Music Lib. MT 75 F23t v.l Farnsworth Tonal Phrase Book 1 THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MUSIC LIBRARY TONAL HRASE BOOK A Systematized Arrangement of Material for Reading Music by its Movement or Thought Prepared and Published by CHARLES H. FARNSWORTH WILLIAM J. KRAFT escription and Sfeed Exercises VOLUME Two. . net 3s VOLUME THREE net .jfc net 50 J. FISCHER BRO., NEW YORK 7, 8, 10, 11, Bible House (Astor Place) COPYRIGHT, 1910, BY CHARLES H. FARXSWOKTH AND WILLIAM J. KRAFT UNIVERSITY of AT LOS ANGELES TONAL PHRASE BOOK A Systematized Arrangement of Material for Reading Music by its Movement or Tnougnt Prepared and Published by CHARLES H. FARNSWORTH WILLIAM J. KRAFT VOLUME ONE. Description and Sf>eed Exercises . net VOLUME Two. . . . net .% VOLUME THREE net .3s J. FISCHER 6? BRO.. NEW YORK 7, 8. 10, 11. Bitle Housa (Astor Place) COPYRIGHT, Wl'J, BY CHARLES H. FAKNSWOBTH ANL) WILLIAM J. KEAFT MT15 F 2.3 t TONAL PHRASE BOOK A Systematized Arrangement of Material for Reading Music by its Movement or Thought Vol. I AN INTRODUCTORY DESCRIPTION and SPEED EXERCISES IN NOTATION with QUESTIONS AND ANSWERS FOR TEACHERS THE NEED OF SUCH WORK It will help to understand the nature and purpose of the work offered for practice in music reading if attention is first drawn to the need of a more accurate and speedy way of learning the use of notation. No one would have thought that a great European war would have stimulated singing in this country and yet the thousands of gatherings that have used the simple song folders for singing testifies to this effect. But the influence for singing that the war created must necessarily diminish with the diminution of the desire for united expres- sion that the war stimulated. If music is to continue, it must do so on the strength of its own attractive- ness. Community singing which had, its start before the war, is a movement which has grown out of the pure attractiveness of music itself. But in order to accomplish results it is found necessary to put into the hands of the singers something more than the mere folders with the words of the songs. Part singing must be attempted and to accomplish this, the notation is essential. Hence, community music, while inviting everyone to come and sing whether they read music or not, has depended on printed music for accomplishing its results. It has been able to do this where people have no knowledge of the notes for the same reason that the imitative singing of the war camps has been so successful, namely: that there is a musical faculty in almost everyone. Its simplest expression is the ability to catch a tune after hearing it once or twice. Its slightly higher manifestation is the ability to catch a part when there is an accompaniment and others singing on the part. This has made it possible in community music to include a large proportion of nonmusic readers and yet to handle simple part work without much difficulty. It will, however, be admitted that the attractive power of music over a community will be in the degree that its members will be able to supplement their instinctive feeling for harmony by at least a rudimentary knowledge of its notation. The practical question then, is this, if we are to conserve the general musical stimulation that already had shown itself before the war started, and which has been so vigorously accelerated by it, we must present some method of learning the notation that will be more economical of time and effort and give quicker results to the student, whether the student is a member of a com- munity chorus or studying music in the grades of the schools. The speed work and phrase reading offered in the following books, is a contribution towards accomplishing this desired result. While the two types of work offered, speed exercises in notation, and tonal phrases, are here described together, they are independent of each other; each serving a separate end in teaching the reading of music. SEPARATION OF THE EYE AND EAR PROBLEMS Reading music from notes is a combination of two distinct functions. One is visual and the other is oral. The visual has to do with a knowledge of the notes on the staff; the oral, with tone differences in pitch and duration. The union of these two results is a complex problem for all but musical people. Guido Arezzo, in the eleventh century, solved this problem in pitch for Pope Silvester by using a system of nemonics, or memory syllables, that bridged the distances between what was seen and what was to be heard. He associated the notes with a tune for the protection of the throat of the singer. The syllables served two purposes, indicating the notes for the eye and at the same time suggesting the pitch relationships for the ear. This educational device has, curiously enough, persisted through nearly nine centuries and appears now in our syllable names, or "do, re, mi's." There must be some vital necessity for such a device, or it would not have persisted for so long. The strenuous opposition which has been shown to the syllable names has grown out of the fact that the effort to learn them has either failed to accomplish its end or cost more than it was worth. This has been due to the fact that the eye and ear problems, entirely different in their nature, have been attempted, generally, simultaneously, thus complicating the problem. The plan here sug- gested in the speed work is to treat the eye problem with the association of the syllable names as a purely intellectual process, entirely independent of the purpose for which we wish to use it later. Thus by eliminating the visual com- plications, by mastering them independently, we are left free to make the necessary tonal relationships when we come to this aspect of the work. The necessity for first mastering the visual, grows out of the fact that the tonal relationships, unlike the visual, cannot be learned as isolated facts. Single tones, intervals, or chords, get their significance in their progression and to learn them we must learn them in motion or in groups. If we do not know thoroughly