Novello
194. Songs of Praise - - - • * * H. Leslie
29. Stand up and bless the Lord... Sir John Goss
18. Te Deum laudamus, in F , ... Henry Smart
- 83. Te Deum, Kyrie Eleison (1 and 2) - Dykes
45. Thanks be to God (Elijah) '... , Mendelssohn
I03. The heavens are telling (Creation) _ Haydn
6. The Lord be a lamp (St. Peter) Sir J. Benedict
178. The Lord hath done great things H. Smart
140. The Lord is great (Creation). Haydn
175. The Lord is loving. Dr. G. M. Garrett
180. The Lord is my light ..., q e tº Dr. Hiles
2. The Lord is my Shepherd ... Sir G. Macfarren
72. The Lord is my Shepherd (s.s.A.A.). Schubert
Ioo. The Lord is my strength ... V. Novello
209. The Lord is my strength ... . . W. H. Monk
147. The marv'lous work (Creation) . Haydn
73. The morning stars sang together. J. Stainer
55. The night is departing ... Mendelssohn
216. The radiant morn Rev. H. H. Woodward
94. The wilderness ... ... ... Sir John Goss
229. There is a green hill ... Lord H. Somerset
203. They have taken away my Lord ..., J. Stainer
177. This is the day ... ... ... John Sewell
157. Thou visitest the earth W. Hutchins Callcott
119. Thus speaketh the Lord of Hosts ...J. Stainer
15g. Turn Thy face from my sins Thomas Attwood
67. We give Thee thanks ... Sir G. A. Macfarren
3r. What are these that are arrayed J. Stainer
188. When His loud Voice (Jephtha). ... Handel,
30. Why rage fiercely the heathen? Mendelssohn
205. Why seek ye the living ... E. J. Hopkins
86. With Angels and Archangels J. L. Hopkins
4. Ye nations, offer to the Lord... Mendelssohn
85. Ye shall dwell in the land ... J. Stainer
42. Yet doth the Lord (Elijah) ...
Mendelssohn
G, Z & , 44,
4.... º.o.A., & 2, 46-
4%. 24- 24, 24*2
SEVENTH THOUSAND. */060 /
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NOVELLO, EWER AND Co.'s MUSIC PRIMERs.
EDITED BY DR. STAINER,
TONIC SOL-
BY
JOHN CURWEN.
PRICE ONE SHILLING.
In paper boards, One Shilling and Sixpence.
LONDON: NOVELLO, EWER AND CO.,
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Boston, New YORK, AND PHILADELPHIA:
DITSON AND CO.
* * * * - “


/
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PREFACE.
THIS Work is not intended to teach those ignorant of music how
to sing, but to explain the Tonic Sol-fa Notation and method of
teaching to those who are already familiar with the established
mode of writing music by means of the Staff. A knowledge of
that notation is taken for granted, and it will be mainly by com-
paring the two, notations that the various points of the new
notation will be made clear.
CONTENTS.
CHAPTER I.
PAGE
RELATIONS OF THE TWO NOTATIONS ... e - © G e G 2
CHAPTER II.
THE DIATONIC SCALE ... tº º e tº 3 º' tº tº tº e ºp © tº º 4.
CHAPTER III.
CHAPTER IV.
CHROMATIC TONES AND TFANSITION ... * ~ ge ... II
CHAPTER V.
METHOD OF TEACHING ... o e e e - © gº º e • e e ... I5
CHAPTER VI.
METHOD OF TEACHING HARMONY... ... ... ... 22
CHAPTER VII.
METHOD OF TEACHING THE STAFF NOTATION ... 26
CHAPTER VIII.
THE MINOR MODE... o e e º º º e - © tº o º e e ſº ... 28
CHAPTER IX.
THE MENTAL PROCESS IN SINGING tº tº e e e e • - 3I
PRACTICAL EXERCISES ... ... ... ... ... ... 36
A TONIC SOL-FA PRIMER.
CHAPTER I.
RELATIONS OF THE Two NoTATIONs.
IT is often forgotten that the Staff Notation is a notation of the
keyboard of the pianoforte. In the early stages of its develop-
ment, when clefs were placed on any line, and the composer
used as many lines—from one to twelve—as were necessary for
his music, it was more of a notation of relative than of absolute
pitch. But the improvement and wide diffusion of keyboard
instruments has caused the notation to settle down into a
pictorial representation of black and white digitals. The normal
key is assumed to be C, and all other keys are represented as
departures from that.
A little reflection will show that although this arrangement
represents a fact of the keyboard, it has no counterpart in the
experience of singers. Let us suppose that an organist finds the
following chant in F too high for his choir:-
2 a.

2. TONIC SOL-FA,
He thinks he would like to transpose it a semitone lower. With
the music in F before his eyes, the following represents the
process that goes on in his mind as he plays in E:-
Some, perhaps, may object to this as a caricature, and say that
only mechanical players transpose in this way, while all who
have any ear for the inner spirit of music transpose by mentally
regarding each note as the first, fifth, seventh, &c., of the key.
No doubt this is true. But we are now considering the Staff
Notation merely as a picture of the keyboard, and if players
choose to see beyond that picture into key-relationship it is
another matter, although doing so brings them very near to the
Tonic Sol-fa system. By whatever mental process transposition
at sight from the Staff Notation is accomplished, it gives trouble
to the player. But what is the case with the singer ? To him
all keys are alike. The key of C is no more commonly used
than F or D, and in point of convenience it is no more natural or
easy than B. The process which the choir undergo in the case
we have imagined is very different to that which the organist
experiences. When he lowers the chant a semitone, few if any
of the singers will notice it; they have no altered relationships
of fingering or perpetual contradiction of signs, and they sing on
as easily as before.
The fact that to singers one key is the same as another is the
basis of the Tonic Sol-fa Notation. In this notation the above
chant in key F appears as follows:—
KEY F.
m :— s :d' | d' :t || 1 :— s : s ,f |m :r |d :—
d :- |d in f :- |fe :- |s f:nºr |d :t, d –
s — is is ls - ||d – |d :l s :- f| n :-
d :– m :d | r :— |re :- |m :f s : s |d :—
When transposed into key E it appears as follows:—
KEY E. -
m :— s :d' | d' :t || 1 :— s : s ,f |m :r |d :—
d :- |d in |f| = |fe — |s finald :ti d :—
s — s is s :- |d :— d':1 s :- f| n :-
d :– m :d | r :— || re :- | n :f s : Si d ?–

RELATIONS OF THE TWO NOTATIONS. 3
The only difference being that the words “key E * are placed at
the beginning, for the singer's guidance, instead of “key F.”
It is asserted by some that singers strike their notes by
measuring the distance from one to the other—a second, a
sixth, a diminished seventh, an octave, &c., without regard to
the key. This being so, they say that the Staff Notation in
supplying this information gives the singer all that he needs.
The singer, they say, should not be perplexed with the relation-
ship of the tones, which in modern music often changes rapidly;
all he has to do is to move along by remarking at a glance the
number of semitones from the note he is on to the next. It may
be true that here and there an exceptional singer possesses this
power, but it is certainly not possessed by the generality of
chorus-singers. To keep in mind the key-relationship of the
tones is not only the easiest method, but it is the most
intelligent, because it is the composer's method.t
* The reader is referred to the following chapters for an explanation of the
signs of the notation.
f Chapter IX., on “The Mental Process in Singing,” shows what are the
common habits of chorus-singers in this respect.

CHAPTER II.
THE DIATONIC SCALE,
THE Tonic Sol-fa Notation consists of the initial letters of the
Sol-fa syllables, do always representing the key-note. The
initials of sol and si being the same, si is altered to ti. When
the names are written in full they are spelled phonetically, and
sol is invariably pronounced soh, that sound being more open.
Italian Names. Written. Noted.
si te t
la lah 1
sol soh . §
fa fah f
mi Iſle m
re ray T
do doh d
The application of the names will be evident from the following
tune :— -
s m f s 1 s f m r s d' in f r d
The upper octaves are represented by figures above the scale-
letters, as d' d”; the lower octaves by figures below, d, d2. In
speaking of octaves, d' is called “one-doh ; ” d is called “doh-
one;” and so on. In the preceding tune there are two cases of
d'. The octave commencing on middle C
#
is taken as a standard. The notes of that octave bear no mark
above or below, and every doh chosen as a key-note within that





(4)
THE DIATONIC SCALE, - 5
octave is unmarked also. Thus these passages, so nearly alike
in pitch, will have different octave marks—
d r m f S d" r" m' fl s'
because in the first case the doh is within the standard octave;
in the second it is above it. The tenor and bass parts are written
an octave higher than they sound. Thus the passage—
is written:—
KEY F.
s m d l S s m d l S
d d d d d d d d d d
not
m S S f S I'll Si Sl f Sl
d d m f m di di mi fi m,
It is obvious that this saves a very large number of octave marks,
while it causes no practical inconvenience to the singer.
The signs of expression, such as −, f, pp, cres., &c., are
used in the Tonic Sol-fa as in the Staff Notation, as well as
the Italian or English phrases which describe the style of
performance. Horizontal lines are placed under the letters to
express legato, or to tie together several notes that are to be sung
to one syllable, like slurs in the Staff Notation.



