MUSIC IN THE PUBLIC SCHOOLS NEWTON GINN AND COMPANY mo NL8 Newton - Southern Branch of the University of California Los Angeles Form L 1 10 UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. JAN 3 1 1952 dEC 3 i 13 2 9 1955 8 JAN 1953 Form L9-50jn-ll,'50 (2554)444 MUSIC IN THE PUBLIC SCHOOLS A MANUAL OF SUGGESTIONS FOR TEACHERS BY E. W. NEWTON AUTHOR OF "INTRODUCTORY SIGHT-SINGING MELODIES' 46072 GINN AND COMPANY BOSTON NEW YORK CHICAGO LONDON ATLANTA DALLAS COLUMBUS SAN FRANCISCO COPYRIGHT, 1909 BY E. W. NEWTON ALL RIGHTS RESERVED 918.9 gfct gtbemeum GINN AND COMPANY PRO- PRIETORS BOSTON U.S.A. rvrr N PKEFACE Music in the public schools is a serious factor in the mental, importance of the subject v; physical, and emotional development of the child, and is as impor- ^ tant in character molding as any other subject in the school cur- riculum. The four essentials of this subject are conceptions of The four , . . . . . , , . . , i . essentials good music, voice training, sight singing, and musical interpreta- tion, and in this manual they are developed side by side for each of the eight years of elementary school life. This development is 1 1 presented in the form of weekly outlines, by means of which Definite X results commensurate with the importance and dignity of the outlines subject may be more easily obtained. These outlines are brief, definite, and free from irrelevant matter, and while they may be used advantageously with any series of music books, they are j designed to be used with the New Educational Music Course. \ No special attention has been paid to written work in music, as ^ it is more or less beyond the scope of this book. The New Educational Music Readers furnish ideal material for The New Educational music education in the public schools, and are adapted for study, Music course page after page, in consecutive order. Teachers who find it advisable or desirable to vary the consecu- tive order of presentation, to give special attention to one problem rather than another, or to carry on several lines of study simul- taneously, will find that the grouping of the material in these readers makes such adjustment an easy matter. While all good methods of teaching have the same underlying Adaptation of J & this method principles, yet they may differ in detail. This manual simply to any school J . r J environment presents one method, with occasional alternatives, which has proved eminently successful in teaching the New Educational Music Course in various public schools. It is based upon the fundamentals of music education, which are presented in the "Teachers' Edition for Elementary Grades," under the head of iv MUSIC IN THE PUBLIC SCHOOLS "Vocal Music in the Elementary Schools." That it may be a source of the greatest helpfulness to the teacher this method is offered in the spirit of suggestion only. The resourceful teacher will curtail, amplify, if necessary omit, or otherwise change any feature as circumstances may require. Yet as a whole it will be found a satisfactory working basis for genuinely successful results. Acknowiedg- The author wishes to acknowledge his indebtedness to Mr. Ealph L. Baldwin, Music Supervisor in the Public Schools, Hart- ford, Connecticut, to the late Mr. W. C. Hoff, Music Director for fourteen years in the Public Schools, Yonkers, New York, to other prominent musicians, music directors, supervisors and teach- ers of music, besides school superintendents, principals, and grade teachers, all of whom have assisted materially in the prepara- tion of this work. CONTENTS PAGB FIRST YEAR SYNOPSIS 1 FIRST-YEAR PLAN FOR THIRTY-SIX WEEKS' WORK .... 3 FIRST-YEAR SONG PROGRAMMES 40 SECOND YEAR SYNOPSIS 44 SECOND-YEAR PLAN FOR THIRTY-SIX WEEKS' WORK .... 46 SECOND-YEAR SONJJ-PROGRAMMES 66 THIRD YEAR SYNOPSIS 69 THIRD-YEAR PLAN FOR THIRTY-SIX WEEKS' WORK .... 71 THIRD-YEAR SONG PROGRAMMES 89 FOURTH Y\AR SYNOPSIS 92 FOURTH-YEAR PLAN FOR THIRTY-SIX WEEKS' WORK ... 94 FOURTH-YFAR SONG PROGRAMMES 107 FIFTH YEAR SYNOPSIS 110 FIFTH-YEAR PLAN FOR THIRTY-SIX WEEKS' WORK .... 112 FIFTHrYEAR SONG PROGRAMMES 126 SIXTH YEAR SYNOPSIS 129 SIXTH-YEAR^ PLAN FOR THIRTY-SIX WEEKS* WORK .... 131 8IXTH-/EAR SONG PROGRAMMES . 142 SEVENTH YEAR SYNOPSIS 145 SEVENTH-YEAR PLAN FOR THIRTY-SIX WEEKS' WORK . . . 147 SEVENTH-YEAR SONG PROGRAMMES 159 EIGHTH YEAR SYNOPSIS 162 GENERAL SUGGESTIONS 164 EIGHTH-YEAR SONG PROGRAMMES 165 SUMMARY OF MELODIC INTERVALS OR TUNE IN MUSIC 172 MELODIC PRESENTATION OF INTERVALS BY SCALE NAMES . 174 SCALE BUILDING AND RESULTING SIGNATURES 178 V vi MUSIC IN THE PUBLIC SCHOOLS PAGE SUMMARY OF RHYTHMIC TYPES, FIGURES, AND GROUP BEATS, OR TIME IN MUSIC 182 MONOTONE PRESENTATION OF THE RHYTHMIC TYPES, FIGURES, AND GROUP BEATS 186 SCALE PRESENTATION OF RHYTHMIC TYPES, FIGURES, AND GROUP BEATS IN COMBINATION 189 GLOSSARY TERMS OF NOTATION 199 TERMS AND SIGNS OF EXPRESSION 205 NOTES . 207 MUSIC IN THE PUBLIC SCHOOLS FIRST YEAR SYNOPSIS Introduction Tones and phrases taught by means of imitation, 1. Treatment of monotones, 2. Partial monotones, 8. Complete monotones, 4. Rote Singing How to teach a rote song, 5, 6. Rote songs, 5-165. See also N the "Teachers' Edition for Elementary Grades," pages 1-37. Voice Training Breathing Exercises I, 7 ; IT, ,61 ; III, 129. Introductory vowel sounds, oo. 8 : 5, 25 ; a. 29 ; e. 96. Open throat, 65. Tone direction, 104. Vocalization of songs, exercise melodies, and voice drills. t Preparation for Sight Singing Tune. Scale, 34. Syllables and scale names, 36. Oral and staff dicta- tion in melodic progression of the inactive and active scale tones, and of five very frequent intervals, 5-8, 5-3, 1-3, 2-5, 2-7, all in seven different pitches and staff representations, each interval introduced in each pitch and staff representation by local preparation, 35-68. Staff reading, covering the same ground as oral and staff dictation, 75-103. Time. The beat, beat accent, 108. Type One, 109. Rhythmic dictation, 111. Double type, 119. The measure, 125. Notation. The staff, 72. The bar and the G clef, 78. The check mark, 74. The double bar, 76. The leger line, 76, and signs indicated above in Tune and Time. NOTE. The heavy-faced figures refer to the section numbers beginning on page 3. 1 2 MUSIC IN THE PUBLIC SCHOOLS Sight Singing Employing conjointly the elements of Tune, Time, and Notation, which are developed separately in "Preparation for Sight Singing." Musical Interpretation All material in this year's work musically interpreted by means of imitation and suggestion, 10 and following sections. Musical and Poetic Conceptions Musical and poetic conceptions are unconsciously acquired by th~ use of simple songs, voice drills, and exercise melodies in which there re the essentials of good melody, namely, coherency, unity of design a com- plete melodic sentence, variety in tune, rhythm, and suggested harmony, purity in progression, completeness in the suggestion of its harmony so that piano accompaniment is not necessary, and musical content ; also by the use of simple songs in which there are the essentials of good child-song poetry, namely, subject-matter interesting and appropriate to childhood, lines characterized by poetic feeling, euphony in the flow of syllables, a uniform number of syllables and places of accent in all stanzas of a strophe song, a mood and spirit kindred with the music, and coincidence with the music in accent, phrasing, and climax. A musical representation of twenty composers is introduced, the more important of whom are Frederic Field Bullard, Myles B. Foster, W. W. Gilchrist, Cornelius Gurlitt, Dr. J. Mainzer, Schubert, Schumann, and W. Taubert, and twelve poets in song, the more important of whom are Alice E. Allen, M. L. Baum, George Cooper, Emily Huntington Miller, and Celia Standish. The different kinds of song found in this and the following grades are songs of nature, devotional and ethical songs, patriotic, flag, and hero songs, marching and action songs, waltz songs, humorous and facetious songs, songs of work and play, evening and night songs, occasional songs, songs of the seasons, songs of poetic fancy, narrative and descriptive songs, and mother and home songs. Suggested song programmes, 174-178. Material The only books needed for this grade are for the teachers' use. They comprise " Music in the Public Schools " ; the " Teachers' Edition for Elementary Grades," in which are found for this year's work twenty- nine voice drills and twenty-nine rote songs ; and the " Introductory Sight-Singing Melodies," in which are found seventy-two melodies to be placed on the blackboard for the beginning of sight singing. FIKST YEAR PLAN FOE THIRTY-SIX WEEKS' WORK FIRST WEEK ni 1. Introduction. The teacher will first ascertain which members of the class entering the first grade can imitate correctly what is sung to them. To do this she will proceed as follows : On the pitch of a l hum a long tone. Ask the class to imitate it. Tones and On the pitch of 6 hum a long tone. Ask the class to imitate it. taught by imitation Repeat with the pitch of b, then of a. With the syllable loo sing softly the following phrase. Ask the class to imitate it. Sing this phrase softly with the words, K Come, now, let us sing," and require the class to imitate it. By individual trials ascertain which ones- imitate correctly. 2. A large proportion of the class will probably sing the above Treatment of phrase correctly. Those who do not are called monotones. As a rule,' monotones sing incorrectly because they hear incorrectly. They lack acuteness of hearing because they have never learned to listen attentively. 1 The pitch of once-marked a (a) on the staff is The pitches from c to f on the staff are ^ g a 3 MUSIC IN THE PUBLIC SCHOOLS Individual work Partial mono- tones Complete monotones By individual trials discover which members of the class imi- tate correctly and which are monotones. Call the former the " singing section " and the latter the " listening section." 3. Ask the "listening section" to listen carefully while the "singing section" sing the above phrase several times. Then ask individual members of the " listening section " to try it, with the " singing section " and alone. Eepeat the trial with another phrase such as Loo and in turn with others such as loo -gj- Loo loo loo Loo loo loo Loo loo loo loo loo loo In this and succeeding lessons continue the plan of requiring each of the " listening section " to listen carefully and to make attempts at correct imitation in concert with the " singing section " and alone. As fast as the children become accurate in their imi- tation allow them to join the " singing section." After several lessons the teacher will discover that many of the monotones are rapidly gaining accuracy of pitch, while a few still cling to the " growly " tones. For more specific treatment the teacher will bear in mind that the " listening section " is made up of two divisions : partial monotones, who sing the general con- tour of a melody but not in tune ; and complete monotones, who sing on one tone, or on one tone with slight variations. By far the greater number of monotones are " partial " and yield readily to the treatment suggested above. Complete monotones require much more time and patience in their treatment. 4. Ascertain by individual trial in the following manner which ones of the " listening section " are complete monotones. FIRST YEAR 5 On the pitch of g hum a long tone, then another on the pitch of Voice Training. 2 Teach Breathing Exercise 1 3 as follows : Direct the children to stand erect, their heels together, hands on hips, with fingers front. With closed mouth inhale slowly, silently, and evenly, while four slow beats (metronome 60, or at the rate of sixty beats per minute) are counted. When a full breath is properly taken, the chest, ribs, and abdomen will be distended. The shoulders must not be raised. Retain the breath without allowing the slightest escape, while two slow beats are counted ; ' then exhale through the nostrils very gradually and evenly, while four slow beats are counted. 1 The music set to each line of the poem is usually a phrase. 2 "The Training of Children's Voices," by T. Maskell Hardy, is an excellent book for every teacher. 8 The value of breathing exercises is fully appreciated by skillful music teachers. FIRST YEAR 7 During all breathing exercises let the room be thoroughly ventilated. 8. Ask the class to pronounce the word " food," then the vowel introductory , i ,1 -i u i vowel sound sound oo, and on the pitch ot g to sing oo. 55 9. Eequire the practice of Voice Drill I, page 1, "Teachers' Edition for Elementary Grades," in the following manner : sing the first phrase, let the class imitate it ; then sing the second phrase, let the class imitate it, and so continue with the entire drill. 10. Musical Interpretation. Require the children to sing softly By imitation the melody of the rote song, " The Shower," using the syllable tfon 8u< loo for each tone. Discuss with the children the meaning of the poem, and through it impart the kindred spirit of the music. This is the basis of interpretation at this stage, and will greatly assist the children in rendering the song with the appropriate tempo, dynamics, and feeling. Children are inclined to sing too slowly. Keep them up to the tempo. Correct obvious faults of tone production and pronunciation as they occur. Insist at all times on a clear, distinct enunciation of the words. Never allow shouting or forcing of the registers (see " Teachers' Edition for Elementary Grades," page xi). Insist on a soft tone. Give as much time as possible to individual work, encouraging each child to sing alone. Only when some proficiency in musical interpretation has been attained should piano accompaniments be used. SECOND WEEK 11. While each weekly lesson is here given under separate subject headings, " Rote Singing," " Voice Training," etc., it is expected that as the lessons progress, these separate subjects will be more or less blended in teaching. 12. Rote Singing. Give a review of Rote Song I. Teach, as explained in 5, 6, the Rote Songs II, " Stars and Flowers," and III, " Indoor Play," pages 2 and 3, " Teachers' Edition for Elemen- tary Grades." Continue the individual work with the "listening section." NOTE. Those teachers who do not feel the need of so much rote singing as is here suggested may omit songs here and there without disturbing seriously the logical sequence of the course. 8 MUSIC IN THE PUBLIC SCHOOLS 13. Voice Training. Let the class practice Breathing Exercise I, as given in 7. As explained in 9, let the class sing Voice Drills II and III, pages 2 and 3, " Teachers' Edition for Elementary Grades." 14. Musical Interpretation. By means of imitation and sugges- tion, 10, teach the musical interpretation of " Stars and Flowers " and " Indoor Play." Eequire the children to sing softly. If from lack of time it is found necessary to curtail the amount of work here laid out, teach only the first stanza of each rote song. THIRD WEEK 15. Rote Singing. Give a review of any preceding rote song. Teach, as explained in 5, 6, Eote Song IV, " Lady Goldenrod," and Eote Song V, " Little Gipsy Dandelion." Continue the indi- vidual work with the " listening section." 16. Voice Training. Let the class practice Breathing Exercise I, as given in 7. As explained in 9, let the class sing Voice Drills IV and V. 17. Musical Interpretation. By means of imitation and sugges- tion, 10, teach the musical interpretation of "Lady Goldenrod" and " Little Gipsy Dandelion." Eequire the children to sing softly. FOURTH WEEK / 18. Voice Training. Introduce each music lesson with a breath- ing exercise. Let the class practice Breathing Exercise I. Let the class sing Voice Drills VI and VII. 19. Rote Singing. Give a review of any preceding rote song. Teach Eote Songs VI, " A Disappointment," and VII, " Song Story A Party." Continue the individual work with the " listening section." 20. Musical Interpretation. By means of .suggestion and imi- tation teach the musical interpretation of "A Disappointment" and " Song Story A Party." Eequire the children to sing softly and up to the tempo. FIFTH WEEK 21. Voice Training. Let the class practice Breathing Exercise I and sing Voice Drills VIII and IX. FIEST YEAR 9 22. Rote Singing. Give a review of any preceding rote song. Teach Eote Songs VIII, " That 's What I 'd Do," and IX, " Boat- ing." Continue the individual work with the " listening section." 23. Musical Interpretation. By means of imitation and sugges- tion teach the musical interpretation of " That 's What I 'd Do " and M Boating." Eequire the children to sing softly and up to the tempo. SIXTH WEEK 24. Voice Training. Let the class practice Breathing Exercise I and sing Voice Drills X and XI. 25. Ask the class to pronounce the word "go," then the vowel introductory ,,,.,._._ . vowel sound o sound 6, and on the pitch ot g to sing oo 5 ; then let them sing Voice Drill XII. 26. Rote Singing. Give a review of any preceding rote song. Teach Eote Songs X, " Swinging," and XI, " Nature's Good-Night." Continue the individual work with the " listening section." 27. Musical Interpretation. By means of imitation and sugges- tion teach the musical interpretation of " Swinging " and " Nature's Good-Night." Eequire the children to sing softly and up to the tempo. SEVENTH WEEK 28. Voice Training. Let the class practice Breathing Exercise I and sing Voice Drills XIII and XIV. 29. Ask the class to pronounce the word "father," then the introductory _ 11 vowel sound S vowel sound a, and on the pitch of g to sing oo 6 a ; then let them sing Voice Drills XV and XVI. 30. Rote Singing. Give a review of any preceding rote song. Teach Eote Songs XII, " Song Story Brownies' Umbrellas," and XIII, "The Dream Man." Eote Song XIV, "Indian Summer," may be substituted, added, or omitted. Continue the individual work with the " listening section." 31. Musical Interpretation. By means of suggestion and imi- tation teach the musical interpretation of " Song Story Brownies' Umbrellas," " The Dream Man," and " Indian Summer." Eequire the children to sing softly and up to the tempo. 10 MUSIC IN THE PUBLIC SCHOOLS EIGHTH WEEK 32. Voice Training. Let the class practice Breathing Exercise I. 33. Rote Singing. Teach the rote song " See-Saw " entire. Continue the individual work with the "listening section." 34. Preparation for Sight Singing. Teach the scale as follows : Ask the class to repeat the last two phrases of the rote song " See-Saw," that begin do, ti, la, etc. Inform them that they have sung the. scale downward and upward. Eequire the class to sing the scale downward and upward in slow tempo and with equal emphasis on all tones. Otai dictation 35. Begin oral dictation as follows : On the pitch of d sing the scale upward and ask the class to use the speaking voice and count each tone, thus : Teacher sings do, class counts " 1 " ; teacher sings re, class counts " 2 " ; teacher sings mi, class counts " 3 " ; teacher sings fa, class counts " 4 " ; teacher sings sol, class counts " 5 " ; teacher sings la, class counts " 6 " ; teacher sings ti, class counts " 7 " ; teacher sings do, class counts "8." Now, instead of singing each tone and counting it afterwards, let the class count each tone first and the teacher sing it afterwards, as follows : Class counts " 1," teacher sings do; class counts "2," teacher sings re, and so on until the scale upward is completed. Now, let the teacher count and the class sing softly as follows : Teacher counts " 1," class sings do; teacher counts " 2," class sings re, and so on until the scale upward is completed. Let the teacher now count or orally dictate " 8," class sings do; teacher dictates " 7," class sings ti ; teacher dictates " 6," class sings la, and so on downward until the scale is completed. This process is called " oral dictation." syllables and 36. Inform the class that the singing names of tones such as do, ti, la, etc., are "syllables," and that the talking names of tones, such as " 8, 7, 6," etc., are " scale names." 37. Give the pitch d and dictate orally the following, one scale name at a time, while the children respond by singing the corre- sponding syllable and correct tone : FIRST YEAR 11 8, 7, 6,5,4,3, 2, 1 1, 2, 3, 4, 5, 6, 7, 8 Dictate the same to each child in the class and record the number who can sing alone the scale correctly from oral dictation. Insist that the lower tones of the scale ascending be sung very softly. 38. Musical Interpretation. By imitation and suggestion teach the musical interpretation of " See-Saw." Require the children to sing" softly and up to the tempo. NINTH WEEK 39. Voice Training. Let the class practice Breathing Exercise I. Give a review of Voice Drill XVI. 40. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. Eequire the children to sing softly and up to the tempo. Continue the individual work with the " listening section." 41. Preparation for Sight Singing. Give the pitch of e; dictate orally 8, 7, 6, 5, 4, 3, 2, 1, one scale name at a time, while the class respond with the corresponding syllable and correct tone. 42. Begin staff dictation as follows: On the blackboard make staff dicta- the following staff representation 1 for the pitch of e (or efr). Give the pitch of e. Point to the first note head, and require the class to sing do correctly. Point to the second note head, and the class should sing ti. Point to the third note head, and the class should sing la. So continue till the exercise 8, 7, 6, 5, 4, 3, 2, 1, is completed. This is called " staff dictation." At this stage say nothing to the class about the names of pitches on the staff. If any explanation is needed point to the staff representation and say, "This is a picture of the scale." 1 In place of the scale-staff representation here used some teachers use the scale ladder. 12 MUSIC IN THE PUBLIC SCHOOLS 43. Give the pitch of d, aud in like manner dictate orally, and then from the staff, 8, 7, 6, 5, 4, 3, 2, 1, using the following staff representation for the pitch of d. = m * w 8 44. Give the pitch of c, and in like manner dictate orally, and then from the staff, 8, 7, 6, 5, 4, 3, 2, 1, using the following staff representation for the pitch of c. 8 45. Give the pitch of bb, and in like manner dictate orally, and then from the staff, 1, 1, 7, 6, 5, 4, 3, and 1, 2, 3, 2, 1, 7, 1, using the following staff representation for the pitch of bb. I 46. The teacher will note that in the keys of Bb, A, At?, G, and F scale progressions descending from the tonic pitches bb, a, ab, g, and f respec- tively, are begun with 1 instead of 8, and that the tones below the tonic are indicated by a line below the scale name, thus : 1, 7, 6, 5, 6, 7, 1. This should be dictated, "One, seven below, six below," etc. 47. Give the pitch of a, and in like manner dictate orally, and then from the staff, 1, 1, 7, 6, 5, 4, 3, and ], 2, 3, 4, 3, 2, 1, using the following staff representation for the pitch of a (or ab). 1 48. Give the pitch of g, and in like manner dictate orally, and then from the staff, 1, 7, 6, 5_, 6, 7, 1, and 1, 2, 3, 4, 3", 2, 1, using the following staff representation for the pitch of g. FIRST YEAR 13 49. Give the pitch of f, and in like manner dictate orally, and then from the staff, 1, 7, 6, 5, 6, 7, 1, and 1, 2, 3, 4, 3, 2, 1, using the following staff representation for the pitch of f. TENTH WEEK 50. Voice Training. Let the class practice Breathing Exercise I and sing Voice Drill XVII. 51. Rote Singing. Give a review of any preceding rote song. Teach Eote Song XVII, " Where do all the Daisies Go ?" Continue the individual work with the " listening section." 52. Preparation for Sight Singing. Dictate orally and from the staff the melodic phrases given below. For manner of dictating and staff representation for each pitch see 42-45. These phrases, besides furnishing graded material preparatory for sight singing, also present simple melodic characteristics of inactive and active scale tones. 1 Pitch of i 87654321 8876543 878 Pitch of! 87654321 8876543 878 Pitch of! 87654321 8765543 8877878 Pitch of bb 1765543 1234321 1177171 53. Musical Interpretation. By means of imitation and sugges- tion teach the musical interpretation of " Where do all the Daisies Go ? " Require the children to sing softly and up to the tempo. ELEVENTH WEEK 54. Voice Training. Let the class practice Breathing Exercise L Give a review of Voice Drill XVII. 1 The inactive scale tones are 1, 3, 5, and 8, and are so called because they occupy the center of harmonic repose, and are therefore inert, not moving except in obedience to some outward impulse. The active scale tones are 2, 4, 6, and 7, and are so called because they lie outside of this circle of harmonic repose, and are urged by their inherent impulse to regain the condition of rest (see page 6, "Exercises in Melody-Writing," by Percy Goetschius, Mus. Doc.). 14 MUSIC IN THE PUBLIC SCHOOLS 55. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. Eequire the children to sing softly and up to the tempo. Continue the individual work with the " listen- ing section." 56. Preparation for Sight Singing. Dictate orally, and from the staff, the melodic phrases given below. For manner of dictat- ing and staff representation for each pitch see 42-49. These phrases, besides furnishing graded material preparatory for sight singing, also present simple melodic characteristics of inactive and active scale tones, and introduce the interval 58 in melodic pro- gression. Pitch of a 1176543 1234321 1121771 Pitch of g 1765671 1234543 1121771 Pitch of f 1765671 1234543 1232171 Pitch of I 8 8 7 6 5 5 8 1 Pitch of! 8876558 Pitch of! 8765658 Pitch off 1765651 Drill individually. Insist that the children sing softly. See Voice Drill XV. TWELFTH WEEK 57. Voice Training. Let the class practice Breathing Exercise I and sing Voice Drill XVIII. 58. Rote Singing. Give a review of any preceding rote song. Teach Eote Song XVIII, " The Water Mill." Continue the work with the w listening section." 59. Preparation for Sight Singing. Dictate orally and from the staff, as shown in 42-49, the melodic phrases given below. The interval 1-3 is introduced in melodic progression. Pitch of a 1765151 Pitch of g 1765151 Pitch Off 176.5551 Pitch of e 8765443 1 Observe that in the exercises given for the oral and staff dictation of interval work the scale names in the large type indicate the particular interval to be taught. FIRST YEAR 15 Pitch Of 8765443 Pitch ofl 8565443 Pitch Of I 1512321 Htch Of 5 1565671 Pitch Of g 1565671 Pitch off 1765671 Pitch Of 8543221 Pitch Of d 8543221 Pitch of 6 1231221 Pitch of I 1 2 3 1 2 2 i 60. Musical Interpretation. By means of imitation and sugges- tion teach the musical interpretation of " The Water Mill." THIRTEENTH WEEK 61. Voice Training. Teach Breathing Exercise II. This is the Breathing same as Breathing Exercise I, 7, with this exception, that instead of allowing the breath to escape through the nostrils, the children exhale silently through the lips, formed as in pronouncing the syllable oo. Give a review of Voice Drill XVIII. 62. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. 63. Have a repertoire of songs which the children will always take delight in rendering expressively (see First- Year Suggestive Song Programmes, 174-178). Continue the individual work with the " listening section " until this section is merged in the " singing section." 64. Preparation for Sight Singing. Dictate orally and from the interval* 5~3 *~5 staff, as shown in 42-49, the melodic phrases given below. The intervals 5-3 and 2-5 are introduced in a melodic environment. Pitch of a 1233121 Pitch of g 1233121 Pitch off Ii71231 Pitch of 6b 1 1 2 3 1 2 i Pitch of d 1231231 Pitch of c 855435s Pitch of bt> i 5 5 4 3 5 1 Pitch of a 1234533 Pitch of g 1234531 Pitch off 1334553 Pitch of 5 i33453i Pitch of d i i 3 4 5 3 i Pitch of! 85432531 Pitch of bb i 5 4 3 2 5 3 Pitch of a 1353253 J.6 MUSIC IN THE PUBLIC SCHOOLS FOURTEENTH WEEK 65. Voice Training. Let the class practice Breathing Exer- cise II. Teach the children how to sing with the open throat by getting them to yawn, or to form the throat as for yawning, before commencing to sing, and to keep the same position while singing. This act will raise the soft palate from the tongue, while at the same time the mouth and the back of the throat will form together a resonating chamber from which the tone issues broad and open, and free from nasal quality. Do not confuse the children with explanations of vocal processes. Let the class sing Voice Drill XIX. 66. Rote Singing. Give a review of any preceding rote song. Teach Rote Song XIX, " Morning Song." 67. Preparation for Sight Singing. Dictate orally and from the staff the melodic phrases given below. The interval of 2-7_ is introduced in melodic environment. Pitch of g 1353253 Pitch off 335325s Pitch of eb 3 5 3 i 2 5 3 Pitch of I 85332531 Pitch of 8853253 Pitch of bb i i 7 i 2 7 i Pitch of a 5 3 2 i 7 2 i Pitch of g 3 i 2 i 7 2 i Pitch of f 3 3 2 i 7 2 i Pitch of e 3 i 7 i 2 7 i Pitch of d i 3 2 i 7 2 i Pitch of 8553221 Pitch ofbb5i3i27i Pitch of a 5325231 Pitch Of g 3543271 Pitch Off 5135271 68. Dictate orally and from the staff the following melodies : Pitch of S, eb, or d 853125358531271 f Pitch of 8535253585832711 1 Pitch of bb 153525351513271/ Pitch of a, ab, g, or f 135271 Require the class to memorize these three melodies, as each introduces the five intervals in this year's work, 5-8, 3-5, 1-3, 2-5, 2-7. FIRST YEAR 17 69. Musical Interpretation. By means of imitation and sug- gestion teach the musical interpretation of " Morning Song." Al- ways require the children to sing softly and up to the tempo. FIFTEENTH WEEK 70. Voice Training. Let the class practice Breathing Exer- cise II. Allow no singing without the open throat (see 65). Give a review of Voice Drill XIX. 71. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. 72. Preparation for Sight Singing. Teach the staff as follows, On the blackboard draw a line, thus : Name it " the first line." Let the class repeat. Add another line, above the first, thus : Let the class name it " the second line," and so proceed with the third, fourth, and fifth lines. Begin again. Draw the first two lines of the staff, thus : Point to the intervening space, and name it " the first space." Let the class repeat. Add another line above these two lines, thus : Let the class name the added space "the second space," and so proceed until the fourth space is added and named. Name these five lines and four spaces ''the staff." Drill the class until they can readily name any line or space of the staff indicated by the pointer. 73. At the beginning of the staff make a bar and a G clef, The bar The G clef thus : I Name them " the bar " and " the G clef," and let the class repeat the names. 18 MUSIC IN THE PUBLIC SCHOOLS The check mark 74. State that the check mark, w x ," shows on what line or space of the staff do is located. Place the following on the board : Ask the class, w On what line or space is do ? staff reading 75. Begin staff reading as follows: Place on the blackboard (see How to copy Music on the Blackboard, 134) the staff, the G clef, and the check mark in the fourth space. Give the pitch of It?. Write on the staff the first note head of the first exercise given below, and ask the class to sing. They should respond with the syllable do. Then write the second note head and ask the class to sing. They should respond with the syllable ti. So proceed, one syllable at a time, until the exercise is completed. Then give the other exercises in a similar manner. 