the signs, it stands to reason this group-grasping- of the notes that oral thinking requires, becomes impossible. It is this fact that has made our teaching of sight-reading so difficult. One advantage of doing the visual work in the manner that the speed exercises require, is that the work can be done in class entirely from dictation, each pupil having a definite result to show of what he can do in a given time allowance. This 1 could not be done under class conditions if the learning of the tone relationships was combined with that of the notation. After the notation is mastered so that it can be used with the necessary speed, the attention is free to follow the demands of the tonal side of the work. THE EYE PROBLEM. SPEED EXERCISES IN NOTATION The speed exercises in notation are intended as a preliminary "warming up" for any form of music reading where there is any uncertainty among the pupils as to the meaning of the notes, or lack of sufficient speed in their use. The great need of such work will be realized when we consider that, due to the lack of notation knowledge, a large part of the singing done by the majority of the class, has little value in training, because the few musical pupils in the class lead the rest. If, however, the whole class knew accurately the notation names, they might be gaining valuable practice in forming correct associations with pitch and duration differences, even though they were following the leaders as far as the tone is concerned. Without notation knowledge, such following, which after all is a very large part of the average school singing, is fruitless, \ because of the difficulty of forming tonal associations when the student is un- certain as to what the notation is. The same principle applies to rote or imitative singing. Many songs are taught more or less this way because, though too difficult for the grade to read, they have to be learned for some special occasion. All such singing could be made valuable for teaching reading if speed drill in notation, especially in the keys of the songs used, was first given, making it clear to the teacher that every one in the class had this basic knowledge to start with. Especially is this true with classes into which pupils have come who have not the same extent of musical knowledge as the majority of the class, and who, because of their inability to ./ get this fundamental start in the notation knowledge, are unable to profit by the tonal experiences they are having in following the class. But, this is not the most valuable aspect of speed work. Students are often able to tell the notation accurately, but not rapidly enough to be of much use 3 in singing because the movement of the music gives no time to stop and think. Speed drill, by a systematic reduction of time for answers, makes the notation knowledge automatic, leaving the attention free for the more difficult problems involved in grasping the movement of the music. Speed work may be used in connection with phrase reading as an occasional test, especially when the range of notes and variety of keys used may make it difficult for some pupils to acquire the requisite notation speed. NATURE OF THE SPE.ED EXERCISES Five aspects of pitch notation are taken up : 1. Names of the lines and spaces of the staff. Type of question: Locate on the G clef, A; D high; F low. Answer: Writing a note on the second space ; fifth line ; first space. 2. Tell the Key note from the Signature. Type of question : Locate Key note in major on the G clef when the signature is three sharps; two flats. Answer : Writing a note on the second space ; third line with a flat before it. 3. Write the Signature when the Key name is given. Type of question: Place the signature for the following major keys, G; E. Answer: Writing signature for one sharp ; four sharps. 4. Place of the notes in relation to the key notes. Type of question: Locate in the key of F re, low; mi; la; high. Answer: Writing a note on the second line ; second space ; fourth line. 5. Write the signature when other notes than the key note are given. Type of question : Write the key signature when sol is on B flat ; when mi is on G sharp. Answer : Writing the signature for three flats ; four sharps. ORDER OF PROCEDURE The questions are arranged in groups of twenty to be answered by writing circular note heads on the proper line or space; or the signature, as required by the question. The paper upon which the answers are written is divided into twenty spaces. When the first series, for instance, is taken up, the naming of the lines and spaces of the staff, the teacher establishes a rhythm, say of three or four taps at the rate of about one a second (taking a watch for this purpose if a metronome is not handy), and reads off the questions at a regular rate of so many counts for each, the student writing one note in each space and skipping 4 the spaces that he is not able to write in quickly enough. In a little over a minute the entire twenty questions can be asked and written. If four-fifths of the class fall below seventy-five per cent of getting them correctly, the speed is prob- ably too fast for the class. A few tests will tell the rate at which the work should be done and the student should be encouraged to see how soon he can increase the speed without sacrificing accuracy. Interest can be given to such work if the device of spelling matches is resorted to ; one-half of the class against the other, or the boys against the girls. There is always an interest in seeing how, in successive tests, one can lower his own record. The same plan is pursued with the other four heads. Except where the question requires the writing of the signature, there should be an increase in the number of seconds allowed with the number of sharps or flats to be written. If three seconds were given for thinking and writing, say two flats or two sharps, another second should be added if three are called for in the signature, and so on. With reference to the position of intervals in the key, the time allotments could be the same for