CHAPTER Ill.
TIME,
IN order to explain the Tonic Sol-fa Notation of Time it is
necessary to remind the reader of the nature of musical rhythm.
Music is divided by bars into measures. It is convenient, as the
French do, to use the word measure to indicate the distance from
one bar to the next, and to reserve the word bar for the vertical
line which separates measures. This line is used in the Tonic
Sol-fa Notation to mark the commencement of every measure, but
it is not used at the end of scores as in the Staff Notation. The
double bar marks the conclusion of sections or movements:—
KEY D.
d m s d f 1 || 1 S
d d l r d d f | f m
in S m f d! d' d'
d: d tº d 11 ft d d
In the above example the pulses (or beats) of the music follow
each other in the order of strong and weak, or accented and
unaccented. The second note has a weak accent, and the sign

(6)
TIME, 7
for this is a colon (:). The passage is therefore written as
follows:—
d :m :d | f : 1 || 1 : S
d :d | r :d |d :f | f :m
m . S :m | f :d' | d' : d'
d :d tº :d | 11 :f |d :d
In triple measure, where the pulses are in the order of strong,
weak, weak, the notation is as follows:–
MozART.
{{s t t t | dºn's t t t |d in ||
It will be seen from the foregoing examples that in the Tonic
Sol-fa Notation the music is cut up by the accent marks into
pulses or beats, and thus when it is desired to prolong a note
beyond one pulse we have only to place a dash through as many
pulses as we wish to hold it. So also when there is a rest no
sign is required. It is enough that the space between the two
accent marks is empty:—
HANDEL.
sing, sing, O ye heav'ns.
KEY C.
| d':— :— m':— : s' :— : :d' :t, d' :
m :— :— S : – ; S : – ; : s :f s
s :— :— m' – . m! :- : :m':r" | m' :
d :— :— d':— : d':— : : d' : r" | d' :
The measures we have described contain two and three beats.
In the middle of measures which contain four or six beats there
is a subordinate accent which is expressed in the Tonic Sol-fa


8 TONIC SOL-FA.
Notation by a short upright line. It is called a medium
aCCent:—
R. REDHEAD.
KEY Ep.
|s : 1 || 1 :s |f :m | n :r
|d :d d :d |r :d d :t
|m :f | f :m |s :s s :s
|d :f d :d |t| :d si :f
MENDELSSOHN.
How love -ly are the mes-sen-gers that preach us the gospel of peace.
KEY G.
{{s
d :- :till, :- :s, f :- :m |r :- :d |t| :d :r |s|:s is's:--|
Measures are named according to the number of pulses they
contain. Thus: two-pulse measure, three-pulse measure, &c.
Examples of other measures are given below:—
MENDELssohn.
KEY A.
{:s ls, in :d |t| - :- [l, :- :l, lll:f ºr |t| :- - - - |
HANDEL. “Pastoral Symphony.”
t KEY C. t
{ d! :- :r" |m| :- if |s' :- :- |1' :- :- |s :– :- |
In the Staff Notation the same piece may be written in 3, 3,
or even 3 time, at the fancy of the composer. It is clear that
no such variation is possible in the Tonic Sol-fa. The pulse, or
beat, is the unit, and the metronome mark indicates sufficiently




TIME. 9
the speed. In marking the speed of a piece by the metronome
there is no need to say N = 60, c = 40, &c. The pulse being
always the basis of measurement, it is enough to say M. (or
metronome) 60, 96, &c.
A pulse is divided into halves by placing a full stop in the
middle of it; into quarters by placing a comma in the middle of
each half; and into thirds by the use of two inverted commas.
The following examples explain this :—
“Rule Britannia.”
KEY B9.
d : :d ld, r.ſ f : 8 d |r :r .m., f |m |
{s
A sound is continued through any portion of a pulse by a con-
tinuation mark or dash, and a part-pulse silence is shown by a
vacancy. The only exception to this rule is in the common
time-form of a dotted crotchet followed by a quaver, or a dotted
quaver followed by a semiquaver. Here the pulse divisions, being
placed close together, are a sign that the sound is continued:—
HANDEL.
KEY F. Lah is D.
| :m ...,m |d : d :r n |l, : —
|
RossINI.
KEY. Ap.
{|n :— |- it d :r it, m |d :— |l . |
Each measure being divided into pulses, any contradiction of
the natural accent by syncopation is clearly shown :-
ROSSINI. “Stabat Mater.”
Ç5 +E Pº-2–H ==Hz | #4–2–H P-Eiz H
A - - men, A - - men, A - - men, A - - men.
KEY F
.r :- n | f f :- n | r ºr :- in f f :- in r |
*===s**º-º-º: *-m;
A - - men, A - - |men, A - - men, A - -
:
:
.
‘.
;
:
;






IO TONIC SOL-FA,
A very important part of the notation of Time is that, when
properly printed, each pulse in the same line of music occupies
an equal lateral space. In the Staff Notation this rule is not
observed:—
Here the measures and pulses occupy very different space,
according to the number of notes they contain. The third
measure is several times longer than the second. It is found a
great advantage in the Tonic Sol-fa Notation to make the
measures and pulses equal:—
KEY C.
s — |s :— s : — |— :— |s.s:s.s|s : s |s :- — ;- |
The pulses are measured out, like the inches on a yard measure,
and the eye rapidly values the length. An experienced Sol-faist
keeps time by judging the distance between the notes, only
stopping occasionally to look at the accent marks; and when
through bad printing the pulses are unequal, he is completely
put out.
;
:
;
:
:
.
:
:
:
sº
º


CHAPTER IV.
CHROMATIC TONES AND TRANSITION,
THE names for sharpened and flattened notes are as follows.
The ordinary Sol-fa name of the note has its vowel changed to
“e” for sharps, and to “a” (pronounced “aw”) for flats:–
_f).
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d' t ta 1 la s fe f m pla r ra d
Chromatic notes are always written in full, to distinguish them
from the corresponding diatonic note. Example:—
J. BARNBY.
e- f
Sleep, my pret - ty one, sleep.
| *
—&– —65–
KEY C.
s :- :s |s :-.1 : s |d' :- :- — ;- :- — ;- :- — ;- :
d :- :d |f :- f :f |m :– :- [f :- :- |m :- :- — ;- :
d :- id. It :-.t:tata:- - 1 = -laſs :- :- |- :- :
n :- :na |r :-r:rald :- - - - - - - - - - :
(II)








I2 TONIC SOL-FA.
KEY E. -
{|n :- ,Ye:ſ s :-.fe:s t – le:t |d :– :- |
In the cases just quoted, the chromatic notes do not change
the key. It is unnecessary, however, to remind the reader that
modern music is full of brief entries into related keys. For
example:—
F By C
- 2
When the change of key is as short as this, the flattened or
sharpened notes, as in the Staff Notation, express it:-
KEY F.
:s d' :m |f :m 1 : 1 |s :f
:d |d :d |d :de |r :d |t| :t
:m |m : s 11 :m f :fe |s :s
:d |d :ta |l :s, |f| :r |s|| :s, d – |-
*=º |—
|
It has been objected by some that this is forsaking the tonic
principle. The third and fourth notes in the treble, they say, are
te and doh in key Bb ; the seventh and eighth are ray and doh
in key C. Yet they are written me, fah, and lah, Soh, respec-
tively. Of course this is true, but it is for the singer's convenience
that this is done. When the change of key is lengthened, we
take one note as a double or bridge-note, through which to pass
into the new key. The practical use of these bridge-notes will
be understood by reference to the following hymn-tune:-
HENRY SMART.
E B
An-gels ho - ly, high and low-ly, Sing the prais-es of the
|
-º-
—£9-