76. The exercises in this section, besides furnishing graded material preparatory for sight singing, also present simple melodic characteristics of inactive and active scale tones. The double bar The leger line When the double bar is placed at the end of the first exercise name it " the double bar " and let the class repeat the name. State that the short additional line below the staff in the above exercise is called a leger line. ** -m- ~~+- m 0- FIRST YEAR 19 SIXTEENTH WEEK 77. Voice Training. Let the class practice Breathing Exercise II and the open throat. Let them sing Voice Drill XX. 78. Rote Singing. Teach Rote Song XX, " Asleep and Awake." 79. Preparation for Sight Singing. Place on the blackboard for staff reading the exercises below, in the following manner. After making the staff, clef, and check mark of the first exercise, give the pitch of g, write the first and second note heads, and ask the class to sing. They respond with the syllables do, ti. Proceed in the same manner with the rest of the exercise, grouping the note heads so that they will be sung, la, sol, then la, ti, and do. Do not point to the note heads. 80. These exercises, besides furnishing graded material prepara- interval 5-8 tory for sight singing, also present simple melodic characteristics of inactive and active scale tones, and introduce the interval 5-8 in melodic progression. -V-+- MUSIC IN THE PUBLIC SCHOOLS 81. Musical Interpretation. By means of imitation and sug- gestion teach the musical interpretation of " Asleep and Awake." SEVENTEENTH WEEK 82. Voice Training. Let the class practice Breathing Exercise II and the open throat. Give a review of Voice Drill XX. 83. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. See First- Year Suggestive Song Pro- grammes, 174178. 84. Preparation for Sight Singing. Place on the blackboard for staff reading the exercises given below, in the following manner. After making the staff, G clef, and check mark of the first exer- cise give the pitch of bb, write in the first four note heads, and ask the class to sing. They respond with the syllables do, ti, la, sol. Then write the last three note heads and ask the class to sing. They respond with the syllables do, sol, do. Do not point to the note heads. interval 1-3 85. The interval 13 is introduced in melodic progression. (--jjt- CCn eh x ^ ^ - ^ ^ * r j 1 1 V xT \-ffK~rm m * * * m ESEE g ** m * ~ 1 1 Jr (fo x* * v tfT\ \e a m m 1 SSJz ^ \ \ H2 x w * w m I y i i y [ L vf /f a 9 m 1 4^1^ x ro ^ ^ a m \(\\ v a a 9 \ \\). x ^ * * 1 SS2 x *- * ^=1 FIRST YEAR 21 ^^-, EIGHTEENTH WEEK 86. Voice Training. Let the class practice Breathing Exercise II and the open throat. Let the class sing Voice Drill XXI. 87. Rote Singing. Teach Rote Song XXI, " Peaceful Night." 88. Preparatory for Sight Singing. Place on the blackboard for staff reading the exercises given below, in the following manner. After making the staff, G clef, and check mark of the first exercise give the pitch of c, write the entire seven note heads, and ask the class to sing. They respond with the syllables do, re, mi, do, re, mi, do. Write the exercise slowly and in plain view of each member of the class, so that the children may read it silently while it is being written. Do not point to the note heads. 89. The interval 53 is introduced in melodic progression. interval 5-3 22 MUSIC IN THE PUBLIC SCHOOLS -0 m m 90. Musical Interpretation. By means of imitation and sugges- tion teach the musical interpretation of " Peaceful Night." Always require the children to sing softly and up to the tempo. NINETEENTH WEEK 91. Voice Training. Let the class practice Breathing Exercise II and the open throat. Give a review of Voice Drill XXI. 92. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. See First- Year Suggestive Song Pro- grammes, 174-178. 93. Preparatory for Sight Singing. Place on the blackboard for staff reading the exercises given below, in the same manner as described in 88. interval a-7 94. The interval 2-7 is introduced in melodic progression. FIRST YEAR 23 -*0 * 0- y _ CCS X 9 V *^p S32 * TWENTIETH WEEK 95. Voice Training. Let the class practice Breathing Exercise II and the open throat-. 96. Ask the class to pronounce "her," then the vowel sound introductory e, and on the pitch of g to sing oo-6-a-e. Let the class sing Voice v Drill XXII. 97. Rote Singing. Teach the Rote Song XXII, " Song Story A Snowflake." 98. Preparatory for Sight Singing. Place on the blackboard for staff reading the exercises given below, in the same manner as directed in 88. 99. The interval 25 is introduced in melodic progression. interval 9-5 24 MUSIC IN THE PUBLIC SCHOOLS m m =FI E EW m^*=*=- 100. Musical Interpretation. By means of imitation and sug- gestion teach the musical interpretation of " Song Story A Snowflake." TWENTY-FIRST WEEK 101. Voice Training. Let the class practice Breathing Exercise II and the open throat. Give a review of Voice Drill XXII. 102. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. See First- Year Suggestive Song Pror grammes, 174-178. FIRST YEAR 25 103. Preparatory for Sight Singing. Place on the blackboard for staff reading the exercises given below. 9 m -0 y ] jfc, and any syllable, as do, and ask the Rhythmic class to sing Type One twice, in response to which they should sing : Do do Dictate to the class Type One four times, in response to which they should sing : Do do do do Dictate to the class Type One eight times, in response to which they should sing : Do do do do do do do Place the following on the blackboard, give the pitch of eb, and require the class to sing slowly, in exact time, with equal accent on all tones. Do not point to the notes. J J J J J J J J J J J J J J 112. Place the following on the blackboard and require the class to sing slowly, in exact time, with equal accent on all tones. Do not point to the notes. 30 113. Musical Interpretation. By means of imitation and sug- gestion teach the musical interpretation of " Winter Lullaby." TWENTY-THIKD WEEK 114. Voice Training. Insist on good breath support, 61, the open throat, 65, and good tone direction, 104 Let the class sing Voice Drill XXIV. 115. Rote Singing and Musical Interpretation. Give a review of any preceding rote songs. See First- Year Suggestive Programmes, 174-178. Type-one rest 116. Preparatory for Sight Singing. Develop the one-beat silence, Type-One rest, as follows : Place on the blackboard the following : Ask trie class to sing this exercise ; then cancel the fourth and last notes by drawing a line through each, thus : Ask the class to sing the exercise as it now stands, and when they come to the canceled or crossed-out notes to remain silent and think Type One instead of singing it. When this is correctly done inform the class that the silence is a Type-One rest. Erase the canceled notes and substitute for them quarter rests ; the exercise becomes i FIRST YEAR 31 117. Let the class sing the following from the blackboard. Do not point to the notes. ivj-j j j-CTj^a qrjTJ^=NJdMi 3p3=i Ef^^ ^^E 118. The Rhythmic Double Type, or, as it is briefly called in teaching, the Double Type, is a two-beat tone, and in all quarter measures is represented by the half note, thus : & 119. From two Type Ones develop the two-beat tone, the Double Type, as follows : Represent on the blackboard two Type Ones in the following exercise : Ask the class to sing them ; then tie the two notes, thus : Ask the class to sing, joining the two tones together, and at the same time preserving the accent on each beat, thus : Do When this has been sung correctly tell them that they have Double Type sung a Double Type. I2 MUSIC IN THE PUBLIC SCHOOLS Eepresent it on the blackboard, thus : Tell the class that this note represents, or is a picture of, a Double Type. Let the class sing the following exercise from the blackboard. Give the pitch of ib and ask the class to sing the scale down- ward with the Double Type for each tone, using the sol-fa syllables or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. When this has been sung correctly, represent it on the black- board, thus : b Let the class sing Exercises a and b from the blackboard until the regular succession of Double Types is mastered. 120. Rhythmic Dictation. Ask the class to sing a Double Type twice, in response to which they should sing : In a similar manner dictate as follows : Double Type four times. Type One twice, and a Double Type. Type One four times, and Double Type twice, etc. Place on the blackboard the following exercises, give the pitch of eb, and require the class to sing them. Do not point to the notes. FIRST YEAR 33 J J j J j j j J J J J J J J J J J J J J 1 * J J X J J 1 J X J X 1 J X 121. Place the following exercises on the blackboard and re- quire the class to sing them. Do not point to the notes. f-*- TWENTY-FOURTH WEEK 122. Voice Training. To obtain good tone direction, let the class with good breath support and the open throat practice regu- larly this exercise : oo o Let them repeat it softly on any pitch between c and b. Give a review of Voice Drill XXIV. 123. Rote Singing. Give a review of Rote Song XVIII, " The Water Mill." Teach Rote Song XXIV, " March Winds." MUSIC IN THE PUBLIC SCHOOLS 124. Preparation for Sight Singing. Teach the measure a follows : Place on the blackboard the following exercise : Give the pitch, and ask the class to sing the exercise, using the sol-fa syllable, do, or any common syllable, such as loo, and giving a slight and equal accent to all tones. 125. Insert the bars in Exercise a, and it becomes b . Require the class to sing Exercise b in the same manner as Exercise a. Explain that the space between two bars is called a measure. 126. Place on the blackboard the following exercises and re- quire the class to sing them at sight. For the present the beat accent only is used in sight singing. The measure and rhythmic accents are used in rote singing and musical interpretation. |U*TJ= m 127. Musical Interpretation. By imitation and suggestion teach the musical interpretation of " March Winds." FIEST YEAR 35 / TWENTY-FIFTH WEEK 128. Voice Training. Give a review of the exercise for voice training, 122. 129. Teach Breathing Exercise III as follows : Let the children Breathing inhale, as in Breathing Exercise I, 7, but through the mouth slightly open, and retain the breath two slow beats ; then sing very softly the syllable oo to a medium pitch, as g , while four slow beats (metronome 60) are counted. Caution the children to allow no superfluous breath to escape; that is, the tone must not be " woolly." Allow no hissing sound to accompany it. The children may be told to "hold the breath back." This phrase, though empirical, will be found of more use in enabling the children to manage the breath than an elaborate explanation of the physio- logical action of breathing. The time during which inhalation and exhalation take place may be gradually lengthened from four to five, six, seven, and eight beats each. Afterwards, the time occupied by the singing of a tone may be greatly extended, but very gradually, until many of the children are able to prolong the tone for ten, fifteen, or even twenty seconds. 130. In breathing exercises without tone production the inha- lation is through the nostrils with closed mouth ; with tone pro- duction the inhalation is, as a rule, through the open mouth. Teach Voice Drill XXV. 131. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. 132. Sight Singing. The volume entitled " Introductory Sight- Singing Melodies " is now to be used by the teacher. Place on the blackboard Nos. 1-5 and proceed with each melody as follows: Tell the children where to find do, or, if desired, use the check mark, give the pitch, and require them to sing it at sight. Do not point to the notes or sing for or with the children. The teacher should insist that all exercise melodies be sung softly in accordance with the dynamic signs p and pp. Especially in melody No. 3 and similar melodies, the children should sing the lower tones very softly in order that the chest tones be not carried up into the region of the head voice. 36 MUSIC IN THE PUBLIC SCHOOLS 133. Melody No. 4 is to be placed on the board and sung in the same manner as the others. After the children have sung the melody several times teach them the words and require them to sing the melody with the words. Proceed in like manner with all melodies that are set to verse in the "Introductory Sight-Singing Melodies." 134. With slight preparation every teacher can copy music on the blackboard easily, legibly, and quickly. There should be painted in white, in a convenient place on the blackboard, four staves, one above the other, and each of sufficient length to accom- modate eight two-quarter measures, about five and one-half feet. The lines of each staff should be one eighth of an inch in width and separated by a one-inch or one and one-quarter inch space. At the beginning of each staff should be painted a bar and G clef, and at .the end of each staff a double bar. The four painted staves will appear thus : The teacher will find no difficulty in supplying easily and quickly the measure and key signatures and bars. To make a closed note head, such as the quarter-note head, take a piece of crayon about an inch in length and with its side to the blackboard make a short heavy stroke. Then by using the end of the crayon make the stem with a light stroke. As the copy gradually appears on the blackboard let the class study it, and by the time it is complete they will be ready to sing it at sight. FIKST YEAR 37 TWENTY-SIXTH WEEK 135. Voice Training. Let the class practice Breathing Exercise III, the open throat, and tone direction, 122. Give a review of Voice Drill XXV. 136. Rote Singing. Teach Rote Song XXV, " In School and Out." 137. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 6-10 (see 132). 138. Musical Interpretation. By means of imitation and sugges- tion teach the musical interpretation of "In School and Out." Always require the children to sing softly and up to ther tempo, TWENTY-SEVENTH WEEK 139. Voice Training. Let the class practice Breathing Exercise III, the open throat, and tone direction, 122, and sing Voice Drill XXVI. 140. Rote Singing and Musical Interpretation. Give a review of any . preceding rote song. 141. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 11-16. TWENTY-EIGHTH WEEK 142. Voice Training. Let the class practice Breathing Exercise III, the open throat, and tone direction, 122. Give a review of Voice Drill XXVI. 143. Rote Singing. Teach Rote Song XXVI, "The Little Window." 144. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 17-22. 145. Musical Interpretation. By means of imitation and sug- gestion teach the musical interpretation of " The Little Window." TWENTY-NINTH WEEK 146. Voice Training. Let the' class practice Breathing Exer- cise III, the open throat, and tone direction, 122, and sing Voice Drill XXVII. 461 38 MUSIC IN THE PUBLIC SCHOOLS 147. Rote Singing and Musical Interpretation. Give a review of any preceding rote songs. 148. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 23-29. THIRTIETH WEEK 149. Voice Training. Let the class practice Breathing Exercise III, the open throat, and tone direction, 122. Give a review of the Voice Drill XXVII. 150. Rote Singing. Teach Eote Song XXVII, "What Robin Told." 151. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 30-36. 152. Musical Interpretation. By means of imitation and sug- gestion teach the musical interpretation of " What Robin Told." THIKTY-FIKST WEEK 153. Voice Training. Let the class practice Breathing- Exer- cise III, the open throat, and tone direction, 122, and sing Voice Drill XXVIII. 154. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. 155. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 37-44. THIRTY-SECOND WEEK 156. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and tone direction. Give a review of Voice Drill XXVIII. 157. Rote Singing. Teach Rote Song XXVIII, " Song of the Trees." 158. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 45-53. 159. Musical Interpretation. By means of imitation and sug- gestion teach the musical interpretation of " Song of the Trees." Always require the children to sing softly and up to the tempo. FIRST YEAR 39 THIRTY-THIRD WEEK 160. Voice Training. Let the class practice Breathing Exer- cise III, the opeii throat, and tone direction. 161. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. 162. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 54-62. 163. Call attention to the slur in melodies Nos. 57 and 59, and illustrate to the class its use. THIRTY-FOURTH WEEK / 164. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and tone direction. 165. Rote Singing. Teach Kote Song XXIX, " The Flag We Love." 166. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 63-72. 167. Musical Interpretation. By means of imitation and sug- gestion teach the musical interpretation of " The Flag We Love." THIRTY-FIFTH WEEK 168. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and tone direction. 169. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. 170. Sight Singing. Give the " Introductory Sight-Singing Melodies," review Nos. 3753. THIRTY-SIXTH WEEK 171. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and tone direction. 172. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. Let the class prepare from this year's work several different song programmes, and render them. 173. Sight Singing. Give the " Introductory Sight-Singing Melodies," review Nos. 5472. 40 MUSIC IN THE PUBLIC SCHOOLS FIRST- YEAR SONG PROGRAMMES 174. The following song programmes compiled from the " Teach- ers' Edition for Elementary Grades," and representing this year's work, are suggested : 1. " Morning Song " . French Page 23 2. "Asleep and Awake" Schumann Page 24 3. The Water Mill " Louis Diehl Page 21 4. " Winter Lullaby " W. Taubert Page 27 5. "March Winds" E. A. Gowan Page 28 175. 1. "In School and Out" Italian Page 29 2. " The Little Window " W. W. Gilehrist Page 31 3. "See-Saw" Pagel8 4. " What Robin Told " Fannie Snow Knowlton Page 32 5. " The Flag We Love " Dr. J. Mainzer Page 36 176. 1. Song Story " Brownies' Umbrellas " E. Gayrhos Page 13 2. "Boating" C.B.Edmunds Page 10 3. "That 's What I'd Do " Frederic Field Bullard Page 8 4. " The Dream Man " German Page 15 5. " Little Gipsy Dandelion " F. Remsen Page 5 177. 1. "Indian Summer" C. B. Edmunds Page 16 2. "Swinging" Hamilton Aide Page 11 3. Song Story "A Party" D. J. Ayer Page 6 4. " Nature's Good-Night " Myles B. Foster Page 12 5. " Where do all the Daisies Go ?" Martha Thompson Page 20 FIRST YEAR 41 178. 1. " Lady Goldenrod " C. S. Conant Page 4 2. " Stars and Flowers " Schubert Page 2 3. " Peaceful Night " Folk Song Page 26 4. ()" A Disappointment " Schumann PageC (ft) "Song of the Trees " German Page 34 5. Song Story "ASnowflake" Schubert Page 26 179. Suggested lesson programmes for any week of the first year, as, for example, the sixth week, 24-27, are as follows : MONDAY 1. Practice Breathing Exercise I, 7. 2. Musically interpret any preceding rote song. 3. Do individual work with the partial monotones. Here 2 and 3 may be given in conjunction ; that is, after the singing class are well started and while they are interpreting the song the teacher is going about among the partial monotones asking this one and that one to try the song with the singing class and judging carefully the result of each effort. 4. Let the class sing, by imitation, Voice Drill X. 5. Do individual work with the complete monotones (see 4). NOTE. It must be borne in mind that these lesson programmes are simply sug- gested and that no attempt is being made to deprive the teacher of her individu- ality. Circumstances may arise in which it becomes necessary for her to discard the regular programme and spend the entire lesson on some one feature in which the class is deficient. Any good lesson programme is most effective when the special needs and mental condition of the class are thoroughly considered. TUESDAY 1. Practice Breathing Exercise I. 2. Musically interpret any preceding rote song. 3. Do individual work with the partial monotones. 4. Teach by imitation Rote Song X, "Swinging." 5. Do individual work with the complete monotones. WEDNESDAY 1. Practice Breathing Exercise I. 2. Perfect the musical interpretation of Rote Song X, "Swinging." 3. Do individual work with the partial monotones. 4. Let the class sing, by imitation, Voice Drill XT. 5. Do individual work with the complete monotones. 42 MUSIC IN THE PUBLIC SCHOOLS THURSDAY 1. Practice Breathing Exercise I. 2. Musically interpret Rote Song X and practice Voice Drill XI. 3. Do individual work with the partial monotones. 4. Teach by imitation Rote Song XI, "Nature's Good-Night." 5. Do individual work with the complete monotones. FRIDAY 1. Practice Breathing Exercise I. 2. Practice Voice Drills X and XI. 3. Do individual work with the partial monotones. 4. Musically interpret Rote Songs X and XI. 5. Do individual work with the complete monotones. 180. Suggested lesson programmes for the twenty-fourth week, 122-127, are as follows : MONDAY 1. On the pitch of g practice 65, o, a, e, for breath support, open throat, and good tone direction. 2. Musically interpret any preceding rote song. 3. Give a review of the oral and staff dictation of any preceding interval. 4. Teach Rote Song XXIV, "March Winds." 5. Do individual work. TUESDAY 1. On the pitch of bb practice 66", 5, a, e. 2. Musically interpret Rote Song XXIV, "March Winds." 3. Teach accent, bar, and measure. 4. Do individual work. WEDNESDAY 1. On the pitch of a practice 60, 5, a, e. 2. Musically interpret Rote Song XVIII, "The Water Mill." 3. Give a review of accent, bar, and measure. 4. Teach 2 measure. 5. Do individual work. THURSDAY 1. On the pitch of a practice oo, 6, a, e. 2. Musically interpret "March Winds " or any preceding rote song. 3. Give a review of the Double Type,<^?, Type One rest, ^, and \ measure. F1KST YEAK 43 4. Sing at sight melodies for practice. 5. Do individual work. FRIDAY 1. On the pitch of g practice oo, o, a, e. 2. Musically interpret any preceding rote song. 8. Give a review of the oral and staff dictation of any preceding interval. 4. Sing at sight melodies for practice. 5. Do individual work. SECOND TEAK SYNOPSIS Voice Training Consonant sounds. Initial consonant sounds, 1, t, b, k, p, d, 186 ; m, n, 190. The consonant combinations, pr, 248 ; bl, 261 ; gl, 280 ; fl, 292 ; and gr, 312. Vocalization of songs, exercise melodies, and voice drills. Rote Singing Rote songs and master songs. Sight Singing \^ Tune. Oral and staff dictation in melodic progression of fifteen additional skips, of which five are very frequent intervals, 8-3, 3-5, 7-5, 2-5, and 1-8, and the frequent intervals 5-1, 4-2, 6-8, 5-5, 5-7, 4-5, 4-7, 6-4, 6-3, 4-1, 193-294 ; all skips introduced in different key positions and by local preparation. Pitch names, 310-318. Time. Quarter note, quarter rest, | measure, half note, 200 ; Triple Type represented by the dotted half note, 211 ; | measure, 213 ; half rest 239 ; Quadruple Type represented by the whole note, 240 ; f measure, 257 ; Type One represented by an eighth note, | measure, 329 ; eighth rest, 330. Notation. The tie, 277 ; the repeat and first and second endings, 235. Musical Interpretation Dynamic signs, p and pp, 233. Phrasing and phrase mark, 303. By suggestion and imitation the musical interpretation of all material in this year's work. Musical and Poetic Conceptions Musical and poetic conceptions are unconsciously acquired by the use of simple songs and exercise melodies containing the more general character- istics of the folk song ; also by the musical representation of seventeen composers, .the more important of whom are Joseph Barnby, Brahms, Stephen C. Foster, Niels W. Gade, Gounod, Thomas Koschat, Mendelssohn, Rubinstein, Schubert, and !\Veber ; and twelve poets in song, the more important of whom are Alice E. Allen, Malcolm Douglass, Louis C. Elson, John B. Tabb, and Tennyson. Suggested song programmes, 339, 340. 44 SECOND YEAR 45 Material For pupils' use "Introductory Sight-Singing Melodies," in which will be found material for voice training, sight singing, musical interpreta- tion, and musical conceptions. For teachers' use "Music in the Public Schools" and the "Teachers' Edition for Elementary Grades," in which will be found eleven voice drills, nine rote songs, twelve master songs, and piano accompaniments. SECOND YEAR PLAN FOE THIRTY-SIX WEEKS' WORK FIRST WEEK 181. While each weekly lesson is here given under separate subject headings, as " Rote Singing," " Voice Training," etc., it is expected that, as the lessons progress, these separate subjects will be more and more blended in teaching. 182. Voice Training. Practice Breathing Exercise III, 129, the open throat, 65, and good tone direction, 104. This voice drill is good for frequent practice. 56 o a S 183. Rote Singing and Musical Interpretation. Give a review of any first-year song programme, 174178. 184. Discuss with the children the meaning of the poem and through it impart the kindred spirit of the music. This is the basis of interpretation at this stage and will greatly assist the children in rendering the song with the appropriate tempo, dynamics, and feeling. Children are inclined to sing too slowly. Keep them up to the tempo. Correct obvious faults of tone pro- duction and pronunciation as they occur. Insist at all times on a clear, distinct enunciation of the words. Never allow shouting or forcing of the registers (see " Teachers' Edition for Elementary Grades," page xi). Insist on a soft tone. Only when some profi- ciency in musical interpretation has been attained, should piano accompaniments be used. 185. Sight Singing. Place the " Introductory Sight-Singing Melodies " in the hands of the children, and from the books give a review of Nos. 1-8. 46 SECOND YEAR 47 SECOND WEEK 186. Voice Training. Ask the class to pronounce and sing the initial con- _ . sonants 1, t, vowel sound oo, then loo, too, boo, m such a manner as not to inter- b, k, p, a fere with the purity of the vowel sound. Loo preceding too and boo serves as a model for the enunciation of too and boo. Let the t and b be distinctly heard, but not with so much explosive force as to mar the vowel sound which follows it. Proceed in the same manner with o, 16 to b6, a, la ta ba, e, le te be, 66, koo poo doo, 5, k5 p6 d5, a, ka pa da, and e, ke pe de. 187. Let the class sing Voice Drill XXIX, with proper attention to breath support, the open throat, and good tone direction. 188. Rote Singing and Musical Interpretation. Give a review of any first-year rote song (see " Teachers' Edition for Elementary Grades," pages 1-37). 189. Sight Singing. Give a review of the " Introductory Sight- Singing Melodies," Nos, 9-17. THIRD WEEK 190. Voice Training. Give a review of Voice Drill XXIX. initial con- Teach the initial consonants m and n in the same manner as given in 186. Let the class sing Voice Drill XXX. 191. Rote Singing. Teach Rote Song XXX, " October." 192. Sight Singing. Give a review of the " Introductory Sight- Singing Melodies," Nos. 18-28. 193. With any pitch from a to c, as 1, dictate orally the interval interval 5-1 5-1 in the phrase 1 3 5 1 2 5 3 in groups of two scale names at a time, thus : dictate 1 3, and the class responds with the two cor- responding tones ; dictate 5 1, and the class responds ; dictate 2 5, and the class responds ; dictate 3, and the class responds. Then dictate the same phrase from the staff in the following manner. On the blackboard make the staff representation for the key position of F. 48 MUSIC IN THE PUBLIC SCHOOLS Point to the note heads in the first and second spaces, here representing 1 and 3 ; the class responds with the two corre- sponding tones. Point to the note heads in the third and first spaces, represent- ing 1 and 5 ; the class responds with the two corresponding tones ; so continue till the entire phrase is completed. Staff representations for all the different key positions may be made as shown in 42-49,' with the addition in each case of the clef and key signature. If preferred, the check mark, as shown in 74, may be used to indicate the place of 1 or 8. If the check mark is not used, the class may be told that the first note in each staff representation is 1 or 8, as the case may be. 194. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " October." FOURTH WEEK 195. Voicj Training. Let the class practice Breathing Exer- cise III, tlu opc:i throat, and tone direction. 196. Rote Singing. Teach the master song " Good Morning," page 217, "Teachers' Edition for Elementary Grades." If through lack of time it is found necessary to curtail the amount of work here laid out, omit the master songs. 197. Sight Singing. Give a review of the " Introductory Sight- Singing Melodies," Nos. 29-41. 198. Give a review by oral or staff dictation of the interval 1-5, using the brief melodic phrase 1 5 3 3 5 1 3, or the phrase in 884. 199. With any pitch from to c, as 1, dictate orally and from the staff the interval 8-3 in the melodic phrase 8 5 3 8 3 2 i. 200. Teach the terms " quarter note," " quarter rest," " | meas- ure," and " half note," as follows : Ask the class to turn to exercise melody No. 3 1 and notice that in every measure Type One is represented. Inform them that Type One is here represented by a quarter note, and that Type-One rest at the end of the melody is represented by a quarter rest ; also as there are two quarter notes or their equivalent in each measure SECOND YEAR 49 the melody is written in two-quarter measure, and the sign for two-quarter measure, |, is found at the beginning of the melody. On the same page ask the class to find what represents a Double Type. Inform them that this is a half note. Let the class recall that a Double Type is made up in time value of two Type Ones, and inform them that for this reason a half note is equal to two quarter notes in time value. 201. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " Good Morning." FIFTH WEEK 202. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction, and sing Voice Drill XXXI. 203. Rote Singing and Musical Interpretation. Give a review of Rote Song XIX, " Morning Song." 204. Sight Singing. Give a review of the " Introductory Sight- Singing Melodies," Nos. 42-56. 205. Give a review by oral or staff dictation of the intervals 15 and 83, using the brief melodic phrases in " Melodic Presen- tation of Intervals," 884. 206. With any pitch from bb to f, as 1, dictate orally and from interval 3 - 5 the staff the interval 3-5 in the melodic phrase 3 i _5 3 2 2 i. With any pitch from g to bb, as 8, dictate orally and from the interval 7-5 staff the interval 75 in the melodic phrase 8 5 5 8 7 5 8. 207. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. Give a review of Voice Drill XXXI. SIXTH WEEK 208. Voice Training. Let the class practice Breathing Exercise III, the open throat, and good tone direction. Give a review of Voice Drill XXXI. 209. Rote Singing. Give a review of Eote Song XIX, " Morn- ing Song." Teach Rote Song XXXI, " The Little Soldier." 210. Sight Singing. Give a review of the " Introductory Sight- Singing Melodies," Nos. 57-72. 