all. It will be observed that in all this work the point is getting the answers in the shortest amount of time possible. A few trials will make a marked difference in the ability of the pupil. The point of the above work comes in requiring answers to be given so rapidly that the student will be forced to know what each sign calls for without taking time to think it out. For insance, when a student sees a note on the third space with the signature of three sharps, he will not have to take time to reckon where "do" is in three sharps and then reckon up the relationship of the third space to "do." He should be able to think the relationship of all this no- menclature instantly before he can start on the tonal effect that the note repre- sents. The method of procedure takes for granted that the student has already had some knowledge of all these signs, and what he needs is speed in their use. DIFFERENCE BETWEEN RHYTHMIC NOTATION AND THAT OF PITCH The mechanism of notation with reference to rhythm is fairly simple and constant. The relationships always remain the same whatever the key and when the distinctions between quarters, halves, eighths, and the like, are once grasped and the time effect of these distinctions in relation to the beat is felt, the mech- anism of the notation gives little difficulty. But when we come to the pitch notation, the change of key keeps introducing new points from which the rela- tionship of the tones is to be thought. This shifting of the key note presents similar tonal effects in unlike aspects, thus causing confusion. Hence, the speed work plan has to do only with the pitch aspect of notation. ADVANTAGES OF SPEED WORK The advantage of this form of work is that each student is answering for himself and makes a record which shows where he stands and the progress he makes. The ordinary way in which these facts are learned in connection with the singing makes it possible for one or two in the class to give the information to all the others. In this way, students go through the eight years of public school music and are unable to answer some of these fundamental questions correctly. To do this mechanical work in connection with the tone work prevents them from being done intensively enough, for the attention is so much occupied with the tonal side. Separating the processes makes it possible to do in a few weeks what is not ordinarily done in eight years. There are some who object to this work as lacking content. It does so, much in the same way as a spelling lesson does, or learning the multiplication table. There is, however, a greater objection raised against the doing of any such work in connection with music for the reason that so many feel that music, above all things, should appeal to feeling and cultivate an emotional approach. But -if we are to have any intelligent thought in connection with music, some means for defining that thought is essential and the most practical way of acquir- ing that definition is through its notation. While we can get immense benefit from music without knowing anything of its notation, it would seem unfortunate to allow children to go through the school and not give them at least an opportunity to try themselves so that those who have the desire may have the possibility of getting an insight into music, an accomplishment which can only be gained effectively at this early age. It is also worth while to give a rudimentary knowledge of notation to all children so that it will be possible for them to carry on effective chorus work not only for the social life of the school but for the benefit of the community after school days are over. If this definition of music, through its notation, is approached in a logical way it need take but a small fraction of the actual singing time and the advan- tages it gives in quickening the mind in relation to tone and stimulating intelligent listening are certainly worth while. Hence, a moderate amount of this intensive speed drill will, in the long run, more effectively carry on the very aims of those who object. The amount done, should be determined by the need of the class in relation to what they have to do. THE EAR PROBLEM. RELATION BETWEEN LANGUAGE AND PHRASE READING The problem of the Tonal Phrase Book is to induce the student to read music by phrase rather than by intervals of pitch and duration. The problem 6 is parallel to that incurred in reading language. The hesitating reader does not think of the thought of the sentences but mentally pronounces each word as he comes to it and discovers the meaning of the sentence at the end of the process. This was the old method of teaching reading, which commenced first by learning letters and combining them into syllables and words. The method that is now being uniformly followed in the best schools, is to induce the child to think of the sense of what he is to read before attempting to deliver it. The material taken for this purpose, is sentences consisting of groups of words, familiar to the pupil so that if he gets a clue to one or two of the words he easily thinks of the rest. Not being familiar with the spelling out process he is naturally thrown upon himself as to what the group means as a whole ; that is to discover the thought. He is often helped by the use of rhythmic lines like the Mother Goose Jingles whose form and grouping of words are definitely in his mind. Not only this, but pictures are frequently used to suggest the topic. To see how this same principle may be applied to reading music it will be well to consider what the notation of music tells us. WHAT THE NOTATION IN MUSIC TELLS US The notation of music represents tones in two kinds of dimensions, or in two planes, the one horizontal, the other vertical. The horizontal is the rhythmic, the way the tones succeed each other with reference to duration and accent; and the vertical is the difference in pitch, the way the tones are separated from each other up and down. The mind in thinking these tones one after the other, must necessarily traverse a curve of motion. To think