CHROMATIC TONES AND TRANSITION. I3
E A
r = * * r * -
Lord! Earth and sky,all liv-ing na-ture,Man,the stamp of thy Cre-
ye, praise ye, God the Lord.
ñf :m | r :d.r |m :r
:m || :s : m
|d :t) |t| :d |r :m :d I" 1 :s, f, infils, |
|s : s is : s |t :3' |s :s || r is lit.:d id ; tı
d :s, r d [f in It, d [ºr in |f|..s.l. Is ...)
f.E. f. A.
d s : — |d :r |t| :d r :s f : mt) |d :r
"t, :- |d :l, s, :s, is :t, it :"s, ſs, :1 l
d s :— |s :f f :m |r :r r : Sr |d :f
dis, ; – |m} :f, s : 1 |t| :s, d :"sif|ri. :f |
E.t.
tº :d |r :s |f :m |" 1 :s |f in r in : r
s, f : " |s, :s, s :s, "lºt:d |d :d |d :t,
r :d f :t, r :d |ºdr in f :s.1 s ºf
s] :l |t| :s, d, :d, "if :rl |l :Sif's : Sl
:
---
At the change to key B, the smaller and higher notes belong to the
old key, the larger ones to the new. The letter “t,” after B, shows
that te is the new tone introduced by the transition; the letter
“f,” later on, before “E,” shows that fah is the new tone. This
is to guide the singer's ear. The change is always made at the
B



I4. TONIC SOL-FA.
easiest place, whether this corresponds with the exact harmonic
facts or not. Thus, at the return to key E, the change really
takes place at the middle chord of the measure; but the singers
glide insensibly from the dominant seventh of key B just before
into the new dominant, and hence the change is written a chord
earlier. It will be seen that the sequence which occurs in this
tune between the third and fourth lines of the poetry is shown in
its true key-relationship by means of the bridge-tones.

CHAPTER V.
METHOD OF TEACHING.
THE previous chapters have dealt with the Tonic Sol-fa Notation,
the mode of expressing music to the eye. We now come to the
Tonic Sol-fa method of teaching music, the educational arrange-
ment of facts and difficulties so as to facilitate the progress of
the learner. In the elaboration of this method I have occupied
the best part of my life. It is the result, gradually arrived at
and even now being added to, of my own experience and the
experience of many teachers of the system. Our aim has been
to make the beginning and progress of the pupil easy and
natural, to make his study and practice thorough and many-
sided ; and to give him clearness of thought by directing his
attention to the real nature of music.
In the first place we teach singing without the help of an
instrument. This is in order to give the learner independence.
It is obvious that to be able to sing by hearing the notes played,
or by touching them on the pianoforte, is not reading music at
all ; it is mere parrot-like imitation. Tonic Sol-fa singers are
trained to strike their notes by the unaided judgment of their
ears. This judgment is formed upon the place which each sound
holds in the key, and not upon its absolute pitch or the number
of semitones by which it is separated from the last note. Singers
are taught to recognise a characteristic effect in each of the tones
of the scale, called its mental effect. For example, in the follow-
ing piece of unaccompanied recitative in Professor Macfarren's
}oseph—

–0. KEY Gº. * © be be -
r — 4 ºn 2– ºf- I Lºi hi- |
#####Eºe-H H-H =#-F#–H
SLV. | 2 pe-1- I H H
Ye shall be cut in piec - es.
{ : S —if n it :— — :d d :— s : |
there is an incisive piercing effect produced by the seventh of
the scale which no other tone would give us. It is not that it is
(I5)
16 TONIC SOL-FA.
a leap to a high note merely, for if we leap higher the effect is
tamer, and if we leap lower it is tamer still:—

a KEY G2. bo . e 92
LZ ºn 2–0 tº Tº [T]−. ...º {}
fº-É–E–F#–Mºº-E H– +–Kº–H
... WJ | Þa Eli d H |
J r-y” * g
Ye shall be cut 1n p16C - es.
{ : s |— if nd :— |— :d' d :— |s : |
ſ
a Key G2. !. Pe—22–
Ph 2-, i. 1 TVº2 e [TITT h- |
ſº-GEEEEZºº-EE H-H -ºf-Fe-H
A | 2 *—— H H
Ye shall be cut in piec - es.
{ : s |— if n1 :— — :d d :– |s : |

In the same way the characters of the other tones of the scale
are brought before the learner; the boldness of the tones of the
tonic chord when heard in succession, the firmness of Soh, the
calm and rest of me, the sadness of lah, the desolate sound of fah,
and the rousing sound of ray.
The teacher endeavours less to tell the pupil the effect than to
make him listen for it, and feel it for himself. The object is to
fix the character of each tone in the learner's mind, so that it may
be kept there, and recalled. By this means the task of sounding
a given name, or naming a given sound, is made easy by the
recollection which the pupil has of the personnel of the scale
tones.
In teaching the scale a diagram called “The Modulator" is
used. It enables the singer to compare modes and keys, and
pass from one to another. The example opposite shows a key
with its dominant (on the right side) and subdominant (on the
left). A complete Modulator, embracing the whole range of keys,
is given on pp. 20, 2I. A large part of the pupil’s first exercises
are in singing voluntaries from this diagram, following with his
voice the pointer of the teacher.
It is often said by casual observers that Sol-fa notes are “all
on a dead level ” and do not show the rise and fall of pitch as
does the staff. But by early training the pictorial Modulator is
fixed in the mind's eye of each pupil, and the notes start into
their places in the scale as he looks at them.
METHOD OF TEACHING. 17
We lay stress on the habit of teaching the scale gradually by
means of the consonant chords which
it contains. Consonance is more natural

to the untrained ear than dissonance; THE MODULATOR.
and pure intonation is better taught (CoPYRIGHT.)
by striking the tones of a chord in d f
succession than by running up or down t m" l
the scale, whose adjacent notes are g
dissonant with each other. First, the re' se
learner has to be made familiar with the |
tonic chord, doh, me, Soh, and has to
sound its tones at the will of the teacher; se de ba.
next he does the same with the dominant DOH" f
chord (soh, te, ray); and lastly, with S
the subdominant (fah, lah, doh). This pa TE pº
completes the seven sounds. After this le
he is confined to tunes and exercises | f ta
which contain no more than these seven m LAH r
tones, and do not change the key. Next
© º - g la
he is introduced to the simplest form Se
of transition—to the dominant and sub-
* d
dominant keys. Then he attacks the I SOH
minor mode, chromatic notes, and dis- in " t
tant modulations. By this gradual pro- d FAIH
cess of teaching his path is made easy.
He learns one thing at a time, and t ME l
knows that one thing thoroughly before Yū8,
he passes to the next. Moreover, at re sel
each step, he finds that what he has I RAY Sl
already learned helps him.
Concurrently with practice in reading
from given notes, we have practice in S. D0H f
naming given sounds. . This corresponds tº t I'll
to writing from dictation in learning a ;
language, and this, as every one knows, f ta.
is more difficult than reading. The I'll l El
“ear exercises,” as we call them, have
therefore to be kept always behind the
Sel de Ba.
reading exercises, but they are of great ri Sl d
value in improving the ear. ba, fe t2
We separate the study of Time from |
that of Tune. We teach it by means of d. f
the “Time Names' of M. Paris. The
importance of this will be appreciated
by those who have tried to teach Time
to children and beginners, whether in playing or singing,
t2 I'll 12
I8 tº TONIC SOL-FA.
The Time Names, slightly modified in our system, will be best
seen from the following examples:—
| d :d d : — 3 m : s ,m d :
TAA TAA TAA - A.A. TAA TAI TAA TAI | TAA SAA
() #— l *H - ſ } |
zº-e=e= —º-º-º-H-e | Tº #
{G}=== Zi H : | He H
s : s ,f m :— ,f
|
TAA TAA TAI | TAA - AAT AI
m :r d :— |
TAA TAA |º, -AA
d,d.d.,d :d .d
ta fate fe TAA TAI
m .d :d |
TAA TAI TAA
|
: S , §
TAA TAI
d',s m' :d',s m'
tafa TAI tafa TAI
s'
TAA* |
|
The pupil is taught to sing his early exercises on one tone to
the Time Names. Thus he first learns the Time and then the
tune of a piece. This may be considered a needless hair-splitting,
but for beginners it is not so. It is found to give confidence and
steadiness. The pupil becomes as certain of the rhythm of the
music as he is of the sound of the notes, and enjoys slight
variations of time, such as these :—
|s :fe : s 1 :-.t :d r" :— :d'.r"|m" :— :-- |
This is a brief outline of the Tonic Sol-fa method of teaching.
Its chief feature is that it separates music from its signs. Music
* These are only a few of the simplest divisions of Time. For a complete
table of Galin’s Time Names the reader is referred to the Tonic Sol-fa Time
Chart, or to the works of the Galin-Paris-Chevè School.