50 211. The Bhythmic Triple Type, or, as it is briefly called in teaching, the Triple Type, is a three-beat tone, and in all quarter measures is represented by a dotted half note, thus : &. From three Type Ones develop the three-beat tone, the Triple Type, as follows : Eepresent on the blackboard three Type Ones in the following exercise : r\ u ___ \ u Ask the class to sing them ; then tie the three notes, thus : dt Ask the class to sing, joining the three tones together and at the same time preserving the accent on each beat, thus : Do Three-beat tone When this has been sung correctly inform them that they have sung a Triple Type. Triple type Represent it on the blackboard, thus : represented by J. Tell the class that this note represents a Triple Type and is a dotted half note. Place the following on the blackboard : Let the class sing this exercise from the blackboard until the Triple Types have become familiar to them. SECOND YEAR 51 212. Rhythmic Dictation. Give the pitch of el? and any syllable, as do, and ask the class to sing a Triple Type and a Type One ; in response they should sing the following : Do-o-o do In a similar manner dictate as follows : Type One four times, a Triple Type, and a Type One. A Triple Type, a Type One, a Triple Type, and a Type One. A Triple Type, a Type One, and Double Type twice, etc. Place the following exercises on the blackboard, give the pitch of 6t?, and require the class to sing them. Do not point to the notes. J J , J J J. X J J J * y X J. J J J J * J. J J J * J. J J. X Place the following exercises on the blackboard and require th class to sing them. Do not point to the notes. a fl Jf tt 1 H 4 i 1 Jf \ 1 -H 1 -i ^ In\ d~ ^ i~- ~^ ~T& 1 lr?\& d U_ d X VMv " ^ 2^j| ' | \>\) X A Jf TT^ V /*"D * ^ ^~ 1" 1 9^ ^\ Tl A C-X ^ P i* f~~" &\v x .-, * 4 m * ?T\ r r * r * V^L7 i [ v^L' 1 -* *-> 1 I JL g n i r/ JP IA*J i 1 1 i* *^ ^ I /k ff y^ 5 J^ ** ^-/k t>|7 L-J--H *- n tgt 3 \ V >[ (~z j^"t) ^^ * \ irn ^^ 1 52 MUSIC IN THE PUBLIC SCHOOLS pour-quarter 213. Teach the four-quarter measure as follows: Place on the measure black board : -J-J J Give the pitch and ask the class to sing this exercise, using the sol-fa syllable, do, or any common syllable, as loo, and accenting all beats equally and evenly. Insert bars in Exercise a, and it becomes : b . - J J J J I J J J J Require the class to sing Exercise b in the same manner as Exercise a. Recall the fact that a measure is explained as " the space between two bars." Call attention to the four quarter notes in each measure, and insert the measure signature " \ " in Exercise b, telling the class that this is the sign of four-quarter measure. 214. Place the following exercises on the blackboard, and require the class to sing them. Do not point to the notes. a^B m E H! 215. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " The Little Soldier." SEVENTH WEEK 216. Voice Training. Let the class practice Breathing Exercise III, the open throat, and good tone direction. SECOND YEAR 53 217. Rote Singing. Teach the master song "Greeting," page 218, " Teachers' Edition for Elementary Grades." 218. Sight Singing. Give a review by oral or staff dictation of the intervals 1-5, 8-3, 3-5, and 7-5, using the brief melodic phrases in " Melodic Presentation of Intervals," 884. With any pitch from Bb to }, as 1, dictate orally and from the staff the interval 2-5 in the melodic phrase 3 > _5 3 2 5 1. Give the " Introductory Sight-Singing Melodies," Nos. 73-78. 219. Musical Interpretation. By suggestion and imitation teach the interpretation of " Greeting." EIGHTH WEEK 220. Voice Training. Let the class practice Breathing Exercise III, the open throat, and good tone direction, and sing Voice Drill XXXII. 221. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. 222. Sight Singing. With any pitch from Bb to c, as 1, dictate interval 4 - orally and from the staff the interval 4-2 in the melodic phrase 1 1 2 3 4 2 3. Give the " Introductory Sight-Singing Melodies," Nos. 79-84. NINTH WEEK 223. Voice Training. Let the class practice Breathing Exercise III, the open throat, and good tone direction. Give a review of Voice Drill XXXII. 224. Rote Singing. Teach Rote Song XXXII, " Thanksgiving Day." 225. Sight Singing. With any pitch from to c, as 8, dictate interval i- orally and from the staff the interval 1-8 in the melodic phrase 8531878. Give the "Introductory Sight-Singing Melodies," Nos. 85-91. 226. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " Thanksgiving Day." 54 MUSIC IN THE PUBLIC SCHOOLS TENTH WEEK 227. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 228. Rote Singing. Teach the master song "At Twilight," page 220, " Teachers' Edition for Elementary Grades." 229. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 92-98. 230. Musical Interpretation. By suggestion and imitation teach the musical interpretation of "At Twilight." ELEVENTH WEEK 231. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction, and sing Voice Drill XXXIII. 232. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. Heretofore the teacher, guided by the dynamic signs, has directed the singing of the song and exercise melodies accordingly. The children should now be taught a few of these signs, such as p, pp, and should observe their use whenever found. Dynamic 233. Teach the dynamic signs p and pp as follows : Direct the children to sing melody No. 124 softly ; then call attention to the sign p, and to its position near the beginning and above the staff. State that p is a sign which shows that the music is to be sung softly. In the same manner, using melody No. 125, teach that pp shows that the music is to be sung very softly. interval e-s or 234. Sight Singing. With any pitch from bb to f, as 1, dictate orally and from the staff the interval 6-8 or &-1 in the melodic phrase 1 5 _6 1 7 2 i. Give the " Introductory Sight-Singing Melodies," Nos. 99-106. Repeat sign 235. In melody No. 102 call attention to the repeat sign and first and first and jj- j ^ -, -i T j second end- and second endings, and explain how the melody is to be sung. TWELFTH WEEK 236. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. Give a review of Voice Drill XXXIII. SECOND YEAR 55 237. Rote Singing. Teach Rote Song XXXIII, "Christmas Day." 238. Sight Singing. Give a review by oral or staff dictation of the interval 1-8, using the phrase in " Melodic Presentation of Intervals," 884. Give the " Introductory Sight-Singing Melodies," Nos. 107-114. 239. In No. 112 call the attention of the class to the half rest, Half r*t and explain that it is a two-beat silence or the silence of a Double Type in time value. 240. The Rhythmic Quadruple Type, or, as it is briefly called in teaching, the Quadruple Type, is a four-beat tone, and in all quarter measures is represented by a whole note, thus : a> From four Type Ones develop the four-beat tone, the Quadruple Type, as follows : Represent on the blackboard four Type Ones hi the following exercise : Ask the class to sing them ; then tie the four notes, thus Ask the class to sing, joining the four tones together, and at the Four-beat same time preserving the accent on each beat, thus : Do - o When this has been sung correctly inform them that they have sung a Quadruple Type. Represent it on the blackboard, thus : BE Quadruple Type repre- sented by to f, as 1, dictate orally and from the staff the interval 4-5 in the melodic phrase 5345721. Give the " Introductory Sight-Singing Melodies," Nos. 145-150. EIGHTEENTH WEEK 264. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 265. Rote Singing. Teach the master song " Cradle Song," page 234, " Teachers' Edition for Elementary Grades." 266. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 151-156. 267. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " Cradle Song." NINETEENTH WEEK 268. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. Give a review of Voice Drill XXXV. 269. Rote Singing. Teach Rote Song XXXV, " Morning Song." 270. Sight Singing. With any pitch from 6b to f, as 1, dictate orally and from the staff the interval 4-7 in the melodic phrase i i 7 2 4 7 i. Give the " Introductory Sight-Singing Melodies," Nos. 157-163. 271. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " Morning Song." SECOND YEAR 59 TWENTIETH WEEK 272. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 273. Rote Singing and Musical Interpretation. Let the class prepare several song programmes and render them. For suggestions see 339, 340. 274. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 164-170. TWENTY-FIRST WEEK 275. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 276. Rote Singing. Teach the master song " Sweet and Low," page 238, " Teachers' Edition for Elementary Grades." 277. Sight Singing. With any pitch from 6 to c, as 1, dictate interval - orally and from the staff the phrase 3345643. Give the " Introductory Sight-Singing Melodies," Nos. 171-178. Call attention to the tie in melodies 174, 175, 176, 178, and The tie illustrate how it is to be sung. 278. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " Sweet and Low." TWENTY-SECOND WEEK 279. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 280. Ask the class to sing 6, 16, glo, in the same manner as consonant shown in 186, and then to sing Voice Drill XXXVI. gi 281. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. 282. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 179-186. TWENTY-THIED WEEK 283. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. Give a review of Voice Drill XXXVI. 60 MUSIC IN THE PUBLIC SCHOOLS 284. Rote Singing. Teach Rote Song XXXVI, " Our School Flag." interval 6-3 285. Sight Singing. With any pitch from g to c, as 1, dictate orally and from the staff the interval 63 in the melodic phrase 3563543. Give a review of any introductory melody in Part II, such as Nos. 76, 80, 84, 88, 91, etc. Give the " Introductory Sight-Singing Melodies," Nos. 187-195. 286. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " Our School Flag." TWENTY-FOUETH WEEK 287. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 288. Rote Singing. Teach the master song " Spring," page 243, " Teachers' Edition for Elementary Grades." 289. Sight Singing. Give a review of any of the introductory melodies, Part I, Chapter II, and Part II. Give the " Introductory Sight-Singing Melodies," Nos. 196-205. 290. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " Spring." TWENTY-FIFTH WEEK 291. Voice Training. Practice Breathing Exercise III, the open throat, and good tone direction. consonant 292. Ask the class to sing o, 16, flo, in the same manner as shown fl in 186, and then to sing Voice Drill XXXVII. 293. Rote Singing and Musical Interpretation. Let the class prepare several sung programmes and render them. For sugges- tions see 339, 340. interval 4-1 294. Sight Singing. With any pitch from a to c, as 1, dictate orally and from the staff the interval 41 in the melodic phrase 1353413. Give a review of any of the introductory melodies, Part I, Chapter II, and Part II. Give the " Introductory Sight-Singing Melodies," Nos. 206-216. SECOND YEAR 61 TWENTY-SIXTH WEEK 295. Voice Training. Let the class practice Breathing Exercise III, the open throat, and good tone direction. 296. Rote Singing. Teach the master song " Old Folks at Home," page 253, " Teachers' Edition for Elementary Grades." 297. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 217-228. 298. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " Old Folks at Home." TWENTY-SEVENTH WEEK 299. Voice Training. Let the class practice Breathing Exercise III, the open throat, and good tone direction. Give a review of Voice Drill XXXVII. 300. Rote Singing. Teach Rote Song XXXVII, "May-Day Song." 301. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 229-240. 302. Musical Interpretation. By suggestion and imitation teach the interpretation of " May-Day Song." 303. Teach phrasing as follows : Phrasing Ask the class to repeat the words of exercise melody No. 240 ; notice that they naturally fall into two groups, or lines, of which the first is " Evening shades are falling," and the second is " Mother's voice is calling." Observe that the melody of each line naturally follows the grouping of the words. This division of a melody into its natural groups is called phrasing, each phrase being indicated by a phrase mark above the staff. Teach the children that phrase marks are used to divide a melody as punctuation marks divide a sentence. Note the phrasing in other melodies as they are sung. TWENTY-EIGHTH WEEK 304. Voice Training. Let the children practice Breathing Exercise III, the open throat, and good tone direction. 62 MUSIC IN THE PUBLIC SCHOOLS 305. Rote Singing and Musical Interpretation. Let the class prepare several song programmes and render them. For sugges- tions see 339, 340. Give a review of phrasing. 306. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 241-252. TWENTY-NINTH WEEK 307. Voice Training. Let the class practice Breathing Exercise III, the open throat, and good tone direction. 308. Rote Singing. Teach the master song, "The Miller's Flowers," page 254, " Teachers' Edition for Elementary Grades." 309. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 253-264. No. 262 of " Introductory Sight-Singing Melodies " is the be- ginning of a review of the two-quarter, four-quarter, and three- quarter measure melodies, and at the same time the beginning of melodies arranged in pairs to harmonize with each other. After Nos. 262 and 263 have been sung at sight until memorized, divide the class into two equal divisions, calling one Division A and the other Division B. Let Division A sing No. 262, and at the same time Division B sing No. 263. Then change and let Division B sing No. 262 and Division A sing No. 263. In this lesson and those following proceed in like manner throughout Chapter IV of Part III, " Introductory Sight-Singing Melodies." Pitch names 310. In the first year's work ( 72) the children were taught ' ' ' ' the lines and spaces of the staff. In a similar manner now teach them the pitch names of the lines of the staff, E, G, B, D, and F, as follows : On the blackboard draw a line, thus : Name it " first line E." Let the class repeat. Add another line above the first, thus-: Name it " second line G." Let the class repeat. Add a third line above and name it "third line B." Let the class repeat. Then add in turn the fourth and fifth lines above SECOND YEAR 63 and let the class repeat their names, " fourth line D " and " fifth line F." Drill the class until they become thoroughly familiar with each line, its number and letter, as " fourth line D," " second line G," etc. 311. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " The Miller's Flowers." Review phrasing. THIRTIETH WEEK 312. Voice Training. Practice Breathing Exercise III, the open consonant throat, and good tone direction. Ask the class to sing 6, r6, gr6, in gr the same manner as given in 186, and then to sing Voice Drill XXXVIII. 313. Rote Singing and Musical Interpretation. Let the clai.8 prepare several song programmes and render them. For sugges- tions see 339, 340. 314. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 265-276. Give a review of the pitch names of the five lines of the staff. THIRTY-FIRST WEEK 315. Voice Training. Let the class practice Breathing Exercise III, the open throat, and good tone direction. Give a review of Voice Drill XXXVIII. 316. Rote Singing. Teach Eote Song XXXVIII, " The Winged Flower." 317. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 277-289. 318. Teach the pitch names of the spaces of the staff, F, A, C, E, pitch names e n F, A, C, E as follows : On the blackboard draw a complete staff, thus : Point to the spaces in succession, naming them, respectively : " First space F" ; the class repeats. " Second space A " ; the class repeats. 64 MUSIC nsr THE PUBLIC SCHOOLS " Third space C " ; the class repeats. " Fourth space E " ; the class repeats. Call attention to the fact that the pitch names in this order spell " face." Drill the class until they are thoroughly familiar with the pitch names of the four spaces, always associating with each space its number and letter, as " first space F," " third space C," etc. 319. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " The Winged Flower." THIRTY-SECOND WEEK 320. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 321. Rote Singing. Teach the master song " A Hymn," page 255, " Teachers' Edition for Elementary Grades." 322. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 290-302. 323. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " A Hymn." THIRTY-THIRD WEEK 324. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 325. Rote Singing and Musical Interpretation. Give a review of any preceding rote song. For suggestions, see 339, 340. 326. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 303-315. Give frequent reviews of the pitch names. THIRTY-FOURTH WEEK 327. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 328. Rote Singing. Teach the master song " A Pleasant Voy- age," page 257, " Teachers' Edition for Elementary Grades." Three-eighth 329. Sight Singing. Teach the three-eighth measure as follows : Place on the blackboard the following exercise : SECOND YEAR 65 NS^f-^-T" ^=2=. E^EEfel Give the pitch and ask the class' to sing this exercise. Call attention to the fact that in every measure studied thus far (\, |, |) the quarter note represents Type One. In the above melody attach a "flag" or hook to the stem of each quarter note, change the last note head to a quarter-note head, and substitute "8" for "4" in the time signature. Exer- cise a thus becomes : E JL J| |^-fc m m ^i Kequire the class to sing Exercise b in the same manner as Type one Exercise a. Tell the children that they have sung jj measure, and bvan that in | measure Type One is represented by an eighth' note. J in i 330. Place on the blackboard the following comparison : In measure In measure Type One is represented by J Type One is represented by J^ Double Type is represented by & Double Type is represented by J Triple Type is represented by & Triple Type is represented by Type One rest is represented by X Type One rest is represented by i Eighth rest Give the " Introductory Sight-Singing Melodies," Nos. 316-323. 331. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " A Pleasant Voyage." Give a review of phrasing and the dynamic signs p and pp. 66 MUSIC IN THE PUBLIC SCHOOLS THIRTY-FIFTH WEEK 332. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 333. Rote Singing. Teach the master song "The Sea," page 260, " Teachers' Edition for Elementary Grades." 334. Sight Singing. Give the " Introductory Sight-Singing Melodies," Nos. 324-333. Give frequent reviews of the pitch names. 335. Musical Interpretation. By suggestion and imitation teach the musical interpretation of " The Sea." Give a review of phras- ing and the dynamic signs p and pp. THIRTY-SIXTH WEEK 336. Voice Training. Let the class practice Breathing Exer- cise III, the open throat, and good tone direction. 337. Sight Singing. Give a review of any of the preceding introductory sight-singing melodies. 338. Musical Interpretation. Let the class prepare several song programmes and render them. SECOND- YEAR SONG PROGRAMMES The following song programmes, compiled from the " Teachers' Edition for Elementary Grades," and representing this year's work, are suggested : 339. 1. " Good Morning " Niels W. Gade Page 217 2. "At Twilight" Joseph Barnby Page 220 8. "The Little Soldier" Weber Page 39 4. "To a Star" Rubinstein Page 229 5. "October" C.B.Edmunds Page 38 340. 1. "Morning Song" W. W. Gilchrist Page 45 2. "Greeting" Mendelssohn Page 218 SECOND YEAR 67 3. " Christmas Day " Peter Cornelius Page 42 4. " A Family Drum Corps " Fannie S. Knowlton Page 43 5. " Our School Flag " H.Gilbert Page 46 341. The following are suggested lesson programmes for any week of the second year, as, for example, the sixth week, 208- 215. MONDAY 1. Let the class practice Breathing Exercise III, 129. 2. Give a review of Rote Song XIX, "Morning Song." 3. With open throat and good tone direction let the class practice the exercise, 182, and Voice Drill XXXI,a. 4. Teach one stanza of Rote Song XXXI, "The Little Soldier." 5. Give a review of the "Introductory Sight-Singing Melodies," Nos. 57-61. NOTE. It must be borne in mind that these lesson programmes are simply suggested, and that no attempt is being made to deprive the teacher of her individuality. Circumstances may arise in which it becomes necessary for her to discard the regular programme and spend the entire lesson on some one feature in which the class is deficient. Any good lesson programme is most effective when the special needs and mental condition of the class are thoroughly considered. TUESDAY 1. Let the class practice Breathing Exercise III. 2. Give a review of Rote Song XXXI, "The Little Soldier." 3. Let the class sing Voice Drill XXXI, a. 4. Teach the musical interpretation of "The Little Soldier." 5. Give a review of the "Introductory Sight-Singing Melodies," Nos. 62-60. WEDNESDAY 1. Let the class practice Breathing Exercise III. 2. Let the class sing Voice Drill XXXI. 3. Teach the last stanza and complete the musical interpretation of Rote Song XXXI, "The Little Soldier." 4. Give the oral dictation of any review intervals. 5. Give a review of the "Introductory Sight-Singing Melodies," Nos. 67-72. 68 MUSIC IN THE PUBLIC SCHOOLS THURSDAY 1. Let the class practice Breathing Exercise III. 2. Let the class sing the exercise in 182 and Voice Drill XXXI,a. 3. Let the class sing Rote Song XIX, "Morning Song." 4. Give a rhythmic dictation of Type One and the Double Type. 5. Develop and give the blackboard exercise on the Triple Type, 211, 212. FRIDAY 1. Let the class practice Breathing Exercise III. 2. Let the class sing the exercise in 182 and Voice Drill XXXI, a. 3. Let the class sing Rote Song XIX, "Morning Song." 4. Teach | measure, 213, 214. 5. Let the class musically interpret " The Little Soldier. THIRD YEAR SYNOPSIS Voice Training The remaining vowel sounds, ou and 6, 348 ; u and a, 382 ; I and e, 403 ; & and u, 424 ; I and g, 447 ; do and oy, 468. Consonant sounds. Final consonants and consonant combinations, t and a, 348 ; sh and ves, 382 ; sed, 424 ; n and Id, 403 ; ght, 447; ds, 468. The blending of registers, 371. Voice Drill XXXIX, a. Vocalization of songs, exercise melodies, and voice drills. Rote Singing Rote songs and master songs. Sight Singing Tune. The oral and staff dictation in melodic progression of fourteen additional skips, which are the infrequent intervals : 8-4, 2-8, 1-6, 3-7, 1_7, 5-6, 4-6, 4-7, 2-6, 2-6, 6-7, 3-6, 3-7, and 2-7, 351-476. The same ground is covered by material for sight singing, each skip being introduced in different keys by local preparation. Time. The three groups used in | measure, represented by * , J J J , j , 356-365. | measure, 368. Musical Interpretation The breath mark, 346. Tempo, 353. Terms of expression indicating even tempo, 370-485. By suggestive questioning the musical interpretation of all material in this year's work, 346. Musical Conceptions The more general melodic characteristics of noted composers are intro- duced in simple songs and exercise melodies. There is also introduced a musical representation of seven nationalities : German, French, Italian, English, Polish, Russian, and American, includ- ing fifty composers, the more important of whom are Mrs. H. H. A. Beach, Carl Bohm, Frederic Field Bullard, Chopin, J. W. Elliott, Franz, Dr. G. M. Garrett, W. W. Gilchrist, Henry K. Hadley, Henry Holden Huss, Clay- ton Johns, Isidora Martinez, Mendelssohn M. Moszkowski, Carl Reinecke, 69 70 MUSIC IN THE PUBLIC SCHOOLS Rubinstein, Schumann, and W. Taubert ; and thirty-one poets in song, the more important of whom are Abbie Farwell Brown, Nathan Haskell Dole, Louis C. Elsoii, S. Baring-Gould, Thomas Hood, Jean Ingelow, Agnes Lee, T. D. Miller, Gabriel Setoun, Frank Dempster Sherman, Alexander Smart, Stevenson, Swift, John B. Tabb, Jane Taylor, Thackeray, M. E. Tupper, Edna Kingsley Wallace, and John G. Watts. Suggested song programmes, 486-490. Material For pupils' use, "First Reader," pages 1-45, for voice training, sight singing, musical interpretation, and musical conceptions. For teachers' use, "Music in the Public Schools " and the "Teachers' Edition for Elementary Grades," for voice training, rote songs, eight master songs, and piano accompaniments. THIRD YEAR PLAN FOR THIRTY-SIX WEEKS' WORK FIRST WEEK 342. While each weekly programme is here given under separate subject headings, yet it must be borne in mind that these subjects should not always be taught separately. No song, whether taught by rote or by sight, is to be considered finished until it has been musically interpreted, and good musical interpretation cannot be gained without proper voice training. 343. Voice Training. In all lessons from now on let the chil- dren sing their voice drills, exercise melodies, and songs with good breath support, an open throat, and good tone direction. Insist on soft singing and correct enunciation, and do not allow the class to force the chest tones upward into the region of the head voice. 344. Rote Singing. Musically interpret any preceding rote song. 345. Sight Singing. Give a review by oral or staff dictation of the intervals 5-3, 1-3, 7-5, and 5-8, using respectively the follow- ing brief melodic progressions: 3553, 1331, 578875s, 8558. Place the " First Reader " in the hands of the children and give Nos. 1-6. 346. Musical Interpretation. During this year's work teach the By suggestive . .... questioning musical interpretation of each song by suggestive questioning, i.e. ask such questions about the poem and the music of the song as will elicit answers determining the proper dynamics, tempo, and the emotion to be expressed. Give a review of phrasing. In the exercise melodies phrasing is indicated by phrase marks. In the songs breath marks or rests indicate the division into phrases. 71 72 MUSIC IN THE PUBLIC SCHOOLS SECOND WEEK 347. Voice Training. Let the class sing Voice Drill XXXIX, a, observing carefully its dynamic signs. This voice drill is to be used every day, and may be sung in C, D, E, and Et>. 348. Teach the vowel sounds ou and 6, and the final consonants and c. Let the Vowel sounds Final conso- t and s, as they are given in Voice Drill XXXIX, 8t> 8 class sing Voice Drill XXXIX, d. Interval 6-a Term of ex- pression tempo 349. Rote Singing. Omit entirely or give a review of any pre- ceding rote song. , 350. Sight Singing. Give a review by oral or staff dictation of the intervals 2-5, 7-2, 2-4, 8-3, and 4-6, using respectively the following brief melodic progressions : 523325s, 882772s, n2442i, 8338, 334664s. 351. With any pitch from I to f, as 1, dictate orally and from the staff the interval 6-2 in the melodic phrase 3 5 6 2 i 7 i. Give the " First Header," Nos. 7-12. 352. Musical Interpretation. Give a review of phrasing, 303. Teach by suggestive questioning the musical interpretation of the sight songs in this week's work. 353. Teach tempo as " the rate of speed at which a song is sung." Illustrate different kinds of tempo. THIRD WEEK 354. Rote Singing. Teach Rote Song XXXIX, " Nightfall." 355. Sight Singing. Give a review by oral or staff dictation of the intervals 25, 83, and 68, using respectively the following brief melodic progressions : 528825s, 8338, 85688658. Give the " First Reader," Nos. 13-18. 356. The Rhythmic Group Beat Three, or, as it is briefly called in teaching, Group Three, consists of three equal tones to the beat of any measure in compound time, such as | measure, and is repre- sented by three eighth notes, thus : *' J 4 357. Teach Group Three by imitation as follows : THIRD YEAR 73 On any pitch, as eb, and with any syllable, as do, in exact time, sing for the class four tones, metronome about 69, accenting all tones equally, thus : Do ~9-r do 3=^1 do do Ask the class to imitate it. With the same pitch, syllable, and tempo, and the same number of beats, sing for the class three tones to the group beat, accenting the first tone only of each group beat, thus : j^gsg Do do do do do do do do do do do do Ask the class to imitate it, and insist that it be sung in exact time, and that the first tone of each group beat be accented. When this has been done correctly, inform the class that each do do do is a group beat and is called Group Three. Eepresent Group Three in the same exercise on the blackboard, croup Three ., represented thus : by JJJ Tell the class that each group represents Group Three and con- sists of three eighth notes. Give the pitch of el? and ask the class to sing the scale down- ward with Group Three for each tone, using the sol-fa syllables, or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. When this has been sung correctly, represent it on the black- board, thus: b 74 MUSIC IN THE PUBLIC SCHOOLS Let the class sing Exercises a and b from the blackboard until the steady and regular succession of Group Threes has become familiar to them. 358. Musical Interpretation. Give a review of the dynamic signs p and pp. Teach by suggestive questioning the musical inter- pretation of " Nightfall " and of the sight songs in this week's work. FOURTH WEEK 359. Rote Singing. Omit entirely or give a review of any pre- ceding rote song. 360. Sight Singing. Give a review of the frequent intervals as they occur in the exercise melodies and songs. For dictation of these intervals see " Melodic Presentation of Intervals," Daily Dictation of Skips, 884. Give the " First Eeader," Nos. 19-23. 361. The Rhythmic Group Beat Two, or, as it is briefly called in teaching, Group Two, consists of two unequal tones to the beat of any measure in compound time, such as ^ measure, and is repre- sented by a quarter note followed by an eighth note, thus : J T 362. From Group Three develop Group Two as follows : Represent on the blackboard Group Three, thus : Ask the class to sing it ; then tie the first two notes, thus : Ask the class to sing it, joining the first two tones together, thus : Do - o do When this has been sung correctly tell them that they have J J sung Group Two. THIRD YEAR 75 Represent it on the blackboard, thus : Tell the class that these notes represent Group Two, and are a quarter note and an eighth note. Give the pitch of Sb and ask the class to sing the scale down- ward with Group Two for each tone, using the sol-fa syllables, or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. When this has been sung correctly, represent it on the black- board, thus : * _ J J j Let the class sing this exercise from the blackboard until the regular succession of Group Twos has become familiar to them. 363. Musical Interpretation. Give a review of the dynamic signs p and pp. Teach by suggestive questioning the musical in- terpretation of the sight songs in this week's work. FIFTH WEEK The 364. Rote Singing. Give a review of Rote Song XIII, Dream Man." 365. Sight Singing. The Rhythmic Group Beat One, or, as it is briefly called in teaching, Group One, is a one-beat tone of any measure of compound time, such as ^ measure, and is represented by a dotted quarter note, thus : J> From Group Three develop Group One as follows : Represent on the blackboard Group Three, thus : i= Ask the class to sing it ; then tie the three notes, thus : 76 MUSIC IN THE PUBLIC SCHOOLS Ask the class to sing, joining the three tones together, thus : m Do - o Group one When this has been sung correctly tell them that they have represented J . J by sung Group One. Eepresent it on the blackboard, thus : Tell the class that this note represents Group One, and is a dotted quarter note. Give the pitch of ib and ask the class to sing the scale down- ward with Group One, using the sol-fa syllables, or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. When this has been sung correctly, represent it on the black- board, thus : rtzxpc^: &= 366. Let the class sing the folio whig exercise from the black- board : Let the class sing the following exercise from the blackboard : i ~H J.di Let the class sing these two exercises from the blackboard until the three groups have become familiar. 