these curves intelligently a sufficient number of measurements must be given to produce a feeling of motion and yet too many must not be given or the mind will be unable to relate them all. Hence, the motion of music breaks up into an infinite variety of small curves of motion, or movements. Musically, the smallest possible number of measure- ments that make any sense would be called a motive, and the organic group- ing of two motives present a phrase. The phrase thus becomes the unit of rational musical movement or thought. MOTION CURVE THE UNIT IN READING MUSIC As in language certain words and forms of expression are constantly re- ^~7 curring, so in music, certain elementary motions indicated by certain pitches and durations, keep recurring over and over. If the pupil attempts to think motion by going from note to note he will be spelling out his motion, so to speak, much in the same way as the pupil who attempts to read by going from letter to letter to establish the thought. The vital, essential thing in reading both language and music, is that the mind is to go ahead of the voice, grouping a 7 sufficient number of the factors presented to the eye to grasp the thought in language or the curve of motion in music, before the voice is called upon to produce the successive sounds. Obviously, to present to the beginner in music reading a series of notes, each one representing two distinct kinds of measurement and to expect him to conceive of the resulting motion from putting these measurements together, would be doomed to failure. If, however, we should limit the tones to the smallest number possible and yet present musical thought, and then in this field so arrange the material that one type of measurement, that of pitch, should follow an easily remembered formation, we should have a series of variations. It would be possible to introduce sufficient variety in the rhythmic aspect of these variations to produce genuine musical motion. The reason for this emphasis on rhythm rather than on pitch, for expressing the motion, is the fact that it is possible to suggest fairly definite motion forms in rhythm even without any change in pitch. But the reverse is not true. This simplification of the pitch rather than of the rhythm is the reverse of that which is ordinarily followed, the reason for which should be carefully noted. Putting the emphasis on the pitch substitutes for a sense of musical motion or progress a succession of consecutive intervals up and down, and produces a mode of music reading similar to language reading through the pronouncing of the successive letters. This is the very kind of reading we wish to avoid as far as possible. So much for the problem. We will now explain how such thinking is induced by the correct use of the Tonal Phrase Book. This is accomplished partly by the way the material is limited and arranged, and partly by the way it is studied. The arrangement for Book One will be considered first. The following outline of the material will show its characteristic features clearly. TABLE SHOWING ARRANGEMENT OF MATERIAL FOR BOOK 1 A. Phrases on three degrees consisting of the key tone, the tone below and the tone above 256 in all I. Simple Meter, 96 Phrases, pages 2, 3, 4 and 5 a. Two measure phrases limited to stepwise movement 48 " " 1. First Problem, Page 2, upper half. With evenly divided beats only, 24 Phrases. a' Four types of pitch movement. The first phrase in each of the first four bars, b' Six types of rhythmic movement. The first bar. 2. Second Problem, Page 2, lower half. With unevenly divided beats, 24 Phrases. Otherwise as 1 above. 8 Review Work Phrases with longer 3. Third Problem: Two measure phrases with skips, pages 4 and 5 48 in all Otherwise as 1 and 2 above, b. Four measure phrases : 1. Four measure phrases limited to stepwise movement 32 " " Otherwise essentially as a, 1 and 2 above. 2. Four measure phrases with skips Otherwise essentially as 3 above 32 II. Compound Meter, 96 Phrases, Fourth Problem : a. Two measure phrases, except for meter, as 1 and 2 above b. Two measure phrases, except for meter, as 3 above 48 c. Four measure phrases, except for meter, as b, 1 above 32 d. Four measure phrases, except for meter, as b, 2 above 32 B. Phrases on four degrees, consisting of the key tone, the tone below and two tones above. Otherwise as A above. C. Phrases on five degrees, consisting of the key tone, the tone below and three tones above. Otherwise as A above. DESCRIPTION OF OUTLINE OF MATERIAL It will be observed that capital A, B, and C, refer to the number of tones to be used in each. For instance, A consists entirely of phrases based on three tones, B on four, and C on five. The sequence is carried on in the other books until the octave is reached when the relationship of the tonic to the tones is changed, and instead of being in the center of the group it is at the extremes. This permits the use of many chord passages that were not possible in the earlier groups. Turning to A, it will be seen that Roman II is a repetition of Roman I, with but one metrical difference, that the pulse instead of being simple, divided on the basis of two, is compounded, divided on the basis of three. This one aspect is the only problem that comes to the pupil, with which he is not entirely familiar already. Taking up Roman I, it will be observed that Arabic 3 is identical with Arabic 1 and 2 with but one exception, that instead of the tones always succeeding each other stepwise, in 3 there is the recurrence of a skip in every phrase. If the pupil 9 has learned 1 and 2 thoroughly, in 3 he has a chance to review the whole thing with but this one added element to consider. Taking now small (a) by itself we shall find that in comparing Arabic 1 and 2, that two is a repetition of one, except for the fact that where quarters and eighths follow each other in 2, the dotted quarter followed by eighths and the dotted eighth by sixteenths takes the place of even quarters and eighths. If the pupil has learned 1, thoroughly, in 2 he has to consider only this one