METHOD OF TEACHING. IQ
consists of sounds, and neither crotchets and quavers nor Tonic
Sol-fa letters make any sound. The Tonic Sol-fa teacher con-
siders the ears and voices of his pupils as the material upon
which he has to work. He begins without any signs at all, and
only introduces them gradually as they are needed to make the
pupil recognise and recall what he knows. This is the principle of
Pestalozzi and all the educationists who have followed him. We
may sum up in a few words the Tonic Sol-fa method : to let the
easy come before the difficult; to introduce the real and concrete
, before the ideal or abstract ; to teach the elemental before the
compound, and do one thing at a time; to introduce both for
explanation and practice the common before the uncommon ; to
teach the thing before the sign, and when the thing is apprehended,
attach to it a distinct sign ; to let each step, as far as possible,
rise out of that which goes before, and lead up to that which
comes after ; and lastly, to call in the understanding to assist the
skill at every step.”
* See “The Teacher's Manual of the Tonic Sol-fa Method,” and “Standard
Course of Lessons,” by John Curwen. Tonic Sol-fa Agency, 8, Warwick
Lane, E.C.

THE STUDENT'S MODULATOR.
GIVING THE STANDARD SCALE OF PITCH, WITH THE TRUE INTERVALS.
DOH is Cb Gb Db Ab Eb Bb F C G D ** : B F; s:
# L Ex ####### #= | * † E ETI tº ºf #== É - | -- == R g--- --- #= #
this ab eb ºn " , ,- g d 3. e : fift c; g; d; af
t m 1 |D|| r" |D|| s d' f
SC ba. I'N Se
* s d f p t m l r s d'
Se # ba. IV
t m } r S C1 | DOH' | Cl f t;
ba. re S6 ba.
d' f B | TE B m l r S d f
SG ba. F\
t; In l I’ § d f p ta t in l
rN le Se ba
t In A LAH | A iſ S d f
86. ba, - rº- S6
i r * p la r §
1 : S d f • Sé # ba. t m l r^
t p l r G | SOH |G| d f
86 ba rº- - Sel ba
§

THE STUDENT’S MODULATOR.
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ÇHAPTER VI.
METHOD OF TEACHING HARMONY.
HARMONY, whether expressed in the Staff Notation or not, is
manifestly a matter of key-relationship. In discussing the merits
of any progression the pitch of the notes is a mere accident; the
right or wrong depends on their place in the key. We may
correct a fault by saying “the F should descend to E,” but the
remark has no value beyond the particular case to which it is
applied: it is not a rule or a generalisation. And though
musicians commonly talk of harmony in this way, it is impossible
that they should think of it except in relation to key. Hence the
frequent use in teaching of the terms “subdominant,” “leading-
note,” “seventh,” “minor ninth,” &c., all of which express that
relationship of tones which is independent of their pitch. So far
we must have the consent of every musician. Is it not easy to
go a step farther, and perceive that the Tonic Sol-fa Notation,
which is a notation of key-relationship and only by inference a
notation of pitch, is specially adapted for expressing harmony P
We will first explain the Tonic Sol-fa notation of harmony, and
then the method of teaching the subject.
Many celebrated teachers of harmony have felt the shortcomings
of the system of figured basses, in that the figures do not show
the roots of the chords, upon which the laws of progression so
largely depend. One or two (especially Gottfried Weber and
Gersbach) have used for their pupils a system of chord names on
the same principle as those which, after several years of inquiry
and experiment, I decided to adopt for Tonic Sol-faists. The
nomenclature is very simple. We call each chord of the scale
by its Sol-fa initial letter, printed in capitals to distinguish it
from the note of the scale. For example:—
(22)
METHOD OF TEACHING HARMONY, 23
C. E. HoRSLEY.
... ºd e. a d
KEY G.
: In m :-.m. ||r :m | f :– f |m :m | r :d |d :r |t| :-.t) |d
: Si |d :- d [t] :d 11:-.l., |1 :d |t| : 1 |l : 1 |S| :-.S. |S|
: d s :-.s |s :s | f :-.r |d :'s s :m f :f
r – ,r |m
: d d – d [s] :d | r :- r |l :d, s, :1 |f| :r, s :-.s, ld,
D D – .D S D R — .R L D S L R R S – .S D
Chords in the minor mode are expressed by italic capitals. The
positions of a chord in relation to the bass are expressed by the
letters a, b, c, &c., after its name. The direct form of the chord
is its “a position ” (the a is in practice omitted), the first inversion
its “b position,” and so on. A dissonant passing tone is shown
by the letter p ; a consonant passing tone by the letters cp. A
passing tone which does not “pass,” but returns to the note it
starts from, is known as a “waving tone.” The minor dominant
is known as sellſ. The addition of a fourth, seventh, or ninth to a
chord is shown by a figure at the upper left-hand side of the chord
name: 7R, *S, &c. These rules will be best understood from the
following example:—
“Lutheran Choral.”
KEY C.
: m 1 s |f in r – In t d' d' It lit i.
d.r:ri lit.:d |d :t, ld |r dr m in ºr r |d :--
It:dly : s 1 :s |s | se | 1 : 1 ||l :se | 1 :--
is f :r Ir :d |f| is id |t| | lit.:d.rn in i.
- 7
F: Dö|R :D Rö :S |D
25 ch
a-ºº-ºº-ººs *** *-ºs *mº ºmºmº . *º-º-º:
2p p w
4s6 ge 7se
SEb L : Lö|M *


24. TONIC SOL-FA.
We have already shown (p. 12) that brief entries into related
keys are expressed for convenience in the old key by help of
altered notes. But in analysing harmony by means of the chord
names the harmonic truth is always exactly given.
In the Tonic Sol-fa system a clear distinction is made between
chromatic and transitional chords, between flattened or sharpened
notes which threaten to change the key but end in re-affirming it,
and those which mark the passage into a new key. This distinc-
tion is drawn by Professor Macfarren in his theoretical works.
For example, in the following passage we teach that there are
two transitions, first to B flat and then to C :—
KEY F.
\. d : 1 |s :f — —
:d.tal li:d |t| :t.
| f :fe is :s
:m, f :r |S| :s,
:
-º-º-º-º:
-
On the other hand we teach that when the same melody is
harmonised as below, the flat and naturals do not establish a new
key, and are purely chromatic :—
KEY F.
is id :l Is if n :- —
:d,tal 1 :d |d :t) |d :— —
:d |r ºr n :r |d —l-
:m, fe:fe |s :s, d :- —
This distinction, which is carried out through all the studies of
our pupils, leads them to take a broad and connected view of
music, to regard it as a series of progressions and not as isolated
chords. We have heard such a passage as this spoken of as
ending in the relative minor:-
KEY Ep. #
: m f :m 1 : s , s:f |m| ||
e :d d :d |d :d 11; tı |d
: S f :s |d :d | r :r |d
:dita, li: silfi:m r: Sill