367. Rhythmic Dictation. Give any pitch, as 6b, and any syl- lable, as do, and dictate the following rhythmic exercises : Group Three twice, Group Two, and Group One. THIRD YEAR 77 Group Three, Group Two, Group Three, and Group One. Group Two twice, Group Three, and Group One. Group One twice, Group Three, and Group One. Group One, Group Three twice, and Group One, etc. Place the following exercises on the blackboard, give the pitch of f, and ask the class to sing them. Do not point to the notes. J JT3 J J j . j . J . j J. J . j . 368. Place on the blackboard and ask the class to sing, accent- ing the first tone of each group beat. n I Insert bars and the time signature, |, and the above exercise 6 mea8 ure is divided into measures, thus : b jg | 111 =+-+2 Require the class to sing Exercise b in the same manner as Exercise a. Introduce eighth rests and a tie in Exercise I and it becomes [ f J J Ask the class to sing it, and insist that the second group in the last measure be accented. 369. Copy on the blackboard the following exercise melodies in \ measure and require the class to sing them. Do not point to the notes. 78 MUSIC IN THE PUBLIC SCHOOLS Term of From this time on drill the class on Group One, Group Two, and Group Three, 933, 934, 935, and 951, whenever necessary. 370. Musical Interpretation. Teach the term moderate, "mod- erate rate of speed." For an illustration refer the class to the " First Header," Nos. 9 and 20, and for the definition to the " First Eeader," page 120. Blending of registers SIXTH WEEK 371. Voice Training. Teach the blending of registers as follows : Give the pitch of b and ask the class to sing a long tone softly, using the syllable oo. Insist that they sing this tone with good breath support and open throat and good tone direction. When they have produced a pure, soft head tone, let them sing down the scale one tone at a time and back again, thus : THIRD YEAR 79 When Bb has been reached, the children should take care to keep the quality of the voice as much like the upper tones as pos- sible. Ask the class to sing softly :b= in pure head tones, and on reaching fib to broaden and strengthen the tone as much as possible without changing the quality, using syllables oo, o", a, thus : === oo - - a Then let them sing on the pitch of g in the same manner, then f, and then 6b. Proceed in the same manner with the scales of D and C. 372. The most troublesome tones of the child's voice at this time are below the pitch of a, where there is a roughness or coarse- ness, to eradicate which needs careful treatment. Previous work in the upper voice will have influenced this lower register. 373. In this work of blending the registers the vowel sounds oo, 5, a, and e should be used first ; then other vowel sounds may be used. All vowels should be carefully practiced until they are sung equally well. 374. Rote Singing. Omit entirely or give a review of the pre- ceding rote or master songs. 375. Sight Singing. With any pitch from c to a, as 1, dictate interval e-i orally and from the staff the interval 61 in the melodic phrase 1356123. 376. Give a review of Group One, Group Two, and Group Three, for which see 951. Give the " First Reader," Nos. 24-28. 377. Musical Interpretation. Give a review of phrasing and of the dynamic terms p and pp. Teach by suggestive questioning the musical interpretation of this week's sight songs. 80 MUSIC IN THE PUBLIC SCHOOLS SEVENTH WEEK 378. Voice Training. Give a review of the blending of registers, 371-373. 379. Rote Singing. Teach the master song "Eventide," page 224, " Teachers' Edition for Elementary Grades." 380. Sight Singing. Give the " First Eeader," Nos. 29-35. 381. Musical Interpretation. Give a review of phrasing and of the dynamic terms p and pp. Teach by suggestive questioning the musical interpretation of " Eventide " and this week's sight songs. EIGHTH WEEK vowel sounds 382. Voice Training. Teach the vowel sounds tt and a, and the Final consp- final consonant combinations sh and ves as they are given in nantcombina- 1 tions sh, vs Voice Drill XL. 383. Rote Singing. Omit entirely or give a review of any pre- ceding rote song. intervals 384. Sight Singing. With any pitch from f to bt>, as 1, dictate orally and from the staff the intervals 73 and fj 4, using respec- tively the melodic phrases, 3 2 i 7 3 2 i and 5564321. Give the " First Reader," Nos. 36-41. HOW, o 385. In melody No. 39 call attention to the hold (-T*) and explain its use. 386. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. NINTH WEEK 387. Rote Singing. Teach Eote Song XL, " Gaelic Lullaby." 388. Sight Singing. Give the " First Reader," Nos. 42-46. 389. Musical Interpretation. Teach by suggestive questioning the musical interpretation of "Gaelic Lullaby" and this week's sight songs. Give a review of phrasing, dynamic signs p and pp, and tempo. TENTH WEEK 390. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. THIRD YEAR 81 391. Sight Singing. Give the " First Reader," Nos. 47-51. 392. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. 393. Teach the term allegretto, "rather fast." For illustration Term of expression refer the class to the " First Reader," No. 51, and for the definition allegretto to the " First Reader," page 120. ELEVENTH WEEK 394. Rote Singing and Musical Interpretation. Teach the master song " Winter Cradle Song," page 227, " Teachers' Edition for Ele- mentary Grades," and by suggestive questioning teach the musical interpretation of it. 395. From the master songs, rote songs, and sight songs let the class arrange several song programmes and render them. For sug- gestions see 486490. 396. Sight Singing. Give a review of Group One, Group Two, and Group Three. 397. Place the following exercises on the blackboard and ask the class to sing them : Explain to the class that in Exercise c the eighth note before the first bar represents the last tone of Group Two. TWELFTH WEEK 398. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 399. Sight Singing. Give a review of the three groups. Give the " First Reader," Nos. 52-56. 82 MUSIC IN THE PUBLIC SCHOOLS Vowel r sounds 1,0. Final conso- nants n, Id Whole rest 400. Musical Interpretation. Give a review of phrasing, the dynamic signs p and pp, and the terms tempo, moderate, and alle- gretto. Teach by suggestive questioning the musical interpretation of this week's sight songs. THIRTEENTH WEEK 401. Rote Singing and Musical Interpretation. Teach the master song " Song of the March Wind," page 230, " Teachers' Edition for Elementary Grades," and the musical interpretation of it and of this week's sight songs. 402. Sight Singing. Give the " First Eeader," Nos. 57-63. FOURTEENTH WEEK 403. Voice Training. Teach the vowel sounds I and e and the final consonants n and Id as they are given in Voice Drill XLI. 404. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 405. Sight Singing. Give the " First Reader," Nos. 64-68. 406. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. FIFTEENTH WEEK 407. Rote Singing. Teach Eote Song XLI, " Fairy Frost." 408. Sight Singing. Give the " First Eeader," Nos. 69-73. 409. Explain the whole rest in No. 69 as a Quadruple Type silence. 410. Musical Interpretation. Teach by suggestive questioning the musical interpretation of " Fairy Frost " and of this week's sight songs. SIXTEENTH WEEK 411. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 412. Sight Singing. Give the " First Eeader," Nos. 74-77. 413. Musical Interpretation. Teach by suggestive questioning the musical interpretation of the sight songs. THIRD YEAR 83 414. Teach the term allegro, "fast." For illustration refer the Term of class to the " First Reader," No. 74, and for the definition to the allegro " First Reader," page 120. SEVENTEENTH WEEK 415. Rote Singing. Teach the master song " When the Chil- dren Go," page 236, " Teachers' Edition for Elementary Grades." 416. Sight Singing. With any pitch from f to C, as 1, dictate interval g- 3 orally and from the staff the interval 6-3 in the melodic phrase 3 i 6 3 7 i 6. Give the " First Reader," Nos. 78-86. 417. Musical Interpretation. Teach by suggestive questioning the musical interpretation of " When the Children Go " and of this week's sight songs. EIGHTEENTH WEEK 418. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 419. Sight Singing. Give the " First Reader," Nos. 87-94. 420. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. NINETEENTH WEEK 421. Rote Singing. Teach the master song " In One Year," page 224, " Teachers' Edition for Elementary Grades." 422. Sight Singing. Give the "First Reader," Nos. 95-101. 423. Musical Interpretation. Teach by suggestive questioning the musical interpretation of " In One Year " and of this week's sight songs. Give a review of phrasing, the dynamic signs p and pp, and the terms used to express tempo, moderate, allegretto, and allegro. TWENTIETH WEEK 424. Voice Training. Teach the vowel sounds ft and u and the vowel final consonant combination sed as they are given in Voice Final con'to- -T. ... VTTT nantcombi- Drill XLII. nation sed 84 MUSIC IN THE PUBLIC SCHOOLS 425. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 426. Sight Singing. Give a general review. 427. Teach the class how to find do from any signature, as follows : sharp g Illustrate on the blackboard a sharp, thus : Fiatb Name it " a sharp," and likewise illustrate and name a flat. Key signature Tell the class that a key signature is the sign at the beginning of a staff, consisting of one or more sharps or flats, and that it shows where do is. Teach the sentence " Good Deeds Are Ever Bearing Fruit." Finding do Let the class memorize these facts about this sentence, namely : sharp*" 3 the first word begins with G, the second word begins with D, the third word begins with A, the fourth word begins with E, and so on. Finding do Tell the class that when there is one sharp in the signature do from any flat -,,-, signature is on G, the initial letter of the first word in the above sentence ; when there are two sharps in the signature do is on D, the initial letter of the second word ; when there are three sharps in the sig- nature do is on A ; when there are four sharps in the signature do is on E, and so on. Teach the class that when the signature consists of one or more flats do is found as follows : first, subtract the number of flats in the signature from seven ; second, let the remainder represent so many sharps for the signature ; then find do by the plan given above for sharps. Let the class remember that when the signature is seven sharps or seven flats, or when there is 110 signature, do is on the C line or space. Drill the class thoroughly on finding do from any signature. Keys 428. 1 Tell the class that each key takes its name from the loca- tion of do ; for example, if do is on G, the key is the key of G ; if on A, the key of A, and so on. Let the class remember that of the sharp keys F and C only have a sharp appended to the key name, thus F$ and Cjf ; of the flat keys all have a flat appended except F. 1 Many defer 128 to the fourth year. THIRD YEAR 85 429. Another way of teaching the class to locate do is to give them these two rules, namely : Rule for sharp signatures. The sharp nearest the time signa- ture is always ti ; therefore do will be the first staff degree above it. Rule for flat signatures. The flat nearest the time signature is always fa ; therefore do will be the third staff degree below it. 430. Musical Interpretation. Work on the musical interpreta- tion of preceding sight songs. Let the class arrange from the preceding work several song programmes and render them. For suggestions see 486-490. 431. Teach the term andantino, "rather slow." For illustra- Term of tions refer the class to the " First Reader," Nos. 15 and 56, and andantin for the definition refer them to the " First Reader," page 120. TWENTY-FIRST WEEK 432. Rote Singing. Teach Rote Song XLII, " Song Story The Champion Juniper." 433. Sight Singing. Give the "First Reader," Nos. 102-107. 434. Musical Interpretation. Teach by suggestive questioning the musical interpretation of "Song Story The Champion Jumper " and of this week's sight songs. TWENTY-SECOND WEEK 435. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 436. Sight Singing. Give the " First Reader," Nos. 108-115. 437. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. TWENTY-THIRD WEEK 438. Rote Singing. Teach the master song, " The Water Sprite," page 247, " Teachers' Edition for Elementary Grades." 439. Sight Singing. Give the "First Reader," Nos. 116-125. 440. Musical Interpretation. Teach by suggestive questioning the musical interpretation of " The Water Sprite " and of this week's sight songs. MUSIC IN THE PUBLIC SCHOOLS Intervals 4-8, -? Vowel . sounds i, 6. Final conso- nant combi- nation ght Interval 6-5 Interval 7-3 TWENTY-FOURTH WEEK 441. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 442. Sight Singing. With any pitch from c to e, as 1, dictate orally and from the staff the intervals 4-8 and 27, using respec- tively the melodic phrases 876548s and i 8 7 5 2 7 a Give the " First Reader," Nos. 126-134. 443. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. TWENTY-FIFTH WEEK 444. Rote Singing. Teach the master song " The Eose," page 248, " Teachers' Edition for Elementary Grades." 445. Sight Singing. Give the " First Reader," Nos. 135-144. 446. Musical Interpretation. Teach by suggestive questioning the musical interpretation of " The Rose " and of this week's sight songs. TWENTY-SIXTH WEEK 447. Voice Training. Teach the vowel sounds 1 and 6 and the final consonant combination ght as they are given in Voice Drill XLIII. 448. Rote Singing. Omit entirely or give a review of any pre- ceding rote song. 449. Sight Singing. With any pitch from i to b, as 1, dictate orally and from the staff the interval (55 in the melodic phrase 5566571. "Give the " First Reader," Nos. 145-153. 450. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. TWENTY-SEVENTH WEEK 451. Rote Singing. Teach Rote Song XLIII, " Twilight." 452. Sight Singing. With any pitch from 6 to c, as 1, dictate orally and from the staff the interval 7-3 in the melodic phrase 8638736. THIRD YEAR , 87 Give the " First Reader," Nos. 154-164. 453. Musical Interpretation. Teach by suggestive questioning the musical interpretation of " Twilight " and of this week's sight songs. 454. Teach the term andante. " slow." For an illustration refer Term of expression the class to the " First Reader," No. 160, and for the definition to andante the " First Reader," page 120. TWENTY-EIGHTH WEEK 455. Rote Singing. Omit entirely or give a review of any pre- ceding rote song. 456. Sight Singing. With the pitch of d or 6, as 1, dictate intervals 4 ""7 1 4*"7 orally and from the staff the intervals 4-7 and 4-7, using respec- tively the melodic phrases 5874365 and i i 7_ 2 4 7_ 1. Give the " First Reader," Nos. 165-175. 457. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. TWENTY-NINTH WEEK 458. Sight Singing. Give a general review. 459. Musical Interpretation. Give a review of phrasing, of the dynamic signs p and pp, and of the tempo terms moderate, alle- gretto, allegro, andantino, and andante. 460. From the preceding work let the class select and arrange several song programmes and render them. For suggestions see 486-490. THIRTIETH WEEK 461. Rote Singing. Teach the master song " Summer Days," page 249, " Teachers' Edition for Elementary Grades." 462. Sight Singing. With any pitch from c to f, as 1, dictate interval a-c orally and from the staff the interval 2-6 in the melodic phrase 8642651. Give the "First Reader," Nos. 176-183. 463. Musical Interpretation. Teach by suggestive questioning the musical interpretation of " Summer Days" and of this week's sight songs. Term of expression lento nation ds Interval 1-7 88 MUSIC IN THE PUBLIC SCHOOLS THIETY-FIRST WEEK 464. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 465. Sight Singing. Give the " First Reader," Nos. 184-193. 466. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. 467. Teach the term lento, " very slow." For an illustration refer the class to the " First Reader," No. 184, and for the defini- tion to the "First Reader," page 120. THIKTY-SECOND WEEK vowel sounds 468. Voice Training. Teach the vowel sounds oo and oy and the 00 0V Final conso- final consonant combination ds as given in Voice Drill XLIV. nant combi- ./- . ^ i 469. Rote Singing. Omit entirely or give a review of any pre- ceding rote song. 470. Sight Singing. With any pitch from c to 6, as 1, dictate orally and from the staff the interval 1-7 in the melodic phrase 187717s. Give tlie "First Reader," Nos. 194-202. 471. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. THIRTY-THIRD WEEK 472. Rote Singing. Teach Rote Song XLIV, " Our Country." 473. Sight Singing. Give the "First Reader," Nos. 203-214. 474. Musical Interpretation. Teach by suggestive questioning the musical interpretation of " Our Country " and of this week's sight songs. THIRTY-FOURTH WEEK 475. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. interval 7-6 476. Sight Singing. With any pitch from f to a, as 1, dictate orally and from the staff the interval 7-6 in the melodic phrase 1724671. Give the " First Reader," Nos. 215-227. THIRD YEAR 89 477. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. THIRTY-FIFTH WEEK 478. Voice Training. Give a review of the voice drills from XXXIX to XL1V. 479. Rote Singing. Omit entirely or give a review of any pre- ceding rote or master song. 480. Sight Singing. Give the " First Reader," Nos. 228-237. 481. Musical Interpretation. Teach by suggestive questioning the musical interpretation of this week's sight songs. THIRTY-SIXTH WEEK 482. Rote Singing. Give a review of any preceding rote or master song. 483. Sight Singing. Give a general review of the " First Reader," Part I. 484. Musical Interpretation. Let the class arrange from this year's work several song programmes and render them. For sug- gestions see 486-490. 485. Teach the term of expression presto, "very fast." For an Term of illustration refer the class to the " First Reader," No. 156, and for the definition to the " First Reader," page 120. 486. Suggestive song programmes from this year's work are given below. Piano accompaniments for all songs will be found in " Teachers' Edition for Elementary Grades." 1. "The Toy Balloon" Frederic Field Bullard " First Reader," page 9 2. "Thanksgiving" Mrs. H. H. A. Beach " First Reader," page 8 3. "When the Children Go " Schumann " Teachers' Edition for Elementary Grades," page 236 4. " A Funny Story " M. White " First Reader," page 11 5. "The Rose" Franz " Teachers' Edition," page 248 6. "Cradle Song" J. M. McLaughlin " First Reader," page 5 7. " Hail, Fairest Land " S. Hoffer " First Reader," page 12 90 MUSIC IN THE PUBLIC SCHOOLS 487. 1. "Song of the March Wind" C.B.Edmunds " Teachers' Edition," page 230 2. "Fairy Frost" French " Teachers' Edition," page 52 3. "Winter Cradle Song" W. Taubert " Teachers' Edition," page 227 4. " Santa Claus " " First Reader," page 13 5. The Wanderer " C. E. Connew " First Reader," page 24 6. " The Merry Skaters " German " First Reader," page 30 7. "Cold the Winds of March " Scandinavian " First Reader," page 30 8. " Flag of Our Nation " J. M. McLaughlin " First Reader," page 27 488. 1. "Spring Song" Chopin " Teachers' Edition," page 219 2. "Nightfall" J. Stainer " Teachers' Edition," page 49 3. " Reasoning Together " " First Reader," page 40 4. "Eventide" M. Moskowski " Teachers' Edition," page 224 5. "The Violet" R. Mellesh " First Reader," page 35 6. "At Sunset" Frederic Field Bullard " First Reader," page 43 7. "Our Country's Heroes" German " First Reader," page 34 489. 1. "The Swing" M. White " First Reader," page 45 2. "Summer Days" Mendelssohn " Teachers' Edition," page 249 3. " O Moon in the Night " T. E, Morrell " First Reader," page 44 4. " Summer Clouds " C. Eppstein " First Reader," page 44 5. "Stars" W. W. Gilchrist " First Reader," page 19 6. " The Telephone " Frederic Field Bullard " First Reader," page 38 7. "Evening" F. Remsen " First Reader," page 43 490. 1. "In One Year" Carl Bohm " Teachers' Edition," page 244 2. "A Story " George A. Veazie " First Reader," page 14 3. " The Water Sprite " Rubinstein " Teachers' Edition," page 247 THIRD YEAR 91 4. "Why" Mrs. H. H. A. Beach " First Reader," page 29 5. " Little Bo-Peep " J. W. Elliott " First Reader," page 40 0. "Twilight" C.B.Edmunds " Teachers' Edition," page 65 7. " Our Country " A. Zitz " Teachers' Edition," page 66 491. Briefly suggested lesson programmes for any week of the third year, as, for example, the sixth week, 371-377, are as follows : MONDAY 1 . Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Review any rote song. 4. Blending of registers, 371. 5. Review group beats and teach interval 6-1. TUESDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Blending of registers. 4. Review dictation of intervals. 5. "First Reader," Nos. 24-26. WEDNESDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Review any rote song. 4. Blending of registers. 5. "First Reader," No. 27. THURSDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Review dictation of intervals. 4. Blending of registers. 5. "First Reader," No. 28. FRIDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Review any rote song. 4. Review phrasing and dynamic signs/) and pp. 5. Musical interpretation of "First Reader," Nos. 27 and 28. FOURTH YEAR SYNOPSIS Voice Training Vocalization of all material in this year's work. Rote Singing Optional. Master songs. Sight Singing Tune. The intermediate tones, $ 4 and b 7, in the melodic progressions 5 4 5 and 6 I? 7 6, in each of the nine keys. The characters ft, t>, and JT, 535, and following. __ Time. Type Two, represented by J J , 502. Figure One represented by J j , 523. Part Song. The Round, 560. Two-part Song, 564. Musical Interpretation Terms of expression indicating manner and feeling: con espressione, con moto, con grazia, animato, vivace, and t.rcmquillo, 509-568. From the study of the spirit of the music and the terms and signs of musical expression, the musical interpretation of all material in this year's work. Musical Conceptions The more general melodic characteristics of noted composers are intro- duced in less simple songs and exercise melodies, together with the inter- weaving of melodies in two-part harmony. There is also introduced a musical representation of seven nationalities, German, French, Italian, English, Bohemian, Scandinavian, and Ameri- can, including forty-seven composers, the more important of whom are Franz Abt, Beethoven, Franz Bendel, Frederic Field Bullard, Dvorak, Franz, Jessie L. Gaynor, W. W. Gilchrist, Grieg, Henry K. Hadley, Henry Holden Huss, Clayton Johns, F. Kucken, Mendelssohn, Mozart, Purcell, J. Raff, Carl Reinecke, Schubert, and Schumann ; and forty-three poets in song, the more important of whom are William Allingham, Abbie Farwell Brown, Lydia Maria Child, Louis C. Elson, Gertrude E. Heath, Lord Houghton, Jean Ingelow, Lowell, Winthrop Packard, Christina Rossetti, Scott, Frank 92 FOURTH YEAR 93 Dempster Sherman, Alexander Smart, Stevenson, Edna Kingsley Wallace, Nixon Waterman, Isaac Watts, Whittier, and Wordsworth. Suggested song programmes, 574-578. Material For pupils' use, "First Reader," pages 46-110, for voice training, sight singing, musical interpretation, and musical conceptions. For teachers' use, "Music in the Public Schools " and the "Teachers' Edition for Elementary Grades," for voice training, rote songs, nine master songs, and piano accompaniments. FOUKTH YEAK PLAN FOR THIETY-SIX WEEKS' WORK GENERAL SUGGESTIONS 492. Rote Singing. During the fourth year's work rote singing may be practiced occasionally or dropped entirely according to the wish of the teacher. It will not be mentioned in the following weekly outlines. Voice training, sight singing, and musical inter- pretation will be continued as heretofore, but as the New Educa- tional Music Readers combine in one and the same material the means for the development of these three essentials, together with that of the best musical conceptions, the subject headings " Voice Training," " Sight Singing," and " Musical Interpretation " will be omitted hereafter, and the weekly outlines will specify only the reader numbers to be studied, together with suggestions for the presentation of new features as they occur in the development of the subject. 493. Voice Training. The proper conserving and developing of the young voice should not be slighted for even a single lesson. Do not allow the pupil to sing at any time without good breath support, an open throat, and good tone direction. Never allow the forcing of chest-register tones upward into the region of the head register. Allow loud singing only after the .registers have been carefully blended and the tones properly placed. Insist at all times on the correct enunciation of every vowel and consonant sound. Require daily the practice of Voice Drill XXXIX, a, in the ' ' Teachers' Edition for Elementary Grades," page 49. These features of voice training have been carefully presented and emphasized in the outlines of the first three years, and should still receive constant daily attention. If at any time it is found that the pupils have become deficient in any of these respects, it is 94 FOURTH YEAR 95 urged that the regular work give way to such a review drill as will restore the class to its proper standing. 494. Teach the child to form the habit of singing correctly in the first years of his school life, and thereafter the difficulties and drudgery of voice training will, to a great extent, be obviated. 495. Sight Singing. By this time the children have become accustomed, through constant practice, to perform the mental proc- esses involved in sight singing. They have also become familiar with the thirty-four intervals, the Rhythmic Type One, three Rhythmic Group Beats, the nine common keys, and the five differ- ent kinds of measure. With a general review to recall clearly these elements, for which see the " First Reader," pages 1-45, the class will be prepared to go on with this year's work. 496. Musical Interpretation. After the child has sung a song at sight he should learn to interpret it with some degree of artistic finish. Sight singing and musical interpretation are two different processes which are sometimes confounded. The former is a de- duction of the import of musical notation ; the latter is an expres- sion of the content of the song, its whole musical thought and feeling. 497. Heretofore musical interpretation has been chiefly sought by leading the child through various simple means to catch the spirit of the song and to render it accordingly. The pupil has depended but little upon his personal knowledge of the terms and signs of expression. From now on, however, he will be called upon more and more to learn the meaning of these terms and to apply them. FIRST WEEK 498. Give a review of the "First Reader," - two or more staves on each of the pages 1, 6, 11, 16, 21, 26, 31, 36, 41. 499. Give a review of the dynamic signs p and pp, and phras- ing, 303. SECOND WEEK 500. Give a review of the " First Reader," two or more staves on each of the pages 2, 7, 12, 17, 22, 27, 32, 37, 42. 96 MUSIC IN THE PUBLIC SCHOOLS 501. Give a review of the terms of expression indicating even tempo, moderato, allegretto, allegro, andantino, andante, and lento. For definitions see the " First Header," page 120. Illustrate with sight songs already learned. THIRD WEEK 502. The Rhythmic Type Two, or, as it is briefly called in teaching, Type Two, consists of two equal tones to the beat, and in all quarter measures is represented by two eighth notes, thus : JJ 503. Teach T} 7 pe Two by imitation as follows : On any pitch, as eb, and with any syllable, as do, in exact time, sing for the class Type One four times, metronome about 69, ac- centing all tones equally, thus : do do do Ask the class to imitate this and tell what they have sung. With the same pitch, syllable, and tempo, and with the same number of beats, sing for the class two equal tones to the beat, accenting the first tone only of each beat, thus : do do do do Ask the class to imitate this; insist that it be sung in exact time and that the first tone of each beat be accented. When this has been done correctly, inform the class that each do do is made up of two equal tones to the beat and is called Type Two. Eepresent Type Two in the same exercise on the blackboard, thus: a p> F=F~ r * -0 Tell the class that each group of notes represents Type Two and consists of two eighth notes. FOURTH YEAR 97 Give the pitch of eb and ask the class to sing the scale down- ward with Type Two for each tone, using the sol-fa syllables, or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. When this has been sung correctly, represent it on the black- board, thus : Let the class sing Exercises a and b from the blackboard until the steady and regular succession of Type Two is familiar to them. 504. Rhythmic Dictation. Give any pitch, as sb, and any syl- lable, as do, and dictate the following rhythmic exercises : Type One and Type Two. Type One twice and Type Two twice. Type Two twice and Type One twice. Type One, Type Two twice, and Type One. Type Two twice and Double Type, etc. Place on the blackboard the following exercises, give the pitch of a, and ask the class to sing them. Do not point to the notes. j j 505. Copy on the blackboard the following melodic progressions and ask the class to sing them. Do not point to the notes. 98 MUSIC IN THE PUBLIC SCHOOLS Term of expression con espres- sione Term ol expression con moto 506. Give the " First Header," Nos. 238-247. FOURTH WEEK 507. Do not neglect the daily practice of Voice Drill XXXIX, a, " Teachers' Edition for Elementary Grades," page 49. Give a review of the "First Reader," two or more staves of ^ measure on each of the pages 3, 8, 13, 18, 23. 508. Give the " First Reader," Nos. 248-251. 509. Teach con espressione, " with expression." Ask the class to find an illustration of this term in this week's work. For definitions of all signs and terms of expression refer them to the " First Reader," page 120. FIFTH WEEK 510. Give a review of the " First Reader," - two or more staves of | measure on each of the pages 28, 33, 38, 43. 511. Give the "First Reader," Nos. 252-261. SIXTH WEEK 512. Give the " First Reader," Nos. 262-269. 513. Give a review of con espressione. Teach con moto, " with spirited movement." Ask the class to find an illustration of this term in this week's work. SEVENTH WEEK 514. Give the " First Reader," Nos. 270-275. FOURTH YEAR 99 EIGHTH WEEK 515. Do not neglect the daily practice of Voice Drill XXXIX, a, " Teachers' Edition for Elementary Grades," page 49. 