aspect in order to repeat the entire material correctly. Turning now to (a') and (b') under Arabic 1, it will be seen that there are four types of pitch movement and six types of rhythm movement. Under the term rhythm we are including- both the metrical and the durative aspects of the tones. If the pupil can memorize the four types of pitch movement (and these are so arranged under each other that the matter needs but a few moments attention), he can, by looking at the six types of rhythm movement, produce the entire twenty-four phrases without the necessity of even having them written for him. This then is the first problem and the foundation work of all that follows. If the right mode of procedure is followed in these most elementary forms, all the rest can be attained simply by paying attention to the single new problem in connection with which all the familiar old material is repeated. For instance, the second problem repeats the first problem except for the unevenly divided beats. The third problem repeats all that has preceded except that the interval of a skip occurs with the stepwise movement. And problem four repeats all the previous work except that the pulse is compound instead of simple. Thus it will be seen that when the pupil's mind has fully grasped the nature of the work under problem one, the four types of pitch movement and the six types of rhythm movement, he has in his mind most of the factors necessary to tell instantly the nature of the phrase he sees. If now the pupil is required to sing any phrase, after glancing at it once and then not being allowed to have the eyes rest upon it while singing it, he is automatically obliged to form a phrase or group concept of what he is to do, for obviously it would be too difficult to remember the successive intervals of pitch and duration as separate units. Before taking up the description of how this material should be studied, attention is drawn to headings 1 and 2 under (b), entitled "Review work with longer phrases." These heads simply present the same problems, demanding merely greater capacity to group what is seen. They are primarily for reading purposes and as the number of notes included in the phrases are increased, these sections are made up of selected material that fits in with the number of notes. The student is thus given practice in transferring his ability for phrase reading from the artificially arranged order, in which the thing becomes quite easy, to 10 the ordinary material that he will have to meet in singing songs. This completes the description of the arrangement of material for Vol. I, which covers captions A, B, and part of C. The remaining books go on with the exercises in a con- tinually extending range of tones. While the rhythmic elements that are used are practically the same, the rigid classification of the first volume is not so closely adhered to, the skill gained in Vol. I being sufficient to make it possible for the student to apply the same principles with freer arrangement of material. THE WAY THE MATERIAL IS TO BE STUDIED Turning now to the method by which the work must be studied, it will be readily granted that to read these phrases in the ordinary way would be a foolish waste of time. If the spelling out process is to be followed it would be much better to apply it to the ordinary song material of the readers, for here a much more artistic material can be offered and many musical gems studied. The only excuse for using such rigidly classified material is that by means of the classi- fication the pupil's tonal thinking is so stimulated that he is lead to form habits of reading by phrase or by the motion of the music, rather than in the ordinary way. To insure this phrase thinking, the mode of procedure is presented in four steps. PROBLEM ONE. FIRST STEP The four types of pitch movement should be written on the blackboard as they are presented in the music and the limitation of the notes and the direction of the pitch movement carefully studied. It would be well in connection with this pitch movement to establish the syllable names; do, ti, do, re; the pitch names, G, F*, G, A ; and the interval names, prime, minor second, minor second, major second. The pupil should then close his eyes and sing any of the four progressions in any order called for. With this he should also get familiar with the six types of rhythmic movement that are carried out in the first line of the phrase book. With the pitch movements in mind, the pupil should be able to produce any of the twenty-four phrases under this head, (a') Arabic 1. (See table of material.) It is not necessary that the pupil should memorize the rhythmic types of phrases in the same way that he has the pitch. He must, however, know just how it feels to commence with the strong accent or the weak accent in two part, three part, or four part meter, and have a vivid feeling for the pulses and their union or division in the various meters presented. To know this material sufficiently well, the average student should practice the phrases through, naming the pulses rhythmically. For instance, in the first phrase it would be quarter. 11 quarter, quarter, dotted half. And to make sure, for instance in the first phrase, that he has the rhythmic grouping, it would be well to say, three part measure, quarter, quarter, quarter, dotted half. The reason for making so many associa- tions both in pitch and rhythm will be appreciated when we keep in mind that these are the basic features upon which all the rest of the work rests, and that the requirements of the second, third, and fourth steps cannot be met unless a close association between the way the music looks in notation mentally, and the way it sounds, is first established. This finishes the work of the first step, the most fundamental one of all. SECOND STEP In the second step, the teacher plays or sings any phrase of the twenty- four under this head and the pupil describes in words the notation necessary to express the phrase. This means that he keeps the whole phrase in mind, can state what the