METHOD OF TEACHING HARMONY, 25
Great confusion exists among learners on this point. We have
met with some who have a notion that the “chord of F * denotes
“the key of F,” and who have never heard that to establish the
key of any passage we must look before and after. Tonic Sol-
faists are taught that no one chord can establish a key, but that
to do this in the course of a piece of music requires a movement
from dominant to tonic of the new key.
The method of teaching harmony trains the observation of the
ear simultaneously with that of the eye. The pupil begins by
hearing a common chord and experiencing its consonance. The
chord is then taken to pieces, and the source of its sweetness is
shown to be the third, and the source of its strength the fifth.
A single chant in four parts, made up of tonic and dominant
chords, is then heard. Afterwards the subdominant is intro-
duced; the pupil is then led to hear a dissonance, and learns that
his ear feels satisfaction in its resolution, and dissatisfaction if
the dissonant note leaps away. Then follows the chord of the
dominant seventh and the full close which it produces when
followed by the tonic. Afterwards the second inversion of the
tonic chord, and then the half-close or cadence on the dominant.
The essence of the system is that it teaches the commonest and
most used combinations first. Instead of spreading before the
pupil all the direct chords, all the first inversions, sevenths on
every chord, &c., it picks out the commonplaces of simple music,
and teaches them first, introducing dissonances, less used inver-
sions, &c., one by one in the order of their frequency. For a
student who is familiar with harmony it may be profitable to
compile a classified table of consonances, dissonances, &c., which
the eye can cover. For purposes of recapitulation such a table
is very useful. But we maintain that it is not the natural order
for the learner. To give the pupil one tool at a time, and teach
him the use of that before giving him another, has ever been the
method of educationists. The study of composition is carried on
concurrently with that of chords. There are three forms of
exercises—first, filling in the inner parts when the air and bass
and names of the chords are given (this is the easiest); second,
writing upon a figured or rather lettered bass; and, third, har-
monising a given melody with the instruction to introduce certain
chords, but leaving the pupil to find out the way. By means of
the post, composition is now being taught on this system to
hundreds of students in Great Britain, the Colonies, India, &c.
CHAPTER VII.
METHOD OF TEACHING THE STAFF NOTATION.
THose who have been trained upon the Established Notation of
music will naturally inquire what are the relationships of the
Tonic Sol-fa to the older Notation ? Is the new Notation intended
to supersede the old, and what do Tonic Sol-ſaists do when they
want to learn the Staff Notation ?
There is no rivalry between the two systems. Prejudice still
lingers here and there, but musical men are fast coming to see
that music is a thing which lies behind all systems and notations,
and that this or that system is to be valued according as it
teaches music thoroughly and well. We need not trouble
ourselves with any idea of disestablishing the Staff Notation.
Apart from its merits, its mere establishment is an argument
for its preservation, and a sort of argument which has especial
weight with Englishmen. No Tonic Sol-fa teacher is ever so
foolish as to try to prejudice his pupils against the Staff Notation.
We strongly disapprove, for educational reasons, of its being
introduced until the learner has mastered the facts of music–
Time, Tune, Modulation, the Minor Mode, &c., from our Nota-
tion, but the best of our pupils are always eager to pass on to
the Staff Notation when the proper time arrives. The introduc-
tion of the Staff Notation is postponed merely that the pupil's
progress may be the sounder in the end, and not from any desire
to keep it from him. Let us suppose a pupil who is able to sing
at sight from Tonic Sol-fa such music as a Handel chorus of
moderate difficulty, wanting to learn the Staff Notation. It has
often been asserted that our system leaves our pupils high and
dry when they have learnt it, and shuts them off from the uni-
versal language of the art. But a pupil of this sort has very
little to learn. His voice obeys his ear, his eye reports to his
mind the notes of the printed page, he knows how to use his
voice and to sing in tune. What he has to learn are the signs
of the Staff Notation. He is in the position of an arithmetician
who wants to learn the signs of algebra, or of an English veteran
who has passed into a foreign army and has to pick up the new
(26)
METHOD OF TEACHING THE STAFF NOTATION. 27
words of command. All that he has learned is of use ; what
he has to do is to adapt himself to a new nomenclature and
symbolism.
But there is no need to construct a supposed case, for we
can in this matter appeal to experience. Every year we are
turning out readers of the Staff Notation by the thousand, and the
testimony of choirmasters all over the country is that Sol-faists
make the best readers. The intermediate Sol-fa certificate can
be taken with or without passing a test in singing at sight from
the Staff Notation. But it is found that two-thirds of the many
who have taken this certificate have elected to attempt the Staff
Notation test, and have passed it. In the higher certificates the
Staff Notation is still optional, but the proportion who pass in it
is so great that it is the exception to omit it. When harmony
and composition has been learned on our system it is in the same
way quite easy to express one's knowledge in the Staff Notation.
No one will suspect Mr. Hullah's examination in the Theory of
Music, under the Society of Arts, to be in any degree tainted
with Tonic Sol-faism, but close upon two-thirds of those who
have passed it during the last ten years have been Tonic Sol-
faists. In the still higher departments of knowledge we may
refer to those gentlemen who have recently proceeded Mus. Bac.
at Cambridge, who are Sol-faists. They think out their harmony
in the Tonic Sol-fa letters, and make a rough copy of their exer-
cises in the New Notation.
As, therefore, it is only signs that the practised Sol-faist has to
learn in passing to the Staff Notation, we teach him the signs
by writing. The best way to learn the characters of a new
alphabet is by writing them, and so we give him graduated
exercises in writing from Tonic Sol-fa Notation into Staff Nota-
tion, and vice-versä. When he has the signs at command he
can proceed to sight-reading from the Staff Notation to his
heart's content, and when he has arrived at this point he is con-
sidered capable of looking after himself. In practice the Tonic
Sol-fa Notation is concurrent with the Staff Notation, and helpful
to it, not antagonistic. ;

CHAPTER VIII.
T H E M IN OR M O DE •
WE regard the minor mode as historically developed from the old
Greek and church mode on the sixth of the major scale, whose notes
are the unaltered intervals of the relative major. We teach our
pupils that the sharpened seventh has come in with the growth of
harmony, in order to make a satisfactory dominant chord. In its
original unaltered form the natural seventh is still used as a pass-
ing note, and as the note of a chord when the bass moves down by
step. The sharpened sixth (which note we call bah) follows
naturally from the alteration of the leading note, and was intended
to avoid the augmented second in passing to or from the leading
note. But the sixth is still used in its natural form, producing,
when followed by the leading note, a pathetic effect in melody,
and forming an essential part of the subdominant chord in a full
close. We deny that the minor mode has any title to be con-
sidered a key in the same way as the major, first, because of the
variableness of its scale; second, because its chief practical use in
common music is as an appendage to its relative major. A com-
position strictly in the minor from beginning to end is very
rarely to be met with. There is a constant passing to the relative
major as the stronger key.
To a Tonic Sol-faist, therefore, the minor mode is the “lah
mode.” He has been already taught that the sixth of the major
scale has a mental effect of sadness, and this effect is heightened
by its being lifted to the importance of a tonic. It is explained
that for purposes of harmony the seventh from lah is generally
sharpened, and for purposes of melody the sixth from lah is
sometimes sharpened. Thus the minor mode flows easily out of
the relative major. A minor passage is named from the key of
(28)
THE MINOR MODE. 29
its relative major, with the additional words, “lah is C, G, F#,” -
&c., as the case may be. The following is an example:—
Dr. CROTCH.
ſ)
A LIT , I | Nº. -
fº-5–2––H–H– |EEłºf-Ez-EPEi
¥ LS+” Gº || G | –H H | TT | | |
KEY F. Lah is D.
|n :— |r :d |t :— |n :— base: | : Sé | :— |
KEY D.
* — g | * — | * — • All I , ! •
|s e f in r |s tº | ,t :d d : t: d o |
The Staff Notation, itself an historical growth, supports this
view by giving the same signature to a key and its relative minor.
Here is a passage, for example, which is strictly in the key of C
minor. We give the Tonic Sol-fa interpretation at the side :-
KEY Ep. Lah is C.
:d' | 1 :m | f :r | m |
:d d :t) |d :r |t|
:m m :m | 1 : 1 | Se
: l l l ; S1 | f :f |m
The only altered note here is the B, and this exactly corresponds
with the Tonic Sol-fa Notation, in which the only altered note is
Se. If, however, with some modern theorists we regard C major
and C minor as one and the same key, the minor scale being a
mere modification of the tonic major, we should have to write the
passage in both notations as follows:—
KEY C Minor.
W. d' : s la :f
}:ma | Fla. :r ma :f
:S | S : S d' : d'
:d d :ta | la : la
:
Here instead of one altered note there are eight. It has been
suggested by several critics that we should write minor music in
C



3O TONIC SOL - FA,
this way, treating the third, minor sixth, and minor seventh
as accidentals, and the sharp sixth and seventh as diatonic
notes. But, as a fact, no teachers have ever attempted to Sol-fa
the minor mode as if it were an alteration of the tonic major, and
the theorists who have urged us to do so are not themselves in
the habit of Sol-faing, and are not sensible of the difficulties it
would involve. It would in fact be easier to adopt the modern
Italian method of the fixed do, and easier still to give up Sol-faing
altogether, than to adopt this proposal. The old English practice
(see Webbe's Solfeggios) was to call the key-note of the minor
mode lah, and this plan is pursued wherever in England and
America and France Sol-faing with the movable do is practised
from the Staff Notation.
The difference between us and the theorists we have referred
to is, however, a surface one. There is no disagreement about
the rules of harmonising minor passages, no question as to the
beauty of the minor mode. We cannot be charged with confusing
the major with the minor, for appealing to results we find our
singers more confident in minor music, and our harmony students
as correct in their use of the two scales and in their discrimi-
nation between them as average learners on the other system.
Some writers go so far as to object to the term “relative minor”
altogether, and speak of it as delusive and false. Whatever
language we use, however, we must all agree that in major music
the minor key of the sixth is entered at least three times as often
as the minor key of the first, and conversely in minor music the
major key of the third at least three times as often as the major
key of the first. Whether, in view of these habits of music, the
word “relative” may be fairly applied to one scale more than the
other, we leave common-sense to decide. In the Tonic Sol-fa
method a distinction is made between modulation and transition.
Modulation is used in its old sense of change of mode, and
transition for change of key.