516. Give the " First Reader," Nos. 276-286. NINTH WEEK 517. Give a review of the " First Reader," Nos. 238-286. 518. Give a review of the " First Reader," two or more staves of | measure on each of the pages 4, 9, 14, 19, 24, 29, 34, 39, 44. 519. Review the musical interpretation of the " First Reader," Nos. 246, 249, 250, 251, 257, 269, 270, 271, 276. TENTH WEEK 520. Give the " First Reader," Nos. 287-292. ELEVENTH WEEK 521. Give a review of con espressione and con moto. Teach con Term of ,. . , ,. expression grazia, with grace. 522. Give the " First Reader," Nos. 293-294. 523. The Rhythmic Figure One, or, as it is briefly called in teaching, Figure One, consists of two unequal tones represented by a dotted quarter note followed by an eighth note, thus : 4 J^ 524. From Type One and Type T,wo develop Figure One as follows : Represent on the blackboard Type One and Type Two as follows : Ask the class to sing this ; then tie the first two notes, thus : . 100 MUSIC IN THE PUBLIC SCHOOLS Ask the class to sing, joining the tones of the tied notes together and not forgetting the accent of the second beat, thus : Do - - o Figure one When this has been sung correctly, tell them that they have represented I | sung Jngure One. Eepresent it on the blackboard, thus : Tell the class that these notes represent Figure One and are a dotted quarter note and an eighth note. Give the pitch of 1? and ask the class to sing the scale down- ward with Figure One for each tone, using the sol-fa syllables, or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. Insist on an accent for the introduction of every beat. When this has been sung correctly, represent it on the black- board, thus : Let the class sing this exercise until Figure One is familiar to them. 525. Rhythmic Dictation. Give any pitch, as eb, and any syl- lable, as do, and dictate the following rhythmic exercises : Figure One twice. Type One twice and Figure One. Type One, Type Two, and Figure One. Figure One and Double Type. Type One twice, Type Two twice, Figure One and Double Type, etc. Place on the blackboard the following exercises, give the pitch of g, and ask the class to sing them. Do not point to the notes. FOURTH YEAR 101 J J J J J- J>J J. /J J J. /J * J. //I J J- /J * J J J. ^J ^J J * j"3 j j . / n j. /.n .n j. j. ^j j. Tell the class that Figure Oue is not used in | measure. 526. Give the " First Reader," Nos. 295-299. TWELFTH WEEK 527. Do not neglect the daily practice of Voice Drill XXXIX, a, " Teachers' Edition for Elementary Grades," page 49. 528. Give the " First Reader," Nos. 300-306. THIETEENTH WEEK 529. Give the " First Reader," Nos. 307-313. FOURTEENTH WEEK 530. Give the " First Reader," Nos. 314-317. FIFTEENTH WEEK 531. Give a review of the "First Reader," Nos. 287-317. 532. Give a review of the "First Reader," two or more staves of | measure 011 each of the pages 5, 10, 15, 20, 25, 30, 35, 40, 45. 533. Give a review of the musical interpretation of Nos. 287, 288, 293, 294, 303, 305, 306, 310, 312, 313, 314, 315, 317. 102 MUSIC IN THE PUBLIC SCHOOLS Intermediate tone SIXTEENTH WEEK 534. Do not neglect the daily practice of Voice Drill XXXIX, a, " Teachers' Edition for Elementary Grades," page 49. 535. From the progression 8 7 8 as a pattern, develop the pro- gression 5 |f 4 5 and the intermediate tone represented by $ 4, as follows : Give the pitch of 5 and dictate orally, thus : 8765543. After the class has sung this, ask them to sing 8 7 8 on the pitch of 5, and to repeat the same tones several times, calling them sol fi sol. Now ask them to sing sol fa mi, followed by sol fi sol, and to notice that fi is higher in pitch than fa, but not so high in pitch as sol. Explain that because it stands between two tones it is called an " intermediate tone." Represent it on the blackboard, thus : Intermediate tone $4 in stepwise progression Call the attention of the class to the fact that there is no line or space on the staff between the representations of fa and eol for the representation of this intermediate tone ; therefore it is repre- sented on the same space as fa with the sharp ($) before it, thus : State that the scale name for the syllable fi is $4. 536. Give the pitch of e and dictate orally, thus : 878 5 #4 5 5 #4 5 543 Require the class to sing this exercise until 4 and JJ4 are sung true to pitch ; then represent it on the blackboard, thus : 103 Point to the last note on f and explain that as the preceding notes on f are sharp, in order to remind the singer that this note is not sharp a sign is placed before it called a " cancel " or intermediate " natural" Insert the cancel in the above exercise and it becomes 537. Place on the blackboard this melody : Call the attention of the class to the second note on g in the first measure and explain that this note is sharp because the pre- ceding note on g in the same measure is sharp. Let the class sing this melody and then repeat the rule that an intermediate sharp or flat affects every note following it in the measure in which it occurs. 538. Give the "First Reader," Nos. 318-325. 539. From the progression 3 4 3 as a pattern, develop the pro- gression 6 b7 6 and the intermediate tone represented by 1? 7, as follows : Give the pitch of c and dictate orally, thus : 8765543. After the class has sung this, ask them to sing 3 4 3 on the pitch of 6, and to repeat the same tones several times, calling them la ta la. Now ask them to sing la ti do, followed by la ta la, and to notice that ta is lower in pitch than ti, but not so low as la. State that it is therefore an intermediate tone and that it is represented on the same line as ti with the flat (b) before it, thus : -*- II ta State that the scale name for the syllable ta is l>7. 540. Give the pitch of c and dictate orally thus : 878 6t>7 6 6t>7 6 578 Intermediate tone b 7 in stepwise progression 104 MUSIC IN THE PUBLIC SCHOOLS Eequire the class to sing this exercise until 7 and 1? 7 are sung true to pitch ; then represent it on the blackboard, thus : Point to the last note on b and explain that as the preceding notes on b are flat, in order to remind the singer that this note is not flat the cancel or natural is placed before it. Insert the cancel in the above exercise and it becomes i 541. Give the " First Eeader," Nos. 326-329. SEVENTEENTH WEEK 542. Give the " First Eeader," Nos. 330-335. EIGHTEENTH WEEK 543. Give the " First Eeader," Nos. 336-343. 544. In No. 339 b 7 occurs in the key of G and is represented by a t{ ; with reference to this let the class learn the following rule : When intermediate b 7 is on the same line or space with a Jf in the signature it is represented by a t}. The signature suggests the cancel. 545. Give a review of con espressione, con moto, and con grazia. Teach animato, " animated." NINETEENTH WEEK 546. Give the "First Eeader," Nos. 344-356. 547. In No. 344 $ 4 occurs in the key of F and is represented by a tj, with reference to which let the class learn this rule : When intermediate $4 is on the same line or space with a \> in the signature it is represented by a \. The signature suggests the cancel. FOURTH YEAR 105 TWENTIETH WEEK 548. Do not neglect the daily practice of Voice Drill XXXIX, a, " Teachers' Edition for Elementary Grades," page 49. 549. Give the " First Reader," Nos. 357-365. TWENTY-FIRST WEEK 550. Give the " First Reader," Nos. 366-376. TWENTY-SECOND WEEK 551. Give the "First Reader," Nos. 377-390. TWENTY-THIRD WEEK 552. Give a review of the " First Reader," Nos. 318-390. 553. Give a review of the musical interpretation of some or all of the " First Reader," Nos. 325, 330, 335, 338, 343, 348, 350, 357, 362, 365, 371, 376, 378, 386. TWENTY-FOURTH WEEK 554. Do not neglect the daily practice of Voice Drill XXXIX, a, " Teachers' Edition for Elementary Grades," page 49. 555. Give the " First Reader," Nos. 391-403. TWENTY-FIFTH WEEK 556. Give the "First Reader," No.s. 404-416. 557. Give a review of con espressione, con moto, con qrazia, and Term of m v i i expression animato. leach mvace, gay, lively. vivace TWENTY-SIXTH WEEK 558. Give the " First Reader," Nos. 417-428. TWENTY-SEVENTH WEEK 559. Give the " First Reader," Nos. 429-439. 560. No. 439 introduces the Round. For definition see the "First The Round Reader," page 119. For manner of singing the Round see the " First Reader," page 91, footnote. Explain the use of the brace. The Brace 106 MUSIC IN THE PUBLIC SCHOOLS TWENTY-EIGHTH WEEK 561. Give the " First Reader," Nos. 440-447. TWENTY-NINTH WEEK 562. Give a review of the " First Header," Nos: 391-447. 563. Give a review of the musical interpretation of some or all of the "First Reader," Nos. 391, 392, 397, 399, 404, 406, 411, 412, 417, 418, 423, 424, 431, 438, 439, 440, 441, 442, 443, 444, 445, 446, 447. THIRTIETH WEEK 564. Give the " First Reader," Nos. 448-458. THIRTY-FIRST WEEK 565. Give the " First Reader," Nos. 459-469. THIRTY-SECOND WEEK 566. Give the " First Reader," Nos. 470-478. THIRTY-THIRD WEEK 567. Give the " First Reader," Nos. 479-487. 568. Give a review of con espressione, con moto, con grazia, animato, and vivace. Teach tranquillo, " tranquil, quiet." THIRTY-FOURTH WEEK 569. Give the " First Reader," Nos. 488-498. THIRTY-FIFTH WEEK 570. Give a review of the " First Reader," Nos. 448-498. 571. Give a review of the musical interpretation of some or all of the "First Reader," Nos. 452, 453, 458, 459, 464, 465, 470, 475, 476, 481, 486, 487, 492, 497, 498. THIRTY-SIXTH WEEK 572. Give a general review of the " First Reader," Parts II, III, and IV. FOURTH YEAR 107 573. Let the class arrange from this year's work several song programmes and render them. For suggestions see the following lists. For piano accompaniments see the " Teachers' Edition for Elementary Grades." 574. 1." The Wind" Frederic Field Bullard " First Reader," page 61 2. " Fancies " George W. Veazie " First Reader," page 47 8. "O, Tiny Boat" Katherine Ruth Heyman " First Reader," page 52 4. "Autumn Pleasures " Beethoven " Teachers' Edition," page 235 5. "My Playmate" Franz Abt " Teachers' Edition," page 232 6. "Autumn Winds " Russian " First Reader," page 69 7. " Fairy Jewels " Frederic Field Bullard " First Reader," page 66 575. 1. "King Bell" English " First Reader," page 60 2. " A Christmas Song " W. E. Appleton " First Reader," page 69 3. " The Little Dustman " Brahms " First Reader," page 62 4. " Lullaby to an Infant Chief " . Clayton Johns " First Reader," page 63 5. "My Woodland" Franz " Teachers' Edition," page 239 6. "The Nobody Man " Frederic Field Bullard " First Reader," page 66 7. "The Owl" Mrs. H. H. A. Beach " First Reader," page 73 576. 1. " My Valentine " Isidora Martinez " First Reader," page 80 2. "The Wind's Song" F. Kucken " First Reader," page 79 3. " Good Morning, Merry Sunshine " . . . Margaret Ruthven Lang "First Reader," page 78 4. "Old Glory" A. Binzer " First Reader," page 76 5. "At Night" J. Raff " Teachers' Edition," page 240 6. " Washington's Birthday " Frederic Field Bullard " First Reader," page 81 7. " The Passing Soldiers " C. E. Connew " First Reader," page 75 108 MUSIC IN THE PUBLIC SCHOOLS 577. 1. " My Native Country " Dr. J. Mainzer " First Reader," page 85 2. "Evensong" F. Silcher " First Reader," page 86 3. " Under their Blankets of Snow " Catherine C. Myers " First Reader," page 84 4. "Over the Sea" Schumann " First Reader," page 81 5. "The Violet" Mozart " Teachers' Edition," page 245 6. "Good Night" Mendelssohn " First Reader," page 83 578. 1. "Hurrah! Hurrah!" J. Frise " First Reader," page 109 2. "Lullaby" F. Bianchi " First Reader," page 107 3. " In a Boat " Carl Reinecke " First Reader," page 103 4. " When My Mother Sings " Dvorak " Teachers' Edition," page 256 5. " To a Child " Franz Bendel " Teachers' Edition," page 251 6. " Slumber Song " W. W. Gilchrist " First Reader," page 107 7. " Flag of Our Native Land " J. M. McLaughlin " First Reader," page 105 579. Brief suggested lesson programmes for any week of the fourth year, as, for example, the sixth week, 512, 513, are here given. MONDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Dictation of intervals and rhythmic types. 4. Review " First Reader," Nos. 252-256. 5. "First Reader," Nos. 262-263. TUESDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Dictation of intervals and rhythmic types. 4. Review " First Reader," Nos. 257-261. 5. "First Reader," Nos. 264-265. WEDNESDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. FOURTH YEAR 109 3. Dictation of intervals and rhythmic types. 4. Musical interpretation of any preceding sight song. 5. " First Reader," Nos. 266-268. THURSDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Dictation of intervals and rhythmic types. 4. " First Reader," No. 279. FRIDAY 1 . Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Review con espressione and give con moto. 4. Musical interpretation of " First Reader," No. 260. FIFTH YEAR SYNOPSIS Voice Training Vocalization of all material in this year's work. Sight Singing Tune. The intermediate tones, til, $2, $4, $5, ttft, and j?7, in each of the nine common keys, approached and followed stepwise, always in the forms of the following melodic progressions respectively : 2 $12, 3 $23, 3 $45, or 5 $43, 6 $56, 7 $67, and 8 i?76. The characters x, and Jj, $, 633 and following. . Time. Type One represented by ey , 583. | measure, 583. | measure, 587. C3ZE3 Type Four represented by 0000 ,596. Type Four a represented by 09 , 603. Group Two modified represented by 00 ,608. Type Four b represented by 00 , 612. Type Four modified represented by J , 617. Group Three modified represented by , 622. Type Three represented by , 625. Measure accents, 642. Computation of the time values of notes, 654. Relative value of the dot, 655. The reason for the time signature, 656. Musical Interpretation Additional dynamic signs and terms: mp, mf,f,jf, 589, sforzando, >, 639. Term of expression indicating uneven tempo, rallentando, 601. Terms of expression indicating march tempo, marcato and marziale, 620, 659. From the study of the spirit of the music and the signs and terms of musical expression, the musical interpretation of all material in this year's work. 110 FIFTH YEAR 111 Musical Conceptions The more general melodic characteristics of noted and great composers of the different national schools of music are introduced in selections from musical art works and in famous instrumental themes, songs, and part songs. There is also introduced a musical representation of eight nationalities, German, French, Italian, English, Russian, Scandinavian, Danish, and American, including sixty -seven composers, the more important of whom are Beethoven, Brahms, Leo Delibes, Franz, Henry F. Gilbert, Gluck, Philip H. Goepp, Henry K. Hadley, Rinaldo Hahn, Haydn, Erik Meyer- Helmund, Clayton Johns, Halfdan Kjerulf, Margaret Ruthven Lang, E. Lassen, Harvey Worthington Loomis, Mendelssohn, Mozart, Purcell, Franz Ries, Schubert, Schumann, Ludwig Spohr, A. S. Sullivan, F. Paolo Tosti, and Verdi ; and forty-eight poets in song, the more important of whom are Hezekiah Butterworth, Isaac Bassett Choate, Edmund Vance Cooke, Marian Douglass, Persis Gardiner, J. G. Holland, Frank Walcott Hutt, Will S. Lord, Thomas Moore, Samuel Minturn Peck, Theodore Roberts, Christina Rossetti, John B. Tabb, E. H. Thomas, Whittier, and Ella Wheeler Wilcox. Suggested song programmes, 668-673. Material For pupil's use, the "Second Reader " entire for voice training, sight singing, musical interpretation, and musical conceptions. For teachers' use, "Music in the Public Schools." Type One represented FIFTH YEAK PLAN FOE THIRTY-SIX WEEKS' WORK FIRST WEEK 580. The teacher is urged to follow the " General Suggestions" on the fourth year's work, 492-497, as they apply equally to both years. 581. The first twenty-seven pages of the " Second Reader " are a review of the principles presented in the preceding reader. 582. Give the " Second Reader," Nos. 1-5. 583. Concerning Exercise Melody No. 5 inform the class that the sight reading of \ measure, and \ measure as well, involves no new principle. Simply consider the half note, &, as Type One instead of the quarter note, J 584. Place on the blackboard the following : Type One is Double Type is Triple Type is Type Two is Type One rest is J In | and jjj measures Type One is Double Type is Triple Type is Type Two is Type One rest is 585. Give the " Second Reader," Nos. 6-16. SECOND WEEK 586. Give the " Second Reader," Nos. 17-33. 587. In No. 29 ij measure is introduced ; see 583. 112 FIFTH YEAR 113 THIRD WEEK 588. Give the " Second Reader," Nos. 34-48. 589. Review the dynamic signs p and pp. Teach mp, " half Dynamic soft " ; mf, " half loud " ; /, " loud ";/"," very loud " ; and =m , exprcsaion ' J 11 *U *P,>"f,f,ff crescendo, gradually increasing the tone. FOURTH WEEK 590. Give the " Second Reader," Nos. 49-61. FIFTH WEEK 591. Give the " Second Reader," Nos. 62-78. SIXTH WEEK 592. Give the " Second Reader," Nos. 79-95. SEVENTH WEEK 593. Give the " Second Reader," Nos. 96-114. EIGHTH WEEK 594. Give the "Second Reader," Nos. 115-134. NINTH WEEK 595. Give the " Second Reader," Nos. 135-141. 596. The Rhythmic Type Four, or, as it is briefly called in teaching, Type Four, consists of four equal tones to the beat, and in all quarter measures is represented by four sixteenth notes, thus : 597. Teach Type Four by imitation as follows : On any pitch, as eb, with any syllable, as do, in exact time, sing for the class Type One four times, metronome about 69, accenting all tones equally, thus : Do do do do 114 MUSIC IN THE PUBLIC SCHOOLS Ask the class to imitate this and tell what they have sung. With the same pitch syllable and tempo, and the same number of beats, sing for the class four equal tones to the beat, accenting the first tone only of each beat, thus : Do do do do do do do do do do do do do do do do Ask the class to imitate this; insist that it be sung in exact time and that the first tone of each beat be accented. When this has been done correctly, inform the class that each do do do do is made up of four equal tones to the beat and is called Type Four. Eepresent Type four in the same exercise on the blackboard, thus: EE3 irh l/ 2= ! i 1 i H- a Tell the class that each group of notes represents Type Four and consists of four sixteenth notes. Give the pitch of II? and ask the class to sing the scale down- ward with Type Four for each tone, using the sol-fa syllables or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. When this has been sung correctly, represent it on the black- board, thus : b i i 1 Let the class sing Exercises a and b from the blackboard until the regular succession of Type Four has become familiar. 598. Rhythmic Dictation. Give any pitch, as eb, and any syl- lable, as do, and dictate the following rhythmic exercises : FIFTH YEAR Type One twice and Type Four twice. Type One, Type Four twice, and Type One. Type One, Type Two, Type Four, and Type One. Type One, Type Four, Type Two, and Type One. Type Two, Type Four, and Double Type. Double Type, Type Four, and Type One. Figure One, Type Four, and Type One, etc. 599. Give the " Second Reader," Nos. 142-153. 115 Type Two in f measure TENTH WEEK 600. Give the " Second Reader," Nos. 154-166. 601. Terms used to express Uneven Tempo. Teach rallentando, Terms of " becoming slower," and a tempo. " return to first rate of speed." raiien- tando, a tempo ELEVENTH WEEK 602. Give the "Second Reader," Nos. 167-170. 603. The Rhythmic Type Four a, or, as it is briefly called in teaching, Type Four a, consists of three unequal tones represented by an eighth note followed by two sixteenth notes, thus : J Jj 604. From Type Four develop Type Four a as follows : Represent on the blackboard Type Four, thus : Ask the class to sing it ; then tie the first two notes, thus : Ask the class to sing, joining the first two tones together. When Type Four a this exercise has been sung correctly, inform them that they have jj > e y pre . 8ep e , sung Type Four a. * * Represent it on the blackboard, thus : 116 MUSIC IN THE PUBLIC SCHOOLS Tell the class that these notes represent Type Four a, and are an eighth note and two sixteenth notes. Give the pitch of ib and ask the class to sing the scale down- ward with Type Four a for each tone, using the sol-fa syllables, or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. Insist that the first tone of every beat be accented. When this has been sung correctly represent it on the black- board, thus : Let the class sing this exercise until the regular succession of Type Four a has become familiar to them. 605. Rhythmic Dictation. Give any pitch, as et>, and any syl- lable, as do, and dictate the following rhythmic exercises : Type Four, Type Four a, Type Four, and Type One. Type Two, Type Four a, Type Four, and Type One. Type One, Type Four a, Type Four, and Type One. Type Four a twice, Type Two, and Type One. Type Two, Type Four, Type Four a, and Type One. Figure One, Type Four a, and Type One. Double Type, Type Four a, and Type Two, etc. 606. Give the " Second Eeader," Nos. 171-180. TWELFTH WEEK 607. Give the " Second Eeader," Nos. 181-190. 608. The Khythmic Group Beat Two modified, or, as it is briefly called in teaching, Group Two modified, occurs in | measure and is represented by a quarter note followed by two sixteenth notes, thus: j n 609. From Group Two develop Group Two modified, as follows ; Represent on the blackboard Group Two, thus: FIFTH YEAR 117 Ask the class to sing it ; then expand the last eighth note into two sixteenth notes, thus : Ask the class to sing, separating the last tone of Group Two Group TWO into two equal tones, and tell them that the notes in the last exer- represented by I J-ja cise represent Group Two modified, and are a quarter note and J Jj two sixteenth notes. 610. Give the " Second Reader," Nos. 191-194 THIRTEENTH WEEK 611. Give the " Second Reader," Nos. 195-200. 612. The Rhythmic Type Four b, or, as it is briefly called in teaching, Type Four b, consists of three unequal tones, represented by two sixteenth notes followed by an eighth note, thus : j3 J 613. From Type Four develop Type Four b in the same manner Type Four ft that Type Four a is developed from Type Four, 604, except that by L_| | in this type the last two notes of Type Four are tied instead of 4 the first two notes. 614. Give the " Second Reader," Nos. 201-211. FOURTEENTH WEEK 615. Give the "Second Reader," Nos. 212-224. FIFTEENTH WEEK 616. Give the " Second Reader," Nos. 225-231. 617. The Rhythmic Type Four modified, or, as it briefly called in teaching, Type Four modified, consists of two unequal tones, represented by a dotted eighth note followed by a sixteenth note, thus: J7^ 618. From Type Four develop Type Four modified in the same Type Four manner that Type Four a is developed from Type Four, 604, represented except that in this type the first three notes of Type Four are tied instead of the first two notes. 118 MUSIC IN THE PUBLIC SCHOOLS 619. Give the " Second Reader," Nos. 232-243. 620. Teach marcato, " distinct, emphasized." SIXTEENTH WEEK 621. Give the " Second Reader," Nos. 244-254. SEVENTEENTH WEEK 622. The Rhythmic Group Beat Three modified, or, as it is briefly called in teaching, Group Three modified, consists of three unequal tones of | measure, represented by a dotted eighth note, a sixteenth note, and an eighth note, thus : J J J 623. From Group Three develop Group Three modified as follows: Represent Group Three on the blackboard, thus : Ask the class to sing it; then expand the second eighth note into two sixteenth notes, thus : Ask the class to sing, separating the second tone of Group Two into two equal tones ; then tie the notes, thus : Group Three Ask the class to sing, joining the first tones together. When represented this exercise has been sung correctly, inform them that they have sung Group Three modified. Represent it on the blackboard, thus : Tell the class that these notes represent Group Three modified, and are a dotted eighth note, a sixteenth note, and an eighth note. FIFTH YEAR 119 624. Give the " Second Reader," Nos. 255-259. 625. The Rhythmic Type Three, or, as it is briefly called in teaching, Type Three, consists of three equal tones to the beat, and in all quarter measures is represented by the triplet, thus : J J J 3 626. Teach Type Three by imitation as follows : On any pitch, as eb, and with any syllable, as do, in exact time, sing for the class Type One four times, metronome about 69, accenting all tones equally, thus : do do do Ask the class to imitate this and tell what they have sung. With the same pitch, syllable, and tempo, sing for the class the same number of beats, with three equal tones to the beat, accenting the first tone only of each beat, thus : When this ty pr n Do do do do do do do do do do do do Ask the class to imitate this ; insist that it be sung in exact Type Three time and that the first cone of each beat be accented, has been done correctly, inform the class that each do do do is three equal tones to the beat and is called Type Three. Represent Type Three in the same exercise on the blackboard, thus: j | i Tell the class that each group of notes represents Type Three and is a triplet. Give the pitch of b and ask the class to sing the scale down- ward with Type Three for each tone, using the sol-fa syllables, or any common syllable, as loo. As they near the end of the exercise do not allow them to hasten the tempo. 120 MUSIC IN THE PUBLIC SCHOOLS When this has been sung correctly, represent it on the black- board, thus : 627. Rhythmic Dictation. Give any pitch, as eb, and any syl- lable, as do, and dictate the following rhythmic exercises : Type One and Type Three. Type One and Type Two. Type One, Type Two, Type One, and Type Three. Type One, Type Three, Type One, and Type Two. Type One, Type Three, Type Two, and Type One. Type One, Type Two, Type Three, and Type One. 628. Let the class sing the following exercises from the black- board : =p= *- -T- FIFTH YEAR 629. Give the " Second Reader," Nos. 260-268. 121 EIGHTEENTH WEEK 630. Give a review of the " Second Reader," Parts I and II. Let the class arrange several song programmes and render them. For suggestions see 668-673. 631. Call the attention of the class to the fact that when there Location of is one sharp in the key signature it is found on I ; when there are the key = _ signature two sharps in the key signature they are on f and C ; three sharps, on I, C, and g ; four sharps, on I, c, g, and d, and so on. 632. Call the attention of the class to the fact that when there Location of is one flat in the key signature it is found on b ; when there are key signature two flats in the key signature they are on 6 and 6 ; three flats, on 6, 6, and a ; four flats, on b, I, a, and d, and so on. NINETEENTH WEEK 633. From the progression 8 7 8 as a pattern, develop the pro- intermediate gressions 2 # 1 2, 3 # 2 3, 6 # 5 6, and 7 # 6 7, in which are the JjJJsIt'f!*' remaining intermediate sharp tones represented by $1, $2, $5, and progression $6 respectively, as follows : Place on the blackboard this exercise : fftW I j 3- -i : z^ j VMJ4- i J J J J V- . n *" -9- * V 1 | d, 1 \ 1 _i J 13 J Require the class to sing the first measure and the first note of the second measure. Ask them to sing 8 7 8 on the pitch of 2 and call the tones re di re. When done insert the sharp and write underneath the syllable di ; the first two measures will appear thus : ^^ ^T di 122 MUSIC IN THE PUBLIC SCHOOLS Then require the class to sing the first two measures and the first note of the third measure, and immediately afterwards 878 on the pitch of 3, and call the tones mi ri mi. When done insert the sharp and write underneath the syllable ri. Then require the class to sing the first five measures and the first note of the sixth measure, and continue in like manner with the remaining progressions. When these are developed the exercise will appear thus: Term of expression sforzando t > /r> 1 -4tf4 1 1 f \ i LjgZ3r__L ^3 ^~ ' h 1 p di r '. :i=z* -* ^ si li 634. Illustrate the fact that between 3 and 4 and 7 and 8 an intermediate tone is impossible. 635. Call attention to the fact that there are but five interme- diate sharps and that the syllable of each begins with the first letter of the major-scale syllable and ends with i. 636. Give the " Second Reader," Nos. 269-280. 637. In the " Second Reader," No. 272, by using the progres- sion 6 7 8 as a pattern, the class will learn readily the progression 3 #4 5. 638. In the " Second Reader," No. 277, by using the progres- sion 5 4 3 as a pattern, the class will learn readily the progression 8b7 6. 639. Review dynamics p,pp, mp, mf,f,ff, and crescendo. Teach >, sforzando, " with special emphasis." TWENTIETH WEEK 640. Give the " Second Reader," Nos. 281-293. TWENTY-FIRST WEEK 641. Give the " Second Reader," Nos. 294-306. FIFTH YEAR 123 TWENTY-SECOND WEEK 642. Let the class now begin to use measure accents. These Measure accent! include the strong accent which falls on the first beat of every measure, and a weaker accent in * and jj measures which falls on the first beat of the last half of the measure. Do not, however, allow measure accents to displace the use of the beat accent with which the class is now thoroughly familiar, and which is always most useful in sight singing. 643. Give the " Second Reader," Nos. 307-320. TWENTY-THIRD WEEK 644. Let the class repeat the rules learned in 544, 547, sub- stituting "any $ " in place of " $4 " and " any \> " in place of " b7." 645. Give the " Second Reader," Nos. 321-332. TWENTY-FOURTH WEEK 646. Direct the class to sing a double sharp, x , with the same Double tone and syllable as an intermediate $. 647. Give the " Second Reader," Nos. 333-348. TWENTY-FIFTH WEEK 648. Inform the class that the sign tjjj in the " Second Reader," cancel No. 359, is a cancel for the x . 8 L d r P ?{j 649. Give the " Second Reader," Nos. 349-363. TWENTY-SIXTH WEEK 650. Give the " Second Reader," Nos. 364-377. 651. Review the dynamic signs p, pp, mp, mf,f, ff, crescendo, sign of and sforzando. Teach ~ == . diminuendo, "gradually les- 3- sening the tone." diminuendo 4 TWENTY-SEVENTH WEEK 652. f!ive the " Second Reader," Nos. 378-392. 124 MUSIC IN THE PUBLIC SCHOOLS TWENTY-EIGHTH WEEK 653. Give a review of the " Second Eeader," Part III. Let the class arrange several song programmes and render them. For sug- gestions see 668-673. 654. Call the attention of the class to that part of their study of arithmetic which deals with the addition and subtraction of common fractions and inform them that the time values of notes in music may be added and subtracted in a similiar manner ; for example: 1 and are f or L and so J and J are J J or d Place on the blackboard the following : tz> = 1, or a whole note c3 \ note J = note 4 = \ note J^ = -j^g- note Explain that the time value of one whole note is equal to the time values of two half notes, or four quarter notes, or eight eighth notes, or sixteen sixteenth notes. Ask the following questions : One half note is equal to how many quarter notes ? eighth notes ? sixteenth notes ? One quarter note is equal to how many eighth notes ? sixteenth notes? One eighth note is equal to how many sixteenth notes ? One quarter note and one quarter note are equal to what note ? etc. 655. Place on the blackboard the following : I , I n c2 = f and tf? = I 4 = \ and ^ . = 4 ** = -A and 4 . = T ! __ 16 FIFTH YEAR 125 Call the attention of the class to the fact that f , the^y > is one Relative value of half more in time value than |, the^J ; and that f, the J , is one half more in time value than |, the ; also that fy, * , is one half more in time value than fy, the J; and therefore that a dot set after a note prolongs the time value of the note by one half. 656. Refer the class to any \ measure melody in the " Second The reason Reader," as No. 273, and call their attention to the fact that if all signature notes and rests of any one measure be added, the result in time value will equal two quarter notes. This is the reason for the time signature |. Refer the class to No. 270, and in like manner show the reason for the time signature \ ; in like manner No.' 269 for | time sig- nature; No. 296 for % time signature; No. 283 for | time signature; No. 279 for | time signature; and No. 291 for | time signature. 