pitches are, whether by pitch names, syllable names or interval names, and then describes the rhythmic notation, as quarter, half notes, eighths, giving the signature and bar marks. This step guarantees that the pupil can see mentally what he hears. THIRD STEP The third step is a reverse of this process and requires that the pupil hear mentally, instantly what he sees. This is made possible by the extremely familiar material. The phrase should be put on a card large enough to be seen by the class and held up for a moment. Then when it is out of sight any member of the class should be called on to reproduce it in tone. The pupil is now singing a concept of a complete movement that he has already in mind. The same result may be obtained by asking the pupil to look at some phrase on the page in this group and then look up and sing it. The disadvantage of this procedure is that the pupil would be inclined to give himself too much time. This is a vital point because we wish to induce the habit of the rapid forming ,of a concept from its appearance as a whole. FOURTH STEP When the third step has been effectively taken, the fourth step simply checks up all of them and makes possible a report from each one in the class. This is accomplished by the teacher's dictating a phrase which each one has to write in notation. These four steps complete the process. 12 PROBLEM TWO The second problem is now taken up. Obviously, in the first step in this problem, there is little to do except observe the one new factor, the fractional pulse. Hence the work can rapidly proceed to the second step, that of describ- ing what is heard. When the teacher is satisfied that the pupils differentiate accurately between the same phrase with the fractional pulses as compared with even pulses, she is ready for the third step, which is: reading- at a glance what is shown and finally the fourth step, the dictation, when the phrase is written. It will be seen that if the first problem is thoroughly learned the second one can be readily mastered. PROBLEM THREE In the third problem the four steps are gone through in the same way, the only difference between this and the first and second being the introduction of the skip. By dictation from any of the forty-eight exercises thus covered, the teacher can make sure that all the factors in the three problems are thoroughly grasped. The review phrases for application in reading under (b) 1 and 2, may now be taken up without any further preparation. They should be read at sight. PROBLEM FOUR Problem four, compound meter, will again take a little longer preparation for the first step, in which the six types of rhythm should be particularly noticed. As the pitch movements are identical with what preceded, this is all that is necessary. The remaining steps simply go through familiar groupings except for the compound pulse factors. The work should thus increase in the rapidity with which the printed material is covered, making, at the same time, greater and greater demands on the use of previously gained knowledge in co-ordinating the notation that the constantly varying phrases present. The key problem is taken care of through dictating in other keys than the one the passage is learned in and also by the practice that the heads (b) 1 and 2 give with reference to the review work of the longer phrases. While the rhythmic problem remains the same for the rest of the work, the pitch problem grows decidedly more difficult with the extension of the number of tones em- ployed. Hence, it is vital that Vol. I should be thoroughly mastered if the remaining volumes are to be performed in the manner demanded in order to make them worth while. 13 The minute phrasing employed is not intended as the only way in which the phrases may be rendered. In fact, some of the divisions indicated are so slight that the phrase marks would almost tend to mislead. The same person singing these phrases might take them differently on different days and two persons would vary considerably in their choice, especially on some of the phrases. The idea of the phrase marks is to draw attention to the fact that these bits of melody are not to be delivered mechanically but constantly molded or modulated in their progress so that there will rarely be two notes in succession that will have equal emphasis whether in stress or duration, however similar they may be. PLACE OF SPEED WORK AND PHRASE READING This finishes the explanation of the phrase reading and speed work. Atten- tion should again be drawn to what has already been said in the beginning as to the place of this work in the total musical work of the pupil. While in a systematized course of singing, this practice for reading might commence with the fourth grade, and this is the place it was originally planned for in the author's "Education Through Music," it would not be out of place for any grade above the fourth, where it is needed. It has worked very effectively with college students. While the fourth grade is suggested as the place where the work might be commenced, it must not be supposed that this work will take the time of all the singing period. Pretty nearly half of the time should still be given to the practice of learning how to sing. The three heads under this practice referred to will require that songs memorized earlier should be reviewed, especially those that we wish the pupil to remember after school days. With the growing matur- ity of the pupil, more mature songs will be required ; songs that at the same time would be far too difficult to read at sight, but which could be easily learned with the use of the notes, the aid of the brighter pupils of the class, and an occasional assistance from the teacher. The use of the notation under these circumstances, can only be utilized in the intelligent way required in phrase reading, in the very easiest passages. Much of such song work will have to be spelled out, as the object of this work is merely to get the music into the minds of the pupils, the aim of the practice being primarily for the manner of