CHAPTER IX.
THE MENTAL PROCESS IN SING ING,
THAT singers do not produce their notes by passing mechanically
from interval to interval, but that their ears are constantly remem-
bering and expecting the tonal relationship of the harmony, is
proved by the mistakes in classical oratorios, &c., which may
commonly be heard in undertrained choirs. We give a few cases,
all of which we have ourselves heard and noted in performances
of more or less celebrated choirs. -
In the chorus “Glory to God,” from Handel's joshua, the
music, though in the signature of D, comes to a decided close in
G and then returns suddenly to D:—
Thunders, heav'n thunders, tempests roar, and groans the ground.
º * ... * * * |
—63-
-&-
wº-
%
The C sharp in the bass, at the word “groans,” which announces
the return to D, is approached by a wide leap, and a number of
the voices sing C natural. In the Tonic Sol-fa Notation atten-
tion is called to this new note by the change of key, and the sense.
of “mental effect ’’ which the singers possess would not allow
them to sing the piercing “te ” as a “fah’’:—
KEY G. D.t.
S ,ſ) : S |d' , s : s ,s s : 1 r" |r':-, r" | t
Thunders, heav'n thunders, tempests|roar, and groans the ground.
m .d :d |m ..] :m or m : 'd f |f :- f |m
d' s :s |d' d' :d' ...t d': ºn 1 |r! :- it r"
Thunders, heav'n thunders, tempests|roar, and groans the ground.
d di :d |d .d :m ,s d : "r It –l Šē
(31 )








32 TONIC SOL-FA.
The following passage from “He sent a thick darkness”
(Israel) is an example of the confusion of major and minor —
TENOR. F. Minor. F Major. 3é
Ev’n darkness which might be felt.
BAss.
o - ver all the land,
The first phrase is in F minor, and the tenors in taking up the
second phrase remain in F minor and sing the A that is marked
with an asterisk flat instead of natural. The Tonic Sol-faist
associates “syllable with interval,” and would never sing a whole
tone between fah and me at this place :-
KEY A. Lah is F. F. t.m.1. 3%
: : i :set r" :f | f :f in d
BAss. Ev’n darkness which might be felt.
:l,lild :- it, se – : :
o-ver all the land,
In the chorus “And with the blast’ (Israel), the music (though
in the signature of D) has been for ten or more bars in G, and a
change to A involves a C sharp in the tenor, which is sung
natural :—
G
_-——— A
heap. * * tº & heap
the wa-ters were gathered,the wa-ters were gathered, the
>k
the depths were the depths were con-
In Tonic Sol-fa :-
KEY G. A.t.m,
s :— — — — — || s : s S : —
: .d it .11:t.s, d ..,d:d in |*t...lºt, .S. dºd: .in
: | : ,s m :d .d |lis : s ,s | n :d .d.
: | : : | : :
Here the change of notation calls attention to the new note.








THE MENTAL PROCESS IN SING IN G. 33
The following passage from Mendelssohn's St. Paul is often
wrongly sung at the place marked. The tenor and bass parts are
given as sufficient for illustration:—
C Minor. - F Major.
×
His ways are past our un-der - stand-ing, un-der-stand -ing.
stand Eº ing.
The music, as the accompaniment clearly shows, changes unex-
pectedly to F major and the E becomes natural. But it is often
sung flat.
In the chorus “He trusted in God” (Messiah) there is a
passage in which the fall of a minor and a major third is alter-
nated :-
Let Him de - li - ver him,
him, let Him de - li - ver him.
him, let Him de -
light
let Him de - li - ver him, let Him de - li - ver him.
li - ver him.
let Him de - li - ver him.












34 TONIC SOL-FA.
It is quite common in amateur performances of the oratorio to
hear a confusion of tone at the points marked with an asterisk.
This error is not caused by change of key, but apparently by the
failure of the Staff Notation to force the singers to remember at
what part of the scale they are, and where the semitones come.
In Tonic Sol-fa Notation the use of a name for each scale-tone
helps the singers to fix its place :-
Key Bº. Lah is G. f.E). Lah is C.
| im, :m ,r dese ..,ba :m |
Let Him de - li - ver him, k
| : Sel lim tº :m ,r |d ..,ti :11
in him, let Him de - li - ver him.
| :t lim : | n :1 .1
1Il him, let Him de-
|m :- in |\ºm, : | :
light in him,
3% %
.t n' r" |d' ,t 1 .1 :r' d' |t ,l :s
let Him de - li-ver him, let Him de - li - ver him.
36.
se ..ba ºn | : : |
li - ver him. %
ſº | m : 1 .s | f |m :r |
et Him de - | li - ver him.
These quotations are sufficient to prove the point that the majority
of singers, whatever theories they may hold as to the mental pro-
cess by which they produce their tones, do really as a fact depend
upon key-relationship, and that when this relationship is abruptly
disturbed or momentarily uncertain they betray their mental
habits by keeping to the old key.
We give two examples of remote changes of key during the
course of a movement, which appear fictitiously complex in the
Staff Notation through the crowd of necessary accidentals. The
more simple Tonic Sol-fa version is given under each –

HAYDN. “Creation.”
–9. #: | TL. *H**== TT |
ſº-Hº- H–H–Hº-HHH N–H
WSJ ºr L- T l |-4-19-9–3–2–HER-II
t) #=.
Af - fright - - - ed fled hell's spi-rits black in throngs.
KEY Ep. Lah is C.
ſº 1 :— — :d' m' :d | 1 :m d – till :-l
Af- fright - - - ed fled hell's spi - rits black in throngs.
THE MENTAL PROCESS IN SING ING. 35
With sud - den ter - ror they are struck, Thou
7–T- b. *-*-e-Hº- E-i-s | H
&#############H#
Ł, E. J. b_r |
º 5* y wer
tak'st their breath a-way, They va-nish in - to dust, Thou
tak'st their breath a - way, They va-nish in - to dust.
KEY Gy.
; :m, d :— :r t| :-.tº; d. ,r m :— *}
| With sud - den |ter-ror they are struck, Thou
| m : — ;d f :- n:r :d f :-fi:s, sº di : :s, )
tak'st their lieu away, They |va-nish in-to'dust, Thouſ
r.s.d.f. KEY Epp. KEY GP. t.m.1.r.
dm :– :se | 11 :-.tſ:d : :"d | S :-.S.: t2..tg| di : :
| tak'st their breath away, They |va - nish in-to dust. j
In these cases the complexity is not in the music itself. The
composer has not thought it worth while to change the signature,
and the passage becomes a puzzle to ordinary eyes through being
written in a distant key, which requires a crowd of signs and
countersigns to adjust the staff relationship of the notes. In the
Tonic Sol-fa Notation the key is in all cases directly stated, and
the most remote transition becomes clear. Examples of this sort
might easily have been multiplied from standard works.
º
o
(*
&
:
:



PRACTICAL EXERCISES.
THE plan which we adopt for teaching the Staff Notation to
Tonic Sol-faists, will be here adopted for teaching the Tonic
Sol-fa Notation to those familiar with the Staff, namely, a series
of graded exercises in converting music from one notation into
the other. The easier process of translating from the unfamiliar
into the familiar (from Tonic Sol-fa into Staff) is placed first;
then the converse process of translating from Staff into Tonic
Sol-fa.
CHAPTER II.
TRANSLATE into Staff Notation, treble clef, a crotchet to every
note :-
K; Ep. German Choral.
ſº s d' | a | | n | a | | *
| | | | | | | | | * : *
!
|
2.
KEY F. Rev. Sir F. A. GORE OUSELEY.
a a in . . . . . . . )
| a in a . . . . . . a || |
Translate into Staff Notation, bass clef, a minim to every
note :-
K; A. Bass of Hymn-tune “Norfolk.”
{ |d t, d 1 |s, f, n, s, d d to di |r. I'l Sl f
{|* m, f, s, |n r d t |l s, f, ſ, |r s, d. |
(36)
PRACTICAL, EXERCISES. • 37
Translate into Staff Notation, in vocal score, a crotchet to
every note :-
Kº E. H. J. GAUNTLETT.
m m f s d' t 1 s s m f r d | r r m
d d d d m r f m r d d t d d tº d
S s f m s s t d' s s 1 s m 1 s s
d d r m d s r m tº d f s 11 | f S d
Translate into Tonic Sol-fa Notation, using no other accent
marks than the bar:—
5.
6. Bass of Hymn-tune by HENRY SMART.
7. R. REDHEAD.
8. - R. REDHEAD.
9. Bass of German Choral.
CHAPTER III.
TRANSLATE into Staff Notation, treble clef, a crotchet to a
pulse :-
IO.
KEY G. HANDEL. “Samson.”
|n : S : I’ m : — ; : :t d' : — :-|