657. Refer the class to No. 271 and require them to add that Fragmentary measures part of a measure before the first bar and that part of a measure at the end of the melody, and to notice that the result is a com- plete measure. Further illustrations of this are in Nos. 275, 282, 288, 298, 332, and 381. TWENTY-NINTH WEEK 658. Give the " Second Reader," Nos. 393-407. 659. Give a review of marcato. Teach marziale, "in the style Term of . ... expression Of a march. marmiale THIRTIETH WEEK 660. Give the " Second Reader," Nos. 408-417. THIRTY-FIRST WEEK 661. Give the " Second Reader," Nos. 418-430. THIRTY-SECOND WEEK 662. Give the " Second Reader," Nos. 431-442. 126 MUSIC IN THE PUBLIC SCHOOLS THIRTY-THIRD WEEK 663. Give the " Second Reader," Nos. 443-455. 664. Give a review of phrasing and dynamic signs and of the terms p, pp, mp, mf, f, ff, crescendo, diminuendo, and sforzando ; terms used to express even tempo, a tempo, presto, allegro, alle- gretto, moderato, andante, andantino, and lento ; term used to express uneven tempo, rallentando ; terms used to express man- ner and feeling, con grazia, con espressione, con moto, animato, tranquillo, and vivace; and terms used to express march tempo, marcato and marziale. THIRTY-FOURTH WEEK 665. Give the " Second Reader," Nos. 456-463. THIRTY-FIFTH WEEK 666. Give a review of the " Second Reader," Part IV. Let the class arrange several song programmes and render them. For sug- gestions see 668-673. THIRTY-SIXTH WEEK 667. Give a general review of the " Second Reader " of the New Educational Music Readers. Let the class arrange several song programmes and render them. For suggestions see the following : 668. 1. "Heroes" German Folk Tune Page 26 2. "My Mother" E. Lassen Page 27 3. " Witch Hazel " . Clayton Johns Page 27 4. " Lullaby " Gaelic Folk Song Page 23 5. " A Game of Tag " Philip H. Goepp Page 24 6. " Echo Song " Schubert Page 14 7. " The Mountain Peak " Mendelssohn Page 22 FIFTH YEAR 127 669. 1. "Guess" English Folk Tune Page 30 J. " The Jolly Whistler " Italian Folk Tune Page 33 3. " The Diamond Dwarfs " Philip II. Goepp Page 34 4. " An Old Time Dance " Carlo Rossi Page 33 5. " Keeping Time " C. B. Edmunds Page 36 6. " Ojibway Lullaby " Benjamin Whelpley Page 36 7. " King Winter " M. White Page 37 670. 1. " Christmas Time " John Herman Loud Page 40 2. " The Snow Bird " M. B. Willis Page 39 3. "The New Year" C.B.Edmunds Page 42 4. "Christmas" Mozart Page 42 5. " A Winter Night " Beethoven 6. " The Mermaid's Home " Sicilian Folk Song Page 46 7. " The Song my Mother Sings " ....... English Folk Tune Page 43 671. 1. "March Tramp, Tramp, Tramp" Leo Delibes Page 49 2. "The Snow Man " Mozart Page 49 3. " The Hurdy-Gurdy Man " Philip H. Goepp Page 52 4. "A Laugh" J. Ziska Page 54 5. " Awake " Franz Ries Page 54 6. " Little Words " W. W. Gilchrist Page 48 7. " The Drummer Boy " Harvey Worthington Loomis Page 56 672. 1. " The American Flag Giuseppe Giordan! Page 65 2. " Lullaby " F. Remsen Page 63 3. "Best" Philip H. Goepp Page 62 4. " The Coming of Spring " M. White Page 60 128 MUSIC IN THE PUBLIC SCHOOLS 5. " Flowers Asleep " Rinaldo Hahn Page 65 6. " Patriotism " Haydn Page 67 7. " A Circus Every Day " M. B. Willis Page 74 673. 1. " March The Camping Party " J. Stern Page 87 2. " Santa Lucia " Neapolitan Folk Song Page 96 3. " Sailing " F. Paolo Tosti Page 104 4. " June " Emil Karl Janser Page 101 5. " Slumber Song " Brahms Page 108 6. " The Sandman " L. Liebe Page 107 7. " Vacation Song " Verdi Page 110 674. Brief suggested lesson programmes for any week of the fifth year, as, for example, the sixth week, 592, are here given. MONDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. "Second Reader," Nos. 79-81. 4. Musical interpretation of No. 79. TUESDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Sight singing and musical interpretation, "Second Reader," Nos. 82-83. WEDNESDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Sight singing, " Second Reader," Nos. 84-88. 4. Musical interpretation of No. 85. THURSDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Sight singing, " Second Reader," Nos. 89-92. 4. Musical interpretation of No. 89. FRIDAY 1. Breathing Exercise III. 2. Voice Drill XXXIX, a. 3. Sight singing and musical interpretation, "Second Reader," Nos. 93-95. SIXTH YEAE SYNOPSIS Voice Training Vocalization of material in this year's work. Sight Singing Tune. All intermediate sharps and flats in each of the nine common keys approached or followed by skips and in chromatic scale fragments. The characters bb, fab, 683 and following sections. Melodies in the minor mode, 752. . Time. Type Three modified represented by 4 8 4, 709. | measure, 711. y measure, 715. Figure Two represented by ^ ,717. J measure, 722. Part Song. Three-part song, 749. Musical Forms Definitions and illustrations of the song, the folk song, the folk tune, the German folk tune, the Italian folk tune, the Scandinavian folk tune, the Norwegian folk tune, the Hungarian folk tune, and the Scotch folk tune. Definitions of "opera," "grand opera," "comic opera," "oratorio," and "cantata," with excerpts from each. Musical Interpretation Additional terms of expression indicating uneven tempo, poco piu moto, ritardando, and accelerando. Additional terms used to express manner and feeling, semplice and dolce. Additional terms xised to express march and dance tempo, alia marcia, ben marcato, con moto di schottische, and tempo di valse. Modifying words used in terms of expression, assai, meno, molto, non troppo, piu, and aempre. From the study of the spirit of the music and the signs and terms of musical expression, the musical interpretation of all material in this year's work. Musical Conceptions The more general harmonic characteristics of noted and great composers of the different national schools of music are introduced in selections from 129 130 MUSIC IN THE PUBLIC SCHOOLS famous musical art works, and in famous instrumental themes, songs, and part songs ; also the essentials of good arrangement from musical art works, namely, a true reflection of the spirit of the original in melody and harmony, a melodic progression for each and every part. Three-part harmony is introduced. The brilliant and varied color impression of music brought about by the effective use of the intermediate sharps and flats is exemplified. There is introduced a musical representation of eight nationalities, German, French, Italian, English, Swiss, Russian, Bohemian, and Ameri- can, -^-including forty-eight composers, the more important of whom are Franz Abt, Francois Behr, Jacques Blumenthal, Carl Bohm, Frederic Field Bullard, G. Donizetti, G. Faure, Arthur Foote, A. R. Gaul, Gluck, Philip H. Goepp, Henry K. Hadley, J. F. Halevy, Erik Meyer-Helmund, Thomas Koschat, E. R. Kroeger, Harvey Worthington Loomis, Mendelssohn, Mozart, Giro Pinsuti, Carl Reinecke, Joseph Rheinberger, Rossini, Schu- bert, Henry Smart, and Verdi ; and thirty-four poets in song, the more important of whom are William Allingham, Henry Holcomb Bennett, Sophia S. Bixby, Will Carleton, Philip Doddridge, Mary Mapes Dodge, Nathan Haskell Dole, Louis C. Elson, Gertrude E. Heath, Ella Higgin- son, Ray Barton Manbert, Ella Mann, Adelaide Proctor, E. H. Thomas, Isaac Watts, Carolyn Wells, and Whittier. Suggested song programmes, 756-759. Material For pupils' use, the "Third Reader" entire for voice training, sight singing, musical interpretation, and musical conceptions. For teachers' use, "Music in the Public Schools." SIXTH YEAR PLAN FOR THIRTY-SIX WEEKS' WORK FIRST WEEK 675. The teacher is urged to follow the fourth-year "general suggestions " on voice training and musical interpretation, 492 497, as they apply equally to the work of both years. 676. The first twenty-seven pages of the " Third Reader " consist of a review of the principles presented in the preceding readers. Give the " Third Reader," Nos. 1-8. SECOND WEEK 677. Give the " Third Reader," Nos. 9-13. 678. Call the attention of the class to any poem, as that of song defined No. 13, " Bird of the Azure Wing." Ask them to read it and to notice that it is especially appropriate for singing, and may there- fore be called lyric verse. Now, call their attention to another poem, as that of No. 15, " Magicians." They will observe that this poem tells a story and is therefore called narrative verse, and that Nos. 13 and 15 are melodies or tunes united with lyric or narrative verse. Hence the definition, " A melody or tune united with lyric or narrative verse is a song." THIRD WEEK 679. Give the " Third Reader," Nos. 14-18. 680. Give a review of the term used to express uneven tempo, Terms of rallentando. Teach poca piu moto, " somewhat faster," and ritar- polo piu dando, " slower." Give a review of the terms used to express ritar'dando manner and feeling, con grazia, con espressione, con moto, animato, 131 132 MUSIC IN THE PUBLIC SCHOOLS Term of tranquillo. and vivace. Teach semplice. "simply." Refer the class expression semplice to the "Third Reader," page 127, for the definition, and to No. 17 for illustration. FOUETH WEEK 681. Give the "Third Reader," Nos. 19-23. opera," 682. Ask the class to notice that No. 16 in last week's lesson opera, "and is a selection from a comic opera and that No. 20 in this week's ' ' comic opera ' ' lesson is a selection from a grand opera, after which let them turn defined to the glossary of the " Third Reader," page 126, and learn the meaning of "opera," "grand opera," and "comic opera." FIFTH WEEK 683. Place on the blackboard the following : With this as a staff representation give the pitch of e and dictate orally and from the staff, as shown in 42 and 193, the following phrases, which introduce in melodic progression inter- mediate $4 preceded by a step and followed by a skip, and vice versa. 5 #46 #45 si 5 #4 7 #4 5 58 5 #4 8 #4 5 5 i 5JJ42JJ4558 5jJ43#4558 5 #4 2 #4 5 5 i 5 J4 1 #4 553 684. For an easy introduction to each of these phrases require the class to sing the first and second, then the first and third, tones of each group ; for example : 5 J4, 56, 5 #4 6 #4 5 3 i 685. Give the " Third Reader," Nos. 24-31. 686. Give a review of marcato and marziale. Teach alia marcia, " in the manner of a march " ; ben marcato, "well marked " ; and con moto di schottische, "with the movement of a schottische." Refer the class to the "Third Reader," page 127, for the definitions, and to Nos. 4, 27, and 29 for illustrations. SIXTH YEAR 133 SIXTH WEEK 687. Give a review of the dictation of intermediate $4, 683. 688. Place on the blackboard the following staff representation : *&= Give the pitch of 6 and dictate orally and from the staff the follow- Dictation of ing phrases, which introduce in melodic progression intermediate or 5 preceded $4 in chromatic scale fragments and intermediate $5 preceded by a step and followed by a skip, and vice versa. 5 #4 7 #4 5 #4 3 3 B #4 5 4 J4 5 5 4 5 #4 4 4 3 Use the following staff representation for the remaining phrases : 6#57#5636 6#58#56 36 6J}52#5636 6 JJ5 3 #5 686 6 #5 3 #5 6 #56 689. For an easy introduction to each of these phrases, except the chromatic scale fragments, require the class to sing the first and second, then the first and third, tones of each group; for example : 6 #5, 68, 6 #5 8 #5 6 36 690. Give the " Third Header," Nos. 32-38. SEVENTH WEEK 691. Give a review of the dictation of intermediate #4 and $5, 683, 688. 692. Place on the blackboard the following staff representation : Dictation of $ i followed or preceded skipwise Give the pitch of 5 and dictate orally and from the staff the follow- ing phrases, which introduce in melodic progression intermediate 134 MUSIC IN THE PUBLIC SCHOOLS #5 in a chromatic scale fragment and intermediate 1 preceded by a step and followed by a skip, and vice versa. 6 #5 1J5636 3 e #5 6 5 #5 6 2 #13 #12 si 2JJ14J1231 2#15#123i 2J16J1253 Use the following staff representation for the remaining phrases : 2 #1 7 Jl 2 31 2 jfl 6 jfl 2 51 See 689. 693. Give the " Third Reader," Nos. 39-46. Folksong 694. Give a review of the definition of "song." Ask the class to defined ' learn the meaning of " folk song " and " folk tune." For the defi- nition refer them to the glossary of the " Third Reader," page 126. Call their attention to the fact that the tune of No. 44 originated among the German people. EIGHTH WEEK 695. Give a review of the dictation of intermediate #4, #5, and fll, 683, 688, 692. 696. In this and following lessons on the dictation of inter- mediate tones it is suggested that there be as great a variety of keys as possible in the staff representations. No phrase, however, should be sung in a key that will carry the high tones above I or the low tones below bi?. Dictation of $ a Dictate orally and from the staff the following phrases, which preceded introduce in melodic progression intermediate #1, #2, and #6 in chromatic scale fragments, and intermediate # 2 preceded by a step and followed by a skip, and vice versa. 2#15#12?i 2#i2l#123 3#25#233i 3jJ26jj'235i 3 #2 7 #23 6 5 3 #2 1 #2 3 5 8 3jJ27#235i i 3#232#23 8 5 6 #6 7 5 8 See 689. 697. Give the " Third Reader," Nos. 47-53. SIXTH YEAR 135 Terms of tempo 698. Give a review of terms used to express march tempo and dance tempo, marcato, marziale, alia marcia, ben marcato, and con moto di schottische. Teach tempo di valse, "in the time of a waltz." 699. Give a review of terms used to express uneven tempo, rallentando and retardo. Teach dccelerando, "accelerating." 700. Give a review of terms used to express manner and feel- doice ing, con grazia, con espressione, con moto, animato, trqnyuillo, and vivace. Teach dolce, " sweet, soft." Let the class find the illustra- tions of these terms and learn their definitions from the glossary of the " Third Reader." NINTH WEEK 701. From the progression 3 4 3 as a pattern, develop the pro- intermediate gressions 1 t>2 1, 5^65, 4 i>5 4, and 2 i? 3 2, in which are the bsmstepw remaining intermediate flat tones represented by i?2, b6, b5, and t>3 respectively, as follows: Place on the blackboard the following exercise : l(T\A i r "' r ' J * * Vs|J4- 1 A i i ta U , i i =flr-d= EE h 1 r 1 1 Ask the class to sing 3 4 3 on the pitch of 8 and call it do ra do. When correctly sung, insert in the first measure of the above exercise the flat and write underneath the syllable ra and the first measure will appear, thus : Then require the class to sing the first three measures and the first note of the fourth measure, and immediately after ask them to sing 3 4 3 on the pitch of 5 and call it sol la sol. When correctly sung, insert the flat and write underneath the syllable 13. 136 MUSIC IN THE PUBLIC SCHOOLS Then require the class to sing the first four measures and the first note of the fifth measure, and continue in like manner with the remaining progressions. When these are developed the exercise will appear thus : til lii 3=t^ ^ -JJ-jjr sa 702. Call attention to the fact that there are but five intermedi- ate flats, the same number as intermediate sharps, and that the syllable of each begins with the first letter of the major-scale syllable and, with one exception, ends with a ; the syllable of b 2 is ra, to distinguish it from the syllable of 2, ra. 703. Inform the class that b5 is seldom used. 704. Place on the blackboard the following exercise : With this as a staff representation, give the pitch of ib and dic- tate orally and from the staff the following phrases, which intro- duce in melodic progression intermediate b2, b3, and b6 preceded and followed by steps. 1 b2 13421 2 b3 25321 5 b6 55678 705. Give the " Third Reader," Nos. 54-64. TENTH WEEK 706. Give a review of intermediate sharps, 683, 688, 692, 696. nictation of 707. Dictate orally and from the staff the following phrases, lowed or pre- which introduce in melodic progression intermediate b 7 and I? 3 in ceded stepwise chromatic scale fragments, and preceded by a step and followed by a skip, and vice versa. SIXTH YEAR 137 6b7 5b7 668 6b7 2b7 658 2b3 Ib3 25 i i 2 33 b3 2 i 6b7 3b7 658 6 b7 3 b7 658 2b3 5b3 2 7 i 6b7 1 b7 688 8 7 b7 6 5 B 8 2b3 5 b3 271 See 689. 708. Give the " Third Reader," Nos. 65-73. 709. The Rhythmic Type Three modified, or, as it is briefly called in teaching, Type Three modified, consists of two unequal represented IN by j -T tones represented by the triplet, thus : J d , * From Type Three develop Type Three modified in the same manner that Type Four a is developed from Type Four, 603. 710. Give the " Third Reader," Nos. 74-77. 711. Inform the class that the sight reading of | measure in- volves no new principle ; that in each | measure there are three groups instead of two groups, as has been the case heretofore in | measure. 712. Give the " Third Reader," Nos. 78-81. ELEVENTH WEEK 713. Give a brief review of intermediate sharps and of b7 and b3, 683, 688, 692, 696, 707. Dictate orally and from the staff the following phrases, which Dictation of introduce in melodic progression intermediate b6 and t>2 in chro- lowed or pre- ceded skipwise matic scale fragments, preceded by a step and followed by a skip, and vice versa. 5b6 4b6 5 53 5 be 2be 55i 5 be i be 5 5 3 5 be 8 be 5 53 5 be Ibe 5 38 5 5 6 b6 5 5 8 1 b2 4b2 1 7 i i i i 3 2 b2 1 See note, 689. 714. Give the " Third Reader," No. 82. 715. Inform the class that the sight reading of ^ measure in- volves no new principle ; that in each a 8 2 measure there are four groups instead of two groups, as has been the case heretofore in measure. Figure Two represented 138 MUSIC IN THE PUBLIC SCHOOLS 716. Give the " Third Reader," Nos. 83-87. 717. The Rhythmic Figure Two, or, as it is briefly called in teaching, Figure Two, is two unequal tones represented by a doubly dotted quarter note followed by a sixteenth note, thus : J ^ 718. From Type One and Type Four modified develop Figure Two as follows : Represent Type One and Type Four modified on the black- board, thus : Ask the class to sing ; then tie the first two notes, thus : Ask the class to sing, joining the first two tones together. When by"" "j this has been sung correctly, inform them that they have sung Figure Two. Represent it on the blackboard, thus : Tell the class that these notes represent Figure Two. Place on the blackboard J.. J J \ i T5 Call the attention of the class to the fact that ^ above represents the first dot and that -^g- represents the second dot. Let the class note further that -Jg- is one half of ^, and therefore that the second dot prolongs the time value of the note by one half of the first dot. 719. Give the "Third Reader," Nos. 88-92. TWELFTH WEEK 720. Give a brief review of intermediate sharps, 683, 688, 692, 696. SIXTH YEAR 139 721. Give the " Third Reader," Nos. 93-99. 722. Inform the class that the sight reading of measure in- J measure volves no new principle ; that the reading of ^ measure is similar to that of | measure. In | measure Group Three is represented by J J 0, Group Two \>y cy J, and Group One by es 723. Give the " Third Reader," Nos. 100-105. THIRTEENTH WEEK 724. Give a brief review of intermediate flats, 704, 713, 717. 725. Give the "Third Reader," Nos. 106-114. 726. Teach the following modifying words used in terms of ex- Modifying . , i > 7, <( words in pression : assat. very : meno, less : molto, very : non troppo, terms of 7. ,. ,,i expression jiot too much ; piu, a little more ; and sempre, always, con- tinually." Refer the class to the " Third Reader," page 127, for the definitions. FOURTEENTH WEEK 727. Give the "Third Reader," Nos. 115-125. FIFTEENTH WEEK 728. Give the "Third Reader," Nos. 126-138. 729. Give a review of all the terms and signs of expression that have been taught heretofore. In the future require the class to learn the meaning of each new term as it occurs. Refer them to the "Third Reader," page 127, for the definitions. SIXTEENTH WEEK 730. Give the "Third Reader," Nos. 139-153. 731. Give a review of the definitions of " song," " folk song," Italian and "folk tune." Call the attention of the class to the fact that the tune of No. 140 originated among the Italian people. SEVENTEENTH WEEK 732. Give the " Third Reader," Nos. 154-162. EIGHTEENTH WEEK 733. Give the "Third Reader," Nos. 163-179. 140 MUSIC IN THE PUBLIC SCHOOLS NINETEENTH WEEK 734. Give the " Third Header," Nos. 180-190. TWENTIETH WEEK 735. Give a review of the first sixty-four pages of the " Third Reader." Let the class arrange several song programmes and render them. For suggestions see 756-759. TWENTY-FIRST WEEK 736. Give the "Third Reader," Nos. 191-203. TWENTY-SECOND WEEK 737. Give the "Third Reader," Nos. 204-212. oratorio" 738. Give a review of the definitions of " opera," " grand opera," and " comic opera." Ask the class to notice that No. 204 is a selection from an oratorio ; then let them learn the meaning of " oratorio." Refer them to the glossary of the " Third Reader " for the definition. TWENTY-THIRD WEEK 739. Give the "Third Reader," Nos. 213-226. TWENTY-FOURTH WEEK 740. Give the " Third Reader," Nos. 227-243. TWENTY-FIFTH WEEK 741. Give the " Third Reader," Nos. 244-257. TWENTY-SIXTH WEEK 742. Give the " Third Reader," Nos. 258-274. TWENTY-SEVENTH WEEK 743. Give the " Third Reader," Nos. 275-285. "Cantata" 744. Give a review of the definition of "oratorio." Ask the class to notice that No. 276 is a selection from a cantata, and let SIXTH YEAR 141 them learn the meaning of " cantata." Refer them to the glossary of the " Third Reader " for the definition. TWENTY-EIGHTH WEEK 745. Give the " Third Reader," Nos. 286-299. TWENTY-NINTH WEEK 746. Direct the class to sing a double flat, b\>, with the same Double flat, tone and syllable as an intermediate flat, and inform them that the cancel, j" sign t|b is a cancel for the bb. 747. Give the "Third Reader," Nos. 300-310. THIRTIETH WEEK 748. Give a review of the " Third Reader," Part III. Let the class arrange several song programmes and render them. For sug- gestions see 756-759. THIRTY-FIRST WEEK 749. Give the "Third Reader," Nos. 311-321. Three-part song THIRTY-SECOND WEEK 750. Give the " Third Reader," Nos. 322-332. THIRTY-THIRD WEEK 751. Give the " Third Reader," Nos. 333-342. THIRTY-FOURTH WEEK 752. Give the " Third Reader," Nos. 343-362. Melodies in 753. Give a review of the definitions of "song," "folk song," S^ and " folk tune." Call the attention of the class to the fact that Scandinavian No. 346 originated among the Scandinavian people ; that No. 348 Hungarian,' originated among the Norwegian people; that No. 358 originated folk tunes among the Hungarian people ; and that No. 360 originated among the Scotch people. 142 MUSIC IN THE PUBLIC SCHOOLS THIRTY-FIFTH WEEK 754. Give a general review of the " Third Reader," Part IV. THIKTY-SIXTH WEEK 755. Give a general review of the " Third Eeader " entire. Let the class arrange several song programmes and render them. For suggestions see the following : 756. 1. " The Willow Nook " S. Hoffer Page 102 2. " Bird of the Azure Wing " C.B.Edmunds Page 6 3. " When the Little Children Sleep " Carl Reinecke Page 12 4. "Music Everywhere " M. White Page 14 5. "Night" . ' Franz Abt Page 26 6. " The Flag Goes By " C. E. Connew Page 17 7. " Good -Night Song of the River " Mozart Pages 757. 1. " The Blacksmith " F. Remsen Page 36 2. " Memorial Day " M. White Page 32 3. " The Moon Boat " M. Lansen Page 34 4. " Mother Love " . Harvey Worthington Loomis Page 30 5. "Forward" L. Edwards Page 36 6. " In the Forest " Joseph Rheinberger Page 47 7. " The Patriot of Bunker Hill " Verdi Page 39 758. 1. " In the Apple Tree " Italian Folk Tune Page 63 2. " Flowing Tide " J. F. Halevy Page 74 3. " The Sea Bird " Emil Karl Janser Page 77 4. " One By One " Philip H. Goepp Page 81 5. " Fairy Sleep " R. Radecke Page 82 SIXTH YEAR 143 6. " Dreamland " Francois Behr Page 84 7. "At Eventide" Carl Bo hm Page 73 759. 1. "Peace" Thomas Koschat Page 96 2. "The Pioneer" A. Fesca Page 70 3. " But the Lord is Mindful " Mendelssohn Page 68 4. " The Fairies' Invitation " Rossini Page 98 5. " By the Firelight " Verdi Page 103 6. "Boating" J. Blumenthal Page 60 7. " The American Flag " German Folk Tune Page 66 760. Brief suggested lesson programmes for any week of the sixth year, as, for example, the sixth week, 687-690, are here given. MONDAY 1. Breathing Exercise III. 2. Vocalization. 3. Review dictation of $4, 683. 4. Sight singing, No. 32. 5. Musical interpretation, No. 29. TUESDAY 1. Breathing Exercise III. 2. Vocalization. 3. Dictation of #4, 688. 4. Sight singing, Nos. 33-35. 5. Musical interpretation, No. 32. WEDNESDAY 1. Breathing Exercise III. 2. Vocalization. 3. Sight singing, No. 35. THURSDAY 1. Breathing Exercise III. 2. Vocalization. 3. Dictation of $5, 688. 4. Sight singing, Nos. 36-37. 144 MUSIC IN THE PUBLIC SCHOOLS FRIDAY 1. Breathing Exercise III. 2. Vocalization. 3. Review dictation of j(4 and jf 5, 688. 4. Sight singing, No. 38. 5. Musical interpretation, No. 35. SEVENTH YEAR SYNOPSIS Voice Training Vocalization of all material in this year's work. Sight Singing Tune. The intermediate sharps and flats approached and followed by skips, 765 and following sections. The circle of keys completed, 784 and following sections. The minor mode in contrast with the major mode, 802. Part Song. The great staff and the F clef, 831 and following sections. Musical Forms Definitions and illustrations of "English folk tune," "Irish folk song," and "Welsh folk song." Definitions of "opera comique," "romantic opera," "incidental music," "sonata," and "symphony," with excerpts from each. Musical Interpretation From a study of the spirit of the music and the signs and terms of musi- cal expression, the musical interpretation of all material in this year's work. Musical Conceptions The more specific melodic and harmonic characteristics of noted and great composers of the different national schools of music are introduced in selections from famous musical art works, and in famous instrumental themes, songs, and part songs ; the more specific characteristics of folk songs of different countries ; the light-and-shade impressions of music brought about by the effective contrast of the major and minor modes. There are introduced also a musical representation of nine nationalities, German, French, Italian, English, Russian, Hungarian, Swiss, Scandi- navian, and American, including sixty-three composers, the more impor- tant of whom are Bach, Beethoven, Bizet, Cecile Chaminade, G. Donizetti, Julius Eichberg, W. W. Gilchrist, Benjamin Godard, Gounod, A. E. M. Gretry, Henry K. Hadley, Handel, J. L. Hatton, Haydn, Harry L. Heartz, Liszt, Harvey Worthington Loomis, Mendelssohn, Meyerbeer, Mozart, J. Offenbach, Palestrina, Giro Pinsuti, Rossini, Schubert, Schumann, Henry Smart, Ludwig Spohr, R. Strauss, A. S. Sullivan, and Weber ; and thirty- four poets in song, the more important of whom are Sarah F. Adams, 145 146 MUSIC IN THE PUBLIC SCHOOLS William Allingham, Abbie Farwell Brown, Bryant, W. E. Doane, Eliza- beth Lincoln Gould, Heine, Holmes, Longfellow, Thomas Moore, Tenny- son, Thackeray, and Whittier. In the New Educational Music Readers good melody is always present. In the part songs it appears in the middle parts and bass as well as in the soprano. Harmony by nature is inseparable from melody, and the natural group- ing of voices in the upper grades is conducive to good harmonic singing. As harmony increases in amount, however, melody does not give way to it or decrease, for to a great extent the part songs are an interweaving of melodies. Thus any part that is suitable in range for the pupil to sing, is inherently attractive, fixes in his mind the essentials of good music, and develops in him the power of musical discrimination. Elementary Harmony Interval, half step, step, scale building, and resulting signatures, 788 and following sections. Suggested song programmes, 840-843. Material For pupils' use, the "Fourth Reader" entire for voice training, sight singing, musical interpretation, and musical conceptions. For teachers' use," Music in the Public Schools." SEVENTH TEAR PLAN FOR THIRTY-SIX WEEKS' WORK GENERAL SUGGESTIONS 761. It must be remembered that good voice production is necessary to good musical interpretation ; therefore the teacher is urged to follow the " General Suggestions " on voice training given in 493-494. 762. Through this and the next grade it is well to be on the watch for individual cases of the boy's changing voice, and, when discovered, to exercise care in their treatment. Specially prepared arrangements of music will be found in the " Fourth Reader " and " Fifth Reader," to suit these adolescent or bass voices. 763. By this time the pupil has become accustomed to study intelligently the spirit of the music which he reads. This will help him greatly in interpreting. So far as terms and signs of expression are concerned let him follow them as he sings at sight. Give him to understand that, at his first trial of a piece of music, he should render it as expressively as possible. FIRST WEEK 764. The first twenty-seven pages of the " Fourth Reader " contain a review of the principles presented in the preceding readers. 765. Give the pitch of f and dictate from the staff the follow- Dictation of ing phrases, which introduce in melodic progression intermediate and preceded t> 7 preceded and followed stepwise and intermediate t> 6 preceded and followed skipwise. For explanation of staff dictation and staff presentation for intermediate sharps and flats see 877, 879. 147 148 MUSIC IN THE PUBLIC SCHOOLS 545 then to the same tones 8 b 7 8 then 8878b7858 8 5 b6 8 5 58. 8 5 b6 8 b6 5 8 5 8 b6 8 5 7 8 88 b7868 b6 85724311 766. Give the " Fourth Reader," Nos. 1-6. SECOND WEEK Dictation of 767. Give any suitable pitch and dictate from the staff the ceded and following phrases, which introduce in melodic progression inter- skipwise mediate $4 and $5 preceded and followed skipwise. 56 #4 6531 5? #4 7658 58 ((48551 52 |(4 2758 135 then to the same tones 3 $5 72876 768. Give the " Fourth Reader," Nos. 7-10. THIRD WEEK 769. Give any suitable pitch and dictate from the staff the following phrases, which introduce in melodic progression inter- mediate jji4 and $5 preceded and followed skipwise. 53 #4 3258 52 #4 2531 5l #41583 5 7 #4 75 #43 6 7 #5 7 876 770. Give the "Fourth Reader," Nos. 11-12. FOURTH WEEK 771. Dictate from the staff the following phrases, which intro- duce in melodic progression intermediate # 5 preceded and followed skipwise. 