delivery, and memorizing. Logically, the practice in learning to sing should commence where the practice in learning to read ceases. Ideally, the latter should precede the former. This, however, would require severe drill work in the very first grades and in the limited time for practice, would cut out the possibility of doing much in learning to sing properly. Thus, not only would bad habits of voice production and pronunciation have to be overlooked, but good ones would fail to be formed in the most effective period of the pupil's life. The fact that music lends 14 itself to such easy reproductions from merely hearing, makes it possible to start the training in singing at the very beginning, thus assuring simpler work, the awakening of a love and taste for music, and the formation of good vocal habits. NECESSITY FOR PARALLEL SONG WORK With this singing experience well started, a class of pupils, like those of the fourth grade, who have reached the age and maturity at which skill in doing things has an interest for its own sake, the serious practice of learning to read can be commenced. And yet the earlier song work should be kept more or less parallel with this exception, that no pure rote work should be used but all thex singing should be done in connection with the notes.) This gives practice in asso- ciation between sight and sound. All that can be done along this line is pure gain. As skill in the phrase work is increased, it should be applied in a greater and greater degree to the reading aspect of the work. There will always be students whose independent reading will be very slight. However, they will have had excellent practice in singing with others and will always enjoy music and be a real help in the chorus work of the school and the community singing out of the school. FURTHER MUSICAL KNOWLEDGE WITH ADVANCE SONG WORK By the end of the sixth grade, the time when a large number of students leave the schools, the pupil should have a good repertoire of songs in memory, a still larger number with which he is familiar, know something about what it is to sing in a pleasing way and the fundamental facts of notation, with drill - in its proper use. By appropriating at least half the time to the song work, parallel with the phrase reading, it will be possible to include in connection with it, some theoretical knowledge that will grow out of the song experience that cannot very well be included under speed or phrase work; namely, familiarity with the minor mode growing out of the singing of minor songs and knowledge of the common forms of modulation, that is, the tendency of the fourth to become' the seventh of the new key and the practice in singing cadences. These are incidental items that grow out of the song experience and can be easily learned in connection with them. PRACTICE FOR PART SINGING There is, however, one further practice that can be included in connection with the song work and this is learning to carry an inside part, based on the practice of singing rounds. The song work of the fifth and sixth grades should continue practice in singing other parts sufficiently to enable the pupil after IS his voice has matured to apply his notation knowledge effectively if his voice demands the singing of some other part than the one carrying the air. The advantage of the phrase and speed work is that it relieves the class from having to sing exercises and more or less uninteresting songs just for the sake of learning to read. It also makes it possible to select songs purely for their beauty, their relation to school life and other studies, as these songs are not needed for practice in learning to read. COMPLETE PRACTICE OF MUSIC FOR SCHOOLS The phrase work, through its organization, its constant use of different keys and time signatures, gives intensive practice in the problems of reading that is impossible where the singing and reading work is attempted with the same ma- terial. While this plan implies more intensive work both in song singing and note reading, it also recognizes clearly how each of these are parts of one whole, and this whole should be kept in mind in carrying out each aspect of this larger aim: namely, the complete practice of music for schools. 16 In the following dictation exercises the question is printed above the staft and the answer on the staff. For instance, in the first type of question, "Locate the following pitches," the G, D high, E low, printed above the first three spaces, are the questions, while the notes written on the staff below them are the answers. In the second type, "Locate the key note in major when the signature is three sharps, two flats, or no sharps or flats," the answer will be the note written on the staff under these questions. In the third type, "Place the signatures for the following major keys" the name of the key is given as, for instance, F, G, E flat ; and the signature is written on the space below. In type four, "Locate in the key of (the teacher here will decide which key she is to use and insert the name and then, read the questions above the brace such as, mi high ; abbreviated to m. h. ; re, low; abbreviated to r. 1)." The second letter will always be 1 or h, meaning low or high on the staff. In the fifth type the seven syllable names are presented in order. Taking the second one, for instance, the form of the question will be "Give the key signature when re is on the second line, abbreviated to 2 1; on sharp first space; or flat third line." The abbreviations will be understood. The answer will be, writing the signatures. Where the F clef is used this will have to be inserted in the question. After the questions have been taken in the order printed, they can be taken backwards starting with the twentieth at the end of each second line ; or they can be taken backwards starting at the first line and then at the second line ; or they can commence with the fifth question, working back towards th beginning and then taking the sixth question and working on towards the end of each brace. The purpose of these variations