38 TONIC SOL-FA.
Translate into Staff Notation, treble clef, a minim to a
pulse:—-
II.
KEY C. Dr. GAUNTLETT.
|n :d |s :m | 1 : 1 |s :— |m| :r' |d it |l :d |d :—|s :-
{d * S |l :m |s :f |n :— |m' :t |d is |l :d |r —ld : — |
Translate into Staff Notation, treble clef, a quaver to a
pulse :—
I2.
KEY A. G. A. MACFARREN. “Joseph.”
#s s:– :m |d :- :s, d:– :- |lº-: | d:– :- [f :-in |n:--|--|
Translate into Staff Notation, treble clef, a quaver to a
pulse:–
I3.
KEY C. 4. G. A. MACFARREN. “The Lady of the Lake.”
{:d s' f :m' |m| :r" :d' d' :t :1 |s :— :— — — ; } : is
{|d :— :— |— :— :d' d' :— :d' |n :— :d' s : – ; : |
Translate into Staff Notation, treble clef, a quaver to a
pulse :—
I4.
KEY G. HANDEL. “Samson.”
|an is : S S if n ºr d fºr if : m |r :— :-|
Translate into Staff Notation, treble clef, a crotchet to a
pulse :-
I5.
KEY G. HANDEL. “Samson.”
.s :d .r nºnfinfrald .r :m if ls f.s.l.s.lfº
|n .s :d' .t |d .s,f :m rd|s |
I6.
KEY C. . MENDELssohn. “Elijah.”
|d :- m |s ,s :d',d' |r :- |r' it :s fif|n : m
PRACTICAL EXERCISES, 39
I7.
KEY C. HAYDN. “Creation.”
| r' m':f.s"|1'.m':f r|drā'infºnidrā'infº s' :- — ; – |
I8.
KEY F. HAYDN. “Creation.”
| m :f :r |d in :- º :- ,t —d':-.t :l.s |f :-snifºrndir:
| t, : rm:s,fºrld :- — |
Translate the following passages into Tonic Sol-fa Notation :-
I9. Dr. BOYCE.
20. TESCHNER.
2 I. TESCHNER.
|
2-Y__º i
*
|
22. E. PROUT.
24.
—a-t—t † j | y |
ZTºrº Q | | – || || Cº | } J |
Aſ T. F.) || || 3 # 2-Jºl Gº { || || || L- } |. TUI
fifty tº an ITT Teº Gº SEZT | T Cº Q-º’ 2-J Tº Gº I
\Sl/ *—25– | Tº S– T | |




'40 TONIC SOL-FA.
26. KRIESSMANN.
27. CLARKE-WHITFELD.
^ 4 it W }
Zººlº' C.D. ——H |
6 Y
\SU Z. e—F-
28. HAYDN, “Creation.”
29. MENDELssoHN. “Elijah.”
3O. 3 RossINI.
3I. HANDEL. “Samson.”







PRACTICAL EXERCISES. 4 I
CHAPTER IV.
TRANSLATE into Staff Notation, a crotchet to a pulse :—
Kºp. HENRY SMART.
: d' tº ::1 se :s |fe :f m :— |-- :r |d
: m f :fe |m :— — :r d :— |t| :— |d
: m| |r! :d' t :ta | 1 : la s : — |f :— m
: d |r :re | n :de |r :f. s — Is – |d
Translate into Tonic Sol-fa Notation :-
Translate into Staff Notation, treble clef, a minim to a
pulse —
e ROSSINI.
33 2->
34. G. A. MACFARREN. Chromatic Sentences.
Ki: G. B. LAMB.
{|d :- |n ife |s :— |s :- || : S |r : I. |d :—
36. -
KEY G. Dr. W. CROTCH.
{ m :— | 1 :fe s : — || r :— | f :m | :r d :—
d :– d :r tº :— | tal:— 1...tº;d d :t, d –


42 ºf ONIC SOL-FA.
Translate into Tonic Sol-fa Notation, by the use of chromatic
notes :- -
37. Dr. W. HAYES,
38. Joseph PRING.
Translate into Staff Notation, keeping the signature of E
throughout :—
39. J. BARNEY.
KEY E. r.s.d.f. C. |B. t. m.1.1.s.
d .1 :s :m .s d'm' :- m' :r" ºr d! : d' : t d .d
d fe:S : mas :- .s :f ºf |m :m' : s lai.la,
m .I’é . In : d'm' :- m' : t ,t |d :d' : mlf ºf
d :d : lad' :- 'd' : s ,s 1 : 1 : t d .d |
t :- it, it it d : —
Sl : - . $1 : Si .S. Sl * —
– f :f f |m -
:- .S. : S. S. |d **sº |
Translate into Tonic Sol-fa Notation, showing the transitions
by the use of bridge-notes:—
4Os B. ST. J. B. Joule.





PRACTICAL EXERCISES. 43
CHAPTER V.
41. WRITE the Time-names of Exercise 29.
42. Write the Time-names of Exercise 31.
CHAPTER VI.
43. Copy the first four measures of the Easter Hymn, printed
at the beginning of Chapter III., and write under the bass the
Tonic Sol-fa Chord-names and positions.
44. Translate into Tonic Sol-fa Notation, Joule's Chant,
Exercise 40, and write under the bass the Tonic Sol-fa Chord-
names and positions, marking also the discords. Note that the
third inversion of a discord is called the d position.
CHAPTER VIII.
TRANSLATE into Staff Notation, treble clef, a minim to a
pulse:—
Kº F. J. KENT.
| :— |t, :d |r :— |s : — fºr ad :t d :— |
| i
k; Ap, lah is F. - J. KENT.
|n :— se : 1 |t. : — | :— |ºtal : Sel |l : — |
Translate into Staff Notation, treble clef, a crotchet to a
pulse —
K&E), an is c. t S. REAY.
{l n :r |d *in :— | n :ba |se : 1 | t rat :--
48.
KEY C, lah is A. HENRY SMART.
{{las|| it sebº:sel t :se m ise, :se t :m |a :--
|
44 TONIC SOL-FA.
Translate into Tonic Sol-fa Notation :-
49. LA TROBE.
50. HANDEL.
CHAPTER IX.
TRANSLATE into Staff Notation, with the signature of E flat
(not C flat) throughout.
5.I.
KEY CŞ. G. A. MACFARREN. “Joseph.”
Ét ...t | :— ,r' :m' | :f : .d' | :- F :n'. }
| :f :d arº :— :Fl' | l' :- in :d d)
f. Fo.
ſº : |r if n n | f is :l |t :--