6 8 #5 8 7 3 6 62#52~876 6 3 #5 3 8 7 6 6 3 j| 5 36 #56 6 1 #5 1 6 #5 6 772. Give the " Fourth Reader," Nos. 13-15. English 773. Give a review of the definitions of " song," " folk song," and " folk tune." Call the attention of the class to the fact that thu tune of No. 13 originated among the English people. SEVENTH YEAR 149 FIFTH WEEK 774. Dictate from the staff the following phrases, which intro- Dictation of T u -i i 11 i f i preceded duce in melodic progression intermediate % 1 preceded and followed and followed skipwise. 1 3 fll 3 23 1 2 4 #1 4231 2 5 ||1 5 231 2 6 jj 1 6 5 3 1 2 7 # 1 7 2 5 1 775. Give the " Fourth Reader," Nos. 16-19. 776. Give a review of the definitions of " opera," " grand opera," and "comic opera." SIXTH WEEK 777. Dictate from the staff the following phrases, which intro- Dictation of duce in melodic progression intermediate $ 2 preceded and followed and followed skipwise. 16 $16 25.1 l_5fllj>231 35^25351 36 $2 6531 37 $2 75 $4 3 778. Give the " Fourth Reader," Nos. 20-24. SEVENTH WEEK 779. Dictate from the staff the following phrases, which intro- Dictation of duce in melodic progression intermediate b 7 preceded and followed and followed . . . skipwise skipwise. 3 1 #2 1351 3 Z# 2 Z 3 # 23 65 b7 5658 63 \>1 36 $5 6 6 1 b7 1 658 780. Give the " Fourth Reader," Nos. 25-27. EIGHTH WEEK 781. Dictate from the staff the following phrases, which intro- Dictation of duce in melodic progression intermediate b 3 preceded and followed ana followed . . . skipwise skipwise. 62b72658 63b736#56 3 1 b3 1 2 7 1 35b3>251 35 b3 5251 782. Give the " Fourth Reader," Nos. 28-32. 150 MUSIC IN THE PUBLIC SCHOOLS NINTH WEEK Dictation of 783. Dictate from the staff the following phrases, which intro- beandbapre- , . ... ceded and foi- duce in melodic progression intermediate v 6 and i? 2 preceded and lowed . . skipwise followed skipwise. 541764543 521762531 511761543 581768578 541764358 1 4 1?2 4 1 1 1 circle of keys 784. Give the "Fourth Header," Nos. 33-37. completed TENTH WEEK 785. Give the " Fourth Reader," Nos. 38-43. "Opera 786. Give a review of the definitions of " opera," " grand opera," comique " ( and "roman- and comic opera. Ask the class to learn the meanings of " opera tic opera " . n A defined comique and "romantic opera." Refer them to the glossary of the " Fourth Eeader " for the definitions. ELEVENTH WEEK 787. Give a review of the " Fourth Eeader," Parts I and II. Let the class arrange several song programmes and render them. For suggestions see 840843. 788. Teach scale building and the development of signatures as follows : interval 789. Illustrate an interval by asking the class to sing any two tones of the scale, as 13. Inform them that they have sung an interval and give the definition as the difference in pitch between two tones. Place on the blackboard the following : S^TT^T-*-^ Ask the class to notice that the whole notes represent the scale and that the intervals of 3-4 and 7-8 are the only intervals of the scale so small that an intermediate tone is impossible. Inform Half step them that these two intervals are called half steps and define them as the smallest intervals in music. Show the class that the interval from 1 to $ 1 is similar to the interval 3-4 and is therefore a half step ; also, that the interval SEVENTH YEAK 151 fll-2 is similar to the interval 3-4 and is therefore a half step; hence that the interval 1-2 is two half steps, or a step. In like step manner show them that the intervals 2-3, 45, 5-6, and 6-7 are each steps. 790. Let the class now give the intervals of the ascending scale in order, thus : From 1 to 2 a step, from 2 to 3 a step, from 3 to 4 a half step, The axed from 4 to 5 a step, from 5 to 6 a step, from 6 to 7 a step, from 7 major scale , ,. ascending to 8 a half step. Name this "the fixed rule of the major scale ascending," and let the class repeat it until it is thoroughly mastered. 791. Call the attention of the class to the fact that from 1 to $ 1 Function is a half step, and that therefore a sharp represents a pitch a half step higher than the staff degree on which it occurs. 792. In like manner show the class that a flat represents a pitch Function a half step lower than the staff degree on which it occurs. 793. Inform the class that an open staff, that is, a staff with no signature, represents the major scale of C. Place it on the blackboard, extended, thus : 2 t ^*** ( ~ - *' -&- . 2 cz s; L ~K -^r z=> - 1 2 3 4 5 1 2 3 4 5 6 7 8 c 3 e f g a C a e 1 g On another staff below this let the class begin with 1 on g, and Building the by applying the fixed rule of the major scale ascending, 790, build the scale of G. Let the g of the lower staff come directly under the g of the upper staff, thus : f3 ^^ ly -^^~< ^^ ^"^ *\ ^~J ^r-^ ^^^ \ /Al\ <*~~3 f*^ ^"^ i Vsly .^^i *^I? ^"^ i C 1 2 2345678 d efgaBcd 345 e f g yK L Sf\\ ^^-1 v-LJ c ^ 1 1 g 152 MUSIC IN THE PUBLIC SCHOOLS so that a comparison of the scale being built with the open staff may be made readily at every interval. As they proceed the class will discover that the intervals of the new scale will be similar to those of the open staff until the seventh tone, I, of the new scale is reached, thus : Developing the signature one sharp vD ; ej ^ 1 c 2345 d e f g 6 a 1 7 8 b I 2 d 345 e f g 1 jf ^p \ /fo. ^ 1 V^L' ^^ 1 g 2 a 3 4 b" c 5 d 6 e Here they will find that f of the open staff is a half step too low for the interval of the new scale 6-7, which should be a step, and also for the interval 78, which should be a half step. To make both of these intervals correct, inform the class that it will be necessary to substitute for I a pitch one half step higher, which is f Jf. This will add a half step to e-f, thus making it the required interval of a step, 67, and at the same time take a half step from f-g, thus making it the required interval of a half step, 7-8. Supply the notes and sharp, thus : 2_ -7 /*n? '-^ ^^^ X X^"J i^ |^5l 1 1 CD f^ c? ^^ . - -- II ^^ "o~ i 23456 1 7 8 2345 u-J^: f-y cy == (ff) < ^ ? ^y i 2 3 4 5 6 7 8 g a B C d e fj g Inform the class that the sharp, instead of always being written before every note on F, is placed at the beginning of the staff on I as a sign or signature of the scale or key of G. SEVENTH YEAR 153 Erase the sharp before the note and write it as the signature, thus : /i|_ ^ o fa rl 794. In a manner similar to 793, let the class begin with 1 Building on f, and by applying the fixed rule of the major scale ascending, 790, build the scale of F. When built below the open staff it will appear thus : ~75T g^ & & c -*^ icH ^ ^y & L 1^r ^ y/ ^y &' T\ ^2 e*s 1 2 3 4 5 6 7 8 I g a Bb c a e f From this they will have discovered that 6 of the open staff Developing must be flat in order to make, in the new scale, the interval 3-4 a one flat 1 * half step and the interval 45 a step. Erase the flat before the note and write it as the signature, thus : L^U ,^_^_^^ ^ r ^ f 2 g 3 a 4 bb 5 C 6 d 7 e 8 f TWELFTH WEEK 795. Teach the minor mode as follows: Give the pitch of c and ask the class to sing the scale ascending and descending. Inform them that they have sung the scale of C major. Major key Place it on the blackboard, thus : 22: 154 MUSIC IN THE PUBLIC SCHOOLS With the same pitch dictate orally 67123456, 65432 176. Minor key Inform them that they have sung a scale of A minor. Place it on the blackboard, thus : Relative minor Natural form of the minor Major mode Minor mode Melodic form of the minor Harmonic form of the minor Ask the class to notice that the minor scale begins on 6 and takes its name, A minor, from the pitch on which it begins, A ; also that the scale of A minor is like the scale of C major in signature. 796. Inform the class that the key of A minor is the relative minor of C major, and that every major key has a relative minor key, beginning on 6 of the major scale, and that the minor key takes its name from the pitch name on which it begins. State as an illustration that one sharp is the signature of G major and E minor ; also that one flat is the signature of F major and D minor, etc. 797. Inform the class that there are three forms of the minor scale, and that the one sung above is called the natural form, which is but little used. 798. State to the class that music in any major key is said to be in the major mode, and that music in any minor key is said to be in the minor mode. 799. Teach the melodic form of the minor scale as follows : Ask the class to sing any melody in the minor mode, as the lower staff of No. 44 of the "Fourth Reader." Then ask them to sing the first minor scale on page 153. Direct their attention to the fact that in melodic progression the minor scale just sung is similar to the melody in No. 44 ; therefore name it " the melodic form of the minor scale." Ask them to notice also that in this scale f and g, the 6th and 7th degrees of the minor scale, are each sharp ascending and natural descending. 800. Illustrate the harmonic form of the minor scale as given in the " Fourth Eeader," page 152. 801. Give the "Fourth Reader," Nos. 44-51. 802. Let the class sing No. 45 of the " Fourth Reader," and notice that in the first two measures there is a short theme or tune in SEVENTH YEAR 155 the major mode, while contrasted with it in the second and third Minor mode measures there is a similar theme or tune in the minor mode, with the major mode Again, let the class sing No. 47 of the "Fourth Reader," and notice that there is a theme or tune in the major mode similar to the open- ing theme or tune of No. 48, which is in the minor mode, and so on, THIRTEENTH WEEK 803. Give the " Fourth Reader," Nos. 52-56. FOURTEENTH WEEK 804. Let the class proceed as in 793, 794, and build the scale building of D major scales and develop the signatures of D major and Bi7 major. In and BO major comparison with the open staff, these scales when completed will appear thus : 3E = = ^- vl) ^ J ^s>- -* ^ 1 2 3 c a e 4567 f g a B 1 2 3 8 c a e jf W c? ^n~\ _ . . ^ ^^ TL^^ Cjx 1 2 a e 3456 j^f g a 5 7 8 c$ a r/ 2E /T\ ^w'L' i 7 8 B c 23456 3 e f g a 7 8 B c JIJ*" b>^O 1 _/T\ ^-i ^-^ vC^ V"l^ W.^ , ^^^ ^"^ 1 2 bfr c 34567 d et? f g a 8 bb 805. Give the " Fourth Reader," Nos. 57-62. FIFTEENTH WEEK 806. Let the class proceed as in S 793 and build the scale and scale building , .. . of A major develop the signature of A major. See 897. 156 MUSIC IN THE PUBLIC SCHOOLS 807. Give the " Fourth Reader," Nos. 63-68. "incidental 808. Ask the class to learn the meaning of " incidental music." defined Eefer them to the glossary of the " Fourth Reader " for the definition. SIXTEENTH WEEK scale building 809. Let the class proceed as in 793, 794, and build the scales and E major and develop the signatures of Eb major and E major. See 904, 898. 810. Explain to the class that a double sharp, x, represents a pitch a half step higher than the sharp staff degree on which it occurs; also, that a double flat, PP, represents a pitch a half step lower than the flat staff degree on which it occurs. 811. Give the " Fourth Reader," Nos. 69-75. SEVENTEENTH WEEK scale building 812. Let the class proceed as in SS 793, 794, and build the of Afr major, B major, and scales and develop the signatures of AP major, B major, and DP major. See 905, 899, 906. 813. Give the " Fourth Reader," Nos. 76-80. EIGHTEENTH WEEK scaiebuiiding 814. Let the class proceed as in 793, 794, and build the ob major, r> scales and develop the signatures of F major, GP major, C$ major, c?Sajor r>and and CP major. See 902, 907, 901, 908. 815. Give the "Fourth Reader," Nos. 81-89. "Sonata" 816. Ask the class to learn the meanings of "sonata" and phony ^ m "symphony." Refer them to the glossary of the "Fourth Reader" for the definitions. NINETEENTH WEEK 817. Give a review of the " Fourth Reader," Part III. 818. Let the class arrange several song programmes and render them. For suggestions see 840-843. TWENTIETH WEEK 819. Give the " Fourth Reader," Nos. 90-91. SEVENTH YEAR 157 TWENTY-FIRST WEEK 820. Give the "Fourth Reader," Nos. 92-95. TWENTY-SECOND WEEK 821. Give the " Fourth Reader," Nos. 96-98. TWENTY-THIRD WEEK 822. Give the "Fourth Reader," Nos. 99-101. TWENTY-FOURTH WEEK 823. Give the " Fourth Reader," Nos. 102-103. TWENTY-FIFTH WEEK 824. Give the " Fourth Reader," Nos. 104-105. TWENTY-SIXTH WEEK 825. Give the " Fourth Reader," Nos. 106-109. TWENTY-SEVENTH WEEK 826. Give the "Fourth Reader," Nos. 110-111. TWENTY-EIGHTH WEEK 827. Give the "Fourth Reader," Nos. 112-113. Give a review of the definition of " oratorio." TWENTY-NINTH WEEK 828. Give the "Fourth Reader," Nos. 114-116. THIRTIETH WEEK 829. Give the "Fourth Reader," Nos. 117-121. THIRTY-FIRST WEEK 830. Give a review of the " Fourth Reader," Part IV. Let the class arrange several musical programmes and render them. For suggestions see 840-843. 158 MUSIC IN THE PUBLIC SCHOOLS THIRTY-SECOND WEEK 831. Illustrate the great staff and F clef as follows : Give the pitch of 8 and ask those of the class who sing soprano to sing the scale descending ; then write it on the blackboard, thus : cbagle 9c Now ask the class to sing the scale descending from the pitch of c. Write it on the blackboard under the scale already written, thus : Great staff Pclef Irish folk song cbagfedc 832. Explain to the class that these two staves combined are called the great staff. In the upper staff the clef is called the G clef because it encircles the line representing the pitch of G. In the lower staff the clef encircles the line representing the pitch of F. This is further emphasized by two dots, one on each side of the F line. Therefore name it "the F clef." Let the class study the great staff and learn the keynote and position of 1 in different keys from the F clef, in the " Fourth Eeader," page 128 and following. 833. Give the "Fourth Eeader," Nos. 122-143. 834. Give a review of the definitions of " song," " folk song," and " folk tune." Call the attention of the class to the fact that No. 139 originated among the Irish people. THIRTY-THIRD WEEK 835. Give the "Fourth Reader," Nos. 144-147. Give a review of the definitions of " opera," " grand opera," " comic opera," " opera comique," " romantic opera," and " inci- dental music." SEVENTH YEAR 159 THIRTY-FOURTH WEEK 836. Give the " Fourth Reader," Nos. 148-151. 837. Give a review of the definitions of " oratorio," " cantata," " sonata," and " symphony." Call the attention of the class to the fact that No. 150 originated among the Welsh people. THIRTY-FIFTH WEEK 838. Give a review of the " Fourth Reader," Part V. THIRTY-SIXTH WEEK 839. Give a review of the " Fourth Reader " entire. Let the class arrange several musical programmes and render them. For suggestions see the following selections from the " Fourth Reader " : 840. 1. "Autumn Woods" A. S. Sullivan Page 2 2. "Where Would I Be?" Karl Zollner Page3 3. " Wind in the Trees " M. Lansen Page 11 4. " The Light-Hearted Fairy " C.B.Edmunds Page 13 5. " The Victory at Saratoga " Meyerbeer Page 15 6. " Evening Song " Mozart Page 16 7. " The Summer Night " . J. F. Nesmuller Page 19 8. " A Life Lesson " Schumann Page 18 841. 1. " The March of the Masqueraders " A.S.Sullivan Page 30 2. " Sunset " Schubert Page 21 3. " To the Whip-poor-will " Eleme'r Szentirmay Page 22 4. " My Rose " Luigi Caracciolo Page 22 5. " Stars of the Summer Night " I. B. Woodbury Page 9 6. "The Weather Vane " Oskar Strauss Page 7 7. " The Four Seasons " Haydn Page 32 160 MUSIC IN THE PUBLIC SCHOOLS 842. 1. " Hymn to Our Country " German Folk Tune Page 35 2. " Silent Night " Fr. Gruber Page 14 3. " A Foot-ball Song " English Folk Tune Page 10 4. " Russian Lullaby " N. Bachmetieff Page 37 5. " The Spanish Gypsy " A, Saleza Page 40 6. " The Whistler " G. Schleiffarth Page 43 7. " The Brook " H. Clough-Leighter Page 106 843. 1. " Robert of Lincoln " Henry K. Hadley Page 68 2. " My Mother " Thomas Koschat Page 70 3. " I Waited for the Lord " Mendelssohn Page 78 4. " A Lesson in Giving " Cecile Chaminade Page 87 5. "Spring " Gounod Page 99 6. " Slumber Song of the River " Benjamin Godard Page 103 7. " My Heart Ever Faithful " Bach Page 107 844. Brief suggested lesson programmes for any week of the seventh year, as, for example, the sixth week, 777, 778, are here given. MONDAY 1. Breathing Exercise III. 2. Vocalization. 3. Review of the fifth week's dictation of intermediate tones. 4. Review dictation of Type Two, Type Three, Type Four modified, and Figure One. 5. Sight singing, No. 20, to the sign "Firii." 6. Musical interpretation, No. 19. TUESDAY 1. Breathing Exercise III. 2. Vocalization. 3. Dictation of til. 4. Sight singing, Nos. 20, 21. 5. Musical interpretation, No. 20. SEVENTH YEAR 161 WEDNESDAY 1. Breathing Exercise III. 2. Vocalization. 3. Dictation of jf 1 and #2 4. Sight singing, No. 22. 5. Musical interpretation, No. 20. THURSDAY 1. Breathing Exercise III. 2. Vocalization. 3. Dictation of #2. 4. Sight singing, page 19 only. 5. Musical interpretation, No. 22. FRIDAY 1. Breathing Exercise III. 2. Vocalization. 3. Review dictation of 1 and J|2. 4. Sight singing, page 20. 5. Musical interpretation, Nos. 19, 20, 22. EIGHTH YEAR SYNOPSIS Voice Training Vocalization of such material in this year's work as is necessary to improve the tone quality. Sight Singing Four-part songs. Musical Forms Many additional vocal and instrumental forms. See also pages 224-231 of the "Fifth Reader." Musical Biographies The biographies of twenty-eight great composers : Palestrina, Pur- cell, Bach, Handel, Gluck, Haydn, Mozart, Beethoven, Weber, Rossini, Schubert, Berlioz, Mendelssohn, Chopin, Schumann, Liszt, Wagner, Verdi, Franz, Gounod, Rubinstein, Brahms, Saint-Saens, Bizet, Tchaikovsky, Grieg, Puccini, and Richard Strauss. Musical Interpretation From a study of the spirit of the music, combined with the study of the signs and terms of musical expression, the musical interpretation of all material in this year's work. Musical Conceptions The more specific harmonic and melodic characteristics of noted and great composers of the different national schools of music are introduced in more elaborate selections from famous musical art works, and in more elaborate famous instrumental themes, songs, and part songs. Four-part harmony is introduced. There is introduced also a musical representation of twelve nationalities, German, French, Italian, English, Swiss, Polish, Irish, Russian, Scandinavian, Scotch, Danish, and Amer- ican, including fifty-two composers, the more important of whom are Franz Abt, Adolphe C. Adam, Bach, Joseph Barnby, Beethoven, Bizet, Chopin, Stephen C. Foster, W. W. Gilchrist, Karl Goldmark, L. Gottschalk, Gounod, Grieg, Henry K. Hadley, Handel, Haydn, Ed. Jakobowski, Paul Lacome, E. Lassen, Harvey Worthington Loomis, Mendelssohn, A. Messager, J. L. Molloy, Mozart, J. R. Planquette, Rossini, Rubinstein, 162 EIGHTH YEAR 163 Schubert, Schumann, Henry Smart, John Stainer, A. S. Sullivan, Am- broise Thomas, Verdi, Wagner, W. V. Wallace, and Weber; and thirty- two poets in song, the more important of whom are Alfred Bell, H. Bonar, Abbie Farwell Brown, G. W. Doane, Nathan Haskell Dole, William Duthie, Louis C. Elson, Elizabeth Lincoln Gould, Robert Grant, Reginald Heber, James Hogg, Horace, Longfellow, Mrs. Emily Huntington Miller, Thomas Moore, Clinton Scollard, Shakespeare, Nixon Waterman, F. E. Weatherley, Charles Wesley, and Whittier. Those teachers who use in their classes the " Fifth Reader " of the New Educational Music Course will have no occasion to look for music else- where for commencement exercises, for in all music they will be able to find nothing better than the material for study and interpretation given in this book. This is true also of the preceding readers in this series. In making song selections for the New Educational Music Course the guiding principle of the editors and their assistant coterie of composers, poets, musicians, critics, and teachers was, " What is not good enough for a concert or com- mencement programme is not good enough for everyday study." Suggested song programmes, 857-870. Material For pupils' use, the " Fifth Reader " for voice training, sight singing, musical interpretation, and musical conceptions. For teachers' use, " Music in the Public Schools." EIGHTH YEAK GENERAL SUGGESTIONS The music of the " Fifth Eeader " is arranged as follows : 845. Part I is made up of part songs and choruses for unchanged voices, similar in range to those of Part IV in the " Fourth Reader." 846. Part II is made up of part songs and choruses of slightly lowered range. They may be sung by unchanged voices or by a mixture of unchanged and adolescent voices. 847. Part III presents music arranged for three unchanged voices, or for two unchanged voices and the bass voice. The com- positions are harmonically complete with the three upper voices, or with the two upper voices and the bass voice. 848. Part IV presents music arranged for three unchanged voices and bass ad libitum ; that is, with the bass it is complete four-part music ; without the bass it is complete three-part music. 849. Before beginning the use of this book the teacher should make a careful examination of the voices of her class in order that she may determine the right place in the book to begin. 850. If she has girls' voices entire, or girls and boys with un- changed voices, or boys, a few of whom have just begun the adolescent period, she would better begin with Part I. 851. If she has in her class several boys whose voices are well along in the adolescent period, but have not yet " broken," she would better begin with Part II. 852. If she has a sufficient number of boys' changed voices to carry a bass, even though it be somewhat weak, she would better begin with Part III. This begins with easy music in the F clef and continues with a bass part easier than any of the other parts. 853. The unchanged and adolescent voices of boys in the eighth and ninth grades are liable to change radically at any time, and 164 EIGHTH YEAR 165 therefore need constant watching. Classes which may with good reason begin the study of Part I may have to change, in the course of two or three weeks, to Part III and the bass part. The " Fifth Reader," with its optional arrangements, is especially adaptable to these varying vocal conditions. 854. There is no problem in this book, with the exception of the four-part song, in which the pupil has not already had considerable experience. The study is therefore almost wholly devoted to the reading and interpretation of standard attractive music, and choral work of high quality should be expected. 855. Owing to the varying vocal conditions in this grade it will be necessary to leave the weekly outlines to the judgment of the teacher. A continuance, as far as possible, of good tone production, intelligent sight singing, and artistic musical interpretation is urged. 856. Musical Forms and Musical Biographies, Part V, should be studied either by itself or in connection with the various music texts of the " Fifth Reader." The pupil should also become familiar with the terms of notation in the glossary, and the terms and signs of expression. The " Fifth Reader " furnishes ideal material for a great variety of excellent school concert programmes. The following are suggested. EIGHTH AND NINTH YEARS 857. 1. " A Coaching Party " E. Jakobowski Page 2 2. " Song at Evening " Bizet Pagel 3. " Autumn " Rubinstein Pages 4. " Annie Laurie " Lady John Scott Page 12 5. " O Rest in the Lord " Mendelssohn Page 13 6. " The Flying Machine " A.S.Sullivan Page 18 7. " December " Chopin Page 23 8. " Class Song at Parting " Franz Abt Page 21 166 MUSIC IN THE PUBLIC SCHOOLS 858. 1. "The Skylark" W. W. Gilchrist Page 25 2. " Sailors' Chorus" Wagner Page 28 3. " The Web of Life " Schumann Page 32 4. " The Fairy Revel " A. S. Sullivan Page 35 5. " The Rose and the Song " Grieg Page 45 6. " Charity " Rossini Page 48 7. " Good Night " Franz Page 56 859. 1. " The March of the Spheres " Karl Goldmark Page 145 2. " Nathan Hale " Swedish Folk Tune Page 148 3. " Message of the River " Beethoven Page 150 4. " National Song " Grieg Page 152 5. " The Minuet " Harvey Worthington Loomis Page 158 6. " March from A'ida " Verdi Page 154 7. " To Thee, O Country " Julius Eichberg Page 207 860. 1. " Spring Song " Mendelssohn Page 111 2. " Estudiantina " P. Lacome Page 58 3. " The Minstrel Boy " Irish Folk Song Page 64 4. " On Horseback " Rubinstein Page 66 5. "Barcarolle" J. R. Planquette Page 69 6. " Off to the Front " E. Jakobowski Page 72 7. " Stars of the Summer Night " Henry Smart Page 4 861. 1. " The Heavens are Telling " Haydn Page 107 2. " The Merry Monarch " Scotch Folk Tune Page 76 3. " Trust in the Lord " Handel Page 78 EIGHTH YEAR 167 4. " The Twins " Caryl B. Rich Page 80 5. " The Bluebird " Henry K. Hadley Page 88 6. "Rain Song" Ambroise Thomaa Page 94 7. "Daybreak" W. W. Gilchrist Page 99 862. 1. " A Spring Song " Grieg Page 196 2. " Silent Night " J. Barnby Page 164 8. "Morning" Arthur Edward Jo hnstone Page 168 4. " My Old Kentucky Home " Stephen Foster Page 165 5. " The Twenty-third Psalm " Mendelssohn Page 170 6. "The Fairies' Moonlight Dance " Louis Gregh Page 173 7. " Love Divine " John Stainer Page 179 863. Contemporary Master Musicians MENDELSSOHN 1809-1847 SCHUMANN 1810-1856 Their Life, Character, Work, and Musical Numbers from the New Educational Music Course "Fifth Reader" Mendelssohn Spring Song Page 111 Schumann The Web of Life Page 32 Mendelssohn Rest in the Lord From the Oratorio " Elijah," page 13 Schumann Cradle Song Page 127 Mendelssohn The Twenty-third Psalm Arranged from "A Midsummer Night's Dream," page 170 168 MUSIC IN THE PUBLIC SCHOOLS 864. Three Great Oratorios HAYDN THE CREATION MENDELSSOHN ELIJAH GOUNOD THE REDEMPTION Musical Numbers from the New Educational Music Course "Fifth Reader" Haydn The Heavens are Telling From the Oratorio " The Creation," page 107 Mendelssohn Rest in the Lord From the Oratorio " Elijah," page 13 Gounod Lovely Appear From the Oratorio " The Redemption," page 141 865. Four Great Song Composers SCHUBERT 1797-1828 SCHUMANN 1810-1856 FRANZ 1815-1892 GRIEG 1843-1907 Selections from the New Educational Music Course "Fifth Reader" Grieg The Rose and the Song Page 45 Schubert Hark .' Hark ! the Lark Page 199 Schumann Cradle Song Page 127 Grieg National Song Page 152 Franz Good Night Page 56 EIGHTH YEAR 169 866. Song Forms Illustrated Selections from the New Educational Music Course " Fifth Reader " William V. Wallace Hymn of Adoration One-period Song, page 79 Lady John Scott Annie Laurie Two-period Song, page 12 Rubinstein Autumn Three-period Song, page 8 Irish Folk Song The Minstrel Boy Folk Song, page 64 Franz Abt Class Song at Parting Strophe Song, page 21 Henry Smart Stars of the Summer Night Art Song, page 4 J. L. Molloy The Little Tin Soldier Ballad, page 128 Henry Carey America National Song, page 222 867. Kinds and Schools of Opera Selections from the New Educational Music Course "Fifth Reader" Bizet Song at Evening Arranged from the Opera Comique "Carmen," representing the French School of Opera, page 1 Mozart Who Treads the Path of Duty Arranged from the Grand Opera " The Magic Flute," representing the German School of Opera, page 132 A. S. Sullivan The Fairy Revel Paraphrase from the Comic Opera " Pirates of Penzance," page 35 Verdi March from Alda Arranged from the Grand Opera " AVda," representing the Italian School of Opera, page 154 Wagner Sailors' Chorus Arranged from the Grand Opera " The Flying Dutchman," representing the German School of Opera, page 28 170 MUSIC IN THE PUBLIC SCHOOLS 868. Instrumental Music Forms in Song Selections from the New Educational Music Course "Fifth Reader" Rubinstein Autumn Arranged from Pianoforte Composition, " Melody in F," page 8 Chopin December Arranged from Nocturne No. 15, page 23 J. R. Planquette Barcarolle Barcarolle, arranged from the Comic Opera " The Chimes of Normandy," page 69 Ambroise Thomas Rain Song Gavotte, arranged from the Opera Comique " Mignon," page 94 Mendelssohn Spring Song Arranged from the Pianoforte Composition " Spring Song," page 111 Karl Goldmark The March of the Spheres Arranged from the Symphony " A Country Wedding," page 145 Beethoven Message of the River Arranged from Sonata VIII (Pathe'tique), page 150 Harvey Worthington Loomis The Minuet A Minuet, page 158 L. Gottschalk God's Sentinels Arranged from the Pianoforte Composition " The Last Hope," page 172 869. Familiar Songs for Social Gatherings (To be sung from memory) Selections from the New Educational Music Course " Fifth Reader " Lady John Scott Annie Laurie Page 12 Johanna Kinkel Soldier's Farewell Page 121 Traditional There 's Music in the Air Page 122 Stephen Foster My Old Kentucky Home Page 165 C. Wilhelm The Watch on the Rhine Page 210 Rouget de Lisle Hymn of the Marseillaise Page 211 Welsh Patriotic Song Men of Harlech Page 214 EIGHTH YEAR 171 870. Closing Exercises Musical Selections from the New Educational Music Course " Fifth Reader " Julius Eichberg To Thee, Country Page 207 E. Lassen Song of Spring Page 2(>i Louis Qregh The Fairies' Moonlight Dance Page 173 Arthur Edward Johnstone Morning Boys' Union Chorus, page 168 E. Jakobowski Off to the Front Arranged from the Comic Opera " Erminie," page 72 P. Lacome Estudiantina Page 58 Franz Abt Class Song at Parting Page 21 SUMMAEY OF MELODIC INTERVALS OK TUNE IN MUSIC intervals 871. Intervals in melodic progression are of two classes, those without in- termediate which involve intermediate tones and those which do not. Of tones the latter class there are frequent skips, very frequent skips, and infrequent skips. 872. The very frequent skips are 1-3, 3-5, 5-8, 1-8, 5-3, 2-7, 2-5, 5-2, 5-7, and 3-8. 873. The frequent skips are 1-5, 3-6, 5-7, 2-4, 4-7, 5-4, 4-6, 6-8, 1-4, and 5-5. 874. The infrequent skips are 8-4, 2-8, 1-6, 3-7, 1-7, 5-6, 4_6, 4-7, 2-6, 2-6, 6-7, 3-6, 3-7, and 2-7. intervals 875. Of the former class there are intervals with the intermedi- mediate tones ate tone preceded and followed stepwise, the intermediate tone preceded stepwise and followed skipwise and vice versa, the inter- mediate tone hi chromatic scale fragments, and the intermediate tone preceded and followed skipwise. Intervals may be presented by oral dictation, by staff dictation, or by both. 876. By oral dictation it is meant that the teacher dictates, that is, asks the class to sing a scale name, as 8, and the class responds by singing the correct tone and syllable do. After the first year scale names are usually dictated in groups of two or more at a time. 877. By staff dictation it is meant that the teacher places on Oral dictation Staff dictation the blackboard the staff representation of any key, as Bb, thus: - *- -0 w - and, after telling the class where 1 is (if this is necessary), indi- cates the tones the class shall sing by pointing at the representa- tive note heads. 172 SUMMARY OF MELODIC INTERVALS 173 878. In the first, second, and third years are given in melodic intervals in progression the scale and its parts together with the thirty-four second, and * , third grades skips used in melody not involving intermediate sharps or flats. Each progression may be sung in different keys, but should not be pitched in a key that will carry the high tones above I or the low tones below C. 879. In the fourth, fifth, sixth, and seventh years are given the intervals in . the fourth, intervals used m melody involving intermediate sharps and flats, fifth, sixth. and seventh In staff dictation here, the following staff representation of any grades key, as C, is used, thus : For sharps ~l?h |- \ \ tt j-^ g J tf w- *.