is to keep the pupils from memorizing the order. It would aid the pupils if the music staves on which they wrote were crossed bv vertical lines dividing them into ten equal spaces. This would help very much also in correcting the exercises. Questions and Answers for Speed Exercises in Notation G Clef Locate following pitches Use whole note for answer . Gl Dh El A C Eh Fl B Dl Fh U Iff " (T) Q V* JJ C Dl Gh B Fl A f\ O Dh Fh C El |9 /L " r ^f rm o o Locate key note in major when signature is rt3|t 2b lit notforb 4tf 3b 2# II yL Lj __ ^ \ ffn D B\> E D 4 A\> G * it Bl> E D t?:: ^3 h- i^n i M S F Bb ^ Place signature for the following- minor keys F G E D B CtJ G * B D C# E G B Locate in key of mh 1 rh r 1 f h t ml d si f 1 VI A_ J -ffe O . O -M* 1 o t o 1 Sh mh r h si t ml rh fl /L 1 o fff^ * r* . tl Ih r 1 th m dl 11 rh VII /L h ' ^^ .... o . T ~^ ' ** ' u d h rl tl Ih ll th m rh dl A_ b o *y fin " f J m Ih r sh f tl m dh si dl VIII -Jf- *- D Q -o *j u o c* -*$- D y ll Ih tl r Si t ^ 1 a i f n dl ll sh e j ; mh ll r U Sh > fl t ml -e d -e I Ih si IE ' ^ > ' - o 1 u 1 ~Jc ' [1 ml Ih t sh 1 I fh si d fl mh e -fe-2 " e u * mh 1 rl rh fl ml dl fh Xff T ^^ 55 HGP r : ^* Q -tf- i dh o mh - a fl d I { i t n r 1 fh o ml J ml 1 i o h t 1 f \ i ti i mh r> -o 1 dh s o r 1 jf i f ^_^ j VT A. U |^g ^j Al -(ft-2 ) Q J i 3 mh 1 rl tl ml dl tl rh 3sa> a Q v> * o mj O v ^U ft ~ r J/**liTt n VTT A. U c> ^^.^ o All (m r <- o si 11 fh fl th si tl 11 331 O XE XIII m 11 sh si th fh t 1 f 1 o- -o^ S 1 th f 1 t 1 Ih 11 m si xc 3E m 1 1 rldh f tlmhdl s rh vrtr Jf nf fr u e> XIV fo ft * o cr i ! 1 ci ' 1 o 1 mh 1 rh tl f thmldh s rl Obp* | u > 1 ^~o 1 a i -4- ml O ** 1 & L_U 1 Put key signature when Do is on 2ndl 3rds 1st 1 1st s 4th 1 l>3rdl I? 4th s 2nd s s below!? 2nd s ' XV 4th s b 1st 1 2nd s 5th 1 4th 1 \> 3rd 1 b 2nd s s above 2nd s 1st s t. i u Re is on 2ndl 3rds Istl Ists 4th 1 3rd 1 5th 1 2nds l?3rdl 1st 1 3rd s s above 3rd 1 H 1st s b 3rd 1 # 5th 1 2nd s 1st s 4th s bi i. Mi is on 2ndl 3rds Istl jtlsts 4thl 3rd 1 2nds sbelow * n: ^3rds 3rdl H5thl sbelow 2ndl 2nds 4th s ^ 3rd s # s above 3rd s 1-Hr fc 1 & Fa is on 2ndl 3rds blstl bs below 4th 1 b3rdl 2nds b 2nd s Ists s above XVIII i," I i"i> I t>4thl b3rdl s below b2nds 2nd 1 2nds \>s below 3rd s 4th 1 b3rdl * j;,fr | u gpffi ^^=:^^=3 Sol is on 2ndl 3rds 1st 1 Ists 4th 1 b3rdl blstl 2nds Ists 3rdl XIX 3rds b3rdl 2nds s below b4ths 3rd 1 3rds 4th s 2nds blstl U La is on 2ndl |t3rds Istl Ists 4thl 3rd 1 ItSthl 3rds Ulsts 2ndl XX 3rdl 5th 1 s below Ulsts 4th s 3rds s above It 3rd s Istl Ists *= I?, i .; Ti is on 2ndl H3rds Istl Itlsts 4thl 3rdl H5thl 2nds H4thl |t2ndl K XXI 1st 1 It 3rd s s above 2nd s It s above |t s below s below H 1st s 4th s |t 3rd s F Clef Locate following pitches Fh C Gl E Al D Bl Ah Fl Gh T 4 ): o a 1 1 ** 1 I / 1 ~ 1 D 1 e ' i ' Bh E D Gh C Ah Bl Fh Gl J3p D Q -J- CT 1 U o A 1 Locate key note in major when signature is 3# 2b it notorb 4# 3b 2t ill II *~ . C} n |^ ^^ s tl po *^_ n 5? - >u ^^ 1 4b Ib 3b it nojforb 3|l 2b- -44; a e 7U 5~ ro 1 A 1 u o [ PO 7M Locate key note in minor when signature is 3i> 2ft lb 4rt 2b 3^ 111 4b nollorb ib III -Hi T J, o 5~ " e ft" ... * ... u.. o Ib it 4b notorb 2# 3b 2b 4 Jhs -|o~ u 1 e 1 1 u 1 ft*"" o e " 1 Place signatures for the following major keys F G Eb D Bb E D A G Ab iv SE Bb A F E D Eb Ab F Bb A J ? I fyr~ _ lu_I ML! ^_l J 1 ] I iJ ; i! I t. I tJ ; I M P I F t ^ f-4H*-+- ft I b fi 1 bjr^ b I b Place signatures for the following" minor keys F C E D B C|J G F v mm 1"^ 3 5 i W 4t= Tit I b T n * | 7 B 4). tL ( < r- - E C =$ ;tt *jj=F C E ^2-n^ C 1 B ] ' 1 F / p*t > -ty- -4 TT 1- 4 ^ - Locate in key of m ll r si fh tl m d sh fl TTT *} O & M VI 7 & 5 O Ihsl m th sh d t 1 m f h 4V D Q -J. _*x., ., Q ! *J O Locate in key of t rl 1 fi t mh dl 1 rh Z. , o Q E * tj 1 dh rl s t ml'fh dl rhml n 4V 4) / i o o - 7 l> c^ p j J Locate in key of ml 1 rh s th f m h dh s rl XlL 331 VIII T7-^^ 331 1 1 rh rl t h d 1 m 1 o 3CT Locate in key of m ll r si f t 1 m dh 1 1 sh IX 4V ., a 1 e ^~\ > ' o : " u 1 1 1 e ' dl Ih si th f Ih m sh tl o Locate in key of mh 1 1 r f 1 t ml si f h 4V n . o _ZJ!)j e 1 e 1 " o Ih d mhfl fh sh t fhshml f' ffU ^^ ./ r tt ^^ J Locate in key of ml 1 rh t flmhd shrl 1 XI "" t m 1 * o > e U o *3 \> o 1 1 U 1 o mh d r 1 si f h t ml rh f 1 sh r 4V /' 1 > ^j ^_ h ^ .^ \j > *j o O ** Locate in key of XII m Ih r 1 s o dl th tl m dh 1 e 1 s u _^L $_ JJ e a f*.- M dl rh ll th r 1 f " ll Ih t 1 y. p ff | e ^ fr n O e u I o Locate in key of m 11 rh s dh f th m dl VTTT *1" i ; U .. 5L_ M O A. ill X K_IE ** dh r 1 o Ih f tl r li 1 f Ih th ^ e ~0" 10 Locate in key of mh 1 rh rl f 1 d t ml s 1 r 1 V WB *J o ^ ft * U f> o ml 1 rl t fh fl mh d si sh *i;ttj U E:3 Tt o 1 Q 1 e . Put key signature when Do is on l?2nd 3rds 1st 1 blsts 4th 1 3rd 1 4th s 2nds s below 1st s zv^ V 3rd s 3rd 1 4th 1 \> 5th 1 s above 1st 1 5th 1 3rd s 2nd s b 3rd s Re is on 2nds 3rds 1st 1 1st s 4th 1 3rd 1 5th 1 2nd s # s below 4th s H U 3rd s s above 1st s b2ndl s below ^4thl 1st 1 3rd s 2nd s 2nd 1 tt tt Mi is on 2ndl3rds Istl 1st s 5th 1 #2nds s above 2nd s XVII ^E 5 BE * 3rds 3rd 1 S 2nd s tf s below 4th s fllstl 2nd s 2nd 1 3rd 1 it 4th 1 11 Fa is on b2nd t>3rds Istl s below b3rdl 2nds 1st s bs above b5thl 3rd 1 xviii y u i ij' i * 4th s I? 3rd 1 2nd s b 1st s 3rd 1 \> 3rd s 5th 1 4th 1 \> 2nd 1 b 3rd 1 XIX ^ s above 3rd 1 2nd s 5th 1 b s above 3rd s 4th 1 b 3rd s 4th s 3rd 1 La is on 2nd 1 3rd s Istl Ists 4th 1 3rd 1 JUthl 2nd s #2nds 5th 1 XX S 3rdl 2nds s above s below 3rd s 4th s tflstl 3rd 1 it2nds 2nd 1 : Ti is on 2ndl 3rds fllstl Ists 3rd 1 5th 1 ^2nds4ths ||3rdl XXI " It Ists #s below Istl ft 4th s s above $ 3rd 1 3rd s 3rd 1 #2nds 4th s This book is DUE on the last date stamped below APR 1 7 19S2 1 Form L-9-35i-8,'28 F23t l V 1 >rth - nhrase book -iiTY Of C AT LOS ANGELES T.TRRARY UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. QUARTER HKS FEB 9 1973 JU AUG QUARTER L TMnti v^-k Iff 1 1 FormL9-39,050-8,'65(F6234s8)4939 PAMPHLET BINDER Syrocuse. N. Y. Stockton, Colif. A 001 242 640 9 MUSIC LIBRARY" v.l