NOVELLO’S TONIC SOL-FASERIES.
EDITED BY W. G. McNAUGHT.
- d.
215. Auld lang syne ... ...Arr. by Edward Land
II5. Ave Maria tº tº º tº º º ... Henry Smart
59. Ave Maria. S.S.A. (Loreley) Mendelssohn
II. Blow, thou winter wind Sir G. A. Macfarren
35. Come away, Death ... Sir G. A. Macfarren
172. Come hither, all who wish to buy ... Auber
34. Daylight is fading ... ... H. Leslie
I54. Evening (S.S.A.)... s & º e & ºt H. Smart
8. Fairy Song A. Zimmermann
S
78. See how the darkness (Il Trovatore) Verdi
212. See the conqu'ring hero comes... andel
. Shepherds' Chorus (Rosamunde), Schubert
63. Sigh no more, ladies ... Sir G. A. Macfarren
. Silent Night ... ... tº & J. Barnby
I3. Sing lullaby ... ... ... C. E. Horsle
Io9. Sir Patrick Spens © tº gº R. L. de Pearsall
2II. Softly fall the shades of evening J. L. Hatton
79. Soldiers’ Chorus (Il Trovatore) ... Verdi
#
6
5
#
2
2
8
41. Faithful and true (Lohengrin) ... Wagner * | 81. Spinning Chorus (Flying Dutchman) Wagner
195. Fire, fire my heart ... ... Th. Morley I5. Summer morning dº º º ... Henry Smart
206. Gipsy Life ... ... ... R. Schumann # II6, Sweet and low ... ... ... J. Barnby
197. God save the Queen Arr. by Sir Michael Costa I71. Swift as a bird ... Rossini
60. Take, O take those lips away Sir G. Macfarren
. Tell me, where is fancy bred Sir G. Macfarren
80. The Bells of St. Michael's tower Stewart
I92. The corall'd caves of ocean (s.s.A.) H. Smart
. The Cruiskeen Lawn ... Sir R. P. Stewart
. The cuckoo sings ... Sir G. A. Macfarren
Io. The Dream of Home ..., ... E. H. Thorne
. The fairest flower .. Sir R. P. Stewart
95. Good night, beloved ... ... Ciro Pinsuti
201. Great God of Love ... R. L. de Pearsall
40. Hail, bright abode (Tannhäuser) ... Wagner
62. Hark! hark! the lark ... Sir G. A. Macfarren
187. Hark! the lark (S.S.A.) tº a ºn Dr. Cooke
37. Harvest song ... ... ... W. Macfarren
I31. Hear, holy Power tº e º e º e ... Auber
99. Hence, loathed melancholy ... H. Lahee
}
6
4
%
8
;
223. Home ... ... ... Sir J. Benedict I62. The Fay's Song (s.s.A.) ... Henry Smart
IIo, Homeward e tº º tº tº gº ... Henry Leslie 224. The Ferry Maiden ... ... A. R. Gaul
I91. Hope and Memory (S.S.A.) ... H. Smart } | 113. The Hunter's Farewell ... Mendelssohn
96. Humpty Dumpty ... Alfred J. Caldicott # 220. The Miller's wooing ... ... Eaton Faning
218. Hunting Song ... ... Walter Macfarren I2. The Owl ... ... ... ... . E. Silas
105. Huntsman, rest... ... ... .... S. Reay } II4. The Pilgrims ... ... ... Henry Leslie
98. Hushed in Death ... ... Dr. H. Hiles # 200. There is beauty on the mountain Goss
121. In April Time ... ... Ciro Pinsuti I2O. The Rhine-raft Song ... . . ... Ciro Pinsuti
127. It was a lover and his iass ... Josiah Booth
I4. The Sands of Dee ... Sir G. A. Macfarren
97. }: and Jill ... ... Alfred Jº
Ioff. The Silent Land tº tº ſº tº ſº tº A. R. Gaul
!
9
I
163. Jack Frost * * * R. Gaul 124. The Silent Tide ... ... Ciro Pinsuti
I26. Kings and Queens ... ... Ciro Pinsuti I22. The Song to Pan ſº tº ge ... Ciro Pinsuti
I65. La Carita (s.S.A.) & e g & a tº ... Rossini # 123. The Watchword * * g. ... Ciro Pinsuti
130. Lady rise I sweet morn's awaking H. Smart I55. The Water Nymphs (s,s.A.) ... H. Smart
I69. Lay a garland (8 v.) ... R. L. de Pearsall # | 84. The Wine Cup is circling Sir R. P. Stewart
166. Light of my soul (6 v.)... R. L. de Pearsall # I61. The Wood Nymphs (s.s.A.) ... Henry Smart
222. May-day ... * * * * * * tº ſº tº ... Müller 33. The Wreath ... * * * Sir J. Benedict
153. March of the Men of Harlech Arr. by J. Barnby 152. The Wreck of the Hesperus... Dr. H. Hiles
38. More life ... - ... ... ... W. Macfarren I67. To take the air a bonny lass John Farmer
I56. Night sinks on the wave (s.s.A.) H. Smart 59. Vintage Song. (Male Voices) Mendelssohn
17o. Noble Chief, thee we hail ... Glouka # | 198. Warrior's song ... e tº e ... J. L. Hatton
213. Oh! the flowery month of June III. When hands meet ... ... Ciro Pinsuti
William Jackson (Masham) o I 36. When icicles hang ... Sir G. A. Macfarren
186. O happy fair; or the loadstars (S.S.A.) Shield o 1, II2. Who shall win my lady fair? R. L. de Pearsall
164. Old Neptune ... ... ... A. R. Gaul O I; 221. Winter Days ... ... ... A. J. Caldicott
61. O mistress mine ... Sir G. A. Macfarren o Ił 193. With a laugh as we go round (s.s.A.) Bennett
O I
7. Q who will o'er the downs R. L. de Pearsall 125. Would you ask my heart ... Ciro Pinsuti
39. Ragged and torn tº $ tº ... C. A. Macirone o I | 168. Ye mariners of England ... H. H. Pierson
For Sacred Numbers see other List.
}d
}
;
%
;
#
|
§
COMPLETE WORKS.
ACIS AND GALATEA (Ed. by J. Barnby) HANDEL I o | SONG FOR THE NEW, YEA Schum ANN
ANTIGONE ... ... ... MENDELssohn I o | ST. CECILIA’S DAY ... ë e º ... VAN BREE
ATHALIE ... . . . . . . ... MENDELssoHN I o | ST. MARY. MAGDALEN ... ... J. STAINER
CHRISTMAS CAROLS (First Series) THE CREATION 4 * * * * * e s e HAYDN
STAINER & BRAMLEY I o | THE DAUGHTER OF JAIRUS Dr. STAINER
CHRISTUS * * * is tº e ... MENDELssohn o 6 THE WALPURGIS NIGHT MENDELssohn
CRUSADERS ... * * * ... NIELS W. GADE I o | THE HOLY CITY º ºg Ạs & wº A. R. GAUL
ELIJAH ... . ... ... ... MENDELssohn I 6 || THE LAST JUDGMENT ... ... SPOHR
ERL-KING'S DAUGHTER ... NIELs W. GADE o 9 || THE LORD OF THE ISLES HENRY GADsBy
GALLIA ... ... ... s s º CH. Gou NoD o 4 || THE REDEMPTION ... ... CH. Gounod
GOD, THOU ART GREAT ... ... SPOBR o 6 THE SLEEPING BEAUTY... HENRY LAHEE
HEAR MY PRAYER ... ... MENDELssoHN o 3 || THE SONG OF MIRIAM ... ... Sthu BERT
HYMN OF PRAISE (Lobgesang) MENDELssohn I o | THE STABAT MATER * * * ... RossINI
LAUDA SION (Praise Jehovah) MENDELssohn o 9 || THE TRANSIENT AND THE ETERNAL
LORELEY ... . ... * * * ... MENDELssohn O 6 A. Romberg
LORD, HOW LONG (Psalm xiii.) MENDELssohn o 4 || THE WOMAN OF SAMARIA Sir W. S. BENNETT
MAY EEN ... ... Sir W. S. BENNETT I O | TO THE SONS OF ART ... MENDELSSOHN
NOVELLO'S SCHOOL ROUND BOOK ... O 6 THIRTEEN TWO-PART SONGS Ditto
REQUIEM MAss ... ... ... MoZART I o
:
NOVELLO, EWER AND Co.'s MUSIC PRIMERs.
~ Edited by Dr. STAINER, -
A DICTIONARY
MUSICAL TERMS,

DR. STAINER & W. A. BARRETT.
(Compressed from the Imperial 8vo Edition by K. M. ROSS.)
r .g
ONE SHILLING; PAPER BOARDS, 1s. 6D.
OPINIONS OF THE PRESS.
“A careful and judicious abridgment of the larger work, and will be found
useful to those by whom the original is inaccessible.”—Athenaeum.
“A most serviceable abridgment of Stainer and Barrett's well-known Dic-
tionary. Few, if any, words that the student can wish explained are absent
from this little volume, which should be in every amateur's library.”—Daily
Telegraph.
“Of even more general utility is “Musical Terms.” As a dictionary of re-
ference this little volume should be on the table or shelf of every musician.”—
Graphic.
“Most of the special information contained in the large volume has been re-
produced in this shilling pamphlet, the compression having been judiciously
made by Mr. K. M. Ross.”—Illustrated London News. .
“In its condensed form the work contains a mass of information which is
rarely to be met with in books of the class. It is particularly copious in German
terms, which are now becoming of nearly as much use as the Italian.”—British
Mail. r
“The musical learner will find much useful information on the principles of
music and on many technicalities of the art only to be found in high-priced
3.
productions.”—Perthshire Advertiser.
“No individual with any pretensions to a musical taste should be without this
excellent book of reference.”—Perth Citizen.
“An important addition is made to Messrs. Novello's series of ‘Music Primers'
in the shape of an abridgment, or rather compression, of Messrs. Stainer and
Barrett's well-known “Dictionary of Musical Terms.' That work has ranked as
a standard one ever since its publication, and Mr. K. M. Ross, who has performed
the task of reducing it to the slim dimensions of its ‘primer’ form, has executed
the business with evident care and intelligence. For its dimensions, this little
book is unquestionably the best dictionary of musical terms in our language.”—
The Scotsman. -
“The issue of this abridgment of Messrs. Stainer and Barrett's dictionary
was a decidedly “happy thought.” Many amateurs cannot well afford the price
of the complete work, while many others find its varied contents, if not super-
fluous in themselves, an embarras des richesses as part of a book of reference for
words in common use. The present issue exactly meets the wants of the many.
Its pages are crowded with succinct definitions of musical terminology, hardly a
word being omitted. . . . . . No other work of the kind conveys so much
accurate information within the same compass. The little book is the best
shilling's worth in all musical literature.”—The Musical Times. -
LONDON & NEW YORK: NOVELLO, EWER & CO,
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