__ J $ i* IK _. ^ H- For flats n 1 1 b^r J- 4- -t \- i i Pea -9-*- E5E b* J b Each progression may be represented and sung in different keys, but should not be pitched in a key that will carry the high tones above I or the low tones below bi?. 880. The following melodic progressions represented by scale names present concisely the subject of intervals, and are classified by subject and by year. They will be found useful for daily oral or staff dictation, or, if preferred, they may be presented in notes on the staff from the blackboard as sight-singing material. 881. The subject interval, or, in other words, the interval for The subject i i IT ...,. iii mi interval in study, in each melodic progression, is indicated by large type. Ihe large type scale names in small type introduce this interval melodically or complete the melodic progression in which it is introduced. There- fore the entire progression should always be presented. 174 MUSIC IN THE PUBLIC SCHOOLS MELODIC PRESENTATION OF INTERVALS BY SCALE NAMES 882. Scaleand 87654321 scale pro- gressions 1232171 8765678 1234543 ' 878 8765443 8766543 FIRST 883. YEAR Very frequent 8558 ii2772i 3553 1331 5225321 884. 5775878 3553 5225878 8338 8118 Frequent 1 1 2 4 4 2 1 skips 3663531 1551321 6886578 3346643 n7447i SECOND YEAR 5555321 5775321 3341143 3 345543 885. Infrequent 2662751 skips 4 6 6 432.1 3348843 887337s 1661543 3773221 3663251 3328821 187227s 5665571 58744763 2662531 THIRD YEAR 8871178 6776531 886. The inter- 5 #4 5 8 5 4 3 mediate f and , preceded and 6 i?7 O 5 6 7 8 followed step- wise 887. 1 FOURTH YEAR 2 #1 2 4321 3 #4 5 3 4 2 i 6 JJ5 6 567 8 8 \>1 6 6578 3 #2 3 5321 5 #4 3 5421 7 #6 75678 FIFTH YEAR SUMMARY OF MELODIC INTERVALS 175 888. 1 b2 1 342 1 2 b3 2 5 3 2 i 5 be 5 5 e 7 s 889. 5 #4 6 #4 5 3 i 5 #4 7 #4 558 5 #4 8 #4 5 6 i The inter- mediate ft pre- 5 #4 2 #4 5 58 5 #4 3 #4 558 5 #4 2 #4 5 5 i ceded step- wise and fol- 5 #4 1 #4 553 5 #4 7 #4 5 *4 3 3 5 *4 5 4 #4 5 lowed skip- wise and vice versa, and the 5 4 5 #4 4 4 3 intermediate TT ft in a chro- 6 #5 7 #5 656 6 #5 8 #5 656 6 #5 2 #5 6 8 6 matic scale fragment 6 #5 3 #5 6 86 6 #5 3 #5 6 is e 6 #5 1 #5 6 36 3 6 S5 6 5 #5 6 2#1 3#1 2si 2#1 4#1 2 si 2#1 5 #1 2 3 i 2 #1 6 #1 253 2#1 7 #1 2si 2#1 6 #1 2 s i SIXTH 2#1 5#1 27i 2*1 2 1 #1 2 1 YEAR 3 #2 5 #2 3 31 3X ' i ' X '-, _ O OZ o 5 1 3 #2 7 #2 3 6 5 3 #2 1 #2 358 3 #2 7 #2 35i 1 3*2 3 2 #2 3 8 5 6 #6 7 5 8 890. 6b7 5b7 658 6 b7 3 b7 6 58 6b7 1 b7 6 5 8 The inter- mediate 6b7 2b7 658 6 b7 3 b7 6 58 8 7 b7 6 5 5 8 t> preceded 2 b3 1 b3 2 51 2 b3 5b3 2 7 i 2b3 5 b3 2 7 i stepwise and followed skip- wise and vice i 32 3 b3 2 i versa, and the intermediate 5 be 4be 5 53 5 be 2 be 5 5 1 5 be i be 5 5 3 b in a chro- matic scale fragment 5 be 8 be 553 5 be 4be 5 38 5 5 6 b6 5 5 8 1 b2 4b2 1 si i i 13 2 b2 1 176 MUSIC IN THE PUBLIC SCHOOLS 891. The inter- mediate $ 5604 65 3 1 5 704 76 5 8 5 8 048 551 preceded and followed 5204 27 58 5 304 32 5 8 5 2 042 531 skipwise 8104 15 5 3 5 7 04 7 5 34 3 6705 78 7 6 6 805 8 7 3 6 62 052 876 6305 38 7 6 6 305 38 7 6 6 1 051 6 15 6 1301 32 3 1 2 401 42 3 1 25 015 231 2 6 01 65 3 1 2 7 01 72 5 1 16 01 6 251 1501 5 2 3 1 3 5 02 53 5 1 3 602 6 5 3 1 3 7 027 5 *4 3 SEVENTH YEAE 3102 1 3 5 1 3 Z # 2 7 3 82 3 892. The inter- 55b7 5 6 5 8 6 3b7 36 S5 6 6 1 b7 1 658 mediate b preceded and 62b7 2 6 5 8 6 3b7 3 6 $5 6 followed skipwise 3 1 b3 1 2 7 1 3 5 b3 52 5 1 3 5 b3 5 251 54be 45 4 3 5 2 be 2 5 3 1 5 1 be i 543 5 8b6 8 5 7 8 5 4b6 4 3 5 8 i 4b2 4i 1 1 - 893. For an easy introduction to each of the sixth- and seventh- year phrases, except the chromatic scale fragments, require the class to sing the first and second, then the first and third, tones of each phrase ; for example, in the sixth year 5 #4 56 and in the seventh year 56 5JJ4 5 #4 6 J4 5 3 i 5 6 JJ4 6 5 3 1 894. The difficulty of some passages with intermediate tones is due to the fact that a temporary transition has been made, and for the time being the key is different from that which the key signa- ture represents. In such cases the difficulty may be obviated by first leading the pupil to sing the passage, using the syllables of SUMMARY OF MELODIC INTERVALS 177 the new key ; then to substitute the syllables according to the key signature, for example : Temporary Transition to D major In the last four measures of this staff there is a temporary tran- sition to D major, and if the pupil has any difficulty in singing the intermediate sharp, let him sing the syllables sol ti sol fa mi re do ; then substitute the syllables of the key represented by the signa- ture, namely re fi re do ti la sol. 178 MUSIC IN THE PUBLIC SCHOOLS SCALE BUILDING AND RESULTING SIGNATURES 895. Major scale of C, the staff without signature, compared with the major scale built on G Major scale of C, the staff without signature, compared with the major scale built on D Major scale of C, the staff without signature, compared with the E2~ - 9 - ] BEE r-* * J -*- I 12345678 cde~Fgabc 2 d 345 e F g I Resulting signature . i Olt \~rjL ~m ' E^^ ffT\ tf ^ f(T\ [ ^My I I \MJ 1234 896. g a B c 5 d 6 78 e % g - t \f * * (5) * * ~*~ 1 12345678 cJ el g a Be 2 d 345 e I g Resulting signature xT C* 1 /%. ff ~^K ti' * 1 i(Jj 1[ 1234567 897. d e ^fg a B c\ 8 f3 \J I n + --* T 12345678 6 78 abc d el ga Be Q- 2 d 34 5 e 1 g r Resulting signature built on A 3?E ~fe~~ Saz M . > # 1 v-\J a b cjfcl e f# gj a 898. SUMMAEY OF MELODIC INTERVALS 179 * Iof C. the staff -m f without \J +. O 123 c 9 e 4567 f g a 5 12345 signature, a Resulting compared c 9 e 1 g signature with the nJ* ft.. "3- H& 9. I\j tf U" ft major scale rfm n fc ** ff^- t-^ft-i buiitonE 1 899. g HF-iiF 2345 Iff gtfa 5 678 1 Major scale -p without 1 2 3 7 8 b c 9 e 4567 f g a ^ 12345 signature, 8 compared Resulting withthe c 9 e f g signature yf >T "Q Ifu built on R ifh LL __ ft^ 1 f/K ff '"fl DUIII on rs V \J .. u tr 1 ^MJ ff J * _ D* *~ if 1234 900. b eft 9#e 5678 ' ' O - i/ i 1 Major scale ~~/K , - of C, the staff 123 c 9 e A * 4567 f g a 13 I without 12345 signature, Q Resulting compared c 9 e 1 g signature withthe L/ u tt Jt*tt* 1 Vffw fl tf mamraaaa J?L u u M Lv9l-!liI_Sj* tf r,ii* IT* ifn u tU tt* fl" ' 132 ftp fl* fT l \>\} ff o 901. 1234 IJ gj ajB 5678 ~~ii T"Li Xlf Ji* im m 9 VJJ 9 ^ without C _,_ 123 c 9 e A 4567 f g a B signature, Resulting com p ared o signature wit fi the y IL w IyffJT'ff BIL major scale XL 5 Tfi* ff 1t built on C i?r\ . u i*_ #- D* ?r^" f(T\ " ff tt BHUlollv ' 2345678 180 MUSIC IN THE PUBLIC SCHOOLS SCALE BUILDING AND KESULTING SIGNATURES 902. Major scale of C, the staff without signature, compared with the major scale built on F Major scale of C, the staff without signature, compared with the major scale built onBb ~ 73: 0-' H \(V\ ^ * U L W- + ' 1234 e 3 e f 5 g I 2 3 4 5 6 78 T = - = - = Resulting a be del g signature Is , _, 1 Jf k /ft\ * - 1 /kP VMJ m 1 >MJ i 903. 1 2 g 34 5 6 78 a Bb c ^ el \f V { tf\\ -9 -* \>\) 1 -*- ~*~ 1 2 34 678 a be 3 e f r-& 5 g 6 78 Resulting a Be signature n i &-b 2E ~^T~ /b /m V* f(\\V 1 2 904. bb c 34 5 6 78 cl eb I g a Bb Major scale of C, the staff without signature, compared with the major scale built on Eb /r ^ Resulting signature A h I-4& H r\ 1234 c 3 e T 567 g a B 12345 8 c 3 e f g tr b* 1 y \ " A. h nm m XL b h irh mV9 V* . IITi V P 12345678 eb F g ab bb c J eb 905. SUMMARY OF MELODIC INTERVALS 181 SJF~ , . ^-' (Major scale of C, the staff *""" 1 2 34 5 6 7 6 78 a b c 3 e f g a B 8 C signature, compared Resulting with the signature xT k 12345678 906. ^ bt? c 31? et? 1 g at? ~9 iJ ^ 1234567 c a e F g a B 123 8 c 3 e signature, Resulting C m fl? d signature L/ i |}0 II Jr i_fr b major scale dk t b* 9* 1 rfPK^ b^fa built on D " vvl^ L- n^ ^ L 123456 907. 31? el? f gb ab Bb 7 8 c ab Jf . w ^ m 1 ff > T\ ^9 without signature, Resulting wjtn^-he signature \-\) u m m 1 O m- 9 ^r^ 1234567 c 3 e I g a B T 2 3 4 5 8 c d e~ F g . u -b L/ L_ h m V9 * ] II V i h h major scale j/f" i_ DM **9 99 \ 1 X U i-f. (7 X..J1* - r-ti \(T) P^ P* 1 1 1 I(D " ^ t? 12345678 908. g b a> Bb^b ab ei? 1 |b ij i ^32 m* 9 without 1234567 c 3 e f g a B 8 C signature, Resulting compared signature ""itb tne if- K 1 I V i b b K major scale >T . u ^ P /L b K i f built on Ct> 1 f(n b h DUUlonv ' 1/ *-8^- ^. b* ^ g " ^-v 1 - Jt 12345678 ci? ab eb fl? gb &b BJ? cb SUMMARY OF RHYTHMIC TYPES, FIGURES, AND GROUP BEATS, OR TIME IN MUSIC Rhythmic Type Fundamental Types Derivative Types Rhythmic Figure 909. The time values of notes are here presented in the various forms of the Rhythmic Type, the Rhythmic Figure, and the Rhythmic Group Beat. 910 A Rhythmic Type is a time value equal to one beat in any measure of simple time. 911. There are four fundamental Rhythmic Types, or Types as they are called briefly, and in quarter measure they are repre- sented and named as follows : 9 Type One, so named because it represents one tone to the beat. J^ J^ Type Two, so named because it represents two equal tones to the beat. Type Four, so named because it represents four equal tones to the beat. Type Three, so named because it represents three equal tones to the beat. *i * 912. There are. two derivative types in frequent use, and in quarter measure they are represented and named as follows : * r Type Four modified, so named because it is a modi- fication of Type Four. J 3 * Type Three modified, so named because it is a modi- x ^ fication of Type Three. 913. A Rhythmic Figure is a combination of two different Rhythmic Types, 182 SUMMARY OF TIME IN MUSIC 183 914. There is but one Rhythmic Figure, or Figure as it is called briefly, in frequent use, and in quarter measure it is repre- sented and named thus : J . J^ Figure One, a combination of Type One and Type Two. 915. A Rhythmic Group Beat is a time value equal to one beat Rhythmic J Group Beat m any measure of compound time. 916. There is but one fundamental Rhythmic Group Beat, or Fundamental Group Beat Group as it is called briefly, and it is represented and named thus: * J^ J^ Group Three, so named because it represents three tones to the group beat. 917. There are two derivative groups in frequent use and they Derivative are represented and named as follows : J J^ Group Two, so named because it represents two tones to the group beat. J Group One, so named because it represents one tone to the group beat. 918. The characteristic of the Type is that it always stands for the beat in simple time. In quarter measure it is represented by the time value of the quarter note, in eighth measure by the time value of the eighth note, and in half measure by the time value of the hah* note. 184 MUSIC IN THE PUBLIC SCHOOLS EQUIVALENT REPRESENTATIONS IN DIFFERENT KINDS OF MEASURE OF SIMPLE TIME Such as Such as Such as 3 or 4 8 U1 8 2 3 or 4 4> 4> U1 4 2 nr 3 2 U1 2 919. measure measure measure Type One J* j J Type Two /3 J~3 j J Type Four Type Four modi- fied Type Three Type Three modi- fied Figure One 920. The characteristic of the Group is that it always stands for the beat in compound time. In eighth measure it is represented by the time value of a dotted quarter note, in quarter measure by the time value of a dotted half note. EQUIVALENT REPRESENTATIONS IN DIFFERENT KINDS OF COMPOUND TIME Such as Such as |, |, or l measure \ or | measure Group Three J*J*J* j j j Group Two j J* J J Group One J es SUMMARY OF TIME IN MUSIC 185 921. The five fundamental forms Type One, Type Two, Type Three, Type Four, and Group Three are taught by imitation. 922. Each derivative form may be taught by demonstrating its derivation or by imitation. After the pupil has mastered a fundamental form he will be able to grasp its derivative more readily. Further derivatives therefore, whether they be modifications or combinations, may be imparted with but little difficulty. 923. Derivative forms, in addition to those already presented, Additional and those in more frequent use are classified as follows: from Type One, J , by combination are derived the Double Type, ey , the Triple Type, <& , and the Quadruple Type, & ; from Type L_4^ I LJ Four, 4 j j , by contraction are derived Type Four a, J TJ > and Type Four b, Jj J; from Type One, J, and Type Four modified, J . * , by combination is derived Figure Two, J J^ ; from Group Three, J J J , by modification is derived Group Three modified, J- 3 J; and from Group, Two by expansion is derived Group Two modified, J Jj 924. Figure One, J J\ and Figure Two, J J^ , are easily remembered from the fact that Figure One has one dot and Figure Two has two dots. 925. In presenting or drilling any type, figure, or group beat Beat accent but one accent is used and that is the beat accent. In other words, the first tone of every beat is accented and no other accent is used in elementary sight singing. 926. The following eighteen rhythmic exercises present on one tone the Types, Figures, and Groups, classified in the order of teach- ing by grades. The importance of the fundamental forms is indi- cated by the large type, the more important derivatives are in type next in size, and the less important derivatives are in small type. 927. Each exercise consists of two phrases. The first phrase of four notes represents a regular succession of beats and the second phrase introduces the new form. 186 MUSIC IN THE PUBLIC SCHOOLS Rhythmic 928. These exercises may be presented by dictation as follows : Give any suitable pitch, as d, and require the class to sing, using oral rhythmic any syllable, as do, and accenting the first tone of each beat. Dic- tate orally, "Type One four times and Type Two four times, sing," or let the class sing from the copy on the blackboard, thus : Written rhythmic dictation or thus, j j j n n MONOTONE PEESENTATION OF THE RHYTHMIC TYPES, FIGURES, AND GROUP BEATS TYPE ONB 929. L_J * J? iltT 1 fiiAK i 11 mr Introducing the Double Type 930. fc Introducing the Triple Type 931. SECOND YEAR Introducing the Quadruple Type 932. Introducing Group One 933. THIRD YEAR SUMMARY OF TIME IN MUSIC 934. THIRD YEAR (continued) 187 t= i i i i i i ! i iTTT * J JJ-J JJJ-WV^ i^^' 1 935. 1 * V * . . Introducing GROUP THREE Introducing 936. FOURTH YEAR * * * * *-* 937. j j j j. / j. 938. ft FIFTH YEAR J J J 939. 940. 941. =ffi-^ -y J J J ^v? j n-fEFj n J Introducing Figure One Introducing TYPE FOUR Introducing Type Four a Introducing Type Four b Introducing Four Introducing Group Two modified Introducing Group Three modified Introducing TYPE THREE 188 944. MUSIC IN THE PUBLIC SCHOOLS FIFTH YEAR (continued) 942. r-P*. 943. i ^ \-> +-*-*-*.- } I i I i i i MI ^^ r^ 1 ' 1 1 I 1 1 1 1 i i i i 1 i i 1 i-4l +-*** ^v-vw-*-* <^ wvw- 13 Introducing Type Three modified 945. SIXTH YEAR Introducing Figure Two 946. 947. The following rhythmic exercises in scale progressions are intended for further drill in Types, Figures, and Groups. They are classified by grades and are to be placed upon the blackboard for presentation. SUMMARY OF TIME IN MUSIC 189 SCALE PRESENTATION OF RHYTHMIC TYPES, FIGURES, AND GROUP BEATS IN COMBINATION 948. & FIRST YEAR >rr r r ^ J 949. 42. ._. .1=^. J J ^^ Type One Double Type ^ ^ ^ r r r r F^ - J -^^^^g 950. SECOND YEAR Triple Type, ~ idruple 190 MUSIC IN THE PUBLIC SCHOOLS SECOND YEAR (continued) 4"*- ^ ? 1 ^_ <^J g. -3= & i -P- f p gl . ^- I 951. THIED YEAK Group Three, Group One 952. SUMMARY OF TIME IN MUSIC THIRD YEAR (continued) 191 953. Group Two ^^Hzjzg j j j j - FOURTH YEAR Type Two 192 MUSIC IN THE PUBLIC SCHOOLS FOURTH YEAR (continued) < 1 954. Figure One -0 0- ~0 -0- SUMMARY OF TIME IN MUSIC 193 FOURTH YEAR (continued) 955. FIFTH YEAR Type Fo 956. m E^g-&SLEBJfr7H Type Four i 194 MUSIC IN THE PUBLIC SCHOOLS FIFTH YEAR (continued) 957. Type Four 6 Type Four modified 958. 959. 960. 961. #*F SUMMARY OF TIME IN MUSIC FIFTH YEAR (continued} 195 Group Three modified ^-*A^_ * Type Three MUSIC IN THE PUBLIC SCHOOLS FIFTH YEAR (continued) 962. Three u^ty ifled HtfW-ff: SIXTH YEAR SUMMARY OF TIME IN MUSIC SIXTH YEAR (continued) 197 Figure Two 198 MUSIC LN THE PUBLIC SCHOOLS 964. SIXTH YEAR (continued) All Types and Figures All Groups Infrequent derivative forms 965. 966. Infrequent derivative forms appear occasionally in upper grade music, but with a little help the pupil will easily recognize their derivation and have no difficulty in reading them correctly. They are as follows : from Type Two repeated, JJ J , by combination is derived J^ J 4 , which is a form of syncopation ; from Type Four modified, J 3 , is derived its reverse, ^J , which occurs in Scotch folk songs ; from Figure One, J , is derived its reverse, gP J , which is another form of syncopation ; from Type One, . and Type Four a, 4 J"3, by combination is derived J . J"3 ; from Group Three, J J J , by expansion is de- w ^ ^ rived the several forms *P 0770, 0- 000, 0000 0, and 000000, which are found in the slow movement of measure. GLOSSARY TERMS OF NOTATION 1. Staff, five horizontal lines and four equal spaces. 2. Leger Lines, or Added Lines, light lines below and above the staff. 8. A, B, C, D, E, F, G, Pitches, the first seven letters of the alphabet by which tones are designated. 4. G Clef fixes G upon g the second line, around which it turns. The staff thus marked is called the treble staff. 5. F Clef fixes F upon the fourth line, around which it turns. The staff thus marked is called the bass staff. 6. The Great Staff, the combined treble and bass staves, formerly writ- ten as an eleven-line staff. To distinguish between pitches in different octaves, the following dis- tinction is made : great octave, small octave, one-lined octave, two-lined oc- tave. C (great c), the c on the second line below the bass staff. c (small c), the c in the second space of the bass staff. c (one-lined c), the c on the first leger line above the bass staff and on the first leger line below the treble staff. c (two-lined c), the c in the third space of the treble staff. 7. Brace, a vertical line which joins two or more staves. 8. Bars, vertical lines upon the staff. A Bar is one vertical line. A Double Bar is two vertical lines and sometimes a thick vertical line. 9. A Measure, the space between two bars, repre- senting a group of strong and weak beats. 10. Notes: (a) o Whole note, an open note head without stem. (6) | Half note, an open note d head with stem. ^gspgg D E F GAB||c d e f g a b|| c d~ e 1 g a b~|| c 3 el g a 5 J|c GREAT OCTAVK SHALL OCTAVE ONE-LINED OCTAVE Two- LINED OCTAVE 199 200 MUSIC IN THE PUBLIC SCHOOLS (c) Quarter note, a closed note head with stem. (d) \ Eighth note, a closed note J head with stem and one hook. (e) b Sixteenth note, a closed note head with stem and two hooks. (/) fc Thirty-second note, a closed ^ note head with stem and three hooks. (g) tt Grace note, a small note J with or without a stroke across the stem, representing a passing tone preceding an essential tone, and borrowing the time it occupies from the essential tone. 11. Rests: (a) -^ - Whole rest. (6) jm. Half rest. (c) ^ Quarter rest. (d) 1 Eighth rest. (e) 3 Sixteenth rest. (f) Thirty-second rest. 12. The Tie, a curved line joining -^ ^- two notes of the same pitch. It indicates that the second note over or under the tie is not to be repeated, but sustained, that is, joined with the first. j \ 13. The Dot, placed after a ' ' note, lengthens it one half ; thus the dot after a half note takes the place of a quarter note tied. r The dot after a quarter note takes the place of an eighth note tied. The dot after an eighth note takes the place of a sixteenth note tied. The dot after a sixteenth note takes the place of a thirty-second note tied. ?-*| The dot after a rest lengthens it one half ; thus the dot after a half rest takes the place of a quarter rest. The dot after a quarter rest takes the place of an eighth rest. The dot after an eighth rest takes the place of a sixteenth rest. / \ 14. The Double Dot, placed ' ' after a note or a rest, lengthens its duration three fourths ; thus the double dot after a half note takes the place of a quarter note and an eighth note tied. " ^ x The double dot after a quarter note takes the place of an eighth note and a sixteenth note tied. 15. The Phrase Mark, a curved line indicating the rhythmical grouping of notes. 16. The Breath Mark, a comma placed above the staff to suggest a place for taking breath. 17. The Slur, a curved line joining ^ ^ two or more notes of different pitch. It indicates that the notes so joined are to be sung to one syllable. GLOSSARY 201 ; ; I J i 1 J Cs Vi> I 8 - The Hold, or Pause, a dot under or over a small curved line. It means that the note or rest over or under which it is placed is to be held longer than usual. 19 - staccat I Marks direct that the tones be distinct, separated from each other. The wedge-shaped marks are the most emphatic staccato signs ; dots over or under the notes with a sweeping curve mark the slightest staccato. The latter effect is called non legato. 20. Turn, a melodic grace rendered by four tones, represented by the note next above the written note, the writ- ten note itself, the note below, and the written note again. The sign is set either after or over the note modified. 27. Characters affecting Pitch : 21. The Repeat, dots immediately before or after a bar. It indicates that music before or after the dots should be repeated. 22. ist and zd Endings, signs in- dicating that, in the repetition, the music marked 3d time must be substi- tuted for that under the sign 1st time. D.C. 23. Da Capo, from the be- ginning (repeat). D.S. 24. Dal Segno, from the sign :$: (repeat). 25. Al Fine, to the end. 26. Coda, a passage at the end of a composition, added to make a more effective conclusion. (a) * (6) x (d) () If tt The Sharp raises the pitch represented by a staff degree a half step. The Double Sharp raises the pitch represented by a sharped staff degree a half step. The Flat lowers the pitch represented by a staff degree a half step. The Double Flat lowers the pitch represented by a flatted staff degree a half step. The Natural, or Cancel, re- moves the effect of a sharp or flat ; removes the effect of one of the two flats in ft? ; removes the effect of one of the two sharps in x . 28. Interval, the difference in pitch between two tones. 29. Half Step, the smallest interval employed in modern music. 30. Step, an interval containing two half steps. 31. Staff Degrees, lines and spaces of the staff. 32. Major Third, an interval em- bracing three staff degrees and con- taining four half steps. 33. Minor Third, an interval em- bracing three staff degrees and con- taining three half steps. 34. Scale, a succession of tones within the octave, ascending or de- scending according to a fixed rale. 202 MUSIC IN THE PUBLIC SCHOOLS Scales (a) The Major Scale, a succession of five steps and two half steps in the fol- lowing order : 1 to 2, a step ; 2 to 3, a step ; 3 to 4, a half step ; 4 to 5, a step ; 5 to 6, a step ; 6 to 7, a step ; 7 to 8, a half step. A major scale is a scale whose first third is a major third. For scale building and development of signatures, see Glossary of the "Second Music Reader." 8 HALF 8TIF 7 STEP 6 STEP STEP 4 HALF STEP STEP 2 STEP -1 (6) The Chromatic Scale, twelve tones within the octave, ascending or descending in regular succession by half steps. For representation, see Glossary of the " Third Music Reader." (c) The Minor Scale, a scale whose first third is a minor third. For the various forms of the minor scale see Glossary of the " Fourth Mu*ic Reader." 35. Signatures of Keys, Major and Minor : Key of C Major or A Minor Key of G Major or E Minor Key of D Major or B Minor Key of A Major or FD Minor Key of B Major or Gtt Minor Key of E Major or CJi Minor Key of FJf Major or 1)$ Minor Key of CjJ Major or Ati Minor GLOSSARY 203 2C& Kl) KM Key of or D F Major Minor Key of Bb Major or G Minor ED JJS w Bl ^^6^ A. b K H Z3E <^- : p*- Keyof or C Eb Major Minor Key of Ab Major or F Minor 535 u CS u . PJi. 17 - f5J 17 5 EZEE C'b* 1 ' Key of Db Major or Bb Minor Key of Gb Major or Eb Minor Key of Cb Major or Ab Minor 36. Transition, passing suddenly out of one key into another. The part of the signature which does not appear in the new key is canceled just before the heavy bar marking the close of the first key, thus : Transition from the key whose signature is four flats to the key whose signature is one flat. 37. Scale Names, One, Two, Three, Four, Five, Six, Seven, and Eight, the names applied to the successive tones of the major scale. 38. Intermediate Tones, #1, JJ2, #4, $5, and $6, the intermediate tones which may be introduced into the scale ascending. b7, b6, 1?6, b3, and b2, the intermediate tones which may be introduced into the scale descending. 39. Syllables, commonly sung to the successive tones of the scale : 1, do ; 2, re ; 3, mi ; 4, fa ; 5, sol ; 6, la ; 7, ti (or si) ; 8, do. Intermediate syl- lables ascending, ttl, di ; $2, ri ; $4, fl ; $5, si (or sil) ; $6, li : descending, b7, te (or se) ; b6, le ; b6, se (or sel) ; b3, me ; b2, ra. 204 MUSIC IN THE PUBLIC SCHOOLS 40. Scale Degrees, names applied to the successive degrees of the scale, major or minor : 1st degree, Tonic ; 2d degree, Supertonic ; 3d degree, Mediant ; 4th degree, Subdominant ; 6th degree, Dominant ; 6th degree, Submediant ; 7th degree, Leading tone or Subtonic. 41. Chord, the simultaneous sound- ing of two or more tones of different pitch. 42. Triad, a chord consisting of a tone with its third and fifth. 43. Principal Triads, the tonic, sub- dominant, and dominant triads, num- bered respectively I, IV, and V. 44. Measure Signatures : 2 2 Two-quarter measure and 4' 2 two-half measure ; i.e. two quarter notes or their equivalent fill the measure ; two half notes or their equivalent fill the measure. ^ Barred C, used inter- *P changeably for two-half measure and four-half measure. J 8' 4 g Three-eighth measure, 2 three-quarter measure, and three-half measure. ;, Four-quarter measure. Six-eighth measure and six-quarter measure. Nine-eighth measure and twelve-eighth measure. 45 . Beat, pulse ; an equal division of the measure. 46. Rhythmic Type, time values equal to a beat. When the quarter note is the beat unit, the rhythmic types are : J J J (called the triplet). The eighth note, the half note, and sometimes other notes are used as the beat unit. 47. Rhythmic Figure, combination of rhythmic types ; thus, J is a rhythmic figure equal to two beats when the quarter note is the beat unit. Rhythm varies according to the rhythmic types included, thus : B-J J J and *J AN differ in rhythm while they coincide in measure. 48. Syncopation, an interruption of the natural pulsation of the music, bringing the accent on an unusual part of the measure. 49. Bass ad lib., literally, "bass at will," i.e. the bass may be sung or omitted at discretion, the bass voice, in such case, not being essential to complete harmonic setting. 50. A, B, etc. , reference letters used for convenience in referring to move- ments or divisions of the music. TERMS AND SIGNS OF EXPRESSION 1 Accelerando (At-chA-lft-rSu'd 6), acceler- ating. Adagio (a-da'j6), slow ; literally, at leisure. Ad libitum (Sd llbl-tum), at the pleas- ure of the performer. Alia burla (al'la boorla), humorously. Alia marcia (al'la mar'chia), in the manner of a march. Allegretto (al-lft-grftt'tft), less quick than allegro ; diminutive of allegro. Allegro (al-li'gro"), quick, lively; liter- ally, cheerful. Andante (aii-dan'tft), slow, graceful ; moving at a moderate pace ; liter- ally, walking. Andantino (an-dan-te'no"), the diminu- tive of andante, and indicating here quicker tempo. Animate (a-ne"-ma't6"), animated. Appassionata (ap-pas-se'-O-na'ta), pas- sionate, with emotion. Assai (as-sa'e"), very. A tempo (a t6m'p6), return to first rate of speed. Ben marcato (b8n mar-ka'to"), well marked. Brillante (bre"l-lan't&), brilliant, spark- ling. Cantab ile (kan-ta'be'-lft), in a singing style, or very legato. Colla voce (kSl'la vO'chS), with the voice ; i.e. taking the time from the singer. Commodo (kSm'mi-dft) ) . , Comodo (kO'mft-dft) \ w Con anima (kon a'n-ma), with anima- tion. Con brio (kon brfi'6), with vigor, spirit, force. Con espressione (kQn is-pris-s^-Q'ni), with expression. Con grazia (kOn gra'tse"-a), with grace. Con moto (k6n mO't6), with spirited movement. Con moto di barcarolla (kOn mO'tft da bar'-kd-rO'ld), with the movement of a boating song. Con moto di schottische (k5n uiO'tft dd shSt'tfeh), with the movement of a schottische. Con spirito (k5n sp6'r^-t6), with spirit, energy. Con tenerezza (kon tin-&-r&t'sa), with tenderness. ' Crescendo (krft-shin'dft), gradually increasing the tone. ~ Diminuendo (de'-mS-noo"- 4n'd6), gradually lessening the tone. Dolce (doTchi), sweet, soft. E (a), and. Energico (S-nar'j^-kft), energetic, forci- ble. Espressivo (As-pris-se^vo"), with expres- sion. f, forte (fdr'ti), loud. S, fortissimo (f 6r-te"s'se"-in6), very loud. fz, forzando (fOr-tsan'do"), sharply emphasized. Giocoso (j6"-k5's6), humorous, playful. Giojoso (jfty-o'sft), joyous. Giusto (joos'ti), in just, exact time. Grandioso (gran-de"-5's6), grand, sono- rous. Grazioso (gra-tse"-o's6), graceful, ele- gant. II melodia (el m^-15'dl-a), the melody. Larghetto (Iar-g4t't6), rather slow; the diminutive of largo, slow, or, literally, large. Largo (Iar'g6), slow, broad. Legato (Ia-ga't6), even, continuous, flowing ; literally, tied. Leggiero (Iid-je"-&'r6), light. Lento (Iftn'to"), literally, slow. Lusingando (loo'z^n-gan'dft), coaxing- ly, persuasively. Ma (ma), but. Maestoso (ma-6s-t6'z6), with dignity, majesty. 1 Webster's Dictionary has been followed for diacritical marking. 205" 206 MUSIC IN THE PUBLIC SCHOOLS Marcato (miir-ka'to), distinct, empha- sized ; literally, marked. Marcia (mar'chia), march. Marziale (inar-tse'-a'la'), martial, in the style of a march. Heno (mi'no), less. Heno mosso (ma"n6 m5s's6), less speed, less fast, mf, mezzo forte (mecl'zft for'ti), half loud. Minuetto (me'-noo-a't'tft), a minuet. Misterioso (me"s-t&-re"-0's6) , mysterious . Moderate (m6d-8-ra't6), moderate. Molto (mftl'tfc), much, very, mp, mezzo piano (m6d'z6 pe"-a'n6), half soft. Non troppo (nfm trSp'po"), not too much. p, piano (pe"-a'n6), soft. Pensieroso (p8n-s8-e"-r5's6') , thoughtful, pensive. Piil (p&'u), a little more. Poco piu moto (pC'ki pe"u m5't6), somewhat faster. pp, pianissimo (pg'a-nls'st-mft), very soft. Presto (prgs'to"), fast, in rapid tempo; usually one beat to the measure ; literally, quick. Rallentando (ral-16n-tan'd6), becoming slower ; literally, abating. Abb. rail. Religiose (r4'l^-jO's6), solemn, de- vout. Rinf., rinforzando (rln-for-tsan'dft), suddenly emphasized and accented. Rispluto (r6-z6-loo't6), energetic, de- cided. Ritardando (re'tar-dan'dfe), slower ; literally, retarding. Abb. rit. Riten., ritenuto (r6'tft-nu't6), imme- diately slower. Scherzando (sk6r-tsan'd6), sportive, playful. Semplice (s6m'pl^-ch4), simple. Sempre (sgm'prft), always, continu- ally. Sforzando (sf6r-tsan'd6) (>), with special emphasis. Solennelle (s5-16nn61'), solemn. Sostenuto (s6s-tft-noo't6), sustained. Spiritoso (sp6-re"-t6's6), spirited. Tanto (tan' t5), as much, so much. Tempo di valse (t6m'p6 de val'sft), in the time of a waltz. Tranquillamente(tran-kwe'l-la-ma'n'ti), calmly, quietly. Tranquillo (tran-kw6l'l6), tranquil, quiet. Veloce (v4-lo'ch4), swiftly. Vivace (ve"-va'cbi), gay; literally, lively. Vivo (v6'v&), animated. NOTES 207 UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. DISCHARGE-URL ' LD URL AUG 2 8 1981 AUG12198 1 315 3 1158 00687 7012 UC SOUTHERN REGIONAL LIBRARY FACII AA 000049191 o SOUTHERN BRANCH, UNIVERSITY OF CALIFORNIA, LIBRARY, (LOS ANGELES, CALIF.